trills page one - walter...

P.2 Beethoven manuscript of Presto agitato, mm. 2731 from “Moonlight” Sonata, Op. 27, No. 2, showing trills on octaves. This piece was composed in 1802. P.3 Schenker edition of the same passage. PP. 46 The next three images are taken from the Méthode de piano du Conservatoire published in 1805 by Louis Adam in Paris. They show trill exercises for the piano and show how to begin trills and mordants, depending on how they are approached and whether they are approached under a slur. They also show a possible final cadenza on a trill, involving dotted rhythm and a process of speeding up. PP. 78 These trill exercises are from the School of Singing by Manuel Garcia, Jr. The original French language publication was in 1840 in Paris. Garcia was the brother of opera star Maria Malibran and of Pauline Viardot, a famous student of Chopin. Here again the trills are written out and some exercises show how to perform a chain of trills. PP. 910 From the Polonaise in Fsharp Minor, Opus 44. (Mm. 7073 and MM. 5461.) These show trills on broken octaves, and the first example shows a chain of trills. PP. 1112 This formula of prefix and trill is common in Chopin’s music, and seems to clearly show that trills should begin with the upper note. This is from the manuscript and the Breitkopf edition of the Sonata No. 2, 2 nd movement, mm. 138141 etc. P. 13 Trill chain in the Nocturne in E Minor, mm. 3637. P. 14 Beginning of the Waltz in Gflat Major showing grace notes and trill. P. 15 Trills in the B Major Nocturne, Op. 62, No. 1 mm. 6874. P. 16 Chopin La Ci Darem La Mano Variations, Opus 2: Piano part in mm. 1624 of Variation III.

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P.2 Beethoven manuscript of Presto agitato, mm. 27-‐31 from “Moonlight” Sonata, Op. 27, No. 2, showing trills on octaves. This piece was composed in 1802. P.3 Schenker edition of the same passage. PP. 4-‐6 The next three images are taken from the Méthode de piano du Conservatoire published in 1805 by Louis Adam in Paris. They show trill exercises for the piano and show how to begin trills and mordants, depending on how they are approached and whether they are approached under a slur. They also show a possible final cadenza on a trill, involving dotted rhythm and a process of speeding up. PP. 7-‐8 These trill exercises are from the School of Singing by Manuel Garcia, Jr. The original French language publication was in 1840 in Paris. Garcia was the brother of opera star Maria Malibran and of Pauline Viardot, a famous student of Chopin. Here again the trills are written out and some exercises show how to perform a chain of trills. PP. 9-‐10 From the Polonaise in F-‐sharp Minor, Opus 44. (Mm. 70-‐73 and MM. 54-‐61.) These show trills on broken octaves, and the first example shows a chain of trills. PP. 11-‐12 This formula of prefix and trill is common in Chopin’s music, and seems to clearly show that trills should begin with the upper note. This is from the manuscript and the Breitkopf edition of the Sonata No. 2, 2nd movement, mm. 138-‐141 etc. P. 13 Trill chain in the Nocturne in E Minor, mm. 36-‐37. P. 14 Beginning of the Waltz in G-‐flat Major showing grace notes and trill. P. 15 Trills in the B Major Nocturne, Op. 62, No. 1 mm. 68-‐74. P. 16 Chopin La Ci Darem La Mano Variations, Opus 2: Piano part in mm. 16-‐24 of Variation III.
AAAAAA.pdfAAAMoonlightoctavetr1.pdfAAMoonlight oct 2.pdfAdam1.pdfAdam2.pdfAdam3.pdfGarcia1840shake.pdfGarcia1840shake2.pdfpLHchainoftrills.pdfpoctavetrinfsharppolo.pdfSonata2 2ndmove LH prefix.pdfSonata2 2ndmove M.pdftrillinemnoct.pdfWaltzbeginning.pdfWtrillsinBMajorNoct.pdfxOp2trilloverchord.pdf