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 book during a
properly trained performance. But there is always the genius who
comes along, like a Glenn Gould, and makes something his own of it.
Bach is always open to interpretation, for sure.
Don't pay any attention to non-organist comments, they can be
misleading.
Like any music for any instrumentation, write what you want to hear
it sound like.
Romantic period instruments may have swell boxes, making the stops of
that manual
capable of dynamics from p to f, and many organ have been adapted.
Stops may be applied to only one manual or the pedals independently.
There is usually a crescendo pedal which adds stops up to full organ.
You may indicate different dynamic marking for each staff. Organs
are closer to the
nuances possible with an orchestra.
The organist will be very creative in using the manuals and stops to
get as close to your
expression markings as he or she can on any instrument, or chose not to.
The serendipity is often a pleasant surprise. On simpler, or older
instruments, there may be
much less control so the only a general form may be obtained.
tim
On Apr 17, 2010, at 6:30 PM, 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 can
one dynamic marking placed in between the top two staves suffice?
Would the
performer know that the dynamic also applied to the pedals? Are the
pedals
capable of playing at a different dynamic level than the manuals? I
suppose
that each organ is built differently, so it would be nearly
impossible to
prepare for every performance situation.
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