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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.
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 ...
Immediately (e.g. subito pp, which instructs the player to suddenly drop to pianissimo as an effect); often abbreviated as sub. sul Lit. "on the", as in sul ponticello (on the bridge); sul tasto (on the fingerboard); sul E (on the E string), etc. sul E "on the E", indicating a passage is to be played on the E string of a violin.
Elgar was insistent that the first entrance of this new subject be played religiously pianissimo without sacrificing the expression dictated. This subject is formed from the repetition of a two-bar theme through a sequence that builds from pianissimo to fortissimo. This then gives way to a slow, soft cello theme at rehearsal 11, featuring a ...
The quartet throughout is characterized by sudden dramatic shifts from fortissimo to pianissimo, from the lyrical to the compelling and dramatic. A driving undercurrent of triplets is a recurring motif in all four movements. [19] There are four movements: Allegro, in D minor and common time (4 4)
All these innovations allowed the organist to execute a seamless crescendo from pianissimo all the way to fortissimo: something that had never before been possible by the organ. Composers were now able to write music for the organ which mirrored that played by the symphony orchestra .
In addition to coordinating durations with certain pitches, Boulez assigns dynamics and attacks to pitches in a similar manner. Using the opening PDA on D as an example, Boulez arranges the pitches chromatically and then groups them into 6 pairs (D and D ♯, E and F, F ♯ and G, etc.), assigning a dynamic from pianissimo to fortissimo to
In the course of the Grosse Fuge, Beethoven plays this motif in every possible variation: fortissimo and pianissimo, in different rhythms, upside down and backwards. The usual practice in a traditional fugue is to make a simple, unadorned statement of the subject at the outset, but Beethoven from the very beginning presents the subject in a ...