List of Music Symbols

will give you the meaning of music symbols employed in Western music.
Home /  / A Complete List of Music Symbols With Their Meaning

From articulation to rhythm, musical notes are written in symbols or easily

distinguishable marks. Each of these musical notes has a pitch, duration,
and intensity. Having knowledge about these marks is beneficial when it
comes to reading and composing melodies. This Melodyful article will give
you the meaning of music symbols employed in Western music.

The mnemonics “Every Good Boy Does Fine” and “All Cows Eat Grass,” helps
kids memorize the notes on the lines of the treble clef and the spaces of
the bass clef, respectively.

Sheet music, or music notation as it is known, employs a series of symbols

and marks that pertain to certain notes, pitch, and tone. Music notations
are visually represented symbols, which often include both modern and
ancient musical symbols.
Modern music notation which is commonly used by musicians of different
genres throughout the world is said to have their origins in European
classical music. This popular system uses a five-line staff to place the
musical notes. Sheet music is used as a record or a guide to perform or
compose a piece of music.

To be able to read this sheet music, one has to study the musical notations,
for which, one has to be acquainted with the symbols used to represent the
notes. Given below is a list of the musical symbols employed to write sheet
music.

The Staff

The staff  or stave forms the very basis of

sheet music. Notes are written on a staff of five lines consisting of four
spaces between them. The staff is counted from the lowest line upwards.
The lines and the spaces correspond to pitches of a eight-note musical
scale depending on the defining clef.

Ledger or Leger lines

Ledger or leger lines extend the staff to pitches that fall below it. It is a
short line added above or below the staff. Ledger lines are generally placed
behind note heads and are spaced at the same distance as the lines of the
staff. Range of notes that go beyond the two staffs are put on extra short
lines or between the spaces formed between them.
Bars and Measures
Vertical lines called bars are used to connect the upper and lower staffs of
the grand staff. The vertical bars are used to divide the staff into measures.

A single bar line is used to separate a measure. Each bar or measure refers
to a segment of time that is defined by a given number of beats and note
value. To make it easier to understand, the term bar  refers only to the
vertical line, while the term measure   refers to the beats that are contained
between two bars.

A double barline   is used to separate two sections of music. A double bar
line is also used to signify changes in key signature, time signature or major
change in style and tempo. A dotted bar is used to sub-divide long
measures of a complex meter into shorter segments.
A bold double bar or the end line is used to indicate the end of a
movement in a piece of music. It is used to signify the end of an entire
composition.

Brackets

A bracket is generally used to indicate the connection between the staff of

two or more separate instruments. To say the least, it is used to connect
two or more lines of music that are to be played simultaneously by multiple
instruments.

Accolade

The brace on the other hand connects two or more lines of music played
simultaneously by a single instrument. Also called an accolade, the brace
connects multiple parts for a single instrument (the right and left-hand
stave of a piano―for instance is connected using a brace).
Clef

The stave, essentially, is mere lines; however, the presence of the clef
marking the beginning of the stave is what assigns a certain pitch to the
notes. The clef, in other words, helps to accurately relate to the pitch of the
musical note placed on or between specific lines on the stave. In short, a
clef is used to fix the position of certain high and low notes on the stave.

G Clef or the Treble Clef

Originally resembling the capital letter ‘G’, the treble clef fixes the second
line as the note G on the stave. The treble clef denotes the high notes on
the stave, and is commonly used for most modern vocal music.

F Clef or the Bass Clef

The bass clef fixes the fourth line as the note ‘F’ on the bass stave. The two
dots placed above and below the fourth line from the bottom of the staff is
the pitch F. Specifically used in choral music, the bass clef represents the
bass and baritone voices.
C Clef or Alto and Tenor Clef
The alto and tenor clef fixes the third line on the stave as the middle C. In
modern notation, it is used for the viola, and is often used when composing
music using the bassoon, cello, trombone, and double bass. It is a movable
clef, and when it points to the fourth line, it is called a tenor clef.

