{"id":325,"date":"2015-06-10T22:17:31","date_gmt":"2015-06-10T22:17:31","guid":{"rendered":"https:\/\/courses.candelalearning.com\/musicappreciation\/?post_type=chapter&#038;p=325"},"modified":"2015-09-08T17:29:45","modified_gmt":"2015-09-08T17:29:45","slug":"tempo-markings-and-changes","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/chapter\/tempo-markings-and-changes\/","title":{"raw":"Tempo Markings and Changes","rendered":"Tempo Markings and Changes"},"content":{"raw":"<h2><a href=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/950\/2015\/09\/26003254\/2393260403_ec128b1255_o.jpg\"><img class=\"  wp-image-1849 aligncenter\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/950\/2015\/09\/26003254\/2393260403_ec128b1255_o-1024x686.jpg\" alt=\"Photo of piano keyboard: two hands are shown along with sheet music instructing the pianist to play &quot;Allegro con fuoco.&quot; \" width=\"450\" height=\"302\" \/><\/a><\/h2>\r\n<h2>Tempo Markings<\/h2>\r\n<p id=\"p0d\">A tempo marking that is a word or phrase gives you the composer's idea of how fast the music should feel. How fast a piece of music feels depends on several different things, including the texture and complexity of the music, how often the beat gets divided into faster notes, and how fast the beats themselves are (the metronome marking). Also, the same tempo marking can mean quite different things to different composers; if a metronome marking is not available, the performer should use a knowledge of the music's style and genre, and musical common sense, to decide on the proper tempo. When possible, listening to a professional play the piece can help with tempo decisions, but it is also reasonable for different performers to prefer slightly different tempos for the same piece.<\/p>\r\n<p id=\"p0e\">Traditionally, tempo instructions are given in Italian.<\/p>\r\n\r\n<div id=\"l0a\" data-type=\"list\">\r\n<h3 data-type=\"title\">Tempo\u00a0Terms<\/h3>\r\n<ul>\r\n\t<li><strong>Grave<\/strong> - very slow and solemn (pronounced \"GRAH-vay\")<\/li>\r\n\t<li><strong>Largo<\/strong> - slow and broad (\"LAR-go\")<\/li>\r\n\t<li><strong>Larghetto<\/strong> - not quite as slow as largo (\"lar-GET-oh\")<\/li>\r\n\t<li><strong>Adagio<\/strong> - slow (\"uh-DAH-jee-oh\")<\/li>\r\n\t<li><strong>Lento<\/strong> - slow (\"LEN-toe\")<\/li>\r\n\t<li><strong>Andante<\/strong> - literally \"walking\", a medium slow tempo (\"on-DON-tay\")<\/li>\r\n\t<li><strong>Moderato<\/strong> - moderate, or medium (\"MOD-er-AH-toe\")<\/li>\r\n\t<li><strong>Allegretto<\/strong> - Not as fast as allegro (\"AL-luh-GRET-oh\")<\/li>\r\n\t<li><strong>Allegro<\/strong> - fast (\"uh-LAY-grow\")<\/li>\r\n\t<li><strong>Vivo, or Vivace<\/strong> - lively and brisk (\"VEE-voh\")<\/li>\r\n\t<li><strong>Presto<\/strong> - very fast (\"PRESS-toe\")<\/li>\r\n\t<li><strong>Prestissimo<\/strong> - very, very fast (\"press-TEE-see-moe\")<\/li>\r\n<\/ul>\r\n<\/div>\r\n<p id=\"p0f\">These terms, along with a little more Italian, will help you decipher most tempo instructions.