Essentials in Conducting Part 6

[Sidenote: TEMPO RECORDED IN MUSCLES]

In concluding the chapter let us emphasize the fact that the establis.h.i.+ng of a tempo is a matter of muscle even more than of mind, and that before beginning to beat time the conductor should have the tempo recorded in his muscular memory. Before rising to conduct a composition then let him feel its tempo in the muscles of the arm and hand wielding the baton; for if not thus felt, the work will rarely be begun with a clearly defined rate of speed. This consideration receives added weight when it is recalled that if the conductor does not set the tempo, the chorus accompanist or first violinist will, and they, not having studied the music from this standpoint, will rarely succeed in hitting upon the correct rate of movement.

CHAPTER VI

INTERPRETATION IN CONDUCTING

(_Continued_)

DYNAMICS

[Sidenote: IMPORTANCE OF DYNAMICS]

Another important factor in the expressive rendition of music is _dynamics_, _i.e._, the relative loudness and softness of tone. The composer is supposed to have a fairly large share in this phase of expression, and in modern music always indicates in the score at least the most important dynamic changes that he has in mind. But our observation of musical performances tends to make us feel that in this aspect, even more than in tempo changes, it is the conductor or performer who must bear the greater responsibility, and that the _amount_ of dynamic contrast to be employed certainly depends entirely upon the taste of the conductor or performer.

It is safe to say that the dynamic factor is easier to control than is the tempo, and yet in spite of this fact, there is no question but that the rendition of most choral and orchestral music could be made much more interesting if it could be given with a greater variety of dynamic shading. Nor is there, in our opinion, any question but that the changes from _forte_ to _piano_ and _vice versa_, the gradually worked up _crescendos_, the vigorous accents on certain important tones or chords, together with those subtler shadings often referred to as _dynamic nuances_, may become just as important and powerful a means of conveying emotional effects as tempo. Joy and triumph and exuberance are of course expressed by _forte_ and _fortissimo_ effects (the crowd at a football game does not _whisper_ its approval when its own team has made a touch-down), but the image of a mother singing a lullaby would demand altogether different dynamic treatment.

The _crescendo_ is one of the most powerful means of expression that the composer has at his disposal--especially in writing for the modern orchestra, but there seems to be a good deal of misunderstanding on the part of amateur conductors and performers about the real meaning of the term. _Crescendo_ does not mean _forte_; indeed Weingartner (_op. cit._, p. 6) quotes von Bulow as remarking that _crescendo signifies piano_,--meaning of course that a _crescendo_ usually implies a soft beginning.

It should perhaps be noted at this point that there are two varieties of _crescendo_; one being produced by performing succeeding tones each more loudly than the one immediately preceding it; the other by prolonging the same tone and increasing its power gradually as it continues to sound. The first type is much commoner than the second, and is indeed the one kind of _crescendo_ that is possible in piano playing; but the second variety can be secured in the case of an organ with swell box, the human voice, and in both string and wind orchestral instruments. Since some of the most beautiful musical effects may be produced by the use of this second type of crescendo, it should be employed very much more than it is in choral and orchestral music. The English conductor Coward takes the ground that the swell (a combination of _crescendo_ and _diminuendo_) is the most powerful choral effect in existence.[17]

[Footnote 17: Coward, _Choral Technique and Interpretation_, p. 112.]

When the composer wishes to build up a really tremendous climax and sweep all before him by the intensity of the emotional excitement generated, he frequently indicates an increase in the amount of tone, coupled with a very gradual acceleration in tempo, all proceeding by slow degrees, and perhaps accompanied by a rise from a low pitch register to higher ones. If on the other hand, he wants to let down in emotional intensity, he does the opposite of all these things. The combination of _crescendo_ and _ritardando_ is also tremendously effective.

In order to bring together in fairly comprehensive array the terms that are ordinarily used by the composer to indicate various expressional effects, a table of the most frequently encountered dynamic expressions is here included.

_Pianississimo_ (_ppp_) } _pianissimo possibile_ } (as softly as possible)

_pianissimo_ (_pp_) (superlative of _piano_--very softly)

_piano_ (_p_) (softly)

_piu piano_ (more softly)

_il piu piano_ (most softly)

_piano a.s.sai_ (very softly)

_mezzo-piano_ (_mp_) (moderately softly)

_forte_ (_f_) (loudly)

_fortissimo_ (_ff_) (superlative of _forte_--very loudly)

_fortississimo_ (_fff_) (as loudly as possible)

_piu forte_ (more loudly)

_il piu forte_ (most loudly)

_il piu forte possibile_ (as loudly as possible)

_mezzo forte_ (_mf_) (moderately loudly)

_forte-piano_ (_fp_) (loudly followed immediately by softly)

_forzando_ (_z_) } (These words and signs indicate that _sforzando_ (_sf_ or _sfz_) } a single tone or chord is to be _forzato_ (_fz_) } accented, the amount of stress _sforzato_ (_sf_ or _sfz_) } depending upon the character of the [accent hairpin symbol] or } pa.s.sage and of the composition) [accent symbol] }

_rinforzando_ (_rinf_) } (reinforced; a definite increase in power _rinforzato_ (_rfz_) } extending through a phrase or pa.s.sage)

_crescendo_ (_cresc._ or [crescendo symbol]) (gradually becoming louder)

_decrescendo_ (_decresc._ or } [decrescendo symbol]) } (gradually becoming softer) _diminuendo_ (_dim._ or } [diminuendo symbol]) }

_crescendo poco a poco_ (becoming louder little by little)

_crescendo subito_ (becoming louder immediately)

_crescendo molto_ (becoming much louder)

_crescendo al fortissimo_ (becoming gradually louder until the _fortissimo_ point has been reached)

_crescendo poi diminuendo_ } (gradually louder then _crescendo e diminuendo_ } gradually softer)

_crescendo ed animando_ (gradually louder and faster)

_diminuendo al pianissimo_ (becoming gradually softer until the _pianissimo_ point is reached)

_morendo_ } _perdendosi_ } (gradually dying away, _i.e._, becoming slower _smorzando_ } and softer by very small degrees) _calando_ }

_con amore_ (with tenderness)

_con bravura_ (with boldness)

_con energia_ (with energy)

_con espressione_ } _espressivo_ } (with expression)

_con brio_ (with brilliancy)

_con fuoco_ (with fire)

_con pa.s.sione_ (with pa.s.sion)