What is forte and piano definition. Expressive means of music: Dynamics

The two basic notations for loudness in music are:

Moderate degrees of loudness are indicated as follows:

Except signs f and p , There are also

Additional letters are used to indicate even more extreme degrees of volume and silence. f and p . Yes, quite often musical literature there are designations fff and ppp . They do not have standard names, usually they say "forte-fortissimo" and "piano-pianissimo" or "three fortes" and "three pianos".

In rare cases, with additional f and p even more extreme degrees of sound intensity are indicated. So, P. I. Tchaikovsky in his Sixth Symphony used pppppp and ffff , and D. D. Shostakovich in the Fourth Symphony - fffff .

Dynamic designations are relative, not absolute. For example, mp does not indicate the exact volume level, but that this passage should be played somewhat louder than p , and somewhat quieter than mf . Some computer sound recording programs have standard key velocity values ​​that correspond to one or another volume designation, but, as a rule, these values ​​\u200b\u200bare customizable.

gradual change

The terms used to denote a gradual change in volume are crescendo(Italian crescendo), denoting a gradual increase in sound, and diminuendo(ital. diminuendo), or decrescendo(decrescendo) - gradual weakening. They are abbreviated in notes as cresc. and dim.(or decresc.). For the same purposes, special signs - "forks" are used. They are pairs of lines connected on one side and diverging on the other. If the lines diverge from left to right (<), это означает усиление звука, если сходятся (>) - weakening. The following fragment of musical notation indicates a moderately loud beginning, then an increase in sound and then its weakening:

"Forks" are usually written under stave, but sometimes over it, especially in vocal music. Usually they denote short-term changes in volume, and signs cresc. and dim.- changes over a longer period of time.

Notation cresc. and dim. may be accompanied by additional instructions poco(quiet - a little), poco a poco(poco a poco - little by little) subito or sub.(subito - suddenly), etc.

Sforzando notation

Abrupt changes

Sforzando(ital. sforzando) or sforzato(sforzato) denotes a sudden sharp accent and is indicated sf or sfz . The sudden increase in a few sounds or a short phrase is called ringforzando(ital. rinforzando) and is designated rinf. , rf or rfz .

Designation fp means "loud, then immediately quiet"; sfp indicates sforzando followed by piano.

Music terms related to dynamics

• al niente- literally "to nothing", to silence
• calando- "going down"; slow down and lower the volume.
• crescendo- reinforcing
• decrescendo or diminuendo- turning down the volume
• perdendo or perdendosi- losing strength
• morendo- fading (calming down and slowing down the pace)
• marcato- emphasizing each note
• piu- more
• poco- a little
• poco a poco- little by little, little by little
• sotto voice- in an undertone
• subito- suddenly

Story

One of the first to introduce indications of dynamic shades into musical notation was the Renaissance composer Giovanni Gabrieli, but before late XVIII centuries, such designations were rarely used by composers. Bach used the terms piano, più piano and pianissimo(written in words), and we can assume that the designation ppp at that time meant pianissimo.

See also

Wikimedia Foundation. 2010 .

See what "Forte-fortissimo" is in other dictionaries:

Dynamics in music is a set of concepts and musical notations associated with shades of sound volume. Contents 1 Notation 1.1 Loudness (relative) 1.2 Gradual changes ... Wikipedia

Dynamics in music is a set of concepts and musical notations associated with shades of sound volume. Contents 1 Notation 1.1 Loudness (relative) 1.2 Gradual changes ... Wikipedia - (it. forte) music. strongly, loudly, in full force of sound; denoted by lat. f cf. piano). New dictionary foreign words. by EdwART, 2009. forte [te] [it. forte] (music). 1. Strongly, loudly, in full force of sound (about the performance of musical, vocal ... Dictionary of foreign words of the Russian language

- [ital. fortissimo] Music. I. adv. Even louder, stronger than forte. Play fortissimo. II. unchanged; cf. Very loud, strong sounding voice or musical instrument; place in a piece of music performed in this way. Effective f. From… encyclopedic Dictionary

fortissimo- 1. adv.; (Italian fortissimo); music Even louder, stronger than forte. Play fortissimo. 2. unchanged; cf. Very loud, strong sounding voice or musical instrument; place in a piece of music performed in this way. Effective... ... Dictionary of many expressions

I non-cl. cf. 1. Very loud, strong sounding voice or musical instrument. 2. A place in a piece of music that requires a very loud, strong sound of a voice or instrument. II adv. qualities. the situation 1. Very loud, louder than... Modern explanatory dictionary of the Russian language Efremova

EXPRESSIVE MEANS OF MUSIC

Dynamics

“It is possible to convey a hundred dynamic gradations that fit between the limits,
which I call: yet no sound and already not a sound."
G. Neuhaus

You have, of course, heard of the explosive called dynamite. You know sports team"Dynamo". Where else can you find this root? Well, of course, in tape amplifiers - "speakers". In all these examples, we are talking about strength: δύναμις [speaker] in Greek "strength". But the last example is closest to us, because it deals specifically with the power of sound. We adjust the volume of the sound not only with the help of the volume lever. This can be done directly on the piano keys by playing louder or softer, forte or piano. These shades (or, in French, nuances) are called dynamic shades, and the strength musical sound called dynamics.

Dynamics - the power of sound, dynamic shades (nuances) - shades of the power of sound.

Musical dynamics brings us back to the origins of music. After all, loud and quiet sounds, as well as various shades, exist outside of musical works. A thunderstorm rumbles, and a drizzling rain rustles a little audibly; the noise of the sea surf is menacing, and the splash of the lake is gentle and not at all terrible. The echo sounds differently, mimicking our voice almost nearby, then fading in the distance.

And even so clean musical features, like crescendo (crescendo) - a gradual increase in sonority and diminuendo (diminuendo) - its gradual weakening, are also present in nature.

