= 64, this means that sixty-four half-notes are to be performed in a minute,—a tempo equal to one hundred and twenty-eight quarter-notes in the same composition. In compound measures such as 6-8, 9-8, et cetera, the tempo indication shows the number of eighth-notes per minute if the composition is in slow tempo; but in moderate and rapid tempos the direction is usually given by taking the dotted-quarter-note as the beat unit, thus:

= 84. It is of course obvious that in this case the composer is thinking of each measure as having only two or three beats instead of six or nine.

THE ITALIAN TEMPO TERMS

Many instrumental compositions (particularly the older ones) are not provided by the composer with definite tempo directions; and in this case the Italian tempo terms usually give at least a clue to what the composer has in mind. These terms do not of course give us the precise tempo, but by indicating the mood of a composition they at least help one to determine the rate of speed (adagio—at ease; allegro—cheerful; largo—large, broad; andante—going; et cetera). A comprehensive knowledge of these terms from the twofold standpoint of definition and derivation is indispensable to the conductor. The most common of them are therefore defined at this point. They are given in groups in order that the student may note how much the various terms overlap in meaning.

The expressions given above are frequently used in combination with one another, and with certain auxiliary terms, but to attempt to define these combinations in this book would be altogether impracticable. The conductor should however understand the significance of the following qualifying expressions:

These expressions are used by the composer as a warning to the performer not to overdo any indicated effect. Thus, largo, ma non troppo means that the composition is to be taken slowly, but not too slowly. Presto (ma) non troppo, on the other hand, indicates a rapid tempo, but not too rapid. For a fuller discussion of these matters, see the author's text book on terminology.[14]

The third means of finding tempo has already been discussed, (see p. 45) and the fifth needs no further explanation; but a word should perhaps be said to the amateur about the matter of tradition. The young conductor must not fail to take into consideration the fact that there has grown up, in connection with many of the classics, a well defined idea of the tempos most appropriate to their rendition, and that any pronounced departure from this traditional tempo is apt to result in unfavorable criticism. Tradition is of course apt to make us hide-bound in all sorts of ways, and yet in many respects it is a very good thing, and before our conductor attempts to direct standard works it will be well for him to hear them rendered by some of the better organizations, so that he may ascertain what the traditional tempo is. In this way he may at least avoid the accusation of ignorance which might otherwise be made. This latter point will remind the reader of the advice already so frequently given—viz., "study music and listen to music a long time before you attempt very much conducting."