Making Better Use of Dynamics - Music Performance

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Making better use of musical dynamics on the piano and other instruments. This music performance lesson considers how dynamic variety and shape impact on musical performance. Taking Schumann’s Träumerei as an example in which very few dynamics are indicated by the composer, we explore how the melodic lines, phrase structure, and harmonic tension each suggest an approach to dynamics that brings the performance to life and paints the character of the piece.
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🕘 Timestamps
0:00 - Introduction to making better use of dynamics
2:56 - What clues are there in the score?
8:33 - Interpretation example
12:44 - Why does it matter?
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Опубликовано:

8 июл 2024

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Комментарии : 35

@MusicMattersGB 3 года назад

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

@zpicypanda5487 3 года назад

I am a beginner (16 months of tinkering with keyboards) so a lot of content on this channel is way over my head. But what a wonderful delivery! Thorough, articulate, humorous, gentle. Thank you!

@MusicMattersGB 3 года назад

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

@vickyvey1657 3 года назад

I already said this but will say again. You are the best online music teacher on you tube because you tick all these elements: best teaching methods, best way of delivering the content, best content, very clear paced explanation and excellent complement to study the books published by Royal Schools of Music in the UK. Ah, and forgot to say, you have a great speech, oratory skills ...

@MusicMattersGB 3 года назад

That is so kind of you. I’m deeply touched. Thank you.

@RisingReed Год назад

This is a fantastic video. Succinct, with clear examples and some rules of thumb. Thanks.

@MusicMattersGB Год назад

You’re most kind. Much more at www.mmcourses.co.uk

@rethavanzyl5499 3 года назад

Ahh, I love listening to you explaining and playing!!! Thanks Gareth

@MusicMattersGB 3 года назад

That’s most kind.

@authuser676 3 года назад

Great video! I was impressed by how well Gareth could play and narrate simultaneously. Does he have two brains?

@MusicMattersGB 3 года назад

No I don’t have two brains but it would certainly be useful. I think it’s a very useful skill to develop - to be able to talk and play fluently simultaneously.

@HumbleNewMusic 3 года назад

Gareth, I personally love this... what you cover & how you share it... From 8:38 on is beautiful... it highlights the important subtleties & enriches my experience of this piece. It also reminds me of how I appreciate the unique qualities each player brings to a piece 🎹 🎶 👊 A nice reminder for my current composition for sure... 🎼 🎶 🙂

@MusicMattersGB 3 года назад

That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

@joyfulhuman 3 года назад

Very good video. I learned how to interpret what dynamics should be used when it is not indicated very often by the composer throughout the score.

@MusicMattersGB 3 года назад

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

@ronsummers4090 3 года назад

I have been playing guitar and various instruments for years but have no classical training what so ever, however your lesson has struck a chord (pun unintended) as I have been working on pieces using exactly the dynamics you suggest. Like you say I find recording and playing back very useful. Many thanks.

@MusicMattersGB 3 года назад

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

@carlstenger5893 3 года назад

Another brilliant video. Thanks so much!

@MusicMattersGB 3 года назад

Thanks. Hope you’re well.

@iwright621 3 года назад

Thanks Gareth.very much appreciated . Looking forward to the next one 👍

@MusicMattersGB 3 года назад

That’s great.

@michaeltaylor7407 3 года назад

Excellent video!! Thanks Gareth!

@MusicMattersGB 3 года назад

A pleasure. Hope all well.

@jaqnoel1727 3 года назад

Wow this video is fantastic. Its opened my world to up my level of artistry and musicianship...back to the drawing board ..I dont mind I think it's worth it .keep up the good work. Thanks for sharing 😻

@MusicMattersGB 3 года назад

Fabulous. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

@josephinebrown6631 Год назад

Thank you kindly🤍

@MusicMattersGB Год назад

A pleasure. Much more at www.mmcourses.co.uk

@pranavmakhijani2002 3 года назад

Thanks for this video.

@MusicMattersGB 3 года назад

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

@SteveKirkUK Год назад

Hi Gareth Very interesting, thanks. Does the same principle apply to contemporary scores as well as interpreting the old classics? In other words, should the modern composer assume the performer will use their skill to add appropriate dynamics or is the standard approach to give more instruction in the form of markings and hairpins? One specific question, if you don't mind please. At the end of a cres. or dim. hairpin should the composer add the dynamic marking the performer should carry on at? E.g. I'm writing a quiet piece in 'p' but want a nice diminuendo on the long note at the end of each phrase; do I need to add another 'p' at the start of the next phrase or is it implied and understood by the performer without needing to reiterate it? Thanks Steve

@MusicMattersGB Год назад

In contemporary scores one might expect more detail in the score. It’s really up to the composer to decide exactly what to do about dynamic details relating to hairpins. Rely on your best judgement.

@superblondeDotOrg 3 года назад

In mm.16 on the final beat, there is a grace note leading into mm.17. If you wanted to start a new (sudden) dynamic of the mm.17 phrase, lets say going to f, would you notate the f underneath the grace note, or would you notate the f on the first beat of mm.17 ? If the f is placed in mm.17, then would the performer look ahead prior to playing the mm.16 grace note, in order to play the grace note with louder dynamic? Or in this case, would you choose to use a different type of grace note notation (the one that is notated just before the same bar) and place that notation in mm.17 so that the dynamic would cover the grace note along with the entire phrase? (Sure is easy to make music complex when digging into the fine details)

@MusicMattersGB 3 года назад

The simple answer is that the dynamic begins where it’s marked so the composer needs to think about the musical impact and place the dynamic appropriately.

@superblondeDotOrg 3 года назад

perhaps the title of this video should be, "making BETTer use of DYNAMics in MUSICal PERforMANCE !!11!1!!"

@MusicMattersGB 3 года назад

😀