Church Music Committee: Choristers’ Manual, Lesson IX; Interpretation (Continued)

CHURCH MUSIC COMMITTEE Choristers' Manual — Lesson IX — Interpretation (Continued) By Edward P. Kimball Another important factor in the expressive performance of music! is the loudness and softness of tone, which is designated by the technical term "dynamics." The composer has a large part to do with this phase of expression, and in modern standard music indications by the composers are plainly given in the score, and yet a large part of the responsibility for proper dynamic contrast rests with conductor or performer, and cer- tainly greater liberty is taken with dynamics than with tempo. Much of the emotional effect of a composition is conveyed by the changes from "piano" to "forte" and vice versa, the development of "cres- cendo" and decrescendo," the use of accents on notes or chords, as well as the subtler shadings in the interpretation which are referred to as "dynamic nuances." "Crescendo" is one of the most powerful means at the disposal of the conductor or performer, and should be thoroughly understood, even though its use is varied. The safest rule to follow is to assume that "cres- cendo" means increase, and should not be thought of otherwise unless it is followed by one of the many qualifying expressions, which, if they are to be understood must be looked up in a dictionary. From this simple def- inition it is logical to infer that crescendo must begin with the degree of tone that is being employed in the passage in which the direction is found. For example, if the passage is being done softly the crescendo should begin softly and form an increase to the quantity of the passage; on the other hand, if the passage is loud, the crescendo will begin loud, and increase ac- cording to the length it is to be observed. This points out two miscon- ceptions of the use of crescendo which are often heard. Some performers begin every crescendo loud, irrespective of the degree of loudness or softness of the passage; or soft in every instance, causing in either case an abruptness and variation in the interpretation which is illogical, and which destroys the emotional effect of the rendition. Then there is the common disposition to accelerate1 the tempo with every crescendo, and ritard it with every decres- cendo, both being bad faults where it is not directed, or where the context does not warrant it. Often the exact opposite in each case would prove much more effective. The achievement of a perfect and consistent crescendo and decrescendo is greatly to be desired. Following is a list, quite comprehensive, of the commonest terms used by composers to indicate dynamic effects: pianississimo (ppp) . pianissimo possible softly as possible pianissimo (pp) , superlative of piano — very softly piano (p) softly piu piano more softly il piu piano most softly piano assai very softly mezzo piano (mp) moderately softly forte (f) loudly fortissimo (ff) very loudly — superlative of forte fortississimo (fff) as loudly as possible piu forte more loudly il piu forte most loudly ,

CHURCH MUSIC COMMITTEE 989 il piu forte possible as loudly as possible mezzo forte (mf) moderately loudly forte-piano loudly followed immediately by softly forzando, sforzando, (sf or sfz), forzato (fz), sforzato (sfz) . These words indicate that a single note or chord is to be accented, the amount of stress depending upon the character of the passage. Also the sign resembling a caret, on its side or pointing upward. reinforzando (rinf) , rinforzato (rfz) , reinforced, a definite increase in power ex- tending through a phrase or passage. cresaendo (cresc) gradually louder, indicated also by lines beginning at a point and gradually separating to indicate an increase in tone. decrescendo (decres) , diminuendo (dim) , gradually softer, indicated also by lines be- ginning some distance apart and running together to a point, the opposite to the above. crescendo poco a poco, becoming louder little by little crescendo subito, becoming louder immediately crescendo molto, becoming much louder crescendo all fortissimo, becoming louder until fortissimo has been reached crescendo poi diminuendo, crescendo e diminuendo, gradually louder then gradually softer. crescendo ed animando, gradually louder and faster diminuendo al pianissimo, gradually softer until pianissimo has been reached morendo, perdendosi, smorzando, calando, gradually dying away, softer and slower by small degrees con amore with tenderness con tenerezza with tenderness con bravura with boldness dolce gently (literally, sweetly) con energia with energy g!o:oso humorously con expressione, expressivo with expres- giojoso joyously , sion. conmaesta, maestoso majestically con brio with brilliancy pastorale in pastoral style con fuoco with fire pomposo pompously con passione with passion scherzando, scherzoso jokingly con grazia with grace sotto voce with subdued voice. In his helpful book on conducting, Gehrkens presents some valuable suggestions on dynamics, some of which are given below. Those remarks about instruments are applicable also to vocal groups, so a study of them is recommended. Among other things he says: "The pianissimo of choruses and orchestras is seldom soft enough. The extreme limit of soft tone is very effective in both choral and orchestral music, and most conductors seem to have no adequate notion of how soft the tone may be made in such passages. This is especially true of chorus music in the church service; and even the gospel singer, Sankey, is said to have found that the softest, rather than the loudest, singing was spiritually the most impressive. "Pianissimo singing or playing does not imply a slower tempo, and in working with very soft passages the conductor must be constantly on guard lest the performers begin to 'drag.' If the same virile and spirited response is insisted upon in such places as is demanded in ordinary passages, the effect will be greatly improved, and the singing moreover will not nearly so likely fall from pitch. '.'The most important voice from the standpoint of melody must in some way be made to stand out above the other parts. This may be done in two ways: "1. By making the melody louder than the other parts. "2. By subduing the other parts sufficiently to make the melody prominent by contrast. "The second method is frequently the better of the two, and should more frequently be made use of in ensemble music than is now the case in amateur per- formances."

