Musica
Italiana

The absolute slowest tempo marking, reserved for music of immense breadth and solemnity.

Very slow and solemn. Implies not just slowness but a weighty, serious character.

Very slow and broad. One of the slowest standard tempo markings.

Slightly faster than Largo; less extreme in its breadth and solemnity.

A slow, stately tempo. Often deeply expressive and lyrical in character.

Slightly faster than Adagio but still slow and tender. Made famous by Mahler's 5th Symphony.

A moderate, unhurried tempo suggesting the natural pace of walking.

In modern use, slightly faster than Andante; lighter in character.

Between Andante and Moderato — a calm, flowing pace.

A medium tempo — not too fast, not too slow.

Slightly slower than Allegro. Lighter and more graceful in character.

A quick, lively tempo. One of the most common tempo markings in classical music.

Faster and more spirited than plain Allegro.

Quite fast — intensifies Allegro toward Vivace territory.

Very fast and lively, suggesting a spirited, energetic performance.

Even more lively and fast than Vivace — near the upper limit of liveliness.

Extremely fast. One of the fastest standard tempo markings.

The fastest possible tempo; pushes the limits of what a performer can execute.

Gradually increasing in speed. Often abbreviated accel.

Gradually decreasing in tempo. Abbreviated rit. or ritard.

Becoming slower, similar to ritardando but often implying a more gradual, gentle slowing.

Hold back immediately — slower at once rather than gradually.

Return to the original tempo after a deviation such as ritardando.

Return to the very first tempo established at the opening of the piece.

Flexible, expressive tempo where the performer freely rushes or lingers for emotional effect.

Maintain the same beat value despite a change in time signature.

With movement; implies a steady, flowing forward momentum.

Move faster than the current tempo.

Move slower than the current tempo.

Pressing ahead — becoming faster, often with increasing excitement.

Suddenly, immediately. Used in directions like 'subito piano' (suddenly soft).

Three piano symbols — an extremely quiet dynamic reserved for the most hushed passages.

Play very softly. Indicated by pp in the score.

Play softly. Indicated by the symbol p in scores.

Moderately soft — louder than piano, softer than mezzo forte.

Moderately loud — the middle dynamic, softer than forte.

Play loudly. Indicated by the symbol f in scores.

Play very loudly. Indicated by ff.

Three forte symbols — pushing the absolute limits of volume.

Gradually increase in volume. Indicated by a widening hairpin symbol (<).

Gradually decrease in volume. Also called diminuendo.

Gradually becoming softer. Interchangeable with decrescendo.

A sudden, strong accent on a single note or chord. Abbreviated sfz.

Forced — a sudden accent, essentially synonymous with sforzando.

Forcing — a strong accent notated fz, very similar to sforzando.

Suddenly reinforcing the sound — a short crescendo or sudden emphasis.

Die away to absolute nothing. Used at the end of a diminuendo to indicate complete silence.

Fade to complete silence — the final sound disappears entirely.

In an undertone; very quietly, as if whispering or muttering to oneself.

Play notes in a smooth, connected manner with no audible separation between them.

Play notes short and detached. Indicated by a dot above or below the note.

Even shorter and more detached than staccato — notes are barely touched.

Hold the note for its full value, often with a slight emphasis or weight.

Notes played between legato and staccato — slightly detached but still connected.

Each note played with strong emphasis. Marked with a ^ symbol above notes.

For string players: pluck the strings with the finger instead of using the bow.

Resume bowing after a pizzicato passage. The standard mode for string playing.

Rapid repetition of a single note or fast alternation between two notes.

A slight, rapid fluctuation in pitch adding warmth and expressiveness to tone.

A smooth slide from one pitch to another, passing through all intermediate pitches.

A smooth, continuous slide between two pitches in vocal or string music.

Strike the strings with the wooden back of the bow instead of the hair, producing a dry, rattling effect.

Bow very close to the bridge, producing a glassy, metallic, eerie tone.

Bow over the fingerboard, producing a soft, flute-like, warm tone.

Play with a soft, flute-like tone by bowing gently near the fingerboard.

A string bowing technique where the bow bounces lightly off the string for each note.

Broad, separated bow strokes — each note receives its own separate stroke.

Play with the mute in place, dampening the tone.

Remove the mute and play with the instrument's natural, open tone.

Rapidly alternate between two adjacent pitches. Indicated by tr above a note.

An ornament of rapid alternation between the main note and the note below it.

A four-note ornament turning above and below the main note.

A grace note that takes time from the main note, creating a brief expressive dissonance.

A very short grace note played almost simultaneously with the main note.

In a singing, lyrical style — music should flow naturally like the human voice.

Play sweetly and softly, with a gentle, tender quality.

