music dictionary : musical symbols

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dictionary 1-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z symbols composers

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We have prepared a printable version of this web page in pdf format: Music Symbols to Print

We have included symbols that might be found on a musical score, including a number that are not strictly musical (i.e. copyright symbol, etc.)

0,1,2,3,4,5,6,7,8,9,etc. see 1-9 reference below

I,II,II,IV,V,VI,VII,VIII,i,ii,iii,iv,v,vi,vii,viii 1-9

staff, stave or pentagram: a framework of five lines on which musical

notation is written such that the higher the note-sign on the staff the
higher its pitch

system: notation of a line of music including all the parts and voices
involved, presented in a group of two or more staves which are joined
together on the left hand side by a vertical bar (called a systemic
barline) and a brace (the brace is not shown in this image)

barline: a vertical line (or lines) drawn across a staff (or if there are
many lines, across a number of staves) to mark off measures (or
bars) of a particular length, i.e. containing a number of notes and/or
rests whose total time value is given by the time signature
bars & bar lines
dashed, dotted or auxiliary barline: used to mark divisions within a
bar (measure), i.e. between two solid barlines, or to show that the
barline is not necessarily marking periodic agogic accents in the music
(as where unbarred polyphonic music is edited with barlines, or the
work employs mixed metres)
music start: barline placed at the beginning of a section of a piece of
music

music end: barline denoting the end of a piece of music

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 brace: used with a line to joining multiple staves, for example, as
found in piano music

bracket: used with a perpendicular line joining multiple staves, for

example, as found in piano music

clef: graphical symbol placed on the left of the stave which establishes
the relationship between particular note names and their position on
the staff lines and spaces (i.e. tells us which pitch "class" that stave
belongs to).

treble (G2) G-clef

bass (F4) F-clef
alto (C3) C-clef
soprano (C1) and mezzosoprano (C2) C-clef
tenor (C4) C-clef
baritone (C5) C-clef, baritone (F3) F-clef and subbass (F5) F-clef
French violin or French (G1) G-clef
percussion or indefinite pitch clef - not shown

At the suggestion of Nick Meiners, we show the relative pitch positions

of the commonly used clefs

G-clef (e.g. treble clef) marks G above middle C

C-clef (e.g. alto clef) marks middle C
F-clef (e.g. bass clef) marks F below middle C

old C-clef sign, i.e. old alto, tenor, soprano, baritone and
mezzosoprano clef sign

a G-clef sign found in the score of La Bohème by Giacomo Puccini

(1858-1924) published by Ricordi: a G-clef used for the tenor voice,
where the note sounds one octave lower than it written if the clef had
been a standard G clef
[image provided by John Garside]

G-clef ottava alta

octave clefs

G-clef ottava bassa

octave clefs

F-clef ottava alta

octave clefs

F-clef ottava bassa

octave clefs

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 alternative percussion clef, indefinite pitch clef or neutral clef

percussion or indefinite pitch clef

the main elements of a musical score

common time: equivalent to a time signature of 4/4, namely four

crotchets (quarter notes) to a bar (measure)

common time, alla breve/cut time, alla cappella time

alla breve: also called 'cut time' or 'alla cappella time'; marked with a
large C with a vertical line through it, used for quick duple time in
which the minim or half note is given one beat instead of two.
(occasionally written with two parallel vertical lines through a large C)

common time and alla breve/cut time

anatomy of a note, a single sound of a particular pitch and length

which is notated with a symbol made up of a notehead (in all cases), a
stem (in some cases) and a flag (in some cases), and which with
notes bearing flags are grouped together using a beam

sprechgesang stem
sprechgesang: speech-song, a term used by Arnold Schönberg
(1874-1951) to describe a voice delivery midway between song and
speech, although he preferred the terms sprechstimme speaking
voice (which was used by Humperdinck in Königskinder [1910]),
sprechmelodic (speech melody) or rezitation (recitation)

