Top 35 How To Play Staccato On Piano Best 34 Answer

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To play a staccato note on the piano keyboard simply press and immediately release the note after pressing it; almost like you are touching a hot stove and you remove your hand before getting too hot!A dot above or below a note tells you to play it short and detached. This should not be confused with a dot after a note which alters its value. Short, detached, jumpy notes are called staccato.

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What is a staccato in piano?

A dot above or below a note tells you to play it short and detached. This should not be confused with a dot after a note which alters its value. Short, detached, jumpy notes are called staccato.

What is the symbol for staccato?

Staccato: A staccato note is marked with a simple dot above or below the note head. It indicates that the player should cut the note short to provide a brief silence before the subsequent note.

When should I play legato?

Legato means to play long notes and Staccato means to play short notes. Think of them as opposites. It’s also easy if you correlate the first letter of each one to help you remember which is which: legato = long and then staccato = short.

What songs use staccato?

What are some songs with a strong, staccato beat? (Details inside…

Ween – Even If You Don’t.
The Damned – Grimly Fiendish.
Ween – Roses Are Free.
Tom Jones – Delilah.

Whats the difference between staccato and legato?

Legato and staccato are articulation opposites. Legato means to play the notes as smoothly connected as possible. Staccato means to play the notes as short and crisp and detached as possible. A slur connects two notes of different pitch.

What is mezzo staccato?

Portato ([porˈtaːto]; Italian past participle of portare, “to carry”), also mezzo-staccato, French notes portées, in music denotes a smooth, pulsing articulation and is often notated by adding dots under slur markings. Portato is also known as articulated legato.

What is Staccatissimo music?

Definition of staccatissimo

: in a sharper and more detached staccato manner —used as a direction in music.

How To Play Staccato on the Piano?

Learn How to Play Staccato and Legato on the Piano – Piano Lesson on the Web

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Learn How to Play Staccato and Legato on the Piano

7 Tips to Master Staccato on the Piano

As you learn how to play piano notes, chords, scales, and songs, at some point you’ll come across the term “staccato.” What exactly does it mean, and how do you play it? Read on as New Paltz, NY teacher Cheryl E. shares her helpful tips…

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Mastering staccato on the piano can be extremely beneficial, not only for performance of staccato passages but also for using it as a tool to help you memorize legato segments, improve your dexterity and finger strength, and smooth out your performance motion.

Staccato is when the finger leaves the key without sustaining any sound. It is notated by a small dot above the note. Depending on how you play the key, it can be depressed all the way down before release, or halfway down. No pedal or dampening is needed. The faster you can get your finger off the key, the more time your brain has to look to the next key, eliminating errors and adding a smoothness to the performance.

For an example of how to play piano notes with staccato, watch this video:

Next, read these tips for mastering your staccato playing:

1) Think about how fast you can get your finger off the key and onto the next one. Looking ahead will take the frenzy out of playing staccato.

2) Keep your body still so that the movement is coming from your fingers and wrist more than your arm and shoulder. Big movements will slow you down.

3) Even though staccato can feel like hopping across the keyboard, make sure not to let your hand rise too high–the higher your hand, the more coordination you need to get back to the next (correct) key. Again, reducing movement will allow for a smoother performance.

4) Experiment with different fingering: 3-2-1 over a repeated note can increase speed of a repetitive staccato motif.

5) Add in notes–if you are practicing with one note, start to practice with thirds.

6) Practice scales with staccato, with both hands, and then as your coordination skills improve, with the left hand over the right hand.

7) Play your favorite songs in all staccato (no pedal). Hearing familiar melodies played in a new way will start to make staccato feel natural. You can also do the reverse–practice your staccato sections in legato to hear it in different ways and train your ears (and fingers) to know the notes despite the style they are played in.

Like all techniques you’ll learn as you take piano lessons, it may take time to get your fingers comfortable with playing continuous staccato passages. It’s definitely a great tool to have in your pianist tool belt! Have fun!

