The tempo of a piece of music. The pace of the music

Pace

Travel speed piece of music called pace. In the course of the work, depending on the theme, the tempo may change.

All this sets the expressiveness of the work. You can play not just fast - slowly, but also speeding up, lagging, etc. There are many options. We will consider them in this article.

Tempo notation

Tempo is predominantly denoted by Italian words. There are also designations in Russian. You can also set the metronome tempo. The tempo is recorded above the musical staff at the very beginning of the work, as well as in those places where the tempo changes.

Let's consider everything in order.

Three main tempo groups

All tempos are divided into three groups: slow, moderate and fast tempos.

Shades

To clarify the shades of tempo, the following designations are used:

dynamic shades

In order to indicate the acceleration of movement or deceleration, the following notation is used:

Tempo in music, apparently, is the most indefinite and ambiguous category responsible for time parameters.

What is pace?

Tempo is speed musical process; speed of movement (change) of metric units. Tempo determines the absolute speed at which a piece of music is played. Notice the word absolute. In fact, pace is relative.
Unlike meter and , where there are clear instructions on when and with what volume to take this or that note, such a mathematical approach fails at tempo.
It would seem that with the invention of the metronome, any ambiguity should come to naught. However, the picture has not changed for hundreds of years since the time of Beethoven. At first, composers tried to scrupulously write out the tempo according to the metronome, but later abandoned this idea. What other questions are related to pace? Wagner once said, for example, that the correct interpretation depends entirely on a well-chosen tempo. Is this statement correct? Based on my subjective experience, I can say that it is 90% correct. The remaining 10 are the correct understanding of the style of music and everything else.

I emphasize that this is just a point of view. However, I think that I am not alone in it, since some of the world's best musicians (such as Lindsdorf, A. Zimakov, Wagner :) adhere to the same opinion.
I will try to answer the question: why did many composers refuse to designate the metronome in their works?

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

Such a thing as unprofessionalism is quite common among performers of any profession.

Let's take, for example, a modern one (a situation from my biography).

For example, he wrote a score and brought it into some sequencer. Set the pace and you're done. The piece sounds the same as in the composer's head. But after that, the score got into the orchestra and half of the musicians cannot play their parts. This is where you have to sacrifice either tempo or notes.

Many of Beethoven's works were very difficult for his contemporaries and, apparently, he decided to give some freedom in choosing the tempo.

Modern musicians play Beethoven without difficulty, but as soon as it comes to Shostakovich or, God forbid, Messiaen, everything collapses and it turns out epic fail :)

What is the tempo here?

The main problem is that musicians like to slow down fast passages for no reason, or take a slow tempo, explaining it with some kind of expressiveness, but this does not change the essence - they simply cannot play it. The composer, the listener and the music suffer from this.

Very often, musicians misinterpret tempos, resulting in fast-paced pieces becoming ballads and vice versa.

This can be observed very often among classical guitarists (it is rather even a rule to distort the tempos) - it is written Allegro is played by Moderato, it is written Moderato begin to play Lento. There are thousands of such examples - just look at a few famous works and you can see the tempo gradation within 40 or even more metronome units. I repeat that this is typical for classical guitarists. Among pianists, I did not notice this. In general, it is difficult to imagine a pianist who, using his vision as an excuse, would start playing Chopin's fantasy in C# maj at a tempo of 140.

This is the first side of the problem of tempo, let's call it mechanical-performing.

Now consider the nature of tempo.

Tempo as a structure that regulates the rhythmic and metrical movement of music has been established quite recently. There are two types of pace:

1. math (metronome tempo)
2. sensual (affective)

Mathematical characteristic for electronic music, metal, etc. music that is played strictly on click. In such music, no deviations from the tempo are allowed) with rare exceptions, accelerando and ritenuto can be found)

Sensual it is defined by style, agogics and . One measure can be at a tempo of 90, the second at a tempo of 120, and the third at a tempo of 60. Such an approach to rhythm is typical for Scriabin, Rachmaninov.

There is also a middle ground between these two concepts. Such phenomena as shuffle are built on a skillful combination of different approaches to tempo. Metronome designations cannot reflect real tempo, which is why many composers have abandoned them, and for the same reason most musicians refuse to play on click.

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

Here is what Harlapin writes about this:

The verbal designation of the pace indicates, not so much on speed, but on the “quantity of movement” - the product of speed and mass (the value of the 2nd factor increases in romantic music when not only quarters and half notes, but also other note values ​​act as tempo units). The nature of the tempo depends not only on the main pulse, but also on the intra-lobar pulsation (creating a kind of “tempo overtones”), the magnitude of the beat. Metro-rhythmic speed turns out to be just one of many tempo-creating factors, the importance of which is the less, the more emotional the music.

