Notes and rests

List of musical symbols

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Modern musical symbols are the marks and symbols that are widely used in western musical scores, styles, and instruments today. This is intended to be a comprehensive guide to the various symbols encountered in modern musical notation. These symbols are used in modern pieces of western music to describe a composition in its fundamentals – pitch, rhythm, tempo – and, to some degree, its articulation.

Contents

• 1 Lines
• 2 Clefs
• 3 Notes and rests
• 4 Breaks
• 5 Accidentals and key signatures
• 5.1 Common accidentals
• 5.2 Key signatures
• 5.3 Quarter tones
• 6 Time signatures
• 7 Note relationships
• 8 Dynamics
• 9 Articulation marks
• 10 Ornaments
• 11 Octave signs
• 12 Repetition and codas
• 13 Instrument-specific notation
• 13.1 Guitar
• 13.2 Piano
• 13.2.1 Pedal marks
• 13.2.2 Other piano notation
• 14 Musical symbols as text
• 15 See also
• 16 References
• 17 External links

Lines

	Staff The staff is the fundamental latticework of music notation, upon which symbols are placed. The five stave 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.
	Ledger or leger lines Used to 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 may be used when necessary to notate pitches even farther above or below the staff.
	Bar line Used to separate measures (see time signatures below for an explanation of measures). Bar lines are extended to connect the upper and lower staffs of a grand staff.
	Double bar line, Double barline Used to separate two sections of music. Also used at changes in key signature, time signature or major changes in style or tempo.
	Bold double bar line, Bold double barline Used to 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.
	Accolade, brace Connects two or more lines of music that are played simultaneously.^[1] Depending on the instruments playing, the brace, or accolade, will vary in designs and styles.

Clefs

Main article: Clef

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 defines the line or space upon which it rests as the pitch G above middle C, or approximately 392 Hz. Positioned here, it assigns G above middle C to the second line from the bottom of the staff, and is referred to as the "treble clef." This is the most commonly encountered clef in modern notation, and is used for most modern vocal music. Middle-C is the 1st ledger line below the stave here. The shape of the clef comes from a stylised upper-case-G.
	C clef (Alto Clef and Tenor Clef) This clef points to the line (or space, rarely) representing middle C, or approximately 262 Hz. Positioned 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, and trombone; it replaces the bass clef when the number of ledger lines above the bass staff hinders easy reading. C clefs were used in vocal music of the classical era and earlier; however, their usage in vocal music 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).
	F clef (Bass Clef) The line or space between the dots in this clef denotes F below middle C, or approximately 175 Hz. 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 1st ledger line above the stave here. The shape of the clef comes from a stylised upper-case-F (which used to be written the reverse of the modern F)
	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 instead of a C clef for tenor lines in choral scores. Even if the eight is not present, tenor parts in the treble clef are understood to be sung an octave lower than written.
	Tablature For guitars and other plucked instruments 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 on which fret the string should be played. This TAB sign, like the percussion clef, is not a clef in the true sense, but rather a symbol employed instead of a clef. The interstitial spaces on a tablature are never used.

Notes and rests

Main article: Note value

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 the length of a whole note.

Note	British name / American name	Rest
	Breve / Double whole note
	Semibreve / Whole note
	Minim / Half note
	Crotchet / Quarter note
	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
	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 be used to 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 to one beat; 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. Today, due to the body of music in which traditional metric states are not always assumed, beaming is at the discretion of the composer or arranger and irregular beams are often used to place emphasis on a particular rhythmic pattern.
	Dotted note Placing dots to the right of the corresponding notehead lengthens the note's duration, e.g. one dot by one-half, two dots by three-quarters, three dots by seven-eighths, and so on. Rests can be dotted in the same manner as notes. For example, if a quarter note had one dot alongside itself, it would get one and a half beats. Therefore n dots lengthen the note's or rest's original d duration to .
	Multi-measure rest Indicates the number of measures in a resting part without a change in meter, used 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 Mozart and Beethoven; 256th notes occur in works of Vivaldi and even 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.

The name of very short notes can be found with this formula: th note.

Breaks

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