Related
Articulation governs an independent dimension:
It decides how notes connect — not how loud they are (that is dynamics).
The basic marks
| Mark | Name | Effect |
|---|---|---|
| slur (arc) | legato | notes are not separated |
| · (dot) | staccato | notes clearly separated, part of the value retained |
| ▾ (wedge) | staccatissimo | a shorter staccato |
| — (short line) | tenuto | the full value, slightly emphasised |
| > (wedge) | accent | a momentary emphasis |
| ^ | marcato | short and strong |
Note: > (accent) looks like a diminuendo but means something entirely different (see dynamics).
What it is called on different instruments
One idea under different names:
| Instrument | Term | Explanation |
|---|---|---|
| strings | bowing | slurred bow (several notes per bow), separate bows, détaché, spiccato |
| winds | tonguing | single, double and triple tonguing — the tongue controls the attack |
| keyboard | touch | how high and how fast the finger leaves the key |
| voice | diction and connection | coordinated with the syllables of the text |
So "articulation" is an instrument-neutral concept, while "bowing" and "tonguing" are its realisation on a particular instrument.
Why it deserves its own entry
Because the same run of notes under different articulation is a different character:
| Same run | Legato | Staccato |
|---|---|---|
| Sound | singing, connected, lyrical | light, granular, lively |
| Typical use | slow movements, melodic themes | scherzos, dances, fast passages |
This is the same kind of phenomenon as "change the rhythmic pattern and the character changes" (see rhythmic pattern): neither pitch nor duration changes, yet the character does — which shows articulation is an independent expressive dimension, not an appendage of pitch and duration.
One historical point
Like dynamic markings (see dynamics), the practical handling of articulation marks changes with the era:
| Period | Situation |
|---|---|
| Baroque | few marks; legato and detachment must often be inferred from instrumental characteristics and period convention |
| Classical | marks become more detailed, but many conventions remain (for instance the default when no slur is written) |
| after the Romantic era | extremely detailed marking |
So "translating the page literally" is often not the right reading — a Baroque passage with no slurs does not imply staccato; the convention of the time must be consulted (see historical performance).
Diagram: four dimensions, none replacing another
Listen: the character of legato and staccato
Use rhythm to compare two shapes — the gap in the second stands for staccato (a space opens between notes). Notice how fast the character changes.
Common misconceptions
- "Articulation is a small detail." It is an independent expressive dimension: change it and the character
- "No slur means staccato." Especially in Baroque music, the default connection follows period convention;
- "Staccato just means playing short." Staccato separates notes (part of the value retained); squeezing notes
- "An accent and a diminuendo are much the same." Different entirely:
>is momentary, a diminuendo a
changes completely.
the page cannot be translated literally.
to their shortest is staccatissimo, a different thing.
decline over time. :::
Listen in the library
All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).
Sources
- 演奏法记号（连奏 / 断奏 / 顿音 / 重音 / 保持音）及其在不同乐器上的实现（弓法 / 吐音），为通行记谱与演奏教学表述
- 演奏法记号的实际处理随时代与乐器变化，为历史演奏法通行研究结论
Used for fact-checking only; all prose is original.