Definition
Tempo markings say how fast the beat is (in Italian words or in BPM). Agogics (a term coined by Hugo Riemann, 1884) indicates the small expressive variations of tempo: broadening a cadence, pushing a phrase, rubato. In a broad sense, in Italian theory courses “agogic markings” include all indications of tempo and of tempo variation.
The main markings (approximate BPM)
| Term | Character | Approx. BPM |
|---|---|---|
| Grave | very slow and solemn | 25–45 |
| Largo | slow and broad | 40–60 |
| Lento | slow | 45–60 |
| Larghetto | a little less slow than Largo | 60–66 |
| Adagio | slow, “at ease” | 66–76 |
| Andante | “walking” | 76–108 |
| Andantino | a little livelier than Andante (in modern usage) | 80–108 |
| Moderato | moderate | 108–120 |
| Allegretto | moderately fast | 112–120 |
| Allegro | fast, brilliant | 120–156 |
| Vivace | lively | 156–176 |
| Presto | very fast | 168–200 |
| Prestissimo | extremely fast | over 200 |
The values vary between sources and eras: the term indicates above all a character. A Baroque “Allegro” is often slower than a Romantic “Allegro”.
Modifiers
- molto, assai (very), non troppo, ma non tanto (not too much), poco, un poco (a little), con moto, mosso (with movement), sostenuto (sustained, held back), maestoso, cantabile, giocoso, agitato, con brio.
- più mosso / meno mosso: faster or slower than before.
- l'istesso tempo: the same beat even if the meter changes.
Tempo variations
- accelerando (accel.), stringendo, incalzando: speed up (stringendo with increasing tension).
- ritardando (rit.), rallentando (rall.): slow down gradually. ritenuto (riten.): slow down immediately.
- allargando: slow down while broadening the sound, often with a crescendo.
- a tempo, tempo primo (Tempo I): return to the previous / original tempo.
- rubato: flexible tempo; you “steal” time at one point and give it back later (Chopin, Liszt, Rachmaninoff).
- fermata (corona): hold the note or rest longer than the written value.
- ad libitum, a piacere, senza misura: free tempo.
The metronome
Johann Nepomuk Mälzel's metronome (patented in 1815) introduced precise indications such as “♩ = 120”. Beethoven was among the first to publish metronome markings for his symphonies (1817); some are so fast that they are still debated. In modern pop, BPM is a technical datum: 70–90 for boom bap hip hop, 120–130 for house, 140 (felt at 70) for trap and drill, 170–175 for drum and bass.
Agogics in the DAW
- Tempo map: in FL Studio you automate the tempo with an automation clip on the Playlist's Tempo parameter; final ritardandos and accelerandos are drawn as curves.
- Recording without a click: a pianist who plays rubato is recorded freely and then a tempo map is created from the audio (in DAWs that support it) to align the grid.
- Microtiming: the “small” agogics of the groove (notes slightly early or late) is covered in “Groove, swing and microtiming”.
- Film scoring: tempo maps with gradual changes are used to make musical accents coincide with the cuts of the edit.
Examples in real songs
- Chopin, Nocturne Op. 9 No. 2: the rubato of the right hand over a more regular accompaniment.
- Barber, Adagio for Strings: a true, very slow Adagio (often 40–50 BPM per quarter note), built on broad arches.
- Queen, “Bohemian Rhapsody”: sections with different tempos (ballad, opera, rock) and sudden changes.
- In rock and modern pop final ritardandos are rare: almost everything is on a click; a final “ritardando” played by hand is today a very expressive gesture.
Exercise
- Listen to three recordings of the same Adagio (e.g. Barber) and measure the BPM with FL Studio's tap tempo: compare the interpretive choices.
- Automate a two-bar ritardando at the end of one of your songs (from 120 to 96 BPM) and adjust the synced delays: hear how they react.
- Record a piano phrase with rubato and one with a click: compare the expressiveness.
Related topics
Dynamics; Articulations; Meter, subdivision, half-time and double-time; Groove, swing and microtiming.