Conclusion
The choice of articulation makes all the difference for a convincing performance of a piece of music, especially in music in which the composer left it up to the performer. The taste in the manner instrumentalists use various articulations, such as slurs and stronger versus weaker tongue-strokes, changes through the ages. Whereas in the sixteenth century the aesthetic ideal is to slur as little as possible because of clarity, we find in the nineteenth century the urge to slur long phrases together.
When one tries to understand a certain style, and thus to create an image of what a composition should or could sound like, one needs to gain more in-depth knowledge on how the masters of a certain period were handling this issue themselves.
In this paper I provide tools and suggestions for dulcian players, based on readings of the period, on how to approach music of the sixteenth and seventeenth century from a perspective of articulation.
The most important recommendations are:
- In music of the sixteenth century we should hardly use slurs. Most of the repertoire can be played with a single, paired or double tongue-stroke. Fast notes should be articulated two-and-two, creating thus a light rhythmic inequality. Harsh and square articulation should be avoided since imitation of the human voice is the ultimate goal.
- Virtuosic music of the seventeenth century can be approached in the same way as music from the sixteenth century, although we find that often the small note values exceed the speed of the use of the double tongue-stroke. In this case slurs can be used, but in moderation and deliberate consideration. Recommendations on this matter are given in chapter three of this paper.
The use of the tongue on a wind instrument should be seen as a means of expression. Therefore the various manners of tonguing and slurring always have, and should have, a musical and expressive effect. Resorting to slurs because of technical inability will weaken the eloquence of the performance.