Très (Fr.) (tray)
Very; as, Très vite, very fast.
Triad. A chord of three sounds; a common chord, consisting of root, 3d major or minor, and 5th. If the 5th is diminished, it is called a diminished triad; if augmented, an augmented triad. Maj.
Min.
Dim.
Aug.
Triangle. A pulsatile instrument, consisting of a steel rod bent into an equilateral triangle. Struck with a small steel rod, it gives a very clear penetrating sound.
Trill, Trillo (It.), Trille (Fr.), Triller (Ger.). The rapid iteration of the written note and the note above, indicated by the sign, tr The trill continues to the end of the waved line. The following exhaustive account of the trill is abridged from Russell's "Embellishments of Music":- The oldest form of trillo was a mere repetition of a tone; thus:- The gruppo of the Italians approaches nearer the modern trill :- டி Tourjee, Eben. Writer; U. S. A. B. 1834; d. 1891.
Tours, Berthold. Composer, violinist; Holland. B. 1838; d. 1897. Tourte, F. (toort). Violin-bow maker; d.
France. B. 1747; d. 1835.
TRILL TRILL Gruppi.
Trillo.
Another old form of embellishing a tone was called the ribattuta, thus :- J.
The oldest form of the modern shake was held to be derived from appoggiaturas and their resolutions.
Marpurg, Em. Bach, and Türk, all claim the shake to be a rapid succession of appoggiaturas. (Vorschläge von oben.) There is no doubt, however, that the shake came quite directly from the gruppo, as explained by Caccini (1600), and the attempt to square its delivery with the appoggiatura quite overlooked the real character of the embellishment, which differed essentially from the harmonic grace. Until the time of Beethoven, the trill beginning with upper auxiliary note was most generally used.
However, the present method of beginning with the principal tone was gradually gaining the attention of writers, even Marpurg sounding a note of warning (1755) against the " vicious innovations" of some who began the pralltriller with the principal tone. The trill is generally finished with a turn.
The after-turn is usually written out at the close of the trill, but whether or not this be so, the trill is not complete without this closing beat:tr To make the trill symmetrical with an afterturn, an additional tone is inserted, just before the close, otherwise there will be a break between the last and the next to the last beats; thus :- This gap between D and B is filled by the insertion of an additional principal tone, which will make the next to the last beat contain three tones (a triplet); thus:- This makes a satisfactory close to a trill, the two beats (five notes) making a complete turn of quintuplet form. Many writers call this (quintuplet) the turn of the trill, but properly speaking the after-turn of the trill is only the last beat, the triplet preceding being a real part of the trill.
From this it will be seen that the beats of a trill may be either twofold or threefold, and the smallest complete trill, according with the modern acceptation of the correct form of the embellishment, would be with two beats, five notes; thus :- 3 However, in Bach, and even later-in Mozart-trills are sometimes quite consistent with correct performance which have two beats of two notes; thus:tr In more modern music, however, this would scarcely be justified, unless marked with an appoggiatura upon the upper degree (as per rule quoted).
The rapidity of a trill is reckoned by the number of beats, not by the number of tones, sounded within a given note's time.
The trill upon a long note has no positive number of beats, this being decided, in case there is no particular accompanying figure, by the character of the composition and also measurably by the ability of the interpreter. The after-turn, however, should always be played in the same time as the trill, regardless of the size of note used for its representation in the notation. If these notes be of regular size, forming part of the measure, they will be a guide as to the rapidity of the trill, the after-turn of which will constitute one beat. tr 2 4 Execution:- TRILL TRILL The inverted trill (i. e., beginning with upper tone) completes itself without the triplet before the after-turn; thus:- 煮 Inverted:tr Execution:- Normal:tr Execution:- -5 The incomplete trill has no after-turn, being the simple alternation of the principal tone with its auxiliary.
When followed by an unaccented note, the trill may be incomplete, but must not end with the auxiliary tone, for all trills must close with the principal tone; thus:tr In the old form, beginning on upper auxiliary, the smallest actual trill possible would be of four notes (two beats), since the single twofold beat an appoggiatura. a is but Accompanied trills require a strict rhythmic conformity with the accompaniment.
