The symbols of terms loudly quiet and so on. Dynamic shades and their designations

05.03.2020

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Musical terms, which determine the volume of the volume of the music execution, are called dynamic shades (from the Greek word Dynamicos - power, that is, the power of the sound). In the notes you, of course, saw such icons: PP, P, MP, MF, F, FF, Dim, Cresc. All this is to reduce the names of dynamic shades. See how they are written completely, pronounced and translated: PP - Pianissimo "Pianissimo" - very quiet; P - Piano "Piano" - quietly; MP - MEZZO Piano "Mezzo Piano" - moderately quietly, slightly louder than Piano; MF - MEZZO Forte "Mezzo Forte" - moderately loudly, louder than mezzo piano; F - Forte ("Forte" - loud; FF - Fortissimo "Fortissimo" - very loud.
Sometimes, much less often, in the notes you can meet such designations: PPP (Piano-Pianissimo), RRRR. Or FFF, (Fort-Fortissimo), FFFF. They mean very, very quiet, barely audible, very, very loud. SF - SFORZANDO (SFORTODO) sign indicates the selection of some sheet music or chord. Very often found in notes and such words: dim, diminuendo (Diminurendo) or an icon indicating a gradual weakening of sound. Cresc. (Krefezto), or icon - indicate, on the contrary, that you need to gradually enhance the sound. Before designating Cresc. Sometimes Poco A Poco is placed (Poko A) - little, gradually, gradually, gradually. Of course, these words are found in other combinations. After all, it is gradually possible not only to strengthen the sound, but also to relax it, speed up or slow down. Instead of Diminuendo, sometimes writing Morendo (Maurendo) - hazardous. Such a definition means not only a quiet, but also slowing down the pace. Approximately the same meaning has the word smorzando (Cryorzando) - downhill, having fading, weakening the sonority and slowing down the pace. You probably have repeatedly heard the "November" play from the "Seasons" Tchaikovsky cycle. She has a subtitle "On Troika". It starts not very loud (MF). A simple melody similar to the Russian folk song. It grows, rumbles, and now sounds powerfully, loud (F). The next musical episode, more alive and graceful, imitates the sound of roadballs. And then against the background of the unprecedented ring of Bubentsov, the melody of the song appears again - then quiet (P), then the approaching and again disappearing away, gradually inspective.

Given the specifics of Eastern Church Music, the question arises: is it possible to use dynamic nuances and signs in liturgical chants, or their use will defile the character of sacred music? According to the famous Bulgarian musicologist Peter Dinyev in church music, there are no signs of the dynamics of vocal performance. So, according to Dineva, when it comes to quiet and loud singing, we mean the vocal strength with which the singer played, and which is individual for each artist.

But this individual quality of singing "does not change from beginning to end." According to Bulgarian musicologist, "any unexpected benefits or shortcomings in the dynamics, due to the advent of the sign to eliminate dynamic effects, are excluded." In the Latestress Epoch East Church Music reached its heyday both in composite and in interprettent terms. It is known that in the late Byzantine notation there are so-called mischievous signs. They are also called large hypostas. In manuscripts, these symbols are marked with red ink.

Watch value Dynamic shades in other dictionaries

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From the words of Veles, it is clear that in this era of the melodic line of church music and dynamic shades were also inherent. Interesting is the fact that in some church-vocal compilations from the recent past with the designations of Chrysanta, chants were included, including elements of Western European music stylist. For example, in individual chants of Vasililation of Nikolayd, Protoplast Constantinople Patriarchate, there are also dynamic signs. The same signs are noticeable in another part of his work - the cheerful song.

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

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These signs distract the melody from the dominant gamut to another range, another voice to avoid monotony, bring some kind of variety or emphasize something characteristic in church songs. For the same reasons, the use of dynamic shades in church music can also be justified. The question of whether the use of signs for the dynamic nuance innovation or memories of the ancient practice of church singing is discovered. One thing that can be said exactly that church-singing should resemble the permanent angel praise and correspond to its high goal as an intermediary between the earth and heavenly realities.

Shades of musical - See the nuance.
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In an ancient chronicle, "Temporary temptation," there is a story about how in 987 Holy Prince Vladimir, speaking from the place where Baptism could be accepted, sent some of his princes to Constantinople to learn about the local faith. When they returned to Kiev, they told him about the ministry they visited in the temple of St.

