The rate of execution of the musical work. Tempos in music: Slow, moderate and fast

The tempo in music, apparently, is the most indefinite and ambiguous category responsible for temporary parameters.

What is the pace?

The pace is the speed of the musical process; Motion speed (shift) metric units. The pace defines the absolute speed with which the musical work is performed. Pay attention to the word absolute. In fact, the pace is relative.
Unlike a meter and, where there are clear prescriptions, when and with what volume to take one or another note, at the pace, such a mathematical approach fails.
It would seem, with the invention of the metronome, any ambiguity must come to no. However, the picture does not change hundreds of years since the time of Beethoven. At first, the composers tried to scrupulously discharge the tempo in the metronome, but later abandoned this venture. What other questions are related to the pace? Wagner at one time, for example, stated that the correctness of the interpretation completely depends on the well chosen pace. Is this true statement? Based on its subjective experience, I can say that it is true by 90%. The remaining 10 is the correct understanding of the style of music and everything else.

We emphasize that this is only a point of view. However, it seems that I am not alone in it because some of the best world musicians (such as Lindsdorf, A.Zimakov, Wagner :) adhere to the same opinion.
I will try to answer the question: why many composers refused to designate the metronome in their works?

There are many reasons, but the main one in the progress of musicians.

Such a thing as non-professionalism is quite common among performers of any professions.

Take, for example, a modern (situation from my biography).

For example, he wrote the score and brought it into some sequencer. Put the pace and everything is ready. The product sounds, as well as in the head of the composer. But after that, the score fell into the orchestra and half of the musicians cannot play their parties. Here and have to sacrifice either the tempo or notes.

Many works of Beethoven were very complex for his contemporaries and, apparently, he decided to give some freedom to choose a pace.

Modern musicians are easily played by Beethoven, but as soon as it comes to Shostakovich or God for Messiane, then everything goes and it turns out Epic Fail :)

What does the pace actually?

The main problem is that the musicians love to slow down quick passengers without a reason, or take a slow pace, explaining this to some expressiveness, but it does not change the essence - they simply cannot play it. Composer suffers from this, listener and music.

Very often, the musicians incorrectly interpret the pace, as a result of which the works of a rapid nature become ballads and vice versa.

It is very often possible to observe the classic guitarists in the environment (it is rather a rule to distort the pace) - written by Allegro played by Moderato, written Moderato starts playing Lento. Such examples of thousands are enough to see several well-known works and you can see the gradation of the pace within 40, or even more than the units of the metronome. I repeat that it is typical for classic guitarists. Among the pianists, I did not notice this. In general, it is difficult to imagine a pianist who, using his vision as an excuse, began to play the fantasy of Chopin C # Maj at pace 140.

This is the first side of the problem of the tempo called its mechanical performing.

Now consider the nature of the pace.

The pace as a structure regulating the rhythmic and metric movement of music was established quite recently. You can select two types of tempo:

1. mathematical (pace of metronome)
2. sensual (affective)

Mathematical characteristic of electronic music, metal, and so on. Music that is played strictly under the click. No deviations from the pace are not allowed in such music) With a rare exception, you can meet ACCElerando and Ritenuto)

Sensual it is defined by style, agogy and. One beat may be in paced 90 second at pace 120, and the third at pace 60. This approach to the rhythm is characteristic of Scriabin, Rakhmaninov.

There is also a middle between these two concepts. Such phenomena as, Shaffle are built on a skillful combination of a different approach to the tempo. Metronome designations cannot reflect the real tempo this reason. Many composers refused them and for the same reason most of the musicians refuse to play a click.

On the other hand, verbal designations allow the nature of the movement and the direction in which the musician should think (-s)

Here is what Harlatin writes about this:

The verbal designation of the tempo indicates, not so much on the speed, how much to "the amount of movement" - the product of speeds for the mass (the value of the 2nd factor increases in romantic music, when not only quarters and half, but also other musical values \u200b\u200bare in the role of tempo units) . The pattern of the pace depends not only on the main pulse, but also from inside the share ripple (creating a kind of "tempo overtones"), the values \u200b\u200bof the tact. The metrohyrmatic speed is only one of the many creating pace of factors, the value of which is less than emotional music.

