The name for a gradual change in sound or color. dynamic shades

Loudness (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(poko - 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 rinforzando(Italian rinforzando) and is designated rinf. , rf or rfz .

Designation fp means "loud, then immediately quiet"; sfp indicates a sforzando followed by a 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 much 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 system revolutionized the dynamics of 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. There are no special designations for them, however, these levels exist in real sound and it is they that make us listen intently 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 in nature, 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 (p), then approaching and again disappearing into the distance, gradually melting away.

Watch value Dynamic Shades in other dictionaries

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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.

The most important thing in staging vocals is proper breathing. It is from him that training in professional singing begins, which serves as a guide to the vast world of the stage. It is with the right breathing that the performance of the song begins, because this is the support on which the entire vocal technique of the performer rests.

While singing, you need to monitor the position of the body. The neck should not be tense and stretched forward. We should be in a state of comfort, relax a little. During singing, only the stomach and diaphragm work.
Our word in speech, or in singing, must be clear in pronunciation, expressive and loud enough to be heard in the last row of the auditorium.
Good diction is needed, that is, a clear, clear pronunciation of words, and the oral cavity helps us in this as part of the vocal apparatus that forms the sounds of speech.
The articulatory apparatus includes: the oral cavity (cheeks, lips, teeth, tongue, jaws, palate, pharynx, larynx). It must be remembered that the oral cavity is a very important resonator (a movable resonator, on the "architecture" of which the sound quality depends). The first condition for the operation of the articulatory apparatus is naturalness and activity.
It is important to note that all work on a vocal work, of course, involves continuous simultaneous work on the purity of intonation, on singing breathing, on sound design, i.e. on articulation, on diction, on a high singing position and on sound science, coupled with dynamic shades. . Depending on the age of the students and their vocal abilities, it is possible and necessary to work on the timbre coloring of the voice, on the resonance of the sound. All these vocal and technical skills are acquired and practiced both during singing, vocal exercises, and when working on works and are combined into a single expression - vocal work.

In music, it is customary to call the power of loudness dynamic shades. Thus, dynamics is the power of the sound of music.
In life, we do not speak at the same volume. Usually, when we want to say something important, we increase the pitch of our voice - we speak louder, and in music, the most important words in particular in a song are pronounced louder. Different degrees of loudness in music are called dynamic shades. They have great expressive value.
Dynamics - from the Greek word dynamicos - power, that is, the power of sound. That is, each piece of music has its own dynamic development. The intensity of the sound gradually increases and then gradually decreases. This in music is called the use of dynamic shades and phrasing, i.e., like an ordinary colloquial phrase, it has its own logic - we pronounce something louder, and something quieter.

Phrasing is the division of a piece of music into phrases. In turn, a phrase is any small, relatively complete musical turn. Phrases are separated from one another by a caesura (breath, pause, backlash). The phrase should be performed in one breath, but with our vocal imperfection, phrases are often divided into 2 parts. The length of the phrase depends on the "length" of the performer's breath.
The musical phrase must be felt. The phrase is determined by the logic of the development of musical thought. Phrasing is used to reveal the content of a work. For a performer, the ability to correctly convey the author's thought, emphasize and highlight shades, place accents correctly, and in general achieve maximum expressiveness and impact on listeners - that's what phrasing means.
Traditional phrasing is when the climax of a word, phrase, verse, or entire piece coincides with the highest and longest note. Then the phrase is easy to sing, perform, make expressive.
The means to achieve this art include:

1) breath control
2) clear articulation, diction
3) execution of an absolutely precise rhythmic pattern,
4) exactly seasoned, correct size,
5) the correct arrangement of pauses (caesura),
6) additional breathing, backlash pauses,
7) lengthening of some share,
8) observance of tempo designations: Accelerando - acceleration, adlibitum or rubato - freely, ritenuto - slowly, staccato, sforzando, marcato, portamento,
9) applied fermata,
10) mastery of the art of thinning (smooth transition from p to f).

