[Smt-talk] The Concept of Appoggiatura

[Matthew Heap]

Just my two cents:  when I learned theory (with the Walter Piston* Harmony*),
we definitely segregated appoggiatura out from the unaccented non-harmonic
tones.  In fact, if I remember correctly, we called an unaccented figure
that Kostka and Payne would describe as an appoggiatura a "reaching tone."
 I must say that when I first started to teach from the Kostka/Payne, I
rebelled against the idea of the all-encompassing appoggiatura because, as
Dimitar points out, there is a big difference between an accented and
unaccented non-harmonic tone.  I feel like they were (are) trying to make
theory a little more...user-friendly for undergraduates (which is a fine
goal as far as it goes).  Now I try to walk the tightrope of sticking to
the textbook, so as not to cause undue consternation, while emphasizing
that there is a crucial difference between the way an accented appoggiatura
acts versus an unaccented "appoggiatura."

Best,
Matthew Heap

--------------------------------------------
Dr. Matthew Heap
Professorial Lecturer in Music
American University

On Mon, Oct 22, 2012 at 6:55 PM, Daniel Roca <drocacan at gmail.com> wrote:

> I can only speak from the usual concepts employed around here (Spain, I
> don't know if other South European countries). And I must say I don't
> recognize what Kotska and Payne describe as appogiatura as such.
>
> As it is described here normally, an appogiatura required indeed an accent
> (it's its main characteristic) and does not require a leap at all. I had
> never seen this description. An "unaccented" appogiatura could only be
> imaginable relativately, i. e. a relatively weak appogiatura resolving to
> an ever weaker note.
> Another common definition of "appogiatura" is an "articulated suspension",
> although I don't like this definition very much.
>
> But, again, this is just the usage around here. My 2 c. worth.
>
> El 22/10/2012, a las 22:49, Ninov, Dimitar N escribió:
>
> Dear Colleagues,
>
> There are a lot of things and situations in conventional books that are
> highly objectionable and not solidly supported. One example of what I think
> of as a false concept, is the manner the appoggiatura is presented in the
> Kostka/Payne book and other books (not in all American books, though). This
> concept is neither historically nor practically supported; it seems to have
> been “invented” by someone who could not find peace until all the non-chord
> tones have been placed in one basket and indiscriminately labeled by
> melodic contour only - thus mixing weak and strong.
>
> The difference between unaccented and accented non-chord tones is
> essential. While the former occur after the chord and create a subtle
> nuance in the harmonic motion, the latter enter with the chord, create a
> harmonic conflict, and require special treatment. This is why an
> indiscriminate classification of all non-chord tones by melodic contour
> alone creates a misleading picture that mixes up strong and weak
> dissonances and ignores the fundamental difference in their aural effect.
> It does not make sense to simply label as a “passing tone” a note that
> creates a clang with a chord and resolves like a suspension, or to call an
> “appoggiatura” a metrically weak tone that enters after the chord.
>
> Many theorists, among whom Hugo Riemann and Richard Stör, refer to the
> appoggiatura as “suspension” (Vorhalt ) or “free suspension” (frei Vorhalt)
> to suggest that it has a similar effect. (Riemann, Dictionary of Music,
> revised ed. 1897, trans. by J. S. Shedlock. Philadelphia: Theo. Presser,
> 1899, 29; and Stör, Praktischer Leitfaden der Harmonielehre. Wien:
> Universal-Edition, 1917, 61.
>
> Therefore, the appoggiatura, or the leaning tone, is not about a melodic
> contour but about a moment of entrance and a necessity for resolution. In
> this sense it may appear as an accented passing, accented neighboring or
> accented leaping dissonance.
>
> In some theory books, the appoggiatura is explained as a non-chord tone
> that is approached by a leap and left by a step. This notion is not
> supported historically, and it is all the more surprising because it
> assumes the existence of weak appoggiaturas. In fact, the appoggiatura
> emerged in the 16th century counterpoint as an accented passing tone
> (Robert Jones, Harmony and Its Contrapuntal Treatment. New York: Harper,
> 1939, 60), and the so-called “long appoggiatura” in the keyboard practice
> of the Baroque Era was approached both stepwise and by a leap. We know that
> the verb “appoggiare” means “to lean” and therefore it implies a tone which
> leans on the chord on a metrically accented position. Consequently, there
> are no “weak appoggiaturas”, unless they are included in a syncopation
> figure, where they will still be accented.
>
> I would highly appreciate any comments on that issue.
>
> With best regards,
>
> Dr. Dimitar Ninov, Lecturer
> School of Music
> Texas State University
> 601 University Drive
> San Marcos, Texas 78666
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> _________
> Mark Twain: Haz siempre lo correcto. Esto gratificará a algunos, dejará
> atónitos al resto.
>
> Daniel Roca
> Músico
> drocacan at gmail.com
>
>
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-- 
--------------------------------------------
Dr. Matthew Heap
Professorial Lecturer in Music
American University
Katzen 214
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