Tempo
104. The word time in musical nomenclature has been greatly abused, having been used to indicate:
(1) Rhythm; as "the time was wrong."
(2) Variety of measure-signature; as "two-four time."
(3) Rate of speed; as "the time was too slow."
To obviate the confusion naturally resulting from this three-fold and inexact use of the word, many teachers of music are adopting certain changes in terminology. Such changes may cause some confusion at first, but seem to be necessary if our musical terminology is to be at all exact.
105. The first of the changes mentioned in the above paragraph is to substitute the word rhythm for the word time when correcting mistakes involving misplaced accent, etc. E.g., "Your rhythm in the third measure of the lower score was wrong," instead of "Your time—was wrong."
106. The second change mentioned would eliminate such blind and misleading expressions as "two-four time," "three-four time," "four-four time," "six-eight time," etc., and substitute therefor such self-explanatory designations as "two-quarter measure," "three-quarter measure," "four-quarter measure," "six-eighth measure," etc. E.g., "The first movement of the Beethoven Sonata Op. 2, No. 3, is in four-quarter measure."
107. The third change referred to above would substitute the word tempo (plural—tempi) for the word time in all allusions to rate of speed. E.g., "The scherzo was played in very rapid tempo."
The word tempo has been used in this connection so long by professional musicians that there can be no possible objection to it on the ground of its being a foreign word. In fact there is a decided advantage in having a word that is understood in all countries where modern music (i.e., civilized music) is performed, and just here is found the principal reason for the popularity of the Italian language in musical terminology. Schumann, MacDowell and other well known composers have tried to break down this popularity by using their own respective vernaculars in both tempo and dynamic indications, but in spite of these attempts the Italian language is still quite universally used for this purpose, and deservedly so, for if we are to have a music notation that is universal, so that an American is able to play music written by a Frenchman or a German, or a Russian, then we ought also to have a certain number of expressions referring to tempo, etc., which will be understood by all, i.e., a music terminology that is universal. The Italian language was the first in the field, is the most universally known in this particular at the present time, and is entirely adequate. It should therefore be retained in use as a sort of musical Esperanto.
108. There are several ways of finding the correct tempo of a composition:
1. From the metronomic indication found at the beginning of many compositions. Thus e.g., the mark M.M. 92 (Maelzel's Metronome 92) means that if the metronome (either Maelzel's or some other reliable make) is set with the sliding weight at the figure 92 there will be 92 clicks per minute, and they will serve to indicate to the player or singer the rate at which the beats (or pulses) should follow one another. This is undoubtedly the most accurate means of determining tempi in spite of slight inaccuracies in metronomes and of the mistakes which composers themselves often make in giving metronomic indications.
2. Another means of determining the tempo of a composition is to play it at different tempi and then to choose the one that "feels right" for that particular piece of music. This is perhaps the best means of getting at the correct tempo but is open only to themusician of long experience, sure judgment, and sound scholarship.
3. A third method of finding tempi is through the interpretation of certain words used quite universally by composers to indicate the approximate rate of speed and the general mood of compositions. The difficulty with this method is that one can hardly find two composers who employ the same word to indicate the same tempo, so that no absolute rate of speed can be indicated, and in the last analysis the conductor or performer must fall back on the second method cited above—i.e., individual judgment.
109. In spite of the inexactness of use in the case of expressions relating to tempo, these expressions are nevertheless extremely useful in giving at least a hint of what was in the composer's mind as he conceived the music that we are trying to interpret. Since a number of the terms overlap in meaning, and since the meaning of no single term is absolute, these expressions relating to tempo are best studied in groups. Perhaps the most convenient grouping is as follows:
1. Grave (lit. weighty, serious), larghissimo, adagissimo, and lentissimo—indicating the very slowest tempo used in rendering music.
2. Largo, adagio, and lento—indicating quite a slow tempo.
3. Larghetto (i.e., a little largo) and adagietto (a little adagio)—a slow tempo, but not quite so slow as largo, etc.
4. Andante (going, or walking, as contrasted with running) and andantino—indicating a moderately slow tempo.
Andantino is now quite universally taken slightly faster than andante, in spite of the fact that if andante means "going," and if "ino" is the diminutive ending, then andantino means "going less," i.e., more slowly!
5. Moderato—a moderate tempo.
6. Allegro and allegretto —a moderately quick tempo, allegretto being usually interpreted as meaning a tempo somewhat slower than allegro.
The word allegro means literally happy, joyous, and this literal meaning is still sometimes applicable, but in the majority of instances the term refers only to rate of speed.
7. Vivo, vivace, (lit. lively)—a tempo between allegro and presto.
8. Presto, prestissimo, vivacissimo, and prestissimo possibile—the most rapid tempo possible.
110. Innumerable combinations of the words defined in Sec. 109 with one another and with other words occur. Some of these combinations with their approximate meanings follow. The meaning of any such expression not found in the list may usually be arrived at by consulting the terms defined in paragraph 109 and recalling the use of certain auxiliary terms quoted in Chapter IX.
Largo assai—very slow.
Largo di molto—very slow.
Largo ma non troppo—slow, but not too slow.
Largo un poco—slow, but not so slow as largo. (Cf. larghetto.)
Lentemente—slowly.
Lentando—with increasing slowness.
Très lentement—very slowly.
Lentissamente—very slowly.
Lentissamamente—very slowly.
Lento assai—very slowly.
Lento a capriccio—slowly but capriciously.
Lento di molto—very slowly.
Andante affettuoso—moderately slow, and with tenderness and pathos.
Andante amabile—moderately slow, and lovingly.
Andante cantabile—moderately slow, and in singing style.
