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Tempo in Music

Understanding tempo in music is fast or slow song when sung in a music composition. A composer, usually determines the desired <a href="http://mmusic-zone.blogspot.com/2012/11/song-speeds-tempo.html">tempo song</a> that was written on the left over the composition of his songs. The term due is usually in the form of words in Italian language or languages other currencies. The term can also be placed tempo in the middle of the song, ie when the composer really want change tempo in the middle of his song was to write the word "change tempo" in the notation or staves that changed tempo. 
 
Measuring Tempo 
 
Tempo will typically be written at the beginning of a piece of music, and in modern Western music is usually indicated in beats per minute (bpm). This means that the number of beats (pulse) per minute played. The greater the tempo, the larger the number of beats that must be played in one minute. Such mathematical sign of maturity is becoming increasingly popular in the first half of the 19th century, after the metronome had been invented by Johann Nepomuk Mälzel, although early metronomes somewhat inconsistent. Beethoven was the first composer to use the metronome, and in 1817 he gave a metronomic indications for "eight Symphonies" her. 
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At the metronome are also bell sets that we can match beats sound bars, 2/4, 3/4, 4/4, 6/8, and so on. Bell will sound on every first beat in every segment bars. Thus the buzzer coincided with the first beat of the track bars. The technical writing position metronome mark is placed near term due form letter acronym, a word of Metronome MM Malzel. The name is taken from the name of the copyright owner is the inventor, Johann Nepomuk Malzel (1770-1838). 
 
 
Example metronome mark: MM. = 130 This means that there are 130 beats in the minute. So the greater the number, the faster the tempo MM song. With the advent of modern electronics, bpm be a very appropriate size. Music sequencer using the system to indicate the tempo bpm. 
 
Signs Tempo Basic 
 
All signs are based on a few root words. 
- By adding Issimo words mean very. 
- By adding the-ino words mean more. 
- By adding a Etto means little. 
 
Metronome marks are a guide only and depending on the sign, these figures may not be appropriate in any condition to play music. 
 
Larghissimo - very, very slow (20 bpm and below) 
Grave - slow and solemn (20-40 bpm) 
Lento - slow (40-60 bpm) 
Largo - width (40-60 bpm) 
Larghetto - rather wide (60-66 bpm) 
Adagio - slow and stately (casual) (66-76 bpm) 
Adagietto - rather slow (70-80 bpm) 
Andante - Moderato bit slower than Andante 
Andante - walking pace (76-108 bpm) 
Andantino - slightly faster than Andante 
Moderato - moderate (108-120 bpm) 
Allegretto - pretty fast (but less so than allegro) 
Allegro Moderato - quite fast (112-124 bpm) 
Allegro fast - quick and decisive (120-140 bpm) 
Vivace - agile and fast (≈ 140 bpm) (quicker than allegro) 
Vivacissimo - very fast and lively 
Allegrissimo - very fast 
Presto - very fast (168-200 bpm) 
Prestissimo - very fast (more than 200 bpm) 
 
Codicil: 
 
<ul>
<li>A Piacere - players can use discretion relating to tempo and rhythm; literally "at will"</li>
<li>L'istesso tempo - at the same speed</li>
<li>Tempo comodo - on speed (normal) comfortable</li>
<li>Tempo di ... - the speed of ... (Such as Tempo di Valse (waltz pace), Tempo di marcia (speed mars)</li>
<li>Tempo Giusto - at a consistent speed, the speed of the 'right', in strict tempo</li>
<li>Tempo semplice - simple, regular pace, clearly</li>
</ul>
 
 
General qualifications: 
 
