what symbol is used to end a song
Musical symbols are marks and symbols in musical notation that bespeak diverse aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, class (eastward.one thousand., whether sections are repeated), and details about specific playing techniques (east.1000., which fingers, keys, or pedals are to be used, whether a string instrument should be bowed or plucked, or whether the bow of a string instrument should motion up or down).
Lines [edit]
 | Staff/stave The five-line staff (oft "stave" in British usage) is used to signal pitch. Each line or space indicates the pitch belonging to a note with a letter of the alphabet name: A, B, C, D, E, F, G. Moving vertically upwards, the letter names proceed alphabetically with the alternate lines and spaces, and represent ascending pitches. The A-G pattern repeats continually—the notation in a higher place "G" is always another "A". A clef is almost always added, which assigns one specific pitch to ane specific line; the other lines and spaces are determined alphabetically as described. |
 | Ledger or leger lines These boosted lines (and the spaces they form) indicate pitches above or below the staff. The diagram shows a single ledger line above and below the staff but multiple ledger lines can be used. |
 | Bar line (or barline) Bar lines separate measures ("bars") of music co-ordinate to the indicated time signature. They sometimes extend through multiple staves to group them together when a grand staff is used or when indicating groups of similar instruments in a conductor's score. |
 | Double bar line These point some change in the music, such every bit a new musical section, or a new cardinal/time signature. |
 | Bold double bar line These indicate the conclusion of a motion or composition. |
 | Dotted bar line These can be used to subdivide measures of complex meter into shorter segments for ease of reading. |
 | Subclass A bracket is used to connect two or more than lines of music that audio simultaneously. In contemporary usage information technology ordinarily connects staves of private instruments (e.grand., flute and clarinet; 2 trumpets; etc.) or multiple vocal parts, whereas the brace connects multiple parts for a unmarried instrument (e.g., the right-hand and left-hand staves of a piano or harp part). |
 | Caryatid A caryatid is used to connect 2 or more lines of music that are played simultaneously, usually by a single thespian, generally when using a grand staff. The thou staff is used for piano, harp, and some pitched percussion instruments.[one] The brace is occasionally called an accolade in some one-time texts and can vary in blueprint and style. |
Clefs [edit]
A clef assigns 1 particular pitch to i detail line of the staff on which it is placed. This also effectively defines the pitch range or tessitura of the music on that staff. A clef is usually the leftmost symbol on a staff, although a different clef may appear elsewhere to bespeak a change in register. Historically, clefs could be placed on whatever line on a staff (or even on a space), just modern note about exclusively uses treble, bass, alto, and tenor clef.
 | One thousand clef (Treble clef) The spiral of a G clef (not a betoken on the spiral, but the centre around which the spiral is drawn) shows where the G above middle C is located on the staff. A G clef with the spiral centered on the second line of the staff is chosen treble clef.[2] The treble clef is the almost unremarkably 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 middle C. The outset analogy hither is centered on the third line on the staff, making that line center C. When placed there, the clef is chosen alto clef, which is mainly used for the viola just is sometimes used for other instruments. The second illustration shows the clef centered on the 4th line—this clef is called tenor clef. Tenor clef is used for bassoon, cello, trombone, and double bass when the notes become very loftier, avoiding the apply 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, just this has been supplanted past the universal utilize of the treble and bass clefs. Modern 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 3rd space of the staff (equivalent to an octave treble clef) simply this usage is unusual since all other modern clefs are placed on lines. |
 | F clef (Bass clef) An F clef places the F beneath center C on the line between the dots.[2] When placing the F below middle C on the fourth line, equally shown here, it is called bass clef, which is by far its most mutual usage. Bass clef appears nearly as often as treble clef in mod music notation. In older note, peculiarly for vocal music, F clefs were sometimes centered on the third line (baritone clef) merely this usage has essentially go 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 "15" below indicates a two-octave shift. These numbers may also be used above the clef to indicate pitches one or two octaves higher. A treble clef with an viii below is the about mutual version, typically used in music for guitar or tenor vocalisation. |
On a five-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—only it occupies the position of a clef. In this example, the lines and spaces indicate specific instruments, such as the unlike individual instruments in a pulsate set. It may also be drawn on a single-line staff for single percussion instruments. |
 | Tablature Besides non a true clef—the lines and spaces exercise not represent pitches—tablature notation is used in place of ordinary staff note for some cord instruments, such as the guitar. The lines represent the strings of an musical instrument (for standard six-stringed guitars, six lines would exist used). Numbers on the lines prove which fret to employ. Because the lines represent strings rather than pitches, the spaces betwixt the lines are never used. |
Rhythmic values of notes and rests [edit]
Musical note and rest values are determined in reference to the length of a whole notation. The other notes are named (in American usage) in comparison—a half annotation is half the length of a whole note, a quarter note is one quarter the length, etc.