Let's take a closer look at these expressions.
Breathing: is the most important means of expression. Depending on the nature of the piece being performed, the nature of breathing also changes: in lively, light, fast compositions, breathing should also be lighter.
You can train to achieve a long breath and easily sing 2 phrases in one breath, but this is not necessary, this should not be an end in itself and interferes with expressiveness. Breathing matters punctuation marks. Inhalation can show or shade the construction of a literary phrase, its semantic content.
Fermatas are allowed if they do not violate the melodic and rhythmic structure of the phrase.

A pause is also a means of expression. Pauses between phrases are designed to separate musical thoughts. After a strong rise, the pause, as it were, completes the previous episode, gives the listener the opportunity to feel, realize, feel it, and vice versa, the pause prepares a new episode, allows the performer to prepare, rebuild, and focus on the upcoming episode. There are works written without pauses, just each phrase ends with a long note or two tied notes. In this case, the performer has every right to pause between phrases, to take a breath by shortening the last long note.
A pause carries a great semantic load - it is an understatement, and a question, impulse or reflection. It is impossible to excessively shorten or lengthen pauses so as not to violate the harmony of the form of the work.
Often a catch of breath, backlash is used, that is, a very short, fast, imperceptible breath, imperceptible to the listener, so as not to lose the musical thought, because a pause is part of the musical thought.

Thinning - a dynamic sound shade, also refers to the means of expression. It gives the performance a subtle variety. (Soft transition from p to f and vice versa).
Portamento is a light attraction, a soft transition from sound to sound, refreshes the phrase, brings poetic color, gives something new, unexpected, but must be applied with taste, to the place, otherwise this nuance loses its meaning.
Diction - helps to form a phrase, to reveal the music of words.

You need to know how to use emphasis. Accent - happens:
1) grammatical, (one or another syllable is highlighted, its longitude or brevity),
2) written accent (acute stress, impact, heavy stress),
3) logical accent (logical stress),
4) pathetic accent (climax, wave to syllable),
5) national accent (peculiar pronunciation of some letters)

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.

Loudness (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(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 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(poko - 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 rinforzando(ital. rinforzando) and is designated rinf. , rf or rfz .

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

The Renaissance composer Giovanni Gabrieli was one of the first to introduce dynamic shades into musical notation, but until the end of the 18th century, 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 .

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. Do you know the Dynamo sports team? 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 hues (or, in French, nuances) are called dynamic hues, and the strength of a musical sound is 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 such purely musical features as 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, 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 by the 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 acts as a “ghost of disturbingly empty”, but, on the contrary, forms a deeply regular movement, participating in the creation of an artistic image along with other means of musical expression. .

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 single-voiced, low-pitched melody that opens the introduction is like the first ray of light that comes on more and more, grows, is colored by the radiance of the 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 of authorial 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, an outstanding pianist and 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 lively 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 rise of climax - decline, for example, in the fragment we have considered from Symphony No. 6 by L. Beethoven is one of the possible variants of dynamics; a contrasting juxtaposition of sonorities, as in O. Lasso's chorus "Echo", is another version of it.

Dynamics has always been an ally of musical programming. After all, turning to a certain program concept, 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, the artistic role of all its aspects is so high - 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 in musical writing. Captivating moonlit 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 - both in the modulations of harmonic color, and in the delicate detail of the rhythm, and in the finest dynamic nuances. Listening to “Moonlight”, you experience the impression of full visibility of moonlight, every twig, 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, strokes, and, finally, the loudness that is characteristic of its singing - all this taught the accuracy, detail, and expressiveness of musical characteristics. O. Messiaen's orchestral work "Awakening of the Birds" is one of the results of such a "forest school", which very accurately conveys the various sounds of a summer forest filled with the voices of birds. In the musical fragment given below, you can hear the singing of the little wryneck, the little owl, the forest lark, the warbler, the blackbird and other birds, gradually awakening and meeting 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, the inner life of a musical work, 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.