List of musical symbols

Musical symbols are marks and symbols used since about the 13th century in musical notation of
musical scores. Some are used to notate pitch, tempo, metre, duration and articulation of a note or a
passage of music. In some cases, symbols provide information about the form of a piece (e.g., how many
repeats of a section) or about how to play the note (e.g., with violin family instruments, a note may be
bowed or plucked). Some symbols are instrument-specific notation giving the performer information
about which finger, hand or foot to use.

Contents
Lines
Clefs
Notes and rests
Breaks
Accidentals and key signatures
Common accidentals
Key signatures
Quarter tones
Time signatures
Note relationships
Dynamics
Articulation marks
Ornaments
Octave signs
Repetition and codas
Instrument-specific notation
Bowed string instruments
Guitar
Piano
Pedal marks
Other piano notation
Other stringed instruments
Four-mallet percussion
Six-mallet percussion
See also
References
External links
Lines
Staff
The staff is the fundamental latticework of music notation, on which symbols
are placed. The five staff lines and four intervening spaces correspond to
pitches of the diatonic scale; which pitch is meant by a given line or space is
defined by the clef. In British usage, the word "stave" is often used.
Ledger or leger lines
These extend the staff to pitches that fall above or below it. Such ledger lines
are placed behind the note heads, and extend a small distance to each side.
Multiple ledger lines can be used when necessary to notate pitches even
farther above or below the staff.
Bar line
These separate measures (see time signatures below for an explanation of
measures). Also used for changes in time signature. Bar lines are extended
to connect multiple staves in certain types of music, such as for keyboard or
harp, and in conductor scores, but such extensions are not used for other
types of music, such as vocal scores.
Double bar line, Double barline
These separate two sections of music, or are placed before a change in key
signature.

Bold double bar line, Bold double barline

These indicate the conclusion of a movement or an entire composition.

Dotted bar line, Dotted barline

Subdivides long measures of complex meter into shorter segments for ease
of reading, usually according to natural rhythmic subdivisions.
Bracket
Connects two or more lines of music that sound simultaneously. In general
contemporary usage the bracket usually connects the staves of separate
instruments (e.g., flute and clarinet; two trumpets; etc.) or multiple vocal parts
in a choir or ensemble, whereas the brace connects multiple parts for a
single instrument (e.g., the right-hand and left-hand staves of a piano or harp
part).
Brace
Connects two or more lines of music that are played simultaneously in piano,
keyboard, harp, or some pitched percussion music.[1] Depending on the
instruments playing, the brace (occasionally called an accolade in some old
texts) varies in design and style.

Clefs
Clefs define the pitch range, or tessitura, of the staff on which it is placed. A clef is usually the leftmost
symbol on a staff. Additional clefs may appear in the middle of a staff to indicate a change in register for
instruments with a wide range. In early music, clefs could be placed on any of several lines on a staff.

G clef (Treble clef)

The centre of the spiral assigns the second line from the bottom to the pitch
G above middle C.[2] The treble clef is the most commonly encountered clef
in modern notation, and is used for most modern vocal music. Middle C is the
first ledger line below the staff here.

C clef (Alto, and Tenor clefs)