One of the rules of the 7th century. Everyone who wants the church singing to be prayer and touching, adheres to this canonical demand 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 the unit of time. The counting of a rhythmic unit is carried out with a raising and lowering hands.

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Formal dynamic properties - - see the dynamic characteristics of mental processes, individuality properties, temperament.
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The following four stages can be distinguished in the Byzantine unacpendes: Paleozizantine designations, the Middle Aizanist notation, the late and post -anisantine designations and designations of Chrysant. Introduction to ignorance. The topic of the methodology of musical education. - Methods - and means for the development of musical hearing, skills for successful participation in various music events. - The purpose of musical education is the creation of aesthetic taste for musical and artistic phenomena; the creation of aesthetic attitude to our surrounding musical environment; Formation of self-made skills in modern musical reality. - The tasks of musical education - § Open and develop students' musical abilities, which is a prerequisite for their successful participation in musical activity. § Formation of skills for adoption, execution and compilation of music. § Formation of the skills of differentiated perception of some of the most important elements of the musical language, because for students it is very important to understand and understand the meaning of various expressions in music.

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Music specifics as a type of art - musical works have a fleeting life in time. Because of this specific, the listener must follow the unfolding of musical work at the same time as it sounds, that is, perceiving music, the speed of neuropsychic processes is imposed on the perception of music, and it requires greater dynamic of thinking processes in the presentation and perception of music . Music reflects and transmits some emotional information, i.e. Information on the emotional attitude of a person to the world around the world, and this information is very diverse, and music is an art that can recreate the finest thin nuances in human experience.

Music is a type of art that appeals to our sensual sphere with sounds. The language of the sounds has different elements in its composition, which in professional terminology are called "means of musical expressiveness". One of these essential and most powerful elements is the dynamics.

What is the speaker

This word is familiar to everyone from the course of physics and is associated with the concepts of "Mass", "Strength", "Energy", "Movement". In music, it defines the same, but in relation to the sound. The dynamics in music is the power of sound, it can also be expressed by the concepts of "quieter - louder."

To create a musical image, musical expressions are used in a complex way. No means of expression make sense in relation to others. That is why interpretation is extremely important. The contractor can make the sound of work even more excited, more dramatic than in the text. It depends on its interpretation. It can bring his pace, dynamics, timbre and other nuances. Understanding the musical work in many ways depends on the interpretation of the translator. Lecturer of musical works in the lesson of music - teacher.

As he interprets work, it depends on whether students will understand this. In addition to the transfer of different emotional states, music has excellent sound and vocal possibilities. From the very first meetings of children with music, attention is paid to the opening of emotional content. Melody as a means of expression is the main thing, the main means of expression. Continuous tend to sustainable solutions. In classical master structures, basic and secondary, logical conclusion is always the first degree - tonic.

The game at the same level of the audience can not be expressive, it quickly tires. On the contrary, a frequent change of dynamics makes music interesting, allowing you to transmit a wide range of emotions.

If the music is designed to express joy, celebration, babysitting, happiness - the dynamics will be bright and sonorous. To transfer such emotions as sadness, tenderness, trepacy, penetration is used bright, soft, calm dynamics.

Especially close speech speech and vocal melody. And in rhythm, rubre, pace, registration, melodies and speeches are important. However, the significant difference between them is that in the melody, each sound has a certain defined height. Even the smallest change in the sound level causes the melody to deform.

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

Ways to designate the dynamics

Dynamics in music is something that determines the volume level. Designations for this there are quite a bit, real gradations in sound significantly more. So dynamic characters should be considered only as a scheme, the direction of search, where each performer is fully implanted.

By the middle of the 18th century, only the first method was used as the executive technology. From the mid-18th century, representatives of the MANGEYMA music school began to use the second way. The importance of the dynamics as a powerful means of increasing the expressiveness of musical work is particularly increasing in the work of romantic composers. Representatives of romanticism in music are Schubert, Schumann, Wagner, Leaf, Chopin and many others. Others. The 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 will look at the toning quintet Major. In Mayor - tones, salt and salt, and they play the following fingerprints: 1st, 3rd and 5th finger. Let's look at the quintessence of the quintessence of other ranges. For example, the first degree of solilline salt is salt. Let's return to the tonic trilogy of Major. We will play three tons at a time. Initially, it can be difficult for you, but with practice you will become easier, and it will be your habit.

