what does the piano mean to each character

Musical symbols are marks and symbols in musical note that indicate various aspects of how a piece of music is to be performed. In that location are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (due east.g., whether sections are repeated), and details about specific playing techniques (eastward.g., which fingers, keys, or pedals are to be used, whether a cord instrument should be bowed or plucked, or whether the bow of a string instrument should motion upward or down).

Lines [edit]

	Staff/stave The five-line staff (often "stave" in British usage) is used to indicate pitch. Each line or space indicates the pitch belonging to a notation with a letter of the alphabet name: A, B, C, D, E, F, M. Moving vertically upwards, the letter names proceed alphabetically with the alternating lines and spaces, and represent ascending pitches. The A-Thou blueprint repeats continually—the notation above "Yard" is e'er another "A". A clef is most always added, which assigns 1 specific pitch to 1 specific line; the other lines and spaces are adamant alphabetically equally described.
	Ledger or leger lines These additional lines (and the spaces they course) bespeak pitches to a higher place or below the staff. The diagram shows a unmarried ledger line to a higher place and below the staff but multiple ledger lines can exist used.
	Bar line (or barline) Bar lines split measures ("confined") of music co-ordinate to the indicated time signature. They sometimes extend through multiple staves to grouping them together when a m staff is used or when indicating groups of like instruments in a conductor'due south score.
	Double bar line These indicate some modify in the music, such as a new musical section, or a new key/time signature.
	Bold double bar line These indicate the determination of a move or composition.
	Dotted bar line These tin be used to subdivide measures of circuitous meter into shorter segments for ease of reading.
	Subclass A bracket is used to connect two or more than lines of music that sound simultaneously. In gimmicky usage it ordinarily connects staves of individual instruments (e.k., flute and clarinet; two trumpets; etc.) or multiple vocal parts, whereas the brace connects multiple parts for a single instrument (due east.chiliad., the right-hand and left-mitt staves of a piano or harp part).
	Brace A brace is used to connect two or more lines of music that are played simultaneously, usually by a single player, generally when using a m staff. The one thousand staff is used for piano, harp, and some pitched percussion instruments.[1] The caryatid is occasionally called an laurels in some one-time texts and can vary in blueprint and manner.

Clefs [edit]

Main article: Clef

A clef assigns one particular pitch to one particular line of the staff on which it is placed. This as well effectively defines the pitch range or tessitura of the music on that staff. A clef is normally the leftmost symbol on a staff, although a different clef may appear elsewhere to indicate a modify in register. Historically, clefs could be placed on any line on a staff (or even on a space), but mod notation almost exclusively uses treble, bass, alto, and tenor clef.

	Thou clef (Treble clef) The screw of a Grand clef (not a point on the screw, simply the heart around which the spiral is fatigued) shows where the G above middle C is located on the staff. A G clef with the spiral centered on the 2d line of the staff is called treble clef.[2] The treble clef is the about commonly encountered clef in modern notation.
Alto clef Tenor clef	C clef (Alto, and Tenor clefs) The center of a C clef points to the line representing centre C. The get-go illustration here is centered on the 3rd line on the staff, making that line middle C. When placed there, the clef is called alto clef, which is mainly used for the viola just is sometimes used for other instruments. The 2nd illustration shows the clef centered on the fourth line—this clef is called tenor clef. Tenor clef is used for bassoon, cello, trombone, and double bass when the notes go very high, avoiding the use of excessive ledger lines. Until the classical era, C clefs were frequently seen pointing to other lines (it is sometimes called a "movable clef"), mostly in vocal music, but this has been supplanted by the universal use of the treble and bass clefs. Modernistic editions of music from such periods generally rewrite the original C-clef parts to either treble (female voices), octave treble (tenors), or bass clef (tenors and basses). The C clef was sometimes placed on the third space of the staff (equivalent to an octave treble clef) merely this usage is unusual since all other modern clefs are placed on lines.
	F clef (Bass clef) An F clef places the F below middle C on the line between the dots.[2] When placing the F below middle C on the fourth line, as shown here, it is chosen bass clef, which is by far its most common usage. Bass clef appears nearly as ofttimes equally treble clef in modern music annotation. In older note, particularly for vocal music, F clefs were sometimes centered on the third line (baritone clef) simply this usage has essentially become obsolete.
	Octave clef Treble and bass clefs can be modified by octave numbers. An "8" below the clef (as in the diagram) indicates that pitches will sound an octave lower than they would with the unmodified clef. A "xv" below indicates a two-octave shift. These numbers may as well exist used in a higher place the clef to indicate pitches one or 2 octaves college. A treble clef with an 8 below is the nigh common version, typically used in music for guitar or tenor voice.
On a 5-line staff On a single-line staff	Neutral clef Used for pitchless instruments, such as percussion instruments, this is not a true clef—the lines and spaces do not indicate pitches—but information technology occupies the position of a clef. In this example, the lines and spaces indicate specific instruments, such equally the different individual instruments in a drum set up. It may besides be fatigued on a unmarried-line staff for unmarried percussion instruments.
	Tablature Also not a true clef—the lines and spaces do not represent pitches—tablature annotation is used in place of ordinary staff notation for some cord instruments, such as the guitar. The lines represent the strings of an instrument (for standard 6-stringed guitars, six lines would be used). Numbers on the lines show which fret to utilize. Considering the lines represent strings rather than pitches, the spaces between the lines are never used.

