Articulations primarily structure an event's start and end, determining the length of its sound and the shape of its attack and decay.[5] In addition to the following instructions given by composers, performers choose how to articulate the events of a score independently, in accordance with their interpretation of it.Until the 17th century, it was rare to mark articulations in a score, and even during the Baroque period they were uncommon apart from ornaments, leaving them up to the performer and the standards of the time.For example, Mendelssohn's Hebrides Overture opens with a phrase played legato: This idea later re-emerges played staccato as Mendelssohn develops it across the orchestral texture:Woodwind and brass instruments generally produce articulations by tonguing, the use of the tongue to break the airflow into the instrument.Doodle-tonguing is achieved by moving the tip of the tongue up and down quickly to block the air stream momentarily on the way up, and again on the way down.String instruments use these methods to achieve different articulations, varying the speed, pressure, and angle of the bow or pick.Legato is formed by letting the string vibrate without stopping or muting it so the note slurs with the consecutive ones.Strictly speaking, the term dampened is correct for this effect in music; since to mute means to silence.