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Related to portamenti: glissando


n. pl. por·ta·men·ti (-tē) or por·ta·men·tos
A smooth uninterrupted glide in passing from one tone to another, especially with the voice or a bowed stringed instrument.

[Italian, from portare, to carry, from Latin portāre; see per- in Indo-European roots.]


n, pl -ti (-tɪ)
(Music, other) music a smooth slide from one note to another in which intervening notes are not separately discernible. Compare glissando
[C18: from Italian: a carrying, from Latin portāre to carry]


(ˌpɔr təˈmɛn toʊ, ˌpoʊr-)

n., pl. -ti (-ti) -tos.
a passing or gliding from one pitch or tone to another with a smooth progression.
[1765–75; < Italian: fingering, literally, a bearing, carrying. See port5, -ment]
References in periodicals archive ?
Waley-Cohen doesn't just produce a radiant, singing tone when letting the melody stream out, though she certainly did that, shaping Mendelssohn's opening solo like a song without words, and inflecting it with little portamenti and tiny, natural touches of rubato.
And the voice must be able to crescendo and diminuendo on any given note, and there are also the trills, glissandi, portamenti and so on that are necessary in Italian opera.
Elli [Amore] mi comandava molte volte che io cercasse per vedere questa angiola giovanissima, onde io ne la mia puerizia molte volte l'andai cercando, e vedeala di si nobili e laudabili portamenti, che certo di lei si potea dire quella parola del poeta Omero: "Ella non parea figliuola d'uomo mortale, ma di deo.
That he succeeded in doing so was quite evident, and I'm willing to grant a waiver for Oliveira's rhythmic liberties, greater use of portamenti than I like, and a few moments of less-than-perfect intonation.
Here the WNO woodwind in particular shone, while string portamenti in the central trio added to the captivating rusticity of the movement.
Assegnasi le cause de'suoi rei portamenti verso Santa Chiesa et soggiungonsi alcuni rimedij a tanti mali.
A facade of notational detail, he notes, may serve to obfuscate the significance of subtle unwritten aspects of performance--nuances such as portamenti and ornamental vibrato--that were arguably essential to this past musical soundscape.
Styles are different: folk and Celtic twilight (Bax); laid-back, occasionally ambling, lyricism (Dyson); Bliss's hyperactive, colourful virtuosity (written for Anglo-Italian fiddler Alfredo Campoli) and Veale's almost Malcolm Arnold-like mixture of romanticism, the soloist's swooping portamenti written into the score, and abrasiveness.