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Comes after other terms; e.g. adagio ma non tanto ("not quite at ease") ma non troppo: but not too much: Comes after other terms; e.g. allegro ma non troppo ("not too joyful") Meno: less: Comes before other terms, such as meno mosso ("less moved/agitated") Subito: suddenly, quickly: Comes before or after other terms; e.g. subito fortissimo ...
allegro Cheerful or brisk; but commonly interpreted as lively, fast all'ottava "at the octave", see ottava alt (Eng.), alt dom, or altered dominant A jazz term which instructs chord-playing musicians such as a jazz pianist or jazz guitarist to perform a dominant (V7) chord with at least one (often both) altered (sharpened or flattened) 5th or 9th
In musical terminology, tempo (Italian for 'time'; plural 'tempos', or tempi from the Italian plural), measured in beats per minute, is the speed or pace of a given composition, and is often also an indication of the composition's character or atmosphere.
Variation 5. Allegro (ma non tanto) Variation 6. L'istesso tempo; Variation 7. Vivace; Variation 8. Adagio misterioso; Variation 9. Un poco piu mosso; Variation 10. Allegro scherzando; Variation 11. Allegro vivace; Variation 12. L'istesso tempo; Variation 13. Agitato; Intermezzo; Variation 14. Andante (come prima) (D ♭ major) Variation 15. L ...
The composer and music theorist Johann Kirnberger (1776) formalized and refined this idea by instructing the performer to consider the following details in combination when determining the best performance tempo of a piece: the tempo giusto of the meter, the tempo term (Allegro, Adagio, etc., if there is one, at the start of the piece), the ...
The sixth and final concerto in D major has just two movements: a Vivace, the music of which is extracted from the 1723 opera Ottone; and an Allegro, which is also Handel's first published piece for organ and orchestra, [3] and is taken from the overture to the 1712 opera Il pastor fido. [4]
The Allegro vivace is a sonata form opening with a fragmented cello theme over a tremolo piano part. [3] Its bipartite exposition somewhat unusually traverses F major, C major, and A minor; [4] Roger Graybill argued that the tonal plan may be read as ultimately returning to F major, given the intricate motivic structure of its voice leading.
Allegro vivace, 4 4; Andante di molto (più tosto Allegretto), 2 4 in F major; Allegro vivace, 6 8; The symphony features the fanfares and flourishes typical of the "festive symphony" or "trumpet symphony", which is characteristic of Austrian symphonic writing in C major.