These clefs point to the line representing middle C. As illustrated here, it
makes the center line on the staff middle C, and is referred to as the "alto
clef". This clef is used in modern notation for the viola. While all clefs can be
placed anywhere on the staff to indicate various tessitura, the C clef is most
often considered a "movable" clef: it is frequently seen pointing instead to the
fourth line and called a "tenor clef". This clef is used very often in music
written for bassoon, cello, trombone, and double bass; it replaces the bass
clef when the number of ledger lines above the bass staff hinders easy
reading.
Until the classical era, the C clef was also frequently seen pointing to other
lines, mostly in vocal music, but today this has been supplanted by the
universal use of the treble and bass clefs. Modern editions of music from
such periods generally transpose the original C clef parts to either treble
(female voices), octave treble (tenors), or bass clef (tenors and basses). It
can be occasionally seen in modern music on the third space (between the
third and fourth lines), in which case it has the same function as an octave
treble clef. This unusual practice runs the risk of misreading, however,
because the traditional function of all clefs is to identify staff lines, not
spaces.
F clef (Bass clef)
The line between the dots in this clef denotes F below middle C.[2] Positioned
here, it makes the second line from the top of the staff F below middle C, and
is called a "bass clef". This clef appears nearly as often as the treble clef,
especially in choral music, where it represents the bass and baritone voices.
Middle C is the first ledger line above the staff here. In old music, particularly
vocal scores, this clef is sometimes encountered centered on the third staff
line, in which position it is referred to as a baritone clef; this usage has
essentially become obsolete.
Neutral clef
Used for pitchless instruments, such as some of those used for percussion.
Each line can represent a specific percussion instrument within a set, such
as in a drum set. Two different styles of neutral clefs are pictured here. It may
also be drawn with a separate single-line staff for each untuned percussion
instrument.
Octave clef
Treble and bass clefs can also be modified by octave numbers. An eight or
fifteen above a clef raises the intended pitch range by one or two octaves
respectively. Similarly, an eight or fifteen below a clef lowers the pitch range
by one or two octaves respectively. A treble clef with an eight below is the
most commonly used, typically used for guitar and similar instruments, as
well as for tenor parts in choral music.
Tablature
For stringed instruments, such as the guitar, it is possible to notate tablature
in place of ordinary notes. In this case, a TAB sign is often written instead of
a clef. The number of lines of the staff is not necessarily five: one line is used
for each string of the instrument (so, for standard 6-stringed guitars, six lines
would be used). Numbers on the lines show which fret to play the string on.
 This TAB sign, like the percussion clef, is not a clef in the true sense, but
rather a symbol employed instead of a clef. Similarly, the horizontal lines do
not constitute a staff in the usual sense, because the spaces between the
lines in a tablature are never used.

Notes and rests

Musical note and rest values are not absolutely defined, but are proportional in duration to all other note
and rest values. The whole note is the reference value, and the other notes are named (in American
usage) in comparison; i.e., a quarter note is a quarter of the length of a whole note.

Note British name / American name Rest

Large (Latin: Maxima) / Octuple whole note[3]

Long / Quadruple whole note[3]

Breve / Double whole note

Semibreve / Whole note

Minim / Half note

Crotchet / Quarter note[4][5]

Quaver / Eighth note

For notes of this length and shorter, the note
has the same number of flags (or hooks) as the rest has
branches.

Semiquaver / Sixteenth note

Demisemiquaver / Thirty-second note

 Hemidemisemiquaver / Sixty-fourth note

Semihemidemisemiquaver /
Quasihemidemisemiquaver / Hundred twenty-eighth
note[6][7]

Demisemihemidemisemiquaver / Two hundred fifty-

sixth note[3]

Beamed notes
Beams connect eighth notes (quavers) and notes of shorter value and are
equivalent in value to flags. In metered music, beams reflect the rhythmic
grouping of notes. They may also group short phrases of notes of the same
value, regardless of the meter; this is more common in ametrical passages.
In older printings of vocal music, beams are often only used when several
notes are to be sung on one syllable of the text – melismatic singing; modern
notation encourages the use of beaming in a consistent manner with
instrumental engraving, and the presence of beams or flags no longer
informs the singer about the lyrics. Today, due to the body of music in which
traditional metric states are not always assumed, beaming is at the discretion
of composers and arrangers, who often use irregular beams to emphasize a
particular rhythmic pattern.
Dotted note
Placing a dot to the right of a notehead lengthens the note's duration by one-
half. Additional dots lengthen the previous dot instead of the original note,
thus a note with one dot is one and one half its original value, a note with two
dots is one and three quarters, a note with three dots is one and seven
eighths, and so on. Rests can be dotted in the same manner as notes. In
other words, n dots lengthen the note's or rest's original duration d to
d × (2 − 2−n).
Ghost note
A note with a rhythmic value, but no discernible pitch when played. It is
represented by a (saltire) cross (similar to the letter x) for a note head instead
of an oval. Composers will primarily use this notation to represent percussive
pitches.
Multi-measure rest
Indicates the number of measures in a resting part without a change in meter
to conserve space and to simplify notation. Also called gathered rest or multi-
bar rest.
Durations shorter than the 64th are rare but not unknown. 128th notes are used by many composers,
including Mozart and Beethoven; 256th notes occur in works by Vivaldi, Mozart and Beethoven. An
extreme case is the Toccata Grande Cromatica by early-19th-century American composer Anthony Philip
Heinrich, which uses note values as short as 2,048ths; however, the context shows clearly that these notes
have one beam more than intended, so they should really be 1,024th notes.[8]

The name of very short notes can be formed as 2n + 2th note, where n is the number of flags on the note.