Note Sign
number equal
English American Italian French German Spanish Catalan
to
1 semibreve
carrée cuadrada
or or
breve Doppeltakt(note) quadrada (f.)
1 double-whole brevis breve
/2 or breve or or
note or or
brevis Brevis breu (f.)
double-ronde doble
(meaning square) redonda
semi-brève
redonda
or
1 semibreve whole note semibreve ganze Takt(note) or rodona (f.)
ronde
semibreve
(meaning round)
minima Halbe(note) blanca
blanche
2 minim half note or or or blanca (f.)
(meaning white)
bianca halbe Takt(note) mínima

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 semiminima
noire
4 crotchet quarter note or Viertel(note) negra negra (f.)
(meaning black)
nera

corchea
croche
8 quaver eighth note croma Achtel(note) or corxera (f.)
(meaning hook)
croma

double croche semicorxera

16 semiquaver sixteenth note semicroma Sechzehntel(note) semicorchea
(meaning double hook) (f.)

triple croche
32 demisemiquaver thirty-second note biscroma Zweiunddreissigstel(note) fusa fusa (f.)
(meaning triple hook)

quadruple croche
64 hemidemisemiquaver sixty-fourth note semibiscroma (meaning quadruple Vierundsechzigstel(note) semifusa semifusa (f.)
hook)

semihemidemisemiquaver cent-vingt-huitième garrapatea

one hundred and twenty-eighth centoventottavo
128 or or Hundertundachtundzwanzigstel(note) or
note (nota)
quasihemidemisemiquaver quintuple croche cuartifusa

Rest
number equal to 1 English American Italian French German Spanish Catalan
semibreve
silencio de
cuadrada
bâton or
doble pausa (f.)
or pausa de
1 double-whole or
/2 breve rest pausa di breve pause de brève doppel Pause cuadrada
rest pausa de quadrada
or or
(f.)
silence de brève silencio de breve
or
pausa de breve
silencio de
redonda
or
pausa de
pausa (f.)
redonda
or
1 semibreve rest whole rest pausa di semibreve pause ganze Pause or
pausa de rodona
silencio de
(f.)
semibreve
or
pausa de
semibreve
media pausa
or
mitja pausa (f.)
silencio de
2 minim rest half rest pausa di minima demi-pause halbe Pause or
blanca
pausa de blanca (f.)
or
pausa de blanca
silencio de negra
or
pausa de negra
or quart de pausa (m.)
pausa di
or 4 crotchet rest quarter rest soupir Viertelpause silencio de or
semiminima
semiminima pausa de negra (f.)
or
pausa de
semiminima

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 silencio de
vuitè de pausa (m.)
corchea
or
8 quaver rest eighth rest pausa di croma demi-soupir Achtelpause or
pausa de corxera
pausa de
(f.)
corchea
silencio de
setzè de pausa (m.)
semicorchea
or
16 semiquaver rest sixteenth rest pausa di semicroma quart de soupir Sechzehntelpause or
pausa de
pausa de
semicorxera (f.)
semicorchea
trenta-dosè de
silencio de fusa
pausa (m.)
32 demisemiquaver rest thirty-second rest pausa di biscroma huitième de soupir Zweiunddreißigstelpause or
or
pausa de fusa
pausa de fusa (f.)
silencio de seixanta-quatrè de
semifusa pausa (m.)
pausa di
64 hemidemisemiquaver rest sixty-fourth rest seizième de soupir Vierundsechzigstelpause or or
semibiscroma
pausa de pausa de semifusa
semifusa (f.)
silencio de
garrapatea
semihemidemisemiquaver one hundred and pausa di cent-vingt-
128 Hundertundachtundzwanzigstelpause or
rest twenty-eighth rest centoventottavo huitième de soupir
pausa de
garrapatea

multi-rest or multiple measure rest: where a number of bars contain

only rests, in instrumental parts (and sometimes in scores), the bars
are 'collected' together and shown as a single bar contain a rest
together with the number of consecutive bars given by a large
number placed centrally above the staff over the single bar
various note heads listed left to right:
top row: plus, circle x, square white, square black, triangle up white,
triangle up black, triangle left up white, triangle left up black, triangle
right up white
middle row: triangle right up black, triangle down white, triangle
down black, triangle right down white, triangle right down black,
moon white, moon black, triangle-round down white, triangle-round
down black
bottom row: parenthesis, white, black, cluster white, cluster black,
croix, x

certain note heads have specific meaning, for example:

diamond: special playing modes or notes such as: half-valve,
tablature for string harmonics, falsetto voice, silent depression of
keys, held keys
X: indeterminate pitches, spoken voice and unvoiced sounds, release
of certain held notes, noises, ...
round pierced by stems: sounds of air blown through an instrument
vertical arrow: highest or lowest pitches possible on an instrument
triangular : for triangles
as a notehead: indeterminate pitches, spoken voice and unvoiced
sounds, release of certain held notes, noises, ...

