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Marcato
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The vertical wedge on the first note indicates marcato (It. marcatissimo or martellato), while the horizontal wedge on the second indicates an accent (It. marcato).
Marcato (short form: Marc.; Italian for marked) is a musical instruction indicating a note, chord, or passage is to be played louder or more forcefully than the surrounding music. The instruction may involve the word marcato itself written above or below the staff or it may take the form of the symbol ∧,[1][2][3] an open vertical wedge. The marcato is essentially a louder and often shorter version of the regular accent > (an open horizontal wedge).
Like the regular accent, however, the marcato is often interpreted to suggest a sharp attack tapering to the original dynamic,[4] an interpretation which applies only to instruments capable of altering the dynamic level of a single sustained pitch. According to author James Mark Jordan, "the marcato sound is characterized by a rhythmic thrust followed by a decay of the sound."[5]
In jazz big-band scores, the marcato symbol usually indicates a note is to be shortened to approximately 2⁄3 its normal duration, and given a moderate accent.[citation needed]
The instruction marcato or marcatissimo[6] (extreme marcato), among various other instructions, symbols, and expression marks may prompt a string player to use martelé bowing, depending on the musical context.[7] An example is the Gavotte from the Orchestral Suite No. 3, BWV 1068 by J. S. Bach (Suzuki Violin School Vol. 3).[8]
References
[edit]- ^ George Heussenstamm, The Norton Manual of Music Notation, W. W. Norton & Company, p. 52
- ^ Anthony Donato, Preparing Music Manuscript, Prentice-Hall, Inc., p. 50
- ^ Tom Gerou and Linda Rusk, Essential Dictionary of Musical Notation, Alfred Publishing Co., Inc., p.36
- ^ Walter Piston, Orchestration, W.W. Norton & Company: 1955, p. 20
- ^ James Mark Jordan, Evoking sound: Fundamentals of Choral Conducting and Rehearsing, GIA Publications: 1996, pp193.
- ^ Walter Piston, Orchestration, published by W.W. Norton & Company, 1955, page 17
- ^ Kent Kennan and Donald Grantham, The Technique of Orchestration, Third Edition, published by Prentice-Hall, pp.53-54
- ^ Shinichi Suzuki, Suzuki Violin School, Violin Part Volume 3, Suzuki Method International, p. 19
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Marcato
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Marcato is an Italian musical term meaning "marked," "stressed," or "accented," serving as a direction for performers to execute notes, chords, or passages with strong emphasis, greater force, and a detached quality compared to surrounding music.[1][2][3] In notation, marcato is typically indicated by a vertical wedge symbol (∧ or >) placed above the note, sometimes combined with a staccato dot, distinguishing it from a simple accent by implying both heightened intensity and brevity.[4][5] This articulation draws attention to melodic lines or subjects, enhancing expressiveness in classical, orchestral, and contemporary compositions across instruments like strings, winds, and percussion.[6][3] For string players, marcato involves a bow stroke that remains on the string between notes for a staccato-like detachment without lifting, while wind players interpret it as a sharp attack akin to a fortepiano or sforzando followed by quick release.[7][3] Originating from Italian performance practice, marcato contributes to dynamic contrast and rhythmic vitality, making it a fundamental element in interpreting scores from the Baroque era onward.[2][6]
Definition and Etymology
Meaning in Music
Marcato, derived from the Italian word meaning "marked," is a musical articulation that directs performers to execute a note, chord, or passage louder, more forcefully, and with greater emphasis than the surrounding music.[8][9] It combines the intensity of an accent with a degree of detachment, resulting in a pronounced stress that sets the marked elements apart.[10][11] The primary purpose of marcato is to enhance rhythmic drive, highlight key melodic lines, or generate dynamic contrast within a composition.[11] This is achieved through a sharp initial attack followed by a slight shortening of the note's duration, creating a sense of forward momentum and clarity in phrasing.[9][12] In performance, marcato notes are stressed but release more quickly than fully sustained articulations like the tenuto, which holds the note for its complete value.[2] This distinguishes marcato as a "hammered" or decisive manner of playing, emphasizing impact and separation without prolonged resonance.[9]Linguistic Origins
The term marcato derives from Italian, serving as the past participle of the verb marcare, which means "to mark," "to accent," or "to stamp," connoting a deliberate and emphatic action.[1] This root traces back to Germanic origins, related to Old High German marcōn, meaning "to mark" or "to boundary," highlighting the idea of delineation or emphasis.[1] In everyday Italian usage, marcato thus literally translates to "marked" or "stamped," evoking a sense of clear, intentional highlighting.[13] Within musical contexts, marcato retained this core notion of marking but adapted to denote a specific performative emphasis, instructing musicians to accent notes distinctly and forcefully.[14] This linguistic evolution underscores how the term's general sense of accentuation transitioned into a precise directive for articulation, distinguishing it from milder emphases like a simple accent.[15] The adoption of marcato into the broader musical lexicon occurred in the 19th century, with its earliest documented use circa 1840, amid the dominance of Italian in Western classical notation.[1] This integration stemmed from the era's Italian composers and music theorists, whose influence—rooted in the 18th- and 19th-century flourishing of opera and instrumental music—established Italian as the standard for tempo, dynamic, and articulation terms across Europe.[16]Notation