The classical definition states that the tempo in music is the speed of movement. But what is meant by this? The fact is that in music there is its own time measurement unit. This is no second, as in physics, and not the hours-minute, to which we are accustomed to life.

Musical time most resembles the beat of the human heart, measuring pulse blows. These strikes and measure time. And precisely which they are fast or slow, the pace is dependent, that is, the total speed of movement.

When we listen to music, we do not hear this ripple, unless, of course, it is not specifically shown by shock instruments. But each musician is hidden, inside himself necessarily feels these blows of the pulse, it is they help to play or sing rhythmically without deviating from the main pace.

Here is an example. Everyone knows the melody of the New Year's song "A Christmas tree was born in the forest." In this melody, the movement is mainly eighth (sometimes there are other). At the same time, the pulse beats, it just does not hear it, but we are specially voiced by a shock tool. Listen to this example, and you will begin to feel the beat of the pulse in this song:

What are the rates in music?

All the pace, which only is in music, can be divided into three main groups: slow, moderate (that is, medium) and fast. In music records, the pace is made to designate special terms, most of which are the words of Italian origin.

So the slow pace includes Largo and Lento, as well as Adagio and Grave.

The rates are moderate to the Andante and the derived from it andantino, in addition - Moderato, Sosentuto and Allegretto.

Finally, they will list the rapid rates, this: funny allegro, "live" vivo and vivace, as well as fast Presto and the most last Pestissimo.

How to set an accurate pace?

Is it possible to measure the musical pace in seconds? It turns out, it is possible. To do this, use a special device - metronome. The inventor of the mechanical metronome is the German mechanical physicist and the musician Johann Melzel. Now the musicians in their daily rehearsals use both mechanical metronomas and electronic analogues - as a separate device or application on the phone.

What is the principle of action of the metronome? This device after special settings (move the load on the scale) beats the pulse blows at a certain speed (for example, 80 shots per minute or 120 beats per minute, etc.).

Metronoma clicks resemble loud clock ticking. This or that frequency of the beat of these blows corresponds to one of the musical pace. For example, for a rapid pace of Allegro, the frequency will be about 120-132 shock per minute, and for a slow pace ADAGIO - about 60 shots per minute.

These are the main points relating to the music tempo, we wanted to convey to you. If you still have questions, please email them in the comments. To new meetings.

Pace

The speed of movement of the musical work is called temp. In the course of the work, depending on the topic, the pace may vary.

All this defines the expressiveness of the work. You can not play not just quickly - slowly, but also accelerating, delaying, etc .. there are many options. We will consider them in this article.

Designation tempo

The pace is predominantly denoted by Italian words. There are designations and in Russian. You can also set a tempo pace. A pace is recorded above the notebook at the very beginning of the work, as well as in those places where the pace changes.

Consider everything in order.

Three main groups of pace

All rates are divided into three groups: slow, moderate and rapid pace.

Tints

To clarify the shades of the tempo, use the following notation:

Dynamic shades

In order to designate the speeding or slowing down, the following notation is used:

This article will be interested in those who want to learn more about the music pace. After reading it, you will be able to familiarize yourself with the properties of various tempo, and also learn how the tempo of music can affect people.

1. What is the tempo of music and where did this concept come from

The word "temp" occurred from the Italian word TEMPO, which in turn happened from the Latin word "tempns" - time.

The tempo in music is the speed of the musical process; Motion speed (shift) metric units. The pace defines the absolute speed with which the musical work is performed.

The main pace in classical music (in ascending order):
Grave, Largo, Adagio, Lento (slow pace); Andante, moderato (moderate pace); Animato, Allegro, Vivo, Presto (rapid pace). Some genres (waltz, march) are characterized by a certain tempo. For accurate measurement of the tempo serves as a metronome.

