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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.
A lively piece, free in form, often used to show musical skill Cavatina: small instrumental tone: A simple melody or song Coda: tail: The end of a piece Concerto: concert: A work for one or more solo instruments accompanied by an orchestra Concertino: little concert: A short concerto; the solo instrument in a concerto Concerto grosso: big concert
"Fortissimo" is a 1966 song brought to success by Rita Pavone. The music was composed by Bruno Canfora, while the lyrics were written by director and screenwriter Lina Wertmüller, at the time a close collaborator of Pavone, after having directed her in the television miniseries Il giornalino di Gian Burrasca and in the musicarello film Rita the Mosquito. [1]
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 ...
Pianissimo is a term in music dynamics meaning "to be played very softly." Pianissimo may also refer to: Pianissimo, a 1990 album by Suzanne Ciani; Pianissimo, a part of the Requiem trilogy by Virgin Black
The "surprise" arrives in measure 16, when the rest of the orchestra joins the first violins in a fortissimo G-major chord. 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 .
At the outset of the recapitulation (which repeats the main melodic themes) in bar 301, the theme returns, this time played fortissimo and in D major, rather than D minor. The movement ends with a massive coda that takes up nearly a quarter of the movement, as in Beethoven's Third and Fifth Symphonies .
The Third Episode explores the sway motif. The quartet and orchestra 1 play together, contrasting with orchestra 2, and moving poco a poco animando to a crescendo to fortissimo. The climax is in 5 8. [27] This dies down to a pianissimo "afterglow". [24] In the Fourth and shortest episode, marked molto adagio, the sway motif is fragmented.