2055:
2004:
1997:
1990:
1883:
1824:
1817:
1810:
2152:
979:
2068:
2044:
2029:
2022:
2015:
1981:
1974:
1967:
1897:
1872:
1854:
1847:
1840:
1801:
1794:
1787:
1005:
989:
2788:
399:, it is customary to describe the tempo of a piece by one or more words, most commonly in Italian, in addition to or instead of a metronome mark in beats per minute. Italian is typically used because it was the language of most composers during the time these descriptions became commonplace in the Western musical lexicon. Some well-known Italian tempo indications include "Allegro" (English "Cheerful"), "Andante" ("Walking-pace") and "Presto" ("Quickly"). This practice developed during the 17th and 18th centuries, the
212:
223:
3192:
3803:
39:
3793:
1677:
2258:
an underlying tempo of 120 quarter notes per minute. Thus, some soul music (around 75–90 bpm) mixes well with a drum and bass beat (from 150 to 185 bpm). When speeding up or slowing down a record on a turntable, the pitch and tempo of a track are linked: spinning a disc 10% faster makes both pitch and tempo 10% higher. Software processing to change the pitch without changing the tempo is called
2138:
results in a certain redundancy of the musical structure, making the recognition of the rhythmic pattern "robust" under tempo deviations. Generally speaking, the more redundant the "musical support" of a rhythmic pattern, the better its recognizability under augmentations and diminutions, that is, its distortions are perceived as tempo variations rather than rhythmic changes:
2158:= 19/119, a span of 5.5 times. Such tempo deviations are strictly prohibited, for example, in Bulgarian or Turkish music based on so-called additive rhythms with complex duration ratios, which can also be explained by the principle of correlativity of perception. If a rhythm is not structurally redundant, then even minor tempo deviations are not perceived as
1916:
The example considered suggests two alternative representations of the same rhythm: as it is, and as the rhythm-tempo interaction — a two-level representation in terms of a generative rhythmic pattern and a "tempo curve". Table 1 displays these possibilities both with and without pitch, assuming that
565:
time, and vary widely according to composers and works. A metronome marking cannot be deduced from one of the descriptive
Italian or non-Italian terms alone. Where both metronome marking and a word indication occur together, the verbal cue is often also intended to express a style or feeling, which a
376:
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
2257:
DJs often beatmatch the underlying tempos of recordings, rather than their strict bpm value suggested by the kick drum, particularly when dealing with high tempo tracks. A 240 bpm track, for example, matches the beat of a 120 bpm track without slowing down or speeding up, because both have
266:
Although tempo is described or indicated in many different ways, including with a range of words (e.g., "Slowly", "Adagio", and so on), it is typically measured in beats per minute (bpm or BPM). For example, a tempo of 60 beats per minute signifies one beat per second, while a tempo of 120 beats per
367:
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
2137:
Thus, the loop of interdependence of rhythm and tempo is overcome due to the simplicity criterion, which "optimally" distributes the complexity of perception between rhythm and tempo. In the above example, the repetition is recognized because of additional repetition of the melodic contour, which
1921:
takes four bytes. As shown in the bottom row of the table, the rhythm without pitch requires fewer bytes if it is "perceived" as it is, without repetitions and tempo leaps. On the contrary, its melodic version requires fewer bytes if the rhythm is "perceived" as being repeated at a double tempo.
2416:
3.2 The tempi for each dance shall be: Waltz 28‒30 bars/min, Tango 31‒33 bars/min, Viennese Waltz 58‒60 bars/min, Slow
Foxtrot 28‒30 bars/min, Quickstep 50‒52 bars/min; Samba 50‒52 bars/min, Cha-Cha-Cha 30‒32 bars/min, Rumba 25‒27 bars/min, Paso Doble 60‒62 bars/min, Jive 42‒44
437:), the latter being an indication both of tempo and of metre. Any musician of the time was expected to know how to interpret these markings based on custom and experience. In some cases, however, these markings were simply omitted. For example, the first movement of
2189:
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.
2142:
By taking into account melodic context, homogeneity of accompaniment, harmonic pulsation, and other cues, the range of admissible tempo deviations can be extended further, yet still not preventing musically normal perception. For example,
1217:, indicating a slowish folk-dance-like movement, with some awkwardness and much vulgarity in the execution. Mahler would also sometimes combine German tempo markings with traditional Italian markings, as in the first movement of his
573:. Between its early use in the 18th century and its later use from the 19th century onwards, it has experienced a slight increment in the tempo that it is intended to denote. Originally it implied a tempo very slightly faster than
1766:
One difficulty in defining tempo is the dependence of its perception on rhythm, and, conversely, the dependence of rhythm perception on tempo. Furthermore, the tempo-rhythm interaction is context dependent, as explained by
191:. 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
2582:
Elson's Pocket Music
Dictionary: The Important Terms Used in Music with Pronunciation and Concise Definition, Together with the Elements of Notation and a Biographical List of Over Five Hundred Noted Names in
1553:
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. Used in this context, the term is not necessarily related to
1663:
These terms also indicate an immediate, not a gradual, tempo change. Although they are
Italian, composers tend to employ them even if they have written their initial tempo marking in another language.
241:
1909:
This context-dependent perception of tempo and rhythm is explained by the principle of correlative perception, according to which data are perceived in the simplest way. From the viewpoint of
239:
1396:); 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.
1263:
charts, terms like 'fast', 'laid back', 'steady rock', 'medium', 'medium-up', 'ballad', 'brisk', 'brightly', 'up', 'slowly', and similar style indications may appear. In some
2507:
240:
859:
is used when the actual speed of the music has not changed, despite apparent signals to the contrary, such as changes in time signature or note length (half notes in
368:
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
2486:
160:. 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
309:
was one of the first composers to use the metronome; in the 1810s he published metronomic indications for the eight symphonies he had composed up to that time.
2250:
for DJ use) to match the tempo of a previous or subsequent track, so both can be seamlessly mixed. Having beatmatched two songs, the DJ can either seamlessly
1324:
Tempo is not necessarily fixed. Within a piece (or within a movement of a longer work), a composer may indicate a complete change of tempo, often by using a
445:
has no tempo or mood indication whatsoever. Despite the increasing number of explicit tempo markings, musicians still observe conventions, expecting a
569:
It is therefore important to remember that the exact sense of many of these terms has changed over time. One striking example is the use of the term
1917:
one duration requires one byte of information, one byte is needed for the pitch of one tone, and invoking the repeat algorithm with its parameters
3057:
3204:
3839:
442:
1595:
change in tempo; for immediate tempo shifts, composers normally just provide the designation for the new tempo. (Note, however, that when
3910:
3236:
484:, on the other hand, simply indicates speed. Additional Italian words also indicate tempo and mood. For example, the "agitato" in the
1267:
and fake books, both tempo and genre are indicated, e.g., 'slow blues', 'fast swing', or 'medium Latin'. The genre indications help
1531:– free adjustment of tempo for expressive purposes, literally "stolen"—so more strictly, to take time from one beat to slow another
1132:
was known to write extensive tempo (and character) markings by defining them in a poetical and literal way, as in his
Gnossiennes.
