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'{{short description|Musical concept indicating to the speed of interpretation}} {{other uses}} {{redirect|Beats per minute|the rate of heartbeating|Heart rate|the online publication|Beats Per Minute (website)}} {{More citations needed|date=March 2012}} In [[musical terminology]], '''[https://ssranatourandtravels.com/delhi-to-dharamshala-taxi tempo]''' ("time" in [[Italian language|Italian]]) is the speed or pace of a given [[musical composition|piece]]. In classical music, the tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in [[beat (music)|beats]] per [[minute]] (or bpm). In modern classical compositions, a "[[metronome]] mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like [[electronic dance music]], the tempo will typically simply be stated in bpm. [https://ssranatourandtravels.com/delhi-to-dharamshala-taxi Tempo] may be separated from [[articulation (music)|articulation]] and [[meter (music)|meter]], or these aspects may be indicated along with tempo, all contributing to the overall [[texture (music)|texture]]. While the ability to hold a steady tempo is a vital skill for a musical performer, the tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight [[tempo rubato]] or a drastic accelerando. In ensembles, the tempo is often indicated by a [[conducting|conductor]] or by one of the instrumentalists, for instance, the [[drummer]]. ==Measurement == [[File:Electronic-metronome(scale).jpg|180px|thumb|Electronic metronome, Wittner model]] {{Listen |filename=120BPMclicktrack.ogg |title=A 120 BPM click track |description= |pos=right |format=[[Ogg]]}} While <ref>https://ssranatourandtravels.com/delhi-to-dharamshala-taxi</ref>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 minute is twice as rapid, signifying one beat every 0.5 seconds. The [[note value]] of a beat will typically be indicated by the denominator of the [[time signature]]. For instance, in {{music|time|4|4}} the beat will be a [[crotchet]], or ''quarter note''. This measurement and an indication of <ref>tempo</ref> became increasingly popular during the first half of the 19th century, after [[Johann Nepomuk Maelzel]] invented the [[metronome]]. [[Beethoven]] 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.<ref><!-- Is this really relevant to THIS article? -->Some of these markings are today contentious, such as those on his [[Piano Sonata No. 29 (Beethoven)|"Hammerklavier" Sonata]] and [[Symphony No. 9 (Beethoven)|Ninth Symphony]], seeming to many to be almost impossibly fast, as is also the case for many of the works of [[Robert Schumann|Schumann]]. See "metronome" entry in Apel (1969), p. 523.</ref> Instead of beats per minute, some 20th-century classical composers (e.g., [[Béla Bartók]], [[Alberto Ginastera]], and [[John Cage]]) specify the total playing time for a piece, from which the performer can derive tempo.{{citation needed|date=January 2015}} With the advent of modern electronics, bpm became an extremely precise measure. [[Music sequencer]]s use the bpm system to denote tempo.<ref>{{cite web |last1=Hans |first1=Zimmer |title=Music 101: What Is Tempo? How Is Tempo Used in Music? |url=https://www.masterclass.com/articles/music-101-what-is-tempo-how-is-tempo-used-in-music#what-are-the-basic-tempo-markings |website=Masterclass |publisher=Masterclass |accessdate=22 January 2020}}</ref> In popular music genres such as [[electronic dance music]], accurate knowledge of a tune's bpm is important to [[disc jockey|DJs]] for the purposes of [[beatmatching]].{{citation needed|date=January 2015}} <ref>The speed of a piece</ref>https://ssranatourandtravels.com/delhi-to-dharamshala-taxi of music can also be gauged according to measures per minute (mpm) or bars per minute, the number of [[bar (music)|measure]]s of the piece performed in one minute. This measure is commonly used in [[ballroom dance]] music.