Volume
Introduction
Volume, also referred to as dynamics, is one of the most important aspects of sound. Composers use volume as a way of controlling the emotional content and shape of a piece. Therefore, it is interesting to note that composers generally did not mark their scores with instructions about volume until well into the 17th century. Instead, they depended on musicians to determine the appropriate levels of volume for a specific performance space. Composers began writing indications for dynamic levels in scores at about the same time that significant improvements in the construction of various instruments allowed for a greater range and volume control than had been previously possible.
pianississimo
pianissimo
piano
mezzo piano
mezzo forte
forte
fortissimo
fortississimo
ppp
pp
p
mp
mf
f
ff
fff
very, very softly
very softly
soft
half soft
half loud
loud
very loud
very, very loud
Italian Terms Denoting Music Dynamics
Symbols to indicate volume and dynamic changes were created by the Italians—the most widely respected group of composers and musicians in the Western world during the 17th century. At first, dynamic indications were used sparingly, but commencing in the late 18th century, use of the Italian terms for volume spread widely among composers regardless of nationality.
It is important to remember that dynamics may refer to the overall loudness or softness of music, but they also may refer to the process of gradual change between volume levels. Therefore, volume not only covers the loudness or softness of sound at a particular point in time, but more importantly, it also refers to the infinitely subtle shadings that are possible between discrete dynamic levels. Volume gradation is one of the most important expressive elements available to composers and performers.
al niente
crescendo
decrescendo
diminuendo
morendo
to nothing
becoming louder
becoming softer
dying away
Italian Terms Denoting Gradual Dynamic Changes
Factors that influence dynamic levels include energy, number of instruments, and distance from the sound source to the listener. Although these factors are closely related to one another, we will examine each one separately.
Energy
According to the laws of physics, the amount of energy initially applied to a body sets that body in motion. Although technical-sounding, as applied to music, this law refers to motion and sound—for without motion, there can be no sound. Sound is produced by the motion of a vibrating body (string, air, membrane, etc.). Acoustic instruments (as opposed to certain types of electronic instruments) require a musician to perform the actions that set the vibrating body in motion. Depending on the type of instrument, the most common techniques involve bowing or plucking (string instruments), blowing (wind instruments), or striking (percussion instruments). The energy applied through these techniques alters the dynamics and thus potentially changes the emotional impact of the music.
One of the most important components of a performer's technique is the artful manipulation of volume. In string instruments, volume is manipulated by changing bow pressure and speed. In wind instruments, performers blow harder or softer into a tube that holds the column of air. Percussionists strike their instruments with more or less energy. Electronic instruments vary volume through the manipulation of buttons and knobs. (This is covered more extensively in the synthesizer chapter.)
Keyboard instruments present an interesting problem for the performer. In these types of instruments, instrumentalists don't have direct contact with the sound source because they don't touch the strings directly. The keyboardist depresses the keys (part of the overall keyboard mechanism) that are connected to a hammer (in the case of the piano) or to a plectrum (in the case of the harpsichord). It is the hammer or plectrum that directly strikes or plucks the strings. Controlling the movement of the hammer or the plectrum via the keys requires the development of a skill known as the performer's touch.
Although many people consider the human voice to be the most expressive instrument of all, its overall dynamic range is rather restricted by the limited capabilities of the vocal cords. Great singers, however, are noted for the incredible dynamic range, projection power, and beauty of their voices. Choral groups may also display these abilities and qualities.
Carmina Burana: "O Fortuna"
One of the most popular of German composer Carl Orff's works is Carmina Burana, a large-scale piece that uses text based on medieval Latin and Old German lyrics that were found at the monastery of Benediktbeuern. The work has become very familiar to casual listeners through its use in advertising and films. Although intended as a theatrical work with costumes, dancing, and scenery, Carmina Burana is nowadays generally performed as a concert piece with soloists, chorus, and orchestra on the concert stage.
"O Fortuna" from Carmina Burana illustrates the concept of altering volume by using more or less energy to produce sound at different dynamic levels. Listen to the clear difference in volume between passages A and B. Try to picture in your mind's eye how the musicians might be playing their instruments and singing in each passage. How many different instruments or groups of instruments do you hear in these examples? How many times do the dynamics change?
Orff was widely known for his work in music education, particularly for his ideas about the connection between music and movement. In his compositions, he was able to create a similar connection between the dramatic and the musical through a very personal style that featured insistent, repeated patterns of notes and compelling rhythms, such as in "O Fortuna."
Composer: Carl Orff
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"Carmina Burana: Carmina Burana: O Fortuna"