134:, music theorists and composers of the 17th and 18th century were not so consistent in their interpretation and use of these terms, with some composers marking scores with grave but with performance descriptions described elsewhere that would indicate a speed more akin to modern tempos for largo or adagio.
43:
The term grave did not become widely associated with a tempo designation until the latter part of the 17th century. Earlier uses of the word grave were done as an adjective or descriptor of a work, but were not associated with a tempo marking. Examples of this earlier use would be
72:
era the term grave had a unique musical meaning. This type of music employed two separate choruses divided by space and singing in alternation. The upper voiced choir was referred to as the
186:
86:
was among the first composers to use the word grave as a tempo marking, with that term being employed as a performance instruction within his
208:
91:
213:
61:
218:
163:
31:
and means solemn, heavy, or serious. The grave tempo is very slow at a pace of approximately 20-40
119:(1683) that the term was widely used by Italian composers and musicians to refer to a "very slow
171:
83:
65:
109:
Op. 22: Per ogni sorte di strumento musicale diversi generi di sonate, da chiesa, e da camera
167:
120:
45:
28:
96:
202:
112:
104:
69:
53:
32:
126:
While today the term grave is widely understood to be slower than the tempo terms
95:(1639). Other early examples of grave being used as a tempo term include
87:
24:
20:
158:
Fallows, David (2001). "Grave (It., Fr.: 'heavy', 'serious')".
123:" and that the term had spread to other parts of Europe.
111:(1655). By the 1680s, the term was common in Italy with
8:
172:10.1093/gmo/9781561592630.article.11657
153:
151:
149:
147:
143:
76:and the lower voiced choir was named
7:
14:
115:writing in his preface to his
1:
27:. The word originates in the
23:mark and mood designation in
185:Robitaille, Brent C (2022).
92:Le nozze di Teti e di Peleo
235:
188:Easy Classical Violin Tabs
62:Venetian polychoral style
164:Oxford University Press
117:Sonnata’s of III Parts
209:Musical terminology
160:Grove Music Online
84:Francesco Cavalli
226:
214:Rhythm and meter
193:
192:
182:
176:
175:
155:
46:Antonio Brunelli
29:Italian language
234:
233:
229:
228:
227:
225:
224:
223:
199:
198:
197:
196:
191:. Kalymi Music.
184:
183:
179:
157:
156:
145:
140:
97:Marco Uccellini
58:Symphonia grave
41:
12:
11:
5:
232:
230:
222:
221:
219:Temporal rates
216:
211:
201:
200:
195:
194:
177:
142:
141:
139:
136:
40:
37:
13:
10:
9:
6:
4:
3:
2:
231:
220:
217:
215:
212:
210:
207:
206:
204:
190:
189:
181:
178:
173:
169:
165:
161:
154:
152:
150:
148:
144:
137:
135:
133:
129:
124:
122:
118:
114:
113:Henry Purcell
110:
106:
105:Biagio Marini
102:
98:
94:
93:
89:
85:
81:
79:
75:
71:
70:Baroque music
67:
63:
59:
55:
54:Biagio Marini
51:
47:
38:
36:
34:
33:musical beats
30:
26:
22:
18:
187:
180:
159:
131:
127:
125:
116:
108:
103:(1646), and
100:
90:
82:
77:
73:
57:
49:
42:
35:per minute.
16:
15:
66:Renaissance
60:(1617). In
52:(1616) and
50:Ballo grave
203:Categories
138:References
121:movement
64:of the
39:History
132:adagio
101:Sonate
128:largo
88:opera
78:grave
74:acuto
25:music
21:tempo
19:is a
17:Grave
130:and
68:and
168:doi
107:'s
99:'s
56:'s
48:'s
205::
166:.
162:.
146:^
80:.
174:.
170::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.