idem. Doppelcadence und Mordant. idem. Accent steigend. (rising.)
Accent fallend. (falling.) Accent u. Mordant. Accent u. Trillo. idem.
The greater number of these ornaments,[190] as we see by the table, do not begin upon the given note. However, if a turn occur at the beginning of a piece, or if it ornament a characteristic interval (as, for example, in the fugue in F minor), the essential note should be struck first; even if such a rendering produce a discord with the other parts.
The mordent—it is the pincé simple or the "pluck" of Chambonnières, Couperin, and Le Bègue, who had borrowed it from lute-players[191]—is generally diatonic, although with this exception: if the note which it affects be marked with an accidental in the same measure, the accidental must be observed in executing the mordent.
These ornaments should be played "with regard for their value and upon the beat";[192] however, an excessive rigor in this respect should not be affected; Bach did not exact such precision, and did not attach to these figures such great importance that he did not feel at liberty to substitute for them, in copies of these same pieces made by himself, other and practically equivalent ones. Certain of them are, moreover, quite rare; for example, the accent. We find it employed, at least in the organ compositions, only in an arrangement of the chorale Allein Gott in der Höh' sei Ehr' (Gloria in excelsis). No piece could be more elaborated than this one; and in it are introduced a majority of the signs employed by Bach; we borrow from Mr. E. Dannreuther's interesting work, "Musical Ornamentation,"[193] the transcription of the first six measures of this chorale, fully written out. Such an example will be more instructive than all we could say upon this subject, if the reader will take pains to compare this interpretation with the musical text as found in the well-known editions:[194]