Standard Symbols
In standard music notation, the primary symbol for marcato is the vertical wedge (∧ or ^ when above the notehead, and ∨ or v when below), positioned directly above or below the note to signify a forceful attack with a subsequent decay in volume.[17][18] This marking differs from the horizontal accent symbol (>) by combining emphasis with a shortened duration, akin to an accent overlaid with staccato, resulting in a detached and stressed execution.[19][2] Placement of the marcato symbol follows conventions to ensure clarity: it is typically placed on the side opposite the note stem (below for upward stems, above for downward stems), and in multi-voice settings, above upper voices and below lower voices, always centered on the notehead and outside the staff to avoid interference with stems or beams.[2][17] The symbol is frequently paired with dynamic indications, such as forte (f), to reinforce the intended level of intensity.[17] The vertical wedge as a standard marcato symbol gained prominence in 19th-century scores, evolving from earlier stroke-like markings and reflecting refined articulation practices employed by composers including Beethoven and Brahms.[19][20]Variations and Intensifiers
Textual indications for marcato are commonly abbreviated as marc. or written in full as marcato in italics above the staff to specify passages requiring marked emphasis.[17] For greater intensity, composers may use marcatissimo or marc. molto, directing performers to apply even stronger accents and separation to the notes.[21][22] Symbolic variants extend the standard vertical wedge (∧) to convey heightened force; a combined accent mark (>) with a staccato dot (•) denotes marcato-staccato, emphasizing both stress and brevity.[23] In orchestral scores, these symbols often pair with hairpins (< >) to indicate dynamic swells or fades alongside the articulation, creating layered expressive effects in ensemble playing.[24] Modern digital notation software supports customizable marcato symbols for precise rendering; in Sibelius, users can adjust the marcato wedge's appearance and positioning via the symbol editor, while Finale allows importation of variant glyphs to match specific stylistic needs.[25][26]Performance Techniques
General Execution
Marcato execution universally emphasizes a forceful, immediate attack on each note, often described as a "hammer blow" for its strong onset that distinguishes the note from its neighbors. This attack is achieved through deliberate pressure—such as increased bow weight on strings or precise tonguing on winds—ensuring clarity and emphasis without excessive detachment. The note's duration is typically shortened to about two-thirds of its notated value, allowing for a rapid decay that maintains tonal separation while preserving some sustain, unlike the more abrupt cutoff of staccato.[27][28] Dynamically, marcato notes are rendered louder than adjacent ones, commonly at mezzo-forte or forte levels, to heighten their prominence and create rhythmic drive. This increased volume stems from the intensified initial impulse, which theorists like Samuel Adler note enhances melodic or harmonic intensity across ensembles. The technique avoids over-sustain, focusing instead on controlled release to prevent blending, thereby fostering a punctuated, energetic flow in phrasing.[27] In performance, marcato builds phrase tension or accentuates structural points by providing rhythmic clarity and forward momentum, as seen in orchestral writings where it underscores thematic material. While universal in principle, its realization adapts slightly to instrumental capabilities, such as on-the-string bowing for strings or "tu" syllabic tonguing for brass. Orchestration authorities, including Adler, stress that this articulation's effectiveness lies in its balance of force and brevity, ensuring each note "marks" the musical line without overwhelming the texture.[27][29]Instrument-Specific Applications
In string instruments, marcato is executed through martelé bowing, a technique characterized by firm initial contact between the bow hair and string, typically at the frog for down-bows on the violin, followed by a quick release to produce a detached, accented note without blending into the next. This method emphasizes a strong attack using bow weight and minimal pressure from the pinkie finger near the frog, transitioning to active pronation and index finger control toward the tip for upper-half strokes, ensuring a percussive yet full-duration sound. Unlike spiccato, which involves an off-string bounce, martelé maintains on-string control throughout the stroke to avoid unintended separation or lightness.[30][31] For wind and brass instruments, marcato relies on a sudden, heavily accented tongue attack—often a strong "tah" syllable—to initiate the note, coupled with immediate breath control to shorten the sustain and create clear decay and separation from subsequent notes. In brass playing, this may incorporate a crisp valve engagement for added emphasis in the attack phase, enhancing the forceful quality while maintaining note length closer to full value than staccato. On the flute specifically, performers use a clear "tee" tonguing for precision and articulation clarity, positioning the tongue tip against the roof of the mouth to produce a sharp onset without harshness.