C.P.E. Study Guide: Compound Appoggiaturas

C.P.E. Bach: Versuch über die wahre Art das Clavier zu spielen
(Part One 1753, Berlin)
(Essay on the True Art of Playing Keyboard Instruments)

I am always interested in original sources, and this is one of the best for keyboard players. C.P.E. would have formed many of his ideas from his father, the great J.S. Bach. At the same time, he was very much part of the next generation and was well known and respected on his own merits. It is well worth the effort to study the text either in the original German or the English translation. Having made my way through both, it takes time to wade through the antiquated writing style and sort out the musical examples. The following study guide is intended to make the text more accessible by providing a summary of each paragraph along with audio clips of the musical examples.

Study Guide: Summary and Examples
Chapter Two, Embellishments: The Compound Appoggiatura

THE COMPOUND APPOGGIATURA

1) The Compound Appoggiatura consists of 2 notes and appears two ways:

  • 1) Type 1: Preceding note is repeated, next note is the step above the principal note
  • 2) Type 2: Tone below, followed by the tone above are put before the principal note

2) Figure 148 shows the two types:

3) The first type is slower than the second, but in both types, the ornament is played more softly than the principal note [notice the difference from a typical single appoggiatura which is played louder than the principal]. Melodies are made more attractive with this ornament, which serves to connect notes and to fill them out.

4) About the two types:

  • The first type is measured and only appears in slower tempos when the two notes are separated by an ascending leap
  • A dot often appears after the first small note of the second type
  • In the examples of Figure 150 the second type could be used as well

5) Type 2 is performed quickly and is used in both fast and slow tempos. Figure 151 is a good example of how it can be used, and will work at any tempo andante or faster.

6) Uses of Type 2:

  • May be used instead of Type 1 in any of the examples of Figure 150
  • Other uses shown in examples below

7) THE DOTTED COMPOUND APPOGGIATURA

  • Notated either as an ascending appoggiatura or as in Figure 153:
  • Example (d) shows its correct and incorrect notation

8) Uses of the Dotted Compound Appoggiatura:

  • Never used in fast movements
  • Figure 153 (a) and (b) show examples of correct use
  • Figure (c) shows the correct execution of Figure 79* with a dotted compound appoggiatura (this is a better ornament to use here than a regular appoggiatura due to the long F)

9) Avoid errors in the performance of this ornament by understanding its origin. Figure 154 (a) shows the origin, (b) shows the addition of a second note, and (c) shows the execution of the complete ornament.

10) Note that with this type of appoggiatura, the dotted note is emphasized and the others are played softly. The second note is played as quickly as possible connecting it to the principal, and all three are slurred.

11) Examples:

  • C.P.E. notes that he notates the examples using a simple ascending appoggiatura since this is the usual way it appears
  • The slower the tempo and more expressive the melody, the longer the dot must be held, shown in the example marked N.B.

SOURCES

Bach, C.P.E. Essay on the True Art of Playing Keyboard Instruments. Translated and edited by William J. Mitchell, W.W. Norton & Company, 1949, pp. 132-136.

Bach, Karl Philipp Emanuel. Versuch über die wahre Art das Klavier zu spielen. Edited by Walter Niemann, C.P. Khant, Leipzig, 1925, pp. 69-72.

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