Dynamic shades and their designations. What is forte

What are dynamic shades in music? To be honest, the phrase "dynamic shades" is somewhat tricky, but its meaning is very simple. This is the degree of loudness of the music performance.

Why did such a term take root in music? Because it comes from Greek word"dynamicos" - that is, "strength" and implies with what force one or another part of the piece should be played.

In music, such dynamic shades are distinguished:

pp - pianissimo (read as "pianissimo") means - very quiet
p - piano (read like "piano") quietly
mp - mezzo piano (read as "mezzo piano") means - moderately quiet, slightly louder than the piano

mf - mezzo forte (read like "mezzo forte") - moderately loud
f - forte (forte) loudly
ff - fortissimo (fortissimo) - very loud.

As you can see, dynamic tones are just varying degrees of loud and soft.

There is also such a term as "sforzando". Denoted sf and implies a sharp emphasis on a single sound, note or chord. Sforzando should not be confused with accents when it stands out from a group of notes, one or more. Emphasizing notes, as it were, gives some value to certain notes, their weight and importance are different, however, as are the prices in the back. I advise you to take a closer look, summer will not be slow to come, think about the upcoming vacation and vacation time.

So, when we accentuate a note, we consciously highlight it, make it louder than the rest, so a special rhythm can form against the background of the general one. Therefore, emphasis is more related to the construction of rhythmic figures. But sforzando is still a term denoting a dynamic shade.

The following words also refer to the designation of dynamic shades: diminuendo (diminuendo) - a gradual weakening of the sound and crescendo (crescendo) - a gradual increase in sound.

So, why are these designations given in the notes? In order to convey the nuance of a particular work. Of course, the final interpretation lies with the performer, but these signs in the notes help to understand how the author of the music sees its performance.

Explore musical notation You can, not necessarily attending classes, hiring a tutor, but also using this course.

Lesson summary on the subject musical literacy and listening to music on the topic "Dynamic shades, their role and significance in music. "King" ballroom dancing(history of the emergence and spread of the waltz)"

Author: Lyudmila Ivanovna Atamanova, teacher, MBOU DOD DShI, Usman, Lipetsk region.
Short description: I offer you a summary of the lesson on the subject of musical literacy and listening to music for grade 1. This material will be useful for teachers of the Children's and Children's School of Arts working in the Department of General Aesthetic Education. In the proposed development of the lesson, a student-centered approach was used. this work contains a presentation for clarity of the studied material. The lesson is aimed at developing students' musical abilities, expanding knowledge in the field of analysis piece of music, education of musical culture.

Target: To acquaint students with the concept of "dynamics", to help understand the designation, the role of dynamic shades in music, and also to talk about the emergence and spread of the waltz, its place in the rich and diverse world of music, involving children in the lesson.
Tasks:
1. Educational: develop a sense of caring and respectful attitude towards cultural heritage, accept dance as part of the spiritual and national culture.
2. Educational: develop musical ability: hearing, speech, memory, turn on creative imagination in the classroom, be as active as possible.
3. Educational: to form the ability to memorize, navigate in dynamic shades, apply them in practice. Learn waltz among other musical genres.
Equipment: musical instrument, musical, literary and educational material, technical means.

During the classes

(Slide)
Teacher: Guys, in our very first lesson we got acquainted with the concept of "sound". What is this?
Students: Sound is the result of vibrations of an elastic body (for example, a string, a column of air). Sounds are divided into musical and noise.
Teacher: And by their nature, sounds are quiet and loud, and no one will ever confuse them. You have two boxes in front of you. (Slide)
Teacher: Guess what sounds are hidden in them? First, enter the missing letters in the cells horizontally, then indicate in the frames what sounds they are: loud or quiet.