| Notation | British name / American name | Rest |
|---|---|---|
 | Large (Latin: Maxima) / Octuple whole annotation [iii] |  |
 | Long / Quadruple whole note [3] |  |
 | Breve / Double whole note |  |
 | Semibreve / Whole note |  |
 | Minim / Half note |  |
 | Crotchet / Quarter notation [iv] [5] |  |
 | Quaver / Eighth note For notes of this length and shorter, the note has the same number of flags (or hooks) as the remainder has branches. |  |
 | Semiquaver / Sixteenth notation |  |
 | Demisemiquaver / Xxx-second note |  |
 | Hemidemisemiquaver / 60-fourth note |  |
 | Semihemidemisemiquaver / Quasihemidemisemiquaver / Hundred 20-eighth note [6] [seven] |  |
 | Demisemihemidemisemiquaver / Two hundred fifty-6th note [three] |  |
Breaks [edit]
Accidentals and fundamental signatures [edit]
Common accidentals [edit]
Accidentals modify the pitch of the notes that follow them on the same staff position within a measure, unless cancelled by an boosted accidental.
Key signatures [edit]
Key signatures indicate which notes are to exist played every bit sharps or flats in the music that follows, showing upwardly to 7 sharps or flats. Notes that are shown every bit sharp or flat in a key signature will be played that way in every octave—east.1000., a key signature with a B ♭ indicates that every B is played as a B ♭ . A central signature indicates the prevailing primal of the music and eliminates the need to use accidentals for the notes that are e'er flat or sharp in that primal. A cardinal signature with no flats or sharps more often than not indicates the key of C major or A modest, but tin besides point that pitches will be notated with accidentals every bit required. The key signature examples shown here are as they would appear in treble clef.
Flat key signatures
Sharp key signatures
Microtones [edit]
There is no universally accepted note for microtonal music, with varying systems being used depending on the situation. A mutual annotation for quarter tones involves writing the fraction 1⁄iv side by side to an arrow pointing up or down. Below are other forms of notation:
A symbol with i vertical and three diagonal bars indicates a abrupt with some form of alternate tuning.
Notation for the prime numbers in the harmonic series, labeled with their number (height line), frequency ratios (2nd line) and interval size in cents (bottom). The 11th harmonic is notated with the arrow notation for a demisharp (F↑ as 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) 5th, labeling of those is seldom necessary).
In 19 equal temperament, where a whole tone is divided into three steps instead of 2, music is typically notated in a way that flats and sharps are not commonly enharmonic (thus a C ♯ represents a 3rd of a stride 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 as a measure. Time signatures indicate the number of beats in each measure out (the top number) and also show what type of annotation represents a single beat (the bottom number). There may exist any number of beats in a measure but the most common past far are multiples of two and/or iii (i.e., 2, 3, 4, and 6). Likewise, any note length can be used to stand for a trounce, but a quarter note (indicated by a bottom number of "iv") or 8th notation (bottom number of "8") are by far the most common.
