Dynamic markings and relative sound levels of instuments?

Question

In an orchestra, various instruments have different "perceived output volume" capabilities and these change across registers. For example, flutes get louder in their higher register, bassoons are louder in their lowest register, while french horns are softer somewhere in the middle of their sound range. Of course, it is a good practice to write playable pieces :-) However, assuming the piece is playable (together with an appropriate instrument doubling, tripling, etc. if more volume is needed), how should dynamics be marked and understood? There are (at least) three people involved here: * a musician, who is an expert in their instrument, * a conductor, who hears the balance of this particular orchestra, * a composer, who had an idea for what balance would sound good or achieve a particular effect. In one extreme dynamic markings could be absolute, as in "how it should sound like from audience perspective". In another extreme I can imagine making the markings being very detailed including changes when the instrument enters its quiet register, as in "how it should be played". How should dynamics be marked and understood?

Answer 1

Great question. I agree with your instincts here, like you mentioned, it’s very important to understand the timbre of each instrument and how it changes throughout their range. This will give you good idea of what dynamics will need to be written in their part during a specific section. If you understand tessitura when composing for each instrument, the ensemble will balance itself in a way. If its a pro level ensemble, the musicians will play with open ears and adjust accordingly as a section or as an ensemble.