2. The pace and tempo notation in classical music

The main musical pace (in ascending order) are:

• largo (very slow and wide);
• adagio (slowly, calmly);
• andante (at a tone of a calm step);
• moderato (moderately, restrained);
• allegretto (quite lively);
• allegro (fast);
• vivache (quickly, alive);
• pretato (very fast).

Partially on the book: Malter L., Table Tools. - M., 1964.

3. The effects of music on the cardiovascular and respiratory system depend on its pace

Dr. Luciano Bernardi and his colleagues (University of Pavia, Italy) studied the response of cardiovascular and respiratory systems (CSS, RS) to changes in music in 12 practitioners of musicians and 12 persons of other professions comparable in age (control group). After 20 minutes of relaxing, the parameters of the SCC and PC were rated. Then 6 different in the style of musical fragments of 2 and 4 minutes, following in random order. In each fragment there was a random pause for 2 minutes.

It turned out that the frequency of respiratory movements (CDD), blood pressure (blood pressure), the heart rate (heart rate) and the ratio of low and high frequencies of the heart rate variability (LF / HF, the sympathetic activation rate) increased with a faster tempo of music and with simple rhythms compared to initial values. At the same time, the rate of blood flow in the monthly-seed artery and the parameters of the barraflex decreased. Compared to non-communicationants, the musicians were more often breathing with a faster music pace and had a lower source CDD. The style of music and personal preferences of the participants did not have such an effect as the tempo or rhythm of music. Reducing the blood pressure, ChDD, CSS and LF / RF after a 2-minute pause in a musical fragment was more pronounced than after 5 minutes of the initial relaxation.

According to the authors, specially selected music in which the fast, slow pace and pause alternate, can cause relaxation, reduce sympathetic activity and, thus, act as a component of complex therapy of CSS diseases. In the editorial article of the same HEART number Dr. Peter Larsen and Dr D Galletly (Wellington School of Medicine, New Zealand), they suggest that musicians are due to professional training above susceptibility to changes in the tempo of music, and therefore the correlation between the music pace is stronger than the correlation and chdd.

4. Electronic music pace

Nowadays, classical music has moved a little to the background. Therefore, you are given the pace of electronic music in directions.

Trans (Trance) - This is the style of electronic dance music, which developed in the 90s. Distinctive features of the style are: Temp from 130 to 150 beats per minute (BPM). A straight bit is usually used in the trance.

Transe littered:
Full ON. - 140-150 beats per minute (BPM)
PSY. - 146-155 (BPM)
Dark. - 160 and more blows per minute.

Drum and Bass (Drum and Bass) - Genre of electronic music. Initially, as a branch of the British Breakbit and Raiva scene, Drum and Bass originated when the musicians began to mix bass from reggae with accelerated breakfather from hip-hop. In general, there is no significant difference between the terms "Drum and Bass" and "Jungle". Some are called Dzhangl old records of the first half of the 90s, and Drum end-bees consider significantly evolving Dzhangl with new post-technical elements. For many people, it is initially difficult to deal with the tempo of this jig. Since due to broken rhythms, it can be very difficult to determine the tempo of this style. The spread of the pace in this direction is probably one of the largest. The dram end base sounds from 140 blows per minute (usually old school) and can reach as much as 200. The pace in this style can be easily determined by a small drum.

HOUSE (House) - Genre of electronic music, originated by Dans DJs in the early 1980s in Chicago. House is strongly filled with some elements of the genre of the 1970s and the Dance Music Dance Music Style. House is created by mixing the embossed shock bass of the Disco genre and the new type of "heavy" (bass, bits, various sound effects, etc.). The disputes on the origin of the name of this style are still not subsidized. But at the moment, the central version is that the name has come from the Warehouse Chicago club, there, DJ Frankie Schobz mixed up a classic disco with European synti-pop, adding his own rhythms with the help of the ROLAND car drum 909. The pace of this music is quite static. Usually it fluctuates about 130 shots.