Rhythmic values of notes and rests [edit]

Musical note and residue values are determined in reference to the length of a whole note. The other notes are named (in American usage) in comparison—a half note is half the length of a whole note, a quarter annotation is one quarter the length, etc.

Notation	British name / American name	Rest
	Large (Latin: Maxima) / Octuple whole note [3]
	Long / Quadruple whole note [three]
	Breve / Double whole note
	Semibreve / Whole note
	Minim / Half annotation
	Crotchet / Quarter note [4] [five]
	Quaver / 8th note For notes of this length and shorter, the annotation has the same number of flags (or hooks) equally the rest has branches.
	Semiquaver / Sixteenth note
	Demisemiquaver / Thirty-second note
	Hemidemisemiquaver / Sixty-fourth annotation
	Semihemidemisemiquaver / Quasihemidemisemiquaver / Hundred twenty-eighth notation [6] [7]
	Demisemihemidemisemiquaver / Two hundred l-sixth notation [iii]

Breaks [edit]

Accidentals and key signatures [edit]

Common accidentals [edit]

Accidentals modify the pitch of the notes that follow them on the aforementioned staff position inside a measure, unless cancelled by an additional accidental.

Central signatures [edit]

Key signatures indicate which notes are to be played as sharps or flats in the music that follows, showing upward to seven sharps or flats. Notes that are shown as sharp or flat in a key signature will be played that way in every octave—eastward.g., a primal signature with a B ♭ indicates that every B is played as a B ♭ . A key signature indicates the prevailing key of the music and eliminates the need to utilise accidentals for the notes that are always flat or sharp in that key. A cardinal signature with no flats or sharps mostly indicates the key of C major or A minor, simply tin can besides indicate that pitches will be notated with accidentals as required. The key signature examples shown hither are as they would announced in treble clef.

Apartment fundamental signatures

Sharp fundamental signatures

Microtones [edit]

At that place is no universally accepted notation for microtonal music, with varying systems being used depending on the state of affairs. A mutual note for quarter tones involves writing the fraction 1⁄iv next to an arrow pointing upwardly or downwardly. Below are other forms of notation:

A symbol with one vertical and iii diagonal bars indicates a sharp with some form of alternate tuning.

Notation for the prime numbers in the harmonic serial, labeled with their number (elevation line), frequency ratios (2d line) and interval size in cents (bottom). The 11th harmonic is notated with the arrow notation for a demisharp (F↑ every bit opposed to F ) while the seventh, 13th, 17th and 19th are labeled with harmonic flats and harmonic sharps relative to C (note that considering the 17th and 19th harmonics are closer to equal temperament than the (unlabeled) fifth, labeling of those is seldom necessary).