Listen to how the wind rustles in the crowns of trees, at first slightly touching the leaves, then becoming louder and stronger, capturing the entire crown at the moment of climax, making it sway, making noise, and only then gradually weakening its pressure until it completely calms down. Such a character of dynamics, which could be schematically depicted musical signs cresc., dim., is the universal law of any sound.

Or maybe its manifestation should be sought in wider boundaries - not only in music, not only in sounds in general, but in the diversity of all existing things? Isn't this what F. Tyutchev wrote about in his poem "Wave and Thought"?

Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open, -
The same eternal surf and end,
The same ghost is disturbingly empty.

If this “eternal surf and end” is the same universal law of life, then perhaps music affects a person in such a way that it most clearly carries in itself his obvious embodiment? Indeed, in any, even the smallest, piece of music there are rules for the distribution of dynamics, giving it expressiveness and meaningfulness. Moreover, this meaningfulness is the main difference between artistic dynamics and the sound dynamics of nature: in music, it never appears as a “ghost of disturbingly empty”, but, on the contrary, forms a deeply regular movement, participating in the creation artistic image along with other means musical expressiveness.

Remember the introduction to M. Mussorgsky's opera "Khovanshchina" - "Dawn on the Moscow River". The music of this unusually expressive fragment conveys the unhurried approach of the Moscow morning. The one-voiced, low-pitched melody that opens the introduction is like the first ray of light that comes more and more, grows, and is colored with radiance. rising sun, suddenly flashing and playing on the golden domes of Moscow churches.

Listening to this fragment, you are once again convinced how great, how truly limitless the possibilities of music are in conveying not only any movement, process, but also its subtlest shades and gradations. Not just a general line of gradual dynamic growth, but the smallest details, details - all this gives the music such authenticity, a sense of authenticity.

This is the same realism in music that B. Pasternak wrote about: “Everywhere, in any art, realism, apparently, does not represent a separate direction, but constitutes a special degree of art, the highest degree author's accuracy. Such precision is inherent in the creativity of every great musician, who is equally conscientious both in building a large composition and in finishing every little thing. The scene of a summer thunderstorm from the IV part of L. Beethoven's Symphony No. 6 is extremely expressive! Listen to how, along with orchestration and harmonic colors, the dynamics manifest themselves in this composition.

The storm starts slowly. The music very clearly and vividly depicts its onset: the sky frowns, the wind intensifies (timpani tremolo), the first drops of rain appear (pizzicato strings). All this happens along with an increase in dynamics, leading to the highest point of rampant natural elements. The storm literally collapses: thunderclaps, lightning flashes are heard in the music, minor colors thicken visibly and tangibly. The gradual decline of the storm is accompanied by a gradual calm in the orchestra; the storm is moving away - and only distant peals of thunder are still heard in the music. However, they too soon disappear: the clouds dissipate (the minor gives way to the major), the music brightens up.

Dynamics is one of the brightest expressive means of music. It can even be said that this is the most important carrier of musicality in general, no matter what it manifests itself in: in poetry, in prose, in the intonations of human speech. Indeed, in any poem there are indicators of dynamics that allow us to hear whether it sounds “quiet” or “loud”; and when describing human characters, the writer certainly indicates how this or that hero speaks, what kind of voice he has; and in our everyday observations, we often guess a person by the peculiarities of the sound of his speech. And it often turns out that quiet but weighty words convince us much more than noisy verbiage.

Musicians have long explored the artistic possibilities of loud dynamics. Even in the Renaissance, various effects were created by dynamic means - for example, the echo effect in O. Lasso's chorus "Echo". It has been noticed that the comparison of volumes during the performance of the same melody sounds like an echo echo, giving the music a special spatiality. It is also known that a quiet, measured melody lulls, and a loud and solemn melody invigorates, therefore all the lullabies of the world are sung softly, and all marching marches, on the contrary, are very sonorous.

However, between these extreme manifestations of dynamics, there are, according to the accurate remark of G. Neuhaus, many intermediate shades. Not only composers, but also performers are well aware that the reproduction of the author's intention to a large extent depends on the accuracy in observing dynamic shades. G. Neuhaus - outstanding pianist and the teacher - repeated to his students: “You must not confuse Maria Pavlovna (mp) with Maria Fedorovna (mf), Petya (p) with Pyotr Petrovich (pp), Fedya (f) with Fedor Fedorovich (ff)”. These words tell us not only about the vivid perception of dynamic shades, but also about the exactingness of the remarkable master to observe the smallest nuances of loudness.

dynamic shades :
rr - pianissimo- extremely quiet performance.
R - piano- quiet.
mp- mezzo piano- Moderately quiet.
mf- mezzo forte- Moderately loud.
f- forte- loudly.
ff- fortissimo- Extremely loud.

Of course, like any other means of expression, dynamics is extremely rarely used in any one sound. In the entire history of music, you will not find a work that from beginning to end would be equally loud or equally quiet. The movement of dynamics is influenced not only by the natural laws of loudness distribution, but also by many other circumstances.

Try, for example, to sing any melody by all means with the sound of one loudness - and you will immediately be convinced of the unmusical nature of your performance. The melody itself is flexible and changeable; when it moves up, you want to sing it a little louder, when it ends, you need to reduce the sound. At the same time, it can sound entirely within any one shade - for example, mf; thus, increasingly subtle gradations of loudness will occur within the boundaries of this designation.

That is why the expressiveness of music is based on dynamic variability. The gradual increase of climax - recession, for example, in the fragment we have considered from Symphony No. 6 by L. Beethoven is one of options dynamics; a contrasting juxtaposition of sonorities, as in O. Lasso's chorus "Echo", is another version of it.

Dynamics has always been an ally music software. After all, turning to a certain program idea, the composer took on a special responsibility: to express in sounds the content that is hidden behind the title of the work. Therefore, in program music so high artistic role all its aspects - rhythm, harmony, texture and, of course, dynamics.

