Dynamics

A word of Greek origin: dinamis, a.m. power; in music, the discipline of volume. Until 1740, dynamic instructions that could also be marked on the sheet of notes were rarely used. It was always determined by the performer, as every person often uses the tools of emphasis instinctively. Dynamics are the most important tools to express musical effect. Dynamics are closely related to rhythm. The main reason of all dynamics is contrast.

By themselves, no sound is strong, or weak; volume can only be sensed when compared to another sound. In classical music gradual increase (with musical word: crescendo) and gradual decrease (decrescendo) were developed; we also listened to an example where a very strong sounding was followed by a very low sounding, or just the opposite.

Baroque music uses dynamics less, while classical music is full with effects of dynamics.

E x a m p l e s

28/ VI. symphony V. movement. In this musical extract, volume gradually increases, then decreases.

29/ III. symphony 3. movement, Scherzo. Dynamic shift happens without any transition; the piano-sounding is followed by forte-sounding.

30/ I. symphony IV. movement. Music begins in piano, then, gradually reaches a strong fortissimo. At the end of the increase we would anticipate a decrease in volume, but Beethoven – to our surprise – further increases it before continuing with a lower volume.

31/ Beethoven opus 57. f-minor piano sonata. (Appassionata – with passion). Beethoven used the effects of dynamics quite strongly even in his piano sonatas. Let us listen to a part of his sonata entitled Appassionata (with passion). We are listening to it in the performance of two pianists; the second version employs moderate dynamic shifts.

32/ Mozart C-major piano sonata I. movement. He composed it three years before his death. Not all musical pieces employ the effects of dynamism to the utmost extent – for example in this piano sonata; however in this case this also depends on the performer, Szvjatoszlav Richter.

As if we were in Salzburg, opening a jewelry box, Mozart’s music sounds; dynamic shifts are subtle in most cases, only powerful a few times.

Tone-colour

It is a commonly known phenomenon, that we are able to recognize the voice of our family members, friends, colleagues, even if we don’t see their faces. Why? Because the tone of each person is theirs; it is unique, just like their fingerprints.

The case is similar in music. Even if we don’t see what instrument is being played, we instantly recognize the sound of piano, trumpet, violin etc. based on its tone. From this follows the rule: All instruments – on the same frequency – have different tones.

Tone-colour is a complicated question, it is sufficient to know that tones depend on the number and power of overtones. These fall within the area of physics and acoustics.

E x a m p l e s:

33/ The harp has a really beautiful tone-color. We rarely hear its sound, this is why a small extract from Händel’s: B-major harp concerto I. movement is present among the examples.

Boieldieu, Francois Adrien /1775-1834/ French, Dittersdorf, Karl Ditters von /1739-1799/ German composers wrote harp concertos; they are rarely performed these days.

34/ They say, that the king of instruments is the organ. We are listening to an extract from one of Bach’s organ pieces.

35/ Now, that we have heard the king of instruments, it is fitting to listen to the queen of instruments, the violin as well.

Just like before, now we listen to a few examples from Beethoven’s symphonies.

36/ Beethoven: VI. symphony 3. movement, Scherzo. Observe, how within a short period of time the orchestral sounding switches to oboe through the groups of instruments, to which the bassoon’s warm tone-color joins.

37/ VI. (Pastorale) symphony II. movement. One of the most beautiful examples. Beethoven almost unnoticeably smoothes the tone of the cello to the tone of the bassoon during the repetitions of the second theme. If we don’t pay attention we don’t even notice it.

38/ IV. symphony I. movement. We can observe several tone shifts. The second theme begins on bassoon, then the oboe takes over, then the flute joins in, followed by the violins; after that unisono transition begins on deep string instruments. In the closing of the transition the whole orchestra takes part, while the volume increases. After the closed transition the “new second theme” begins on wind instruments in piano; the continuation is similar. Here we can listen to the perfect example of tone shifts!

39/ VI. symphony IV. movement. Its title: The storm. Thunderstorm. Please observe how the composer, using musical notes and of course the tones of the instruments, »paints«, visualizes before us:

Ø the beginning of rainfall,

Ø the coming of the storm, then its sudden outbreak,

Ø the thunder and lightning,

Ø the whistling of the wind,

Ø the frightening rage of the storm, then its slow passing (when we can only hear the short rumbles of the sky),

Ø finally the sun begins to shine, and Beethoven, with the melody and tone of the oboe presents the arch of the appearing rainbow in the sky, (this short melody consists of six notes, and it is repeated).