<\/p>\r\n\r\n<div id=\"l1b\" data-type=\"list\">\r\n<h3 data-type=\"title\">Additional\u00a0Useful Italian<\/h3>\r\n<ul>\r\n\t<li><strong>(un) poco<\/strong> -\u00a0a little (\"oon POH-koe\")<\/li>\r\n\t<li><strong>molto<\/strong> - a lot (\"MOLE-toe\")<\/li>\r\n\t<li><strong>piu<\/strong> - more (\"pew\")<\/li>\r\n\t<li><strong>meno<\/strong> - less (\"MAY-no\")<\/li>\r\n\t<li><strong>mosso<\/strong> - literally \"moved\"; motion or movement (\"MOE-so\")<\/li>\r\n<\/ul>\r\n<\/div>\r\n<h4><span style=\"line-height: 1.5;\">Slow Tempo<\/span><\/h4>\r\n<ul>\r\n\t<li><strong><em>Grave<\/em><\/strong>\u2014slow and solemn (20\u201340 BPM)<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">\r\n<h3>Listen: Grave<\/h3>\r\nBeethoven,\u00a0<em>Sonata No. 8<\/em>, \"Path\u00e9tique,\" 1st movement\u00a0(<a href=\"http:\/\/www.mutopiaproject.org\/ftp\/BeethovenLv\/O13\/pathetique-1\/pathetique-1-a4.pdf\" target=\"_blank\">score<\/a>)\r\n\r\nhttp:\/\/upload.wikimedia.org\/wikipedia\/commons\/2\/26\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_I._Grave_-_Allegro_di_molto_e_con_brio.ogg\r\n\r\n<\/div>\r\n<ul>\r\n\t<li><em><strong>Lento<\/strong><\/em>\u2014slowly (40\u201345 BPM)<\/li>\r\n\t<li><strong><em>Largo<\/em><\/strong>\u2014broadly (45\u201350 BPM)<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">\r\n<h3>Listen: Largo<\/h3>\r\nF. Chopin, <em>Prelude Op. 8, No. 4 in E minor<\/em>\u00a0(<a href=\"http:\/\/www.easysheetmusic.com\/pdf\/chopinop28no4.pdf\" target=\"_blank\">score<\/a>)\r\n\r\nhttp:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/e8\/FChopinPreludeOp28n4.OGG\r\n\r\n<\/div>\r\n<ul>\r\n\t<li><strong><em>Larghetto<\/em><\/strong>\u2014rather broadly (50\u201355 BPM)<\/li>\r\n\t<li><em><strong>Adagio<\/strong><\/em>\u2014slow and stately (literally, \"at ease\") (55\u201365 BPM)<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">\r\n<h3>Listen: Adagio<\/h3>\r\nBeethoven,\u00a0<em>Sonata No. 8<\/em>, \"Pat\u00e9tique,\" 2nd movement\u00a0(<a href=\"http:\/\/www.mutopiaproject.org\/ftp\/BeethovenLv\/O13\/pathetique-2\/pathetique-2-a4.pdf\" target=\"_blank\">score<\/a>)\r\n\r\nhttp:\/\/upload.wikimedia.org\/wikipedia\/commons\/6\/63\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_II._Adagio_cantabile.ogg\r\n\r\n<\/div>\r\n<ul>\r\n\t<li><em><strong>Andante<\/strong><\/em>\u2014at a walking pace (73\u201377 BPM)<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">\r\n<h3>Listen: Andante<\/h3>\r\n<a href=\"https:\/\/youtu.be\/ThppJ_jlCvc?t=1s\" target=\"_blank\">Haydn,\u00a0<em>Symphony No. 104 in D<\/em>, \"London,\" 2nd movement<\/a>\u00a0(<a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/9\/93\/IMSLP03172-Haydn_-_Symphony_No.104_Mvt.II__Full_Score_-_1_page_per_image_.pdf\" target=\"_blank\">score<\/a>)\r\n\r\n<\/div>\r\n<ul>\r\n\t<li><em><strong>Moderato<\/strong><\/em>\u2014moderately (86\u201397 BPM)<\/li>\r\n<\/ul>\r\n<h4>Fast Tempo<\/h4>\r\n<ul>\r\n\t<li><em><strong>Allegro<\/strong><\/em>\u2014fast, quickly and bright (109\u2013132 BPM)<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">\r\n<h3>Listen: Allegro<\/h3>\r\nBeethoven, <em>Sonata No. 8<\/em>, \"Path\u00e9tique,\" 3rd movement\u00a0(<a href=\"http:\/\/www.mutopiaproject.org\/ftp\/BeethovenLv\/O13\/pathetique-3\/pathetique-3-a4.pdf\" target=\"_blank\">score<\/a>)\r\n\r\nhttp:\/\/upload.wikimedia.org\/wikipedia\/commons\/8\/87\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_III._Rondo_-_Allegro.ogg\r\n\r\n<\/div>\r\n<ul>\r\n\t<li><em><strong>Vivace<\/strong><\/em>\u2014lively and fast (132\u2013140 BPM)<\/li>\r\n\t<li><em><strong>Presto<\/strong><\/em>\u2014very fast (168\u2013177 BPM)<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">\r\n<h3>Listen: Presto<\/h3>\r\n<a