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Staccato
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Three notes with staccato dots
Staccato ([stakˈkaːto]; Italian for "detached") is a form of musical articulation. In modern notation, it signifies a note of shortened duration,[1][2] separated from the note that may follow by silence.[3] It has been described by theorists and has appeared in music since at least 1676.[4]
Notation
[edit]
In 20th-century music, a dot placed above or below a note indicates that it should be played staccato, and a wedge is used for the more emphatic staccatissimo. However, before 1850, dots, dashes, and wedges were all likely to have the same meaning, even though some theorists from as early as the 1750s distinguished different degrees of staccato through the use of dots and dashes, with the dash indicating a shorter, sharper note, and the dot a longer, lighter one.
A number of signs came to be used in the late 19th and early 20th centuries to discriminate more subtle nuances of staccato. These signs involve various combinations of dots, vertical and horizontal dashes, vertical and horizontal wedges, and the like, but attempts to standardize these signs have not generally been successful.[5]
The example below illustrates the scope of the staccato dot:
In the first measure, the pairs of notes are in the same musical part (or voice) since they are on a common stem. The staccato applies to both notes of the pairs. In the second measure, the pairs of notes are stemmed separately indicating two different parts, so the staccato applies only to the upper note.
The opposite musical articulation of staccato is legato, signifying long and continuous notes.[6] There is an intermediate articulation called either mezzo staccato or non legato.
For wind and bowed string instruments in particular, staccato is often also associated with a faster attack, potentially involving a different bowing or tonguing technique as appropriate.
Staccatissimo
[edit]In musical notation, staccatissimo (plural: staccatissimi or the anglicised form staccatissimos) indicates that the notes are to be played extremely separated and distinct, a superlative staccato. This can be notated with little pikes over or under the notes, depending on stem direction, as in this example from Bruckner's Symphony No. 0 in D minor:
Alternatively, it can be notated by writing the word "staccatissimo" or the abbreviation "staccatiss." over the staff. A few composers, such as Mozart, have used staccato dots accompanied by a written instruction staccatissimo when they mean the passage to be played staccatissimo.[7]
See also
[edit]References
[edit]- ^ Willi Apel, Harvard Dictionary of Music (Cambridge, Massachusetts: Harvard University Press, 1960), p. 708.
- ^ Kennedy, Joyce; Kennedy, Michael; Rutherford-Jones, Tim, eds. (2012). "Staccato". The Oxford Dictionary of Music (6th ed.). Oxford University Press. doi:10.1093/acref/9780199578108.001.0001. ISBN 978-0-19-957810-8.
- ^ Geoffrey Chew, "Staccato", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
- ^ Werner Bachmann, Robert E. Seletsky, David D. Boyden, Jaak Liivoja-Lorius, Peter Walls, and Peter Cooke, "Bow", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
- ^ Geoffrey Chew, "Staccato", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
- ^ Kennedy, Joyce; Kennedy, Michael; Rutherford-Jones, Tim, eds. (2012). "Legato". The Oxford Dictionary of Music (6th ed.). Oxford University Press. doi:10.1093/acref/9780199578108.001.0001. ISBN 978-0-19-957810-8.
- ^ Philip Farkas, The Art of French Horn Playing (Evanston: Summy-Birchard Company, 1956): p. 51. ISBN 978-0-87487-021-3.
External links
[edit]
Look up staccato in Wiktionary, the free dictionary.
