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Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
A slur is a symbol in Western musical notation indicating that the notes it embraces are to be played without separation (that is, with legato articulation).A slur is denoted with a curved line generally placed over the notes if the stems point downward, and under them if the stems point upwards.
Dotted notes and their equivalent durations. The curved lines, called ties, add the note values together. In Western musical notation, a dotted note is a note with a small dot written after it. [a] In modern practice, the first dot increases the duration of the basic note by half (the original note with an extra beam) of its original value.
In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
In most modern musical notation, a trill is generally indicated with the letters tr (or sometimes simply t) [2] above the trilled note. This has sometimes been followed by a wavy line, and sometimes, in the baroque and early classical periods, [2] the wavy line was used on its own.
Musical notation is any system used to visually represent music. Systems of notation generally represent the elements of a piece of music that are considered important for its performance in the context of a given musical tradition. The process of interpreting musical notation is often referred to as reading music.
In the first example, Rodolfo's first aria in La sonnambula (1831), the portamento is indicated by the slur between the third and fourth notes. The second example, Judit's first line in Bluebeard's Castle (1912) by composer Béla Bartók, employs an inclining, wavy line between the fourth and fifth notes to indicate a continuous, steady rise in pitch.
The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. The technique is chiefly written for bowed or plucked instruments. Modernists refer to the 'apogado' (slightly different spelling) as "palm mute".