In progress

Essential Ornaments: a historical concordance

Signs, names, and realizations across European performance treatises, 1565–1828

An open, source-linked index of historical ornament vocabulary and notation, beginning with Liselotte Brändle’s comparative chart Die „Wesentlichen Manieren“.

Started July 15, 2026 · Updated July 15, 2026

Role: Research, source verification, data modeling, transcription, and web development

Aim

This project turns a large comparative ornament chart into a research tool. Instead of reproducing a static sheet, the online edition separates its evidence into searchable records: historical source, ornament family, period name, written sign, notated realization, language, and verification history.

The starting artifact is Liselotte Brändle’s Die „Wesentlichen Manieren“ (Ornamente in der Musik): ihre Zeichen, Namen und Ausführung, first published in Vienna in 1974 and reprinted in 1985. It compares eighteen sources from Tomás de Santa María to Johann Nepomuk Hummel across seven broad ornament families.

Editorial method

The supplied scan is used as a finding aid, not as the final authority. Every chart cell will be checked against a digitized copy of the original treatise. Historical spelling is preserved in the diplomatic field; normalized names and modern cross-references live in separate fields. Unclear readings remain visibly provisional rather than being silently regularized.

The local working edition includes a lossless crop of every populated chart cell from the supplied scan, providing complete facsimile coverage so that omissions can be audited and no printed alternative silently disappears. Each crop is an untranscribed visual witness, not machine-readable notation or an accessible text substitute. Every audited item also has a stable identifier and a searchable diplomatic text description of its sign, relative contour, rhythm, confidence, and unresolved readings. These chart witnesses and descriptions remain visually and editorially distinct from the independent edition. Before the chart images are deployed publicly, reproduction permission should be confirmed. Independently transcribed notation is encoded in MEI and rendered as SVG; modern staff placement and standardized glyphs are identified as editorial normalizations.

Current release

The current implementation establishes the complete eighteen-source register, seven normalized ornament families, and all 106 populated source-family cells. A cell-by-cell audit accounts for 306 visible signs, realizations, alternative glyphs, and contextual placements. Every populated cell has a full-cell facsimile preserving all material printed in that area of the supplied PDF, and all 306 audited items are individually addressable and searchable through diplomatic descriptions. A separately labeled source-verified MEI layer currently includes Bach’s 1720 Trillo, Mordant, and Cadence. The facsimiles and descriptive records make the complete chart inspectable now; they are not a claim that all 306 items have already been independently engraved or checked against their original treatises.

Roadmap

Verify the bibliography and locate the exact edition used for every row.
Add page or folio citations for every ornament example.
Add independently verified MEI to each variant record while retaining the complete-cell audit trail.
Add faceted comparison by source, date, language, instrument, family, and starting-note convention.
Publish the dataset with a version number, change log, and downloadable scholarly format.

Complete PDF facsimile coverage · independent transcription in progress

Search the historical ornament vocabulary

This edition indexes all 106 populated source–family cells from all 18 source rows in the chart. Every record includes a full-cell facsimile from the supplied PDF, preserving multiple alternatives printed within a cell. The audit accounts for 306 visible signs, realizations, alternative glyphs, and contextual placements. All 306 now have stable IDs and searchable diplomatic descriptions beneath their 106 source–family cells. Search names such as pincé, shake, Groppo, or Schneller, then narrow by ornament family and century.

Chart names remain a provisional diplomatic reading. PDF chart-cell facsimile coverage is complete; independently encoded, source-verified MEI currently covers 3 examples and is identified separately beneath the corresponding untranscribed visual witness.

106 indexed cells · 306 catalogued examples shown

Triller Trill

Quiebro (Triller) · Reyterado (wiederholter Triller) · Senzillo (kurzer Triller beim Abwärtsspielen)

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 1. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
6 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Quiebro / Reyterado, upper-line long form
  SM-TR-01
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: [+1, 0] x 4 -> 0 (upper-main oscillation, final main)
  
  Rhythm: Eight quick equal attacks followed by a sustained final
  
  Reading note: High contour; exact repetition count may be one attack longer because of stem overlap
2. Quiebro / Reyterado, first oder
  SM-TR-02
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Short upper-main alternation, approximately +1, 0, +1, 0 -> 0
  
  Rhythm: Short unequal-looking group, then sustained final
  
  Reading note: Medium; exact number of short notes is blurred
3. Quiebro / Reyterado, second short alternative
  SM-TR-03
  
  written realization confidence: low-medium
  
  Source sign: No separate glyph
  
  Contour: Upper-main oscillation with a descending close; approximately +1, 0, +1, 0, -1?, 0
  
  Rhythm: Four to six quick notes, then sustained final
  
  Reading note: Low-medium; a central/lower pitch is obscured by print damage
4. Senzillo, lower-line long form
  SM-TR-04
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: [+1, 0] x 4 -> 0
  
  Rhythm: Eight quick equal attacks followed by a sustained final
  
  Reading note: High contour; the first member of the alternation may be the main rather than upper note
5. Senzillo, first short form after the double bar
  SM-TR-05
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Brief upper-neighbor shake, approximately +1, 0, +1 -> 0
  
  Rhythm: Two to three quick notes, then sustained final
  
  Reading note: Medium
6. Senzillo, second short form
  SM-TR-06
  
  written realization confidence: low-medium
  
  Source sign: No separate glyph
  
  Contour: Descending short trill/cadence into 0; approximately +1, 0, -1, 0
  
  Rhythm: Three to four quick notes, then sustained final
  
  Reading note: Low-medium; pitch order in the middle is not fully separable
Tomás de Santa María (c. 1510–1570)

Arte de tañer fantasía, Valladolid, 1565

Consult source — Biblioteca Nacional de España

6 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Redoble

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 1. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Redoble, old form marked fingering 4 3
  SM-DS-01
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Repeated upper-main alternation followed by a turn-like close, approximately [+1, 0] x 3, +1, 0, -1, 0
  
  Rhythm: Long run of quick equal notes, then sustained 0
  
  Reading note: Medium contour; exact final four pitches are partly merged
2. Redoble, short upper-line alternative
  SM-DS-02
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Compact turn/shake around 0, approximately +1, 0, -1, 0
  
  Rhythm: Four to five quick notes and sustained final
  
  Reading note: Medium
3. Redoble, lower-line neue Art
  SM-DS-03
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Longer upper-main shake with turn-like termination, approximately [+1, 0] x 3, -1, 0
  
  Rhythm: Seven to eight quick notes, then sustained 0
  
  Reading note: Medium; secure as a distinct alternative, less secure in the penultimate pitch
Tomás de Santa María (c. 1510–1570)

Arte de tañer fantasía, Valladolid, 1565

Consult source — Biblioteca Nacional de España

3 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Senzillo (aufwärts)

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 1. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Senzillo (aufwärts), first barred example
  SM-MO-01
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Lower-note approach and resolution, approximately -1, 0 with a possible reiteration of -1
  
  Rhythm: Two short attacks followed by a long 0
  
  Reading note: Medium; chart clearly labels the motion upward
2. Senzillo (aufwärts), second barred example
  SM-MO-02
  
  written realization confidence: low-medium
  
  Source sign: No separate glyph
  
  Contour: Short lower-neighbor figure into 0, approximately -1, 0, -1?, 0
  
  Rhythm: Short pickup group followed by sustained 0
  
  Reading note: Low-medium; middle note is unclear
Tomás de Santa María (c. 1510–1570)

Arte de tañer fantasía, Valladolid, 1565

Consult source — Biblioteca Nacional de España

2 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Accento

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 2. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Accento, continuous exercise
  DI-VO-01
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: Stepwise descending line containing about six short accented neighbor/approach gestures; local cells are principally +1 -> 0 or -1 -> 0, but the chart does not isolate them
  
  Rhythm: Alternation of longer structural notes and short single-note approaches, ending on a long final
  
  Reading note: High as one composite example; low for a single exact relative sequence because the target changes at each step
Girolamo Diruta (c. 1554–after 1610)

Il Transilvano, Venezia, 1593

Consult source — Library of Congress (1593 first edition)

1 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Tremoli · Tremoletti

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 2. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tremoli, upper-line exercise
  DI-TR-01
  
  contextual occurrence confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Two extended neighboring-note tremolo spans around successive targets: [+1, 0] x N, then the same cell at the next contextual pitch
  
  Rhythm: Two dense, even repeated groups separated by a longer structural note
  
  Reading note: Medium; noteheads confirm oscillation, exact N is not reliably countable
2. Tremoletti, first passage before the internal double bar
  DI-TR-02
  
  written realization confidence: medium-low
  
  Source sign: No separate glyph
  
  Contour: Short turn cells applied to a descending line, approximately 0, +1, 0, -1 and transpositions thereof
  
  Rhythm: Two compact beamed groups within a stepwise context
  
  Reading note: Medium-low on exact pitch order; grouping is clear
3. Tremoletti, second passage after the internal double bar
  DI-TR-03
  
  contextual occurrence confidence: low-medium
  
  Source sign: No separate glyph
  
  Contour: A second descending ornamented passage with alternating neighbor cells around changing targets
  
  Rhythm: Several quick un-beamed attacks followed by two compact beamed groups
  
  Reading note: Low-medium; separate passage is clear but inner pitch sequence is crowded
Girolamo Diruta (c. 1554–after 1610)

Il Transilvano, Venezia, 1593

Consult source — Library of Congress (1593 first edition)

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Groppi

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 2. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Groppi, continuous exercise
  DI-TV-01
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Ascending scalar preparation leading to successive turn/group cells around 0; approximately a rise from -3, -2, -1 into repeated 0, -1, 0, +1-type groups
  
  Rhythm: Begins in long values, accelerates through medium values into two dense beamed groups, then resolves long
  
  Reading note: Medium on overall contour; low on exact interior ordering
Girolamo Diruta (c. 1554–after 1610)

Il Transilvano, Venezia, 1593

Consult source — Library of Congress (1593 first edition)

1 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Minuta

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 2. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Minuta
  DI-DS-01
  
  contextual occurrence confidence: medium-low
  
  Source sign: No separate glyph
  
  Contour: Two adjacent four-note turn groups around changing targets, approximately 0, -1, 0, +1, then 0, +1, 0, -1
  
  Rhythm: Two groups of four quick equal notes after two longer contextual notes
  
  Reading note: Medium-low; the two four-note groups are clear, their exact first directions are not
Girolamo Diruta (c. 1554–after 1610)

Il Transilvano, Venezia, 1593

Consult source — Library of Congress (1593 first edition)

1 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Clamationi

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 2. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Clamationi, two-voice excerpt
  DI-SL-01
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: Upper voice contains three short two-note approach figures into successive targets while the lower voice supplies sustained counterpoint
  
  Rhythm: Three paired short notes in the upper voice against longer lower-voice notes
  
  Reading note: High as a polyphonic composite; local intervals appear mostly rising seconds, but exact absolute/relative degrees need clef recovery
Girolamo Diruta (c. 1554–after 1610)

Il Transilvano, Venezia, 1593

Consult source — Library of Congress (1593 first edition)

1 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Accentus

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 3. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Accentus per Secundam ascendendo, first realization
  PR-VO-01
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Ascending-second approach -1 -> 0, with the lower note reiterated or prolonged before 0
  
  Rhythm: Two moderate notes followed by a longer resolution
  
  Reading note: Medium; precise tie/value is unclear
2. Accentus per Secundam ascendendo, oder
  PR-VO-02
  
  written realization confidence: medium-low
  
  Source sign: No separate glyph
  
  Contour: Alternative ascending-second approach, -1, 0, 0?
  
  Rhythm: Three more evenly divided attacks rather than the longer first form
  
  Reading note: Medium-low; final pair may be two notated values on the same pitch
3. Accentus per Tertiam ascendendo, first realization
  PR-VO-03
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: Fills the third stepwise: -2, -1, 0
  
  Rhythm: Long first note, then two shorter notes into 0
  
  Reading note: High contour, medium rhythm
4. Accentus per Tertiam ascendendo, first form after oder
  PR-VO-04
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: Stepwise third filling with a quicker middle: -2, -1, 0
  
  Rhythm: One longer attack, two short attacks, sustained 0
  
  Reading note: High contour
5. Accentus per Tertiam ascendendo, final barred alternative
  PR-VO-05
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: Another rhythmic realization of -2, -1, 0
  
  Rhythm: Dotted or prolonged first attack, then two quick attacks and sustained 0
  
  Reading note: High contour; dot/value partly blurred
Michael Praetorius (1571–1621)

Syntagma Musicum, Wolfenbüttel, 1619

The chart's source is Syntagmatis musici tomus tertius (1619).

Consult source — Universitätsbibliothek Freiburg

5 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Tremulus ascendens · Tremulus descendens · Tremoletti

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 3. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tremulus ascendens
  PR-TR-01
  
  contextual occurrence confidence: high
  
  Source sign: No separate glyph
  
  Contour: Ascending-context shake: [0, +1] x 4 -> 0
  
  Rhythm: About eight quick equal attacks after a long contextual pitch, ending on a longer 0
  
  Reading note: High contour
2. Tremulus descendens
  PR-TR-02
  
  written realization confidence: high
  
  Source sign: No separate glyph
  
  Contour: Descending-context shake: [+1, 0] x 4 -> 0
  
  Rhythm: About eight quick equal attacks, then longer 0
  
  Reading note: High contour; one accidental is visible but not retained in relative-degree normalization
3. Tremoletti, comparison line
  PR-TR-03
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Plain four-note descending contour on the left, then an ornamented version on the right in which interior steps receive quick neighbor/reiteration figures
  
  Rhythm: Left in long values; right mixes single attacks with two- and three-note quick groups
  
  Reading note: Medium; treat as one source-versus-realization example, not two alternatives
Michael Praetorius (1571–1621)

Syntagma Musicum, Wolfenbüttel, 1619

The chart's source is Syntagmatis musici tomus tertius (1619).

Consult source — Universitätsbibliothek Freiburg

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Groppi · Gruppo

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 3. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Groppi / Gruppo, upper-line first example
  PR-TV-01
  
  contextual occurrence confidence: medium-low
  
  Source sign: No separate glyph
  
  Contour: A contextual note leads into several lower-neighbor turn cells, approximately [0, -1, 0, +1] x N, then resolution
  
  Rhythm: Repeated short groups under one broad slur
  
  Reading note: Medium-low on exact pitch order
2. Groppi / Gruppo, upper-line second example after the double bar
  PR-TV-02
  
  contextual occurrence confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Short ascending preparation followed by two dense group cells and a long target
  
  Rhythm: Two medium contextual notes, then two four-note fast groups
  
  Reading note: Medium on contour
3. Groppi / Gruppo, lower-line extended example
  PR-TV-03
  
  written realization confidence: medium
  
  Source sign: No separate glyph
  
  Contour: Long sequence of transposed four-note group cells around a moving line
  
  Rhythm: Four or more dense beamed groups, ending on a long note
  
  Reading note: Medium as a sequential pattern; exact note-by-note degrees remain uncertain
Michael Praetorius (1571–1621)

Syntagma Musicum, Wolfenbüttel, 1619

The chart's source is Syntagmatis musici tomus tertius (1619).