Techno (Techno) - This is the genre of electronic music, originated in the mid-1980s in Detroit and its surroundings and subsequently praised by European producers. It is characterized by the artificiality of sound, an emphasis on mechanical rhythms, repeated repetition of structural elements of the musical work. For techno, a tempo from 135 shots up to 145 beats per minute. "Techno is music, sounding like technology," says Juan Atkins, one of the founders of the genre. In fact, in the United States, techno-music was only an underground phenomenon, but in the UK it broke out on the main musical arena of the country of the late 1980s. Also, this style of music was very popular in other countries.

About 20 years ago, such a style appeared in the music electronic culture that became a branch of techno music. The name of this style Hardcore.

Hardcore. Everyone who in the 90s was fond of electronic music should remember all the famous Rave Thunderdome, who collected the Overnight Number in the territory of Holland, who came to Hardcore Raiva. But this style of music enjoyed great popularity and not only in this country, but also in Germany and other European countries.

Breakcore - This is a pretty newly recent genre. Probably the youngest among all genres using a broken rhythm. The pace in this style is striking both by scattering BPM and its pace in principle. The smallest pace in the breakcore is as much as 220 shots per minute, which is much more than any other style of electronic music and can achieve completely space values. There are some compositions in this style that is inherent in 666 BPM.

Electro (Electro) - Reduction from Electro Funk (also known as Robot Hip Hop), this is a style of electronic music that has taken their roots from hip-hop. Kraftwerk and funk were very important on the style. The music in this style sounds very electronically ("on computer"), the creators of such music are trying not to use the sounds of wildlife, even the vocals are usually distorted to give a more "dark" and "mechanical" shade. Therefore, the works of the performers are impregnated with ideas of robots, nuclear physics, computers, technology of the future and largely the development of this style promotes fiction. Electric inherent paced approximately as well as a house music. From 125 shots and a little more - this is electric.

The last style of electronic music, which would like to pay attention to Breix.

Breix (Breaks) - Very interesting, in my opinion, style, but I will be brief. All Breix Culture and, among other things, arose as a result of a historical event. If I am not mistaken, in 1969, the Winstons group was invented by the song "AMEN BROTHER", in which the broken drum loop appeared for the first time, now known now as part of a brake-bit of music. Now it is called AMEN BREAK. It is very often used in Drum'n'Bass. In Breix, she is no longer like himself, and it is already not she, but the basis of this style is the broken rhythms that take the beginning so long ago. Their rates have become slower and more "swinging". The tempo has become lower than that of precursor directions. Breix music is played with a tempo of about 120-130 BPM. If he were more, she would lose his whole drive.

This I think to finish, since the other styles of electronic music are, in my opinion, more experimental or less relevant.

Music terminology covers various musical areas: including the dynamics, tempo, a notice letter, the nature of the performance, as well as methods of interpretation of the work. The dominant language of musical terminology is Italian. An interesting fact should be noted that even Mozart wrote other from his operas in Italian.

Until the XVIII century, there was no modern abundance in determining the tempo of execution. In the past, the pace was determined by the metro station, since the duration of sound (the whole, half, fourth, etc.) was revered by an absolute value.

Inaccuracy and subjectivity of ideas about the duration porously put the musicians in a difficult position. It is likely that the first musical terms and concepts appeared to more accurately determine the dynamics and tempo. In the XIX century, the specialization of musicians sharply increased, and the composers gradually stopped being performers, as it was in the past. The latter spawned an increase in the number of terms used in a notice record.

At the beginning of the same century, Melzel constructed the metronome, which made it possible to accurately determine the pace in the performance of musical works. L. Beethoven, for example, enjoyed the metronome more willingly than verbal terminology. In his last essays, Beethoven introduces German speech, in order to more accurately determine the spirit and emotions of music.

In the XX century, in most countries, the native language began to prevail over Italian when writing music on notes. By international musical terminology, K. Debussy had a huge influence, the refined terms of which were captivated by many composers. A. Scriabin, for example, inspired by K. Debussy, began to apply French, inventing new equally original terms. Nevertheless, despite the prosecorant trends of the last centuries, it was Italian who retained its international importance in a music literacy.

I wrote the most frequently used Italian terms necessary in the work of the musician, because Sometimes lovers do not even know what denotes or implies a specific term in learning works.