In 19 equal temperament, where a whole tone is divided into iii steps instead of two, music is typically notated in a way that flats and sharps are not usually enharmonic (thus a C ♯ represents a 3rd of a step lower than D ♭ ); this has the advantage of not requiring any nonstandard notation.

Time signatures [edit]

Most music has a rhythmic pulse with a uniform number of beats—each segment of this pulse is shown equally a measure. Time signatures indicate the number of beats in each measure (the peak number) and too show what blazon of note represents a unmarried beat (the bottom number). There may be any number of beats in a measure but the near common past far are multiples of 2 and/or three (i.eastward., 2, three, 4, and six). Likewise, whatsoever note length tin exist used to represent a beat, but a quarter note (indicated by a bottom number of "iv") or eighth annotation (bottom number of "eight") are by far the most mutual.

Note relationships [edit]

	Tie When tied together, two notes with the same pitch are played equally a single note. The length of this single note is the sum of the time values of the two tied notes. The symbol for the tie and the symbol for the slur appear the same, simply a tie can only join two notes of the same pitch.
	Slur While the first annotation of a slurred grouping is articulated, the others are non. For bowed instruments this entails playing the notes in a unmarried bow move, for wind instruments (aerophones) the notes under the slur are not tongued and are played in i continuous breath. On other instruments, like pitched percussion instruments, the notes are connected in a phrase, as if a vocaliser were to sing them in a unmarried jiff. In certain contexts a slur may instead point that the notes are to exist played legato, in which example rearticulation is permitted. While the slur symbol and the tie symbol announced the aforementioned, a tie can just connect exactly two notes of the same pitch; a slur can connect two or more than of any pitches. In vocal music a slur unremarkably indicates that notes under the slur should exist sung to a single syllable. A phrase mark (or less commonly, ligature) is visually identical to a slur just connects a passage of music over several measures. A phrase mark indicates a musical phrase and may not necessarily require that the music be slurred.
	Glissando or Portamento A continuous, uninterrupted glide from i note to the next that includes the pitches between. Some instruments, such equally the trombone, timpani, non-fretted cord instruments like the cello, electronic instruments, and the homo voice can make this glide continuously (portamento), while other instruments such as the piano, harp, or mallet instruments mistiness the discrete pitches between the starting time and end notes to mimic a continuous slide (glissando).
	Tuplet A tuplet is a grouping of notes that would non usually fit into the rhythmic space they occupy. The instance shown is a quarter-notation triplet—three quarter notes are to be played in the space that would usually contain two. (To determine how many "normal" notes are being replaced by the tuplet, it is sometimes necessary to examine the context.) While triplets are the most mutual version, many other tuplets are possible: 5 notes in the space of 4, seven notes in the space of viii, etc. Specific tuplets are named co-ordinate to the number of grouped notes; e.g., duplets, triplets, quadruplets, etc.
	Chord A chord is several notes sounded simultaneously. Two-note chords are called dyads, three-note chords built by using the interval of a third are called triads.
	Arpeggiated chord A chord with notes played in rapid succession, usually ascending, each note being sustained as the others are played. It is too called a "cleaved chord" or "rolled chord".

Dynamics [edit]

Dynamics are indicators of the relative intensity or volume of a musical line.

	Pianississimo Extremely soft. Softer dynamics occur very infrequently and would be specified with additional p s.
	Pianissimo Very soft.
	Piano Soft; louder than pianissimo.
	Mezzo pianoforte Moderately soft; louder than piano.
	Mezzo forte Moderately loud; softer than forte. If no dynamic appears, mezzo-forte is assumed to be the prevailing dynamic level.
	Forte Loud.
	Fortissimo Very loud.
	Fortississimo Extremely loud. Louder dynamics occur very infrequently and would be specified with additional f s.
	Sforzando Literally "forced", denotes an abrupt, violent accent on a unmarried sound or chord. When written out in full, it applies to the sequence of sounds or chords under or over which it is placed.
	Fortepiano Indicates that the annotation is to exist played with a loud assail, and then immediately go soft.
	Crescendo A gradual increase in volume. Can be extended under many notes to point that the book steadily increases during the passage.
	Diminuendo Also decrescendo A gradual decrease in volume. Can be extended in the same manner as crescendo.
	Niente Meaning "nothing". May be used at the offset of a crescendo to indicate "kickoff from goose egg" or at the end of a diminuendo to indicate "fade out to nothing".