X in jazz notation for wind instruments or string instruments, a 'ghost

note' is indicated by using an 'x' for the notehead rather than the
usual oval. A ghost note is one that is to be played less strongly than
the notes around it, the effect is also called 'anti-accent'

hauptstimme, (German) principal part or voice

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 nebenstimme, (German) subsiduary or secondary voice or line

play notes under this sign one octave higher than written

play notes under this sign one octave lower than written

the barline that marks the beginning of a passage that is to be

repeated, also called 'open repeat', 'begin-repeat' or 'repeat start'

the barline that marks the end of a passage that is to be repeated,

also called 'close repeat', 'end-repeat' or 'repeat end'

repeat: the 'repetition' signs indicates that a section of a piece of

music is to be played a second time - where this is the first section of
the piece the left hand sign may be absent - however, where the
repeat is of a later section, the left and right hand signs mark the
extent of the section
repeated sections

an example of volta brackets, also called 'first ending' and 'second

ending': in this case, a section performed only the first time it is
reached otherwise the performer plays a later section usually marked
in a similar way but with a 2. and with no vertical line at the end of
the section

tremolo: one of a number of abbreviations used in musical notation,

in this case for repeated notes, which can be marked as individuals or
marked as chords

(note the angled line or lines, also called slashes, passing through the
note stems)

sometimes a horizontal array of dots may be placed over the note

(instead or or additional to the slashes confirming the number of notes
to be played through the duration of each 'slashed' note)

Note: in drum or timpani parts, notes with their stems crossed

diagonally by two or, more commonly three, lines usually indicate a
roll

tremolo or alternations: repeated sequence of two notes a particular

interval apart

(note the angled line or lines lying between pairs of notes)

do not confuse with the caesura the lines of which pass through the
top line of the staff and are steeper

Note: where the two principal notes have stems, and there is no
likelihood of confusion, the beams may actually connect to them: see
bar 2, bass staff, in the example below

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 simile marks, used to show repeated groups or bars (see immediately
below for more information)

repeated passage using simile marks

do not confuse with the caesura the lines of which pass through the
top line of the staff

repeated bars using simile marks

(Italian: from the beginning) an abbreviation of Da Capo, indicting

D.C. that the player should start from or go back to the beginning of the
piece of music
the sign or segno (Italian: sign)
(Italian: from the sign) an abbreviation of Dal segno, term indicating
D.S. a place from which a section of a piece is to be played, that place
marked with a segno

Dal segno, D.S. (abbrev.): (Italian) from the sign

da capo

(Italian: from the beginning to the end) an abbreviation of Da Capo al

D.C. al Fine Fine, indicting that the player should go back to the beginning and
then end at the Fine mark
(Italian: the end) a term placed where a piece or a section of a piece
Fine
of music is to end
'jump to coda' sign: a circle or oval with a cross inside it

the 'jump to coda' sign directs the player to jump from that point to a
section marked coda

fermata (It.), Fermate (Ger.): a musical symbol placed over a note or

rest to be extended beyond its normal duration, and occasionally
printed above rests or barlines, indicating a pause of indefinite
duration

caesura (sing.), caesurae (pl.), fetura, 'tramlines', or 'railroad tracks:

usually placed on or above the top line of a staff or stave (not to be
confused with the 'simile' mark). A term derived from poetry, caesura
is a silent pause somewhere in the middle of a piece of music

crescendo: (Italian, literally 'growing') increasingly louder

crescendo from silence: starting from silence, the note should become
increasingly louder
[information provided by Adam Glynn]
decrescendo, decresciuto, diminuendo: (Italian) increasingly softer
swell, closed hairpins (over a phrase) or closed accent (over a single
note): to increase volume and then die away in the duration of a
single note or short phrase
also called messa di voce (Italian) or mise de voix (French)
in Rossini, the typical markings of the 'closed accent' and the 'closed
hairpins' appear frequently but they were also commonly used by his
contemporaries. They signify, in the case of the 'closed accent', a
more marked and longer accent than the norm; in the case of the