<ref>{{Citation | author = | last = | first = | publication-date = | date = 2018-01-01 | year = | origyear = | title = WDSF Competition Rules | chapter = E. Rules for Competitions (Couples). Rule E.3 (Music) | type = WDSF Rules & Regulations | publisher = [[World DanceSport Federation]] | publication-place = | place = | language = English | page = 19 | url = http://www.worlddancesport.org/Document/9032164613/WDSF_Competition_Rules.pdf | accessdate = 2018-01-20 | format = PDF | quote = 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 bars/min. | ref = }}</ref> ==Choosing speed== In different musical contexts, different instrumental musicians, singers, [[conducting|conductors]], [[bandleader]]s, music directors or other individuals will select the tempo of a song or piece. In a [[popular music]] or [[traditional music]] group or band, the bandleader or [[lead singer]] may select the tempo. In popular and traditional music, whoever is setting the https://ssranatourandtravels.com/delhi-to-dharamshala-taxi<ref>https://ssranatourandtravels.com/delhi-to-dharamshala-taxitempo</ref> 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 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 [[sound recording]], in some cases, a [[record producer]] may set the tempo for a song (although this would be less likely with an experienced bandleader). ==Musical vocabulary== {{See also|Glossary of musical terminology}} In [[classical music]] it is customary to describe the tempo of a piece by one or more words, most commonly in [[Italian language|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.<ref>Randel, D., ed., ''The New Harvard Dictionary of Music'', Harvard University Press, 1986, ''Tempo''</ref> Some well-known Italian tempo indications include "Allegro", "Andante" and "Presto".This practice developed during the 17th and 18th centuries, the [[baroque music|baroque]] and [[classical music period|classical]] periods. In the earlier [[Renaissance music]], performers understood most music to flow at a tempo defined by the [[Pulse (music)|tactus]] (roughly the rate of the human heartbeat).<ref name=Haar>{{cite book|last=Haar|first=James|title=The Science and Art of Renaissance Music|publisher=Princeton University Press|isbn=1-40-086471-2|page=408|url=https://books.google.ca/books?id=0lMABAAAQBAJ&dq}}</ref> The [[mensural]] [[time signature]] indicated which note value corresponded to the tactus. In the Baroque period, pieces would typically be given an indication, which might be a tempo marking (e.g. ''Allegro''), or the name of a dance (e.g. ''Allemande'' or ''Sarabande''), the latter being an indication both of tempo and of a meter. 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 [[Johann Sebastian Bach|Bach]]'s [[Brandenburg concertos#Brandenburg Concerto No. 3 in G major, BWV 1048|Brandenburg Concerto No. 3]] has no tempo or mood indication whatsoever. Despite the increasing number of explicit tempo markings, musicians still observe conventions, expecting a [[minuet]] to be at a fairly stately tempo, slower than a [[Viennese waltz]]; a [[perpetuum mobile]] quite fast, and so on. Genres imply tempos. Thus, [[Ludwig van Beethoven]] wrote "In tempo run Menuetto" over the first movement of his Piano Sonata Op. 54, though that movement is not a minute. Many <ref>tempo</ref>https://ssranatourandtravels.com/delhi-to-dharamshala-taxi markings also indicate mood and expression. For example, ''presto'' and ''allegro'' both indicate a speedy execution (''presto'' being faster), but ''allegro'' also connotes joy (from its original meaning in Italian). ''Presto'', on the other hand, simply indicates speed. Additional Italian words also indicate tempo and mood. For example, the "agitato" in the ''Allegro agitato'' of the last movement of [[George Gershwin]]'s [[Concerto in F (Gershwin)|piano concerto in F]] has both a tempo indication (undoubtedly faster than a usual ''Allegro'') and a mood indication ("agitated"). Often, composers (or [[Music publisher (popular music)|music publishers]]) name [[movement (music)|movements]] of compositions after their tempo (or mood) marking. For instance, the second movement of [[Samuel Barber]]'s first [[String Quartet (Barber)|String Quartet]] is an ''Adagio''.