3. The swing and, in vocal music, the general spirit of the text.
4. Tradition.
5. Individual judgment of tempo as depending upon and resulting from the "quality" of the music.
Of these, the fifth, _viz._, individual judgment is most important, and is the court of final resort in the case of the mature musician; but the amateur who has had but little experience and who is therefore without any well developed musical taste must depend largely upon his metronome, upon his knowledge of Italian tempo terms, and upon tradition. A brief discussion of these matters will accordingly be in order at this time.
[Sidenote: THE METRONOME AS A TEMPO INDICATOR]
The metronome[13] is a sort of clock with inverted pendulum, the ticks or clicks or which can be regulated as to rate of speed by means of a sliding weight. When this weight is set at the point marked 64, for example, the metronome gives sixty-four clicks per minute; when set at 84, or 112, corresponding numbers of clicks per minute result; so that in this way the composer is able to indicate precisely the rate of speed of his composition by indicating the number of beats per minute. The indication [quarter-note symbol] = 84 means that the sliding weight is to be set at the point marked 84, the metronome then clicking eighty-four times per minute, each of these clicks indicating a quarter-note. But if the marking is [half-note symbol] = 64, this means that sixty-four half-notes are to be performed in a minute,--a tempo equal to one hundred and twenty-eight quarter-notes in the same composition. In compound measures such as 6-8, 9-8, _et cetera_, the tempo indication shows the number of eighth-notes per minute if the composition is in slow tempo; but in moderate and rapid tempos the direction is usually given by taking the dotted-quarter-note as the beat unit, thus: [dotted quarter-note symbol] = 84. It is of course obvious that in this case the composer is thinking of each measure as having only two or three beats instead of six or nine.
[Footnote 13: The metronome is supposed to have been invented, or at least perfected, by a Bavarian named Maelzel, about 1815, and for many years the Maelzel metronome was the only one in existence. Hence the letters M.M., still found in many scores, in connection with tempo indications.]
[Sidenote: THE ITALIAN TEMPO TERMS]
Many instrumental compositions (particularly the older ones) are not provided by the composer with definite tempo directions; and in this case the Italian tempo terms usually give at least a clue to what the composer has in mind. These terms do not of course give us the precise tempo, but by indicating the _mood_ of a composition they at least help one to determine the rate of speed (_adagio_--at ease; _allegro_--cheerful; _largo_--large, broad; _andante_--going; _et cetera_). A comprehensive knowledge of these terms from the twofold standpoint of definition and derivation is indispensable to the conductor. The most common of them are therefore defined at this point. They are given in groups in order that the student may note how much the various terms overlap in meaning.
THE VERY SLOWEST TEMPO _larghissimo_ (superlative of _largo_) _adagissimo_ (superlative of _adagio_) _lentissimo_ (superlative of _lento_)
A VERY SLOW TEMPO _largo_ (from Latin _largus_, meaning broad, large) _adagio_ (at ease) _lento_ (slow)
A SLOW TEMPO _larghetto_ (diminutive of _largo_) _adagietto_ (diminutive of _adagio_)
A MODERATELY SLOW TEMPO _andante_ (going or walking) _andantino_ (diminutive of _andante_ and therefore meaning literally "going less," but because of a misconception of meaning now often understood as meaning slightly faster than _andante_)
A MODERATE TEMPO _moderato_
A MODERATELY RAPID TEMPO _allegro_ (cheerful) _allegretto_ (diminutive of _allegro_; a little slower than _allegro_)
A VERY RAPID TEMPO _con moto_ (with motion) _vivo_ (lively) _vivace_ (vivacious) _presto_ (quick) _presto a.s.sai_ (very quick)
THE MOST RAPID TEMPO POSSIBLE _prestissimo_ (superlative of _presto_) _vivacissimo_ (superlative of _vivace_) _allegrissimo_ (superlative of _allegro_) _prestissimo possibile_ (hypersuperlative of _presto_)
The expressions given above are frequently used in combination with one another, and with certain auxiliary terms, but to attempt to define these combinations in this book would be altogether impracticable. The conductor should however understand the significance of the following qualifying expressions:
_non tanto_ (not too much) _non troppo_ (not too much) _ma non tanto_ (but not too much) _ma non troppo_ (but not too much)
These expressions are used by the composer as a warning to the performer not to overdo any indicated effect. Thus, _largo, ma non troppo_ means that the composition is to be taken slowly, but not too slowly. _Presto (ma) non troppo_, on the other hand, indicates a rapid tempo, but not too rapid. For a fuller discussion of these matters, see the author"s text book on terminology.[14]
[Footnote 14: Gehrkens, _Music Notation and Terminology_. The A.S.
Barnes Co., New York.]
The third means of finding tempo has already been discussed, (see p.
45) and the fifth needs no further explanation; but a word should perhaps be said to the amateur about the matter of tradition. The young conductor must not fail to take into consideration the fact that there has grown up, in connection with many of the cla.s.sics, a well defined idea of the tempos most appropriate to their rendition, and that any p.r.o.nounced departure from this traditional tempo is apt to result in unfavorable criticism. Tradition is of course apt to make us hide-bound in all sorts of ways, and yet in many respects it is a very good thing, and before our conductor attempts to direct standard works it will be well for him to hear them rendered by some of the better organizations, so that he may ascertain what the traditional tempo is.
In this way he may at least avoid the accusation of ignorance which might otherwise be made. This latter point will remind the reader of the advice already so frequently given--_viz._, "study music and listen to music a long time before you attempt very much conducting."