Rarely, even softer or louder dynamic levels are indicated by adding more than p s or f southward. While ppp is chosen "pianississimo" and fff is chosen "fortississimo", these words (formed past adding an additional "iss") are not proper Italian.

Dynamics are relative, and the meaning of each level is at the discretion of the performer or the conductor. Laws to curb high noise levels in the workplace have changed the interpretation of very loud dynamics in some large orchestral works, equally racket levels within the orchestra itself can hands exceed rubber levels.^[ix]

Joint marks [edit]

Articulations specify the length, volume, and style of assail of individual notes. This category includes accents. Articulations can exist combined with one another and may appear in conjunction with phrasing marks (above). Any of these markings may be placed either above or below a note.

	Staccato This indicates that the annotation should exist played shorter than notated, ordinarily half the value, leaving the balance of the metric value silent. Staccato marks may appear on notes of whatsoever value, shortening their performed elapsing without speeding up the music.
	Staccatissimo or Spiccato This indicates that the note should be played even shorter than staccato. Information technology is usually applied to quarter notes or shorter notes. In the past this mark'due south significant was more ambiguous—it was sometimes used interchangeably with staccato and sometimes indicated an accent and non a shortened note. These usages are now almost defunct merely still announced in some scores. For cord instruments this indicates a bowing technique in which the bow bounces lightly upon the cord.
	Tenuto This symbol indicates that the note should be played at its full value, or slightly longer. It can also indicate a degree of emphasis, especially when combined with dynamic markings to indicate a change in loudness, or combined with a staccato dot to indicate a slight detachment (portato or mezzo staccato). In percussion note, this sign indicates a slight accent.
	Fermata or Suspension A fermata indicates that a note, chord, or rest is sustained longer than its written value. It volition unremarkably appear on all parts in an ensemble. The fermata is held for every bit long equally the performer or conductor desires.
	Emphasis An accent indicates that a annotation should be played louder, or with a harder set on than surrounding unaccented notes. It may appear on notes of any duration.
	Marcato A marcato marker indicates that the note should exist played louder or more forcefully than a annotation with a regular accent mark. In organ notation, this sign oft does not point marcato, but instead that a pedal note should be played with the toe. When printed above the note it indicates the right human foot, and below the annotation indicates the left foot.

Ornaments [edit]

Ornaments change the pitch pattern of private notes.

	Trill A rapid alternation betwixt the specified note and the side by side college note (adamant by cardinal signature) within its duration, also called a "milk shake". When followed by a wavy horizontal line, this symbol indicates an extended, or running, trill. In music up to the time of Haydn or Mozart the trill begins on the upper auxiliary note.[ten] In percussion notation, a trill is sometimes used to indicate a tremolo. In French baroque note, the trill, or tremblement , was notated every bit a small cantankerous above or beside the note.
	Upper mordent Rapidly play the principal note, the next higher note (according to key signature) then return to the master notation for the remaining duration. In some music, the mordent begins on the auxiliary notation, and the alternation between the two notes may be extended. (In other words, in some music, the upper-mordent sign ways exactly the same equally the trill sign.) Regardless of the style of music, the pattern finishes on the principal annotation. In handbells, this symbol is a "shake" and indicates the rapid shaking of the bells for the duration of the annotation.
	Lower mordent (inverted) Chop-chop play the principal note, the note below information technology, then render to the primary note for the remaining duration. In much music, the mordent begins on the auxiliary notation, and the alternation between the 2 notes may be extended.
	Gruppetto or Turn When placed directly in a higher place the note, the turn (besides known as a gruppetto) indicates a sequence of upper auxiliary annotation, primary note, lower auxiliary notation, and a return to the main note. When placed to the correct of the note, the principal note is played outset, followed by the above pattern. Placing a vertical line through the turn symbol or inverting it, it indicates an inverted plow, in which the club of the auxiliary notes is reversed.
	Appoggiatura The beginning one-half of the chief note'south duration has the pitch of the grace note (the first ii-thirds if the principal annotation is a dotted note).
	Acciaccatura The acciaccatura is of very cursory duration, as though brushed on the mode to the principal note, which receives nearly all of its notated elapsing. In some styles of music, the acciaccatura is played exactly on the crush and the master note is marginally tardily; in other styles, the acciaccatura is marginally early and the principal note is on the vanquish. It is besides possible on some instruments to play both notes exactly on the trounce and then quickly release the acciaccatura. In percussion annotation, the acciaccatura symbol denotes the flam, the miniature notation even so positioned backside the main note but on the same line or space of the staff. The flam note is usually played just before the natural durational subdivision the main note is played on, with the timing and duration of the main note remaining unchanged. Also known by the English translation of the Italian term, crushed notation, and in German language as Zusammenschlag (simultaneous stroke).

