This chapter describes different kinds of legato, pointing out that the connection of several notes corresponds to a specific intention of the composer. Various technical means that can produce violin- or voice-like legato are discussed: the holding of certain notes longer than their value is explained as having either a piano-technical or a musical reason. “Articulating legato”, certain ways of dissembling legato, changing fingers on the same key, and legato of identical notes are all described with a variety of examples largely but not exclusively from the piano repertoire.
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.