A fundamental truth, statement: however perfect our instruments are, still, human voice – vox humana – has the most beautiful tone-color.

40/ Spanish song. Firstly, an extract from a rarely heard Spanish song; singer: Placido Domingo.

41/ Puccini: Tosca, Tosca’s prayer. Women cannot be left out; an aria extract performed by Ilona Tokodi.

Summarizing what has been written so far

Listening to music regularly developed the skill that enables us to listen to the different elements of music sounding at the same time, in other words: to music’s tools of expression. Classical music realizes the connection, the synthesis of affinity of music’s four elements.

However, our attention cannot be focused solely on these four elements, we have to pay attention to the music’s message as well; you can read about this more on the analysis pages.

What is also important to know: while listening to classical music, its structure can be followed and recognized through every second. Thus classical music cannot be listened to as “background music”; it requires increased attention to reach understanding and ecstatic beauty.

The composer of classical music does not let the audience to remain indifferent; to listen to his music without paying attention, without thinking. He does everything to keep the audience’s attention and interest, just like a good speaker. You can read about all of this later on.

I will only touch briefly upon Baroque music, which is just like a Baroque building or church. We can observe its parts separately (e.g. entrance, rose window, altar, frescos etc.) and find beauty in them.

The case is similar in Baroque music; we can listen to any part of the music: we will be able to understand and enjoy it.

Further knowledge

Repetition

We shall begin with a question.

What makes melodies memorable and popular?

The answer is one word: repetition.

Most Hungarian folk songs consist of two melody lines. The melody of the first, second, and fourth lines are identical, and the third line’s melody is different. The same melody is repeated three times within a short period of time, still it isn’t boring. It is more conspicuous if I mark it with letters:

A csitári hegyek alatt régen leesett a hó, A

Azt hallottam kis angyalom, véled esett el a ló. A

Kitörted a karodat, mivel ölelsz engemet, B

Így hát kedves kis angyalom, nem lehetek a tied. A

42/ As said before, the melody of the first line sounds three times.

All music has repetitions, and so does classical music; we will experience this during the analysis, where I will provide further explanation.

43/ Let us listen to an example from the melodies of entertainment music, the beginning of Johann Strauss: The Blue Danube waltz. The motif of few notes is repeated several times, however, each time it is slightly different.

44/ Bach: B-minor preludium. This music is so light, so airy, as if it didn’t even sound here on earth.

45/ VI. symphony I. movement. Let us observe the several repetitions of a part (a motif) of the music within its flow.

46/ IX. symphony III. movement Trio. Many claim that its melody is of a Russian folk song: “The Birch Tree (Beriozka)”. Already after its first performance it was written that its orchestration, the sounding of the music is enchanting, charming.

Variation

Repetition does not always mean mechanical copy, it often combined with variation; thus the repetition is made by variation development.

The general meaning of the word is: variant.

Its musical meaning: the modification of a musical theme (melody) in rhythm, harmony, and melody without changing its essence. All musical styles use this method, perhaps especially jazz.

Among artistic groups there is an old rule, which is written like this in Latin: Varietas delectat. as in: Variation delights.

Of course, in classical music, the variation of a theme (musical sentence, musical thought) not only delights, but gains new meaning in the fabric of music. We will see this during the analysis.

47/ First we will listen to the Hungarian folk song entitled “Hull a szilva a fáról” and its variations performed by Németh Lajos, Kossuth-Prized cimbalom player.

48/ Now we are listening to a Russian folk song and its variations from the same performer.

49/ We are listening to one of the movements of Bach’s B-minor suite.

50/ We are listening to Beethoven’s VI. Pastorale symphony V. movement, first theme and its variation developments.

51/ They say that from among Beethoven’s symphonies the most well known and the most popular is the V. Faith symphony. Now we are listening to the first theme of the II. movement and its variation development.

52/ As a conclusion we will listen to the II. movement of Haydn’s Kettledrum symphony, which is a variation theme considering its musical form too. The same melody sounds over and over again, but always in a slightly different way.

Index

suite, fr - /suite, „accompaniment”, series, continuity, cycle/, the oldest type of form in multi-movement compositions; it means the uninterrupted series of dances; it is an instrumental genre, in the 17. century it had 4-9 movements, which were of different character; one of the dominant types of the Baroque era < back

unisono, it – /to be performed/ unanimously, unisonously, the musical part is performed either by singers, or by orchestra; musical instruction on the sheet music < back