Octave Clef
The octave clef is nothing but a modified version of either the treble or the
bass clef. The number 8 or 15 is affixed either to the top or bottom of the
clef to raise or lower the intended pitch by one or two octaves, respectively.
Generally, you will find a treble clef with an eight below in notes written for
the guitar and the octave mandolin.

Tablature
Used specifically for stringed instruments, the tablature or Tab is often
written instead of a clef. Like the neutral clef, the Tab clef is not a true clef,
but a mere symbol used instead of a clef. Tablature generally involves
writing notes on six lines when writing notes for a regular six-string guitar.

Neutral Clef
The neutral clef is used while composing musical notes for non-pitched
percussion instruments like drums and cymbals. It is simply used as a
convention to indicate that the lines and spaces on the stave are assigned
to a percussion instrument with no precise pitch. Generally, it is not a
compulsion for the neutral clef to be placed on a regular five-stave, it can
be placed on a single stave or line.

Notes and Restsc

Notes represent the length of time of a particular pitch. Each note stands
for a particular number of beats. In written music, the length of a note is
shown by its shape. When there is no note sounding, a rest  is written, and
the duration is shown by its shape. To make things easier, we have
classified notes on the basis of their relation with the whole note or a semi
breve.

Whole Note or Semibreve

A hollow oval note head represents a whole note or a semibreve. The
length of a full note is equivalent to four beats in a 4/4 time. A whole note
receives 4 counts, which means, you have to hold the note for its full value.

A whole rest corresponds to a whole note, which means, the rest period is
equivalent to the duration of the musical note. A whole rest is denoted by a
filled-in rectangle hanging under the second line from the top of the staff.
Notes lesser than a whole note
Half Note or Minim
A half note or minim is played for half the duration of a semibreve. In other
words, a minim receives 2 counts, allowing the musician to hold the note
for 2 counts instead of 4. The minim, like the semibreve, is a hollowed oval
with a stem or tail attached. The stem or the tail of the minim can either be
drawn upwards or downwards depending on the placement of the note on
the stave. When a note falls below the middle line of the stave the stem is
drawn upwards from the right side of the note, while the stems drops down
from the left side when the note falls above the middle line of the stave.

A half rest corresponds to a half note or a minim. A half note is represented

by a filled-in rectangle sitting above the third or the middle line of the staff.

Quarter Note or Crotchet

A quarter note is half of a minim, and one-fourth of a full note. It is
represented by a filled-in oval. Like the minim, a quarter note has a tail or a
stem attached to the note head, which points upwards or downwards
depending on how the note falls in a musical piece of work. The note head
orientation for the minim and crotchet largely depends on the position of
the stem.

The crotchet rest corresponds to a quarter note. Like the quarter note, the
crotchet rest receives one count or beat in a bar of 4/4, in a musical piece
of work. It is represented like a filled-in squiggle.

Quaver or Eight Note

A quaver note is played for one eighth the duration of a whole note or
semibreve. It is represented with a filled-in oval with a stem accompanied
with a flag. The flag is always positioned on the right side of the stem.
However, a note placed above the middle line of the staff will have the flag
pointing upwards and downwards if the note falls below the middle line
ensuring the curve of the flag is towards the right. Multiple eight notes
falling next to each other are connected with a beam instead of the regular
flag.

The quaver rest corresponds to the eight note, and is represented with a
filled-in curlicue flag just like their note heads. The eight-note has a single
curly flag that rests on the left side of a slanting stem.
Semiquaver or Sixteenth Note
A sixteenth note, also known as a semiquaver is half of a quaver. It is played
for one sixteenth the duration of a whole note. It is represented by a filled-
in oval note head with a straight stem―like a quaver―with two flags.
Multiple semiquaver notes falling one after the other are beamed with two
horizontal lines.

Like the quaver rest, the semi quaver rest is denoted with curly flags resting
on a slanted stem. The number of curly flags is in proportion to the number
of flags adorning the note head.
Thirty-second Note
A thirty-second note or a demisemiquaver is played for half the duration of
a semiquaver. It is represented by a filled-in quarter note with three flags
on the right side of the stem. Multiple demisemiquaver notes falling one
after the other are beamed together with three equidistant horizontal bars.