[32][33] Percussion and keyboard instruments adapt marcato via hard, accelerated mallet strikes or firm key presses that prioritize velocity and intensity for a marked, louder onset, followed by controlled release to prevent lingering resonance. On piano, this involves weighted finger strikes delivering a harsher attack and slightly detached duration, often without sustained pedal to allow natural decay, distinguishing it from both full legato and abrupt staccato. In percussion, such as timpani or mallet instruments, the technique employs strokes from a higher starting height with fierce dynamic emphasis, ensuring each note is distinctly separated and accented relative to surrounding passages.[9][34][35] Vocal application of marcato features brief, strongly emphasized syllable delivery, utilizing chest resonance for a robust, projected tone that conveys intensity without excessive duration. This approach, akin to a marked accent in instrumental contexts, involves a quick onset and controlled release on consonants, though it remains less common in choral notation where smoother articulations predominate.[36]Historical Context
Origins in Music Theory
The concept of marcato articulation emerged during the late Baroque era in the 17th and 18th centuries, primarily through Italian musical influences that emphasized expressive emphasis in performance.[37] In the works of composers like Arcangelo Corelli, such articulations were implied rather than explicitly notated, particularly in his violin sonatas (Op. 5, published 1700), where they were conveyed through performance practices to highlight melodic lines and structural points.[38] These practices drew from the rhetorical style of Italian music, akin to oratorical delivery, where performers used dynamic contrasts to convey emotion without standardized symbols.[39] While the concept of emphasized notes dates to the Baroque era, the specific term "marcato" and its notation became standardized in the early 19th century. The theoretical codification of marcato as a distinct articulation began in the 19th century, with early explicit mentions appearing in pedagogical texts that sought to differentiate it from simpler accents. Carl Czerny's piano studies from the 1830s, such as his School of Velocity (Op. 299, circa 1833), incorporated instructions like "marcato" to denote a stressed, separated note execution, emphasizing a heavier attack while maintaining note value, unlike the lighter emphasis of a standard accent. This distinction was further elaborated as marcato being described as a "heavy, separate stroke with a pressed accent," building on earlier precedents.[39] Marcato's development was deeply tied to the Italian school of composition and performance, particularly in opera and chamber music traditions, where emphatic markings served to underscore dramatic shifts and textual expression.[40] In these contexts, the term—derived from the Italian for "marked"—reflected a legacy of vocal and instrumental styles that prioritized rhetorical clarity, as seen in the operas of composers influenced by Corelli's chamber works, ensuring that accents delineated emotional highs and narrative turns.[41]Evolution and Notable Uses
The use of marcato expanded significantly during the Romantic era, becoming a key tool for infusing rhythmic vitality and dramatic emphasis in orchestral and chamber compositions. Ludwig van Beethoven employed marcato indications to heighten expressive power, as seen in the fourth movement of his Symphony No. 9, where the directive "Allegro energico, sempre ben marcato" underscores the forceful choral and orchestral passages.[42] In the 20th century, marcato evolved to support modernist innovations, particularly in rhythmic complexity and textural contrast. Igor Stravinsky utilized marcato for primal, accented effects in The Rite of Spring (1913), where it punctuates irregular rhythms and dissonant clusters to evoke ritualistic intensity, as in the sudden marcato chords during the "Introduction" and "Augurs of Spring." This articulation further adapted in atonal music to delineate structural boundaries amid pitch ambiguity, providing emphatic anchors in works by composers like Arnold Schoenberg, who marked marcato to clarify motivic development and sectional divisions in pieces such as the Five Pieces for Orchestra, Op. 16.[43] Marcato also gained prominence in pedagogical contexts during the 20th century, serving as a foundational element for teaching dynamic control and progressive intensity. In the Suzuki Violin School, Volume 3, it appears in exercises and pieces like Bach's Gavotte in G Minor to guide students in building articulated emphasis, transitioning from basic accents to more nuanced rhythmic execution.[44] This methodical incorporation helped standardize marcato as a core technique for developing expressive range in string instruction.[45]Applications in Genres
Classical Music