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 'closed crescendo', a crescendo that ends abruptly in a sforzato
emphasis; in the case of the 'closed diminuendo', a sforzato that
immediately trails off into a diminuendo
in nineteenth-century German non-vocal music the < > sign can
represent a stress or accent as opposed to a crescendo followed by a
decrescendo music. In such a case, the marking apparently indicates
a kind of "warm", not too powerful, accent with implication of vibrato
where appropriate
[we thank Ron Evans for bringing the reference Signs as Accent
Markings to our attention. We have drawn our information from that
reference]

notation English French German Italian Spanish Catalan

doble sostenido, doble diesi,
double sharp double dièse Doppelkreuz doppio diesis
elevación de dos semitonos elevació de dos semitons
sostenido, diesi,
sharp dièse Kreuz diesis
elevación de un semitono sostingut
natural, bécarre,
Auflösungszeichen, Quadrat bequadro becuadro becaire
natural sign naturel
bemol, bemoll,
flat bémol B, Be bemolle
bajada de un semitono disminució d’un semitò
doble bemol, doble bemoll,
double flat double bémol Doppel-B, Doppel-Be doppio bemolle
bajada de dos semitonos disminució de dos semitons
A note about notating accidentals in ornaments: if any of the auxiliary notes in an ornament include accidentals, for instance a C sharp in the key of G major, this is shown by writing an accidental,
in this case a sharp sign, above or below the ornament sign. In the case of an F natural in the key of G major, the sign would be a natural. The convention is that if the inflection applies to a note
lying above the principal note then the accidental is written above the sign for the ornament and if the inflected auxiliary note lies below the principal note, the acidental sign also lies below the
sign for the ornament. Obviously, if the principal note itself is inflected then the accidental is placed to the immediate left of the note head and not with the sign for the ornament

a double accidental that completely cancels the effect of a double

sharp or double flat sign

a double accidental that restores a double flatted note to a single

flatted note (and sometimes to change a sharp to a flat)

a double accidental that restores a double sharped note to a single

sharped note (and sometimes to change a flat to a sharp)

microtonal 'flat up' sign

microtonal 'flat down' sign

microtonal 'natural up' sign

microtonal 'natural down' sign

microtonal 'sharp up' sign

8 of 16
 microtonal 'sharp down' sign

quartertone accidental signs (there are other sign conventions)

3/4 tone flat
1/4 tone flat

1/4 tone sharp

3/4 tone sharp

quarter tone sharp sign, a sign to show that a note should be raised
one quarter tone in pitch

quarter tone flat sign, a sign to show that a note should be lowered
one quarter tone in pitch

Bach's own table of ornaments. The use of ornament symbols was

never standardised. Please refer to Chapter 23 - Music Theory
Online for more information on the use of and notation of
18th-century ornaments

acciaccatura: (Italian) 'crushed' note, grace note (written with a

diagonal line through the note hook or flag)

grace notes

appoggiatura: (Italian) 'leaning' note, ornamental note (written

without a diagonal line through the note hook or flag)

appoggiatura

turn: musical ornament

turn

a symbol found above note heads in The Bird Fancyer's Delight which
= is explained in the original publication thus: "The marks & rules for
graceing are these Viz. a close shake thus ="

