is not the highest point of the phrase. Therefore, Chopin marked poco rubato to signify to the player that they can emphasize the intensely expressive moment, but to also hold back for the actual climax occurring one measure later. A second example of rubato used at a singing moment is in his Second Piano Concerto. In a similar situation, the melody leaps up to three A-flat played consecutively and the rubato marked tells the player to perform them in a singing quality. Chopin primarily marks rubato to emphasize expressive melodic lines or repetition. However, in some cases, he also uses rubato to establish a certain mood at the beginning of a piece. The Nocturne Op. 15 No. 3 is one of the examples of rubato being used for setting up a mood. In the Nocturne Op. 15 No. 3, Chopin marked Languido e rubato in the first bar, as a general suggestion of the work's comprehensive way of delivery. The rubato in a languid manner would affect the tempo, tone color, touch, and dynamics, which influence performers to set the mood at the beginning of the piece. Quotations Misinterpretations Definitions of musical concepts (such as rubato) cause misinterpretations if they disregard artistic musical expression. The type of rubato in which the accompaniment is kept regular does not require absolute regularity; the accompaniment still gives full regard to the melody (often the singer or soloist) and yields tempo where necessary: In the music of Chopin, the word "rubato" appears in just 14 of his works. While other composers (such as Schumann and Mahler) are ignored in regards to this issue, we often fail to consider the German terms, like "Zeit lassen", for the same principle. The fact that "rubato" is more an aspect of performance than a compositional device makes us question whether some other terms that could be interpreted as tempo distortions, like "cedéz", "espressivo", "calando", "incalzando", or even Brahms' special "dolce" and "sostenuto", are clear-cut in performance. Examples Sergei Rachmaninoff is one of the composers who uses the proper term "tempo rubato" in some passages of his orchestral works, such as the buzzy introduction for the 2nd movement of his Symphonic Dances (Rachmaninoff). Another example, is the 2nd theme of the first movement of Symphony No. 3 (Rachmaninoff): Rachmaninoff's rubato re-created the eloquence and sure musical instinct that must have characterised the rubato-practise of Mozart, Beethoven or Chopin. References