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In this lesson we will talk about another means of conveying emotions - dynamics (volume) of music.

We have already said that musical speech is very similar to speech in our traditional understanding. And one of the ways to express our emotions (besides the pace of reproduction of words) is another, no less powerful one - the volume with which we pronounce the words. Tender, kind words are pronounced quietly, commands, indignation, threats and calls are pronounced loudly. Like the human voice, music can also “scream” and “whisper”.

What do you think the explosives called “dynamite”, the Dynamo sports team and tape “speakers” have in common? They all come from one word – δύναμις [dynamis], translated from Greek as “strength”. This is where the word “dynamics” comes from. The shades of sound (or nuances in French) are called dynamic shades, and the strength of a musical sound is called dynamics.

The most common dynamic nuances, from quietest to loudest, are listed below:

• pp – Pianissimo – pianissimo – very quiet
• p – Piano – piano – quiet
• mp – Mezzo piano – mezzo piano – moderately quiet
• mf – Mezzo forte – mezzo-forte – moderately loud
• f – Forte – forte – loud
• ff -Fortissimo – fortissimo – very loud

To indicate even more extreme degrees of loudness, additional letters f and p are used. For example, the designations fff and ppp. They do not have standard names, they usually say “forte fortissimo” and “piano pianissimo”, or “tri forte” and “three piano”.

The designation of dynamics is relative, not absolute. For example, mp does not indicate an exact volume level, but rather that this passage should be played somewhat louder than p and somewhat quieter than mf.

Sometimes the music itself tells you how to play. For example, how do you play a lullaby?

That's right - quiet. How to play an alarm?

Yes, loud.

But there are times when it is not clear from the musical notation what character the composer put into the musical work. This is why the author writes hints in the form of dynamics icons under the musical text. Like that:

Dynamic nuances can be indicated both at the beginning and at any other place in a musical work.

There are two more dynamics signs that you will encounter quite often. To me they look a bit like bird beaks:

These icons indicate a gradual increase or decrease in sound volume. So, in order to sing louder, the bird opens its beak wider (<), а чтобы спеть потише – прикрывает клюв (>). These so-called “forks” appear below the musical text, as well as above it (especially above the vocal part).

In this example, a long dynamic “fork” (<),означает, что фрагмент нужно играть все громче и громче, пока не закончится знак крещендо.

And here the tapering “fork” (>) under the musical phrase means that the fragment needs to be played quieter and quieter until the diminuendo sign ends, and the initial volume level in this example is mf (mezzo forte), and the final volume is p (piano).

For the same purposes, the verbal method is often used. The term “” (Italian crescendo, abbreviated cresc.) means a gradual increase in sound, and “ Diminuendo"(Italian diminuendo, abbreviated dim.), or decrescendo(decrescendo, abbreviated decresc.) - gradual weakening.

Designations 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
• più – drink – more

Here are some more terms related to dynamics:

• al niente – al ninte – literally “to nothing”, to silence
• calando – calando – “lowering”; slowing down and lowering the volume
• marcato – marcato – emphasizing every note
• morendo – morendo – fading (fading down and slowing down the pace)
• perdendo or perdendosi – perdendo – losing strength, wilting
• sotto voce - sotto voce - in a low voice

Well, in conclusion, I would like to draw your attention to another dynamic nuance - this accent. In musical speech it is perceived as a separate sharp cry.

In the notes it is indicated:

• sforzando or sforzato (sf or sfz) - sforzando or sforzato - sudden sharp accent
• forte piano (fp) – loud, then immediately quiet
• sforzando piano (sfp) – indicates sforzando followed by piano

Another “accent” when writing is indicated by a > sign above or below the corresponding note (chord).

And finally, here are a couple of examples where, I hope, you will be able to apply all the knowledge you have acquired in practice:

Volume (relative)

Two basic designations for volume in music:

Moderate degrees of loudness are indicated as follows:

Besides the signs f And p , There are also

Additional letters are used to indicate even more extreme degrees of loudness and silence. f And p . Thus, quite often in musical literature we encounter the designations fff And ppp . They do not have standard names; they usually say “forte fortissimo” and “piano pianissimo” or “tri forte” and “tri piano”.

