legato
This is one of the "clarinet acoustics" series, but not only for
clarinet. (I am exhausted after doing stupid thinking all day so I will
make this one as short as possible.)
People tell me "imagine" that the two notes are "connected" while
playing legato.
Listen to bad legato performance. There can be two (or more) types
I. the notes are simply DISCONNECTED. This happens pretty often when
the interval between two notes is large or "tricky" for the instrument.
II. there is a funny "glissando" in between, pretty much similar to the
special effect easily produced with a trombone.
Analyze a beautifully played legato with a computer, one can find
that the "peaks" in the spectrum of the sound does not vanish between
two notes, those "peaks" simply move from one note to the second one.
This means if we play legato in "slow motion" (loose sense), all
good legato performance has a glissando between two connected notes.
Then what is the problem of type II above?
The glissando part must be as short as possible, unless we want to
hear the glissando (string players do that pretty often).
I found this fact pretty "trivial". Try to sing a legato passage
and one finds that (s)he is "working" between notes as if (s)he is
singing glissando. However, imagine this infinitely short glissando
while playing legato helps me a lot.
Finally, how about legato on a piano or harp? Well, one really needs
imagination and ears to play legato then.
Hsuan-Yi Chen
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