Ryan wrote: > Where is it necessary to place the dynamics when writing for organ? > > 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? Would the > performer know that the dynamic also applied to the pedals? Are the pedals > capable of playing at a different dynamic level than the manuals? I suppose > that each organ is built differently, so it would be nearly impossible to > prepare for every performance situation.
As I was writing this I see that Noel Stotenburg beat me to a reply, but since I've written this, here it is. When there is very specific registration (usually placed at the upper left above the first staff), I rely on that and don't worry about dynamics that are in the music since the organ is like an on/off switch -- sound on or sound off with the volume relative to the stop chosen (except the swell manual, see below). Each stop or combination of stops has its own volume and each manual and pedals can have its own volume. If the registration is vague, say: Sw. Solo 8' Gt. Strings, Flute 8' Ped. 8' then I look to see if there are any dynamics in the music and choose stops that are close to the dynamics. (In this example, some solo stops could be louder than others, while some flutes might be louder than the other). Sometimes composers will just put an f or mf in the music and not indicate registrations leaving it up to the organist to choose the appropriate registration. If I remember correctly, some, if not most of Bach's organ music doesn't have registrations or dynamics. As to placement of dynamics: If you want the top staff to be a different dynamic than the lower manual staff (2nd staff down) -- which also implies the two staves will be played on different manuals -- indicate the dynamic above the top staff and above, but close to the lower manual staff. Pedal dynamics are few and far between in my experience, but often are above the pedal staff (between the lower manual staff and pedal). If you want the two manual staves to played on the same manual, indicate which manual (eg. Sw or Gt or Ch, for Swell, Great and choir respectively) you want to be played and include a piano brace going from near the top of the top staff down to near the bottom of the lower manual staff. If you want the top staff to be one manual and the lower manual staff to be played on a different manual, place the indications in the same place you would the dynamics. On all organs I've played, the Swell manual has the ability to have a slight variation in volume levels, On a pipe organ, the Swell pipes are often enclosed in a box with a venetian blind, usually vertical, than can open or close to allow the slight variation in volume. (In a few rare cases, I've run across a similar situation with the choir or positiv manuals). You can use hairpin cresc. & dim. symbols to indicate the opening and closing of the shutters. (Sometimes the registration will indicate open or closed swells). As you mentioned, each organ is different. I often find myself having to use different stops than called for or I have to adapt a piece written with 3 manuals in mind to a 2-manual organ. James Gilbert www.jamesgilbertmusic.com Organist, Church of the Mediator Episcopal, Micanopy, Florida PS. On my website, in the music catalog, the visual example for the organ arrangement of 'At The Cross' contains examples of all of the above (except pedal dynamics). (Click on the title name in the catalog, then on the graphic for a bigger sample). _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