<ref name=Heyman>{{cite book|last=Heyman|first=Barbara B.|title=Samuel Barber: the composer and his music|publisher=Oxford University Press|isbn=0-19-509058-6|page=158|url=https://books.google.com/?id=u6QGtHHtr6MC&pg=PA158&dq=second+movement+Samuel+Barber%27s+first+String+Quartet+is+an+Adagio.#v=onepage&q=second%20movement%20Samuel%20Barber%27s%20first%20String%20Quartet%20is%20an%20Adagio.&f=false|date=1994-05-12}}</ref> Often a particular [[musical form]] or [[Music genre|genre]] implies its own <ref>https://ssranatourandtravels.com/delhi-to-dharamshala-taxitempo</ref>, so composers need place no further explanation in the score.{{citation needed|date=January 2015}} [[Popular music]] charts use terms such as ''bossa nova'', ''ballad'', and ''Latin rock'' in much the same way.{{Original research inline|date=January 2015}} [[Lead sheet]]s and [[fake book]] music for jazz or popular music may use several terms, and may include a tempo term and a genre term, such as "slow blues", "medium shuffle" or "fast rock". {{anchor|Italian tempo markings}} ===Basic tempo markings=== Here follows a list of common tempo markings. The beats per minute (bpm) values are very rough approximations for {{music|time|4|4}} time. These terms have also been used inconsistently through time and in different geographical areas. One striking example is that ''Allegretto'' hastened as a tempo from the 18th to the 19th century: originally it was just above ''Andante'', instead of just below ''Allegro'' as it is now.<ref>For an extensive discussion of this point see Rosen (2002:48–95). Rosen suggests that many works marked "Allegretto" are nowadays played too quickly as a result of this confusion. Rosen, Charles (2002). [https://books.google.com/books?id=ApUUpgMzEPsC&pg=PA48#v=twopage&q&f=false ''Beethoven's Piano Sonatas: A Short Companion'']. New Haven: Yale University Press.</ref> As another example, a modern ''largo'' is slower than an ''adagio'', but in the Baroque period it was faster.<ref>[http://www.dolmetsch.com/musictheory5.htm music theory online: tempo], Dolmetsch.com</ref> From slowest to fastest: * ''Larghissimo'' – very, very slow (24&nbsp;bpm and under) * ''Adagissimo'' – very slowly * ''Grave'' – very slow (25–45&nbsp;bpm) * ''Largo'' – broadly (40–60&nbsp;bpm) * ''Lento'' – slowly (45–60&nbsp;bpm) * ''Larghetto'' – rather broadly (60–66&nbsp;bpm) * ''Adagio'' – slowly with great expression<ref>{{Cite book|url=https://books.google.com/books?id=pgQ6AAAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false|title=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 Music|last=Elson|first=Louis Charles|date=1909|publisher=Oliver Ditson|language=en}}</ref> (66–76&nbsp;bpm) * ''Adagietto'' – slower than ''andante'' (72–76&nbsp;bpm) or slightly faster than ''adagio'' (70–80&nbsp;bpm) * ''Andante'' – at a walking pace (76–108&nbsp;bpm) * ''Andantino'' – slightly faster than ''andante'' (although, in some cases, it can be taken to mean slightly slower than ''andante'') (80–108&nbsp;bpm) * ''Marcia moderato'' – moderately, in the manner of a march<ref>{{cite book|last=American Symphony Orchestra League|title=Journal of the Conductors' Guild, Vols. 18–19|year=1998|publisher=The League|location=Viena|page=27|url=https://books.google.com/books?id=zGcIAQAAMAAJ&dq=editions%3AASqKw5kS5SAC&focus=searchwithinvolume&q=Marcia |ISSN=0734-1032}}</ref><ref>{{cite