Terms of the rate of tempo and its changes

Slow pace:

• lento (Lento) - Slowly, weakly, quiet
• lento Assai (Lento Assai) - Very slow
• lento di Molto (Lento di Molto) - Very slow
• largo (Largo) - Wide, Slowly
• largo Assai (Largo Assai) - very wide
• largo di Molto (Largo di Molto) - very wide
• largo Un Poco (Largo Un Painch) - A little wider
• aDAGIO (Adagio) - Slowly
• grave (Grave) - significantly, solemnly, great, hard

Moderate pace:

• andante (Andante) - Step, Graceful Movement
• andante Cantabile (Andante Cantabil) - Slow and singe
• andante Maestoso (Andante Maestozo) - slow and majestically
• andante Pastorale (Andante Pastoraly) - Slowly pastoral
• aNDANTE VIVACE (Andante Vivache) - alone and dust
• andantino (Andantino) - Rather, rather than Andante
• moderato (moderato) - moderately, restrained
• allegretto (Allegretto) - lively

Quick pace:

• allegro (Allegro) - Soon
• vivo, vivace (viva) - fast, alive

Very rapid pace:

• Presto, Prestissimo (Prestors, Suisting) - quickly, highly fast

Other terms characterizing musical emotionality:

• abbandono (Abbandono) - depressed, depressed
• abbandonamente (abbandonate) - depressed, depressed
• accarezZevole (Akkaracetsevolea) - Laskovo
• affettuoso (Affettuoso) - Cardigo
• agitato (Azitato) - excited, excitedly
• aMABILE (AMABILE) - nice
• alla (Alla) - in kind, in the spirit
• aLLA MARCIA (Alla Marcia) - In the Spirit of Marsha
• alla Polacca (Alla Polakka) - in the Spirit of Polish
• amoroso (Amorozo) - LOVE
• animato (Animato) - inspisitably, lively
• appassionato (Appassionato) - passionately
• ardente (Ardenthe) - with heat
• bRILLANTE (Brilliance) - brilliantly
• buffo (Buffo) - Comically
• burlesco (Burlesco) - Comically
• cantabile (Cantabile) - singe
• capriccioso (Capricchiosis) - Capricious
• cON AMORE (Kon Amore) - with love
• cON ANIMA (COP ANIMA) - With enthusiasm, with revival
• cON BRAVURA (KON BRAVRA) - brilliantly
• con BRIO (Kon Brio) - with heat
• cON CALORE (Konalora) - with heat
• cON DOLCEZZA (Kon Dolchenets) - gently, gently
• cON DOLORE (KOND DUTOR) - SUPPLY
• cON ESPRESSIONE - with an expression
• con Forza (Con Forta) - with force
• con Fuoco (Kon Fuoko) - with fire
• cON Grazia (Kon Grazia) - with grace
• cON MALINCONIA (Kon Malinconia) - Melancholy
• con Moto (Con Motto) - Mobile
• cON PASSIONE (CON PASSEN) - with passion
• cON Spirito (Kon Spirito) - With enthusiasm
