Dolce e molto legato

As Printed on a Score

Printed beside the dynamic at the start of a melody or theme, usually p; it governs the theme until a new direction — cresc., a contrasting articulation, a new character word — takes over.

How Composers Use It

The combination asks for sweetness of tone and an unbroken connection between notes — fingers or bow joining everything, with pedal helping on the piano. Beethoven writes it for the hushed, chorale-like second theme of the Waldstein Sonata, where the contrast with the driving opening is the point. Use it where the texture turns to sustained chords or a slow melody; molto makes legato the priority over any articulation.

Example

Beethoven, Piano Sonata No. 21 in C major, Op. 53 (“Waldstein”), first movement, m. 35: “dolce e molto legato” at p, as the second theme begins in E major; a cresc. follows two bars later.

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