The rate of speed at which a music file is played will influence its character markedly. Sequencers all provide means of setting and editing tempos, as well as introducing tempo changes within a recording. You may have noticed this phenomenon in so-called “classical” recordings, as you watch the tempo box vary. The Dance Macabre of Saint Saens is illustrative, as are the dances from Tchaikovsky's Nutcracker Suite. I recorded a sequence of David Rose's Holiday for Strings--specifying a tempo of 250 BPM for the first 36 measures, and a tempo of 210 BPM for the release.

In the recording of medium-tempo jazz (or any other form of popular music), a frequent misjudgment is to play the tune too slowly. The arrangement may not “drag,” or convey dreariness, but it just seems to need a bit more acceleration in order to spring to life. “Play it brighter” is what a jazz musician might urge. Sweet Georgia Brown might amble nicely at 120 BPM, semaphoring her appeal, but she might draw more attention sashaying at 150 BPM. Of course, one can err at the other end of the tempo spectrum. A somber gospel-blues, recorded at 50 BPM, begins to lose its dignity as tempo is increased unwisely. As with other editing of sequences, the proper tempo relies heavily on experimentation and judgment, for which no formula exists.

Sequencers have convenient features for monitoring or editing tempo settings. The most obvious is the tempo box (sometimes labeled “Conductor”) with its familiar spin or scroll button. If the sequencer includes an Event window, it may display the tempo setting, which can be edited. For wannabe artists, one of the continuous controllers is tempo, allowing the sketching of tempo changes. Sequencers also offer the means of incorporating special effects, such as gradually slackening tempo (ritard), or speeding it up (accelerando). Perhaps the easiest way to accomplish this is as follows:

1. Select the measure at which you want the ritard to begin. [Example: Measure 94.]
2. Assign a tempo setting to this point. [Example: 89 BPM.]
3. Select the measure at which you want the ritard to end. [Example: Measure 105.]
4. Assign a tempo setting to this point. [Example: 72 BPM.]

Copyright © 1995 Eugene A. Confrey, PhD. All rights reserved.