Am adding the earlier email, John. It seems to suggest that dynamics
not be included in writing for the organ today.
That was something I would like to make clear: that dynamics are
important in indicating how a piece is to
be interpreted, according to the composer. Have no idea why explicit
dynamic writing should NOT be as important
to an organist as to any other instrument. ??? Yes, consulting an
organist about particulars would be a good idea
if you are not an organist of some experience.
best,
tim
On Apr 18, 2010, at 10:50 PM, John Howell wrote:
I don't believe I would have suggested not using dynamic markings
at all, although I can't quote what I DID write. Others have been
much more clear on this point, as I figured they would be. And I
deliberately mentioned that I'm not an organist to allow the reader
to judge whatever I did say.
The pipe organ and the harp are both terra incognita to me, and if
I have to write for either I consult a player. Understanding the
mechanics is NOT the same as understanding the instrument.
All the best,
John
fo/finale
previously: John Howell wrote:
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
timothy.key.price
[email protected]
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