With great expression and feeling — the performer is encouraged to be emotionally present.

With agitation and restlessness. Conveys a sense of anxiety or turbulence.

With spirit and vivacity. Often paired with allegro for a particularly energetic character.

In a majestic, stately manner — grand and imposing in character.

In a graceful, elegant, charming style.

With fury and wild passion — unbridled, fierce.

Calmly, peacefully. A serene, undisturbed character.

With passion and intense feeling — deeply emotional.

In a mysterious, hushed manner — a sense of intrigue or the unknown.

Sparkling and brilliant — technically dazzling, often fast and showy.

Jokingly, playfully — light and humorous in character.

Merry and playful, with a sense of fun.

With life and animation — a spirited, lively character.

In a decisive, resolute manner — bold and firm.

With energy — played with vigour and strong projection.

Lightly and nimbly, with a delicate, feather-light touch.

In a noble, dignified, elevated manner.

Heavy and ponderous — each note should carry weight.

In a simple, unadorned manner, without excessive ornamentation.

Sustained — notes held for their full value, often with a slight lingering quality.

With fire and passion — intense and blazing.

With grace and elegance.

With spirit and energy.

Sorrowful, mournful — with a lamenting character.

With ferocity and wild, unrestrained force.

Tearfully, as though weeping — a sorrowful, lamenting quality.

Gloomy, mournful, lugubrious.

Calm and placid — undisturbed and serene.

With determination and resolve.

With tenderness and sensitivity.

With affection and warmth.

In a capricious, whimsical manner — free, unpredictable.

With impetuous energy and rushing force.

In an innocent, naive, guileless manner.

Languid and faint — as if weakened by emotion or exhaustion.

Sadly, with a melancholy character.

With deep feeling and pathos — touching, moving.

In a pompous, grand, ceremonial manner.

Return to the beginning of the piece. Abbreviated D.C.

Return to the 𝄋 sign and repeat from there. Abbreviated D.S.

Indicates the end of the piece, often after a da capo or dal segno repeat.

A concluding section that brings the piece to a close, marked with the ⊕ symbol.

A navigational repeat sign (𝄋). Return to this point when instructed by D.S.

A short connecting piece between larger movements, or an independent character piece.

A self-contained piece for solo voice with orchestral accompaniment, usually in opera.

A style of vocal delivery between speech and song, used in opera to advance the narrative.

An orchestral introduction to an opera, oratorio, or other large-scale dramatic work.

A large-scale orchestral work, typically in three or four movements.

A work for one or more soloists with orchestra.

A composition for one or more instruments, typically in several contrasting movements.

A lively, playful movement, often replacing the minuet in symphonies from Beethoven onward.

A stately dance in triple time, common in Baroque and Classical period compositions.

A form in which a main theme (A) alternates with contrasting sections (ABACA etc.).

The main melodic idea in a piece or movement.

A formal technique presenting a theme followed by modified versions of it.

The opening section of a sonata or fugue where main themes are first introduced.

The development section of sonata form, where themes are fragmented and transformed.

The return of opening themes, usually in the home key, in sonata form.

A virtuosic solo passage near the end of a concerto movement.

An introductory piece, either prefacing a larger work or a standalone character piece.

A contrapuntal composition in which a theme (subject) is introduced and imitated by multiple voices.

A contrapuntal technique in which a melody is exactly imitated by one or more voices entering later.

A form built on a repeating bass line over which continuous variations are constructed.

A set of variations over a repeating harmonic progression, similar to passacaglia.

A virtuosic keyboard work demonstrating the performer's touch and technical mastery.

A free-form composition not adhering to strict formal structure — imaginative and improvisatory.

A dreamy, lyrical piece evoking the atmosphere of night.

A short composition designed to practise or demonstrate a specific technical skill.

A one-movement work with an episodic, improvisatory character.

A light, pleasant work, often associated with evening entertainment.

All performers play together. Contrasts with solo sections.

A single performer plays, featured above the ensemble.

All performers play the same pitch or melody together.

Players in a section are divided into groups playing different parts.

An alternative passage offered as an easier or different version of the main text.

An essential instrumental part that cannot be omitted.

Notes of a chord played in rapid succession rather than simultaneously.

A repeatedly recurring melodic, rhythmic, or harmonic pattern.

The art of combining independent melodic lines according to specific rules.

Follow the soloist closely, especially in terms of tempo and expression.

Continue directly to the next movement or section without a pause.

Without. Used in directions such as 'senza pedale' (without pedal).

Very, much. Intensifies the following direction: 'molto allegro' = very fast.

A little. 'Poco a poco' = little by little, gradually.

Gradually, little by little — describing a slow, incremental change.

