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4. Questions - Got a question about Tempo then search the Forums, FAQ's, Blogs etc. Don't be afraid to ask .....

5. Reputation - Never heard of the company selling Tempo? Don't worry, no reason why you should know every company in the world, but you know someone that does! Use the internet to find out what people are saying about Tempo and build up a picture of their reputation for sales, returns, customer service, delivery etc.

6. Returns - still worried that even after all of the above your Tempo wont be what you want? Check out the returns policy. There is so much competition now that someone, somewhere is bound to offer the terms that you are comfortable with.

7. Feedback - happy with your Tempo then let people know, after all you are depending on others people input in your buying decision, so why not give a little back.

8. Security - check for the yellow padlock on the Tempo site before you buy, and the s after http:/ /i.e. https:// = a secure site

9. Contact - got a question about Tempo, or want to leave a comment then check out the sites contact page. Reputable companies have them and respond.

10. Payment - ready to pay for your Tempo, then use your credit card or PayPal! Be aware of companies that don't accept them, there may be genuine reasons but given the huge amount of choice you have when buying online there is no reason at all not to buy via credit card or PayPal.



's Sonata XI, which indicates the tempo as "Andante grazioso" and a modern editor's metronome marking: " = 120".

In musical terminology, tempo (Italian language for "time", from Latin Tempus) is the speed or pace of a given musical piece. It is an extremely crucial element of sound, as it can affect the mood and difficulty of a piece.

The plural of tempo in Italian is tempi. Some writers employ this plural when writing in English language. Others use the native English plural tempos. Standard dictionaries reflect both usages.

Measuring tempo The tempo of a piece will typically be written at the start of a piece of music, and in modern music is usually indicated in beats per minute (BPM). This means that a particular note value (for example, a quarter note or crotchet) is specified as the beat, and the marking indicates that a certain number of these beats must be played per minute. The greater the tempo, the larger the number of beats that must be played in a minute is and, therefore, the faster a piece must be played.

Mathematical tempo markings of this kind became increasingly popular during the first half of the 19th century, after the metronome had been invented by Johann Nepomuk Mälzel, although early metronomes were somewhat inconsistent. Some people consider Beethoven's metronome markings, in particular, to be notoriously unreliable.

With the advent of modern electronics, BPM became an extremely precise measure. MIDI files and other types of sequencing software use the BPM system to denote tempo.

As an alternative to metronome markings, some 20th century composers (such as Béla Bartók and John Cage) would give the total execution time of a piece, from which the proper tempo can be roughly derived.

Tempo is as crucial in contemporary music as it is in classical. In electronic dance music, accurate knowledge of a tune's BPM is important to disc jockey for the purposes of beatmatching.

Musical vocabulary for tempo Whether a music piece has a mathematical time indication or not, in European classical music it is customary to describe the tempo of a piece by one or more words. Most of these words are Italian language, a result of the fact that many of the most important composers of the 17th century were Italian, and this period was when tempo indications were used extensively for the first time.

Before the metronome, words were the only way to describe the tempo of a composition. Yet after the metronome's invention, these words continued to be used, often additionally indicating the mood of the piece, thus blurring the traditional distinction between tempo and mood indicators. For example, presto and allegro both indicate a speedy execution (presto being faster), but allegro also connotes joy (from its original meaning in Italian). Presto, on the other hand, indicates speed as such (while possibly connoting virtuosity, a connotation it did not acquire until the late 18th century).

Additional Italian words also indicate tempo and mood. For example, the "agitato" in the Allegro agitato of the last movement of George Gershwin's Concerto in F (Gershwin) has both a tempo indication (undoubtedly faster than a usual Allegro) and a mood indication ("agitated").

Understood tempos In some cases (quite often up to the end of the baroque music period), conventions governing musical composition were so strong that no tempo had to be indicated. For example, the first movement of Johann Sebastian Bach's Brandenburg concerto#Brandenburg Concerto .233 in G major has no tempo or mood indication whatsoever. To provide movement names, publishers of recordings resort to ad hoc measures, for instance marking the Brandenburg movement "Allegro", "(Allegro)", "(Without indication)", and so on.

In Renaissance music most music was understood to flow at a tempo defined by the tactus, roughly the rate of the human heartbeat. Which note value corresponded to the tactus was indicated by the mensural time signature.

Often a particular musical form or Music genre implies its own tempo, so no further explanation is placed in the score. Thus musicians expect a minuet to be performed at a fairly stately tempo, slower than a Viennese waltz; a perpetuum mobile to be quite fast, and so on. The association of tempo with genre means that genres can be used to imply tempos; thus Ludwig van Beethoven wrote "In tempo d'un Menuetto" over the first movement of his Piano Sonata Op. 54, although that movement is not a minuet. Popular music charts use terms such as "bossa nova", "ballad", and "Latin rock" in much the same way.

