Dynamics (music)

Figure 1. Some dynamic indications:
piano, Mezzopiano, mezzoforte and forte.

The dynamics, in music, refers to the graduations of sound intensity. Within musical terminology, each of the different degrees or levels of intensity in which one or several sounds, certain passages or complete musical pieces can be interpreted is called dynamic nuance or intensity.

Musical intensity is the quality that differentiates a soft sound from a loud sound. It depends on the force with which the sound body is played and on the distance of the receiver from the sound source. Acoustically, the intensity depends on the amplitude of the vibrations and is particularly connected to a magnitude defined as acoustic intensity, which is measured in W/m² or more commonly in decibels (dB) when measured logarithmically (Sound pressure level). In psychoacoustics, the difference that measures the perception of musical intensity is defined as loudness.

History

The expressive sense of dynamics has varied throughout the history of music.

Renaissance

One of the first to include dynamics in musical notation was the Renaissance composer Giovanni Gabrieli. However, this type of indication was used by composers sparingly until the 18th century.

Baroque

According to Grabner «in the Baroque period the expressive sense of dynamics lies in the structure of the work and is closely related to the formal construction, so that dynamics here has a primarily tectonic meaning ». This is reflected in the resulting contrasts between loud and soft parts, the so-called "echo effect" which consists of repeating in piano a passage heard first in forte. The fact that only "terrace dynamics" could be played on the harpsichord; (either loud or soft, but no levels in between) coupled with the fact that composers of the time did not mark gradations of dynamics in their scores, has led according to Robert Donington to the somewhat misleading suggestion that baroque dynamics are &# 34;dynamics of terraces". In reality, the baroque musicians varied the dynamics constantly. In the words of Johann Joachim Quantz in 1752 "light and shadow must be constantly introduced... by the ceaseless exchange of strong and soft". On the other hand, the clavichord sounds louder or softer depending on the density of the musical texture, that is, four notes sound more intense than two. This allowed composers such as Bach to create dynamics directly in their compositions, without the need to notate them. Although Bach himself used some terms such as forte , piano più piano and pianissimo (although written as whole words). In some cases, the abbreviation ppp may have been considered pianissimo at this time.

Classicism

Starting in the 18th century, musical dynamics assumed their own independent significance. The dynamics of transition take precedence, which is based above all on the crescendi and diminuendi, above the dynamics of degrees > of the Baroque. The Mannheim orchestra is known for having applied these dynamics for the first time. Haydn and Mozart specified six levels of intensity from pp to ff. Beethoven also used ppp and fff, although the latter less frequently.

Romanticism

In Romanticism, composers greatly expanded their vocabulary to describe dynamic changes in their scores. Brahms used a number of terms to describe the dynamics he wanted. In the slow movement of the Trio for horn, violin and piano (opus 40) he uses the expressions ppp , molto piano and quasi niente to indicate the different levels of calm.

20th century

After Romanticism, composers continued to expand the terms used to describe dynamics, sometimes substituting relatively objective expressions such as fierce. However, other authors use their own expressions, unique and characteristic of their own style; like Erik Satie in his famous Gnossiennes in which he indicates these nuances in an indirect and personal way: Plus intimement, sur la lange or Dans une saíne superiorité (with a healthy superiority).

On the other hand, Serialism incorporates dynamics into its compositional method by series, within integral Serialism. This supposes the independence of the dynamics on the note or fragment that it defines, that is, it is treated as one more variable in the serial logic. Therefore, a review and update on how the dynamics affect the structure, with some parallelism to the works of the classical period.

Types

The determination of the intensity of the sounds in a work, in Grabner's words, can be articulated through a dynamic of degrees or a dynamic of transition. In such a way that the signs can respectively indicate different degrees of intensity or the transition between them.

Degree dynamics

The degree dynamics is constructed by contrasting the concepts of soft and strong, which is expressed by the Italian words piano and forte respectively. There are at least eight gradations or indications of dynamics, starting from the softest sound to the loudest sound. For example, pianissimo, piano, fortissimo, etc. Likewise, the different degrees of intensity can be qualified by other terms such as piu, meno, etc.

Accents are also part of dynamic signs, indicating that a particular note should be played with a higher intensity.

