Mordent vs. Turn: How to Differentiate These Ornament Symbols

Mordent vs. Turn – how to differentiate these ornament symbols is a question that has perplexed music students, performers, and even seasoned scholars for centuries. Both are essential decorative figures that enrich melodic lines, yet their visual and auditory similarities often lead to confusion. This article aims to demystify these two ornaments by examining their notation, performance, theoretical underpinnings, historical evolution, and common misinterpretations. By the end, you will be able to identify and execute each with confidence.

Overview

In Western music notation, ornaments are symbols that instruct the performer to add specific embellishments to a written note. The mordent and the turn are two such ornaments that alter the main note by adding adjacent scale tones. The mordent typically involves one quick alternation with a neighboring note below or above, while the turn circles around the main note with four notes. Though they may appear similar at first glance—especially the upper mordent and the turn—their distinct shapes and performance practices set them apart. This entry provides a detailed comparison to help musicians avoid the common pitfalls of misreading these signs.

How It’s Notated

The symbols for mordents and turns are deceptively simple, which contributes to the confusion. A mordent is notated with a short, wavy horizontal line placed directly above the staff, often with a vertical stroke through the middle to indicate an upper mordent (also called a pralltriller or upper mordent). Without the vertical stroke, it is a lower mordent (or mordent in some traditions). The turn is notated as a sideways “S” or a backward “S” above the staff; the latter indicates an inverted turn, which begins with the lower neighbor instead of the upper. The exact placement of these symbols is crucial: they are aligned above the beat where the ornament is to be performed, and if they appear between notes, they may indicate changes in rhythm or pitch. In some manuscripts, especially from the Baroque era, the notation can be ambiguous, with scribes using similar squiggles for both ornaments. Modern editions typically provide written-out realizations in footnotes or as performance suggestions.

How It’s Performed

Performance varies according to period and style, but general principles apply. For a lower mordent, the performer starts on the written note, quickly drops to the note below (the lower auxiliary), and returns to the main note. The execution is usually rhythmic—often three notes of equal value, though sometimes the first note is lengthened for expressive effect. An upper mordent begins with the main note, swiftly moves to the upper neighbor, and returns to the main note; it is essentially a rapid upper-neighbor motion. In contrast, a turn (or gruppetto) consists of four notes: starting from the upper neighbor, moving to the main note, then to the lower neighbor, and finally back to the main note. This creates a circular motion around the principal tone. The turn may be executed in different rhythmic patterns—even, dotted, or with a slight pause on the main note—depending on the tempo and style. In the Baroque era, ornaments were often improvised, and the symbols served as guides rather than rigid prescriptions; by the Classical period, notation became more precise, and performers were expected to adhere more closely to the written indication.

How It Works

The theoretical basis of these ornaments lies in the concept of auxiliary notes—non-chord tones that are a step away from the main note. A mordent uses a single auxiliary (either upper or lower), while a turn uses two auxiliaries in sequence. The mordent’s alternation creates a momentary dissonance that resolves quickly, adding tension and color. The turn, with its four-note pattern, provides a more extended melodic flourish that can soften a leap or highlight a cadence. Harmonically, mordents and turns are generally executed on notes that belong to the prevailing chord, with the auxiliaries being diatonic (or occasionally chromatic) neighbors. In terms of rhythm, both ornaments typically occupy the duration of the written note, though they may be performed with slight flexibility. The upper mordent is sometimes confused with the trill, but a trill involves multiple alternations, whereas a mordent has only one or two. The turn, being symmetrical, creates a sense of balance and resolution when used at cadential points.

Origin / Etymology

The word mordent derives from the Italian mordere, meaning “to bite,” reflecting the sharp, biting effect of the ornament. The term was first used in the 17th century, though the practice of adding quick neighbor-note alternations goes back to the Renaissance. The lower mordent was often called Mordant in German and mordente in Italian. The turn, known as gruppetto in Italian, Doppelschlag in German, and gruppo in Spanish, has a name that suggests a little group or cluster of notes. Its symbol, the sideways “S,” is derived from the baroque practice of writing out the ornament in shorthand, possibly from the curve of a vocalist’s melisma. The notation of ornaments was systematized in the 18th century, most notably by composers like J.S. Bach and C.P.E. Bach, who provided tables explaining their intended execution. The turn’s symbol was standardized alongside the mordent in the classical era, though regional variations persisted.

Historical Context

The use of mordents and turns flourished during the Baroque and Classical periods, when ornamental execution was a hallmark of skilled musicians. In the Baroque era, the emphasis on ornamentation was largely improvisatory, with performers expected to embellish melodies freely within a given framework. The French school, led by composers like François Couperin, developed a highly refined system of agréments (ornaments), which included the pincé (a mordent) and the tremblement (a trill). German composers integrated these French practices, and J.S. Bach’s ornament tables in his Explication (for the Clavier-Büchlein) provide invaluable insight into the intended performance of mordents and turns. The Classical period saw a shift toward more written-out ornamentation, with Mozart and Beethoven often notating trills and turns explicitly, though they still used symbols for convenience. The turn, in particular, became a staple of the galant style, appearing in countless sonatas and symphonies. In the Romantic era, ornaments were used more sparingly, but mordents and turns still appeared in the music of Chopin and Liszt, often in a more virtuosic context. Contemporary composers occasionally employ these symbols with modern interpretations, but the historical performance practice movement has revived interest in authentic execution.