Cheryl is a film and TV commercial composer and singer/songwriter with multiple tours, records, and TV placements under her belt. If you turned on your television this year, you’ve definitely heard her music. She teaches piano and voice in addition to composition and arrangement in New Paltz, NY. Learn more about Cheryl here!

Photo by Heartlover1717

8. How to play staccato?

Piano Technique – Theory

8. How to play staccato on the piano?

8.1. Preliminary Information 8.1.1. Firstly, I want to remind you that I will not mention all of the kinds of pianistic staccato and I will not either speak of their realization in pieces by different composers, because I believe that these problems can only be discussed at the keyboard. I only want to demonstrate the great value of this joint in the general framework of perfecting technique. Everyone who learns to control the basic staccato – as described below – will be able to model it freely afterwards and adapt it by ear to the style of each composer. Firstly, I want to remind you that I will not mention all of the kinds of pianistic staccato and I will not either speak of their realization in pieces by different composers, because I believe that these problems can only be discussed at the keyboard. I only want to demonstrate the great value of this joint in the general framework of perfecting technique. Everyone who learns to control the- as described below – will be able to model it freely afterwards and adapt it by ear to the style of each composer.

8.1.2. Staccato is less present than legato in the piano literature (at least in the scores), but to practice staccato a passage that has been written legato gives excellent technical results. More specifically, the staccato (single, double, triple) used during exercise is an excellent starting point for mastering fundamental virtuoso techniques such as playing “poco legato”, the French “jeu perlé”, the technique of projection or even that which is called “shaking the shoulder”. Briefly, everything which is necessary to obtain a particular control of the arm which Liszt called Staccato is less present than legato in the piano literature (at least in the scores), but to practice staccato a passage that has been written legato gives excellent technical results. More specifically, the staccato (single, double, triple) used during exercise is an excellentfor mastering fundamental virtuoso techniques such as playing “poco legato”, the French “jeu perlé”, the technique of projection or even that which is called “shaking the shoulder”. Briefly, everything which is necessary to obtain a particular control of the arm which Liszt called “hovering” . These techniques will be described in the following chapters. For now, let us focus on how to correctly play a very short and energetic staccato.

8.2. “Touch” in Chopin’s method 8.2.1. In English, as well as in French, “touch” represents both an action and a sense. In pianistic technique, “touch” means how to feel the keys on two levels. Not only on the vertical level but also on the horizontal one, which is the same as being aware of the key’s surface. Chopin’s advice was to caress the keys instead of striking them (Mathias1 – In English, as well as in French,represents both an action and a sense. In pianistic technique,means how to feel the keys on two levels. Not only on the vertical level but also on the horizontal one, which is the same as being aware of the key’s surface. Chopin’s advice was toinstead of striking them (Mathias exact quotation ). This is one of the most important discoveries in pianisitic technique, but above all one must learn how to put it into practice. Before anything else, please do not take this recommendation at face value.

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1Jean-Jacques Eigeldinger – “Chopin: Pianist and Teacher as Seen by His Pupils”, Cambridge University Press, Cambridge 1986

8.2.2. In reality, “caress the keys”, i.e. using the finger, whose tendancy is to bend, in order to slide on the keys, provokes a more or less important friction between the key’s surface and the finger’s pad. Playing like this brings about an enormous waste of muscular energy, and many times arm pain as a result. We do not always realize the internal resistance of the hand/arms and the effect of the internal friction2 in the arm (in the muscles and tendons), all the more important because the movements are ample.

