Georg Muffat's Observations On The Lully Style of Performance

Translated by KENNETH COOPER and JULIUS ZSAKO
Georg Muffat was born in Savoy In 1653. From 1663 until 1669
he studied in Paris, and in 1671 he became rhetorician at the Jesuit
Gymnasium in Molsheim (Alsace). In 1678 he was appointed to the
Salzburg court, where he became organist and valet-de-chambre to the
Archbishop. A trip to Rome, during which Muffat worked with Pasquinl and Corelli, ended with his return to Salzburg in 1682 and the
appearance of his first printed work, Armonico tribute. Muffat moved
to Munich in 1690 to become Kapellmeister and eventually Governor
of the Pages to the Bishop of Passau, where he died in 1704.l Five
printed collections of Muffat's music appeared during his lifetime, and
his instructive prefaces to these works, along with a thoroughbass treatise (1699), represent Muffat's contribution to musical theory.
His Florilegium Secundum (1698), a collection of ballet music for
strings composed between 1691 and 1695, was prefaced by a short
treatise in four languages on Lulllan performance practice. The work
is a first-hand description of the Lullian style, written with the eye of
a performing musician and composer who was trained in this style
and who must have had the opportunity to witness Lully's orchestra
at work or In concert. Muffat (1695) rightfully claims some credit for
the Introduction of this style into Germany, where it had a profound
influence. Many of the principles described by him apply equally well
to some of the orchestral music of Bach and Handel; indeed certain
of these principles are as valuable today as they were in 1698.
Muffat's treatise is presented heTe complete, except for the Preface,
which is already available in English.1 Of the four languages that ap' Gottlieb Muffal (1690-1770), one of his nine children, studied with Fiut, and was best
known for his organ and harpsichord music
1
Oliver Strunk, ed.. Source Readings in Music History, New York, 1950, pp. 445-47.
220
Downloaded from http://mq.oxfordjournals.org/ at University of Bath Library & Learning Centre on June 20, 2015
GEORG MUFFAT'S OBSERVATIONS ON THE

LULLY STYLE OF PERFORMANCE
Muffat on the Lully Style of Performance
221
The Second Florilegium of Airs de Ballets for strings, containing

sixty-two pieces chosen according to the style which is beginning to
' Denkmiler der Tmikunst in Osterrtick, Vol. IP (4), ed. Hdnrich Rleudi, Vienna, 1895,
pp. 1-56.
peared in the original edition, the Latin and Italian texts seem to have
been based on the French, which in turn, may well have been a translation of the German version. For the present English translation, we
have combined all four versions and included variant readings where
they were of interest. Although brackets surround a few interpolations
of our own, certain liberties of translation and modernization have
been taken widiout notice since a complete modern reprint is available
for research.3 The chart of ornaments has been devised with the intention of clarifying die difference in terminology among the various
languages. We should like to express our obligation and thanks to
Professor Denis Stevens.
The work is dedicated to the brothers Johann Traugott and Uebgott,
Counts of Kuefstein. In the flowery dedication Muffat explains that "by
the command of His Highest Reverence my MostGracious Prince, some
of these Partitas have been composed to be played with festive rejoicing
at several receptions honoring the presence of Your Most Illustrious
Family of the House of Kueffstein, as well as special guests, expressing
their best wishes to the Most Reverend and Illustrious Lord Bishop;
and by the Most Illustrious Lord Marshall's most prudent orders, the
above-mentioned Partitas, as well as all the odier pieces contained in
this work, were newly composed for the reception of Princes and odier
magnates visiting this court, for the exercise of the Most Illustrious
Youth in die art of dancing, for the preparation of dramas and scenes,
for the novelty of the dances and the agility of die dancers, and for
the exactness of die harmony and fullness of instrumental sound, always bringing about die most enthusiastic applause. Odier dian diat,
the benevolence of bodi these patrons has overwhelmed me with innumerable favors, each above my merit, protecting me from the snares
of diose envious of me. And if in diis Ftorilegium diere be found something useful or pleasing, music lovers will remain most indebted to your
Excellencies for it; your generosity has already taken care of die printing costs, and without such help not only my feeble compositions, but
also the more learned creations of most worthy men and writers would
often have remained buried in oblivion." Translators
222
The Musical Quarterly
{Preface is here omitted]

