Thank you for all your feedback from the first part of this post. Your comments are most appreciated, and I will respond to them all. Here, I want to get into how to make the ornaments into chameleons that blend into and enhance their surroundings, rather than sounding like a series of detonations dutifully and clumsily tacked onto the surface of the music in the style of punk jewellery, self-consciously drawing attention to themselves while taking away from the line. Isn’t it funny what stands out from one’s past? As a child, I was preparing my grade 3 exam and there was a baroque piece (Richard Jones, I think it was) with the realisations of the ornaments helpfully (?) printed as footnotes at the bottom of the page. I wish I had understood then that the scary-looking notation of the ornaments, with its array of demisemiquavers and double dots (all in footnote-size font) was only supposed to show the basic design and that, actually, there were a few different realisations that were possible. Because each was written out in full (and therefore had to conform to the arithmetic of the time signature), it made it look military and precise and theoretical. In fact, the whole point of the ornament is to sound free, spontaneous and personal. That you are lead to believe you need a calculator to work the darned things out detracts somewhat. I wish there were another way of indicating the design by having a schemata that was not, like the ornaments themselves, subject to the captivity of conventional staff notation. (Shall we brainstorm? Answers on a postcard…) OK, back to the subject of how we manage the ornaments at the piano. I […]