- Basic Music Theory Neil V. Hawes, organist and choirmaster of St. Mary's Church, Osterley
- Staccato—video example of staccato playing
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Staccato
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Definition and Etymology
Definition
Staccato is a form of musical articulation originating from the Italian term meaning "detached," which directs performers to execute notes in a short, clipped manner, separated from one another by brief silences to create a distinct, punctuated effect.[3] This technique emphasizes brevity and separation, contrasting sharply with legato articulation, where notes flow smoothly into one another without interruption. In performance, staccato contributes to a lively, crisp texture often used to convey playfulness, agitation, or rhythmic drive in compositions across various genres.[4] Typically, a staccato note is played for about half its written rhythmic value, with the remaining duration filled by a rest, though performers may adjust slightly based on tempo, instrument, and stylistic context.[5] For example, a quarter note marked staccato would be rendered as a brief eighth-note-like sound followed by an equal silence, ensuring clear detachment without excessive abruptness.[5] This proportional shortening enhances perceptual gaps between notes, influencing the overall emotional and structural perception of a musical phrase.[4] In musical notation, staccato is indicated by a small dot placed above or below the notehead, typically on the side opposite the note stem, to signal the required separation.[6] This simple symbol, standardized in modern scores, allows composers to specify articulation precisely, enabling interpreters to achieve the intended rhythmic vitality and expressive contrast.[5]Etymology
The word staccato derives from Italian, where it serves as the past participle of the verb staccare, meaning "to detach" or "to separate."[7][1] This verb itself is an aphetic form of distaccare ("to detach"), formed by the prefix dis- (indicating reversal) combined with attaccare ("to attach" or "to fasten"), ultimately tracing back to Old French destachier ("to unfasten" or "to untie") via Middle French destacher.[8] In its musical context, staccato literally conveys notes that are "detached" or separated by brief pauses, contrasting with smoother articulations like legato.[7] The term entered English in the early 18th century, with its first documented use as a musical adverb around 1724, describing performance style as "separated by slight pauses."[7][1] By 1844, it had broadened to general adverbial use beyond music, implying abrupt or disjointed actions, such as speech or movement.[7] This adoption reflects the influence of Italian musical terminology on European languages during the Baroque period, when Italian terms like allegro and adagio also became standard in notation.[1] Related variants include staccatissimo, an intensified form meaning "very detached," which emphasizes even shorter note durations.[7] The etymological roots highlight a conceptual emphasis on separation, rooted in Germanic influences like Frankish stakkōn ("to stake" or "to fix"), which evolved through Vulgar Latin to denote attachment and its negation.[8]Historical Development
Early Documentation
The staccato articulation, denoting short and detached notes, emerged as a distinct performance practice in Western music during the transition from the Baroque to the Classical era, with its earliest explicit notations appearing in printed scores toward the end of the 17th century. Articulation marks were rare prior to this period, as notation primarily focused on pitch and rhythm rather than execution details; however, indications of detached playing—often through simple dots or implied by fingering patterns—began to surface in instrumental works, particularly for strings and winds, to convey separation between notes without slurring. These early marks were not yet standardized but reflected a growing interest in expressive touch amid the development of more nuanced performance practices.[9] Systematic documentation of staccato arrived in the mid-18th century through seminal treatises that codified its notation and execution. Johann Joachim Quantz's Versuch einer Anweisung die Flöte traversiere zu spielen (1752) is among the earliest comprehensive discussions, instructing flutists to play marked notes detached and shortened, avoiding a "glued" effect, with dots or strokes signaling brief silences between tones to enhance clarity and liveliness in passages. Quantz emphasized contextual variation, such as sharper detachment in rapid tempos or forte dynamics, and distinguished staccato from legato slurs, marking a shift toward precise interpretive guidance for woodwind players.)[10] Complementing Quantz, Carl Philipp Emanuel Bach's Versuch über die wahre Art das Clavier zu spielen (1753) provided foundational keyboard-specific instructions, defining the staccato dot as reducing a note's duration to approximately half its written value, executed with a light lift of the finger to create separation. Bach noted that unmarked notes in moderate tempos should default to a semidetached style (half value), while explicit dots indicated stronger detachment, especially in leaps or quick passages; he also addressed ambiguities, such as distinguishing dots from potential misread strokes resembling numerals. These treatises, drawing on empirical observation of contemporary practices, influenced subsequent theorists and composers, establishing staccato as a core element of expressive notation.)