597:
have experienced a considerable shift with regards to the tempi, in beats per minute, that they are required to express: A modern
1687:
1603:
appears in large type above the staff, it functions as a new tempo, and thus implies an immediate change.) Several terms, e.g.,
905:– but not too much; used to modify a basic tempo to indicate that the basic tempo should be reined in to a degree; for example,
331:
The speed of a piece of music can also be gauged according to measures per minute (mpm) or bars per minute (bpm), the number of
3088:
3038:
2899:
2619:
2470:
2352:
2147:'s own performance of his "Poem", Op. 32, No. 1, transcribed from a piano-roll recording contains tempo deviations within
1588:, adjustments typically appear below the staff or, in the case of keyboard instruments, in the middle of the grand staff.
3934:
461:
wrote "In tempo d'un
Menuetto" over the first movement of his Piano Sonata Op. 54, though that movement is not a minuet.
2263:
2259:
747:– at least slightly faster and livelier than allegro, but always at its range (and no faster than vivace) (124–156 bpm)
297:
This measurement and indication of tempo became increasingly popular during the first half of the 19th century, after
3832:
3177:
3139:
3117:
3066:
2551:
2517:
122:
27:
1745:
103:
3702:
2609:
1316:
have similarly marked scores, with the music for their song "The Whale (Moby Dick)" shown as 'oceanlike and vast'.
1717:
550:
Here follows a list of common tempo markings. The beats per minute (bpm) values are very rough approximations for
75:
3857:
2327:
504:
2393:
2166:
but rather given an impression of a change in rhythm, which implies an inadequate perception of musical meaning.
2151:
978:
4085:
3903:
3229:
2251:
1830:
This rhythm is perceived as it is rather than as the first three events repeated at a double tempo (denoted as
1702:
1301:. For example, "National Brotherhood Week" is to be played 'fraternally'; "We Will All Go Together" is marked '
60:
792:
in Latin – the performer may use their own discretion with regard to tempo and rhythm; literally "at pleasure"
1724:
390:
82:
1647:– denotes an immediate return to the piece's original base tempo after a section in a different tempo (e.g.
4136:
3825:
2605:
2535:
suggests that many works marked "Allegretto" are nowadays played too quickly as a result of this confusion.
2175:
425:
In the
Baroque period, pieces would typically be given an indication, which might be a tempo marking (e.g.
1271:
instrumentalists use the correct style. For example, if a song says 'medium shuffle', the drummer plays a
172:
mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like
3737:
3601:
3052:
2404:
2067:
2054:
2043:
2028:
2021:
2014:
2003:
1996:
1989:
1980:
1973:
1966:
1896:
1882:
1871:
1853:
1846:
1839:
1823:
1816:
1809:
1800:
1793:
1786:
1004:
988:
1913:'s complexity theory, this means such a representation of the data that minimizes the amount of memory.
2863:
2331:
1731:
89:
4141:
3896:
3806:
3697:
3672:
3463:
3222:
3105:
1777:
232:
2918:(July 1994). "A principle of correlativity of perception and its application to music recognition".
721:– by the mid-19th century, moderately fast (112–120 bpm); see paragraph above for earlier usage
3707:
3657:
3546:
3453:
2809:
2191:
1203:
would further elaborate on combined tempo and mood instructions in German. For example, the second
493:
2212:
has defined proportions but no defined duration, with one performance intended to last 639 years.
1713:
71:
4146:
3867:
3796:
3667:
1218:
1208:
541:
516:
49:
2995:
4025:
3346:
2729:
2235:
404:
317:
298:
173:
56:
20:
3778:
3642:
3341:
2541:
2334:, seeming to many to be almost impossibly fast, as is also the case for many of the works of
1339:
It is also possible to indicate a more or less gradual change in tempo, for instance with an
438:
312:
With the advent of modern electronics, beats per minute became an extremely precise measure.
3473:
3271:
1356:
1188:
1043:
458:
180:
2647:
1039:
511:
of compositions after their tempo (or mood) marking. For instance, the second movement of
8:
3712:
3692:
2301:
2286:
2254:
from one song to another, or play both tracks simultaneously, creating a layered effect.
2209:
685:(80–108 bpm) (although, in some cases, it can be taken to mean slightly slower than
157:
136:
3742:
2894:. Lecture Notes in Artificial Intelligence. Vol. 746. Berlin-Heidelberg: Springer.
2178:
introduced a wide range of approaches to tempo, particularly thanks to the influence of
1507:; a sudden decrease in tempo; temporarily holding back. (Note that the abbreviation for
4040:
3364:
2955:
2937:
2688:
2442:
2144:
1313:
1059:
534:
2746:
355:, music directors or other individuals will select the tempo of a song or piece. In a
187:, or these aspects may be indicated along with tempo, all contributing to the overall
4035:
4005:
3758:
3506:
3266:
3261:
3173:
3157:
3135:
3127:
3113:
3084:
3062:
3034:
3006:
2895:
2615:
2547:
2513:
2466:
2379:
2296:
2179:
1772:
408:
360:
4045:
1286:, describes the traditionally brisk tempo (usually 160–170 bpm) of opening songs in
3981:
3964:
3862:
3717:
3521:
3496:
3448:
3321:
3245:
2929:
2920:
2915:
2887:
2487:"How do musicians know how fast to play a piece? And why are the terms in Italian?"
2262:. The opposite operation, changing the tempo without changing the pitch, is called
2183:
1768:
1738:
1241:
1204:
1187:
One of the first German composers to use tempo markings in his native language was
1140:
Many composers have used German tempo markings. Typical German tempo markings are:
1051:
508:
454:
96:
1195:
followed afterwards with increasingly specific markings, and later composers like
4065:
4010:
3611:
3606:
3491:
3458:
3374:
2601:
2580:
2460:
2335:
1192:
577:, whereas now it is often used to indicate one that is just a little slower than
489:
396:
373:
369:
313:
188:
2770:
1545:– in a faster tempo, often used near the conclusion of a section. (Note that in
1038:
Several composers have written markings in French, among them baroque composers
4110:
4000:
3872:
3768:
3481:
3336:
2984:
2597:
2430:"Tempo | Definition, Music, Description, & Notation | Britannica"
1698:
1374:
1329:
1268:
1245:
1047:
450:
419:
336:
272:
1537:– gradually slowing down, literally "slowing down", "widening" or "stretching"
822:– Italian for "with movement"; can be combined with a tempo indication, e.g.,
211:
4130:
4075:
4070:
3994:
3954:
3923:
3773:
3632:
3551:
3423:
3379:
3316:
3296:
3253:
3208:
3076:
3048:
3030:
2847:
2671:
2596:
2537:
2532:
2429:
2204:
1626:
After a tempo change, a composer may return to a previous tempo in two ways:
1585:
1333:
1276:
1253:
1055:
998:
623:
512:
412:
400:
356:
184:
3196:
2566:
1486:– slowing down gradually; also see rallentando and ritenuto (abbreviations:
4095:
3949:
3687:
3677:
3652:
3563:
3526:
3428:
3416:
3406:
3369:
3356:
3306:
2676:
The Oxford
Companion to Music, self-indexed and with a pronouncing glossary
2291:
2221:
1370:
1363:
1272:
1013:
325:
291:
192:
161:
3161:
347:
In different musical contexts, different instrumental musicians, singers,
4090:
3944:
3763:
3637:
3616:
3593:
3578:
3391:
3326:
3301:
3276:
2276:
2231:
1656:
1302:
332:
321:
247:
3191:
2941:
2198:
deliberately utilise performers playing at marginally different speeds.
