At 3:30 PM -0700 4/17/10, 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.
Yes, every organ is different. If it has a swell box, all the pipes
inside that box are equally affected by the volume control. But
there are often other ranks of pipes outside the swell box as well.
I think, although I'm not an organist, that the player adjusts
balance by choice of stops, not by having a separate volume control
for each manual and another for pedals. Probably it's entirely
different with an electronic organ, and you never know what the music
will be played on.
Unless the composer is an organist and writing for a broad range of
possible organs, everything is best left to the player. And it isn't
really something the engraver should worry about, EXCEPT that you
should ask whether the inconsistent dynamic placement was actually
done for a reason.
John
--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[email protected])
http://www.music.vt.edu/faculty/howell/howell.html
"We never play anything the same way once." Shelly Manne's definition
of jazz musicians.
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