For the use of musical symbols on Wikipedia, see Help:Musical symbols. Modern musical symbols are the marks and symbols, used in modern musical notations of Western musical scores, styles, and instruments, in order to describe pitch, rhythm,tempo and, to some degree, its articulation (e.g. a composition in its fundamentals). 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 scalewhich 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 can 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!. "ar 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. #lso used at changes in key signature, time signature or ma$or changes in style or tempo. Bold double bar line, Bold double barline Used to indicate the conclusion of a movement or an entire composition. Dotted bar line, Dotted barline Subdivides long measures of complex meter into shorter segments for ease of reading, usually according to natural rhythmic subdivisions. Accolade, brace %onnects two or more lines of music that are played simultaneously. &'( )epending on the instruments playing, the brace, or accolade, will vary in designs and styles. Clefs[edit Main article: Clef Clefs define the pitch range, or tessitura, of the staff on !hich it is placed. " clef is usually the leftmost symbol on a staff. "dditional clefs may appear in the middle of a staff to indicate a change in register for instruments !ith a !ide range. #n early music, clefs could be placed on any of se$eral 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 *+, -.. /ositioned here, it assigns 0 above middle % to the second line from the bottom of the staff, and is referred to as the 1treble clef.1 This is the most commonly encountered clef in modern notation, and is used for most modern vocal music. Middle2% is the 'st ledger line below the stave here. The shape of the clef comes from a stylised upper2case20. C clef (Alto clef and Tenor clef) This clef points to the line or space, rarely! representing middle %, or approximately ,3, -.. /ositioned here, it makes the center line on the staff middle %, and is referred to as the 1alto clef.1 This clef is used in modern notation for the viola. 4hile all clefs can be placed anywhere on the staff to indicate various tessitura, the % clef is most often considered a 1movable1 clef5 it is fre6uently seen pointing instead to the fourth line and called a 1tenor clef1. This clef is used very often in music written for bassoon, cello, and trombone7 it replaces the bass clef when the number of ledger lines above the bass staff hinders easy reading. % clefs were used in vocal music of the classical era and earlier7 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 %2clef 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 8 below middle %, or approximately '9: -.. /ositioned here, it makes the second line from the topof the staff 8 below middle %, and is called a 1bass clef.1 This clef appears nearly as often as the treble clef, especially in choral music, where it represents the bass and baritone voices. Middle % is the 'st ledger line above the stave here. The shape of the clef comes from a stylised upper2case28 which used to be written the reverse of the modern 8! Neutral clef Used for pitchless instruments, such as some of those used for percussion. ;ach 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. <t may also be drawn with a separate single2line staff for each untuned percussion instrument. Octave clef Treble and bass clefs can also be modified by octave numbers. #n 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. # treble clef with an eight below is the most commonly used, typically used instead of a % clef for tenor lines in choral scores. ;ven if the eight is not present, tenor parts in the treble clef are understood to be sung an octave lower than written. Tablature 8or guitars and other plucked instruments it is possible to notate tablature in place of ordinary notes. <n this case, a T#" sign is often written instead of a clef. The number of lines of the staff is not necessarily five5 one line is used for each string of the instrument so, for standard 32 stringed guitars, six lines would be used!. =umbers on the lines show on which fret the string should be played. This T#" 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. %otes and rests[edit Main article: Note value %ote and rest $alues are not absolutely defined, but are proportional in duration to all other note and rest $alues. &he !hole note is the reference $alue, and the other notes are named (in "merican usage) in comparison' i.e. a (uarter note is a (uarter the length of a !hole note. Note Britis na!e " A!erican na!e #est $a%i!a " Octu&le 'ole note Longa " (uadru&le 'ole note Breve " Double 'ole note Se!ibreve " )ole note $ini! " *alf note Crotcet " (uarter note (uaver " +igt note 8or notes of this length and shorter, the note has the same number of flags or hooks! as the rest has branches. Se!i,uaver " Si%teent note De!ise!i,uaver " Tirt-.second note *e!ide!ise!i,uaver " Si%t-.fourt note Se!ie!ide!ise!i,uaver " *undred t'ent-.eigt note De!ise!ie!ide!ise!i,uaver " T'o undred fift-.si%t note Bea!ed notes "eams connect eighth notes 6uavers! and notes of shorter value, and are e6uivalent in value to flags. <n 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 meter7 this is more common in ametrical passages. <n older printings of vocal music, beams are often only used when several notes are to be sung on one syllable of the text > melismatic singing7 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 /lacing a dot to the right of a notehead lengthens the note?s duration by one2half. #dditional 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 6uarters, a note with three dots is one and seven eighths, and so on. @ests can be dotted in the same manner as notes. <n other words, n dots lengthen the note?s or rest?s original d duration to . $ulti.!easure rest <ndicates the number of measures in a resting part without a change in meter, used to conserve space and to simplify notation. #lso called 1gathered rest1 or 1multi2bar rest1. )urations shorter than the *+th are rare but not unkno!n. ,-.th notes are used by /o0art and 1eetho$en' -2*th notes occur in !orks by 3i$aldi, /o0art and 1eetho$en. "n e4treme case is the &occata 5rande Cromatica by early6,7th6century "merican composer "nthony 8hilip 9einrich, !hich uses note $alues as short as -,:+.ths' ho!e$er, the conte4t sho!s clearly [original research that these notes ha$e one beam more than intended, so they should really be ,,:-+th notes. &he name of $ery short notes can be found !ith this formula; th note. 1reaks[edit Breat !ar/ <n a score, this symbol tells the performer or singer to take a breath or make a slight pause for non2wind instruments!. This pause usually does not affect the overall tempo. 8or bowed instruments, it indicates to lift the bow and play the next note with a downward or upward, if marked! bow. Caesura <ndicates a brief, silent pause, during which time is not counted. <n ensemble playing, time resumes when the conductor or leader indicates. "ccidentals and key signatures[edit Main articles: !ccidental "music# and $ey signature Common accidentals[edit "ccidentals modify the pitch of the notes that follo! them on the same staff position !ithin a measure, unless cancelled by an additional accidental. Flat Aowers the pitch of a note by one semitone. Sar& @aises the pitch of a note by one semitone. Natural %ancels a previous accidental, or modifies the pitch of a sharp or flat as defined by the prevailing key signature such as 82sharp in the key of 0 ma$or, for example!. Double flat Aowers the pitch of a note by two chromatic semitones. Usually used when the note to be modified is already flattened by the key signature. Double sar& @aises the pitch of a note by two chromatic semitones. Usually used when the note to be modified is already sharpened by the key signature. Key signatures[edit <ey signatures define the pre$ailing key of the music that follo!s, thus a$oiding the use of accidentals for many notes. #f no key signature appears, the key is assumed to be C ma=or>" minor, but can also signify a neutral key, employing indi$idual accidentals as re(uired for each note. &he key signature e4amples sho!n here are described as they !ould appear on a treble staff. Flat /e- signature Lowers by a semitone the pitch of notes on the corresponding line or space, and all octaves thereof, thus defining the prevailing ma$or or minor key. )ifferent keys are defined by the number of flats in the key signature, starting with the leftmost, i.e., ", and proceeding to the right7 for example, if only the first two flats are used, the key is " ma$orB0 minor, and all "?s and ;?s are 1flatted1, i.e. lowered to " and ;. Sar& /e- signature Raises by a semitone the pitch of notes on the corresponding line or space, and all octaves thereof, thus defining the prevailing ma$or or minor key. )ifferent keys are defined by the number of sharps in the key signature, also proceeding from left to right7 for example, if only the first four sharps are used, the key is ; ma$orB% minor, and the corresponding pitches are raised. Quarter tones[edit ?uarter6tone notation in Western music is not standardi0ed. " common notation in$ol$es !riting the fraction %&' ne4t to an arro! pointing up or do!n. 1elo! are e4amples of an alternati$e notation; De!iflat Aowers the pitch of a note by one 6uarter tone. #nother notation for the demiflat is a flat with a diagonal slash through its stem. <n systems where pitches are divided into intervals smaller than a 6uarter tone, the slashed flat represents a lower note than the reversed flat.! Flat.and.a.alf ses6uiflat! Aowers the pitch of a note by three 6uarter tones. De!isar& @aises the pitch of a note by one 6uarter tone. Sar&.and.a.alf ses6uisharp! @aises the pitch of a note by three 6uarter tones. Cccasionally represented with two vertical and three diagonal bars instead. @ther con$entions for microtonal music are used on an ad hoc basis. &ime signatures[edit Main article: (ime signature &ime signatures define the meter of the music. /usic is Amarked offA in uniform sections called bars or measures, and time signatures establish the number of beats in each. &his is not necessarily intended to indicate !hich beats are emphasi0ed, ho!e$er. " time signature that con$eys information about the !ay the piece actually sounds is thus chosen. &ime signatures tend to suggest, but only suggest, pre$ailing groupings of beats or pulses. S&ecific ti!e . si!&le ti!e signatures The bottom number represents the note value of the basic pulse of the music in this case the D represents the crotchet or 6uarter2note!. The top number indicates how many of these note values appear in each measure. This example announces that each measure is the e6uivalent length of three crotchets 6uarter2notes!. Eou would pronounce this as 1Three 8our Time1, and was referred to as a 1perfect1 time. S&ecific ti!e . co!