Notation question about using sfp within a dynamic context
Moderators: Peter Thomsen, miker
I want to use sfp within a dynamic context of pp. Can you put pp and sfp under the same note? It's the starting note of the phrase and I think it's odd to put the pp to indicate the dynamic level of the whole section before the section starts (under a rest or barline...). Isn't it?
Also, would sfp (or sfz) be played differently within different dynamic context? For example, should it be played as having a stronger attack in the overall dynamic context of mf than in pp? Or are they always played the same (from f to p)?
As an illustration of my confusion, what dynamic level in general would you play seeing the music in the picture? The accent and sfp combination is my attempt for the saxes to imitate the piano's decay effect... I'm not sure how successful it would be in live playing. Any suggestion of notation would be highly appreciated!
Thank you very very much!
Also, would sfp (or sfz) be played differently within different dynamic context? For example, should it be played as having a stronger attack in the overall dynamic context of mf than in pp? Or are they always played the same (from f to p)?
As an illustration of my confusion, what dynamic level in general would you play seeing the music in the picture? The accent and sfp combination is my attempt for the saxes to imitate the piano's decay effect... I'm not sure how successful it would be in live playing. Any suggestion of notation would be highly appreciated!
Thank you very very much!
- David Ward
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I don't know whether or not this would give what you want (from real musicians, playback may not co-operate), but I have seen directions such as msfp and (I seem to remember) msfpp in some scores, especially from the early twentieth century.
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Thank you!
David Ward wrote: ↑Fri Dec 18, 2020 5:57 pmI don't know whether or not this would give what you want (from real musicians, playback may not co-operate), but I have seen directions such as msfp and (I seem to remember) msfpp in some scores, especially from the early twentieth century.
- John Ruggero
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I think that yang wants a percussive attack and immediate drop off, which is what one gets on every note on a piano. sfpp or even sfppp without the accent marks should do it.
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If the idea is to imitate a piano tone on other instruments this might work:
In this context all of the repeated diminuendi are understood as starting from the same level (no need to repeat the pp).
(Personally I would prefer the notation in the third example, but that might be a matter of taste.)
or:
or:
I've seen quite a few composers using both sf and accents together, but in my opinion that's overkill, and cluttering.In this context all of the repeated diminuendi are understood as starting from the same level (no need to repeat the pp).
(Personally I would prefer the notation in the third example, but that might be a matter of taste.)
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