Note relationships [edit]
 | Tie When tied together, two notes with the same pitch are played as a single note. The length of this single notation is the sum of the time values of the ii tied notes. The symbol for the tie and the symbol for the slur appear the same, but a tie can just join two notes of the same pitch. |
  | Slur While the first annotation of a slurred group is articulated, the others are non. For bowed instruments this entails playing the notes in a single bow motility, for wind instruments (aerophones) the notes nether the slur are non tongued and are played in one continuous jiff. On other instruments, like pitched percussion instruments, the notes are connected in a phrase, as if a vocaliser were to sing them in a single breath. In sure contexts a slur may instead indicate that the notes are to be played legato, in which case rearticulation is permitted. While the slur symbol and the tie symbol appear the same, a tie tin can only connect exactly two notes of the same pitch; a slur can connect two or more than of any pitches. In vocal music a slur normally indicates that notes nether the slur should be 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 crave that the music be slurred. |
 | Glissando or Portamento A continuous, uninterrupted glide from ane notation to the next that includes the pitches betwixt. Some instruments, such as the trombone, timpani, non-fretted string instruments like the cello, electronic instruments, and the human voice can brand this glide continuously (portamento), while other instruments such as the piano, harp, or mallet instruments blur the detached pitches betwixt the start and end notes to mimic a continuous slide (glissando). |
 | Tuplet A tuplet is a group of notes that would not normally fit into the rhythmic space they occupy. The example shown is a quarter-annotation triplet—three quarter notes are to exist played in the space that would normally contain two. (To make up one's mind how many "normal" notes are being replaced by the tuplet, it is sometimes necessary to examine the context.) While triplets are the most common version, many other tuplets are possible: five notes in the space of four, seven notes in the space of eight, etc. Specific tuplets are named according to the number of grouped notes; e.m., duplets, triplets, quadruplets, etc. |
 | Chord A chord is several notes sounded simultaneously. Two-note chords are called dyads, iii-annotation chords congenital by using the interval of a 3rd are chosen triads. |
 | Arpeggiated chord A chord with notes played in rapid succession, usually ascending, each notation being sustained as the others are played. Information technology is too called a "broken chord" or "rolled chord". |
Dynamics [edit]
Dynamics are indicators of the relative intensity or book of a musical line.
 | Pianississimo Extremely soft. Softer dynamics occur very infrequently and would exist specified with additional p due south. |
 | Pianissimo Very soft. |
 | Piano Soft; louder than pianissimo. |
 | Mezzo pianoforte Moderately soft; louder than pianoforte. |
 | Mezzo forte Moderately loud; softer than forte. If no dynamic appears, mezzo-forte is assumed to exist 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, fierce emphasis on a unmarried audio or chord. When written out in full, it applies to the sequence of sounds or chords nether or over which it is placed. |
 | Fortepiano Indicates that the annotation is to be played with a loud attack, and and then immediately go soft. |
 | Crescendo A gradual increment in volume. Can be extended under many notes to betoken that the volume steadily increases during the passage. |
 | Diminuendo Also decrescendo A gradual decrease in book. Tin can exist extended in the same manner as crescendo. |
 | Niente Meaning "nothing". May exist used at the start of a crescendo to indicate "start from cypher" or at the end of a diminuendo to betoken "fade out to nix". |
Rarely, fifty-fifty softer or louder dynamic levels are indicated past calculation more p s or f s. While ppp is called "pianississimo" and fff is called "fortississimo", these words (formed by adding an boosted "iss") are not proper Italian.
Dynamics are relative, and the meaning of each level is at the discretion of the performer or the usher. Laws to curb high dissonance levels in the workplace have changed the estimation of very loud dynamics in some big orchestral works, as noise levels within the orchestra itself can easily exceed safe levels.[9]
Articulation marks [edit]
Articulations specify the length, volume, and way of attack of individual notes. This category includes accents. Articulations tin can be combined with one some other 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 note should exist played shorter than notated, usually half the value, leaving the remainder of the metric value silent. Staccato marks may appear on notes of whatever value, shortening their performed duration without speeding up the music. |
 | Staccatissimo or Spiccato This indicates that the note should be played even shorter than staccato. It is usually applied to quarter notes or shorter notes. In the by this mark's meaning was more ambiguous—it was sometimes used interchangeably with staccato and sometimes indicated an accent and not a shortened note. These usages are now almost defunct merely still appear in some scores. For string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. |
 | Tenuto This symbol indicates that the note should be played at its full value, or slightly longer. It can as well indicate a caste of emphasis, especially when combined with dynamic markings to bespeak a modify in loudness, or combined with a staccato dot to betoken a slight disengagement (portato or mezzo staccato). In percussion notation, this sign indicates a slight accent. |
 | Fermata or Interruption A fermata indicates that a note, chord, or rest is sustained longer than its written value. It will usually announced on all parts in an ensemble. The fermata is held for as long every bit the performer or usher desires. |
 | Emphasis An accent indicates that a note should be played louder, or with a harder attack than surrounding unaccented notes. It may appear on notes of whatsoever duration. |
 | Marcato A marcato marker indicates that the notation should be played louder or more than forcefully than a note with a regular accent mark. In organ notation, this sign often does not indicate marcato, but instead that a pedal notation should be played with the toe. When printed to a higher place the notation it indicates the right foot, and below the note indicates the left foot. |
Ornaments [edit]
Ornaments alter the pitch pattern of individual notes.
