Unlock document.
This document is partially blurred.
Unlock all pages and 1 million more documents.
Get Access
20
2. directions to change dynamics
a. crescendo: growing louder
b. decrescendo or diminuendo: growing softer
c. sforzando (sf): accent
III. Tempo and Dynamics as Ele ments of Expression
A. Tempo and dynamic markings
1. shape expressive content
2. indications increased during late 18thand 19th
centuries
3. early 20th century music precisely notated
4. role of performer: interpret composer’s intentions
OVERVIEW
Composers specify tempo (the pacing of music) and dynam-
ics (the volume of music) to add expression and character to
their music. This chapter explains how tempo and dynamics
are indicated in musical scores, and how these ele ments con-
tribute to the expressive quality of musical compositions.
LEARNING OBJECTIVES
1. To understand tempo as the rate of speed, or pace, of
music, and how tempo is indicated in musical scores
2. To understand dynamics as the volume of music, or how
loudly or softly music is played, and how dynamics are
indicated in musical scores
OUTLINE
I. The Pace of Music
A. Tempo: rate of speed of the music
1. emotional implications; indicates character of
music
2. domination of Italian music 1600 to 1750; mark-
ings indicated in Italian
a. grave: solemn (very, very slow)
b. largo: broad (very slow)
c. adagio: quite slow
d. andante: walking pace
e. moderato: moderate
f. allegro: fast (cheerful)
g. vivace: lively
h. presto: very fast
3. modifiers
a. molto: very
b. meno: less
c. poco: a little
d. non troppo: not too much
4. change of tempo
a. accelerando: getting faster
b. ritardando: holding back, getting slower
c. a tempo: in time, returning to original pace
II. Loudness and Softness
A. Dynamics: denote volume
1. based on Italian words for soft (piano) and loud
(forte)
a. pianissimo (pp): very soft
CHAPTERfi7 Musical Expression: Tempo and Dynamics
Musical Expression: Tempo and Dynamics | 21
TEACHING CHALLENGES
emphasizing that musicians often rely on relative perceptions
of tempo and dynamics when rehearsing and performing.
Many metronomes have a generally accepted scale of tem-
YOUR TURN TO EXPLORE
Using the Italian terms introduced in Chapter7, mark the
tempo and dynamics as they change from section to section
in the track below. Use the timings provided in the table to
2, Display on the board an outline of the movements (tempo
indications) of Beethoven’s Symphony No.5. Play the
beginning of each movement, and ask the class to clap
with the pulse of each movement. Does the clapping
mm. 5–6). Ask the class to describe the dynamic shifts
using the Italian terms. Map out on the board a trajec-
tory of the dynamics sequence. Compare the class’s sug-
gestions with the dynamic markings in the score.
gio, allegro, etc.):
J. S. Bach: Brandenburg Concerto No.1, I
Mendelssohn: Symphony No.4 (Italian), IV
Mozart: Piano Concerto, K. 467, I
Schubert: Elfking
