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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
"thread of voice", very quiet, pianissimo fill (Eng.) A jazz or rock term which instructs performers to improvise a scalar passage or riff to "fill in" the brief time between lyrical phrases, the lines of melody, or between two sections fine The end, often in phrases like al fine (to the end) fioritura
"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]
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 ...
Libera me, Domine: homophonic, 18 bars, ending pianissimo on per ignem with a bare fifth Tremens fac : five-voice fugato , 23 bars, ending in homophonic fortissimo on Quando cœli Dies illa : 25 bars, in canon , with a variety of imitative textures, ending in homophonic fortissimo on Dum veneris
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.
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.