href=\"http:\/\/content.thespco.org\/music\/compositions\/sinfonia-concertante-for-violin-viola-and-orchestra-wolfgang-amadeus-mozart\" target=\"_blank\">W. A. Mozart, <em>Sinfonia Concertante in E Flat Major<\/em>, 3rd Movement<\/a>\u00a0(<a href=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/950\/2016\/02\/26002545\/Beethoven_3rdmovement.pdf\">score<\/a>)\r\n\r\n<\/div>\r\n<section id=\"s2\" data-depth=\"1\">\r\n<p id=\"p0g\">Of course, tempo instructions don't have to be given in Italian. Much folk, popular, and modern music, gives instructions in English or in the composer's language. Tempo indications such as \"Not too fast\", \"With energy\", \"Calmly\", or \"March tempo\" give a good idea of how fast the music should feel.<\/p>\r\n\r\n<\/section><section id=\"s3\" data-depth=\"1\"><\/section><section data-depth=\"1\">\r\n<h2 data-type=\"title\">Tempo Changes<\/h2>\r\n<p id=\"p3a\">If the tempo of a piece of music suddenly changes into a completely different tempo, there will be a new tempo given, usually marked in the same way (metronome tempo, Italian term, etc.) as the original tempo. Gradual changes in the basic tempo are also common in music, though, and these have their own set of terms. These terms often appear below the staff, although writing them above the staff is also allowed. These terms can also appear with modifiers like <span data-type=\"foreign\">molto<\/span> or <span data-type=\"foreign\">un poco<\/span>. You may notice that there are quite a few terms for slowing down. Again, the use of these terms will vary from one composer to the next; unless beginning and ending tempo markings are included, the performer must simply use good musical judgement to decide how much to slow down in a particular <span data-type=\"foreign\">ritardando<\/span> or<span data-type=\"foreign\">rallentando<\/span>.<\/p>\r\n\r\n<div id=\"l3a\" data-type=\"list\">\r\n<h3 data-type=\"title\">Changing-Tempo Terms<\/h3>\r\n<ul>\r\n\t<li><strong>accelerando<\/strong> - (abbreviated <span data-type=\"foreign\">accel.<\/span>) accelerating; getting faster<\/li>\r\n\t<li><strong>ritardando<\/strong> - (abbrev. <span data-type=\"foreign\">rit.<\/span>) slowing down<\/li>\r\n\t<li><strong>ritenuto<\/strong> - (abbrev. <span data-type=\"foreign\">riten.<\/span>) slower<\/li>\r\n\t<li><strong>rallentando<\/strong> - (abbrev. <span data-type=\"foreign\">rall.<\/span>) gradually slower<\/li>\r\n\t<li><strong>rubato<\/strong> - don't be too strict with the rhythm; while keeping the basic tempo, allow the music to gently speed up and relax in ways that emphasize the phrasing<\/li>\r\n\t<li><strong>poco a poco<\/strong> - little by little; gradually<\/li>\r\n\t<li><strong>Tempo I<\/strong> - (\"tempo one\" or \"tempo primo\") back to the original tempo (this instruction usually appears above the staff)<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">\r\n<h3>Listen:\u00a0Tempo Change<\/h3>\r\nListen for the dynamic changes in <a href=\"https:\/\/content.thespco.org\/music\/compositions\/overture-to-the-marriage-of-figaro-wolfgang-amadeus-mozart\/\" target=\"_blank\">W. A. Mozart\u2019s, Overture to \u201cThe Marriage of Figaro\u201d<\/a>\r\n\r\nBefore you start listening\u00a0look for the dynamic markings in the score : pp, p, ff, p.