At the top left hand part of the score, just above the staff of the first measure there is usually a TEMPO MARKING. It may say something like “andante,” or “adagio,” or “presto.” These are Italian musical terms that tell the performer to play in walking speed, or very slowly, or very quickly. There could also be a metronome indication of what kind of note gets one beat as a division of one minute. For example, at 96 beats per minute, the quarter note would be at a medium or walking tempo.
Obviously, people performing a piece will feel the music their way. They might need to take it slowly at first while they are practicing. Their skills might not be at a level where they can go at the TEMPO marked. They might not be aware of how to judge TEMPO and do not have access to a metronome. They might just get used to playing it at their TEMPO and feel that it suits the music. There are so many reasons why performers do what they do, including ignoring the TEMPO MARKINGS. And Pianists don’t have to breathe every few beats into to sustain a tone.
As a composer, I attempt to give the performers all the clues they need to understand how to perform my music. However, sometimes I am surprised to hear a group performance of one of my pieces where they chose to go much faster or much slower than I imagined. Occasionally, their interpretation goes very well and breathes new life into the song. Other times, the group encounters difficulties that I could have predicted due to going faster or slower than marked.
GOING TOO FAST — Taking a piece marked “andante” too fast changes its character. Just like taking a piece marked “presto” too slowly changes it’s character. Other problems creep up, too. Phrases may become impossible to play or sing because there is no time to take adequate breaths. The words may not be able to be understood if it is sung too fast.
GOING TOO SLOW — The most obvious problem with going to slow for singers or wind instruments is SUSTAINING A LONG HELD NOTE or carry over a PHRASE. The next most obvious problem is the tendency to go FLAT, or LOSE PITCH. The right TEMPO usually helps with being able to sustain pitches and stay in tune.
I once saw a piece marked on purpose “Excruciatingly Slow.” Hopefully that piece was to be played by a keyboard or strings that do not have breathing issues. It is painful just thinking about it!
PRACTICAL EXAMPLES: In Primary, unfortunately, some accompanists do not have much training or skill. There always seems to be the lady that can play just in one TEMPO. And whether that TEMPO is FAST or SLOW, it is still not right for every song.
Singing a song like “I’m Trying to Be Like Jesus” too quickly turns it into a galloping horse-ride and doesn’t maintain a reverent attitude. Singing “Love One Another” too slowly makes it sound like a funeral dirge and the long phrases become impossible to sing.
The proper TEMPO really does matter. Always try to practice at the METRONOME MARKING. Composers really do try to think through what would be best for their pieces.
GOING TOO SLOW — The most obvious problem with going to slow for singers or wind instruments is SUSTAINING A LONG HELD NOTE or carry over a PHRASE. The next most obvious problem is the tendency to go FLAT, or LOSE PITCH. The right TEMPO usually helps with being able to sustain pitches and stay in tune.
I once saw a piece marked on purpose “Excruciatingly Slow.” Hopefully that piece was to be played by a keyboard or strings that do not have breathing issues. It is painful just thinking about it!
PRACTICAL EXAMPLES: In Primary, unfortunately, some accompanists do not have much training or skill. There always seems to be the lady that can play just in one TEMPO. And whether that TEMPO is FAST or SLOW, it is still not right for every song.
Singing a song like “I’m Trying to Be Like Jesus” too quickly turns it into a galloping horse-ride and doesn’t maintain a reverent attitude. Singing “Love One Another” too slowly makes it sound like a funeral dirge and the long phrases become impossible to sing.
The proper TEMPO really does matter. Always try to practice at the METRONOME MARKING. Composers really do try to think through what would be best for their pieces.
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