Grove's dictionary of music and musicians

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436 SHAKE SHAKE
principal note is added to the last couple of
notes, that the trill may end as well as begin
with the principal note (Ex. 18). When the
trill is followed hy a rest, a, turn is generally
made, though it is perhaps not necessary unless
specially indicated (Ex. 19).
Trills on very short notes require no turn, but
consist merely of a triplet—thus,
23. Mozart, Ein Weib,' ' Var. 6.
tr. tr. tr. tr.
17. Mozart, ' Lison dormait,' Var. 8.
Played.
Clementi, Sonata in G.
tr. =
Beethoten, Trio, Op. 97.
tr. a
tr. a
^
•4=^
When a note ornamented by a shake is followed
by another note of the same pitch, the
lower subsidiary note only is added to the end
of the shake, and the succeeding written note
serves to complete the turn. Even when the
trill- note is tied to the next following, this
extra lower note is required, provided the
second written note is short, and occurs on an
accented beat (Ex. 20). If the second note is
long, the two tied notes are considered as forming
one long note, and the shake is therefore
continued throughout the whole value.
20. Baoh, Fugue Ho. 15, Vol. II.
Besides the several modes of ending a shake,
the commencement can also be varied by the
addition of what is called the upper or lower
prefix. The upper prefix is not met with in
modern music, but occurs frequently in the
works of Bach and Handel. Its sign is a tail
turned upwards from the beginning of the
ordinary trill mark, and its rendering is as
follows
24. Bach, Partita Ko. 1, Sarabande.
f^
Played.
The lower prefix consists of a single lower subsidiary
note prefixed to the first note of a shake
which begins with the principal note, or of two
notes, lower and principal, prefixed to the first
note of a shake beginning with the upper note.
It is indicated in various ways, by a single small
grace-note (Ex. 25), by two (Ex. 26), or three
grace-notes (Ex. 27), and in old music by a tail
turned downwards from the commencement of
the trill mark (Ex. 28), the rendering in all
cases being that shown in Ex. 29.
tr.
Very similar is the rendering of a shake on a
dotted note :—the turn ends on the dot, which
thus takes the place of the second of the two
notes of the same pitch. Thus the effect of the
two modes of writing shown in Ex. 21a and b,
would be the same. If, however, tl;^ dotted note
is followed by a note a degree lower, no turn is
required (Ex. 22).
21. Handel, Suite 10. AUemande.
(a) tr.^ tr. tr. tr. (fi)tr. _ tr.
22. Handel, Suite 10. Allegro.
tr.
From a composer's habit of writing the lower
prefix with one, two, or three notes, his intentions
respecting the commencement of the ordinary
shake without prefix, as to whether it
should begin with the principal or the subsidiary
note, may generally be inferred. For since it
would be incorrect to render Ex. 26 or 27 in
the manner shown in Ex. 30, which involves
the repetition of a note, and a consequent break
of legato—it follows that a composer who
chooses the form Ex. 26 to express the prefix
intends the shake to begin with the upper note,
while the use of Ex. 27 shows that a shake
beginning with the principal note is generally
intended.
That the form Ex. 25 always implies the
shake beginning with the principal note is not
so clear (although there is no doubt that it
usually does so), for a prefix is' possible which