410:, 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
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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
50:
3804:
1688:
2149:
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:
2169:= 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
1927:
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
576:
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
387:
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
2268:
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
277:
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
378:
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
2148:
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
1932:
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.
2427:
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
448:), 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
2200:
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.
2153:
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,
1228:, 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
584:. 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
1777:
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
202:. 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
2593:
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
1564:
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
1674:
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.
1920:
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
1407:); 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.
1274:
charts, terms like 'fast', 'laid back', 'steady rock', 'medium', 'medium-up', 'ballad', 'brisk', 'brightly', 'up', 'slowly', and similar style indications may appear. In some
2518:
870:
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
3068:
379:
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
2497:
171:. 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
3850:
320:
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.
2261:
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
1335:
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
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1698:
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has no tempo or mood indication whatsoever. Despite the increasing number of explicit tempo markings, musicians still observe conventions, expecting a
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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
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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
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change in tempo; for immediate tempo shifts, composers normally just provide the designation for the new tempo. (Note, however, that when
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251:
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495:, on the other hand, simply indicates speed. Additional Italian words also indicate tempo and mood. For example, the "agitato" in the
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3150:
3128:
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2562:
2528:
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and fake books, both tempo and genre are indicated, e.g., 'slow blues', 'fast swing', or 'medium Latin'. The genre indications help
133:
38:
1542:– free adjustment of tempo for expressive purposes, literally "stolen"—so more strictly, to take time from one beat to slow another
1143:
was known to write extensive tempo (and character) markings by defining them in a poetical and literal way, as in his
Gnossiennes.
2162:
989:
608:
have experienced a considerable shift with regards to the tempi, in beats per minute, that they are required to express: A modern
3713:
1614:
appears in large type above the staff, it functions as a new tempo, and thus implies an immediate change.) Several terms, e.g.,
916:– 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,
342:
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
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515:
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1713:
71:
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2014:
2007:
2000:
1991:
1984:
1977:
1907:
1893:
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1850:
1834:
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1820:
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1804:
1797:
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2158:'s own performance of his "Poem", Op. 32, No. 1, transcribed from a piano-roll recording contains tempo deviations within
1599:, adjustments typically appear below the staff or, in the case of keyboard instruments, in the middle of the grand staff.
401:
472:
wrote "In tempo d'un
Menuetto" over the first movement of his Piano Sonata Op. 54, though that movement is not a minuet.
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758:– at least slightly faster and livelier than allegro, but always at its range (and no faster than vivace) (124–156 bpm)
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This measurement and indication of tempo became increasingly popular during the first half of the 19th century, after
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have similarly marked scores, with the music for their song "The Whale (Moby Dick)" shown as 'oceanlike and vast'.
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Here follows a list of common tempo markings. The beats per minute (bpm) values are very rough approximations for
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but rather given an impression of a change in rhythm, which implies an inadequate perception of musical meaning.
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This rhythm is perceived as it is rather than as the first three events repeated at a double tempo (denoted as
1312:. For example, "National Brotherhood Week" is to be played 'fraternally'; "We Will All Go Together" is marked '
504:
803:
in Latin – the performer may use their own discretion with regard to tempo and rhythm; literally "at pleasure"
1735:
93:
4157:
3878:
3807:
3678:
1658:– denotes an immediate return to the piece's original base tempo after a section in a different tempo (e.g.
1229:
1219:
552:
527:
2546:
suggests that many works marked "Allegretto" are nowadays played too quickly as a result of this confusion.
436:
In the
Baroque period, pieces would typically be given an indication, which might be a tempo marking (e.g.
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2740:
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instrumentalists use the correct style. For example, if a song says 'medium shuffle', the drummer plays a
415:
328:
309:
184:
183:
mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like
67:
31:
3789:
3653:
3352:
1924:'s complexity theory, this means such a representation of the data that minimizes the amount of memory.
453:
449:
2874:
1742:
1367:
100:
3484:
3282:
1199:
1054:
1050:
469:
191:
2929:(July 1994). "A principle of correlativity of perception and its application to music recognition".
732:– by the mid-19th century, moderately fast (112–120 bpm); see paragraph above for earlier usage
3723:
3703:
2312:
2297:
2220:
1214:
would further elaborate on combined tempo and mood instructions in German. For example, the second
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147:
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has defined proportions but no defined duration, with one performance intended to last 639 years.
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82:
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1324:
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3006:
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4016:
3769:
3517:
3184:
3168:
3146:
3138:
3124:
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2906:
2626:
2558:
2524:
2477:
2307:
2190:
1783:
419:
371:
222:
2552:
2345:, seeming to many to be almost impossibly fast, as is also the case for many of the works of
1350:
It is also possible to indicate a more or less gradual change in tempo, for instance with an
323:
With the advent of modern electronics, beats per minute became an extremely precise measure.
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of compositions after their tempo (or mood) marking. For instance, the second movement of
500:
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384:
380:
324:
199:
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from one song to another, or play both tracks simultaneously, creating a layered effect.
696:(80–108 bpm) (although, in some cases, it can be taken to mean slightly slower than
2905:. Lecture Notes in Artificial Intelligence. Vol. 746. Berlin-Heidelberg: Springer.
2215:
2189:
introduced a wide range of approaches to tempo, particularly thanks to the influence of
1518:; a sudden decrease in tempo; temporarily holding back. (Note that the abbreviation for
4121:
4011:
3883:
3779:
3753:
3492:
3347:
2699:
2608:
1385:
1340:
1279:
1256:
1058:
461:
430:
347:
283:
3202:
2757:
366:, music directors or other individuals will select the tempo of a song or piece. In a
198:, or these aspects may be indicated along with tempo, all contributing to the overall
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423:
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367:
195:
1297:, describes the traditionally brisk tempo (usually 160–170 bpm) of opening songs in
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3537:
3439:
3427:
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2498:"How do musicians know how fast to play a piece? And why are the terms in Italian?"
