Tempo rubato
Encyclopedia
Tempo rubato is a musical term
referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo
of a piece at the discretion of the soloist
or the conductor
. Rubato is an expressive shaping of music that is a part of phrasing.
One can distinguish two types of rubato: in one the tempo of the melody is flexible, while the accompaniment was kept in typical regular pulse (yet not rigidly in mechanical fashion; but adjusting to the melody as necessary—see below). Another type affects melody and accompaniment. While it is often associated with music of the Romantic Period
, classical performers frequently use rubato for emotional expressiveness in all kinds of works.
Rubato, even when not notated, is often used liberally by musicians; e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment
. This intuitive shifting leads to rubato's main effect: to make music sound expressive and natural. Frédéric Chopin
is often mentioned in context with rubato (see Chopin and Rubato).
While rubato is often loosely taken to mean playing with expressive and rhythmic freedom; it was traditionally used specifically in the context of expression by speeding up and then slowing down. In the past expressive and free playing (beyond only rubato) was often associated with the terms "ad libitum":
The opinion given by Tom S. Wotton, that "every bar has its proper time value" may be regarded as an inaccurate description: Karl Wilson Gehrkens mentions "duration taken from one measure [...] and given to another" which implies bars of differing duration. Rubato relates to phrasing; and since phrases often go over multiple bars; it is often impossible (and also not desired) for each bar to be identically long.
Musical terminology
This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian , in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from...
referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
of a piece at the discretion of the soloist
Solo (music)
In music, a solo is a piece or a section of a piece played or sung by a single performer...
or the conductor
Conducting
Conducting is the art of directing a musical performance by way of visible gestures. The primary duties of the conductor are to unify performers, set the tempo, execute clear preparations and beats, and to listen critically and shape the sound of the ensemble...
. Rubato is an expressive shaping of music that is a part of phrasing.
One can distinguish two types of rubato: in one the tempo of the melody is flexible, while the accompaniment was kept in typical regular pulse (yet not rigidly in mechanical fashion; but adjusting to the melody as necessary—see below). Another type affects melody and accompaniment. While it is often associated with music of the Romantic Period
Romantic music
Romantic music or music in the Romantic Period is a musicological and artistic term referring to a particular period, theory, compositional practice, and canon in Western music history, from 1810 to 1900....
, classical performers frequently use rubato for emotional expressiveness in all kinds of works.
Rubato, even when not notated, is often used liberally by musicians; e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment
Accompaniment
In music, accompaniment is the art of playing along with an instrumental or vocal soloist or ensemble, often known as the lead, in a supporting manner...
. This intuitive shifting leads to rubato's main effect: to make music sound expressive and natural. Frédéric Chopin
Frédéric Chopin
Frédéric François Chopin was a Polish composer and virtuoso pianist. He is considered one of the great masters of Romantic music and has been called "the poet of the piano"....
is often mentioned in context with rubato (see Chopin and Rubato).
While rubato is often loosely taken to mean playing with expressive and rhythmic freedom; it was traditionally used specifically in the context of expression by speeding up and then slowing down. In the past expressive and free playing (beyond only rubato) was often associated with the terms "ad libitum":
The opinion given by Tom S. Wotton, that "every bar has its proper time value" may be regarded as an inaccurate description: Karl Wilson Gehrkens mentions "duration taken from one measure [...] and given to another" which implies bars of differing duration. Rubato relates to phrasing; and since phrases often go over multiple bars; it is often impossible (and also not desired) for each bar to be identically long.
Quotations
"Accompaniment yields/adjusts to melody"
Dictionary definitions of musical concepts (such as rubato), may sometimes cause misinterpretations – often because of explanations that disregard artistic musical expression, or fail to recognize artistic musical expression as the actual source of the concept discussed. Concerning the type of rubato, in which the accompaniment is kept regular, it must therefore be mentioned that this does not refer to absolute strict regularity: the accompaniment does still give full regard to the melody (often singer or soloist) and yields tempo where necessary. It is critically viewed, when the accompaniment is just played absolutely regularly and with complete disregard for the melody:Articles
- Tempo Rubato by Ignacy Jan PaderewskiIgnacy Jan PaderewskiIgnacy Jan Paderewski GBE was a Polish pianist, composer, diplomat, politician, and the second Prime Minister of the Republic of Poland.-Biography:...
(Polish Music Journal Vol. 4; No. 1; Summer 2001. ISSN 1521-6039)
Chapter contributed to Henry T. FinckHenry Theophilus FinckHenry Theophilus Finck was an American musical critic, born at Bethel, Missouri, and raised in Portland, Oregon, where he was taught piano and violincello. He taught himself Latin and Greek so thoroughly that he was able to enter Harvard as a sophomore in 1872...
's book Success in music and how it is won (1909) - Tempo rubato, and other essays (c.1920) Constantin von Sternberg (1852–1924)
- Nineteenth-century Musical Agogics as an Element in Gerard Manley Hopkins' Prosody by Christopher R. Wilson, Comparative Literature, 52/1 (Winter 2000), 72–86.