Consult source — Universitätsbibliothek Freiburg

3 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Beat · Backfall

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 4. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Beat
  PL-VO-01
  
  written realization confidence: high
  
  Source sign: Two stemmed open-note forms connected by a rising slur
  
  Contour: Lower approach into main: -1 -> 0
  
  Rhythm: Appoggiatura-like first note taking a substantial part of the written value, then resolution
  
  Reading note: High contour; exact proportional split unclear
2. Backfall
  PL-VO-02
  
  written realization confidence: high
  
  Source sign: Comma-like mark followed by a stemmed open-note form
  
  Contour: Upper approach into main: +1 -> 0
  
  Rhythm: Short or moderate upper appoggiatura, then sustained 0
  
  Reading note: High contour
John Playford (1623–1686/7)

An Introduction to the Skill of Musick, London, first published 1654

Consult source — Library of Congress (1667 edition)

2 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Backfall shaked

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 4. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Backfall shaked
  PL-TR-01
  
  written realization confidence: medium-high
  
  Source sign: Compound backfall-like black-note graphic with a horizontal stroke and adjacent small marks
  
  Contour: Upper appoggiatura/preparation, then an upper-main shake: +1 -> [ +1, 0 ] x 3-4 -> 0
  
  Rhythm: Context notes, then one dense beamed oscillation under a slur, sustained resolution
  
  Reading note: Medium-high contour; exact start of the oscillation is crowded
John Playford (1623–1686/7)

An Introduction to the Skill of Musick, London, first published 1654

Consult source — Library of Congress (1667 edition)

1 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Elevation · Cadent · Double Relish

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 4. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Elevation
  PL-TV-01
  
  written realization confidence: medium
  
  Source sign: Two stemmed open-note signs connected upward, with a hash/rosette above the first
  
  Contour: Rising preparation into a shake, approximately -1, 0, [ +1, 0 ] x 3 -> 0
  
  Rhythm: Initial approach followed by a dense slurred oscillation
  
  Reading note: Medium; shares a continuous line with Cadent
2. Cadent
  PL-TV-02
  
  contextual occurrence confidence: medium
  
  Source sign: Hash-like ornament sign
  
  Contour: Cadential upper-main shake with a short terminal turn, approximately [+1, 0] x 3, -1, 0
  
  Rhythm: Dense slurred group followed by contextual exit notes
  
  Reading note: Medium; exact division from PL-TV-01 is at the middle sign
3. Double Relish
  PL-TV-03
  
  contextual occurrence confidence: medium
  
  Source sign: Six-dot rosette
  
  Contour: Two consecutive relish/turn groups around successive main notes, each approximately +1, 0, -1, 0
  
  Rhythm: Two dense slurred groups in one passage
  
  Reading note: Medium; encode both groups in the single printed example
John Playford (1623–1686/7)

An Introduction to the Skill of Musick, London, first published 1654

Consult source — Library of Congress (1667 edition)

3 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Single Relish

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 4. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Single Relish (after Thomas Mace, 1676), upper line
  PL-DS-01
  
  written realization confidence: medium-high
  
  Source sign: Four-dot diamond/rosette over a stemmed note
  
  Contour: Turn around 0, approximately +1, 0, -1, 0
  
  Rhythm: Four quick beamed notes under a slur, then structural note
  
  Reading note: Medium-high
2. Single Relish, lower-line alternative
  PL-DS-02
  
  written realization confidence: medium-low
  
  Source sign: Same four-dot sign
  
  Contour: Opposite-context or inverted turn, approximately -1, 0, +1, 0
  
  Rhythm: Four quick beamed notes under a slur, then structural note
  
  Reading note: Medium-low; first direction is visually less secure than in the upper line
John Playford (1623–1686/7)

An Introduction to the Skill of Musick, London, first published 1654

Consult source — Library of Congress (1667 edition)

2 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

a shaked Beat

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 4. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. a shaked Beat
  PL-MF-01
  
  written realization confidence: medium-high
  
  Source sign: Beat's rising two-note/slur sign with a four-dot cluster above the destination
  
  Contour: Lower appoggiatura followed by a shake: -1 -> [0, +1] x 3-4 -> 0
  
  Rhythm: Longer preparation, then one dense beamed oscillation under a slur
  
  Reading note: Medium-high contour
John Playford (1623–1686/7)

An Introduction to the Skill of Musick, London, first published 1654

Consult source — Library of Congress (1667 edition)

1 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Elevation · Double Backfall

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 4. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Elevation
  PL-SL-01
  
  contextual occurrence confidence: high
  
  Source sign: Stemmed note-like sign with x above
  
  Contour: Two-note rising slide into main, approximately -2, -1, 0; the line applies it twice
  
  Rhythm: Each occurrence uses two short rising notes before a longer target
  
  Reading note: High contour; retain both occurrences in the example
2. Double Backfall
  PL-SL-02
  
  written realization confidence: high
  
  Source sign: Pair of note-like glyphs with comma/apostrophe auxiliaries
  
  Contour: Two-step descending approach, approximately +2, +1, 0
  
  Rhythm: Two quick descending notes into a sustained target
  
  Reading note: High contour
John Playford (1623–1686/7)

An Introduction to the Skill of Musick, London, first published 1654

Consult source — Library of Congress (1667 edition)

2 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Port de voix

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 5. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Port de voix
  CH-VO-01
  
  written realization confidence: high
  
  Source sign: Stemmed filled-note-like sign with a plus above
  
  Contour: Lower appoggiatura with lower-neighbor finish, approximately -1, 0, -1, 0
  
  Rhythm: Four quick beamed notes, then sustained 0
  
  Reading note: High contour; opening source/context note appears before =
Jacques Champion de Chambonnières (c. 1601/2–1672)

Pièces de Clavecin, Paris, 1670

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Cadence

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 5. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Cadence
  CH-TR-01
  
  written realization confidence: high
  
  Source sign: Short horizontal three-wave sign
  
  Contour: Upper-main trill: [+1, 0] x 4 -> 0
  
  Rhythm: Eight quick equal notes in two beamed subgroups, then resolution
  
  Reading note: High
Jacques Champion de Chambonnières (c. 1601/2–1672)

Pièces de Clavecin, Paris, 1670

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Double Cadence

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 5. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Double Cadence
  CH-DS-01
  
  written realization confidence: medium
  
  Source sign: Short horizontal tilde / reversed-wave sign
  
  Contour: Turn-like five-note cell around 0, approximately +1, 0, -1, 0, +1? -> 0
  
  Rhythm: Four to five quick notes, then sustained target
  
  Reading note: Medium; one upper return before the final is not fully distinct
Jacques Champion de Chambonnières (c. 1601/2–1672)

Pièces de Clavecin, Paris, 1670

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Pincement

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 5. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Pincement
  CH-MO-01
  
  written realization confidence: high
  
  Source sign: Jagged mordent-like double wave
  
  Contour: Lower mordent 0, -1, 0
  
  Rhythm: Three quick notes, then sustained 0
  
  Reading note: High
Jacques Champion de Chambonnières (c. 1601/2–1672)

Pièces de Clavecin, Paris, 1670

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Coulé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 5. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Coulé
  CH-SL-01
  
  written realization confidence: high
  
  Source sign: Stemmed sign crossed by a diagonal stroke
  
  Contour: Rising two-note slide into main: -2, -1, 0
  
  Rhythm: Two quick beamed notes into a sustained 0
  
  Reading note: High
Jacques Champion de Chambonnières (c. 1601/2–1672)

Pièces de Clavecin, Paris, 1670

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Chute ou port-de-voix en montant · Chute en descendant

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 6. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Chute ou port-de-voix en montant
  DA-VO-01
  
  written realization confidence: high
  
  Source sign: Small left-curving comma beside a stemmed filled-note sign
  
  Contour: Rising appoggiatura -1 -> 0
  
  Rhythm: Lower approach takes a substantial value, then resolves/slurs to 0
  
  Reading note: High contour; exact duration split unclear
2. Chute en descendant
  DA-VO-02
  
  contextual occurrence confidence: high
  
  Source sign: Similar comma-and-stem sign at a different vertical placement
  
  Contour: Falling appoggiatura +1 -> 0
  
  Rhythm: Upper approach followed by a slurred resolution
  
  Reading note: High contour
Jean-Henry d’Anglebert (1629–1691)

Pièces de Clavecin — Marques des Agréments et leur signification, Paris, 1689

Consult source — Bibliothèque nationale de France — Gallica

2 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Tremblement simple · Tremblement et pincé · Tremblement appuyé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 6. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tremblement simple
  DA-TR-01
  
  written realization confidence: high
  
  Source sign: Short horizontal wavy line
  
  Contour: Upper-main shake [+1, 0] x 4 -> 0
  
  Rhythm: Two beamed groups of four rapid notes after a structural onset
  
  Reading note: High
2. Tremblement et pincé
  DA-TR-02
  
  written realization confidence: medium-high
  
  Source sign: Wavy line combined with a stemmed-note / hooked pincé element
  
  Contour: Shake followed by a lower mordent close: [+1, 0] x 3, 0, -1, 0
  
  Rhythm: Dense even trill stream with a three-note terminal figure
  
  Reading note: Medium-high; trill count may vary by one pair
3. Tremblement appuyé
  DA-TR-03
  
  written realization confidence: high
  
  Source sign: Longer wavy line with an initial hook / extended lower curve
  
  Contour: Prepared trill: sustained +1, then [+1, 0] x 4 -> 0
  
  Rhythm: Appoggiatura-like upper preparation under a slur, followed by a dense beamed shake
  
  Reading note: High contour
Jean-Henry d’Anglebert (1629–1691)

Pièces de Clavecin — Marques des Agréments et leur signification, Paris, 1689

Consult source — Bibliothèque nationale de France — Gallica

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Cadence · Double Cadence

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 6. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Cadence, first form
  DA-TV-01
  
  written realization confidence: medium
  
  Source sign: C-like prefix joined to a wavy trill line
  
  Contour: Cadential preparation into a long upper-main shake, with a short turn-like close
  
  Rhythm: One long stream of rapid equal notes after the prefix
  
  Reading note: Medium; exact prefix pitches are unclear
2. Cadence, second form
  DA-TV-02
  
  written realization confidence: medium
  
  Source sign: Smaller C-like curve joined to waves
  
  Contour: Alternate cadential preparation into the same upper-main shake type
  
  Rhythm: One long rapid stream, rhythmically parallel to DA-TV-01
  
  Reading note: Medium; distinguish by sign and starting context rather than a securely different inner sequence
3. Double Cadence, first form
  DA-TV-03
  
  written realization confidence: medium-low
  
  Source sign: Two-part/stacked curve plus wavy line
  
  Contour: Double preparatory turn followed by an upper-main shake, approximately -1, 0, +1, 0 then [+1, 0] x N
  
  Rhythm: Short opening group followed by a long dense trill stream
  
  Reading note: Medium-low on exact prefix order
4. Double Cadence, second form
  DA-TV-04
  
  contextual occurrence confidence: medium-low
  
  Source sign: Alternate stacked / doubled cadence sign
  
  Contour: Alternate double preparation followed by an upper-main shake
  
  Rhythm: Short opening group plus long rapid stream
  
  Reading note: Medium-low; exact difference from DA-TV-03 is clearest in the sign and contextual onset
Jean-Henry d’Anglebert (1629–1691)

Pièces de Clavecin — Marques des Agréments et leur signification, Paris, 1689

Consult source — Bibliothèque nationale de France — Gallica

4 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Cadence sans tremblement (Double)

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 6. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Cadence sans tremblement (Double)
  DA-DS-01
  
  written realization confidence: high
  
  Source sign: Short tilde / turn-like sign
  
  Contour: Turn without prolonged oscillation, approximately +1, 0, -1, 0
  
  Rhythm: Context notes followed by one compact four-note beamed turn and a sustained exit
  
  Reading note: High contour
Jean-Henry d’Anglebert (1629–1691)

Pièces de Clavecin — Marques des Agréments et leur signification, Paris, 1689

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Pincé · Pincé autre

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 6. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Pincé
  DA-MO-01
  
  written realization confidence: high
  
  Source sign: Stemmed filled-note-like sign with an apostrophe/right hook
  
  Contour: Lower mordent 0, -1, 0
  
  Rhythm: Three quick notes, then sustained 0
  
  Reading note: High
2. Pincé autre
  DA-MO-02
  
  written realization confidence: medium
  
  Source sign: No clearly separate glyph beyond the Pincé family sign
  
  Contour: Extended lower-neighbor figure, approximately 0, -1, 0, -1, 0
  
  Rhythm: Four to five quick equal notes, then sustained 0
  
  Reading note: Medium; exact note count is obscured by joined beams
Jean-Henry d’Anglebert (1629–1691)

Pièces de Clavecin — Marques des Agréments et leur signification, Paris, 1689

Consult source — Bibliothèque nationale de France — Gallica

2 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Chute et pincé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 6. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Chute et pincé
  DA-MF-01
  
  written realization confidence: high
  
  Source sign: Compound parenthesized / apostrophe p-like stem sign
  
  Contour: Falling appoggiatura plus lower mordent: +1 -> 0, -1, 0
  
  Rhythm: Longer upper preparation, then a compact three-note beamed mordent and sustained target
  
  Reading note: High contour
Jean-Henry d’Anglebert (1629–1691)

Pièces de Clavecin — Marques des Agréments et leur signification, Paris, 1689

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Coulé sur une tierce · Coulé sur deux notes de suite

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 6. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Coulé sur une tierce, first isolated orientation
  DA-SL-01
  
  written realization confidence: high
  
  Source sign: Stemmed double-lobed sign with left parenthesis
  
  Contour: Rising fill of a third: -2, -1, 0
  
  Rhythm: Two quick beamed approach notes into 0
  
  Reading note: High contour
2. Coulé sur une tierce, second isolated orientation
  DA-SL-02
  
  written realization confidence: high
  
  Source sign: Mirrored stemmed double-lobed sign with right parenthesis
  
  Contour: Falling fill of a third: +2, +1, 0
  
  Rhythm: Two quick beamed approach notes into 0
  
  Reading note: High contour
3. Coulé sur une tierce, contextual equation on right
  DA-SL-03
  
  contextual occurrence confidence: medium
  
  Source sign: One of the two parenthesized tierce signs applied in a tied/slurred melodic context
  
  Contour: A two-note stepwise slide fills the third into the second contextual note; direction depends on the written interval
  
  Rhythm: Sustained contextual onset, two quick approach notes, then sustained destination
  
  Reading note: Medium; the context is readable but its clef/absolute direction is not preserved securely
4. Coulé sur deux notes de suite, first contextual equation
  DA-SL-04
  
  written realization confidence: medium-high
  
  Source sign: Two stemmed note-like signs joined by an arch/slur
  
  Contour: Two consecutive rising slides, each locally -2, -1, 0, across a moving line
  
  Rhythm: Sustained notes alternate with a four-note ascending beamed run
  
  Reading note: Medium-high contour
5. Coulé sur deux notes de suite, second contextual equation
  DA-SL-05
  
  contextual occurrence confidence: medium
  
  Source sign: Same two-note arch sign
  
  Contour: Second rhythmic/contextual realization of consecutive slides; two quick approach notes lead into each of two successive targets
  
  Rhythm: Short beamed approach followed by two slurred/sustained destinations
  
  Reading note: Medium; exact separation of the two local cells is partly obscured
Jean-Henry d’Anglebert (1629–1691)

Pièces de Clavecin — Marques des Agréments et leur signification, Paris, 1689

Consult source — Bibliothèque nationale de France — Gallica

5 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Fore-fall · Back-fall

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 7. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Fore-fall
  r07-f01-a
  
  written realization confidence: high
  
  Source sign: Main-note stem with a short diagonal stroke rising to the right above it.
  
  Contour: L1 -> M
  
  Rhythm: A short lower auxiliary joined to the principal; the principal appears lengthened/dotted.
  
  Reading note: H contour; M exact duration.
2. Back-fall
  r07-f01-b
  
  written realization confidence: high
  
  Source sign: Main-note stem with a short diagonal stroke falling to the right.
  
  Contour: U1 -> M
  
  Rhythm: A short upper auxiliary joined to the principal; the principal appears lengthened/dotted.
  
  Reading note: H contour; M exact duration.
Henry Purcell (1659–1695)

Lessons for the Harpsichord or Spinet — Rules for Graces, London, 1696

Consult source — Library of Congress

2 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Shake · Plain note and shake

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 7. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Shake
  r07-f02-a
  
  written realization confidence: high
  
  Source sign: Two short parallel diagonal strokes above the principal.
  
  Contour: (U1,M)x4, ending on M
  
  Rhythm: One compact, three-beam rapid group (about eight equal notes), then release/sustain.
  
  Reading note: H alternation; M exact note count (the scan supports about eight).
2. Plain note and shake
  r07-f02-b
  
  written realization confidence: high
  
  Source sign: Falling stroke plus the two-stroke shake sign over a stemmed note.
  
  Contour: M held, then approximately (U1,M)x2
  
  Rhythm: Sustained/tied plain principal followed by a four-note rapid shake under a long slur/tie.
  
  Reading note: H concept; M exact alternation count.
Henry Purcell (1659–1695)

Lessons for the Harpsichord or Spinet — Rules for Graces, London, 1696

Consult source — Library of Congress

2 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Turn · Shake turned

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 7. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Turn
  r07-f04-a
  
  written realization confidence: high
  
  Source sign: Curved cap/arc above a main-note stem.
  
  Contour: U1,M,L1,M
  
  Rhythm: Four rapid notes under a slur, followed by a sustained/released principal.
  
  Reading note: H.
2. Shake turned
  r07-f04-b
  
  written realization confidence: medium
  
  Source sign: Three short slant strokes above a main-note stem.
  
  Contour: Approximately (U1,M)x3,L1,M
  
  Rhythm: Longer rapid shake group followed by a two-note turn termination, all slurred.
  
  Reading note: M; the terminal lower-neighbor return is clear, exact number of pre-terminal alternations is less certain.
Henry Purcell (1659–1695)

Lessons for the Harpsichord or Spinet — Rules for Graces, London, 1696

Consult source — Library of Congress

2 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Beat

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 7. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Beat
  r07-f05-a
  
  written realization confidence: high
  
  Source sign: Short horizontal wavy line over a main-note stem.
  