Breaks
Breath mark
This symbol tells the performer to take a breath (or make a slight pause for
non-wind instruments). This pause usually does not affect the overall tempo.
For bowed instruments, it indicates to lift the bow and play the next note with
a downward (or upward, if marked) bow.

Caesura
A pause during which time is not counted.

Accidentals and key signatures

Common accidentals
Accidentals modify the pitch of the notes that follow them on the same staff position within a measure,
unless cancelled by an additional accidental.

Flat
Lowers the pitch of a note by one semitone.

Sharp
Raises the pitch of a note by one semitone.

Natural
Cancels a previous accidental, or modifies the pitch of a sharp or flat as
defined by the prevailing key signature (such as F-sharp in the key of G
major, for example).

Double flat
Lowers the pitch of a note by two chromatic semitones. Usually used when
the note to modify is already flatted by the key signature.[9]

Double sharp
Raises the pitch of a note by two chromatic semitones. Usually used when
 the note to modify is already sharpened by the key signature.

Key signatures
Key signatures define the prevailing key of the music that follows, thus avoiding the use of accidentals
for many notes. If no key signature appears, the key is assumed to be C major/A minor, but can also
signify a neutral key, employing individual accidentals as required for each note. The key signature
examples shown here are described as they would appear on a treble staff.

Flat key signature

Lowers by a semitone the pitch of notes on the corresponding line or space,
and all octaves thereof, thus defining the prevailing major or minor key.
Different keys are defined by the number of flats in the key signature, starting
with the leftmost, i.e., B♭, and proceeding to the right; for example, if only the
first two flats are used, the key is B♭ major/G minor, and all B's and E's are
"flatted" (US) or "flattened" (UK), i.e., lowered to B♭ and E♭.[10]
Sharp key signature
Raises by a semitone the pitch of notes on the corresponding line or space,
and all octaves thereof, thus defining the prevailing major or minor key.
Different keys are defined by the number of sharps in the key signature, also
proceeding from left to right; for example, if only the first four sharps are
used, the key is E major/C♯ minor, and the corresponding pitches are raised.

Quarter tones
There is no universally accepted notation for microtonal music, with varying systems being used
depending on the situation. A common notation for quarter tones involves writing the fraction 1⁄4 next to
an arrow pointing up or down. Below are other forms of notation:

Demiflat
Lowers the pitch of a note by one quarter tone. (Another notation for the
demiflat is a flat with a diagonal slash through its stem. In systems where
pitches are divided into intervals smaller than a quarter tone, the slashed flat
represents a lower note than the reversed flat.)

Flat-and-a-half (sesquiflat)
Lowers the pitch of a note by three quarter tones. As with a demiflat, a
slashed double-flat symbol is also used.

Demisharp
Raises the pitch of a note by one quarter tone.

Sharp-and-a-half (sesquisharp)
 Raises the pitch of a note by three quarter tones. Occasionally represented
with two vertical and three diagonal bars instead.

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

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

Time signatures
Time signatures define the meter of the music. Music is "marked off" in uniform sections called bars or
measures, and time signatures establish the number of beats in each. This does not necessarily indicate
which beats to emphasize, however, so a time signature that conveys information about the way the piece
actually sounds is thus chosen. Time signatures tend to suggest prevailing groupings of beats or pulses.

Specific time – simple time signatures

The bottom number represents the note value of the basic pulse
of the music (in this case the 4 represents the crotchet or quarter-
note). The top number indicates how many of these note values
appear in each measure. This example announces that each
measure is the equivalent length of three crotchets (quarter-
notes). For example, 3 4 is pronounced as "three-four time" or
"three-quarter time".
Specific time – compound time signatures
The bottom number represents the note value of the subdivisions
of the basic pulse of the music (in this case the 8 represents the
quaver or eighth-note). The top number indicates how many of
these subdivisions appear in each measure. Usually each beat is
composed of three subdivisions. To derive the unit of the basic
pulse in compound meters, double this value and add a dot, and
divide the top number by 3 to determine how many of these
pulses there are each measure. This example announces that
each measure is the equivalent length of two dotted crotchets
(dotted quarter-notes). This is pronounced as "Six-Eight Time".