[9] Early scores incorporating staccato dots include those by J.S. Bach, where sparse markings in works like the Clavier-Büchlein für Wilhelm Friedemann Bach (1720) suggest detached execution via dots or paired fingerings, though interpretations relied heavily on performer discretion. By the 1750s, such notations proliferated in chamber and orchestral music, as seen in autographs by C.P.E. Bach himself, where dots and strokes interchangeably denoted degrees of detachment, varying by instrument and phrase. This period's documentation thus bridged implicit Baroque conventions with the more explicit Classical standards.[9]Evolution in Music Theory
The concept of staccato, denoting a detached and shortened note execution, emerged gradually in Western music theory during the Baroque period, initially as an implied performance practice rather than a standardized notation. In the early 18th century, articulation was often guided by rhetorical principles, with non-legato playing serving as the default for many secular genres, while legato was reserved for specific slurred passages or vocal-like expressions. Johann Joachim Quantz, in his influential 1752 treatise Versuch einer Anweisung die Flöte traversiere zu spielen, described staccato-like detachment using the tonguing syllable "ti" for sharp, separated attacks on the transverse flute, contrasting it with softer "di" or "ri" for more connected sounds; this approach emphasized clarity and rhythmic vitality in allegro tempos.[11] Similarly, Carl Philipp Emanuel Bach's 1753 Essay on the True Art of Playing Keyboard Instruments advocated varying articulation on the clavichord—employing detached notes to highlight phrase structure and affective contrasts—though explicit staccato marks were rare, relying instead on inequalities and ornaments to achieve separation.[12][13] By the Classical period, staccato began to appear more explicitly in notation, reflecting a shift toward precise instructions for ensemble playing and the piano's rising prominence. Daniel Gottlob Türk's 1789 Clavierschule distinguished between the staccato dot (indicating notes of approximately half their notated value, played lightly and separated) and the wedge or stroke (for sharper, more emphatic detachment), influencing performers to apply these based on musical character—gentler in lyrical passages, crisper in energetic ones. Leopold Mozart's 1756 Versuch einer gründlichen Violinschule further elaborated on the stroke's versatility, interpreting it variably as staccato, accent, or even portato depending on context, underscoring the era's emphasis on interpretive flexibility within growing notational clarity.[12] This evolution aligned with composers like Haydn and Mozart, who increasingly used staccato dots in scores to convey playfulness or precision, as seen in Haydn's string quartets where detached articulation delineates motivic ideas.[14] In the 19th century, as Romantic theory prioritized emotional expression, staccato notation standardized further, but its theoretical role expanded to contrast with pervasive legato ideals enabled by the modern piano's sustaining pedal. Johann Nepomuk Hummel and Johann Baptist Cramer, in their pedagogical works around 1820, reinforced the dot-stroke distinction while stressing dynamic integration—staccato for rhythmic drive or humor—though critics like Schubert noted overuse could disrupt melodic flow. By mid-century, treatises such as Carl Czerny's The Art of Playing the Ancient and Modern Piano Works (1846) integrated staccato into broader phrasing strategies, viewing it as essential for textural variety in Beethoven's late works, where it juxtaposed with tenuto for dramatic tension. This period marked staccato's transition from a primarily technical device to a core expressive tool in theory, influencing subsequent standardization in the 20th century.[12][15]Notation
Modern Standards
In modern Western music notation, the staccato articulation is indicated by a single solid dot (·) placed directly above or below the notehead. This symbol signifies that the note should be performed in a detached manner, typically shortened to about half its written duration, followed by a brief silence to separate it from the subsequent note. The convention ensures clarity in printed scores and is universally adopted in contemporary music publishing. The more emphatic staccatissimo articulation, requiring the note to be played very short, detached, and crisp, is typically indicated in modern standards by a small wedge (filled triangle) placed above or below the notehead. However, in some older editions, specific publishers, or certain music engraving and software contexts, three dots placed under a note (or sometimes above) have been used to denote staccatissimo, distinguishing it from regular staccato denoted by a single dot. Placement of the staccato dot follows precise rules based on stem direction to optimize readability and avoid visual interference with staff lines. For notes with upward-pointing