Grove's dictionary of music and musicians

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SHAKE SHAKE 437
g^^F^^^P
leaps from the lower to the upper subsidiary
note. This exceptional form is frequently employed
by Mozart, and is marked as in Ex. 31.
It bears a close resemblance to the Double
Appoggiatura. [See that word, vol. i. p. 99.]
81. MozAKT, Sonata in F. Adagio.
Among modern composers, Chopin and Weber
almost invariably write the prefix with two
notes (Ex. 26) ; Beethoven uses two notes in
his earlier works (see op. 2, No. 2, Largo,
bar 10), but afterwards generally one (see
op. 57).
The upper note of a shake is always the next
degree of the scale above the principal note, and
may therefore be either a tone or a semitone
distant from it, according to its position in the
scale. In the case of modulation, the shake
must be made to agree with the new key,
independently of the signature. Thus in the
second bar of Ex. 32, the shake must be made
with BU instead of Bl>, the key having changed
from C minor to C major. Sometimes such
modulations are indicated by a small accidental
placed close to, or above the sign of the trill
(Ex. 33).
S2. Chopin, Ballade, Op. 67.
tr.
Beethoven, Choral Fantasia.
A series of shakes ascending or descending
either diatonically or chromatically is called a
Chain of Shakes (Ital. Cateiia di Trille ; Ger.
Trillerkette). Unless specially indicated, the
last shake of the series is the only one which
requires a turn. Where the chain ascends diatonically,
as in the first bar of Ex. 36, each
shake must be completed by an additional
principal note at the end, but when it ascends
by the chromatic alteration of a note, as from
Gt] to Gjt, or from A to A)t, in bar 2 of the
example, the same subsidiary note serves for
both principal notes, and the first of such a pair
of shakes requires no extra principal note to
complete it.
36. Beethoven, Concerto in E|>.
In pianoforte music, a shake is frequently
made to serve as accompaniment to a melody
played by the same hand. When the melody
lies near to the trill-note there need be no
interruption to the trill, and either the principal
or the subsidiary note (Hummel prescribes the
former, Czerny the latter) is struck together
with each note of the melody (Ex. 37). But
when the melody lies out of reach, as is often
the case, a single note of the shake is omitted
each time a melody-note is struck (Ex. 38).
In this case the accent of the shake must be
upon the upper note, that the note omitted
may be a subsidiary and not a principal note.
37. Cramer, Study, No. 11.
Zento.
The lower subsidiary note, whether employed
in the turn or as prefix, is usually a semitone
distant from the principal note (Ex. 34), unless
the next following written note is a whole tone
below the principal note of the shake (Ex. 35).
In this respect the shake follows the rules which
govern the ordinary turn. [See Turn.]
Beethoven, Sonata, Op. 109.
34. Beethovbn, Sonata, Op. 10, No. 2.
Mozart, Rondo in D.
> Von BUlow, In hia edition of Cramer's atudiea, interprets thia
paB5«^e in a precisely opposite sense to that given above, directing
tne shake to be perforuied as in Example M