When I said above by “reading up about the more formal terms sheds some light on what might be happening” I was wondering if the cuts and taps are entirely rhythmic. Does the choice of which to do, the timing relative to the beat and the length of the ‘extra’ note ever have something to do with the way the melody (hence harmony) is moving?
How about just the note?
While we might argue about whether cuts and taps as we know them have a melodic function, I’d suggest that by the time they’re long enough to have a harmonic intention they’ve become something else.
If you want further terminology for the longer grace note, Conal Ó Gráda’s flute tutor talks about ‘yelping’ cuts and scrapes.
Of course. Call me a snob (which I am)
but in my skewed vision of music
any technique used in the practice
of such pedestrian drivel renders it
to the same level.
Ah, yes, but - the ones in the slow tune in OP are quite long.
That doesn’t work. Clearly, both the grace note and the … er … other, following, note are notes. So you can’t just call the “main” note “the note”. I don’t really like “the rhythmic note” for the same reason.
How about the “melody note” ?
See, I think you can talk about a grace note above or below the note. Not sure I do or would, but think you can if you treat ‘grace note’ as a single entity…
I don’t really like “the rhythmic note” for the same reason.
I didn’t like that one at all when some may argue it suggests the cut or tap (not for taking up the rhythmic space in the tune but for articulating it rhythmically).
I’d thought of that, but they’re also arguably both melody.
Some folk say parent note, but I’m not certain that’s any better.
Sometimes it’s referred to as a principal note. For example, search for “principal” on this page: https://thecelticroom.org/playing-irish-music/irish-music-ornamentation.html
Just took a look and have to say there’s, um, quite a lot wrong with that page.