The Short

462 APPOGGIATURAS, TRILLS, TURNS
6) Before syncopations… : [Ex. 13.3(f)] (Often the appoggiaturas before notes after which syncopations follow, as
at a), fall under this rule.)
7) If a similar pattern is previously required: [Ex. 13.3(g)]
8) Before dotted notes in rather fast tempo a), particularly between leaps b): [Ex. 13.3(h)]
9) Before breaks between phrases [Einschnitten] a),* particularly when monotony … might result from a rather slow
appoggiatura in this case, as at b): [Ex. 13.3(j)]
10) If the melody rises a step, and then goes back to the previous note:* [Ex. 13.3(k)]
*[Türk's footnote] There are frequent exceptions to these two rules, e.g. in slow tempo, or when an ornament
(over the main note) follows after the appoggiatura
Further situations in which he considered a grace-note to be likely, but not certain were
11) Before several slurred rising or falling seconds [Ex. 13.4(a)] …
12) Before falling thirds [Ex. 13.4(b)] …
13) Before two-note figures [Ex. 13.4(c)] …
14) Before triplets and other three-note figures [Ex. 13.4(d)] …
15) Before a note after which two of half its length follow: [Ex. 13.4(e)] … (for Türk's qualifications about such
notes see below)
16) If the pitches indicated by the small notes are not diatonically related to the following main note: [Ex. 13.4(f)] …
17) If the independently entering appoggiaturas are separated from the main note by more than a second or make a
leap to it: [Ex. 13.4(g)] … 848
Türk confessed that in all these circumstances some theorists and some composers held a different opinion. In such
doubtful cases, many theorists took refuge in appeals to experienced performers to take counsel of their taste and to be
aware of the character of the whole piece and of the individual sections, or, in the case of singers, to take account
above all of the text.
During the early nineteenth century, as the practice of writing out appoggiaturas in normal notes became commoner,
these sorts of comprehensive lists were no longer felt to be so necessary, at least for the performance of the
contemporary music that formed the bulk of the repertoire. It is symptomatic of this change of practice and attitude
that in Philip Corri's L'anima di musica (1810) the main focus of discussion was the ‘short appoggiatura’ (grace-note)
and its execution. Corri, reversing the procedure of Türk and his followers, gave several examples of how to perform
the short variety and then observed: ‘Note: the Appoggiatura is always to be played short, as above, except in the
following instances.’ 849 He then considered a few situations in which the long species might be encountered (Ex. 13.5.)
One of the latest repetitions of the gist of Türk's instructions, which was clearly intended, at least in part, as a guide to
performing contemporary music, occurs in the 1830s in Schilling's EncyclopÄdie. The author of the article felt
848 Türk, Klavierschule, III, 3, §21.
849 p. 14 .