The play " Moonlight” from the “Bergamas Suite” by C. Debussy, like most of the works of this most poetic composer, is distinguished by the smallest detail musical writing. captivating Moonlight night, full of magical charm, mysterious and enigmatic - this is the image of this music, which, as always, is much higher and richer than the words that can be said about it.

The moon was sad. Bows in oblivion
Led by angels. From a trembling chest
Viol, in the silence of flowers, a combustible cry was born
Either white as fog, or blue consonances.

These lines are from S. Mallarme's poem "The Phenomenon". They can be attributed to the music of C. Debussy - a bright and consistent spokesman for the elusive wonders of nature. Colors, sounds, aromas, sounding light - this flickering is transmitted in his music as if on the verge of its conceivable possibilities. Everything that music says about itself is refined to the limit, detailed - and in modulations harmonic color, and in the openwork detail of the rhythm, and in the finest dynamic nuances. Listening to "Moonlight", you experience the impression of full visibility moonlight, every branch, every dark knot against its background, every barely perceptible rustle.

No less expressive are the examples of sound representation of dynamics.

Have you ever heard how the morning forest wakes up, how it gradually fills with various sounds, rustles, birdsong? But the singing of birds has long attracted musicians. For many of them it has become a kind of school of composer's skill. The special timbres inherent in each bird, the nature of the chirping, the tempo, the strokes, and, finally, the loudness that is characteristic of its singing - all this taught accuracy, detail, expressiveness musical characteristics. The orchestral work by O. Messiaen "Awakening of the Birds" is one of the results of such a "forest school", where various sounds are very accurately transmitted summer forest filled with the voices of birds. In the musical fragment given below, one can hear the singing of the Little Bird, the House Owl, the Wood Lark, the Warbler, the Blackbird and other birds, gradually awakening and greeting the dawn with their singing. The music of "Awakening the Birds" opens up new possibilities of sound representation - not only rhythmic and timbre, but also dynamic.

"Dynamics" in translation means "strength". This force, implying the loudness of the sound, can be understood more broadly - as a force affecting a person along with other musical "forces". It contains a huge world of figurative possibilities: the world of sound diversity, the world of expressive musical movement, inner life piece of music, every moment of which is never emotionally neutral, indifferent. Every moment of music is always unique, and therefore the power of each musical sound is also unique.

Questions and tasks:
1. With what dynamic shades would you convey the various sounds of nature: the sound of rain, the roar of thunder, the rustle of leaves, the roar of the sea (continue this series yourself)?
2. Do you think that non-sounding phenomena or objects have dynamic shades? What do you associate them with (what qualities, with what shades)?
3. In the Diary, identify "loud" and "quiet" poems.
4. What is the role of nuances in the dynamics of a piece of music? Try to connect your answer with the words of G. Neuhaus in the epigraph to this section.
5. Among the means of musical expression, name those that can be found not only in music, but also in the surrounding world; which belong only to music.

Presentation

Included:
1. Presentation - 16 slides, ppsx;
2. Sounds of music:
Debussy. "Moonlight" from "Suite Bergamas", mp3;
Beethoven. Symphony No. 6 in F major, op.68 - IV. Allegro, mp3;
Lasso. "Echo", mp3;
Messiaen. "Awakening of the Birds", mp3;
Mussorgsky. "Dawn on the Moscow River" from the opera "Khovanshchina", mp3;
3. Accompanying article, docx.

The musical terms that define the degree of loudness of a music performance are called dynamic hues (from Greek word dynamicos - power, that is, the power of sound). Of course, you have seen such icons in sheet music: pp, p, mp, mf, f, ff, dim, cresc. All these are abbreviations for the names of dynamic shades. See how they are written in full, pronounced and translated: pp - pianissimo "pianissimo" - very quietly; p - piano "piano" - quiet; mp - mezzo piano "mezzo piano" - moderately quiet, a little louder than the piano; mf - mezzo forte "mezzo forte" - moderately loud, louder than mezzo piano; f - forte ("forte" - loud; ff - fortissimo "fortissimo" - very loud.
Sometimes, much less often, in the notes you can find such designations: ppp (piano-pianissimo), rrrr. Or fff, (forte fortissimo), ffff. They mean very, very quiet, barely audible, very, very loud. The sign sf - sforzando (sforzando) indicates the selection of a note or chord. Very often there are such words in notes: dim, diminuendo (diminuendo) or an icon indicating a gradual weakening of the sound. Cresc. (crescendo), or icon - indicate, on the contrary, that you need to gradually increase the sound. Before the designation cresc. sometimes put poco a poco (poco a poco) - little by little, little by little, gradually. Of course, these words are found in other combinations. After all, gradually you can not only amplify the sound, but also weaken it, speed up or slow down the movement. Instead of diminuendo, they sometimes write morendo (morendo) - freezing. Such a definition means not only calming down, but also slowing down the pace. Approximately the same meaning has the word smorzando (smortsando) - muffling, fading, weakening the sonority and slowing down the pace. You have probably heard the play "November" from the cycle "The Seasons" by Tchaikovsky more than once. It has the subtitle "On the Troika". Starts not very loud (mf) simple melody similar to Russian folk song. It grows, expands, and now it sounds powerful, loud (f). The next musical episode, more lively and graceful, imitates the sound of road bells. And then, against the background of the incessant ringing of bells, the melody of the song reappears - now quiet (r), then approaching and again disappearing into the distance, gradually melting away.

Considering the specifics of the Eastern church music, the question arises: is it acceptable to use dynamic nuances and signs in liturgical chants, or does their use defile the character of sacred music? According to the well-known Bulgarian musicologist Petr Dinev, there are no signs of vocal performance dynamics in church music. So, according to Dinev, when it comes to soft and loud singing, we mean the vocal power with which the singer plays, and which is individual for each performer.

But this individual quality of singing "does not change from beginning to end." According to the Bulgarian musicologist, "any unexpected advantage or disadvantage in dynamics due to the appearance of a sign to exclude dynamic effects is excluded." In the late Byzantine era, Eastern church music reached its peak both in compositional and interpretive terms. It is known that in late Byzantine notation there are so-called mischievous signs. They are also called big hypostases. In manuscripts, these symbols are marked in red ink.

