RHYTHM and TEMPO

• Ok ladies and gentlemen…better morning! I hope things will gonna work

better this morning. You know, this Division Training of Trainers on the
Rudiments of Music is good for two days only, despite the fact that this is a
training of trainers. Why is this so? The answer is very simple. It is
because we presume that all of you here are fast learners. So, whether
you like it or not, after this training, you will receive a certificate with a
citation as full pledge trainer on the rudiments of music. So, dapat
panindigan n’yo ang pagiging trainer ninyo, ok? So, without further ado,
let’s jump-in to the topic assigned to me entitled, Rhythm and Tempo. After
this session, you are expected to read simple notations on Rhythmic
pattern in accordance to its given tempo. First, let’s talk about beat and
rhythm. These two musical terms are often used interchangeably. Some
use the term ‘beat’ while they mean rhythm and vice versa. Please bear in
mind that these two terms are very different. So, what is beat and what is
rhythm? Beat in a piece of song or music, is usually felt than heard. It is
the steady pulse that you feel while listening to a song or music. It
underlies the whole song or music. It is the reason why you move your
head up and down or tap your foot or hand on a surface while listening to a
song or music. Beat moves at a uniform speed just like your heartbeat, it
goes on a regular interval. When you are running, your heartbeat goes
faster but still, the interval is uniform. And when you are at rest, your
heartbeat goes slower but still in a regular interval also.

On the other hand, rhythm is the actual flow of a piece of song or music
with a combination of sounds and silence in different lengths or durations.

To illustrate this, let’s take a look at this poem here and try to recite it as
well. The first stanza of this poem tells us what beat is while the second
stanza tells us what rhythm is.

TEMPO

Not all songs or music are at the same speed. Some have a slower speed,
some also have a faster speed and some also have a moderate speed.
These slow, fast and moderate speeds are what we called TEMPO.

In musical terminology, tempo (Italian for "time"; plural tempos, or tempi from the Italian plural) is the

speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at
the start of a piece (often using conventional Italian terms) and is usually measured
in 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, tempo will typically simply be stated in bpm.
Tempo may be separated from articulation and meter, or these aspects may be indicated along with
tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for
a musical performer, 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 drastic variances. In
ensembles, the tempo is often indicated by a conductor or by one of the instrumentalists, for
instance the drummer.

Basic tempo markings[edit]

Here follows a list of common tempo markings. The beats per minute (bpm) values are very rough
approximations for 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.[8] As another example,
a modern largo is slower than an adagio, but in the Baroque period it was faster.[9]
From slowest to fastest:

● Larghissimo – very, very slowly (24 bpm and under)

● Adagissimo – very slowly
● Grave – very slow (25–45 bpm)
● Largo – broadly (40–60 bpm)
● Lento – slowly (45–60 bpm)
● Larghetto – rather broadly (60–66 bpm)
● Adagio – slowly with great expression[10] (66–76 bpm)
● Adagietto – slower than andante (72–76 bpm) or slightly faster than adagio (70–80 bpm)
● Andante – at a walking pace (76–108 bpm)
● Andantino – slightly faster than andante (although, in some cases, it can be taken to mean
slightly slower than andante) (80–108 bpm)
● Marcia moderato – moderately, in the manner of a march[11][12] (83–85 bpm)
● Andante moderato – between andante and moderato (thus the name) (92–112 bpm)
● Moderato – at a moderate speed (108–120 bpm)
● Allegretto – by the mid-19th century, moderately fast (112–120 bpm); see paragraph above for
earlier usage
● Allegro moderato – close to, but not quite allegro (116–120 bpm)
● Allegro – fast, quick, and bright (120–156 bpm) (molto allegro is slightly faster than allegro, but
always in its range; 124-156 bpm)
● Vivace – lively and fast (156–176 bpm)
● Vivacissimo – very fast and lively (172–176 bpm)
● Allegrissimo or Allegro vivace – very fast (172–176 bpm)
● Presto – very, very fast (168–200 bpm)
● Prestissimo – even faster than presto (200 bpm and over)
Additional terms[edit]

● A piacere – the performer may use their own discretion with regard to tempo and rhythm; literally
"at pleasure"[13]
● Assai – (very) much
● A tempo – resume previous tempo
● Con moto – Italian for "with movement"; can be combined with a tempo indication, e.g., Andante
con moto
● 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 4
4 could change to whole notes in 
2

2, and they would all have the same duration)

[14][15]

● 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
much″, Allegro ma non troppo to mean ″Fast, but not too much″
● 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,  . ≈ 60 bpm or 
≈ 126 bpm), Tempo di marcia (speed of a march,   ≈ 120 bpm))
● Tempo giusto – at a consistent speed, at the 'right' speed, in strict tempo
● Tempo primo – resume the original (first) tempo
● Tempo semplice – simple, regular speed, plainly
French tempo markings[edit]
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 are:

● Au mouvement – play the (first or main) tempo.

