Doppelstrich: Difference between revisions
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==Execution== | ==Execution== | ||
Due to the lack of scientific results, no generally valid rules can be established for a historically correct execution of this ornament. However, there are some testimonies from the area of the [[North German organ school]], which allow an approximation to the practices of that time. One of the most important findings is a possible adaptation of the length of an ornament to the length of the underlying note. [[Michael Praetorius]]' ''[[Syntagma musicum]]'' (1619), [[Johann Adam Reincken]]s ''[[Hortus Musicus|Hortvs Musicvs]]'' (1687) and explanations by [[Martin Heinrich Fuhrmann]] (1669-1745) show that trills - or "trillo" or "tremuli" - begin with the main note. A correspondence of the symbol || with [[Jan Pieterszoon Sweelinck]]'s // is obvious and requires a situation-dependent execution on the basis of the flow direction of the music, but also presupposes a beginning with the main note. However, a performance with a beginning secondary note is conceivable in later works of the North German organ school as in [[Vincent Lübeck]].<ref>[[Klaus Beckmann|Beckmann, K.]], 2009. ''Blütezeit und Verfall'', 1. Auflage. ed, ''Die Norddeutsche Schule: Orgelmusik im protestantischen Norddeutschland zwischen 1517 und 1755''. Schott, Mainz.</ref><ref>[[Jon Laukvik|Laukvik, J.]], 1990. ''Orgelschule zur historischen Aufführungspraxis. Eine Einführung in die „alte Spielweise“ anhand ausgewählter Orgelwerke des 16. bis 18. Jahrhunderts''. Carus-Verlag, Stuttgart.</ref> Also the Hamburg manuscript [[S.M.G. 1691]] only achieves a beginning of trills with the secondary note around 1710 by means of suggested notes.<ref>[[Siegbert Rampe|Rampe, S.]], 2003. ''Vincent Lübeck. Neue Ausgabe sämtlicher Orgel- und Clavierwerke.'' Bärenreiter-Verlag, Kassel.</ref> | Due to the lack of scientific results, no generally valid rules can be established for a historically correct execution of this ornament. However, there are some testimonies from the area of the [[North German organ school]], which allow an approximation to the practices of that time. One of the most important findings is a possible adaptation of the length of an ornament to the length of the underlying note. [[Michael Praetorius]]' ''[[Syntagma musicum]]'' (1619), [[Johann Adam Reincken]]'s ''[[Hortus Musicus|Hortvs Musicvs]]'' (1687) and explanations by [[Martin Heinrich Fuhrmann]] (1669-1745) show that trills - or "trillo" or "tremuli" - begin with the main note. A correspondence of the symbol || with [[Jan Pieterszoon Sweelinck]]'s // is obvious and requires a situation-dependent execution on the basis of the flow direction of the music, but also presupposes a beginning with the main note. However, a performance with a beginning secondary note is conceivable in later works of the North German organ school as in [[Vincent Lübeck]].<ref>[[Klaus Beckmann|Beckmann, K.]], 2009. ''Blütezeit und Verfall'', 1. Auflage. ed, ''Die Norddeutsche Schule: Orgelmusik im protestantischen Norddeutschland zwischen 1517 und 1755''. Schott, Mainz.</ref><ref>[[Jon Laukvik|Laukvik, J.]], 1990. ''Orgelschule zur historischen Aufführungspraxis. Eine Einführung in die „alte Spielweise“ anhand ausgewählter Orgelwerke des 16. bis 18. Jahrhunderts''. Carus-Verlag, Stuttgart.</ref> Also the Hamburg manuscript [[S.M.G. 1691]] only achieves a beginning of trills with the secondary note around 1710 by means of suggested notes.<ref>[[Siegbert Rampe|Rampe, S.]], 2003. ''Vincent Lübeck. Neue Ausgabe sämtlicher Orgel- und Clavierwerke.'' Bärenreiter-Verlag, Kassel.</ref> | ||
==References== | ==References== | ||
Revision as of 13:00, 18 July 2023
The double bar or double line (de "Doppelstrich" or "Doppelsenkrechte) is an ornament that appeared primarily in Baroque music in northern Germany.
Execution
Due to the lack of scientific results, no generally valid rules can be established for a historically correct execution of this ornament. However, there are some testimonies from the area of the North German organ school, which allow an approximation to the practices of that time. One of the most important findings is a possible adaptation of the length of an ornament to the length of the underlying note. Michael Praetorius' Syntagma musicum (1619), Johann Adam Reincken's Hortvs Musicvs (1687) and explanations by Martin Heinrich Fuhrmann (1669-1745) show that trills - or "trillo" or "tremuli" - begin with the main note. A correspondence of the symbol || with Jan Pieterszoon Sweelinck's // is obvious and requires a situation-dependent execution on the basis of the flow direction of the music, but also presupposes a beginning with the main note. However, a performance with a beginning secondary note is conceivable in later works of the North German organ school as in Vincent Lübeck.[1][2] Also the Hamburg manuscript S.M.G. 1691 only achieves a beginning of trills with the secondary note around 1710 by means of suggested notes.[3]
References
- ↑ Beckmann, K., 2009. Blütezeit und Verfall, 1. Auflage. ed, Die Norddeutsche Schule: Orgelmusik im protestantischen Norddeutschland zwischen 1517 und 1755. Schott, Mainz.
- ↑ Laukvik, J., 1990. Orgelschule zur historischen Aufführungspraxis. Eine Einführung in die „alte Spielweise“ anhand ausgewählter Orgelwerke des 16. bis 18. Jahrhunderts. Carus-Verlag, Stuttgart.
- ↑ Rampe, S., 2003. Vincent Lübeck. Neue Ausgabe sämtlicher Orgel- und Clavierwerke. Bärenreiter-Verlag, Kassel.