Watch value Dynamic Shades in other dictionaries

Dynamic Signal Analyzers- signal analyzers that use a digital signal sample and its transformation methods to obtain the form of the Fourier spectrum of a given signal, including information about its amplitude and phase.
Law Dictionary

From the words of Veles it is clear that in this era the melodic line of church music had inherent and dynamic shades. An interesting fact is that in some church vocal collections from the recent past with the notation of Chrysant, chants were included, including elements of Western European musical style. For example, in some hymns of Vasily Nikolaid, a protoplast of the Patriarchate of Constantinople, there are also dynamic signs. The same signs are noticeable in another part of his work - the cherubic song.

There are no signs in Chrysant's system of unspoken designations dynamic nuance. That is why, in the cases mentioned above, Nikolai Ivanovich borrowed them from Western European music theory. Apparently he uses these signs as interpretive elements to help bring out the fuller sound of the traditional sacred melody. Church singing with dynamic dignity is a phenomenon that can be heard from many good performers Eastern church music. From the theory of the latter, signs are known, which are called deviations.

Dynamic Interindustry Models- a special case of dynamic models of the economy. They are based on the principle of intersectoral balance, in which equations are introduced that characterize the change in intersectoral .....

Dynamic Models- economics - economic and mathematical models that describe the economy in development (as opposed to static models that characterize its state at a certain moment). Two approaches....
Big encyclopedic dictionary

These signs divert the melody from the dominant scale to a different range, a different voice, in order to avoid monotony, bring some variety or emphasize something characteristic in church songs. For the same reasons, the use of dynamic shades in church music can also be justified. It is an open question whether the use of signs for dynamic nuance is an innovation or a recollection of the ancient practice of church singing. One thing is for sure, that church singing should resemble the constant angelic praise and correspond to it. high purpose as an intermediary between earthly and heavenly realities.

musical shades- see Nuance.
Music Encyclopedia

Dynamic Problems of the Theory of Elasticity- - a range of issues in the theory of elasticity related to the study of the propagation of oscillations or the state of steady oscillations in elastic media. In the simplest and most.....
Mathematical Encyclopedia

In the ancient chronicle “Let Temporary Temptation” there is a story about how in 987 the holy prince Vladimir, speaking from the place where one can be baptized, sent some of his princes to Constantinople to learn about the local faith. When they returned to Kyiv, they told him about the service they attended at St.

One of the rules of the 7th century. Everyone who wants church singing to be prayerful and touching adheres to this canonical requirement of the holy Church. The Eighth System of Byzantine Music in Theoretical Theoretical Texts. According to the theory of church music, the basis of the rhythm of church singing is a unit of time. Rhythmic units are counted by raising and lowering the hand.

Dynamic Characteristics of Mental Processes - - important side any mental activity, including its speed and regulatory aspects. Syn. psychodynamic properties. D. x. p.p. are regulated by non-specific ........
Psychological Encyclopedia

Formal Dynamic Properties- - see Dynamic characteristics of mental processes, Properties of individuality, Temperament.
Psychological Encyclopedia

The following four stages can be distinguished in the Byzantine untouchables: Paleo-Byzantine designations, Middle Byzantine designations, late and post-Byzantine designations, and Chrysantus designations. An introduction to ignorance. The theme of the methodology of music education. - Methods - and means for development musical ear, skills for successful participation in various musical events. - Target musical education- creating an aesthetic taste for musical and artistic phenomena; creating an aesthetic relationship to our surrounding musical environment; the formation of self-valued skills in modern musical reality. - The objectives of music education - § to discover and develop the musical abilities of students, which is a prerequisite for their successful participation in musical activity. § Formation of skills for accepting, performing and composing music. § the formation of skills of differentiated perception of some of the most important elements musical language, because it is very important for students to understand and understand the meaning of various expressions in musical work.

Colors, Shades- 1. Colors with brightness darker than medium or neutral grey. 2.Colors with brightness lighter than medium or neutral grey.
Psychological Encyclopedia

Dynamic Patterns- more or less general, necessary, essential, recurring connections and dependencies that characterize the behavior of relatively isolated objects, in the study ........
Philosophical Dictionary

The specificity of music as a type of art is that musical works have a fleeting life in time. Because of this specificity, the listener must follow the unfolding musical work simultaneously with the fact that it sounds, that is, perceiving music, the speed of neuropsychic processes in perceiving music is imposed by the perceived object, and this requires greater dynamism of thought processes in the presentation and perception of music. Music reflects and conveys some kind of emotional information, i.e. information about the emotional relationship of a person to the world around him, and this information is very diverse, and music is an art that can recreate the finest subtle nuances in human experience.

Music is an art form that appeals to our sensory sphere with the help of sounds. The language of sounds is composed of various elements, which in professional terminology are called "means of musical expression". One of these most important and powerful elements in terms of influence is dynamics.

What is dynamics

This word is familiar to everyone from the course of physics and is associated with the concepts of "mass", "force", "energy", "motion". In music, it defines the same thing, but in relation to sound. Dynamics in music is the power of sound, it can also be expressed in terms of “quieter - louder”.

For creating musical image musical expressions are used in complex ways. No means of expression make sense in relation to others. That is why interpretation is extremely important. The contractor can make the sound of the work even more excited, more dramatic than in the text. It depends on his interpretation. It can bring its own pace, dynamics, timbre and other nuances. The understanding of a musical work largely depends on the interpretation of the translator. A teacher of musical works at a music lesson is a teacher.

How he interprets the work depends on whether the students understand it. In addition to transmitting various emotional states, the music has excellent sound and vocal capabilities. From the very first encounters of children with music, attention is directed to the discovery of emotional content. Melody as a means of expression is the main, the main means of expression. Continuous strive for a sustainable solution. In the classical master structures, major and minor, the inference is always the first degree - the tonic.