Octave signs [edit]

8^va and 15^ma are sometimes abbreviated further to eight and 15. When they appear below the staff, the word bassa is sometimes added.

Repetition and codas [edit]

	Tremolo A rapidly repeated note. If the tremolo is between two notes, and then they are played in rapid alternation. The number of slashes through the stem (or number of diagonal bars between two notes) indicates the frequency to echo (or alternate) the note. As shown hither, the note is to be repeated at a demisemiquaver (thirty-2d note) rate, only it is a common convention for three slashes to be interpreted as "as fast every bit possible", or at any charge per unit at a speed to be left to the role player's judgment. In percussion annotation, tremolos betoken rolls, diddles, and drags. Typically, a single tremolo line on a sufficiently brusque note (such as a sixteenth) is played equally a drag, and a combination of 3 stem and tremolo lines indicates a double-stroke scroll (or a single-stroke roll, in the example of timpani, mallet percussion and some untuned percussion instruments such as triangle and bass pulsate) for a period equivalent to the duration of the note. In other cases, the interpretation of tremolos is highly variable, and should be examined by the manager and performers. The tremolo symbol as well represents flutter-tonguing.
	Repeat signs Enclose a passage that is to exist played more than in one case. If at that place is no left echo sign, the correct repeat sign sends the performer back to the start of the piece or the motility.
	Simile marks Denote that preceding groups of beats or measures are to be repeated. In the examples here, the offset ordinarily ways to echo the previous measure, and the second usually ways to repeat the previous two measures. This mark is normally only used in styles of music in which the players commonly expect to play repeated patterns, and in which the marking is therefore often encountered; in styles where such a mark would exist unusual, repeated measures are written out in full, or the "repeat sign" is used instead.
	Volta brackets (1st and 2nd endings, or 1st- and 2nd-time bars) A repeated passage is to be played with different endings on different playings. Although two endings are most common, it is possible to have multiple endings (1st, 2d, 3rd ...).
	Da capo (lit. "From acme") Tells the performer to repeat playing of the music from its starting time. This is commonly followed past al fine (lit. "to the cease"), which means to repeat to the word fine and stop, or al coda (lit. "to the tail"), which ways repeat upwardly to the coda sign and so jump frontwards into the coda.
	Dal segno (lit. "From the sign") Tells the performer to repeat playing of the music starting at the nearest preceding segno. This is followed by al fine or al coda merely as with da capo.
	Segno Mark used with dal segno.
	Coda sign Indicates a frontward jump in the music to its coda (ending passage), which is marked with the same sign. Only used after playing through a D.S. al coda (Dal segno al coda) or D.C. al coda (Da capo al coda).

