The first part of this series presented a few 17th-century instruction books for the flageolet and recorder. It illustrated continuity in ornamentation practice as the first of them ceded its position in urban amateur music making to the second. The present post moves that discussion into the 18th century and brings reed instruments into it. An instruction book for the Baroque oboe — “hautboy” — comparable to those for the flageolet and recorder was published in London in 1695, titled The Sprightly Companion.
The tunes can be played comfortably on all the explicitly named instruments. (Unqualified reference to a “flute” at that date meant a Baroque recorder, in this case one in C.) Ornamentation is clarified with tablature as in the books examined last time. The Ɔ sign that indicates both a “beat” and a “shake” in them, is used in this one exclusively for a shake executed downward from the note to which it is applied. Here is the first line of the explanatory table with a concluding remark in this post’s banner image.
The absence of a corresponding ornament played from above is surprising. Earlier and later instructions for beginners on other wind instruments include both devices, normally labeling one a shake and the other a beat. Proficient players went beyond them with more intricate ornaments, often written as combinations of the two basic devices. This includes the turn that is a focus of this series alongside its Irish counterpart, the roll.
Continue reading “Turns and rolls — Part 2”
