#kirnberger

[...] a correct feeling for the natural tempo of every meter, or for what is called tempo giusto, is attained by diligent study of all kinds of dance pieces. Every dance piece has its definite tempo, determined by the meter and the note values that are employed in it.

The term Gemüthsbewegung, which we Germans give to passions or affections, already indicates analogy to tempo. In fact, every passion and every sentiment – in its intrinsic effect as well as in the words by which it is expressed – has its faster or slower, more violent or more passive tempo. This tempo must be correctly captured by the composer to conform with the type of sentiment he has to express. Thus I must admonish the aspiring composer above all that he study diligently the nature of every passion and sentiment with regard to tempo, so that he does not make the terrible mistake of giving the melody a slow tempo where it should be fast, or a fast tempo where it should be slow. However, this is a field that is not limited to music, and that the composer has in common with the orator and poet. Furthermore, he must have acquired a correct feeling for the natural tempo of every meter, or for what is called tempo giusto. This is attained by diligent study of all kinds of dance pieces. Every dance piece has its definite tempo, determined by the meter and the note values that are employed in it.