Glossary of musical terminology

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A a, (Fr : at, to, !y, for, in, in the style of a 2: see a due in this list aber (Ger : !ut a bene placito: up to the performer a cappella: in the manner of singing in a chapel" i.e., without instrumental accompaniment accarezzvole: e#pressi$e and caressing accelerando, accel.: accelerating" gradually increasing the tempo accent: %ttack hard. accentato: accented" with emphasis acceso: ignited, on fire acciaccatura: crushing" i.e., a $ery fast grace note that is &crushed& against the note that follows and takes up no $alue in the measure accompagnato: accompanied" i.e., with the accompaniment following the soloist, who may speed up or slow down at will adagietto: rather slow adagio: at ease" i.e., play slowly adagissimo: $ery, $ery slow ad libitum (commonly ad lib" 'atin : at li!erty" i.e., the speed and manner of e#ecution are left to the performer a due: intended as a duet" for two $oices or instruments" together" two instruments are to play in unison after a solo passage for one of the instruments affannato, affannoso: anguished affettuoso, affettuosamente, or affectueusement (Fr : with affect (that is, with emotion " see also con affetto affrettando: hurrying, pressing onwards agile: swiftly agitato: agitated al, alla: to the, in the manner of (al !efore masculine nouns, alla !efore feminine alla breve: in cut(time" two !eats per measure or the e)ui$alent thereof
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alla marcia: in the style of a march allargando: !roadening, !ecoming a little slower each time allegretto: a little li$ely, moderately fast allegretto vivace: a moderately )uick tempo allegro: cheerful or !risk" !ut commonly interpreted as li$ely, fast allegrissimo: $ery fast, though slower than presto als (Ger : than alt (+nglish (also alt dom or altered dominant : a ,a-- term which instructs chord(playing musicians such as a ,a-- pianist or ,a-- guitarist to perform a dominant (./ chord with altered upper e#tensions (e.g., sharp **th, flat *0th, etc. . altissimo: $ery high alto: high" often refers to a particular range of $oice, higher than a tenor !ut lower than a soprano alzate sordini: lift or raise the mutes" i.e., remo$e mutes am Steg (Ger : at the !ridge" i.e., playing a !owed string instrument near its !ridge, which produces a hea$ier, stronger tone (see sul ponticello in this list amabile: amia!le, pleasant amoroso: lo$ing anacrusis: a note or notes that precede the first full !ar" a pickup andante: at a walking pace" i.e., at a moderate tempo andantino: slightly faster than andante (!ut earlier it is sometimes used to mean slightly slower than andante a niente: to nothing" an indication to make a diminuendo which fades to pppp a nessuna cosa: to nothing" an indication to hold a fermata until it dies away (this only works with instruments which cannot sustain a note anima: feeling animandosi: animated, li$ely animato: animated, li$ely antiphon: a liturgical or other composition consisting of choral responses, sometimes !etween two choirs" a passage of this nature forming part of another composition" a repeated passage in a psalm or other liturgical piece, similar to a refrain.1*2 apais (Fr : calmed a piacere: at pleasure" i.e., the performer need not follow the rhythm strictly appassionato: passionately appoggiatura: one or more grace notes that take up some note $alue of the ne#t full note.
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 a prima vista: at first sight" i.e., playing or singing something at first sight of the music sheet arco: the !ow used for playing some string instrument" i.e., played with the !ow, as opposed to pi--icato (plucked , in music for !owed instruments" normally used to cancel a pi--icato direction arietta: a short aria arioso: airy, or like an air (a melody " i.e., in the manner of an aria" melodious armonioso: harmoniously arpeggio: like a harp" i.e., the notes of the chords are to !e played )uickly one after another (usually ascending instead of simultaneously. 4n music for piano, this is sometimes a solution in playing a wide(ranging chord whose notes cannot !e played otherwise. %rpeggios are fre)uently used as an accompaniment. 5ee also !roken chord in this list. arpeggiato: a way of playing a chord: starting with the lowest note, and with successi$ely higher notes rapidly ,oining in. 5ometimes the effect is re$ersed, so that the highest note is played first. assai: $ery assez (Fr : enough, sufficiently" sometimes used in the same sense as assai a tempo: in time" i.e., the performer should return to the main tempo of the piece (after an accelerando or ritardando, etc. " also may !e found in com!ination with other terms such as a tempo giusto (in strict time or a tempo di menuetto (at the speed of a minuet attacca: attack, or go on" i.e., at the end of a mo$ement, a direction to !egin (attack the ne#t mo$ement immediately, without a gap or pause Ausdruck (Ger : e#pression ausdrucksvoll (Ger : e#pressi$ely avec (Fr : with or with another

: German for 6 flat, also in 4celandic and 7anish " ! in German is 6 natural barbaro: !ar!arous (nota!ly used in Allegro barbaro !y 68la 6art9k

art"k pizzicato: a term which instructs string performers to play a pi--icato note to pull the string away from the finger!oard so that it snaps !ack percussi$ely on the finger!oard. bass: the lowest of the standard four $oice ranges (!ass, tenor, alto, soprano " the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony" in an orchestral conte#t, the term usually refers to the dou!le !ass. basso continuo: continuous !ass" i.e., a !ass part played continuously throughout
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a piece to gi$e harmonic structure, used especially in the 6aro)ue period beat: (* the pronounced rhythm of music" (3 one single stroke of a rhythmic accent bellicoso: warlike, aggressi$e ben or bene: well" in ben marcato (&well marked& for e#ample bend: ,a-- term referring either to esta!lishing a pitch, sliding down half a step and returning to the original pitch or sliding up half a step from the original note. beschleunigte (Ger : accelerated, as in mit beschleunigter Gesch#indigkeit, at an accelerated tempo be#egt (Ger : mo$ed, with speed binary: a musical form in two sections: %6 bird$s eye: a slang term for fermata, which instructs the performer to hold a note or chord as long as they wish bis ('at : twice" i.e., repeat the rele$ant action or passage bisbigliando: whispering" i.e., a special tremolo effect on the harp where a chord or note is rapidly repeated at a low $olume bocca chiusa: with closed mouth bravura: !oldness" as in con bravura, !oldly breit (Ger : !road bridge: Transitional passage connecting two sections of a composition, also transition. %lso the part of a stringed instrument that holds the strings in place and transmits their $i!rations to the resonant !ody of the instrument. brillante: !rilliantly, with sparkle brio: $igour" usually in con brio brioso: $igorously (same as con brio broken chord: % chord in which the notes are not all played at once, !ut in some more or less consistent se)uence. They may follow singly one after the other, or two notes may !e immediately followed !y another two, for e#ample. 5ee also arpeggio in this list, which as an accompaniment pattern may !e seen as a kind of !roken chord" see %l!erti !ass. bruscamente: !rus)uely