stems, the dot is positioned below the notehead, centered horizontally and vertically in the nearest space. Conversely, for downward-pointing stems, it appears above the notehead in a similar aligned space. This opposite-side placement keeps the mark on the notehead's non-stem side, preventing overlap and maintaining proportional balance in the notation. In chordal contexts, a single staccato dot suffices for the entire chord unless differentiation is required, positioned above the top note or below the bottom note according to the stem rule. Digital standards, such as the Standard Music Font Layout (SMuFL) developed under W3C guidelines, formalize these symbols with Unicode code points: U+E4A2 (articStaccatoAbove) for above-stem placement and U+E4A3 (articStaccatoBelow) for below, along with U+E4A7 (articStaccatissimoAbove) and U+E4A8 (articStaccatissimoBelow) for staccatissimo, including variants for small-staff notations. These encodings support consistent rendering in software like Sibelius or Finale, aligning with engraving best practices that prioritize horizontal alignment of dots in beamed groups or passages for uniform appearance. When staccato combines with slurs, the dot under a curved line denotes a portato (or mezzo-staccato), where notes are lightly detached within a connected phrase, each sustaining roughly three-quarters of its value. This nuanced notation is standard in orchestral and chamber scores, reflecting interpretive flexibility while adhering to the core detached principle.Historical Variations
In the Baroque period, explicit notation for staccato was rare, with articulations often implied through context, tempo, or verbal instructions rather than symbols. When dots appeared over notes, they frequently indicated notes of equal duration to counteract the common practice of notes inégales (unequal notes), rather than detachment or shortening. For instance, Marin Marais and Michel Corrette described staccato dots as signifying "play equal," emphasizing rhythmic evenness in passages that might otherwise be rendered unevenly.[16] This usage reflected the era's reliance on performer discretion, as systematic articulation marks were not yet standardized. By the Classical period, the staccato dot emerged as a primary symbol for detached notes, typically shortening them to about half their written value while maintaining a light touch. Composers such as Mozart frequently employed both clear dots and short horizontal strokes (Striche) in autographs, prompting ongoing scholarly debate about their intent. Paul Mies, in his 1958 analysis of Mozart's manuscripts, concluded that variations between dots and strokes resulted from inconsistencies in pen pressure and writing speed—the so-called Schreibfaktor—rather than deliberate differences in articulation, advocating for uniform interpretation as a gentle staccato across both.[17] Subsequent research has challenged Mies's view, highlighting nuanced distinctions based on contemporary treatises. Clive Brown, examining late 18th- and 19th-century sources, argued that dots generally prescribed a lighter, drier staccato, while strokes indicated a more emphatic, accented detachment, often with greater separation and intensity, as evidenced in Beethoven's scores and instructions from theorists like Johann Nepomuk Hummel.[18] This evolution aligned with the period's growing precision in notation, allowing composers to convey subtle expressive variations. In the Romantic era, staccato notation further diversified with the widespread adoption of the wedge (or inverted exclamation mark, >) to denote staccatissimo—a sharper, more forceful variant than the standard dot. In some older editions, specific publishers, or certain music engraving and software contexts, three dots placed under a note (or sometimes above) have been used to indicate staccatissimo, though the wedge became the standard symbol. This symbol, first appearing sporadically in the late Classical period, became conventional for heightened accents and abrupt releases, as seen in works by Schumann and Brahms, reflecting the era's emphasis on dramatic contrast and emotional intensity.[14] Overall, these historical shifts underscore the transition from implicit to explicit notational practices, influenced by instrument development and changing aesthetic ideals.Performance Practice
General Techniques
Staccato articulation in music performance requires performers to produce short, detached notes by shortening their duration and introducing brief silences between them, typically rendering each note at approximately half its notated value. This technique emphasizes clear attacks and rapid releases to achieve separation, contrasting with legato where notes are smoothly connected. The precise execution depends on the instrument's mechanics, but universally involves control over the note's onset, sustain, and decay to maintain rhythmic evenness and musical intent.[19] To perform staccato effectively, musicians focus on the attack phase, followed by an immediate damping or cessation of sound to create the detached effect. For wind instruments, this often entails tonguing to interrupt the airstream; on strings, short bow strokes limit contact time; and on keyboards, quick finger lifts prevent overlap. Breath support remains steady in winds to ensure consistent volume, while tension must be minimized to avoid harshness. Practice typically involves scales or etudes to develop precision, such as Hanon's exercises adapted for staccato, ensuring notes remain light and buoyant rather than percussive.