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Adagietto – slower than andante or slightly faster than adagio (46–80 bpm) Lento – slow (52–108 bpm) Andante – at a walking pace, moderately slow (56–108 bpm) Andantino – slightly faster than andante, but slower than moderato (80–108 bpm) (although, in some cases, it can be taken to mean slightly slower than andante)
At a walking pace; flowing; moderately slow tempo Andantino: a little bit walking: Less of a walking pace than andante (so slightly quicker) 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 ...
Tempo rubato (Italian for 'stolen time'; UK: / ˈ t ɛ m p oʊ r ʊ ˈ b ɑː t oʊ /, US: / r uː-/, [1] [2] Italian: [ˈtɛmpo ruˈbaːto];) is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor.
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.)
Allegro Brillant, Op. 92, MWV T 4 is a composition written for Piano four hands by Felix Mendelssohn consisting of a theme in A major, written in 1841 and dedicated to Clara Schumann. [1] The expressive Andante theme alternates between the Secondo and Primo, segueing into the virtuosic Allegro assai vivace movement with a rush of scales.
The pieces are frequently performed. Like Brahms's other late keyboard works, Op. 118 is more introspective than his earlier piano pieces, which tend to be more virtuosic in character. The six pieces are: Intermezzo in A minor. Allegro non assai, ma molto appassionato; Intermezzo in A major. Andante teneramente; Ballade in G minor. Allegro energico
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 ...
Title Opus Name Key Tempo Im Ge Year No Re Three Preludes for Piano: 1 No. 7 F-sharp minor: Largo ma non troppo – 1910 [n 1][1] [2][3]No. 8 C-sharp minor: Andante
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