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Fortissimo: very strong: Very loud Mezzo forte: half-strong: Moderately loud Marcato: marked: A note played forcefully Messa di voce: placing the voice: A style of singing involving changing volume while holding a single note Piano: gentle: Soft Pianissimo: very gentle: Very soft Mezzo piano: half-gentle: Moderately soft Sforzando: strained ...
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.
The Italian word for "echo"; an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octave, to create an echo effect égal (Fr.) Equal eilend (Ger.) Hurrying ein wenig (Ger.) A little einfach (Ger.) Simple emporté (Fr.) Fiery, impetuous en animant (Fr.) Becoming very lively en cédant (Fr.) Yielding en ...
It opens with a flourish of trumpets, [17] before the main section of the movement begins with an allegretto (♩ = 84), fortissimo at first but subsiding to pianissimo after 16 bars and remaining so for the duration of the movement, except for two brief fortissimo episodes, which Nectoux conjectures accompanied the entrances of Portia's two ...
The quartet begins with a unison D, played fortissimo, and a triplet figure, that establishes the triplet motif. Three and a half measures of fortissimo break off into a sudden, pianissimo chorale, the first of the many violent shifts of mood that occur throughout. Opening of the quartet [20]
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 ...
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After an abrupt end to the second theme and a pregnant pause, a minor dotted-rhythm chordal theme in F-minor suddenly enters fortissimo, elaborating and modulating before sublimating into a pianissimo version of itself in the parallel major. This third theme is highly similar in rhythm and melodic contour as well as left-hand pattern to the ...
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