  Contour: M,L1,M
  
  Rhythm: Three quick notes under a slur, last note sustained.
  
  Reading note: H.
Henry Purcell (1659–1695)

Lessons for the Harpsichord or Spinet — Rules for Graces, London, 1696

Consult source — Library of Congress

1 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Slur

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 7. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Slur
  r07-f07-a
  
  written realization confidence: medium
  
  Source sign: Tall stem crossed by a small loop/diagonal knot.
  
  Contour: Likely L2,L1,M
  
  Rhythm: Two short rising notes beamed into a longer arrival, under a slur.
  
  Reading note: M contour; the scan clearly shows a three-note rising fill, but the exact starting interval is not labeled by a clef.
Henry Purcell (1659–1695)

Lessons for the Harpsichord or Spinet — Rules for Graces, London, 1696

Consult source — Library of Congress

1 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Port de voix · Coulement · Accent

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 8. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Port de voix
  r08-f01-a
  
  written realization confidence: high
  
  Source sign: Small downward-pointing v over an open main note.
  
  Contour: L1 -> M
  
  Rhythm: Lower appoggiatura resolving upward into the principal; shown in context with a following rest.
  
  Reading note: H.
2. Coulement
  r08-f01-b
  
  written realization confidence: high
  
  Source sign: Small upward-pointing caret over a filled main note.
  
  Contour: U1 -> M
  
  Rhythm: Upper appoggiatura resolving downward into the principal; shown in context with a following rest.
  
  Reading note: H.
3. Accent
  r08-f01-c
  
  written realization confidence: low-medium
  
  Source sign: Diagonal stroke above a dotted/stemmed main note.
  
  Contour: Probably M held -> U1 short -> M
  
  Rhythm: Delayed after-note gesture at the end of a held/dotted note, under a curved tie/slur.
  
  Reading note: L-M: the after-note is visible, but its exact return and duration are hard to separate from the staff in this scan. Preserve a crop for editorial checking.
Jacques-Martin Hotteterre le Romain (1673–1763)

Premier livre de pièces pour la flûte traversière et autres instruments avec la basse, œuvre 2, Paris, 1708

The chart cites the work's 1708 date; the ornament table appears in the revised 1715 edition linked here.

Consult source — Bibliothèque nationale de France — Gallica

3 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Tremblement · Demie Cadence appuyée

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 8. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tremblement
  r08-f02-a
  
  source sign confidence: high
  
  Source sign: Plus sign above a main-note stem.
  
  Contour: Not supplied on the sheet.
  
  Rhythm: Sign only; the realization staff area is blank.
  
  Reading note: H sign; realization must not be invented.
2. Demie Cadence apuiée
  r08-f02-b
  
  written realization confidence: medium-high
  
  Source sign: Caret stacked above a plus sign over the main note.
  
  Contour: Likely U1 -> M
  
  Rhythm: Two short, beamed/slurred notes followed by a rest; the first is the supported/appoggiatura note.
  
  Reading note: M-H.
Jacques-Martin Hotteterre le Romain (1673–1763)

Premier livre de pièces pour la flûte traversière et autres instruments avec la basse, œuvre 2, Paris, 1708

The chart cites the work's 1708 date; the ornament table appears in the revised 1715 edition linked here.

Consult source — Bibliothèque nationale de France — Gallica

2 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Double cadence · Double cadence coupée · Tour de chant

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 8. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Double cadence
  r08-f03-a
  
  written realization confidence: medium
  
  Source sign: Wavy turn-like stroke stacked above a plus sign.
  
  Contour: Probably U1,M,L1,M
  
  Rhythm: Compact slurred four-note turn/cadential figure.
  
  Reading note: M: contour fits the visible note levels and the term; exact first note should be checked against Hotteterre.
2. Double cadence coupée
  r08-f03-b
  
  written realization confidence: medium
  
  Source sign: Plus sign with a small curled/rightward tail.
  
  Contour: Same core contour as the double cadence, probably U1,M,L1,M, but cut off
  
  Rhythm: A compact figure bounded by rests / detached termination rather than a continuous release.
  
  Reading note: M contour; H that the articulation is explicitly "cut" and graphically separated.
3. Tour de chant
  r08-f03-c
  
  contextual occurrence confidence: low-medium
  
  Source sign: A lower-note v/port-de-voix sign combined with a plus over the following note.
  
  Contour: Likely L1,M,U1,M,L1,M
  
  Rhythm: Lower appoggiatura into a cadential turn/trill, displayed inside a short phrase with rests.
  
  Reading note: L-M exact sequence; preserve the full contextual panel.
Jacques-Martin Hotteterre le Romain (1673–1763)

Premier livre de pièces pour la flûte traversière et autres instruments avec la basse, œuvre 2, Paris, 1708

The chart cites the work's 1708 date; the ornament table appears in the revised 1715 edition linked here.

Consult source — Bibliothèque nationale de France — Gallica

3 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Tour de gosier

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 8. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tour de gosier
  r08-f04-a
  
  contextual occurrence confidence: high
  
  Source sign: Small horizontal turn-like ~.
  
  Contour: U1,M,L1,M
  
  Rhythm: Four rapid notes under a slur after a contextual lead-in.
  
  Reading note: H contour; M exact note values.
Jacques-Martin Hotteterre le Romain (1673–1763)

Premier livre de pièces pour la flûte traversière et autres instruments avec la basse, œuvre 2, Paris, 1708

The chart cites the work's 1708 date; the ornament table appears in the revised 1715 edition linked here.

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Battement

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 8. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Battement
  r08-f05-a
  
  written realization confidence: high
  
  Source sign: Roman-capital-like I above a main-note stem.
  
  Contour: M,L1,M
  
  Rhythm: Principal, rapid lower neighbor, return; last principal sustained.
  
  Reading note: H.
Jacques-Martin Hotteterre le Romain (1673–1763)

Premier livre de pièces pour la flûte traversière et autres instruments avec la basse, œuvre 2, Paris, 1708

The chart cites the work's 1708 date; the ornament table appears in the revised 1715 edition linked here.

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Port de voix double

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 8. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Port de voix double
  r08-f07-a
  
  written realization confidence: medium
  
  Source sign: Two noteheads joined by a rising diagonal stroke.
  
  Contour: Probably L1,M,L1,M
  
  Rhythm: A lower appoggiatura followed by a short lower-neighbor beat, ending on the principal.
  
  Reading note: M; the four-stage reading matches the visible beamed realization and conventional compound form, but verify from the 1708 source.
Jacques-Martin Hotteterre le Romain (1673–1763)

Premier livre de pièces pour la flûte traversière et autres instruments avec la basse, œuvre 2, Paris, 1708

The chart cites the work's 1708 date; the ornament table appears in the revised 1715 edition linked here.

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Port de voix coulé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 9. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Port de voix coulé
  r09-f01-a
  
  written realization confidence: medium-high
  
  Source sign: Two opposed grace-like hooked stems joined by an over-bracket/slur.
  
  Contour: L1 -> M, within a longer stepwise context
  
  Rhythm: The final approach is shown as an evenly beamed/slurred pair; preceding quarter-note context is part of the demonstration.
  
  Reading note: M-H contour; exact segmentation from the preceding phrase should be retained in a source-faithful view.
François Couperin (1668–1733)

Pièces de Clavecin, Livre premier, Paris, 1713

Consult source — IMSLP (1713 edition scan)

1 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Tremblement continu · Tremblement détaché · Tremblement lié sans être appuyé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 9. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tremblement continu
  r09-f02-a
  
  written realization confidence: high
  
  Source sign: tr followed by a long wavy extension.
  
  Contour: (U1,M) repeated continuously
  
  Rhythm: Two long groups of equal rapid notes across the full written duration; no break between groups.
  
  Reading note: H.
2. Tremblement détaché
  r09-f02-b
  
  contextual occurrence confidence: medium
  
  Source sign: Two tall opposed hooked stems joined by an arch.
  
  Contour: Approximately (U1,M)x3, beginning with a separately attacked upper note
  
  Rhythm: Rapid oscillation after a detached/articulated onset; first of the two lower contextual panels.
  
  Reading note: M contour; H that articulation, not pitch content, is the defining distinction.
3. Tremblement lié sans être appuyé
  r09-f02-c
  
  contextual occurrence confidence: medium
  
  Source sign: Short wavy line over a stemmed note.
  
  Contour: Approximately (U1,M)x3
  
  Rhythm: Slurred-in, unaccented trill in the second contextual panel; rapid group lies under a long slur.
  
  Reading note: M contour/count; H slurred/unaccented distinction.
François Couperin (1668–1733)

Pièces de Clavecin, Livre premier, Paris, 1713

Consult source — IMSLP (1713 edition scan)

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Tremblement ouvert · Tremblement fermé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 9. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tremblement ouvert
  r09-f03-a
  
  written realization confidence: low-medium
  
  Source sign: Short wavy line over the ornamented note.
  
  Contour: Upper-neighbor trill (U1,M)xN, with an open/non-closing release toward the following context
  
  Rhythm: The written panel has a short rapid termination and a rest; it does not close identically to the lower example.
  
  Reading note: L-M exact terminal pitch; the open-vs-closed distinction is clear, but the scan is not sufficient for a confident terminal degree.
2. Tremblement fermé
  r09-f03-b
  
  written realization confidence: medium
  
  Source sign: Short wavy line over the ornamented note.
  
  Contour: Upper-neighbor trill (U1,M)xN, closing on M before the following rest/context
  
  Rhythm: Compact rapid termination, visually closed back onto the principal.
  
  Reading note: M.
François Couperin (1668–1733)

Pièces de Clavecin, Livre premier, Paris, 1713

Consult source — IMSLP (1713 edition scan)

2 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Doublé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 9. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Doublé
  r09-f04-a
  
  contextual occurrence confidence: high
  
  Source sign: Small horizontal turn sign over a main-note stem.
  
  Contour: U1,M,L1,M
  
  Rhythm: Four rapid notes under a slur between contextual notes.
  
  Reading note: H.
François Couperin (1668–1733)

Pièces de Clavecin, Livre premier, Paris, 1713

Consult source — IMSLP (1713 edition scan)

1 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Pincé simple · Pincé double · Pincé continu

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 9. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Pincé simple
  r09-f05-a
  
  written realization confidence: high
  
  Source sign: Fork/vertical-mordent sign above the main note.
  
  Contour: M,L1,M
  
  Rhythm: Three rapid notes under a short slur; last principal sustained.
  
  Reading note: H.
2. Pincé double
  r09-f05-b
  
  written realization confidence: high
  
  Source sign: Same fork-like sign.
  
  Contour: M,L1,M,L1,M
  
  Rhythm: Five equal rapid notes under a longer slur; last principal sustained.
  
  Reading note: H.
3. Pincé continu
  r09-f05-c
  
  written realization confidence: high
  
  Source sign: Fork sign followed by a long wavy extension.
  
  Contour: (M,L1)xN, ending on M
  
  Rhythm: Continuous, evenly repeated lower-neighbor oscillation across two beamed groups.
  
  Reading note: H.
François Couperin (1668–1733)

Pièces de Clavecin, Livre premier, Paris, 1713

Consult source — IMSLP (1713 edition scan)

3 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Port de voix simple · Port de voix double

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 9. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Port de voix simple
  r09-f06-a
  
  written realization confidence: medium-high
  
  Source sign: Lower appoggiatura/hook leading into the fork-like pincé sign.
  
  Contour: L1,M,L1,M
  
  Rhythm: Lower appoggiatura followed by a single lower-neighbor beat.
  
  Reading note: M-H.
2. Port de voix double
  r09-f06-b
  
  written realization confidence: medium-high
  
  Source sign: Same compound sign.
  
  Contour: L1,M,L1,M,L1,M
  
  Rhythm: Lower appoggiatura followed by a double/extended pincé, shown as a longer equal rapid group.
  
  Reading note: M-H.
François Couperin (1668–1733)

Pièces de Clavecin, Livre premier, Paris, 1713

Consult source — IMSLP (1713 edition scan)

2 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Tierce coulée en montant · Tierce coulée en descendant

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 9. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tierce coulée en montant
  r09-f07-a
  
  written realization confidence: high
  
  Source sign: Tall stem crossed by an upward-slanting short stroke.
  
  Contour: L2,L1,M
  
  Rhythm: The middle degree fills an ascending third; the last two notes appear beamed/slurred into the arrival.
  
  Reading note: H contour.
2. Tierce coulée en descendant
  r09-f07-b
  
  written realization confidence: high
  
  Source sign: Tall stem crossed by a downward-slanting short stroke.
  
  Contour: U2,U1,M
  
  Rhythm: The middle degree fills a descending third; last two notes beamed/slurred into the arrival.
  
  Reading note: H contour.
François Couperin (1668–1733)

Pièces de Clavecin, Livre premier, Paris, 1713

Consult source — IMSLP (1713 edition scan)

2 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Accent fallend · Accent steigend

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 10. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Accent fallend
  r10-f01-a1
  
  source sign confidence: high
  
  Source sign: Left-facing c/hook attached to the note stem.
  
  Contour: U1 -> M
  
  Rhythm: Two beamed notes under a slur, descending into the principal.
  
  Reading note: H. Shares realization with a2.
2. Accent fallend
  r10-f01-a2
  
  source sign confidence: high
  
  Source sign: Oval/diagonal falling stroke attached to the notehead/stem.
  
  Contour: Same U1 -> M realization as a1.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative.
3. Accent steigend
  r10-f01-b1
  
  source sign confidence: high
  
  Source sign: Left-facing c/hook attached to the stem.
  
  Contour: L1 -> M
  
  Rhythm: Two beamed notes under a slur, ascending into the principal.
  
  Reading note: H. Shares realization with b2.
4. Accent steigend
  r10-f01-b2
  
  source sign confidence: high
  
  Source sign: Rising double-stroke/oval mark attached to the notehead/stem.
  
  Contour: Same L1 -> M realization as b1.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative.
Johann Sebastian Bach (1685–1750)

Clavierbüchlein für Wilhelm Friedemann Bach, Köthen, 1720

The ornament explanation is in the autograph Clavier-Büchlein, folio 3v.

Consult source — Yale University Library — Beinecke

4 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Trillo · Accent und Trillo

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 10. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Trillo
  r10-f02-a1
  
  source sign confidence: high
  
  Source sign: Short horizontal wavy line.
  
  Contour: (U1,M)x3
  
  Rhythm: Six equal rapid notes (three-beam group), with final principal lengthened/dotted in the chart transcription.
  
  Reading note: H sequence; shares realization with a2/a3.
2. Trillo
  r10-f02-a2
  
  source sign confidence: high
  
  Source sign: Slightly longer/reversed wavy line.
  
  Contour: Same as a1.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative.
3. Trillo
  r10-f02-a3
  
  source sign confidence: high
  
  Source sign: Wavy line with a pronounced descending initial hook.
  
  Contour: Same as a1.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative.
4. Accent und Trillo
  r10-f02-b1
  
  source sign confidence: medium-high
  
  Source sign: Composite accent hook plus wavy trill, upper/falling orientation.
  
  Contour: U1 (accented/lengthened) -> M, then approximately (U1,M)x2
  
  Rhythm: The accent onset is longer than the following rapid trill notes.
  
  Reading note: M-H; first of two direction/context realizations.
5. Accent und Trillo
  r10-f02-b2
  
  source sign confidence: medium-high
  
  Source sign: Composite sign with a pronounced descending-left hook before the wavy trill.
  
  Contour: L1 (accented/lengthened) -> M, then approximately (U1,M)x2
  
  Rhythm: Lower/rising accent onset followed by a rapid upper-neighbor trill.
  
  Reading note: M-H; second direction variant.
Trillo
顫音

Encoded source sign

Written-out realization

Upper neighbor - main note, repeated three times.

Modern treble-clef transcription. Relative pitch and the six-note alternation follow Bach's table; the final note retains its dot.

Checked against autograph ornament table, fol. 3v. View autograph Catalogue record

Johann Sebastian Bach, Beinecke Rare Book and Manuscript Library, Yale University, Music Deposit 31 (public domain)

Johann Sebastian Bach (1685–1750)

Clavierbüchlein für Wilhelm Friedemann Bach, Köthen, 1720

The ornament explanation is in the autograph Clavier-Büchlein, folio 3v.

Consult source — Yale University Library — Beinecke

5 variants catalogued · source-verified MEI available
Trillervarianten Trill variants

Doppelt-Cadence · Doppelt-Cadence und Mordant

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 10. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Doppelt-Cadence
  r10-f03-a1
  
  source sign confidence: medium
  
  Source sign: Wavy line with an upper/left opening hook.
  
  Contour: Likely U1,M,L1,M,(U1,M)x2
  
  Rhythm: One continuous equal rapid group, beginning with a four-note turn and continuing as a trill.
  