cadenza: a solo section, usually in a concerto or similar work, that is used to

display the performer:s techni)ue, sometimes at considera!le length calando: falling away, or lowering" i.e., getting slower and )uieter" ritardando along with diminuendo calore: warmth" so con calore, warmly
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 cambiare: to change" i.e., any change, such as to a new instrument cantabile or cantando: in a singing style capo: head" i.e., the !eginning (of a mo$ement, normally capriccioso: capriciously, unpredicta!le, $olatile cdez (Fr : yield, gi$e way cesura or caesura ('atin form : !reak, stop" i.e., a complete !reak in sound (sometimes nicknamed &railroad tracks& in reference to their appearance chiuso: closed" i.e., muted !y hand (for a horn, or similar instrument" !ut see also bocca chiusa, which uses the feminine form, in this list coda: a tail" i.e., a closing section appended to a mo$ement codetta: a small coda, !ut usually applied to a passage appended to a section of a mo$ement, not to a whole mo$ement col, colla: with the (col !efore a masculine noun, colla !efore a feminine noun " (see ne#t for e#ample colla parte: with the soloist" as an instruction in an orchestral score or part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo performer (usually for a short passage colla voce: with the $oice" as an instruction in an choral music/opera score or orchestral part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo singer (usually for a short passage col legno: with the wood" i.e., the strings (for e#ample, of a $iolin are to !e struck with the wood of the !ow, making a percussi$e sound" also battuta col legno: !eaten with the wood coloratura: coloration" i.e., ela!orate ornamentation of a $ocal line, or (especially a soprano $oice that is well(suited to such ela!oration colossale: tremendously col pugno: with the fist" i.e., !ang the piano with the fist come prima: like the first (time " i.e., as !efore, typically referring to an earlier tempo come sopra: as a!o$e" i.e., like the pre$ious tempo (usually common time: the time signature ;/;: four !eats per measure, each !eat a )uarter note (a crotchet in length. ;/; is often written on the musical staff as . The sym!ol is not a < as an a!!re$iation for common time, !ut a !roken circle" the full circle at one time stood for triple time, 0/;. comodo (or, commonly !ut less correctly, commodo : comforta!le" i.e., at moderate speed" also, allegro comodo, tempo comodo, etc. con: with" used in $ery many musical directions, for e#ample con allegrezza (with li$eliness , con amore (with tenderness " (see also col, colla, a!o$e
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 con affetto: with affect (that is, with emotion

con amore, or (in 5panish and sometimes in 4talian con amor: with lo$e, tenderly con anima: with feeling con brio: with spirit, with $igour con dolore: with sadness con forza: with force con &gran, molto' espressione: with (great, much e#pression con fuoco: with fire, in a fiery manner con larghezza: with !roadness" !roadly con moto: with motion con slancio: with enthusiasm con sordina, or con sordine (plural : with a mute, or with mutes" se$eral orchestral instruments can ha$e their tone muted with wood, ru!!er, metal, or plastic de$ices (for string instruments, mutes are clipped to the !ridge, and for !rass instruments, mutes are inserted in the !ell " compare senza sordina in this list (which instructs the musicians to remo$e their mutes " see also 5ordino. (ote) sordina, with plural sordine, is strictly correct 4talian, !ut the forms con sordino and con sordini are much more commonly used as terms in music. con sordino, or con sordini (plural (incorrect 4talian : see con sordina, a!o$e coperti (plural of coperto, which may also !e seen : co$ered" i.e., on a drum, muted with a cloth con*unct: an ad,ecti$e applied to a melodic line that mo$es !y step (inter$als of a 3nd rather in dis,unct motion (!y leap . crescendo: growing" i.e., progressi$ely louder (contrast diminuendo cuivr: !rassy. >sed almost e#clusi$ely as a French ?orn techni)ue to indicate a forced, rough tone. % note marked !oth stopped and loud will !e cuivr automatically1*2 cut time: 5ame as the meter 3/3: two half(note (minim !eats per measure. @otated and e#ecuted like common time (;/; , e#cept with the !eat lengths dou!led. 4ndicated !y . This comes from a literal cut of the sym!ol of common time. Thus, a )uarter note in cut time is only half a !eat long, and a measure has only two !eats. 5ee also alla !re$e. +
da capo: from the head" i.e., from the !eginning (see capo in this list +.S.: 7al 5egno, from the sign (