The demisemiquaver rest consists of a slanting line with three curlicue flags
attached to the top of the stem.

Sixty-fourth Note
A sixty-fourth note, also called a hemidemisemiquaver note, lasts for just
about 1/64 of the duration of a semibreve. In other words, it is half of a
demisemiquaver note and one eighth that of a quaver note. It is
represented by a filled-in note head with four flags attached to a straight
stem. Multiple notes are beamed together with four horizontal bars. It is
important to note that music notes and rests as short as these are
occasionally found.

The hemidemisemiquaver rest has four curlicue flags attached to a slanting

stem.
Hundred twenty-eighth Note
A semihemidemisemiquaver, or a hundred twenty-eighth note, is relatively
unknown and lasts for 1/128 of the duration of a semibreve. Used to
represent brief, rapid sections in extremely slow movements in a piece of
music. Five flags adorn the stem of the basic quarter note, and multiple
notes are beamed with five horizontal bars.

Five curlicue flags attached to the slanting stem represents the

semidemihemisemiquaver or quasihemidemisemiquaver rest.
Two Hundred fifty-sixth Note
Played for 1/256 of the duration of a single whole note, the
demisemihemidemisemiquaver or the two hundred fifty-sixth note is used
very rarely in musical notations. It is represented in music notes with a
filled-in note head with six flags attached to the main stem. It is also known
as the semigarrapatea note, and it is used to denote rapid sections of
music.

The 256th rest is denoted by six curlicue flags adorning a slanting stem.

Notes greater than a whole note

Double Whole Note
Also known as a breve or a double note, it is twice as long as a semibreve. It
is the longest note value that is still in use in modern music notation. Like
the whole note, it is represented by a hollow oval with double stems on
either sides.

A double whole rest is represented by a filled-in rectangle that spans the

vertical space between the second and third line from the top of the
musical staff. Like the notes, the breve rest denotes a silence that is twice
that of a semibreve rest.
Quadruple Whole Note
Also known as a longa or a sextuple whole note, is four to six times as long
as a double whole note. The modern form of the longa can alternatively be
written as a semibreve with two stems on either side―one stem is longer
than the other―like the longa note with the stem facing upwards.

A longa rest associated with the note is represented by a vertical filled-in

rectangle.

Maxima or Octuple Whole Note

Used specifically in early music, the maxima or the octuple longa is
considered to be a rare musical note that is twice as long as the longa, or
eight to twelve times as long as a semibreve. Incidentally, the duplex longa
or maxima occurs only in instances of early music. It resembles a quadruple
whole note, except that the horizontal bars are slightly longer than the
longa notes.

The maxima rest is symbolized by two longa rests, or the more modern
alternative for it is a filled-in longa rests.

Beamed Notes
Beams or horizontal bars are used to connect multiple quaver notes
together. The beams join the tails or stems of two or more quaver notes
together to form a beat. The number of beams joining quaver notes
corresponds to the number of flags adorning the single quaver note of
shorter value. For example, two or more quaver notes will have a single bar
or beam joining them, while a sixty-fourth quaver note with three flags will
have three beams attaching the tails together.
Dotted Notes
A dot is placed to the right of a note head to lengthen the duration of the
beat of the particular note. For example, a single dot placed next to a
minim or a quarter note increases the beat of the note to that of a minim
plus a quaver note―equaling 3 beats instead of half. Additional dots are
used to lengthen the previous dot instead of the note. So, if a half note has
two dots, it is equivalent to a half note plus a quarter note, which is added
to a quaver note. In short, half the value is added to the note head using a
dot.