  Reading note: M; upper-start variant.
2. Doppelt-Cadence
  r10-f03-a2
  
  source sign confidence: medium
  
  Source sign: Wavy line with a lower/left opening hook.
  
  Contour: Likely L1,M,U1,M,(U1,M)x2
  
  Rhythm: Same rapid grouping, lower-start mirror.
  
  Reading note: M; lower-start variant.
3. Doppelt-Cadence und Mordant
  r10-f03-b1
  
  source sign confidence: medium
  
  Source sign: Upper-start double-cadence sign ending with a vertical mordent stroke.
  
  Contour: U1,M,L1,M,(U1,M)x2,L1,M
  
  Rhythm: Continuous equal rapid group; lower-neighbor mordent appended to the double cadence.
  
  Reading note: M.
4. Doppelt-Cadence und Mordant
  r10-f03-b2
  
  source sign confidence: medium
  
  Source sign: Lower-start mirror sign ending with a vertical mordent stroke.
  
  Contour: L1,M,U1,M,(U1,M)x2,L1,M
  
  Rhythm: Longer equal rapid group; same mordent termination.
  
  Reading note: M.
Johann Sebastian Bach (1685–1750)

Clavierbüchlein für Wilhelm Friedemann Bach, Köthen, 1720

The ornament explanation is in the autograph Clavier-Büchlein, folio 3v.

Consult source — Yale University Library — Beinecke

4 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Cadence

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 10. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Cadence
  r10-f04-a1
  
  source sign confidence: high
  
  Source sign: Vertical turned-S / question-mark-like sign over the principal.
  
  Contour: U1,M,L1,M
  
  Rhythm: Four equal rapid notes (three-beam group).
  
  Reading note: H. Shares realization with a2.
2. Cadence
  r10-f04-a2
  
  source sign confidence: high
  
  Source sign: More horizontal turn-shaped form over the principal.
  
  Contour: Same U1,M,L1,M.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative.
Cadence
迴音

Encoded source sign

Written-out realization

Upper neighbor - main note - lower neighbor - main note.

Modern treble-clef transcription. The source sign is normalized to MEI's standard turn glyph; the four-note realization follows Bach's table.

Checked against autograph ornament table, fol. 3v. View autograph Catalogue record

Johann Sebastian Bach, Beinecke Rare Book and Manuscript Library, Yale University, Music Deposit 31 (public domain)

Johann Sebastian Bach (1685–1750)

Clavierbüchlein für Wilhelm Friedemann Bach, Köthen, 1720

The ornament explanation is in the autograph Clavier-Büchlein, folio 3v.

Consult source — Yale University Library — Beinecke

2 variants catalogued · source-verified MEI available
Mordent Mordent

Mordant · Trillo und Mordant

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 10. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Mordant
  r10-f05-a1
  
  source sign confidence: high
  
  Source sign: Vertical/fork-like mordent sign.
  
  Contour: M,L1,M
  
  Rhythm: Two short notes plus a lengthened/dotted final principal.
  
  Reading note: H. Shares realization with a2.
2. Mordant
  r10-f05-a2
  
  source sign confidence: high
  
  Source sign: Horizontal wavy sign crossed by a vertical stroke.
  
  Contour: Same M,L1,M.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative.
3. Trillo und Mordant
  r10-f05-b1
  
  source sign confidence: high
  
  Source sign: Upper-start wavy trill ending in a vertical mordent stroke.
  
  Contour: Approximately (U1,M)x3,L1,M
  
  Rhythm: One continuous rapid group with lower-neighbor termination.
  
  Reading note: H contour; M exact number of pre-terminal alternations. Shares realization with b2.
4. Trillo und Mordant
  r10-f05-b2
  
  source sign confidence: high
  
  Source sign: Lower/left-hooked wavy form ending in the same vertical stroke.
  
  Contour: Same realization as b1.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative.
Mordant
下波音

Encoded source sign

Written-out realization

Main note - lower neighbor - main note.

Modern treble-clef transcription. Bach's crossed sign is encoded semantically as a lower mordent.

Checked against autograph ornament table, fol. 3v. View autograph Catalogue record

Johann Sebastian Bach, Beinecke Rare Book and Manuscript Library, Yale University, Music Deposit 31 (public domain)

Johann Sebastian Bach (1685–1750)

Clavierbüchlein für Wilhelm Friedemann Bach, Köthen, 1720

The ornament explanation is in the autograph Clavier-Büchlein, folio 3v.

Consult source — Yale University Library — Beinecke

4 variants catalogued · source-verified MEI available
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Accent und Mordant

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 10. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Accent und Mordant
  r10-f06-a1
  
  source sign confidence: medium
  
  Source sign: Accent hook combined with a crossed wavy mordent.
  
  Contour: Probably U1,M,L1,M
  
  Rhythm: Accented/appoggiatura onset followed by a three-note lower mordent; the last principal is sustained.
  
  Reading note: M. Shares realization with a2.
2. Accent und Mordant
  r10-f06-a2
  
  source sign confidence: high
  
  Source sign: Alternate orientation of the accent hook attached to the same crossed-wavy mordent.
  
  Contour: Same realization as a1.
  
  Rhythm: Same.
  
  Reading note: H graphical alternative; M pitch sequence.
Johann Sebastian Bach (1685–1750)

Clavierbüchlein für Wilhelm Friedemann Bach, Köthen, 1720

The ornament explanation is in the autograph Clavier-Büchlein, folio 3v.

Consult source — Yale University Library — Beinecke

2 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Schleifer

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 10. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Schleifer
  r10-f07-a
  
  written realization confidence: high
  
  Source sign: Short wavy line with an upward-curving right tail.
  
  Contour: L2,L1,M
  
  Rhythm: Three rising notes; first two are short/rapid and the arrival is longer.
  
  Reading note: H contour.
Johann Sebastian Bach (1685–1750)

Clavierbüchlein für Wilhelm Friedemann Bach, Köthen, 1720

The ornament explanation is in the autograph Clavier-Büchlein, folio 3v.

Consult source — Yale University Library — Beinecke

1 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 11. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
6 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Upper-row form 1: small flagged auxiliary attached immediately before/above a main stem.
  r11-f01-a
  
  source sign confidence: low-medium
  
  Source sign: Upper-row form 1: small flagged auxiliary attached immediately before/above a main stem.
  
  Contour: Stepwise appoggiatura into M; direction is probably from U1.
  
  Rhythm: Short auxiliary resolving into a longer note inside the upper contextual line.
  
  Reading note: L-M pitch; H that the sign exists as a distinct form.
2. Upper-row form 2: main stem with an oblique rising stroke to the right.
  r11-f01-b
  
  source sign confidence: low
  
  Source sign: Upper-row form 2: main stem with an oblique rising stroke to the right.
  
  Contour: Stepwise approach into or away from M; likely L1 -> M.
  
  Rhythm: Two-note slurred/appoggiatura gesture in the upper context.
  
  Reading note: L pitch/direction.
3. Upper-row form 3: oblique falling stroke joining a main stem to a lower following note.
  r11-f01-c
  
  source sign confidence: medium
  
  Source sign: Upper-row form 3: oblique falling stroke joining a main stem to a lower following note.
  
  Contour: Clearly descending stepwise gesture, approximately U1 -> M or M -> L1 depending normalization.
  
  Rhythm: Two-note fall under a slur, embedded in the upper context.
  
  Reading note: M contour, L principal assignment.
4. Lower-row form 1: small flagged note immediately left of a main stem/note.
  r11-f01-d
  
  source sign confidence: medium
  
  Source sign: Lower-row form 1: small flagged note immediately left of a main stem/note.
  
  Contour: Stepwise lower approach into M, likely L1 -> M.
  
  Rhythm: Short pre-note into a longer principal in the lower contextual line.
  
  Reading note: M.
5. Lower-row form 2: main stem with a rising oblique stroke.
  r11-f01-e
  
  source sign confidence: low
  
  Source sign: Lower-row form 2: main stem with a rising oblique stroke.
  
  Contour: Rising stepwise approach or release around M.
  
  Rhythm: Two-note slurred gesture in the lower context.
  
  Reading note: L pitch assignment.
6. Lower-row form 3: plain/short main-stem form paired with the preceding oblique form in the printed sign cluster.
  r11-f01-f
  
  source sign confidence: low
  
  Source sign: Lower-row form 3: plain/short main-stem form paired with the preceding oblique form in the printed sign cluster.
  
  Contour: Context shows another stepwise appoggiatura/resolution in the lower voice.
  
  Rhythm: Embedded in a polyphonic/chordal example rather than isolated.
  
  Reading note: L. Keep the complete lower contextual line until source verification allows segmentation.
Gottlieb Muffat (1690–1770)

Componimenti Musicali per il Cembalo, Wien, 1727

Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727.

Consult source — IMSLP (library-source scans)

6 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 11. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Lowercase t above the principal.
  r11-f02-a
  
  source sign confidence: medium-high
  
  Source sign: Lowercase t above the principal.
  
  Contour: (U1,M)x3, ending on M
  
  Rhythm: Compact rapid group under a long slur after a sustained onset.
  
  Reading note: M-H.
2. Composite: t plus small-note/main-note figures in the sign column.
  r11-f02-b
  
  source sign confidence: medium
  
  Source sign: Composite: t plus small-note/main-note figures in the sign column.
  
  Contour: Upper or lower appoggiatura into a trill; approximately U1 held -> M,(U1,M)x2
  
  Rhythm: Long supported onset followed by a rapid alternation.
  
  Reading note: M contour; exact appoggiatura direction should be source-checked.
3. t with a curved-underlined form beside a main-note stem.
  r11-f02-c
  
  source sign confidence: low-medium
  
  Source sign: t with a curved-underlined form beside a main-note stem.
  
  Contour: Repeated neighbor oscillation around M, possibly lower-neighbor (M,L1)x4
  
  Rhythm: Long, even rapid group under an under-slur/tie after a sustained attack.
  
  Reading note: L-M; direction of the neighbor is not fully secure in the table scan.
Gottlieb Muffat (1690–1770)

Componimenti Musicali per il Cembalo, Wien, 1727

Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727.

Consult source — IMSLP (library-source scans)

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 11. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. tw ligature.
  r11-f03-a
  
  source sign confidence: low-medium
  
  Source sign: tw ligature.
  
  Contour: Cadential/trill figure, approximately U1,M,U1,M,L1,M
  
  Rhythm: Rapid equal group under a broad slur, closing on a longer principal.
  
  Reading note: L-M exact order.
2. Same tw ligature in a second context.
  r11-f03-b
  
  source sign confidence: low
  
  Source sign: Same tw ligature in a second context.
  
  Contour: Trill with turned/lower-neighbor termination around M.
  
  Rhythm: Longer rapid group, under-slurred, with a clearly different terminal contour from a.
  
  Reading note: L exact order; retain full panel.
3. Two wavy strokes, one with an initial/lower hook, paired with a note-stem sign.
  r11-f03-c
  
  source sign confidence: medium
  
  Source sign: Two wavy strokes, one with an initial/lower hook, paired with a note-stem sign.
  
  Contour: Lower-start double-cadence-like figure, likely L1,M,U1,M,L1,M.
  
  Rhythm: One dense equal rapid group under a slur.
  
  Reading note: M contour family, L exact count.
4. Wavy sign with upward-curved tail paired with a second note-stem form.
  r11-f03-d
  
  source sign confidence: low-medium
  
  Source sign: Wavy sign with upward-curved tail paired with a second note-stem form.
  
  Contour: Upper-neighbor trill/cadence with extended alternation and closing return to M.
  
  Rhythm: Longest dense equal-note group of this Muffat cell, under a broad slur.
  
  Reading note: L-M exact sequence/count.
Gottlieb Muffat (1690–1770)

Componimenti Musicali per il Cembalo, Wien, 1727

Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727.

Consult source — IMSLP (library-source scans)

4 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 11. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Small horizontal ~ turn sign.
  r11-f04-a
  
  source sign confidence: high
  
  Source sign: Small horizontal ~ turn sign.
  
  Contour: U1,M,L1,M
  
  Rhythm: Compact four-note rapid turn under a slur.
  
  Reading note: H contour.
2. Same sign in a prepared melodic context.
  r11-f04-b
  
  source sign confidence: medium-high
  
  Source sign: Same sign in a prepared melodic context.
  
  Contour: Contextual approach -> U1,M,L1,M -> following M/ctx
  
  Rhythm: Turn is embedded after two preparatory notes; four rapid notes under a long slur.
  
  Reading note: M-H.
Gottlieb Muffat (1690–1770)

Componimenti Musicali per il Cembalo, Wien, 1727

Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727.

Consult source — IMSLP (library-source scans)

2 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 11. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Fork/vertical-mordent sign.
  r11-f05-a
  
  source sign confidence: high
  
  Source sign: Fork/vertical-mordent sign.
  
  Contour: M,L1,M
  
  Rhythm: Short three-note lower mordent under a slur.
  
  Reading note: H.
2. Same sign in a longer form.
  r11-f05-b
  
  source sign confidence: high
  
  Source sign: Same sign in a longer form.
  
  Contour: M,L1,M,L1,M
  
  Rhythm: Five-note/double lower mordent under a longer slur.
  
  Reading note: H contour; M exact note count.
Gottlieb Muffat (1690–1770)

Componimenti Musicali per il Cembalo, Wien, 1727

Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727.

Consult source — IMSLP (library-source scans)

2 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 11. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Upper compound: small upper appoggiatura with mordent sign placed on the small note.
  r11-f06-a1
  
  source sign confidence: medium
  
  Source sign: Upper compound: small upper appoggiatura with mordent sign placed on the small note.
  
  Contour: Probably U1,M,L1,M
  
  Rhythm: Appoggiatura followed immediately by a short lower mordent, under a slur.
  
  Reading note: M. Shares realization with a2.
2. Upper compound oder: same melodic source, mordent sign moved to the principal note.
  r11-f06-a2
  
  source sign confidence: high
  
  Source sign: Upper compound oder: same melodic source, mordent sign moved to the principal note.
  
  Contour: Same as a1.
  
  Rhythm: Same.
  
  Reading note: H as a distinct sign-placement alternative; M pitches.
3. Lower compound: oblique rising approach into a principal, mordent sign on the approach/small note.
  r11-f06-b1
  
  source sign confidence: low-medium
  
  Source sign: Lower compound: oblique rising approach into a principal, mordent sign on the approach/small note.
  
  Contour: Probably L1,M,L1,M,L1,M
  
  Rhythm: Rising appoggiatura/slide followed by a longer or double mordent.
  
  Reading note: L-M exact count. Shares realization with b2.
4. Lower compound oder: same source contour, sign moved to the principal.
  r11-f06-b2
  
  source sign confidence: high
  
  Source sign: Lower compound oder: same source contour, sign moved to the principal.
  
  Contour: Same as b1.
  
  Rhythm: Same.
  
  Reading note: H sign-placement alternative; L-M exact count.
Gottlieb Muffat (1690–1770)

Componimenti Musicali per il Cembalo, Wien, 1727

Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727.

Consult source — IMSLP (library-source scans)

4 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 11. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tall stem crossed by a short oblique/looped stroke.
  r11-f07-a
  
  source sign confidence: medium-high
  
  Source sign: Tall stem crossed by a short oblique/looped stroke.
  
  Contour: L2,L1,M
  
  Rhythm: Two short rising notes into a longer arrival, under a slur.
  
  Reading note: M-H.
2. Oblique beam-like stroke with two small dots above a stemmed note.
  r11-f07-b
  
  source sign confidence: medium
  
  Source sign: Oblique beam-like stroke with two small dots above a stemmed note.
  
  Contour: Rising three-step fill into M, likely L2,L1,M; one auxiliary may be chromatically altered.
  
  Rhythm: Longer beamed rising figure under a slur, in a second register/context.
  
  Reading note: M contour; L accidental and exact number of preparatory notes.
Gottlieb Muffat (1690–1770)

Componimenti Musicali per il Cembalo, Wien, 1727

Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727.

Consult source — IMSLP (library-source scans)

2 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Port de voix · Coulez

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 12. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Port de voix
  r12-f01-a
  
  written realization confidence: high
  
  Source sign: Small lower-hook/appoggiatura form attached before a main stem.
  
  Contour: L1 -> M
  
  Rhythm: Lower appoggiatura in context; the realization is a short beamed/slurred approach into the principal.
  
  Reading note: H contour; M exact duration.
2. Coulez
  r12-f01-b1
  
  contextual occurrence confidence: medium-high
  
  Source sign: Oblique rising line joining two contextual noteheads, first placement.
  
  Contour: Ascending filled third, likely L2,L1,M
  
  Rhythm: Passing middle degree is inserted as a short beamed note into the arrival.
  