THE AUTHOR'S FIRST OBSERVATIONS ON THE STYLE OF
PLAYING AIRS DE BALLETS IN THE FRENCH MANNER ACCORDING TO THE LATE MONSIEUR LULLY'S METHOD: for
which the musical examples, referred to from time to time along with
what is said in this discourse, will be found in order and at the beginning of the viola part.4
The style of playing airs de ballets on string instruments in the
manner of die late, most famous Monsieur Battiste de Lully, here understood in all its purity and acclaimed by die best musicians in
Europe, is so ingenious a study diat one can scarcely imagine anything more precise, more agreeable, or more beautiful.
In order to discover its principal secrets in a few words, you should
know, dear music-lover, diat it has at once two aims, linked admirably together: to appeal to the ear; and to mark the movements of
die dance so well that one may recognize Immediately to which type
each piece belongs, and may feel Inspired, in spite of oneself, widi a
desire to dance. To succeed in these it seems to me that five considerations are necessary. First, to play in tune. Second, for all die players
in die band to observe die same manner of drawing die bow. Third,
to keep constant die true tempo of each piece. Fourth, to heed certain
practices concerned widi repetitions, Interpretation of certain notes,
* In this edition the examples have been Inserted in the appropriate places In the im
flourish more and more in this country, composed and played in concert with much success at the brilliant ceremonies of the court of Passau, such as the reception of princes and other persons of high quality, and for the dancing practice of noble youths. They can be played
satisfactorily in four or five parts, with Basso Continuo ad libitum,
and are divided into eight Partitas, like as many bouquets, in various
keys. To be enriched by Prefaces in four languages, which observations are most necessary for the proper understanding and familiarity
with the truly elegant way of performing these same Airs, so that
others may further perfect the noble art of music, with which this kind
of harmony is associated. By Georg Muffat, Capellmeister and Governor of the Pages to His Most Reverend Highness, My Lord the
Prince-Bishop ofPassau. In Passau, at the Author's, printed by Georg
Adam Holler, M.DC.XCVIII.
223
stylistic propriety and dance-character. Finally, to know how to use

with judgment beautiful decorations and appropriate ornaments, which
light up the piece, as it were, like precious stones. The verses that
follow comprise the five points:
I. PLAYING IN TUNE
There is no difference among the finest masters of any nation regarding purity of sound or accuracy of intonation. Only apprentices,
ignoramuses, and Incompetents in all countries disobey the rules.
Nothing is betteT in avoiding ugly sounds than instruction and correction by an experienced master, from whom, we imagine, the basic
principles of this art will already have been learned; I do not intend
to discuss them here.
I will say only that in addition to good instruction, frequent musicmaking with people of excellent taste will be a great help in acquiring
and conserving a sensitive ear. One should avoid playing with those
who would do more to spoil the ear than to improve it.
I have noticed that the defects of those that play poorly arise mostly from the two notes [stops] which make up a semitone (e.g. mi and
fa, A and Bb, B and C, Ff and G, Cff and D, Gf and A, etc.). They
never play the mi or sharped note high enough or the fa or Bb low
enough.
When we use vibrato or similar tricks on notes played uncertainly,
we do great harm to true intervals, to the flow of the melody, and to
the harmonic relationships'.
Finally, the ear will be spoiled, even if the right note is played,
when the.finger is not pressed down firmly enough, which will result
in a most disagreeable scraping, whistling, or rasping.
II. THE MANNER OF BOWING
The majority of German violinists and other players of upper string

Instruments hold the bow as the French [Lullists] do, pressing the hair
with the thumb and resting the other fingers on the stick of the bow;
the French hold it the same way when playing the bass. The Italians,
among others, differ in playing these upper instruments in that they
Fingering, bowing, tempo, practice, ornament

Bring life to the violin and sweetness to 1U tone.
224
Ex. I
never touch the hair; and gambists and other bass-players differ in
that they place their fingers between the hair and wood of the bow.
Moreover, although all the finest masters, regardless of their nationality, agree with each other that the longer, steadier, sweeter, and
more even the bow-stroke is, the finer it is considered; nevertheless, it
should be mentioned that as far as the rules for up-bow or down-bow
are concerned, the Germans and the Italians disagree among themselves and agree only occasionally with the French.
However, it is well known mat die Lullists, whom the French, the
English, those from the Low Countries, and many others follow, all
observe an identical way of bowing, even if a thousand of them play
together. They all observe the same way of playing die principal notes
in the measure: above all, diose diat begin die measure, diose that define the cadence, and those that most clearly emphasize the dance
rhythm.
This uniformity, so necessary for marking the dance-movement, is
not found among our players in Germany, regardless of dieir excellence. Many gendemen, on dieir return from foreign parts, have remarked that such a great difference in sound was often astonishing
and diat die dances were considerably altered. To obviate diis disorder and danger of confusion, I have diought to please die curious
by remembering here certain of the principal rules of die French mediod of bowing. The mark | placed over a note signifies down-bow,
and the mark v up-bow.
1. The first note in each measure, where there is no rest or breadi,
should be played down-bow, regardless of its value. This is die principal and almost indispensable rule of die Lullists, on which almost
the entire secret of bowing depends, and which differentiates uiem from
the odiers. All subsequent rules depend on diis rule. In order to know
how the odier notes fall into place and are to be played, one must
attend to die following rules.
2. In common time, which die dieorists call "tempus imperfectum,"
the measure Is divided equally in half. Notes on odd parts of die
measure ( 1 , 3, 5, etc.) are played down-bow, and diose on even parts
(2, 4, 6, etc.) should be played up-bow.
225
The rule applies also in triple meter, or any meter where the beats
are diminished equally in half. I call diminutions all those notes that
are faster than those values indicated in the time signature.
Ex. 2
I p 1 t> I p
I
( p I p I p I p
1 * 3 4 S 8 ttc.
ttc.
This way of counting equal divisions of beats is similarly observed if