Multi-measure Rest
Also called a gathered rest or a multi-bar rest, it is a horizontal line placed
on the middle stave with serifs on either side. It is used to simplify musical
notation, and to indicate the number of measures in a resting part. It is
used to denote rest of more than one bar in the same meter. The number
printed above the stave corresponds to the length or duration of the rest of
the particular note.
Breaks
Breath Mark
A breath mark or a luftpause is represented by a filled-in single inverted
comma placed above the musical staff. For a singer or a performer playing
a wind instrument, it translates as an instruction to pause for breath. For
those playing non-wind instruments, it is an instruction to take a slight
pause. For example, in the case of a bowed instrument, the breath mark is
indication for the player to lift the bow and play the next note with either a
downward or upward bow. The breath mark works just like a comma does
in a sentence.

Caesura
Like a breath mark, the caesura indicates a brief pause or break in the piece
of music. It is placed between notes or measures before or above the lines
of a stave. It is represented with two slanting parallel lines often referred to
as railroad tracks or tram lines. The break or interruption in music can be of
any length, and the time often depends on the discretion of the conductor.
Accidentals
Accidentals are notes that are used in musical notations to symbolize notes
that fall between two main notes. The accidentals either raise or lower the
note it precedes by a semitone. In other words, the notes placed before the
corresponding note heads help raise or lower the pitch by half a tone.

Flat
Also known as a soft B or a bemolle, the flat note lowers a natural note by
half a step. In music notation, a flat note lowers the pitch of a note by a
semitone and is denoted by a stylized lowercase ‘b’. For example, a flat note
placed before a natural B note makes it a B flat represented by B♭. The
order of the flats in key signature notation are B♭, E♭, A♭, D♭, G♭, C♭, and F♭.
An easier way to remember this is with the mnemonic: Before Eating A
Doughnut Get Coffee First; or Battle Ends And Down Goes Charles’ Father.

Double Flat
Double flats are, in reality, two flats that reduce the natural note by a whole
step or by two semitones. It is represented by two flat notes placed next to
each other. It can also be written as integrated stylized letter ‘b’ written in
the lower case.
Sharp
Contrary to a flat note, a sharp note placed before a natural note raises the
keynote by half a tone. A sharp note is represented with a hash sign ( ♯)
placed before the natural note. In short, a sharp note raises the frequency
of a natural note by a small musical interval. The order of sharps in a key
signature notation are F♯, C♯, G ♯, D♯, A♯, E♯, and B♯, which can be
remembered by the mnemonic Father Charles Goes Down And Ends Battle.

Double Sharp
Like flat notes, sharps also have a double sharp that raise the tone of a
natural note by an entire semitone. It is represented by a horizontally
placed cross. When placed before a semitone, the double sharp increases
the value of the note by a whole step. For example, an F with double sharp
would be equivalent to a G natural.
Natural
A natural sign (♮) is used in musical notation to cancel a preceding sharp,
double sharp, flat, or double flat note employed to lower or raise the
keynote in a musical piece. It is used to signify a natural note which is
neither sharp nor flat. In the very sense, the natural sign is used to cancel
out the previous notes and represents an unaltered pitch of a given note.

Key Signatures
In written music, key signatures stand for a set of sharp of flat symbols
placed on the stave. Key signatures are written adjacent to a clef placed at
the beginning of a line of musical notation. The key signature is used to
define the diatonic scale in a piece of music without the need of accidentals
being employed for individual notes.

Flat Key Signatures

A flat key signature lowers the pitch of a corresponding line of a defining
major or minor key by a semitone. The number of flats in the key signature
varies depending on the natural note being taken. For example, the number
of flats on a C major key is 0, while that on the Cb major key is 7.

Sharp Key Signatures

A sharp key signature is used to raise the pitch of an entire line of a
defining major or minor key by an entire semitone. Like the flat key
signature, the number of sharps on the stave indicate the keynote being
played in a piece of music. The number of sharps varies from 0 to 7 sharps
from the C major to the C sharp (C♯) major key, respectively.

Quarter Tones
A quarter tone music divides an octave into twenty-four equal intervals,
that is better understood as twenty-four equal steps or tones. Quarter tone
notation employs a new set of accidental signs or marks that add a
microtonal value alongside a conventional sharp, flat, or natural note.

