Rubato

Rubato is a musical expressive device in which the performer modifies the tempo for expressive effect, borrowing time from one note or phrase and giving it to another. The term comes from the Italian rubare, meaning “to steal.” It is not a permanent tempo change; the underlying beat or metronome marking is generally resumed after the flexible passage, keeping the overall tempo intact.

There are two broad aspects of rubato. Tempo rubato involves speeding up or slowing down within a phrase to shape its musical line, while the tempo’s overall pace remains anchored to the underlying beat at larger structural points. In practice, performers may stretch a note or compress another to highlight phrasing, expression, or lyric intention. In vocal and instrumental music, rubato is often tied to musical syntax and rhetorical emphasis, with the most flexible timing occurring at cadences or peak expressive moments.

Historically, rubato is most closely associated with the Romantic era, where it became a central tool for personal and emotional interpretation. Composers such as Frédéric Chopin and Franz Liszt popularized its use, and it has since become a standard feature across many repertoires. In score notation, rubato is often suggested rather than strictly indicated; explicit markings such as rubato, con rubato, or senza rubato may appear, but many performances rely on established practice and the conductor’s or performer’s discretion. In ensemble settings, rubato requires careful coordination to avoid drifting away from the ensemble’s tempo.

Rubato remains a nuanced and sometimes debated aspect of performance practice, valued for its ability to convey expressiveness while preserving the music’s structural integrity.