book|author1=William E. Caplin |author2=James Hepokoski |author3=James Webster |title=Musical Form, Forms & Formenlehre: Three Methodological Reflections|year=2010|publisher=Leuven University Press|isbn=905-867-822-9|page=80|url=https://books.google.com/books?id=YhAgAJDAK9sC&lpg=PP1&pg=PT80#v=onepage&q=marcia%20moderato}}</ref> (83–85&nbsp;bpm) * ''Andante moderato'' – between ''andante'' and ''moderato'' (thus the name) (92–112&nbsp;bpm) * ''Moderato'' – at a moderate speed (108–120&nbsp;bpm) * ''Allegretto'' – by the mid-19th century, moderately fast (112–120&nbsp;bpm); see paragraph above for earlier usage * ''Allegro moderato'' – close to, but not quite ''allegro'' (116–120&nbsp;bpm) * ''Allegro'' – fast, quickly, and bright (120–156&nbsp;bpm) (''molto allegro'' is slightly faster than ''allegro'', but always in its range) * ''Vivace'' – lively and fast (156–176&nbsp;bpm) * ''Vivacissimo'' – very fast and lively (172–176&nbsp;bpm) * ''Allegrissimo'' or ''Allegro vivace'' – very fast (172–176&nbsp;bpm) * ''Presto'' – very, very fast (168–200&nbsp;bpm) * ''Prestissimo'' – even faster than ''presto'' (200&nbsp;bpm and over) {{anchor|Common qualifiers}} ====Additional terms==== * ''A piacere'' – the performer may use his or her own discretion with regard to tempo and rhythm; literally "at pleasure"<ref>Apel (1969), p. 42; for the literal translation see the online Italian–English dictionary at WordReference.com.</ref> * ''Con moto'' – Italian for "with movement"; can be combined with a tempo indication, e.g., ''Allegro con moto'' * ''Assai'' – (very) much * ''A tempo'' – resume previous tempo * ''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 changed, despite apparent signals to the contrary, such as changes in time signature or note length (half notes in {{music|time|4|4}} could change to whole notes in {{music|time|2|2}}, and they would all have the same duration)<ref>"Istesso tempo" entry in Sadie (2001).</ref><ref>For a modern example of ''L'istesso'', see measures 4 and 130 of ''Star Wars: Main Title'', Williams (1997), pp. 3 and 30.</ref> * ''Ma non tanto'' - but not so much; used in the same way and has the same effect as ''Ma non troppo'' (see immediately below) but to a lesser degree * ''Ma non troppo'' - 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, ''Adagio ma non troppo'' to mean ″Slow, but not too slow″, ''Allegro ma non troppo'' to mean ″Fast, but not too fast″ * ''Molto'' – very * ''Poco'' – a little * ''Subito'' – suddenly * ''Tempo comodo'' – at a comfortable (normal) speed * ''Tempo di...'' – the speed of a ... (such as ''Tempo di valzer'' (speed of a waltz, {{music|dottedquarter}}&nbsp;≈&nbsp;60&nbsp;bpm or {{music|quarter}}≈&nbsp;126&nbsp;bpm), ''Tempo di marcia'' (speed of a march, {{music|quarter}}&nbsp;≈&nbsp;120&nbsp;bpm)) * ''[[Tempo giusto]]'' – at a consistent speed, at the 'right' speed, in strict tempo * ''Tempo semplice'' – simple, regular speed, plainly * ''Tempo primo'' – resume the original (first) tempo ====French tempo markings==== Several composers have written markings in French, among them baroque composers [[François Couperin]] and [[Jean-Philippe Rameau]] as well as [[Claude Debussy]], [[Olivier Messiaen]], [[Maurice Ravel]] and [[Alexander Scriabin]]. Common tempo markings in [[French (language)|French]] are: * ''Au mouvement'' – play the (first or main) tempo. * ''Grave'' – slowly and solemnly * ''Lent'' – slowly * ''Modéré'' – at a moderate tempo * ''Moins'' – less, as in ''Moins vite'' (less fast) * ''Rapide'' – fast * ''Très'' – very, as in ''Très vif'' (very lively) * ''Vif'' – lively * ''Vite'' – fast [[Erik Satie]] was known to write extensive tempo (and character) markings by defining them in a poetical and literal way, as in his Gnossiennes.