9 of 16
 the turn-with-a-line-through-it is a mystery ornament that occurs in
Haydn's piano music. He once called it a 'half mordent' but did not
explain the way it was to be played. Adding to the confusion is the fact
that he was inconsistent in using it so that in parallel places he
sometimes substitutes the normal turn as a symbol or written out.
Pianists now play it as a normal turn or as a mordent since it is often
indistinguishable from a mordent in his manuscript. You can read
about this strange ornament in the preface of the Weiner Urtext
Edition of Haydn's Piano Sonatas

trill: musical ornament

trill

mordent: musical ornament

mordent

arpège (Fr.), arpeggio (It.), arpeggi (It. plural): (Italian, meaning 'in
the manner of a harp') a spread chord played from the top down or
from the bottom up indicated by a vertical wavy line, a vertical
square bracket or a curved bracket (the latter two signs are now
uncommon)
arpeggio

tie: also called a 'bind', a sign that indicates that the note being
played or sung sustained, unbroken, through the total time value of
the notes under the tie

slur: a mark used to show where a group of notes are played either
under a single bow stroke, or on a wind instrument without
retonguing or when singing, in one breath, so that the notes move
smoothly one to the other with no perceptible break
"in keyboard playing, and, to a large extent, in wind playing the use
of a slur usually seems to have meant simply that the notes should be
less distinctly separated (though in wind playing there may also have
been implications for breathing). In string playing the slur is
specifically a bowing instruction, but the end effect is much the same.
Where (accent markings) appear over successive notes under a slur,
however, their function is as much articulation as accent..." Brown
[we thank Ron Evans for bringing the reference Signs as Accent
Markings to our attention. We have drawn our information from that
reference]
sometimes an extended slur mark may have less extended slur
marks within its scope. In such a situation the less extended mark is a
slur while the more extended is called a 'phrase mark' or 'phrasing'. A
phrase mark indicates the 'shape' of the musical line , not that all the
notes below it should be slurred. Sometimes, the context of the
marking may be the only way to tell these two marks apart

10 of 16
 optional slur: the performer is free to choose whether to observe the
slur mark or not

hemiola, triplet: a group of three notes of equal time value performed

in the time of two of them, however, (i) one or two of the notes may
be rests of equivalent value, and (ii) a consecutive pair may be
replaced by a note of double value

glissando, portamento: (Italian) a continuous movement in pitch from

the lower to the higher note

left hand sign shows a rising glissando - the right hand sign shows a
falling glissando

placed over or under a note-head, accent

in a part for a drummer, indicates a medium stroke
also called the accent hairpin ( > ), together with the staccato, it was
one of the earliest musical signs to be used, Italian composers G.A.
Piani and F. Veracini having proposed something like this several
decades before it first appeared in the 1760s. Even so, few composers
used it until the late-eighteenth and early-nineteenth centuries but
then as synonyms for sf or fz or to indicate something more subtle
[we thank Ron Evans for bringing the reference Signs as Accent
Markings to our attention. We have drawn our information from that
reference]
variety of accents
placed over or under a note-head, staccato: (Italian) note sustained
for half the written length, the remaining half silent
the staccato mark was the first sign to come into common use,
usually appearing as a stroke, dot or wedge. Initially it would appear
that the sign was intended to indicated accent as well as separation,
but by the late nineteenth-century the mark was used to show a
lightening as well as separation
[we thank Ron Evans for bringing the reference Signs as Accent
Markings to our attention. We have drawn our information from that
reference]
variety of accents

placed after a note, a dot indicates that the note is to be held longer -
for details see 'dot' in the music dictionary

placed over or under the note-head, staccatissimo: (Italian) note

sustained for quarter the written length, the remaining three-quarters
silent - also called a 'wedge'
variety of accents
placed above or below the note-head, marcato: (Italian) marking,
marked, accented

in a part for a drummer, marcato denotes a heavy stroke

11 of 16
 variety of accents
placed above or below the note-head, marcato/staccato or staccato
duro: (Italian) more forceful marking, more forcefully accented
variety of accents
placed above or below the note-head, accented staccato
variety of accents
the caret, when used as an accent or stress mark, also called le petit
chapeau. In the eighteenth-century this mark was used to denote
expressive stress and for such purpose the sign continued to be used
into the nineteenth-century. There is good evidence that in terms of
its strength le petit chapeau lies between the light + and the heavier
sf and sfz. By the middle of the nineteenth-century le petit chapeau
was used synonymously with > or even to indicate a somewhat
heavier stress than >
[we thank Ron Evans for bringing the reference Signs as Accent
Markings to our attention. We have drawn our information from that
reference]