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

The designations of dynamics are relative, not absolute. For example, mp does not indicate an exact volume level, but rather that this passage should be played somewhat louder than p , and somewhat quieter than mf . Some computer audio recording programs have standard key velocity values ​​that correspond to a particular volume designation, but these values ​​can usually be customized.

Gradual changes

Terms used to denote a gradual change in volume crescendo(Italian crescendo), denoting a gradual increase in sound, and diminuendo(Italian diminuendo), or Decrecendo(decrescendo) - gradual weakening. In sheet music they are abbreviated as cresc. And dim.(or decresc.). For the same purposes, special “fork” signs 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 piece of notation shows a moderately loud start, then a louder sound, and then a softer sound:

“Forks” are usually written below the staff, but sometimes above it, especially in vocal music. They usually indicate short-term changes in volume, and signs cresc. And dim.- changes over a longer period of time.

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

Sforzando designation

Drastic changes

Sforzando(Italian: sforzando) or sforzato(sforzato) denotes sudden sharp emphasis and is indicated sf or sfz . The sudden intensification of several sounds or a short phrase is called rinforzando(Italian rinforzando) and is designated rinf. , rf or rfz .

Designation fp means “loudly, then immediately quietly”; sfp indicates sforzando followed by piano.

Musical terms related to dynamics

• al niente
• calando
• crescendo- strengthening
• decrescendo or diminuendo- lowering the volume
• perdendo or perdendosi- losing strength, wilting
• morendo
• marcato- emphasizing every note
• più- more
• poco- A little
• poco a poco- little by little, gradually
• sotto voice- in a low voice
• subito- suddenly

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

What is dynamics

This word is familiar to everyone from a physics course 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 strength of sound; it can also be expressed in terms of “quieter - louder”.

Playing at the same sonority level cannot be expressive; it quickly tires. On the contrary, frequent changes in dynamics make music interesting, allowing you to convey a wide range of emotions.

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

Ways to indicate dynamics

Dynamics in music are what determine the volume level. There are very few designations for this; there are much more real gradations in sound. So dynamic symbols should be considered just as a scheme, a direction of search, where each performer fully demonstrates his imagination.

The dynamics level “loud” is designated by the term “forte”, “quiet” - “piano”. This is common knowledge. “Quiet, but not too quiet” - “mezzo piano”; “Not too loud” - “mezzo forte”.

If the dynamics in music require going to the level of extremes, “pianissimo” nuances are used - very quietly; or “fortissimo” - very loud. 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 symbols for expressing loudness does not exceed the number 12. This is not at all a lot, considering that on a good piano you can extract up to 100 dynamic gradations!

Dynamic instructions also include the following terms: “crescendo” (gradually increasing the volume) and the opposite term “diminuendo”.

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

From harpsichord to piano

Surviving examples of harpsichords and clavichords allow us to imagine what dynamics are in music. The mechanics of the ancient predecessors of the piano did not allow the volume level to be changed gradually. For a sharp change in dynamics, there were additional keyboards (manuals), which could add overtones to the sound due to octave doubling.

A special system of levers and a foot keyboard on the organ made it possible to achieve a variety of timbres and increased volume, but changes still occurred suddenly. In relation to Baroque music, there is even a special term “terrace-shaped dynamics”, since changing volume levels resembled the ledges of a terrace.

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

This instrument was very loved by J. S. Bach for its ability, albeit to a barely noticeable extent, 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 prominence.

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

The dynamics are large and detailed

Major dynamics are usually expressed by symbols set out in a table. There are few of them, they are clear and definite.

However, “inside” each of these nuances there can be a mass of more subtle sound gradations. There are no special designations for them, but these levels exist in real sound and it is they that make us listen with reverence to the performance of a talented performer.

Such fine dynamics are called detailed. The tradition of its use dates back to (remember the capabilities of the clavichord).

Dynamics in music is one of the touchstones of performance art. It is the masterful mastery of subtle nuances, light, barely noticeable changes that distinguish the playing of a talented professional.

However, it can be no less difficult to evenly distribute the increase or decrease in sonority when it is “stretched” over a large segment of the 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 lives. Each musical style and even each composer has its own dynamic scale, as well as its own characteristics in the use of nuance.

What sounds good in Prokofiev's music is absolutely inapplicable when performing Scarlatti 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 method of changing it, and so on.