Playing at the same level of sonority cannot be expressive, it quickly tires. On the contrary, the frequent change of dynamics makes the music interesting, allowing a wide range of emotions to be conveyed.

If music is meant to express joy, triumph, exultation, happiness, then the dynamics will be bright and sonorous. To convey such emotions as sadness, tenderness, trepidation, penetration, light, soft, calm dynamics are used.

Speech speech and vocal melody are especially close. And in rhythm, timbre, tempo, registration, melody and speech are important. However, the essential difference between them is that in a melody each sound has a certain definite pitch. Even the smallest change in sound level causes the melody to warp.

Therefore, in music education specific pedagogical technologies are used to determine the direction of melodic movement and differentiation of tonal heights. Dynamics as a means of expression - dynamics in music we call the degree of tones. Very often in practice, the height force is confused. For example, when singing, when more singing is required, it cannot be called "higher" because a ton of one height can be filled with different strength.

Ways to label dynamics

Dynamics in music is what determines the volume level. There are very few designations for this, there are much more real gradations in sound. So that dynamic symbols should be considered only as a scheme, a direction of search, where each performer shows his imagination to the full.

By the middle of the 18th century, only the first method was used as a performance technique. From the middle of the 18th century, representatives of the Mannheim School of Music began to use the second path. The importance of dynamics as a powerful means of enhancing the expressiveness of a musical work is especially growing in the work of romantic composers. Representatives of romanticism in music are Schubert, Schumann, Wagner, Liszt, Chopin and many others. other. Dynamics in music is marked by dynamic signs.

They are placed in the text below penetration. Breaking is called when three tones are combined, four - four, etc. today we'll take a look at the major's tonic quintet. In the major, the tones, G, and G are played by the following fingerprints: 1st, 3rd, and 5th fingers. Let's look at the quintessence of the quintessence of other ranges. For example, the first degree of the solarium of salt is salt. Let's return to the major's tonic trilogy. We will play three tons at a time. It may be difficult for you at first, but with practice it will become easier and it will become your habit.

The level of dynamics "loud" is indicated by the term "forte", "quiet" - "piano". This is common knowledge. "Quiet, but not too much" - "mezzo piano"; "Not too loud" - "mezzo forte".

If the dynamics in music requires reaching the level of extremes, the nuances of "pianissimo" are used - very quietly; or "fortissimo" - very loudly. In exceptional cases, the number of "forte" and "piano" icons can reach up to five!

Fix your hand and fingers. Similarly, we chord left hand chord with 5th, 3rd and 1st fingers. Let's try to play both hands at once. We can play this chord several times, but with different strengths, so the sound we are going to get will be different. Dynamic means the string with which we play notes or chords, and the marks that are marked are called dynamic marks.

In his creation, this instrument was called the pianoforte. On the Italian this means very quiet, with which its producers wanted to show that it allows musical dynamics, unlike older keyboards. Subsequently, today, the instrument for a shorter time is called the pianoforte, which means calmness. Dynamic characters are used in Italian. There are basic dynamic symbols. When we have mediocre means, we will play inferiorly, and when we have a mezzo piano, we will play inferiorly.

But even taking into account all the options, the number of characters for expressing loudness does not exceed 12. This is not much at all, considering that up to 100 dynamic gradations can be extracted on a good piano!

Dynamic indications also include the terms: "crescendo" (gradually increasing the volume) and the opposite term "diminuendo".

Let's try to play with a different dynamics the tonic trio of a major. We do the same exercise with the left hand. Graduated national school musical and performing arts Prof. Burgas, in the piano class of Elena Peeva. During his studies, he does not waste time and wins prizes from a number of competitions for young pianists at home and abroad. She became a young soloist of the Philharmonic in Burgas. In his person, the music school finds an active participant in festive and charity concerts. Her musical development continues at the instrumental faculty of the National Academy of Music Prof.

Musical dynamics includes a number of symbols indicating the need to emphasize any sound or consonance: > ("accent"), sf or sfz (sharp accent - "sforzando"), rf or rfz ("rinforzando" - "enhancing") .

From harpsichord to piano

The surviving examples of harpsichords and clavichords allow us to imagine what dynamics in music is. The mechanics of the ancient forerunners of the piano did not allow changing the volume level gradually. For a sharp change in dynamics, there were additional keyboards (manuals), which could add overtones to the sound due to octave doublings.

The next four years are full of concerts and master classes, and the State Orchestra of the Academy invites her to become a soloist. An interesting fact her professional autobiography is her clear affinity for chamber music, where her participation in piano duas, trias and quartets remains unforgettable. Music pedagogical masters with a piano profile are legally acquired at the Sofia University of St.

Today, her teaching skills are based on professional and completely ordinary people conquered by the magic of music and wishing to master its secrets. Dynamics is a section of musical theory concerning tonality, musical performance. The symbols used are called dynamic symbols. These can be whole Italian words, their abbreviations or different graphic images. Dynamics is the main artistic element in musical composition and interpretation. The first mention of musical dynamics in notation was introduced by the Renaissance composer Giovanni Gabrieli in the 18th century.

A special system of levers and a foot keyboard on the organ made it possible to achieve a variety of timbres and increase the volume, but all the same, changes occurred suddenly. In relation to music, baroque even exists special term"terraced dynamics" as the volume levels changed like the ledges of a terrace.

As for the amplitude of the dynamics, it was quite small. The sound of the harpsichord, pleasant, silvery and quiet at close range, was almost inaudible at a distance of several meters. The sound of the clavichord was more harsh, with a metallic tint, but a little more sonorous.

This instrument was very loved by J.S. Bach for its ability, albeit to a barely noticeable degree, but still to change the level of dynamics depending on the strength of the fingers touching the keys. This made it possible to give the phrase a certain bulge.

The invention of the piano at the beginning of the 18th century with its hammer action revolutionized the possibilities of dynamics in music played on the modern piano, which has a huge number of gradations of sound and, most importantly, the availability of gradual transitions from one nuance to another.