Common time
This symbol represents 44 time. It derives from the broken circle
that represented "imperfect" duple meter in fourteenth-century
mensural time signatures.

Alla breve or Cut time

This symbol represents 2
2 time, indicating two minim (or half-note)
beats per measure. Here, a crotchet (or quarter note) would get
half a beat.

Metronome mark
Written at the start of a score, and at any significant change of
tempo, this symbol precisely defines the tempo of the music by
assigning absolute durations to all note values within the score. In
 this particular example, the performer is told that 120 crotchets, or
quarter notes, fit into one minute of time. Many publishers
precede the marking with letters "M.M.", referring to Maelzel's
Metronome.

Note relationships
Tie
Indicates that the two (or more) notes joined together are to be played as one
note with the time values added together. To be a tie, the notes must be
identical – that is, they must be on the same line or the same space.
Otherwise, it is a slur (see below).
Slur
Indicates to play two or more notes in one physical stroke, one uninterrupted
breath, or (on instruments with neither breath nor bow) connected into a
phrase as if played in a single breath. In certain contexts, a slur may only
indicate to play the notes legato. In this case, rearticulation is permitted.
Slurs and ties are similar in appearance. A tie is distinguishable because it
always joins two immediately adjacent notes of the same pitch, whereas a
slur may join any number of notes of varying pitches. In vocal music a slur
normally indicates that notes grouped together by the slur should be sung to
a single syllable.
A phrase mark (or less commonly, ligature) is a mark that is visually identical
to a slur, but 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, unbroken glide from one note to the next that includes the
pitches between. Some instruments, such as the trombone, timpani, non-
fretted string instruments, electronic instruments, and the human voice can
make this glide continuously (portamento), while other instruments such as
the piano or mallet instruments blur the discrete pitches between the start
and end notes to mimic a continuous slide (glissando).
Tuplet
A number of notes of irregular duration are performed within the duration of a
given number of notes of regular time value; e.g., five notes played in the
normal duration of four notes; seven notes played in the normal duration of
two; three notes played in the normal duration of four. Tuplets are named
according to the number of irregular notes; e.g., duplets, triplets, quadruplets,
etc.
Chord
Several notes sounded simultaneously ("solid" or "block"), or in succession
("broken"). Two-note chords are called a dyad or an interval; three-note
chords built from generic third intervals are called triads. A chord may
contain any number of notes.

Arpeggiated chord
A chord with notes played in rapid succession, usually ascending, each note
being sustained as the others are played. It is also called a "broken chord" or
"rolled chord".
Dynamics
Dynamics are indicators of the relative intensity or volume of a musical line.

Pianississimo[D 1]
Extremely soft. Very infrequently does one see softer dynamics than this,
which are specified with additional ps.
Pianissimo
Very soft. Usually the softest indication in a piece of music, though softer
dynamics are often specified with additional ps.
Piano
Soft; louder than pianissimo.
Mezzo piano
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. Used as often as piano to indicate contrast.
Fortissimo
Very loud. Usually the loudest indication in a piece, though louder dynamics
are often specified with additional fs (such as fortississimo – seen below).
Fortississimo[D 1]
Extremely loud. Very infrequently does one see louder dynamics than this,
which are specified with additional fs.
Sforzando
Literally "forced", denotes an abrupt, fierce accent on a single sound or
chord. When written out in full, it applies to the sequence of sounds or chords
under or over which it is placed.
Crescendo
A gradual increase in volume.
Can be extended under many notes to indicate that the volume steadily
increases during the passage.
Diminuendo
Also decrescendo
A gradual decrease in volume. Can be extended in the same manner as
crescendo.

1. Dynamics with 3 letters (i.e., ppp and fff) are often referred to by adding an extra "iss"
(pianissimo to pianississimo). This is improper Italian and would translate literally to
"softestest" in English, but acceptable as a musical term; such a dynamic can also be
described as molto pianissimo, piano pianissimo or molto fortissimo and forte fortissimo in
somewhat more proper Italian.
Other commonly used dynamics build upon these values. For example, "pianississimo" (represented as
ppp) meaning so softly as to be almost inaudible, and fortississimo, (fff) meaning extremely loud.
Dynamics are relative, and the meaning of each level is at the discretion of the performer or, in the case
of ensembles, the conductor. However, modern legislation to curb high noise levels in the workplace in
an effort to prevent damage to musicians' hearing has posed a challenge to the interpretation of very loud
dynamics in some large orchestral works, as noise levels within the orchestra itself can easily exceed safe
levels when all instruments are playing at full volume[11]
A small s in front of the dynamic notations means subito (meaning "suddenly" in Italian), and means that
the dynamic is to change to the new notation rapidly. Subito is commonly used with sforzandos, but can
appear with all other dynamic notations, most commonly as sff (subitofortissimo) or spp
(subitopianissimo).

