From left to right : dominant seventh, dominant ninth, dominant thirteenth, dominant seventh with raised fifth, dominant seventh with a rising chromatic appoggiatura on the fifth, and dominant seventh flattened fifth.
32.
A couple of nights ago, I was cruising right through a light, entertaining science fiction paperback when I had to slam on the brakes to keep from running right over " appoggiatura ."
33.
He is a pragmatist when it comes to performing Mozart : Aside from his use of contemporary instruments, he shies away from appoggiaturas and lavish vocal ornamentation, countenances some cuts and opposes supertitles as crutches for the operatically illiterate.
34.
William Mitchell, from a Schenkerian perspective, does not see the G as an appoggiatura because the melodic line ( oboe : G-A-A-B ) ascends to B, making the A a passing note.
35.
This ascent by minor third is mirrored by the descending line ( cello : F-E-D, English horn : D ), a descent by minor third, making the D, like A, an appoggiatura.
36.
:" the voice moves over a series of scales, played by all the strings, so that the singer at each note which he has to utter, hears an appoggiatura of a minor second from the orchestra.
37.
Traits characteristic for composers of this school are a particular fondess for Adagio movements and precise attention to ornaments and dynamics, as well as the liberal use of appoggiaturas ( " sigh " figures ) and frequent melodic and harmonic chromaticism.
38.
The Squids evolved from the " Appoges " ( after " appoggiatura ", a grace note ) of the 1980s and 1990s, who handled props but also carried their own " instruments " ( frisbees, stuffed giraffes, lounge chairs ).
39.
Essential considerations of a style such as Charlie Parker's, including " rhythm, phrase shape and length, dynamics, and tone color, " as well as " passing tones, appoggiatura, and'blue notes'" are unaddressed.
40.
The Adagietto's theme " is classically balletic, with supple rhythms, graceful turns, sighing fourths, and sweet appoggiaturas and suspensions . " The movement consists of " quasi-variations that . . . are organized according to the sonata principle ."