<ul>
<li>alla - manner or style of, as in</li>
<li>alla breve - tempo 2/2. In Dutch: gehalverde congregation</li>
<li>alla marcia - in a march (eg, Beethoven, op 101.)</li>
<li>all ongarese - 'in Hungarian style</li>
<li>alla (danza) tedesca - the German dance and dance styles are similar in tempo rather quickly (see Beethoven, op 79, op 130 ..)</li>
<li>Alla turca - in the Turkish style, which, in imitation of Turkish military music (music Janizary), which became popular in Europe in the late 18th century (eg, Mozart, K. 331, K. 384)</li>
<li>alla zingarese - in the style of Gypsy music</li>
<li>assai - very much, as in allegro assai, quite fast</li>
<li>ben - well, as in ben MARCATO (well marked or accented)</li>
<li>con bravura - with skills</li>
<li>con brio - with zeal and enthusiasm</li>
<li>con fuoco - with fire</li>
<li>con moto - with movement</li>
<li>deciso - clear, unequivocal</li>
<li>fugato - in fugal style, usually part of the non-fugal composition; such passages often occur in the development of symphonies, sonatas, and quartets</li>
<li>in modo - in manner, in style: in modo Napolitano (in the Neapolitan style), in modo in marcia funebre (in a funeral march)</li>
<li>meno - less, such as Mosso meno (less fast)</li>
<li>appena - almost nothing, like appena forte (loud hardly at all)</li>
<li>misterioso - mysterious</li>
<li>molto - much, very, as molto allegro (very quick) or molto adagio (very slow)</li>
<li>non troppo - is not too much, such as allegro non troppo (or allegro ma non troppo) means "fast, but not too much"</li>
<li>non tanto - is not so much</li>
<li>piu - more, such as di piu allegro (faster), used as a relative indication of when it changes tempo</li>
<li>piuttosto - more, like piuttosto allegro (rather quickly)</li>
<li>poco - a little, a little, like poco adagio</li>
<li>poco a poco - piecemeal</li>
<li>Polacca - name Polish dance, polonaise usually, as in tempo in Polacca, (the "Polacca" in Bach's Brandenburg Concerto No. 1 shows little resemblance to the polonaise)</li>
<li>primo - principal or earlier, such as primo tempo, tempo the same as at the beginning (back to the tempo early, because of a change in tempo)</li>
<li>quasi - almost, almost, as if (like piu allegro quasi presto, "faster, as if presto")</li>
<li>senza - without, like interruzione senza (without interruption or delay), or misura senza senza tempo (without measuring tight)</li>
<li>sostenuto - sustainable, long</li>
<li>Subito - abrupt</li>
</ul>
 
In addition to Allegretto, composers freely apply small and superlative Italian suffix to various tempo indications: andantino, larghetto, adagietto, and larghissimo. 
 
Connotation Tempo Based Mood 
 
Some signs are especially marked mood (or character) also has the connotation due: 
<ul>
<li>Affettuoso - with feelings / emotions</li>
<li>Agitato - agitated, with implied velocity</li>
<li>Appassionato - to play the passionate</li>
<li>Animato - spirit, life</li>
<li>Brillante - sparkling, glittering, as in Allegro Brillante, Rondo Brillante, or Variations Brillantes; became fashionable - in titles for virtuoso section</li>
<li>Bravura - wide</li>
<li>Cantabile - in singing style (lyrical and flowing)</li>
<li>Dolce - Sweet</li>
<li>Energico - energetic, strong, powerful</li>
<li>Eroico - heroic</li>
<li>Espressivo - expressive</li>
<li>Furioso - to play the angry or upset</li>
<li>Giocoso - carefree, funny</li>
<li>Gioioso - joy</li>
<li>Grandioso - majestic, graceful</li>
<li>Grazioso - gracefully</li>
<li>Lacrimoso - crying, sad</li>
<li>Lamentoso - wailing, sad</li>
<li>Leggero - to play lightly, or with light touch</li>
<li>Maestoso - majestic or stately (which generally indicates a serious, slow march-like movement)</li>
<li>Malinconico - melancholy</li>
<li>Marcato - marching tempo, marked with emphasis</li>
<li>Marziale - in march style, usually in simple, strongly marked rhythm and regular phrases</li>
<li>Mesto - sad, melancholy</li>
<li>Morendo - dying</li>
<li>Nobilmente - respectable (in a noble way)</li>
<li>Patetico - with great emotion</li>
<li>Pesante - very</li>
<li>Sautillé / Saltando - restlessness, rapid, and short</li>
<li>Playful - scherzando</li>
<li>Sustainable - sostenuto, sometimes with reduced tempo</li>
<li>Spiccato - sautillé slow, with a bouncy manner</li>
<li>Tenerezza - softness</li>
<li>Tranquillamente - adverb from Tranquillo, "calm"</li>
<li>Trionfante - triumphantly</li>
<li>Vivace - lively and fast, over 140 bpm (which generally indicates a fast movement)</li>
</ul>
 
