Sorry to all of my dearest readers~ especially J-7

Sorry for my delay~ to continuare our topic now~

Last time I have mentioned about the Flute Signor Quantz the German young fellow~ about the discussion of tonguing on the flute~ Quantz used the syllable "ti" if you wish to make the note very short and "di" for slow and sustained notes~ in fast passage-work, articulation should be used to emphasize leaps, so that the inherent shapes are heard rather than mechanical accents on the first note of each group~

The composers of my time~ "me also" rarely indicated the basic contrast between detached and sustained playing that is implied by notes moving by leap and by step, though they began to specify slurs in the late 16s century~ Long lines connecting notes are sometimes found earlier, though usually in a context that suggests that they served as a guide to phrasing rather than an instruction to play legato, or specifically on stringed instruments to take the notes in a single bow~

Apart from virtuoso string music, in which elaborate bowings are often specified, slurs are mostly placed in the music over two or three notes, with the intention that they are to be played in a single bow on stringed instruments, with a tonguing that produces a sustained effect on wind instrument, or just legato on other instrument. You should be wary of editions that contain a lot of slurs and apply them across beats or to groups of more than two or three notes~ Slurs of this sort should always be sung or played, as appoggiaturas should, with the first of the two notes stressed and therefore a little dwelt upon, and the second weak and a little shortened~

Again ~ sorry for my delay~ also thank you for your precious comment~ my friend Jonathan~
del
Antonio Vivaldi