rests of the same value appear instead of notes.
Ex. 3
V
|f
1 2
\* r r ir
1 2 3 4
12
3 4 8
1 I 3 4 8 ttc.
All the finest masters agree readily with the French on this second rule.
3. Since, according to the first rule, the first note in the measure is
down-bow, the second of three equal notes (which comprise a complete
measure in triple time) is always up-bow, and the third is once again
down-bow, at least when one plays rather slowly; therefore in beginning the measure following, one must play down-bow for the second time in succession.
Ex.4
Grave
More often, however, the second and third notes are played In the
same up-bow stroke, divided distinctly in two. This is called craquer.
It allows the measure to go a little faster with greater ease.
Ex. 5
Allegro
f fr i
4. In Proportione Sextuplaf?] the measure is divided into two basic
parts.
Ex.6
rr
1 2
1 2
3
2
1 2 3 4 5 8 7 8 9
226
In Proportione Nonupla[~j] the measure is divided into three parts.

o
Ex. 7
' i i
1
3~^
10
In Proportione Duodecupla [vr ] the measure is divided into four parts.
In these distributions, each part contains three of those values indicated in the time signature. The first of the three equal notes is almost
always played down-bow, for a clearer sound, even if the group does
not begin the measure, and the two others are played in an up-bow
stroke, divided in two. If there is a rest Instead of the first note, the
following note should unquestionably be played down-bow.
Ex. 9
1 2
r ii
r iin a t i i * r p imH I U r
i?3
1
L-! 5
*
12 3 1
1 T
12 3 1 2
3
4
5. When several notes, each of one measure duration, appear in

succession, each should be down-bow.
Ex. 10
f
In six, or in twelve, several successive notes of equal value should be
played alternately down-bow and up-bow according to whether they
fall on an odd or even note, as explained in the second rule;
Ex. 11
I
but in nine, they follow the first aspect of the third rule (triple meter).
Ex. 12
I
1 3
Ex. 8
227
6. Several equal successive syncopated notes usually require downbow and up-bow alternatively. We are concerned here with equal notes.
Ex. 13
Ex. 14
I
t>
I V
or divided up-bow, if it should occur this way:

Ex. 15
i
ttc.
The first two beats of smaller value are played with divided up-bows:
Ex. 16
V
I V
I V
1 2 3 1 2 3 4 ttc.
If other smaller values follow after that, they are played up-bow and
down-bow alternately. As far as pauses and rests are concerned, they
can be counted as notes.
Ex. 17
ttc.
1 2 3 4
1 1 ] 1 lit.
8. When subdivisions of the measure consist of three notes, and the

first has a dot after it, it is ordinarily down-bow.
Ex. 18
9. Several successive notes, each completing the measure (or subdivision) after a pause or rest, should be down-bow and up-bow alternately, regardless of the said rest or pause.
7. As far as mixed note-values are concerned, the first of the smaller values following longer values should be counted the odd number,
so that it can be played down-bow, if it should come out that way,
228
Ex. 19
Tr
\ * r ' r 1
|T
Ex. 20 a
b
pi
c
i
Mr
ip
- TrTr Mr
If the longer syncopated note Is also up-bow, it will be necessary to

divide the up-bow stroke in half, thereby adding the following note to
it (indicated by ).
Ex. 21
|
'-
1=
1
r i '
r '
Because of the rapid tempo of courantes, one excepts sometimes those

notes that begin each even-numbered beat (wishing to interpret this type
of piece as triple meter); these notes, if so desired, can sometimes be
played up-bow for better effect and greater ease, whereas those that begin the odd beats and thus emphasize the dance rhythm all die more
are always played down-bow. Therefore it happens in die above-mentioned courantes diat not every beat but every alternate beat should be
emphasized.
Ex. 22
Couranie
p
'I
1 1
'II
Vi [
|i
r i ~ p | i - i ^ .
Other than that, the first rule concerning die first note in the beat is
always observed rigorously; as for other notes that begin a subdivision,
eitheT in regard to small remaining parts of beats in gigues, canaries,
or otheT similar cases, because of dieir speed, it is often necessary to
rely on the specifications of the fourth, eighth, and tenth rules. Example
23 shows what is to be done when frequent dots are Intermingled with
the notes.
10. The little note by itself before the beginning of the measure (Ex.
20a) as well as the one that passes quickly after a dot or after a short
rest (Ex. 20b) and likewise the smaller note diat follows a larger syncopated one (Ex. 20c) should always be up-bow.
229
Ex. 23
Glgue
ir
Ex. 24
Bourr6e
Finally, when two little notes such as two sixteenth notes are joined to
some other note purely as an ornament, they are sometimes played
each to its own stroke, and sometimes for greater sweetness they are
joined with the preceding note in one stroke or two.
Ex. 25
m
It is clearly being false to the Lullian method to play the first note
of a measure up-bow, but among the Germans and Italians this often
occurs in triple meter, particularly when the first note is shorter than
the second. Out of this divergence of opinion and this transgression of
the aforesaid first rule arises a very great difference in bowing, which
affects the execution of the stated first notes as much as those following and dependent on them. To make this diversity better understood,
I have indicated the same series of notes played in two styles: that
known to some Germans and Italians (Ex. 26a), and diat according
to the French method (Ex. 26b).
Moreover, It Is repugnant to the liveliness of the Lullists' tenth rule
and Is contradictory to rule seven to connect the little note, after a dot
or short rest, with the following note in the same bow-stroke (Ex. 27a),
which to the French, should be played as in Ex. 27b.
Similarly, for speed, one must often countermand the eighth rule in
bourrees and other similar airs, which are unhesitatingly bowed according to Example 24, always allowing the first rule to take precedence. In these last three examples I have indicated this liberty with an
asterisk (").
230
Ex. 26
a Menuet
P I
r " ' r" pr" ' 'Ir