2302:
2273:. The opposite operation, changing the tempo without changing the pitch, is called
2232:
1749:
1381:
1374:
1283:
1198:
One of the first German composers to use tempo markings in his native language was
1151:
Many composers have used German tempo markings. Typical German tempo markings are:
1024:
336:
302:
203:
172:
107:
1206:
followed afterwards with increasingly specific markings, and later composers like
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2471:
588:, whereas now it is often used to indicate one that is just a little slower than
250:
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3774:
3648:
3627:
3604:
3589:
3402:
3337:
3312:
3287:
2781:
2287:
2242:
1687:
1667:
1556:– in a faster tempo, often used near the conclusion of a section. (Note that in
1313:
1049:
Several composers have written markings in French, among them baroque composers
343:
332:
258:
49:
2995:
2441:"Tempo | Definition, Music, Description, & Notation | Britannica"
4116:
4066:
4061:
4031:
3997:
3987:
3673:
3547:
3412:
3407:
3160:
3033:
2292:
1921:
1548:– gradually slowing down, literally "slowing down", "widening" or "stretching"
1336:
1305:
1294:
1275:
1267:
1140:
833:– Italian for "with movement"; can be combined with a tempo indication, e.g.,
799:
363:
359:
279:
269:
207:
2440:
1637:
After a tempo change, a composer may return to a previous tempo in two ways:
4091:
4071:
4041:
3980:
3950:
3743:
3733:
3693:
3658:
3542:
3302:
3207:
2577:
2317:
2258:
2210:
2206:
1497:– slowing down gradually; also see rallentando and ritenuto (abbreviations:
1317:
1271:
1207:
317:
313:
180:
2687:
The Oxford
Companion to Music, self-indexed and with a pronouncing glossary
3172:
358:
In different musical contexts, different instrumental musicians, singers,
3970:
3594:
3579:
3422:
3397:
427:
17:
2952:
2209:
deliberately utilise performers playing at marginally different speeds.
1286:
drum pattern; if it says 'fast boogie-woogie', the piano player plays a
4026:
3569:
3552:
3527:
3512:
3497:
3454:
3297:
2622:
1666:). This indication often functions as a structural marker in pieces in
1552:
375:
346:
of the piece performed in one minute. This measure is commonly used in
211:
3828:
206:
or drastic variances. In ensembles, the tempo is often indicated by a
4126:
3930:
3584:
3522:
3449:
3277:
3272:
2944:
1538:
1362:., slowing down) marking. Indeed, some compositions chiefly comprise
1211:
457:
422:, performers understood most music to flow at a tempo defined by the
282:
of a beat will typically be that indicated by the denominator of the
176:
1419:– growing broader; decreasing tempo, usually near the end of a piece
1251:
English indications, for example 'quickly', have also been used, by
475:
Many tempo markings also indicate mood and expression. For example,
327:
use the bpm system to denote tempo. In popular music genres such as
3899:
3225:
2337:
Some of these markings are today contentious, such as those on his
906:– but not so much; used in the same way and has the same effect as
3738:
3444:
3322:
2238:
1557:
1320:
1298:
1225:
Im Tempo eines gemächlichen Ländlers, etwas täppisch und sehr derb
221:
1534:
does not reflect a tempo change but rather a 'character' change.)
278:
minute is twice as rapid, signifying two beats every second. The
3292:
3040:(2nd, revised and enlarged ed.). Cambridge, Massachusetts:
2391:"A Pilot Study of Automatic Tempo Measurement in Rhythmic Music"
1260:
1243:(Energetically quick, but not too much. Violent, but vigorous.)
3903:
3832:
3229:
2875:"Tempo Markings – Common Tempos in Italian, German, and French"
1876:
However, the motive with this rhythm in the Mussorgsky's piece
626:– extremely slow, slowest type of tempo (24 bpm and under)
2254:
1681:
1388:, often described as some notes 'borrowing' time from others.
1028:– at a consistent speed, at the 'right' speed, in strict tempo
43:
3007:
https://blog.mixcloud.com/2023/10/02/a-guide-to-beatmatching/
2689:, 5th ed. London; New York; Toronto: Oxford University Press.
2213:'s compositions approach tempo in diverse ways. For instance
507:
has both a tempo indication (undoubtedly faster than a usual
1630:, control how large and how gradual a change should be (see
1323:' has the tempo 'painstakingly'. His English contemporaries
551:"Allegro Con Brio" redirects here. For the Soviet film, see
232:
2253:
use that involves speeding up or slowing down a record (or
2250:
1782:
using an example of the leading rhythm of ″Promenade″ from
491:
also connotes joy (from its original meaning in Italian).
1339:
and introducing a new tempo indication, often with a new
27:
Musical concept indicating to the speed of interpretation
2971:
Poem for piano, Op. 32, No. 1. Transcribed by P. Lobanov
1396:
Composers may use expressive marks to adjust the tempo:
2405:"E. Rules for Competitions (Couples). Rule E.3 (Music)"
2364:"Music 101: What Is Tempo? How Is Tempo Used in Music?"
1709:
1308:
uses facetious English tempo markings in his anthology
706:– moderately, in the manner of a march (66–80 bpm)
433:
indicated which note value corresponded to the tactus.
37:"Beats per minute" redirects here. For other uses, see
1644:– returns to the base tempo after an adjustment (e.g.
1511:– slightly slower, but achieved more immediately than
682:– at a walking pace, moderately slow (56–108 bpm)
468:
quite fast, and so on. Genres imply tempos, and thus,
1935:
388:
line with its forms, as occurs with flamenco and its
331:, accurate knowledge of a tune's bpm is important to
2557:. New Haven: Yale University Press. pp. 48–95.
1705:
544:"Allegretto" redirects here. For the racehorse, see
210:
or by one of the instrumentalists, for instance the
3762:
3636:
3603:
3483:
3366:
3263:
3181:
The Dance Music Manual: Tools, Toys, and Techniques
2973:. Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo.
2219:has a defined duration, but no actual notes, while
74:. Unsourced material may be challenged and removed.
3018:https://dj.studio/blog/dj-beat-matching-techniques
1293:'Show tempo', a term used since the early days of
770:– very fast, lively and bright (172–176 bpm)
187:, tempo will typically simply be stated in BPM.
3121:Shaping Time: Music, the Brain, and Performance
3069:The New Grove Dictionary of Music and Musicians
2824:. Vol. 1 (14 ed.). 1930. p. 282.
2151:
1413:– speeding up with a suggestion of anxiety
720:(at a moderate walking speed) (80–108 bpm)
619:Approximately from the slowest to the fastest:
460:to be at a fairly stately tempo, slower than a
426:(roughly the rate of the human heartbeat). The
910:(see immediately below) but to a lesser degree
3915:
3844:
3241:
1233:
656:– slow with great expression (44–66 bpm)
155:
8:
2996:https://pirate.com/en/blog/how-to-beatmatch/
2862:
2835:
2724:
2554:Beethoven's Piano Sonatas: A Short Companion
2205:show tempo and rhythm in a variety of ways.
1937:Complexity of representation of time events
1714:introducing citations to additional sources
1595:) typically appears in large type above the
1571:– pressing on faster, literally "tightening"
1471:– movement, more lively; quicker, much like
1238:
1223:
900:, and they would all have the same duration)
179:(BPM). In modern classical compositions, a "
2903:Artificial Perception and Music Recognition
2476:. Princeton University Press. p. 408.
