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I've got a question regarding the mordent over the two different notes with different realization in Bach's Partita No.4 Aria (as in the image). The first one starts from a note above while the second one starts on the main note. Is this because of the cadential 6-4 chord in which the dissonant note should be emphasized? Or, is it because of the reiteration of the mordented note in the previous bar?
According to the table shown in the link by @guidot the only embellishment that starts on its own note is the mordant, so this trill (not mordant) should start on the G above the F#.
As embellishments provide smooth stepwise motion through different harmonies, the repetition of the F# would halt this. Trilling from the G above would also echo the G-F# melody in the previous measure, providing a strong suspension-resolution, as the chord sounds A-D-G, resolving to A-D-F# and finally a cadential movement to A-C#-E.
Suggestion is to use G-F#-G-F# E
