Music Term Resume Speed
Music Term Resume Speed – When studying a piece of music we consider many factors. We think about how loud the piece should be, how to count the beats, how to pronounce the notes. Since speed is one of the most important factors that determine the character of a piece of music, we also consider how fast it should be.
In the world of Western classical, jazz, and pop music, we call the speed of a piece tempo, and there are different terms we use to communicate what the tempo should be. Some of these terms describe an approximate range of speeds, while others state a specific speed in beats per minute (bpm). Terms of tempo can also take the form of expressive descriptions. For example, one of the most commonly used tempo terms, allegro, which means “joyful” or “enthusiastic,” can reasonably be interpreted to indicate that the piece should be taken at a faster pace, though not necessarily descriptive of speed. Performance and composition methods have expanded the scope of these terms over the centuries, so that modern-day artists have a clear idea of an allegro tempo.
Music Term Resume Speed
In this article we will introduce some of the most common ways to describe the tempo of a piece of music. We will briefly explain how they work and why they are important.
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In Western classical music, the historical “musical language” was Italian. As a result, many of the most popular terms for tempo are borrowed from that language. German and French composers of the mid- and later 19th century began to include tempo markings in their native languages, and today most jazz and rock charts feature tempo markings in English.
Here are some of the most common tempo markings you may encounter. In the chart below you will see tempo terms and their meanings as well as speed ranges per minute. Note the overlap between several designated speeds:
In addition to these language-based terms, tempo can be seen to be specifically assigned a note value = beats per minute value. For example, the tempo marking below means that the quarter note beat should take 120 beats per minute:
Additionally, you may see some of the following terms along with primary tempo markings to help define them:
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While the main tempo of a piece is marked at the beginning, pieces can also change tempo midstream. We have another set of tempo markings that tell us how to change the tempo (whether to speed up or slow down):
We combine different markings to set and change tempo to create the full picture for a piece’s tempo-based character.
In musical notation, tempo markings can be found anywhere a change or establishment of speed is required. However, the most common place to find a tempo marking is at the beginning of a piece, above the time signature and key signature:
Tempo markings for changing tempos are usually found either for a single staff (usually at the top) next to the musical notes they change, or in the middle of the grand staff for piano music:
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If the tempo changes, tempo markings can be seen throughout the piece and in different areas. For example, a tardando or accelerando may come in a new tempo, which needs to be marked accordingly in the piece:
Similarly, another common use of tempo marking is to signal a return to the original tempo after speeding up or slowing down:
In some cases, a short pause in tempo is used for practical or expressive purposes. Its most common form and indicator is the fermata, a symbol used to indicate a pause in a beat tempo:
There are some guidelines for how long a fermata should last, but usually the duration is based on note value and the performer’s or conductor’s preference.
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It is important to remember that the tempo and time signature of the piece are two different parameters. They both work together to create the beat, speed, and “feel” of a piece, but combined they produce very different results.
You can have a fast 4/4 or a slow 4/4, but the time signature dictates the “4/4” part, and the tempo dictates the “fast” or “fast.”
A unique and important blend of beat and tempo is found in the use of tempo rubato. With tempo rubato, a performer makes stylistically appropriate subtle changes in tempo.
An important guideline for tempo rubato practice is that the beat can “bend” but never break, meaning that whether the tempo is momentarily slowed or accelerated, the listener should always be able to feel the beat. Tempo rubato is best known as a common performance practice in the piano music of Frédéric Chopin.
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West has over 10 years of teaching experience in a variety of settings, from private studios to college classrooms. In addition to teaching through traditional forms of piano pedagogy, West regularly produces music and teaching materials that meet the needs of his students. Check out West’s course on Piano Etudes for Beginners and Intermediate Pianists.
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