Defining Characteristics

Ornaments can be distinguished by their melodic contour, rhythmic profile, and stylistic associations. A lower mordent typically starts on the main note, goes down a step, and returns—creating a sharp, appoggiatura-like effect that is often used to punctuate a phrase. An upper mordent starts on the main note, goes up a step, and returns; this imparts a brighter, more forward motion. The upper mordent is often used to highlight a dissonant chord or to add energy. A turn, however, begins on the upper neighbor, moves to the main note, then to the lower neighbor, and back to the main note. This produces a smooth, undulating contour that can be used to prolong a pitch or to decorate a cadence. In terms of rhythm, the mordent is typically faster and more percussive, while the turn can be more lyrical and expressive. Stylistically, mordents are common in dances and marches, while turns appear frequently in singing, lyrical melodies, and at points of repose. The upper mordent is often confused with the trill because both involve the upper neighbor, but the trill repeats the alternation multiple times, while the mordent only does so once.

Where You’ll Encounter It

Mordents and turns are ubiquitous in music from the 17th through the 19th centuries, appearing in keyboard works, vocal music, string and wind repertoire, and orchestral scores. In the Baroque era, you will find them in the suites of Bach, Handel, and Couperin, where they serve both structural and decorative roles. In the Classical era, they appear in the piano sonatas of Haydn, Mozart, and Beethoven, as well as in chamber music and symphonies. The turn is especially prominent in the codas of Mozart’s piano concertos and in the lyrical second movements of classical sonatas. In the Romantic era, mordents and turns are common in the works of Chopin, Schumann, and Brahms, where they add expressive nuance. Beyond Western classical music, these ornaments appear in jazz and popular music transcriptions, though often in simplified notation. If you play an instrument that reads standard notation, you will encounter these symbols regularly, making it essential to know their idiomatic execution.

Key Figures

Several composers and theorists have shaped our understanding of mordents and turns. The German organist and composer Johann Sebastian Bach (1685–1750) not only used these ornaments extensively but also codified their execution in his ornament table for his son Wilhelm Friedemann. His contemporary François Couperin (1668–1733) was the French master of the agréments, and his book L’Art de toucher le clavecin describes the precise fingerings and rhythms for mordents and turns. Carl Philipp Emanuel Bach (1714–1788), J.S. Bach’s son, wrote the influential Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments), which includes detailed discussions of ornaments, including the turn. Later, Daniel Gottlob Türk (1750–1813) contributed to the classical theory of ornaments with his Klavierschule. In the performance practice movement, figures like Wanda Landowska and Gustav Leonhardt revived authentic Baroque ornamentation, while modern editors like Hans Bischoff (for Beethoven) and Eduard van Beinum (for Mozart) provided scholarly editions that clarify ornamentation.

Landmark Works

Certain compositions are celebrated for their prominent use of mordents and turns. In J.S. Bach’s French Suite No. 5 in G major, BWV 816, the Sarabande features an expressive turn that has become iconic. The Goldberg Variations, BWV 988, are replete with mordents and turns, particularly in the many canons and dances. In the Classical repertoire, Mozart’s Piano Sonata No. 11 in A major, K. 331, includes a famous turn in the first movement’s theme, played with a slight rhythmic freedom. Beethoven’s Piano Sonata “Pathétique”, Op. 13, contains mordents in the first movement that add dramatic intensity. Among Romantic works, Chopin’s Nocturne in E-flat major, Op. 9 No. 2, features a turn that is often performed with a delicate rubato. These works exemplify how mordents and turns contribute to the character and expressiveness of music, from dance-like vigor to lyricism.

Common Misconceptions

One of the most frequent misconceptions is that a mordent and a turn are interchangeable or that an upper mordent is the same as a turn. In truth, the upper mordent (sometimes called a pralltriller) starts on the main note, while the turn starts on the upper neighbor. Additionally, the turn uses four notes, whereas the mordent uses three (or sometimes two, if the alternation is very quick). Another misunderstanding involves the placement of the vertical stroke in mordents: In some traditions, a vertical stroke denotes the upper mordent, but in others, it may indicate a different execution. Historical treatises often disagree, so it is crucial to consult the edition’s editorial notes. Furthermore, many students confuse the turn with the gruppetto used in vocal music, which can be executed differently. The turn can also be inverted, which is notated with a slash or a reversed “S,” but this is often overlooked. Finally, the rhythm of a mordent is sometimes thought to be always even, but in early music, the first note is often lengthened. These misconceptions highlight the need for careful study of period performance practices.

In summary, understanding the differences between mordents and turns is essential for any musician who wishes to interpret music faithfully. By recognizing the notation, mastering the execution, and appreciating the historical context, you can bring these ornaments to life and avoid the common pitfalls that plague many performers. Whether you are playing a Baroque suite or a Classical sonata, the ability to differentiate these symbols will enhance your musicality and deepen your connection to the repertoire.