  | Trill A rapid alternation between the specified note and the side by side higher note (adamant by key signature) inside its duration, likewise chosen a "shake". When followed by a wavy horizontal line, this symbol indicates an extended, or running, trill. In music up to the fourth dimension of Haydn or Mozart the trill begins on the upper auxiliary note.[ten] In percussion note, a trill is sometimes used to indicate a tremolo. In French baroque note, the trill, or tremblement , was notated as a small cross to a higher place or beside the note. |
 | Upper mordent Rapidly play the master annotation, the adjacent higher note (according to key signature) then render to the principal note for the remaining duration. In some music, the mordent begins on the auxiliary note, and the alternation between the two notes may be extended. (In other words, in some music, the upper-mordent sign means exactly the same every bit the trill sign.) Regardless of the way of music, the design finishes on the principal note. In handbells, this symbol is a "shake" and indicates the rapid shaking of the bells for the duration of the note. |
 | Lower mordent (inverted) Chop-chop play the chief notation, the notation below information technology, then return to the primary annotation for the remaining duration. In much music, the mordent begins on the auxiliary note, and the alternation betwixt the 2 notes may exist extended. |
   | Gruppetto or Turn When placed directly above the annotation, the turn (too known as a gruppetto) indicates a sequence of upper auxiliary note, main note, lower auxiliary note, and a return to the principal note. When placed to the right of the notation, the principal note is played commencement, followed by the higher up pattern. Placing a vertical line through the plow symbol or inverting it, it indicates an inverted plough, in which the society of the auxiliary notes is reversed. |
 | Appoggiatura The kickoff one-half of the main note's duration has the pitch of the grace notation (the showtime 2-thirds if the principal note is a dotted note). |
 | Acciaccatura The acciaccatura is of very cursory elapsing, as though brushed on the manner to the principal note, which receives nearly all of its notated duration. In some styles of music, the acciaccatura is played exactly on the beat and the primary annotation is marginally tardily; in other styles, the acciaccatura is marginally early and the principal note is on the beat. It is also possible on some instruments to play both notes exactly on the crush so quickly release the acciaccatura. In percussion notation, the acciaccatura symbol denotes the flam, the miniature notation still positioned behind the main note only on the same line or space of the staff. The flam note is usually played but before the natural durational subdivision the primary note is played on, with the timing and duration of the main note remaining unchanged. As well known by the English translation of the Italian term, crushed note, and in German every bit Zusammenschlag (simultaneous stroke). |
Octave signs [edit]
8va and 15ma are sometimes abbreviated further to eight and fifteen. When they appear beneath the staff, the word bassa is sometimes added.
Repetition and codas [edit]
  | Tremolo A speedily repeated annotation. If the tremolo is between 2 notes, 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 repeat (or alternate) the note. As shown here, the note is to exist repeated at a demisemiquaver (thirty-second note) rate, but it is a common convention for three slashes to exist interpreted as "equally fast every bit possible", or at any rate at a speed to be left to the role player's judgment. In percussion annotation, tremolos indicate rolls, diddles, and drags. Typically, a single tremolo line on a sufficiently short notation (such as a sixteenth) is played every bit a elevate, and a combination of three stem and tremolo lines indicates a double-stroke ringlet (or a single-stroke coil, in the example of timpani, mallet percussion and some untuned percussion instruments such as triangle and bass drum) for a period equivalent to the elapsing of the annotation. In other cases, the interpretation of tremolos is highly variable, and should exist examined by the director and performers. The tremolo symbol also represents flutter-tonguing. |
 | Repeat signs Enclose a passage that is to be played more than once. If there is no left repeat sign, the right repeat sign sends the performer back to the start of the piece or the motion. |
 | Simile marks Denote that preceding groups of beats or measures are to be repeated. In the examples here, the get-go usually ways to echo the previous mensurate, and the second commonly ways to repeat the previous two measures. This marking is normally only used in styles of music in which the players commonly expect to play repeated patterns, and in which the mark is therefore oftentimes encountered; in styles where such a marker would be 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-fourth dimension bars) A repeated passage is to exist played with different endings on different playings. Although two endings are most common, it is possible to have multiple endings (1st, 2nd, 3rd ...). |
