The trill (or shake , as it was known from the 16th until the early 20th century) is a musical ornament consisting of a rapid alternation between two adjacent notes , usually a semitone or tone apart, which can be identified with the context of the trill (compare mordent and tremolo ). It is sometimes referred to by the German Triller , the Italian trillo , the French trille or the Spanish trino . A cadential trill is a trill associated with each cadence . A groppo or gruppo is a specific type of cadential trill which alternates with the auxiliary note directly above it and ends with a musical turn as additional ornamentation.
40-531: Gruppo may refer to: Gruppo (music) , a type of cadential trill in music groupset , a bicycle component manufacturer's organized collection of mechanical parts Leonard Gruppo (born 1942), a politician in Pennsylvania See also [ edit ] All pages with titles containing Gruppo Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
80-503: A Child is Born " (HWV 56) relies quite heavily on both melodic and harmonic sequencing, as can be seen in the following excerpt. In this vocal reduction, the soprano and alto lines reiterate a florid two-beat melodic motif for three and a half bars in a series of melodic sequences on the word "born." More subtle, though still present, is the underlying ascending 5-6 harmonic sequence. Play Other examples include Handel's "Ev'ry valley shall be exalted" ("exalted") from Messiah ,
120-571: A fourth followed by root movement down a third. Both chords are in root position. The sequence is very similar to the ascending 5-6 sequence since it also allows for an overall stepwise ascent between parallel triads, much like the ascending 5-6. A well-known popular example of a threefold descending fifths diatonic sequence is found in the refrain from the Christmas carol " Angels We Have Heard on High ," as illustrated immediately below ("Glo...ria in excelsis Deo"). The one- measure melodic motive
160-436: A fourth. This is often accomplished through an alternation of root position and first inversion chords. The figured bass is the same as the descending 5-6 sequence, but the bass itself follows an ascending pattern rather than a descending pattern. The use of a similar 5-6 pattern outside of sequence is fairly common and is called 5-6 technique. The Sound of Music (also known as Rosalia ) sequence features root movement up
200-434: A melody in eighteenth and nineteenth century classical music ( Classical period and Romantic music ). Characteristics of sequences: It is possible for melody or harmony to form a sequence without the other participating. There are many types of sequences, each with a unique pattern. Listed below are some examples. In a melody, a real sequence is a sequence where the subsequent segments are exact transpositions of
240-456: A pattern of ascending fifths (or descending fourths). It is much less common than the descending fifths sequence. The descending 5-6 sequences, also known as descending third sequences, consist of a series of chords whose root notes descend by a third each sequential repetition. The sequence is almost never unadorned as shown above, but is generally filled in with intervening chords. The standard way of filling in this descending thirds pattern
280-417: A rapidly plucked pair of notes on adjacent strings, known as a cross-string trill. Trill keys are used to rapidly alternate between a note and an adjacent note often in another register on woodwind instruments . On the bowed instruments, the violin and the viola in particular, the trill is relatively easy to execute, with a straightforward bowing and the trill involving the oscillation of just one finger against
320-459: A related ornament specifically called trillo : Trillo is the least familiar of the vocal maneuvers, and, in present day usage, is performed either on a single note or as a technique for executing rapid scale-like passages. Perceptually, it is heard as a rhythmic interruption, or near interruption, of phonation that typically begins slowly with individual pulses separated by a short silent period and then often increases in rate to something resembling
360-402: A sequential pattern—including the original statement—are required to identify a sequence, and the pattern should be based on several melody notes or at least two successive harmonies ( chords ). Although stereotypically associated with Baroque music , and especially the music of Antonio Vivaldi , this device is widespread throughout Western music history. The device of sequence epitomises both
400-433: A series of chords whose bass or "root" notes follow a pattern of descending fifths (or ascending fourths). For example, if a descending fifths sequence in C major starts with the note C, the next note will be F, a perfect fifth below the first note. The next few notes will be B, E, A, D and so on, following a pattern of descending fifths. The ascending fifths sequence, contrary to the descending fifths sequence, consists of
440-424: A single notehead in one part that corresponds to smaller note values in another part, it leaves no room for doubt if both the letter and line are used. The usual way of executing a trill, known as a diatonic trill , is to rapidly alternate between the written note and the one directly above it in the given scale (unless the trill symbol is modified by an accidental , understood to apply to the added note above; this
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#1732848862321480-435: A vocal imitation of machine gun firing, albeit without the accompanying cacophony. Montserrat Caballé was a known exponent of the trillo , as can be heard from her famous 1974 Norma . Sequence (music) In music , a sequence is the restatement of a motif or longer melodic (or harmonic ) passage at a higher or lower pitch in the same voice. It is one of the most common and simple methods of elaborating
