Nikolai Rimsky-Korsakov · sección 93 de 96

Sobre el adorno armónico y el adorno del pedal

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Traducción automática de la lectura en inglés. Borrador; aún sin revisión por un hablante nativo.

§ 93. — 1) Si, en lugar de hacer sonar simultáneamente las notas de un acorde (acorde en bloque), las hacemos sucederse en cualquier orden, obtenemos el adorno llamado armónico, o acorde quebrado, arpegiado o figurado:

[Example] The C major chord C–E–G–C as a block chord, followed by seven broken (arpeggiated) figurations of it in eighth notes, separated by double bars, some o — Fig. 390 · Verlo en el lector

2) El adorno armónico puede alternarse con el adorno melódico:

[Example] The C major chord as a block chord, followed by four figurations in sixteenth and eighth notes that mix chord tones with passing and neighbour notes ( — Fig. 391 · Verlo en el lector

3) El adorno armónico sirve más bien para construir el acompañamiento instrumental y es una materia de estudio que pertenece a la composición libre.

4) Queda por mencionar el pedal adornado, un adorno bastante frecuente:

[Example] Embellished pedal in C major, common time: over a bass pedal on C ornamented in triplet eighths with lower neighbours (C–D–C, B–C–B, …; C–A–B in bar 2 — Fig. 392 · Verlo en el lector

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