Portamento - Wikipedia https://en.wikipedia.

org/wiki/Portamento

Portamento
From Wikipedia, the free encyclopedia

In music, portamento (plural: portamenti, from Italian: portamento, meaning "carriage" or

"carrying") is a pitch sliding from one note to another. The term originated from the Italian
expression "portamento della voce" (carriage of the voice), denoting from the beginning of the 17th
century its use in vocal performances[1] and its emulation by members of the violin family and
certain wind instruments,[2] and is sometimes used interchangeably with anticipation.[3] It is also
applied to one type of glissando as well as to the "glide" function of synthesizers.

Contents
1 Vocal portamento
2 Opinions of vocal portamento
3 See also
4 Notes
5 References
6 Further reading

Vocal portamento

In the first example, Rodolfo's first aria in La Sonnambula (1831), the portamento is indicated by
the slur between the third and fourth notes. The second example, Judit's first line in Duke
Bluebeard's Castle (1912), employs a short, straight line between the fourth and fifth notes to
indicate a steady rise in pitch. If the composer desired the pitches to be, variously, raised and
lowered between those two notes, the wavy line would additionally be curvy, conveying an
approximation of the pitches intended. Portamento may, of course, also be used for descending
intervals.

Opinions of vocal portamento

1 of 4 1/18/2017 4:43 PM
Portamento - Wikipedia https://en.wikipedia.org/wiki/Portamento

In the performance of Italian bel canto music, the concept of the musical slur and that of the true
portamento have not always been held to mean the same thing. This is explained simply by Nicola
Vaccai in his Practical Method of Italian Singing, originally published 1832,[4] whose opinion in
the matter holds some authority. In the sense described by Vaccai, the portamento is not a slur but
an ornamental accentuation of the legato linking two distinct notes, without any slide or glide
through the intervening notes. In his own opening statements forming the preface to his Lesson
XIII, "Modo per portare la voce" (method to carry the voice),[5] Vaccai states: "By carrying the
voice from one note to another, it is not meant that you should drag or drawl the voice through all
the intermediate intervals, an abuse that is frequently committed—but it means, to 'unite' perfectly
the one note with the other."[6] He goes on to describe and illustrate that where a consonant falls
between the two notes to be ligatured in this way, the portamento is achieved either by "almost
insensibly" anticipating the second note of a pair in the final moments of the vowel sound
preceding it, or else by minutely deferring the "salto" or leap between the notes until the first
moment of the vowel sound in the second note. He adds, "In phrases requiring much grace and
expression, it produces a very good effect: the abuse of it, however, is to be carefully avoided, as it
leads to mannerism and monotony."[7]

However Manuel García (1805–1906), a singing pedagogue of immense renown, in his New
Compendious Treatise of the Art of Singing, Part 1, Chapter VII, "On Vocalization or Agility
(Agilità)", gave the opposite opinion. Writing of the means by which the voice is conducted from
one note to another, he distinguished between "con portamento" (the gliding or slurring mode) and
"legato" (simply the smooth mode of vocalization).[8] "To slur is to conduct the voice from one note
to another through all the intermediate sounds. ... This dragging of the notes will assist in
equalizing the registers, timbres and power of the voice." He warned that learners should not
acquire the bad habit of attacking a note with a slur, a prevailing fault in bad singers. As to "Smooth
or Legato Vocalization (Agilità legata e granita)", it means "to pass from one sound to another in a
neat, sudden, and smooth manner, without interrupting the flow of voice; yet not allowing it to drag
or slur over any intermediate sound ... as with the slurred sounds, the air must be subjected to a
regular and continuous pressure, so as intimately to unite all the notes with each other."

There was therefore a difference of opinion between these two very distinguished singing masters
of the nineteenth century as to the meaning of portamento, and its relation to the legato and the
musical slur. It reflected not merely a distinction of terminology but divergent understandings of a
fundamental aspect of singing technique. It should also be borne in mind that a curving line or
phrase-mark (similar to a slur mark) is the usual way, in vocal notation, of indicating to the singer
that the vowel sound of a word should be carried over or ligatured upon two or more consecutive
notes (as in a roulade), and that in such usage legato and not slurring is always intended unless the
slur is specifically indicated.

Although portamento (in the sense of slurring) continued to be widely used in popular music, it was
disapproved of for operatic singing by many critics in the 1920s and 1930s as a sign of either poor
technique, or of bad taste, a mark of cheap sentimentalism or showiness.[9] This is not valid
criticism of a performer when portamento is explicitly specified in the score or is otherwise
appropriate. However, when there is no such specification, the singer is expected to be able to move

2 of 4 1/18/2017 4:43 PM
Portamento - Wikipedia https://en.wikipedia.org/wiki/Portamento

crisply from note to note without any slurring or "scooping".[10]

See also
Glissando
List of ornaments
Nonchord tone#Portamento
Pitch wheel
Portato, also rarely called portamento.

