_Pianissimo possibile_--as softly as possible.
_Piano a.s.sai_--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_ pa.s.sage will indicate a much milder form of accent than would the same mark occurring in the midst of a _forte_ pa.s.sage.
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 pa.s.sage instead of applying only to a single tone or chord as in the case of _sforzando_, etc.
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 _pa.s.sage_, 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 pa.s.sage 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 pa.s.sage 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 pa.s.sage.
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 reached.
_Crescendo subito_--increase in power suddenly (or rapidly).
_Crescendo poco a poco_--increase in power very, very gradually.
_Crescendo poi diminuendo_--first increase, then diminish the tone.
_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 original.]
_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 reached.
127. A number of _terms referring to both softer tone and slower tempo_ are in use. The most common of these are:--_mancando_, _moriente_,[30]
_morendo_, _perdendo_ (from _perdere_--to lose), _perdendosi_, _calando_, and _smorzando_.[31] 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 sonatas.
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 pedal.
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 pa.s.sion.
_Con grand" espressione_--with great expression.
_Con grazia_--with grace.
_Con melinconia_--with melancholy. [Transcriber"s Note: archaic form of "malinconia".]
_Con pa.s.sione_--with pa.s.sion.
_Con spirito_--with spirit.
_Con tenerezza_--with tenderness.
_Delicato_--delicately.
_Dolce_--sweetly, gently.
_Dolcissimo_--most sweetly.
_Dolce e cantabile_--gently and with singing tone.