Terms Relating To Vocal Music
Symbols Of Music Defined
Terms Relating To Forms And Styles
Chords Cadences Etc
Terms Relating To Forms And Styles (_continued_)
Terminology Adoptions 1907-1910
Auxiliary Words And Endings
Rhythm Melody Harmony And Intervals
Miscellaneous Terms (_continued_)
Symbols Of Music Defined Part Two
Abbreviations Signs Etc
Random Music Terms
Miscellaneous Terms (_continued_)
Some Principles Of Correct Notation
Auxiliary Words And Endings
Rhythm Melody Harmony And Intervals
120. The word dynamics (cf. dynamic--the opposite of static) as used
in the nomenclature of music has to do with the various degrees of power
(i.e., the comparative loudness and softness) of tones.
As in the case of words referring to tempo, the expressions referring to
dynamics are always relative, never absolute; it is possible to
indicate that one measure is to be louder than another, but it is not
possible (nor desirable) to indicate exactly how loud either is to be.
Thus dynamics, perhaps even more than tempo, will be seen to depend on
the taste of the performer or conductor.
The following words referring to dynamics are in common use:
Pianisissimo (ppp)--as softly as possible. (It will be
noted that this is a sort of hyper-superlative of piano.)
Pianissimo (pp)--very softly. (The superlative of
Mezzo piano (mp)--medium softly.
Mezzo forte (mf)--medium loudly.
Forte (f)--loudly (lit. strong).
Fortissimo (ff)--very loudly. (The superlative of
Fortisissimo (fff)--as loudly as possible.
The lack of a one-word comparative degree in the case of both
piano and forte seems to necessitate the hyper-superlative
degree as given above, but the practice of using four, or even
five p's or f's is not desirable.
121. The terms defined in Sec. 120 are often combined with others, as
Pianissimo possibile--as softly as possible.
Piano assai--very softly.
Fortissimo possibile--as loudly as possible.
Forte piano (fp)--loud, followed at once by soft.
As in the case of terms relating to tempo, the meaning of many other
expressions relating to dynamics may easily be arrived at by recalling
the list of auxiliary terms quoted under Sec. 96.
122. The terms sforzando, forzando, sforzato and forzato all
indicate a strong accent on a single tone or chord. These words are
abbreviated as follows:--sf,fz, and sfz, the abbreviation being
placed directly above (sometimes below) the note or chord affected. The
signs [vertical accent symbol] and [horizontal accent symbol] are also
commonly used to indicate such an accent.
In interpreting these accent marks the student must bear in
mind again the fact that they have a relative rather than an
absolute meaning: the mark sf occurring in the midst of a
piano passage will indicate a much milder form of accent
than would the same mark occurring in the midst of a forte
123. The words rinforzando and rinforzato (abb.--rinf. and rfz.)
mean literally reinforced, and are used to indicate a sudden increase
in power usually extending over an entire phrase or passage instead of
applying only to a single tone or chord as in the case of sforzando,
124. Crescendo (abb.--cresc. or [crescendo symbol]) means a gradual
increase in power. It will be noted that this word does not mean loud,
nor does it mean a sudden increase in power unless accompanied by some
auxiliary term such as subito, or molto.
Broadly speaking there are two varieties of crescendo: (1) that in
which the same tone increases in power while being prolonged; (2) that
in which succeeding tones are each sounded more strongly than the
preceding one. The first variety is possible only on instruments giving
forth a tone which can be varied after it begins. Thus e.g., the
human voice, the violin, the organ enclosed in a swell box, and certain
wind instruments, are all capable of sounding a tone softly at first and
gradually increasing the volume until the maximal point of power has
been reached. But on the piano, organ not enclosed in a swell-box,
kettle drum, etc., the power of the tone cannot be varied after the
tone has once been sounded, and a crescendo effect is therefore
possible only in a passage, in rendering which each succeeding tone is
struck more forcibly than its immediate predecessor. This second variety
of crescendo offers a means of dramatic effect which may be employed
most strikingly, as e.g., when a long passage begins very softly and
increases in power little by little until the utmost resources of the
instrument or orchestra have been reached. A notable example of such an
effect is found in the transition from the third to the fourth movements
of the Beethoven Fifth Symphony.
The difference between sforzando, rinforzando, and
crescendo should now be noted: sforzando indicates that a
single tone or chord is to be louder; rinforzando, that an
entire passage is to be louder, beginning with its first tone;
but crescendo indicates that there is to be a gradual
increase in power, this increase sometimes occurring during
the sounding of a single tone, but more often in a passage.
