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It examines tempo as a performer’s responsibility, the role of mood and acoustics in choosing tempo, and the use of limited interpretive cues. It then covers time-signatures, words indicating tempo, essential fluctuations for baroque style, and rhythmic conventions, including notation variability and common inaccuracies.",{"@graph":69,"@context":121},[70,84,104],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/tempo-and-rhythm-in-bachs-organ-music-volume-three-chapters-one-to-five/567061/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":98,"encodingFormat":97,"isAccessibleForFree":99,"interactionStatistic":100},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/tempo-and-rhythm-in-bachs-organ-music-volume-three-chapters-one-to-five/567061.png","ImageObject",300,407,{"name":92,"@type":93},"Jacob","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-13",true,{"@type":101,"interactionType":102,"userInteractionCount":8},"InteractionCounter",{"@type":103},"ViewAction",{"@type":105,"mainEntity":106},"FAQPage",[107,113,117],{"name":108,"@type":109,"acceptedAnswer":110},"How does the book define “tempo as a performer’s responsibility”?","Question",{"text":111,"@type":112},"It treats tempo choice as relative, influenced by mood, acoustics, and the practical need to use the few available interpretive clues.","Answer",{"name":114,"@type":109,"acceptedAnswer":115},"What does the book say about time-signatures in Bach’s organ music?",{"text":116,"@type":112},"It describes time-signatures as relics of an abandoned system, identifies duple and triple as basic times, and discusses Bach’s specific use in organ works.",{"name":118,"@type":109,"acceptedAnswer":119},"Which rhythmic issues are highlighted under “conventions of rhythm”?",{"text":120,"@type":112},"It addresses variability of the dot, the French lilt, casual inaccuracies in rhythmic notation, and overall convention patterns in Bach’s organ music.","https://schema.org",{"og:url":83,"og:type":123,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":125,"canonical":83},"index,follow",{"doc_id":127,"site_id":62},567061,1791921427,{"code":4,"msg":5,"data":130},{"doc_id":127,"user_id":131,"nickname":92,"user_avatar":132,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":133,"file_id":134,"file_url":135,"file_type":136,"file_size":137,"view_count":8,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":138,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":143,"read_time":144},962084931830,"https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd","ML  \n410  \n.B13  \nD66  \n1960  \nongon iobertTempo and bytm n Ba32002000433662  \n# TEMPO AND RHYTHMINBACH’S ORGAN MUSIC\n\nbyROBERT DONINGTON  \nWith a Foreword by GORDON PFILLIPS  \nSOLE AGENTS:  \nC.F.PETERS cORPORATION373 PARK AVE.SO.,NEW YORK 16,N.Y.  \nThis vignette is a reproduction of Bach's seal,showing a diagonalornamentation of the initials JSB used twice,once in reverse  \nML  \n410  \n.B13  \nD66  \n1960  \n| DATE DUE   |  |\n| --- | --- |\n| DEC 161985   |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n|  |  |\n\n75  \n59-h7761  \nIABUH CULLEG LIBKAKYHillsboro.Kansas 67063  \nE.G.Haussmann(1748  \nTHE‘JENKE’PORTRAIT  \nThis photograph was taken after the portrait had been cleanedin the summer of 1950.  \n## SCHOOL OF BACH-PLAYINGFOR THE ORGANIST\n\nGeneral Editor:GORDON PHILLIPS  \nVOLUME THREE  \n/  \nABOR GOLLEGLIBHAHYHillshor.Kansas 67063  \nSCHOOL OF BACH-PLAYINGFOR THE ORGANIST  \nGeneral Editor:GORDON PHILLIPS  \nVOLUME THREE  \nTempo and RhythminBach's Organ Music  \nbyROBERT DONINGTON  \nHINRICHSEN EDITION LTD.  \nCLI·  \n373 Park Avenue SouthNew York 16,N.Y.  \n⑤Copyright 1960 by Hinrichsen Edition Ltd.,London,N.1International Copyright Secured.  All Rights Reserved.  \nCONTENTS  \nPAGE  \nFOREWORD,by Gordon Phillips ..9  \n..  \n6  \nMUSICAL EXAMPLES  \nCHAPTER ONE:TEMPO AS A PERFORMER’S RESPONSIBILITY11Why the right tempo is always a relative matter—Moodas a factor in the choice of tempo—Acoustics as a factorin the choice of tempo—On the need to use well the fewclues available  \n19  \nCHAPTER TWO:TIME-SIGNATURES  \nAll time-signatures the relics of an abandoned_system—Duple and Triple the only basic times—J.S.Bach's useof time-signatures—Time-signatures in Bach's organmusic  \n30  \nCHAPTER THREE:WORDS OF TEMPO  \n..  \nTime-words as vague as time-signatures—Time-words inBach's organ music  \n33  \nCHAPTER FOUR:FLUCTUATIONS OF TEMPO  \nFluctuations of tempo necessary in baroque music—Fluc-tuations of tempo in Bach's organ music  \n38  \n.  \nCHAPTER FIVE:CONVENTIONS OF RHYTHM  \nThe dot a variable quantity—The French lilt—Casual inac-curacies in the notation of rhythm—Conventions of rhythmin Bach's organ music  \n52  \nAN ANNOTATED BOOK LIST  \n..  \nCOMBINED PERSONAL AND SUBJECTIVAL INDEX53  \nSOME BACH PUBLICATIONS  \nSchool of Bach-Playing for the Organist ..55Books on Bach and Bach Facsimiles  ..57The Complete Organ Works of Bach···59Miscellaneous Bach Organ Works60  \n## MUSICAL EXAMPLES\n\nEx.1bar 13,as written  \nEx.2as conventionally performed  \nEx.3  \nbar 16,as writtenas conventionally performed  \nEx.4  \nbar 29,as writtenas conventionally performedEx.5  \nbar 40,as writtenas conventionally performedtetc.","cbCaiiItDZ0p7ZmR","https://ap.wps.com/l/cbCaiiItDZ0p7ZmR","pdf",3336621,66,"English","# Foreword\n# Musical Examples\n## Chapter One: Tempo as a Performer’s Responsibility\n## Chapter Two: Time-Signatures\n## Chapter Three: Words of Tempo\n## Chapter Four: Fluctuations of Tempo\n## Chapter Five: Conventions of Rhythm","[{\"question\":\"How does the book define “tempo as a performer’s responsibility”?\",\"answer\":\"It treats tempo choice as relative, influenced by mood, acoustics, and the practical need to use the few available interpretive clues.\"},{\"question\":\"What does the book say about time-signatures in Bach’s organ music?\",\"answer\":\"It describes time-signatures as relics of an abandoned system, identifies duple and triple as basic times, and discusses Bach’s specific use in organ works.\"},{\"question\":\"Which rhythmic issues are highlighted under “conventions of rhythm”?\",\"answer\":\"It addresses variability of the dot, the French lilt, casual inaccuracies in rhythmic notation, and overall convention patterns in Bach’s organ music.\"}]","Tempo and Rhythm in Bach's Organ Music - Volume Three - Chapters One to Five | PDF",1791864891,102]