 +.S. al fine or dal segno al fine: from the sign to the end" i.e., return to a place in the music designated !y the sign and continue to the end of the piece +.S.S. al coda or dal segno al coda: same as 7.5. al coda, !ut with a dou!le segno +.S.S. al fine or dal segno al fine: from the dou!le sign to the end" i.e., return to place in the music designated !y the dou!le sign (see 7.5. al coda and continue to the end of the piece deciso: decisi$ely decrescendo or decresc.: same as diminuendo or dim. (see !elow deest: from the 'atin deesse meaning a!sent" placed after a catalogue a!!re$iation to indicate that this particular work does not appear in it.132 The plural is desunt and used when referring to se$eral works. delicatamente or delicato: delicately detach: act of playing notes separately devoto: religiously diminuendo, dim.: dwindling" i.e., with gradually decreasing $olume (same as decrescendo dis*unct: an ad,ecti$e applied to a melodic line which mo$es !y leap (inter$als of more than a 3nd as opposed to con,unct motion (!y step dissonante: dissonant divisi or div.: di$ided" i.e., in a part in which se$eral musicians normally play e#actly the same notes they are instead to split the playing of the written simultaneous notes among themsel$es. 4t is most often used for string instruments, since with them another means of e#ecution is often possi!le. (The return from divisi is marked unisono: see in this list. doit: ,a-- term referring to a note that slides to an indefinite pitch chromatically upwards. dolce: sweetly dolcissimo: $ery sweetly dolente: sorrowfully, plainti$ely doloroso: sorrowfully, plainti$ely doppio movimento: twice as fast double stop: the act of playing two notes simultaneously on a melodic percussion instrument or string instrument do#ntempo: a slow, moody, or decreased tempo or played or done in such a tempo. 4t also refers to a genre of electronic music !ased on this (downtempo . drammatico: dramatically drop: ,a-- term referring to a note that slides to an indefinite pitch chromatically
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downwards. +ur (Ger : ma,or" used in key signatures as, for e#ample, %(7ur (% ma,or , 6(7ur (6B ma,or , or ?(7ur (16 ma,or22 . (5ee also ,oll (minor in this list. duolo: (4tal grief dynamics: the relati$e $olume in the e#ecution of a piece of music e (4tal : and eco: the 4talian word for &echo&" an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octa$e, to create an echo effect ein #enig (Ger : a little -mpfindung (Ger : feeling encore (Fr : again" i.e., perform the rele$ant passage once more en dehors (Fr : prominently energico: energetic, strong enfatico: emphatically en pressant (Fr : hurrying forward en retenant (Fr : slowing eroico: heroically espirando: e#piring" i.e., dying away espressivo or espr.: e#pressi$ely estinto: e#tinct, e#tinguished" i.e., as soft as possi!le, lifeless, !arely audi!le et#as (Ger : somewhat . facile: easily, without fuss fall: ,a-- term descri!ing a note of definite pitch sliding downwards to another note of definite pitch. falsetto: $ocal register a!o$e the normal $oice fermata: finished, closed" i.e., a rest or note is to !e held for a duration that is at the discretion of the performer or conductor (sometimes called bird's eye " a fermata at the end of a first or intermediate mo$ement or section is usually moderately prolonged, !ut the final fermata of a symphony may !e prolonged for twice its printed length or more for dramatic effect. feroce: ferociously feurig (Ger : fiery festivamente: cheerfully, cele!ratory
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 fieramente: proudly fill (+nglish : a ,a-- or rock term which instructs performers to impro$ise a scalar passage or riff to &fill in& the !rief time !etween lyrical phrases, the lines of melody, or !etween two sections fine: the end, often in phrases like al fine (to the end flat: a sym!ol (B that lowers the pitch of a note !y a semitone. The term may also !e used as an ad,ecti$e to descri!e a situation where a singer or musician is performing a note in which the intonation is an eighth or a )uarter of a semitone too low. flebile: mournfully focoso or fuocoso: fiery" i.e., passionately forte or f (usually : strong" i.e., to !e played or sung loudly fortepiano or fp (usually : strong(gentle" i.e., *. loud, then immediately soft (see dynamics , or 3. an early pianoforte fortissimo or ff: $ery loud (see note at pianissimo in this list fortississimo or fff: as loud as possi!le forza : musical force forzando or fz: see sforzando in this list freddo: cold(ly " hence depressi$e, unemotional fresco: freshly fr/hlich: li$ely, ,oyfully fugue (Fr , fuga ('atin and 4talian : literally &flight&" hence a comple# and highly regimented contrapuntal form in music. % short theme (the subject is introduced in one $oice (or part alone, then in others, with imitation and characteristic de$elopment as the piece progresses. funebre: funeral" often seen as marcia funebre (funeral march , indicating a stately and plodding tempo. fuoco: fire" con fuoco means with fire furia: fury furioso: furiously G G.0.: Grand Dause" indicates to the performers that the entire ensem!le has a rest of indeterminate length, often as a dramatic effect during a loud section gaudioso: with ,oy gemendo: groaningly gentile: gently gesch#ind (Ger : )uickly
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 geteilt (Ger : 5ee divisi

getragen (Ger : sustained giocoso or gioioso: gaily giusto: strictly, e#actly, e.g. tempo giusto in strict time glissando (simulated 4talian : a continuous sliding from one pitch to another (a true glissando , or an incidental scale e#ecuted while mo$ing from one melodic note to another (an effecti$e glissando . 5ee glissando for further information" and compare portamento in this list. grandioso: grandly grave: slowly and seriously grazioso: gracefully gustoso: with happy emphasis and forcefulness !
!: German for 6 natural"

in German means 6 flat !auptstimme (Ger : main $oice, chief part" i.e., the contrapuntal line of primary importance, in opposition to (ebenstimme hemiola (+nglish, from Greek : the imposition of a pattern of rhythm or articulation other than that implied !y the time signature" specifically, in triple time (for e#ample in 0/; the imposition of a duple pattern (as if the time signature were, for e#ample, 3/; . 5ee 5yncopation. hervortretend (Ger : prominent, pronounced !omophony: % musical te#ture with one $oice (or melody line accompanied !y chords" also used as an ad,ecti$e (homophonic . <ompare with polyphony, in which se$eral $oices or melody lines are performed at the same time.

