Author Topic: sffz  (Read 12665 times)

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suspenlute

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Re: sffz
« Reply #15 on: March 08, 2012, 03:05:59 PM »
Jamie: Ron and I both studied with Alan, so it's not like we're quoting from a book of his.

I wasn't so lucky, so my example actually does come from a book of his (and I misquoted it to boot) :D

The notation of dynamics is often problematic for beginners. A good approach is to act as though there are only four dynamic levels: pp, mf, f, and ff. First, orchestrate the passage so that the absolute dynamic level desired results naturally from the choice of instruments and registers. Second, think of dynamics as character indications. Choose which dynamic of the above four best suits the passage. Third, avoid the middle dynamics (mp, mf) as starting points: these are what players do when there are no dynamics notated at all. Finally, beginners should avoid writing different dynamics for different instruments; this requires a great deal of experience: Players normally do not see each others' dynamic indications, and normally aim for approximate balance, unless the conductor specifies otherwise.

Source: https://www.webdepot.umontreal.ca/Usagers/belkina/MonDepotPublic/bk.O/O-3.html

I remember with one group, working on Mozart's 41st, I wanted more sound from the 2nd violins in one crucial countermelody... and the 1st desk kept arguing with me "yes but it's written piano".

"So write a little 'm' next to it"
« Last Edit: March 08, 2012, 06:18:53 PM by suspenlute »