Teacher: And yet the concept of "loud" or "quiet" is very relative. For example, when you have good mood, you turn on the player at full volume, and the neighbor on this day Bad mood so he gets angry. For him, this sound seems too loud. The same sound is perceived differently by us. But it can also sound different. For example, sounds that are quiet for a trumpet turn out to be too loud for, say, a harp or guitar. Let's knock on the table: softly - a little louder - even louder - loudly - very loudly! Please note: the louder we knock, the more force we have to apply. (Slide)
Teacher: The power of sound is called volume and is very important property musical sounds.
Write the definition in your notebook.
Music can be loud or quiet, it can abruptly or smoothly move from one volume to another. (Slide)
Teacher: Changing the volume of sounds in music is called dynamics.
Write the definition in your notebook
Dynamics (the Greek word dinamikos means "strong") is the power of sound. Music, like human speech, is filled with many sound shades. The more such shades, the more expressive it is. These sound shades are called dynamic. You never speak only loudly or only quietly. The strength of the sound depends on what and how you want to say. To speak, sing or play with force means with feeling, with great spiritual uplift. If you hit the keys hard, you get ...
Students: Loud!
Teacher: What if it's weak?
Students: Quiet!
Teacher: Italian words forte (loudly), piano (quietly). The name of what instrument will come from these words?
Students: piano.

Teacher: Remember these notations and write them down. (Slide)
Teacher: Now let's play. Solve the charade and fill in the cells. The answer is written on the board
Let's add a preposition to two known notes,
You will get a long and loud beep.
SIREN)

Teacher: Depict a siren with your voice. Start quietly, gradually increase the volume - the siren is approaching, passing by, moving away ... The closer, the louder, the farther, the quieter. (Slide) Let's write down the definitions:
(crescendo) crescendo - gradually increasing, (diminuendo) diminuendo - gradually weakening.

Homework

draw dynamic forks for these symbols:
P_________f ; f_________p
Teacher: We got acquainted today only with the main dynamic shades, but if you look at the dynamic forks, you can see that in different points these forks will change the sound. We will talk about this in the next lesson, and now listening to music and you will surely pay attention to the dynamic shades that will sound in it, as one of the most important means musical expressiveness. But before the music starts, I have to tell you about it. Of course, you have been convinced many times that music is closely connected with all the arts: literature, theater, cinema, and even fine arts: painting, architecture, sculpture. But all these arts exist even without music, having quite independent meaning. But there is such a field of art that does not exist without music. What is this art?
Students: Dance.

Teacher: Of course, dance. And therefore, when we pronounce the word “dance”, not only the dance figures of the dance itself always appear in our minds, but also the dance characteristic of it. music - musical image of this dance. Dance, choreography is a huge and very diverse area of ​​art. There are dances born by one nation, but which have become the property of many. Some were only danced by the common people in villages and cities, others only in aristocratic salons, and there were those who enjoyed the same success in common people and in court circles.

Today we will talk about only one dance, an amazing dance! It arose on a certain national basis, but gradually became the dance of almost all the peoples of the world, appeared in a broad democratic environment, one might say, in the city and village squares, and became an absolutely universal dance. At first it was only meant to be danced. And very soon he literally permeated all areas of music without exception. This dance has existed for more than three centuries and shows no signs of aging. I think you guessed what this dance is. Well, to make your answer more convincing, guess the riddle:

The whole hall lit up brightly,
Everyone is invited to the ball
I ask you to answer
What is this dance?
Waltz!

Well, of course, a waltz, a dance that has a triple meter (one, two, three). It is emphasized by the presentation of the accompaniment, which is typical for the waltz: on the first quarter there is a bass sound, and on the second and third quarters there are two chords that form a harmonious sounding harmony with the bass. (show music notation)
And now listen to how this waltz will sound in performance.
Performed by student R. Bazhilin "Waltz"
TO homework distribute notes with "Waltz", where children must arrange dynamic shades.
Teacher: Do you know how the waltz originated?

