Composers started marking their scores with instructions about dynamics: |
Well into the 17th century |
For the most part, pianists and harpsichordists don’t have direct contact with the strings of their instruments. Therefore, they manipulate sound through a _______________mechanism. |
keyboard |
Which of the following two excerpts uses soft dynamics? |
Excerpt B an excerpt of Beethoven’s Moonlight Sonata for piano, exemplifies soft dynamics. |
Percussion players produce more or less volume by changing bow pressure and speed. |
False Percussion players DON’T produce more or less volume by changing bow pressure and speed. They simply don’t use a bow. |
The volume of this excerpt is an example of which of the following? |
Piano This excerpt from Modest Mussorgsky’s Pictures at an Exhibition is an example of piano volume. |
Volume and dynamics are interchangeable terms. |
True |
As a musical concept, dynamics covers only the overall loudness or softness of a piece of music. |
False That was a false statement. Dynamics can refer to the overall loudness or softness of music, as well as to the process of gradual change between volume levels. |
Musicians have always made their own choices regarding volume to fine tune their playing to specific performance spaces. |
False This only happened before composers started marking scores with instructions about volume. |
This musical excerpt is an example of forte |
True This excerpt from Antonin Dvorak’s Slavonic Dance No. 8 is an example of forte. |
A pianist’s skill in manipulating volume is usually referred to as the performer’s_______________ |
touch |
Volume Assessment (c4elink)
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