On 2010/04/18, at 21:56, Ryan Beard wrote:
Perhaps I should clarify my situation. I'm engraving a piece for organ by a
dead composer. He has marked dynamics in the music. Sometimes there's one
marking under the top staff only. Sometimes there's a marking under all three
staves. Sometimes
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
change volume and tone dramatically.
Roger
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Ryan Beard
Sent: Sunday, April 18, 2010 9:57 PM
To: finale@shsu.edu
Subject: Re: [Finale] Organ dynamics
Wow. Didn't mean to start up such a debate
Thank you, Tim. I see the problem. When I wrote everything, I was
referring to stop selection rather than to the use of dynamic
markings, as the following sentence was intended to make clear.
John
At 7:05 AM -0400 4/19/10, timothy.price wrote:
Am adding the earlier email, John. It seems
changes to manuals
which can change volume and tone dramatically.
Roger
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Ryan Beard
Sent: Sunday, April 18, 2010 9:57 PM
To: finale@shsu.edu
Subject: Re: [Finale] Organ dynamics
Wow
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
On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was intended
in regard to all of
those parameters. So can any properly-trained modern organist.
That may be the problem with the academic world view of music, thus
one might read a
On 18 Apr 2010 at 9:40, timothy.price wrote:
On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was
intended in regard to all of those parameters. So can any
properly-trained modern organist.
Note that this comment is taken
On Apr 18, 2010, at 4:24 PM, David W. Fenton wrote:
On 18 Apr 2010 at 9:40, timothy.price wrote:
On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was
intended in regard to all of those parameters. So can any
properly-trained modern
On 18 Apr 2010 at 19:58, timothy.price wrote:
On Apr 18, 2010, at 4:24 PM, David W. Fenton wrote:
On 18 Apr 2010 at 9:40, timothy.price wrote:
On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was
intended in regard to all of
Wow. Didn't mean to start up such a debate!
Perhaps I should clarify my situation. I'm engraving a piece for organ
by a dead composer. He has marked dynamics in the music. Sometimes
there's one marking under the top staff only. Sometimes there's a
marking under all three staves. Sometimes
On 18 Apr 2010 at 18:56, Ryan Beard wrote:
Perhaps I should clarify my situation. I'm engraving a piece for
organ
by a dead composer. He has marked dynamics in the music. Sometimes
there's one marking under the top staff only. Sometimes there's a
marking under all three staves. Sometimes
At 7:58 PM -0400 4/18/10, timothy.price wrote:
Don't pay any attention to non-organist comments, they can be
misleading.
If that's referring to me,
No, I was not referring to you, but to John Howell's previous comment
about thinking it best not to include dynamic markings, but that he was
Ryan,
If you are not familiar with the conventions of music notation for the
organ in the place and at the time the composer lived, the best thing to
do is to consult with someone who is. Take the MS, or a printout of your
notesetting effort to an experienced organist, and get their opinions.
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
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
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
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
On 17 Apr 2010 at 19:11, James Gilbert wrote:
If I remember correctly, some, if not most of Bach's organ
music doesn't have registrations or dynamics.
Absolutely none of Bach's organ music has registration or dynamics or
tempo markings, and so far as I can recall, no articulations, either.
On 17 Apr 2010 at 15:30, Ryan wrote:
Where is it necessary to place the dynamics when writing for organ?
There is simply no cut-and-dried answer to this question. Each manual
and pedal could have a different registration and thus, different
dynamics. A single staff in the score could indicate
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