ABSTRACT
In performing baroque chamber music, there are many opportunities for singers and instrumentalists to match their articulations to one another. An imitative passage, for example, may require similar articulations from different instruments, or two or more continuo players may double the bass line and therefore may be obliged to use similar articulations. Naturally the effect of a particular articulation can be varied according to the player's wishes and is subject to one's skill and ability to control the instrument. An instrumental piece that may be studied in conjunction with Muffat's principles of articulation is the French ouverture. The individuality inherent in solo performance allowed a greater variety of articulation, including combinations of slurred and separate notes. The grip and additional articulation with the middle finger produced a strong upbow stroke and also allowed more than one articulation within a single bow stroke.
