Tempo

In musical terminology, tempo (Italian for 'time'; plural 'tempos', or tempi from the Italian plural), also known as beats per minute, is the speed or pace of a given composition. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (BPM). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM.

For other uses, see Tempo (disambiguation).

Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often indicated by a conductor or by one of the instrumentalists, for instance the drummer.

Choosing speed[edit]

In different musical contexts, different instrumental musicians, singers, conductors, bandleaders, music directors or other individuals will select the tempo of a song or piece. In a popular music or traditional music group or band, the bandleader or drummer may select the tempo. In popular and traditional music, whoever is setting the tempo often counts out one or two bars in tempo. In some songs or pieces in which a singer or solo instrumentalist begins the work with a solo introduction (prior to the start of the full group), the tempo they set will provide the tempo for the group. In an orchestra or concert band, the conductor normally sets the tempo. In a marching band, the drum major may set the tempo. In a sound recording, in some cases a record producer may set the tempo for a song (although this would be less likely with an experienced bandleader). Differences in tempo and its interpretation can differ between cultures, as shown by Curt Sachs when comparing Tunisian with Western Classical melodies, while certain genres display rhythmic variation in line with its forms, as occurs with flamenco and its palos.^[5]

Larghissimo – extremely slow, slowest type of tempo (24 bpm and under)

Adagissimo and Grave – very slow, very slow and solemn (24–40 bpm)

Largo – slow and broad (40–66 bpm)

Larghetto – rather slow and broad (44–66 bpm)

Adagio – slow with great expression (44–66 bpm)

[11]

Adagietto – slower than andante or slightly faster than adagio (46–80 bpm)

Lento – slow (52–108 bpm)

Andante – at a walking pace, moderately slow (56–108 bpm)

Andantino – slightly faster than andante, but slower than moderato (80–108 bpm) (although, in some cases, it can be taken to mean slightly slower than andante)

Marcia moderato – moderately, in the manner of a march (66–80 bpm)

[12]

Andante moderato – between andante and moderato (at a moderate walking speed) (80–108 bpm)

Moderato – at a moderate speed (108–120 bpm)

Allegretto – by the mid-19th century, moderately fast (112–120 bpm); see paragraph above for earlier usage

Allegro moderato – close to, but not quite allegro (116–120 bpm)

Allegro – fast and bright (120–156 bpm)

Molto Allegro or Allegro vivace – at least slightly faster and livelier than allegro, but always at its range (and no faster than vivace) (124–156 bpm)

Vivace – lively and fast (156–176 bpm)

Vivacissimo and Allegrissimo – very fast, lively and bright (172–176 bpm)

Presto – very fast (168–200 bpm)

Prestissimo – extremely fast (200 bpm and over)

Accelerando – speeding up (abbreviation: accel.); the opposite of ritardando. It is defined by gradually increasing the tempo until the next tempo mark is noted. It is either marked by a dashed line or simply its abbreviation.

Affrettando – speeding up with a suggestion of anxiety

[23]

Allargando – growing broader; decreasing tempo, usually near the end of a piece

Calando – going slower (and usually also softer)

Doppio movimento / doppio più mosso – double-speed

Doppio più lento – half-speed

Lentando – gradually slowing, and softer

Meno mosso – less movement; slower

Meno moto – less motion

Più mosso – more movement; faster

Mosso – movement, more lively; quicker, much like più mosso, but not as extreme

Precipitando – hurrying; going faster/forward

Rallentando – a gradual slowing down (abbreviation: rall.)

Ritardando – slowing down gradually; also see rallentando and ritenuto (abbreviations: rit., ritard.) sometimes replaces allargando.

Ritenuto – slightly slower, but achieved more immediately than rallentando or ritardando; a sudden decrease in tempo; temporarily holding back. (Note that the abbreviation for ritenuto can also be rit. Thus a more specific abbreviation is riten. Also, sometimes ritenuto does not reflect a tempo change but rather a 'character' change.)

[24]

– free adjustment of tempo for expressive purposes, literally "stolen"—so more strictly, to take time from one beat to slow another

Rubato

Slargando – gradually slowing down, literally "slowing down", "widening" or "stretching"

– in a faster tempo, often used near the conclusion of a section. (Note that in fugal compositions, the term stretto refers to the imitation of the subject in close succession, before the subject is completed, and as such, suitable for the close of the fugue.^[25] Used in this context, the term is not necessarily related to tempo.)

Stretto

Stringendo – pressing on faster, literally "tightening"

Tardando – slowing down gradually (same as ritardando)

[26]

Tempo Primo – resume the original tempo

[27]

Modern classical music[edit]

Twentieth-century classical music introduced a wide range of approaches to tempo, particularly thanks to the influence of modernism and later postmodernism.

While many composers have retained traditional tempo markings, sometimes requiring greater precision than in any preceding period, others have begun to question basic assumptions of the classical tradition like the idea of a consistent, unified, repeatable tempo. Graphic scores show tempo and rhythm in a variety of ways. Polytemporal compositions deliberately utilise performers playing at marginally different speeds. John Cage's compositions approach tempo in diverse ways. For instance 4′33″ has a defined duration, but no actual notes, while As Slow as Possible has defined proportions but no defined duration, with one performance intended to last 639 years.

, ed. (1969). Harvard Dictionary of Music (2nd, revised and enlarged ed.). Cambridge, Massachusetts: Belknap Press. ISBN 978-0-674-37501-7.

Apel, Willi

; Tyrrell, John, eds. (2001). The New Grove Dictionary of Music and Musicians (2nd ed.). Macmillan. ISBN 1-56159-239-0.

Sadie, Stanley

(1997). Star Wars: Suite for Orchestra. Milwaukee: Hal Leonard. ISBN 978-0-793-58208-2.

Williams, John

Sources

(1995). Shaping Time: Music, the Brain, and Performance. New York: Schirmer Books. ISBN 0-02-873320-7.

Epstein, David

(1988). The Tempo Indications of Mozart. New Haven: Yale University Press. ISBN 0-300-03852-6.

Marty, Jean-Pierre

(1953). Rhythm and Tempo: A Study in Music History. New York: Norton. OCLC 391538.

Sachs, Curt

Snoman, Rick (2009). The Dance Music Manual: Tools, Toys, and Techniques, 2nd ed. Oxford, UK: Elsevier Press. 0-9748438-4-9.

ISBN

The dictionary definition of tempo at Wiktionary

Virginia Tech Department of Music