616:, but in the Baroque period it was faster.
3922:
3908:
3900:
3851:
3837:
3829:
3803:
3248:
3234:
3226:
3165:Rhythm and Tempo: A Study in Music History
1845:= repeat from 0, one time, twice faster):
1660:Allegro ... Lento ... Moderato ... Tempo I
2520:Samuel Barber: the composer and his music
2460:, Harvard University Press, 1986, "Tempo"
1591:While the base tempo indication (such as
154:(Italian for 'time'; plural 'tempos', or
134:Learn how and when to remove this message
2744:
2523:. Oxford University Press. p. 158.
2473:The Science and Art of Renaissance Music
1704:Relevant discussion may be found on the
1487:– a gradual slowing down (abbreviation:
1425:– going slower (and usually also softer)
782:– extremely fast (200 bpm and over)
726:– at a moderate speed (108–120 bpm)
650:– rather slow and broad (44–66 bpm)
592:. A similar fate has befallen the terms
160:from the Italian plural), also known as
2983:
2625:. Leuven University Press. p. 80.
2330:
1073:. Common tempo markings in French are:
638:– very slow and solemn (24–40 bpm)
3183:, 2nd ed. Oxford, UK: Elsevier Press.
1631:
511:) and a mood indication ("agitated").
301:time, the beat will be a crotchet, or
267:
1648:undoes the effect of the ritardando).
1526:Thus a more specific abbreviation is
7:
3145:. New Haven: Yale University Press.
2846:
2805:
2793:
2645:
2580:, music theory online, Dolmetsch.com
2350:
1384:refers to changes in tempo within a
764:– lively and fast (156–176 bpm)
748:– fast and bright (120–156 bpm)
72:adding citations to reliable sources
2458:The New Harvard Dictionary of Music
2249:, beatmatching is a technique that
1034:– resume the original (first) tempo
577:metronome marking alone cannot do.
1577:– slowing down gradually (same as
920:to mean "Slow, but not too much",
483:both indicate a speedy execution (
25:
2517:Heyman, Barbara B. (1994-05-12).
2187:Twentieth-century classical music
2109:Complexity of its transformation
1080:– play the (first or main) tempo.
644:– slow and broad (40–66 bpm)
374:group or band, the bandleader or
39:Beats per minute (disambiguation)
3813:
3812:
3802:
3201:
2414:(WDSF Rules & Regulations),
2237:In popular music genres such as
2161:
2077:
2064:
2053:
2038:
2031:
2024:
2013:
2006:
1999:
1990:
1983:
1976:
1906:
1901:is rather perceived as a repeat
1892:
1881:
1863:
1856:
1849:
1833:
1826:
1819:
1810:
1803:
1796:
1697:relies largely or entirely on a
1686:
1505:) sometimes replaces allargando.
1481:– hurrying; going faster/forward
1373:, or the Russian Civil War song
1235:Allegro energico, ma non troppo.
1040:– simple, regular speed, plainly
1014:
998:
988:
924:to mean "Fast, but not too much"
440:), or the name of a dance (e.g.
268:Problems playing this file? See
248:
167:is the speed or pace of a given
48:
3869:Glossary of musical terminology
3143:The Tempo Indications of Mozart
2090:Complexity of rhythmic pattern
1447:– gradually slowing, and softer
960:or "Rallentando" – opposite of
885:could change to whole notes in
59:needs additional citations for
3092:Star Wars: Suite for Orchestra
981:– the speed of a ... (such as
776:– very fast (168–200 bpm)
1:
3206:The dictionary definition of
2739:, see measures 4 and 130 of "
2590:Elson, Louis Charles (1909).
1403:– speeding up (abbreviation:
402:Glossary of music terminology
3123:. New York: Schirmer Books.
2470:Haar, James (14 July 2014).
2389:Velankar, Makarland (2014).
1310:Too Many Songs by Tom Lehrer
1004: ≈ 126 bpm),
996: ≈ 60 bpm or
768:Vivacissimo and Allegrissimo
226:Wittner electronic metronome
190:Tempo may be separated from
3613:History of music publishing
3072:(2nd ed.). Macmillan.
3038:Harvard Dictionary of Music
2416:World DanceSport Federation
2349:. See "metronome" entry in
2257:player, a speed-adjustable
1602:They generally designate a
1587:– resume the original tempo
1020: ≈ 120 bpm))
827:– with grace, or gracefully
4174:
3094:. Milwaukee: Hal Leonard.
2230:
1662:indicates a return to the
738:– close to, but not quite
550:
543:
454:Brandenburg Concerto No. 3
399:
36:
29:
3941:
3864:
3818:Category:Musical notation
3798:
3684:Numbered musical notation
3475:Scientific pitch notation
2723:"Istesso tempo" entry in
2207:Polytemporal compositions
1948:
1943:
1789:Pictures at an Exhibition
1392:Terms for change in tempo
1331:Variation through a piece
4052:Non-retrogradable rhythm
3465:Helmholtz pitch notation
2899:Tanguiane , Andranick S.
2863:Sadie & Tyrrell 2001
2836:Sadie & Tyrrell 2001
2821:Encyclopaedia Britannica
2735:For a modern example of
2725:Sadie & Tyrrell 2001
2418:, 2018-01-01, p. 19
1678:Tempo–rhythm interaction
1259:, among many others. In
975:– at a comfortable speed
676:– slow (52–108 bpm)
666:or slightly faster than
499:of the last movement of
418:periods. In the earlier
3879:List of pitch intervals
3808:List of musical symbols
3679:Nashville Number System
2782:Gnossiennes music sheet
1560:compositions, the term
1465:– more movement; faster
1453:– less movement; slower
1366:passages, for instance
1194:– animated, with motion
930:– majestically, stately
821:– resume previous tempo
809:– gradually play faster
688:– slightly faster than
3358:Transposing instrument
2879:theonlinemetronome.com
2741:Star Wars (Main Title)
2412:WDSF Competition Rules
2339:"Hammerklavier" Sonata
2247:electronic dance music
2182:Modern classical music
2179:
1646:ritardando ... a tempo
1380:On the smaller scale,
1247:English tempo markings
1239:
1234:
1224:
1158:– vigorous or powerful
600:. Likewise, the terms
329:electronic dance music
310:Johann Nepomuk Maelzel
237:
227:
185:electronic dance music
156:
32:Tempo (disambiguation)
3946:Additive and divisive
3179:Snoman, Rick (2009).
2784:, IMSLP Music Library
1202:, but only sparsely.