Notes
1. Harris 2001.
2. Stowell 2001.
3. Merritt 1939, 82; Jeppesen 1946, 184 & 188; Gauldin 1985,; Stewart 1994, 37; Schenker 2001, 88;
Benjamin 2005, 71.
4. Vaccai 1832.
5. The translator in the Schirmer edition translates this as "The Glide", which directly contradicts the sense
explained in the text he is editing.
6. Vaccai 1975, 30.
7. Vaccai 1975, 30.
8. García 1871, Part 1, Chapter VII, 10-11, at p. 10. This work superseded García's L'Art de Chant first
issued in two parts in 1840 and 1847, which had since appeared in various forms.
9. Potter 2006, 543–44.
10. Potter 2006, 539.

References
Benjamin, Thomas. 2005. The Craft of Modal Counterpoint: A Practical Approach, second
edition. New York: Routledge. ISBN 0-415-97171-3 (cloth); ISBN 0-415-97172-1 (pbk).
García, Manuel. 1840 and 1847. Ecole de García: Traité Complet de l'Art du Chant par
Manuel García fils. Mainz and Paris: Schott 1840 (part 1), 1847 (part 2).
García, Manuel. 1871. García's New Treatise on the Art of Singing : a Compendious Method
of Instruction, with Examples and Exercises for the Cultivation of the Voice, revised edition.
Boston: Oliver Ditson Company. OCLC 224044902 (https://www.worldcat.org
/oclc/224044902) Read at Archive.org (https://archive.org/stream
/agq3849.0001.001.umich.edu#page/12/mode/2up)
Gauldin, Robert. 1985. A Practical Approach to Sixteenth-Century Counterpoint. Englewood
Cliffs, New Jersey: Prentice Hall. OCLC 59143146 (https://www.worldcat.org
/oclc/59143146)
Harris, Ellen T. "Portamento (i)". 2001. The New Grove Dictionary of Music and Musicians,
second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
Jeppesen, Knud. 1946. The Style of Palestrina and the Dissonance, translated by Margaret

3 of 4 1/18/2017 4:43 PM
Portamento - Wikipedia https://en.wikipedia.org/wiki/Portamento

Williams Hamerik, second revised and enlarged edition. Copenhagen: Ejnar Munksgaard
Publisher; London: Geoffrey Cumberlege; Oxford University Press. Reprinted, with
corrections, New York: Dover Publications, 1970. Reprinted again, Minneola, NY: Dover
Publications, 2005. ISBN 0-486-44268-3.
Merritt, Arthur Tillman. 1939. Sixteenth Century Polyphony: A Basic for the Study of
Counterpoint. Cambridge, Mass.: Harvard University Press.
Potter, John. 2006. "Beggar at the Door: The Rise and Fall of Portamento in Singing". Music
and Letters 87:523–50.
Schenker, Heinrich. 2001. Counterpoint: A Translation of Kontrapunkt, by Heinrich
Schenker: Volume II of New Musical Theories and Fantasies. Book 1: Cantus Firmus and
Two-Voice Counterpoint, translated by John Rothgeb and Jürgen Thym, edited by John
Rothgeb. Ann Arbor: Musicalia Press. 0-967-8099-1-6.
Stewart, Robert. 1994. Introduction to 16th Century Counterpoint and Palestrina's Musical
Style. Ardsley House Pub. ISBN 978-1-880157-07-7.
Stowell, Robin. 2001. "Portamento (ii)". The New Grove Dictionary of Music and Musicians,
second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
Vaccai, Nicola. 1832. Metodo pratico di canto italiano per camera, diviso in venti due lezioni.
London. Bilingual Italian and German edition, as Metodo pratico di canto italiano per
camera, diviso in venti due lezioni / Praktische Schule des italienischen Gesanges in 22
Lectionen. Berlin: Schlesinger'sche Buch- und Musikhandlung, 1875.
Vaccai, Nicola. 1975. Practical Method of Italian Singing, edited by John G. Paton. New
York: G. Schirmer.

Further reading
Katz, Mark. 2006. "Portamento and the Phonograph Effect". Journal of Musicological
Research 25, nos. 3–4:211–32. doi:10.1080/01411890600860733 (https://dx.doi.org
/10.1080%2F01411890600860733)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Portamento&oldid=757294140"

Categories: Articulations Italian opera terminology Ornamentation

This page was last modified on 29 December 2016, at 21:51.

Text is available under the Creative Commons Attribution-ShareAlike License; additional
terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit
organization.

4 of 4 1/18/2017 4:43 PM