1 immer (Ger : always imperioso: imperiously impetuoso: impetuously improvvisando: with impro$isation improvvisato: impro$ised, or as if impro$ised in altissimo: in the highest" i.e., play or sing an octa$e higher incalzando: getting faster and louder insistendo: insistently, deli!erate in modo di: in the art of, in the style of intimo: intimately
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 intro: opening section irato: angrily 2 2azz standard (or simply &standard& : a well(known composition from the ,a-repertoire which is widely played and recorded. 3 keyboardist (+ng : a musician who plays any instrument with a key!oard. 4n <lassical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. 4n a ,a-- or popular music conte#t, this may refer to instruments such as the piano, electric piano, synthesi-er, ?ammond organ, and so on. kr4ftig (Ger : strongly 3langfarbenmelodie (Ger : &tone(color(melody&, distri!ution of pitch or melody among instruments, $arying tim!re 5 lacrimoso: tearfully" i.e., sadly laissez vibrer, l.v.: allow the sound to continue, do not damp" used fre)uently in harp music, occasionally in piano or percussion. For percussion G electric guitar, 6let ring6 is more common.1*2 lamentando: lamenting, mournfully lamentoso: lamenting, mournfully langsam (Ger : slowly largamente: !roadly" i.e., slowly (same as largo larghetto: somewhat slowly" not as slow as largo 5arghissimo: $ery slowly" slower than largo largo: !roadly" i.e., slowly leap (skip : a melodic inter$al greater than a ma,or 3nd, as opposed to a step. Helodies which mo$e !y a leap are called &dis,unct&. Icta$e leaps are not uncommon in florid $ocal music. lebhaft (Ger : !riskly, li$ely legato: ,oined" i.e., smoothly, in a connected manner (see also articulation leggiero, or leggermente: lightly, delicately leggerissimo: $ery lightly and delicately lent (Fr : slowly
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lento: slowly liberamente: freely libero: free, freely lilt: a ,aunty rhythm l$istesso: see lo stesso, !elow loco: 1in2 place" i.e., perform the notes at the pitch written, generally used to cancel an C$a or C$! direction. 4n string music, also used to indicate return to normal playing position (see Dlaying the $iolin .1*2 long accent ?it hard and keep full $alue of note (J lontano: from a distance" distantly lo stesso (or commonly, !ut ungrammatically, l$istesso : the same" applied to the manner of articulation, tempo, etc. lugubre: lugu!rious, mournful luminoso: luminously lunga: long (often applied to fermatas lusingando: coa#ingly

ma: !ut ma non troppo: !ut not too much maestoso: ma,estically, in a stately fashion magico: magically maggiore: the ma,or key magnifico: magnificent main droite (French : 1played with the2 right hand (a!!re$iation: H7 or m.d. main gauche (French : 1played with the2 left hand (a!!re$iation: HG or m.g. malinconico: melancholy mancando: dying away mano destra: 1played with the2 right hand (a!!re$iation: H7 or m.d. mano sinistra: 1played with the2 left hand (a!!re$iation: H5 or m.s. marcatissimo: with much accentuation marcato, marc.: marked" i.e., with accentuation, e#ecute e$ery note as if it were to !e accented marcia: a march" alla marcia means in the manner of a march martellato: hammered out marziale: in the march style m4ssig (German : moderately (also: mKLig
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 ,+: see mano destra and main droite melancolico: melancholic melisma: the techni)ue of changing the note (pitch of a sylla!le of te#t while it is !eing sung measure: the period of a musical piece that encompasses a complete cycle of the time signature, e.g., in ;/; time, a measure has four )uarter(note !eats medley: piece composed from parts of e#isting pieces, usually three, played one after another, sometimes o$erlapping. meno: less" see meno mosso, for e#ample, under mosso messa di voce: in singing, a controlled swell, i.e. crescendo then diminuendo, on a long held note, especially in 6aro)ue music and in the !el canto period1*2 mesto: mournful, sad meter (or metre : the pattern of a music piece:s rhythm of strong and weak !eats mezza voce: half $oice" i.e., with su!dued or moderated $olume mezzo: half" used in com!inations like mezzo forte (mf , meaning moderately loud mezzo forte: half loudly" i.e., moderately loudly. 5ee dynamics. mezzo piano: half softly" i.e., moderately softly. 5ee dynamics. mezzo7soprano: a female singer with a range usually e#tending from the % !elow middle < to the F an ele$enth a!o$e middle <. He--o(sopranos generally ha$e a darker $ocal tone than sopranos, and their $ocal range is !etween that of a soprano and that of an contralto. ,G: see main gauche misterioso: mysteriously mobile: fle#i!le, changea!le moderato: moderate" often com!ined with other terms, usually relating to tempo" for e#ample, allegro moderato modesto: modest ,oll (German : minor" used in key signatures as, for e#ample, a(Holl (% minor , !(Holl (6B minor , or h(Holl (6 minor (see also +ur (ma,or in this list molto: $ery morendo: dying" i.e., dying away in dynamics, and perhaps also in tempo mosso: mo$ed, mo$ing" used with a preceding piM or meno (see in this list , for faster or slower respecti$ely ,S: see mano sinistra moto: motion" usually seen as con moto, meaning with motion or )uickly munter (German : li$ely muta 8in...9: <hange: either a change of instrument, e.g. flute to piccolo, horn in F
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to horn in 6!" or a change of tuning, e.g. guitar muta : in +. @ote: does not mean &mute&, for which con sordina or con sordino is used.1*2 ( narrante: narratingly natural: a sym!ol (N that cancels the effect of a sharp or a flat (see in this list naturale or nat.: natural" i.e., discontinue a special effect, such as col legno, sul tasto, sul ponticello, or playing in harmonics (.%.: no chord, written in the chord row of music notation to show there is no chord !eing played, and no implied harmony (ebenstimme (Ger : under part" i.e., a secondary contrapuntal part, always occurring simultaneously with, and su!sidiary to, the !auptstimme nicht (Ger : not niente: &nothing&, !arely audi!le, dying away nobile or nobilmente: in a no!le fashion nocturne (Fr : a piece written for the night notes ingales (Fr : une)ual notes" a principally 6aro)ue performance practice of applying long(short rhythms to pairs of notes written as e)ual" see also swung note notturno: same as nocturne (see a!o$e number opera: an opera consisting of &num!ers,& e.g. arias, intermi#ed with recitati$e ; obbligato: re)uired, indispensa!le octave: inter$al !etween one musical pitch and another with half or dou!le its fre)uency. omaggio: homage, cele!ration one7voice7per7part, or I.DD: the practice of using solo $oices on each musical line or part in choral music. organ trio: in ,a-- or rock, a group of three musicians which includes a ?ammond organ player and two other instruments, often an electric guitar player and a drummer. ossia or oppure: or instead" i.e., according to some specified alternati$e way of performing a passage, which is marked with a footnote, additional small notes, or an additional staff ostinato: o!stinate, persistent" i.e., a short musical pattern that is repeated throughout an entire composition or portion of a composition
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 ottava: octa$e" e.g. ottava bassa: an octa$e lower 0

