cal style and the evolution of musical notation.

By the latter part of the

Classical period, composersperhaps led by the Mannheim school
found it more acceptable to incorporate crescendos and decrescendos in
their compositions. This practice became common in the Romantic pe-
riod. With a greater stress on the emotions, composers found that the use
of dynamic contrasts conveyed the emotional meaning of the music to a
greater extent. The use of dynamic contrast was an important part of con-
veying musical meaning.
The use of crescendos and decrescendos (written or unwritten) is an
important part of shaping a phrase. A crescendo has the effect of increas-
ing the emotional response of the listenerespecially when it accompa-
nies a transition to the tonic. Tchaikovskys Romeo and Juliet Overture is a
case in point. The crescendo roll from piano to fortissimo ve measures
from the end of the overture raises the emotional response of the listener.
Crescendo rolls are often effective at the end of pieces, even though they
are not notated as crescendos. They have the effect of increasing or deep-
ening the emotional response of the listener. Crescendos are also effective
in the nal notes leading up to the resolution of the piece to the tonic. In
the last movement of Brahmss Symphony No. 1, the four notes beginning
ve measures from the end of the piece can be played by giving each note
a slightly greater dynamic (see example 2.10). So doing helps build musi-
cal tension as the music rushes toward the nal resolution in the last bar.
As described below, progressively increasing the amount of tension in each
note further creates greater musical tension that is gloriously resolved in
the nal measure. It is not uncommon to use a crescendo in a previous
measure to move the music forward into the next measure. See the com-
panion Web site for a marked timpani part.

2.10. Intensifying notes to effectuate

a nal resolution

~~~~~~~~~~ Progressively Intensify Notes U

? c w w w w
. . . .
S
Decrescendos provide the timpanist with the opportunity to ease mu-
sical tension, and in conjunction with crescendos, they can be used to
shape the musical line more effectively. If employing a crescendo can in-
crease musical tension, using a diminuendo can dissipate it. Brahms dis-
perses musical tension one measure before letter B in the fourth move-
ment of Symphony No. 1 (see example 2.11). After an accented entrance
lled with tension, Brahms helps release that tension by writing a dimin-
uendo. However, shaping a phrase can be effectively accomplished by
using a crescendo and diminuendofollowing the ascending and de-
scending line in the melody or harmony. The undulating melody of the vi-
olins at letter E of the rst movement of the Bruch Violin Concerto makes

46 Timpani Tone and the Interpretation of Baroque and Classical Music