Question: How do I know what tempo a composer intends for their piece to be played?
Answer Summary: Tempos are often chosen based on the context of its presentation and through an awareness and analysis of various musical elements. The title, indications, texture and style, technique, music theory analysis, historical awareness, and research on the work or composer can offer many clues. There are also considerations of who is playing the work and whether the intended tempo is appropriate for the player to strive for. In the article below I cover the various elements involved in choosing a tempo.
Here’s the YouTube lesson link for the above video if needed.
The Title and Indications
There are many titles and indications that give you hints on a tempo range. The title itself can sometimes give clues, a lullaby usually will not be played so fast as to feel caffeinated! Whereas Flight of the Bumblebees implies some intensely fast busy work. A minuet in the Baroque era for example, was a graceful dance in triple meter so the tempo should be somewhat moderate and poised rather than fast. Maybe that puts the quarter note at 80–110 as a possible range but it also depends on the character of the piece and if there are movements around. Obviously tempo markings such as allegro indicate fast and largo slow.
An important distinction here is beat, pulse, and rhythms. Although a time signature might indicate a beat, the actual feel of the pulse can be the deciding factor. For example, in some music there might be three beats in a measure but we only really feel the the first beat. That first beat could be the tempo setter. Similarly, the beat or pulse can sometimes be very slow but the rhythms be busy and perceived as fast. A slow beat can feel quite different if there are continuous 32nd notes being played.
Texture and Style
The texture of the music may be a deciding factor for tempo allocation as well. A thick busy texture can only go so fast so there are limitations on speed. The style of the work is also important. Style can mean anything from historical awareness to set moods. A meditative piece likely has a style, as does an awareness of the impressionist composers. A fugue might demand voice independence as a top musical priority that overpowers tempo considerations.
Technique
There are always limitations to tempos based on the technique involved. A complex fugue by Bach may not be technically possible to play fast compared to a single running scale passage. Students often have to let their technique decide the limitations of a tempo so they can play well. An important thing to remember is that when tempo is reduced, other musical elements can be increased. So it’s not a bad thing to be limited by your technique, it may just require a different approach and reprioritizing of the musical elements in a performance.
Theory & Historical Awareness
There are many clues to tempos found in music theory and history from dance movements, to individual aesthetics of a composer, to era-specific awareness. Most students studying in a music school will take music theory and history lessons that include listening to and learning about music from all the musical eras. This brings with it a great awareness of style and tempo choices. School aside, listening to music can teach you a lot about tempos. For example, the Baroque Suite has a set of dance movements that were somewhat standardized and by listening to various recordings or Preludes, Allemandes, Courantes, Sarabandes, Bourrees, and Gigues, you start to form an awareness of choices you have.
Flexibility
Although tempos should be informed by the above factors, tempos are a flexible and interpretive choice as well. Different performers will have different goals with a work of music and that can result in a variety of different tempo choices. That is part of the joy of hearing different interpretations. Along with a different tempo choice comes a slightly different mood or emphasis on certain musical elements.
Recommendation
Listening to professional performances along with a score can give you a great education on tempo interpretation. Pick a piece of music (or the music you are playing) and find five different performances of it. Look at the title and indications, consider the musical era, get interested in the interpretive choices made by the performer. Over time you will build a an awareness of stylistically appropriate tempos for certain works and the vast variety of interpretations.
Another great thing to do is to experiment with tempos to discover the result. If you can play for other musicians and teachers they can give you feedback on the results.