parlando or parlante: like speech, enunciated 0artitur (Ger : full orchestral score passionato: passionately pastorale: in a pastoral style, peaceful and simple pausa: rest pedale or ped: 4n piano scores, this instructs the player to use press damper pedal to sustain the note or chord !eing played. The player may !e instructed to release the pedal with an asterisk marking (O . 4n organ scores, it tells the organist that a section is to !e performed on the !ass pedal!oard with the feet. penseroso: thoughtfully, meditati$ely perdendosi: dying away" decrease in dynamics, perhaps also in tempo pesante: hea$y, ponderous peu peu (Fr : little !y little pianissimo or pp : $ery gently" i.e., perform $ery softly, e$en softer than piano. This con$ention can !e e#tended" the more ps that are written, the softer the composer wants the musician to play or sing, thus ppp (pianississimo would !e softer than pp. 7ynamics in a piece should !e interpreted relati$e to the other dynamics in the same piece. For e#ample, pp should !e e#ecuted as softly as possi!le, !ut if ppp is found later in the piece, pp should !e markedly louder than ppp. Hore than three ps (ppp or three fs (fff are uncommon. piano or p (usually : gently" i.e., played or sung softly (see dynamics piano7vocal score: the same as a $ocal score, a piano arrangement along with the $ocal parts of an opera, cantata, or similar piacevole: pleasant piangevole: plainti$e pi<: more" see mosso for an e#ample pizzicato: pinched, plucked" i.e., in music for !owed strings, plucked with the fingers as opposed to played with the !ow" compare arco (in this list , which is inserted to cancel a pi--icato instruction pochettino or poch.: $ery little poco: a little, as in poco pi< allegro (a little faster poco a poco: little !y little poetico: poetic discourse poi: then, indicating a su!se)uent instruction in a se)uence" diminuendo poi subito fortissimo, for e#ample: getting softer then suddenly $ery loud
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 portamento: carrying" i.e., *. generally, sliding in pitch from one note to another,

usually pausing ,ust a!o$e or !elow the final pitch, then sliding )uickly to that pitch. 4f no pause is e#ecuted, then it is a !asic glissando" or 3. in piano music, an articulation !etween legato and staccato, like portato, in this list portato or loure: carried" i.e., non(legato, !ut not as detached as staccato (same as portamento 132, in this list posato: settled potpourri or pot7pourri (Fr : potpourri (as used in other senses in +nglish " i.e., a kind of musical form structured as %6<7+F... etc." the same as medley or, sometimes, fantasia precipitato: precipitately prestissimo: e#tremely )uickly, as fast as possi!le presto: $ery )uickly prima volta: the first time" for e#ample prima volta senza accompagnamento (the first time without accompaniment primo or prima (the feminine form : first

>uarter tone: ?alf of a semitone" a pitch di$ision not used in most Western music notation, e#cept in some contemporary art music or e#perimental music. Puarter tones are used in Western popular music forms such as ,a-- and !lues and in a $ariety of non(Western musical cultures. >uasi ('atin and 4talian : as if, almost, e.g. >uasi recitativo like a recitati$e in an opera, or >uasi una fantasia like a fantasia ? rallentando or rall.: 6roadening of the tempo (often not discerni!le from ritardando " progressi$ely slower rapido: fast rasch (Ger : fast ravvivando: )uicken pace recitativo: recitati$ely" one $oice without accompaniment religioso: religiously repente: suddenly restez (Fr : stay" i.e., remain on a note or string retenu (Fr : hold !ack" same as the 4talian ritenuto (see !elow ridicolosamente: humorously, inaccurate, and loosely
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 rinforzando (rf, or rinf. : reinforced" i.e., emphasi-ed" sometimes like a sudden crescendo, !ut often applied to a single note risoluto: resolutely rit.: an a!!re$iation for ritardando"102 also an a!!re$iation for ritenuto1;2 ritardando, ritard., rit.: slowing down" decelerating" opposite of accelerando ritenuto, riten., rit.: suddenly slower, held !ack (usually more so !ut more temporarily than a ritardando, and it may, unlike ritardando, apply to a single note ritmico: rhythmical ritornello : a recurring passage for orchestra in the first or final mo$ement of a solo concerto or aria (also in works for chorus . rolled chord: see arpeggiato in this list roulade (Fr : a rolling" i.e., a florid $ocal phrase rondo: a musical form in which a certain section returns repeatedly , interspersed with other sections: %6%<% is a typical structure or %6%<%6% rubato: ro!!ed" i.e., fle#i!le in tempo, applied to notes within a musical phrase for e#pressi$e effect run: a rapid series of ascending or descending musical notes which are closely spaced in pitch forming a scale ruvido: roughly S
saltando: !ouncing the !ow as in a staccato arpeggio, literally means &,umping&

sanft (Ger : gently scatenato: unchained, wildly1=2 scherzando, scherzoso: playfully scherzo: a light, &,oking& or playful musical form, originally and usually in fast triple metre, often replacing the minuet in the later <lassical period and the Qomantic period, in symphonies, sonatas, string )uartets and the like" in the *Eth century some scher-i were independent mo$ements for piano, etc. schleppen (Ger : to drag" usually nicht schleppen (&don:t drag& , paired with nicht eilen (&don:t hurry& in Gusta$ Hahler:s scores schnell (Ger : fast schneller (Ger : faster sch#ungvoll (Ger : li$ely, swinging, !old, spirited scordatura: out of tune" i.e., an alternati$e tuning used for the strings of a string instrument secco, or sec (Fr : dry
*/