1275:
drum pattern; if it says 'fast boogie-woogie', the piano player plays a
4105:
4055:
4050:
4020:
3986:
3976:
3662:
3536:
3401:
3396:
3149:
3022:
2611:
2281:
1910:
1655:). This indication often functions as a structural marker in pieces in
1325:
1294:
1283:
1264:
1256:
1129:
788:
352:
348:
335:
of the piece performed in one minute. This measure is commonly used in
268:
258:
196:
3817:
195:
or drastic variances. In ensembles, the tempo is often indicated by a
4080:
4060:
4030:
3969:
3939:
3732:
3722:
3682:
3647:
3531:
3291:
2933:
2306:
2247:
2199:
2195:
1351:., slowing down) marking. Indeed, some compositions chiefly comprise
1306:
1260:
1196:
411:, performers understood most music to flow at a tempo defined by the
306:
302:
271:
of a beat will typically be that indicated by the denominator of the
169:
1676:
1408:– growing broader; decreasing tempo, usually near the end of a piece
1240:
English indications, for example 'quickly', have also been used, by
464:
Many tempo markings also indicate mood and expression. For example,
316:
use the bpm system to denote tempo. In popular music genres such as
38:
3959:
3888:
3583:
3568:
3411:
3386:
3214:
2326:
Some of these markings are today contentious, such as those on his
895:– but not so much; used in the same way and has the same effect as
416:
1214:
Im Tempo eines gemächlichen Ländlers, etwas täppisch und sehr derb
4015:
3558:
3541:
3516:
3501:
3486:
3443:
3286:
1541:
1523:
does not reflect a tempo change but rather a 'character' change.)
364:
267:
minute is twice as rapid, signifying two beats every second. The
200:
3029:(2nd, revised and enlarged ed.). Cambridge, Massachusetts:
2380:"A Pilot Study of Automatic Tempo Measurement in Rhythmic Music"
1232:(Energetically quick, but not too much. Violent, but vigorous.)
4115:
3919:
3573:
3511:
3438:
2864:"Tempo Markings – Common Tempos in Italian, German, and French"
1865:
However, the motive with this rhythm in the Mussorgsky's piece
1527:
1200:
615:– extremely slow, slowest type of tempo (24 bpm and under)
446:
165:
1377:, often described as some notes 'borrowing' time from others.
1017:– at a consistent speed, at the 'right' speed, in strict tempo
3727:
3433:
3311:
2996:
https://blog.mixcloud.com/2023/10/02/a-guide-to-beatmatching/
2678:, 5th ed. London; New York; Toronto: Oxford University Press.
2227:
2202:'s compositions approach tempo in diverse ways. For instance
1546:
1309:
1287:
496:
has both a tempo indication (undoubtedly faster than a usual
1619:, control how large and how gradual a change should be (see
1312:' has the tempo 'painstakingly'. His English contemporaries
540:"Allegro Con Brio" redirects here. For the Soviet film, see
3281:
2886:
2242:
use that involves speeding up or slowing down a record (or
1771:
using an example of the leading rhythm of ″Promenade″ from
1249:
480:
also connotes joy (from its original meaning in Italian).
2243:
1328:
and introducing a new tempo indication, often with a new
16:
Musical concept indicating to the speed of interpretation
2960:
Poem for piano, Op. 32, No. 1. Transcribed by P. Lobanov
1385:
Composers may use expressive marks to adjust the tempo:
2394:"E. Rules for Competitions (Couples). Rule E.3 (Music)"
2353:"Music 101: What Is Tempo? How Is Tempo Used in Music?"
2239:
1297:
uses facetious English tempo markings in his anthology
695:– moderately, in the manner of a march (66–80 bpm)
422:
indicated which note value corresponded to the tactus.
26:"Beats per minute" redirects here. For other uses, see
2966:
1633:– returns to the base tempo after an adjustment (e.g.
1500:– slightly slower, but achieved more immediately than
671:– at a walking pace, moderately slow (56–108 bpm)
457:
quite fast, and so on. Genres imply tempos, and thus,
377:
line with its forms, as occurs with flamenco and its
320:, accurate knowledge of a tune's bpm is important to
2546:. New Haven: Yale University Press. pp. 48–95.
1694:
533:"Allegretto" redirects here. For the racehorse, see
199:
or by one of the instrumentalists, for instance the
3170:
The Dance Music Manual: Tools, Toys, and Techniques
2962:. Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo.
2829:
2208:has a defined duration, but no actual notes, while
63:. Unsourced material may be challenged and removed.
3007:https://dj.studio/blog/dj-beat-matching-techniques
2776:
2628:
1282:'Show tempo', a term used since the early days of
759:– very fast, lively and bright (172–176 bpm)
4128:
176:, tempo will typically simply be stated in BPM.
3110:Shaping Time: Music, the Brain, and Performance
3058:The New Grove Dictionary of Music and Musicians
2813:. Vol. 1 (14 ed.). 1930. p. 282.
1402:– speeding up with a suggestion of anxiety
709:(at a moderate walking speed) (80–108 bpm)
608:Approximately from the slowest to the fastest:
449:to be at a fairly stately tempo, slower than a
415:(roughly the rate of the human heartbeat). The
899:(see immediately below) but to a lesser degree
3904:
3833:
3230:
2880:
1222:
645:– slow with great expression (44–66 bpm)
144:
3047:
2985:https://pirate.com/en/blog/how-to-beatmatch/
2851:
2824:
2713:
2543:Beethoven's Piano Sonatas: A Short Companion
2194:show tempo and rhythm in a variety of ways.
1926:Complexity of representation of time events
1703:introducing citations to additional sources
1584:) typically appears in large type above the
1560:– pressing on faster, literally "tightening"
1460:– movement, more lively; quicker, much like
1380:
1319:
1227:
1212:
889:, and they would all have the same duration)
168:(BPM). In modern classical compositions, a "
2908:
2892:Artificial Perception and Music Recognition
2465:. Princeton University Press. p. 408.
1666:
605:, but in the Baroque period it was faster.
3911:
3897:
3840:
3826:
3792:
3237:
3223:
3154:Rhythm and Tempo: A Study in Music History
1834:= repeat from 0, one time, twice faster):
1649:Allegro ... Lento ... Moderato ... Tempo I
2509:Samuel Barber: the composer and his music
2449:, Harvard University Press, 1986, "Tempo"
2170:
1580:While the base tempo indication (such as
1235:
143:(Italian for 'time'; plural 'tempos', or
123:Learn how and when to remove this message
3075:
2954:
2733:
2512:. Oxford University Press. p. 158.
2462:The Science and Art of Renaissance Music
2377:
1693:Relevant discussion may be found on the
1476:– a gradual slowing down (abbreviation:
1414:– going slower (and usually also softer)
1135:
1033:
771:– extremely fast (200 bpm and over)
715:– at a moderate speed (108–120 bpm)
639:– rather slow and broad (44–66 bpm)
581:. A similar fate has befallen the terms
210:
149:from the Italian plural), also known as
3847:
2972:
2914:
2665:
2614:. Leuven University Press. p. 80.
1062:. Common tempo markings in French are:
627:– very slow and solemn (24–40 bpm)
528:
4129:
3172:, 2nd ed. Oxford, UK: Elsevier Press.
2505:
1620:
500:) and a mood indication ("agitated").
290:time, the beat will be a crotchet, or
3892:
3821:
3218:
2578:
2536:
2499:
1637:undoes the effect of the ritardando).
1515:Thus a more specific abbreviation is
384:
3918:
3244:
3134:. New Haven: Yale University Press.