A long time ago, the inhabitants of small Austrian towns and villages after work gathered on the lawns to relax. They sang, danced, smartly stamping their wooden shoes, spinning and bouncing: one, two, three. A violinist played a simple melody merrily, the guys picked up the girls and lightly tossed them in the dance. And so this dance reached the main city of Austria, its capital - Vienna. And the inhabitants of Vienna were all inveterate dancers. They danced at home, and at a party, and in dance halls, and just on the streets of the city. When the village dance "one-two-three" came to Vienna, the inhabitants of the Austrian capital looked down on him and said dismissively: "Landl", which meant provincial, redneck. Well, what a dance! Shoes knock, men toss women, they scream in unison; try to dance such a dance on a smooth parquet - you will immediately slap! Is it a joke to try? Of course, not so famously ... hush, hush! You don't have to jump like that! The movements are softer, smoother. And he's nothing, this "landler", this provincial! And the dance "Lendler" became a regular guest of all dance halls. (Slide)
Performed by F. Schubert "Lendler"
Discussion related to character and dynamics
Teacher: And then this dance turned into another, which they began to call the waltz. But where did this name come from? Maybe it is nobler than the previous one? Not at all! There is such a device - rollers, between which metal plates are flattened and rolled. These two rollers are spinning all the time and retract the metal tape with their rotation. Isn't it the music of dance that draws you in, draws you into whirling? Here they called new dance the word "walzen" - spinning, rotating. (Slide)
This is how the character of the waltz is described in his novel "Eugene Onegin" by A.S. Pushkin:
Monotonous and insane
Like a whirlwind young life,
The waltz whirlwind is spinning noisy,
The couple flashes by the couple.
But the real waltz became famous when composers paid attention to it. Do you know who was the first to compose waltzes? No? Then I'll tell you now. But for this, let's remember Andersen's fairy tales.
Students: Flint, Wild swans, Thumbelina.
Teacher: Well, in what fairy tale leading role music is playing?
Let me remind you that in this fairy tale, the princess refused to accept gifts from the prince - a real rose and a nightingale - and marry him. Then the prince smeared his face with soot and went to work for the king-father of the princess. By evening, the prince made a magic pot, all hung with bells: when something was boiled in this pot, the bells evoked an old song.
Sounds like "Oh, my dear Augustine"
Student: The story is called "The Swineherd". (Slide)

Teacher: So who is Augustine?
Augustine is the name of a singer. He lived in Vienna almost four hundred years ago. He walked around the city and sang songs. Everyone loved Augustine very much, because in his company life became brighter and more fun. The singer became especially popular in the year of the plague. The Black Sea mercilessly mowed down people. But Augustine walked around the city and sang his songs. People listened to his songs and believed that the plague would soon pass. One day, returning home late in March after a feast with friends, Augustine found himself in a cemetery and fell into a pit where the poor who died of the plague were buried. Waking up in the morning, Augustine, as if nothing had happened, got up and went to the city, telling his friends about his unusual lodging for the night. After that, the singer's fame increased even more, and people believed that his music, his songs were stronger than the plague.
The song plays again.
Teacher: It's a waltz! It is possible that Augustine is one of the first musicians in the world who began composing waltzes! And how much beautiful waltzes written by composers different countries! These are Russian composers, and French, and German. (Slide)

And now we will listen to the waltz German composer K.-M. Weber from the opera "Magic Shooter".
This is one of the earliest waltzes, the opera was created in 1821. Here you can still feel the connection with the landler, especially since in the opera it is danced by peasants to the uncomplicated accompaniment of village musicians right on the square.
The traditional hunting competition in shooting ends with a merry holiday. The peasants, in their simple, uncomplicated clothes and rustic shoes, dance slowly, smoothly describing circles. And the melody is simple and artless, has a uniform rotational movement.
Waltz K.-M. Weber from the opera "Magic Shooter"
There is only one theme in the waltz, it sounds several times throughout the play. Each waltz formation has 8 measures - this structure is typical for dance music. Well, we will finish our lesson with one of the most beautiful waltzes in the world. It was composed by a man who at the beginning of the 20th century lived in the capital of waltzes, the city of Vienna, and received the title "King of Waltzes" there. This is the famous Johann Strauss (there were two of them - father and son, both were famous and both famous, but the son significantly surpassed his father). (Slide)

”, dynamics carries sensations and emotions, governs perception and creates objects and spaces.

In order for musicians and conductors to understand the composer's intention, it is necessary to somehow mark the dynamic plan in the notes. There are special notations for this.

