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- At the beginning, the strings play in high register create energetic character + loud dynamics
- goes from very loud to soft (the texture is much thinner) and ( less instrumentation ) and also play in high register
- when they play in low register, the dynamics get softer due to thinner texture
- when woodwinds have melody, the dynamics get softer

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Loud dynamic which is caused by the thick texture and the many instruments played at the beginning, this creates a Grand and majestic feel which is also created and sustained by the loud and articulated strings which are played in rhythmic unison and doubled at the octave

There is a variation later on with a sparse amount of instruments which creates a softer dynamic

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Character 1:
- Triumphant and bold. The loud, bright horn section carries this segment. The string section is also very present. There is doubling at the octave which increases the presence of the effected tones. Overall the dynamic is louder. The percussion section lends lots of presence to the lower end. The texture thins when we move into the two part canon-ish sections (played by strings), and the dynamic naturally softens also.

Character 2:
-  Here the character is subtler and more dextrous, owing to the mild tones of the flute and strings. The overall tone colour is milder and less piercing. An overall gentler dynamic. As other instruments enter, the dynamic organically begins to grow. The strings enter with slides which create energy and add a bit of volume. When the string accompaniment begins to play semiquavers, matching the tambourine, the intensity and dynamic builds even further. When we get to the tutti section, the strings play unison with the woodwinds.

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A fully sustained forte created by accented notes especially on the down beats contributes to an intense, authoritative, menacing character.
Doubling at octaves and unison creates more intensity and a louder dynamic. Use of canon in this section feels very uniformed and regimented as the rhythm values are very simple, use of crotchets, quavers and dotted/double dotted crotchets. The use of double dotted rhythms creates clarity in the sound and contributes to a militaristic character.

The contrasting, light, excited character is created by a softer dynamic which gradually crescendos. This dynamic is created through the application of a lighter articulation in the strings and brass, more specifically french horns.
The use of lighter percussion like shakers make the dynamic softer.
The use of much shorter note values contributes to the excited character and quieter dynamic. Short chords in the strings and then in the horns, on the down beats, creates a sparseness to the sound which decreases the dynamic. The addition of instrumental layers and increase of rhythmic complexity it parts contributes to the gradually growing dynamic, which ultimately conveys an excited character, even becoming quite chaotic towards the end of the crescendo.

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Strings are playing close to the bridge. high register. gives off a loud dynamic and contributes to a Major, energetic character.
very reverberant tone colour due to amount of instruments used.
Very articulated rhythms in the string part. strong down bows.  Aerophone in high register, accompanied by the strings creates a softer dynamic compared to the big, opening section.

CHARACTER CHANGES HOW?

Put in more tone colour - texture. Unison/doubled at 8ve. Canon.
Who's playing harmony?

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At the beginning of this excerpt, the strings are using martele articulation and are played strongly in both high and low registers, this creates a loud dynamic which is influenced by the reverberant, and resonant tone colour. The use of timpani and loud percussions also, affect the warm tone colour which then influences the dynamics. There is also use of polyphony texture which is affected by the canon between the string instruments.

In the middle section where the woodwinds have the melody, the dynamic drops down to a softer dynamic which is caused by the use of less instruments and short and brighter tone colour. The strings are adding embellishments by glissanding ascending lightly.

At the end of the excerpt, the dynamics increase to a loud sound as the strings are becoming more thicker in texture and not just playing little embellishments.

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Energetic and triumphant character from the beginning, tutti,  loud dynamics created by the whole orchestra - resonant and warm TC created through

CREATED THROUGH???
Pressure on the bow and fairly fast bow speed. Use of vibrato to create a warmer sound. Mid range/comfortable range.

dynamics also emphasised by the steady percussion section.

MORE REASONS
What sort of percussion? How played?

Lively canon with limited instrumentation created softer dynamics.
HOW ELSE SOFTER?
Harmony?
Tone colours and why?
Rhythm?
Texture?

Joyful and light character - the section where woodwinds gradually build in, thickens the texture and louder dynamics.
MORE REASONS WHY THE CRESCENDO HAPPENS
1. Pitch?
2. Rhythm?
3. Tone colour? Reasons for TC?
4. Texture?
The strings use glissando to juxtapose with the woodwind melody. this lead to a softer dynamics and sparser (texture word) tone.

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contrasting dynamics influence the changes in character

CHARACTER HEADINGS??

The change in texture from polyphony (canon like section) to homophony influences dynamics(loud to soft) which contributes to the distinct changes in character (majestic to playful)

TEXTURE: ROLES Who has melody? Harmony? Bass? Counter melody etc.

The intervals are larger in the melodies of the initial character this is linked to the louder dynamic while the softer section consists of smaller intervals, resulting in a more playful character.

Instrumentation, the initial character was first presented tutti, whole orchestra. Then the string section which continued to produce quite a loud dynamic THROUGH???. The woodwinds included in the contrasting character play at a lower dynamic TC??.