_________________________

2Czesław Sielużycki – “The pianist’s hand” p. 123, Polish Music Edition, Cracow, 1982

8.2.3. There exists another possibility: when we make a finger slide on a clean plate, we get as close as possible to the limit of adherence, i.e. the moment beyond which the plate makes a noise. The “caress” described by Chopin is is all about finding the limit of this adherence, without going beyond it, i.e. without sliding on the key or pressing on it. Succeeding in this movement on a key which depresses with no resistance is not at all an easy matter (a There exists another possibility: when we make a finger slide on a clean plate, we get as close as possible to the limit of adherence, i.e. the moment beyond which the plate makes a noise. The “caress” described by Chopin is is all about finding the limit of this adherence,, i.e. without sliding on the key or pressing on it. Succeeding in this movement on a key which depresses with no resistance is not at all an easy matter (a less resistant keyboard means that this movement is more difficult) and requires very subtle movements. When the fingertip is thus immobilized horizontally, all that is needed is adding the minimum energy required to press the key and produce a sound. There are many ways to obtain this extra energy – starting from the metacarpal joints to arrive at the shoulder (the better recommendation).

8.2.4. Many pianists and theorists (cf. […] Many pianists and theorists (cf. chapter 10 point 10.3.1) give an inordinate amount of importance to the activity of the distal phalange

8.2.6. Several words in addition By accident I came across a “Encounters with the pedagogue Krystian Zimerman” where I found this fragment of lesson transcription: Zimerman: “I see many things happening at the surface of the keys, that is to say you press on a key, you make it move and … you cease to maintain control over it. In this manner, the key may reach the keybed, but then again it may just as easily not get there. If the keyboard has a lot of resisitance, the key will not reach the bottom. One must try to play more ‘in the interior of the keyboard’ by concentrating on the bottom of the key; it is at this place which you will find your encounter with the keyboard, and not at the surface.” By accident I came across a PDF (document in Polish) created by Stanisław Olędzki and titledwhere I found this fragment of lesson transcription:

In the first place, it is important to remind you that from an objective and physical viewpoint the piano’s interior mechanism does not allow us to control the hammer’s movement beyond the superior 3/4’s of the key’s depth3 (cf. after the moment the hammer strikes the strings. Thus, each pressure only has influence on the next sound . Moreover it is because of this, in certain situations, that we have problems playing the first note or chord pianissimo, for there is no preceding key from which to rebound. There are many ways to avoid this risk – Ingolf Wunder, for example, plays the first third of Chopin’s Etude in thirds with his left hand. In the first place, it is important to remind you that from an objective and physical viewpoint the piano’s interior mechanismthe hammer’s movement beyond the(cf. Characteristics of the Keyboard point 3.2). For this reason, the keybed is attainedthe hammer strikes the strings. Thus, each pressure only has influence on. Moreover it is because of this, in certain situations, that we have problems playing the first note or chord, for there is no preceding key from which to rebound. There are many ways to avoid this risk -, for example, plays the first third of Chopin’s Etude in thirds with his

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3Czesław Sielużycki – “The pianist’s hand” p. 211, Polish Music Edition, Cracow, 1982

“more to the interior of the keyboard” , so typical of the Polish school of piano, it can be misleading for a student, because it is only half true – for everything related to the inferior limit of what is known as the finger’s contact with the key. After trying too hard to find the keybed, the student runs the risk of an “overdose” of weight with all of the disastrous consequences that can arise, detailed in the chapter devoted to the “touch” of Chopin. Evidently, Zimerman is correct when he says that the finger should accompany the key all the way to the bottom, but his indication [how to accomplish this] is as incomplete as the large quantity of similar advice offered by the masters of the past. For my own part, I believe that a good technique consits in finding through the movements of the arm and the “touch” in the fingers a good compromise in the oscillation of the arm’s weight (the member) between the upper and lower levels of the key. In other words, it is all about the ability to feel the vertical limits of the keyboard in a balanced manner, so that the hand does not press down too deeply and that it does not either hover above it with too light a movement (obviously, one needs to do this with the proper muscular impulses – cf. the point 8.4.2 below). A partial truth, i.e. a truth taking into consideration only a single limit, doesn’t allow us to resolve the problem, and more importantly, we can make it worse. As for the indication, so typical of the, it can be misleading for a student, because it is only half true – for everything related to the inferior limit of what is known as the finger’s contact with the key. After trying too hard to find the keybed, the student runs the risk of an “overdose” of weight with all of the disastrous consequences that can arise, detailed in the chapter devoted to the weight of the hand . As for the truth concerning the upper limit, the initial stage of this contact, it is about the famousof Chopin. Evidently, Zimerman is correct when he says that the finger should accompany the key all the way to the bottom, but his indication [how to accomplish this] is as incomplete as the large quantity of similar advice offered by the masters of the past. For my own part, I believe that a good technique consits in finding through the movements of the arm and the “touch” in the fingersbetween the upper and lower levels of the key. In other words, it is all about the ability to feel thein a balanced manner, so that the hand does not press down too deeply and that it does not either hover above it with too light a movement (obviously, one needs to do this with the proper muscular impulses – cf. the point 8.4.2 below). A, i.e. a truth taking into consideration only a single limit, doesn’t allow us to resolve the problem, and more importantly, we can