• cON TENEREZZA (Kon Tenarez) - with tenderness
• con Vigore (Kon Vigor) - courageously
• deciso (Deciso) - resolutely
• dolce (Dolce) - gentle
• dolcissimo (Dolchishimo) - very gently
• dolentte (tenenthe) - sad, complaints
• doloroso (Dolorozo) - Sad, sad
• elegante (Elegant) - elegant, beautiful
• elegaco (Elezhayako) - complaints, sad
• energico (Energy) - energetic
• eroico (Eroico) - Heroic
• espressivo (espressively) - expressive
• fLEBILE (Flebile) - complaints
• feroce (FAOCE) - wild
• festivo (Festivo) - Festive
• fIERO (FIERO) - WITHOUT
• fRESCO (FRASE) - Fresh
• funebre (Funabre) - buried
• furioso (Fourize) - Ramane
• giocoso (Jökozo) - jokingly, playfully
• gioioso (Jikoyozo) joyful, fun
• grandioso (Grandiose) - Luccificent, great
• grazioso (grasio) - graceful
• guerriero (Guergero) - militant
• imperioso (Imperiosis) - Improvingly
• impetuoso (impetuozo) - rapidly, violently
• innocente (Innocenta) - innocently, just
• lagrimoso (Lagrymo) - Deploy
• languido (Langido) - with exhaustion, powerless
• lamentAbile (Lamebile) - complaints
• leggiero (Dedzhiero) - easy
• leggierissimo (Ledgerissimo) is very easy
• lugubre (Luguba) - Gloomy
• lusingando (Luzingando) - flattering
• maestoso (Maestoso) - solemnly, great
• malinconico (Malinconiko) - Melancholy
• marcato (Marcato) - emphasizing
• marciale (Marchal) - march-shaped
• mARZIALE (Martseale) militant
• mesto (Mesto) - sad
• misterioso (Misterioso) - mysteriously
• parlando (Parlando) - Currently
• pASTORALE (Pastoral) - Shephealth
• patetico (Patatiko) - passionately
• pesante (Pesante) - heavy, heavy
• piangendo (Pindanudo) - Deploy
• pomposo (Pomposo) - great, with glitter
• quieto (Kieto) - calm
• recitando (Rechitado) - telling
• religioso (religious) - reverent
• rigoroso (Rigorozo) - Strictly, for sure
• risoluto (rizoluto) - resolutely
• rustico (Rustico) - in a rustic style
• scherzando (Socando) - Justice
• scherzoso (Scratoso) - Justice
• sEMPLICE (sample) - just
• sensibile (SanSibile) - sensitive
• serioso (seriously) - seriously
• sOAVE (SAWE) - friendly
• sOAVEMENTE (COAVEMENT) - friendly
• sonore (Sonore) - Double
• spianato (Spyanato) - with simplicity
• spirituoso (Spiritozo) - spiritualized
• strepitoso (Strepitozo) - noisy, violently
• teneramente (Cenergy) - gentle
• tranquillo (Transoille) - Quietly
• vigoroso (Vigorozo) - strongly, cheerful