It is important to remember when interpreting these words that not only have tempos changed over historical time, and even in different places, but sometimes even the ordering of terms has changed. Thus a modern largo is slower than an adagio, but in the Baroque period it was faster.

Italian tempo markings See also Italian musical terms used in English.

===Basic tempo markings===From fastest to slowest, the common tempo markings are:





All of these markings are based on a few root words such as 'allegro', 'largo', 'adagio', 'vivace', 'presto' 'andante' and 'lento'. By adding the -issimo ending the word is amplified, by adding the -ino ending the word is diminished, and by adding the -etto ending the word is endeared. Many tempos also can be translated with the same meaning, and it is up to the player to interpret the speed that best suits the period, composer, and individual work.

N.B. Metronome markings are a guide only and depending on the time signature and the piece itself these figures may not be appropriate in every circumstance.

Common qualifiers

Mood markings with a tempo connotation Some markings that primarily mark a mood (or character) also have a tempo connotation:



===Terms for change in tempo===

Composers may use expressive marks to adjust the tempo:



While the base tempo indication (such as "Allegro") appears in large type above the staff, these adjustments typically appear below the staff or (in the case of keyboard instrument) in the middle of the grand staff.

They generally designate a gradual change in tempo; for immediate tempo shifts, composers normally just provide the designation for the new tempo. (Note, however, that when Più Mosso or Meno Mosso appears in large type above the staff, it functions as a new tempo, and thus implies an immediate change.) Several terms control how large and how gradual this change is:



After a tempo change, a composer may return to a previous tempo in two different ways:



These terms also indicate an immediate, not a gradual, tempo change. Although they are Italian, composers typically use them even if they have written their initial tempo marking in some other language.

Tempo markings in other languages Although Italian has been the prevalent language for tempo markings throughout most of classical music history, many composers have written tempo indications in their own language.

French tempo markings Several France composers have written markings in French, among them baroque composers François Couperin and Jean-Philippe Rameau as well as impressionist composers Claude Debussy and Maurice Ravel. Common tempo markings in French (language) are:



German tempo markings Many composers have used German (language) tempo markings. Typical German tempo markings are:



One of the first German composers to use tempo markings in his native language was Ludwig van Beethoven. The one using the most elaborate combined tempo and mood markings was probably Gustav Mahler. For example, the second Movement (music) of his Symphony No. 9 (Mahler) is marked Im tempo eines gemächlichen Ländlers, etwas täppisch und sehr derb, indicating a slowish folk-dance–like movement, with some awkwardness and vulgarity in the execution. Mahler would also sometimes combine German tempo markings with traditional Italian markings, as in the first movement of his Symphony No. 6 (Mahler), marked Allegro energico, ma non troppo. Heftig, aber markig.

Tempo markings in English English (language) indications, for example quickly, have also been used, by Benjamin Britten, amongst many others. In jazz and popular music charts, terms like "fast", "laid back", "steady rock", "medium", "medium-up", "ballad", and similar style indications may appear.

Rushing and dragging When performers unintentionally speed up, they are said to rush. The similar term for unintentionally slowing down is drag. Unless practised by an experienced performer who "knows what he or she is doing", these actions are undesirable; dragging can often indicate a hesitance in the performer due to lack of practice; rushing can likewise destroy the pulse of the music. Because of their negative connotation, neither rush nor drag (nor their equivalents in other languages) are often used as tempo indications in scores, Gustav Mahler being a notable exception: as part of a tempo indication he used schleppend ("dragging") in the first movement of his Symphony No. 1 (Mahler), for example.

Can tempo terms be defined with the metronome? Most musicians would agree that it is not possible to give beats per minute (BPM) equivalents for these terms; the actual number of beats per minute in a piece marked allegro, for example, will depend on the music itself. A piece consisting mainly of minim (music) (half notes) can be played much more quickly in terms of BPM than a piece consisting mainly of semi-quavers (sixteenth notes) but still be described with the same word.

Metronome manufacturers usually do assign BPM values to the traditional terms, but these values are by no means correct for every piece.

Tempo markings as movement names and compositions with a tempo indicator name Generally, composers (or Music publisher (popular music)s) will name movement (music)s of compositions after their tempo (and/or mood) marking. For instance the second movement of String Quartet No. 1 (Barber) is an "Adagio".

