Terraced dynamics
Stepwise change of loudness without transition, typical of the Baroque.
What it means
Terraced dynamics designates a change of loudness that occurs in steps rather than in flowing transitions: one section stands at forte, the next at piano, with no crescendo or decrescendo between them. The image of terraces refers to these clearly separated levels.
The term comes from twentieth-century musicology and describes a practice characteristic of Baroque music. It is seen in a more differentiated way in research than the catchy label suggests: even in this period there was graduated and flexible tone production, especially among singers and string players. As a description of notated dynamics and of the possibilities of organ and harpsichord, however, the term remains useful.
The counter-concept is flowing dynamics with gradual transitions, which becomes established in the eighteenth century.
In the notation
Terraced dynamics is recognizable by the fact that dynamic markings stand section by section, with no hairpins or transitional words appearing between them. Often f and p change directly into one another, frequently at repeats or at the change between tutti and solo.
Musical use
Stepwise dynamics is closely connected with the construction of the instruments and with the way of writing. Organ and harpsichord cannot change loudness through the touch but only through a change of registration or manual — that is, in steps. In the concerto grosso, the same effect arises from the alternation between the small group of soloists and the full ensemble. With the fortepiano and the Classical orchestra, flowing dynamics takes its place. Whether the Baroque knew exclusively stepwise dynamics is disputed in research, for sources also attest crescendos.
Performance practice
Set the steps clearly against each other and avoid unconscious transitions — a slight swelling before the loud section contradicts the style. Mark the change points for yourself in the notated text. Shape within a step through articulation and tone production, not through loudness. And check with repeats whether a change between loud and soft is intended; it is often not notated but part of performance practice.