ornmentation for violinists
Now, Free ornamentation for the violin:
I will mostly share with you what I have found out about Corelli, but lets start with an example by Tartini: (you may want to open the video in a new tab.)
Adagio from varie de plusiurs facons differentes by Tartini. Performed by Genevieve Gilardeau Baroque Violin and Lucas Harris Baroque Lute at the Beaches Baroque concert in Toronto Sept 2009
This is a rounded binary form. which we might write out as AA Ba'Ba'. Here is a score.
The performers take both repeats, and the violinist plays Tartini's Graces on the repeats.
I like this example a lot. It seems to me that Tartini, in his choice of wiggles and wobbles, is the kind of musician who prefers the showy to the profound. Nevertheless, I feel he has the same feeling for form that many other players of the time exhibit in their elaborations of Corelli. The biggest cadences, that is to say, the ones you need a ritard for, are at the end of the A section, and in this case, at the end of the B and also the end of the small a section.
You can find this Tartini Adagio at the end of Cartier's L'art du violon, 1798.
However, Corelli's violin sonatas are a richer source of information about Free or arbitrary graces, or ornaments, than Tartini, that's how I feel about it, anyway. You may want to have a copy of Corelli's version of this music as a basis for comparison with the later ornamented versions I will be introducing below. You can obtain a score from in International Music Library project. http://imslp.org/
Here is an example of a movement from Corelli's Sonata # 8 in e, opus 5, graced by the violinist Michael Festing:
The 16th notes in at the bottom fit nicely into the Allamanda of the same sonata.