VARIATION IN TEMPO

Our treatment of tempo thus far has taken cognizance of only the generalized tempo of the movement, and we have not discussed at all the much more difficult matter of variation in tempo. The more evident changes of this sort are indicated by the composer through such expressions as ritardando, accelerando, et cetera; and it may be well to give at this point a list of the commoner of these terms together with their meanings. Obviously, such indications are of two general types dealing respectively with increasing and decreasing speed, and we shall accordingly give the definitions in two classes:

Terms Indicating a More Rapid Tempo
1. A gradual acceleration
accelerando
affrettando
stringendo
poco a poco animato
2. A definitely faster tempo at once
più allegro
più presto
più animato
più mosso
più tosto
più stretto
un poco animato
Terms Indicating a Slower Tempo
1. A gradual retard
ritardando
rallentando
slentando
2. A definitely slower tempo at once
più lento
meno mosso
ritenuto
3. A slower tempo combined with an increase in power
largando
allargando		}(literally, "becoming broad")
4. A slower tempo combined with a decrease in power
morendo
perdendo
perdendosi
calando
smorzando		}
}
}		(Usually translated, "gradually dying away")

(After any of the terms in the above list, a return to the normal tempo is indicated by such expressions as a tempo, tempo primo, et cetera.)

TEMPO NUANCES

But in addition to the variations in tempo more or less definitely indicated by the composer there are (particularly in modern music) innumerable tempo fluctuations of a much subtler nature; and since these are now recognized as a part of really artistic choral and orchestral interpretation, (as they have long formed an indispensable element in expressive piano performance) a brief discussion of their nature will be included before closing this chapter.

In some cases a variable tempo is asked for by the composer by means of one of the following expressions:

(The term tempo giusto—in exact tempo—is the opposite of the above expressions, and is used to indicate that the music is to be performed in steady tempo.)

In the majority of cases, however, the composer gives no indication whatsoever, and the whole responsibility therefore rests upon the performer or conductor. It is because of this latter fact that the amateur must study these matters indefatigably. The advent of a more elastic rhythm and tempo has undoubtedly made all musical performance infinitely more pleasurable to the listener than it formerly was; but unfortunately (especially since the advent of Chopin's music) there has been a great deal of misunderstanding as to the use and meaning of this valuable new expressional element.