Ornamentation According to 
C.P.E. Bach and J.J. Quantz 
by Dr. Kris Palmer

"...particularly helpful for performers of the flute concertos by C.P.E. Bach...Palmer writes in a clear, conversational style and provides thoughtful analysis of the ornaments in the [C.P.E. Bach concertos]...Each ornament is carefully described in a musical context and includes harmonic and rhythmic analysis...One of the best aspects of the book are the quotes from C.P.E. Bach's Essay on the True Art of Playing Keyboard Instruments and J.J. Quantz's On Playing the Flute..."            -Flute Talk Magazine, July/August 2002

"Clearly, the author is knowledgeable about ornamentation...For a performer learning one of these flute concerti or the keyboard versions of the same works, the book would be invaluable...Palmer's suggestions are well researched, and her knowledge of the subject is very thorough...anyone who is interested in a serious examination of the topic should find the book helpful." -American Music Teacher, August/September 2002

"Given the fact that both composers worked for Frederick the Great, Quantz with a more French influenced background and C.P.E. Bach well rooted in the 'Empfindsamkeit', this comparison gives an interesting insight into ornamentation."          -Recorder Magazine, Summer 2002

Published by 1st Books Library, the 188-page book uses the four flute concerti of C.P.E. Bach and their nearly identical harpsichord versions to examine C.P.E. Bach’s and Quantz’s advice about a variety of appoggiaturas and trills: how to recognize the type of appoggiatura or trill at hand and how to determine the execution of the ornament that will best enhance the musical phrase.  It lends insight to the differences in performing the ornamentation found in the baroque music of J.S. Bach’s era versus the rococo music of C.P.E. Bach and his contemporaries, or music from the classical period, including Haydn and Mozart. 

	Table of contents
	In this excerpt, Palmer discusses the possibility of placing before the beat an appoggiatura that is traditionally placed on the beat
	Here, Palmer introduces the wide variety of trills that were represented by the same symbol in the eighteenth century.
	Many musicians may not be aware that the trill sign in music of the eighteenth century often stood for the turn.
Available directly from the publisher for the discount price of $11.95: