DYNAMICS
120. The word _dynamics_ (cf. dynamic--the opposite of static) as used
in the nomenclature of music has to do with the various degrees of power
(_i.e._, the comparative loudness and softness) of tones.
As in the case of words referring to tempo, the expressions referring to
_dynamics_ are always relative, never absolute; it is possible to
indicate that one measure is to be louder than another, but it is not
possible (nor desirable) to indicate exactly how loud either is to be.
Thus _dynamics_, perhaps even more than tempo, will be seen to depend on
the taste of the performer or conductor.
The following _words referring to dynamics_ are in common use:
_Pianisissimo_ (_ppp_)--as softly as possible. (It will be
noted that this is a sort of hyper-superlative of _piano_.)
_Pianissimo_ (_pp_)--very softly. (The superlative of
_piano_.)
_Piano_ (_p_)--softly.
_Mezzo piano_ (_mp_)--medium softly.
_Mezzo forte_ (_mf_)--medium loudly.
_Forte_ (_f_)--loudly (lit. strong).
_Fortissimo_ (_ff_)--very loudly. (The superlative of
_forte_.)
_Fortisissimo_ (_fff_)--as loudly as possible.
The lack of a one-word comparative degree in the case of both
_piano_ and _forte_ seems to necessitate the hyper-superlative
degree as given above, but the practice of using four, or even
five _p_'s or _f_'s is not desirable.
121. The terms defined in Sec. 120 are often combined with others, as
_e.g._,
_Pianissimo possibile_--as softly as possible.
_Piano assai_--very softly.
_Fortissimo possibile_--as loudly as possible.
_Forte piano_ (_fp_)--loud, followed at once by soft.
As in the case of terms relating to tempo, the meaning of many other
expressions relating to _dynamics_ may easily be arrived at by recalling
the list of auxiliary terms quoted under Sec. 96.
122. The terms _sforzando_, _forzando_, _sforzato_ and _forzato_ all
indicate a strong accent on a single tone or chord. These words are
abbreviated as follows:--_sf_,_fz_, and _sfz_, the abbreviation being
placed directly above (sometimes below) the note or chord affected. The
signs [vertical accent symbol] and [horizontal accent symbol] are also
commonly used to indicate such an accent.
In interpreting these accent marks the student must bear in
mind again the fact that they have a relative rather than an
absolute meaning: the mark _sf_ occurring in the midst of a
_piano_ passage will indicate a much milder form of accent
than would the same mark occurring in the midst of a _forte_
passage.
123. The words _rinforzando_ and _rinforzato_ (abb.--_rinf._ and _rfz._)
mean literally _reinforced_, and are used to indicate a sudden increase
in power usually extending over an entire phrase or passage instead of
applying only to a single tone or chord as in the case of _sforzando_,
etc.
124. _Crescendo_ (abb.--_cresc._ or [crescendo symbol]) means a gradual
increase in power. It will be noted that this word does not mean _loud_,
nor does it mean a sudden increase in power unless accompanied by some
auxiliary term such as _subito_, or _molto_.
Broadly speaking there are _two varieties of crescendo_: (1) that in
which the same tone increases in power while being prolonged; (2) that
in which succeeding tones are each sounded more strongly than the
preceding one. The first variety is possible only on instruments giving
forth a tone which can be varied _after it begins_. Thus _e.g._, the
human voice, the violin, the organ enclosed in a swell box, and certain
wind instruments, are all capable of sounding a tone softly at first and
gradually increasing the volume until the maximal point of power has
been reached. But on the piano, organ not enclosed in a swell-box,
kettle drum, etc., the power of the tone cannot be varied after the
tone has once been sounded, and a _crescendo_ effect is therefore
possible only in a _passage_, in rendering which each succeeding tone is
struck more forcibly than its immediate predecessor. This second variety
of _crescendo_ offers a means of dramatic effect which may be employed
most strikingly, as _e.g._, when a long passage begins very softly and
increases in power little by little until the utmost resources of the
instrument or orchestra have been reached. A notable example of such an
effect is found in the transition from the third to the fourth movements
of the Beethoven Fifth Symphony.
The difference between _sforzando_, _rinforzando_, and
_crescendo_ should now be noted: _sforzando_ indicates that a
single tone or chord is to be louder; _rinforzando_, that an
entire passage is to be louder, beginning with its first tone;
but _crescendo_ indicates that there is to be a gradual
increase in power, this increase sometimes occurring during
the sounding of a single tone, but more often in a passage.
125. Certain _combinations of the word crescendo_ with other words are
so common that they should be especially noted. Among these are:
_Crescendo al fortissimo_--keep on gradually increasing in
power until the fortissimo (or very loud) point has been
reached.
_Crescendo subito_--increase in power suddenly (or rapidly).
_Crescendo poco a poco_--increase in power very, very
gradually.
_Crescendo poi diminuendo_--first increase, then diminish the
tone.
_Crescendo e diminuendo_--same as _cresc. poi dim._
_Crescendo molto_--increase in power very greatly.
_Crescendo ed animando poco a poco_--growing gradually louder
in tone and quicker in _tempo_.
_Crescendo ed affrettando_--gradually louder and faster.
[Transcriber's Note: Corrected misspelling "affretando" in
original.]
