Rhythm, metre and tempo

边玩边学

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Pulse is a recurring beat framework, audible or implied. Rhythm concerns sounds and silences, their attacks and durations. Metre groups beats and subdivisions, while tempo concerns their rate; these are related but different descriptions.
A pulse may slow, accelerate or be flexibly shaped. Ensemble players coordinate a shared timing intention, including agreed rubato, rather than being required to maintain one mechanical rate throughout all styles.

Using a crotchet as one unit: semibreve 4, minim 2, crotchet 1, quaver ½ and semiquaver ¼. Rests represent the corresponding duration without a note in the relevant part, while other parts or resonance can continue. These numbers are not universal main-beat counts.
One augmentation dot adds half the undotted value: a dotted minim equals 2 + 1 = 3 crotchet units and a dotted crotchet equals 1 + ½ = 1½ crotchet units. Do not confuse an augmentation dot after a note with a staccato dot above or below it.

The upper number counts the notated units named by the lower number: 4 indicates crotchet units and 8 indicates quaver units. In conventional simple metre, the main beat divides into two; in compound metre it divides into three.
2/4, 3/4 and 4/4 normally have two, three and four crotchet beats respectively. In 6/8, 9/8 and 12/8, quavers normally group into two, three and four dotted-crotchet main beats. Thus the 6 in 6/8 counts subdivisions, not six obligatory main beats. Compare 3/4 as 2+2+2 quavers with 6/8 as 3+3.

Syncopation displaces expected accents, often through weak-position emphasis or sustaining across a strong point. A common 3:2 triplet fits three equal notes into the duration usually occupied by two of the same written value. A dotted rhythm often pairs a dotted value with a shorter one, but the actual proportions must be read.
Polyrhythm combines contrasting rhythmic groupings such as three against two over a shared span; it is more specific than merely two different parts. An anacrusis is an initial pickup or incomplete bar leading to the first full bar. Describe its written duration and musical role rather than assuming it is always one note.

Tempo descriptions include Largo (broad/slow), Adagio (slow), Andante (walking pace), Moderato (moderate), Allegro (fast/lively) and Presto (very fast). Interpret them with the style, beat unit and any metronome instruction rather than memorising rigid universal ranges.
Accelerando gradually speeds up; ritardando gradually slows; rubato is expressive flexibility in timing, coordinated as the style requires. Dynamic changes are separate. A rhythmic or tempo device can support energy or an ending, but its effect depends on the rest of the musical context.

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