The Short

have been generally accepted that the connecting turn would be performed rapidly, and this remained true for many
nineteenth-century musicians, for instance Spohr, who instructed that ‘the turn is always played quickly, whether in
slow or quick degree of movement’. 934 And Garc/'ia took a similar view of all turns (grupetti), whether accented,
connecting, or anticipatory. He illustrated and explained the three types:
In the first case, the note must be struck by the turn; example:- [Ex. 13.72(a)]
In the second case, the note should be fixed, and the turn placed in the middle of its duration; example:- [Ex.
13.72(b)]
In the third case, the value of the note must be accomplished by the turn; example:- [Ex. 13.72(c)]
The essential character of the turn being rapidity and animation, its duration should be that of a semiquaver, at No.
100 of Maelzel's metronome. 935
Ex. 13.72. García, New Treatise, 33
APPOGGIATURAS AND GRACE-NOTES 505
There was, however, a growing tendency towards the middle of the nineteenth century to perform some turns in a
more leisurely manner. A. B. Marx thought that the turn should be ‘performed in moderately fast or even fast
tempo’. 936 And a generation later Dannreuther recorded:
The turn in Bellini's cantilena, both andantino and largo, was sung in a very broad way, so the notes formed part of
the principal phrase, just as it is now to be found written out and incorporated in Wagner's Tristan. The ornamental
notes, resembling a turn at the end of a long breath, were always given piano, diminuendo, leggiero as in Chopin.
[Ex. 13.73] 937
934
Violin School, 157.
935
New Treatise, 33.
936
In Schilling, EncyclopÄdie, ii. 461 (art. ‘Doppelschlag’).
937 Musical Ornamentation, ii. 141.