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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
Page:Dictionnaire pratique et historique de la musique.pdf/170; Usage on fr.wiktionary.org fortissimo; Usage on gl.wikipedia.org Traité d'instrumentation et d'orchestration; Usage on ja.wikipedia.org 交響曲第94番 (ハイドン) タムタム; 強弱法; チェロソナタ第3番 (ベートーヴェン) 弦楽セレナード (エルガー)
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In Haydn's old age, his biographer Georg August Griesinger asked him whether he wrote this "surprise" to awaken the audience. Haydn replied: No, but I was interested in surprising the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London (in 1792) and whose concerts had opened a week before mine, should not ...