How To Perform Tempo Changes Using Metric Modulation

Techniques on Luciano Berio's Sequenza IXa For Clarinet Solo

Ricardo Dourado Freire

...“ when one of his pieces was performed, Beethoven’s first question was always :
‘How were the tempi?’ Everything else seemed secondary to him.”
Anton Schindler (Biographie von Ludwig van Beethoven-1860)

Introduction

Metrical modulation is a musical term that arose during the 20th century, being first used
by Elliot Carter in the 1950's. Carter used metric modulation as a compositional device in
his string quartets in which each theme is played at a particular tempo, and the composer
notated precise directions on how to change from one tempo to the next using equivalent
rhythmic figures between the first and the second tempos. Carter explained the
importance of the compositional technique on his book Essay Music and Time. "The fact
that each theme being associate with a different tempo builds into the work the possibility
and necessity of metric modulation — a procedure in which the tempo of 'beat' speeds in
an ordered manner between measures." 1

The question of measuring tempo and playing music according to a certain pulse is
referred by theorists since the 15th century. "As early as 1592; Zaconi, in his Pratica
Musica, refers to the pulse in connection with tempo."2 During the XVII century,
musicians already had charts to guide them to find the appropriate tempo for a particular
dance. During the 18th century some musicians, like J. Quantz, used the heart-beat as a
measure for tempo markings. But it is not until the development of the metronome by
Maezel , in 1817, that written music displays a reliable form of tempo measurement. The
metronome establishes a correspondence between real-time (seconds) and musical-time
(beats).

After the invention of the metronome, composers had the option to indicate their tempo
preferences or to continue to use general descriptive indications. The M.M indication
(Maezel Metronome) was embraced by composers like Beethoven and Berlioz, but it was
dismissed by composers like Brahms and Bruckner.

The question of choosing the “right tempo” is controversial. There are musicians who
believe the performer should advocate the composers ideas, following the written
instructions as close as possible. On the other way, there are performers who believe the
composer marks are suggestions and the performer should complement the score with his
own ideas. Composers also share the same dilemma, but they discuss if the performer
should have liberty to choose tempos. This is a long discussion in which each position has
their own arguments. Ultimately, the performer will, sooner or later, face this question of
following directions in a score. Epstein argues that "Music does structure time and
incorporate it as a fundamental element; though this structure music controls time in
absolute measure and absolute proportion."3

Metrical Modulation

The term metrical modulation is used to show equivalent figures in different tempos or
metronome markings. Some composers show this relationships clearly like Elliot Carter,
but most of the composers leave the problem of making a good tempo change up to the
performer. Epstein affirms, talking about proportional tempo in a long work, that" it is by
tempo that the underlying structural shape is heard such that its pacing recalls, indeed
identifies, similar elements elsewhere in the work." 4
The performer must be aware of proportional tempo relationships in order to plan an
effective performance. Metric modulation techniques can be useful in the process of
changing tempos in a composition. The written indication of equivalent values at
different tempos (metric modulation) helps the performer to be consistent while changing
tempos.

Artur Weisenberg5 explains how to do a metrical modulation using, what he calls,

common sense procedures. According to simple mathematical proportions it is possible to

find tempo equivalence between rhythmic figures. For example, if the  = 60, the meter is

simple binary (2/4) and the performer needs to change tempo to  = 90, which rhythmic

figure will allow the metric modulation? The answer requires a simple equation in which
it is possible to take a triplet and multiply 60 by the number of subdivisions, in this case,
60 X 3 = 180, 180 is the tempo value for one eight note triplet, if we combine two eight
note triplets the value will be twice as slow, in this case 90, and two triplets will be the

equivalent rhythmic figure to allow the metric modulation between  = 60 and  = 90.

The common sense rule is based on a trial and error procedure. The performer should
guess which value is appropriate for a metrical modulation and them try to find the
equivalent rhythmic figure. This approach has severe limitations once it does not allow
the perform to find intricate metric equivalencies, and most musicians do not apply the
common sense rule to figures smaller than a sixteenth note. The common sense rule is
valid but, sometimes, the equivalent rhythmic figures are very difficult to find.

I have been always puzzled by the metrical modulation aspects of tempo changes and my
research investigated a method of finding the exact equivalent figures between different
tempos. Based on the “common sense rule”, the first step was to find relationship
between every metronome mark and relate it to  = 60, but It was a tedious and long trial

and error process that wasn’t very scientific. The problem was how to find a way to
generalize musical figures into mathematical values. It was necessary to find an Integer
value for each rhythmic figure that would make possible to find the relationship between
different figures in different tempos.

The first step was to design a figure-value table based on the traditional note-value table.
This traditional table, which names the note-value in American English, is the only
instance were a note-value is already associated to an integer value (figure 1).

Semibrevis Whole Note 1

Minim Half Note 2
Seminim Quarter Note 4
Crochet Eight Note 8
Semicrochet Sixteen Note 16
Fuse Third-Second Note 32
Semifuse Sixty-Fourth Note 64

The research needed integer values for most figure-values from one half note up to twenty 64th notes. The
procedure to find these values was a simple proportional equation were the beat (4) is multiplied by the
number of the divisions and then divided by the number of note figures. For example, one note triplet: 4 x 3
(number of divisions) = 12 / 2 (number of note figures) = 6 and the figure value integer is 6. ( Appendix 1).

Next step was to create an ascending order of integer values (Appendix 2) and associate
each rhythmic figure to a letter, establishing a letter code that would help to find each
metrical modulation figure. Appendix 3 presents the metrical modulation values between

 = 60 and  = 184. The metronome values are related to the integer values and the letter

code show which rhythmic figure should be associated with a specific metric modulation.
Berio’s Sequenza

The Sequenza IXa by Luciano Berio is a very complex contemporary piece, very
demanding for the performance in many aspects. The piece is 13 minutes long and
presents many fast passages which require a skillful player. It also presents extended
techniques like multiphonics and microtonality. But one of the aspects most puzzling is

the constant change of tempos, between .  = 60,  = 72,  = 50,  = 96 and  = 106. It is

possible for a performer to disagree with Berio's tempo markings, but he should be
consistent in keeping the proportion between chosen tempos, and, most important, the
performer should always play the recurrent tempos at the same speed.

The tempos change in the following order:

   = 60,    = 72,    = 60,    = 50,    = 60,    = 96,

   = 72,    = 60,    = 106,    = 60,    = 72,    = 106,

   = 96,    = 72,    = 96.

Based on the charts on Appendix 2 and 3 it is possible to find the equivalent figures
needed for each metrical modulation. For each transition there is a equivalent figure as
follows:

6
 = 60 to  = 72 }  (5)
5 5
 = 72 to  = 60 }   (6)
5 5
 = 60 to  = 50   (6)
 6
 = 50 to  = 60  (5)

 = 60 to  = 96   ( 5 )
5 5
 = 96 to  = 60   (8)
7
  = 60 to  = 106  (4)

  = 106 to  = 60 (60.6)   (7)

3
   = 72 to  = 106 (108)  (2)
9 9
 = 106 to  = 96 or   ( 10 ) or

 (9)
 = 108 to  = 96
3 3
   = 96 to  = 72   (4)

   = 72 to  = 96  (3)


The performer should prepare each metric modulation at least two beats in advance. At
the first beat, he will divide the beat according to the equivalent figure and prepare for the
proportional figure at the tempo change. The performer should practice only the metric
modulations first, without the instrument, only with rhythmic solmization. After he is
comfortable with the changes he should do the solmization with the written rhythms.
After that, s/he should be able to play the metric modulations and keep proportional
tempos on his/her instrument.

Conclusion

The tables on Appendix 1, 2 and 3 should be valuable information for composers and
performers who are researching metrical modulation techniques. They provide
metronome values and the correspondent tempo for each rhythm figure, allowing the
musician to choose which equivalent figures to use when trying metric modulation.
Metric modulation can be useful as a tool to develop precision during performance. It's
not infallible and it requires a lot of practice, but once the performer control his tempo
and keep the desirable proportion between different tempos the performance will present
more structure and clearer musical contour.

References:

1
Carter, Elliot. The Time Dimension in Music (1965). Collected Essays and Lectures,
1937- 1995. Ed. by Jonathan W. Bernard. Rochester : University of Rochester
Press. 1997. p. 226
2
Harding, Rosamond . Origins of Music and Tempo. London : Oxford University Press,
1938. p. 1.
3
Epstein, David. Beyond Orpheus. Boston : MIT, 1979. p. 56
4
Epstein, David. Shaping Time. Music, The Brain and Performance. New York:
Scrimmer Books, 1995. p. 176
5
Weisberg, Artur. Performing twentieth-century music : a handbook for conductors and
instrumentalists. New Haven : Yale University Press, 1993.

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