520-411: Is a chromatic trill ). Listen to an example of a short passage ending on a trill. The first time, the passage ends in a trill, and the second, it does not. This is an alternative trill: These examples are approximations of how trills may be executed. In many cases, the rate of the trill does not remain constant as indicated here, but starts slower and increases. Whether it is played this way or not
560-475: Is a rarity. Opinion is divided as to if and how well a trill can be taught or learnt, though mezzo-soprano Marilyn Horne frequently stated that she gained her trill by a commonly taught exercise, alternating between two notes, starting slowly and increasing velocity over time. The director of the Rossini Opera Festival , Alberto Zedda has opined in interview that the "widespread technical deficiency",
600-446: Is expected that the trill will end with a turn (by sounding the note below rather than the note above the principal note, immediately before the last sounding of the principal note), or some other variation. Such variations are often marked with a few appoggiaturas following the note bearing the trill indication. In most modern musical notation , a trill is generally indicated with the letters tr (or sometimes simply t ) above
640-431: Is indicated, the details of how to play the trill are up to the performer. In general, however, trills in this era are executed beginning on the auxiliary note, before the written note, often producing the effect of a harmonic suspension which resolves to the principal note. But, if the note preceding the ornamented note is itself one scale degree above the principal note, then the dissonant note has already been stated, and
680-490: Is largely a matter of taste. The number of alternations between the notes played in a trill can vary according to the length of the notated note. At slower tempos , a written note lasts longer, meaning more notes can be played in the trill applied to it; but at fast tempi and with a short note, a trill may be reduced to nothing more than the indicated note, the note above it, and the indicated note again, in which case it resembles an upper mordent. Trills may also be started on
720-496: Is not the scene. Hugo Riemann described the trill as "the chief and most frequent" of all musical embellishments. In the baroque period , a number of signs indicating specific patterns with which a trill should be begun or ended were used. In the Klavierbüchlein für Wilhelm Friedemann Bach , Johann Sebastian Bach lists a number of these signs together with the correct way to interpret them. Unless one of these specific signs
760-446: Is produced by quickly alternating partials. While playing a trill on the piano the pianist may find that it becomes increasingly difficult to execute a trill including the weak fingers of the hand (3, 4 and 5), with a trill consisting of 4 and 5 being the hardest. On the guitar , a trill can be either a series of hammer-ons and pull-offs (generally executed using just the fingers of the fretting hand, but players can use both hands), or
800-549: Is shifted downward at the interval of a second, and the harmonic aspect does so likewise by following the circle of fifths Play : The following threefold ascending 5-6 chromatic (non-diatonic) sequence occurs in the duet of Abubeker and Fatima from Act III of César Cui 's opera Prisoner of the Caucasus (compare a similar passage in the famous Rodgers and Hammerstein song " Do-Re-Mi ," composed almost exactly 100 years later) Play : Handel 's " For Unto Us
840-556: Is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence. An important subtype of the descending 5-6 sequence is the root position variant, also known as the Pachelbel sequence, due to the use of this sequence in Pachelbel's Canon . The Pachelbel sequence changes
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#1732848862321880-416: The diatonic scale—that is, the sequence is diatonic if the pitches remain within the scale , or chromatic (or non-diatonic) if pitches outside of the diatonic scale are used and especially if all pitches are shifted by exactly the same interval (i.e., they are transposed ). The non-diatonic sequence tends to modulate to a new tonality or to cause temporarily tonicization . At least two instances of
920-506: The "shake" (what is commonly known today as the trill) and the "trill" (now often called a Baroque or Monteverdi trill). However, by the time of the Italian bel canto composers such as Rossini , Donizetti and Bellini , the rapid alternation between two notes that Caccini describes as a shake was known as a trill and was preferred. Coloratura singers, particularly the high-voiced sopranos and tenors, are frequently required to trill not only in
960-525: The above characteristics. In the third and fourth bars of the “Air” from J.S. Bach’s Orchestral Suite No. 3 in D major, the violin part forms a tonal sequence with the notes modified to fit the harmony, while the intervals in the bass line are unchanged, creating a real sequence. The whole passage also forms a modulating sequence, starting in D major and moving through E minor at the start of the fourth bar: A sequence can be described according to its direction (ascending or descending in pitch) and its adherence to
1000-471: The character of the original segment: A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence: A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some sequences: The above passage starts in F major and modulates to Bb major and then, via the chord of G, to C major. Sometimes sequential passages combine more than one of
1040-406: The emphasis is on the underlying process rather than the material itself. Ritornellos and the amplification from melodies to Baroque lyrics are often built from sequences. Descending fifths sequences, also known as " circle of fifths " sequences, are the most commonly used types of sequences, singular extended in some works of Claudio Monteverdi and Heinrich Schütz . It usually consists of
