13-10-10 11:13 Music theory Time

1 4 http://www2.siba.fi/muste1/index.php?id=102&la=en
Music theory Time
The metronome marking can be converted into duration by dividing the number 60
with the metronome marking; this gives us the duration of the note value in seconds.
In the example, the tempo is 90 MM, which gives us the duration of 1.5 seconds for
each bar (the duration of the beat unit is 60/90=2/3 seconds). The bars are equal in
duration as they all include two note values, and when these are divided in two, the
duration of note values is divided in two as well.
Grave very slow and solemn 40-50
Largo very slow and stately 40-50
Lento extremely slow 50-60
Adagio slow and leisurely 60-72
Maestoso majestic, stately 72-84
Andante at an easy walking pace 80-100
Moderato moderate 100-120
Allegro fairly quick speed 120-160
Vivace lively, brisk 144-160
Presto very fast 160-200
Prestissimo extremely fast 168-208
Digital metronomes and sequencers allow for almost an unlimited choice of tempos
(for example, between 10 and 500). The tempo marking can even include decimals.
Different types of traditional metronomes often share the numeric values (40-208).
These values, close to the extreme values of the human heart rate, seem to indicate
that the concept of tempo is closely linked to human physiology.
At first, the values grow by twos: 40, 42, 44 and so on. In higher numbers, they grow
by threes, fours, and finally, eights; the ratio between successive numbers remains
approximately the same. The growth from one tempo to the next is about 3.4-5%,
which leads us to assume that tempo changes smaller than 3.4% are not easily percep-
tible.
With the fivefold ratio between the slowest and the fastest metronome marking, a
piece of music can be recognized in several different tempos. For example, in fast
13-10-10 11:13 Music theory Time
2 4 http://www2.siba.fi/muste1/index.php?id=102&la=en
(seaman's) waltzes, the tempo for a crotchet is typically 180 beats per minute. This
gives the bar a tempo of 60 MM, and it can be perceived as a beat unit. Music with a
perfect time signature can be perceived in several ways: for example, cha-cha is per-
ceptible in tempos 240, 120, or 60, depending on the choice of beat unit (bar or one of
the note values). It is not always possible to define a "correct" way of perception in
music; a piece of music can be interpreted in different tempos. It is, however, worth
noting that the perception of tempo is linked to performance practices: cutting the
tempo by half (for example, from 4/4 to alla breve) makes the mood of the piece more
legato and serene.
Jazz traditionally applies the following tempo markings:
slow 48 -60 bpm
medium slow 60-90
medium 90-140
medium fast 140-180
fast 180-240
up-tempo 240 - 340
The list below contains dance rhythms and other tempos. While the chart shows a
typical ! tempo, the fastest of the rhythms are often written alla breve, which cuts the
implemented tempo by half. Some dance rhythm tempos show a lot of variation: for
example, the bossa nova tempo can vary between 100 and 180.
Merengue 248
Quickstep 240
Polka 240
Mambo 232
Salsa 210
Dixieland 200
Samba 200
French waltz 192
Schottische 180
Viennese waltz 180
Seaman's waltz 180
13-10-10 11:13 Music theory Time
3 4 http://www2.siba.fi/muste1/index.php?id=102&la=en
Tijuana 172
Reggae 172
Two-step foxtrot 170
Twist 170
Baion (baiao) 168
Rumba (guaguanco) 162
Mazurka 162
Finnish waltz 150
German tango 132
Conga 128
Cha-cha 120
Finnish tango 120
March 120
Argentinian tango 108
Beguine 108
Calypso 104
Slow waltz 90
Foxtrot 80
Bolero 80
Tempo and tuplet mathematics
The chart below shows a few typical tuplets and tempo markings. It helps us to de-
fine the tempo of the triplet parts in relation to the original tempo.
In the tempo marking 60 MM, the quadruple tempo is 80 and the triplet tempo is 90,
which leads us to the conclusion that the triplet is faster than the quadruple in a 9:8
ratio.
In a score, the tempo can change several times, and the conductor prepares for the
changes several bars ahead. When the tempo changes from MM 96 to MM 144, the
new tempo can be thought of as triplets of the original tempo.
tuplet 5:4 4:3 3:2 5:3
13-10-10 11:13 Music theory Time
4 4 http://www2.siba.fi/muste1/index.php?id=102&la=en
tempo = 1.25 (0.8) = 1,33 (0,75) = 1,5 (0,67) = 1,67 (0,6)
60 75 80 90 100
72 90 96 108 120
84 105 112 126 140
96 120 128 144 160
108 135 144 162 180
120 150 160 180 200
Tempos can be prepared for by thinking of a lengthened beat unit. If the ! beat unit
tempo is 120, the 1/16 beat unit tempo is 480. This gives us the following tempos:
! or 4/16 3/16 5/16 6/16
120 160 (= quadruple) 96 (480/5) 80 (480/6) and so on.
Some people recall tempos accurately. This capacity is denoted as an (even
"absolute") ear for tempo, and this especially benefits conductors and percussionists.
People with an ear for tempo also tend to keep the tempo even (if it is a characteristic
of the composition in question). Tempos are more likely to speed up than to slow
down if the ensemble does not include musicians with an ear for tempo. A good ear
for music is probably part of a musical memory and, like an absolute ear for music,
an ambiguous concept. When observing a metronome marking, professional musi-
cians often recall a familiar tune with the same tempo: the tempo for the Finnish tan-
go, for example, is tempo Allegro (MM=120-132).