1147:German tempo markings
1108:– at a moderate tempo
1086:– slowly and solemnly
1045:French tempo markings
922:Allegro ma non troppo
866:– at the same speed;
514:Often, composers (or
236:
225:
4072:Prolation and tempus
3167:. New York: Norton.
2834:"Ritenuto" entry in
1710:improve this article
1475:, but not as extreme
1200:Ludwig van Beethoven
1055:Jean-Philippe Rameau
918:Adagio ma non troppo
852:– sadly, plaintively
540:Basic tempo markings
470:Ludwig van Beethoven
335:for the purposes of
244:120 beats per minute
68:improve this article
30:For other uses, see
4148:Musical terminology
3859:Musical terminology
3704:Percussion notation
3222:Department of Music
2967:Skrjabin, Alexander
2861:: "Ritardando", in
2313:Multitemporal music
2298:As Slow as Possible
2221:As Slow as Possible
1938:
1240:Heftig, aber markig
985:(speed of a waltz,
505:piano concerto in F
487:being faster), but
286:. For instance, in
148:musical terminology
3139:Marty, Jean-Pierre
2443:. 2 November 2023.
1949:Rhythm with pitch
1936:
1325:Flanders and Swann
1071:Alexander Scriabin
742:(116–120 bpm)
692:, but slower than
546:Allegretto (horse)
396:Musical vocabulary
383:, in some cases a
238:
228:
4135:
4134:
4047:Metric modulation
3897:
3896:
3826:
3825:
3770:Mensural notation
3216:Tempo Terminology
3101:978-0-793-58208-2
3051:978-0-674-37501-7
2927:Tanguiane , A. S.
2912:978-3-540-57394-4
2747:, pp. 3, 30.
2632:978-905-867-822-5
2609:William E. Caplin
2483:978-1-40-086471-3
2308:Half-time (music)
2146:
2145:
2128:Total complexity
1967:Coding as repeat
1959:Coding as repeat
1784:Modest Mussorgsky
1775:
1774:
1760:
1632:common qualifiers
1354:(speeding up) or
1051:François Couperin
420:Renaissance music
372:traditional music
253:
144:
143:
136:
118:
16:(Redirected from
4165:
4153:Rhythm and meter
3924:
3917:
3910:
3901:
3853:
3846:
3839:
3830:
3816:
3815:
3806:
3805:
3669:Graphic notation
3333:Rehearsal letter
3257:Musical notation
3250:
3243:
3236:
3227:
3205:
3176:
3156:
3134:
3105:
3083:
3055:
3020:
3015:
3009:
3004:
2998:
2993:
2987:
2981:
2975:
2974:
2963:
2957:
2956:
2945:10.2307/40285634
2932:Music Perception
2923:
2917:
2916:
2895:
2889:
2888:
2886:
2885:
2871:
2865:
2856:
2850:
2844:
2838:
2832:
2826:
2825:
2815:
2809:
2803:
2797:
2791:
2785:
2779:
2773:
2772:
2770:
2768:
2754:
2748:
2733:
2727:
2721:
2715:
2714:
2712:
2710:
2696:
2690:
2683:Percy A. Scholes
2680:
2674:
2673:
2671:
2669:
2655:
2649:
2643:
2637:
2636:
2605:
2599:
2598:
2597:. Oliver Ditson.
2587:
2581:
2575:
2569:
2568:
2541:
2535:
2534:
2514:
2508:
2507:
2505:
2504:
2494:
2488:
2487:
2467:
2461:
2451:
2445:
2444:
2437:
2431:
2430:
2424:
2423:
2409:
2401:
2395:
2394:
2386:
2380:
2379:
2377:
2375:
2360:
2354:
2335:
2168:
2167:
2165:
2082:
2081:
2069:
2068:
2058:
2057:
2043:
2042:
2036:
2035:
2029:
2028:
2018:
2017:
2011:
2010:
2004:
2003:
1995:
1994:
1988:
1987:
1981:
1980:
1964:Complete coding
1956:Complete coding
1939:
1911:
1910:
1897:
1896:
1886:
1885:
1868:
1867:
1861:
1860:
1854:
1853:
1838:
1837:
1831:
1830:
1824:
1823:
1815:
1814:
1808:
1807:
1801:
1800:
1780:Andranik Tangian
1770:
1767:
1761:
1759:
1718:
1690:
1682:
1530:Also, sometimes
1439:Doppio più lento
1433:doppio più mosso
1429:Doppio movimento
1314:eschatologically
1253:Benjamin Britten
1242:
1237:
1227:
1063:Olivier Messiaen
1019:
1018:
1003:
1002:
995:
994:
992:
899:
898:
897:
896:
884:
883:
882:
881:
835:Andante con moto
789:Additional terms
736:Allegro moderato
710:Andante moderato
670:(46–80 bpm)
575:
574:
573:
572:
554:Allegro Con Brio
516:music publishers
466:perpetuum mobile
325:Music sequencers
300:
299:
298:
297:
255:
254:
235:
162:beats per minute
159:
139:
132:
128:
125:
119:
117:
76:
52:
44:
21:
4173:
4172:
4168:
4167:
4166:
4164:
4163:
4162:
4138:
4137:
4136:
4131:
4022:Harmonic rhythm
3937:
3928:
3898:
3893:
3860:
3857:
3827:
3822:
3794:
3758:
3632:
3623:Music publisher
3618:Music engraving
3599:
3479:
3470:Letter notation
3362:
3259:
3254:
3198:
3159:
3153:
3137:
3131:
3115:
3112:
3110:Further reading
3102:
3086:
3080:
3066:, eds. (2001).