[Sidenote: VARIATION IN TEMPO]
Our treatment of tempo thus far has taken cognizance of only the generalized tempo of the movement, and we have not discussed at all the much more difficult matter of _variation_ in tempo. The more evident changes of this sort are indicated by the composer through such expressions as _ritardando_, _accelerando_, _et cetera_; and it may be well to give at this point a list of the commoner of these terms together with their meanings. Obviously, such indications are of two general types dealing respectively with increasing and decreasing speed, and we shall accordingly give the definitions in two cla.s.ses:
TERMS INDICATING A MORE RAPID TEMPO
1. A gradual acceleration _accelerando_ _affrettando_ _stringendo_ _poco a poco animato_
2. A definitely faster tempo at once _piu allegro_ _piu presto_ _piu animato_ _piu mosso_ _piu tosto_ _piu stretto_ _un poco animato_
TERMS INDICATING A SLOWER TEMPO
1. A gradual r.e.t.a.r.d _ritardando_ _rallentando_ _slentando_
2. A definitely slower tempo at once _piu lento_ _meno mosso_ _ritenuto_
3. A slower tempo combined with an increase in power _largando_ } _allargando_ } (literally, "becoming broad")
4. A slower tempo combined with a decrease in power _morendo_ } _perdendo_ } _perdendosi_ } (Usually translated, "gradually dying away") _calando_ } _smorzando_ }
(After any of the terms in the above list, a return to the normal tempo is indicated by such expressions as _a tempo_, _tempo primo_, _et cetera_.)
[Sidenote: TEMPO _NUANCES_]
But in addition to the variations in tempo more or less definitely indicated by the composer there are (particularly in modern music) innumerable tempo fluctuations of a much subtler nature; and since these are now recognized as a part of really artistic choral and orchestral interpretation, (as they have long formed an indispensable element in expressive piano performance) a brief discussion of their nature will be included before closing this chapter.
In some cases a variable tempo is asked for by the composer by means of one of the following expressions:
_tempo rubato_ (literally, "robbed time") _ad libitum_ (at pleasure) _a piacere_ (at pleasure) _a capriccio_ (at the caprice) _agitato_ (agitated)
(The term _tempo giusto_--in exact tempo--is the opposite of the above expressions, and is used to indicate that the music is to be performed in steady tempo.)
In the majority of cases, however, the composer gives no indication whatsoever, and the whole responsibility therefore rests upon the performer or conductor. It is because of this latter fact that the amateur must study these matters indefatigably. The advent of a more elastic rhythm and tempo has undoubtedly made all musical performance infinitely more pleasurable to the listener than it formerly was; but unfortunately (especially since the advent of Chopin"s music) there has been a great deal of misunderstanding as to the use and meaning of this valuable new expressional element.
_Tempo rubato_ may be compared to speaking certain words more slowly or more rapidly in order that the essential meaning of the entire sentence may be more strongly impressed upon the listener. It must not however break up the continuity of the tempo; as one writer has said "we must bend the tempo, but not break it." Another well-known author, in treating the same point, states that[15]
Freedom in tempo does not mean unsteadiness.... We must have in music the sense of equilibrium, of stability. A careless, spasmodic hurrying and r.e.t.a.r.ding leads only to flabbiness and inconsequence.
[Footnote 15: d.i.c.kinson, _The Education of a Music Lover_, p. 21.]
The most common kind of _rubato_ is probably that in which the first part of the phrase (up to the climax) is accelerated, the climacteric tone lingered upon slightly, then the remainder of the phrase rendered _a tempo_ or possibly slightly _ritardando_. But there are many phrases that demand a totally different sort of treatment; _e.g._, a _ritardando_ in the first part instead of an _accelerando_. Which is the appropriate way of delivering any particular phrase must be determined in every case by musical feeling.
The thing that the beginner is apt to forget at the period when his musical feeling though sincere is yet characterized by lack of refinement, is that these _nuances_ must always be subtle, and that the listener ought not to have fluctuations in tempo thrust in his face at every turn. Indeed we may say that he should hardly know that they are present, unless he is making a definite attempt to a.n.a.lyze the performance. The familiar story of Chopin"s breathing toward a candle flame and making it flicker slightly, with the remark, "That is my rubato," then blowing it violently out and saying "This is yours,"
is quite to the point in this connection.
It is of course understood that _rubato_ is to be employed almost exclusively in moderate or slow tempos, having little or no place in rapid, strongly rhythmic music. It should also be remarked that the more severe the form of the music,--the more architectonic it is--the less variation in tempo should there be in its rendition, for in this type of music the expression is primarily intellectual. Such instrumental works (of which certain compositions of Bach and Mozart are typical) must not be played sentimentally, as a modern English writer has remarked, and yet they must be played with sentiment. The remarks of this same author may well be quoted in closing this discussion:[16]
Rubato is necessary in emotional music and is an excellent means of picturing longing, persuading, dreaming, _et cetera_. That is why its use is so characteristic in performing the works of the romantic school and why it must be used with such caution in the cla.s.sics. The cla.s.sic must be clear as daylight--the structure must be evident even on the surface; but the romantic composition needs often to be played in a veiled manner in order to produce atmosphere. In such a case the rhythm is veiled as it were, draped in gauze, but the rhythmic design is there under the veil just the same. To express calmness, decision, _et cetera_, avoid rubato.
[Footnote 16: Matthay, _Musical Interpretation_, p. 88.]
It must now be evident to the reader that this whole matter of musical _nuance_ is too subtle to be treated adequately in a book of this character, and it becomes necessary for us once more to advise the amateur to study music, both vocal and instrumental, in order that his latent musical feeling may be developed into a ripe and adequate musical taste.