On 14 Feb 2006 at 21:56, Mark D Lew wrote:

> On Feb 14, 2006, at 11:52 AM, David W. Fenton wrote:
> 
> > Well, let me say that anything other than ppp to fff is ridiculous
> > -- there's no possible way to actually make such gradations in any
> > meaningful sense. Anything beyond that range is voodoo notation, in
> > my opinion.
> 
> I wish I had the proper quote, but I recall reading about how Verdi,
> when asked about the "pppppp" marking in the Requiem and "ppppppp" in
> Otello, remarked that all he really wanted was pianissimo, but the
> singers didn't take notice if he just wrote "pp" or "ppp", so he kept
> adding p's to get the point across.

That's exactly the kind of thing I mean by "voodoo" notation -- 
writing something different that what you want, thinking that somehow 
it's going to get you the right result whereas writing literally what 
you want won't do that.

How is a performer supposed to know the difference?

Actually, I guess as long as pppp and ppppp and pppppp all mean the 
same thing (as soft as possible), it's not such a bad thing. But if 
someone wrote something like:

pppp         subito ppppp

I'd consider it to be absolute insanity.

Indeed, I have a passage in one of my own compositions where a piano 
passage crescendos to a subito pp, and I'm not certain I think that's 
good notation or not. I guess if I specified the end point of the 
crescendo it might be something more like "p cresc. mp  subito pp" 
but I'm not sure I feel any more comfortable with that.

Somehow, we got along with no dynamic markings at all in notated 
music for centuries, and then we managed with f and p (and their 
equivalents) for a shorter (but still fairly long) period. I'm not 
sure that the multiplication of gradations has really accomplished 
anything in terms of actual subtleties of performance, given the non-
specificity of the markings and the importance of context.

-- 
David W. Fenton                    http://dfenton.com
David Fenton Associates       http://dfenton.com/DFA/

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