STACCATO, MARCATO, AND LEGATO. The first of these terms, written thus,— implies that the note should be struck in a short and pointed manner; it is expressed by a dash, and is usually applied to forcible passages. The next term, Marcato, is expressed by a spot put over the head of the note implying that the notes should be struck short, or spotted in a more light and tender manner; aiming at neatness rather than a sharp brevity. This ef fect is produced upon the violin by letting the bow rebound from note to note, including many in the same bow. This species of execution, when applied to the voice in quick and lofty passages, is one of its greatest beauties. Sontag exhibits this grace in Rode's air, with a brilliancy never before equalled. To achieve this, a peculiar conformation of the vocal organs is necessary; contracting the upper part of the throat to the vowel tone of EA, as in the word earth, striking every note separately, with a delicate distinctness, and in the same breath. There is another expression which is readily exhibited on the violin, called the dead accent, which is produced by attacking the note boldly,-pressing the bow with a dead weight upon the string, which instantly stops the vibration. It is sometimes written thus, The Pizzicato* upon stringed instruments forms the best staccato for pianissimo passages. LEGATO. This expression is the very opposite to the foregoing; it implies that the notes should be performed in a close, gliding manner, holding each note smoothly till the next is struck; its character is a circumflex, or curve. A specimen of the Stretto or Marcato is exhibited in the following little dramatic scene. MISS FANNY AYTON Is the only English soprano of eminence who has appeared upon the Opera stage since the time of 122 * To pinch or phillip the string with the finger. |