 | Da capo (lit. "From pinnacle") Tells the performer to repeat playing of the music from its get-go. This is unremarkably followed by al fine (lit. "to the cease"), which ways to echo to the discussion fine and stop, or al coda (lit. "to the tail"), which means repeat up to the coda sign and and so bound forward 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 past al fine or al coda simply as with da capo. |
 | Segno Mark used with dal segno. |
 | Coda sign Indicates a forrard leap in the music to its coda (ending passage), which is marked with the aforementioned sign. Just used subsequently playing through a D.Due south. al coda (Dal segno al coda) or D.C. al coda (Da capo al coda). |
Instrument-specific notation [edit]
Bowed cord instruments [edit]
| | Left-paw pizzicato or Stopped notation A note on a stringed musical instrument where the cord is plucked with the left manus (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 mitt shoved further into the bell of the horn). In percussion this notation denotes, among many other specific uses, to close the hullo-hat by pressing the pedal, or that an musical instrument is to be "choked" (muted with the hand). |
 | Snap pizzicato On a stringed musical instrument, a notation played by stretching a cord abroad from the frame of the instrument and letting information technology go, making it "snap" against the frame. Also known every bit a Bartók pizzicato. |
 | Natural harmonic or Open note On a stringed instrument, this means to play a natural harmonic (also called flageolet). Sometimes, information technology too denotes that the note to be played is an open up cord. On a valved brass instrument, it means to play the annotation "open up" (without lowering any valve, or without mute). In organ annotation, this ways to play a pedal note with the heel (to a higher place the note, use the right foot; beneath the annotation, utilize the left pes). In percussion notation this denotes, among many other specific uses, to open the hi-hat by releasing the pedal, or allow an instrument to band. |
 | Up bow or Sull'arco On a bowed cord instrument, the note is played while drawing the bow upward. On a plucked string instrument played with a plectrum or selection (such equally a guitar played pickstyle or a mandolin), the note is played with an upstroke. |
 | Down bow or Giù arco In contrast to the up bow, hither the bow is drawn downwards to create sound. On a plucked cord musical 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 note organization derived from the names of the fingers in Spanish or Latin. They are written higher up, below, or beside the note to which they are fastened. They read every bit follows:
| Symbol | Castilian | Italian | Latin | English | French |
|---|---|---|---|---|---|
| p | pulgar | pollice | thumb | pollex | pouce |
| i | índice | indice | alphabetize | index | alphabetize |
| 1000 | medio | medio | media | middle | majeur ou médius |
| a | anular | anulare | anularis | ring | annulaire |
| c, 10, e, q | meñique | mignolo | minimus | little | auriculaire |
Piano [edit]
Pedal marks [edit]
Pedal marks appear in music for instruments with sustain pedals, such equally the piano, vibraphone and chimes.
 | Engage pedal Tells the player to put the sustain pedal down. |
 | Release pedal Tells the player to let the sustain pedal up. |
 | Variable pedal mark More accurately indicates the precise use of the sustain pedal. Initial depress and last release are indicated past the short vertical lines. The extended horizontal line tells the player to keep the sustain pedal depressed for all notes beneath which it appears. The inverted «Five» (Λ) shape indicates the pedal is to be momentarily released, so depressed again. |
 | |
| U.C. | una corda or U.C. Tells the player to put the soft pedal down. |
| T.C. | tre corde or tutte le corde or T.C. Tells the role player to let the soft pedal up. |
Other piano annotation [edit]
| Left hand | Right manus | |
|---|---|---|
| English | l.h. | R.H. |
| left hand | right hand | |
| German | l.H. | r.H. |
| linke Paw | rechte Paw | |
| French | k.g. | thou.d. |
| master gauche | main droite | |
| Italian | m.due south. | m.d. |
| mano sinistra | mano destra | |
| Castilian | m.i. | one thousand.d. |
| mano izquierda | mano derecha |
| ane, 2, 3, 4, 5 | Finger identifications: i = pollex 2 = index 3 = center 4 = ring v = lilliputian |
Old (pre-1940) tutors published in the UK may utilise "English fingering". + for thumb, then 1 (index), two (middle), 3 (ring) and 4 (little).[13]
Other stringed instruments [edit]
(With the exception of harp)
| 0, 1, two, three, 4 | Finger identifications: 0 = open string (no finger used) 1 = index 2 = center 3 = ring four = little The thumb is also used by the cello and bass, usually denoted past ϙ (a circle with a line coming out the bottom), or, more rarely, a T. |
See as well Fingerstyle guitar#Annotation.
Harp [edit]
Fingering numbers are like to piano, except there is no 5 as the little finger is not used in playing the harp.
1 = thumb, 2 = alphabetize finger, 3 = middle finger, 4 = ring finger.
Iv-mallet percussion [edit]
| 1, 2, 3, 4 | Mallet identifications: 1 = Far left mallet 2 = Inner-left mallet 3 = Inner-correct mallet four = Far right mallet |
Some systems contrary the numbers (east.g., 4 = Far-left mallet, 3 = Inner-left mallet, etc.)
Half-dozen-mallet percussion [edit]
| i, two, 3, 4, v, 6 | Mallet identifications: i = Far-left mallet 2 = Middle-left mallet 3 = Inner-left mallet iv = Inner-right mallet 5 = Middle-right mallet six = Far-right mallet |
Numbers for half-dozen-mallet percussion may be reversed as well.[14]
See also [edit]
- Cluster
- Graphic notation
- Music theory
- Glossary of musical terminology
- Musical Symbols (Unicode block)
- Shape note
- Musical Symbols (disambiguation)
References [edit]
- ^ "Music Notation and Engraving – Braces and Subclass, Colorado Higher Music Department
- ^ a b Gerou, Tom; Lusk, Linda (1996). Essential Dictionary of Music Note. Alfred Music. p. 49. ISBN0-88284-768-6.
- ^ a b c "UNLP at the C@merata Task: Question Answering on Musical Scores ACM" (PDF). Csee.essex.ac.uk . Retrieved 2017-05-30 .
- ^ Examples of the older residuum symbol are constitute in the work of English language music publishers upwardly to the 20th century, e.g., West. A. Mozart Requiem Mass, vocal score ed. W. T. All-time, pub. London: Novello & Co. Ltd. 1879.
- ^ Rudiments and Theory of Music Associated Board of the Imperial Schools of Music, London 1958. I,33 and III,25. The former shows both rest forms without distinction, the latter the "sometime" form merely. The volume was the standard theory manual in the U.k. upward until at least 1975. The "old" form was taught as a manuscript variant of the printed course.
- ^ Miller, RJ (2015). Contemporary Orchestration: A Applied Guide to Instruments, Ensembles, and Musicians. Routledge. p. 38. ISBN978-0-415-74190-iii.
- ^ Haas, David (2011). "Shostakovich'due south 2nd 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:10.1017/CCOL9780521842204.006. ISBN978-i-139-00195-three.
The listener is correct to suspect a Baroque reference when a double-dotted rhythmic gesture and semihemidemisemiquaver triplets appear to ornament the theme.
(p. 112) - ^ "Sharps, Flats, Double Sharps, Double Flats in Music Theory", musictheorysite.com
- ^ "No Fortissimo? Symphony Told to Continue Information technology Downwardly" by Sarah Lyall, The New York Times (20 April 2008)
- ^ Rudiments and Theory of Music Associated Lath of the Royal Schools of Music, London 1958. V,29
- ^ George Heussenstamm, The Norton Transmission of Music Notation (New York and London: W. W. Norton & Company), p. 16
- ^ Anthony Donato, Preparing Music Manuscript (Englewood Cliffs, New Jersey: Prentice-Hall), pp. 42-43
- ^ "Scales-continental/ English Fingering". The Associated Board of the Royal Schools of Music. twenty December 2004. Retrieved 3 September 2015.
- ^ 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.
Further reading [edit]
Elaine Gould, Behind Bars – The Definitive Guide to Music Annotation. Faber Music (publisher), 2011.
External links [edit]
- Comprehensive list of music symbols fonts
- Music theory & history (Dolmetsch Online)
- Dictionary of musical symbols (Dolmetsch Online)
- Sight reading tutorial with symbol variations Amy Appleby
Source: https://en.wikipedia.org/wiki/List_of_musical_symbols
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