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Italian Tempo Terms in Music

The document provides definitions for various Italian musical terms that indicate tempo or changes in tempo. Terms like "a piacere" allow the performer discretion over tempo and rhythm. Other terms specify speeds like "allegro" or changes in speed like "accelerando" to speed up or "ritardando" to gradually slow down. Precise metronome markings are also provided for some tempo indications.

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0% found this document useful (0 votes)
24 views3 pages

Italian Tempo Terms in Music

The document provides definitions for various Italian musical terms that indicate tempo or changes in tempo. Terms like "a piacere" allow the performer discretion over tempo and rhythm. Other terms specify speeds like "allegro" or changes in speed like "accelerando" to speed up or "ritardando" to gradually slow down. Precise metronome markings are also provided for some tempo indications.

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Lãng Du
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Additional terms Terms for change in tempo

• A piacere – the performer may use his or her own discretion with regard • Accelerando – speeding up (abbreviation: accel.)
to tempo and rhythm; literally "at pleasure" • Allargando – growing broader; decreasing tempo, usually near the end
• Con moto – Italian for "with movement"; can be combined with a tempo of a piece
indication, e.g., Allegro con moto • Calando – going slower (and usually also softer)
• Assai – (very) much
• Doppio movimento / doppio più mosso – double-speed
• A tempo – resume previous tempo
• Doppio più lento – half-speed
• L'istesso, L'istesso tempo, or Lo stesso tempo – at the same speed;
L'istesso is used when the actual speed of the music has not • Lentando – gradually slowing, and softer
changed, despite apparent signals to the contrary, such as changes in • Meno mosso – less movement; slower
time signature or note length (half notes in 
 could change to • Meno moto – less motion
4 4 • Più mosso – more movement; faster
whole notes in 
 , and they would all have the same duration) • Mosso – movement, more lively; quicker, much like più mosso, but not
2 2
• Ma non tanto - but not so much; used in the same way and has the same as extreme
effect as Ma non troppo (see immediately below) but to a lesser • Precipitando – hurrying; going faster/forward
degree • Rallentando – a gradual slowing down (abbreviation: rall.)
• Ma non troppo - but not too much; used to modify a basic tempo to • Ritardando – slowing down gradually; also see rallentando and ritenuto
indicate that the basic tempo should be reined in to a degree; for (abbreviations: rit., ritard.) sometimes replaces allargando.
example, Adagio ma non troppo to mean ″Slow, but not too slow″, • Ritenuto – slightly slower, but achieved more immediately
Allegro ma non troppo to mean ″Fast, but not too fast″ than rallentando or ritardando; a sudden decrease in tempo;
• Molto – very temporarily holding back. (sometimes ritenuto does not reflect a tempo
• Poco – a little change but rather a 'character' change.)
• Subito – suddenly • Rubato – free adjustment of tempo for expressive purposes, literally
• Tempo comodo – at a comfortable (normal) speed "theft"—so more strictly, to take time from one beat to slow another
• Tempo di... – the speed of a ... (Tempo di valzer, Tempo di marcia • Stretto – in a faster tempo, often used near the conclusion of a section.
• Tempo giusto – at a consistent speed, at the 'right' speed, in strict tempo (Note that in fugalcompositions, the term stretto refers to the imitation
• Tempo semplice – simple, regular speed, plainly of the subject in close succession, before the subject is completed, and
• Tempo primo – resume the original (first) tempo as such, suitable for the close of the fugue. Used in this context, the
term is not necessarily related to tempo.)
• Stringendo – pressing on faster, literally "tightening"
• Tardando – slowing down gradually (same as ritardando)
• Tempo Primo – resume the original tempo
than
andante
Metrono somewhat animated; ♩ = 100— lively,
Italian English animato
me close to lively 116 allegro cheerful ♩ = 138—
andante ♩ = 72— molto and 160
andantino
(somewha 88 quickly
somewhat t faster or
faster ♩ = 58— slower)
heavy, ♩ = 40— adagietto very
grave than 72
seriously 48 much
adagio animato ♩ = 104—
animated; lively,
assai 120 allegro cheerful ♩ = 144—
quite
somewhat lively assai and 168
moderato slower ♩ = 76— quickly
♩ = 44— («walking ♩ = 58— assai than 92
largo broadly andante
52 ») flowing 72 moderato

quite
lively, allegro lively,
allegro ♩ = 108— agitato, cheerful ♩ = 152—
cheerful
♩ = 46— moderatel moderato 126 allegro and
largamente broadly in a and 176
54 majestic y, quickly animato quickly
andante ♩ = 60— ♩ = 80—
and moderato neither
maestoso 69 slow nor 96
stately
manner fast
(«at tempo di ♩ = 112— lively,
ease») ♩ = 48— marching allegro cheerful ♩ = 160—
adagio marcia 126
easily, 56 vivace and 170
unhurried with with ♩ = 84— quickly
con moto
andante motion ♩ = 63— motion 100
mosso or 76
animation lively,
cheerful
♩ = 50— allegro ma and ♩ = 116— lively and ♩ = 160—
lento slowly vivo
58 somewhat non troppo quickly, 132 fast 176
allegretto slower ♩ = 88— but not
comodo, moderato than 104 too much
convenien ♩ = 63— allegretto
comodame
t (pace) 80
nte
♩ = 52— lively and ♩ = 176—
lentamente slowly vivace
60 fast 192
lively,
somewhat cheerful
slower ♩ = 92— allegro ♩ = 116—
andante, allegretto and
andante ♩ = 66— than tranquillo 132
but not 108 quickly,
somewhat non troppo 80 allegro ♩ = 184—
too much but calm presto fast
faster ♩ = 54— 200
larghetto
than 63
largo

andante, somewhat lively,


andante ♩ = 69— allegretto faster ♩ = 96— ♩ = 120— ♩ = 192—
but with cheerful prestissimo
con moto 84 mosso than allegro very fast 208 (and
motion 112 and 144 (possible)
andante ♩ = 56— allegretto quickly more)
assai somewhat 66
slower

Common questions

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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 .

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