Instrument-specific notation [edit]

Bowed string instruments [edit]

	Left-hand pizzicato or Stopped annotation A note on a stringed instrument where the string is plucked with the left hand (the mitt that usually stops the strings) rather than bowed. On the horn, this accent indicates a "stopped note" (a note played with the stopping hand shoved further into the bong of the horn). In percussion this notation denotes, among many other specific uses, to shut the hullo-lid by pressing the pedal, or that an musical instrument is to exist "high-strung" (muted with the hand).
	Snap pizzicato On a stringed instrument, a annotation played past stretching a cord away from the frame of the instrument and letting information technology go, making it "snap" against the frame. Also known as a Bartók pizzicato.
	Natural harmonic or Open note On a stringed instrument, this means to play a natural harmonic (too called flageolet). Sometimes, it as well denotes that the note to be played is an open cord. On a valved brass instrument, it ways to play the note "open" (without lowering any valve, or without mute). In organ notation, this means to play a pedal note with the heel (higher up the note, employ the correct foot; below the annotation, use the left pes). In percussion notation this denotes, among many other specific uses, to open the hi-hat past releasing the pedal, or allow an instrument to ring.
	Upwards bow or Sull'arco On a bowed string instrument, the note is played while drawing the bow upward. On a plucked string instrument played with a plectrum or pick (such as a guitar played pickstyle or a mandolin), the note is played with an upstroke.
	Down bow or Giù arco In contrast to the upwards bow, here the bow is drawn downward to create audio. On a plucked string instrument played with a plectrum or pick (such as a guitar played pickstyle or a mandolin), the note is played with a downstroke.

Guitar [edit]

The guitar has a fingerpicking notation organization derived from the names of the fingers in Castilian or Latin. They are written above, below, or abreast the annotation to which they are attached. They read equally follows:

Symbol	Spanish	Italian	Latin	English language	French
p	pulgar	pollice	pollex	thumb	pouce
i	índice	indice	index	index	index
1000	medio	medio	media	middle	majeur ou médius
a	anular	anulare	anularis	ring	annulaire
c, x, eastward, q	meñique	mignolo	minimus	little	auriculaire

Pianoforte [edit]

Pedal marks [edit]

Pedal marks announced in music for instruments with sustain pedals, such every bit the piano, vibraphone and chimes.

	Appoint pedal Tells the thespian to put the sustain pedal downwardly.
	Release pedal Tells the thespian to allow the sustain pedal upwards.
	Variable pedal marking More than accurately indicates the precise apply of the sustain pedal. Initial depress and final release are indicated by the short vertical lines. The extended horizontal line tells the player to go on the sustain pedal depressed for all notes below which it appears. The inverted «Five» (Λ) shape indicates the pedal is to exist momentarily released, then depressed once more.
U.C.	una corda or U.C. Tells the player to put the soft pedal downwardly.
T.C.	tre corde or tutte le corde or T.C. Tells the role player to let the soft pedal up.

Other pianoforte annotation [edit]

	Left hand	Right hand
English	fifty.h.	R.H.
	left hand	correct mitt
High german	l.H.	r.H.
	linke Hand	rechte Mitt
French	thousand.grand.	m.d.
	main gauche	main droite
Italian	thou.southward.	g.d.
	mano sinistra	mano destra
Spanish	m.i.	m.d.
	mano izquierda	mano derecha

1, 2, three, 4, 5

Finger identifications: 1 = thumb 2 = index iii = eye iv = ring v = footling

Sometime (pre-1940) tutors published in the Great britain may use "English language fingering". + for thumb, then 1 (index), 2 (middle), 3 (ring) and 4 (little).^[xiii]

Other stringed instruments [edit]

(With the exception of harp)

0, ane, 2, iii, 4

Finger identifications: 0 = open cord (no finger used) 1 = index 2 = middle three = ring iv = footling The thumb is also used by the cello and bass, usually denoted by ϙ (a circumvolve with a line coming out the bottom), or, more rarely, a T.

Encounter also Fingerstyle guitar#Notation.

Harp [edit]

Fingering numbers are similar to piano, except in that location is no v as the little finger is non used in playing the harp.

1 = thumb, 2 = index finger, 3 = middle finger, four = ring finger.

