ombination with
one another, and with certain auxiliary terms, but to attempt to
define these combinations in this book would be altogether
impracticable. The conductor should however understand the
significance of the following qualifying expressions:

_non tanto_ (not too much)
_non troppo_ (not too much)
_ma non tanto_ (but not too much)
_ma non troppo_ (but not too much)

These expressions are used by the composer as a warning to the
performer not to overdo any indicated effect. Thus, _largo, ma non
troppo_ means that the composition is to be taken slowly, but not too
slowly. _Presto (ma) non troppo_, on the other hand, indicates a rapid
tempo, but not too rapid. For a fuller discussion of these matters,
see the author's text book on terminology.[14]

[Footnote 14: Gehrkens, _Music Notation and Terminology_. The A.S.
Barnes Co., New York.]

The third means of finding tempo has already been discussed, (see p.
45) and the fifth needs no further explanation; but a word should
perhaps be said to the amateur about the matter of tradition. The
young conductor must not fail to take into consideration the fact that
there has grown up, in connection with many of the classics, a well
defined idea of the tempos most appropriate to their rendition, and
that any pronounced departure from this traditional tempo is apt to
result in unfavorable criticism. Tradition is of course apt to make us
hide-bound in all sorts of ways, and yet in many respects it is a very
good thing, and before our conductor attempts to direct standard works
it will be well for him to hear them rendered by some of the better
organizations, so that he may ascertain what the traditional tempo is.
In this way he may at least avoid the accusation of ignorance which
might otherwise be made. This latter point will remind the reader of
the advice already so frequently given--_viz._, "study music and
listen to music a long time before you attempt very much conducting."

[Sidenote: VARIATION IN TEMPO]

Our treatment of tempo thus far has taken cognizance of only the
generalized tempo of the movement, and we have not discussed at all
the much more difficult matter of _variation_ in tempo. The more
evident changes of this sort are indicated by the composer through
such expressions as _ritardando_, _accelerando_, _et cetera_; and it
may be well to give at this point a list of the commoner of these
terms together with their meanings. Obviousl