3058:
3052:
3032:
3024:
3023:
3016:
3012:
3005:
3001:
2994:
2990:
2982:
2978:
2965:
2964:
2960:
2925:
2924:
2920:
2913:
2897:
2896:
2892:
2883:
2881:
2873:
2872:
2868:
2857:
2853:
2845:
2841:
2833:
2829:
2817:
2816:
2812:
2804:
2800:
2792:
2788:
2780:
2776:
2766:
2764:
2762:Merriam-Webster
2756:
2755:
2751:
2734:
2730:
2722:
2718:
2708:
2706:
2704:Merriam-Webster
2698:
2697:
2693:
2681:
2677:
2667:
2665:
2663:Merriam-Webster
2657:
2656:
2652:
2644:
2640:
2633:
2613:James Hepokoski
2607:
2606:
2602:
2589:
2588:
2584:
2576:
2572:
2565:
2547:
2542:
2538:
2531:
2516:
2515:
2511:
2502:
2500:
2496:
2495:
2491:
2484:
2469:
2468:
2464:
2452:
2448:
2439:
2438:
2434:
2421:
2419:
2407:
2403:
2402:
2398:
2388:
2387:
2383:
2373:
2371:
2370:. 6 August 2021
2368:masterclass.com
2362:
2361:
2357:
2336:
2332:
2327:
2322:
2283:
2275:time-stretching
2235:
2229:
2184:
2160:
2159:
2084:
2083:
2076:
2071:
2070:
2063:
2060:
2059:
2052:
2044:
2037:
2030:
2023:
2019:
2012:
2005:
1998:
1996:
1989:
1982:
1975:
1918:
1913:
1912:
1905:
1899:
1898:
1891:
1888:
1887:
1880:
1874:
1869:
1862:
1855:
1848:
1839:
1832:
1825:
1818:
1816:
1809:
1802:
1795:
1771:
1765:
1762:
1719:
1717:
1703:
1691:
1680:
1394:
1333:
1249:
1204:Robert Schumann
1170:– lively (mood)
1149:
1047:
1013:
1006:Tempo di marcia
997:
987:
986:
895:
890:
889:
888:
887:
886:
880:
875:
874:
873:
872:
871:
864:Lo stesso tempo
860:L'istesso tempo
791:
704:Marcia moderato
612:is slower than
571:
566:
565:
564:
563:
562:
559:
549:
542:
501:George Gershwin
497:Allegro agitato
408:classical music
404:
398:
385:record producer
381:sound recording
356:
296:
291:
290:
289:
288:
287:
275:
274:
266:
264:
263:
262:
261:
256:
249:
246:
239:
233:
220:
140:
129:
123:
120:
77:
75:
65:
53:
42:
35:
28:
23:
22:
15:
12:
11:
5:
4171:
4169:
4161:
4160:
4158:Temporal rates
4155:
4150:
4140:
4139:
4133:
4132:
4130:
4129:
4124:
4122:Time signature
4119:
4114:
4109:
4104:
4099:
4094:
4089:
4084:
4079:
4074:
4069:
4064:
4059:
4057:Notes inégales
4054:
4049:
4044:
4039:
4034:
4029:
4024:
4019:
4014:
4009:
4002:
4001:
4000:
3990:
3985:
3984:
3983:
3973:
3968:
3963:
3958:
3953:
3948:
3942:
3939:
3938:
3929:
3927:
3926:
3919:
3912:
3904:
3895:
3894:
3892:
3891:
3886:
3884:Musical prefix
3881:
3876:
3871:
3865:
3862:
3861:
3858:
3856:
3855:
3848:
3841:
3833:
3824:
3823:
3821:
3820:
3810:
3799:
3796:
3795:
3793:
3792:
3787:
3782:
3777:
3772:
3766:
3764:
3760:
3759:
3757:
3756:
3751:
3746:
3741:
3736:
3731:
3726:
3721:
3716:
3711:
3706:
3701:
3696:
3691:
3686:
3681:
3676:
3671:
3666:
3661:
3656:
3651:
3646:
3640:
3638:
3634:
3633:
3631:
3630:
3625:
3620:
3615:
3609:
3607:
3601:
3600:
3598:
3597:
3592:
3587:
3582:
3577:
3572:
3567:
3566:
3565:
3560:
3555:
3550:
3545:
3540:
3530:
3525:
3520:
3515:
3510:
3505:
3500:
3495:
3489:
3487:
3481:
3480:
3478:
3477:
3472:
3467:
3462:
3457:
3452:
3447:
3442:
3437:
3432:
3431:
3430:
3425:
3420:
3410:
3405:
3400:
3395:
3394:
3393:
3388:
3383:
3372:
3370:
3364:
3363:
3361:
3360:
3355:
3350:
3348:Time signature
3345:
3340:
3335:
3330:
3325:
3320:
3315:
3310:
3305:
3300:
3295:
3290:
3285:
3280:
3275:
3269:
3267:
3261:
3260:
3255:
3253:
3252:
3245:
3238:
3230:
3224:
3223:
3213:
3197:
3196:External links
3194:
3193:
3192:
3177:
3157:
3151:
3135:
3129:
3117:Epstein, David
3111:
3108:
3107:
3106:
3100:
3088:Williams, John
3084:
3078:
3060:Sadie, Stanley
3056:
3050:
3036:, ed. (1969).
3022:
3021:
3010:
2999:
2988:
2986:, p. 480.
2976:
2958:
2939:(4): 465–502.
2918:
2911:
2890:
2866:
2851:
2849:, p. 809.
2839:
2827:
2818:"Affretando".
2810:
2798:
2786:
2774:
2749:
2728:
2716:
2691:
2675:
2650:
2638:
2631:
2600:
2582:
2570:
2563:
2549:Rosen, Charles
2536:
2529:
2509:
2489:
2482:
2462:
2446:
2432:
2396:
2381:
2355:
2353:, p. 523.
2343:Ninth Symphony
2329:
2328:
2326:
2323:
2321:
2320:
2315:
2310:
2305:
2300:
2295:
2290:
2284:
2282:
2279:
2271:pitch-shifting
2231:Main article:
2228:
2225:
2203:Graphic scores
2183:
2180:
2144:
2143:
2140:
2137:
2135:
2132:
2129:
2125:
2124:
2121:
2118:
2116:
2113:
2110:
2106:
2105:
2102:
2099:
2097:
2094:
2091:
2087:
2086:
2075:
2074:
2072:
2062:
2061:
2051:
2050:
2048:
2046:
2022:
2020:
1997:
1974:
1972:
1969:
1968:
1965:
1962:
1960:
1957:
1954:
1951:
1950:
1947:
1945:
1942:
1914:
1904:
1903:
1890:
1889:
1879:
1878:
1870:
1847:
1817:
1794:
1773:
1772:
1708:. Please help
1694:
1692:
1685:
1679:
1676:
1672:
1671:
1649:
1589:
1588:
1582:
1572:
1566:
1549:
1543:
1535:
1513:rallentando or
1506:
1492:
1482:
1476:
1466:
1460:
1454:
1448:
1442:
1436:
1435:– double-speed
1426:
1420:
1414:
1408:
1393:
1390:
1386:musical phrase
1341:time signature
1332:
1329:
1301:and musicals.