  Reading note: M-H.
3. Coulez
  r12-f01-b2
  
  contextual occurrence confidence: medium-high
  
  Source sign: Same oblique joined-note sign repeated after the internal double bar in a second context/register.
  
  Contour: Same ascending stepwise fill, transposed/contextualized.
  
  Rhythm: Same passing-note realization in a second placement.
  
  Reading note: M-H. This second panel is visibly separate and should not be dropped.
Jean-Philippe Rameau (1683–1764)

Pièces de Clavecin, deuxième livre, Paris, 1731

Consult source — Bibliothèque nationale de France — Gallica

3 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Cadence · Cadence appuyée

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 12. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Cadence
  r12-f02-a
  
  written realization confidence: high
  
  Source sign: Short horizontal wavy line.
  
  Contour: (U1,M)x4, ending on M
  
  Rhythm: Even rapid group of about eight notes after the principal/source sign.
  
  Reading note: H alternation; M exact count.
2. Cadence appuyée
  r12-f02-b
  
  written realization confidence: medium-high
  
  Source sign: Wavy line with a pronounced descending initial hook.
  
  Contour: U1 held/supported, then approximately (M,U1)x3, ending on M
  
  Rhythm: Long appoggiatura/support note followed by rapid equal trill notes.
  
  Reading note: M-H.
Jean-Philippe Rameau (1683–1764)

Pièces de Clavecin, deuxième livre, Paris, 1731

Consult source — Bibliothèque nationale de France — Gallica

2 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Double Cadence

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 12. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Double Cadence
  r12-f03-a
  
  written realization confidence: medium
  
  Source sign: Wavy line with an upward-curved terminal hook.
  
  Contour: Likely U1,M,L1,M,(U1,M)x2
  
  Rhythm: Continuous rapid equal-note group combining turn and trill.
  
  Reading note: M exact order/count.
Jean-Philippe Rameau (1683–1764)

Pièces de Clavecin, deuxième livre, Paris, 1731

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Double

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 12. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Double
  r12-f04-a
  
  contextual occurrence confidence: high
  
  Source sign: Small horizontal ~ turn sign.
  
  Contour: U1,M,L1,M
  
  Rhythm: Compact four-note rapid turn between contextual notes.
  
  Reading note: H.
Jean-Philippe Rameau (1683–1764)

Pièces de Clavecin, deuxième livre, Paris, 1731

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Pincé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 12. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Pincé
  r12-f05-a
  
  written realization confidence: medium-high
  
  Source sign: Main-note stem with a small right-facing curled mark (p-like).
  
  Contour: (M,L1)x4, ending on M
  
  Rhythm: Extended rapid lower-neighbor pincé, about eight notes in one dense beamed group.
  
  Reading note: M-H; exact count from scan is about eight.
Jean-Philippe Rameau (1683–1764)

Pièces de Clavecin, deuxième livre, Paris, 1731

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Pincé et port de voix

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 12. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Pincé et port de voix
  r12-f06-a
  
  contextual occurrence confidence: medium
  
  Source sign: Pincé stem/sign enclosed by small parentheses/hooks.
  
  Contour: Likely L1,M,(L1,M)x3
  
  Rhythm: Lower appoggiatura followed by an extended rapid lower-neighbor pincé.
  
  Reading note: M; preserve the contextual lead-in and full rapid group.
Jean-Philippe Rameau (1683–1764)

Pièces de Clavecin, deuxième livre, Paris, 1731

Consult source — Bibliothèque nationale de France — Gallica

1 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

[term not printed]

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 13. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Unslashed small note above the main-note head, slurred into it
  Q13-F1-A
  
  contextual occurrence confidence: high
  
  Source sign: Unslashed small note above the main-note head, slurred into it
  
  Contour: Upper appoggiatura +1 -> 0; four applications appear across the upper excerpt (A1-A4)
  
  Rhythm: Value-bearing appoggiatura; duration changes with the surrounding note
  
  Reading note: High for contour, medium for the exact number/duration of contextual applications
2. Unslashed small note below the main-note head, slurred into it
  Q13-F1-B
  
  contextual occurrence confidence: high
  
  Source sign: Unslashed small note below the main-note head, slurred into it
  
  Contour: Lower appoggiatura -1 -> 0; four applications appear across the lower excerpt (B1-B4)
  
  Rhythm: Value-bearing appoggiatura; mixed long/short contexts
  
  Reading note: High for contour, medium for exact durations
Johann Joachim Quantz (1697–1773)

Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752

Consult source — Deutsches Textarchiv / SUB Göttingen (1752 first edition)

2 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Triller · halber Triller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 13. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Triller
  Q13-F2-A
  
  written realization confidence: medium
  
  Source sign: Small upper preparation note followed by tr over the principal
  
  Contour: Preparation into ordinary upper-neighbor alternation: +1 -> (0,+1)xN -> 0
  
  Rhythm: Grace/preparation plus rapid even diminution
  
  Reading note: Medium; the first two pitches are tightly printed
2. Triller
  Q13-F2-B
  
  written realization confidence: medium
  
  Source sign: tr over a short slurred/tied two-note notation, introduced as oder
  
  Contour: Same ordinary trill family, beginning from the upper neighbor
  
  Rhythm: Short rapid group
  
  Reading note: Medium
3. Triller
  Q13-F2-C
  
  written realization confidence: high
  
  Source sign: Plain tr, followed by equals sign
  
  Contour: Explicit long realization alternating +1,0,+1,0..., ending on the principal
  
  Rhythm: Long chain of very rapid equal notes
  
  Reading note: High for alternating contour; beam count uncertain
4. halber Triller
  Q13-F2-D
  
  written realization confidence: low-medium
  
  Source sign: First lower-line example with a short slurred beamed group
  
  Contour: Compact half-trill, visually 0,+1,0 or +1,0,+1,0?
  
  Rhythm: Three-note rapid group before resolution
  
  Reading note: Low-medium; onset notehead is obscured
5. halber Triller
  Q13-F2-E
  
  written realization confidence: medium
  
  Source sign: Second lower-line example with a longer beamed group
  
  Contour: Extended half-trill, upper/principal alternation ending on 0
  
  Rhythm: About five rapid notes under one slur
  
  Reading note: Medium
Johann Joachim Quantz (1697–1773)

Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752

Consult source — Deutsches Textarchiv / SUB Göttingen (1752 first edition)

5 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Doublé oder Doppelschlag

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 13. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Doublé oder Doppelschlag
  Q13-F4-A
  
  contextual occurrence confidence: high
  
  Source sign: No abstract glyph; tiny pickup note leading to a slurred four-note group
  
  Contour: Standard turn contour +1,0,-1,0
  
  Rhythm: Four rapid equal notes, slurred; pickup-like placement
  
  Reading note: High for formula, medium for the printed anacrusis
Johann Joachim Quantz (1697–1773)

Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752

Consult source — Deutsches Textarchiv / SUB Göttingen (1752 first edition)

1 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Pincé (Mordant)

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 13. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Pincé (Mordant)
  Q13-F5-A
  
  written realization confidence: high
  
  Source sign: No separate glyph; first slurred group
  
  Contour: Short lower-neighbor mordent 0,-1,0
  
  Rhythm: Compact three/four-note rapid group
  
  Reading note: High for ornament family, medium for whether the opening pickup is counted in the group
2. Pincé (Mordant)
  Q13-F5-B
  
  contextual occurrence confidence: high
  
  Source sign: Same notation, longer lower excerpt
  
  Contour: Long mordent (0,-1)xN -> 0
  
  Rhythm: Longer chain of rapid equal notes under one slur
  
  Reading note: High
Johann Joachim Quantz (1697–1773)

Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752

Consult source — Deutsches Textarchiv / SUB Göttingen (1752 first edition)

2 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Battement

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 13. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Battement
  Q13-F6-A
  
  contextual occurrence confidence: medium-low
  
  Source sign: First passage placement: tiny beamed lower-neighbor figure before/around a principal
  
  Contour: Lower-neighbor shake 0,-1,0?
  
  Rhythm: Very short beamed figure
  
  Reading note: Medium-low; noteheads overlap
2. Battement
  Q13-F6-B
  
  contextual occurrence confidence: medium-high
  
  Source sign: Second passage placement: extended beamed figure under a slur
  
  Contour: Repeated lower-neighbor alternation (0,-1)xN -> 0
  
  Rhythm: Long rapid group
  
  Reading note: Medium-high for contour
Johann Joachim Quantz (1697–1773)

Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752

Consult source — Deutsches Textarchiv / SUB Göttingen (1752 first edition)

2 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Schleifer

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 13. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Schleifer
  Q13-F7-A
  
  contextual occurrence confidence: high
  
  Source sign: Two small beamed ascending notes slurred to the principal; upper excerpt, first placement
  
  Contour: Rising slide -2,-1,0
  
  Rhythm: Two grace-sized notes into the beat
  
  Reading note: High
2. Schleifer
  Q13-F7-B
  
  contextual occurrence confidence: high
  
  Source sign: Same sign in a second upper-excerpt context
  
  Contour: Rising slide -2,-1,0, transposed
  
  Rhythm: Two grace-sized notes; surrounding value differs
  
  Reading note: High
3. Schleifer
  Q13-F7-C
  
  contextual occurrence confidence: medium-high
  
  Source sign: First lower-excerpt written-out placement
  
  Contour: Rising three-note approach into the principal
  
  Rhythm: Faster beamed realization in running notes
  
  Reading note: Medium-high
4. Schleifer
  Q13-F7-D
  
  contextual occurrence confidence: medium
  
  Source sign: Second lower-excerpt placement
  
  Contour: Rising approach, possibly extended by one contextual note: -2,-1,0,(ctx)
  
  Rhythm: Rapid beamed group
  
  Reading note: Medium; right edge is crowded
Johann Joachim Quantz (1697–1773)

Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752

Consult source — Deutsches Textarchiv / SUB Göttingen (1752 first edition)

4 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Vorschläge

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 14. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Upper staff, first small-note/main pair
  CPE14-F1-A
  
  contextual occurrence confidence: medium
  
  Source sign: Upper staff, first small-note/main pair
  
  Contour: Adjacent appoggiatura into 0; likely lower-to-main
  
  Rhythm: Appoggiatura takes a substantial portion of the long main value
  
  Reading note: Medium; direction is not fully secure without the omitted clef
2. Upper staff, first equals-sign realization
  CPE14-F1-B
  
  contextual occurrence confidence: high
  
  Source sign: Upper staff, first equals-sign realization
  
  Contour: Same adjacent-note pair written as two full-size notes
  
  Rhythm: Near-equal division of the notated value
  
  Reading note: High for the notated-versus-realized relationship
3. Upper staff, central small-note example and equality
  CPE14-F1-C
  
  contextual occurrence confidence: medium-high
  
  Source sign: Upper staff, central small-note example and equality
  
  Contour: Adjacent appoggiatura into 0
  
  Rhythm: Shorter pair, approximately eighth-note division
  
  Reading note: Medium-high
4. Upper staff, right-hand long-note example and equality
  CPE14-F1-D
  
  contextual occurrence confidence: medium-high
  
  Source sign: Upper staff, right-hand long-note example and equality
  
  Contour: Adjacent appoggiatura into 0, tied/slurred
  
  Rhythm: Long appoggiatura with sustained resolution
  
  Reading note: Medium-high
5. Lower staff: two applications, one before a sustained note and one in a shorter cadence
  CPE14-F1-E
  
  contextual occurrence confidence: medium
  
  Source sign: Lower staff: two applications, one before a sustained note and one in a shorter cadence
  
  Contour: Direction changes with context; both are one-step appoggiaturas into 0
  
  Rhythm: One long and one short division
  
  Reading note: Medium; preserve both placements (E1, E2) in a source-faithful excerpt if possible
Carl Philipp Emanuel Bach (1714–1788)

Versuch über die wahre Art das Clavier zu spielen, Berlin, 1753

Consult source — Library of Congress

5 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

ordentlicher Triller, kurz und lang · halber oder Pralltriller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 14. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. ordentlicher Triller kurz
  CPE14-F2-A
  
  written realization confidence: high
  
  Source sign: Short wavy line over principal, also represented by grace-note plus tr
  
  Contour: Upper-neighbor trill (+1,0)xN -> 0
  
  Rhythm: Short rapid alternation
  
  Reading note: High
2. ordentlicher Triller lang
  CPE14-F2-B
  
  written realization confidence: high
  
  Source sign: Long wavy line over a longer/tied principal
  
  Contour: Same formula with more repetitions
  
  Rhythm: Long rapid chain
  
  Reading note: High
3. halber oder Pralltriller
  CPE14-F2-C
  
  written realization confidence: medium-high
  
  Source sign: Short wavy/prall sign over the second of a slurred pair
  
  Contour: Main-start shake 0,+1,0,+1,0
  
  Rhythm: Five rapid equal notes, ending on 0
  
  Reading note: Medium-high
Carl Philipp Emanuel Bach (1714–1788)

Versuch über die wahre Art das Clavier zu spielen, Berlin, 1753

Consult source — Library of Congress

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Triller von oben · Triller von unten

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 14. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Triller von oben
  CPE14-F3-A
  
  source sign confidence: high
  
  Source sign: Hooked wavy glyph rising into the trill
  
  Contour: Approach from above into upper-neighbor alternation: +1,0,(+1,0)xN
  
  Rhythm: Rapid even chain
  
  Reading note: High for direction, medium for exact pickup count
2. Triller von oben
  CPE14-F3-B
  
  source sign confidence: high
  
  Source sign: Alternative written preparation notes followed by tr (oder)
  
  Contour: Same as A, preparation written as notes
  
  Rhythm: Short beamed preparation plus rapid trill
  
  Reading note: High
3. Triller von unten
  CPE14-F3-C
  
  source sign confidence: high
  
  Source sign: Hooked wavy glyph rising from below
  
  Contour: Lower approach -1,0,+1,0,(+1,0)xN
  
  Rhythm: Rapid even chain
  
  Reading note: High for direction
4. Triller von unten
  CPE14-F3-D
  
  source sign confidence: high
  
  Source sign: Lower grace note plus tr (oder)
  
  Contour: Same lower-start formula
  
  Rhythm: Grace pickup plus trill
  
  Reading note: High
5. Triller von unten
  CPE14-F3-E
  
  source sign confidence: high
  
  Source sign: Short beamed lower approach plus plain tr (oder)
  
  Contour: Same formula with the approach rhythm explicitly written
  
  Rhythm: Beamed pickup plus long rapid chain
  
  Reading note: High
Carl Philipp Emanuel Bach (1714–1788)

Versuch über die wahre Art das Clavier zu spielen, Berlin, 1753

Consult source — Library of Congress

5 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Doppelschlag · prallender Doppelschlag · geschnellter Doppelschlag

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 14. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Doppelschlag - adagio
  CPE14-F4-A
  
  written realization confidence: high
  
  Source sign: Horizontal turn sign, with a small vertical modifier visible above
  
  Contour: +1,0,-1,0
  
  Rhythm: Unequal/expressive four-note turn, slower values
  
  Reading note: High for contour
2. Doppelschlag - moderato
  CPE14-F4-B
  
  written realization confidence: high
  
  Source sign: Same sign
  
  Contour: +1,0,-1,0
  
  Rhythm: Four more even, faster notes
  
  Reading note: High
3. Doppelschlag - presto
  CPE14-F4-C
  
  written realization confidence: high
  
  Source sign: Same sign
  
  Contour: +1,0,-1,0
  
  Rhythm: Compressed rapid group
  
  Reading note: High
4. prallender Doppelschlag
  CPE14-F4-D
  
  written realization confidence: medium-high
  
  Source sign: Stacked/combined prall plus turn glyph
  
  Contour: Main-start turn: 0,+1,0,-1,0
  
  Rhythm: Rapid five-note group
  
  Reading note: Medium-high
5. geschnellter Doppelschlag
  CPE14-F4-E
  
  written realization confidence: medium
  
  Source sign: Combined lower-shake/turn glyph
  
  Contour: Lower-start/inverted five-note turn: 0,-1,0,+1,0?
  