<ref>[http://imslp.org/wiki/Special:ImagefromIndex/03007 Gnossiennes music sheet], IMSLP Music Library</ref> ====German tempo markings==== Many composers have used [[German (language)|German]] tempo markings. Typical German tempo markings are: * ''Kräftig'' – vigorous or powerful * ''Langsam'' – slowly * ''Lebhaft'' – lively (mood) * ''Mäßig'' – moderately * ''Rasch'' – quickly * ''Schnell'' – fast * ''Bewegt'' – animated, with motion<ref>Apel (1969), p. 92.</ref> One of the first German composers to use tempo markings in his native language was [[Ludwig van Beethoven]]. The one using the most elaborate combined tempo and mood markings was probably [[Gustav Mahler]]. For example, the second [[Movement (music)|movement]] of his [[Symphony No. 9 (Mahler)|Symphony No. 9]] is marked ''Im Tempo eines gemächlichen Ländlers, etwas täppisch und sehr derb'', 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 [[Symphony No. 6 (Mahler)|sixth symphony]], marked ''Allegro energico, ma non troppo. Heftig, aber markig'' (Energetically quick, but not too much. Violent, but vigorous<ref>Italian translation, WordReference.com; German, Apel (1969).</ref>). ====English tempo markings==== [[English (language)|English]] indications, for example ''quickly'', have also been used, by [[Benjamin Britten]] and [[Percy Grainger]], among many others. In [[jazz]] and [[popular music]] [[lead sheet]]s and [[fake book]] charts, terms like "fast", "laid back", "steady rock", "medium", "medium-up", "ballad", "brisk", "brightly" "up", "slowly", and similar style indications may appear. In some lead sheets and fake books, both tempo and genre are indicated, e.g., "slow blues", "fast swing", or "medium Latin". The genre indications help [[rhythm section]] instrumentalists use the correct style. For example, if a song says "medium shuffle", the drummer plays a [[Shuffle note|shuffle]] drum pattern; if it says "fast boogie-woogie", the piano player plays a [[boogie-woogie]] bassline. "Show tempo", a term used since the early days of [[Vaudeville]], describes the traditionally brisk tempo (usually 160–170 bpm) of opening songs in [[revue|stage revues]] and musicals. Humourist [[Tom Lehrer]] uses facetious English tempo markings in his anthology ''Too Many Songs by Tom Lehrer''. For example, "National Brotherhood Week" is to be played "fraternally"; "We Will All Go Together" is marked "eschatologically"; and "Masochism Tango" has the tempo "painstakingly". ==Variation through a piece== 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 [[double bar]] and introducing a new tempo indication, often with a new [[time signature]] and/or [[key signature]]. It is also possible to indicate a more or less gradual change in tempo, for instance with an ''accelerando'' (speeding up) or ''ritardando'' (''rit''., slowing down) marking. Indeed, some compositions chiefly comprise ''accelerando'' passages, for instance [[Csárdás (Monti)|Monti's ''Csárdás'']], or the Russian Civil War song [[Echelon Song]]. On the smaller scale, [[tempo rubato]] refers to changes in tempo within a [[musical phrase]], often described as some notes 'borrowing' time from others. ===Terms for change in tempo=== <!-- This section is linked from [[Ritardando]] --> Composers may use expressive marks to adjust the tempo: * ''Accelerando'' – speeding up (abbreviation: ''accel.'') * ''Allargando'' – growing broader; decreasing tempo, usually near the end of a piece * ''Calando'' – going slower (and usually also softer) * ''Doppio movimento'' / ''doppio più mosso'' – double-speed * ''Doppio più lento'' – half-speed * ''Lentando'' – gradually slowing, and softer * ''Meno mosso'' – less movement; slower * ''Meno moto'' – less motion * ''Più mosso'' – more movement; faster * ''Mosso'' – movement, more lively; quicker, much like ''più mosso'', but not as extreme * ''Precipitando'' – hurrying; going faster/forward * ''Rallentando'' – a gradual slowing down (abbreviation: ''rall.'') * ''Ritardando'' – slowing down gradually; also see rallentando and ritenuto (abbreviations: ''rit.'', ''ritard.'') sometimes replaces allargando. * ''Ritenuto'' – slightly slower, but achieved more immediately than ''rallentando or'' ''ritardando''; a sudden decrease in tempo; temporarily holding back.