Forte-piano
A section of music in which the music should initially be played loudly (forte),
then immediately softly (piano).
Another value that rarely appears is niente or n, which means "nothing". This may be used at the end of a
diminuendo to indicate "fade out to nothing".

Articulation marks
Articulations (or accents) specify how to perform individual notes within a phrase or passage. They can
be fine-tuned by combining more than one such symbol over or under a note. They may also appear in
conjunction with phrasing marks listed above.

Staccato
This indicates the musician should play the note shorter than notated, usually
half the value; the rest of the metric value is then silent. Staccato marks may
appear on notes of any value, shortening their performed duration without
speeding the music itself.
Staccatissimo or Spiccato
Indicates a longer silence after the note (as described above), making the
note very short. Usually applied to quarter notes or shorter. (In the past, this
marking’s meaning was more ambiguous: it sometimes was used
interchangeably with staccato, and sometimes indicated an accent and not
staccato. These usages are now almost defunct, but still appear in some
scores.) In string instruments this indicates a bowing technique in which the
bow bounces lightly upon the string.

Accent
Play the note louder, or with a harder attack than surrounding unaccented
notes. May appear on notes of any duration.

Tenuto
This symbol indicates play the note 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).
Marcato
Play the note somewhat louder or more forcefully than a note with a regular
accent mark (open horizontal wedge). In organ notation, this means play a
pedal note with the toe. Above the note, use the right foot; below the note,
use the left foot.
Fermata (Pause)
A note, chord, or rest sustained longer than its customary value. Usually
appears over all parts at the same metrical location in a piece, to show a halt
in tempo. It can be placed above or below the note. The fermata is held for
 as long as the performer or conductor desires, but is often set as twice the
notes' original value.

Ornaments
Ornaments modify the pitch pattern of individual notes.

Trill
A rapid alternation between the specified note and the next higher
note (according to key signature) within its duration, also called a
"shake". When followed by a wavy horizontal line, this symbol
indicates an extended, or running, trill. In modern music the trill
begins on the main note and ends with the lower auxiliary note then
the main note, which requires a triplet immediately before the turn. In
music up to the time of Haydn or Mozart the trill begins on the upper
auxiliary note and there is no triplet.[12] In percussion notation, a trill
is sometimes used to indicate a tremolo (q.v.). In French baroque
notation, the trill, or tremblement, was notated as a small cross
above or beside the note.
Upper mordent
Rapidly play the principal note, the next higher note (according to
key signature) then return to the principal note for the remaining
duration. In most music, the mordent begins on the auxiliary note,
and the alternation between the two notes may be extended. In
handbells, this symbol is a "shake" and indicates the rapid shaking
of the bells for the duration of the note.
Lower mordent (inverted)
Rapidly play the principal note, the note below it, then return to the
principal note for the remaining duration. In much music, the
mordent begins on the auxiliary note, and the alternation between
the two notes may be extended.
Turn
When placed directly above the note, the turn (also known as a
gruppetto) indicates a sequence of upper auxiliary note, principal
note, lower auxiliary note, and a return to the principal note. When
placed to the right of the note, the principal note is played first,
followed by the above pattern. Placing a vertical line through the turn
symbol or inverting it, it indicates an inverted turn, in which the order
of the auxiliary notes is reversed.

Appoggiatura
The first half of the principal note's duration has the pitch of the
grace note (the first two-thirds if the principal note is a dotted note).

Acciaccatura
The acciaccatura is of very brief duration, as though brushed on the
way to the principal note, which receives virtually all of its notated
duration. In percussion notation, the acciaccatura symbol denotes
the flam rudiment, the miniature note still positioned behind 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 note, and in German as Zusammenschlag
(simultaneous stroke).