The lower register in the grand character influenced a warm tone colour which made the dynamic louder in comparison to the brighter colour produced by woodwind instruments that have a higher register and adds to the playful, lighter character.

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THe

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- contrasting dynamics which change each section help create a cheeky and playful character.
-andante tempo at the beginning creates a heavy feeling paired with loud dynamic
-forte in dynamics at the start is created through the use of full bows being used in the strings and the marcato articulation
-Dynamics go from ff to p in second section due to thinner texture and instruments playing in the upper register. This creates a brooding and energetic character because of the fast tempo.
-the loud dynamic at the start paired with the moments of silences between phrases create a majestic character
-the soft dynamic of the flue in the second section paired with the fast moving rhythm creates a playful character, this is also paired with the aspirate tone colour of the flute which helps the p dynamic.
-the gradual crescendo is created through more instruments being added and the rhythm getting faster with a more highlighted pulse. It also sounds like the flute player is gradually playing with more air/force
-the more parts are added in the cannon the louder it gets due to the adding of layers

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the use of full orchestra in the beginning creates a loud dynamic, which gives the music a grand and majestic feel.

MORE REASONS PLEASE
1. Harmony
2. Melody
3. Tone colour - reasons for TC
4. Rhythm
5. Articulation

in the second section, the melody is played by a single or a small amount of instruments, making a softer sound, but the fast tempo means that the mood is playful.

in the bridging section, there are two instruments in canon, but the small amount of instruments are creating a softer sound. nevertheless, the mood is still tense and foreboding, as if all the other instruments are holding their breath, so to speak. USE OF RESTRAINT

as more and more instruments are added in, the texture becomes more full and the sound becomes more supported; and being a dance-like piece, it feels like the  mood is becoming increasingly excited and joyous.

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Dynamics are used to convey the two characters of the piece.

CHARACTER 1: Tempestuous, grand, majestic.

A loud dynamic is created through rhythmic unison. This is aided by the wide range that all of the instruments in the tutti cover which create a sense of strength.

In addition to this, the character is also helped by the sharp articulation of the instruments such as the strings and the brass. Doubling at the octave is also used to further create a strong and decisive character.

This is then sharply contrasted by silence which is used to distinguish between sections.

CHARACTER 2: Playful, light

This section begins with a soft dynamic that is created by the use of a solo woodwind paired with soft string staccato accents. The high registers of both of these instruments helps to keep the overall dynamic soft.

As more and more instruments are added and the overall range of the orchestra increases, the overall dynamic also increases (terraced dynamics). This builds tension which is then released by the return of Character 1 and the associated rhythmic unison.

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Character 1: Triumphant, grand

The loud sustained dynamics at the start of the work, created by the unison, doubled at the octave, the contributes to a triumphant, grand mood. The brass add to the warm, resonant tone colour through long sustained notes, strings creating this through sustained bows and heavy vibrato. The timpani adds to this as it has a resonant rich tone colour, adding depth to the overall tone colour. The crisp articulation at the start of the notes create a consistent sound and very clear rhythms adding to this triumph.

Character 2:  Excited, sense of anticipation

The soft dynamic of the running quavers due to the staccato and rhythmic unison between many of the parts, is juxtaposed with the flowing exiting rhythm, contributing to a sense of anticipation. This soft dynamic was also created from the use of lighter instrumentation such as strings and woodwind.

Main melodic line accompanied by staccato strings playing at mid register. Sparser harmonies than before.

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The brash dynamics to begin the whole piece set up a large processional feeling.
Better phrasing? Maybe leave this as a character word. You haven't answered here WHY the dynamics are 'brash'. Is Brash the best word to use? Is Brash a dynamics word?
Give more reasons as to why the dynamics are as they are. Melody/rhythm/texture/TC etc. etc.

Once the canon starts, the dynamics stay loud and harsh, before dropping suddenly for the major section.
As the major section builds in texture and intensity, the dynamics grow, both within the solo instrumental parts on their own, and as a whole with the textural shifting.
Within the whole excerpt, 2 prominent contrasting themes are created, specifically between the minor and major sections. The heavy marcato minor section stays loud the entire time, while the sparse, exciting, joyous major section starts quite soft, but busy, growing and growing as it goes.

HOW DOES IT GROW? What happens in the music to make it grow?
Texture/ TC/ Melody etc etc.

Within the first section, the melody and harmony played by the strings is enhanced by the brass and horns, creating the fortissimo sound. The full resonant tone colour creates a lush, warm feeling.

THIS IS BETTER.

The sparse major section employs only a single flute line with the melody (a very thin, airy tone colour in comparison to the beginning character), ornamented every now and then by the piccolo, while the harmony is played by the strings and horns. This changes as the excerpt goes on, as the melody becomes doubled by the violins and other wind instruments, creating the louder dynamic, feeling as though the processional is coming closer.

Ended strongly.

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The violin embellishments turns into the pulse doubling the tambourine, the thickening of texture and dynamics  by the violin. The embellishments and accelerating pulse create a playful character

The contrary motion and rhythmic unison create a heroic and unified character.

the canon is played con forza, the tension up to the resolution results in a louder dynamic.