125. Certain combinations of the word crescendo with other words are
so common that they should be especially noted. Among these are:
Crescendo al fortissimo--keep on gradually increasing in
power until the fortissimo (or very loud) point has been
Crescendo subito--increase in power suddenly (or rapidly).
Crescendo poco a poco--increase in power very, very
Crescendo poi diminuendo--first increase, then diminish the
Crescendo e diminuendo--same as cresc. poi dim.
Crescendo molto--increase in power very greatly.
Crescendo ed animando poco a poco--growing gradually louder
in tone and quicker in tempo.
Crescendo ed affrettando--gradually louder and faster.
[Transcriber's Note: Corrected misspelling affretando in
Crescendo poco a poco sin al fine--crescendo gradually even
up to the very end.
126. Decrescendo (decresc. or [decrescendo symbol]) means a gradual
diminishing of the tone. It is the opposite of crescendo. The word
diminuendo is synonymous with decrescendo.
Decrescendo (or diminuendo) al pianissimo means--decrease
gradually in power until the pianissimo (or very soft) point is
127. A number of terms referring to both softer tone and slower tempo
are in use. The most common of these are:--mancando, moriente,
morendo, perdendo (from perdere--to lose), perdendosi,
calando, and smorzando. Such expressions are usually
translated--gradually dying away.
[Footnote 30: Both moriente and morendo mean literally--dying.]
[Footnote 31: From smorzare (It.)--to extinguish.]
128. In piano music the abbreviation Ped. indicates that the damper
pedal (the one at the right) is to be depressed, while the sign [damper
release symbol] shows that it is to be released. In many modern editions
this depression and release of the damper pedal are more accurately
indicated by the sign [damper symbol].
The term senza sordini is also occasionally found in old
editions, indicating that the damper pedal is to be depressed,
while con sordini shows that it is to be released. These
expressions are taken from a usage in music for stringed
instruments, in which the term con sordini means that the
mute (a small clamp of metal, ivory or hardwood) is to be
affixed to the bridge, this causing a modification in both
power and quality of the tone. The damper on the piano does
not in any way correspond to the mute thus used on stringed
instruments, and the terms above explained as sometimes
occurring in piano music are not to be recommended, even
though Beethoven used them in this sense in all his earlier
129. The words una corda (lit.--one string) indicate that the soft
pedal (the one at the left) is to be depressed, while the words tre
corde (lit. three strings) or tutte le corde (all the strings) show
that the same pedal is to be released. These expressions refer to the
fact that on grand pianos the soft pedal when depressed moves the
hammers to one side so that instead of striking three strings they
strike only two (in the older pianos only one, hence una corda), all
three strings (tre corde) being struck again after the release of the
130. Other terms relating either directly or indirectly to the subject
of dynamics are:
Con alcuna licenza--with some degree of license.
Con amore--with tenderness.
Con bravura--with boldness.
Con celerita--with rapidity.
Con delicato--with delicacy.
Con energico--with energy.
Con espressione--with expression.
Con forza--with force.
Con fuoco--with fire and passion.
Con grand' espressione--with great expression.
Con grazia--with grace.
Con melinconia--with melancholy. [Transcriber's Note:
archaic form of malinconia.]
Con passione--with passion.
Con spirito--with spirit.
Con tenerezza--with tenderness.
Dolce e cantabile--gently and with singing tone.
Doloroso } plaintively or sorrowfully.
Giocoso--humorously, (cf. jocose).
Giojoso--joyfully, (cf. joyous).
Leggierissimo--most lightly; almost a staccato.
Lusingando--caressingly, coaxingly, tenderly.
Martellando, martellato--strongly accented,
Mezzo voce--with half voice.
Parlando--well accented or enunciated; applied to melody
playing. (The word parlando means literally-speaking.)
Pastorale--in simple and unaffected style, (lit.--pastoral,
Recitativo--well enunciated. (This meaning applies only in
instrumental music in which a melody is to stand out above the
accompaniment. For def. of recitative in vocal music, see p.
Scherzando, scherzoso, etc.--jokingly. These terms are
derived from the word scherzo meaning a musical joke.
Sempre marcatissimo--always well marked, i.e., strongly
Sotto voce--in subdued voice.
131. Many other terms are encountered which on their face sometimes seem
to be quite formidable, but which yield readily to analysis. Thus
e.g., crescendo poco a poco al forte ed un pochettino accelerando,
is seen to mean merely--increase gradually to forte and accelerate a
very little bit. A liberal application of common sense will aid greatly
in the interpretation of such expressions.
Next: Terms Relating To Forms And Styles
Previous: Tempo (_continued_)