Italian Tempo Terms in Music
Italian Tempo Terms in Music
In a musical fugue, 'stretto' refers to the imitation of the subject in close succession before the subject is completed, which is suitable for the close of the fugue. It emphasizes thematic complexity rather than tempo. Generally, 'stretto' can imply a faster tempo near the conclusion of a section, focusing more on the pacing of the music rather than its thematic development .
'Rubato' involves a free adjustment of tempo for expressive purposes, allowing a performer to take time from one beat to slow another. It is more flexible and subjective, focusing on expressive nuances. In contrast, 'ritardando' is a gradual slowing down of tempo, which is more structured and gradual .
'Tempo semplice' indicates a simple, regular speed meant to be straightforward and unembellished, allowing for a clear and plain interpretative approach. 'Tempo giusto', on the other hand, requires the music to be played strictly at 'the right speed', emphasizing consistent and disciplined timing which might defy natural rubato tendencies .
'Meno mosso', indicating less movement or slower pace, can significantly change the emotional perception of music. By reducing the tempo, the music can shift from vibrant and lively to more contemplative and serene, affecting how the listener emotionally engages with the piece. It allows for deeper introspection and emphasis on lyrical qualities or nuances that might be overshadowed at faster speeds .
'Tempo di marcia' (march tempo) conveys a sense of steady, marching rhythm, generally characterized by metronomic beats per minute (♩ = 112—126), which is lower than that of 'allegro vivace' (lively and fast) with a metronome marking between ♩ = 160—170. 'Allegro vivace' emphasizes a quick, lively, and spirited character, while 'tempo di marcia' centers around the steady, processional feel inherent in marches .
'Stringendo' implies pressing on faster and 'tightening' tempo, which challenges performers to build intensity while maintaining control and precision. The performer must adeptly increase speed smoothly, without compromising articulation or clarity, and ensure the emotional crescendo aligns with the musical phrasing and accompanist. Balancing these elements requires skillful technical and expressive control .
'Poco' (a little) is used to slightly modify a musical direction, indicating a minor degree of change, such as 'poco a poco' (little by little) to suggest gradual progression. On the other hand, 'molto' (very) suggests a substantial degree of change, such as 'molto allegro' to indicate a very fast tempo. Both terms help refine how significantly the basic direction should be adjusted according to the performer’s intention .
'Allargando' involves gradually becoming broader and decreasing in tempo, typically used near the end of a piece. It serves to create a sense of grandeur and finality, allowing the music to expand and conclude decisively and emotionally resonant. This broadening enhances the concluding passage's impact, often leaving a lasting impression on the listener .
'Con moto' (with movement) when combined with Allegro ('Allegro con moto') implies not just a fast tempo but one infused with additional energy and animation, suggesting a brisk and lively interpretation. This requires the performer to imbue the music with more zest and dynamism, enhancing the liveliness of the execution beyond just playing at a quick pace .
'A tempo' is used to return to the previous tempo after a deviation, such as speeding up or slowing down in a piece. This ensures a return to the initial pacing, restoring musical continuity and helping maintain structural cohesiveness across sections of varied tempo changes .