Name	Abbreviation	Meaning
Pianississimo		weaker.
Pianissimo		Very weak.
Piano		Weak.
Mezzopiano		Mediumly weak. Literally, it's half soft that piano.
Mezzoforte		Mediumly strong. Literally, it's half of it. forte. The use of Mezzo-piano. Note: if no dynamic indicator appears, mezzo-forte is assumed as a default dynamic.
Forte		Strong.
Fortissimo		Very strong.
Fortississimo		Stronger. Although some scores, particularly in contemporary times, have reached a more extreme indication, with more than 3 p or f. Verdi reached 4:00. p and Chaikovski arrived at 5:00. p. They are not usually used for being impractical, although theoretically possible.
Sforcing	or or	Suddenly reinforce the sound.
Piano forte		Weak and then strong.
Forte piano		Strong and then weak.
Meno piano		Less weak.
Meno forte		Less strong.
Più piano		weaker.
Più forte		Stronger.
Piano subito		Suddenly weak.
Forte subito		Suddenly strong.
Sotto voce		Murmured
Mezza voce		Half voice. Currently unused.
Little forte		A little strong. Currently unused.

Transition dynamics

The transition dynamics refers to the fact that the intensity of one or more sounds can be gradually increased or decreased.

Increase in intensity
Name	Abbreviation	Sign	Meaning
Growing up	cresc.		Progressive increase in intensity.
Accrescendo	accresc.		Progressive increase in intensity.
Increase	aum.		Progressive increase in intensity.
Rinforcing	rf., rfz., Rinf. or Rinforz.		Strengthening the sound progressively.

Decrease in intensity
Name	Abbreviation	Sign	Meaning
Decresce	decresc.		Progressive decrease in intensity.
Diminution	dim.		Progressive decrease in intensity.
Slaughter	smorz.		Let the sound go slowly.
Morendo	Mor.		Let the sound die slowing down.
Heat	cal.		Slow down and reduce sound.
Perdendosi	lose.		Let the sound get lost.
Stinguendo	sting.		Let the sound extinct.

Graphic representation

The different levels of musical intensity are represented in the scores or scores by means of a series of indications and/or special dynamic signs that are usually placed below the staff, specifically under the note where said dynamic begins. To indicate a certain sound intensity there are several possibilities:

• A term. In most cases these names are in Italian, although it is also possible to find references in other languages especially in compositions of recent times.
• An abbreviation of the term. The above terms are taken and are abbreviated with bold and cheesy letters.
• A graphical sign. There are signs in the form of a wedge known as regulators used to indicate a gradual variation of sound intensity.

These three possibilities of notation of dynamics in some cases can be used interchangeably. Thus, for example, to indicate a progressive increase in intensity, any of these three options can be used: the word crescendo, the abbreviated form cresc. or a graphic sign called regulator.

Figure 2. Notation of various nuances: mezzoforte and regulators.

Throughout the 20th century, a series of symbols appeared to complement the regulators:

• A regulator crescendo which is suddenly widened in the final part, means that the crescendo must be accelerated with a dramatic effect at the end. For its part, a regulator diminutive which starts widened and suddenly abbreviates, implies the reverse effect to the previous.
• A straight line that in its final part presents a sudden widening, supposes the interpretation of a stable nuance to the sudden effect of the end.
• A regulator diminutive which appears followed by a small circle, indicates that the force must be reduced to the total disappearance of the sound. On the contrary, a regulator crescendo preceded by the small circle will suppose an increase in the intensity that part of the silence.

Interpretive techniques

The execution of musical dynamics is relative and is usually subjective. It depends on the style or historical period to which the work belongs, since there are certain aesthetic conventions; but it also depends on the personal consideration and emotional condition of the interpreter. Nuances such as forte or piano do not have a precise meaning since they are relative indications and will depend on the graduation of dynamics used in a certain work. When in a composition the shade of greatest intensity is fortissimo (ff), forte (f) will be a shade intermediate intensity. Likewise, it will be necessary to take into account the acoustics of the space where the piece is going to be performed. In a large concert hall, nuances should be exaggerated, while a small venue will require the opposite.

The execution of transition dynamics such as crescendi and decrescendi is equally subjective, since they leave the interpreter a wide margin to decide accordingly. what nuance starts and in which it ends.