 segno: sign, usually Dal Segno (see a!o$e &from the sign&, indicating a return to

the point marked !y segue: carry on to the ne#t section without a pause sehr (Ger : $ery semitone: the smallest pitch difference !etween notes (in most Western music (e.g., FRFS semplice: simply sempre: always senza: without senza misura: without measure senza sordina, or senza sordine (plural : without the mute" compare con sordina in this list" see also 5ordino. (ote) sordina, with plural sordine, is strictly correct 4talian, !ut the forms con sordino and con sordini are much more commonly used as terms in music. 4n piano music (nota!ly in 6eetho$en:s Moonlight Sonata , senza sordini or senza sordina (or some $ariant is sometimes used to mean keep the sustain pedal depressed, since the sustain pedal lifts the dampers off the strings, with the effect that all notes are sustained indefinitely. serioso: seriously shake: a ,a-- term descri!ing a trill !etween one note and its minor third" or, with !rass instruments, !etween a note and its ne#t o$er!lown harmonic. sharp: a sym!ol ( that raises the pitch of the note !y a semitone. The term may also !e used as an ad,ecti$e to descri!e a situation where a singer or musician is performing a note in which the intonation is an eighth or a )uarter of a semitone too high in pitch. short accent: ?it the note hard and short . (T sforzando or sfz: made loud" i.e., a sudden strong accent si (Fr : se$enth note of the series ut, re, mi, fa, sol, la, si, in fi#ed(doh solmi-ation. siciliana: a 5icilian dance in *3/C or A/C meter1A2 sign: see segno silenzio: silence" i.e., without re$er!erations simile: similarly" i.e., continue applying the preceding directi$e, whate$er it was, to the following passage sipario: curtain (stage slargando or slentando: !ecoming !roader or slower (that is, !ecoming more largo or more lento smorzando or smorz.: e#tinguishing or dampening" usually interpreted as a drop in dynamics, and $ery often in tempo as well soave: smoothly, gently
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 sopra: a!o$e sognando: dreamily solo break: a ,a-- term that instructs a lead player or rhythm section mem!er to play an impro$ised solo caden-a for one or two measures (sometimes a!!re$iated as &!reak& , without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead(in line, at which time the !and recommences playing in the original tempo. solenne: solemn solo, plural soli: alone" i.e., e#ecuted !y a single instrument or $oice. The instruction soli re)uires more than one player or singer" in a ,a-- !ig !and this refers to an entire section playing in harmony. sonata: a piece played as opposed to sung. sonatina: a little sonata sonatine: a little sonata, used in some countries instead of sonatina sonore: sonorous soprano: the highest of the standard four $oice ranges (!ass, tenor, alto, soprano sordina, sordine (plural : a mute, or a damper in the case of the piano. (ote) sordina, with plural sordine, is strictly correct 4talian, !ut the forms sordino and sordini are much more commonly used as terms in music. 5ee also con sordina, senza sordina, in this list. sordino: see sordina, a!o$e sospirando: sighing sostenuto: sustained, lengthened sotto voce: in an undertone i.e. )uietly spiccato: distinct, separated" i.e., a way of playing the $iolin and other !owed instruments !y !ouncing the !ow on the string, gi$ing a characteristic staccato effect spinto spiritoso: spiritedly staccato: making each note !rief and detached" the opposite of legato. 4n musical notation, a small dot under or o$er the head of the note indicates that it is to !e articulated as staccato. stanza: a $erse of a song stornello originally truly :impro$ised: now taken as :appearing to !e impro$ised,: an 4talian :folk: song, the style of which used for e#ample !y Duccini in certain of his operas. strepitoso: noisy stretto: tight, narrow" i.e., faster or hastening ahead" also, a passage in a fugue in which the contrapuntal te#ture is denser, with close o$erlapping entries of the
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su!,ect in different $oices" !y e#tension, similar closely imitati$e passages in other compositions stringendo: tightening, narrowing" i.e., with a pressing forward or acceleration of the tempo (that is, !ecoming stretto, see preceding entry subito: suddenly (e.g., subito pp, which instructs the player to suddenly drop to pianissimo as an effect sul ponticello: on the !ridge" i.e., in string playing, an indication to !ow (or sometimes to pluck $ery near to the !ridge, producing a characteristic glassy sound, which emphasi-es the higher harmonics at the e#pense of the fundamental" the opposite of sul tasto sul tasto: on the finger!oard" i.e., in string playing, an indication to !ow (or sometimes to pluck o$er the finger!oard" the opposite of sul ponticello. Dlaying o$er the finger!oard produces a warmer, gentler tone. sur la touche (Fr : sul tasto syncopation: a distur!ance or interruption of the regular flow of down!eat rhythm with emphasis on the su!(di$ision or up(!eat, e.g. in Qagtime music.

@
tacet: silent" do not play tempo: time" i.e., the o$erall speed of a piece of music

