Pallas The editors got their ornament table from a book J.S. Bach wrote for W.F. Bach, and so the argument continues.
Question: is this a table demonstrating a trill vs other ornaments, or a table demonstrating this exact trill in this exact spot? If the former it's just an example! If the latter then I guess it's suggested to play a very fast trill there 😂 Though also see my later comment on improvised ornaments, really anything goes as long as it's stylistically appropriate, unless you're doing an exam in which case you'd better play whatever is written.
Pallas Ok, so, in the repeat, bar 30 is 2 bars before the end, isn’t it?
Bar 30 is considered 3 bars before the end, the end being the double bar. Usually counting backwards you'd say "last bar", "two bars before the end", "three to the end", etc.
What I was trying to say (having heard a lot of Baroque music) is that if there was an ornament on the final quarter note in bar 31 I would do a long trill (and do a lower mordent at the end to go EF#, which I call a turn under). A trill with a turn under on the penultimate note is an extremely common Baroque ornament. But it wouldn't sound right the first time around, only on the repeat when you're ending the piece. If you decide to record it, it would sound so great if you decided to add in a long trill with a turn under on the repeat! (Also, this is so advanced but I know you love absorbing extra info; once you're aware you'll notice it especially in harpsichord recordings: those final trills always start slow and then speed up, and then slow for the turn under.)
Baroque music had improvised ornaments all the time and I'm sure many of the ornaments were written in as examples for a student of how they could be played at various places, which would explain why you hear it played different ways in recordings 🙂