If the trill be accompanied by a single note, the number of beats is somewhat optional, yet they should be in some direct ratio with the rhythm of the piece.
In duple or quadruple time, the beats should be two, four, or eight in number, on an eighth or fourth note, while on a dotted note in triple measure three beats will be found symmetrical in effect.
If the trill be accompanied by groups of notes, the number of beats must be more strictly determined. Thus, a trilled note, with four accompanying tones will require either two, four, or eight beats, according to the duration of the note :- 8 Beats:- २ 3 Execution :- 3 5 4 Beats:- 3 In this case the last beat of the trill contains three tones, thus bringing a triplet at the end of the ornament.
This is always the case with incomplete trills beginning on principal tone, therefore the smallest possible trill in modern music contains a single beat of three tones,-principal, auxiliary, principal :- The trill of one beat can only occur on very short notes, as the pralltriller explained in previous paragraph. tr tr If the trill be accompanied by three notes, there will be either three or six beats. 3 Beats :- 3 6 Beats :- 3 Execution:- When the tempo is very rapid, making it impracticable to play a trill of four beats to the group, and yet too slow for two beats only (practically making the trill, note for note, with the accompanying figure), the trill may TRILL be made with one threefold beat, followed by a fourfold turn, as follows :- The same arrangement of the trill may be used with two beats, one of three notes and one of two notes, in case of a rapid accompaniment of three tones, thus :tre 5 TRILL The same rules, however, regarding the after-tone will apply here as in the older rendering.
The trill upon a tied note or on a note followed by another on same degree (without trill) requires a single lower auxiliary to form a turn immediately before the second note.
This note may be written in, or not, but is always required. 3 tr 8 The five notes are played as a quintuplet (equal in length), against the triplet in the accompaniment.
In the older classics, a trill upon a dotted note is played according to the rule for a turn similarly placed, i. e., the last tone falls upon the time of the dot.
This is much used in classic cadences, with anticipated final note.
If the following note be above the trilled tone, the turn is required, but if it be below, the turn is not necessary, the trill ending with principal tone upon the dot.
First:- 3 2 tr Execution:- 3 -2 Second:- あじ டி tr Execution:- 6 Execution:- #3 8 A brilliant modern device in trilled passages is the gradual quickening of the frequency of the beats, from a simple beat to a double, triple, etc.
This, with combined crescendo and diminuendo, produces an effect somewhat similar to the ancient ribattuta. Some composers have indicated such methods of trilling in full, thus :tr Execution:- 3 月 3 5 The chain of trills [Ger., Trillerketten; It., catena di trilli] is a succession of trilled tones ascending or descending by degrees or by skips.
If the notes be very short and in quick succession, not more than the simplest form of threefold beat can be played. trtrtrtr While the turn is not essential in the second example above, yet it could readily be used, and to insure a more accurate ensemble, in case of more than one performer, the phrase would better be closed with a turn after the trill.
The more modern method of treatment of trills on dotted notes would be to trill the entire length of the tone (with dot), and consider the short tone following of the same length as the notes of the trill.
Execution:- 3 3 3 5 The after-turn need not always be used, if not written in the phrase. This will be decided largely by the rapidity of the passage.
More elaborate and less rapid chains of trills require a complete trill upon every tone, and frequently the notes are of suffi- TRILL cient length to allow a trill of several beats, thus:- Allegro. tr tr tr Execution:- 5 5 あじ A chain of trills without after-tones, as follows, is also authorized by such authorities as Türk, Bach, etc. Execution:or tr tr TRILL In the performance of a classic work the player or singer is allowed the privilege of discrimination in choice, but it may be generally stated that the modern ear will less likely be offended by the accenting of the principal tone than of the auxiliary.
But if one desires to give an exact classic rendering of Bach, or even so recent a composer as Mozart, the embellishments throughout must be consistent in their delivery and not mixed, the trills especially being made either all of modern or older pattern. In the latter case, the quaintness of some of the ancient embellishments produces very charming effects, and no amount of objecting criticism can avail against the performance as a true classic rendering.
In modern music especially there will be found various approaches to the trill, thus, each indicating the same effect :- Written. tr tr tr This manner of performance gives the accent to the upper auxiliary tone.