i p
Ul
I
>
p i
" M I J I r "HI i u i r r
IP
gir r i
=l=fc
!_
pi
pi
-H-+i
'
i r
However, on the contrary, it would be permissible, if the occasion

called for it, to join the aforesaid little note to the preceding one "en
araquant."
Ex. 28
r
These are the essential rules of the Lullian bowing method, which
are usually followed rigorously and uniformly in the upper part, the
inner parts, and even in the bass. Despite so many bow-strokes back
and forth, one hears at no time anything disagreeable or harsh, but
on the contrary, a marvelous coordination at great speed and in long
bow-strokes, in an admirable steadiness of beat in the dance movements and in a diversity of tempos, in tender charm, and in vivacious
playing. All of this is the great excellence of the true Lullists.
HI. TEMPO
Concerning the various tempos, three points should be observed:

1. To understand thoroughly the true tempo of each piece.
2. Having understood this, to know how to maintain that same
tempo without slowing down or speeding up for as long as one is playing the same piece.
3. To alter and compensate briefly for the value of certain notes for
the sake of greater beauty.
Ex.27
Muffat on die Lully Style of Performance
231
Ex. 29
*
'M 'I r ip p
[r
"
Pr
i r [ f r irrf f r ^
Modern reprlni In D.T.O., VoL I1 (2), cd. Heinrtch Rletsch, Vienna, 1894. English translation of Preface in Strunk, up. dt., pp. 442-45.
1. As for die first point, I have already indicated which pieces require a slower or faster tempo in die preface to die first Florilegium or
collection of my airs de ballets, printed in Augsburg in 1695, to which
I refer die reader; he will be able to find diis work, die first of my
works for strings, at Wilhelm Panneker, bookseller in the same city.5
Why die Lullists use in dieir ballets a measure In two beats (alia
breve), radier dian die usual four beats, I will reserve to explain at
anodier time. But for die best understanding of die true tempo of each
piece in diese ballets, odier dian frequent practice widi die Lullists, I
find diat knowledge of die art of dance is a great help and diat die
majority of die finest string players In France understand diis full well,
so it Is no miracle diat diey know so well how to find and keep the
tempo.
2. Besides having recognized and set die tempo, to know how to
keep it exactly constant for as long as die same piece is played is what
many do not understand. There is often error, eidier over all or sporadically: over all, when die entire piece is played slower or faster one
time dian die next; sporadically, when one slows down or rushes diis
measure or diat note more dian die next one.
a) To avoid errors that could be committed against die two preceding rules, it is necessary, first of all, to reject a certain abuse tolerated among some who, widiout any distinction, play all kinds of
pieces quite quiedy or slowly die first time, anodier time faster, or litde
by litde accelerating, and die last time very quickly and precipitously,
b) Care must be taken at cadences not to halt any more or less dian
die value of die notes requires, c) As to die final measures, diey should
not move more quickly dian die firSt ones; on die contrary, die beat
is always betteT retarded dian rushed. d)One should not be frightened
by die sight of elghdi notes or sixteendi notes, nor press ahead when
diminished note values appear, but instead one should play slowly widi
steadiness and accuracy, e) When diere are groups of diree, one should
allow die final note of each group to have its full value, radier dian
play it, as some do, shorter dian it deserves, diereby rushing die beat
imperceptibly. I have marked diis widi an asterisk ('):
232
f) This error is also easily committed, especially in gavottes, on the

second or fourth note in two-beat measures, and on even-numbered
eighui notes in four-beat measures. Instead it is always better to hold
back the said notes slighdy than to rush them.
Ex. 30
Gavotte
ir
3. Diminutions of the first rank such as slxteendi notes in four-beat

measures, eighth notes in two-beat or alia breve measures, or notes diat
divide a beat in half in slightly quick triple meters and their proportions are, when used successively, not played each equal to the next,
as they are written: for daat would have something of the sluggish, the
crude, and the dull. But diey are altered in the French style, by lengthening each odd-numbered note the value of a dot, rendering the following note shorter to the same extent. Observe die different types, in different meters (Ex. 31a); note also in which way diey should be played,
if the occasion permits it (Ex. 31b).
Ex.31
Allegro
g r r r r =*=
JTJ
Allegro
r pr
Adagio
r r r J ir r
v- r ff i r r = E
233
IV. O F CERTAIN OTHER CUSTOMS OF THE LULUSTS,