tempo di marcia: march tempo tempo di valse: walt- tempo tempo giusto: in strict time tempo primo, tempo uno, or tempo 1 (sometimes also written as tempo 1A or tempo Bero') resume the original speed tempo rubato, means &ro!!ed time&" an e#pressi$e way of performing a rhythm" see ru!ato teneramente: tenderly tenerezza: tenderness tenor: the second lowest of the standard four $oice ranges (!ass, tenor, alto, soprano tenuto: held" i.e., touch on a note slightly longer than usual, !ut without generally altering the note:s $alue ternary: ha$ing three parts. 4n particular, referring to a three(part musical form with the parts represented !y letters: %6% tessitura: the :!est: or most comforta!le pitch range, generally used to identify the most prominent / common $ocal range within a piece of music timbre: the )uality of a musical tone that distinguishes $oices and instruments
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 time: in a ,a-- or rock score, after a ru!ato or rallentendo section, the term &time& indicates that performers should return to tempo (this is e)ui$alent to the term &a tempo& tran>uillo: calmly, peacefully tremolo: shaking" i.e., a rapid repetition of the same note, or an alternation !etween two or more notes (often an octa$e on the piano . 5tring players perform tremolo with the !ow !y rapidly mo$ing the !ow while the arm is tense. 4t can also !e intended (inaccurately to refer to $i!rato, which is a slight undulation in pitch. 4t is notated !y a strong diagonal !ar across the note stem, or a detached !ar for a set of notes (or stemless notes . tre corde or tc (or sometimes inaccurately tre corda : three strings" i.e., release the soft pedal of the piano (see una corda triplet (shown with a hori-ontal !racket and a :0: : Three notes in the place of two, used to su!di$ide a !eat. troppo: too much" usually seen as non troppo, meaning moderately or, when com!ined with other terms, not too much, such as allegro 8ma9 non troppo (fast !ut not too fast tutti: all" all together, usually used in an orchestral or choral score when the orchestra or all of the $oices come in at the same time, also seen in 6aro)ue(era music where two instruments share the same copy of music, after one instrument has !roken off to play a more ad$anced form: they !oth play together again at the point marked tutti. 5ee also: ripieno. C un, uno, or una: one, as for e#ample in the following entries una corda: one string" i.e., in piano music, depress the soft pedal, altering, and reducing the $olume of, the sound. 4n some pianos, this literally results in the hammer striking one string rather than two or three. (For most notes on modern instruments, in fact it results in striking two rather than three strings. 4ts counterpart, tre corde (three strings" see in this list , is the opposite: the soft pedal is to !e released. un poco: a little unisono or unis (Fr : in unison" i.e., se$eral players in a group are to play e#actly the same notes within their written part, as opposed to splitting simultaneous notes among themsel$es. Iften used to mark the return from divisi (see in this list . uptempo: a fast, li$ely, or increased tempo or played or done in such a tempo.1/2. 4t is also used as an um!rella term for a )uick(paced electronic music style. ut (Fr : first note of the series ut, re, mi, fa, sol, la, si, in fi#ed(doh solmi-ation.

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D
vamp till cue: a ,a--, fusion, and musical theatre term which instructs rhythm

section mem!ers to repeat and $ary a short ostinato passage, riff, or &groo$e& until the !and leader or conductor instructs them to mo$e onto the ne#t section veloce: with $elocity velocissimo: as )uickly as possi!le" usually applied to a caden-a(like passage or run vibrato: $i!rating" i.e., a more or less rapidly repeated slight alteration in the pitch of a note, used to gi$e a richer sound and as a means of e#pression. Iften confused with tremolo, which refers either to a similar $ariation in the volume of a note, or to rapid repetition of a single note. vif (Fr : Puickly, li$ely vittorioso: $ictoriously virtuoso: (noun or ad,ecti$e performing with e#ceptional a!ility, techni)ue, or artistry vivo: li$ely vivace: $ery li$ely, up(tempo vivacissimo: $ery li$ely vocal score or piano7vocal score: a music score of an opera, or a $ocal or choral composition with orchestra (like oratorio or cantata where the $ocal parts are written out in full !ut the accompaniment is reduced to two sta$es and adapted for playing on piano voce: $oice volante: flying D.S. (volti subito : turn suddenly" i.e., turn the page )uickly. While this indication is sometimes added !y printers, it is more commonly indicated !y orchestral mem!ers in pencil as a reminder to )uickly turn to the ne#t page.

E #enig (Ger : a little, not much #olno (Dolish : loose, slowly" found as a directi$e in The lephant from The !arnival of the Animals !y 5aint(5aUns F F4hlzeit (Ger : !eat zart (Ger : tender Fartheit (Ger : tenderness
33

z4rtlich (Ger : tenderly Feichen (Ger : sign FeitmaG, also spelled Feitmass (Ger : time(measure, i.e., tempo zelo, zeloso, zelosamente: -eal, -ealous, -ealously ziehen (Ger : to draw out ziemlich (Ger : fairly, )uite, pretty, or rather zitternd (Ger : trem!ling" i.e., tremolando z/gernd (Ger : dou!tful, delaying" i.e., rallentando

1talian tempo markings 5ee also: 4talian musical terms used in +nglish and Glossary of musical terminology The definitions of the 4talian tempo markings mentioned in this section can !e found in the ?ar$ard 7ictionary of Husic and/or the online 4talian(+nglish dictionary, !oth of which are listed in 5ources. asic tempo markings %ll of these markings are !ased on a few root words. 6y adding an "issimo ending the word is amplified, !y adding an "ino ending the word is diminished, and !y adding an "etto ending the word is endeared. #arghissimo V $ery, $ery slow (3F !pm and !elow #ento V $ery slow (;FRAF !pm #argo V $ery slow (;FRAF !pm , like lento #arghetto V rather !roadly (AFRAA !pm $rave V slow and solemn Adagio V slow and stately (literally, &at ease& (AAR/A !pm Adagietto V rather slow (/FRCF !pm Andante V at a walking pace (/AR*FC !pm Andante Moderato % a bit faster than andante Andantino R slightly faster than andante Moderato V moderately (*F*(**F !pm Allegretto V moderately fast (!ut less so than allegro Allegro moderato V moderately )uick (**3R*3; !pm Allegro V fast, )uickly and !right or &march tempo& (*3FR*0E !pm &ivace V li$ely and fast (W*;F !pm ()uicker than allegro
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&ivacissimo V $ery fast and li$ely Allegrissimo V $ery fast 'resto V $ery fast (*ACR3FF !pm 'restissimo V e#tremely fast (more than 3FF!pm