This article will be of interest to those who want to learn more about musical tempo. After reading it, you will be able to familiarize yourself with the properties of different tempos, as well as learn about 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" comes from the Italian word Tempo, which in turn comes from the Latin word "Tempns" - time.

Tempo in music is the speed of the musical process; speed of movement (change) of metric units. Tempo determines the absolute speed at which a piece of music is played.

Basic tempos in classical music (in ascending order):
Grave, largo, adagio, lento (slow tempos); andante, moderato (moderate pace); animato, allegro, vivo, presto (fast pace). Some genres (waltz, march) are characterized by a certain tempo. A metronome is used to accurately measure the tempo.

2. Tempos and tempo designations in classical music

The main musical tempos (in ascending order) are:

• largo (very slow and wide);
• adagio (slowly, calmly);
• andante (at the pace of a calm step);
• moderato (moderately, restrainedly);
• allegretto (rather lively);
• allegro (fast);
• vivache (fast, lively);
• presto (very fast).

Partially based on the book: L. Malter, Instrumentation Tables. - M., 1964.

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

Dr. Luciano Bernardi and his colleagues (University of Pavia, Italy) studied the response of the cardiovascular and respiratory systems (CVS, MS) to changes in music in 12 practicing musicians and 12 people of other professions comparable in age (control group). After 20 minutes of quiet rest, the parameters of CCC and PC were assessed. Then 6 musical fragments of 2 and 4 minutes different in style were listened to, following in random order. Each fragment had a randomly located pause of 2 minutes.

It turned out that the frequency of respiratory movements (RR), blood pressure (BP), heart rate (HR) and the ratio of low and high frequencies of heart rate variability (LF/HF, an indicator of sympathetic activation) increased with a faster tempo of music and with simple rhythms. , compared with the original values. At the same time, the blood flow velocity in the middle cerebral artery and the baroreflex parameters decreased. Compared with non-musicians, musicians breathed more frequently at faster tempos of music and had lower baseline respiratory rate. The style of the music and the personal preferences of the participants did not have the same effect as the tempo or rhythm of the music. Decrease in blood pressure, respiratory rate, heart rate and LF/HF after a 2-minute pause in musical fragment was more pronounced than after 5 minutes of initial relaxation.

According to the authors, specially selected music, in which fast, slow tempo and pauses alternate, can cause relaxation, reduce sympathetic activity and, thus, act as a component of complex therapy for cardiovascular diseases. In an editorial in the same issue of Heart Dr Peter Larsen and Dr D Galletly (Wellington School of Medicine, New Zealand) suggest that due to professional training, musicians are more susceptible to changes in the tempo of music, and therefore the correlation between musical tempo and NDD.

4. The pace of electronic music

Nowadays classical music faded into the background a bit. Therefore, your attention is provided with the pace of electronic music in directions.

Trance is the style of electronic dance music that developed in the 90s. Distinctive features styles are: tempo from 130 to 150 beats per minute (bpm). In trance, a straight beat is usually used.

Trance substyles:
Full on- 140-150 beats per minute (bpm)
Psy- 146-155 (bpm)
Dark- 160 or more beats per minute.

Drum and bass (Drum and bass) is a genre of electronic music. Originally an offshoot of the British breakbeat and rave scene, Drum and bass originated when musicians mixed reggae bass with up-tempo hip-hop breakbeats. In general, there is no significant difference between the terms "drum and bass" and "jungle". Some call jungle the old recordings of the first half of the 90s, while drum and bass is considered to be a significantly evolved jungle with new post-tech elements. For many people, it is initially difficult to understand the pace of this direction. Because of the broken rhythms, it can be very difficult to determine the tempo of this style. The spread of rates in this direction is probably one of the largest. Drum and bass sounds starting from 140 beats per minute (usually old school) and can reach as much as 200. The tempo in this style can be easily determined by the snare drum.

House is a genre of electronic music originated by dance DJs in the early 1980s in Chicago. House is heavily infused with some elements of the 1970s soul genre and Disco style of dance music. House is created by blending the punchy basses of the Disco genre and a new kind of "heavy" (bass, beats, various sound effects, etc.). There is still a lot of controversy about the origin of the name. this style. But on this moment the central version is that the name comes from the Warehouse club in Chicago, where DJ Frankie Knuckles mixed classic disco with European synth-pop, adding his own rhythms to this using a Roland 909 drum machine. The tempo of this music is rather static. It usually hovers around 130 beats.