Change in Tempo 
 
<ul>
<li>Accelerando - tempo up (abbreviation: accel.)</li>
<li>Allargando - tempo down, usually near the end of the song</li>
<li>Calando - will slow (and usually also softer)</li>
<li>Doppio Movimento - double speed</li>
<li>Meno Mosso - less movement or more slowly</li>
<li>Mosso - movement, more life, or faster, such as piu Mosso, but not extreme</li>
<li>Piu Mosso - movement more or faster</li>
<li>Precipitando - rushing, run faster / forward</li>
<li>Rallentando - gradual slowing down (abbreviation: rall.)</li>
<li>Ritardando - less gradual slowing down (more sudden drop in tempo than Rallentando) (abbreviation: rit or more specifically, ritard ..)</li>
<li>Ritenuto - slightly slower, while holding. (Ritenuto stands can also be written: rit.) More specific so stands riten Also sometimes ritenuto not reflect changes in tempo, but not change the character)</li>
<li>Rubato t- empo-free adjustments for expressive purposes</li>
<li>Stretto - in a faster tempo, often close to the conclusion of a section. (The term is not necessarily related to the tempo.)</li>
<li>Stringendo - pressing faster (literally "tightening")</li>
</ul>
 
Note: 
 
<ol>
<li>Within the base (such as allegro) appears in large writing on the staves, these adjustments typically appear below the stave or (in the case of keyboard instruments) in the middle of a large staves.)</li>
<li>Changes in the general tempo appoint a gradual change in tempo, because the tempo shifts immediately, composers usually only provide the name for the new tempo. (However, when Piu Mosso that Meno Mosso or appearing in large letters above the stave, it serves as a new tempo, and thus implies a change soon.) Some terms, for example, assai, molto, poco, subito, control how large and how changes should be gradual (see general qualifications).</li>
<li>After a change of tempo, tempo composer may return to previously in two different ways:</li>
<li>A return to the tempo tempo early after adjustment (eg "ritardando ... a tempo" (cancel effect ritardando).</li>
<li>Primo Tempo tempo or I - indicates an immediate return to the previous tempo after the part in a different tempo (eg "Allegro Moderato Lento .......... ... Tempo I", indicating a return to Allegro). This indication often functions as a structural marker in pieces in binary form.</li>
<li>This requirement also indicates, instantly not gradually, change tempo. Although the Italian language, composers typically use the term above, even though they have written their initial tempo marking in some other language.</li>
</ol>
 
Tempo marks in other languages 
 
Although the Italian language has been commonly used in terms of tempo mark in the history of classical music, many composers wrote tempo indications in their own language. Definition tempo marks mentioned in this section can be found in the Harvard Dictionary of Music and / or the online foreign language dictionaries. 
 
Signs Tempo French 
 
Several composers have written tempo marks in French, among them baroque composers François Couperin and Jean-Philippe Rameau as well as Claude Debussy, Olivier Messiaen, Maurice Ravel and Alexander Scriabin. 
<ul>
<li>Au Mouvement  - played a tempo (first or primary).</li>
<li>Grave - slowly and earnestly</li>
<li>Lent - slowly</li>
<li>Modéré - in medium tempo</li>
<li>Moins - less, as Moins vite (not fast enough)</li>
<li>Rapide - fast</li>
<li>Très - so, as in the Très vif (very much alive)</li>
<li>Vif - life</li>
<li>Vite - fast</li>
</ul>
 
Erik Satie is known to write extense tempo (and character) mark by defining them in a poetical and literal, as in his Gnossiennes. 
 