1280:rhythm section
1257:Percy Grainger
1248:
1245:
1230:sixth symphony
1220:Symphony No. 9
1196:
1195:
1189:
1183:
1177:
1171:
1165:
1159:
1148:
1145:
1138:
1137:
1131:
1125:
1120:– very, as in
1115:
1109:
1103:
1098:– less, as in
1093:
1087:
1081:
1059:Claude Debussy
1046:
1043:
1042:
1041:
1038:Tempo semplice
1035:
1029:
1021:
983:Tempo di valse
976:
970:
964:
955:
949:
943:
937:
931:
925:
911:
901:
891:
876:
853:
847:
837:
828:
822:
816:
810:
804:
790:
787:
784:
783:
777:
771:
765:
759:
756:Allegro vivace
752:Molto Allegro
749:
743:
733:
727:
721:
707:
701:
683:
677:
671:
662:– slower than
657:
651:
645:
639:
627:
567:
541:
538:
528:String Quartet
462:Viennese waltz
431:time signature
397:
394:
355:
354:Choosing speed
352:
348:ballroom dance
292:
284:time signature
265:
257:
247:
242:
241:
240:
231:
230:
229:
219:
216:
142:
141:
56:
54:
47:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4170:
4159:
4156:
4154:
4151:
4149:
4146:
4145:
4143:
4128:
4125:
4123:
4120:
4118:
4115:
4113:
4110:
4108:
4105:
4103:
4100:
4098:
4095:
4093:
4090:
4088:
4087:Rhythmic mode
4085:
4083:
4080:
4078:
4075:
4073:
4070:
4068:
4065:
4063:
4060:
4058:
4055:
4053:
4050:
4048:
4045:
4043:
4040:
4038:
4035:
4033:
4030:
4028:
4025:
4023:
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4018:
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4008:
4007:
4003:
3999:
3996:
3995:
3994:
3991:
3989:
3986:
3982:
3979:
3978:
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3974:
3972:
3969:
3967:
3966:Canter rhythm
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3801:
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3797:
3791:
3790:Transcription
3788:
3786:
3785:Sight-reading
3783:
3781:
3780:Perfect pitch
3778:
3776:
3773:
3771:
3768:
3767:
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3755:
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3722:
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3717:
3715:
3714:Ancient Greek
3712:
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3702:
3700:
3697:
3695:
3692:
3690:
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3685:
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3680:
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3672:
3670:
3667:
3665:
3662:
3660:
3657:
3655:
3654:Chord diagram
3652:
3650:
3647:
3645:
3644:Braille music
3642:
3641:
3639:
3637:Other systems
3635:
3629:
3626:
3624:
3621:
3619:
3616:
3614:
3611:
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3608:
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3389:
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3382:
3379:
3378:
3377:
3374:
3373:
3371:
3369:
3368:Musical notes
3365:
3359:
3356:
3354:
3353:Transposition
3351:
3349:
3346:
3344:
3341:
3339:
3336:
3334:
3331:
3329:
3326:
3324:
3321:
3319:
3316:
3314:
3311:
3309:
3308:Key signature
3306:
3304:
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3299:
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3294:
3291:
3289:
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3232:
3231:
3228:
3221:
3220:Virginia Tech
3217:
3214:
3212:at Wiktionary
3211:
3210:
3204:
3200:
3199:
3195:
3190:
3189:0-9748438-4-9
3186:
3182:
3178:
3174:
3170:
3166:
3162:
3158:
3154:
3152:0-300-03852-6
3148:
3144:
3140:
3136:
3132:
3130:0-02-873320-7
3126:
3122:
3118:
3114:
3113:
3109:
3103:
3097:
3093:
3089:
3085:
3081:
3079:1-56159-239-0
3075:
3071:
3070:
3065:
3064:Tyrrell, John
3061:
3057:
3053:
3047:
3043:
3042:Belknap Press
3039:
3035:
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3029:
3028:
3019:
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2900:
2894:
2891:
2880:
2876:
2870:
2867:
2864:
2860:
2859:David Fallows
2855:
2852:
2848:
2843:
2840:
2837:
2831:
2828:
2823:
2822:
2814:
2811:
2807:
2802:
2799:
2796:, p. 92.
2795:
2790:
2787:
2783:
2778:
2775:
2763:
2759:
2753:
2750:
2746:
2745:Williams 1997
2742:
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2729:
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2720:
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2705:
2701:
2695:
2692:
2688:
2684:
2679:
2676:
2664:
2660:
2654:
2651:
2648:, p. 42.
2647:
2642:
2639:
2634:
2628:
2624:
2623:
2618:
2617:James Webster
2614:
2610:
2604:
2601:
2596:
2595:
2586:
2583:
2579:
2574:
2571:
2566:
2564:0-300-09070-6
2560:
2556:
2555:
2550:
2545:
2544:Charles Rosen
2540:
2537:
2532:
2530:0-19-509058-6
2526:
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2510:
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2266:
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2256:
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2248:
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2240:
2234:
2226:
2224:
2222:
2218:
2217:
2212:
2208:
2204:
2198:
2196:
2195:postmodernism
2192:
2188:
2181:
2178:
2176:
2172:
2164:
2157:
2150:
2141:
2138:
2136:
2133:
2130:
2127:
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2108:
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2100:
2098:
2095:
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2089:
2088:
2080:
2073:
2067:
2056:
2049:
2047:
2041:
2034:
2027:
2021:
2016:
2009:
2002:
1993:
1986:
1979:
1973:
1971:
1970:
1966:
1963:
1961:
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1955:
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1946:
1941:
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1806:
1799:
1793:
1791:
1790:
1785:
1781:
1769:
1766:February 2024
1758:
1755:
1751:
1748:
1744:
1741:
1737:
1734:
1730:
1727: –
1726:
1722:
1721:Find sources:
1715:
1711:
1707:
1701:
1700:
1699:single source
1695:This section
1693:
1689:
1684:
1683:
1677:
1675:
1669:
1665:
1661:
1657:
1653:
1650:
1647:
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1514:
1510:
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1504:
1500:
1496:
1493:
1490:
1486:
1483:
1480:
1477:
1474:
1470:
1467:
1464:
1461:
1459:– less motion
1458:
1455:
1452:
1449:
1446:
1443:
1440:
1437:
1434:
1430:
1427:
1424:
1421:
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1387:
1383:
1378:
1376:
1372:
1371:
1365:
1361:
1357:
1353:
1348:
1346:
1345:key signature
1342:
1338:
1330:
1328:
1326:
1322:
1319:
1315:
1311:
1307:
1302:
1300:
1296:
1291:
1289:
1288:boogie-woogie
1285:
1281:
1277:
1273:
1269:
1266:
1265:popular music
1262:
1258:
1254:
1246:
1244:
1241:
1236:
1231:
1226:
1221:
1217:
1213:
1209:
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1201:
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1190:
1187:
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1166:
1163:
1160:
1157:
1154:
1153:
1152:
1146:
1144:
1142:
1135:
1132:
1129:
1126:
1124:(very lively)
1123:
1119:
1116:
1113:
1110:
1107:
1104:
1101:
1097:
1094:
1091:
1088:
1085:
1082:
1079:
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1075:
1074:
1072:
1068:
1067:Maurice Ravel
1064:
1060:
1056:
1052:
1044:
1039:
1036:
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1030:
1027:
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1022:
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950:
947:
944:
941:
938:
935:
932:
929:
926:
923:
919:
915:
914:Ma non troppo
912:
909:
908:Ma non troppo
905:
902:
894:
879:
869:
865:
861:
857:
854:
851:
848:
846:– 'furiously'
845:
841:
838:
836:
832:
829:
826:
823:
820:
817:
815:– (very) much
814:
811:
808:
805:
802:
801:
796:
793:
792:
788:
786:
781:
778:
775:
772:
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631:
628:
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621:
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617:
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611:
607:
603:
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595:
591:
587:
583:
578:
570:
557:
555:
547:
539:
537:
535:
533:
529:
525:
524:Samuel Barber
521:
517:
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510:
506:
502:
498:
494:
490:
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482:
478:
473:
471:
467:
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429:
425:
421:
417:
413:
409:
403:
395:
393:
391:
386:
382:
377:
373:
369:
368:popular music
365:
361:
353:
351:
349:
345:
340:
338:
334:
330:
326:
321:
319:
315:
312:invented the
311:
306:
304:
295:
285:
281:
273:
271:
260:
245:
224:
217:
215:
213:
209:
205:
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197:
193:
188:
186:
182:
178:
174:
170:
166:
165:
158:
153:
149:
138:
135:
127:
116:
113:
109:
106:
102:
99:
95:
92:
88:
85: –
84:
80:
79:Find sources:
73:
69:
63:
62:
57:This article
55:
51:
46:
45:
40:
33:
19:
4111:
4004:
3888:
3689:Klavarskribo
3664:Figured bass
3538:Appoggiatura
3485:Articulation
3342:
3283:Abbreviation
3208:
3180:
3164:
3142:
3120:
3091:
3067:
3037:
3026:
3025:
3013:
3002:
2991:
2984:Tangian 1994
2979:
2970:
2961:
2936:
2930:
2921:
2902:
2893:
2882:. Retrieved
2878:
2869:
2854:
2842:
2830:
2819:
2813:
2801:
2789:
2777:
2765:. Retrieved
2761:
2752:
2736:
2731:
2719:
2707:. Retrieved
2703:
2694:
2686:
2678:
2666:. Retrieved
2662:
2659:"Con grazia"
2653:
2641:
2621:
2603:
2592:
2585:
2573:
2553:
2539:
2519:
2512:
2501:. Retrieved
2492:
2472:
2465:
2457:
2449:
2435:
2426:
2420:, retrieved
2411:
2399:
2384:
2372:. Retrieved
2367:
2358:
2333:
2303:Bell pattern
2267:
2236:
2233:Beatmatching
2227:Beatmatching
2214:
2199:
2185:
2174:
2170:
2152:
2147:
1944:Rhythm only
1929:
1926:
1919:
1915:
1900:
1875:
1871:
1842:
1840:
1787:
1776:
1763:
1753:
1746:
1739:
1732:
1720:
1696:
1673:
1663:
1659:
1655:
1651:
1645:
1641:
1636:
1627:
1623:
1619:
1615:
1611:
1607:
1603:
1601:
1592:
1590:
1584:
1578:
1574:
1568:
1561:
1551:
1545:
1537:
1531:
1527:
1523:
1522:can also be
1519:
1515:
1512:
1508:
1502:
1498:
1494:
1488:
1484:
1479:Precipitando
1478:
1472:
1468:
1462:
1456:
1450:
1444:
1441:– half-speed
1438:
1432:
1428:
1422:
1416:
1410:
1404:
1400:
1395:
1382:tempo rubato
1379:
1375:Echelon Song
1369:
1363:
1359:
1355:
1351:
1349:
1334:
1309:
1303:
1299:stage revues
1292:
1250:
1218:of Mahler's
1197:
1191:
1185:
1179:
1176:– moderately
1173:
1167:
1161:
1155:
1150:
1139:
1133:
1127:
1121:
1117:
1111:
1105:
1099:
1095:
1089:
1083:
1078:Au mouvement
1077:
1048:
1037:
1031:
1025:Tempo giusto
1023:
1008:(speed of a
1005:
982:
978:
973:Tempo comodo
972:
966:
961:
957:
951:
945:
939:
933:
927:
921:
917:
913:
907:
904:Ma non tanto
903:
892:
877:
867:
863:
859:
855:
849:
843:
839:
834:
830:
824:
818:
812:
806:
798:
794:
785:
779:
773:
767:
761:
755:
751:
745:
739:
735:
729:
723:
717:
713:
709:
703:
697:
693:
689:
685:
679:
673:
667:
663:
659:
653:
647:
641:
633:
629:
623:
618:
613:
609:
605:
601:
597:
593:
589:
585:
581:
579:
568:
560:
553:
536:
531:
513:
508:
496:
492:
488:
484:
480:
476:
474:
445:
441:
437:
435:
405:
389:
357:
341:
337:beatmatching
322:
307:
303:quarter note
293:
276:
204:tempo rubato
192:articulation
189:
163:
161:
151:
145:
130:
121:
111:
104:
97:
90:
78:
66:Please help
61:verification
58:
4102:Syncopation
3775:Music stand
3649:Chord chart
3628:Scorewriter
3605:Sheet music
3403:Dotted note
3338:Repeat sign
3313:Ledger line
3161:Sachs, Curt
3034:Apel, Willi
2808:, p. .
2700:"Lamentoso"
2288:A capriccio
2243:house music
2171:accelerando
1668:binary form
1652:Tempo primo
1585:Tempo Primo
1485:Rallentando
1411:Affrettando
1401:Accelerando
1364:accelerando
1352:accelerando
1276:lead sheets
1268:lead sheets
1102:(less fast)
1057:as well as
1032:Tempo primo
979:Tempo di...
962:Accelerando
807:Accelerando
780:Prestissimo
624:Larghissimo
364:bandleaders
259:Click track
218:Measurement
169:composition
4142:Categories
4117:Time point
4067:Polyrhythm
4062:Note value
4032:Homorhythm
3998:Note value
3988:Cross-beat
3749:Shakuhachi
3724:Ekphonetic
3709:Simplified
3674:Lead sheet
3548:Grace note
3413:Note value
3408:Grace note
3376:Accidental
2884:2019-08-16
2758:"Maestoso"
2503:2024-09-17
2454:Randel, D.
