Allegro is 120 to 156 beats per minute (BPM) on a standard metronome. The Italian word literally translates to “joyful,” and as a tempo marking it tells musicians to play fast and bright. In practice, the exact speed depends on the piece, the composer’s intent, and which variation of allegro appears on the score.
Where Allegro Fits Among Tempo Markings
Musical tempos form a spectrum from extremely slow to extremely fast. Allegro sits firmly in the “fast” category, but it’s not the fastest. Here’s how it compares to its nearest neighbors:
- Allegretto: 112–120 BPM, moderately fast
- Allegro: 120–156 BPM, fast and bright
- Vivace: 156–176 BPM, lively and fast
- Presto: 168–200 BPM, very fast
The boundary between allegretto and allegro falls right around 120 BPM. That number is a useful landmark: if you tap your foot twice per second, you’re at 120 BPM, which is the slower end of allegro. At the upper end, 156 BPM, you’re tapping nearly three times every two seconds, and the music starts approaching vivace territory.
Common Variations of Allegro
Composers rarely write just “allegro.” They almost always add a modifier that nudges the tempo or character in one direction. These variations carry their own expected speed ranges.
Allegro moderato (116–120 BPM) sits right at the border between allegretto and allegro. It tells the performer to play close to allegro speed but with a touch of restraint. Allegro ma non troppo, meaning “fast but not too much,” similarly asks for a tempo on the slower side of the allegro range. Allegro con brio (“fast with spirit”) typically lands in the middle or upper portion of the range, emphasizing energy and drive. At the extreme end, allegro vivace or allegrissimo pushes to 172–176 BPM, essentially crossing into vivace or presto territory.
How Composers Actually Use Allegro
The 120–156 BPM range is a guideline, not a rule. When the metronome was invented in the early 1800s, composers finally had a way to specify exact tempos, and their choices didn’t always line up neatly with the textbook ranges.
Beethoven’s Ninth Symphony is a good example. The first movement is marked “Allegro ma non troppo e un poco maestoso” (fast but not too much, and a little majestic), and Beethoven set his metronome marking at 88 BPM. That’s well below the standard allegro range and technically closer to andante or moderato. The fourth movement includes an “Allegro assai” (very fast allegro) section marked at just 80 BPM, and an “Allegro ma non tanto” section at 120 BPM.
These markings show that for Beethoven, “allegro” described the character of the music as much as its speed. A majestic allegro could be considerably slower than a bright, joyful one. The modifiers matter enormously, and performers have debated the “correct” speeds for famous works for over two centuries.
Allegro in the Baroque and Classical Eras
Before the metronome existed, allegro meant something slightly different depending on the era. In Baroque music (roughly 1600–1750), tempos were generally more moderate, and an allegro by Bach or Vivaldi would likely have been played slower than an allegro by Mozart or Beethoven a few decades later. The metronome wasn’t patented until 1815, so earlier composers left tempo interpretation to the performer’s judgment, guided by the time signature, note values, and the overall character of the piece.
By the mid-19th century, as metronomes became standard equipment, the allegro range solidified around the 120–156 BPM window that musicians still use today. But even now, a conductor’s interpretation can shift a given allegro passage by 10 or 20 BPM in either direction, and audiences rarely notice anything unusual.
Setting Your Metronome for Allegro
If you’re practicing a piece marked allegro with no further modifier, start around 130–140 BPM. That puts you in the comfortable middle of the range. If the piece has a modifier like “ma non troppo” or “moderato,” pull back toward 120. If it says “con brio,” “vivace,” or “assai,” push closer to 150–156 or beyond.
Keep in mind that the beat the metronome clicks on depends on the time signature. In 4/4 time, the BPM typically refers to quarter notes. In 2/2 (cut time), the same allegro marking might apply to half notes, which effectively doubles the speed of the underlying eighth and sixteenth notes. Always check which note value gets the beat before setting your metronome.