Back in my misguided, youthful high school band years (~35 BC - Before Cello), on a different instrument, I'd see many parts that had dynamics markings that didn't make sense. -- Forte for unimportant parts that might cover a single soloist; Piano for important parts that needed to be heard over all the others; Crescendos or decrescendos for notes that didn't exist, etc.  Whatever the director indicated, of course, took precedence over markings on the page, and we didn't think too much about it.

But I'd like to browse the scores when they were out and the conductor wasn't looking, and one of the things I learned was often, maybe usually, everybody up and down the page had the exact same dynamic markings, regardless of what was happening in the part, and its relationship to the other parts.  The editors seemed just too lazy to think about it much.  I realized the dynamic markings were usually to be read as instructions to the band as a whole, rather than as directions for the individual musician.

In this case, at least the editor provided parentheses to inform the player that the marking exists for others, although not meant for this particular part.

Instrumental playing is based on multiple sensations.  One may hint at them, and induce them on occasion, but ultimately each individual must arrive at these sensations on his own.
Janos Starker

Last Edited By: chiddler Mar 15 17 7:35 AM. Edited 1 time.