The strings play pizzicato with very short decay, this results in a thin texture that creates a quiet dynamic.

Repetition of the canonic section in the faster tempo creates agitation and dynamic tension and an unrest character

The switch to the parallel major creates contrast. (not related)

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decrease in dynamics due to lower register instruments dropping out, leaving higher instruments more exposed. This section is a repeat of the first section's melody, however, the first section is accompanied by the rest of the orchestra. Therefore, this slight drop in character creates a slightly agitated mood, as the return of the tutti melody is greatly anticipated. The dynamics remain very loud as the melody is both doubled at the octave and played with an aggressive technique (making the tone colour harsh and piercing). In addition to this, the section is in canon.
The extreme drop in dynamics in the third section comes as a result of a reduction of instrumentation. The melody is carried firstly by the flutes with very light harmonic accompaniment from the strings. the note values of this section are greatly reduced from that of the last, and the decays are very much shortened. This causes the extreme drop in dynamics, and makes the character suddenly playful and joyous.
The dynamics gradually increase from here as more instruments are added to the texture. The block chord harmonic accompaniment becomes twice as rhythmically active. This adds a great deal of excitement to the character.

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- at the beginning, the strings play in high register create energetic character + loud dynamic
- goes from very loud to soft
-  when they play in low register the dynamics get softer
- when woodwinds have melody, the dynamics get softer
-

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Sparse instrumentation and singularity of individual parts help create a softer dynamic . The Unison of melody and rhythm create a slightly louder dynamic . The loud dynamics are typically more dramatic sections of the piece . The playful cheeky section is conveyed by a softer dynamic with less instruments .

Minor dramatic opening section is loud because of high register of the strings and their shrill tone colour, and also the booming lower brass sections which use more air to create a louder dynamic . The doubling of parts at the octave also create a louder dynamic . The use of cannon overlaps the parts and makes for some clashing sections which can also create a loud dynamic adding to the aggressive character .

The major second variation of the piece is quiet because of the sparse instrumentation and the comfortable range it is in for the strings and woodwind . The build or large slow creshendi is created by adding of instruments and ascending lines or runs .

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The loud dynamic created from the thick texture and strong attack  at the beginning contributes to the triumphant character of the piece.
MORE REASONS??
1. Fast bow speed
2. Digging in to the bow/pressure
3. Melody?
4. Harmony?
5. Texture - phony??
ROLES - who's doing what?
Vibrato.
Tone colour???

In the middle section the texture gets thinner and sparse with  woodwinds playing in their higher register which  contributes to the soft dynamic that creates a light and lively character.
MORE REASONS?
Harmony/ Melody. etc etc.

when the strings accompany the woodwinds they use extended technique such as glissando which creates harsh, piercing  tone colour. This contributes to the dynamic which is getting louder.

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The forte opening creates a bold and majestic character.

The contrast between the bold opening and the softer second section creates a shift in character - more playful and charming character and less declamatory. Throughout the second section the character morphs back into the original victorious theme.

The louder dynamic during the opening is created by chorale style harmonization and stately dotted rhythms. The tone colour employed by the strings is bright and with a lot of bow pressure which also adds to the loud dynamic.

The softer dynamic is created by the use of textual thinning and featuring higher pitched woodwind instruments. This section could be characterized as being more feminine whereas the first section is more masculine.

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The use of dynamic swells created by the ascending contour of the melody creates a triumphant character in the beginning which also combines with the thick texture that create a loud dynamic and adds to an energetic character.

In the next section the texture becomes very sparse with the flute/piccolo playing the melody and the strings are accompanying, there is very little low registered instruments being heard and the dynamics become very soft and when it combines with the fast rhythms and tempo it creates a playful and euphoric character.

The strings use extended techniques when accompanying the flutes in the second section by doing slides/glissandos which makes the tone colour more harsh and piercing which results in a louder dynamic and fades away as the slide gets lower creating a sudden decrescendo and vice versa for when it goes higher, this adds a slightly more tempestuous/chaotic character.

When percussion is heard in the second section the dry and woody tone of it stands out and adds an energetic character that contrasts the reverberant and mellow tone of the strings accompaniment. When the rhythmic values of the percussive part becomes shorter and faster the character becomes more aggressive and agitated and contributes to a louder dynamic as the texture becomes thicker and juxtaposes the light and melodic melody on the top that is composed around major arpeggiated sequences.

The light articulation on the strings and woodwinds in the second section allows for the soft dynamic to fuel a tranquil character. As more instruments enter and start to contribute to the melody or the accompaniment the texture becomes thicker which contributes to a louder dynamic. After this the instruments are playing in melodic and rhythmic unison adding to an elated and uplifting character that creates a somewhat loud dynamic however it has been louder when polyphonic texture was used or when harmonic complexity is heard near the beginning of the excerpt and later as the second section develops

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How do dynamics create character in this work?

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[Václav Smetáček] Bizet: L'Arlésienne Suite No.2 - Farandole