There are many notational designations to represent the terms mentioned and of course they may appear in French, German or even English. ![]() Measured Tremolo: rapid repetition of a note based on a division of the beatįingered Tremolos: involve more than one note Summation Unmeasured Tremolo: rapid repetition of a note Trills: rapidly alternate between the main note and one half step or one whole step above Sforzando: forced and often louder than the dynamic contextįortepiano: to attack loudly and immediately get soft often followed by a crescendo Marcato: to play with sharp emphasis or accented Molto Vibrato: a wider pitch variation above and below a note Vibrato: a slight pitch variation above and below a note Glissando: scale-like transition between notes (in practice, Portamento and Glissando are often used interchangeably so clarification is often warranted - Using the term Fingered Glissando can distinguish the term from Portamento more decidedly) Portamento: sliding from one pitch to another ![]() Harmonics: can be natural (unfingered on open string) or artificially produced usually softer and ethereal In the case of Violin playing notes high up on the neck on the G or fourth string produces an urgency and potentially hyper-dramatic effect sometimes seen as Sul IV play on the fourth string. Richochet Bowing: the bow is dropped on the string and allowed to bounce freely, accelerating as it gets closer to stopping Spiccato: off-the-string staccato the bow actually bounces off the string with each note ![]() Martellato: on-the-string staccato the bow stays on the string even though the notes are short used for staccato or s taccatissimo very short Legato: bow in a connected way so that note attacks are smooth or blurredĭétaché : separate bows for each note the opposite of legato Up/Down: direction of the bowing down bows are usually more aggressive and used for accented downbeats or Bartok Pizzicato: aggressively snapping the string so that it hits the fingerboard (used by composer Béla Bartok) creates a loud percussive event Testa or Punta d’arco: play with the tip of bow a light, ethereal soundĪl Tallone: play with the frog of the bow (opposite of the tip end) can be good for hard and aggressive down strokesĪrco: play with the bow usually used after a pizzicato passage Normale: return to ordinary or normal playing technique Sul Ponticello: play near the bridge - creates ethereal dissonant overtones with a scratchinessĬon Sordino: play with a mute on the strings - darker with reduced harmonicsĬol Legno Tratto: play with the wood side of the bow a very soft sound a special effect player will often use part wood and part bow hairs in combinationĬol Legno Battuto: strike the strings with the wood part of the bow a percussive sound ![]() Sul Tasto: play over the fingerboard - results in a softer sound with less body and harmonicsįlautando: flute-like sound that often results from playing Sul Tasto But after witnessing the rise of our current state, the degree of political disarray and corruption, and the dismantling of civility in public discourse - Europe is lookin’ pretty sweet.īelow is a list of articulations and playing techniques you may come across as you navigate the ever-growing list of string sample libraries available: (references listed below) The fact that musical expressions are written predominantly in the Italian language in American scores, is due partly to a lingering Euro-centrism, habitual practices and because they just sound good in Italian, rolling off the tongue in a rhythmic asymmetry that sounds musical in itself.Īs an American, I once criticized the Euro-centrism that has dominated our culture from the very beginning. Anyone that has used a string sample library has encountered a variety of terms, usually in Italian, relating to string articulations.
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