  Rhythm: Rapid five-note group
  
  Reading note: Medium; source contour should be rechecked at encoding time
Carl Philipp Emanuel Bach (1714–1788)

Versuch über die wahre Art das Clavier zu spielen, Berlin, 1753

Consult source — Library of Congress

5 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Mordent kurz · Mordent lang

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 14. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Mordent kurz
  CPE14-F5-A
  
  written realization confidence: high
  
  Source sign: Short wavy glyph crossed by a vertical stroke
  
  Contour: 0,-1,0
  
  Rhythm: Three rapid notes then sustained 0
  
  Reading note: High
2. Mordent lang
  CPE14-F5-B
  
  written realization confidence: high
  
  Source sign: Longer crossed wavy glyph
  
  Contour: (0,-1)xN -> 0
  
  Rhythm: First long realization, compact rapid chain
  
  Reading note: High
3. Mordent lang
  CPE14-F5-C
  
  written realization confidence: high
  
  Source sign: Same sign, alternative introduced by oder
  
  Contour: Same pitch formula
  
  Rhythm: Longer/more even subdivision
  
  Reading note: High
Carl Philipp Emanuel Bach (1714–1788)

Versuch über die wahre Art das Clavier zu spielen, Berlin, 1753

Consult source — Library of Congress

3 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Mordent mit Vorhalt · Schneller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 14. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Mordent mit Vorhalt
  CPE14-F6-A
  
  written realization confidence: medium-high
  
  Source sign: Preparation note plus crossed mordent sign
  
  Contour: Held adjacent preparation into 0,-1,0, then sustained principal
  
  Rhythm: Long preparation followed by a compact three-note mordent
  
  Reading note: Medium-high; preparation direction depends on local staff reading
2. Schneller
  CPE14-F6-B
  
  written realization confidence: medium
  
  Source sign: Small two-note grace-like sign
  
  Contour: Lower-neighbor snap around the principal, approximately 0,-1,0
  
  Rhythm: Very short beamed group before sustained 0
  
  Reading note: Medium
Carl Philipp Emanuel Bach (1714–1788)

Versuch über die wahre Art das Clavier zu spielen, Berlin, 1753

Consult source — Library of Congress

2 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Schleifer

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 14. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Two small beamed rising notes before main
  CPE14-F7-A
  
  written realization confidence: high
  
  Source sign: Two small beamed rising notes before main
  
  Contour: -2,-1,0
  
  Rhythm: Two grace notes into the beat
  
  Reading note: High
2. S-shaped Schleifer glyph over a principal
  CPE14-F7-B
  
  written realization confidence: high
  
  Source sign: S-shaped Schleifer glyph over a principal
  
  Contour: Rising slide -2,-1,0
  
  Rhythm: Three rapid written notes
  
  Reading note: High for contour
3. Same S glyph, alternative after oder
  CPE14-F7-C
  
  contextual occurrence confidence: medium-high
  
  Source sign: Same S glyph, alternative after oder
  
  Contour: Same rising contour but spread across a different rhythmic placement
  
  Rhythm: Longer unequal group with tied/sustained main
  
  Reading note: Medium-high
Carl Philipp Emanuel Bach (1714–1788)

Versuch über die wahre Art das Clavier zu spielen, Berlin, 1753

Consult source — Library of Congress

3 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

Vorschlag · Vorhalt

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 15. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
8 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Upper excerpt, left to right (M15-F1-A1)
  M15-F1-A1
  
  contextual occurrence confidence: medium
  
  Source sign: Upper excerpt, left to right
  
  Contour: Each is an adjacent appoggiatura into 0; the excerpt alternates upper and lower approaches as the melody descends
  
  Rhythm: Mix of long split values and short beamed resolutions
  
  Reading note: Medium. Preserve the source contour graphically; exact degree labels should be checked against the treatise plate
2. Upper excerpt, left to right (M15-F1-A2)
  M15-F1-A2
  
  contextual occurrence confidence: medium
  
  Source sign: Upper excerpt, left to right
  
  Contour: Each is an adjacent appoggiatura into 0; the excerpt alternates upper and lower approaches as the melody descends
  
  Rhythm: Mix of long split values and short beamed resolutions
  
  Reading note: Medium. Preserve the source contour graphically; exact degree labels should be checked against the treatise plate
3. Upper excerpt, left to right (M15-F1-A3)
  M15-F1-A3
  
  contextual occurrence confidence: medium
  
  Source sign: Upper excerpt, left to right
  
  Contour: Each is an adjacent appoggiatura into 0; the excerpt alternates upper and lower approaches as the melody descends
  
  Rhythm: Mix of long split values and short beamed resolutions
  
  Reading note: Medium. Preserve the source contour graphically; exact degree labels should be checked against the treatise plate
4. Upper excerpt, left to right (M15-F1-A4)
  M15-F1-A4
  
  contextual occurrence confidence: medium
  
  Source sign: Upper excerpt, left to right
  
  Contour: Each is an adjacent appoggiatura into 0; the excerpt alternates upper and lower approaches as the melody descends
  
  Rhythm: Mix of long split values and short beamed resolutions
  
  Reading note: Medium. Preserve the source contour graphically; exact degree labels should be checked against the treatise plate
5. Lower excerpt, left to right (M15-F1-B1)
  M15-F1-B1
  
  contextual occurrence confidence: medium
  
  Source sign: Lower excerpt, left to right
  
  Contour: Adjacent appoggiaturas into successive principals, including a clearly rising lower approach at B1/B2 and descending approaches later
  
  Rhythm: One short pickup, two sustained/tied resolutions, one beamed cadence
  
  Reading note: Medium
6. Lower excerpt, left to right (M15-F1-B2)
  M15-F1-B2
  
  contextual occurrence confidence: medium
  
  Source sign: Lower excerpt, left to right
  
  Contour: Adjacent appoggiaturas into successive principals, including a clearly rising lower approach at B1/B2 and descending approaches later
  
  Rhythm: One short pickup, two sustained/tied resolutions, one beamed cadence
  
  Reading note: Medium
7. Lower excerpt, left to right (M15-F1-B3)
  M15-F1-B3
  
  contextual occurrence confidence: medium
  
  Source sign: Lower excerpt, left to right
  
  Contour: Adjacent appoggiaturas into successive principals, including a clearly rising lower approach at B1/B2 and descending approaches later
  
  Rhythm: One short pickup, two sustained/tied resolutions, one beamed cadence
  
  Reading note: Medium
8. Lower excerpt, left to right (M15-F1-B4)
  M15-F1-B4
  
  contextual occurrence confidence: medium
  
  Source sign: Lower excerpt, left to right
  
  Contour: Adjacent appoggiaturas into successive principals, including a clearly rising lower approach at B1/B2 and descending approaches later
  
  Rhythm: One short pickup, two sustained/tied resolutions, one beamed cadence
  
  Reading note: Medium
Friedrich Wilhelm Marpurg (1718–1795)

Die Kunst das Clavier zu spielen, Berlin, 1750

The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751.

Consult source — Bayerische Staatsbibliothek

8 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Tremblement détaché · Tremblement appuyé ou préparé · Tremblement lié

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 15. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Tremblement détaché
  M15-F2-A
  
  written realization confidence: medium-high
  
  Source sign: Plus sign over principal
  
  Contour: Detached/main-start trill 0,(+1,0)xN
  
  Rhythm: Short compact rapid chain
  
  Reading note: Medium-high
2. Tremblement appuyé ou préparé
  M15-F2-B
  
  written realization confidence: high
  
  Source sign: Wavy sign preceded by a held preparation
  
  Contour: Upper auxiliary is held, then (+1,0)xN -> 0
  
  Rhythm: Long preparation plus rapid alternation and a short ending
  
  Reading note: High
3. Tremblement lié
  M15-F2-C
  
  written realization confidence: medium-high
  
  Source sign: Wavy sign spanning a slurred/tied arrival
  
  Contour: Legato prepared trill, held approach into (+1,0)xN -> 0
  
  Rhythm: Slurred preparation, compact six-note-looking chain
  
  Reading note: Medium-high
Friedrich Wilhelm Marpurg (1718–1795)

Die Kunst das Clavier zu spielen, Berlin, 1750

The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751.

Consult source — Bayerische Staatsbibliothek

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Triller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 15. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
7 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Wavy line bracketed by an upward hook at both ends
  M15-F3-A
  
  source sign confidence: high
  
  Source sign: Wavy line bracketed by an upward hook at both ends
  
  Contour: Top realization: ordinary upper-neighbor trill (+1,0)xN -> 0
  
  Rhythm: Long rapid even chain
  
  Reading note: High
2. Wavy line with a left descending stroke and terminal loop
  M15-F3-B
  
  source sign confidence: high
  
  Source sign: Wavy line with a left descending stroke and terminal loop
  
  Contour: Same ordinary trill, alternate source spelling
  
  Rhythm: Same
  
  Reading note: High for glyph distinction
3. C-shaped left hook, wavy middle, upturned right hook
  M15-F3-C
  
  source sign confidence: medium-high
  
  Source sign: C-shaped left hook, wavy middle, upturned right hook
  
  Contour: Compound/prepared trill in lower-left example
  
  Rhythm: Short entrance plus long rapid alternation
  
  Reading note: Medium-high
4. C-shaped left hook and wavy continuation without right hook
  M15-F3-D
  
  source sign confidence: medium-high
  
  Source sign: C-shaped left hook and wavy continuation without right hook
  
  Contour: Compound/prepared trill, alternate termination
  
  Rhythm: Same core alternation
  
  Reading note: Medium-high
5. Small plain turn-like wave
  M15-F3-E
  
  source sign confidence: medium
  
  Source sign: Small plain turn-like wave
  
  Contour: Short turn/prall component within the combined trill signs
  
  Rhythm: Compact local turn
  
  Reading note: Medium
6. C-shaped left hook, wavy line, strong upward terminal hook
  M15-F3-F
  
  source sign confidence: medium-high
  
  Source sign: C-shaped left hook, wavy line, strong upward terminal hook
  
  Contour: Lower-right compound trill. Written pickup, then (+1,0)xN, with ending figure
  
  Rhythm: Rapid chain plus cadential notes
  
  Reading note: Medium-high
7. C-shaped left hook, wavy line, terminal loop
  M15-F3-G
  
  source sign confidence: medium-high
  
  Source sign: C-shaped left hook, wavy line, terminal loop
  
  Contour: Alternative lower-right combined sign introduced by oder. Same family with a different end/continuation
  
  Rhythm: Rapid chain
  
  Reading note: Medium-high
Friedrich Wilhelm Marpurg (1718–1795)

Die Kunst das Clavier zu spielen, Berlin, 1750

The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751.

Consult source — Bayerische Staatsbibliothek

7 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Doublé · Doppelschlag · Groppo

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 15. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Doublé / Doppelschlag
  M15-F4-A
  
  written realization confidence: high
  
  Source sign: First horizontal turn glyph
  
  Contour: +1,0,-1,0
  
  Rhythm: First four-note rapid group
  
  Reading note: High
2. Doublé / Doppelschlag
  M15-F4-B
  
  written realization confidence: high
  
  Source sign: Second glyph with a dot/short mark
  
  Contour: Same turn formula in a second context
  
  Rhythm: Four rapid notes
  
  Reading note: High
3. Groppo
  M15-F4-C
  
  written realization confidence: medium-high
  
  Source sign: Turn glyph attached to a note stem on the left
  
  Contour: Main-start turn, approximately 0,+1,0,-1,0
  
  Rhythm: Five rapid notes
  
  Reading note: Medium-high
4. Groppo
  M15-F4-D
  
  contextual occurrence confidence: medium
  
  Source sign: Turn glyph over a later held/slurred note
  
  Contour: Same groppo family, delayed/after-note placement
  
  Rhythm: Sustained approach then rapid group
  
  Reading note: Medium
Friedrich Wilhelm Marpurg (1718–1795)

Die Kunst das Clavier zu spielen, Berlin, 1750

The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751.

Consult source — Bayerische Staatsbibliothek

4 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Mordant · Pincé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 15. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Mordant
  M15-F5-A
  
  source sign confidence: high
  
  Source sign: Short crossed wavy sign
  
  Contour: 0,-1,0
  
  Rhythm: Short rapid group
  
  Reading note: High
2. Mordant
  M15-F5-B
  
  source sign confidence: high
  
  Source sign: Longer crossed wavy sign
  
  Contour: (0,-1)xN -> 0
  
  Rhythm: Longer rapid group
  
  Reading note: High
3. Pincé
  M15-F5-C
  
  source sign confidence: medium-low
  
  Source sign: First curved-stroke sign beside a main note
  
  Contour: Lower-neighbor pincé, expected 0,-1,0; no separate equality is printed
  
  Rhythm: Unspecified
  
  Reading note: Medium-low; sign-only variant
4. Pincé
  M15-F5-D
  
  source sign confidence: medium-low
  
  Source sign: Mirrored/alternate curved-stroke sign
  
  Contour: Same pincé family
  
  Rhythm: Unspecified
  
  Reading note: Medium-low; sign-only variant
Friedrich Wilhelm Marpurg (1718–1795)

Die Kunst das Clavier zu spielen, Berlin, 1750

The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751.

Consult source — Bayerische Staatsbibliothek

4 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Mordant · Pincé

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 15. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
1 individually catalogued example show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Mordant / Pincé
  M15-F6-A
  
  contextual occurrence confidence: medium-high
  
  Source sign: Crossed mordent over the first note of a short suspension-like phrase
  
  Contour: Principal-lower-principal figure 0,-1,0, followed by contextual resolution
  
  Rhythm: Compact three-note mordent after a held/slurred onset
  
  Reading note: Medium-high
Friedrich Wilhelm Marpurg (1718–1795)

Die Kunst das Clavier zu spielen, Berlin, 1750

The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751.

Consult source — Bayerische Staatsbibliothek

1 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Schleifer · Flatté

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 15. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
6 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Schleifer (M15-F7-A1)
  M15-F7-A1
  
  contextual occurrence confidence: medium
  
  Printed term: Schleifer
  
  Source sign: Four placements across the upper excerpt: beamed double-grace sign and wavy Schleifer sign both occur
  
  Contour: Predominantly rising -2,-1,0; at least one placement appears descending and should preserve the source contour rather than be normalized blindly
  
  Rhythm: Short beamed approaches in varied note values
  
  Reading note: Medium; four placements are visually distinct
2. Schleifer (M15-F7-A2)
  M15-F7-A2
  
  contextual occurrence confidence: medium
  
  Printed term: Schleifer
  
  Source sign: Four placements across the upper excerpt: beamed double-grace sign and wavy Schleifer sign both occur
  
  Contour: Predominantly rising -2,-1,0; at least one placement appears descending and should preserve the source contour rather than be normalized blindly
  
  Rhythm: Short beamed approaches in varied note values
  
  Reading note: Medium; four placements are visually distinct
3. Schleifer (M15-F7-A3)
  M15-F7-A3
  
  contextual occurrence confidence: medium
  
  Printed term: Schleifer
  
  Source sign: Four placements across the upper excerpt: beamed double-grace sign and wavy Schleifer sign both occur
  
  Contour: Predominantly rising -2,-1,0; at least one placement appears descending and should preserve the source contour rather than be normalized blindly
  
  Rhythm: Short beamed approaches in varied note values
  
  Reading note: Medium; four placements are visually distinct
4. Schleifer (M15-F7-A4)
  M15-F7-A4
  
  contextual occurrence confidence: medium
  
  Printed term: Schleifer
  
  Source sign: Four placements across the upper excerpt: beamed double-grace sign and wavy Schleifer sign both occur
  
  Contour: Predominantly rising -2,-1,0; at least one placement appears descending and should preserve the source contour rather than be normalized blindly
  
  Rhythm: Short beamed approaches in varied note values
  
  Reading note: Medium; four placements are visually distinct
5. Flatté (M15-F7-B1)
  M15-F7-B1
  
  contextual occurrence confidence: medium-low
  
  Printed term: Flatté
  
  Source sign: Diagonal/curved stroke between two notes, twice in the lower excerpt
  
  Contour: Neighbor inflection into 0; exact direction follows each written interval
  
  Rhythm: Appoggiatura-like two-note gesture
  
  Reading note: Medium-low; no clef and the stroke partly hides the first pitch
6. Flatté (M15-F7-B2)
  M15-F7-B2
  
  contextual occurrence confidence: medium-low
  
  Printed term: Flatté
  
  Source sign: Diagonal/curved stroke between two notes, twice in the lower excerpt
  
  Contour: Neighbor inflection into 0; exact direction follows each written interval
  
  Rhythm: Appoggiatura-like two-note gesture
  
  Reading note: Medium-low; no clef and the stroke partly hides the first pitch
Friedrich Wilhelm Marpurg (1718–1795)

Die Kunst das Clavier zu spielen, Berlin, 1750

The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751.