\r\n\r\nhttp:\/\/www.slideshare.net\/alysonday\/marriage-of-figaro-score-for-music-appreciation\r\n\r\n<\/div>\r\n<\/div>\r\n<\/section>","rendered":"<h2><a href=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/950\/2015\/09\/26003254\/2393260403_ec128b1255_o.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1849 aligncenter\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/950\/2015\/09\/26003254\/2393260403_ec128b1255_o-1024x686.jpg\" alt=\"Photo of piano keyboard: two hands are shown along with sheet music instructing the pianist to play &quot;Allegro con fuoco.&quot;\" width=\"450\" height=\"302\" \/><\/a><\/h2>\n<h2>Tempo Markings<\/h2>\n<p id=\"p0d\">A tempo marking that is a word or phrase gives you the composer&#8217;s idea of how fast the music should feel. How fast a piece of music feels depends on several different things, including the texture and complexity of the music, how often the beat gets divided into faster notes, and how fast the beats themselves are (the metronome marking). Also, the same tempo marking can mean quite different things to different composers; if a metronome marking is not available, the performer should use a knowledge of the music&#8217;s style and genre, and musical common sense, to decide on the proper tempo. When possible, listening to a professional play the piece can help with tempo decisions, but it is also reasonable for different performers to prefer slightly different tempos for the same piece.<\/p>\n<p id=\"p0e\">Traditionally, tempo instructions are given in Italian.<\/p>\n<div id=\"l0a\" data-type=\"list\">\n<h3 data-type=\"title\">Tempo\u00a0Terms<\/h3>\n<ul>\n<li><strong>Grave<\/strong> &#8211; very slow and solemn (pronounced &#8220;GRAH-vay&#8221;)<\/li>\n<li><strong>Largo<\/strong> &#8211; slow and broad (&#8220;LAR-go&#8221;)<\/li>\n<li><strong>Larghetto<\/strong> &#8211; not quite as slow as largo (&#8220;lar-GET-oh&#8221;)<\/li>\n<li><strong>Adagio<\/strong> &#8211; slow (&#8220;uh-DAH-jee-oh&#8221;)<\/li>\n<li><strong>Lento<\/strong> &#8211; slow (&#8220;LEN-toe&#8221;)<\/li>\n<li><strong>Andante<\/strong> &#8211; literally &#8220;walking&#8221;, a medium slow tempo (&#8220;on-DON-tay&#8221;)<\/li>\n<li><strong>Moderato<\/strong> &#8211; moderate, or medium (&#8220;MOD-er-AH-toe&#8221;)<\/li>\n<li><strong>Allegretto<\/strong> &#8211; Not as fast as allegro (&#8220;AL-luh-GRET-oh&#8221;)<\/li>\n<li><strong>Allegro<\/strong> &#8211; fast (&#8220;uh-LAY-grow&#8221;)<\/li>\n<li><strong>Vivo, or Vivace<\/strong> &#8211; lively and brisk (&#8220;VEE-voh&#8221;)<\/li>\n<li><strong>Presto<\/strong> &#8211; very fast (&#8220;PRESS-toe&#8221;)<\/li>\n<li><strong>Prestissimo<\/strong> &#8211; very, very fast (&#8220;press-TEE-see-moe&#8221;)<\/li>\n<\/ul>\n<\/div>\n<p id=\"p0f\">These terms, along with a little more Italian, will help you decipher most tempo instructions.<\/p>\n<div id=\"l1b\" data-type=\"list\">\n<h3 data-type=\"title\">Additional\u00a0Useful Italian<\/h3>\n<ul>\n<li><strong>(un) poco<\/strong> &#8211;\u00a0a little (&#8220;oon POH-koe&#8221;)<\/li>\n<li><strong>molto<\/strong> &#8211; a lot (&#8220;MOLE-toe&#8221;)<\/li>\n<li><strong>piu<\/strong> &#8211; more (&#8220;pew&#8221;)<\/li>\n<li><strong>meno<\/strong> &#8211; less (&#8220;MAY-no&#8221;)<\/li>\n<li><strong>mosso<\/strong> &#8211; literally &#8220;moved&#8221;; motion or movement (&#8220;MOE-so&#8221;)<\/li>\n<\/ul>\n<\/div>\n<h4><span style=\"line-height: 1.5;\">Slow Tempo<\/span><\/h4>\n<ul>\n<li><strong><em>Grave<\/em><\/strong>\u2014slow and solemn (20\u201340 BPM)<\/li>\n<\/ul>\n<div class=\"textbox shaded\">\n<h3>Listen: Grave<\/h3>\n<p>Beethoven,\u00a0<em>Sonata No. 8<\/em>, &#8220;Path\u00e9tique,&#8221; 1st movement\u00a0(<a href=\"http:\/\/www.mutopiaproject.org\/ftp\/BeethovenLv\/O13\/pathetique-1\/pathetique-1-a4.pdf\" target=\"_blank\">score<\/a>)<\/p>\n<p><!