&ound ti!e signatures The bottom number represents the note value of the subdivisions of the basic pulse of the music in this case the F represents the 6uaver or eighth2note!. The top number indicates how many of these subdivisions appear in each measure. To derive the unit of the basic pulse in compound meters, double this value and add a dot, and divide the top number by * to determine how many of these pulses there are each measure. This example announces that each measure is the e6uivalent length of two dotted crotchets dotted 6uarter2notes!. Eou would pronounce this as 1Six ;ight Time.1 Co!!on ti!e This symbol is a throwback to fourteenth century rhythmic notation, when it represented ,BD, or 1imperfect time1. Today it represents DBD. Alla breve or Cut ti!e This symbol represents ,B, time, indicating two minim or half2note! beats per measure. -ere, a crotchet or 6uarter note! would get half a beat. $etrono!e !ar/ 4ritten 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. <n this particular example, the performer is told that ',G crotchets, or 6uarter notes, fit into one minute of time. Many publishers precede the marking with letters 1$0$01, referring to Mael.el?s Metronome. %ote relationships[edit Tie <ndicates that the two or more! notes $oined together are to be played as one note with the time values added together. To be a tie, the notes must be identical7 that is, they must be on the same line or the same space7 otherwise, it is a slur see below!. Slur <ndicates that two or more notes are to be played 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. <n certain contexts, a slur may only indicate that the notes are to be played legato7 in this case, rearticulation is permitted. Slurs and ties are similar in appearance. # tie is distinguishable because it always $oins exactly two immediately ad$acent notes of the same pitch, whereas a slur may $oin any number of notes of varying pitches. # phrase mark or less commonly, ligature! is a mark that is visually identical to a slur, but connects a passage of music over several measures. # phrase mark indicates a musical phrase and may not necessarily re6uire that the music be slurred. <n vocal music, a phrase mark usually shows how each syllable in the lyrics is to be sung. Glissando or 1orta!ento # continuous, unbroken glide from one note to the next that includes the pitches between. Some instruments, such as the trombone, timpani, non2fretted string instruments, electronic instruments, and the human voice can make this glide continuously portamento!, while other instruments such as the piano or mallet instruments will blur the discrete pitches between the start and end notes to mimic a continuous slide glissando!. Tu&let # number of notes of irregular duration are performed within the duration of a given number of notes of regular time value7 e.g., five notes played in the normal duration of four notes7 seven notes played in the normal duration of two7 three notes played in the normal duration of four. Tuplets are named according to the number of irregular notes7 e.g., duplets, triplets, 6uadruplets, etc. Cord Several notes sounded simultaneously 1solid1 or 1block1!, or in succession 1broken1!. Two2 note chords are called d-ad7 three2note chords are calledtriads. # chord may contain any number of notes. Ar&eggiated cord # chord with notes played in rapid succession, usually ascending, each note being sustained as the others are played. #lso called a 1broken chord1. )ynamics[edit Main article: )ynamics "music# )ynamics are indicators of the relati$e intensity or $olume of a musical line. 1ianississi!o 2 ;xtremely soft. Hery infre6uently does one see softer dynamics than this, which are specified with additional ps. 1ianissi!o Hery soft. Usually the softest indication in a piece of music, though softer dynamics are often specified with additional ps. 1iano Soft. Usually the most often used indication. $e33o &iano Aiterally, half as soft as piano. $e33o forte Similarly, half as loud as forte. <f no dynamic appears, mezzo-forte is assumed to be the prevailing dynamic level. Forte Aoud. Used as often as piano to indicate contrast. Fortissi!o Hery loud. Usually the loudest indication in a piece, though louder dynamics are often specified with additional fs such as fortississimo > seen below!. Fortississi!o 2 ;xtremely loud. Hery infre6uently does one see louder dynamics than this, which are specified with additional fs. Sfor3ando Aiterally 1forced1, denotes an abrupt, fierce accent on a single sound or chord. 4hen written out in full, it applies to the se6uence of sounds or chords under or over which it is placed. Crescendo # gradual increase in volume. %an be extended under many notes to indicate that the volume steadily increases during the passage. Di!inuendo #lso decrescendo # gradual decrease in volume. %an be extended in the same manner as crescendo. @ther commonly used dynamics build upon these $alues. For e4ample ApianississimoA (represented as Bppp' meaning so softly as to be almost inaudible, and fortississimo, (B fff') meaning e4tremely loud. #n some Curopean countries, use of this dynamic has been $irtually outla!ed as endangering the hearing of the performers. [- " small AsA in front of the dynamic notations means AsubitoA, and means that the dynamic is to be changed to the ne! notation rapidly. Dubito is commonly used !ith sfor0andos, but all other notations, most commonly as AsffA (subitofortissimo) or AsppA (subitopianissimo). Forte.