| Great topic!
First of all, music without dynamics isn't music at all: it's just a bunch of notes. If I don't make sure I'm playing interesting dynamics in my practice I'm not going to be able to do it in rehearsals and concerts. My experience working with young students and some college age kids is that they very often get into what I call "no dynamicland" where everything just comes out mf to f. Often they start a with good dynamic intensions but then get caught up in notes and dynamics are quickly forgotten. There's a certain physical security that one gets from playing loud. It really feels like your doing something on your chops. Soft playing doesn't feel so secure.
I love to pracice. When I do a technical routine I can practice longer by playing it softer. It takes much less effort to practice softer.
I remember Jim Thompson, whom I admire, telling my "your soft playing is your money playing". I read an interview with Maurice Andre who also talked about practicing technique at a soft volume.
My own teacher, Ray Mase, often talks about exagerating dynamics. It's very rare that a conductor or composer will tell you that you're phrasing too much or putting too much emphasis on dynamics or hairpins. It's usually the other way around.
Larry Malin |