Ornaments decorate a melodic line and add colour to it. Quick notes are typically added around a ‘central’ note. This adds beauty and variation.

There are a variety of ways to interpret these ornaments. This includes trills, mordents, turns, and the like. Interpretation depends on the period of the work, the composer, and the character of the piece. The actual interpretation doesn’t normally pose many issues. Pupils will generally be advised how to play them by a teacher. If not, the internet provides an excellent source of information. There are plenty of publications dealing with this subject too. Physical aspects of incorporating them seems to cause the grief. For some students, ornaments can become a real nemesis. They can instigate stumbles and hesitations. A good strategy is to learn to assimilate ornaments and feel comfortable playing them as soon as possible. They appear from the very beginning of a pianist’s journey.

So how to practice embellishments with secure, reliable results? Here are a few ideas which have recently helped my students to overcome potential issues.

1.

Many don’t like excluding ornaments when first learning a piece, but this can be helpful in order to get a sense of the outline, structure and more importantly, grasp the pulse firmly. The last point is crucial. Adding ‘extra’ notes can destabilise the rhythm for many pupils. This is especially true for inexperienced players.

2.

Once the pulse has been grasped, write the ornament clearly into the music. This shows exactly how it must be played, and will help to eradicate any uncertainties, illustrating just how the extra notes will easily ‘fit in’. Many aspects of piano playing are physiological. When the notes are in the score, they seem to become part of it rather than an uncomfortable added ‘extra’.

A small section of an early classical work with a trill such as this:

Might be written out and interpreted like this, which is definitely easier and clearer to play and comprehend:

3. 

Some find it useful to sing the melody with the ornament/s. This facilitates good rhythm and an awareness of the musical line. Try doing this away from the piano too, but be sure to set a strict pulse and adhere to it. ‘Speaking’ the ornament out loud seems to clarify rhythmically ‘even’ playing.

4. 

When it comes to practising, fingering will be paramount. Most teachers will have good suggestions. However, one facet can become problematic and this is the evenness not just rhythmically, but also tonal clarity. To help with this, start by isolating the ornament. Mentally embed the fingering by using active, strong fingers, repeating the pattern a few times. I’ve written about employing physical flexibility, particularly in faster passage work, copiously on this blog. In ornaments, however, it is essential. Let the wrist rotate between every note. Each finger should sink into the key to produce a heavy, rich, and loud tone. This method can be a fruitful way to work. Practice the ornament this way both slowly and up to speed. Make sure your upper body feels relaxed between every note with no tension at all. Lighten the trill. You should use less movement and sound. This approach will reveal a clear, even, rhythmical and hopefully, expressive ornament.

5. 

Other viable practice methods include working in dotted rhythms and reverse dotted rhythms (just on the ornament). Using staccato or detached touches seems to work effectively too. This also builds on the idea of using a ‘heavy’ touch, but the fact that the notes are shorter, emphasises articulation and a crisp rhythm.

6. 

Once the trill in question has been learned thoroughly, try to visualise playing it as one motion. This shouldn’t be too challenging once point number 4 has been fully digested.

7. 

Now incorporate the ornament into the phrase. Watch out for dynamic markings, the embellishment should add to the melody, so expressive colour and musical shape will be important.

8. 

Finally, add the other hand. Balance the sound and listen carefully. The ornament should ideally be a part of the texture rather than a feature.

There are many other ways of practising these sumptuous decorations. With a little thought and work, they will become a beautiful part of the melodic line.