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In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Pianissimo: very gentle: Very soft Mezzo piano: half-gentle: Moderately soft Sforzando: strained: Sharply accented Stentato: in the manner of Stentor: Loud, boisterous Tremolo: trembling: A rapid, repetitive variation in the volume or pitch of a note
Strong-gentle (i.e. 1. loud, then immediately soft) (see dynamics), or 2. an early pianoforte. fortissimo (ff) Very loud (see note at Pianissimo) fortississimo (fff) As loud as possible. front of house (FOH) The speaker system which faces the audience (and the sound engineers who control it). four on the floor
Pianissimo is a term in music dynamics meaning "to be played very softly." Pianissimo may also refer to: Pianissimo, a 1990 album by Suzanne Ciani; Pianissimo, a part of the Requiem trilogy by Virgin Black
For example, classical performers most often use sheet music using staves, time signatures, key signatures, and noteheads for writing and deciphering pieces. But even so, there are far more systems just that, for instance in professional country music , the Nashville Number System is the main method, and for string instruments such as guitar ...
The composer in 1913. Ives composed The Unanswered Question, subtitled "(a Cosmic Landscape)" in Ives's work papers, [12] in 1908 (though it is often erroneously dated 1906), [1] and revised it in 1930–1935, at which time he included a 13-bar introduction, made the woodwind parts more dissonant, and added further dynamic and articulation indications. [13]
fortissimo - most strong, pianissimo - most softly. There's not even a mention in the article of the obvious fact that the Italian descriptions of many musical terms were adopted all over, due to the Renaissance and the part that Italian composers played in it.
Charles Burkhart suggests that the reason codas are common, even necessary, is that, in the climax of the main body of a piece, a "particularly effortful passage", often an expanded phrase, is often created by "working an idea through to its structural conclusions" and that, after all this momentum is created, a coda is required to "look back" on the main body, allow listeners to "take it all ...