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C00002 00002	Mersenne - (v.d. Straeten p.51)
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Mersenne - (v.d. Straeten p.51)

Secondly, one must sweeten the strings (notes?) by the vibrato, which has to be
executed by the finger next to the one that stops the note, so that the
tone sounds full.  It is necessary to press the fingers very firmly on to
the strings, so that they bgive more harmony (tone?), and to lift them only very
little, so that one has time to change them from one stirng to another.

...

Fourthly, one must draw the bow slowly across the stings and repeat the shake
several times on one and the same note, continuing thus from the highest to the
lowest notes, and execute the graces, which are very agreeable on account of the
fine modulation, which gives great pleasure to the ear, though one must proceed
in this with judgment.

...

I omit many things regarding this instrument, as, for instance, that one can
play (sonner) a courant and several other pieces in one bow; that one can shake
on the notes with eight, sixteen, or thirty-two beats to the bar, and that the 
first three fingers of the left hand should not be raised more than one-sixteenth
of an inch over the fingerboard, so that the distance should not impede their
speed in stopping and shaking.


Playford - (v.d Straeten p.77)

The names given to graces and embellishments are very amusing.  Different kinds
of Appogiature are explained under the following names:  a beat, a backfall, a
double backfall, an elevation, a springer, and a cadent, while the "shaked graces"
included "a backfall shaked", a "double relish", etc.