Consult source — Bayerische Staatsbibliothek

6 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

lange Vorschläge · durchgehende Vorschläge · anschlagende kurze Vorschläge

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 16. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. lange Vorschläge
  LM16-F1-A
  
  contextual occurrence confidence: high
  
  Source sign: Unslashed small note slurred to a long principal; two placements at the left of the upper excerpt
  
  Contour: Adjacent appoggiatura into 0
  
  Rhythm: Takes half or more of the written principal value
  
  Reading note: High for category, medium for exact divisions
2. durchgehende Vorschläge
  LM16-F1-B
  
  contextual occurrence confidence: medium-high
  
  Source sign: Chain of appoggiaturas through the right half of the upper excerpt
  
  Contour: Repeated adjacent suspensions, each resolving by step to its local 0
  
  Rhythm: Continuous sequence of short/medium appoggiaturas
  
  Reading note: Medium-high
3. anschlagende kurze Vorschläge
  LM16-F1-C
  
  contextual occurrence confidence: high
  
  Source sign: Lower excerpt, two explicitly short attacked examples
  
  Contour: Adjacent grace note into 0
  
  Rhythm: Very short pre-beat/on-beat grace followed by sustained principal
  
  Reading note: High
Leopold Mozart (1719–1787)

Versuch einer gründlichen Violinschule, Augsburg, 1755/56

Consult source — Deutsches Textarchiv

3 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Triller · Trillet (Pralltriller) · vorbereiteter Triller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 16. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Triller
  LM16-F2-A
  
  written realization confidence: high
  
  Source sign: tr over long note; first upper example
  
  Contour: Upper-neighbor alternation (+1,0)xN, with written termination
  
  Rhythm: Very long rapid chain
  
  Reading note: High
2. Trilletti (Pralltriller)
  LM16-F2-B
  
  written realization confidence: high
  
  Source sign: tr over short note; second upper example
  
  Contour: Short main/upper shake ending on 0
  
  Rhythm: Four-to-six rapid notes
  
  Reading note: High
3. vorbereiteter Triller
  LM16-F2-C
  
  written realization confidence: medium-high
  
  Source sign: Small preparation note joined to tr over the following principal
  
  Contour: Held/prepared upper note into trill, then resolution
  
  Rhythm: Written preparation before the trill; no full alternation is expanded in this cell
  
  Reading note: Medium-high
Leopold Mozart (1719–1787)

Versuch einer gründlichen Violinschule, Augsburg, 1755/56

Consult source — Deutsches Textarchiv

3 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Triller mit Nachschlag und mit Auszierung

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 16. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Triller mit Nachschlag und mit Ausziehung
  LM16-F3-A
  
  written realization confidence: high
  
  Source sign: Upper example, one long slur covering trill plus termination
  
  Contour: (+1,0)xN, then lower-neighbor turn ending -1,0
  
  Rhythm: Long rapid chain plus short terminal group
  
  Reading note: High
2. Triller mit Nachschlag und mit Ausziehung
  LM16-F3-B
  
  written realization confidence: medium-high
  
  Source sign: Lower example, trill chain followed by a separately grouped extension and another marked tr
  
  Contour: (+1,0)xN, extended ending/aftershake, then resolution
  
  Rhythm: Long chain plus grouped cadential suffix
  
  Reading note: Medium-high; exact suffix has overlapping beams
Leopold Mozart (1719–1787)

Versuch einer gründlichen Violinschule, Augsburg, 1755/56

Consult source — Deutsches Textarchiv

2 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Zirkel (8 Noten) · Halbzirkel (4 Noten) · Doppelschlag · Halbtriller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 16. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Zirkel (8 Noten)
  LM16-F4-A
  
  written realization confidence: high
  
  Source sign: Large arched sign over an eight-note beamed figure
  
  Contour: Eight-note scalar/circular approach ending on local 0; approximate contour -3,-2,-1,0,+1,+2,+1,0?
  
  Rhythm: Eight even rapid notes
  
  Reading note: Low for exact degrees; high for eight-note count
2. Halbzirkel (4 Noten)
  LM16-F4-B
  
  written realization confidence: medium
  
  Source sign: Same family with four-note beamed figure
  
  Contour: Four-note half-circle, likely +1,0,-1,0
  
  Rhythm: Four rapid notes
  
  Reading note: Medium
3. Doppelschlag
  LM16-F4-C
  
  contextual occurrence confidence: high
  
  Source sign: First lower-excerpt slurred turn group
  
  Contour: +1,0,-1,0
  
  Rhythm: Rapid four-note group
  
  Reading note: High
4. Doppelschlag
  LM16-F4-D
  
  contextual occurrence confidence: medium-high
  
  Source sign: Second lower-excerpt turn, with approach note
  
  Contour: Same turn after a written approach
  
  Rhythm: Approach plus rapid four-note group
  
  Reading note: Medium-high
5. Halbtriller
  LM16-F4-E
  
  contextual occurrence confidence: high
  
  Source sign: Rightmost lower-excerpt compact group explicitly labelled *Halbtriller*
  
  Contour: Short upper/principal shake ending on 0
  
  Rhythm: Compact rapid group
  
  Reading note: High for family, medium for onset pitch
Leopold Mozart (1719–1787)

Versuch einer gründlichen Violinschule, Augsburg, 1755/56

Consult source — Deutsches Textarchiv

5 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Mordent (Beisser) · Anschlag

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 16. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Mordent (Beisser), example 1a
  LM16-F5-A1
  
  written realization confidence: high
  
  Source sign: First upper-line mordent group
  
  Contour: 0,-1,0
  
  Rhythm: Rapid group before sustained context note
  
  Reading note: High
2. Mordent (Beisser), example 1b
  LM16-F5-A2
  
  written realization confidence: high
  
  Source sign: Second upper-line mordent group
  
  Contour: Longer (0,-1)xN -> 0
  
  Rhythm: Longer rapid beamed group
  
  Reading note: High
3. Anschlag, example 2a
  LM16-F5-B1
  
  written realization confidence: medium-low
  
  Source sign: First double-note/grace chord before principal
  
  Contour: Two-note appoggiatura/chordal strike into 0; interval contents uncertain
  
  Rhythm: Short chordal grace
  
  Reading note: Medium-low
4. Anschlag, example 2b
  LM16-F5-B2
  
  written realization confidence: medium-low
  
  Source sign: Second chordal strike in the same numbered example
  
  Contour: Same family, transposed or revoiced
  
  Rhythm: Short chordal grace
  
  Reading note: Medium-low
5. Anschlag, example 3
  LM16-F5-C
  
  written realization confidence: low-medium
  
  Source sign: Single lower approach followed by a beamed upper figure and principal
  
  Contour: Compound strike/approach into 0; exact relative chord tones uncertain
  
  Rhythm: Short beamed attack
  
  Reading note: Low-medium
Leopold Mozart (1719–1787)

Versuch einer gründlichen Violinschule, Augsburg, 1755/56

Consult source — Deutsches Textarchiv

5 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Battement

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 16. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. First, high-register group
  LM16-F6-A
  
  contextual occurrence confidence: medium-high
  
  Source sign: First, high-register group
  
  Contour: Lower-neighbor alternation (0,-1)xN -> 0
  
  Rhythm: Rapid six-ish-note group
  
  Reading note: Medium-high
2. Second, middle-register group
  LM16-F6-B
  
  contextual occurrence confidence: medium-high
  
  Source sign: Second, middle-register group
  
  Contour: Same pattern, transposed
  
  Rhythm: Rapid group
  
  Reading note: Medium-high
3. Third, lower-register group
  LM16-F6-C
  
  contextual occurrence confidence: medium-high
  
  Source sign: Third, lower-register group
  
  Contour: Same pattern, transposed, followed by a written contextual leap/rest
  
  Rhythm: Rapid group
  
  Reading note: Medium-high
Leopold Mozart (1719–1787)

Versuch einer gründlichen Violinschule, Augsburg, 1755/56

Consult source — Deutsches Textarchiv

3 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Schleifer

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 16. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
6 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Upper excerpt, two placements (LM16-F7-A1)
  LM16-F7-A1
  
  contextual occurrence confidence: high
  
  Source sign: Upper excerpt, two placements
  
  Contour: Rising slide -2,-1,0, second instance more compressed
  
  Rhythm: First as small-note sign, second as rapid written notes
  
  Reading note: High
2. Upper excerpt, two placements (LM16-F7-A2)
  LM16-F7-A2
  
  contextual occurrence confidence: high
  
  Source sign: Upper excerpt, two placements
  
  Contour: Rising slide -2,-1,0, second instance more compressed
  
  Rhythm: First as small-note sign, second as rapid written notes
  
  Reading note: High
3. Lower excerpt, four placements (LM16-F7-B1)
  LM16-F7-B1
  
  contextual occurrence confidence: medium-high
  
  Source sign: Lower excerpt, four placements
  
  Contour: Four rising double-grace approaches into successive principals; one begins below by a wider interval
  
  Rhythm: Two rapid grace notes into each main note
  
  Reading note: Medium-high; preserve each local transposition
4. Lower excerpt, four placements (LM16-F7-B2)
  LM16-F7-B2
  
  contextual occurrence confidence: medium-high
  
  Source sign: Lower excerpt, four placements
  
  Contour: Four rising double-grace approaches into successive principals; one begins below by a wider interval
  
  Rhythm: Two rapid grace notes into each main note
  
  Reading note: Medium-high; preserve each local transposition
5. Lower excerpt, four placements (LM16-F7-B3)
  LM16-F7-B3
  
  contextual occurrence confidence: medium-high
  
  Source sign: Lower excerpt, four placements
  
  Contour: Four rising double-grace approaches into successive principals; one begins below by a wider interval
  
  Rhythm: Two rapid grace notes into each main note
  
  Reading note: Medium-high; preserve each local transposition
6. Lower excerpt, four placements (LM16-F7-B4)
  LM16-F7-B4
  
  contextual occurrence confidence: medium-high
  
  Source sign: Lower excerpt, four placements
  
  Contour: Four rising double-grace approaches into successive principals; one begins below by a wider interval
  
  Rhythm: Two rapid grace notes into each main note
  
  Reading note: Medium-high; preserve each local transposition
Leopold Mozart (1719–1787)

Versuch einer gründlichen Violinschule, Augsburg, 1755/56

Consult source — Deutsches Textarchiv

6 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

lange Vorschläge · kurze Vorschläge

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 17. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
8 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. lange Vorschläge (T17-F1-A1)
  T17-F1-A1
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange Vorschläge
  
  Source sign: Four paired examples across the upper staff
  
  Contour: Each is an adjacent appoggiatura into local 0; directions alternate with the melody
  
  Rhythm: Long values divided between appoggiatura and resolution; includes tied/syncopated contexts
  
  Reading note: Medium-high
2. lange Vorschläge (T17-F1-A2)
  T17-F1-A2
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange Vorschläge
  
  Source sign: Four paired examples across the upper staff
  
  Contour: Each is an adjacent appoggiatura into local 0; directions alternate with the melody
  
  Rhythm: Long values divided between appoggiatura and resolution; includes tied/syncopated contexts
  
  Reading note: Medium-high
3. lange Vorschläge (T17-F1-A3)
  T17-F1-A3
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange Vorschläge
  
  Source sign: Four paired examples across the upper staff
  
  Contour: Each is an adjacent appoggiatura into local 0; directions alternate with the melody
  
  Rhythm: Long values divided between appoggiatura and resolution; includes tied/syncopated contexts
  
  Reading note: Medium-high
4. lange Vorschläge (T17-F1-A4)
  T17-F1-A4
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange Vorschläge
  
  Source sign: Four paired examples across the upper staff
  
  Contour: Each is an adjacent appoggiatura into local 0; directions alternate with the melody
  
  Rhythm: Long values divided between appoggiatura and resolution; includes tied/syncopated contexts
  
  Reading note: Medium-high
5. kurze Vorschläge (T17-F1-B1)
  T17-F1-B1
  
  contextual occurrence confidence: high
  
  Printed term: kurze Vorschläge
  
  Source sign: Four written small-note placements across the lower staff, with three explicit realized pairs at right
  
  Contour: Adjacent grace into local 0
  
  Rhythm: Very short grace followed by nearly full-value principal; right side shows compact beamed realizations
  
  Reading note: High for category; medium for exact onset placement
6. kurze Vorschläge (T17-F1-B2)
  T17-F1-B2
  
  contextual occurrence confidence: high
  
  Printed term: kurze Vorschläge
  
  Source sign: Four written small-note placements across the lower staff, with three explicit realized pairs at right
  
  Contour: Adjacent grace into local 0
  
  Rhythm: Very short grace followed by nearly full-value principal; right side shows compact beamed realizations
  
  Reading note: High for category; medium for exact onset placement
7. kurze Vorschläge (T17-F1-B3)
  T17-F1-B3
  
  contextual occurrence confidence: high
  
  Printed term: kurze Vorschläge
  
  Source sign: Four written small-note placements across the lower staff, with three explicit realized pairs at right
  
  Contour: Adjacent grace into local 0
  
  Rhythm: Very short grace followed by nearly full-value principal; right side shows compact beamed realizations
  
  Reading note: High for category; medium for exact onset placement
8. kurze Vorschläge (T17-F1-B4)
  T17-F1-B4
  
  contextual occurrence confidence: high
  
  Printed term: kurze Vorschläge
  
  Source sign: Four written small-note placements across the lower staff, with three explicit realized pairs at right
  
  Contour: Adjacent grace into local 0
  
  Rhythm: Very short grace followed by nearly full-value principal; right side shows compact beamed realizations
  
  Reading note: High for category; medium for exact onset placement
Daniel Gottlob Türk (1750–1813)

Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen, Leipzig und Halle, 1789

Consult source — IMSLP

8 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Triller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 17. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. tr, *allegro assai*
  T17-F2-A
  
  written realization confidence: high
  
  Source sign: tr, *allegro assai*
  
  Contour: (+1,0)xN -> 0
  
  Rhythm: Fast, relatively few broad rapid notes
  
  Reading note: High
2. tr, *andante*
  T17-F2-B
  
  written realization confidence: high
  
  Source sign: tr, *andante*
  
  Contour: Same alternation
  
  Rhythm: More closely spaced/more numerous notes over the same value
  
  Reading note: High; tempo-specific realization must remain separate
3. Grace/preparation note plus tr
  T17-F2-C
  
  written realization confidence: high
  
  Source sign: Grace/preparation note plus tr
  
  Contour: Prepared trill: adjacent preparation into (+1,0)xN -> 0
  
  Rhythm: Held/slurred preparation then rapid chain
  
  Reading note: High
4. Long wavy trill sign
  T17-F2-D
  
  written realization confidence: medium-high
  
  Source sign: Long wavy trill sign
  
  Contour: Trill beginning after a tied/held onset, then alternation
  
  Rhythm: Sustained onset followed by rapid chain
  
  Reading note: Medium-high
Daniel Gottlob Türk (1750–1813)

Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen, Leipzig und Halle, 1789

Consult source — IMSLP

4 variants catalogued · complete facsimile witness · MEI pending
Trillervarianten Trill variants

Triller mit Zusatz von unten · Triller mit Zusatz von oben

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 17. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Triller mit Zusatz von unten
  T17-F3-A
  
  written realization confidence: high
  
  Source sign: Hooked compound glyph
  
  Contour: Lower approach -1,0, then (+1,0)xN, with turn-like ending
  
  Rhythm: Rapid chain with short prefix/suffix
  
  Reading note: High for direction
2. Triller mit Zusatz von unten
  T17-F3-B
  
  written realization confidence: high
  
  Source sign: Written lower grace-note approach plus tr
  
  Contour: Same formula, onset explicitly notated
  
  Rhythm: Beamed lower pickup plus rapid chain
  
  Reading note: High
3. Triller mit Zusatz von unten
  T17-F3-C
  
  written realization confidence: medium-high
  
  Source sign: Alternative after oder, with a different terminal hook
  
  Contour: Same lower-added trill with alternate ending
  
  Rhythm: Rapid chain plus suffix
  
  Reading note: Medium-high
4. Triller mit Zusatz von oben
  T17-F3-D
  
  written realization confidence: high
  
  Source sign: Hooked-above compound glyph
  
  Contour: Upper approach, then (+1,0)xN, with upper/turn suffix
  
  Rhythm: Rapid chain
  
  Reading note: High for direction
5. Triller mit Zusatz von oben
  T17-F3-E
  
  written realization confidence: high
  
  Source sign: Written upper beamed approach plus wavy continuation
  
  Contour: Same formula, notes explicit
  
  Rhythm: Beamed approach plus long rapid alternation
  
  Reading note: High
Daniel Gottlob Türk (1750–1813)

Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen, Leipzig und Halle, 1789

Consult source — IMSLP

5 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Doppelschlag · umgekehrter Doppelschlag · prallender Doppelschlag · geschnellter Doppelschlag

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 17. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Doppelschlag - moderato
  T17-F4-A
  
  written realization confidence: high
  
  Source sign: Standard horizontal turn sign
  
  Contour: +1,0,-1,0
  
  Rhythm: Even four-note turn
  
  Reading note: High
2. Doppelschlag - adagio
  T17-F4-B
  
  written realization confidence: high
  
  Source sign: Same sign
  
  Contour: +1,0,-1,0
  
  Rhythm: Unequal/slower turn
  
  Reading note: High
3. umgekehrter Doppelschlag
  T17-F4-C
  
  written realization confidence: high
  
  Source sign: Reversed S-like turn glyph
  
  Contour: -1,0,+1,0
  
  Rhythm: Rapid four-note inverted turn
  
  Reading note: High
4. prallender Doppelschlag
  T17-F4-D
  
  written realization confidence: medium-high
  
  Source sign: Combined prall/turn glyph
  
  Contour: 0,+1,0,-1,0
  
  Rhythm: Rapid five-note group after/within a slur
  
  Reading note: Medium-high
5. geschnellter Doppelschlag
  T17-F4-E
  
  written realization confidence: medium
  
  Source sign: Small grace-note plus turn glyph
  
  Contour: 0,-1,0,+1,0?
  