3021:
2835:
2794:
2782:
2634:
2569:, music theory online, Dolmetsch.com
2458:
2339:
1670:
1373:refers to changes in tempo within a
753:– lively and fast (156–176 bpm)
737:– fast and bright (120–156 bpm)
61:adding citations to reliable sources
32:
2452:
2447:The New Harvard Dictionary of Music
2238:, beatmatching is a technique that
1023:– resume the original (first) tempo
777:
566:metronome marking alone cannot do.
13:
3098:
1566:– slowing down gradually (same as
909:to mean "Slow, but not too much",
472:both indicate a speedy execution (
221:
14:
4158:
3184:
2506:Heyman, Barbara B. (1994-05-12).
2176:Twentieth-century classical music
2098:Complexity of its transformation
1069:– play the (first or main) tempo.
633:– slow and broad (40–66 bpm)
363:group or band, the bandleader or
342:
28:Beats per minute (disambiguation)
3802:
3801:
3791:
3190:
2403:(WDSF Rules & Regulations),
2226:In popular music genres such as
2150:
2066:
2053:
2042:
2027:
2020:
2013:
2002:
1995:
1988:
1979:
1972:
1965:
1895:
1890:is rather perceived as a repeat
1881:
1870:
1852:
1845:
1838:
1822:
1815:
1808:
1799:
1792:
1785:
1686:relies largely or entirely on a
1675:
1494:) sometimes replaces allargando.
1470:– hurrying; going faster/forward
1362:, or the Russian Civil War song
1224:Allegro energico, ma non troppo.
1029:– simple, regular speed, plainly
1003:
987:
977:
913:to mean "Fast, but not too much"
429:), or the name of a dance (e.g.
257:Problems playing this file? See
237:
156:is the speed or pace of a given
37:
3858:Glossary of musical terminology
3132:The Tempo Indications of Mozart
3000:
2989:
2978:
2948:
2856:
2841:
2817:
2800:
2764:
2739:
2718:
2706:
2681:
2640:
2590:
2572:
2560:
2526:
2215:
2079:Complexity of rhythmic pattern
1436:– gradually slowing, and softer
949:or "Rallentando" – opposite of
874:could change to whole notes in
48:needs additional citations for
3081:Star Wars: Suite for Orchestra
2479:
2436:
2422:
2386:
2371:
2345:
2320:
970:– the speed of a ... (such as
765:– very fast (168–200 bpm)
206:
1:
3195:The dictionary definition of
2728:, see measures 4 and 130 of "
2579:Elson, Louis Charles (1909).
1924:
1392:– speeding up (abbreviation:
391:Glossary of music terminology
3112:. New York: Schirmer Books.
2459:Haar, James (14 July 2014).
2378:Velankar, Makarland (2014).
2313:
1299:Too Many Songs by Tom Lehrer
993: ≈ 126 bpm),
985: ≈ 60 bpm or
757:Vivacissimo and Allegrissimo
215:Wittner electronic metronome
179:Tempo may be separated from
7:
3602:History of music publishing
3061:(2nd ed.). Macmillan.
3027:Harvard Dictionary of Music
2405:World DanceSport Federation
2338:. See "metronome" entry in
2269:
2246:player, a speed-adjustable
1591:They generally designate a
1576:– resume the original tempo
1009: ≈ 120 bpm))
816:– with grace, or gracefully
10:
4163:
3083:. Milwaukee: Hal Leonard.
2219:
1651:indicates a return to the
727:– close to, but not quite
539:
532:
443:Brandenburg Concerto No. 3
388:
25:
18:
3930:
3853:
3807:Category:Musical notation
3787:
3751:
3673:Numbered musical notation
3625:
3592:
3472:
3464:Scientific pitch notation
3355:
3252:
2712:"Istesso tempo" entry in
2196:Polytemporal compositions
1937:
1932:
1778:Pictures at an Exhibition
1381:Terms for change in tempo
1320:Variation through a piece
4041:Non-retrogradable rhythm
3454:Helmholtz pitch notation
2888:Tanguiane , Andranick S.
2852:Sadie & Tyrrell 2001
2825:Sadie & Tyrrell 2001
2810:Encyclopaedia Britannica
2724:For a modern example of
2714:Sadie & Tyrrell 2001
2407:, 2018-01-01, p. 19
1667:Tempo–rhythm interaction
1248:, among many others. In
964:– at a comfortable speed
665:– slow (52–108 bpm)
655:or slightly faster than
488:of the last movement of
407:periods. In the earlier
3868:List of pitch intervals
3797:List of musical symbols
3668:Nashville Number System
2771:Gnossiennes music sheet
1549:compositions, the term
1454:– more movement; faster
1442:– less movement; slower
1355:passages, for instance
1183:– animated, with motion
919:– majestically, stately
810:– resume previous tempo
798:– gradually play faster
677:– slightly faster than
3347:Transposing instrument
2868:theonlinemetronome.com
2730:Star Wars (Main Title)
2401:WDSF Competition Rules
2328:"Hammerklavier" Sonata
2236:electronic dance music
2171:Modern classical music
2168:
1635:ritardando ... a tempo
1369:On the smaller scale,
1236:English tempo markings
1228:
1223:
1213:
1147:– vigorous or powerful
589:. Likewise, the terms
318:electronic dance music
299:Johann Nepomuk Maelzel
226:
216:
174:electronic dance music
145:
21:Tempo (disambiguation)
3935:Additive and divisive
3168:Snoman, Rick (2009).
2773:, IMSLP Music Library
2140:
1191:, but only sparsely.
1136:German tempo markings
1097:– at a moderate tempo
1075:– slowly and solemnly
1034:French tempo markings
911:Allegro ma non troppo
855:– at the same speed;
503:Often, composers (or
225:
214:
4061:Prolation and tempus
3156:. New York: Norton.
2823:"Ritenuto" entry in
1699:improve this article
1464:, but not as extreme
1189:Ludwig van Beethoven
1044:Jean-Philippe Rameau
907:Adagio ma non troppo
841:– sadly, plaintively
529:Basic tempo markings
459:Ludwig van Beethoven
324:for the purposes of
233:120 beats per minute
57:improve this article
19:For other uses, see
4137:Musical terminology
3848:Musical terminology
3693:Percussion notation
3211:Department of Music
2956:Skrjabin, Alexander
2850:: "Ritardando", in
2302:Multitemporal music
2287:As Slow as Possible
2210:As Slow as Possible
1927:
1229:Heftig, aber markig
974:(speed of a waltz,
494:piano concerto in F
476:being faster), but
275:. For instance, in
137:musical terminology
3128:Marty, Jean-Pierre
2432:. 2 November 2023.
1938:Rhythm with pitch
1925:
1314:Flanders and Swann
1060:Alexander Scriabin
731:(116–120 bpm)
681:, but slower than
535:Allegretto (horse)
385:Musical vocabulary
372:, in some cases a
227:
217:
4124:
4123:
4036:Metric modulation
3886:
3885:
3815:
3814:
3759:Mensural notation
3205:Tempo Terminology
3090:978-0-793-58208-2
3040:978-0-674-37501-7
2916:Tanguiane , A. S.
2901:978-3-540-57394-4
2736:, pp. 3, 30.