small triangle lying above or below the note-head, stongly accented

then immediate diminuendo
[Rossini example (Overture to Il Signor Bruschino) supplied by David
Bellugi]

placed above or below the note-head, tenuto: (Italian) note held to its
written length, i.e. not detached

in a part for a drummer, the tenuto indicates a light stroke

variety of accents
the horizontal line ( – ) sign, with or without a dot above or below the
line, was rarely used before the mid-nineteenth-century although
some earlier instruction books refer to its use. Without a dot, the
horizontal line mark in piano music indicates that the "... keys must
be struck with more than the usual emphasis, and the notes must be
held for almost more than their usual value" (Czerny). Most
nineteenth-century commentators follow this definition, with Wagner
suggesting, where applicable, the use of a discrete vibrato
[we thank Ron Evans for bringing the reference Signs as Accent
Markings to our attention. We have drawn our information from that
reference]
placed above or below the note-head, louré: in string playing the bow
motion is legato, but with slight separation of the notes. It is
performed with several notes in one bow direction, each note
receiving a gentle “push” to separate it
variety of accents
placed above or below the note head, martellato: (Italian) strongly
marked, hammered

variety of accents
on a bowed instrument: down-bow, as when the bow, held below the
hand, is pulled across the string on a member of the violin family, or
conversely, as when the bow, held above the hand, is pushed across

12 of 16
 the string on a member of the viol family; the reverse manoeuvre is
called the 'up-bow'

on the guitar: down-stroke, the string is plucked with the hand

moving downwards

on a bowed instrument: up-bow, as when the bow, held below the

hand, is pushed across the string on a member of the violin family, or
conversely, as when the bow, held above the hand, is pulled across
the string on a member of the viol family; the reverse manoeuvre is
called 'down-bow'

on the guitar: up-stroke, the string is plucked with the hand moving
upwards

in string parts: written over or under the note-head, meaning: play a

natural harmonic
referring to percussion notation the Percussion Information Homepage
- Problems page author writes: "one very annoying side effect of
different setups, is the fact the most method books that indicate which
hand to use for a certain passage, are difficult to use for players who
are learning the other way! So, my advice to publishers and writers:
Never indicate hands. And if you have to, use symbols like an open
and closed small circle or square above the notes. In that way we just
have to change the definition of the symbols and explain that to the
student. But it is very unnatural to have to play a note with your
L-hand when there is a big R above or below it. Especially when these
very letters mean the same hands in another language!"
in string parts: written over or under the note-head, meaning: play a
natural harmonic.

Note: the position of the diamond-shaped notehead indicates where

the finger in placed, and not the sounding note. If the sounding note is
also given it would be placed above the diamond-shaped notehead, in
cue size and in parentheses. See also 'artificial harmonics'

for string parts: snap pizzicato

for string parts: use the mute

for string parts: written under a note to indicate the string to be used
(in this case string number 2)

in string parts: written in combination with pizz. over or under the

note-head, meaning: play a left hand pizzicato

applied to chord names or numbers: A, Aug. or +: an augmented

interval
in percussion parts: a dead stroke, achieved by holding the mallet on
the instrument after the attack to dampen the vibration. Dead strokes
are commonly notated with a plus sign (+) over the note. Ringing
notes in a passage with dead strokes can be indicated with a circle (o)
+ over them; this is not necessary but can help to clarify. “D.S.” or
staccato dots are other common indications for dead stroke. These
notations are not standard and should be explained at the top of the
score and part
in early music, particularly that for wind-instruments: the 'plus' sign
indicates a musical ornament, usually a trill
Trills
in French horn parts: a '+' above notes to be stopped, followed by a
'o' above notes that are open