  Rhythm: Rapid five-note group
  
  Reading note: Medium; verify exact direction against Türk before publication
Daniel Gottlob Türk (1750–1813)

Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen, Leipzig und Halle, 1789

Consult source — IMSLP

5 variants catalogued · complete facsimile witness · MEI pending
Mordent Mordent

Mordent

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 17. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
2 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Short crossed mordent
  T17-F5-A
  
  written realization confidence: high
  
  Source sign: Short crossed mordent
  
  Contour: 0,-1,0
  
  Rhythm: Three rapid notes then sustained principal
  
  Reading note: High
2. Long crossed mordent
  T17-F5-B
  
  written realization confidence: high
  
  Source sign: Long crossed mordent
  
  Contour: (0,-1)xN -> 0
  
  Rhythm: Longer rapid group
  
  Reading note: High
Daniel Gottlob Türk (1750–1813)

Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen, Leipzig und Halle, 1789

Consult source — IMSLP

2 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Battement · Schneller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 17. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Battement
  T17-F6-A
  
  contextual occurrence confidence: medium-high
  
  Source sign: First upper-line occurrence
  
  Contour: Lower-neighbor alternation around local 0
  
  Rhythm: Rapid repeated group
  
  Reading note: Medium-high
2. Battement
  T17-F6-B
  
  contextual occurrence confidence: medium-high
  
  Source sign: Second upper-line occurrence, rising into a final note
  
  Contour: Same pattern transposed, then contextual ascent
  
  Rhythm: Rapid group plus final longer note
  
  Reading note: Medium-high
3. Schneller
  T17-F6-C
  
  written realization confidence: medium-high
  
  Source sign: First lower-line sign/equality
  
  Contour: Short lower-neighbor snap 0,-1,0
  
  Rhythm: Compact beamed group
  
  Reading note: Medium-high
4. Schneller
  T17-F6-D
  
  contextual occurrence confidence: medium-high
  
  Source sign: Second lower-line placement
  
  Contour: Same snap in a later context
  
  Rhythm: Compact beamed group
  
  Reading note: Medium-high
Daniel Gottlob Türk (1750–1813)

Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen, Leipzig und Halle, 1789

Consult source — IMSLP

4 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Schleifer

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 17. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
4 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Two small rising notes before a main, followed by equality
  T17-F7-A
  
  contextual occurrence confidence: high
  
  Source sign: Two small rising notes before a main, followed by equality
  
  Contour: -2,-1,0
  
  Rhythm: Two grace notes become a rapid written triplet-like group
  
  Reading note: High
2. Wavy Schleifer sign before a main, followed by equality
  T17-F7-B
  
  contextual occurrence confidence: high
  
  Source sign: Wavy Schleifer sign before a main, followed by equality
  
  Contour: Rising slide into 0
  
  Rhythm: Compact rapid group
  
  Reading note: High for contour
3. Lower excerpt, slur/line-shaped sign between lower notes
  T17-F7-C
  
  contextual occurrence confidence: medium
  
  Source sign: Lower excerpt, slur/line-shaped sign between lower notes
  
  Contour: Rising two-step approach to 0
  
  Rhythm: Grace-like lead-in then sustained main
  
  Reading note: Medium
4. Lower excerpt, second line-shaped placement
  T17-F7-D
  
  contextual occurrence confidence: medium-high
  
  Source sign: Lower excerpt, second line-shaped placement
  
  Contour: Same, transposed and rhythmically compressed
  
  Rhythm: Two fast notes into main
  
  Reading note: Medium-high
Daniel Gottlob Türk (1750–1813)

Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen, Leipzig und Halle, 1789

Consult source — IMSLP

4 variants catalogued · complete facsimile witness · MEI pending
Vorschlag Appoggiatura / grace note

lange oder accentuirte Vorschläge · kurze oder accentuirende Vorschläge

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 18. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
8 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. lange oder accentuirte Vorschläge (H18-F1-A1)
  H18-F1-A1
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange oder accentuirte Vorschläge
  
  Source sign: Four upper-line placements
  
  Contour: Adjacent appoggiaturas into local 0; accent marks are integral to the examples
  
  Rhythm: Long appoggiaturas, generally taking a substantial share of the principal; includes tied and dotted contexts
  
  Reading note: Medium-high
2. lange oder accentuirte Vorschläge (H18-F1-A2)
  H18-F1-A2
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange oder accentuirte Vorschläge
  
  Source sign: Four upper-line placements
  
  Contour: Adjacent appoggiaturas into local 0; accent marks are integral to the examples
  
  Rhythm: Long appoggiaturas, generally taking a substantial share of the principal; includes tied and dotted contexts
  
  Reading note: Medium-high
3. lange oder accentuirte Vorschläge (H18-F1-A3)
  H18-F1-A3
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange oder accentuirte Vorschläge
  
  Source sign: Four upper-line placements
  
  Contour: Adjacent appoggiaturas into local 0; accent marks are integral to the examples
  
  Rhythm: Long appoggiaturas, generally taking a substantial share of the principal; includes tied and dotted contexts
  
  Reading note: Medium-high
4. lange oder accentuirte Vorschläge (H18-F1-A4)
  H18-F1-A4
  
  contextual occurrence confidence: medium-high
  
  Printed term: lange oder accentuirte Vorschläge
  
  Source sign: Four upper-line placements
  
  Contour: Adjacent appoggiaturas into local 0; accent marks are integral to the examples
  
  Rhythm: Long appoggiaturas, generally taking a substantial share of the principal; includes tied and dotted contexts
  
  Reading note: Medium-high
5. kurze oder accentuirende Vorschläge (H18-F1-B1)
  H18-F1-B1
  
  contextual occurrence confidence: medium
  
  Printed term: kurze oder accentuirende Vorschläge
  
  Source sign: Four lower-line placements
  
  Contour: Adjacent short attacks into local 0; includes an octave-displaced bass/grace context at the right
  
  Rhythm: Short accented grace groups, some explicitly beamed
  
  Reading note: Medium; the final low note is contextual rather than part of a simple neighbor formula
6. kurze oder accentuirende Vorschläge (H18-F1-B2)
  H18-F1-B2
  
  contextual occurrence confidence: medium
  
  Printed term: kurze oder accentuirende Vorschläge
  
  Source sign: Four lower-line placements
  
  Contour: Adjacent short attacks into local 0; includes an octave-displaced bass/grace context at the right
  
  Rhythm: Short accented grace groups, some explicitly beamed
  
  Reading note: Medium; the final low note is contextual rather than part of a simple neighbor formula
7. kurze oder accentuirende Vorschläge (H18-F1-B3)
  H18-F1-B3
  
  contextual occurrence confidence: medium
  
  Printed term: kurze oder accentuirende Vorschläge
  
  Source sign: Four lower-line placements
  
  Contour: Adjacent short attacks into local 0; includes an octave-displaced bass/grace context at the right
  
  Rhythm: Short accented grace groups, some explicitly beamed
  
  Reading note: Medium; the final low note is contextual rather than part of a simple neighbor formula
8. kurze oder accentuirende Vorschläge (H18-F1-B4)
  H18-F1-B4
  
  contextual occurrence confidence: medium
  
  Printed term: kurze oder accentuirende Vorschläge
  
  Source sign: Four lower-line placements
  
  Contour: Adjacent short attacks into local 0; includes an octave-displaced bass/grace context at the right
  
  Rhythm: Short accented grace groups, some explicitly beamed
  
  Reading note: Medium; the final low note is contextual rather than part of a simple neighbor formula
Johann Nepomuk Hummel (1778–1837)

Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, Wien, 1828

8 variants catalogued · complete facsimile witness · MEI pending
Triller Trill

Triller · uneigentliche oder getrillte Noten

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 18. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Triller
  H18-F2-A
  
  written realization confidence: high
  
  Source sign: tr plus long extension line over an open principal
  
  Contour: Long upper-neighbor trill (+1,0)xN, ending with written two-note termination and principal
  
  Rhythm: Very long even rapid chain
  
  Reading note: High
2. uneigentliche oder getrillte Noten
  H18-F2-B
  
  written realization confidence: medium
  
  Source sign: First pair of wavy-marked descending notes
  
  Contour: Rearticulated/tremulated principal and neighbor within each notated value; contour follows the descending line
  
  Rhythm: Each long note subdivided into a short repeated-note/neighbor group
  
  Reading note: Medium
3. uneigentliche oder getrillte Noten
  H18-F2-C
  
  written realization confidence: medium-high
  
  Source sign: Second descending pair after equality
  
  Contour: Same effect, explicitly written as two local rapid groups
  
  Rhythm: Beamed repeated-note/neighbor figures
  
  Reading note: Medium-high
Johann Nepomuk Hummel (1778–1837)

Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, Wien, 1828

3 variants catalogued · complete facsimile witness · MEI pending
Doppelschlag Turn / double cadence

Doppelschlag

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 18. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
5 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Standard S-like turn sign over first upper-line placement
  H18-F4-A
  
  contextual occurrence confidence: high
  
  Source sign: Standard S-like turn sign over first upper-line placement
  
  Contour: +1,0,-1,0
  
  Rhythm: Very compact group before the resolution
  
  Reading note: High
2. Same sign over second upper-line placement
  H18-F4-B
  
  contextual occurrence confidence: high
  
  Source sign: Same sign over second upper-line placement
  
  Contour: Standard turn, transposed and after an approach
  
  Rhythm: Rapid group
  
  Reading note: High
3. Reversed turn sign over third upper-line placement
  H18-F4-C
  
  contextual occurrence confidence: high
  
  Source sign: Reversed turn sign over third upper-line placement
  
  Contour: Inverted turn -1,0,+1,0
  
  Rhythm: Compact group
  
  Reading note: High
4. Lower-line first placement, longer beamed approach plus turn
  H18-F4-D
  
  contextual occurrence confidence: medium
  
  Source sign: Lower-line first placement, longer beamed approach plus turn
  
  Contour: Turn embedded in a longer approach; core +1,0,-1,0
  
  Rhythm: Extended rapid group
  
  Reading note: Medium
5. Lower-line second placement with equality
  H18-F4-E
  
  contextual occurrence confidence: medium-high
  
  Source sign: Lower-line second placement with equality
  
  Contour: Standard turn expanded after a held/approach note
  
  Rhythm: Four rapid notes ending on 0
  
  Reading note: Medium-high
Johann Nepomuk Hummel (1778–1837)

Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, Wien, 1828

5 variants catalogued · complete facsimile witness · MEI pending
Mordent mit Vorhalt · Schneller · Battement Compound mordent / battement

Schneller

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 18. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Crossed/wavy Schneller over first descending principal
  H18-F6-A
  
  written realization confidence: medium-high
  
  Source sign: Crossed/wavy Schneller over first descending principal
  
  Contour: Lower-neighbor snap 0,-1,0
  
  Rhythm: Short beamed realization
  
  Reading note: Medium-high
2. Same sign over second descending principal
  H18-F6-B
  
  written realization confidence: medium-high
  
  Source sign: Same sign over second descending principal
  
  Contour: Same, transposed
  
  Rhythm: Short beamed realization
  
  Reading note: Medium-high
3. Same sign over third descending principal
  H18-F6-C
  
  written realization confidence: medium-high
  
  Source sign: Same sign over third descending principal
  
  Contour: Same, transposed
  
  Rhythm: Short beamed realization
  
  Reading note: Medium-high
Johann Nepomuk Hummel (1778–1837)

Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, Wien, 1828

3 variants catalogued · complete facsimile witness · MEI pending
Schleifer Slide

Schleifer

PDF chart-cell facsimile untranscribed visual witness · all printed material in this cell

Untranscribed visual witness from Brändle’s chart, source row 18. The image preserves the printed marks in this cell but does not provide a text or machine-readable transcription of its musical contents. Open it to inspect the original-size facsimile.
3 individually catalogued examples show descriptions

These diplomatic descriptions make every audited item addressable and searchable. The chart-cell image above remains the notation witness; only entries explicitly labelled MEI are independent digital engravings.
1. Upper excerpt, first two-small-note sign plus equality
  H18-F7-A
  
  contextual occurrence confidence: high
  
  Source sign: Upper excerpt, first two-small-note sign plus equality
  
  Contour: Rising slide -2,-1,0
  
  Rhythm: Two grace notes realized as a rapid beamed approach
  
  Reading note: High
2. Upper excerpt, second placement
  H18-F7-B
  
  contextual occurrence confidence: medium-high
  
  Source sign: Upper excerpt, second placement
  
  Contour: Same family in a descending/local transposition; preserve source direction
  
  Rhythm: Rapid beamed approach into tied principal
  
  Reading note: Medium-high
3. Lower excerpt, wider/longer rising sign plus equality
  H18-F7-C
  
  contextual occurrence confidence: medium
  
  Source sign: Lower excerpt, wider/longer rising sign plus equality
  
  Contour: Extended rising slide, approximately -3,-2,-1,0
  
  Rhythm: Three rapid notes into a sustained principal
  
  Reading note: Medium; exact starting degree uncertain
Johann Nepomuk Hummel (1778–1837)

Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, Wien, 1828

3 variants catalogued · complete facsimile witness · MEI pending

Source register (18 works; 17 digital links)

Tomás de Santa María, Arte de tañer fantasía (Valladolid, 1565) Biblioteca Nacional de España
Girolamo Diruta, Il Transilvano (Venezia, 1593) Library of Congress (1593 first edition)
Michael Praetorius, Syntagma Musicum (Wolfenbüttel, 1619) The chart's source is Syntagmatis musici tomus tertius (1619). Universitätsbibliothek Freiburg
John Playford, An Introduction to the Skill of Musick (London, first published 1654) Library of Congress (1667 edition)
Jacques Champion de Chambonnières, Pièces de Clavecin (Paris, 1670) Bibliothèque nationale de France — Gallica
Jean-Henry d’Anglebert, Pièces de Clavecin — Marques des Agréments et leur signification (Paris, 1689) Bibliothèque nationale de France — Gallica
Henry Purcell, Lessons for the Harpsichord or Spinet — Rules for Graces (London, 1696) Library of Congress
Jacques-Martin Hotteterre le Romain, Premier livre de pièces pour la flûte traversière et autres instruments avec la basse, œuvre 2 (Paris, 1708) The chart cites the work's 1708 date; the ornament table appears in the revised 1715 edition linked here. Bibliothèque nationale de France — Gallica
François Couperin, Pièces de Clavecin, Livre premier (Paris, 1713) IMSLP (1713 edition scan)
Johann Sebastian Bach, Clavierbüchlein für Wilhelm Friedemann Bach (Köthen, 1720) The ornament explanation is in the autograph Clavier-Büchlein, folio 3v. Yale University Library — Beinecke
Gottlieb Muffat, Componimenti Musicali per il Cembalo (Wien, 1727) Chart citation retained literally; modern cataloguing places the publication in Augsburg, undated [c. 1739], rather than Vienna 1727. IMSLP (library-source scans)
Jean-Philippe Rameau, Pièces de Clavecin, deuxième livre (Paris, 1731) Bibliothèque nationale de France — Gallica
Johann Joachim Quantz, Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752) Deutsches Textarchiv / SUB Göttingen (1752 first edition)
Carl Philipp Emanuel Bach, Versuch über die wahre Art das Clavier zu spielen (Berlin, 1753) Library of Congress
Friedrich Wilhelm Marpurg, Die Kunst das Clavier zu spielen (Berlin, 1750) The chart prints Berlin 1750; the linked BSB catalogue dates Part I to 1751. Bayerische Staatsbibliothek
Leopold Mozart, Versuch einer gründlichen Violinschule (Augsburg, 1755/56) Deutsches Textarchiv
Daniel Gottlob Türk, Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen (Leipzig und Halle, 1789) IMSLP
Johann Nepomuk Hummel, Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel (Wien, 1828)

Starting concordance: Liselotte Brändle, Die „Wesentlichen Manieren“ (Ornamente in der Musik): ihre Zeichen, Namen und Ausführung, Wien: Österreichischer Bundesverlag für Unterricht, Wissenschaft und Kunst, 1974 (consulted printing 1985; ISBN 3-215-01547-1). National Repository Library catalogue record