Judy Tarling notes four specific factors that are of great importance when considering a suitable dance tempo: the pulse, written tempo instructions, harmonic rhythm, and structure.

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The first factor musicians should note when performing a dance movement is the time signature. The fundamental principle in understanding time signatures is that the larger the value of the lower number, the faster the tempo; hence 2/4 is faster than 2/2. Consequently, if musicians divide the pulse into a smaller note length than what is indicated in the time signature (counting in crotchets rather than minims when in 2/4), then the tempo is considered too slow.[1] Whilst any two time signatures may contain a similar number of beats per bar, they hold different connotations. For example, cut time was considered to have a faster tempo than common time, but slower than 2, whilst any piece with a time signature of 2 should be performed lively and well-articulated.[2] The composer would have chosen an appropriate time signature based on the character or affect they wanted the musicians to convey.

 

Some composers wrote specific instructions alongside the dance to indicate a desired tempo or affect, such as gravement or vite. The difficulty this causes for modern musicians is that many of these terms had different meanings than they do today. Furthermore, these instructions were understood to vary even in the 17th and 18th centuries depending on the composer, their location, and the function of the work. Written indications were intended to enhance the mood of a musician’s interpretation, but these should come secondary to the information understood from the time signature.

 

The rate of harmonic change in any given piece also gives an indication towards tempo. If the harmony changes only once per bar, a pulse of one beat per bar may be suitable, and thus enable a faster tempo. Whereas if the harmony changes more frequently within a single bar, a slower tempo is likely to be necessary for the audience to absorb and process all the musical information they are hearing.

 

Moreover, the dance movement’s placement within a wider musical structure can also be indicative of the appropriate speed for the movement. Within larger works, such as the instrumental dance suite, a relative tempo generally connects all the movements together. Therefore, the context in which the dance is performed needs to be considered, with a suitable tempo in relation to those chosen in other movements.[3]

 

The choreography the music accompanies can also provide an insight to an appropriate tempo. For example, if an arm gestures performed feels to rushed for the dancer, and looks to rushed to the audience, then the tempo is clearly far too fast, as it detracts from the elegant and noble style that underpins most dance types. Moreover, gravity determines the speed of a jump or spring, as this cannot be performed faster or slower by the dancer. Sprung steps should spend an even amount of time going upwards as they do downwards, which is performed to slowly, appears ‘sluggish and laboured.’[4] When the most appropriate tempo is found, dancers ‘perform not only with pleasure and ease to themselves, but also give a double satisfaction to the spectators.’[5]

 

Choreography, however, is not conclusive of ideal tempi, and should be treated as a suggestion, just like written indications by the composer.[6] Like music, there is rarely a defined tempo that a dancer must perform at. Tempo can vary depending on the technical and musical abilities of the individual(s) dancing, which can also vary over time for one specific person.

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A constant, fixed tempo is preferable when performing any type of dance movement, regardless of whether musicians are accompanying dancers or not. Quantz confirms this, stating that ‘if a piece is to be effective, it must not only be played in the tempo appropriate to it, but also in the same tempo from beginning to end, not faster at one place, slower at another.’[7] There are, however, occasional exceptions. Small ritardandos may be applied at the ends of dances, whereby it acts as a placement of the final chord rather than significant slowing down in tempo. But ritardandos should not be applied to every cadence within short pieces as constant changes in tempo will ‘deprive the music of the unity that they require.’[8]

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When performing without dancers, slight fluctuations of tempo may be applied within the bar to place attention on contrasting or significant ideas. Some particular scenarios where musicians may choose to use artistic license include moments where the bass line is static, holding a pedal note, or silent, allowing the soloist or principal musician to adopt a small amount of rubato until the bass returns or changes. In doing this, musicians should be cautious of the dangers that may occur, resulting in a gradual decline in tempo which can be difficult to recover in performance.[9]