accelerando

Note that the second method takes account of interruptions to the pulse such as fermatas, accelerandos and ritardandos, while the first and third ordinarily do not.

Frenetic rhythms led through superbly controlled accelerandos to muted tuttis, dying away to a hive of murmuring bees.

In trying to account for the spectator's sense of tempo, however, it seems important to consider how the variable rhythms of editing, speaking, and figure movement interact and how they help to articulate the rhythm of the film as a whole, its accelerandos and ritardandos.

I noted two accelerandos for which Mozart did not call: the first is almos inevitable given the surge of excitement at bar 34 of the first finale but the second ignobly coarsens the end of the whole work.

This renders subtleties of rubato and other tempo alterations, including ritardandos, accelerandos and fermatas, difficult to coordinate.

While invaluable in more experimental works, such as Penderecki's early symphonies and cello works, the introduction of a new method for indicating accelerandos and rallentandos in this case is totally unnecessary and seems, like the quarter-tones, an afterthought.

I noted two accelerandos for which Mozart did not call: the first is almost inevitable given the surge of excitement at bar 34 of the first finale but the second ignobly coarsens the end of the whole work.

Issues such as balance, voicing, shaping of phrases, rhythmic steadiness and accuracy, variety of articulation, planning of dynamic shadings and pacing of ritardandos and accelerandos, all need to be discussed in a young pianist's musical development.

There is also a great deal of tinkering with tempo, yet Debussy's subtle relaxations of pulse and accelerandos back to the main tempo in the finale are not fully observed.

Hairpins, articulations, accelerandos, and ritardandos are no more than graphic images.

This is followed at once by a wonderful cadenza that pushes the bass to its limits (or even beyond): virtuoso double stops (meno mosso, con fantasia); then, accompanied by a solo bass from the orchestra playing a form of the opening theme, a stunning andante passage ascending into high harmonics (marked "take time"); and finally, a dozen hectic measures of continuous double stops with repeated accelerandos, ending with a sequence accelerating from lento to allegro that descends to the very bottom of the bass's range.