Jump to ContentJump to Main Navigation
The Art of Performance$
Users without a subscription are not able to see the full content.

Heinrich Schenker and Heribert Esser

Print publication date: 2002

Print ISBN-13: 9780195151510

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195151510.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 22 October 2019

Legato

Legato

Chapter:
(p.21) FIVE Legato
Source:
The Art of Performance
Author(s):

Heinrich Schenker

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195151510.003.0005

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.

Keywords:   portamento, portato, articulating legato, dissembling, identical notes

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.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .