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Metronome Tempo Markings
File Under: "Lies My Music Teacher Told Me."
Or, more charitably, "Things My Music Teacher Forgot to Mention
(Or Assumed I Knew)."
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
Sometimes we accept things at face value without examining them carefully. Indeed, we are
bombarded every day with information from the media, much of which is simply not true.
When I wear my hat as an educator, I do my best to see to it that my students are accurately
informed and that they analyze "facts" carefully.
A common misconception many musicians have involves our friend the metronome. You know
those words that are printed around the dial on most metronomes? (On old pendulum-style
metronomes the words are printed up and down the scale.) Yes, I am referring to the tempo
markings (from slowest to fastest): Largo, Larghetto, Adagio, Andante, Moderato, Allegro,
Presto, Prestissimo. Okay, get ready to be shocked. Brace yourself.
THOSE WORDS HAVE LITTLE TO DO WITH THE NUMBERS WITH WHICH THEY ARE
PLACED ON THE DIAL. Adagio is NOT necessarily 66-76. Allegro is NOT necessarily 120-168.
There is no real musical correlation between the words and the numbers. Zero. Zilch. Nada.
The unscrupulous Johann Maelzel (see below) did assign numerical values to the common
tempo terms. But no professional musician sanctions them—then or now. Some musicologists
and metronome manufacturers believe the numbers are correct about 75% of the time.
But one big problem (among many others which I won't go into here) is that the meanings of
the words differ in music from different historical periods and even from composer to composer
within a given period. The words ARE placed correctly in terms of relative relationship. In other
words, Adagio is slower than Andante. Presto is faster than Allegro. But that is as far as it
goes. The numbers that are underneath, beside, above, or bracketed with a particular tempo
word should not be associated with that word in any way.
Certainly, as a matter of curiosity, if you are learning a piece marked Allegro, you can check
the numeric range the metronome specifies for Allegro. But let the music, your instrument, the
performance environment, and your instincts tell you what the tempo should be. Don't be a
mind-numbed robot to a numeric table of tempo markings.
You are on DouglasNiedt.com
If you want to do further study on educated guesses as to the "correct" speed of various tempo
markings and dances, I highly recommend German musicologist Curt Sach's Rhythm and
Tempo which is one of my all time favorite books. But be very careful—if you are thumbing
through the book, you will come across a table of tempi of baroque dances for example. You
might think, "Wow, I always wanted to know what the proper metronome speed is for a German
Allemande from the 1730's and here it is!" Well, if you read on a few pages, Sachs proceeds to
explain why the table you were drooling over in your hallelujah moment is in error, and that the
table that follows three pages later is the one to use, but with reservations.
At dinner tonight with your family or close friend, be sure to share this little revelation about
metronome numbers and tempo markings. I'm certain those in your presence will admire your
perspicacity and will be grateful for your willingness to enlighten all around you with your
knowledge. Well, maybe not.
More fun metronome facts:
The piece requires a conductor and ten "performers," and most of their efforts take place
without the audience present. Each of the hundred metronomes is set up on the performance
platform, and they are all then wound to their maximum extent and set to different speeds.
Once they are all fully wound they are all started as simultaneously as possible. The
performers then leave. The audience is then admitted, and takes its place while the
metronomes are all ticking. As the metronomes wind down one after another and stop,
periodicity becomes noticeable in the sound, and individual metronomes can be more clearly
made out. The piece typically ends with just one metronome ticking alone for a few beats.
You are on DouglasNiedt.com
File Under: "Lies My Music Teacher Told Me."
Or, more charitably, "Things My Music Teacher Forgot to Mention
(Or Assumed I Knew)."
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
Sometimes we accept things at face value without examining them carefully. Indeed, we are
bombarded every day with information from the media, much of which is simply not true.
When I wear my hat as an educator, I do my best to see to it that my students are accurately
informed and that they analyze "facts" carefully.
A common misconception many musicians have involves our friend the metronome. You know
those words that are printed around the dial on most metronomes? (On old pendulum-style
metronomes the words are printed up and down the scale.) Yes, I am referring to the tempo
markings (from slowest to fastest): Largo, Larghetto, Adagio, Andante, Moderato, Allegro,
Presto, Prestissimo. Okay, get ready to be shocked. Brace yourself.
THOSE WORDS HAVE LITTLE TO DO WITH THE NUMBERS WITH WHICH THEY ARE
PLACED ON THE DIAL. Adagio is NOT necessarily 66-76. Allegro is NOT necessarily 120-168.
There is no real musical correlation between the words and the numbers. Zero. Zilch. Nada.
The unscrupulous Johann Maelzel (see below) did assign numerical values to the common
tempo terms. But no professional musician sanctions them—then or now. Some musicologists
and metronome manufacturers believe the numbers are correct about 75% of the time.
But one big problem (among many others which I won't go into here) is that the meanings of
the words differ in music from different historical periods and even from composer to composer
within a given period. The words ARE placed correctly in terms of relative relationship. In other
words, Adagio is slower than Andante. Presto is faster than Allegro. But that is as far as it
goes. The numbers that are underneath, beside, above, or bracketed with a particular tempo
word should not be associated with that word in any way.
Certainly, as a matter of curiosity, if you are learning a piece marked Allegro, you can check
the numeric range the metronome specifies for Allegro. But let the music, your instrument, the
performance environment, and your instincts tell you what the tempo should be. Don't be a
mind-numbed robot to a numeric table of tempo markings.
You are on DouglasNiedt.com
If you want to do further study on educated guesses as to the "correct" speed of various tempo
markings and dances, I highly recommend German musicologist Curt Sach's Rhythm and
Tempo which is one of my all time favorite books. But be very careful—if you are thumbing
through the book, you will come across a table of tempi of baroque dances for example. You
might think, "Wow, I always wanted to know what the proper metronome speed is for a German
Allemande from the 1730's and here it is!" Well, if you read on a few pages, Sachs proceeds to
explain why the table you were drooling over in your hallelujah moment is in error, and that the
table that follows three pages later is the one to use, but with reservations.
At dinner tonight with your family or close friend, be sure to share this little revelation about
metronome numbers and tempo markings. I'm certain those in your presence will admire your
perspicacity and will be grateful for your willingness to enlighten all around you with your
knowledge. Well, maybe not.
More fun metronome facts:
- Credit for invention of the metronome in all fairness should go to Diederich Nikolaus
Winkel. However, credit usually is given to the unscrupulous Johann Nepomuk Maelzel
who stole many of Winkel's ideas and proceeded to perfect and patent the device as his
own. He was a very shady character frequently pursued by the law. Even his former
friend Beethoven filed legal action against him in the Vienna courts. - M.M. or MM means Maelzel's Metronome, not metronome mark.
- The numbers on the metronome scale are beats per minute (B.P.M. or BPM). It is
increasingly common to see the indication BPM=66, rather than MM=66. Unfortunately, a
few writers use BPM to indicate beats per measure. - Composers are generally terrible at assigning correct metronome speeds to their own
pieces. - Beethoven's own metronome markings for his pieces are arguably incorrect. Notice I say
"arguably." Nasty fights have been known to break out over this assertion at
musicologist gatherings. An aside: musicologists can really get worked up over this stuff.
Some people believe it has something to do with their pent-up feelings of hostility
caused by their inability to actually PLAY a musical instrument. Just kidding… - Gyorgy Ligeti wrote a piece titled Poeme symphonique (1962) for 100 metronomes. It's
worse than you can possibly imagine. Here is a good description of the piece from
Wikipedia:
The piece requires a conductor and ten "performers," and most of their efforts take place
without the audience present. Each of the hundred metronomes is set up on the performance
platform, and they are all then wound to their maximum extent and set to different speeds.
Once they are all fully wound they are all started as simultaneously as possible. The
performers then leave. The audience is then admitted, and takes its place while the
metronomes are all ticking. As the metronomes wind down one after another and stop,
periodicity becomes noticeable in the sound, and individual metronomes can be more clearly
made out. The piece typically ends with just one metronome ticking alone for a few beats.
You are on DouglasNiedt.com
BE SURE TO VISIT DOUG'S "SECRET VAULT"
It contains many of Doug's Previous
Guitar Technique Tips of the Month
It contains many of Doug's Previous
Guitar Technique Tips of the Month
Have a comment?
Question?
Suggestion for the website?
We would love to hear from you.
Question?
Suggestion for the website?
We would love to hear from you.
We have a Printer Friendlier (PDF) version of this article that's also easier on the eyes.
It's SO much easier to read a printed article than to read it from the computer screen.
It's SO much easier to read a printed article than to read it from the computer screen.
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Purchase a ONE-YEAR SUBSCRIPTION to:
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Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Be a better guitar player or teacher. SUBSCRIBE NOW!
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on
the Internet. No one else's technique articles and videos even come close. Most of the written
tips run over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough
and the production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on
the Internet. No one else's technique articles and videos even come close. Most of the written
tips run over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough
and the production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.