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

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

In addition, to indicate large degrees of shade in musical notations, the letters f And p are applied additionally. For example: ppp(piano-pianissimo or three pianos) or fff(forte fortissimo or three forte). 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 of “loud” music, extra effort. You can rarely find something like this in scores: ffff, or this: pppp.

All degrees of sound intensity gradation are relative and comparable to the capabilities of the instrument itself. In addition, in orchestral or ensemble playing one should always take into account whether the solo or accompanying part has a dynamic nuance. 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 final word on the selection of sound strength remains with the conductor, because The performer cannot objectively feel the sound balance from his seat.

Indications of the performance volume level 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– fotrissimo – very loud
fff– three forte (forte fortissimo) – the loudest

To the signs indicating dynamic changes:
1. Crescendo (Italian) crescendo, cresc.) – a symbol indicating a gradual increase in the volume of sound production. It is also indicated by a fork with a sharp end on the left - extended to the right. The edges of the symbol are often shaded.
2. Diminuendo (Italian) diminuendo, dim.), less often decrescendo ( decrescendo) – a symbol indicating a gradual decrease in the volume of sound production. It is also indicated by a fork with a sharp end on the right - extended to the left. The edges of the symbol are often shaded.

A number of more terms related to dynamics:
al niente- literally “to nothing”, to silence
calando- “going down”; slowing down and lowering the volume.
marcato- emphasizing every note
morendo- fading (fading down and slowing down)
perdendo(perdendosi) - losing strength, wilting
sotto voice- in a low voice
Accompanying dynamics terms:
piu- more
poco- A little
poco a poco- little by little, gradually
subito- suddenly
Terms of sudden change in dynamics (suddenly sharp accent):
sf- sforzando (Italian) sforzando)
sfz- sforzato (Italian) sforzato)
fp- forte piano ( forte piano) means "loudly, then immediately quietly"; 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 - force, that is, the strength of sound). In sheet music, of course, you have seen the following icons: pp, p, mp, mf, f, ff, dim, cresc. All these are abbreviations for the names of dynamic shades. Look 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 a 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, you can find the following designations in sheet music: ppp (piano-pianissimo), pprr. Or fff, (forte fortissimo), ffff. They mean very, very quietly, barely audible, very, very loud. The sign sf - sforzando (sforzando) indicates the emphasis of a note or chord. Very often the following words are found in notes: dim, diminuendo (diminuendo) or an icon indicating a gradual weakening of the sound. Cresc. (crescendo), or icon - indicate, on the contrary, that the sound needs to be gradually increased. Before the designation cresc. sometimes it is put poco a poco (poco a poco) - little by little, little by little, gradually. Of course, these words also appear in other combinations. After all, you can gradually not only strengthen the sound, but also weaken it, speed up or slow down the movement. Instead of diminuendo, they sometimes write morendo (morendo) - freezing. This definition means not only calming down, but also slowing down the pace. The word smorzando has approximately the same meaning - muting, freezing, weakening sonority and slowing down the tempo. You've probably heard the play "November" from Tchaikovsky's "Seasons" cycle more than once. It has the subtitle “On the Troika.” It starts not very loudly (mf) with 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 appears again - now quiet (p), now approaching and again disappearing into the distance, gradually fading away.

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In the previous article we looked at the concept of tempo as a means of expression in music. You also learned about tempo notation options. In addition to tempo, the volume of a piece of music is of great importance. Volume is a powerful means of expression in music. The tempo of the piece and its volume complement each other, creating a single picture.

Dynamic shades

The level of volume of music is called dynamic tone. We immediately draw your 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.

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

Bottom line

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

In this article, you will become familiar with the basic concepts of dynamics, learn the most popular notations and methods of dynamic work, as well as mistakes and problems that beginning musicians encounter.

What is dynamics in general?

If we turn to the etymology of the word dynamics, we learn that from the Greek. δύναμις - strength, power.

What kind of power are we talking about when applied to music?

Of course, about the strength of sound, one of the 4 parameters of musical sound in general. (All 4 sound parameters are considered)

The strength of the sound, in turn, affects the volume of the sound, since the harder we pull a string or hit a piano key, the stronger the amplitude of vibration of the sounding body and the greater its volume.

However, not everything is as simple as it seems at first glance. And sound volume itself means little to the performer.

It is important to be able to work with volume and, most importantly, to have a wide palette of dynamic colors that you can reproduce on your instrument.