1080-416: The first inversion chords in the descending 5-6 sequence to root position chords, resulting in a bass pattern that moves down a fourth, and then up stepwise. The ascending 5-6 sequence, like the ascending fifths sequence, adorns a stepwise ascent. It follows a root movement pattern of down a third (usually to a first inversion chord sharing the same bass note as the first note) followed by a root movement up
1120-444: The first segment, while a tonal sequence is a sequence where the subsequent segments are diatonic transpositions of the first. The following passage from J.S. Bach demonstrates both kinds of sequence at work: Note: In the example image above, the annotation "the intervals in the second sequence are the same as in the first" is not entirely correct. The descending pitches in the first segment (G to A), have different intervals than in
1160-404: The goal-directed and the hierarchical nature of common-practice tonality. It is particularly prevalent in passages involving extension or elaboration; indeed, because of its inherently directed nature, it was (and still is) often pulled from the shelf by the less imaginative tonal composer as the stock response to a need for transitional or developmental activity. Whether dull or masterly, however,
1200-400: The inability to trill, is a source of "frustration and anguish". In fact, whole performances and recordings, especially of bel canto works, have been judged based on performance—or lack thereof—of trills, especially trills written in the score as opposed to trills in a cadenza or variation. The word trillo is sometimes used to mean the same as trill. However, in early music some refer to
1240-470: The main note which is stopped by the finger behind, or more rarely, the open string. Trills may be performed on valveless brass instruments by rapidly slurring between two adjacent notes by means of the embouchure – this is colloquially known as a "lip trill." This was a common practice on the natural trumpets and natural horns of the Baroque / Classical era. However the lip trill is often still used in
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1280-416: The modern French horn in places where the harmonics are only a tone apart (though this can be difficult for inexperienced players). Such trills are also a stylistic feature of jazz music, particularly in trumpet parts. Vocal music of the classical tradition has included a variety of ornaments known as trills since the time of Giulio Caccini . In the preface to his Le nuove musiche , he describes both
1320-425: The note above the notated note (the auxiliary note ). Additionally, a trill is often ended by playing the note below the notated one, followed by the note itself. The taste for cadences (like the taste for sequences ), and with them the obligation to bring in their implied cadential trills, was... ingrained in baroque musicianship... For those who do not like cadences, sequences, and cadential trills, baroque music
1360-409: The second segment (C to D). The difference being in the last three pitches (C, B ♭ , A versus F, E, D). We have whole-step + half-step intervals in the first, and half-step + whole-step in the second. A rhythmic sequence is the repetition of a rhythm with free use of pitches: A modified sequence is a sequence where the subsequent segments are decorated or embellished so as to not destroy
1400-404: The time of Mozart, the default expectations for the interpretation of trills continued to be similar to those of the baroque. In music after the time of Mozart, the trill usually begins on the principal note. All of these are only rules of thumb, and, together with the overall rate of the trill and whether that rate is constant or variable, can only be determined by considering the context in which
1440-563: The title Gruppo . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Gruppo&oldid=1243199872 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Gruppo (music) A trill provides rhythmic interest, melodic interest, and—through dissonance — harmonic interest. Sometimes it
1480-400: The trill appears, and is usually to a large degree a matter of opinion with no single "right" way of executing the ornament. The trill is frequently found in classical music for all instruments, although it is more easily executed on some than others. For example, while it is relatively easy to produce a trill on the flute , the proper execution on brass instruments requires higher skill and
1520-580: The trill typically starts on the principal note. Several trill symbols and techniques common in the Baroque and early Classical era have fallen entirely out of use, including for instance the brief Pralltriller , represented by a very brief wavy line, referred to by Carl Philipp Emanuel Bach in his Essay on the True Art of Playing Keyboard Instruments ( Versuch ) (1753–1762). Beyond the baroque era, specific signs for ornamentation are very rare. Continuing through
1560-432: The trilled note. This has sometimes been followed by a wavy line, and sometimes, in the baroque and early classical periods, the wavy line was used on its own. In those times the symbol was known as a chevron . The following two notations are equivalent: Both the " tr " and the wavy line are necessary for clarity when the trill is expected to be applied to more than one note (or to tied notes). Also, when attached to
1600-431: The works of these composers but in much of their repertoire. Soprano Dame Joan Sutherland was particularly famed for the evenness and rapidity of her trill, and stated in an interview that she "never really had to learn how to trill". The trill is usually a feature of an ornamented solo line, but choral or chorus trills do appear. Despite the trill being written in many works for voice, a singer with an even, rapid trill
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