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Many composers have used 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 [22] One of the first German composers to use tempo markings in his native language was ...
A tempo: to time: Return to previous tempo Fermata: held, stopped, orig. Latin firmo "make firm, fortify" Holding or sustaining a note Grave: grave, solemn: Slow and solemn tempo (slower than largo) Largo: broad: Slow and dignified tempo Largamente: broadly: Slow and dignified tempo Larghetto: broad-ish: Slightly less dignified than largo (so ...
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 ...
In time (i.e. the performer should return to the stable tempo, such as after an accelerando or ritardando); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) ab (Ger.) off, organ stops or mutes abafando (Port.) muffled, muted abandon or avec (Fr.)
Adagio (Italian for 'slowly', from ad agio 'at ease') may refer to: Music. Adagio, a tempo marking, indicating that music is to be played slowly, or a composition ...
This notation is used to precisely define the tempo of the music by assigning an absolute duration to each beat. This example indicates a tempo of 120 quarter notes (crotchets) per minute. Many publishers precede the marking with letters "M.M.", referring to Maelzel's Metronome. This is a tempo marking, not a time signature—it is independent ...
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
In the coda, a quiet chorale is introduced at bar 489, and, before the peroration (at bar 517), an ascending scale [6] – a quote of that before the third climax in part 5 of the Adagio of the Fifth Symphony. [7] In the 1888 version, the recapitulation begins with the second theme group, skipping over the first entirely. [6]