The level of dynamics "loud" is indicated by the term "Forte", "quiet" - "Piano". This is well known. "Quiet, but not too" - "Mezzo Piano"; "Not too loud" - "Mezzo Forte".

If the speaker in music requires an exit to the level of extremes, the nuances of Pianissimo are used - very quietly; Or "Fortissimo" - very loud. In exceptional cases, the number of Icons "Forte" and "Piano" can reach up to five!

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

In its creation, this tool was called piano. In Italian, this means very quiet with which his producers wanted to show that it allows the use of musical dynamics, unlike old keyboards. Subsequently, today, the tool for a shorter time is called piano, which means calm. Dynamic characters are used in Italian. There are basic dynamic characters. When we have mediocre funds, we will play in defective, and when we will have a mezzo-piano, we will play defective.

But even taking into account all the options, the number of characters to express the volume does not exceed the numbers 12. It is not much at all, if we consider that it is possible to remove up to 100 dynamic gradations on a good piano!

The dynamic instructions also include terms: "Kressendo" (gradually enhancing the volume) and the opposite term of the term "Diminuendo".

Let's try to play with another dynamics of the Tonic Trios Major. We do the same exercise with your left hand. He graduated from the National School of Music and Performing Arts prof. Burgas, in the Piano Class Elena Peeva. While studying, he does not spend time and wins prizes from a number of competitions for young pianists in the country and abroad. She became a young soloist of Philharmonic in Burgas. In his face, the music school finds an active participant in festive and charitable concerts. Her musical development continues at the instrumental faculty of the National Academy of Music prof.

The musical dynamics includes a number of characters indicating the need to trade any sound or consonance:\u003e ("accent"), SF or SFZ (sharp emphasis - "Sforzando"), RF or RFZ ("RINFORDODO" - "reinforcing") .

From clussea to piano

The preserved copies of the clasesins and keychaids allow us to imagine what the speaker in the music of the mechanic of the antique predecessors of the piano did not allow to change the volume level gradually. For a sharp change of dynamics, there were additional keyboards (manuals), which could add overtone to the sound due to octave doubling.

The next four years are full of concerts and master classes, and the State Orchestra of the Academy invites it to become a soloist. Her professional autobiography is its explicit proximity to chamber music, where her participation in the piano Dua, Triah and quarters remain unforgettable. Music pedagogical masters with a piano profile are legally purchased at Sofia University of St.

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

A special lever system and a foot keyboard on the organ allowed to achieve a variety of timbres and enhancing volume, but still changes occurred suddenly. In relation to the music of Baroque, there is even a special term "terrace-shaped speaker", since the change in volume levels resembled the terrace ledges.

As for the amplitude of the dynamics, it was very small. The sound of the clussery, pleasant, silver and quiet near, was almost not heard at a distance of several meters. The sound of the keycorder was more harsh, with a metal tint, but a little more doubling.

This tool was very loved by I. S. Bach for his ability, let him in a barely noticeable degree, but still change the level of dynamics depending on the strength of the touch of the fingers to the keys. This made it possible to give the phrase a certain convexity.

The invention at the beginning of the 18th century piano with its hammer system produced a revolution, expanding the possibility of a dynamics in music performed on a modern piano, has a huge number of sound gradations and, most importantly, the availability of gradual transitions from one nuance to another.

Speaker large and detailed

Large speaker is usually expressed by the symbols set forth in the table. They are a bit, they are clear and defined.

However, "inside" each of these nuances may be a mass of thinner sound gradations. For them, special designations are not invented, however, these levels exist in real sound and it is they who make us tremble listen to the game of a talented artist.

Such a small dynamics is called detailed. The tradition of its use takes the beginning (remember the capabilities of the keycorder).

Dynamics in music is one of the trial stones of performing skills. It is the master ownership of a fine nuanxion, light, barely noticeable changes distinguishes the game of a talented professional.

However, it is no less difficult to evenly distribute the strengthening or weakening of the temptation when it is "stretched" on a large segment of a tank text.

The relativity of the speaker

In conclusion, it is worth noting that the dynamics in music is a very relative concept, as, indeed, everything else in our life. Each musical style and even every composer has its dynamic scale, as well as its features in the use of nuanxation.

What sounds good in the music of Prokofiev is absolutely not applicable in the design of Sonatat Scarlatti. And the Nuance Piano from Chopin and Beethoven will sound completely different.