<ref>"Ritenuto" entry in Sadie (2001).</ref> (Note that the abbreviation for ''ritenuto'' can also be ''rit.'' Thus a more specific abbreviation is ''riten.'' Also, sometimes ''ritenuto'' does not reflect a tempo change but rather a 'character' change.) * ''[[Rubato]]'' – free adjustment of tempo for expressive purposes, literally "theft"—so more strictly, to take time from one beat to slow another * ''[[Stretto]]'' – in a faster tempo, often used near the conclusion of a section. (Note that in [[fugue|fugal]] compositions, the term ''stretto'' 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.<ref>Apel (1969), p. 809.</ref> 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'')<ref>{{GroveOnline|title=Ritardando|author=David Fallows|access-date=January 1, 2016}}</ref> *''Tempo Primo'' – resume the original tempo<ref>{{Cite web|url=https://theonlinemetronome.com/metronome-tempo-markings-defined.html|title=Tempo Markings - Common Tempos in Italian, German, and French|website=theonlinemetronome.com|language=en|access-date=2019-08-16}}</ref> While the base tempo indication (such as ''Allegro'') typically appears in large type above the [[Staff (music)|staff]], adjustments typically appear below the staff or, in the case of keyboard instruments, in the middle of the grand staff. They generally designate a ''gradual'' change in tempo; for immediate tempo shifts, composers normally just provide the designation for the new tempo. (Note, however, that when ''Più mosso'' or ''Meno mosso'' appears in large type above the staff, it functions as a new tempo, and thus implies an immediate change.) Several terms, e.g., ''assai'', ''molto'', ''poco'', ''subito'', control how large and how gradual a change should be (see [[#Common qualifiers|common qualifiers]]). After a tempo change, a composer may return to a previous tempo in two ways: * ''a tempo'' – returns to the base tempo after an adjustment (e.g. ''ritardando ... a tempo'' undoes the effect of the ritardando). * ''Tempo primo'' or ''Tempo I^o'' – denotes an immediate return to the piece's original base tempo after a section in a different tempo (e.g. ''Allegro ... Lento ... Moderato ... Tempo I^o'' indicates a return to the ''Allegro''). This indication often functions as a structural marker in pieces in [[binary form]]. 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. ==Modern classical music== [[20th-century classical music]] <ref>https://ssranatourandtravels.com/delhi-to-dharamshala-taxi</ref>introduced a wide range of approaches to tempo, particularly thanks to the influence of [[Modernism (music)|modernism]] and later [[Postmodern music|postmodernism]]. 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. [[Graphic notation (music)|Graphic scores]] show tempo and rhythm in a variety of ways. [[Polytempo|Polytemporal compositions]] deliberately utilise performers playing at marginally different speeds. [[John Cage]]'s compositions approach tempo in diverse ways. For instance ''[[4′33″]]'' has a defined duration, but no actual notes, while [[As Slow as Possible]] has defined proportions but no defined duration, with one performance intended to last 639 years. ==Electronic music== === Extreme tempo === More extreme tempos are achievable at the same underlying tempo with very fast drum patterns, often expressed as [[drum rolls]]. Such compositions often exhibit a much slower underlying tempo, but may increase the tempo by adding additional percussive beats. [[Extreme metal]] subgenres such as [[speedcore]] and [[grindcore]] often strive to reach unusually fast tempo. The use of extreme tempo was very common in the fast [[bebop]] [[jazz]] from the 1940s and 1950s. A common jazz tune such as "[[Cherokee (Ray Noble song)|Cherokee]]" was often performed at quarter note equal to or sometimes exceeding 368&nbsp;bpm. Some of [[Charlie Parker]]'s famous tunes ("Bebop", "Shaw Nuff") have been performed at 380&nbsp;bpm plus.