In music performance and notation, legato (; Italian for "tied together"; French lié; German gebunden) indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid re-articulation. Standard notation indicates legato either with the word legato, or by a slur (a curved line) under notes that form one legato group. Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato (sometimes referred to as portato). Classical string instruments In music for Classical string instruments, legato is an articulation that often refers to notes played with a full bow, and played with the shortest silence, often barely perceptible, between notes. The player achieves this through controlled wrist movements of the bowing hand, often masked or enhanced with vibrato. Such a legato style of playing can also be associated with portamento. Guitar In guitar playing (apart from classical guitar) legato is used interchangeably as a label for both musical articulation and a particular application of technique—playing musical phrases using the fretting hand to play the notes—using techniques such as glissando, string bending, hammer-ons and pull-offs instead of picking to sound the notes. The fact that the same finger is both setting the string vibrating and setting the pitch leads to smoother transitions between notes than when one hand is used to mark pitch while the other strikes the string. Legato technique to provide legato articulation on electric guitar generally requires playing notes that are close and on the same string, following the first note with others that are played by hammer-ons and pull-offs. Some guitar virtuosos (notably Allan Holdsworth, Shawn Lane and Brett Garsed) developed their legato technique to the extent that they could perform extremely complex passages involving any permutation of notes on a string at extreme tempos, and particularly in the case of Holdsworth, tend to eschew pull-offs entirely for what some feel is a detrimental effect on guitar tone as the string is pulled slightly sideways. The term "hammer-ons from nowhere" is commonly employed when crossing strings and relying solely on fretting hand strength to produce a note but on a plucked string. Many guitar virtuosos are well-versed in the legato technique, as