8.3. How to correctly play staccato? 8.3.1. Test a double movement

Place the 2nd finger on a key, not vertically but at a certain angle, in order to play on the pad and not the nail (photo 1a). Try to perform simultaneously the following movements (photo 1b under the cursor): ● By raising energetically the wrist, play the note as short as possible… bending slightly the ● …bythe distal phalange as I describe more precisely in the points 8.2.3 and 8.2.4 above. “playing from below” is the best way to describe the overall movement. This movement reminds us also of rolling a piece of paper – place the cursor on the photo 2a below to see 2b. Click to see a short video. N.B. I volontarily omit here the description of the lateral movements of the wrist and the opening of the elbows (i.e. the lever movements), which will be detailed in Chapter 4, in preparation. {modal http://aw4piano.info/–/video/rolowanief.html|width=600|height=338|Title=Here is the right movement} {/modal} {modal http://aw4piano.info/–/video/rolowanief.html|width=600|height=338|Title=Here is the right movement}{/modal} Place the 2finger on a key, not vertically but at a certain angle, in order to playand not the nail (photo 1a). Try to performthe following movements (photo 1b under the cursor):The sum of these elements produces a lever effect andis the best way to describe the overall movement. This movement reminds us also of rolling a piece of paper – place the cursor on the photo 2a below to see 2b. Click to see a short video.I volontarily omit here the description of the lateral movements of the wrist and the opening of the elbows (i.e. the lever movements), which will be detailed in Chapter 4, in preparation.

fingertip/wrist tandem, is not only limited to staccato. This is a universal movement in piano playing […] Moreover, using this kind of double movement, i.e. bringing into play the, is not only limited to staccato. This is a universal movement in piano playing

8.4. How to avoid errors, both visible and invisible ?

8.4.1. How to avoid visible errors? […]
{/modal} {modal http://aw4piano.info/–/video/staccato.html|width=600|height=338}{/modal}

8.4.2. How to avoid invisible errors? […]
8.4.3. The shoulder makes up the principal locomotive of the pianist. (illustration above), i.e. the source of his energy. The way the wrist works (not only in the case of staccato) can be compared to a supplementary locomotive placed in the middle of a train: it pushes the cars ahead of it (the hand and the fingers) while all the time pulling everything behind (the forearm and the arm). […] The shoulder makes up theof the pianist. (illustration above), i.e. the source of his energy. The way the wrist works (not only in the case of staccato) can be compared to aplaced in the middle of a train: it pushes the cars ahead of it (the hand and the fingers) while all the time pulling everything behind (the forearm and the arm).