Demiflat

The demiflat note is known to lower the pitch of a note by an entire quarter
of a tone. It resembles a reversed flat note and is placed before the
notehead, like the accidentals in a piece of music notation.

Demisharp
The opposite of a demiflat, the demisharp is used to raise the pitch of a
note by a quarter tone. It is represented by a vertical line striking through
two horizontal beams.

Sesquiflat

The sesquiflat, also known as a flat-and-a-half, lowers the pitch of a note by

three quarters. It is written with a flat accidental and a demiflat sign placed
next to each other. Musically understood, a note is lowered by a quarter
note short of a lower natural note.

Sesquisharp

On the contrary, a sesquisharp is known to raise the pitch of a natural note

by three quarters of a tone. It is represented either by two horizontal bars
with three vertical lines or two vertical lines and three diagonal bars placed
before the note head on a stave.
Time Signatures
Normal music has a regular pulse or throb which is termed as beats. These
beats are grouped into regular groups to form the time or meter of the
music. Time signatures are used to establish the number of beats in each
uniformed section or measures.

Simple Time

Basic or simple time signatures employ two numerals stacked on each

other, which are placed immediately after the clef or the key signature. It is
used to indicate the beats in each bar. The lower numeral indicates the note
value representing one beat, while the upper numeral indicates the number
of such beats in each bar. 2/4, 3/4, and 4/4 are some of the most common
simple time signatures used in written music. The beat in a simple tune is
divided into two sub divisions making it easier to understand.

Compound Time

Even though compound time is written as two numerals stacked on each

other, the number of pulse within each beat is split into three equal parts
instead of two equal parts. Simply put, the top number is written in
multiples of 3―6, 9, or 12―which signify the triple pulse of the beat, while
the lover number is most commonly an eighth-note. It is commonly written
as 6/8 (Duple Meter), 9/8 (Triple Meter), and 12/8 (Quadruple Meter),
signifying the division of the beat in groups of three.

Common Time

A stylized upper case ‘C’ is sometimes used to denote the 4/4 time instead
of the numbers used in simple time signature. It represents common time
or what is considered as imperfect time. It is symbolic of the broken circle
used in music notation to represent a two by four time employed in the
fourteenth century rhythmic notation.

Cut Time

Cut common time or alla breve is denoted with a stylized letter ‘C’ with a
line through it. It refers to a musical meter that is equivalent to 2/2, or a half
note pulse. It is used to signify a fairly quick tempo and is a prominent part
of military marches. It can also be read as diminished imperfect time, which
is the half of a 4/4 time.

Metronome Mark
The metronome mark is a unit typically used to measure the tempo of a
piece of music. As shown in the image, the metronome mark is indicative of
the number of crotchet or quarter notes to be played per minute. In a
compound time signature, the beat is made up of three note durations,
which is when a dotted quarter note is used to indicate the beats per
minute.

Note Relationships
In a musical composition, notes are often grouped together to show the
position of the beats in a bar. For a piece of work to be called music, the
notes need to be synchronized and must fall smoothly in place. This
harmony is brought about by the introduction of different note
relationships or marks used to determine the relationship of one note with
the other.

Tie

A tie is denoted by a curved line that connects two or more note heads
falling on the same pitch. Any number of notes falling on the same pitch
can be tied together with a curved line. Simply understood, the presence of
the tie mark indicates the duration of the notes on the particular line or
space on a stave is to be added together.

Slur
Not to be confused with a tie, a slur is a curved line that joins note heads of
different pitches. A slur can extend over two or several notes at a time,
stretching as far as several bars of music. This is done to indicate that the
following notes have to be played smoothly and in one breath. It is
employed to lay stress on a particular stretch of musical work.

Glissando

The glissando or portamento, as it is known, is used to indicate a

continuous and unbroken glide from one note to another. Simply
understood, the sign stands for a smooth glide from one pitch to another.
When the glide is taken continuously, it is termed as a portamento.