Octave signs
Ottava
8va (pronounced ottava alta) is placed above the staff (as shown) to tell the
musician to play the passage one octave higher.
When this sign (or in recent notation practice, an 8vb – both signs reading
ottava bassa) is placed below the staff, it indicates to play the passage one
octave lower.[13][14]

Quindicesima
The 15ma sign is placed above the staff (as shown) to mean play the
passage two octaves higher. A 15ma sign below the staff indicates play the
passage two octaves lower.

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

Repetition and codas

Tremolo
A rapidly repeated note. If the tremolo is between two 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 be repeated at a
demisemiquaver (thirty-second note) rate, but it is a common convention for
three slashes to be interpreted as "as fast as possible", or at any rate at a
speed to be left to the player's judgment.
In percussion notation, tremolos indicate rolls, diddles, and drags. Typically, a
single tremolo line on a sufficiently short note (such as a sixteenth) is played
as a drag, and a combination of three stem and tremolo lines indicates a
double-stroke roll (or a single-stroke roll, in the case of timpani, mallet
percussions and some untuned percussion instrument such as triangle and
bass drum) 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 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 nearest double bar.
Simile marks
Denote that preceding groups of beats or measures are to be repeated. In
the examples here, the first usually means to repeat the previous measure,
and the second usually means to repeat the previous two measures.
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; it is possible to have more than two endings (1st, 2nd, 3rd ...).

Da capo
(lit. "From top") Tells the performer to repeat playing of the music from its
beginning. This is usually followed by al fine (lit. "to the end"), which means
to repeat to the word fine and stop, or al coda (lit. "to the coda (sign)"), which
means repeat to the coda sign and then jump forward.
Dal segno
(lit. "From the sign") Tells the performer to repeat playing of the music
starting at the nearest segno. This is followed by al fine or al coda just as
with da capo.

Segno
Mark used with dal segno.

Coda
Indicates a forward jump in the music to its ending passage, 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

Bowed string instruments

Left-hand pizzicato or Stopped note
A note on a stringed instrument where the string is plucked with the left hand
(the hand 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 bell of the horn). In percussion this notation denotes,
among many other specific uses, to close the hi-hat by pressing the pedal, or
that an instrument is to be "choked" (muted with the hand).

Snap pizzicato
On a stringed instrument, a note played by stretching a string away from the
frame of the instrument and letting it go, making it "snap" against the frame.
Also known as a Bartók pizzicato.

Natural harmonic or Open note

On a stringed instrument, means to play a natural harmonic (also called
flageolet). On a valved brass instrument, it means 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 (above the note, use the right foot; below
the note, use the left foot). In percussion notation this denotes, among many
other specific uses, to open the hi-hat by releasing the pedal, or allow an
instrument to ring.
Up 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

Like sull'arco, except the bow is drawn downward. 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
The guitar has a fingerpicking notation system derived from the names of the fingers in Spanish or Latin.
They are written above, below, or beside the note to which they are attached. They read as follows:

Symbol Spanish Italian Latin English French

p pulgar pollice pollex thumb pouce
i índice indice index index index
m medio medio media middle majeur ou médius
a anular anulare anularis ring annulaire
c, x, e, q meñique mignolo minimus little auriculaire

Piano

Pedal marks
Pedal marks appear in music for instruments with sustain pedals, such as 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. The extended
lower line tells the player to keep the sustain pedal depressed for all notes
below which it appears. The ∧ shape indicates the pedal is to be
momentarily released, then depressed again.
Con sordino (or con sordini), una corda
Tells the player to put the soft pedal down or, for other instruments, apply the
mute.
Senza sordino (or senza sordini), tre corde or tutte le corde
Tells the player to let the soft pedal up or, for other instruments, remove the
mute.

Other piano notation

 left hand right hand
l.h. r.h.
English
left hand right hand
l.H. r.H.
German
linke Hand rechte Hand
m.g. m.d.
French
main gauche main droite
m.s. m.d.
Italian
mano sinistra mano destra

Finger identifications:
1 = thumb
2 = index
1, 2, 3, 4, 5
3 = middle
4 = ring
5 = little
Old (pre-1940) tutors published in the UK may use "English fingering". + for thumb, then 1 (index), 2
(middle), 3 (ring) and 4 (little).[15]

Other stringed instruments

(With the exception of harp)

Finger identifications:
0 = open string (no finger used)
1 = index
2 = middle
0, 1, 2, 3, 4 3 = ring
4 = little
The thumb is also used by the cello and bass, usually denoted by a T or +

See also Fingerstyle guitar#Notation.