Andante grazioso—moderately slow, and gracefully.
Andante maestoso—moderately slow, and majestically.
Andante con moto—slightly faster than andante.
Andante (ma) non troppo—not too slowly.
Andante pastorale—moderately slow, and in simple and unaffected style; (lit. rural, pastoral).
Andante quasi allegro—almost as rapid in tempo as allegro; (lit. an andante in the style of allegro).
Andante sostenuto—moderately slow and sustained.
Allegrissimo—much faster than allegro. (The superlative degree of allegro.)
Allegro agitato—a moderately rapid tempo, and in agitated style.
Allegro appassionata—a moderately rapid tempo, and in passionate style.
Allegro assai (very allegro)—faster than allegro.
Allegro commodo—a conveniently rapid tempo.
Allegro con brio—an allegro played in brilliant style. Faster than allegro.
Allegro con fuoco—an allegro played with fire, i.e., with extreme animation. Faster than allegro.
Allegro con spirito—an allegro performed with spirit.
Allegro con moto—faster than allegro.
Allegro di bravura—an allegro performed in brilliant style, i.e., demanding great skill in execution.
Allegro furioso (furiously)—quicker than allegro; very brilliant.
Allegro giusto—an allegro movement, but in exact rhythm.
Allegro ma grazioso—an allegro played in graceful style.
Allegro (ma) non tanto—an allegro movement, but not too rapid.
Allegro (ma) non troppo—an allegro movement, but not too rapid.
Allegro (ma) non presto—an allegro movement, but not too rapid.
Allegro moderato—slower than allegro.
Allegro vivace—faster than allegro.
Presto assai—as rapidly as possible.
Presto (ma) non troppo—a presto movement, but not too rapid.
111. There are certain terms which indicate a modification of the normal tempo of a movement, these being divided into two classes, (a) those terms which indicate in general a slower tempo, and (b) those which indicate in general a more rapid tempo. The further subdivisions of these two classes are shown below.
(a) Terms indicating a slower tempo.
1. Terms indicating a gradual retard.
Ritenente, (rit.), ritenuto (rit.), ritardando (rit.), rallentando (rall.), slentando.
2. Terms indicating a tempo which is to become definitely slower at once.
Più lento (lit. more slowly), meno mosso (lit. less movement).
3. Terms indicating a slower tempo combined with an increase in power.
Largando, allargando. These words are both derived from largo, meaning large, broad.
The student should note the difference between groups 1 and 2 as given above: the terms in group 1 indicate that each measure, and even each pulse in the measure, is a little slower than the preceding one, while such terms as più lento and meno mossoindicate a rate of speed becoming instantly slower and extending over an entire phrase or passage. Some composers (e.g., Beethoven and Couperin) have evidently had this same distinction in mind between rallentando and ritardando on the one hand, and ritenuto and ritenente on the other, considering the former (rall. and rit.) to indicate a gradually slackening speed, and the latter (ritenuto and ritenente) to indicate a definitely slower rate. The majority of composers do not however differentiate between them in this way, and it will therefore hardly be worth while for the student to try to remember the distinction.
(b) Terms indicating a more rapid tempo.
1. Terms indicating a gradual acceleration.
Accelerando, affrettando (this term implies some degree of excitement also), stringendo, poco a poco animato.
2. Terms indicating a tempo which is to become definitely faster at once.
Più allegro, più tosto, più mosso, stretto, un poco animato.
112. After any modification in tempo (either faster or slower) has been suggested it is usual to indicate a return to the normal rate by some such expression as a tempo (lit. in time), a tempo primo (lit. in the first time), tempo primo, or tempo.
113. Tempo rubato (or a tempo rubato) means literally in robbed time, i.e., duration taken from one measure or beat and given to another, but in modern practice the term is quite generally applied to any irregularity of rhythm or tempo not definitely indicated in the score.
The terms ad libitum, (ad lib.), a piacere, and a capriccio, also indicate a modification of the tempo at the will of the performer. Ad libitum means at liberty; a piacere, at pleasure; and a capriccio, at the caprice (of the performer).
114. The term tempo giusto is the opposite of tempo rubato (and of the other terms defined in paragraph 113). It means literally in exact time. (Tempo giusto is sometimes translated quite rapidly, but this is very unusual.)
115. L'istesso tempo means—at the same rate of speed. E.g., when a measure signature changes from 2/4 to 6/8 with a change in beat-note from a quarter to a dotted-quarter, but with the same tempo carried through the entire movement.
116. Tenuto (ten.) indicates that a tone or chord is to be held to its full value. This word is sometimes used after a staccato passage to show that the staccato effect is to be discontinued, but is often used merely as a warning not to slight a melody-tone—i.e., to give it its full value.
117. Veloce means—swiftly, and is applied to brilliant passages (e.g., cadenzas) which are to be played as rapidly as possible without much regard for measure rhythm. The words rapidamente, brillante and volante (flying) have the same meaning as veloce.
118. The following expressions referring to tempo are also in common use but cannot easily be classified with any of the groups already defined.
Con moto—with motion; i.e., not too slow.
Pesante—slowly, heavily.
Doppio movimento—twice as rapid as before.
Tempo ordinario—in ordinary tempo.
Tempo commodo—in convenient tempo.
Sempre lento malinconico assai—always slowly and in a very melancholy style.
Animando, animato, con anima—with animation.
Agitato—agitated.
119. Tempo di marcia is given by Riemann (Dictionary of Music, p. 783) as equivalent to andante, M.M. 72-84. The same writer gives tempo di menuetto as equivalent to allegretto, and tempo di valso as equivalent to allegro moderato (which he regards as indicating a more rapid tempo than allegretto).
