Interjecting well placed embellishments into a static musical phrase is an oft used and effective way to "spice it up" - so as to make it more varied and interesting.
One of these common ornamentation techniques involves the use of what is known as a mordent - a single, rapid alternation from a primary note in the melodic line to a neighboring tone a half or whole tone above or below it.
Mordents first came into vogue during the Baroque period of Western classical music (early 1600´'s to mid 1700's). As their interpretations have evolved over time, their usage continues across a broad spectrum of musical styles and cultures.
One of these common ornamentation techniques involves the use of what is known as a mordent - a single, rapid alternation from a primary note in the melodic line to a neighboring tone a half or whole tone above or below it.
Mordents first came into vogue during the Baroque period of Western classical music (early 1600´'s to mid 1700's). As their interpretations have evolved over time, their usage continues across a broad spectrum of musical styles and cultures.
So what do these mordents look like exactly? Example #1 (below) on the left shows a squiggly line above the note - known as an upper mordent - indicating a single eighth or sixteenth note modulation with the note either a whole or half step above it - the choice being up to the performer.
The note on the right shows the same squiggle, but with a small vertical line through it - indicating the same action, this time with the note a half or whole tone below, known as a lower mordent.
Ex. 1 - Upper and Lower Mordents
The note on the right shows the same squiggle, but with a small vertical line through it - indicating the same action, this time with the note a half or whole tone below, known as a lower mordent.
Ex. 1 - Upper and Lower Mordents
Example #2 shows a typical 4-bar ii-V7-I cadence in F Major with no embellishments. Bars #1 & #2 begin on a common tone (C) - the 11th of G minor and the root of C7, respectively. In the first measure, the notes are all derived from the F Maj Pentatonic scale, and in the second bar, they're all part of C# (or Db) Melodic Minor.
Rhytmically, the first two measures are made up exclusively of eighth-notes.
Ex. 2 - Give it to me straight
Rhytmically, the first two measures are made up exclusively of eighth-notes.
Ex. 2 - Give it to me straight
This all works perfectly fine, but how could we give it a little more "pazazz"? One method is the use of mordents.
In example #3, the previously mentioned "rapid alternation" takes place between the 1st & 2nd, 3rd & 4th, 5th & 6th and 7th & 8th notes of each of the first two measures, rhythmically subdividing the first eighth note in each case into a sixteenth and 2 thirty-second notes. This example is written out in full, with the primary notes alternating a semitone above in each case, as an example of an upper mordent.
Ex. 3 - Upper mordent, written out in full.
In example #3, the previously mentioned "rapid alternation" takes place between the 1st & 2nd, 3rd & 4th, 5th & 6th and 7th & 8th notes of each of the first two measures, rhythmically subdividing the first eighth note in each case into a sixteenth and 2 thirty-second notes. This example is written out in full, with the primary notes alternating a semitone above in each case, as an example of an upper mordent.
Ex. 3 - Upper mordent, written out in full.
Example #4 illustrates how the line might appear if we chose to use the squiggly-lined upper mordent, also referred to as a "flippity-bip" (by no one other than myself).
Ex. 4 - Upper mordent, over the second sixteenth note in a line of swung eighth notes.
Ex. 4 - Upper mordent, over the second sixteenth note in a line of swung eighth notes.
Because the eighth notes are swung, it seems rhythmically more accurate to place the mordent squiggle over the second sixteenth note of each beat, rather than to simply place it over each of the first eighth notes (see Ex #2), as one might encounter in a straight-eighth classically styled piece. Plus, there´s no indication whether the alternating note is a half or a whole step away.
Interpreting a mordent as a musical ornamentation is largely up to the performer, who should be conscious of style, context and intention.
Interpreting a mordent as a musical ornamentation is largely up to the performer, who should be conscious of style, context and intention.
Listen
Both the audio example and the Free B. downloadable pdf (link above) are reflected in example #3, which employs a half-step upper mordent exclusively. Again, being open to interpretation - and to certain instrument specific and fingering considerations - a whole step alternation might be desired. Because of the speed of the mordent, the effect is usually the same in either case.
The pdf is written out in all 12 keys.
To flippity-bip is hip,
but be careful not to trip, and
bust up your lip!
B. Stern
The pdf is written out in all 12 keys.
To flippity-bip is hip,
but be careful not to trip, and
bust up your lip!
B. Stern
Want to create your own amazing musical lines? The following Shortbooks™ break it all down for you and show you how. Simply add them to your library!
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