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Scan 56
A dictionary of music and musicians, 1879
39 lines. Read by computer on 7 September 2026, twice; the two readings disagreed in places. Printed page 43. See the scan on archive.org.
1AGREMENS.
3Doppelschlag. Mordent. Anschlag.
5Schleifer. Schneller. Brechung.
7Addition to these, Marpurg treats of the Anschlag (Ex. 2), which Emanuel Bach does recognise, or at least calls 'ugly, although ordinarily in fashion,' but which is largely used by modern composers.
9Nachschlag.
11The principal agrémens of French music were Appogiature, Trille, and Accent, which replaced respectively the Vorschlag, Triller and Anschlag described above, and in addition Mordant—which appears to have differed from the Mordent of German music, and to have been a kind of interrupted trill,—the Coulé, Port de voix,1 Port de voix jeté, and the cadence pleine ou brisée2 (Ex. 3).
13Mordant. Coulé.
15Port de voix. Port de voix jeté.
17Cadence pleine. Cadence brisée.
19Agrémens or graces peculiar to old English music differed considerably from the above, and
211 'Port de voix,' which ought properly to signify the 'voice with extreme smoothness from one note to another (amento di voce'), has been very generally applied to it. one of two readings
221 'Port de voix,' which ought properly to signify the 'voice with extreme smoothness from one note to another (amento di voce),' has been very generally applied to it. one of two readings
242 Anschlag (Eng. 'Turn') was often called Cadence by the best of the time of Couperin (1700); and indeed Sebastian Virdung in this sense in his 'Clavier-Büchlein' (1730).
26have now become obsolete. They are described in an instruction-book for the violin, called the Division Violist, by Christopher Simpson, published in 1659, and are divided into two classes, the 'smooth and shaked graces.' The smooth graces are only adapted to stringed instruments, as they are to be executed by sliding the finger along the string; they include the Plain-beat or Rise, the Backfall, the Double Backfall, the Elevation, the Cadent, and the Springer, which 'concludes the Sound of a Note more acute, by clapping down another Finger just at the expiring of it.' The effect of this other finger upon the violin would be to raise the pitch of the last note but one (the upper of the two written notes) so that the Springer would resemble the French Accent. The 'shaked graces' are the Shaked Beat, Backfall, Elevation, and Cadent, which are similar to the plain graces with the addition of a shake, and lastly the Double Relish, of which no explanation in words is attempted, but an example in notes given as below (Ex. 4).
284. Plain-beat. Backfall. Double Backfall.
30Elevation. Cadent. Springer.
32Shaked beat. Shaked Backfall.
34Shaked Elevation. Shaked Cadent.
36Double Relish.
38Or thus—
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