On 3/23/2015 5:38 PM, Steve Parker wrote: > I don’t agree that hairpins and cresc. are always interchangable. > In some styles of music a hairpin will take you up or down by one dynamic > marking, > whereas ‘cresc.’ or ‘dim.’ can be used to move smoothly from any mark to any > other. > This allows distinctions that get messy if the two are collated, for example > pp < ff when what you require is pp < p crescendo, then immediately f. > [snip]
I've never heard or been taught that use of the hairpin where it only takes you up a single dynamic level if there's nothing indicated. What styles of music make such use of hairpins? Can you point to some authority which supports that? I've always been taught and found that if a composer wants a hairpin to go up to a specific dynamic then it's wisest for that composer to indicate specifically what is wanted. So if the composer wants pp<p then that's what needs to be printed. Otherwise the hairpin is as open to individual interpretation as much as cresc. or dim. is. Merely giving pp< with no indication is as likely to yield an mp or an mf or even an f if nothing is indicated. -- David H. Bailey dhbai...@davidbaileymusicstudio.com http://www.davidbaileymusicstudio.com _______________________________________________ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