WHICH COULD BE OF USE TO OUR SUBJECT
1. The instruments should be well tuned, preferably before the arrival of the audience, or otherwise as quickly and as unobtrusively as
possible.
2. One should refrain from noise before beginning; all sorts of confused preludes which fill the air and the ears cause more displeasure
before die symphony dian there would be pleasure during it.
3. The pitch to which the French tune is ordinarily a tone, and for
operas even a minor third, lower than German pitch (called Cornctton),
which they find too high, too shrill, and too strained. If I were free to
choose, and if anodier consideration were not an obstacle, I would follow the former, which in Germany is called the old Chorton, but employ slightly thicker strings, so that the sweetness does not lack liveliness.
4. One should distribute, and according to the number of musicians
double, the parts with judgment, so that everything is heard distinctly
and agreeably with the usual ornaments. The top part should not be
allocated to the most, or to the best, violins, so that the bass and inneT
parts, among which are hidden die greatest harmonic attractions, are
left destitute because of players insufficient in number and excellence;
we are annoyed to see diis happening often on account of a foolish
ambition to get ahead, with which some persons are afflicted.
5. As to the instruments, the haute-contre (to the Italians, violctia)
part sounds better when played on a medium-sized viola, built somewhat smaller than the taille, than on a violin. To play the bass well,
it is best to use a small French bass (to the Italians, violoncino),
which cannot possibly be omitted without spoiling the true harmonic
proportion. This can be doubled, according to die number of players,
and if that is large, mixing among them the double bass (to the Italians, contrabasso; to the Germans, violone) can only make die concert
more majestic, despite die fact diat the French still do not use it at all
in their airs de ballets.
6. In the preface to my first Florilegium, which die reader may consult, I have indicated what should be observed at repetitions and reprises. The rest will be easily understood by words and terms found
in the pieces, by reprise signs and final notes marked with die word
Fin if it is necessary to end in die middle, and by a little practice.
234
7. It is most useful for the precision of the beat to indicate each one
with a small motion of the foot; the Lullists do it that way.
V. THE PERFORMANCE OF AGREMENTS AND ORNAMENTS
Ex. 32
dp |- - u - iifrrrt " ! JT " ^jtjjj,*1 " iJ|jj'"ii

2. The Tremblement [inverted mordent] begins a note higher and
ends on the note itself. It is eidier simple,
Ex. 33
r
or turned back (reflechissant\ in which case the note below is included
once, and then a brief stop is made on die final note (die French call
it agrbnent, which is too general a term):
Those who without discretion denounce the agrdments and ornaments

of the French method on the grounds that they obscure the melody or
the harmony and consist only of trills, have certainly not examined
this matter thoroughly at all or have never heard the true Lullists play,
but only false imitators. On the other hand, those who have penetrated
the nature and diversity, the beauty and nobility, the true place and the
legitimate use of these ornaments, drawn from the present manner of
singing, to this day have noticed nothing that in the least obstructs the
distinctness of the melody or the clarity of the harmony. In these two
principal aspects of music, they have found nothing unnecessary, but
on the contrary have often found that by means of an admirable activity in all the parts, simple parts are enriched, harsh parts are sweetened, and sluggish parts are awakened. Because the number of these
decorations is larger than many imagine, I will briefly touch on the
principal ones, awaiting an opportunity to treat this more amply one
day, with God's help.
1. The Pincement[mordent] begins and ends on the note itself, making use of die next lower note, usually a semitone below, to trill, which
often, as in this instance, must be raised by a sharp (#). It is played
rather quickly, being most often content with a single flutter.
235
Ex. 34
Ex. 35
3. The Accentuation places a single note before or after its own.

There are six types: three before and three after. Those before the note
are the sur-accent, which takes the next note above,
Ex.36
I r'? II
the sous-accent, which takes the next note below,
Ex. 37
I r
and the sursaut, which takes the note a third higher.

Ex. 38
Those after the note are the accent, which adds the next note above,
Ex.39
the relachement, which adds the next note below,

Ex. 40
or rolling (roulant), which differs from the reflechissant only in that it

does not halt at all on its [final] note, but rolls in one sweep to the
following note and often Includes the two sixteenth notes that appear
with it. This is what harpsichord players call double cadence.
236
and the dispersion, which adds the third or another leap above the
note.
Ex. 41
Ex. 42
rr
r EJ i
5. The Preoccupation, on the other hand, which uses the three last
accentuations, adds to the preceding note the note following it.
Ex. 43
V
Ljrr
r i ir T
6. The Coulement links two or several notes on the same bow-stroke.