2621:978-905-867-822-5
2598:William E. Caplin
2472:978-1-40-086471-3
2297:Half-time (music)
2135:
2134:
2117:Total complexity
1956:Coding as repeat
1948:Coding as repeat
1773:Modest Mussorgsky
1764:
1763:
1749:
1621:common qualifiers
1343:(speeding up) or
1040:François Couperin
409:Renaissance music
361:traditional music
242:
133:
132:
125:
107:
4154:
4142:Rhythm and meter
3913:
3906:
3899:
3890:
3889:
3842:
3835:
3828:
3819:
3818:
3805:
3804:
3795:
3794:
3658:Graphic notation
3322:Rehearsal letter
3246:Musical notation
3239:
3232:
3225:
3216:
3215:
3194:
3165:
3145:
3123:
3094:
3072:
3044:
3009:
3004:
2998:
2993:
2987:
2982:
2976:
2970:
2964:
2963:
2952:
2946:
2945:
2934:10.2307/40285634
2921:Music Perception
2912:
2906:
2905:
2884:
2878:
2877:
2875:
2874:
2860:
2854:
2845:
2839:
2833:
2827:
2821:
2815:
2814:
2804:
2798:
2792:
2786:
2780:
2774:
2768:
2762:
2761:
2759:
2757:
2743:
2737:
2722:
2716:
2710:
2704:
2703:
2701:
2699:
2685:
2679:
2672:Percy A. Scholes
2669:
2663:
2662:
2660:
2658:
2644:
2638:
2632:
2626:
2625:
2594:
2588:
2587:
2586:. Oliver Ditson.
2576:
2570:
2564:
2558:
2557:
2530:
2524:
2523:
2503:
2497:
2496:
2494:
2493:
2483:
2477:
2476:
2456:
2450:
2440:
2434:
2433:
2426:
2420:
2419:
2413:
2412:
2398:
2390:
2384:
2383:
2375:
2369:
2368:
2366:
2364:
2349:
2343:
2324:
2157:
2156:
2154:
2071:
2070:
2058:
2057:
2047:
2046:
2032:
2031:
2025:
2024:
2018:
2017:
2007:
2006:
2000:
1999:
1993:
1992:
1984:
1983:
1977:
1976:
1970:
1969:
1953:Complete coding
1945:Complete coding
1928:
1900:
1899:
1886:
1885:
1875:
1874:
1857:
1856:
1850:
1849:
1843:
1842:
1827:
1826:
1820:
1819:
1813:
1812:
1804:
1803:
1797:
1796:
1790:
1789:
1769:Andranik Tangian
1759:
1756:
1750:
1748:
1707:
1679:
1671:
1519:Also, sometimes
1428:Doppio più lento
1422:doppio più mosso
1418:Doppio movimento
1303:eschatologically
1242:Benjamin Britten
1231:
1226:
1216:
1052:Olivier Messiaen
1008:
1007:
992:
991:
984:
983:
981:
888:
887:
886:
885:
873:
872:
871:
870:
824:Andante con moto
778:Additional terms
725:Allegro moderato
699:Andante moderato
659:(46–80 bpm)
564:
563:
562:
561:
543:Allegro Con Brio
505:music publishers
455:perpetuum mobile
314:Music sequencers
289:
288:
287:
286:
244:
243:
224:
151:beats per minute
148:
128:
121:
117:
114:
108:
106:
65:
41:
33:
4162:
4161:
4157:
4156:
4155:
4153:
4152:
4151:
4127:
4126:
4125:
4120:
4011:Harmonic rhythm
3926:
3917:
3887:
3882:
3849:
3846:
3816:
3811:
3783:
3747:
3621:
3612:Music publisher
3607:Music engraving
3588:
3468:
3459:Letter notation
3351:
3248:
3243:
3187:
3148:
3142:
3126:
3120:
3104:
3101:
3099:Further reading
3091:
3069:
3055:, eds. (2001).
3041:
3013:
3012:
3005:
3001:
2994:
2990:
2983:
2979:
2971:
2967:
2953:
2949:
2913:
2909:
2902:
2885:
2881:
2872:
2870:
2862:
2861:
2857:
2846:
2842:
2834:
2830:
2822:
2818:
2806:
2805:
2801:
2793:
2789:
2781:
2777:
2769:
2765:
2755:
2753:
2751:Merriam-Webster
2745:
2744:
2740:
2723:
2719:
2711:
2707:
2697:
2695:
2693:Merriam-Webster
2687:
2686:
2682:
2670:
2666:
2656:
2654:
2652:Merriam-Webster
2646:
2645:
2641:
2633:
2629:
2622:
2602:James Hepokoski
2595:
2591:
2577:
2573:
2565:
2561:
2554:
2531:
2527:
2520:
2504:
2500:
2491:
2489:
2485:
2484:
2480:
2473:
2457:
2453:
2441:
2437:
2428:
2427:
2423:
2410:
2408:
2396:
2392:
2391:
2387:
2376:
2372:
2362:
2360:
2359:. 6 August 2021
2357:masterclass.com
2351:
2350:
2346:
2325:
2321:
2316:
2311:
2272:
2264:time-stretching
2224:
2218:
2173:
2149:
2148:
2073:
2072:
2065:
2060:
2059:
2052:
2049:
2048:
2041:
2033:
2026:
2019:
2012:
2008:
2001:
1994:
1987:
1985:
1978:
1971:
1964:
1907:
1902:
1901:
1894:
1888:
1887:
1880:
1877:
1876:
1869:
1863:
1858:
1851:
1844:
1837:
1828:
1821:
1814:
1807:
1805:
1798:
1791:
1784:
1760:
1754:
1751:
1708:
1706:
1692:
1680:
1669:
1383:
1322:
1238:
1193:Robert Schumann
1159:– lively (mood)
1138:
1036:
1002:
995:Tempo di marcia
986:
976:
975:
884:
879:
878:
877:
876:
875:
869:
864:
863:
862:
861:
860:
853:Lo stesso tempo
849:L'istesso tempo
780:
693:Marcia moderato
601:is slower than
560:
555:
554:
553:
552:
551:
548:
538:
531:
490:George Gershwin
486:Allegro agitato
397:classical music
393:
387:
374:record producer
370:sound recording
345:
285:
280:
279:
278:
277:
276:
264:
263:
255:
253:
252:
251:
250:
245:
238:
235:
228:
222:
209:
129:
118:
112:
109:
66:
64:
54:
42:
31:
24:
17:
12:
11:
5:
4160:
4150:
4149:
4147:Temporal rates
4144:
4139:
4122:
4121:
4119:
4118:
4113:
4111:Time signature
4108:
4103:
4098:
4093:
4088:
4083:
4078:
4073:
4068:
4063:
4058:
4053:
4048:
4046:Notes inégales
4043:
4038:
4033:
4028:
4023:
4018:
4013:
4008:
4003:
3998:
3991:
3990:
3989:
3979:
3974:
3973:
3972:
3962:
3957:
3952:
3947:
3942:
3937:
3931:
3928:
3927:
3916:
3915:
3908:
3901:
3893:
3884:
3883:
3881:
3880:
3875:
3873:Musical prefix
3870:
3865:
3860:
3854:
3851:
3850:
3845:
3844:
3837:
3830:
3822:
3813:
3812:
3810:
3809:
3799:
3788:
3785:
3784:
3782:
3781:
3776:
3771:
3766:
3761:
3755:
3753:
3749:
3748:
3746:
3745:
3740:
3735:
3730:
3725:
3720:
3715:
3710:
3705:
3700:
3695:
3690:
3685:
3680:
3675:
3670:
3665:
3660:
3655:
3650:
3645:
3640:
3635:
3629:
3627:
3623:
3622:
3620:
3619:
3614:
3609:
3604:
3598:
3596:
3590:
3589:
3587:
3586:
3581:
3576:
3571:
3566:
3561:
3556:
3555:
3554:
3549:
3544:
3539:
3534:
3529:
3519:
3514:
3509:
3504:
3499:
3494:
3489:
3484:
3478:
3476:
3470:
3469:
3467:
3466:
3461:
3456:
3451:
3446:
3441:
3436:
3431:
3426:
3421:
3420:
3419:
3414:
3409:
3399:
3394:
3389:
3384:
3383:
3382:
3377:
3372:
3361:
3359:
3353:
3352:
3350:
3349:
3344:
3339:
3337:Time signature
3334:
3329:
3324:
3319:
3314:
3309:
3304:
3299:
3294:
3289:
3284:
3279:
3274:
3269:
3264:
3258:
3256:
3250:
3249:
3242:
3241:
3234:
3227:
3219:
3213:
3212:
3202:
3186:
3185:External links
3183:
3182:
3181:
3166:
3146:
3140:
3124:
3118:
3106:Epstein, David
3100:
3097:
3096:
3095:
3089:
3077:Williams, John
3073:
3067:
3049:Sadie, Stanley
3045:
3039:
3025:, ed. (1969).
