4. Articulation - Staccatos

Staccato Technique - Classical Terminology - Exercise 1 - Exercise 2 - Exercise 3 - Practice Material
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IF 4.1 - Staccato Technique

When a dot is placed above or below a note head that note is to be played staccato : short, like the pop of a champagne cork, and with a very light accent.
This means that part of the designated duration of the note value becomes silent. For example a staccato crotchet (quarter note) is sounded for perhaps only one quarter of its value. The remainder of that beat will be silent.

For a good staccato technique you need to work on four things :

1. the beginning and end of each staccato note must be crisp and clean,

2. you must produce a good tone quality, even for a note of such short duration,

3. the timing of the note must be exactly right,

4. there should be a clean silence after the note has ended.

IF 4.2 - Classical Terminology

It is always good to know 'how the other half lives' :

Traditional Classical terminology recognises four different types of staccato. Mezzo staccato - shown by a dot and a line over or under a single note, or a dot and a slur over a group of notes. In Classical music mezzo staccato notes are played for approximately three-quarters of their value. Staccato - show by a dot (without a line or slur) over or under a note. Staccato notes are played for approximately half their value. Accented staccato - shown with a dot and an accent (upside down 'V'). These notes are played staccato and with a firm accent. Staccatissimo - shown by a dash over or under the note. Staccatissimo notes are played for approximately one-quarter of their value.

In Jazz, blues and other popular music these distinctions are generally not made.
The most common staccato expressions in sheet music are staccatos and accented staccatos.

Play staccatos with a light accent and as short as you can, unless your own artistic judgment tells you that, in the given context, a slightly longer note is more appropriate.

Play accented staccatos a little bit 'fatter' and with a firm accent.

IF 4.3 - Staccato Exercise 1

For staccato practice select a major scale you are comfortable with. For most instruments (keyboard, guitar, trumpet) this will be the C major scale.

Woodwind instrument players choose a scale which covers both sides of the break on your instrument. Saxophones and flutes use for example the G major scale. Clarinets used the C major scale. (When your staccato technique starts to get together within this range select a scale covering the more demanding areas in the lower or higher registers.)

Play Exercise 1 first without a metronome at a slow tempo and listen carefully for the four points outlined above. The following day play the same exercise, this time with a Metronome at a moderate tempo like MM = 60. Alternate between the two approaches for following practice sessions.

Audio IF 4.1

IF 4.4 -Staccato Exercise 2

Exercise 2 is a staccato exercise of chord root tones around the Circle of 5ths. All instruments breath as indicated by the breath mark.

Wind instrument players keep the air locked behind the tongue during each one beat rest in bars 1, 3, 5 and in all other odd numbered bars in this exercise. Do not breathe or take the air pressure away these point and keep the throat wide open !!

Audio IF 4.2

IF 4.5 - Staccato Exercise 3

Exercise 3 is a staccato exercise of chord tones of the major triads around the Circle of 5ths. All instruments breath as indicated by the breath mark.

Wind instrument players, as for the previous exercise : keep the air locked behind the tongue during each one beat rest in bars 1, 3, 5 and in all other odd numbered bars in this exercise. Do not breathe or take the air pressure away these point and keep the throat wide open !!

This is a good way to learn all major triad chords.
Each chord consists of the 1st, 3rd and 5th note of each major scale.

Audio IF 4.3

IF 4.6 - Practice Material