Techno is a genre of electronic music that originated in and around Detroit in the mid-1980s and was subsequently picked up by European producers. It is characterized by the artificiality of sound, the emphasis on mechanical rhythms, the repeated repetition of the structural elements of a musical work. Techno is characterized by a tempo of 135 beats to 145 beats per minute. “Techno is music that sounds like technology,” says Juan Atkins, one of the founders of the genre. In fact, in the US, techno music was only an underground phenomenon, but in the UK it broke into the main musical arena of the country in the late 1980s. Also this style of music was very popular in other countries.

About 20 years ago, a style appeared in electronic music culture that became an offshoot of techno music. The name of this style is Hardcore.

Hardcore. Everyone who was fond of electronic music in the 90s should remember the well-known Thunderdome rave, which gathered a huge number of people in Holland who came to hardcore raves. But this style of music was very popular not only in this country, but also in Germany and other European countries.

Breakcore (Breakcore)- This is a fairly recent genre. Probably the youngest among all genres that use a broken rhythm. Tempos in this style are striking both in their bpm spread and in principle with their tempo. The lowest tempo in breakcore is as much as 220 beats per minute, which is much more than any other style of electronic music and can reach quite cosmic values. Some compositions in this style are known to have a value of 666 bpm.

Electro (Electro)- short for Electro funk (also known as robot hip hop), is a style of electronic music that has its roots in hip-hop. Kraftwerk and funk had a very big influence on the style. Music in this style sounds very electronic (“computer-like”), the creators of such music try not to use the sounds of wildlife, even the vocals are usually distorted to give a more “dark” and “mechanical” tone. Therefore, the works of the performers are saturated with the ideas of robots, nuclear physics, computers, future technologies, and science fiction contributes to the development of this style in many ways. Electro has a tempo that is about the same as house music. From 125 strokes and a little more - this is electro.

The last style of electronic music that I would like to pay attention to is the Breaks.

Breaks- Very interesting, in my opinion, style, but I will be brief. The whole breaks culture, including this trend, arose as a result of historical event. If I'm not mistaken, in 1969 the Winstons came up with the song "Amen brother", which first appeared on the broken drum loop, now known to everyone as part of break-beat music. Now it is called amen break. It is very often used in drum'n'bass. In breaks, she no longer looks like herself, and this is no longer her, but the basis of this style is precisely the broken rhythms that originate so long ago. Their pace has become slower and more pumping. The pace has become lower than that of the predecessor directions. Break music is played at approximately 120-130 bpm. If it was bigger, then she would lose all her drive.

I think to end here, because other styles of electronic music are, in my opinion, more experimental or less relevant.

With this lesson, we will begin a series of lessons dedicated to various nuances in music.

What makes music truly unique, unforgettable? How to get away from the facelessness of a piece of music, to make it bright, interesting to listen to? By what means musical expressiveness used by composers and performers to achieve this effect? We will try to answer all these questions.

I hope that everyone knows or guesses that composing music is not only writing a harmonious series ... Music is also communication, communication between the composer and the performer, the performer with the audience. Music is a peculiar, extraordinary speech of the composer and performer, with the help of which they reveal to the listeners all the innermost things that are hidden in their souls. It is with the help musical speech they establish contact with the public, win its attention, evoke an emotional response from its side.

As in speech, in music the two primary means of conveying emotion are tempo (speed) and dynamics (loudness). These are the two main tools that are used to turn well-measured notes on a letter into a brilliant piece of music that will not leave anyone indifferent.

In this lesson, we will talk about tempe .

Pace in Latin it means “time”, and when you hear someone talking about the tempo of a piece of music, it means that the person means the speed at which it should be performed.

The meaning of tempo will become clearer if we recall the fact that initially music was used as a musical accompaniment to dance. And it was the movement of the dancers' feet that set the pace of the music, and the musicians followed the dancers.

Ever since the invention of musical notation, composers have tried to find some way to accurately reproduce the tempo at which recorded works should be played. This was supposed to greatly simplify reading the notes of an unfamiliar piece of music. Over time, they noticed that each work has an internal pulsation. And this pulsation is different for each work. Like the heart of each person, it beats differently, at different speeds.

So, if we need to determine the pulse, we count the number of heart beats per minute. So it is in music - to record the speed of the pulsation, they began to record the number per minute.