Tuplet

A tuplet is also known as an irrational rhythm that groups or divides the

beat into different number of subdivisions. The most common tuplet is that
of the triplet, wherein the notes are grouped with a bracket with the
number written in between.

Chord

A harmonic set of three or more notes sounded simultaneously or in quick

succession is known as a chord. The triad is the most frequently
encountered chord which consists of three distinct notes played
simultaneously.

Arpeggiated Chord

An arpeggiated chord, or an arpeggio, is a group of notes played one after

the other in a sequence. It is also called a broken chord, owing to the fact
that the notes are played in quick succession. This allows clear distinction of
the notes being played.

Accents
Accents or articulations are used to specify how an individual note is to be
performed within a musical passage. The articulation affects the transition
or continuity on a single note or between multiple notes and sounds.

Staccato
A staccato is denoted by a single dot placed above or below a note head. It
is used to signify a note of shortened duration. The note on which the
staccato is placed is played for half the actual note value. So a quarter note
with a staccato will be played for half its value, with silence forming the rest
half of the value.

Staccatissimo

A staccatissimo, also known as a spiccato, is a tiny pike placed over or

under a note. It signifies a longer silence as compared to the staccato,
implying that the note is played for a quarter of its actual duration. Used in
string instruments, it implies a bowing technique where the bow bounces
lightly on the string.

Marcato

The marcato, also called the regular accent, is an open horizontal wedge
placed above or below the staff. It indicates playing a note or a long chord
to be played louder and more forcefully than that of the surrounding music.
It lays emphasis on the beginning of the note which has to be tapered off
rather quickly.

Strong Marcato

Also known as a martellato or marcatissimo, the strong marcato is denoted

with vertical open wedge placed above or below the staff. It signifies a
greater dynamic accent or very strong accentuation played on the note. It is
characterized by a rhythmic thrust of the note followed by a decay of the
sound.

Tenuto

Marked by a horizontal line placed above or below the note head, the
tenuto signifies that the note be held to its full length or longer. It could
also indicate that the particular note be given more emphasis than the
surrounding notes in a musical piece.

Pizzicato
Also known as the left-hand pizzicato or the stopped note, the pizzicato is
denoted by a plus sign. For a stringed instrument, like a guitar, it implies
that the pitch of a stopped note is determined by pressing the strings at
one of the frets.

Snap Pizzicato

When employed on a stringed instrument, the snap pizzicato is played by

vertically stretching the string away from the instrument causing it to snap
against the frame. The technique is also called slapping and is popular in
jazz music.

Harmonic

A circle is used to denote an open note or a natural harmonic, also known

as a flageolet, that is to be played on the note. For a percussion instrument,
it signifies releasing the hi-hat allowing it to ring or the vibrations to be
heard.
Up Bow

Employed when playing a stringed instrument, the accent mark indicates

that the note be played with an upward stroke.

Down Bow

Quite the opposite of an up bow, the down bow instructs the player to play
the instrument with a down stroke.

Fermata
Also known as a pause, or a grand pause, the fermata is used to add length
to a note or rest. Although the duration of the pause depends on the music
conductor, it is most often considered to be twice as long as a regular
pause. It can also be placed at the end or the middle of a piece of
movement.
Ornaments
Ornaments are embellishments or musical flourishes used to decorate a line
in a musical piece. They are often used to modify the pitch pattern of
individual notes in a single line of music.

Trill
A trill or a shake, is a rapid alternation between an indicated note and the
one immediately above it. In short, it is used to alternate between a note
above the actual written note, sometimes requiring the player to end a note
below the written note.

Mordent

Placed above the note, the mordent instructs the player to play the
principal note followed by the immediate next note, ending it with the
principal note.

Inverted Mordent
The opposite of the mordent, this ornament instructs playing the principal
note followed by the immediate lower note and returning to the principal
note.