● Grave – slowly and solemnly
● Lent – slowly
● Moins – less, as in Moins vite (less fast)
● Modéré – at a moderate tempo
● Vif – lively
● Très – very, as in Très vif (very lively)
● Vite – fast
● Rapide – rapidly
Erik Satie was known to write extensive tempo (and character) markings by defining them in a
poetical and literal way, as in his Gnossiennes.[16]
German tempo markings[edit]
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[17]
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 of his 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 sixth symphony, marked Allegro energico, ma non troppo. Heftig, aber
markig (Energetically quick, but not too much. Violent, but vigorous [18]).
English tempo markings[edit]
English indications, for example quickly, have also been used, by Benjamin Britten and Percy
Grainger, among many others. In jazz and popular music lead sheets 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 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 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[edit]

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 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[edit]

Composers may use expressive marks to adjust the tempo:

● Accelerando – speeding up (abbreviation: accel.) Opposite of Ritardando,it is an Italian term

pronounced as [aht-che-le-rahn-daw] and is defined by gradually increasing the tempo until the
next tempo mark is noted. It is either marked by a dashed line or simply its abbreviation.
● Affrettando – speeding up with a suggestion of anxiety[19]
● 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.[20] (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
● Slargando – gradually slowing down, literally "slowing down", "widening" or "stretching"
● Stretto – in a faster tempo, often used near the conclusion of a section. (Note that
in 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. [21] 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)[22]
● Tempo Primo – resume the original tempo[23]
While the base tempo indication (such as Allegro) typically appears in large type above the 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).
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 Io – denotes an immediate return to the piece's original base tempo after
a section in a different tempo (e.g. Allegro ... Lento ... Moderato ... Tempo Io 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[edit]

20th-century classical music introduced a wide range of approaches to tempo, particularly thanks to
the influence of modernism and later 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 scores show
tempo and rhythm in a variety of ways. 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[edit]
Extreme tempo[edit]
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" was often performed at quarter note equal to or sometimes exceeding 368 bpm. Some
of Charlie Parker's famous tunes ("Bebop", "Shaw Nuff") have been performed at 380 bpm plus.[citation
needed]
Beatmatching[edit]
Main article: Beatmatching
In popular music genres such as disco, house music and electronic dance music, beatmatching is a
technique that DJs 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 crossfade 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 bpm track, for
example, matches the beat of a 120 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 bpm) mixes well with a drum and bass beat (from 150–185 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 pitch-shifting. The opposite operation, changing the tempo without changing the
pitch, is called time-stretching.

See also[edit]
● A capriccio
● Alla breve
● As Slow as Possible
● Bell pattern
● Half-time (music)
● Multitemporal music
● Stop-time

Citations[edit]
1. ^ Some of these markings are today contentious, such as those on his "Hammerklavier"
Sonata and Ninth Symphony, seeming to many to be almost impossibly fast, as is also the case for
many of the works of Schumann. See "metronome" entry in Apel (1969), p. 523.
2. ^ Hans, Zimmer. "Music 101: What Is Tempo? How Is Tempo Used in Music?". Masterclass.
Masterclass. Retrieved 22 January 2020.
3. ^ Velankar, Makarland (2014). "A Pilot Study of Automatic Tempo Measurement in Rhythmic Music".
4. ^ "E. Rules for Competitions (Couples). Rule E.3 (Music)" (PDF), WDSF Competition Rules (WDSF
Rules & Regulations), World DanceSport Federation, 2018-01-01, p. 19, retrieved 2018-01-20, 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.
5. ^ Randel, D., ed., The New Harvard Dictionary of Music, Harvard University Press, 1986, Tempo
6. ^ Haar, James (14 July 2014). The Science and Art of Renaissance Music. Princeton University
Press. p. 408. ISBN 978-1-40-086471-3.
7. ^ Heyman, Barbara B. (1994-05-12). Samuel Barber: the composer and his music. Oxford University
Press. p. 158. ISBN 0-19-509058-6.
8. ^ 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). Beethoven's Piano Sonatas: A Short Companion. New Haven: Yale University Press.

