The Short

502 APPOGGIATURAS, TRILLS, TURNS
Ex. 13.64. L. Mozart, Versuch, XI, §13
Ex. 13.65. D. Corri, A Select Collection, i. 8
these kinds of turn with a longer first note, suggesting, perhaps, a degree of agogic accent (Ex. 13.66.) 929 Yet another
explanation of the execution of this kind of turn (grupetto) was given in the nineteenth century by Manuel García, who
instructed that it should ‘begin with a bold sforzando on the first of the three notes composing it. The stress given to
this note should carry off the two others that follow.’ 930 (García considered this form of turn the most common
ornament after the appoggiatura and evidently regarded what he called mezzigrupetti and double appoggiaturas as
ornaments closely related in their musical function; see Ex. 13.67.)
Ex. 13.66
Ex. 13.67. García, New Treatise, 33
Most authors stated that these kinds of turn should be performed quickly; but a variety of speeds, depending on
context, might certainly have been employed by musicians throughout the period. An example from the eighteenth
century illustrates how, even with the same notation, two turns might be differently executed in close proximity;
Löhlein gave the realization shown in Ex. 13.68, indicating varied treatment of the two on-beat turns. In the nineteenth
century, just as there was a greater tendency for trills to begin with the
929 Corri, The Singer's Preceptor ; Pasquali, The Art of Fingering the Harpsichord (Edinburgh, [c. 1760]); Knecht, Kleine theoretische Klavierschule für die ersten AnfÄnger (Munich, [1799]).
930 New Treatise, 33.