Turn
Marked by a mirrored letter ‘S’, lying on its side, the turn, or gruppetto as it
is known, indicates a sequence of adjacent notes in the particular scale to
be played. When placed directly above the note head, it implies that the
auxiliary note be played before the principal note followed by the lower
auxiliary note. Which means, you play a higher notes followed by the main
note and play the immediate lower note and return to the principal note.
When placed to the right of the note, you play the principal note before
playing the turn sequence. In short, when the note is placed to the right
you end up playing a quintuplet.

Inverted Turn
An inverted turn resembles a turn with a vertical line running through it. It
can also be written as a vertically mirrored letter ‘S’. The sequence this sign
indicates is the reverse of the turn ornament. It means, the player starts
with the lower auxiliary note followed by the principal note and the higher
auxiliary note, finally ending on the principal note.

Appoggiatura

Also known as a grace note, the appoggiatura resembles a smaller quaver

note and is written just above the principal note head. It receives half the
value of the note it precedes. When placed before a dotted note, it receives
two-thirds of its value. It is also known as the long appoggiatura.

Acciaccatura

Like the appoggiatura, the acciaccatura resembles a smaller quaver note

written with a stroke through its tail. It is played on the beat as quickly as is
convenient and is about a demisemiquaver in length. The delay on the
principal note with a acciaccatura is scarcely perceptible unlike that with the
long appoggiatura.

Repetition and Codas

Tremolo
Also known as the tremolando, it is symbolized by strokes through the
stem of a note. Simply put, it indicates that a note be rapidly repeated to
create a tremble or a shuddering effect depending on the instrument being
used.

Repeat

In a piece of music, the repeat sign indicates that the particular section be
repeated. A single repeat sign placed at the end of the piece indicates the
entire stretch be repeated from start to finish, while a corresponding
mirrored sign indicates the beginning of the repetition.
Simile

Unlike the repetition sign in which an entire section is repeated, the simile
denotes that a group of beats are to be repeated. When a single slash with
two dots is shown, it means only the previous beat is to be repeated, while
two slashes with a vertical bar suggests the previous two measures are to
be repeated.

Da capo

Literally meaning from the beginning, the abbreviated D.C. is taken as a

directive to repeat the previous part of the music.

Dal segno

Abbreviated as D.S., the sign is taken as a directive to repeat a particular

piece or passage of music starting from the nearest segno.
Segno

Used with a dal segno, it indicates the beginning of the repetition of a

passage. It resembles the letter ‘S’ placed at an angle and has a slash
running through it.

Coda

A circle with a cross is used to indicate the coda. This is used to instruct a
forward jump in the music, and it is used after a D.C. or D.S. to indicate an
end.

Crescendo

A crescendo sign placed below a musical stave instructs the player to

gradually increase the volume while performing the passage.
Diminuendo

The opposite of the crescendo, the diminuendo is used to instruct the

player to gradually decrease the volume of the particular passage.

Dynamic Piano

The letter p written in small case is used to denote piano. It means soft.

Dynamic Forte

Used as a contrast to dynamic piano, the letter fwritten in smaller case

denotes loud.

Mezzo Piano
The letters mp  written in small case are used to denote mezzo piano. They
instruct the player to reduce the relative intensity of the musical line to a
level that is softer than that of a dynamic piano.

Mezzo Forte

Considered to be half as loud as the forte, the mezzo forte written as mf   is
used to increase the intensity of the musical line. It is assumed to be the
prevailing dynamic level.

Dynamic Pianissimo

It is considered to be the softest indication in a piece of music. Simply put,

it indicates very soft.

Dynamic Fortissimo
Quite the opposite of pp, fortississimo indicates that the piece of music be
played very loud.

Dynamic Pianissimo

Triple p  s indicates that the relative intensity or volume of a musical line be

extremely soft.

Dynamic Fortississimo

Triple f  s indicate that the intensity of a line of music be played extremely

loud.

Sforzando
It indicates an abrupt and fierce accent on a single note or chord. Its
literally translation is to be forced out.

Forte Piano

Forte piano indicates that a section of music has to initially be played loud
followed by soft piano.