# Piano sheet music dynamic notation?



## neofite

I am a bit puzzled about dynamic markings for piano scores. They seem to always be between the two staves instead of below them. But how can a composer indicate that the left hand should be played more softly than the right hand? (Or that the right hand should be played more softly than the left?) Do good pianists automatically know whether and when to play the left hand more softly than the right hand?


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## Jacred

When it is written in the middle, the marking refers to both hands. Of course, when playing, one would gauge how much emphasis to put on each hand, so this is an overall dynamic marking.

It is less common to have the hands playing with explicitly different dynamics. These specific dynamics would be written above or below the staff of the hand in question.


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## neofite

Jacred said:


> When it is written in the middle, the marking refers to both hands. Of course, when playing, one would gauge how much emphasis to put on each hand, so this is an overall dynamic marking.
> 
> It is less common to have the hands playing with explicitly different dynamics. These specific dynamics would be written above or below the staff of the hand in question.


Thank you, Jacred.

And could you provide some examples in scores that can be found online, such as in the IMSLP, that I could look at?


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## Jacred

From this website: *[url]http://academic.udayton.edu/PhillipMagnuson/soundpatterns/basicnotation/*[/URL]

If you scroll down:

"Piano music generally places dynamic markings between the two staves. However, if each staff has its own dynamic level, the right hand dynamics appear above the staff, and the left hand below."


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## Bettina

As an example of how a performer might respond to the various types (and positions) of dynamic markings, here's a recording of Rubinstein playing Chopin's Nocturne Op. 9 No. 1. The score is synchronized with the recording.




There are many detailed dynamic markings in this score, some of which are placed in between the staves, and some of which are placed above the right hand melody line. It's interesting to hear what Rubinstein does with the dynamics that are placed in between: he usually plays the melody line a notch above the accompaniment, while remaining within the general range specified by the dynamic marks. But sometimes he brings out inner voices which are not explicitly marked with their own dynamics. This demonstrates how the performer has some degree of flexibility as to how the dynamics are distributed among the various voices.


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## adamks

What a great in information shared here. Thanks all.


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## Pugg

adamks said:


> What a great in information shared here. Thanks all.


I agree. .................................


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