Ryan wrote:
Where is it necessary to place the dynamics when writing for organ?
Based upon my study of the organ, it varies depending upon the location, period and style in which the work is written, and in more recent years, even from one composer to another. .
The manuscript I'm working from isn't consistent in the placement of dynamics. It also doesn't specify individual stops to use (for example, a trumpet stop that would naturally sound louder than a flute stop), so can one dynamic marking placed in between the top two staves suffice?
One would often expect that a trumpet stop would sound larger than a flute stop, but this is not necessarily always true. A large organ will have loud flute stops, which might in some cases be as loud, or louder than a trumpet.
Are the pedals capable of playing at a different dynamic level than the manuals?
Yes.
Would the performer know that the dynamic [given for the manuals] also applied to the pedals?
Most knowlegable organists will be able to recognize when the pedals should be at the same dynamic level as one or both manuals, and if only one, then which one, but it would be wise to assume that not everyone will.
I suppose that each organ is built differently, so it would be nearly impossible to prepare for every performance situation.
This is a good supposition. My recommendation is to engrave what you have, then consult with the composer, or if it is not possible to consult with the composer, to solicit the advice of an experienced organist as to how to clarify the intentions of the composer.
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