To help you understand what a meter is and how to determine it, I suggest you take a watch and stamp your foot every second. Do you hear? You tap one share, or one bit per second. Now, looking at your watch, tap your foot twice a second. There was another pulse. The frequency with which you stamp your foot is called pace ( or meter). For example, when you stamp your foot once per second, the tempo is 60 beats per minute, because there are 60 seconds in a minute, as we know. We stomp twice a second, and the pace is already 120 beats per minute.

AT musical recording it looks something like this:

This designation tells us that a quarter note is taken as a unit of pulsation, and this pulsation goes with a frequency of 60 beats per minute.

Here, too, a quarter duration is taken as a unit of pulsation, but the pulsation speed is twice as fast - 120 beats per minute.

There are other examples when not a quarter, but an eighth or half duration, or some other one, is taken as a pulsation unit ... Here are a few examples:

In this version, the song “Little Christmas Tree is Cold in Winter” will sound twice faster than the first option, since the unit of a meter is taken as a duration twice as short - instead of a quarter, an eighth.

Such designations of tempo are most often found in modern sheet music. Composers of past eras used mainly verbal description pace. Even today, the same terms are used to describe the tempo and speed of performance as then. These are Italian words, because when they came into use, the bulk of music in Europe was composed by Italian composers.

The following are the most common notation for tempo in music. In brackets for convenience and a more complete idea of ​​the tempo, the approximate number of beats per minute for this tempo is given, because many people have no idea how fast or how slow this or that tempo should sound.

• Grave - (grave) - the slowest pace (40 beats / min)
• Largo - (largo) - very slowly (44 beats / min)
• Lento - (lento) - slowly (52 beats / min)
• Adagio - (adagio) - slowly, calmly (58 beats / min)
• Andante - (andante) - slowly (66 beats / min)
• Andantino - (andantino) - leisurely (78 beats / min)
• Moderato - (moderato) - moderately (88 beats / min)
• Allegretto - (allegratto) - pretty fast (104 beats / min)
• Allegro - (allegro) - fast (132 bpm)
• Vivo - (vivo) - lively (160 beats / min)
• Presto - (presto) - very fast (184 beats / min)
• Prestissimo - (prestissimo) - extremely fast (208 beats / min)

However, tempo does not necessarily indicate how fast or slow the piece should be played. The tempo also sets the general mood of the piece: for example, music played very, very slowly, at the grave tempo, evokes the deepest melancholy, but the same music, if performed very, very quickly, at the prestissimo tempo, will seem incredibly joyful and bright to you. Sometimes, to clarify the character, composers use the following additions to the notation of tempo:

• leggiero - easy
• cantabile - melodious
• dolce - gently
• mezzo voce - half a voice
• sonore - sonorous (not to be confused with screaming)
• lugubre - gloomy
• pesante - heavy, weighty
• funebre - mourning, funeral
• festivo - festive (festival)
• quasi rithmico - emphasized (exaggerated) rhythmically
• misterioso - mysteriously

Such remarks are written not only at the beginning of the work, but may also appear inside it.

To confuse you a little more, let's say that in combination with tempo notation, auxiliary adverbs are sometimes used to clarify shades:

• molto - very,
• assai - very,
• con moto - with mobility, commodo - convenient,
• non troppo - not too much
• non tanto - not so much
• semper - all the time
• meno mosso - less mobile
• piu mosso - more mobile.

For example, if the tempo of a piece of music is poco allegro (poco allegro), then this means that the piece needs to be played “quite briskly”, and poco largo (poco largo) will mean “rather slowly”.

Sometimes individual musical phrases in a piece are played at a different tempo; this is done to give greater expressiveness to the musical work. Here are a few notations for changing tempo that you may encounter in music notation:

To slow down:

• ritenuto - holding back
• ritardando - being late
• allargando - expanding,
• rallentando - slowing down

To speed up:

• accelerando - accelerating,
• animando - inspiring,
• stringendo - accelerating,
• stretto - compressed, squeezing

To return the movement to its original pace, the following notation is used:

• a tempo - at a pace,
• tempo primo - initial tempo,
• tempo I - initial tempo,
• l'istesso tempo - the same tempo.

ADAGIO - 1) slow pace; 2) the title of a work or part of a cyclic composition in adagio tempo; 3) slow solo or duet dance in classical ballet.

ACCOMPANIMENT - musical accompaniment soloist, ensemble, orchestra or choir.

