Page:Roze, Nicolas. Méthode de Serpent (1830).djvu/23

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The trill in its full extent, which is practiced on the final cadence (also called organ point or final point), must be executed as in this example.

On C

$\version "2.20.1" \relative { \new Staff \with { \remove "Time_signature_engraver" } \clef bass \key c \major \time 4/4 c2\fermata \afterGrace d\trill { c16( d16) } c2 r \bar ".." \time 1/16 s16 \bar "" \set Staff.forceClef = ##t \clef bass \time 13/4 \stemDown c2 ^ "Execution." d4. e8 d4. e8 d8. e16 d8. e16 d16 e d e d e d e d32 e d e d e d e d32 e d e d e d e d32 e d e d e d c64 d c2 r2 \bar ".." }$

This trill is done with the right-hand middle finger, and would be too hard an octave higher.

On F

Play by alternating the first two fingers of the right hand.

Example.

$\relative { \new Staff \with { \remove "Time_signature_engraver" } \clef bass \key c \major \time 4/4 f2 g\trill f r \bar ".." }$

In D major or minor

This trill can only be done like on the horn and tumpet, i.e. by the action of the lips.

Example.

$\relative { \new Staff \with { \remove "Time_signature_engraver" } \clef bass \key c \major \time 4/4 d2 e\trill d r \bar ".." }$

The trill up to D is done by lifting the first two left-hand fingers, coming from the D which is all closed.

Example.

$\relative { \new Staff \with { \remove "Time_signature_engraver" } \clef bass \key c \major \time 4/4 \stemUp d2 cis_\trill d r \bar ".." }$

It is very difficult to play other trills on the serpent, by its opposed nature, its character, and the weight of its sound makes them useless.

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