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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.)
old C-clef sign, i.e. old alto, tenor, soprano, baritone and
mezzosoprano clef sign
octave clefs
octave clefs
octave clefs
octave clefs
sprechgesang stem
sprechgesang: speech-song, a term used by Arnold
Schnberg (1874-1951) to describe a voice delivery midway
between song and speech, although he preferred the
terms sprechstimmespeaking voice (which was used by
Humperdinck in Knigskinder
[1910]), sprechmelodic (speech melody)
orrezitation (recitation)
Note Sign
number
America
equal to English Italian French German Spanish Catalan
n
1
semibreve
carre
or cuadrada
brevis or quadrada
breve double- Doppeltakt(note)
1 or breve (f.)
/2 or whole breve or
double- or or
brevis note Brevis
ronde doble breu (f.)
(meaning redonda
square)
semi-
brve
redonda
whole or
1 semibreve semibreve ganze Takt(note) or rodona (f.)
note ronde
semibreve
(meaning
round)
semiminima noire
quarter
4 crotchet or (meaning Viertel(note) negra negra (f.)
note
nera black)
croche corchea
eighth
8 quaver croma (meaning Achtel(note) or corxera (f.)
note
hook) croma
double
croche
sixteent semicorche semicorxer
16 semiquaver semicroma (meaning Sechzehntel(note)
h note a a (f.)
double
hook)
triple
thirty- croche
32 demisemiquaver second biscroma (meaning Zweiunddreissigstel(note) fusa fusa (f.)
note triple
hook)
quadrupl
sixty- e croche
semifusa
64 hemidemisemiquaver fourth semibiscroma (meaning Vierundsechzigstel(note) semifusa
(f.)
note quadrupl
e hook)
one
hundred
and
cent-
semihemidemisemiquave twenty-
vingt-
r eighth garrapatea
12 centoventottav huitime Hundertundachtundzwanzigstel(not
or note or
8 o (nota) or e)
quasihemidemisemiquav cuartifusa
quintuple
er
croche
Rest
America
number equal to English Italian French German Spanish Catalan
n
1 semibreve
silencio de
bton cuadrada
or or
doble
pause pausa de
pausa (f.)
double- de cuadrada
1/ or
2 breve rest whole pausa di breve brve doppel Pause or
pausa de
rest or silencio de
quadrada
silence breve
(f.)
de or
brve pausa de
breve
silencio de
redonda
or
pausa de
pausa (f.)
redonda
whole pausa di or
1 semibreve rest pause ganze Pause or
rest semibreve pausa de
silencio de
rodona (f.)
semibreve
or
pausa de
semibreve
media
pausa
mitja
or
pausa (f.)
pausa di demi- silencio de
2 minim rest half rest halbe Pause or
minima pause blanca
pausa de
or
blanca (f.)
pausa de
blanca
silencio de
negra
or
pausa de
negra quart de
or pausa (m.)
or quarter pausa di
4 crotchet rest soupir Viertelpause silencio de or
rest semiminima
semiminim pausa de
a negra (f.)
or
pausa de
semiminim
a
vuit de
silencio de
pausa (m.)
corchea
eighth pausa di demi- or
8 quaver rest Achtelpause or
rest croma soupir pausa de
pausa de
corxera
corchea
(f.)
silencio de
setz de
semicorche
pausa (m.)
quart a
sixteent pausa di or
16 semiquaver rest de Sechzehntelpause or
h rest semicroma pausa de
soupir pausa de
semicorxer
semicorche
a (f.)
a
trenta-
silencio de
dos de
thirty- huitim fusa
pausa di pausa (m.)
32 demisemiquaver rest second e de Zweiunddreiigstelpause or
biscroma or
rest soupir pausa de
pausa de
fusa
fusa (f.)
seixanta-
silencio de quatr de
sixty- seizim semifusa pausa (m.)
hemidemisemiquaver pausa di
64 fourth e de Vierundsechzigstelpause or or
rest semibiscroma
rest soupir pausa de pausa de
semifusa semifusa
(f.)
one
cent- silencio de
hundred
pausa di vingt- garrapatea
12 semihemidemisemiquav and Hundertundachtundzwanzigstelpa
centoventotta huitim or
8 er rest twenty- use
vo e de pausa de
eighth
soupir garrapatea
rest
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
simile marks, used to show repeated groups or bars (see
immediately below for more information)
da capo
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
grace notes
appoggiatura
turn: musical ornament
turn
trill
mordent: musical ornament
mordent
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
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
variety of accents
placed above or below the note-
head, marcato/staccato orstaccato 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
calledle 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]
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, lour: 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
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
metronome marks
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last modified: 26 Jan 2011
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