2422:2018-01-20
2293:Alla breve
2193:and later
2175:ritardando
1922:Kolmogorov
1736:newspapers
1612:Meno mosso
1579:ritardando
1569:Stringendo
1516:ritardando
1495:Ritardando
1451:Meno mosso
1417:Allargando
1356:ritardando
1337:double bar
1306:Tom Lehrer
1304:Humourist
1295:vaudeville
1290:bassline.
1222:is marked
1141:Erik Satie
1100:Moins vite
969:– suddenly
825:Con grazia
800:Ad libitum
730:Allegretto
712:– between
630:Adagissimo
582:Allegretto
400:See also:
360:conductors
280:note value
270:media help
124:March 2012
94:newspapers
4092:Stop-time
4042:Isorhythm
4017:Half-time
3981:Count off
3951:Anacrusis
3874:Intervals
3744:Swaralipi
3734:Kunkunshi
3694:Tablature
3659:Eye music
3543:Glissando
3518:Fingering
3303:Dal segno
2847:Apel 1969
2806:Apel 1969
2794:Apel 1969
2767:8 October
2737:L'istesso
2709:8 October
2668:8 October
2646:Apel 1969
2428:bars/min.
2374:15 August
2351:Apel 1969
2325:Citations
2318:Stop-time
2263:crossfade
2259:CD player
2211:John Cage
2191:modernism
2142:10 bytes
1706:talk page
1608:Più mosso
1546:Slargando
1473:più mosso
1463:Più mosso
1457:Meno moto
1318:Masochism
1272:fake book
1232:, marked
1208:Hindemith
1182:– quickly
1136:– rapidly
868:L'istesso
856:L'istesso
850:Lamentoso
844:Furibondo
795:A piacere
686:Andantino
660:Adagietto
648:Larghetto
598:Andantino
594:Adagietto
526:'s first
520:movements
446:Sarabande
442:Allemande
416:classical
318:Beethoven
314:metronome
208:conductor
181:metronome
18:Mid-tempo
3993:Duration
3976:Counting
3971:Colotomy
3754:Znamenny
3595:Tonguing
3580:Staccato
3533:Ornament
3508:Dynamics
3460:Interval
3423:Notehead
3398:Cue note
3163:(1953).
3141:(1988).
3119:(1995).
3090:(1997).
2969:(1960).
2953:40285634
2901:(1993).
2685:(1944).
2619:(2010).
2551:(2002).
2347:Schumann
2281:See also
2156:Scriabin
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2101:12 bytes
1575:Tardando
1532:ritenuto
1520:ritenuto
1509:Ritenuto
1445:Lentando
1368:Monti's
1316:'; and '
1216:movement
1164:– slowly
1122:Très vif
1114:– lively
1092:– slowly
954:– little
928:Maestoso
831:Con moto
724:Moderato
718:moderato
694:moderato
428:mensural
344:measures
4077:Prosody
4027:Hemiola
3763:Related
3729:Gamelan
3719:Chinese
3699:Parsons
3570:Portato
3553:Mordent
3528:Marcato
3513:Fermata
3503:Damping
3498:Caesura
3455:Tremolo
3386:natural
3298:Da capo
3027:Sources
2578:"tempo"
2456:, ed.,
2134:7 bytes
2131:6 bytes
2120:0 bytes
2115:4 bytes
2112:0 bytes
2096:3 bytes
2093:6 bytes
1750:scholar
1725:"Tempo"
1664:Allegro
1656:Tempo I
1642:a tempo
1604:gradual
1593:Allegro
1565:tempo.)
1562:stretto
1553:Stretto
1503:ritard.
1423:Calando
1370:Csárdás
1343:and/or
1284:shuffle
1186:Schnell
1168:Lebhaft
1162:Langsam
1156:Kräftig
840:Furioso
819:A tempo
746:Allegro
740:allegro
714:andante
698:andante
690:andante
680:Andante
664:andante
590:Allegro
586:Andante
518:) name
509:Allegro
489:allegro
481:allegro
438:Allegro
412:baroque
376:drummer
350:music.
212:drummer
200:texture
108:scholar
83:"Tempo"
4127:Tuplet
4012:Groove
3931:Rhythm
3585:Tenuto
3523:Legato
3493:Accent
3450:Tuplet
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1628:subito
1539:Rubato
1528:riten.
1405:accel.
1212:Mahler
1192:Bewegt
1188:– fast
1134:Rapide
1130:– fast
1106:Modéré
967:Subito
948:– more
942:– less
936:– very
774:Presto
762:Vivace
668:adagio
654:Adagio
614:Adagio
606:Adagio
556:(film)
532:Adagio
530:is an
493:Presto
485:presto
477:presto
458:minuet
424:tactus
177:minute
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4112:Tempo
4097:Swing
4082:Pulse
4006:Gatra
3935:meter
3889:Tempo
3739:Neume
3563:Trill
3558:Slide
3445:Tacet
3435:Pitch
3391:sharp
3343:Tempo
3328:Scale
3323:Ossia
3265:Staff
3209:tempo
2949:JSTOR
2594:Music
2408:(PDF)
2239:disco
2216:4′33″
2085:R012
2045:R012
1757:JSTOR
1743:books
1620:molto
1616:assai
1597:staff
1558:fugal
1489:rall.
1469:Mosso
1321:Tango
1180:Rasch
1174:Mäßig
1096:Moins
1084:Grave
1010:march
958:Rall.
934:Molto
862:, or
813:Assai
674:Lento
642:Largo
635:Grave
610:Largo
602:Largo
390:palos
196:meter
173:beats
157:tempi
152:tempo
115:JSTOR
101:books
4107:Tala
4037:Iqa'
3961:Beat
3933:and
3575:Slur
3440:Rest
3428:stem
3418:beam
3381:flat
3318:Mode
3293:Clef
3185:ISBN
3169:OCLC
3147:ISBN
3125:ISBN
3096:ISBN
3074:ISBN
3046:ISBN
2907:ISBN
2769:2021
2711:2021
2670:2021
2627:ISBN
2559:ISBN
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2478:ISBN
2376:2024
2341:and
2245:and
1930:R012
1916:R012
1872:R012
1843:R012
1729:news
1624:poco
1524:rit.
1499:rit.
1270:and
1263:and
1261:jazz
1255:and
1210:and
1128:Vite
1118:Très
1090:Lent
1069:and
1053:and
952:Poco
940:Meno
716:and
632:and
604:and
596:and
479:and
464:; a
450:Bach
414:and
194:and
175:per
87:news
3956:Bar
3590:Tie
3288:Bar
2941:doi
2743:",
2255:CDJ
2251:DJs
2173:or
1786:'s
1712:by
1654:or
1634:).
1610:or
1360:rit
1112:Vif
946:Più
842:or
797:or
754:or
503:'s
452:'s
444:or
406:In
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