3011:
3010:
2999:
2988:
2977:
2975:, p. 480.
2965:
2947:
2928:(4): 465–502.
2907:
2900:
2879:
2855:
2840:
2838:, p. 809.
2828:
2816:
2807:"Affretando".
2799:
2787:
2775:
2763:
2738:
2717:
2705:
2680:
2664:
2639:
2627:
2620:
2589:
2571:
2559:
2552:
2538:Rosen, Charles
2525:
2518:
2498:
2478:
2471:
2451:
2435:
2421:
2385:
2370:
2344:
2342:, p. 523.
2332:Ninth Symphony
2318:
2317:
2315:
2312:
2310:
2309:
2304:
2299:
2294:
2289:
2284:
2279:
2273:
2271:
2268:
2260:pitch-shifting
2220:Main article:
2217:
2214:
2192:Graphic scores
2172:
2169:
2133:
2132:
2129:
2126:
2124:
2121:
2118:
2114:
2113:
2110:
2107:
2105:
2102:
2099:
2095:
2094:
2091:
2088:
2086:
2083:
2080:
2076:
2075:
2064:
2063:
2061:
2051:
2050:
2040:
2039:
2037:
2035:
2011:
2009:
1986:
1963:
1961:
1958:
1957:
1954:
1951:
1949:
1946:
1943:
1940:
1939:
1936:
1934:
1931:
1903:
1893:
1892:
1879:
1878:
1868:
1867:
1859:
1836:
1806:
1783:
1762:
1761:
1697:. Please help
1683:
1681:
1674:
1668:
1665:
1661:
1660:
1638:
1578:
1577:
1571:
1561:
1555:
1538:
1532:
1524:
1502:rallentando or
1495:
1481:
1471:
1465:
1455:
1449:
1443:
1437:
1431:
1425:
1424:– double-speed
1415:
1409:
1403:
1397:
1382:
1379:
1375:musical phrase
1330:time signature
1321:
1318:
1290:and musicals.
1269:rhythm section
1246:Percy Grainger
1237:
1234:
1219:sixth symphony
1209:Symphony No. 9
1185:
1184:
1178:
1172:
1166:
1160:
1154:
1148:
1137:
1134:
1127:
1126:
1120:
1114:
1109:– very, as in
1104:
1098:
1092:
1087:– less, as in
1082:
1076:
1070:
1048:Claude Debussy
1035:
1032:
1031:
1030:
1027:Tempo semplice
1024:
1018:
1010:
972:Tempo di valse
965:
959:
953:
944:
938:
932:
926:
920:
914:
900:
890:
880:
865:
842:
836:
826:
817:
811:
805:
799:
793:
779:
776:
773:
772:
766:
760:
754:
748:
745:Allegro vivace
741:Molto Allegro
738:
732:
722:
716:
710:
696:
690:
672:
666:
660:
651:– slower than
646:
640:
634:
628:
616:
556:
530:
527:
517:String Quartet
451:Viennese waltz
420:time signature
386:
383:
344:
343:Choosing speed
341:
337:ballroom dance
281:
273:time signature
254:
246:
236:
231:
230:
229:
220:
219:
218:
208:
205:
131:
130:
45:
43:
36:
15:
9:
6:
4:
3:
2:
4159:
4148:
4145:
4143:
4140:
4138:
4135:
4134:
4132:
4117:
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4112:
4109:
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4102:
4099:
4097:
4094:
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4087:
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4079:
4077:
4076:Rhythmic mode
4074:
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4069:
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4064:
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4059:
4057:
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3999:
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3779:Transcription
3777:
3775:
3774:Sight-reading
3772:
3770:
3769:Perfect pitch
3767:
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3762:
3760:
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3716:
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3703:Ancient Greek
3701:
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3689:
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3681:
3679:
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3661:
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3656:
3654:
3651:
3649:
3646:
3644:
3643:Chord diagram
3641:
3639:
3636:
3634:
3633:Braille music
3631:
3630:
3628:
3626:Other systems
3624:
3618:
3615:
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3360:
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3357:Musical notes
3354:
3348:
3345:
3343:
3342:Transposition
3340:
3338:
3335:
3333:
3330:
3328:
3325:
3323:
3320:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3297:Key signature
3295:
3293:
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3283:
3280:
3278:
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3268:
3265:
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3255:
3251:
3247:
3240:
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3233:
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3226:
3221:
3220:
3217:
3210:
3209:Virginia Tech
3206:
3203:
3201:at Wiktionary
3200:
3199:
3193:
3189:
3188:
3179:
3178:0-9748438-4-9
3175:
3171:
3167:
3163:
3159:
3155:
3151:
3147:
3143:
3141:0-300-03852-6
3137:
3133:
3129:
3125:
3121:
3119:0-02-873320-7
3115:
3111:
3107:
3103:
3102:
3092:
3086:
3082:
3078:
3074:
3070:
3068:1-56159-239-0
3064:
3060:
3059:
3054:
3053:Tyrrell, John
3050:
3046:
3042:
3036:
3032:
3031:Belknap Press
3028:
3024:
3020:
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2869:
2865:
2859:
2853:
2849:
2848:David Fallows
2844:
2837:
2832:
2826:
2820:
2812:
2811:
2803:
2796:
2791:
2785:, p. 92.
2784:
2779:
2772:
2767:
2752:
2748:
2742:
2735:
2734:Williams 1997
2731:
2727:
2721:
2715:
2709:
2694:
2690:
2684:
2677:
2673:
2668:
2653:
2649:
2643:
2637:, p. 42.
