Re: subito dynamic after hairpin

[Tiresia GIUNO]

On Wed, 22 Aug 2012 23:04:13 -0700
Curt <address@hidden> wrote:
> 
> Yes, thanks to Tiresia.  I'll definitely switch to putting (subito)
> after the dynamic.  Having the dynamic right after the hairpin solves
> all the hairpin problems.  I'm just trying to figure out how to
> easily get the (subito) on the same vertical level (consistently) as
> the dynamic now, while retaining the proper position of the dynamic
> (centered below its note).
> 
> On Aug 22, 2012, at 10:32 PM, wjm wrote:
> 
> > Taking all that has gone before, where must Curt Siffert place his
> > 'subito' text to make whatever it is he requires musically correct
> > and meaningful? Perhaps a scan of a simple hand-drawn example would
> > suffice, perhaps with a written explanation as well? And what would
> > be the method/LP code to do it? (the last is beyong me, I afraid!)
> > Regards Bill
> 
> 
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Just to confirm that "s" can never stay for "subito": in the first
attached example (Beethoven's String Quartet op.130) you find "sf" every
two notes. It wouldn't make any sense to interpret it as "subito f",
since it is already "forte"

I had a (fast) look on scores of (last) Haydn, Mozart and Beethoven. I
could not find "sfz". They always used just "sf"

In the second example (Stravinsky's Rite of Spring) you can see the use
of bold italics for dynamics and italics for "sub." (that _follows_ the
dynamic like in "p dolce" and unlike other expressions like "più p")

Regards TG

ex1_beethoven.png
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ex2_stravinsky.png
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