Dynamics are large and detailed

Large dynamics is usually expressed by the symbols set out in the table. They are few, they are clear and definite.

However, “inside” each of these nuances there can be a lot of finer sound gradations. No special designations have been invented for them, however, these levels exist in real sound and it is they that make us anxiously listen to the game of a talented performer.

Such fine dynamics is called detailed. The tradition of its use originates (remember the possibilities of the clavichord).

Dynamics in music is one of the touchstones of performing arts. It is the mastery of fine nuances, light, barely noticeable changes that distinguishes the game of a talented professional.

However, it is no less difficult to evenly distribute the increase or decrease in sonority when it is “stretched” over a large segment of musical text.

Relativity of dynamics

In conclusion, it is worth noting that dynamics in music is a very relative concept, as, indeed, everything else in our life. Each musical style and even each composer has his own dynamic scale, as well as his own peculiarities in applying nuances.

What sounds good in Prokofiev's music is absolutely inapplicable when performing Scarlatti's sonatas. And the piano nuance of Chopin and Beethoven will sound completely different.

The same applies to the degree of emphasis, the duration of maintaining the same level of dynamics, the way it is changed, and so on.

To master this means of musical expression on a good professional level, it is necessary, first of all, to study the game of great masters, listen, analyze, think and draw conclusions.

In music, dynamics is a change in the strength of sound, that is, loudness. Surely everyone noticed that music never sounds equally loud or equally quiet all the time. The strength of the sound changes all the time. The composer deliberately makes some fragments quieter and some louder. Thus, you can emphasize the nature of the music, draw the listener's attention to some point. For example, when solemn music sounds, it must certainly be loud, if the character changes and the music becomes sad, dull, then it immediately becomes quieter.

How is dynamics defined?
In order for the performer to play the work in the required dynamics, that is, to correctly follow all the composer's instructions, special signs are put in the musical score. There are two main types of volume: quiet and loud. Types of dynamics are usually called the Italian words piano (quietly) and forte (loudly) (by the way, the piano instrument got its name due to the fact that it could make both very quiet sounds and quite loud ones). In order to make the musical notation a little easier, we decided to leave only the first letters of these words. Thus, if the composer wants a certain part of his work to sound quiet, he puts the “p” sign on top, if it is loud, then “f”.

In addition to the basic "piano" and "forte", there are also other types of dynamics. For example, "pianissimo" and "fortissimo" in sheet music are marked with the signs "pp" and "ff". If such a sign is placed, then the music should sound very quiet (“pp”) or very loud (“ff”). But that's not all, some works require super loud sounding, then the signs "ppr" "rrrr" and "rrrr" are put on, it reads like: "piano-pianissimo, piano-piano-pianissimo and piano-piano-piano-pianissimo" that is, the sign "rrrr" is extremely rare, but sometimes it is used. In this case, the listener will be able to hear the sound of the instrument or orchestra with great difficulty. The super loud sound is also denoted in the same way: "ff", "fff", "ffff" and "fffff". Music played even on “3rd forte” (“fff”) will sound simply deafening.

Amplifying and reducing the intensity of sound
There are two more types of having dynamics: "crescendo" (read: "crescendo" - gradually adding sound) "diminuendo" (read: "dimimnuendo" - which means: "gradually reducing the sound"). In the notes, it is indicated either by “cres” and “dim”, or by the signs “< » («crescendo») и « >"("diminuendo"). The composer puts signs in the notes above the place where the sound should be added or subtracted.

Volume (relative)

The two basic notations for loudness in music are:

Moderate degrees of loudness are indicated as follows:

Except signs f and p , There are also

Additional letters are used to indicate even more extreme degrees of volume and silence. f and p . So, quite often in the musical literature there are designations fff and ppp . They do not have standard names, usually they say "forte-fortissimo" and "piano-pianissimo" or "three fortes" and "three pianos".

In rare cases, with additional f and p even more extreme degrees of sound intensity are indicated. So, P. I. Tchaikovsky in his Sixth Symphony used pppppp and ffff , and D. D. Shostakovich in the Fourth Symphony - fffff .

Dynamic designations are relative, not absolute. For example, mp does not indicate the exact volume level, but that this passage should be played somewhat louder than p , and somewhat quieter than mf . Some computer sound recording programs have standard key velocity values ​​that correspond to one or another volume designation, but, as a rule, these values ​​\u200b\u200bare customizable.

gradual change

The terms used to denote a gradual change in volume are crescendo(Italian crescendo), denoting a gradual increase in sound, and diminuendo(Italian diminuendo), or decrescendo(decrescendo) - gradual weakening. They are abbreviated in notes as cresc. and dim.(or decresc.). For the same purposes, special signs - "forks" are used. They are pairs of lines connected on one side and diverging on the other. If the lines diverge from left to right () - weakening. The following fragment of musical notation indicates a moderately loud beginning, then an increase in sound and then its weakening:

"Forks" are usually written below the staff, but sometimes above it, especially in vocal music. Usually they denote short-term changes in volume, and signs cresc. and dim.- changes over a longer period of time.

Notation cresc. and dim. may be accompanied by additional instructions poco(quiet - a little), poco a poco(poco a poco - little by little) subito or sub.(subito - suddenly), etc.

Sforzando notation

Abrupt changes

Sforzando(Italian sforzando) or sforzato(sforzato) denotes a sudden sharp accent and is denoted sf or sfz . The sudden increase in a few sounds or a short phrase is called ringforzando(Italian rinforzando) and is designated rinf. , rf or rfz .

Designation fp means "loud, then immediately quiet"; sfp indicates sforzando followed by piano.