It can be simple or figured. The simple Coulement, marked in the composition itself, adds nothing [i.e. no extra notes].
Ex. 44
i\
-l
But something is added when the Coulement is correctly figured, eidier

straight (droit) or turning (tournoyant). The straight Coulement connects two successive notes by adding the notes between them, rather
than leaping from one to the other.
Ex. 45
The turning Coulement wanders here and there at will.

Ex. 46
7. The Exclamation is a type of Coulement, rising three notes scalewise. It is either accessive or superlative. The accessive climbs to its
note:
4. The Port de voix embraces the first three types of accentuations;

of two notes, the first is to be played again before playing the second.
237
Chart of Toms
Latin
German
French
Italian
Halber Triller
or
Zwicker
Tremblement coupe Mezzo trillo,

or
Mordante or
Pincement
Plzzlca
2. Tremulus versus
or
Tremulus integer
a. simplex
b. reflexus
c confluens
Tremulus,
Wahrere Triller
or Canzer Triller
a. Elniach
b. Umbogen
c Zusammen
Fliessend
Tremblement
or
Fredon
a. Simple
b. reflechlssant
c roulant or
double cadence
3. Accentuation
a. praeaccentus
b. subsumptlo
c lnsuhura
d. tuperflde* or
accentus
e. remlssio
f. disjectio
Same as Latin
"
'
"
'
'
'
Accentuation
a. tur-accent
b. sous-accent
c. sursaut
d. superfkk or
ftrr^nt
e. relacbement
f. dispersion
f. disperslone
4. AdminiculAlio
'
Port de volx
Appogglatura
5. Praeoccupatlo
'
Preoccupation
Preoccupatione
,V
32
Trillo
a. Sempllce
b. rtilojo
c involgente
L'accentuatlone
a. pre-accento
b. sotto-accento
c. laharello
d. fuperfideor
accento
a. <,*,* a. 33
b. L b. 34
c. K, c 35
~Sa.
b.
c
d.
36
37
38
39
e. 40
f. 41
42
43
Zusammen FIuss Coukment

or
Schldffung
8_ Elnfarh
a. simple
b. Flguriert
b. figure
1. Grade
1. drott
2. Gebogene
2. toumoyant
Coniluaua
7. Exdamatio
a. acceurva
b. superlative
Exdamaiio
a. Zurdckend
b. Ubergehend
Exclamation
a. accesslve
b. superlative
Esdamazlone
a. accessiva
b. superlative
8. Invohitlo
Elnwtcklung
Involution or
Agremem
Invohura
9. SubcrepaUo
Subcrepalio
Petillement
Crocchlamente
Diminutio
Diminution
Diminutio ne or
Passagglo
52
Tirada
Tirade or
Course
Tlrataor
Corsa
53
6. Confluentia
a. simplex
b. figurata
1. recta
2. flexuosa
10. Diminutio
11. Incunlo
12. Durtunctio
DUlunctio
a. semplice
b. Rgurata
1. drltta
2. glrellante
orglrevole
Staccamento or
Staccato
a- 44
1 . - ^ , ^ 1 . 45
2L^-2. 46
a. >r a. 47
b. >i b. 48
~
49
and 50
1. Semltremulus
or
PerstricUo
Sign Example
238

Ex. 47
J>
I J Eili
the superlative climbs after its note:

Ex. 48
Ex.49
' r
n ii r
and sometimes with a Tremblement.

Ex. 50
V
9. The Petillement differs from the Coulement in that it expresses

notes distinctly, making them crackle [detached] on the same bowstroke.
Ex. 51
ft
10. The Diminution, in place of its slow note, adds several other
small ones suitable to the harmony, each having.its own bow-stroke.
Ex. 52
. . . . . . . .
CJ U" L
^TT
11. The Tirade, or Course, runs as fast as possible up to the note;

it hits many successive notes quickly with extremely livery bow-strokes.
Ex.53
<
I V
I O I V I
V I
jT P" I T J
1 ' I
8. The Involution, which some call agrement, is another type of

