Allegro ma non Troppo: Fast, but not too much (116–144 BPM)

What Allegro ma non Troppo Means

Allegro ma non troppo is a nuanced instruction meaning 'fast, but not too much,' asking the performer to hold back slightly from a full allegro. It is one of the most common compound tempo markings, reflecting composers' desire for precision in their tempo intentions. Brahms was particularly fond of this marking, using it to temper his characteristically rich, weighty textures.

Etymology

Italian, 'allegro' (lively) + 'ma non troppo' (but not too much)

BPM Range

Minimum: 116 BPM
Maximum: 144 BPM
Typical: 130 BPM

Resist the urge to push to full allegro speed. The 'ma non troppo' is a deliberate restraint, maintain energy and momentum while keeping the tempo measured and controlled.

Allegro ma non Troppo in Real Music

Allegro ma non troppo is a composer arguing with a performer in advance. It is written precisely because allegro alone tends to get pushed, and the phrase not too much tells the player to keep energy while refusing excess. Beethoven opened his Pastoral Symphony, No. 6, with an Allegro ma non troppo titled Awakening of cheerful feelings on arriving in the countryside, where the restraint is programmatic: the movement's repeated pastoral figures need space to feel unhurried rather than busy. His Violin Concerto in D major also begins Allegro ma non troppo, giving the soloist's long-breathed lines room above the famous four timpani strokes. Brahms was fond of the related allegro non troppo, and for the same reason: his textures are thick, his inner voices matter, and speed erases them. The marking is largely a nineteenth-century development, arriving as composers became more prescriptive and less willing to trust a conductor's judgement. Its 116-144 BPM range sits noticeably below allegro's 120-156 BPM ceiling, confirming what the words say. Practically, performers use the qualifier as a decision rule: whenever tempo and clarity conflict, clarity wins. The music should still feel lively and forward-moving, but every inner line should remain audible rather than being flattened into a general rush.

Example Pieces

• Symphony No. 1, 1st movement (Un poco sostenuto, Allegro), Johannes Brahms
• Violin Concerto in D major, 1st movement (Allegro non troppo), Johannes Brahms
• Symphony No. 7, 1st movement (Langsam, Allegro risoluto ma non troppo), Gustav Mahler
• Symphony No. 6 'Pastoral', 1st movement (Allegro ma non troppo), Ludwig van Beethoven

Common Genres

Related Tempo Markings

Frequently Asked Questions

Related References