Ok, so I just had to update this story. Marching season is coming to a close, and with competitions and all that jazz, I've had band on my mind. I've started a series of drabbles which should be very similar to this one, except it's for the RoyEd pairing for Fullmetal Alchemist. It's called Dynamics, and if you like Reverberations and also like the FMA fandom, check it out. If not, please ignore this shameless self-advertisement. It hasn't gotten nearly as good a response as this fic has, and personally I don't think that my one drabble which is up is as good as the ones in this fic, but I'm hoping to continue it, because I am a band geek, and these ideas keep coming.
Anyway, the idea for this one came from my band teacher, who keeps telling us that there is a distinct difference between energy and volume. Somehow I imagined Roderich saying this as a director and this happened. This one introduces some other nations as minor characters in this collection, and kind of hints at some pairings, although they are slightly ambiguous. Anyway, I hope you enjoy this one.
Rating: T-Cursing and implied sex
Disclaimer: Please consider this disclaimed
Shameless plea: If you read this and enjoy it, please please review. I adore reviews, even just small notes saying that you enjoyed this chapter. And if you have any questions about the music terms or anything else, feel free to ask. AN over. Enjoy!
Arthur didn't normally direct the orchestra which debuted his compositions, but when they first received a new piece, he would sit in on rehearsals and assist the director in establishing how it was to be played. In theory, he would only do this for the first few times the orchestra was playing a new song, but in practice, he ended up sitting in on almost every rehearsal. He claimed it was because of his dedication to his music, and had nothing to do with the first chair trumpet player who he just happened to stare at a bit more than would be normal. Nothing at all, not even when said trumpet player caught him looking and gave him a subtle but cheeky wink which would always cause a blush to creep onto the Brit's cheeks.
As Arthur had become a regular fixture at these rehearsals, he knew the mannerisms of the director quite well. He was a rather uptight Austrian who had come from Vienna to direct famous composer Arthur Kirkland's favorite orchestra. Arthur and Roderich, the director, got along quite well most of the time. Both took music very seriously and believed in a certain level of respectable and gentlemanly conduct. However, both were stubborn, and when they disagreed on stylistic points of a certain piece, the resulting conflict was always an amusing and slightly frightening spectacle for the orchestra. Alfred was not a fan of Roderich. Roderich was much too uptight for his taste, and he always contended that although Arthur was "a stuffy old British man," he had a definite playful side and a sense of humor. Roderich, on the other hand, seemed to only have two attitudes: professional focus and unbridled rage. The former dominated most of his time, but a certain few people-Arthur, an obnoxious but talented German (although he insisted on being called Prussian) percussionist, and a short tempered Swiss violinist who was rumored to be a former and potentially current lover of the Austrian-could make him fly into a passionate rage. Roderich's rampages were rare, but infamous among the orchestra. However, he was more likely to be conducting with a fierce focus and determination. Although he tended to be relatively calm, he could be very animated when it came to directing and conducting. If a section was not playing a piece to his standards, he would demonstrate the piece flawlessly on his everpresent piano, give them a lecture on music theory worthy of a college course, or give well meaning but annoying words of inspiration or encouragement.
One of Roderich's favorite refrains was, "There is a difference between energy and volume!" Volume was simply volume-pianissimo to fortissimo. Energy was how engaged the musician was in the music, and could be heard through articulation, dynamic contrast, phrase shaping. Roderich constantly harped on this concept, especially to Gilbert-the "Prussian" was a talented drummer, but his energy was often accompanied by deafening volume. The difference between energy and volume became a running joke among the orchestra, especially among Gilbert and Alfred, who were often the recipients of such advice. In conversation, they would often inject the phrase at a particularly lively moment, then laugh until Roderich or Elizaveta, a sharp-tempered and violent bassoon player who had a personal grudge against Gilbert, gave them a withering glare.
The importance of the difference between energy and volume became a running joke between Arthur and Alfred as well. Sometimes when Alfred was enthusiastically reciting some story at a forte bordering on fortissimo, Arthur would jokingly admonish, "Alfred, you git, there is a difference between energy and volume, something which you would do well to figure out." Alfred usually would smile sheepishly and take his voice down a dynamic level. Other times, Alfred would invoke this rule when Arthur was half-heartedly, but loudly, lecturing him on some sort of mistake that he made. Arthur would splutter and eventually reluctantly let Alfred off the hook, just as he always did. Once, Alfred even brought the saying into their bedroom on a night where Arthur was particularly vocal. In between kisses and touches, he playfully whispered to Arthur, "Remember, dear, there is a difference between energy and volume." Arthur looked vaguely put out as he huskily retorted, "Love, I'm giving you energy, so shut up about the bloody volume!" Alfred readily obeyed. It simply became one of their silly little inside jokes which made them smile despite its insignificance. However, there was a downside. After that incident, whenever Roderich admonished Gilbert with his favorite saying, Arthur couldn't avoid blushing at Alfred's lecherous smile and laughing eyes. He could never quite take Roderich seriously again.