Music terms related to dynamics

• al niente
• calando
• crescendo- reinforcing
• decrescendo or diminuendo- turning down the volume
• perdendo or perdendosi- losing strength
• morendo
• marcato- emphasizing each note
• piu- more
• poco- a little
• poco a poco- little by little, little by little
• sotto voice- in an undertone
• subito- suddenly

Music is an art form that appeals to our sensory sphere with the help of sounds. The language of sounds includes various elements, which in professional terminology are called “means of musical expression”. One of these most important and powerful elements in terms of influence is dynamics.

What is dynamics

This word is familiar to everyone from the course of physics and is associated with the concepts of "mass", "force", "energy", "motion". In music, it defines the same thing, but in relation to sound. Dynamics in music is the power of sound, it can also be expressed in terms of “quieter - louder”.

Playing at the same level of sonority cannot be expressive, it quickly tires. On the contrary, the frequent change of dynamics makes the music interesting, allowing a wide range of emotions to be conveyed.

If music is meant to express joy, triumph, exultation, happiness, then the dynamics will be bright and sonorous. To convey such emotions as sadness, tenderness, trepidation, penetration, light, soft, calm dynamics are used.

Ways to label dynamics

Dynamics in music is what determines the volume level. There are very few designations for this, there are much more real gradations in sound. So dynamic symbols should be considered only as a scheme, a direction of search, where each performer shows his imagination to the full.

The level of dynamics "loud" is indicated by the term "forte", "quiet" - "piano". This is common knowledge. "Quiet, but not too much" - "mezzo piano"; "Not too loud" - "mezzo forte".

If the dynamics in music requires reaching the level of extremes, the nuances of "pianissimo" are used - very quietly; or "fortissimo" - very loudly. In exceptional cases, the number of "forte" and "piano" icons can reach up to five!

But even taking into account all the options, the number of characters for expressing loudness does not exceed 12. This is not much at all, considering that up to 100 dynamic gradations can be extracted on a good piano!

Dynamic indications also include the terms: "crescendo" (gradually increasing the volume) and the opposite term "diminuendo".

Musical dynamics includes a number of symbols indicating the need to emphasize any sound or consonance: > ("accent"), sf or sfz (sharp accent - "sforzando"), rf or rfz ("rinforzando" - "enhancing") .

From harpsichord to piano

The surviving examples of harpsichords and clavichords allow us to imagine what dynamics in music is. The mechanics of the ancient forerunners of the piano did not allow changing the volume level gradually. For a sharp change in dynamics, there were additional keyboards (manuals), which could add overtones to the sound due to octave doublings.

A special system of levers and a foot keyboard on the organ made it possible to achieve a variety of timbres and increase the volume, but all the same, changes occurred suddenly. In relation to baroque music, there is even a special term "terraced dynamics", since the change in volume levels resembled terrace ledges.

As for the amplitude of the dynamics, it was quite small. The sound of the harpsichord, pleasant, silvery and quiet at close range, was almost inaudible at a distance of several meters. The sound of the clavichord was more harsh, with a metallic tint, but a little more sonorous.

This instrument was very loved by J.S. Bach for its ability, albeit to a barely noticeable degree, but still to change the level of dynamics depending on the strength of the fingers touching the keys. This made it possible to give the phrase a certain bulge.

The invention of the piano at the beginning of the 18th century with its hammer action revolutionized the possibilities of dynamics in music played on the modern piano, which has a huge number of gradations of sound and, most importantly, the availability of gradual transitions from one nuance to another.

Dynamics are large and detailed

Large dynamics is usually expressed by the symbols set out in the table. They are few, they are clear and definite.

However, “inside” each of these nuances there can be a lot of finer sound gradations. No special designations have been invented for them, however, these levels exist in real sound and it is they that make us anxiously listen to the game of a talented performer.

Such fine dynamics is called detailed. The tradition of its use originates (remember the possibilities of the clavichord).

Dynamics in music is one of the touchstones of performing arts. It is the mastery of fine nuances, light, barely noticeable changes that distinguishes the game of a talented professional.

However, it is no less difficult to evenly distribute the increase or decrease in sonority when it is “stretched” over a large segment of musical text.

Relativity of dynamics

In conclusion, it is worth noting that dynamics in music is a very relative concept, as, indeed, everything else in our life. Each musical style and even each composer has its own dynamic scale, as well as its own peculiarities in the application of nuances.

What sounds good in Prokofiev's music is absolutely inapplicable when performing Scarlatti's sonatas. And the piano nuance of Chopin and Beethoven will sound completely different.

The same applies to the degree of emphasis, the duration of maintaining the same level of dynamics, the way it is changed, and so on.

To master this means of musical expression at a good professional level, it is necessary, first of all, to study the game of great masters, listen, analyze, think and draw conclusions.

Dynamic shades (nuances). There are two main dynamic shades in music:
1. f forte (ital. forte- translation. "strongly") - loudly. Degrees of gradation:
mf- mezzo forte (ital. mezzo-forte) - moderately loud, ff– fortissimo ( fortissimo) - very loud
2. p piano (Italian) piano- translation. "weak") - quietly. Degrees of gradation:
mp mezzo piano ( mezzo-piano) - moderately quiet, pp pianissimo ( pianissimo) - very quiet.

In addition, to indicate large degrees of hue in musical notation letters f and p applied additionally. For example: ppp(piano-pianissimo or three pianos) or fff(forte fortissimo or three fortes). These designations are more psychological character, indicating to the musician that the sound should be even quieter or louder than usual. As a rule, this requires psychological concentration from the musician or, in cases with "loud" - application beyond effort. It's rare to find something like this in scores: ffff, or like this: pppp.

All degrees of gradation of sound power are relative, and comparable to the capabilities of the instrument itself. In addition, in orchestral or ensemble playing, one should always take into account in which solo or accompanying part a dynamic shade is set. In a solo part, it should still be interpreted as louder in relation to the rest of the group of instruments. In large ensembles, the conductor has the last word in choosing the strength of the sound, because the performer from his place cannot objectively feel the balance of the sound.

