easiest and most used tonalities are G major and D major, since F# and C# can be played naturally. E Minor is also usual, since first octave D# is relatively easy to play. C major is the most difficult, since natural F cannot be produced naturally and it is considered an accidental in the dolçaina's natural scale. In addition, its lower tonic (lower C) does not exist for dolçaina. Difficult tonalities: B minor, G minor, A major and A minor. Very difficult tonalities: E major, D minor, F# minor, C# minor, F major, Mib major, C minor and Bb major. All other tonalities are considered most difficult ones. Dynamics As mentioned above, the dolçaina has a very powerful and penetrating sound – loud (f - forte) playing is common. Getting a louder sound than forte is impossible. Thanks to modern interpretation techniques, effects of dynamics can be achieved by varying the air pressure and making subtle changes in the embouchure. The diaphragm technique and good breathing practices allow for effective volume control. However, using dynamics is still too hard, as they make tuning more difficult and timbre less powerful. Therefore, the following points must be taken into account in order to make the best of interpretation and expression: 1.Changes of dynamics must not be used in the second register (from high E to high A). These notes are always loud and only difficult techniques allow the player to darken and soften their sound. 2. As opposed to other instruments, decreasing volume level while playing dolçaina implies a huge physical effort in the embouchure and a very difficult and complex technique. This must be kept in mind. 3. Playing quieter than mezzo piano is very difficult, so success cannot be guaranteed below mp. 4. Sudden changes should not be excessive. Articulation Articulation on the dolçaina is really limited compared to other wind instruments. This and other technical issues such as the impossibility of executing double or triple staccato force the player to play slower. In order to play in faster tempos, the musician has to resort to combinations of slurrings, keeping in mind the difficulty implied by the change of octave, where there is a big break in-between the register, and in many instances it is more or less impossible to maintain an even tone. One of the dolçaina's special features is the fact that the easiest and most natural way