Almost, as if. 'Quasi adagio' = almost as slow as adagio.

Always, continually. 'Sempre forte' = remain loud throughout.

Very, quite. 'Allegro assai' = very fast.

But not too much. Moderates the preceding direction.

Not too much — moderates an extreme direction.

Continue in the same manner as indicated in the preceding passage.

The first-time ending bracket in a repeated section.

The second-time ending bracket, played on the repeat.

The performer or instrument is silent for an extended section or entire movement.

At the performer's own discretion — freely, without strict tempo.

The accompaniment should follow the soloist's tempo and phrasing exactly.

A long, sustained general pause — longer than a standard fermata.

Hold the note or rest longer than its written value. Indicated by the 𝄐 symbol.

The highest female voice type, typically ranging from C4 to C6 or higher.

The middle female voice type, between soprano and contralto.

The lowest female voice type, rich and deep in timbre.

The highest standard male voice type.

The middle male voice type, between tenor and bass.

The lowest male voice type.

Elaborate ornamentation in vocal music — rapid scales, trills, and decorative passages.

A style of operatic singing emphasising beauty of tone, smooth phrasing, and elegant line.

The text of an opera or other vocal work.

A celebrated female opera singer of exceptional accomplishment.

A performer of exceptional technical skill and musical mastery.

Multiple notes sung on a single syllable, common in Gregorian chant and operatic coloratura.

Vocal music performed without any instrumental accompaniment.

In a speech-like manner — notes are sung but with a declamatory, conversational quality.

With half the voice — moderately soft, with a restrained, intimate tone.

With full, open voice — projected with complete power.

Elaborate vocal or instrumental ornamentation, especially in Baroque and bel canto music.

The typical pitch range a part sits in — not its extreme limits, but its central comfortable range.

The 'break' area in a singer's range where the voice transitions between registers.

A short, fast, and brilliant operatic aria, typically concluding a scene.

A short, simple aria without a da capo repeat section.

A composition for two performers.

A choir or a choral section in an opera.

Three or more notes sounded simultaneously.

The combination of simultaneously sounded pitches to produce chords and progressions.

A sequence of single notes that forms a recognisable musical phrase.

The pattern of regular or irregular pulses and durations in music.

A beat or measure. 'A battuta' means return to strict time.

A measure or bar of music. 'Senza misura' = without strict metre.

The first degree of a scale — the home pitch of a key.

The fifth degree of a scale — the second most important harmonic function.

The process of shifting from one key to another within a composition.

The tonal centre of a composition — the key in which it is written.

A sequence of pitches arranged in ascending or descending order by defined intervals.

The distance in pitch between two notes.

A combination of tones creating tension that typically seeks resolution.

A harmonious combination of tones sounding stable and resolved.

Using the twelve semitones of the octave, including notes outside the prevailing key.

Using only the notes of the prevailing key, without chromatic alterations.

Notes that sound the same pitch but are written differently (e.g. C# and Db).

A composition for three performers.

A composition for four performers.

A composition for five performers.

A composition for six performers.

A composition for eight performers.

A scale or key based on the major scale pattern — generally bright and happy in character.

A scale or key based on the minor scale pattern — generally darker in character.

A keyboard instrument in which strings are plucked rather than struck — predecessor to the piano.

Full name of the piano: 'soft-loud', reflecting its ability to vary dynamics — unlike the harpsichord.

The highest-pitched bowed string instrument.

The middle bowed string instrument, slightly larger and deeper in tone than the violin.

The bass-register bowed string instrument, held between the knees.

The largest and lowest-pitched bowed string instrument.

A woodwind instrument sounded by blowing across an embouchure hole.

A small flute sounding an octave higher than the standard flute.

A double-reed woodwind instrument with a distinctively penetrating, nasal tone.

A double-reed woodwind instrument, larger than the oboe, with a deeper, plaintive tone.

A single-reed woodwind instrument with a wide range and warm tone.

A large double-reed woodwind instrument providing the bass of the woodwind section.

A very large double-reed woodwind sounding an octave lower than the bassoon.

A coiled brass instrument with a rich, warm tone — central to the orchestra.

A high brass instrument with a bright, penetrating tone.

A brass instrument using a slide mechanism to change pitch.

The largest and lowest-pitched brass instrument.

A large plucked string instrument with an extensive range — often used for glissandos.

Large bowl-shaped drums tuned to specific pitches, fundamental to the orchestral percussion section.

A keyboard instrument producing sound through pipes supplied with pressurised air.

A plucked string instrument prominent in Renaissance and Baroque music.

A small plucked string instrument with a pear-shaped body and doubled strings.

A plucked string instrument with six strings, central to many musical traditions.

An abbreviated form of clavicembalo — the harpsichord.