&iano # section of music in which the music should initially be played loudly forte!, then immediately softly piano!. "nother $alue that rarely appears is niente, !hich means BnothingB. &his may be used at the end of a diminuendo to indicate Bfade out to nothingB. E , )ynamics !ith F letters (ie ppp G fff) are often referred to by adding an e4tra BissB. &his is !rong in the same !ay as BloudestestB is in Cnglish. "rticulation marks[edit "rticulations (or accents) specify ho! indi$idual notes are to be performed !ithin a phrase or passage. &hey can be fine6tuned by combining more than one such symbol o$er or under a note. &hey may also appear in con=unction !ith phrasing marks listed abo$e. Staccato This indicates that the note is to be played 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. Staccatissi!o or S&iccato <ndicates a longer silence after the note as described above!, making the note very short. Usually applied to 6uarter notes or shorter. <n the past, this markingIs meaning was more ambiguous5 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.! <n string instruments this indicates a bowing techni6ue in which the bow bounces lightly upon the string. Accent The note is played louder or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates that a note should be played for its full value, or slightly longer7 it may also indicate a slight dynamic emphasis. <t may be combined with a staccato dot to indicate a slight detachment 1portato1 or 1me..o staccato1!. $arcato The note is played somewhat louder or more forcefully than a note with a regular accent mark open hori.ontal wedge!. Left.and &i33icato or Sto&&ed note # note on a stringed instrument where the string is plucked with the left hand the hand that usually stops the strings! rather than bowed. Cn the horn, this accent indicates a 1stopped note1 a note played with the stopping hand shoved further into the bell of the horn!. <n percussion notation this denotes, among many other specific uses, that the hi2hat is to be closed by pressing the pedal or that an instrument is to be 1choked1 silenced by causing vibrations to cease!. Sna& &i33icato Cn a stringed instrument, a note played by stretching a string away from the frame of the instrument and letting it go, making it 1snap1 against the frame. #lso known as a "artJk pi..icato. Natural ar!onic or O&en note Cn a stringed instrument, denotes that a natural harmonic also called flageolet! is to be played. Cn a valved brass instrument, denotes that the note is to be played 1open1 without lowering any valve, or without mute!. <n organ music, this denotes that a pedal note is to be played with the heel. <n percussion notation this denotes, among many other specific uses, that the hi2hat is to be opened by release of the pedal or that an instrument is to be allowed to ring. Fer!ata (1ause) # 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 intempo. <t can be placed above or below the note. 4& bo' or Sull5arco Cn a bowed string instrument, the note is played while drawing the bow upward. Cn a plucked string instrument played with a plectrum or pick such as aguitar played pickstyle or a mandolin!, the note is played with an upstroke. <n organ notation, this marking indicates to play the pedal note with the toe. Do'n bo' or Gi6 arco Aike sull'arco, except the bow is drawn downward. Cn a plucked string instrument played with a plectrum or pick such as a guitar played pickstyle or amandolin!, the note is played with a downstroke. #lso note in organ notation, this marking indicates to play the pedal note with the heel. @rnaments[edit @rnaments modify the pitch pattern of indi$idual notes. Trill # rapid alternation between the specified note and the next higher note according to key signature! within its duration. #lso called a 1shake.1 4hen followed by a wavy hori.ontal line, this symbol indicates an extended, or running, trill. Trills can begin on either the specified root note or the upper auxiliary note, though the latter is more prevalent in modern performances. $ordent @apidly play the principal note, the next higher note according to key signature! then return to the principal note for the remaining duration. <n most music, the mordent begins on the auxiliary note, and the alternation between the two notes may be extended. <n hand bells, this symbol is a 1shake1 and indicates the rapid shaking of the bells for the duration of the note. $ordent (lo'er) @apidly play the principal note, the note below it, then return to the principal note for the remaining duration. <n much music, the mordent begins on the auxiliary note, and the alternation between the two notes may be extended. Turn 4hen placed directly above the note, the turn also known as a gruppetto! indicates a se6uence of upper auxiliary note, principal note, lower auxiliary note, and a return to the principal note. 4hen placed to the right of the note, the principal note is played first, followed by the above pattern. "y either placing a vertical line through the turn symbol or inverting it, it indicates the order of the auxiliary notes is to be reversed. A&&oggiatura The first half of the principal note?s duration has the pitch of the grace note the first two2thirds 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. <n percussion notation, the acciaccatura symbol is used to denote the flam rudiment, the miniature note still being positioned behind the