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21

The term you are looking for is A piacere (It.). This basically means that the piece should be played at the performers discretion with regard to tempo and rhythm. Literally, "at pleasure".


21

Tempo primo, or Tempo 1ᵒ means “at the same tempo as the piece started”.


21

Tempo 1 or Tempo I instructs a performer to return to the first tempo of a movement or piece of music, where there has been a different tempo marking since the first marking. The marking Tempo Primo is also used. It is the equivalent, on a larger scale, of an a tempo marking following a rit. or rall. marking.


16

I'd definitely recommend a metronome, especially when the rythms are trickier. I basically use it for these types of exercises: the ones with difficult rythms, and the ones where the point is to build up velocity. The latter ones, I use a metronome to keep in check, because the main mistake in virtuosity exercises is to want to go too fast too soon and then ...


16

YES! Of course. That's the best thing to do. Every time you can't play a song at its normal bpm / speed (tempo), decrease the speed to a point where you feel comfortable with, and practice it there. After some practice, you'll be able to increase the bpm/ speed and after a while, you'll be able to play it at its normal speed. This is good practice for ...


14

Let's start a list! Drum and Bass averages a BPM of 160-180 Oldschool jungle is around 160-170 Drum & Bass and Drumstep and Neurofunk 170-180 Dubstep is around 140 BPM House varies between 118 and 135 BPM UK garage/2-step is usually between 130-135 BPM UK funky is around 130 BPM Techno 120-160 BPM Generally around 120-135 Acid Techno 135-150 ...


12

The important thing is to feel the pulse of the tempo in your head as you play. Tap your foot if it helps you. When listening to music, tap your foot, clap or drum on your legs, to reinforce that instinct for rhythm. Do, however, bear in mind that when playing unaccompanied, it's not always vital to keep a rigid tempo. Some pieces benefit from expressive ...


11

Whilst even time-sigs are far more common that odd ones, once the 'feel' of a tune is running, most people will go with the flow. Even when there is a change of time in the middle of a line, most people don't spot it. Having sung/played 'The 12 Days of Christmas' (topical !) for many years, it took me by surprise when I looked at the music; the time changed ...


9

For the most part, the time signature indicates what kind of feel the beat of the piece has. Consider waltzes, usually written in 3/4 – the beat goes ONE two three, ONE two three, ONE two three. Although you could write it as ONE two three, FOUR five six, ONE two three, FOUR five six with a time signature of 6/4, there's no point because the beat still ...


9

Agitato is generally understood to be allegro agitato — allegro plus agitation — unless there is something to indicate otherwise. Allegro is generally around 3 times as fast as lento (~144 versus ~50 bpm), so you can get an idea of the tempo change from that. It's quite significant. (So in one sense, I disagree with Mark; the house on fire ...


9

How does the genre of music affect the feel of speed? And how does a genre hit upon an inherent range of tempos to use, as in this question? Before I answer your question, it should be clarified that there is a difference between genre and ensemble. Genre concerns identifiable stylistic traits, whereas ensemble concerns instrumentation. In other ...


8

Two things can help with this that I can think of: Setting a metronome to a large beat, like one beat a measure to see where you rush and and speed up. Subdivide, subdivide, and subdivide. :-) If you have a strong inner pulse that is beating a smaller beat like 8th notes this can really help. Slow tempos are hard to keep study, so keeping the subdivided ...


8

A sense of time varies from person to person. Some people have an acute sense of time and have less need for a metronome, while others may struggle with time. So the use of a metronome is relative to your personal sense of time. But even good time keepers will sometimes devote themselves to a steady regimen of metronome exercises in the spirit of improving ...


8

Try and fully understand what rhythm you are working towards - and if necessary tap it out on a drum or something else so you can feel the beat. If you can describe it as 4/4 6/8 or standard structure then it should be straightforward. If you can't time it physically, you will have problems getting it into a DAW. Assuming you can do it audibly and make the ...


8

If your piece is in 6/8, then the eighth-note is NOT the unit of the beat, it is the dotted-quarter note. Most time signatures with 8 on bottom are compound time signatures, not simple. Thus, in your example, if the eighth notes are happening 150 times a minute, then the dotted-quarter beat is 150 divided by 3, or dotted-quarter = 50. This is the same as the ...