Coulement which envelops three notes like a circle, sometimes simply,
239
12. The Detachement. Play each note as if it had a short rest after
it.
Ex. 54
i ii g=
Ex. 55
v n n v n v n v
n v n n v n n v T n
r
Once the following rules have been established, this will be understood
more easily.
1. The Pincemcnt, or Tremblement coupe, can be done almost anywhere, except on the quickest notes, and nothing precludes the playing
of two or more successively, if only the tempo is not too quick.
Ex. 56
ir
r r r
ijjjjnrr^m
2. Beginning a piece or one of its phrases or an ascent or a descent

with a Tremblement is rarely sanctioned except on mi* or sharped notes,
where the Tremblement simple or reflechissant is often used, even when
beginning.
' The third of any triad.
These twelve types of figures or ornaments will suffice for the present;
let us now say a few words about their use.
Of all the notes found in a composition, there are those that are reputed to be good, noble, or principal notes, and others to be weak or
poor notes. The good ones are those that seem naturally to give the
ear a little repose. They are those that are a little longer, those that
begin subdivisions of measures, those that have a dot after them, and
among equal or diminished note values, those that are odd-numbered,
of which most are ordinarily played down-bow. The weak notes are all
the others, which, like passing notes, not satisfying the ear so well,
leave after them a desire to go on. In Example 55, I have marked the
good ones with an n and the bad ones with a v above each note, alluding to the two Latin words nobilis (noble) and vilis (poor).
240
Ex. 57
r Er
Ex. 58
_ fa.
JTT T^
4. In descending stepwise (see Ex. 59) one can easily make some
Tremblements here and there among good notes, particularly those
having a dot after them (a). Sometimes also weak ones that descend
moderately will receive them agreeably, either alone (b) or combined
with the relachement (c). When descending more quickly, make no
Tremblements, except here and there on some good notes (d).
5. In upward leaps (see Ex. 60) one can go to a good note by the
Port de voix alone (a) or with the Pincement (b). Sometimes to stimulate the harmony one uses the straight Coulement alone (c) or wrapped
in a rolling Tremblement, which is still more beautiful (d). The Tirade
is die most lively of all the figures and should be used sparingly (e).
3. In ascending stepwise (see Ex. 58), one goes to the good note
with the Port de voix, either alone (a), or joined to the Pincement (b).
If the notes move too quickly, this ornament is saved until the first
slightly slower good note comes along (c). When the weak note does
not ascend too quickly, it is sometimes given only the Tremblement
reflechissant (d) or combined with a Preoccupation (t) which can join
elegantly with the Port de voix (f), or the Roulant (g). It is harsh to
give ascending good notes a Tremblement, and if one is sometimes
obliged to do so, it should be softened by a Preoccupation (h). M and
sharped notes can be excepted, and whether noble or weak, they should
be almost always decorated with a Tremblement, provided diey do not
pass too quickly (i).
241

Ex. 59
fr
Ex. 60
6. The Tremblement (see Ex. 61) is used very seldom when leaping
downwards, unless it leaps a third (a) or to a mi or sharped note (b);
it should always be simple or reflechissant. Furthermore, a downward
leap introduces itself pleasingly by way of the Preoccupation (c) or by
the Coulement (d)or Petillemeni(e), in a lively way by the Tirade (f),
but by far most agreeably by the Coulement with a delicate trill on the
penultimate note of the descent (g).
Ex. 61
r i ir r
ir
ir r
V I V I
4 i
t> I
gp**j.^
7. In cadences, there are certain notes that demand the Tremblement

and others that refuse it. It is rarely done on the final note of the cadence, except if one leaps down a third,
One does best to soften leaps of a third upwards with the Exclamation
accessive (f), which the Lullists only use in this context and almost
never otherwise. Although leaping to a Tremblement is considered an
error, it is nevertheless allowed very often on mi or sharped notes (g).
242

Ex. 62
descends stepwise,
Ex. 63
Tr
r 9
'
or uses a Preoccupation on aTO/or a sharped note.

Ex.64
ST
- ii r
rr
Moreover, I add here the most frequent and most graceful ways of
forming and ornamenting cadences according to the good taste of the
Lullists, to which one should adjust oneself, observing judiciously the
proper use of the most essential figures to embellish the playing.
Ex. 65
a
Cadences
K.
r ar [>* if bar i ^ i r
rf rrr
n"
IIT^^"^
^ir
P^^
t>
iii
243
Tip
^ae=
8. Since it is not at all good to guess at the right kinds of diminutions, I attach here some of the more useful ones.
Ex. 66
a
b
(
T ri
r r " Ii fi fi fi rnr ri ri ri "
1
i" I I
II| g
i
9. Two Tremblements in succession are not generally approved of;

nevertheless they are permitted when combined with an Accentuation
(see Ex. 67a), or if the second one falls on a major third or a sharped
note (b).
Ex. 67
y- T
P*
p ir ' i
m m
p if
f PE
10. The Detachement is sometimes used to mark the dance movement more clearly when there are notes of moderate value,
Ex. 68
'
y-1
244
measures composed entirely of three-beat notes,

