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In the Baroque period, pieces would typically be given an indication, which might be a tempo marking (e.g. Allegro), or the name of a dance (e.g. Allemande or Sarabande), the latter being an indication both of tempo and of metre. Any musician of the time was expected to know how to interpret these markings based on custom and experience.
In strict tempo at a marching pace (e.g. 120 BPM) Allargando: broadening: Slowing down and broadening; becoming more stately and majestic, possibly louder Allegro: joyful; lively and fast: Joyful; moderately fast tempo Allegretto: a little bit joyful: Slightly less joyful than allegro (so slightly slower tempo) Andante: walking
Allegro (music), a tempo marking that indicates to playing quickly and brightly (from Italian meaning cheerful) Allegro (ballet), brisk and lively movement;
Metronome Marking. Formerly "Mälzel Metronome." [10] mobile Mobile, changeable moderato Moderate; often combined with other terms, usually relating to tempo; for example, allegro moderato modéré (Fr.) Moderate modesto Modest modulation The act or process of changing from one key (tonic, or tonal center) to another.
This notation is used to precisely define the tempo of the music by assigning an absolute duration to each beat. This example indicates a tempo of 120 quarter notes (crotchets) per minute. Many publishers precede the marking with letters "M.M.", referring to Maelzel's Metronome. This is a tempo marking, not a time signature—it is independent ...
It is in A minor and the tempo marking is "Allegro furioso." II. Caprice à la Boléro is written in a time signature of 3/4. It begins in E minor with a tempo marking of "Presto." After the opening statement, it transitions to E major with a tempo marking of "più tranquillo e dolce." The E minor theme and tempo return, and the piece concludes ...
The first movement of Chopin's first concerto is marked Allegro maestoso. The first movement of Liszt's First Piano Concerto is also marked Allegro maestoso. Yet another example of this tempo marking is the opening of the musical Wicked by Steven Schwartz.
The tempo, allegro molto (very quickly), is of note since it marks the historical shift away from the old minuet (which was played at a slower, danceable, tempo) toward the scherzo; by his last quartets Haydn had started marking his minuets presto. The fourth movement is a characteristically rhythmic, energetic and propulsive Haydn finale.