Signs Tempo German 
 
<ul>
<li>Langsam - slowly</li>
<li>Lebhaft - life (mood)</li>
<li>Mäßig - enough</li>
<li>Rasch - fast</li>
<li>Schnell - fast</li>
<li>Bewegt - animated, with motion</li>
</ul>
 
One of the first German composers to use tempo marks in his mother tongue is Ludwig van Beethoven. One is using a combination of the most complicated tempo and mood signs may Gustav Mahler. For example, the second movement of his Symphony No. 9 marked Im Tempo eines Ländlers gemächlichen, etwas täppisch und sehr derb, showing folk-dance movement as slowish, with some awkwardness and vulgarity many executions. Mahler would also sometimes combine German tempo marks the traditional Italian mark, as in the first movement of the sixth symphony, marked Allegro energico, ma non Troppo. Heftig, aber markig (energetically fast, but not too much violence. Yet powerful).

Understanding tempo in music is fast or slow song when sung in a music composition. A composer, usually determines the desired tempo song that was written on the left over the composition of his songs. The term due is usually in the form of words in …

The Steps Compose Arrangements SATB Choir

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The first step is to determine in advance based on the chord bass set. Make the movement as opposed to the voice melody Soprano (principal melody). For example, the movement of the barline first soprano melody rises, it is recommended that you make a move bars bass on first down. Carefully avoid Kwint parallel and parallel octaves as described earlier. Once completed to determine the bass, try to sing in order to know who sings the melodic so people will feel 'bad', not merely compose tunes to complete the specified chord. This is called horizontal consideration. Step two is to determine the middle voice, the alto or tenor. Try interval / distance between the soprano and alto tone is recommended for no more than one octave, as well as between the alto and tenor voice. Sedangakan interval for tenor and bass may be more than one octave as shown in the previous example. Keep vertically, the notes can be as complete as possible in accordance with type chord. Dual tone priority to the basic tone, the second priority for tertsnya interval. For example, the C major chord, the first priority of doubling the pitch c, and second priority to tone e as described above in the description of the material. It is intended that the chord quality is maintained and no interpretation mnimbulkan another chord. Tone sequence from top to bottom is the soprano, alto, tenor, and bass. If found alto voice lower than the tenor voice, or a voice lower than the tenor bass sura, it is referred to as overlapping. This is as far as possible be avoided. It is intended in addition to aesthetic considerations of writing but more importantly that each type of sound is not clear or fuzzy. All the melodies for each type of voice is the voice suggested that 'real', that sounds alto, tenor, and bass must be sung with the 'bad' and as if a new song is sung together. Therefore repeatedly sing the melody of sounds that you can make to impress melodic always appear, not only vertical considerations alone. If a sentence song needs emphasis or assertion can be arranged in unisono.

The first step is to determine in advance based on the chord bass set. Make the movement as opposed to the voice melody Soprano (principal melody). For example, the movement of the barline first soprano melody rises, it is recommended that you make …

The Types of Cadences

Cadence is a way of ending a composition work with a variety of possibilities as the final chord of a song phrase. Cadence is determined by the melody of the song to be arranged, because basically the arrangement also makes accompaniment. Variety chord as the end of a phrase determines the type Cadence as follows: 
<ul>
<li>Perfect Cadence is cadens perfectly with the chord sequence level IV-V-I. In lagulagu pop chord progressions to get to meet a lot of this type.</li>
</ul>
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<ul>
<li>Half Cadence, is a type of chord progressions cadens having V-I levels. In the example below the song at the end bars are the 3rd and early 4th bars.</li>
</ul>
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<ul>
<li>Plagal Cadence, this kadens type of level IV chord progressions - I.</li>
</ul>
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Cadence is a way of ending a composition work with a variety of possibilities as the final chord of a song phrase. Cadence is determined by the melody of the song to be arranged, because basically the arrangement also makes accompaniment. Variety cho…