In classical music, marcato articulation serves structural purposes by delineating thematic motifs and rhythmic pulses within orchestral textures, allowing conductors and performers to emphasize key phrases amid complex ensembles. This technique highlights the movement's contrapuntal interplay between melody and accompaniment, ensuring the theme's prominence without disrupting the overall lyrical flow. In chamber and solo contexts, marcato enhances transitional momentum and polyphonic definition, particularly in keyboard works where it counters the instrument's inherent sustain. Likewise, marcato clarifies fugal voices by accentuating entrances and resolutions; in Beethoven's polyphonic passages, such as those in his later sonatas, it separates interwoven lines, fostering intelligibility in dense contrapuntal writing.[46] Marcato's expressive role in classical repertoire often evokes urgency or heroic resolve, amplifying dramatic tension through forceful attacks in climactic sections. Pyotr Ilyich Tchaikovsky's Symphony No. 6 in B minor, Op. 74 ("Pathétique"), employs brass marcato to heighten emotional peaks, as in the finale's anguished outbursts, where it conveys raw intensity and tragic heroism amid the work's lamenting orchestration.[47] This articulation not only structures the symphony's narrative arc but also intensifies its psychological depth, marking pivotal moments of despair and defiance.Jazz and Popular Music
In jazz, particularly within big-band arrangements, the marcato articulation serves as a key tool for infusing swing rhythms with drive and precision, typically shortening notes to about two-thirds of their full duration while applying a moderate accent for sharp, incisive attacks. This approach contrasts with classical interpretations by prioritizing rhythmic momentum over sustained emphasis, making it ideal for ensemble charts that demand tight, energetic execution.[48][49] In popular music genres like rock, marcato contributes to the creation of punchy, aggressive riffs by combining detachment with stressed onsets, allowing performers to convey raw power without overwhelming the groove. Similarly, in film scores, marcato is frequently applied to orchestral cues to heighten dramatic tension, such as in action motifs that require bold, emphatic statements to synchronize with on-screen intensity, as seen in sequences from films like Drop Zone.[50] The improvisational role of marcato in jazz further highlights its flexibility, enabling soloists to introduce dynamic variations that emphasize off-beats and create rhythmic intrigue within bebop horn lines. By varying the accent's weight and note length, performers like those in Charlie Parker's ensembles use marcato to add punchy, bouncy phrasing that deviates from straight legato or staccato, fostering a sense of forward motion and syncopated surprise during solos. This technique supports the genre's emphasis on spontaneous expression while maintaining ensemble cohesion.[51][52]Comparisons to Related Articulations
Versus Accent
The primary distinction between marcato and accent lies in their impact on note duration and execution: an accent, notated as a horizontal wedge (>), emphasizes a note through increased volume and stress without altering its length, allowing the sound to sustain fully.[53] In contrast, marcato, indicated by a vertical wedge (∧), combines this emphatic stress with a degree of detachment, resulting in a briefer, more "hammered" articulation where the note is played forcefully but shortened slightly compared to its notated value.[54] Notationally, the horizontal orientation of the accent symbol conveys a sustained emphasis on intensity, while the vertical form of the marcato marking suggests a sharper attack followed by a quicker decay, aligning with its role in highlighting rhythmic punctuation.[53] In performance, an accent maintains energetic flow by prolonging the note's resonance, whereas marcato produces a series of punctuated, separated attacks that create clearer rhythmic separation, as in examinations of articulation profiles.[55] This difference enhances marcato's utility in driving forward momentum in phrases, distinct from the accent's broader dynamic boost.Versus Staccato
Marcato and staccato are both articulations that involve shortening notes, but they differ fundamentally in their emphasis and execution. Staccato, notated with a dot (•) placed above or below the notehead, directs performers to shorten the note to roughly half its written duration while introducing a light detachment and separation from subsequent notes, without imposing a strong accent.[53][56] In contrast, marcato integrates this brevity with a pronounced forceful stress, typically indicated by a wedge-shaped symbol (∧ or >) above or below the note, resulting in a marked, hammered quality that elevates the note's intensity beyond mere detachment.[19][53] The execution of these articulations further highlights their variance, particularly in instrumental contexts. Staccato yields a crisp, lightly separated sound—often described as bouncy or jumpy, as in quick string passages where notes are released abruptly to create space without heavy attack.[11][57] Marcato, however, delivers a weighted, emphatic attack that maintains some connection to the phrase, emphasizing power over pure lightness; for instance, it produces a more sustained yet clipped resonance in winds or percussion, avoiding the full isolation of staccato.[10][19] Composers and performers often employ marcato-staccato hybrids in passages to achieve nuanced expression, blending the two for intermediate effects. A common notation for such a hybrid is the dotted accent, where a staccato dot combines with an accent mark to merge detached brevity with controlled emphasis, allowing varied articulation within a single phrase without resorting to pure separation or unrelieved force.[58][19]References
- https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Marcato
- https://en.wiktionary.org/wiki/marcare