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In most modern musical notation, a trill is generally indicated with the letters tr (or sometimes simply t)[2] above the trilled note. This has sometimes been followed by a wavy line, and sometimes, in the baroque and early classical periods,[2] the wavy line was used on its own. In those times the symbol was known as a chevron.[4] The following two notations are equivalent:

Both the "tr" and the wavy line are necessary for clarity when the trill is expected to be applied to more than one note (or to tied notes). Also, when attached to a single notehead in one part that corresponds to smaller note values in another part, it leaves no room for doubt if both the letter and line are used.

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The usual way of executing a trill, known as a diatonic trill, is to rapidly alternate between the written note and the one directly above it in the given scale (unless the trill symbol is modified by an accidental, understood to apply to the added note above; this is a chromatic trill).

These examples are approximations of how trills may be executed. In many cases, the rate of the trill does not remain constant as indicated here, but starts slower and increases. Whether it is played this way or not is largely a matter of taste.

The number of alternations between the notes played in a trill can vary according to the length of the notated note. At slower tempos, a written note lasts longer, meaning more notes can be played in the trill applied to it; but at fast tempi and with a short note, a trill may be reduced to nothing more than the indicated note, the note above it, and the indicated note again, in which case it resembles an upper mordent.

Trills may also be started on the note above the notated note (the auxiliary note). Additionally, a trill is often ended by playing the note below the notated one, followed by the note itself.

The taste for cadences (like the taste for sequences), and with them the obligation to bring in their implied cadential trills, was... ingrained in baroque musicianship... For those who do not like cadences, sequences, and cadential trills, baroque music is not the scene.

Hugo Riemann described the trill as "the chief and most frequent" of all musical embellishments.[6] In the baroque period, a number of signs indicating specific patterns with which a trill should be begun or ended were used. In the Klavierbchlein fr Wilhelm Friedemann Bach, Johann Sebastian Bach lists a number of these signs together with the correct way to interpret them. Unless one of these specific signs is indicated, the details of how to play the trill are up to the performer. In general, however, trills in this era are executed beginning on the auxiliary note, before the written note, often producing the effect of a harmonic suspension which resolves to the principal note. But, if the note preceding the ornamented note is itself one scale degree above the principal note, then the dissonant note has already been stated, and the trill typically starts on the principal note.

Beyond the baroque era, specific signs for ornamentation are very rare. Continuing through the time of Mozart, the default expectations for the interpretation of trills continued to be similar to those of the baroque. In music after the time of Mozart, the trill usually begins on the principal note.

All of these are only rules of thumb, and, together with the overall rate of the trill and whether that rate is constant or variable, can only be determined by considering the context in which the trill appears, and is usually to a large degree a matter of opinion with no single "right" way of executing the ornament.

The trill is frequently found in classical music for all instruments, although it is more easily executed on some than others. For example, while it is relatively easy to produce a trill on the flute, the proper execution on brass instruments requires higher skill and is produced by quickly alternating partials. While playing a trill on the piano the pianist may find that it becomes increasingly difficult to execute a trill including the weak fingers of the hand (3, 4 and 5), with a trill consisting of 4 and 5 being the hardest. On the guitar, a trill is a series of hammer-ons and pull-offs (generally executed using just the fingers of the fretting hand but can use both hands). Trill keys are used to rapidly alternate between a note and an adjacent note often in another register on woodwind instruments. On the bowed instruments, the violin and the viola in particular, the trill is relatively easy to execute, with a straightforward bowing and the trill involving the oscillation of just one finger against the main note which is stopped by the finger behind, or more rarely, the open string.

Vocal music of the classical tradition has included a variety of ornaments known as trills since the time of Giulio Caccini. In the preface to his Le nuove musiche, he describes both the "shake" (what is commonly known today as the trill) and the "trill" (now often called a Baroque or Monteverdi trill). However, by the time of the Italian bel canto composers such as Rossini, Donizetti and Bellini, the rapid alternation between two notes that Caccini describes as a shake was known as a trill and was preferred.

