Huntingdon Male Voice Choir
Notes on Douglas Coombes’ Full Fathom Five suite
The first thing to say is that though these notes are intended for use with Full Fathom Five, almost all the things
included are generic and applicable to every piece of music the choir sings.
The second thing is that the Full Fathom Five score is a very ‘busy’ one. A lot is going on, not just the notes and
words. Dynamic changes happen almost every couple of bars throughout the suite and there’s quite a few changes
of pace too. Just on the very first page, I’ve counted 17 changes in dynamics (admittedly some are for both
accompanist and choir)!
Dynamics (or Volume)
Since so many dynamics changes are included, let me explain them. Dynamics are given letters taken from Italian
words. (Most instructions in music are in Italian though the Germans, for some reason, traditionally have used their
own language and, in some cases, so have French composers).
Dynamic (or volume) is a continuum from ppp to fff. Invariably these instructions are given in a bold italic font. The
quietest is ppp and the loudest is fff. The letter p is derived from the word piano (or soft) while the letter f comes
from the Italian forte (strong / loud). A double, such as pp represents pianissimo (quieter than piano) while ff
represents fortissimo (louder than forte). In between we have mp and mf (mezzo piano and mezzo forte) meaning
moderately soft or moderately loud.
The full continuum is:
ppp
pp
p
mp
mf
Gradations between the levels are given as hairpins such as
f
ff
fff
or
This one means get louder and this one, get softer
The length of the hairpin (technically known as a crescendo or diminuendo) determines over how many notes or
bars of music the effect is to take place. Crescendo and diminuendo are frequently abbreviated to cresc. and dim.
respectively.
Finally, a word of caution. No absolutes exist in terms of volume control. I cannot tell you exactly what a pp or an mf
sound like on any particular note. No-one can though between each end of the continuum it is easy! However, in
relation to other parts of a piece and in relation to other music, it is possible to move from one part of the
continuum to another.
Other dynamic markings and their meanings
˃
over a note
emphasise this note / word with additional diaphragmatic push, effectively
making it louder and slightly detached from any following note
over a note
detach this word/ note from both previous and following notes/words
sub. mp
subito meaning suddenly, piano meaning quieter
f sempre
loud from here to next marking (literal meaning “always forte”)
fp
note to be sung very loudly at first but then, immediately, much quieter.
This is achieved using an additional diaphragmatic push but then almost
immediately slowing the air flow to reduce the volume while also
maintaining both pitch and support.
sf (occasionally sfz)
sforzando meaning forced, pushed, much louder this note only – but still in
tune!
sub. f
subito meaning suddenly, forte meaning louder
Pace (Speed or Tempo)
The speed at which a piece goes is indicated in two major ways. The first is the metronome mark (. = 60 is the first
one in the score). The second is through another series of Italian terms which represent a speed continuum. In La
Pique, it is marked Allegro. Dynamics are invariably in bold italics but tempo instructions are normally just bold.
The metronome mark gives the number of the indicated note type to be performed per minute. In La Pique, this is
60 dotted minims should occur every minute. In this piece, at the correct tempo, we should be singing 180 crotchets
per minute. It is very fast (just as a reminder, the piece has three crotchets per bar or 3 / 4 time).
Full Fathom Five (on page 12) is set for 90 crotchet beats per minute. If I get it right, that means it will be half the
speed of La Pique!
A-Roving is a little faster, being set at 100 crotchets to the minute. You might notice that this piece only has two
crotchet beats in each bar. The result is a slightly more driving forward feel to the music. This movement has some
interesting tempo changes throughout as well as some “actions” in one or two places!
Mary Ann is set at a slightly more contemplative pace of 75 crotchets to the minute.
Finally, Bound for the Rio Grande is set at 55 dotted crotchets per minute. Don’t think this is slower than the
previous movement. It is not. Each dotted crotchet is split into three quavers. With two dotted crotchet beats per
bar (6 / 8 time) the words will come thick and fast as well as the notes!
How do you work out how many beats occur in a minute? Easy! Count at your chosen pace for a measured 10
seconds then multiply by six. Be careful not to be put off by the second hand or clock tick. That will give you 60 per
minute!!!
The speed continuum terms (as used in the suite but applicable across all music) is from fastest to slowest:
Allegro
(fast / lively)
Vigoroso
(vigorously)
Allegretto
(lively)
Andante con moto
(a fast walking pace)
Gradations between terms are usually indicated by:
Andante
walking pace
Adagio
slowly
rall. (short for rallentando): gradually slow down
poco rall.: a slight slowing in pace
molto rall.: slow down a great deal
accel. (accelerando): getting faster
Tempo primo: return to the original (“first”) speed
Piu mosso: more speed
Meno mosso: less speed
Molto meno mosso: much reduced speed
A tempo: back to the speed before the last change
Other tempo markings
Rubato;
slowing down or speeding up to convey more feeling. Here, change is completely at the discretion of
the MD (what’s new there)!
Morendo:
gradually dying away (e.g. as a bell ring might die away or an echo in a cathedral).
You might find some terns I’ve missed. Please ask if you don’t understand them because, if you don’t understand
them, there’s a very good chance that others won’t too!! We all need to keep learning.
Peter Davies
04/01/14