Scan 163
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1ARPEGGIO
3employed in modern music, being now always written in full.
51. Written. 2.
7Played.
9The arpeggio in modern music is usually indicated as in Ex. 3, and occasionally (as for instance in some of Hummel's compositions) by a stroke across the chord (Ex. 4). This is, however, incorrect, as it may easily be mistaken for the combination of arpeggio with ACCIACCATURA (q.v.), which, according to Emanuel Bach, is to be written and played as in Ex. 5. Similar notations are found in the French School (see Harpègement in the table of French Agréments under ORNAMENTS).
113. 4. 5.
13In the arpeggio as above, the notes when once sounded are all sustained to the full value of the chord, with the exception only of the foreign note (the acciaccatura) in Ex. 5. Sometimes, however, certain notes are required to be held while the others are released; in this case the chord is written as in Ex. 6.
156.
17The arpeggio should, according to the best authorities, begin at the moment due to the chord, whether it is indicated by the sign or by small notes, and there can be no doubt that the effect of a chord is weakened and often spoilt by being begun before its time, as is the bad habit of many inexperienced players. Thus the beginning of Mozart's Sonata in C (Ex. 7) should be played as in Ex. 8, and not as in Ex. 9. Nevertheless, it appears to the writer that there are cases in modern music in which it is advisable to break the rule and allow the last note of the arpeggio to fall upon the beat, as for instance in Mendelssohn's 'Lieder ohne Worte,' Book v. No. 1.
19ARPEGGIO
21In music of the time of Bach a sequence of chords is sometimes met with bearing the word 'arpeggio'; in this case the order of breaking the chord, and even the number of times the same chord may be broken, is left to the taste of the performer, as in Bach's sonata for pianoforte and violin, No. 2 (Ex. 10), which is usually played as in Ex. 11.
2310. Violin.
25Arpeggio.
2711.
29Sometimes the arpeggio of the first chord of a sequence is written out in full, as an indication to the player of the rate of movement to be applied to the whole passage. This is the case in Bach's 'Fantasia Cromatica' (Ex. 12), which is intended to be played as in Ex. 13. Such indications, however, need not always be strictly followed. A passage in Mendelssohn's letters (Briefe, ii. 241) describes his personal practice with regard to this passage.
3112.
33Arpeggio legato.
3513.
37etc.
39When an appoggiatura is applied to an arpeggio chord, it takes its place as one of the notes of the arpeggio, and occasions a delay of the particular note to which it belongs equal to the time required for its performance, whether it be long or short (Ex. 14).
4114.
43Chords are occasionally met with (especially in Haydn's pianoforte sonatas) which are partly arpeggio, one hand having to spread the chord while the other plays the notes all together;
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