main note but on the same line or space of the staff. The flam note is usually played $ust before the natural durational subdivision the main note is played on, with the timing and duration of the main note remaining unchanged. @cta$e signs[edit Ottava The 8va sign is placed above the staff as shown! to indicate the passage is to be played one octave higher. #n 8vb sign is placed below the staff to indicate the passage is to be played one octave lower. &*(&D( ! (uindicesi!a The 15ma sign is placed above the staff as shown! to indicate the passage is to be played two octaves higher. # 15mb sign is placed below the staff to indicate the passage is to be played two octaves lower.! *va and %+ma are sometimes abbre$iated further to * and %+. When they appear belo! the staff, the !ord bassa is sometimes added. Hepetition and codas[edit Tre!olo # rapidly repeated note. <f 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 fre6uency at which the note is to be repeated or alternated!. #s shown here, the note is to be repeated at a demisemi6uaver thirty2second note! rate. <n percussion notation, tremolos are used to 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 double2stroke roll or a single2stroke roll, in the case oftimpani, mallet percussions and some untuned percussion instrument such as triangle and bass drum! for a period e6uivalent to the duration of the note. <n other cases, the interpretation of tremolos is highly variable, and should be examined by the director and performers. The tremolo symbol is also used to represent flutter2tonguing. #e&eat signs ;nclose a passage that is to be played more than once. <f 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. Si!ile !ar/s )enote that preceding groups of beats or measures are to be repeated. <n the examples here, the first usually means to repeat the previous measure, and the second usually means to repeat the previous two measures. 7olta brac/ets 2st and 8nd endings, or 2st. and 8nd.ti!e bars! # repeated passage is to be played with different endings on different playings7 it is possible to have more than two endings 'st, ,nd, *rd ...!. Da ca&o lit. 18rom top1! Tells the performer to repeat playing of the music from its beginning. This is followed by al fine lit. 1to the end1!, which means to repeat to the word fine and stop, or al coda lit. 1to the coda sign!1!, which means repeat to the coda sign and then $ump forward. Dal segno lit. 18rom the sign1! Tells the performer to repeat playing of the music starting at the nearest segno. This is followed by al fine or al coda $ust as with da capo. Segno Mark used with dal segno. Coda <ndicates a forward $ump in the music to its ending passage, marked with the same sign. Cnly used after playing through a .!. al coda )al segno al coda! or .C. al coda )a capo al coda!. #nstrument6specific notation[edit Guitar[edit &he guitar has a right6hand fingering notation system deri$ed from the names of the fingers in Dpanish or Latin. &hey are !ritten abo$e, belo!, or beside the note to !hich they are attached. (&he little finger is rarely used in classical music.) &hey read as follo!s; S-!bol S&anis Latin +nglis p pulgar pollex thumb i Kndice index index m medio media middle a anular anularis ring c, x, e, 6, a meLi6ue minimus little Piano[edit Pedal marks[edit 8edal marks appear in music for instruments !ith sustain pedals, such as the piano, $ibraphone and chimes. +ngage &edal Tells the player to put the sustain pedal down. #elease &edal Tells the player to let the sustain pedal up. 7ariable &edal !ar/ More accurately indicates the precise use of the sustain pedal. The extended lower line tells the player to keep the sustain pedal depressed for all notes below which it appears. The inverted 1H1 shape ! indicates the pedal is to be momentarily released, then depressed again. Con sordino, 4na corda Tells the player to put the soft pedal down or, in other instruments, apply the mute. Sen3a sordino, Tutte le corde Tells the player to let the soft pedal up or, in other instruments, remove the mute. Other piano notation[edit left and rigt and +nglis l.h. r.h. left hand right hand Ger!an l.- r.- linke "and rechte "and Frenc m.g. m.d. main gauche main droite 9talian m.s. m.d. mano sinistra mano destra 2, 8, :, ;, < 8inger identifications5 ' M thumb , M index * M middle D M ring : M little DolfIge #n music, solfge (French pronunciation; [s l.f ), solfeggio (#talian pronunciation; [s l.f d io ) or solfeo (Dpanish pronunciation; [s l.f o ) (also called sol-fa, solfedge, or solfa) is a music education method used to teach pitch and sight singing. DolfIge is taught at e$ery le$el of music education, from primary through graduate le$el uni$ersity study. /any music education methods use solfIge to teach pitch and sight6reading, most notably the <odJly /ethod. &he study of solfIge enables the musician to audiate, or mentally hear, the pitches of a piece of music !hich he or she is seeing for the first time and then to sing them aloud. DolfIge study also impro$es recognition of musical inter$als (perfect fifths, minor si4ths, etc.), and strengthens the understanding of music theory. DolfIge is a form of solmi0ation, and the t!o terms are sometimes used interchangeably. &he techni(ue of solfIge in$ol$es assigning the notes of a scale a particular syllable, and then practicing by singing different note se(uences using these syllables. &he se(uences gradually get more difficult in terms of inter$als and rhythms