Four-mallet percussion
Mallet identifications:
1 = Far left mallet
1, 2, 3, 4 2 = Inner-left mallet
3 = Inner-right mallet
4 = Far right mallet
Some systems reverse the numbers (e.g., 4 = Far-left mallet, 3 = Inner-left mallet, etc.)

Six-mallet percussion
1, 2, 3, 4, 5, 6 Mallet identifications:
1 = Far-left mallet
2 = Middle-left mallet
3 = Inner-left mallet
 4 = Inner-right mallet
5 = Middle-right mallet
6 = Far-right mallet
Numbers for six-mallet percussion may be reversed as well.[16]

See also
Graphic notation
Music theory
Glossary of musical terminology
Musical Symbols (Unicode block)
Shape note
Musical Symbols (disambiguation)

References
1. "Music Notation and Engraving – Braces and Bracket (https://sites.coloradocollege.edu/mus
icengraving/engraving-convention/braces-and-bracket/), Colorado College Music
Department
2. Gerou, Tom; Lusk, Linda (1996). Essential Dictionary of Music Notation (https://www.amazo
n.com/Essential-Dictionary-Music-Notation-Pocket/dp/0882847309). Alfred Music. p. 49.
ISBN 0-88284-768-6.
3. "UNLP at the C@merata Task: Question Answering on Musical Scores ACM" (http://csee.es
sex.ac.uk/camerata/unlp_asooja_long_14.pdf) (PDF). Csee.essex.ac.uk. Retrieved
2017-05-30.
4. Examples of the older form are found in the work of English music publishers up to the 20th
century, e.g., W. A. Mozart Requiem Mass, vocal 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 former shows both forms without distinction, the latter the "old"
form only. The book was the standard theory manual in the UK up until at least 1975. The
"old" form was taught as a manuscript variant of the printed form.
6. Miller, RJ (2015). Contemporary Orchestration: A Practical Guide to Instruments,
Ensembles, and Musicians. Routledge. p. 38. ISBN 978-0-415-74190-3.
7. Haas, David (2011). "Shostakovich's 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:10.1017/CCOL9780521842204.006 (https://doi.org/10.1017%2FCCOL9780521842204.
006). ISBN 978-1-139-00195-3. "The listener is right to suspect a Baroque reference when
a double-dotted rhythmic gesture and semihemidemisemiquaver triplets appear to ornament
the theme."(p. 112)
8. Byrd, Donald (16 December 2014). "Extremes of Conventional Music Notation" (http://home
s.soic.indiana.edu/donbyrd/CMNExtremes.htm). donbyrd. Retrieved 26 February 2015.
9. "Sharps, Flats, Double Sharps, Double Flats in Music Theory" (http://musictheorysite.com/s
harps-and-flats/), musictheorysite.com
10. Rudiments and Theory of Music Associated Board of the Royal Schools of Music, London
1958. I,24 "at least one note has to be sharpened or flattened"
11. "No Fortissimo? Symphony Told to Keep It Down" (https://www.nytimes.com/2008/04/20/art
s/music/20noise.html) by Sarah Lyall, The New York Times (20 April 2008)
12. Rudiments and Theory of Music Associated Board of the Royal Schools of Music, London
1958. V,29
13. George Heussenstamm, The Norton Manual of Music Notation (New York and London: W.
W. Norton & Company), p. 16
14. Anthony Donato, Preparing Music Manuscript (Englewood Cliffs, New Jersey: Prentice-Hall,
Inc.), pp. 42-43
15. "Scales-continental/ English Fingering" (http://www.abrsm.org/forum/index.php?showtopic=
4234). The Associated Board of the Royal Schools of Music. 20 December 2004. Retrieved
3 September 2015.
16. 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.

External links
Comprehensive list of music symbols fonts (http://www.music-notation.info/en/compmus/mu
sicfonts.html)
Music theory & history (http://www.dolmetsch.com/theoryintro.htm) (Dolmetsch Online)
Dictionary of musical symbols (http://www.dolmetsch.com/musicalsymbols.htm) (Dolmetsch
Online)
Sight reading tutorial with symbol variations (http://www.music-mind.com/Music/indexlrm.HT
M) Amy Appleby

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