Several core elements comprise the fundamentals of musical rhythm.

1. Time signature: A musical time signature indicates the number of beats per measure. It
also indicates how long these beats last. In a time signature with a 4 on the bottom (such
as 2/4, 3/4, 4/4, 5/4, etc.), a beat corresponds with a quarter note. So in a 4/4 time (also
known as "common time"), each beat is the length of a quarter note, and every four beats
form a full measure. In 5/4 time, every five beats form a full measure. In a time signature
with an 8 on the bottom (such as 3/8, 6/8, or 9/8), a beat corresponds with an eighth note.
2. Meter: Standard Western music theory divides time signatures into three types of
musical meter: duple meter (where beats appear in groups of two), triple meter (where
beats appear in groups of three), and quadruple meter (where beats appear in groups of
four). Meter is not tied to note values; for instance, a triple meter could involve three half
notes, three quarter notes, three eighth notes, three sixteenth notes, or three notes of any
 duration. Musicians and composers regularly mix duple and triple meter in their work;
Igor Stravinsky's "The Rite of Spring" is a textbook example of such a technique.
3. Tempo: Tempo is the speed at which a piece of music is played. There are three primary
ways that tempo is communicated to players: beats per minute, Italian terminology, and
modern language. Beats per minute (or BPM) indicates the number of beats in one
minute. Certain Italian words like largo, andante, allegro, and presto convey tempo
change by describing the speed of the music. Finally, some composers indicate tempo
with casual English words such as “fast,” “slow,” “lazy,” “relaxed,” and “moderate.”
4. Strong beats and weak beats: Rhythm combines strong beats and weak beats. Strong
beats include the first beat of each measure (the downbeat), as well as other heavily
accented beats. Both popular music and classical music combine strong beats and weak
beats to create memorable rhythmic patterns.
5. Syncopation: Syncopated rhythms are those that do not align with the downbeats of
individual measures. A syncopated beat will put its emphasis on traditional weak beats,
such as the second eighth note in a measure of 4/4. Complex rhythms tend to include
syncopation. While these rhythms may be more difficult for a beginning musician to pick
up, they tend to sound more striking than non-syncopated rhythmic patterns.
6. Accents: Accents refer to special emphases on certain beats. To understand accents, think
of a piece of poetry. A poetic meter, such as iambic pentameter, may dictate a specific
mixture of stressed syllables and unstressed syllables. Musical accents are no different.
Different rhythms may share a time signature and tempo, but they stand out from one
another by accenting different notes and beats.
7. Polyrhythms: To achieve a particularly ambitious sense of rhythm, an ensemble may
employ polyrhythm, which layers one type of rhythm on top of another. For instance, a
salsa percussion ensemble may feature congas and bongos playing 4/4 time, while the
timbales concurrently play a pattern in 3/8. This creates a dense rhythmic stew and, when
properly executed, it can yield incredibly danceable rhythm patterns. Polyrhythms
originated in African drumming, and they’ve spread to all sorts of genres worldwide,
from Afro-Caribbean to Indian to progressive rock, jazz, and contemporary classical.

The beat is the steady pulse that you feel in the tune, like a clock's tick. It's
the beat you'd naturally clap along to, or tap your foot to. The rhythm is the actual
sound or time value of the notes, which in a song would also be the same as the words.
A beat is a pulse of time. A ticking clock is a good example. Every minute, the second
hand ticks 60 times, and each one of those ticks is a beat. If you speed up or slow down
the second hand, you’re changing the tempo of the beat.
The tempo and the beat create a sort of skeleton on which you build a rhythm, a pattern
of pulses that can be regular or irregular but that always bear some mathematical
relation to the beat. The rhythm is expressed in music as notes, which tell you what
pitch to play and how long and how often to play them.
When figuring out how to follow the beat, rhythm sticks (fat cylindrical hard wood
instruments) come in real handy. So do drum sticks. If you’ve got a pair, grab ’em — if
not, clapping or smacking your hand against bongos or your desktop works just as well.

It is absolutely fundamental that you eventually “hear” a beat in your head while you
play music, whether you’re reading a piece of sheet music or jamming with other
musicians. The only way you’re going to be able to do this is practice, practice, practice.
Following along with the beat in music is something you’re going to have to pick up if
you want progress in music.