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A slur is a symbol in Western musical notation indicating that the notes it embraces are to be played without separation (that is, with legato articulation).A slur is denoted with a curved line generally placed over the notes if the stems point downward, and under them if the stems point upwards.
String instruments use these methods to achieve different articulations, varying the speed, pressure, and angle of the bow or pick. Musicians use articulation to create a link between notes, such as legato. Legato is formed by letting the string vibrate without stopping or muting it so the note slurs with the consecutive ones.
Standard notation indicates legato either with the word legato, or by a slur (a curved line) under notes that form one legato group. Legato, like staccato , is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato (sometimes referred to as portato ).
[1] [4] Currently, portato is sometimes indicated in words, by "mezzo-staccato" or "non-legato"; or can be shown by three graphic forms: a slur that encompasses a phrase of staccato notes (the most common), or; a tenuto above a staccato mark (very often), or; a slur that encompasses a phrase of tenuto notes (less common). [5]
In the first example, Rodolfo's first aria in La sonnambula (1831), the portamento is indicated by the slur between the third and fourth notes. The second example, Judit's first line in Bluebeard's Castle (1912) by composer Béla Bartók, employs an inclining, wavy line between the fourth and fifth notes to indicate a continuous, steady rise in pitch.
The smallest pitch difference between notes (in most Western music) (e.g. F–F ♯) (Note: some contemporary music, non-Western music, and blues and jazz uses microtonal divisions smaller than a semitone) semplice Simple sempre Always sentimento Feeling, emotion sentito lit. "felt", with expression senza Without senza misura Without measure ...
In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Typical examples of sub-apical retroflex stops are commonly found in Dravidian languages, and in some languages indigenous to the southwest United States the contrastive difference between dental and alveolar stops is a slight retroflexion of the alveolar stop. [23] Acoustically, retroflexion tends to affect the higher formants. [23]