Impact Piano Transcription
In a world in which most sheet music has metronome markings for beats per minute (bpm), and even pedagogically-oriented works on meter rely on precise tempo notation, it is easy to forget that piano transcription is more than just noting the exact number of beats that should be played each bar. There are a lot of other considerations that go into making a successful performance, not the least of which is how to choose an appropriate tempo for the piece.
While it is important to learn and practice playing at a speed that can be sustained over time, this should not be done at the expense of the expressive qualities of a piece. The tempo should be chosen to match the musical intent, and this may mean playing a bit slower or faster than what is written in the score.
Aside from the overall tempo, there are also pacing considerations to take into account. For example, if the piece requires a rhythm that is highly irregular, then an uneven tempo can be effective in highlighting this. This is especially true if the irregularity is a feature of the musical style, such as a jazz rhythm that is often played quite fast.
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How Tempo and Pacing Considerations Impact Piano Transcription
Tempo can also be influenced by the articulation of the notes. For example, short, staccato accents (marcato) can make a piece sound more snappy and energetic, while long, legato articulations can create a sense of smoothness and warmth. This can be very helpful in bringing out the emotions that a composer intends.
The tempo of a piece can also be influenced by the rhythm of the accompaniment, and how that rhythm is interpreted by the audience. A drum part with a pronounced kick-snare alternation can impose its own tempo, for instance, by forcing the pianist to maintain an even beat count in order to not overwhelm the vocal melody. A song with a swing feel, however, can be played with a more uneven tempo that emphasizes the alternating beats of the chorus.
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In the case of classical music, a composer’s tempo markings are not always reliable. It is not uncommon for virtuosi to play the Sarabande movements of Bach’s solo cello suites extremely slowly, when the composer clearly intended the pieces to be danced at a faster tempo.
This is why a lot of people like to use descriptive words for tempo (Adagio, andante, moderato, etc) rather than an actual bpm, since these can allow more flexibility. However, the bpm can still be useful when referring to a particular articulation or mood. It is also important to remember that not all tempos are equal, and that a piece can sound very different if played at the same speed by two different musicians.