[19][20] In ensemble settings, general staccato techniques promote clarity and energy, as seen in Baroque dance movements like the gavotte, where uniform detachment drives the pulse. Performers adjust intensity based on dynamics—lighter for piano passages, firmer for forte—to convey expression without muddiness. Historical treatises, such as those by Quantz in the 18th century, advocate for a "piquant" quality in staccato, blending detachment with subtle phrasing to enhance melodic flow. Modern pedagogy reinforces these principles through recordings and analysis, emphasizing that effective staccato balances separation with the music's overall line.[19]Instrument-Specific Applications
Voice
In vocal performance, staccato is achieved through precise breath control and articulation, where singers produce short, detached notes by using quick, explosive consonants such as "t" or "p" at the onset, followed by abrupt cessation of phonation to create silences between notes. This technique shortens the note's duration while maintaining pitch accuracy and tonal quality, often relying on diaphragmatic support to ensure evenness in fast passages. It is common in operatic arias or choral works requiring rhythmic vitality, such as Rossini's William Tell Overture vocal adaptations, where staccato adds crispness and energy.[2] In string instruments such as the violin, viola, cello, and double bass, staccato is achieved through short, controlled bow strokes that lift or bounce the bow off the string between notes, producing a detached and crisp sound. For on-bow staccato, the bow remains in contact with the string but stops abruptly at the end of each note, often using wrist and finger action for quick bursts, particularly in up-bow executions. Off-bow variants like spiccato involve a deliberate bounce of the bow, where the stick rebounds naturally from the string's tension, allowing for faster passages while maintaining separation; this technique is essential in orchestral repertoire, such as the staccato figures in Beethoven's Symphony No. 5, where string sections emphasize rhythmic drive.[21][22] On woodwind instruments like the flute, oboe, clarinet, and bassoon, staccato relies on precise tonguing to interrupt the airflow, creating short notes typically half their notated value, with the tongue articulating consonants such as "tu" or "du" against the mouthpiece or embouchure. In staccato playing, the tongue-reed contact is prolonged to terminate the sound abruptly, accompanied by a reduction in mouth pressure between notes to ensure clean separation, as observed in clarinet performance where blowing pressure adapts dynamically to articulation style. For flutes, which lack a reed, tonguing involves a lighter, faster "tee" syllable to produce airy yet defined attacks, crucial in pieces like Debussy's Syrinx for expressive detachment. Slurred staccato, or portato, softens this by gentle retonguing on a continuous breath, blending separation with sustain in ensemble contexts.[21][23][24] Brass instruments, including trumpet, horn, trombone, and tuba, employ similar tonguing techniques to staccato as woodwinds, using syllables like "tu" or "du" to stop the air column and vibrate the lips briefly for each note, resulting in punchy, separated attacks. Hard staccato tonguing enhances precision and control, particularly in jazz or lead trumpet roles, where short notes demand increased lip tension and breath support to avoid muddiness, as in the rapid articulations of Gershwin's Rhapsody in Blue. In orchestral settings, brass players adjust tonguing firmness based on dynamics—lighter for piano passages and firmer for forte—to match the ensemble's blend, with double tonguing enabling faster staccato runs without compromising clarity.[21][25] For keyboard instruments like the piano, staccato involves a quick depression and immediate release of the keys, often with a finger motion that "taps" or pulls inward sharply to shorten the note's duration to about half its value, emphasizing lightness and detachment without excessive force. This technique requires relaxed wrist rotation and curled fingers for precision, avoiding tension that could blur rapid passages, as demonstrated in Mozart's piano sonatas where staccato adds playfulness to melodic lines. On harpsichord or organ, the effect is more limited by the instrument's mechanics, relying instead on earlier key release or phrasing to suggest separation, though modern performances adapt piano-like detachment for clarity.[21][26] Percussion instruments adapt staccato through brief, lifting strokes that minimize resonance, such as dead strokes on timpani where the mallet snaps upward immediately after impact to dampen the sound quickly. On mallet keyboards like marimba or xylophone, performers use a snapping upstroke with yarn or cord mallets to achieve short, percussive notes, often visually indicated by dots despite the instrument's natural decay; damping with the hand or another mallet enhances separation in polyphonic textures, as in Stravinsky's The Rite of Spring. For snare drum or other untuned percussion, staccato manifests as tight, controlled rebounds that produce crisp attacks without prolonged ringing, prioritizing rhythmic punctuation over sustain.[21][27]Related Articulations