Some terms are often found in music literature:

• a Capella (A Capella) - chorus, without tool
• a due (or a 2) (and du) - together to fulfill the same game
• ad Libitum (Hell Libitum) - optional: Note that allows the Contractor to vary the pace or phrazing, as well as skip or play a part of the passage (or another fragment of a tank text); Abbreviated AD. lib.
• arco (Arco) - Literally "Bow": Note Coll Arco for performers on string instruments - Play bow and not pizzicato
• aTTACCA (attachment) - go to the next part without interruption
• a Tempo (A Temo) - return to the initial tempo after its change.
• basso Continuo (Basso Continuo) (Alleged BAS, Digital BAS) - "Continuous, Common Bass": the tradition of the Music of the Baroque era, according to which the lower voice in the ensemble was performed by a melodic tool of the corresponding range (Viola da Gamba, Cello, Fagot) While another tool (key or lute) duplicated this line along with chords, which were denoted by a conditional digital record in notes, which implied an element of improvisation
• basso Ostinato (Basso Austinato) - literally "permanent bass": a brief musical phrase in the bass, repeated during the entire composition or its partition, with free varying voices; In ancient music, this technique is especially typical for the Chacon and Passave.
• ben (Ben) - Good
• blue Note (English) - In Jazz, the execution of the third or seventh stage in a major with a slight decrease (the term is associated with a genre of blues)
• coda (code) conclusion
• cOL (Kohl) - with
• come (COME) -K
• con (Kon) - with
• da Capo (yes Capo) - "From the beginning"; Note that prescribes repeat from the beginning of a fragment or an integer part of the work; Abbreviated D.C.
• dal Segno (Dal Seno) - "Starting from the Sign"; Note that prescribes repeat a fragment from the sign; Abbreviated D.S.
• diminuendo (Diminuendo) - Dynamic Note, similar to Decrescendo
• divisi (Division) - separation (homogeneous tools or votes to perform different parties)
• e, ED (E, ED) - and
• fine (Fine) - End (traditional designation in score)
• forte (Forte) - indicating expressiveness: loud; Abbreviated
• mA (MA) - but
• mEZZA VOCE (METSCA LOCE) - in a low voice
• mezzo Forte (Matso Forte) - not very loud
• molto (Moloto) is very; Topic Designation: Molto Adagio - Topic Designation: Very slow
• non (non) - not
• non Troppo (Non Troppo) is not too much; ALLEGRO MA NON TROPPO - tempo designation: not too fast
• obligato (bits) - 1) in music 17 and 18 centuries. The term refers to those parties of tools in the work that cannot be omitted and must be executed; 2) fully written accompaniment in a musical product for voice or solo tools and a key
• opus (opus) (lat. Opus, "Work"; abbreviated - or.): The designation is used by composers starting from the Baroque era and is usually applied to the sequence number of this essay in the list (most often chronological) works of this author
• ostinato (Khtinato) - repeated repetition of melodic or rhythmic figure, harmonic turnover, separate sound (especially often - in bass voices)
• pOI (POI) - then
• perpetuum Mobile (Perpetuum Mobile) (lat. "Eternal Movement"): The play, built on a continuous rapid rhythmic movement from the beginning and to the end
• pianissimo (Pianissimo) is very quiet; Abbreviated: pp.
• piano (Piano) - quietly; Abbreviated: P.
• pIU (PEE) - more; Piu Allegro - tempo designation: faster
• pizzicato (Pizzikato) - Plug: Method of Games on Strings Tools Crossing Strings
• portamento (portable) - sliding transition from one sound to another used in shenium and game on strings
• portato (Porto) - Method of sound recovery, between Legato and Staccato
• quasi (Kuazi) - as if
• rallentando (Rallentando) - Topic Designation: Gradually slowing down
• recitative (Recit.) (Recitative) - Currently
• ripieno (Ripiens) - In the instrumental music of the Baroque era, the designation of the game of the entire orchestra; The same that Tutti
• ritardando (Ritartandodo) - Topic Designation: Gradually slowing down
• ritenuto (Ritenuto) - Designation of the tempo: gradually reducing the pace, but on a shorter segment than Ritardando
• rubato (Rubato) - a flexible interpretation of the tempo-rhythmic side of the work, deviations from a uniform pace in order to achieve greater expressiveness
• scherzando (Scharzando) - playfully
• segue (sagone) - the same with the previous one
• senza (Senza) - without
• simile (Symile) - equally with the previous
• sOLO (salt) - one
• soli (salts) - a plural from solo, i.e. more than one soloist
• sOSTENUTO (Sosteno) - designation of expressiveness: restrained; Sometimes the designation can relate to the tempo
• sOTTO VOCE (Sotto Layer) - the designation of expressiveness: "in a low voice", muted
• staccato (Stakkato) - abruptly: a sound removal manner, in which each sound is as if separated by a pause from another; The opposite way of sound recovery is Legato (Legato), connected. Staccato is indicated by a point above the note
• stile Rappresentativo (Rappresentative fitting style) - Opera style of early 17 V., the main principle of which is that the musical principle should be subordinated to the expression of dramatic ideas or reflect the content of the text
• sFORZANDO (Sforzando) - Sudden focus on sound or chord; Abbreviated SF.
• sEGUE (SEGUE) - continue as before: an indication that, firstly, replaces the specification of ATTACCA (i.e., prescribes to perform the following part without a break), and secondly, prescribes to continue execution in the same manner as before (In this case, the designation SemPRE is more often used)
• sEMIBREVE (SAMIBREVE) - a whole note
• tACE (TACHE) - Silent
• tACET (Tax) - Silent
• tutti (Tutti) - all (for example, the whole orchestra)
• tenuto (Tenuto) is a weathered: the designation prescribes to withstand the full duration of the note; sometimes meaning easy excess duration
• unisono (unison) - in unison
• vOCE (Aluminum) - Voice
• voci (Sochody) - Voices

to be continued...