IN early music they are usually very few. The reason for this is that the composer himself was a conductor and musician. There were also few designations themselves: forte And piano. Reminds me of the name musical instrument. That's why the piano got such a name at one time due to the fact that it allowed you to play music as loudly as - forte, so quiet - piano. As a matter of fact, initially these are Italian words and it is more correct to translate them as “strongly”, “strongly” and “plain”, “flatness”, but they have lost their original meaning, becoming not only musical terms, but also just international words that are found in most European languages.

Only later did additional shades appear:

ff Fortissimo - very loud
f Forte - loud
mf mezzo forte - not very loud
mp mezzo piano - not very quiet
p Piano - quiet
pp pianissimo – very quiet

In the era of romanticism, even this was not enough for composers. The notation has expanded even more (from ppppp to fffff) Attempts have been made to measure physical values dynamic shades. Of course, this was only possible approximately. For example, N.A. Garbuzov, studying the zonal nature of dynamic hearing, came to the conclusion that the width of the zone of each dynamic hue is approximately 10 dB. Considering that in modern sound recording the dynamic range of even academic genres of music does not exceed 40 dB, the obvious excess of this value is obvious.

The dynamic shading marks show some volume zone, but not the smooth rise and fall of the dynamics. In order to indicate smooth changes, one should use "forks" and the words crescendo ("crescendo" - increase in volume) and diminuendo ("diminuendo" - decrease in volume). Less commonly, to reduce the volume, it is indicated by the word decrescendo (“decrescendo”).

Not so long ago, the signs of forks and words were completely equivalent:

Dim. or decresc.

Currently, forks are used for short rises and falls of dynamics (no more than a measure), and words for longer ones. In addition, for very long changes in dynamics, an additional phrase “poco a poco” (“poco a poco” - a little at a time) is used, which can be stretched over several measures for greater clarity:

designation of a continuous increase in volume

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 spelled in full, pronounced and translated: pp -- pianissimo "pianissimo" -- very quietly; p - piano "piano" - quietly; 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" - loudly; ff - fortissimo "fortissimo" - very loudly. Sometimes, much less often, you can find such designations in the notes: ppp (piano-pianissimo), prrr. 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 decrease in sound Cresc. (crescendo), or an icon - indicate, on the contrary, that you need to gradually increase the sound. The designation cresc. is sometimes preceded by poco a poco (poco a poco) - little little by little, little by little, gradually. Of course, these words are also found in other combinations. After all, gradually you can not only increase the sound, but also weaken it, speed up or slow down the movement. Instead of diminuendo, they sometimes write morendo (morendo) - fading. This definition means not only fading away, but also slowing down the tempo.The word smorzando (smorzando) has approximately the same meaning - muffling, fading, weakening the sonority and slowing down the tempo. 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 (p), then approaching and again disappearing into the distance, gradually melting away.

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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 . 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 . A unique case is Galina Ustvolskaya's Sixth Piano Sonata. The composer used the notation ffffff (six fortes), as well as marking Espressivissimo ("more expressive").

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 programs When recording sound, there are standard keystroke values ​​that correspond to one or another volume designation, but, as a rule, these values ​​\u200b\u200bare customizable.

Below is a table of correspondence of these designations to sound volume levels in backgrounds and sons.

Designation	Name	Volume level, background	Volume, sleep
fff	Forte fortissimo - extremely loud	100	88
ff	Fortissimo - very loud	90	38
f	Forte - loud	80	17,1
p	Piano - Quiet	50	2,2
pp	Pianissimo - very quiet	40	0,98
ppp	Piano-pianissimo - extremely quiet	30	0,36

gradual change

To denote a gradual change in volume, the terms crescendo (ital. 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 are used - "forks". 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. Next snippet music notation indicates a moderately loud start, then an increase in sound and then its decrease:

"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(Russian poko - a little), poco a poco(Russian poko a poko - little by little), subito or sub.(Russian subito - suddenly), etc.

Abrupt changes

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

Designation fp (forte piano) means "loudly, then immediately quietly"; sfp (sforzando piano) indicates a sforzando followed by a piano.

Accent

Accent(Italian accento) - highlighting individual tones or chords through stronger stress