I am used to an accurate indication of note strength in my teaching and performing work. By this I mean that my students and me always know about each particular note on the page, whether one should be played louder or softer in relation to the previous and the following note, and by how much. We just follow some simple and easy “Dynamics Rules” and it works perfectly. I have noticed that students of any level receive inevitably excellent marks (“for exceptional musicality”) at any exam or competition, as soon as they have learned at least 25-30 basic rules. Quite often mere following these rules improves technique as well (this happened recently to my student in 2nd Scherzo by Chopin, she amazed adjudicators with “ultra fine finger work” in the C# minor episode). A majority of these rules are well known and followed by all good musicians, but the problem is that the rules have never been published altogether in one book, and they are still scattered in many sources. Therefore it is very important and useful to exchange our knowledge with other musicians.

Unfortunately, after I moved to America, I can not find here anybody with whom I can discuss my concerns regarding dynamics, phrasing, articulation etc. People around me say that they have never heard about any musical rules and laws, instead, they just “self-express themselves in the way they want and feel” (e.g. in the music of Mozart or Chopin). Judging from my experience as an adjudicator, this “self-expression” instead of knowledge of basics of music is a real problem for teaching nowadays. Sometimes I hear even proudly: “I think in phrases in music and I teach to think in phrases. I do not care what they are made of”. In my opinion these attitude does not need any comments.

The Scientific Acoustic Research Laboratory of Moscow Conservatory does not work at this time, and I do not know which Western software can be used to display or print Note Strength of each particular note (in Disklavier 124 degrees scale). This is a very effective and convenient way to discover “artistic secrets” of the best pianists if visual information about timing and strength of each note in their recording is available. (Fortunately, almost everything in Piano Repertoire is recorded today digitally by “Disklavier” and the best performers, so we have a lot to choose from).

I will be very glad to hear from or about somebody who knows “what musical phrases are made of” and can suggest the best way to perform or to get all this information regarding software.

Today my concern is in the very first bars of “For Elise” by Beethoven. Which notes of the melody E-D#-E-D#-E-B-D-C-A C-E-A-B E-G#-B-C should be stressed, played stronger than regular ones (stressed notes can be marked with “+” or ”++ “or “+++”, the more pluses – the louder), which should be softened (marks can be “-“, “- - “ , or “---“) and which notes are just regular (not stressed, not softened – no mark needed or mark “0” can be used).

For example, E+, D# , E+++, D#--, E+, B---, D+, C-, A+++ ( I hope that nobody plays like this, of course).

I will appreciate any opinion expressed. Vladimir.

I can see that u r a russian.....I believe that people can xpres themselves in music

i am thirteen and i have been learning piano since i was eleven, 2 and a half years ago. during year 6, which was when i started, i learnt how to play fur elise and i know it all off by heart.

my advice is that there is no specific dynamics required for fur elise. i think that the piece is to test the virtuosity and feeling of the player. everyone i have listened to plays differently from me - this indicates that the player can play how they want to play it.