--[if lt IE 9]><script>document.createElement('audio');<\/script><![endif]--><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-325-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/ogg\" src=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/2\/26\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_I._Grave_-_Allegro_di_molto_e_con_brio.ogg?_=1\" \/><a href=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/2\/26\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_I._Grave_-_Allegro_di_molto_e_con_brio.ogg\">http:\/\/upload.wikimedia.org\/wikipedia\/commons\/2\/26\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_I._Grave_-_Allegro_di_molto_e_con_brio.ogg<\/a><\/audio><\/p>\n<\/div>\n<ul>\n<li><em><strong>Lento<\/strong><\/em>\u2014slowly (40\u201345 BPM)<\/li>\n<li><strong><em>Largo<\/em><\/strong>\u2014broadly (45\u201350 BPM)<\/li>\n<\/ul>\n<div class=\"textbox shaded\">\n<h3>Listen: Largo<\/h3>\n<p>F. Chopin, <em>Prelude Op. 8, No. 4 in E minor<\/em>\u00a0(<a href=\"http:\/\/www.easysheetmusic.com\/pdf\/chopinop28no4.pdf\" target=\"_blank\">score<\/a>)<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-325-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/ogg\" src=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/e8\/FChopinPreludeOp28n4.OGG?_=2\" \/><a href=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/e8\/FChopinPreludeOp28n4.OGG\">http:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/e8\/FChopinPreludeOp28n4.OGG<\/a><\/audio><\/p>\n<\/div>\n<ul>\n<li><strong><em>Larghetto<\/em><\/strong>\u2014rather broadly (50\u201355 BPM)<\/li>\n<li><em><strong>Adagio<\/strong><\/em>\u2014slow and stately (literally, &#8220;at ease&#8221;) (55\u201365 BPM)<\/li>\n<\/ul>\n<div class=\"textbox shaded\">\n<h3>Listen: Adagio<\/h3>\n<p>Beethoven,\u00a0<em>Sonata No. 8<\/em>, &#8220;Pat\u00e9tique,&#8221; 2nd movement\u00a0(<a href=\"http:\/\/www.mutopiaproject.org\/ftp\/BeethovenLv\/O13\/pathetique-2\/pathetique-2-a4.pdf\" target=\"_blank\">score<\/a>)<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-325-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/ogg\" src=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/6\/63\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_II._Adagio_cantabile.ogg?_=3\" \/><a href=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/6\/63\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_II._Adagio_cantabile.ogg\">http:\/\/upload.wikimedia.org\/wikipedia\/commons\/6\/63\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_II._Adagio_cantabile.ogg<\/a><\/audio><\/p>\n<\/div>\n<ul>\n<li><em><strong>Andante<\/strong><\/em>\u2014at a walking pace (73\u201377 BPM)<\/li>\n<\/ul>\n<div class=\"textbox shaded\">\n<h3>Listen: Andante<\/h3>\n<p><a href=\"https:\/\/youtu.be\/ThppJ_jlCvc?t=1s\" target=\"_blank\">Haydn,\u00a0<em>Symphony No. 104 in D<\/em>, &#8220;London,&#8221; 2nd