George Frederick McKay · section 58 of 111

Control of dynamics

Another important factor in the achievement of clarity is the calculation of dynamic balance. Even the clearest design can be destroyed and made incomprehensible if some instruments are playing too loudly. In orchestral performance delicate sounds like the middle register of the clarinet, the muted trumpet or the sound of the harp, can be easily obliterated by other naturally

powerful timbres. A thundering timpani or drum roll can smother almost any other sound, and the fortissimo of the trumpets can wipe out all else like the "Day of Judgment." The woodwind section of the orchestra is particularly delicate when compared to the brass section, or when competing with a string group.

Conductors are constantly confronted with the need to achieve dynamic balance. There is an old story attributed to a Toscanini rehearsal. In going over a passage the conductor asked the bassoon player to play "more softly" and later, "still more softly." The bassoonist strove mightily but could not satisfy the conductor. Finally the player did not play at all and the conductor said, "Ah, just right!"

Control of dynamic factors requires a knowledge of the relative strength of tone of the various instruments. When the dynamic markings are precise, the impact of any design will be clarified. In a carefully marked score, timbres and groups will often be marked differently. Woodwinds may have to be marked f to balance brasses marked p. Similarly, it might be necessary to mark a clarinet in middle register ff to enable it to sound through (even when brasses are marked p).

There are certain balances that can be approximately calculated, such as the need for two French horns to balance the power of one trumpet or one trombone, but orchestral music varies so much in context and in use of registers that any "scientifically approximate" calculation of dynamics is not too trustworthy.

Experience will be the best teacher. As you hear your music performed (by any small laboratory group) you will encounter both surprise and disappointment. This will be the most effective kind of learning. Such experience in dynamic balancing should lead to more ability in controlling the dynamic factors with such markings as forte, piano, sforzando, crescendo, diminuendo and marcato.

The following general statements outline some of the more evident facts about dynamics:

(a) Trumpets and trombones are naturally powerful when open; when muted they are surprisingly weak.

(b) Woodwinds are easily overpowered by either the brasses or the full string group.

(c) Timpani and the military instruments (snare drum, bass drum and cymbal) are vigorously powerful and must be held in check.

(d) Middle-range clarinet is especially weak and can easily become obliterated.

(e) Harp, harpsichord, and certain delicate percussions are weak and need to be brought forward.

(f) French horns are moderately strong and must sometimes be held in check.

(g) In full orchestra, strings playing mf may be considered the norm or standard degree of dynamic intensity against which the dynamics of other timbres must be balanced. Brasses and percussion are the strongest, while woodwinds are the weakest. In order to be heard in balance with strings marked mf, woodwinds should be marked f. In order to be heard in balance with the same strings, the brasses will ordinarily have to be marked p.

By the same token, if brasses are playing mf, strings will have to play f and woodwinds will have to play ff. Or, if woodwinds are playing mf, strings will have to play p to balance, while brasses must play p or pp.