ACCORD - a combination of several (at least 3) sounds of different heights, perceived as a sound unity; sounds in a chord are arranged in thirds.

ACCENT - a stronger, percussive extraction of any one sound compared to others.

ALLEGRO - 1) a pace corresponding to a very fast step; 2) the title of a piece or part of a sonata cycle in allegro tempo.

ALLEGRETTO - 1) tempo, slower than allegro, but faster than moderato; 2) the title of a play or part of a work in allegretto tempo.

Alteration - raising and lowering the degree of the modal scale without changing its name. Accidentals - sharp, flat, double-sharp, double-flat; the sign of its cancellation is bekar.

ANDANTE - 1) a moderate pace, corresponding to a calm step; 2) the title of the work and part of the sonata cycle in andante tempo.

ANDANTINO - 1) pace, more lively than andante; 2) the title of a work or part of a sonata cycle in andantino tempo.

ENSEMBLE - a group of performers acting as a single artistic group.

ARRANGEMENT - the processing of a piece of music for performance on another instrument or a different composition of instruments, voices.

Arpeggio - the performance of sounds sequentially, usually starting with a lower tone.

BELCANTO - vocal style, which originated in Italy in the 17th century, is distinguished by the beauty and lightness of sound, the perfection of the cantilena, and the virtuosity of the coloratura.

VARIATIONS - a piece of music in which the theme is stated several times with changes in texture, tonality, melody, etc.

VIRTUOSIS - a performer who is fluent in voice or the art of playing a musical instrument.

VOCALIZE - a piece of music for singing without words to a vowel sound; usually an exercise to develop vocal technique. Vocalises for concert performance are known.

VOCAL MUSIC - works for one, several or many voices (with or without instrumental accompaniment), with few exceptions associated with a poetic text.

SOUND PITCH - the quality of sound, determined by a person subjectively and associated mainly with its frequency.

GAMMA - the succession of all sounds of the mode, located from the main tone in ascending or descending order, has the volume of an octave, can be continued into neighboring octaves.

HARMONY - expressive means of music based on the combination of tones into consonances, on the connection of consonances in their sequential movement. It is built according to the laws of mode in polyphonic music. The elements of harmony are cadences and modulations. The doctrine of harmony is one of the main sections of music theory.

RANGE - sound volume (interval between the lowest and highest sounds) singing voice, musical instrument.

DYNAMICS - differences in the degree of sound strength, loudness and their changes.

CONDUCTING - management of a musical and performing group during learning and public performance musical composition. It is carried out by the conductor (bandmaster, choirmaster) with the help of special gestures and facial expressions.

DISSONANCE - unfused, tense simultaneous sounding of various tones.

DURATION - the time taken by the sound or pause.

DOMINANT - one of the tonal functions in major and minor, which has an intense attraction to the tonic.

WIND INSTRUMENTS - a group of instruments whose sound source is vibrations of an air column in the barrel (tube) channel.

GENRE - a historically established subdivision, a type of work in the unity of its form and content. They differ in the method of performance (vocal, vocal-instrumental, solo), purpose (applied, etc.), content (lyrical, epic, dramatic), place and conditions of performance (theatrical, concert, chamber, film music, etc.).

ZAPEV - the introductory part of a choral song or epic.

SOUND - characterized by a certain pitch and loudness.

IMPROVISATION - composing music while performing it, without preparation.

INSTRUMENTAL MUSIC - intended for performance on instruments: solo, ensemble, orchestral.

INSTRUMENTATION - the presentation of music in the form of a score for chamber ensemble or an orchestra.

INTERVAL - the ratio of two sounds in height. It happens melodic (sounds are taken alternately) and harmonic (sounds are taken simultaneously).

INTRODUCTION - 1) a brief introduction to the first part or finale of a cyclic instrumental piece of music; 2) a kind of short overture to an opera or ballet, an introduction to a separate act of the opera; 3) choir or vocal ensemble, following the overture and opening the action of the opera.

CADENCE - 1) a harmonic or melodic turnover that completes the musical structure and gives it more or less completeness; 2) a virtuoso solo episode in an instrumental concerto.

CHAMBER MUSIC - instrumental or vocal music for a small group of performers.

TUNING FORK - a special device that emits a sound of a certain frequency. This sound serves as a reference when tuning musical instruments and in singing.

CLAVIR - 1) common name for strings keyboard instruments in the XVII-XVIII centuries; 2) an abbreviation of the word klaviraustsug - an arrangement of the score of an opera, oratorio, etc. for singing with a piano, as well as for one piano.