By dynamic shades, musicians most often mean a relative system for indicating loudness, which can be found in musical notation.

The simplest diagram looks like this.

p (piano - piano) - quiet

f (forte - forte) - loud

The remaining notations are derived from them

pp - pianissimo - very quiet

mp - mezzo piano - not very quiet

mf mezzo forte not very loud

ff - very loud

As you can see, the scale is quite relative and sometimes it is almost impossible to distinguish mp from mf.

That is why these notations are called relative loudness notations. It is clear that forte on a guitar and forte on a piano are completely different volumes. Comparative table of volume in decibels without reference to the instrument.

The first stage of mastering dynamics on your instrument is to learn to play forte and piano, without smooth transitions.

Then you can try playing pp first, then ff immediately. Contact a professional teacher for effective exercises to master dynamics.

One of the most common mistakes among beginning musicians is not working on dynamics. Everything they play sounds neither very quiet nor very loud. This approach impoverishes music and its expressiveness and, of course, should be eradicated at the very first stages of training.

You need to learn to play in all possible dynamic ranges.

The next important element of dynamics in music is gradation, that is, the transition from one level of dynamics to another.

Essentially, any musical phrase is based on the use of a smooth change in dynamics and very rarely all notes are played at the same volume. To indicate obvious changes in dynamics, the notation is used

cresc. And dim. or strengthening and weakening

Notes also use forks to indicate an increase or decrease in volume:

Sudden changes in volume

sf or sfz - suddenly loud or harsh accent

There is also the designation fp (forte piano) it means “loudly, then immediately quietly”;

sfp (sforzando piano) indicates sforzando followed by piano.

Also in musical notation there are accents that are placed above a separate note, which indicates their dynamic emphasis in comparison with surrounding sounds. The strength of the accent can vary from a subtle change to a very sharp attack. The picture shows accents 3 and 4.

In jazz you can often find de-emphasis or ghost notes. These are notes that are written in brackets and are practically not played or played at minimal dynamics.

Such sounds allow you to maintain pulsation and are an important sign of style.

It is important to note that dynamics are responsible for the emotionality of music, and also significantly influence phrasing, since agogics almost always relies on correct work with dynamics.

Observe your speech and the speech of other people and try to mentally record their dynamics. You will hear that the speech of any person changes dynamically depending on emotions. We pronounce routine phrases mf, when we are excited we can speak loudly, with a crescendo to important words. When an argument is in full swing, the participants may be on ff, and then calm down towards the end of the argument.

Whisper is pp or even ppp, which is very often associated with secrets or secrets that we want to tell other people. All you need to master dynamics is to transfer the dynamics of live speech into your game.

Listen to other musicians, paying attention to the dynamics - because this is where most of the secrets of successful performance are hidden.

One of the popular methods working with dynamics is an echo effect in which a phrase is repeated more quietly or, conversely, louder. Modern musicians apply this technique to hitting the snare drum or leading the theme. This contrast in dynamics is also very characteristic of the music of the Baroque era.

In those days, gradient transitions were not as popular as they are today - so the main technique for working on dynamics is to compare quiet parts with loud parts and vice versa.

Delving deeper into the nature of sound dynamics, let's return to the beginning of the article.

2 simple gradations of sound are quiet and loud.

But if we take extremes, we can talk about complete silence (a pause is also music) and maximum volume.

This is an area that requires careful study on the instrument. Try to find the quietest sound you can make.

When does the transition from silence to sound occur? This process can be similar to meditation.

Or the loudest sound - can you make the loudest forte even louder?

Just as artists distinguish dozens of shades of colors, musicians learn to distinguish the subtlest shades of dynamics.

At the beginning of the journey, you only hear loud and quiet. Then you begin to catch the transitions and shades of forte, piano, accents, ghost notes.

Ideally, the sound flow will be perceived by you as endless waves of sound dynamics moving from forte to piano and vice versa.

As you can see, dynamics are a simple and at the same time the most difficult part of music to master. It is not difficult to understand the types of musical dynamics and their transitions, but it is much more difficult to learn to hear and perform these transitions.

Use the ideas presented in this article, and also carefully read the instructions of the composers, because their task is to indicate to you as accurately and unambiguously as possible all the dynamic changes that need to be observed to create the most accurate interpretation.