990 IMPROVEMENT ERA Again, he says: "In polyphonic music containing imitative passages, the part having the subject must be louder than the rest, especially at its first entrance. * * * In vocal music the accent and crescendo marks provided by the composer are intended merely to indicate the proper pronunciation of some part of the text. Often, too, they assist in the declamation of the text by indicating the climax of the phrase, i. e., the point of greatest emphasis. The dynamic directions provided by the composers are intended to indicate only the broader and more obvious effects, and it will be ne- cessary for the performer to introduce many changes not indicated in the score. [This is important, but must not be abused!] All expression signs are relative, never absolute, and piano, crescendo, sforzandb, etc., are not intended to convey to with regard to this point that dynamic effects are so frequently overdone by amateurs, both conductors and performers seeming to imagine that every time the word crescendo occurs the performers are to blow or sing at the very top of their power; and that sforzando means a violent accent approaching the effect of a blast of dynamite, whether occuring in the midst of a vigorous, spirited movement, or in a tender lullaby." On this point Berlioz says: "Simple shadings become thick blurs, accents become passionate shrieks, The effects intended by the poor composer are quite distorted and coarsened, and the attempts of the conductors to be artistic, however honest they may be, remind one of the tenderness of the ass in the fable, who knocked his master down in trying to caress him." A LATTER-DAY SAINT'S IDEA OF SUCCESS IN LIFE By Arthur Manwaring Space and time are limitless. All space is filled with matter and force, in some form. Creation means association, organization, and systematization of that which is. Even God cannot make something out of nothing. During all the countless ages past there has always been parents and children, mortals and immortals, worlds and world systems. We are infant Gods, learning to walk and talk divinity. The eternal scheme of things seems to be that each individual has some one above him, up to whom he can look for advice, help and wisdom, but, ever and always one finds he can only acquire the right and power to climb by helping, serving, loving and teaching his fellows who are not so far advanced. In other words, if one desires rewards and blessings for himself and his, then, this selfish desire can only be realized by being utterly unselfish. To be successful, in any occupation, profession, hobby, or any divi- sion of the arts or sciences, or any field of endeavor whatsoever, the test is that one does so without hampering, depriving, crushing, or otherwise appropriating the earnings, strength, beauty, affection or happiness, of others to himself, but must, by sheer superior intelligence and wisdom, originate or generate by organization and association of things and forces about him, the things he desires, and enlist the assistance of his fellows by sharing his new found treasures with them, the while enjoying whatever it is their pleas- ure to share with him. The purpose behind all creation and effort is that man might have joy. Joy is a product or result of love and association.