Ex. 69
a r
ii r
or proportionate subdivisions of die same,
but is always expressed clearly, vigorously, and moderately, widiout

affectation and widiout undue pressure on die strings.
I daresay diat die whole secret of die French style of playing ornaments is contained concisely in diese ten rules, on which, as I have
said in die preceding paragraphs, depend a sweetness, vigor, and beauty
peculiar to this method and distinguishing it from odiers.
However, one can err easily, and in four ways, in connection widi
diis principal element of melody, diat certain vain people mistakenly
believe to be of litde importance: by omission, by impropriety, by excess, and by inability. By omission, die melody and harmony become
bare and widiout adornment; by impropriety, die playing is rendered
harsh and crude; by excess, confused and ridiculous; and by inability,
ponderous and stiff. That is why one must exeTdse such diligence in
playing diese precious musical ornaments every time diey are needed,
such caution in knowing die right passages, and such dexterity In projecting diem. Those who neglect a single Port de voix when ascending,
or a single Tremblement on a mi or on a sharped note when it is a
good note, or make die mistake of leaping up to a sole Tremblement,
or use an isolated exclamation odier dian diose we have cited, or find
die least difficulty in giving prompdy and distinctly a smoodi turn
widi diese figures, are often diose who imagine diemselves to be at die
summit of Lulllan perfection and who will soon realize diat diey have
not practiced suffidendy in diis style. It is diis diat, widi die help of
God, we wdl examine successively and always widi die greatest exactness in die other collections of Florilegia diat I will give to die public.
While waiting for diem, my dear reader, I beg you to agree to diese
first observations diat I have heretofore kept mysteriously secret; in
order to inform you liberally, I have taken particular care to reduce
diem into diis sequence. In die name of die love you bear naturally
Ex. 70
245
for music, protect them generously against the envious and against interpretations hostile to my intentions. Attribute any faults you find to
my Insufficiency and. that which seems good to you to Almighty God,
source of all generosity and gTace. Pray that He will grant to Christianity and above all to our beloved Germany peaceful times and influences favorable to the Muses, and that He may graciously grant to
me troubled in many ways, pursuing the various paths to Parnassus,
eluding the black snares of envycontinued life and health under the
most serene shadow of the Austrian eagle, the most gracious protection
of the Prince-Bishop of Lamburg-Passau, and such disposition of affairs
and affections as is conducive to a deeper explanation of these matters
and to the completion of further work designed for your pleasure.

Georg Muffat's Observations On The Lully Style of Performance

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Georg Muffat's Observations On The Lully Style of Performance

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Translated by KENNETH COOPER and JULIUS ZSAKO

GEORG MUFFAT'S OBSERVATIONS ON THE

Muffat on the Lully Style of Performance

The Second Florilegium of Airs de Ballets for strings, containing

The Musical Quarterly

{Preface is here omitted]

Muffat on the Lully Style of Performance

stylistic propriety and dance-character. Finally, to know how to use

The majority of German violinists and other players of upper string

Fingering, bowing, tempo, practice, ornament

The Musical Quarterly

Muffat on the Lully Style of Performance

This way of counting equal divisions of beats is similarly observed if

The Musical Quarterly

In Proportione Nonupla[~j] the measure is divided into three parts.

In Proportione Duodecupla [vr ] the measure is divided into four parts.

5. When several notes, each of one measure duration, appear in

Muffat on the Lully Style of Performance

or divided up-bow, if it should occur this way:

8. When subdivisions of the measure consist of three notes, and the

The Musical Quarterly

If the longer syncopated note Is also up-bow, it will be necessary to

Because of the rapid tempo of courantes, one excepts sometimes those

Muffat on the Lully Style of Performance

The Musical Quarterly

r " ' r" pr" ' 'Ir

However, on the contrary, it would be permissible, if the occasion

Concerning the various tempos, three points should be observed:

Muffat on die Lully Style of Performance

The Musical Quarterly

f) This error is also easily committed, especially in gavottes, on the

3. Diminutions of the first rank such as slxteendi notes in four-beat

Muffat on the Lully Style of Performance

IV. O F CERTAIN OTHER CUSTOMS OF THE LULUSTS,

The Musical Quarterly

dp |- - u - iifrrrt " ! JT " ^jtjjj,*1 " iJ|jj'"ii

Those who without discretion denounce the agrdments and ornaments

Muffat on the Lully Style of Performance

3. The Accentuation places a single note before or after its own.

and the sursaut, which takes the note a third higher.

the relachement, which adds the next note below,

or rolling (roulant), which differs from the reflechissant only in that it

The Musical Quarterly

6. The Coulement links two or several notes on the same bow-stroke.

But something is added when the Coulement is correctly figured, eidier

The turning Coulement wanders here and there at will.

4. The Port de voix embraces the first three types of accentuations;

Muffat on the Lully Style of Performance

Tremblement coupe Mezzo trillo,

Zusammen FIuss Coukment

The Musical Quarterly

the superlative climbs after its note:

and sometimes with a Tremblement.

9. The Petillement differs from the Coulement in that it expresses

11. The Tirade, or Course, runs as fast as possible up to the note;

8. The Involution, which some call agrement, is another type of

Muffat on the Lully Style of Performance

2. Beginning a piece or one of its phrases or an ascent or a descent

The Musical Quarterly

Muffat on the Lully Style of Performance

7. In cadences, there are certain notes that demand the Tremblement

The Musical Quarterly

or uses a Preoccupation on aTO/or a sharped note.