For musicians performing rock, jazz and any other modern music, it is important to learn to hear dynamics, since they are not written out in notes, but are invariably present in any composition, since music is impossible without dynamics!

Musical terms that determine the degree of loudness of music performance are called dynamic shades (from the Greek word dynamicos - force, that is, the strength of sound). In sheet music, of course, you have seen the following icons: pp, p, mp, mf, f, ff, dim, cresc. All these are abbreviations for the names of dynamic shades. Look 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 a 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, you can find the following designations in sheet music: ppp (piano-pianissimo), pprr. Or fff, (forte fortissimo), ffff. They mean very, very quietly, barely audible, very, very loud. The sign sf - sforzando (sforzando) indicates the emphasis of a note or chord. Very often the following words are found in notes: dim, diminuendo (diminuendo) or an icon indicating a gradual weakening of the sound. Cresc. (crescendo), or icon - indicate, on the contrary, that the sound needs to be gradually increased. Before the designation cresc. sometimes it is put poco a poco (poco a poco) - little by little, little by little, gradually. Of course, these words also appear in other combinations. After all, you can gradually not only strengthen the sound, but also weaken it, speed up or slow down the movement. Instead of diminuendo, they sometimes write morendo (morendo) - freezing. This definition means not only calming down, but also slowing down the pace. The word smorzando has approximately the same meaning - muting, freezing, weakening sonority and slowing down the tempo. You've probably heard the play "November" from Tchaikovsky's "Seasons" cycle more than once. It has the subtitle “On the Troika.” It starts not very loudly (mf) with 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 appears again - now quiet (p), now approaching and again disappearing into the distance, gradually fading away.

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

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

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Dynamic Signal Analyzers- signal analyzers that use digital signal sampling and conversion methods to obtain the Fourier spectrum of a given signal, including information about its amplitude and phase.
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From Veles's words it is clear that in this era the melodic line of church music had inherent and dynamic shades. An interesting fact is that in some church vocal collections from the recent past with the designations of Chrysantium, chants were included, including elements of Western European musical style. For example, in individual chants of Basiliol Nikolaidas, the protoplast of the Patriarchate of Constantinople, there are also dynamic signs. The same signs are noticeable in another part of his work - the cherub song.

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

Dynamic Cross-Industry Models- a special case of dynamic economic models. Based on the principle of intersectoral balance, into which equations are introduced that characterize changes in intersectoral........

Dynamic Models- economics - economic and mathematical models that describe the economy in development (as opposed to static models that characterize its state at a certain moment). Two approaches........
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These signs divert the melody from the dominant scale to a different range, a different voice, to avoid monotony, bring some variety, or emphasize something characteristic in church songs. For the same reasons, the use of dynamic colors in church music can also be justified. It is an open question whether the use of signs for dynamic nuance is an innovation or a recollection of the ancient practice of church singing. One thing is certain, that church singing should resemble constant angelic praise and correspond to its high purpose as a mediator between earthly and heavenly realities.

Musical shades- see Nuance.
Music Encyclopedia

Dynamic Problems of the Theory of Elasticity- - a range of issues in the theory of elasticity related to the study of the propagation of oscillations or the state of steady oscillations in elastic media. In the simplest and most......
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In the ancient chronicle “Let Temporary Temptation” there is a story about how in 987 the holy Prince Vladimir, speaking from the place where one can be baptized, sent some of his princes to Constantinople to learn about the local faith. When they returned to Kyiv, they told him about the service they attended in the Church of St.

One of the 7th century rules. Anyone who wants church singing to be prayerful and touching adheres to this canonical requirement of the Holy Church. The eighth system of Byzantine music in theoretical theoretical texts. According to the theory of church music, the basis of the rhythm of church singing is the unit of time. The rhythmic unit is counted by raising and lowering the hand.

