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In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Following a broken-chords section filled with harmony changes, the main theme is restated in D major (pianissimo), the supertonic key of C major. Then a fortissimo and Beethoven's very common syncopations appear in the music giving a rhythm, this continues on to the resolution.
The sonata is the shortest of his piano sonatas, being in a single movement in sonata form and lasting approximately 7–8 minutes, but it is one of the most technically demanding pieces Prokofiev has ever written for the piano. The piece opens with a blasting E major chord for the entire first and second bars and then goes into a toccata-like ...
Haydn's music contains many jokes, and the Surprise Symphony includes probably the most famous of all: a sudden fortissimo chord at the end of the otherwise piano opening theme in the variation-form second movement. The music then returns to its original quiet dynamic as if nothing has happened, and the ensuing variations do not repeat the joke.
The listener is exposed to the apocalyptic blare of several horns, trombones, trumpets and tuba, which, as Jaffé describes it, "balefully [play] the opening 'fate' theme fortissimo", [8] while piano, flutes and strings still shriek in unison up and down the higher ranges. Two cymbal crashes end the cataclysm in G minor.
As the final piece of the cycle, "Spleen" describes a pleading lover and the ultimate fragility of the relationship at stake. The accompaniment starts out slow (Lent) and pianissimo, ultimately building to a grand fortissimo. The piece ends with a molto rallentando, back to pianissimo and into the lyric "hélas !" ultimately signifying the rest ...
Consists of difficult arpeggios in the form of sixteenth note triplets. XXX: A contrast to XXIX and is quite slow. XXXI: Even quieter than XXX and technically simple, consisting of left hand arpeggios, and the theme is repeated in the right hand in its original form. XXXII: The last variation, a technically difficult and fast passage.
This is followed by a pianissimo restart in B ♭ (m. 73), which is when the A theme is heard again, leading to a full fortissimo statement in the tonic key of E ♭ (m. 93). Later, a downward arpeggio motif with sforzandos on the second beat is played twice in unison , first by the strings (mm. 115–119) and then by the full orchestra (mm ...