Tempo rubato

Rubato or tempo rubato ( free in the lecture, Italian rubare = rob, steal ), also rubamento di tempo, Rubando, referred to in the music different types of extension or shortening in playing of sounds, often associated with the requirement that the " stolen time " must be returned.

Already in the 18th century names tempo rubato various types of manipulation of tone durations and stroke weight. So tempo rubato is considered as the inverse of the metric weight ratios by emphasizing lighter beats.

In particular, the term referred to a style of play, in the ahead of the melody or remains, while the accompaniment is strictly remains in tact, so that melody and accompaniment are not synchronized for a while. Famous for this technique were Franz Benda, Wolfgang Amadeus Mozart and Frédéric Chopin.

"That I always ACCURAT in tact bleybe. over which they astonished all. The tempo rubato in an Adagio that the lincke hand does not know so, they may not understand. bey gives them according to the lincke hand. "

Also on early sound recordings can be heard this practice, not least in the pianistic style, almost always playing the melody on the bass.

During the 19th and 20th century, the term was used more and more synonymous with rubato, so as a general acceleration or deceleration of the tempo. The lecture designation for a free handling of the pace was discrezione in the 18th century con.

The explicitly in the score required rubato is mainly to be found in the music of the Romantic period. In particular, the piano music of Chopin, as well as some works by Franz Schubert and Alexander Scriabin carry detailed instructions on how to rubato.

In jazz rubato is an interpretative means, the offbeat, the term has a different meaning is attached. At the Drive accents are set in front of the basic beat. Relaxed lagging behind the accents verschleppend the basic beat.