Techniques for Arranging Choir

In writing, <a href="http://mmusic-zone.blogspot.com/2012/12/satb-choir-arrangements.html">SATB</a> arrangement not allowed to happen overlap between soprano voice, alto, tenor, and bass. In addition, the choir arrangement, parallel octaves Kwint and should not be allowed because the two types of sound can move on their own to be bound freedom: Example: 
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Right Arrangement: 
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Here is a parallel wrong: 
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Note the tone of the second and third in the soprano, and the tone of the second and third on the bass, look parallel. Arrangement should be arranged as follows: 
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Parallel is not allowed anymore is parallel to the octave soprano voice and bass. This means that the doubling melodic sound, then these should be avoided. example: 
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Arrangement should be as follows: 
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In writing, SATB arrangement not allowed to happen overlap between soprano voice, alto, tenor, and bass. In addition, the choir arrangement, parallel octaves Kwint and should not be allowed because the two types of sound can move on their own to be b…

SATB Choir Arrangements

Before making arrangements, let us consider the basic provisions SATB the choir arrangements. Writing in block notation: Soprano and tenor written stalk upward direction and Alto and bass written stalk downward direction. Sets the tone: The essence of creation is to determine the arrangement based on the chord tone is established. 
 
To determine a good tone Watch for are: 
 
1. The first priority, the basic tone. 
 2. The second priority on Kwint tone. 
 3. Not recommended in tone terts (distance to three), 
4. Distance tone on each type of voice. 
5. Keep your distance / interval Soprano to Alto, Tenor and Alto with no more than 1 octave. Consider the example of the song the first bars following: 
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C Major </div>
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The interval between the soprano and alto tones e1 and c1 is not more than 1 octave, even less than 1 octave, the interval between the alto and tenor tone g and e1 is also less than 1 octave. 6. Distance tenor to bass may be more than one octave, for example: 
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C Major</div>
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Before making arrangements, let us consider the basic provisions SATB the choir arrangements. Writing in block notation: Soprano and tenor written stalk upward direction and Alto and bass written stalk downward direction. Sets the tone: The essence o…

Type of Voice

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SATB (Soprano, Alto, Tenor, and Bass) are arrangements sung by the voices of men and women or often referred to as mixed the choir. This arrangement is considered the most perfect tone for the region to reach more broadly. Four types of noise are soprano, alto, tenor, and bass can be combined in various combinations, as follows: 
 
Soprano and alto (SA), this arrangement is usually sung by the choir (choir) women or children. Low noise are not always seen as a bass voice choir therefore, should be accompanied by an instrument to strengthen the low tones. 
 
TTBB (Tenor, Tenor, Bass, and Bass) is a the choir sung by a male voice, but the more we come across are male the choir to 3 votes, namely (Tenor, Tenor, Bass) TTB. 
 
Make arrangements for mixed the choir (SATB) is basically create a new song. Soprano voice is usually already there and a melodic essence, although sometimes there is also the principal melody laid on another type of sound, it is the exception.

SATB (Soprano, Alto, Tenor, and Bass) are arrangements sung by the voices of men and women or often referred to as mixed the choir. This arrangement is considered the most perfect tone for the region to reach more broadly. Four types of noise are so…

Choir Arrangements

Choir is an integral part of a number of performers from several different types of sounds and combine them under the leadership of a conductor. <a href="http://mmusic-zone.blogspot.com/2012/10/zubin-mehta.html">Conductor</a> or conductor is a job leading a group of musicians both vocal music, instruments or a combination of vocals and instruments. To be able to do the job required several requirements such as having a spirit of leadership, knowledge and abilities and skills in the field of music. One of the capabilities required of a teacher is to make the music <a href="http://mmusic-zone.blogspot.com/2012/11/the-harmony-of-science.html">SATB</a> choir arrangements. To be able to make arrangements choir, the must-have knowledge is to determine the areas of the human voice according to its kind. This is important because the arrangements was expected later be sung according to the area of each sound type sound. Each type of voice has the tone and character of the area between different kinds of sounds that one with one another. Each area of the tone of each type of sound had a chest voice registers, middle, and head.

Choir is an integral part of a number of performers from several different types of sounds and combine them under the leadership of a conductor. Conductor or conductor is a job leading a group of musicians both vocal music, instruments or a combinati…