The same applies to the degree of emphasis, the duration of the preservation of the same level of dynamics, the method of its shift and so on.

To master this means of musical expressiveness 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

Musical terms, which determine the volume of the volume of the music execution, are called dynamic shades (from the Greek word Dynamicos - power, that is, the power of the sound). In the notes you, of course, saw such icons: PP, P, MP, MF, F, FF, Dim, Cresc. All this is to reduce the names of dynamic shades. See how they are written completely, pronounced and translated: PP - Pianissimo "Pianissimo" - very quiet; P - Piano "Piano" - quietly; MP - MEZZO Piano "Mezzo Piano" - moderately quietly, slightly louder than Piano; MF - MEZZO Forte "Mezzo Forte" - moderately loudly, louder than mezzo piano; F - Forte ("Forte" - Loudly; FF - Fortissimo "Fortissimo" - very loud. Sometimes, much less often, you can meet such designations: PPP (Piano-Pianissimo), RWR. or FFF, (Forte -FFF. They mean very, very quiet, barely audible, very, very loud. SF - SFORZANDO sign indicates the selection of some sheet music or chord. Very often found in notes and words: dim, Diminuendo (Diminoendo) or Icon pointing to a gradual attenuation of sound. Cresc. (Kreferedo), or icon - indicate, on the contrary, it is necessary to gradually enhance the sound. Before the designation of Cresc. Sometimes Poco A POCO (Poco A) is small Ironing, gradually, gradually. Of course, these words are found in other combinations. After all, it is gradually possible not only to strengthen the sound, but also to relax it, speed up or slow down. Instead of diminuendo, sometimes writing Morendo (Maurendo) - happier. Such a definition means not only subsided, but also slowing down the pace. Approximately the same meaning has The word smorzando (Cryorzando) is muffled, having fading, relaxing the sonority and slowing down the pace. You probably have repeatedly heard the "November" play from the "Seasons" Tchaikovsky cycle. She has a subtitle "On Troika". It starts not very loud (MF). A simple melody similar to the Russian folk song. It grows, rumbles, and now sounds powerfully, loud (F). The next musical episode, more alive and graceful, imitates the sound of roadballs. And then against the background of the unprecedented ring of Bubentsov, the melody of the song appears again - then quiet (P), then the approaching and again disappearing away, gradually inspective.

Creative portraits of composers. - M.: Music. 1990 .

Watch what is "dynamic shades" in other dictionaries:

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It may have the height of the main tone from to the subcontrolls to the rein-fifth octave (from 16 to 4000,4500 Hz). Its volume cannot exceed the threshold of pain (see the threshold of the painful sensation). Duration and on Tembre Z. m. Very ... ... Great Soviet Encyclopedia

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This term has other values, see Dynamics. Dynamics in music The set of concepts and musical designations associated with the loudness of the sound. Contents 1 Designation 1.1 Volume (relative) ... Wikipedia

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In the previous article, we looked at the concept of tempo as means of expressiveness in music. You also learned the options for the rate. In addition to the pace, the volume of the musical work sound is of great importance. Volume - a powerful means of expressiveness in music. The pace of work and its volume complement each other, creating a single picture.

Dynamic shades

The speaker volume of the sound of music is called a dynamic tint. Immediately draw attention to the fact that various dynamic shades can be used within one music work. Below you cite a list of dynamic shades.

Permanent volume

Full title	Abbreviation	Transfer
fortissimo.	fF.	very loud
forte	f.	loudly
mezzo Forte	mF.	middle volume
mEZZO PIANO.	mP	medium-quiet
piano.	p.	quiet
pianissimo.	pp.	very quiet

Volume changes

Volume change

Consider the examples of the interaction of volume and tempo. Marsh, most likely, will sound loud, clearly, solemnly. Romance will sound not very loud, in a slow or middle pace. With a lot of probability, in the romance we will meet a gradual acceleration of the pace and an increasing volume. Less often, depending on the content, it is possible to gradually slow down the tempo and reduce the volume.

Outcome

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

In this article, we will talk about dynamic shades, find out what it is, you will learn to perform songs with phrasing.
We understand how important the dynamics and dynamic shades are important to give the artistic musical beauty of the work as it enriches it.

The most important thing in the layout of the vocal is the right breathing. It is from him that the training of professional singing begins, which serves as a conductor into a huge world of the scene. It is from the correct breathing that the performance of the song begins, because it is a support on which the entire artist's vocal technique is being held.