Coloratura singers, particularly the high-voiced sopranos and tenors, are frequently required to trill not only in the works of these composers but in much of their repertoire. Soprano Dame Joan Sutherland was particularly famed for the evenness and rapidity of her trill, and stated in interview that she "never really had to learn how to trill".[7] The trill is usually a feature of an ornamented solo line, but choral or chorus trills do appear.

March 8, 2017 at 12:14 AM At the risk of sounding churlish, I've noticed that nowadays any piece of music is being referred to as a song. Do we thank ITunes and MP3 players? Bach's Sonatas & Partitas -- just a collection of songs. Beethoven's Violin Concerto, is it one song or three?

March 8, 2017 at 02:30 AM I think it's okay. I doubt the OP will write "list of songs" at the top of his recital program. If he's actually playing Tartini on the violin, the Devil's Trill no less, he got my respect.

Northern Parulas sing 2 different types of songs. The most common is a rising buzzy trill with a final sharp note. This song rises up and pinches off sharply at the end. The second song has distinct pauses in between bouts of the rising buzzy trill. Males are the primary vocalists, but females may occasionally sing. Parulas sing often while hopping between braches in the middle to upper levels of the forest.

Bird songs frequently contain trilling sounds that demand extremely fast vocalization control. Here we show that doves control their syrinx, a vocal organ that is unique to birds, by using superfast muscles. These muscles, which are similar to those that operate highly specialist acoustic organs such as the rattle of the rattlesnake, are among the fastest vertebrate muscles known and could be much more widespread than previously thought if they are the principal muscle type used to control bird songs.

I am working towards my clarinet Grade 8 and have a few occasions where I have to play an unaccompanied long trill (we're talking a bar or 2). I have always struggled to count trills, however all the ones I have had to play before have a piano accompaniment that helps me to count (quavers in the bass or something similar) or I can pick out a few notes in the accompaniment which alert me to the end of the trill. However I am struggling to count accurately when the piano accompaniment either plays a long held note under my trill or stops entirely.

I find that tapping my foot or playing with a metronome just results in my trill turning into quavers or semiquavers instead, which doesn't quite sound right. I can count the length of the note just fine regardless of accompaniment if I don't trill, the trill seems to throw off my 'internal rhythm'.

Realize that you can only pay attention to music in one way at a time. There are many ways to pay attention to music (follow the rhythm, follow the melody, follow the harmony, follow the mechanics of play, etc.) but you can only do one at a time, and whenever you switch your focus to one (e.g. the mechanics of playing a trill) inevitably you lose most of you conscious attention to anything else.

A) Keep your attention on the trill, after having internalized the beat to such a strong degree that you don't lose it if even if you don't pay attention to it. Essentially, this is as if you had a metronome ticking vividly in your head, and even if you don't pay attention to it consciously, you can rely on its presence implicitly.

B) Keep your attention on the beat, counting the beat inside, and perform the trill with indirect attention. This requires that your have practiced the mechanics of the trill enough that you can do it with only a fraction of your total attention.

Also, have you tried doing those conducting movements yourself as you perform? When I do a long trill (I'm a trumpet player), I might actually move my bell subtly in a 4/4 beat pattern or whatever. I find this helpful.

I'd also suggest practising trills with a metronome. It may be that you're concentrating on trilling as fast as you physically can, so all your mental effort is going on that. It also means you're treating the trill as arhythmic. But if you're able to consider the trill motion as a fast rhythm, you'll be better able to keep track of where in the bar you are. It also helps you prepare if you have any decoration at the end of the trill before you hit the held note.

Ideally, you should be able to trill and simultaneously listen to the accompaniment, and know the piano part well enough to know what is being played at the end of your trill. That's a lot to deal with, but I recommend you try doing so, as it is a great skill (listening to other parts) in any ensemble.

I have a song that uses 8 beat trill about 5 times with a fast tempo and a quarter note at the end, so it is very important to internalize the beats in the song with the trill. I have found that the best way to do this is to get a steady tempo and find a beat on the trill to accompany tapping my toe and my internal beat. I am only in my second year of playing, so I might be saying everything wrong. However, I find that internalizing the beat helps me out the most 17dc91bb1f