used. &he se$en syllables commonly used for this practice in Cnglish6speaking countries are; do (or doh in tonic sol-fa), re, mi, fa, sol (so in tonic sol,fa), la, and ti>si. #n other languages, si is used (see belo!) for the se$enth scale tone. &here are t!o methods of applying solfege; ,) fi4ed do, !here the syllables are al!ays tied to specific pitches (e.g. A)oA is al!ays the pitch ACA) and -) mo$able do, !here the syllables are assigned to different pitches based on musical conte4t. Ctymology #talian AsolfeggioA and French AsolfIgeA ultimately deri$e from the names of t!o of the syllables used; sol and fa. &he Cnglish e(ui$alent of this e4pression, Asol6faA, is sometimes used, especially as a $erb (Ato sol6faA a passage is to sing it in solfIge). &he !ord Asolmi0ationA deri$es from the /edie$al Latin AsolmisatioA, ultimately from the names of the syllables sol and mi. ADolmi0ationA is often used synonymously !ith AsolfIgeA, but is technically a more generic term, taking in alternati$e series of syllables used in other cultures such as #ndia and Kapan. @rigin &he use of a se$en6note diatonic musical scale is ancient, though originally it !as played in descending order. #n the ele$enth century, the music theorist 5uido of "re00o de$eloped a si46note ascending scale that !ent as follo!s; ut, re, mi, fa, sol, and la. " se$enth note, AsiA !as added shortly after. &he names !ere taken from the first $erse of the Latin hymn Lt (ueant la4is, !here the syllables fall on their corresponding scale degree. Dheet /usic for Lt ?ueant La4is t (ueant la4Ms resonNre fMbrMs M!ra gestOrum famulM tuOrum, "ol$e pollPtM labiM reNtum, Dancte #OhannQs. &he !ords of the hymn ((he Hymn of -t. .ohn) !ere !ritten by 8aulus )iaconus in the .th century. #t translates as; Do that these your ser$ants can, !ith all their $oice, sing your !onderful feats, clean the blemish of our spotted lips, @ Daint KohnR ALtA !as changed in the ,*::s in #taly to the open syllable )o, at the suggestion of the musicologue 5io$anni 1attista )oni, and Di (from the initials for ADancte #ohannesS) !as added to complete the diatonic scale. #n "nglo6Da4on countries, AsiA !as changed to AtiA by Darah 5lo$er in the nineteenth century so that e$ery syllable might begin !ith a different letter. A&iA is used in tonic sol6fa and in the song A)o6He6/iA. #n Cngland during the Cli0abethan era a simplified $ersion of this system (using only the syllables AfaA, AsolA, AlaA and AmiA) !as used (see belo! TDolmi0ation in Cli0abethan Cngland). #lternati$e theories "n alternati$e theory on the origins of solfIge proposes that it may ha$e also had "rabic musical origins. #t has been argued that the solfIge syllables (do, re, mi, fa, sol, la, ti) may ha$e been deri$ed from the syllables of the "rabic solmi0ation system UUV WXYZ[ \] )urar Mufa al/t (ADeparated 8earlsA) (d/l, r/0, m1m, f/0, /d, l/m, t/0 ) during the #slamic contributions to /edie$al Curope. &his origin theory !as first proposed by Fran^ois de /esgnien /eninski in ,*.:, and then by K. 1. de Laborde in ,_.:. 5uillaume 3illoteau ")escription histori2ue, techni2ue et litteraire des instruments de musi2ue des orientau3 in the )escription de l04gypte, 8aris ,.:7) appears to endorse this $ie!. [citation needed 9o!e$er, there is no documentary e$idence for this theory. #n all of 9industani music and Carnatic music (t!o ma=or branches of #ndian classical music), a form of solfIge called s!ara or sargam is the first lesson. #n #ndian classical music the corresponding sounds of solfege are sa, re "ri#, ga, ma, pa, dha, ni and back to sa. &he Danhita portion of the Dama$eda (9indu holy $erses), that date back to ,F::6,::: 1CC !ere later set to music using this techni(ue. &his is the earliest kno!n origin of the solfIge. Dolmi0ation in Cli0abethan Cngland #n the Cli0abethan era, Cngland and its related territories used only four of the syllables; mi, fa, sol, and la. A/iA stood for modern ti, AfaA for modern do or ut, AsolA for modern re, and AlaA for modern mi. &hen, fa, sol and la !ould be repeated to also stand for their modern counterparts, resulting in the scale being fa, sol, la, fa, sol, la, mi, fa. &he use of fa, soland la for t!o positions in the scale is a lefto$er from the 5uidonian system of so called AmutationsA (i.e. changes of he4achord on a note, see 5uidonian hand). &his system !as e$entually eliminated by the ,7th century, but it !as (and usually still is) used in the shape note system, !hich gi$es each of the four syllables fa, sol, la, and mi a different shape. "n e4ample of the use of this type of solmi0ation occurs in DhakespeareBs, $ing 5ear, #, - (see belo! TLiterature). /odern use &here are t!o main types of solfIge; ,. Movable do, or tonic sol,fa, in !hich each syllable corresponds to a scale degree. &his is analogous to the 5uidonian practice of gi$ing each degree of the he4achord a solfIge name, and is mostly used in 5ermanic countries, Common!ealth Countries, and the Lnited Dtates. -. Fi3ed do, in !hich each syllable corresponds to the name of a note. &his is analogous to the Homance system naming pitches after the solfIge syllables, and is used in Homance and Dla$ic countries, among others, particularly Dpanish speaking countries. Mo$able do solfge /o$able do is fre(uently employed in "ustralia, China, Kapan (!ith _th being si), #reland, the Lnited <ingdom, the Lnited Dtates, 9ong <ong, and Cnglish6speaking Canada . &he mo$able do system is a fundamental element of the <odaly method used primarily in 9ungary, but !ith a dedicated follo!ing !orld!ide. #n the mo$able do system, each solfIge syllable corresponds not to a pitch, but to a scale degree; &he first degree of a ma=or scale is al!ays sung as AdoA, the second as AreA, etc. (For minor keys, see belo!.) #n mo$able do, a gi$en tune is therefore al!ays sol6faed on the same syllables, no matter !hat key it is in. &he solfIge syllables used for mo$able do differ slightly from those used for fi4ed do, because the Cnglish $ariant of the basic syllables (AtiA instead of AsiA) is usually used, and chromatically altered syllables are usually included as !ell. $a=or scale degree $ova0 do solf>ge s-llable ? of alf ste&s fro! Do Trad0 1ron0 Sato $etod Sato 1ron0 Aowered ' 2!', '' )e Bd B 2 Do G Bdo B Do Bd B @aised ' )i ' Bdi B )i Bdi B Aowered , @a ' B B @a Br B 8 #e , B e B #e Br B @aised , @i * B i B @i Bri B Aowered * Me or Ma! * Bme B Bm B ! Me Bm B : $i D Bmi B $i Bmi B @aised * : Ma Bm B Aowered D D 8e Bf B ; Fa : Bf B Fa Bf B @aised D 8i 3 Bfi B 8i Bfi B Aowered : Se 3 Bse B Se Bs B < Sol 9 Bso B So Bs B @aised : Si F Bsi B Si Bsi B Aowered 3 Ae or Ao! F Ble B Blo B ! Ae Bl B @ La + Bl B La Bl B @aised 3 Ai 'G Bli B Ai Bli B Aowered 9 Te or Ta! 'G Bte B Bt B ! Te Bt B A Ti '' Bti B Ti Bti B @aised 9 ', To Bt B #f, at a certain point, the key of a piece modulates, then it is necessary to change the solfIge syllables at that point. For e4ample, if a piece begins in C ma=or, then C is initially sung on AdoA, ) on AreA, etc. #f, ho!e$er, the piece then modulates to 5, then 5 is sung on AdoA, " on AreA, etc., and C is then sung on AfaA. 8assages in a minor key may be sol6faed in one of t!o !ays in mo$able do; either starting on do (using AmeA, AleA, and AteA for the lo!ered third, si4th, and se$enth degrees !hich is referred to as Ado6based minorA), and AlaA and AtiA for the raised si4th and se$enth degrees), or starting on la (using AfiA and AsiA for the raised si4th and se$enth degrees). &he latter (referred to as Ala6based minorA) is sometimes preferred in choral singing, especially !ith children. Natural !inor scale degree $ovable do solf>ge s-llable (La.based !inor) $ovable do solf>ge s-llable (Do.based !inor) 2 La Do @aised ' Ai )i Aowered , Te or Ta! @a 8 Ti #e : Do $e (or $a) @aised * )i Mi ; #e Fa @aised D @i 8i Aowered : Me or Ma! Se < $i Sol @ Fa Le (or Lo) @aised 3 8i Aa A Sol Te (or Ta) @aised 9 Si Ti @ne particularly important $ariant of mo$able do, but differing in some respects from the system here described, !as in$ented in the nineteenth century by Darah "nn 5lo$er, and is kno!n as tonic sol6fa. #n #taly, in ,7_-, Hoberto 5oitre !rote the famous method ACantar leggendoA, !hich has come to be used for choruses and for music for young children. &he pedagogical ad$antage of the mo$able6)o system is its ability to assist in the theoretical understanding of music' because a tonic is established and then sung in comparison to, the student infers melodic and chordal implications through his or her singing. &hus, !hile fi4ed6do is more applicable to instrumentalists, mo$able6do is more applicable to theorists and, arguably, composers. %i&ed do solfge &he names of the notes in Homance languages. #n the ma=or Homance and Dla$ic languages, the syllables )o (Lt for the French), He, /i, Fa, Dol, La, and Di are used to name notes the same !ay that the letters C, ), C, F, 5, ", and 1 are used to name notes in Cnglish. For nati$e speakers of these languages, solfIge is simply singing the names of the notes, omitting any modifiers such as AsharpA or AflatA in order to preser$e the rhythm. &his system is called fi&ed do and is used in Dpain, 8ortugal, France, #taly, 1elgium, Homania, Latin "merican countries and in French6speaking Canada as !ell as countries such as 1osnia and 9er0ego$ina, Hussia, Derbia, Lkraine, 1ulgaria,5reece, "lbania, /acedonia, #ran, Lebanon, &urkey, and #srael !here non6Homance languages are spoken. Traditional fi%ed do Note na!e S-llable 1ronunciation 1itc class #nglis h $omance %talian &nglicized % )o do Bd B Bdo B '' C Do G % )o ' ) @e re Br B B e B ' D #e , ) @e * ; Mi mi BmiB Bmi B * + $i D ; Mi : 8 8a fa BfaB Bf B D F Fa : 8 8a 3 0 Sol sol Bs lB Bso lB 3 G Sol 9 0 Sol F # Aa la BlaB Bl B F A La + # Aa 'G " Si si BsiB Bsi B 'G B Si '' " Si G #n the fi4ed do system, sho!n abo$e, accidentals do not affect the syllables used. For e4ample, C, C, and C (as !ell as C and C , not sho!n abo$e) are all sung !ith the syllable AdoA. Comparison of the t'o systems /o$able )o corresponds to our psychological e4perience of normal tunes. #f the song is sung a tone higher it is still percei$ed to be the same song, and the notes ha$e the same relationship to each other, but in a fi4ed )o all the note names !ould be different. " mo$able )o emphasi0es the musicality of the tune as the psychological perception of the notes is al!ays relati$e to a key for the $ast ma=ority of people that do not ha$e absolute pitch. Dotorrio [,. argues that fi4ed6do is preferable for serious musicians, as music in$ol$ing comple4 modulations and $ague tonality is often too ambiguous !ith regard to key for any mo$able system. &hat is, !ithout a prior analysis of the music, any mo$able6do system !ould ine$itably need to be used like a fi4ed6do system any!ay, thus causing confusion. With fi4ed6do, the musician learns to regard any syllable as the tonic, !hich does not force them to make an analysis as to !hich note is the