During singing you need to follow the position of the body. Neck should not be tense and stretched forward. We must be in a state of comfort, we relax slightly. During singing, only stomach and aperture works.
Our word in speech, or in singing, should be clear for pronunciation, expressive and loud enough to hear in the last row of the auditorium.
Good dictation is needed, that is, a clear, clear pronunciation of words, and the mouth cavity is helped by us as part of the voice apparatus that form the sounds of speech.
The articulation apparatus includes: mouth cavity (cheeks, lips, teeth, tongue, jaws, sky, throat, larynx). It must be remembered that the mouth cavity is a very important resonator (a movable resonator, from the "architecture" of which the sound quality depends). The first condition of the articulation apparatus is natural and activity.
It is important to note that all work on the vocal work, of course, implies continuous simultaneous work on the purity of intonation, over a singing breathing, over the design of the sound, i.e. on the articulation, above the diction, over a high singing position and over the audience, with dynamic shades . Depending on the age of students and their vocal data, it is possible and you need to work on the rubber voice, over the resonation of sound. All these vocal and technical skills are purchased and work out both when combing, at the vocal exercises, and when working on works and are combined into a single expression - vocal work.

In music, the volume of the volume is called dynamic shades. Thus, the speaker is the power of music.
In life, we are not talking on one volume. Usually, when we want to say something important, we strengthen the flow of votes - we speak louder and in music, the most important words in particular in the song are pronounced louder. Various volume of sound volume in music is called dynamic shades. They have a huge expressive meaning.
Dynamics - from the Greek word Dynamicos - power, that is, the power of the sound. That is, each musical work has its own dynamic development. The power of sound is gradually growing, and then gradually decreases. It is in music and is called the use of dynamic shades and phrasing, i.e., as a conventional spoken phrase has its own logic - something is pronounced louder, and something quieter.

Phrazovka is a division of a musical work on phrases. In turn, the phrase is every small relatively completed musical circulation. Phrases are separated from one another cesury (breathing, pause, loftpause). The phrase should be performed in one breath, but at our vocal imperfection phrases are often divided into 2 parts. The length of the phrase depends on the "length" of the breath of the artist.
Music phrase should be felt. The phrase is determined by the logic of the development of musical thought. Frazing is applied in order to disclose the content of one or another product. For the performer, the ability to correctly pass the author's thought, emphasize and allocate shades, properly dispose of accents, and in general, to achieve marginal expressiveness and exposure to listeners - that's what it means to phrase.
Traditional phrazing is when the culmination of the word, phrases, the population, or the whole product coincides with the highest and long notew. Then the phrase is easy to sing, execute, make expressive.
The means to achieve this art include:

1) Breathing,
2) Clear articulation, diction
3) execution of an absolutely accurate rhythmic pattern,
4) precisely desposed, the right size,
5) Proper Pause (Cesur),
6) additional breathing, backlash pauses,
7) the elongation of some kind of shares,
8) Compliance with tempo notation: Accelerando - Acceleration, AdLibitum or Rubato - Free, Ritenuto -Fornet, Staccato, SFORZando, Marcato, Portamento,
9) Fermata applies,
10) ownership of the art of branch (smooth transition from P to f).

Consider more of these means of expressiveness.
Breathing: It is the most important means of expressiveness. Depending on the nature of the executable product, the character of breathing is also changing: alive, bright, fast writs and breathing should be easier.
You can train a long breathing and easily sing 2 phrases in one breath, but it does not need, it should not be an end in itself and interferes with expressiveness. Breathing has the value of punctuation marks. Inhalation you can show or reject the design of the literary phrase, its semantic content.
Farmats are allowed if they do not disturb the melodic and rhythmic structure of the phrase.

Pause is also a means of expressiveness. Pause between phrases are designed to share musical thoughts. After a severe pause, the previous episode completes, gives the listener to feel, realize, feel it, and on the contrary, the pause prepares a new episode, it allows the performer to prepare, restructure, focus on the upcoming episode. There are works written without pauses, simply each phrase ends with a long note or two foulped notes. In this case, the performer has the full right to pauses between phrases, take a breath due to shortening the last long note.
A pause bears a large semantic load - this is also inexpensive, and the question, impulse or meditation. It is impossible to excessively cut or lengthen the pauses so as not to break the harness of the work form.
The breathing pickup is often used, the backlash, i.e., very short, fast, imperceptible breathing, imperceptible to the listener, so as not to lose musical thought, because the pause is part of musical thought.