Designations of the volume level of the performance in ascending order:
ppp– three pianos (piano pianissimo) – the quietest
pp– pianissimo – very quiet
p- piano - quiet
mp– mezzo-piano - not very quiet
mf– mezzo forte - not very loud
f- forte - loud
ff– fotrisimo – very loud
fff- three forte (forte fortissimo) - the loudest

To signs denoting dynamic changes:
1. Crescendo (ital. crescendo, cresc.) - a symbol for a gradual increase in the volume of sound extraction. It is also indicated by a fork with a sharp end on the left - extended to the right. Hues are often exposed along the edges of the symbol.
2. Diminuendo (ital. diminuendo, dim.), less frequently decrescendo ( decrescendo) - a symbol for the gradual decrease in the volume of sound extraction. It is also indicated by a fork with a sharp end on the right - extended to the left. Hues are often exposed along the edges of the symbol.

A number of terms related to dynamics:
al niente- literally "to nothing", to silence
calando- "going down"; slow down and lower the volume.
marcato- emphasizing each note
morendo- fading (calming down and slowing down the pace)
perdendo(perdendosi) - losing strength, drooping
sotto voice- in an undertone
Accompanying dynamics terms:
piu- more
poco- a little
poco a poco- little by little, little by little
subito- suddenly
Terms of a sudden change in dynamics (sudden-sharp accent):
sf- sforzando (ital. sforzando)
sfz- sforzato (ital. sforzato)
fp- pianoforte ( forte-piano) means "loud, then immediately quiet"; sfp(sforzando piano) - sforzando and immediately piano.

Musical terms that determine the degree of loudness of music performance are called dynamic shades (from the Greek word dynamicos - power, that is, the power of sound). Of course, you have seen such icons in sheet music: pp, p, mp, mf, f, ff, dim, cresc. All these are abbreviations for the names of dynamic shades. See how they are written in full, pronounced and translated: pp - pianissimo "pianissimo" - very quietly; p - piano "piano" - quiet; mp - mezzo piano "mezzo piano" - moderately quiet, a little louder than the piano; mf - mezzo forte "mezzo forte" - moderately loud, louder than mezzo piano; f - forte ("forte" - loud; ff - fortissimo "fortissimo" - very loud.
Sometimes, much less often, in the notes you can find such designations: ppp (piano-pianissimo), rrrr. Or fff, (forte fortissimo), ffff. They mean very, very quiet, barely audible, very, very loud. The sign sf - sforzando (sforzando) indicates the selection of a note or chord. Very often there are such words in notes: dim, diminuendo (diminuendo) or an icon indicating a gradual weakening of the sound. Cresc. (crescendo), or icon - indicate, on the contrary, that you need to gradually increase the sound. Before the designation cresc. sometimes put poco a poco (poco a poco) - little by little, little by little, gradually. Of course, these words are found in other combinations. After all, gradually you can not only amplify the sound, but also weaken it, speed up or slow down the movement. Instead of diminuendo, they sometimes write morendo (morendo) - freezing. Such a definition means not only calming down, but also slowing down the pace. Approximately the same meaning has the word smorzando (smortsando) - muffling, fading, weakening the sonority and slowing down the pace. You have probably heard the play "November" from the cycle "The Seasons" by Tchaikovsky more than once. It has the subtitle "On the Troika". It starts not very loudly (mf) a simple melody, similar to a Russian folk song. It grows, expands, and now it sounds powerful, loud (f). The next musical episode, more lively and graceful, imitates the sound of road bells. And then, against the background of the incessant ringing of bells, the melody of the song reappears - now quiet (r), then approaching and again disappearing into the distance, gradually melting away.

Watch value Dynamic Shades in other dictionaries

Dynamic Signal Analyzers- signal analyzers that use a digital signal sample and its transformation methods to obtain the form of the Fourier spectrum of a given signal, including information about its amplitude and phase.
Law Dictionary

Dynamic Interindustry Models- a special case of dynamic models of the economy. They are based on the principle of intersectoral balance, in which equations are introduced that characterize the change in intersectoral .....

Dynamic Models- economics - economic and mathematical models that describe the economy in development (as opposed to static models that characterize its state at a certain moment). Two approaches....
Big encyclopedic dictionary

musical shades- see Nuance.
Music Encyclopedia

Dynamic Problems of the Theory of Elasticity- - a range of issues in the theory of elasticity related to the study of the propagation of oscillations or the state of steady oscillations in elastic media. In the simplest and most.....
Mathematical Encyclopedia

Dynamic Characteristics of Mental Processes- - an important aspect of any mental activity, including its speed and regulatory aspects. Syn. psychodynamic properties. D. x. p.p. are regulated by non-specific ........
Psychological Encyclopedia

Formal Dynamic Properties- - see Dynamic characteristics of mental processes, Properties of individuality, Temperament.
Psychological Encyclopedia

Colors, Shades- 1. Colors with brightness darker than medium or neutral grey. 2.Colors with brightness lighter than medium or neutral grey.
Psychological Encyclopedia

Dynamic Patterns- more or less general, necessary, essential, recurring connections and dependencies that characterize the behavior of relatively isolated objects, in the study ........
Philosophical Dictionary

In the previous article, we considered the concept of tempo as a means of expression in music. You also learned options for designating tempo. In addition to the tempo, the volume of the sound of a piece of music is of great importance. Loudness is a powerful means of expressiveness in music. The tempo of the work and its volume complement each other, creating a single picture.

dynamic shades

The degree of loudness of music is called dynamic hue. We immediately draw attention to the fact that within the framework of one piece of music, various dynamic shades can be used. Below is a list of dynamic shades.

Consider examples of the interaction of volume and tempo. The march, most likely, will sound loud, clear, solemn. The romance will sound not very loud, at a slow or medium pace. With a high degree of probability, in the romance we will encounter a gradual acceleration of the tempo and increasing volume. Less commonly, depending on the content, there may be a gradual slowdown in tempo and a decrease in volume.

Outcome

In order to play music, you need to know the designation of dynamic shades. You saw what signs and words are used for this in the notes.