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    Tion), He Uses A Portato Figure in The Last Movement (See Example 2.4) - One

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    FJRA
    This document discusses different types of timpani mutes and strokes, including leather timpani mutes measuring 23⁄4" × 33⁄4" and weighing 1.5 oz. It describes strokes like staccato, legato, nonlegato, portato, and marcato, with nonlegato meaning a note that is neither legato nor staccato, and portato referring to holding together what is separated. An example of a portato figure from Mendelssohn's Symphony No. 5 is provided.

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    Tion), He Uses A Portato Figure in The Last Movement (See Example 2.4) - One

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    FJRA
    11 views1 page
    This document discusses different types of timpani mutes and strokes, including leather timpani mutes measuring 23⁄4" × 33⁄4" and weighing 1.5 oz. It describes strokes like staccato, legato, nonlegato, portato, and marcato, with nonlegato meaning a note that is neither legato nor staccato, and portato referring to holding together what is separated. An example of a portato figure from Mendelssohn's Symphony No. 5 is provided.

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    This document discusses different types of timpani mutes and strokes, including leather timpani mutes measuring 23⁄4" × 33⁄4" and weighing 1.5 oz. It describes strokes like staccato, legato, nonlegato, portato, and marcato, with nonlegato meaning a note that is neither legato nor staccato, and portato referring to holding together what is separated. An example of a portato figure from Mendelssohn's Symphony No. 5 is provided.

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    Download as pdf or txt
    11 views1 page

    Tion), He Uses A Portato Figure in The Last Movement (See Example 2.4) - One

    Uploaded by

    FJRA
    This document discusses different types of timpani mutes and strokes, including leather timpani mutes measuring 23⁄4" × 33⁄4" and weighing 1.5 oz. It describes strokes like staccato, legato, nonlegato, portato, and marcato, with nonlegato meaning a note that is neither legato nor staccato, and portato referring to holding together what is separated. An example of a portato figure from Mendelssohn's Symphony No. 5 is provided.

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    Figure 12.

    Leather Timpani Mute: 234 334


    and 1.5 oz.

    leather mute.) It is also possible to give the impression that notes are
    shorter by placing them in the context of long notes. See, for instance, the
    example above. In Symphony No. 7 Beethoven composed a gure where
    two eighth notes are placed between quarter notes. If the quarter notes are
    played more legato and the eighth notes more staccato, then the eighth
    notes sound more staccato than if all the notes are played staccato.
    Staccato and legato strokes are at the opposite ends of the spectrum.
    In the middle are such strokes as nonlegato and portatoas well as many
    other terms denoting degrees of shortness and weight: marcato, martel-
    lato, staccatissimo, leggiero, and leggierissimo. For the timpanist, nonle-
    gato, portato, and marcato are more common denotations found in the or-
    chestral repertoire. Nonlegato signies a note that is neither legato nor
    staccato. Timpanists typically play this as a marked or pointed note, letting
    the timpani ring the full duration of the note. This author considers legato
    as the norm with nonlegato, staccato, marcato, and portato strokes being
    variations of it. Keller describes portato as a holding together of what is
    separated. Portato markings are much less common. This timpanist doubts
    they can be effectively played. In Mendelssohns Symphony No. 5 (Reforma-
    tion), he uses a portato gure in the last movement (see example 2.4). One
    can play this with very articulate sticks in a legato fashion or with general
    sticks in a staccato fashion. The former suits the author because it pre-
    serves the continuity of the musical line that Mendelssohn wished to con-
    vey. Finally, marcato is often found in the repertoire. Marcato, signifying
    a marking, can be effectively used where there is a pointed, heavier,

    2.4. Mendelssohns portato gure in Symphony


    No. 5
    ~~~~~~~~~~~~~~
    ?c
    w w . . . . . . .

    Musical Interpretation and the Timpanist 41

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