8.5. Audio and video examples 8.5.1. Below, I have made available several useful audio and video examples of staccato playing […] Below, I have made available several useful audio and video examples of staccato playing

8.5.2. Example of a piece made to be played staccato

8.5.2.2. Gigue from the 5th Bach – French Suite in G major

Exercise and two fragments for the RH and LH

th French Suite, the first beat falls on the G played by the third finger. As for the natural gestures of the wrist ( red slurring present on the right-hand example), it makes the beginning of each triplet susceptible to being accented: the D (played with the thumb) and F-sharp (second finger). The easiest way to play this measure is […] In the case of the Gigue from the 5French Suite, the first beat falls on the G played by the third finger. As for the natural gestures of the wrist (present on the right-hand example), it makes the beginning of each triplet susceptible to being accented: the D (played with the thumb) and F-sharp (second finger). The easiest way to play this measure is

8.5.3. Practicing staccato passages meant to be played legato (or poco legato)

B.Woytowicz taught a special technique to easily increase the tempo. […] 8.5.3.1. Moszkowski – “Sparks” (op. 36 n° 6) – exercises for measures 1-8 […] My live recording is available here B.Woytowicz taught a special technique to easily increase the tempo.

8.5.3.2. Chopin – Etude in a minor, op. 25 n° 11 – exercises and measures 5-12

How to Play Staccato on the Piano

When you hear short notes – on almost any instrument – this is usually called staccato. We are going to be discussing two types of staccato notes – one is single staccato notes and the other is slurs which end in staccato notes such as two note slurs.

For the video example above, I chose the last movement of Mozart’s K331 Sonata in a major which ends with the famous Alla Turca movement. This is a great piece for staccato demonstration and if you have the chance you may enjoy following along with the video.

The most important technique in playing staccatos is using the wrist. If you rely on the arms the notes won’t snap like they should – it will sound limp. The arms are simply too big and ponderous to rely on for this technique. But how do you approach the staccatos with your wrist?

In the case of a single note, you will want to place your fingers over the keys and simply use your wrist to play the notes. You will want to move ONLY the wrist; do not involve your arms at all except to carefully place the hands over the right keys. By practicing this technique and relying on the wrist, you can develop incredibly speed and fluidity.

When it comes to slurs that end in staccatos, you will want to achieve this is one motion. In this particular piece there is a two note slur that ends in a staccato. For this example you will want to play down for the first note of the slur, and then up for the staccato. The video above provides an excellent example of this. It doesn’t matter how many notes are in the slur, you will always want to go down with the wrist on the first note then come up on the staccato note.

When you put this all together, you will notice a very big change in the sound of the music. Your short notes will have a nice crisp sound to them – they will delineate themselves from the slurred notes.

Now, staccato doesn’t always mean short. It technically means detached. There are examples of slower music where the notes aren’t short but are simply detached from each other. This is an entirely different technique I will cover in a future video but for today, the examples above will help you start playing staccato like a pro.

Thanks again for joining me Robert Estrin [email protected] (949) 244-3729

So you have finished reading the how to play staccato on piano topic article, if you find this article useful, please share it. Thank you very much. See more: how to play staccato on violin, staccato piano meaning, staccato piano songs, staccato piano symbol, how to play legato on piano, how to play legato on guitar, how to play legato violin, Legato and staccato

Top 35 How To Play Staccato On Piano Best 34 Answer

What is a staccato in piano?

What is the symbol for staccato?

When should I play legato?

What songs use staccato?

Whats the difference between staccato and legato?

What is mezzo staccato?

What is Staccatissimo music?

Learn How to Play Staccato and Legato on the Piano – Piano Lesson on the Web

How To Practise in 20 Minutes: #1: Staccato – YouTube

Piano Challenge Day 3: Staccato scales! – YouTube

Staccato – Understanding musical signs and symbols – National 5 Music Revision – BBC Bitesize

Staccato and Legato: What they Look Like and How to Play Them – YouTube

7 Tips to Master Staccato on the Piano

8. How to play staccato? – aw4piano.info

how to play staccato on piano

7 Tips to Master Staccato on the Piano

8. How to play staccato?

How to Play Staccato on the Piano

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