movement<\/a>\u00a0(<a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/9\/93\/IMSLP03172-Haydn_-_Symphony_No.104_Mvt.II__Full_Score_-_1_page_per_image_.pdf\" target=\"_blank\">score<\/a>)<\/p>\n<\/div>\n<ul>\n<li><em><strong>Moderato<\/strong><\/em>\u2014moderately (86\u201397 BPM)<\/li>\n<\/ul>\n<h4>Fast Tempo<\/h4>\n<ul>\n<li><em><strong>Allegro<\/strong><\/em>\u2014fast, quickly and bright (109\u2013132 BPM)<\/li>\n<\/ul>\n<div class=\"textbox shaded\">\n<h3>Listen: Allegro<\/h3>\n<p>Beethoven, <em>Sonata No. 8<\/em>, &#8220;Path\u00e9tique,&#8221; 3rd movement\u00a0(<a href=\"http:\/\/www.mutopiaproject.org\/ftp\/BeethovenLv\/O13\/pathetique-3\/pathetique-3-a4.pdf\" target=\"_blank\">score<\/a>)<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-325-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/ogg\" src=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/8\/87\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_III._Rondo_-_Allegro.ogg?_=4\" \/><a href=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/8\/87\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_III._Rondo_-_Allegro.ogg\">http:\/\/upload.wikimedia.org\/wikipedia\/commons\/8\/87\/Beethoven%2C_Sonata_No._8_in_C_Minor_Pathetique%2C_Op._13_-_III._Rondo_-_Allegro.ogg<\/a><\/audio><\/p>\n<\/div>\n<ul>\n<li><em><strong>Vivace<\/strong><\/em>\u2014lively and fast (132\u2013140 BPM)<\/li>\n<li><em><strong>Presto<\/strong><\/em>\u2014very fast (168\u2013177 BPM)<\/li>\n<\/ul>\n<div class=\"textbox shaded\">\n<h3>Listen: Presto<\/h3>\n<p><a href=\"http:\/\/content.thespco.org\/music\/compositions\/sinfonia-concertante-for-violin-viola-and-orchestra-wolfgang-amadeus-mozart\" target=\"_blank\">W. A. Mozart, <em>Sinfonia Concertante in E Flat Major<\/em>, 3rd Movement<\/a>\u00a0(<a href=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/950\/2016\/02\/26002545\/Beethoven_3rdmovement.pdf\">score<\/a>)<\/p>\n<\/div>\n<section id=\"s2\" data-depth=\"1\">\n<p id=\"p0g\">Of course, tempo instructions don&#8217;t have to be given in Italian. Much folk, popular, and modern music, gives instructions in English or in the composer&#8217;s language. Tempo indications such as &#8220;Not too fast&#8221;, &#8220;With energy&#8221;, &#8220;Calmly&#8221;, or &#8220;March tempo&#8221; give a good idea of how fast the music should feel.<\/p>\n<\/section>\n<section id=\"s3\" data-depth=\"1\"><\/section>\n<section data-depth=\"1\">\n<h2 data-type=\"title\">Tempo Changes<\/h2>\n<p id=\"p3a\">If the tempo of a piece of music suddenly changes into a completely different tempo, there will be a new tempo given, usually marked in the same way (metronome tempo, Italian term, etc.) as the original tempo. Gradual changes in the basic tempo are also common in music, though, and these have their own set of terms. These terms often appear below the staff, although writing them above the staff is also allowed. These terms can also appear with modifiers like <span data-type=\"foreign\">molto<\/span> or <span data-type=\"foreign\">un poco<\/span>. You may notice that there are quite a few terms for slowing down. Again, the use of these terms will vary from one composer to the next; unless beginning and ending tempo markings are included, the performer must simply use good musical judgement to decide how much to slow down in a particular <span data-type=\"foreign\">ritardando<\/span> or<span data-type=\"foreign\">rallentando<\/span>.