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 for longer stopped passages the word is just written out:
English stopped open
German gestopft offen
Italian chiuso aperto
French bouché ouvert

o applied to chord names or numbers: d, dim. or o: a diminished

interval

applied to chord names or numbers: a half-diminished interval

applied to chord names or numbers: indicates a triad, for example the

notes G, B, D. G∆7 means a G major 7th chord. While ∆ is usually
∆
not needed with the triad chord, with the 7th chord it indicates that
the complete triad should be included in the 7th chord
applied to chord names or numbers: indicates a minor triad, for
-
example the notes C, Eb, G. C-7 means a C minor 7th chord

for wind parts: double tongue

for wind parts: triple tongue

flutter tonguing, flatterzunge (German), trémolo dental (French),

trémolo en roulant la langue (French): extremely rapid, tongued-
articulation on a wind instrument

use the fingernails

damp

damp all

extension: a horizontal line placed immediately to the right of a lyric

syllable, to show that a syllable must be held during the following note
or notes

breath mark: a mark placed above the stave where the composer
requests that the performer break the musical line and breathe, so
producing the desired phrase shape

metronome mark: an indication of the speed at which a piece is to be

played, in this case 60 crotchet (quarter notes) per minute

metronome marks

the historical convention: the duration of the note symbol on the left
(as applied in the section to follow) is the same as the duration of the
note symbol on the right (as applied in the section just finished)
i.e. new time value = old time value

However, today it is more common to read this the other way round,
i.e. old time value = new time value

Fortunately, context tends to make clear which convention the editor,

arranger or composer is following

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 sustain pedal on or engage (sustain) pedal: two versions of the
symbol indicating when the sustaining pedal is to be depressed
[lower symbol supplied by Mark Crosby]

sustain pedal off or release (sustain pedal): a symbol indicating when

the sustaining pedal is to be released
half pedal or variable pedal mark: momentarily lift the sustain pedal
before reapplying it. This is part of the variable pedal marking used to
More accurately indicates the precise use of the sustain pedal. An
extended lower line tells the pianist to keep the sustain pedal
depressed for all notes below which it appears. The inverted "V" shape
indicates the pedal is to be momentarily released, then depressed
again

an example of the older sustain pedal on and sustain pedal off

marking

an example of the older form of sustain pedal on and sustain pedal off
marking: the pedal is depressed at the Ped. mark and kept pressed
down until the right hand vertical line, unless a half pedal mark (an
inverted V) appears between the two vertical lines
an example of the newer form of sustain pedal on and sustain pedal
off marking: the pedal is depressed at the left vertical line and kept
pressed down until the right hand vertical line, unless a half pedal
mark (an inverted V) appears between the two vertical lines
a direction to use the sostentuo pedal (the middle pedal on a piano)
which acts as a selective damper pedal by sustaining specifically
chosen notes: the pedal is depressed where the text instruction is
placed and held until the right hand vertical line
sustain pedal marking from a 1945 edition of 'The Raindrop' Prelude
by Chopin.
Composed between 1836 and 1839, published in 1839 and dedicated
to Camille Pleyel, its nickname Raindrop was provided by Hans von
Bulow.

[image provided by Matthew B. Woodward]

part played on an organ pedal-board - use the toe (to indicate that
the right foot should be used, symbols are written above the staff; to
indicate that the left foot should be used, symbols are written below

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 the staff)
part played on an organ-pedal-board - use the heel (to indicate that
the right foot should be used, symbols are written above the staff; to
indicate that the left foot should be used, symbols are written below
the staff)
part played on an organ pedal-board - indicate a change of toe and
heel, the 2 symbols are placed next to each other, with a slur above
or below them (to indicate that the right foot should be used, symbols
are written above the staff; to indicate that the left foot should be
used, symbols are written below the staff)

part played on an organ-pedal-board - indicate a change of foot, the 2

symbols are placed above and below the notes

symbol that means 'copyright' (not strictly a musical symbol, but

©
frequently found on a musical score)
symbol called guida (Italian) or presa (Italian) employed to show in a
§ canon or fugue the entry points of other parts, the start of the subject
or antecedent, and so on
symbol called custos (Latin), Wachte (German), guida (Italian),
guidon (French) or 'direct', placed at the end of a line to indicate the
pitch of the first note on the next line

a variety of symbols used to indicate which instrument a percussionist

should be playing (most are self-explanatory)

a variety of symbols used to indicate when to use a particular mallet

or the hands when playing any particular percussion instrument (most
are self-explanatory)

URL: http://www.dolmetsch.com/musicalsymbols.htm
last modified: 09 Jun 2009
© Dolmetsch Musical Instruments 2008, 2009

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