_Crescendo poco a poco sin al fine_--crescendo gradually even
up to the very end.
126. _Decrescendo_ (_decresc._ or [decrescendo symbol]) means a gradual
diminishing of the tone. It is the opposite of _crescendo_. The word
_diminuendo_ is synonymous with _decrescendo_.
_Decrescendo_ (or _diminuendo_) _al pianissimo_ means--decrease
gradually in power until the _pianissimo_ (or very soft) point is
reached.
127. A number of _terms referring to both softer tone and slower tempo_
are in use. The most common of these are:--_mancando_, _moriente_,[30]
_morendo_, _perdendo_ (from _perdere_--to lose), _perdendosi_,
_calando_, and _smorzando_.[31] Such expressions are usually
translated--"gradually dying away."
[Footnote 30: Both _moriente_ and _morendo_ mean literally--_dying_.]
[Footnote 31: From _smorzare_ (It.)--to extinguish.]
128. In piano music the abbreviation _Ped._ indicates that the damper
pedal (the one at the right) is to be depressed, while the sign [damper
release symbol] shows that it is to be released. In many modern editions
this depression and release of the damper pedal are more accurately
indicated by the sign [damper symbol].
The term _senza sordini_ is also occasionally found in old
editions, indicating that the damper pedal is to be depressed,
while _con sordini_ shows that it is to be released. These
expressions are taken from a usage in music for stringed
instruments, in which the term _con sordini_ means that the
mute (a small clamp of metal, ivory or hardwood) is to be
affixed to the bridge, this causing a modification in both
power and quality of the tone. The damper on the piano does
not in any way correspond to the mute thus used on stringed
instruments, and the terms above explained as sometimes
occurring in piano music are not to be recommended, even
though Beethoven used them in this sense in all his earlier
sonatas.
129. The words _una corda_ (lit.--one string) indicate that the "soft
pedal" (the one at the left) is to be depressed, while the words _tre
corde_ (lit. three strings) or _tutte le corde_ (all the strings) show
that the same pedal is to be released. These expressions refer to the
fact that on grand pianos the "soft pedal" when depressed moves the
hammers to one side so that instead of striking three strings they
strike only two (in the older pianos only one, hence _una corda_), all
three strings (_tre corde_) being struck again after the release of the
pedal.
130. Other terms relating either directly or indirectly to the subject
of dynamics are:
_Con alcuna licenza_--with some degree of license.
_Con amore_--with tenderness.
_Con bravura_--with boldness.
_Con celerita_--with rapidity.
_Con delicato_--with delicacy.
_Con energico_--with energy.
_Con espressione_--with expression.
_Con forza_--with force.
_Con fuoco_--with fire and passion.
_Con grand' espressione_--with great expression.
_Con grazia_--with grace.
_Con melinconia_--with melancholy. [Transcriber's Note:
archaic form of "malinconia".]
_Con passione_--with passion.
_Con spirito_--with spirit.
_Con tenerezza_--with tenderness.
_Delicato_--delicately.
_Dolce_--sweetly, gently.
_Dolcissimo_--most sweetly.
_Dolce e cantabile_--gently and with singing tone.
_Dolente_ }
_Doloroso_ } plaintively or sorrowfully.
_Espressivo_--expressively.
_Grandioso_--grandly, pompously.
_Grazioso_--gracefully.
_Giocoso_--humorously, (cf. jocose).
_Giojoso_--joyfully, (cf. joyous).
_Lacrimando_, _lacrimoso_--sorrowfully.
_Legato_--smoothly.
_Leggiero_--lightly.
_Leggierissimo_--most lightly; almost a staccato.
_Lusingando_--caressingly, coaxingly, tenderly.
_Maesta_, _maestoso_--majestically.
_Martellando_, _martellato_--strongly accented,
(lit.--hammered).
_Marziale_--martial--war-like.
_Mesto_--pensively.
_Mezzo voce_--with half voice.
_Misterioso_--mysteriously.
_Parlando_--well accented or enunciated; applied to melody
playing. (The word parlando means literally-speaking.)
_Pastorale_--in simple and unaffected style, (lit.--pastoral,
rural).
_Pomposo_--pompously.
_Precipitoso_--precipitously.
_Recitativo_--well enunciated. (This meaning applies only in
instrumental music in which a melody is to stand out above the
accompaniment. For def. of recitative in vocal music, see p.
78.)
_Risoluto_--firmly, resolutely.
_Scherzando_, _scherzoso_, etc.--jokingly. These terms are
derived from the word _scherzo_ meaning _a musical joke_.
_Semplice_--simply.
_Sempre marcatissimo_--always well marked, _i.e._, strongly
accented.
_Sentimento_--with sentiment.
_Solenne_--solemn.
_Sotto voce_--in subdued voice.
_Spiritoso_--with spirit.
_Strepitoso_--precipitously.
_Tranquillo_--tranquilly.
_Tristamente_--sadly.
131. Many other terms are encountered which on their face sometimes seem
to be quite formidable, but which yield readily to analysis. Thus
_e.g._, _crescendo poco a poco al forte ed un pochettino accelerando_,
is seen to mean merely--"increase gradually to _forte_ and accelerate a
very little bit." A liberal application of common sense will aid greatly
in the interpretation of such expressions.