tonic !hen ambiguity occurs. #nstead, !ith fi4ed6do the musician !ill already be practiced in thinking in multiple>undetermined tonalities using the corresponding syllables. #n comparison to the mo$able do system, !hich dra!s on short6term relati$e pitch skills in$ol$ing comparison to a pitch identified as the tonic of the particular piece being performed, fi4ed do de$elops long6term relati$e pitch skills in$ol$ing comparison to a pitch defined independently of its role in the piece, a practice closer to the definition of each note in absolute terms as found in absolute pitch. &he (uestion of !hich system to use is a contro$ersial sub=ect among music educators in schools in the Lnited Dtates. While mo$able do is easier to teach and learn, some feel that fi4ed do leads to stronger sight6reading and better ear training because students learn the relationships bet!een specific pitches as defined independently, rather than only the function of inter$als !ithin melodic lines, chords, and chord progressions. @f course, this argument is only $alid if the fi4ed do is used !ith chromatic solfege syllables. #f a performer has been trained using fi4ed do, particularly in those rare cases in !hich the performer has absolute pitch or !ell6de$eloped long6term relati$e pitch, the performer may ha$e difficulty playing music scored for transposing instruments; 1ecause the Aconcert pitchA note to be performed differs from the note !ritten in the sheet music, the performer may e4perience cogniti$e dissonance !hen ha$ing to read one note and play another. Cspecially in the early stages of learning a piece, !hen the performer has yet to gain familiarity !ith the melodic line of the piece as e4pressed in relati$e terms, he or she may ha$e to mentally re6 transpose the sheet music in order to restore the notes to concert pitch. #nstrumentalists !ho begin sight6singing for the first time in college as music ma=ors find mo$able do to be the system more consistent !ith the !ay they learned to read music. For choirs, sight6singing fi4ed do using chromatic mo$able do syllables (see belo!) is more suitable than sight6 singing mo$able do for reading atonal music, polytonal music, pandiatonic music, music that modulates or changes key often, or music in !hich the composer simply did not bother to !rite a key signature. #t is not uncommon for this to be the case in modern or contemporary choral !orks. Chromatic $ariants De$eral chromatic fi4ed6do Dystems that ha$e also been de$ised to account for chromatic notes (and e$en for double6sharp and double6flat $ariants) are as follo!s; Cro!atic variants of fi%ed do Note na!e S-llable 1itc class #nglis h $omance 'raditional 5 sharps ( 5 flats "ullah !hearer !iler !otorrio % )o do > duf daw du pe! 'G % )o > du de do tsi! '' C Do do do do da do G % )o di da di de ga ' % )o > das dai di re! , ) @e re > raf raw ru do! G ) @e ra ra ra ro ga ' D #e re re re ra re , ) @e ri ri ri re nu * ) @e > ris rai ri mi! D ; Mi mi > mef maw mu re! , ; Mi me me me mo nu * + $i mi mi mi ma mi D ; Mi > mis mai me fa! : ; Mi > mish > mi $ur! 3 8 8a fa > fof faw fu nu! * 8 8a > fo fe fo mi! D F Fa fa fa fa fa fa : 8 8a fi fe fi fe $ur 3 8 8a > fes fai fi sol! 9 0 Sol sol > sulf saw su fa! : 0 Sol se sul se so $ur 3 G Sol sol sol so sa sol 9 0 Sol si sal si se ki F 0 Sol > sals sai si la! + # Aa la > lof law lu sol! 9 # Aa le lo le lo ki F A La la la la la la + # Aa li le li le pe 'G # Aa > les lai li tsi! '' " Si si > sef taw tu la! + " Si te se te to pe 'G B Si ti si ti ta tsi '' " Si > sis tai te do! G " Si > sish > ti ga! ' & dash )*+*, means that the source)s, did not specif- a s-llable. %ote names #n the countries !ith fi4ed6do, these se$en syllables (!ith Di instead of &i) are used to name the notes of the C6 /a=or scale, instead of the letters C, ), C, F, 5, " and 1. (For e4ample, they !ould say, A1eetho$enBs %inth Dymphony is in He minor, but its third mo$ement is in Di6bemol ma=or.A) #n 5ermanic countries, the letters are used for this purpose, and the solfIge syllables are encountered only for their use in sight6singing and ear training. (&hey !ould say, 1eetho$enBs %inth Dymphony is in Ad6/ollA () minor).) Cultural references "ongs &he names of the notes may be heard in A)o6He6/iA from Hodgers and 9ammersteinBs score for (he -ound of Music, as !ell as the Hobert /a4!ell song ADolfeggioA. <urt Cobain , singer for the band %ir$ana !rote a song called A)o He /iA !hich !as ne$er finished but !as released on the album With the Lights @ut in -::+. (iterature #n <ing Lear ("ct ,, Dcene -) Cdmund e4claims to himself right after CdgarBs entrance so that Cdgar can hear him; A6, these eclipses do portend these divisionsA. &hen in the ,*-FFirst Folio (but not in the ,*:. ?uarto) he adds AFa, so, la, miA. &his Cdmund probably sang (see Cli0abethan solmisation) to the tune of Fa, -o, 5a, (i (e.g. F, 5, ", 1 in C ma=or), i.e. an ascending se(uence of three !hole tones !ith an ominous feel to it; see tritone (historical uses). Colours assigned by )saac *e'ton[edit #saac %e!ton
had associated the _ solfIge syllables !ith the _ colours of the rainbo! and surmised that each colour $ibrated accordingly (a concept possibly related to the modern $ie! of chromesthesia). &hus, red has the least amount of $ibration !hile $iolet $ibrates the most. 1itc Solfege Colour % do or doh in tonic sol2fa! @ed ) re Crange ; mi Eellow 8 fa 0reen 0 sol or so in tonic sol2fa! "lue # la <ndigo "lue Hiolet " tiBsi /urple @ed Hiolet