COLORATURA - fast, technically difficult, virtuoso passages in singing.

COMPOSITION - 1) the construction of the work; 2) the title of the work; 3) composing music; 4) a subject in musical educational institutions.

CONSONANCE - continuous, coordinated simultaneous sounding of various tones, one of essential elements harmony.

climax - moment highest voltage in musical construction, a section of a piece of music, a whole piece.

LEITMOTIV - a musical turnover that is repeated in a work as a characteristic or symbol of a character, object, phenomenon, idea, emotion.

LIBRETTO - literary text, which is taken as the basis for the creation of any piece of music.

Organized in terms of intonation and rhythm, forming a certain structure.

METR - the order of alternation of strong and weak beats, the rhythm organization system.

A METRONOME is a tool that helps you determine the correct tempo for your performance.

MODERATO - moderate tempo, average between andantino and allegretto.

MODULATION - transition to a new key.

MUSICAL FORM - 1) complex means of expression embodying a certain ideological and artistic content in a musical work.

NOTE WRITING - system graphic signs for recording music, as well as the recording itself. Modern musical notation uses: 5-linear stave, notes (signs denoting sounds), key (determines the pitch of notes), etc.

OVERTONS - overtones (partial tones), sound higher or weaker than the main tone, merge with it. The presence and strength of each of them determine the timbre of the sound.

ORCHESTROVKA - an arrangement of a piece of music for the orchestra.

ORNAMENT - ways to decorate vocal and instrumental melodies. Small melodic embellishments are called melismas.

OSTINATO - repeated repetition of a melodic rhythmic figure.

PASSAGE - the succession of sounds in rapid movement, often difficult to perform.

PAUSE - a break in the sound of one, several or all voices in a piece of music; a sign in musical notation indicating this break.

PIZZICATO - reception of sound extraction on bowed instruments(pinch), gives a jerky sound, quieter than when playing with a bow.

Plectrum (mediator) - a device for sound extraction on stringed, mainly plucked, musical instruments.

PRELUDE - a small piece, as well as the introductory part of a piece of music.

PROGRAM MUSIC - musical works that the composer has provided with a verbal program that concretizes perception.

REPRISE - repetition of the motive of a musical work, as well as a musical sign of repetition.

RHYTHM - the alternation of sounds of different duration and strength.

SYMPHONISM - disclosure artistic intent with the help of a consistent self purposeful musical development, which includes confrontation and transformation of themes and thematic elements.

SYMPHONY MUSIC - musical works intended for performance symphony orchestra(large, monumental works, small plays).

SCHERZO - 1) in the XV1-XVII centuries. designation of vocal and instrumental works for humorous texts, as well as instrumental pieces; 2) part of a suite; 3) part of the sonata-symphonic cycle; 4) from the 19th century. independent instrumental work, a close capriccio.

HEARING MUSICAL - a person's ability to perceive individual qualities musical sounds feel the functional connections between them.

SOLFEGIO - vocal exercises for the development of hearing and reading music skills.

STRING INSTRUMENTS - according to the method of sound production, they are divided into bowed, plucked, percussion, percussion-keyboard, plucked-keyboard.

BEAT is a specific form and unit of musical meter.

THEME - a structure that forms the basis of a musical work or its sections.

TEMP - the speed of metric counting units. A metronome is used for accurate measurement.

TEMPERATION - alignment of interval ratios between steps of the sound system.

TONIC - the main step of the mode.

TRANSCRIPTION - an arrangement or free, often virtuoso, processing of a musical work.

TRILL - iridescent sound, born from the rapid repetition of two neighboring tones.

OVERTURE - an orchestral piece performed before a theatrical performance.

PERCUSSION INSTRUMENTS - instruments with a leather membrane or made of a material that itself is capable of sounding.

UNISON - the simultaneous sounding of several musical sounds of the same pitch.

FACTORY - a specific sound image of the work.

FALSETTO - one of the registers of the male singing voice.

FERMATA - stopping the tempo, usually at the end of a piece of music or between its sections; expressed as an increase in the duration of the sound or pause.

FINAL - the final part of a cyclic piece of music.

CHORAL - religious chant Latin or native languages.

CHROMATISM - halftone interval system of two types (ancient Greek and new European).

HATCHES - ways to extract sound on bowed instruments, giving the sound a different character and color.

EXPOSITION - 1) the initial section of the sonata form, which sets out the main themes of the work; 2) the first part of the fugue.

ESTRADA - a type of musical performing art