Some such movements may start to lead a life of their own, and become known with the tempo/mood marker name, for instance the string orchestra version of the second movement of Barber's first string quartet became known as Adagio for Strings. A similar example is Mahler's most famous work - the Adagietto (Mahler) from his Symphony No. 5 (Mahler). Another is Wolfgang Amadeus Mozart's Alla Turca (here indicating the Janissary#Janissary music music type of mood of the final movement of Mozart's 11th Piano Sonata, K. 331)

Sometimes the link between a musical composition with a "tempo" name and a separate movement of a composition is less clear. For instance Adagio (Albinoni), a 20th century creative "reconstruction" based on an incomplete manuscript.

Some composers chose to include tempo indicators in the name of a separate composition, for instance Béla Bartók in Allegro barbaro ("barbaric Allegro"), a single movement composition.

External links



's Sonata XI, which indicates the tempo as "Andante grazioso" and a modern editor's metronome marking: " = 120".

In musical terminology, tempo (Italian language for "time", from Latin Tempus) is the speed or pace of a given musical piece. It is an extremely crucial element of sound, as it can affect the mood and difficulty of a piece.

The plural of tempo in Italian is tempi. Some writers employ this plural when writing in English language. Others use the native English plural tempos. Standard dictionaries reflect both usages.

Measuring tempo The tempo of a piece will typically be written at the start of a piece of music, and in modern music is usually indicated in beats per minute (BPM). This means that a particular note value (for example, a quarter note or crotchet) is specified as the beat, and the marking indicates that a certain number of these beats must be played per minute. The greater the tempo, the larger the number of beats that must be played in a minute is and, therefore, the faster a piece must be played.

Mathematical tempo markings of this kind became increasingly popular during the first half of the 19th century, after the metronome had been invented by Johann Nepomuk Mälzel, although early metronomes were somewhat inconsistent. Some people consider Beethoven's metronome markings, in particular, to be notoriously unreliable.

With the advent of modern electronics, BPM became an extremely precise measure. MIDI files and other types of sequencing software use the BPM system to denote tempo.

As an alternative to metronome markings, some 20th century composers (such as Béla Bartók and John Cage) would give the total execution time of a piece, from which the proper tempo can be roughly derived.

Tempo is as crucial in contemporary music as it is in classical. In electronic dance music, accurate knowledge of a tune's BPM is important to disc jockey for the purposes of beatmatching.

Musical vocabulary for tempo Whether a music piece has a mathematical time indication or not, in European classical music it is customary to describe the tempo of a piece by one or more words. Most of these words are Italian language, a result of the fact that many of the most important composers of the 17th century were Italian, and this period was when tempo indications were used extensively for the first time.

Before the metronome, words were the only way to describe the tempo of a composition. Yet after the metronome's invention, these words continued to be used, often additionally indicating the mood of the piece, thus blurring the traditional distinction between tempo and mood indicators. For example, presto and allegro both indicate a speedy execution (presto being faster), but allegro also connotes joy (from its original meaning in Italian). Presto, on the other hand, indicates speed as such (while possibly connoting virtuosity, a connotation it did not acquire until the late 18th century).

Additional Italian words also indicate tempo and mood. For example, the "agitato" in the Allegro agitato of the last movement of George Gershwin's Concerto in F (Gershwin) has both a tempo indication (undoubtedly faster than a usual Allegro) and a mood indication ("agitated").

Understood tempos In some cases (quite often up to the end of the baroque music period), conventions governing musical composition were so strong that no tempo had to be indicated. For example, the first movement of Johann Sebastian Bach's Brandenburg concerto#Brandenburg Concerto .233 in G major has no tempo or mood indication whatsoever. To provide movement names, publishers of recordings resort to ad hoc measures, for instance marking the Brandenburg movement "Allegro", "(Allegro)", "(Without indication)", and so on.

In Renaissance music most music was understood to flow at a tempo defined by the tactus, roughly the rate of the human heartbeat. Which note value corresponded to the tactus was indicated by the mensural time signature.

Often a particular musical form or Music genre implies its own tempo, so no further explanation is placed in the score. Thus musicians expect a minuet to be performed at a fairly stately tempo, slower than a Viennese waltz; a perpetuum mobile to be quite fast, and so on. The association of tempo with genre means that genres can be used to imply tempos; thus Ludwig van Beethoven wrote "In tempo d'un Menuetto" over the first movement of his Piano Sonata Op. 54, although that movement is not a minuet. Popular music charts use terms such as "bossa nova", "ballad", and "Latin rock" in much the same way.

It is important to remember when interpreting these words that not only have tempos changed over historical time, and even in different places, but sometimes even the ordering of terms has changed. Thus a modern largo is slower than an adagio, but in the Baroque period it was faster.

Italian tempo markings See also Italian musical terms used in English.