Staccatissimo
Staccatissimo is a musical articulation denoting an extreme form of detachment, more pronounced than staccato, where the note is performed very briefly—typically sustained for about one-quarter of its written duration, followed by silence for the remaining three-quarters—to create a sharp, separated effect.[21] This articulation emphasizes crispness and can imply a slight accent, distinguishing it from the lighter separation of standard staccato.[28] In notation, the standard modern symbol for staccatissimo is a wedge-shaped mark (∧ or >, a filled triangle), often called a "little pike" or "quotation mark," placed above or below the notehead, aligned with the stem direction for clarity; the symbol's size should be proportionate to the notehead, avoiding extremes that could confuse it with accents or other marks.[28] In some older editions, specific publishers, or certain music engraving and software contexts, three dots placed under the note (or sometimes above) are used to indicate staccatissimo, denoting a more emphatic, very short, detached, and crisp performance compared to regular staccato indicated by a single dot. Historically, introduced in the late 18th century, its meaning was sometimes ambiguous and interchangeable with staccato or even indicative of accentuation alone, as noted by theorist Daniel Gottlob Türk in 1789, though modern usage standardizes it as the most detached variant without inherent emphasis on volume.[21] Performance of staccatissimo varies by instrument to achieve its terse, punctuated quality. On piano, the key is depressed firmly but released almost instantly after the initial attack, producing a "pecked" sound that minimizes sustain.[29] String players execute it through spiccato technique, where the bow rebounds off the string in a single stroke for each note, yielding a light, bouncing detachment ideal for rapid passages.[21] Wind and brass performers use a vigorous, abbreviated tonguing—such as a "t" or "tk" syllable—coupled with immediate cessation of airflow, ensuring the note cuts off abruptly without decay; this is particularly effective in orchestral contexts for highlighting rhythmic drive.[30] Vocalists treat it similarly, with a quick onset and release to avoid blending into adjacent notes, though it remains a type of staccato rather than a wholly distinct category.[31]Comparisons to Other Styles
Staccato, characterized by short, detached notes typically lasting half their notated value with intervening silences, stands in direct contrast to legato, which emphasizes smooth, connected phrasing without audible gaps between notes.[21] Legato is notated with a slur curving over or under the affected notes and executed through continuous airflow on winds or a single bow stroke on strings, creating a seamless flow that staccato disrupts through abrupt releases.[32] Perceptually, staccato melodies are often rated as more energetic, tense, amusing, and surprising compared to legato, which evokes calmness and sadness; for instance, in controlled experiments with major and minor key excerpts, staccato enhanced perceived happiness in minor modes while legato amplified sadness.[4] Compared to marcato, staccato shares the emphasis on separation but lacks the forceful accent that marcato demands, where notes are struck heavily and distinctly, often near the frog of a bow on strings for added weight.[21] Marcato is indicated by a wedge-shaped symbol (∧) above or below the note, resulting in a more aggressive detachment than staccato's lighter, buoyant shortness.[33] In combinations, such as staccato paired with marcato in works like Debussy's Golliwogg's Cakewalk, the staccato dot provides separation while the marcato wedge adds stress, blending brevity with intensity.[34] Portato, or articulated legato, serves as an intermediate style between staccato and legato, notated by staccato dots under a slur, producing gently separated notes that retain some connection—often sustaining about three-quarters of the note's value on piano.[21] This contrasts with staccato's stricter half-duration and full silence, offering a "mezzo staccato" effect that smooths the detachment without eliminating it entirely.[33] Unlike staccato, which can make tempos feel slower in modulated contexts, portato aligns more closely with legato's tendency to enhance perceived acceleration in increasing tempos.[35] Tenuto differs from staccato by requiring full notated duration with a sustained, sometimes slightly accented delivery, marked by a horizontal line over or under the notehead, whereas staccato shortens and detaches to create lightness.[21] In expressive piano performance, such as Mozart's Sonata in G Major K. 545 Andante, staccato notes average 40% of inter-onset intervals for crisp separation, while tenuto-like sustains in legato passages reach up to 80-90% overlap, contributing to varied emotional phrasing across performers.[36] These distinctions highlight staccato's role in rhythmic vitality against the sustained poise of tenuto.References
- https://en.wiktionary.org/wiki/staccare