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Allegro – fast and bright (120–156 bpm) Molto Allegro or Allegro vivace – at least slightly faster and livelier than allegro, but always at its range (and no faster than vivace) (124–156 bpm) Vivace – lively and fast (156–176 bpm) Vivacissimo and Allegrissimo – very fast, lively and bright (172–176 bpm)
Very fast Prestissimo: very prompt, very quick: Very very fast (above 200 BPM) Rallentando: slowing down: Decelerating Ritardando: retarding: Decelerating Tardo: slow, tardy: Slow tempo Tempo: time: The speed of music; e.g. 120 BPM (beats per minute) (Tempo) rubato: robbed: Free flowing and exempt from steady rhythm Tenuto: sustained: Holding ...
A little lively, moderately fast allegretto vivace A moderately quick tempo allegrezza Cheerfulness, joyfulness allegrissimo Very fast, though slower than presto allegro Cheerful or brisk; but commonly interpreted as lively, fast all'ottava "at the octave", see ottava alt (Eng.), alt dom, or altered dominant
From the last episode in F major, the movement transitions to Vivace through a series of no fewer than sixty-one repetitions of the note E. The Vivace (. = 104) is in sonata form, and is dominated by lively dance-like dotted rhythms, sudden dynamic changes, and abrupt modulations. The first theme of the Vivace is shown below.
Or, if used as the last movement, is in a fast tempo such as prestissimo, presto, or vivace. Like in Beethoven's "Pathetique" sonata Op.13 Third Movement.
The music becomes a lively rondo marked allegro vivace, the cello solo returning with a forceful entry into the rondo theme. The main theme is based on the D major scale and a quick fall down. The rest of the movement continues at allegro vivace tempo. The solo cello ends with a very fast scale that lands on a C sharp trill that resolves to the ...
8) are fast; while those with crotchet/quarter note beats (e.g. 2 4, 3 4, 4 4) are performed at a moderate or middling tempo. This convention started in Italy in the 1600s , [2] and continued in Germany in the 1700s, as theorized by Friedrich Wilhelm Marpurg (1755) and Johann Kirnberger (1776; see sequel): [3]
In the opening movement, the initial theme of the Allegro vivace is based on the corresponding first theme of Ludwig van Beethoven's overture to The Creatures of Prometheus. [2] The second movement is a theme with five variations in E ♭ major, Schubert's only set of symphonic variations. Although there is some variation in the melody, the ...