Thanks for your advice.
The composer is deceased, so I can't consult with him. Would I be safe in
supplying one dynamic for the manuals' staves and a separate dynamic for the
pedals? Most passages in this work will show the same dynamic in both
places.

On Sat, Apr 17, 2010 at 3:50 PM, Noel Stoutenburg <[email protected]>wrote:

> 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.
>
> ns
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