In extremely rapid tempo, a very effective trill chain may be used with but four tones, beginning upon the upper auxiliary and closing with a twofold after-turn. tr tr tr tr 1 Execution. 2 3 Older manner. or, Execution:- Instead of the following more modern manner :- Wagner (Musikalische Ornamentik) gives a strong and rapid introductory beat to longer trills, which may often be used with good effect; thus:- 5 5 This short form has been called the half trill, and is only used with beginning on upper auxiliary tone.
Instead of the conventional after-turn of two notes, frequent use is made (especially by modern composers) of an elaborate closing figure as a "tirata" #3 tr :- The four notes here will constitute two beats of the same rapidity as the beats of the trill.
The various beginnings of a trill may be applied to the modern manner of performance or the older way, i. e., with accent upon the principal tone or the upper auxiliary.
This immediately throws the accent of the trill upon the upper auxiliary, although it begins with the principal tone, thus seemingly fulfilling the requirements of both the older and the modern rules. Ludwig Klee also uses this form of the introductory beat, but with the difference that the first beat forms a triplet :- 3 This ingenious delivery of the trill is not frequently seen, but will certainly bear careful study, and is especially helpful in cases of doubt as to which of the methods of delivery to use (the old or modern).
In the case of tied notes, when the second note is a shorter one and not to be trilled, as:tr TRILL the former way of delivery used no afterturn, and consequently the only proper beginning of the trill was on the principal tone, as the trill from the upper auxiliary made a weak close. 春 not 春 There were many similar disadvantages attending the old manner of trilling, yet withal much of artistic force often follows its use.
The rules given should be carefully applied in all cases of doubt, when the composer has not indicated by a small note the tone upon which the trill enters.
TRILL It will be well for the student to bear in mind that the greater weight of opinion among classic reviewers and editors rests with the older method of trill delivery (from upper tone), and most editions of Beethoven, Mozart, Haydn, etc., having annotations, give this manner of performance as correct. It is to be remarked, however, that modern performers (virtuosi), who really create the style and through whom we expect the better elements of traditions to be conserved, do not, as a rule, testify in their performances to the absolute truth of this manner of trilling.
More modern composers (Chopin, Schumann, etc.) have so positively written their trills, with the accent upon the principal tone, as to have cultivated almost beyond recall, even in the greater virtuosi, the feeling for such a manner of performance rather than with the accented upper auxiliary.
Examples. The Trill. b tr~ a tr 2 4 Written. (Mozart.) Execution. 3 2 4 4 4 4 4 Written.
C tr d Adagio. tr 2 3 (Mozart.) Execution. 2 e Adagio.
Written. tr tr 3 (Haydn.) Execution. ee tr 3 Written. tr TRILL Execution.
Written. g Allegro. tr Execution. f Allegro. tr TRILL (Mozart.) fp 3 tr tr 3 3 5 From above (inverted), in strictly classic readings. a Written. 2 4. (Mozart.) Execution. 2 4 tr Written. b tr (Händel.) Execution.
Written.
C 3 (Bach.) Execution. tr tr TRILL TRILL Written. tr tr (Haydn.) Execution.
Written. e 3 4 (Händel.) Execution. tr 4 Written. f 3 4 tr Execution. 53 4 With Appoggiatura or slurred note.
Written. a 2 (Bach.) Execution. tr b tr C (Haydn.) 6 6 Unusual prefixes and closes. (Double After-beat, etc.) Written. a tr Execution. b tr 2/61 C tr 126 26 TRILL Written. tr Execution.
Written. tr f 3 4 (Mozart.) Execution. 3 4 3 Written. g 3 4 (Bach.) 3 4 Execution. or etc. tr e tr Written.
Allegro. htr (Mozart.) Execution. tr Written. tr i Allegro.tr j tr 3 (Händel.) Execution.
TRILL 3 tr tr etc. etc.
TRINKLIED TROPPO Written. tr k 4 (Händel.) Execution. 53 4 Written. (Mozart.) Execution. 3 tr 5 3 Written. tr m tr tr 22 2 4 4 Old style. or Execution. 2 4