<\/p>\n<div id=\"l3a\" data-type=\"list\">\n<h3 data-type=\"title\">Changing-Tempo Terms<\/h3>\n<ul>\n<li><strong>accelerando<\/strong> &#8211; (abbreviated <span data-type=\"foreign\">accel.<\/span>) accelerating; getting faster<\/li>\n<li><strong>ritardando<\/strong> &#8211; (abbrev. <span data-type=\"foreign\">rit.<\/span>) slowing down<\/li>\n<li><strong>ritenuto<\/strong> &#8211; (abbrev. <span data-type=\"foreign\">riten.<\/span>) slower<\/li>\n<li><strong>rallentando<\/strong> &#8211; (abbrev. <span data-type=\"foreign\">rall.<\/span>) gradually slower<\/li>\n<li><strong>rubato<\/strong> &#8211; don&#8217;t be too strict with the rhythm; while keeping the basic tempo, allow the music to gently speed up and relax in ways that emphasize the phrasing<\/li>\n<li><strong>poco a poco<\/strong> &#8211; little by little; gradually<\/li>\n<li><strong>Tempo I<\/strong> &#8211; (&#8220;tempo one&#8221; or &#8220;tempo primo&#8221;) back to the original tempo (this instruction usually appears above the staff)<\/li>\n<\/ul>\n<div class=\"textbox shaded\">\n<h3>Listen:\u00a0Tempo Change<\/h3>\n<p>Listen for the dynamic changes in <a href=\"https:\/\/content.thespco.org\/music\/compositions\/overture-to-the-marriage-of-figaro-wolfgang-amadeus-mozart\/\" target=\"_blank\">W. A. Mozart\u2019s, Overture to \u201cThe Marriage of Figaro\u201d<\/a><\/p>\n<p>Before you start listening\u00a0look for the dynamic markings in the score : pp, p, ff, p.<\/p>\n<p>http:\/\/www.slideshare.net\/alysonday\/marriage-of-figaro-score-for-music-appreciation<\/p>\n<\/div>\n<\/div>\n<\/section>\n\n\t\t\t <section class=\"citations-section\" role=\"contentinfo\">\n\t\t\t <h3>Candela Citations<\/h3>\n\t\t\t\t\t <div>\n\t\t\t\t\t\t <div id=\"citation-list-325\">\n\t\t\t\t\t\t\t <div class=\"licensing\"><div class=\"license-attribution-dropdown-subheading\">CC licensed content, Shared previously<\/div><ul class=\"citation-list\"><li>Sonata No. 8 in C Minor Pathetique, Op. 13 - I. Grave - Allegro di molto e con brio. <strong>Authored by<\/strong>: Musopen. <strong>Provided by<\/strong>: Wikipedia. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/en.wikipedia.org\/wiki\/File:Beethoven,_Sonata_No._8_in_C_Minor_Pathetique,_Op._13_-_I._Grave_-_Allegro_di_molto_e_con_brio.ogg\">http:\/\/en.wikipedia.org\/wiki\/File:Beethoven,_Sonata_No._8_in_C_Minor_Pathetique,_Op._13_-_I._Grave_-_Allegro_di_molto_e_con_brio.ogg<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/about\/cc0\">CC0: No Rights Reserved<\/a><\/em><\/li><li>Prelude in E Minor, Op. 28, Nr. 4 for piano.. <strong>Authored by<\/strong>: Porticodoro \/ SmartCGArt Media Productions. <strong>Provided by<\/strong>: Wikipedia. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/en.wikipedia.org\/wiki\/File:FChopinPreludeOp28n4.OGG\">http:\/\/en.wikipedia.org\/wiki\/File:FChopinPreludeOp28n4.OGG<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by\/4.0\/\">CC BY: Attribution<\/a><\/em><\/li><li>Sonata No. 8 in C Minor Pathetique, Op. 13 - III. Rondo - Allegro. <strong>Authored by<\/strong>: Musopen. <strong>Provided by<\/strong>: Wikipedia. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/en.wikipedia.org\/wiki\/File:Beethoven,_Sonata_No._8_in_C_Minor_Pathetique,_Op._13_-_III._Rondo_-_Allegro.ogg\">http:\/\/en.wikipedia.org\/wiki\/File:Beethoven,_Sonata_No._8_in_C_Minor_Pathetique,_Op._13_-_III._Rondo_-_Allegro.ogg<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/about\/cc0\">CC0: No Rights Reserved<\/a><\/em><\/li><li>Tempo. <strong>Authored by<\/strong>: Catherine Schmidt-Jones. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/cnx.org\/contents\/0d0a576a-f615-4847-a456-fe74e7a1a09a@11\">http:\/\/cnx.org\/contents\/0d0a576a-f615-4847-a456-fe74e7a1a09a@11<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by\/4.0\/\">CC BY: Attribution<\/a><\/em><\/li><li>Allegro con fuoco. <strong>Authored by<\/strong>: Angus. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"https:\/\/www.flickr.com\/photos\/eyesore9\/2393260403\/\">https:\/\/www.flickr.com\/photos\/eyesore9\/2393260403\/<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\">CC BY-NC-ND: Attribution-NonCommercial-NoDerivatives <\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":969,"menu_order":3,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Sonata No. 8 in C Minor Pathetique, Op. 13 - I. Grave - Allegro di molto e con brio\",\"author\":\"Musopen\",\"organization\":\"Wikipedia\",\"url\":\"http:\/\/en.wikipedia.org\/wiki\/File:Beethoven,_Sonata_No._8_in_C_Minor_Pathetique,_Op._13_-_I._Grave_-_Allegro_di_molto_e_con_brio.ogg\",\"project\":\"\",\"license\":\"cc0\",\"license_terms\":\"\"},{\"type\":\"cc\",\"description\":\"Prelude in E Minor, Op. 28, Nr. 4 for piano.\",\"author\":\"Porticodoro \/ SmartCGArt Media Productions\",\"organization\":\"Wikipedia\",\"url\":\"http:\/\/en.wikipedia.org\/wiki\/File:FChopinPreludeOp28n4.OGG\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"cc\",\"description\":\"Sonata No. 8 in C Minor Pathetique, Op. 13 - III. Rondo - Allegro\",\"author\":\"Musopen\",\"organization\":\"Wikipedia\",\"url\":\"http:\/\/en.wikipedia.org\/wiki\/File:Beethoven,_Sonata_No._8_in_C_Minor_Pathetique,_Op._13_-_III._Rondo_-_Allegro.ogg\",\"project\":\"\",\"license\":\"cc0\",\"license_terms\":\"\"},{\"type\":\"cc\",\"description\":\"Tempo\",\"author\":\"Catherine Schmidt-Jones\",\"organization\":\"\",\"url\":\"http:\/\/cnx.org\/contents\/0d0a576a-f615-4847-a456-fe74e7a1a09a@11\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"cc\",\"description\":\"Allegro con fuoco\",\"author\":\"Angus\",\"organization\":\"\",\"url\":\"https:\/\/www.flickr.com\/photos\/eyesore9\/2393260403\/\",\"project\":\"\",\"license\":\"cc-by-nc-nd\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-325","chapter","type-chapter","status-web-only","hentry"],"part":23,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/pressbooks\/v2\/chapters\/325","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/wp\/v2\/users\/969"}],"version-history":[{"count":26,"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/pressbooks\/v2\/chapters\/325\/revisions"}],"predecessor-version":[{"id":1850,"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/pressbooks\/v2\/chapters\/325\/revisions\/1850"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/pressbooks\/v2\/parts\/23"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/pressbooks\/v2\/chapters\/325\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/wp\/v2\/media?parent=325"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/pressbooks\/v2\/chapter-type?post=325"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/wp\/v2\/contributor?post=325"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-musicappreciationtheory\/wp-json\/wp\/v2\/license?post=325"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}