8

Tempo indications are more suggestions than hard-and-fast rules. This is even true of metronome markings. There's room for interpretation, especially with slower tempos. To use the Pathetique example, listen to Rubinstein play it. Then listen to Richter. You'll find that Richter's tempos are noticeably faster. However, both performances work musically. ...


7

If a computer plays them, they are the same. However, it may influence how a human player interprets it, even if they don't know anything about what it meant historically, because all those extra beams will make the score look thicker, less spacious, and the notes seem to be more connected. A good player should be able to find a working interpretation ...


7

Metronomes, and measuring a tempo exactly in beats per minute, were not invented and put into practice until the mid-1800s. Handel lived before that time, and in his era there was no accepted way of precisely notating a tempo. Moreover, tempos in these pieces are really only guidelines. The composer himself would vary the tempo in different performances, ...


7

I believe that the person a step beyond a layman would be the most likely to interpret an odd meter as a mistake, however, there are many factors that weigh in here. First of all, we have to say that our layman is of the Western music persuasion, as odd meters are very common in other cultures (including some that fall very near the Western tradition). The ...


7

The 107 defines the tempo(speed) of the song. If you see a metronome, you'll see that you can determine the speed. The speed of the specific song is 107 bpm (beats per minute). Also, you can see that the duration of the note is a quarter. That means that if you set your metronome at 107 bpm, every tic would be a quarter. So, the correct name for this would ...


7

I'm guessing this is from guitar tab, with 6 lines. The 6/8 really means 2 beats per bar, made up with 3 triplet quavers (1/8 notes). This will give each bar only 2 beats, despite numbers like 6 and 8.The tempo mark found above tells how many b.p.m. (beats per minute) the tune should be played at, In this case, 107. A metronome can be set to this, and every ...


7

To find the length in seconds of each beat for any given metronome marking in beats-per-minute (bpm), you would divide 60 (the number of seconds in a minute) by the bpm marking. For instance, if a piece has a metronome marking of crotchet (quarter-note) = 120, each crotchet beat is 0.5 seconds long (60/120). You can follow this simple rule to find the ...


6

Time signatures are primarily for notational purposes. Beat, tempo, and meter all describe a certain thing about the music, but the time signature is just how that's codified when it's written down. As you know, Tempo is the frequency of the beat, and Beats are a kind of rhythmic emphasis that happens at regular intervals in most music. Meter is an ...


6

I think the BPM Database could help you, but you'll have to carry out the computation of the average yourself by retrieving all songs under a given genre.


6

The musical terms for what happens at 1:45 is half time followed by an accelerando back up to the original tempo. If, prior to 1:45, you start feeling every other beat, you will notice that the new tempo at 1:45 matches exactly. In other words, there is an instantaneous tempo change to half speed. What occurs next is a gradual change in tempo that occurs ...


6

You can use a metronome in different ways to study complex rhythmic figures. You can set the beat to correspond to a quarter note and work on subdividing the beats evenly. Or you can double the tempo so it corresponds to eighth notes and subdivide the sixteenths. Or you can double that so it corresponds to sixteenth notes, and work on counting beats for the ...


6

You might as well ask "How fast does a person walk?" You will get as many different answers as there are people. In the case above, unless there is an actual MM value set, these can be equal or one can be faster or slower than the other. Allegro simply means a "lively" tempo. Andante means a "walking" tempo. Moderato means a "moderate" tempo, or when ...


6

Those two problems you describe (mishitting strings and inconsistency in volume/tone) are only fixed by practice. Lots and lots of practice. They are things you can get away with in a live environment, but they do show up in a studio where every mistake is very evident. I had the same problem - I love gigging, but the first time I went into the studio I ...


6

The general consensus is that the larger the note value, the easier it is to read at faster tempos. This is why many composers use cut-time (2/2) for quick tempos. The more beams / notes there are, the more people get freaked out. If the piece feels like it is slowing by half, it is considered to be called "half-time" (used in jazz, much like ...


6

Beyond the consideration of the time signature and how many subdivisions there are of the main beat indicated by the time signature, please remember this: The Italian names for different tempos were invented and were used in the centuries before there was such a thing as a mechanical device that could create a precise number of beats per minute (the ...



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