Milling - dynamic sound shade, also refers to means of expressiveness. It gives execution a subtle variety. (Soft transition from P to ff back).
Portamento is an easy draw, a soft transition from sound to sound, refreshes the phrase, makes poetic paint, gives something new, unexpected, but should be applied with taste, to the place, and otherwise this nuance loses its meaning.
Dickey - helps to form a phrase, identify the music of words.

You must be able to join focus. Accent - happens:
1) grammatical, (one or another syllable, its longitude or shortness is distinguished),
2) accent writing (acute emphasis, blow, severe emphasis),
3) focus logical (logical stress),
4) accent Patestical (climax, wave to syllable),
5) focus National (peculiar pronunciation of some letters)

Two basic volume indications in music:

Moderate volume of volume are indicated as follows:

In addition to 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 say "Fort-Fortissimo" and "Piano-Pianissimo" or "Three Forte" and "Three Piano".

In rare cases with additional f. and p. Indicate even more extreme degrees of sound. So, P. I. Tchaikovsky in his sixth symphony used pppppp. and fFFF. , and D. D. Shostakovich in the fourth symphony - fffff. .

Dynamics designations are relative, not absolute. For example, mP Indicates not to the exact volume level, but to play that this passage should be slightly louder than p. , and somewhat quieter than mF. . Some computer sound recording programs exist standard keypad values \u200b\u200bof the key, corresponding to one or another volume designation, but, as a rule, these values \u200b\u200bcan be configured.

Gradual changes

Mines are used to indicate a gradual volume change kresencedo (Italy. Crescendo) denoting the gradual gain of the sound, and diminuendo (ITAL. Diminuendo), or desenedo (Decrescendo) - gradual attenuation. In notes, they are designated abbreviated as cresc. and dim. (or decresc.). For the same purposes, special signs are "forks". They are pairs of lines connected on one side and divergers on the other. If the lines from left to right diverge<), это означает усиление звука, если сходятся (>) - weakening. The following piece of music record indicates a moderately loud beginning, then amplifying sound and then weakening it:

"Forks" are usually recorded under a tonfish, but sometimes above it, especially in vocal music. Usually indicate short-term volume changes, and signs cresc. and dim. - Changes on a longer time interval.

Designations cresc. and dim. may be accompanied by additional instructions pOCO. (rest - a little), poco A Poco. (Pupo and Pocho - little in the face) subito. or sUB (Subit - suddenly), etc.

Designation Sforzando

Sharp changes

Sforzando (ITAL. SFORZANDO) or sforzato (SFORZATO) denotes a sudden sharp accent and is indicated sf. or sfz. . A sudden gain of several sounds or a short phrase is called rINFORCANDO (Italian. RinforZando) and is indicated rinf. , rf or rFZ. .

Designation fP. means "loudly, then immediately quiet"; sFP. Indicates Sforzando followed by Piano.

Musical terms associated with the dynamics

al Niente. - literally "to nothing", to silence
calando. - "Falling"; Slowing down and reducing the volume.
crescendo. - Strengthening
decrescendo. or diminuendo. - Reduced volume
perdendo. or perdendosi. - Losing power, decline
morendo. - Footing (silent and slowing down the tempo)
marcato. - emphasizing every note
più. - more
pOCO. - Little
poco A Poco. - little, gradually, gradually
sotto Voce. - in low voice
subito. - Suddenly

History

The instructions for dynamic shades one of the first introduced into the musical notation of the Age of the Renaissance Giovanni Gabrieli, however, until the end of the XVIII century, such designations were rarely used by composers. Bach used Terms piano., più Piano. and pianissimo. (written in words), and we can assume that the designation pPP. at that time meant pianissimo..

Modern musical notation
Night Stan.	Accolade. Key. Tact size. Key signs. Tact
Music signs	Casual signs. Extension rules. Duration. Pause
Designations	Articulation. Application. Dynamics . Octave dottedry. Melmism. Pace. Layers
League	Frazing. Connecting. French. Vocal. Stroke. Dotted. Petitian

The symbols of terms loudly quiet and so on. Dynamic shades and their designations

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Ways to designate the dynamics

From clussea to piano

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Dynamic shades

Outcome

Gradual changes

Sharp changes

Musical terms associated with the dynamics

History

See also

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