2636:
2631:
2623:
2617:
2613:
2612:
2607:
2606:James Webster
2603:
2599:
2593:
2585:
2584:
2575:
2568:
2563:
2555:
2553:0-300-09070-6
2549:
2545:
2544:
2539:
2534:
2533:Charles Rosen
2529:
2521:
2519:0-19-509058-6
2515:
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2267:
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2255:
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2233:
2229:
2223:
2213:
2211:
2207:
2206:
2201:
2197:
2193:
2187:
2185:
2184:postmodernism
2181:
2177:
2167:
2165:
2161:
2153:
2146:
2139:
2130:
2127:
2125:
2122:
2119:
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2097:
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2081:
2078:
2077:
2069:
2062:
2056:
2045:
2038:
2036:
2030:
2023:
2016:
2010:
2005:
1998:
1991:
1982:
1975:
1968:
1962:
1960:
1959:
1955:
1952:
1950:
1947:
1944:
1942:
1941:
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1930:
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1795:
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1780:
1779:
1774:
1770:
1758:
1755:February 2024
1747:
1744:
1740:
1737:
1733:
1730:
1726:
1723:
1719:
1716: –
1715:
1711:
1710:Find sources:
1704:
1700:
1696:
1690:
1689:
1688:single source
1684:This section
1682:
1678:
1673:
1672:
1664:
1658:
1654:
1650:
1646:
1642:
1639:
1636:
1632:
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1482:
1479:
1475:
1472:
1469:
1466:
1463:
1459:
1456:
1453:
1450:
1448:– less motion
1447:
1444:
1441:
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1435:
1432:
1429:
1426:
1423:
1419:
1416:
1413:
1410:
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1365:
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1360:
1354:
1350:
1346:
1342:
1337:
1335:
1334:key signature
1331:
1327:
1317:
1315:
1311:
1308:
1304:
1300:
1296:
1291:
1289:
1285:
1280:
1278:
1277:boogie-woogie
1274:
1270:
1266:
1262:
1258:
1255:
1254:popular music
1251:
1247:
1243:
1233:
1230:
1225:
1220:
1215:
1210:
1206:
1202:
1198:
1194:
1190:
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1152:
1149:
1146:
1143:
1142:
1141:
1133:
1131:
1124:
1121:
1118:
1115:
1113:(very lively)
1112:
1108:
1105:
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1090:
1086:
1083:
1080:
1077:
1074:
1071:
1068:
1065:
1064:
1063:
1061:
1057:
1056:Maurice Ravel
1053:
1049:
1045:
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1028:
1025:
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1016:
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1006:
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973:
969:
966:
963:
960:
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952:
948:
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942:
939:
936:
933:
930:
927:
924:
921:
918:
915:
912:
908:
904:
903:Ma non troppo
901:
898:
897:Ma non troppo
894:
891:
883:
868:
858:
854:
850:
846:
843:
840:
837:
835:– 'furiously'
834:
830:
827:
825:
821:
818:
815:
812:
809:
806:
804:– (very) much
803:
800:
797:
794:
791:
790:
785:
782:
781:
775:
770:
767:
764:
761:
758:
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609:
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592:
588:
584:
580:
576:
572:
567:
559:
546:
544:
536:
526:
524:
522:
518:
514:
513:Samuel Barber
510:
506:
501:
499:
495:
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487:
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467:
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460:
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421:
418:
414:
410:
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398:
392:
382:
380:
375:
371:
366:
362:
358:
357:popular music
354:
350:
340:
338:
334:
329:
327:
323:
319:
315:
310:
308:
304:
301:invented the
300:
295:
293:
284:
274:
270:
262:
260:
249:
234:
213:
204:
202:
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194:
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127:
124:
116:
105:
102:
98:
95:
91:
88:
84:
81:
77:
74: –
73:
69:
68:Find sources:
62:
58:
52:
51:
46:This article
44:
40:
35:
34:
29:
22:
4100:
3993:
3877:
3678:Klavarskribo
3653:Figured bass
3527:Appoggiatura
3474:Articulation
3331:
3272:Abbreviation
3197:
3169:
3153:
3131:
3109:
3080:
3056:
3026:
3015:
3014:
3002:
2991:
2980:
2973:Tangian 1994
2968:
2959:
2950:
2925:
2919:
2910:
2891:
2882:
2871:. Retrieved
2867:
2858:
2843:
2831:
2819:
2808:
2802:
2790:
2778:
2766:
2754:. Retrieved
2750:
2741:
2725:
2720:
2708:
2696:. Retrieved
2692:
2683:
2675:
2667:
2655:. Retrieved
2651:
2648:"Con grazia"
2642:
2630:
2610:
2592:
2581:
2574:
2562:
2542:
2528:
2508:
2501:
2490:. Retrieved
2481:
2461:
2454:
2446:
2438:
2424:
2415:
2409:, retrieved
2400:
2388:
2373:
2361:. Retrieved
2356:
2347:
2322:
2292:Bell pattern
2256:
2225:
2222:Beatmatching
2216:Beatmatching
2203:
2188:
2174:
2163:
2159:
2141:
2136:
1933:Rhythm only
1918:
1915:
1908:
1904:
1889:
1864:
1860:
1831:
1829:
1776:
1765:
1752:
1742:
1735:
1728:
1721:
1709:
1685:
1662:
1652:
1648:
1644:
1640:
1634:
1630:
1625:
1616:
1612:
1608:
1604:
1600:
1596:
1592:
1590:
1581:
1579:
1573:
1567:
1563:
1557:
1550:
1540:
1534:
1526:
1520:
1516:
1512:
1511:can also be
1508:
1504:
1501:
1497:
1491:
1487:
1483:
1477:
1473:
1468:Precipitando
1467:
1461:
1457:
1451:
1445:
1439:
1433:
1430:– half-speed
1427:
1421:
1417:
1411:
1405:
1399:
1393:
1389:
1384:
1371:tempo rubato
1368:
1364:Echelon Song
1358:
1352:
1348:
1344:
1340:
1338:
1323:
1298:
1292:
1288:stage revues
1281:
1239:
1207:of Mahler's
1186:
1180:
1174:
1168:
1165:– moderately
1162:
1156:
1150:
1144:
1139:
1128:
1122:
1116:
1110:
1106:
1100:
1094:
1088:
1084:
1078:
1072:
1067:Au mouvement
1066:
1037:
1026:
1020:
1014:Tempo giusto
1012:
997:(speed of a
994:
971:
967:
962:Tempo comodo
961:
955:
950:
946:
940:
934:
928:
922:
916:
910:
906:
902:
896:
893:Ma non tanto
892:
881:
866:
856:
852:
848:
844:
838:
832:
828:
823:
819:
813:
807:
801:
795:
787:
783:
774:
768:
762:
756:
750:
744:
740:
734:
728:
724:
718:
712:
706:
702:
698:
692:
686:
682:
678:
674:
668:
662:
656:
652:
648:
642:
636:
630:
622:
618:
612:
607:
602:
598:
594:
590:
586:
582:
578:
574:
570:
568:
557:
549:
542:
525:
520:
502:
497:
485:
481:
477:
473:
469:
465:
463:
434:
430:
426:
424:
394:
378:
346:
330:
326:beatmatching
311:
296:
292:quarter note
282:
265:
256:
193:tempo rubato
181:articulation
178:
152:
150:
140:
134:
119:
110:
100:
93:
86:
79:
67:
55:Please help
50:verification
47:
4091:Syncopation
3764:Music stand
3638:Chord chart
3617:Scorewriter
3594:Sheet music
3392:Dotted note
3327:Repeat sign
3302:Ledger line
3150:Sachs, Curt
3023:Apel, Willi
2797:, p. .
2689:"Lamentoso"
2277:A capriccio
2232:house music
2160:accelerando
1657:binary form
1641:Tempo primo
1574:Tempo Primo
1474:Rallentando
1400:Affrettando
1390:Accelerando
1353:accelerando
1341:accelerando
1265:lead sheets
1257:lead sheets
1091:(less fast)
1046:as well as
1021:Tempo primo
968:Tempo di...
951:Accelerando
796:Accelerando
769:Prestissimo
613:Larghissimo
353:bandleaders
248:Click track
207:Measurement
158:composition
4131:Categories
4106:Time point
4056:Polyrhythm
4051:Note value
4021:Homorhythm
3987:Note value
3977:Cross-beat
3738:Shakuhachi
3713:Ekphonetic
3698:Simplified
3663:Lead sheet
3537:Grace note
3402:Note value
3397:Grace note
3365:Accidental
2873:2019-08-16
2747:"Maestoso"
2492:2024-09-17
2443:Randel, D.
