The common denominator – a mediator of the relationship between different tempo markings
The common denominator – a mediator of the relationship between different tempo markings

Summary/Abstract: We have tried to define what we mean by the concept of common denominator by synthesizing its underlying principles, namely: the set of values and the pulse. These two join together two different tempos that have different metric patterns. The common denominator is therefore a mediator of the transition moments. In this context we have presented several musical examples that reflect the instances of occurrence of the common denominator. They include the symphonic poem Till Eulespiegels lustige Streiche by Richard Strauss, the Roman Carnival Overture by Hector Berlioz and the first movement of Tchaikovsky Symphony No. 4. We have presented the common denominator from two perspectives, i.e. graphic and aural, each with its specific instances of occurrence. We have established that they represent the fundamental features of the common denominator. In this context we have determined the fundamental category with five common denominator subtypes. Other instances of occurrence of the common denominator have been included in a particular category where we have identified three subtypes. Tempo and tempo changes are, in our opinion, utterly essential to developing a valid interpretative concept and, therefore, using the common denominator to achieve the transition from one tempo to another consciously and in accordance with the reality of sound events comes as a natural consequence.

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