{{Citation needed|date=June 2013}} === Beatmatching === {{Main|Beatmatching}} In popular music genres such as [[disco]], [[house music]] and [[electronic dance music]], beatmatching is a technique that [[DJ]]s use that involves speeding up or slowing down a record (or CDJ player, a speed-adjustable CD player 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 cross fade from one song to another, or play both tracks simultaneously, creating a layered effect. 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&nbsp;bpm track, for example, matches the beat of a 120&nbsp;bpm track without slowing down or speeding up, because both have an underlying tempo of 120 quarter notes per minute. Thus, some soul music (around 75–90&nbsp;bpm) mixes well with a drum and bass beat (from 150–185&nbsp;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 [[Audio timescale-pitch modification|pitch-shifting]]. The opposite operation, changing the tempo without changing the pitch, is called [[Audio timescale-pitch modification|time-stretching]]. ==See also== {{col div|colwidth=15em}} * [[A capriccio]] * [[Alla breve]] * [[As Slow as Possible]] * [[Bell pattern]] * [[Half-time (music)]] * [[Multitemporal music]] * [[Stop-time]] {{colend}} == Citations == {{Reflist|30em}} == General sources == '''Books on tempo in music:''' * {{Cite book |title= Shaping Time: Music, the Brain, and Performance |last= Epstein |first= David |year= 1995 |publisher= Schirmer Books |location= New York |isbn= 0-02-873320-7 |page= }} * {{Cite book |title=The Tempo Indications of Mozart |last= Marty |first= Jean-Pierre |year= 1988 |publisher= [[Yale University Press]] |location= New Haven |isbn= 0-300-03852-6 |page= }} * {{Cite book |title= Rhythm and Tempo: A Study in Music History |last= Sachs |first= Curt |authorlink= Curt Sachs |year= 1953 |publisher= Norton |location= New York |isbn= |page= |oclc=391538}} * Snoman, Rick (2009). ''The Dance Music Manual: Tools, Toys, and Techniques&nbsp;– Second Edition''. Oxford, UK: Elsevier Press. {{ISBN|0-9748438-4-9}}. '''Music dictionaries:''' * Apel, Willi, ed., ''Harvard Dictionary of Music'', Second Edition, Revised and Enlarged. The Belknap Press of [[Harvard University Press]], Cambridge, Massachusetts, 1969. {{ISBN|978-0-674-37501-7}} * Sadie, Stanley; John Tyrrell, eds. (2001). ''The New Grove Dictionary of Music and Musicians'', 2nd edition. NewYork: Grove's Dictionaries. {{ISBN|1-56159-239-0}}. '''Examples of musical scores:''' * {{Cite book |title= Star Wars: Suite for Orchestra |last= Williams |first= John |year= 1997 |publisher= Hal Leonard Corp. |location= Milwaukee |isbn= 978-0-793-58208-2 |page= }} ==External links== * [http://www.music.vt.edu/musicdictionary/appendix/tempo/tempo1.html Tempo Terminology, Virginia Tech department of music] * [http://www.beatsperminuteonline.com/en/home/bpm-beats-per-minute-reference-for-dance-genres Tempo indications for social dances] * [http://www.grunin.com/eroica Tempo variation among and within 300+ recorded performances of Beethoven's 'Eroica' Symphony] * [http://www.dolmetsch.com/musictheory5.htm Dolmetsch article on tempo] * [http://blog.zzounds.com/2017/05/12/beat-connection-understanding-musical-tempo/ Understanding Musical Tempo] {{Musical notation}} {{Musical terminology}} {{Rhythm and meter}} {{Authority control}} [[Category:Musical terminology]] [[Category:Rhythm and meter]] [[Category:Temporal rates]]'