2411:2018-01-20
2282:Alla breve
2182:and later
2164:ritardando
1911:Kolmogorov
1725:newspapers
1601:Meno mosso
1568:ritardando
1558:Stringendo
1505:ritardando
1484:Ritardando
1440:Meno mosso
1406:Allargando
1345:ritardando
1326:double bar
1295:Tom Lehrer
1293:Humourist
1284:vaudeville
1279:bassline.
1211:is marked
1130:Erik Satie
1089:Moins vite
958:– suddenly
814:Con grazia
789:Ad libitum
719:Allegretto
701:– between
619:Adagissimo
571:Allegretto
389:See also:
349:conductors
269:note value
259:media help
113:March 2012
83:newspapers
4081:Stop-time
4031:Isorhythm
4006:Half-time
3970:Count off
3940:Anacrusis
3863:Intervals
3733:Swaralipi
3723:Kunkunshi
3683:Tablature
3648:Eye music
3532:Glissando
3507:Fingering
3292:Dal segno
2836:Apel 1969
2795:Apel 1969
2783:Apel 1969
2756:8 October
2726:L'istesso
2698:8 October
2657:8 October
2635:Apel 1969
2417:bars/min.
2363:15 August
2340:Apel 1969
2314:Citations
2307:Stop-time
2252:crossfade
2248:CD player
2200:John Cage
2180:modernism
2131:10 bytes
1695:talk page
1597:Più mosso
1535:Slargando
1462:più mosso
1452:Più mosso
1446:Meno moto
1307:Masochism
1261:fake book
1221:, marked
1197:Hindemith
1171:– quickly
1125:– rapidly
857:L'istesso
845:L'istesso
839:Lamentoso
833:Furibondo
784:A piacere
675:Andantino
649:Adagietto
637:Larghetto
587:Andantino
583:Adagietto
515:'s first
509:movements
435:Sarabande
431:Allemande
405:classical
307:Beethoven
303:metronome
197:conductor
170:metronome
3982:Duration
3965:Counting
3960:Colotomy
3743:Znamenny
3584:Tonguing
3569:Staccato
3522:Ornament
3497:Dynamics
3449:Interval
3412:Notehead
3387:Cue note
3152:(1953).
3130:(1988).
3108:(1995).
3079:(1997).
2958:(1960).
2942:40285634
2890:(1993).
2674:(1944).
2608:(2010).
2540:(2002).
2336:Schumann
2270:See also
2145:Scriabin
2128:12 bytes
2112:4 bytes
2093:6 bytes
2090:12 bytes
1564:Tardando
1521:ritenuto
1509:ritenuto
1498:Ritenuto
1434:Lentando
1357:Monti's
1305:'; and '
1205:movement
1153:– slowly
1111:Très vif
1103:– lively
1081:– slowly
943:– little
917:Maestoso
820:Con moto
713:Moderato
707:moderato
683:moderato
417:mensural
333:measures
4066:Prosody
4016:Hemiola
3752:Related
3718:Gamelan
3708:Chinese
3688:Parsons
3559:Portato
3542:Mordent
3517:Marcato
3502:Fermata
3492:Damping
3487:Caesura
3444:Tremolo
3375:natural
3287:Da capo
3016:Sources
2567:"tempo"
2445:, ed.,
2123:7 bytes
2120:6 bytes
2109:0 bytes
2104:4 bytes
2101:0 bytes
2085:3 bytes
2082:6 bytes
1739:scholar
1714:"Tempo"
1653:Allegro
1645:Tempo I
1631:a tempo
1593:gradual
1582:Allegro
1554:tempo.)
1551:stretto
1542:Stretto
1492:ritard.
1412:Calando
1359:Csárdás
1332:and/or
1273:shuffle
1175:Schnell
1157:Lebhaft
1151:Langsam
1145:Kräftig
829:Furioso
808:A tempo
735:Allegro
729:allegro
703:andante
687:andante
679:andante
669:Andante
653:andante
579:Allegro
575:Andante
507:) name
498:Allegro
478:allegro
470:allegro
427:Allegro
401:baroque
365:drummer
339:music.
201:drummer
189:texture
97:scholar
72:"Tempo"
4116:Tuplet
4001:Groove
3920:Rhythm
3574:Tenuto
3512:Legato
3482:Accent
3439:Tuplet
3176:
3162:391538
3160:
3138:
3116:
3087:
3065:
3037:
2940:
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2618:
2550:
2516:
2469:
1741:
1734:
1727:
1720:
1712:
1617:subito
1528:Rubato
1517:riten.
1394:accel.
1201:Mahler
1181:Bewegt
1177:– fast
1123:Rapide
1119:– fast
1095:Modéré
956:Subito
937:– more
931:– less
925:– very
763:Presto
751:Vivace
657:adagio
643:Adagio
603:Adagio
595:Adagio
545:(film)
521:Adagio
519:is an
482:Presto
474:presto
466:presto
447:minuet
413:tactus
166:minute
99:
92:
85:
78:
70:
4101:Tempo
4086:Swing
4071:Pulse
3995:Gatra
3924:meter
3878:Tempo
3728:Neume
3552:Trill
3547:Slide
3434:Tacet
3424:Pitch
3380:sharp
3332:Tempo
3317:Scale
3312:Ossia
3254:Staff
3198:tempo
2938:JSTOR
2583:Music
2397:(PDF)
2228:disco
2205:4′33″
2074:R012
2034:R012
1746:JSTOR
1732:books
1609:molto
1605:assai
1586:staff
1547:fugal
1478:rall.
1458:Mosso
1310:Tango
1169:Rasch
1163:Mäßig
1085:Moins
1073:Grave
999:march
947:Rall.
923:Molto
851:, or
802:Assai
663:Lento
631:Largo
624:Grave
599:Largo
591:Largo
379:palos
185:meter
162:beats
146:tempi
141:tempo
104:JSTOR
90:books
4096:Tala
4026:Iqa'
3950:Beat
3922:and
3564:Slur
3429:Rest
3417:stem
3407:beam
3370:flat
3307:Mode
3282:Clef
3174:ISBN
3158:OCLC
3136:ISBN
3114:ISBN
3085:ISBN
3063:ISBN
3035:ISBN
2896:ISBN
2758:2021
2700:2021
2659:2021
2616:ISBN
2548:ISBN
2514:ISBN
2467:ISBN
2365:2024
2330:and
2234:and
1919:R012
1905:R012
1861:R012
1832:R012
1718:news
1613:poco
1513:rit.
1488:rit.
1259:and
1252:and
1250:jazz
1244:and
1199:and
1117:Vite
1107:Très
1079:Lent
1058:and
1042:and
941:Poco
929:Meno
705:and
621:and
593:and
585:and
468:and
453:; a
439:Bach
403:and
183:and
164:per
76:news
3945:Bar
3579:Tie
3277:Bar
2930:doi
2732:",
2244:CDJ
2240:DJs
2162:or
1775:'s
1701:by
1643:or
1623:).
1599:or
1349:rit
1101:Vif
935:Più
831:or
786:or
743:or
492:'s
441:'s
433:or
395:In
359:or
322:DJs
135:In
59:by
4133::
3267:15
3207:,
3051:;
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2926:11
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2749:.
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2600:;
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847:,
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294:.
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139:,
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3262:8
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