The Short

568 PORTAMENTO
Not only could the ‘leaping grace’ be used to connect the pitches of two notes directly, but, as pieces in the Select
Collection indicate, it could also be used at the beginning of a phrase, in which case the grace-note occurred on another
note of the harmony with which the main note was consonant; in the middle of a phrase, the grace-note would often
be sounded at a different pitch from the preceding note (usually a tone or semitone above or below it), the essential
factor being that the grace-note had to belong to the harmony of the note following it, with which it was connected
(Ex. 15.7.) With the ‘anticipation grace’, the anticipatory note seems always to have been at the pitch of the note it
preceded, but it did not necessarily have to be consonant with the harmony of the note from which it took its value
and to which it was tied. Ex. 15.8 illustrates some of the contexts in which Corri considered these techniques
appropriate.
Ex. 15.7.D. Corri, A Select Collection: (a) vol. i. 3: Giordani (Hasse), Artaserse; (b) vol.i. 23: Gluck, L'Olimpiade; (c) vol. i.
42: Gluck, Orfeo
Ex. 15.8.D. Corri, A Select Collection: (a) vol. i. 17: Rauzzini, L'ali d'amore; (b) vol. i.32: Giordani, La marchesa Giardinera;
(c) vol. i. 42: Gluck, Orfeo