Four-mallet percussion [edit]

ane, 2, 3, iv

Mallet identifications: 1 = Far left mallet 2 = Inner-left mallet iii = Inner-right mallet 4 = Far right mallet

Some systems contrary the numbers (e.one thousand., iv = Far-left mallet, iii = Inner-left mallet, etc.)

Half dozen-mallet percussion [edit]

1, 2, 3, 4, 5, half-dozen

Mallet identifications: 1 = Far-left mallet 2 = Eye-left mallet iii = Inner-left mallet 4 = Inner-correct mallet v = Middle-correct mallet 6 = Far-right mallet

Numbers for six-mallet percussion may exist reversed as well.^[14]

See likewise [edit]

• Cluster
• Graphic notation
• Music theory
• Glossary of musical terminology
• Musical Symbols (Unicode block)
• Shape annotation
• Musical Symbols (disambiguation)

References [edit]

1. ^ "Music Notation and Engraving – Braces and Bracket, Colorado Higher Music Department
2. ^ ^{a b} Gerou, Tom; Lusk, Linda (1996). Essential Dictionary of Music Note. Alfred Music. p. 49. ISBN0-88284-768-six.
3. ^ ^{a b c} "UNLP at the C@merata Task: Question Answering on Musical Scores ACM" (PDF). Csee.essex.ac.uk . Retrieved 2017-05-thirty .
4. ^ Examples of the older residue symbol are found in the work of English language music publishers up to the 20th century, due east.one thousand., West. A. Mozart Requiem Mass, song score ed. W. T. Best, pub. London: Novello & Co. Ltd. 1879.
5. ^ Rudiments and Theory of Music Associated Board of the Royal Schools of Music, London 1958. I,33 and Iii,25. The sometime shows both rest forms without stardom, the latter the "old" grade merely. The book was the standard theory manual in the Britain up until at to the lowest degree 1975. The "old" class was taught as a manuscript variant of the printed form.
6. ^ Miller, RJ (2015). Contemporary Orchestration: A Applied Guide to Instruments, Ensembles, and Musicians. Routledge. p. 38. ISBN978-0-415-74190-3.
7. ^ Haas, David (2011). "Shostakovich'southward Second Piano Sonata: A Composition Recital in Three Styles". In Fairclough, Pauline; Fanning, David (eds.). The Cambridge Companion to Shostakovich. Cambridge Companions to Music. Cambridge University Press. pp. 95–114. doi:ten.1017/CCOL9780521842204.006. ISBN978-i-139-00195-3. The listener is correct to suspect a Baroque reference when a double-dotted rhythmic gesture and semihemidemisemiquaver triplets appear to ornamentation the theme. (p. 112)
8. ^ "Sharps, Flats, Double Sharps, Double Flats in Music Theory", musictheorysite.com
9. ^ "No Fortissimo? Symphony Told to Keep It Downwardly" by Sarah Lyall, The New York Times (20 Apr 2008)
10. ^ Rudiments and Theory of Music Associated Board of the Majestic Schools of Music, London 1958. Five,29
11. ^ George Heussenstamm, The Norton Manual of Music Notation (New York and London: W. Westward. Norton & Company), p. 16
12. ^ Anthony Donato, Preparing Music Manuscript (Englewood Cliffs, New Jersey: Prentice-Hall), pp. 42-43
13. ^ "Scales-continental/ English Fingering". The Associated Board of the Royal Schools of Music. 20 December 2004. Retrieved 3 September 2015.
14. ^ Paterson, Robert (2004). Sounds That Resonate: Selected Developments in Western Bar Percussion During the Twentieth Century. Cornell University: UMI Dissertation Services No. 3114502. p. 182.

Farther reading [edit]

Elaine Gould, Behind Confined – The Definitive Guide to Music Notation. Faber Music (publisher), 2011.

External links [edit]

• Comprehensive list of music symbols fonts
• Music theory & history (Dolmetsch Online)
• Lexicon of musical symbols (Dolmetsch Online)
• Sight reading tutorial with symbol variations Amy Appleby

perronunamornitand.blogspot.com

Source: https://en.wikipedia.org/wiki/List_of_musical_symbols

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