Again he illustrates the same subject with a passage taken from a piano and violin sonata of Beethoven. The non-legato passages here are not to be played on the violin in a way approaching the staccato, although they are written as detached notes; and the piano part follows the rendering of the violin.
A final illustration is furnished in the "Turkish March" of Mozart.
The proper manner of writing the graceful gruppetto is here given—with an illustration following of how it is to be correctly played, and how it is incorrectly executed.
[5] Next is illustrated the two ways of playing the mordant.
[4] Finally, are several examples of the appoggiature,—showing both the way they are written, and the way they are to be executed.
The last line of the music above is an example of how in Haendel the rhythm as interpreted differs from that in which the passage is written.