===Basic tempo markings===From fastest to slowest, the common tempo markings are:





All of these markings are based on a few root words such as 'allegro', 'largo', 'adagio', 'vivace', 'presto' 'andante' and 'lento'. By adding the -issimo ending the word is amplified, by adding the -ino ending the word is diminished, and by adding the -etto ending the word is endeared. Many tempos also can be translated with the same meaning, and it is up to the player to interpret the speed that best suits the period, composer, and individual work.

N.B. Metronome markings are a guide only and depending on the time signature and the piece itself these figures may not be appropriate in every circumstance.

Common qualifiers

Mood markings with a tempo connotation Some markings that primarily mark a mood (or character) also have a tempo connotation:



===Terms for change in tempo===

Composers may use expressive marks to adjust the tempo:



While the base tempo indication (such as "Allegro") appears in large type above the staff, these adjustments typically appear below the staff or (in the case of keyboard instrument) in the middle of the grand staff.

They generally designate a gradual change in tempo; for immediate tempo shifts, composers normally just provide the designation for the new tempo. (Note, however, that when Più Mosso or Meno Mosso appears in large type above the staff, it functions as a new tempo, and thus implies an immediate change.) Several terms control how large and how gradual this change is:



After a tempo change, a composer may return to a previous tempo in two different ways:



These terms also indicate an immediate, not a gradual, tempo change. Although they are Italian, composers typically use them even if they have written their initial tempo marking in some other language.

Tempo markings in other languages Although Italian has been the prevalent language for tempo markings throughout most of classical music history, many composers have written tempo indications in their own language.

French tempo markings Several France composers have written markings in French, among them baroque composers François Couperin and Jean-Philippe Rameau as well as impressionist composers Claude Debussy and Maurice Ravel. Common tempo markings in French (language) are:



German tempo markings Many composers have used German (language) tempo markings. Typical German tempo markings are:



One of the first German composers to use tempo markings in his native language was Ludwig van Beethoven. The one using the most elaborate combined tempo and mood markings was probably Gustav Mahler. For example, the second Movement (music) of his Symphony No. 9 (Mahler) is marked Im tempo eines gemächlichen Ländlers, etwas täppisch und sehr derb, indicating a slowish folk-dance–like movement, with some awkwardness and vulgarity in the execution. Mahler would also sometimes combine German tempo markings with traditional Italian markings, as in the first movement of his Symphony No. 6 (Mahler), marked Allegro energico, ma non troppo. Heftig, aber markig.

Tempo markings in English English (language) indications, for example quickly, have also been used, by Benjamin Britten, amongst many others. In jazz and popular music charts, terms like "fast", "laid back", "steady rock", "medium", "medium-up", "ballad", and similar style indications may appear.

Rushing and dragging When performers unintentionally speed up, they are said to rush. The similar term for unintentionally slowing down is drag. Unless practised by an experienced performer who "knows what he or she is doing", these actions are undesirable; dragging can often indicate a hesitance in the performer due to lack of practice; rushing can likewise destroy the pulse of the music. Because of their negative connotation, neither rush nor drag (nor their equivalents in other languages) are often used as tempo indications in scores, Gustav Mahler being a notable exception: as part of a tempo indication he used schleppend ("dragging") in the first movement of his Symphony No. 1 (Mahler), for example.

Can tempo terms be defined with the metronome? Most musicians would agree that it is not possible to give beats per minute (BPM) equivalents for these terms; the actual number of beats per minute in a piece marked allegro, for example, will depend on the music itself. A piece consisting mainly of minim (music) (half notes) can be played much more quickly in terms of BPM than a piece consisting mainly of semi-quavers (sixteenth notes) but still be described with the same word.

Metronome manufacturers usually do assign BPM values to the traditional terms, but these values are by no means correct for every piece.

Tempo markings as movement names and compositions with a tempo indicator name Generally, composers (or Music publisher (popular music)s) will name movement (music)s of compositions after their tempo (and/or mood) marking. For instance the second movement of String Quartet No. 1 (Barber) is an "Adagio".

Some such movements may start to lead a life of their own, and become known with the tempo/mood marker name, for instance the string orchestra version of the second movement of Barber's first string quartet became known as Adagio for Strings. A similar example is Mahler's most famous work - the Adagietto (Mahler) from his Symphony No. 5 (Mahler). Another is Wolfgang Amadeus Mozart's Alla Turca (here indicating the Janissary#Janissary music music type of mood of the final movement of Mozart's 11th Piano Sonata, K. 331)

Sometimes the link between a musical composition with a "tempo" name and a separate movement of a composition is less clear. For instance Adagio (Albinoni), a 20th century creative "reconstruction" based on an incomplete manuscript.

Some composers chose to include tempo indicators in the name of a separate composition, for instance Béla Bartók in Allegro barbaro ("barbaric Allegro"), a single movement composition.

External links



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