Dynamic Characteristics of Mental Processes- - an important aspect of any mental activity, including its speed and regulatory aspects. Syn. psychodynamic properties. D. x. p.p. are regulated by nonspecific........
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Formal-dynamic Properties- - see Dynamic characteristics of mental processes, Personality properties, Temperament.
Psychological Encyclopedia

The following four stages can be distinguished in the Byzantine untouchables: Paleozyzantine designations, Middle Byzantine designations, late and post-Byzantine designations, and Chrysantine designations. Introduction to ignorance. Topic of music education methodology. - Methods and means for developing musical ear, skills for successful participation in various musical events. - The purpose of musical education is to create an aesthetic taste for musical and artistic phenomena; creating an aesthetic relationship to our surrounding musical environment; formation of self-assessed skills in modern musical reality. - The objectives of music education are to discover and develop the musical abilities of students, which is a prerequisite for their successful participation in musical activities. § Developing skills for receiving, performing and composing music. § formation of skills for differentiated perception of some of the most important elements of musical language, because it is very important for students to understand and understand the meaning of various expressions in musical work.

Colors, Shades- 1. Colors with luminance darker than average or neutral gray. 2. Colors with luminosity lighter than average or neutral gray.
Psychological Encyclopedia

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

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

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

What is dynamics

This word is familiar to everyone from a physics course 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 strength of sound; it can also be expressed in terms of “quieter - louder”.

To create a musical image, musical expressions are used in complex ways. No means of expression have meaning in relation to others. This is why interpretation is extremely important. The contractor can make the sound of the work even more excited, more dramatic than in the text. It depends on its interpretation. He can bring his own tempo, dynamics, timbre and other nuances. Understanding a musical work depends largely on the interpretation of the translator. Music teacher at a music lesson - teacher.

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

Playing at the same sonority level cannot be expressive; it quickly tires. On the contrary, frequent changes in dynamics make music interesting, allowing you to convey a wide range of emotions.

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

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

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

Ways to indicate dynamics

Dynamics in music are what determine the volume level. There are very few designations for this; there are much more real gradations in sound. So dynamic symbols should be considered just as a scheme, a direction of search, where each performer fully demonstrates his imagination.

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

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

The dynamics level “loud” is designated by the term “forte”, “quiet” - “piano”. This is common knowledge. “Quiet, but not too quiet” - “mezzo piano”; “Not too loud” - “mezzo forte”.

If the dynamics in music require going to the level of extremes, “pianissimo” nuances are used - very quietly; or “fortissimo” - very loud. In exceptional cases, the number of “forte” and “piano” icons can reach up to five!

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

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

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

Dynamic instructions also include the following terms: “crescendo” (gradually increasing the volume) and the opposite term “diminuendo”.

Let's try to play the major's tonic trio with a different dynamic. We do the same exercise with our left hand. Graduated from the National School of Music and Performing Arts Prof. Burgas, in the piano class of Elena Peeva. While studying, he wastes no time and wins prizes from a number of competitions for young pianists at home and abroad. She became a young soloist of the Burgas Philharmonic. In him, the music school finds an active participant in festive and charity concerts. Her musical development continues at the instrumental department of the National Academy of Music Prof.

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

From harpsichord to piano

Surviving examples of harpsichords and clavichords allow us to imagine what dynamics are in music. The mechanics of the ancient predecessors of the piano did not allow the volume level to be changed gradually. For a sharp change in dynamics, there were additional keyboards (manuals), which could add overtones to the sound due to octave doubling.

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

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

A special system of levers and a foot keyboard on the organ made it possible to achieve a variety of timbres and increased volume, but changes still occurred suddenly. In relation to Baroque music, there is even a special term “terrace-shaped dynamics”, since changing volume levels resembled the ledges of a terrace.

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

This instrument was very loved by J. S. Bach for its ability, albeit to a barely noticeable extent, 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 prominence.

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

The dynamics are large and detailed

Major dynamics are usually expressed by symbols set out in a table. There are few of them, they are clear and definite.

However, “inside” each of these nuances there can be a mass of more subtle sound gradations. There are no special designations for them, but these levels exist in real sound and it is they that make us listen with reverence to the performance of a talented performer.

Such fine dynamics are called detailed. The tradition of its use dates back to (remember the capabilities of the clavichord).

Dynamics in music is one of the touchstones of performance art. It is the masterful mastery of subtle nuances, light, barely noticeable changes that distinguish the playing of a talented professional.

However, it can be no less difficult to evenly distribute the increase or decrease in sonority when it is “stretched” over a large segment of the 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 lives. Each musical style and even each composer has its own dynamic scale, as well as its own characteristics in the use of nuance.

What sounds good in Prokofiev's music is absolutely inapplicable when performing Scarlatti 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 method of changing it, and so on.

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