%dditional Terms:
A piacere V the performer may use his own discretion with regard to tempo and

rhythm" literally &at pleasure&102 #'istesso tempo V at the same speed Tempo comodo V at a comforta!le (normal speed Tempo di((( V the speed of a ... (such as Tempo di valse (speed of a walt- , Tempo di marcia (speed of a march Tempo giusto V at a consistent speed, at the :right: speed, in strict tempo Tempo semplice V simple, regular speed, plainly

(ote) Hetronome markings are a guide only and depending on the time signature and the piece itself, these figures may not !e appropriate in e$ery circumstance. %ommon >ualifiers alla V in the manner or style of, as in: alla breve V in short style, i.e., duple time, with the half note (minim rather than the )uarter note (crotchet as the !eat" cut time" 3/3 instead of ;/;" often marked as a semicircle with a $ertical line through it (see Time signature alla marcia V in the manner of a march1;2 (e.g., 6eetho$en, op. *F* all' ongarese V in ?ungarian style alla )dan*a+ tedesca V in the style of the 'Kndler (ca. *CFF , and similar dances in rather )uick triple meter (see 6eetho$en, op. /E, op. *0F 1=2 alla turca V in the Turkish style, that is, in imitation of Turkish military music (Xani-ary music , which !ecame popular in +urope in the late *Cth century (e.g., Ho-art, Y. 00*, Y. 0C; alla *ingarese V in the style of Gypsy music assai V much, as in allegro assai, )uite fast1A2 ben V well, as in ben marcato (well marked or accented con bravuraV with skill1/2 con brio V with $igor and spirit1C2 con fuoco V with fire con moto V with motion deciso V decidedly, decisi$ely
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 fugato V in fugal style, usually part of a non(fugal composition" such passages

often occur in the de$elopment sections of symphonies, sonatas, and )uartets1E2 in modo V in the manner of, in the style of: in modo napolitano (in @eapolitan style , in modo di marcia funebre (in the manner of a funeral march meno V less, as in meno mosso (less )uickly 1*F2 mena V almost none, as in mena forte (almost not at all loud misterioso V mysterious molto V much, $ery, as in molto allegro ($ery )uick or molto adagio ($ery slow 1**2 non troppo V not too much, e.g. allegro non troppo (or allegro ma non troppo means &fast, !ut not too much& non tanto V not so much pi, V more, as in pi, allegro (more )uickly " used as a relati$e indication when the tempo changes piuttosto V rather, as in piuttosto allegro (rather )uick 1*32 poco V slightly, little, as in 'oco adagio poco a poco V little !y little polacca V generic name for Dolish dances, usually the polonaise, as in tempo di polacca" note, howe$er, that the &Dolacca& in 6ach:s 6randen!urg <oncerto @o. * shows little resem!lance to the polonaise1*02 primo V principal or early, as in tempo primo, the same tempo as at the !eginning -uasi V almost, nearly, as if (such as 'i, allegro -uasi presto, &faster, as if presto& sen*a V without, as in sen*a interru*ione (without interruption or pause , sen*a tempo or sen*a misura (without strict measure 1*;2 sostenuto R sustained, prolonged subito V suddenly

(ote) 4n addition to the common allegretto. composers freely apply 4talian diminuti$e and superlati$e suffi#es to $arious tempo indications: andantino. larghetto. adagietto. and larghissimo( ,ood markings #ith a tempo connotation 5ome markings that primarily mark a mood (or character also ha$e a tempo connotation:
Affettuoso V with feeling/emotion Agitato V agitated, with implied )uickness Appassionato V to play passionately

Animato V animatedly, li$ely

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 /rillante V sparkling, glittering, as in Allegro brillante, 0ondo brillante, or

&ariations brillantes" !ecame fashiona!le in titles for $irtuoso pieces1*=2 !antabile V in singing style (lyrical and flowing Dolce V sweetly nergico V energetic, strong, forceful roico V heroically spressivo V e#pressi$ely 1urioso V to play in an angry or furious manner $iocoso V merrily, funny $ioioso V ,oyfully #acrimoso V tearfully, sadly $randioso V magnificently, grandly $ra*ioso V gracefully #eggiero V to play lightly, or with light touch Maestoso V ma,estic or stately (which generally indicates a solemn, slow march( like mo$ement Malinc2nico V melancholic Marcato V marching tempo, marked with emphasis Mar*iale V in a march style, usually in simple, strongly marked rhythm and regular phrases M3sto V sad, mournful Morendo V dying 4obilmente V no!ly (in a no!le way 'at3tico V with great emotion 'esante V hea$ily Sautill5 Saltando V ,umpy, fast, and short Scher*ando V playfully Sostenuto V sustained, sometimes with a slackening of tempo Spiccato V slow sautill8, with a !ouncy manner Teneroso V tenderness Tran-uillamente V ad$er! of tran)uillo, &calmly& Trionfante V triumphantly &ivace V li$ely and fast, o$er *;F !pm (which generally indicates a fast mo$ement

@erms for change in tempo <omposers may use e#pressi$e marks to ad,ust the tempo: Accelerando V speeding up (a!!re$iation: accel(
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Allargando V growing !roader" decreasing tempo, usually near the end of a piece !alando V going slower (and usually also softer Doppio movimento V dou!le speed Meno mosso V less mo$ement or slower Mosso V mo$ement, more li$ely, or )uicker, much like pi, mosso, !ut not as e#treme 'i, mosso V more mo$ement or faster 'recipitando V hurrying, going faster/forward 0allentando V gradual slowing down (a!!re$iation: rall( 0itardando V immediate slowing down (a!!re$iation: rit( or more specifically, ritard( 0itenuto V slightly slower" temporarily holding !ack. (@ote that the a!!re$iation for ritenuto can also !e rit( Thus a more specific a!!re$iation is riten( %lso sometimes ritenuto does not reflect a tempo change !ut a character change instead. 0ubato V free ad,ustment of tempo for e#pressi$e purposes Stretto V in faster tempo, often near the conclusion of a section. (@ote that in fugal compositions, the term stretto refers to the imitation of the su!,ect in close succession, !efore the su!,ect is completed, and as such, suita!le for the close of the fugue.1*A2 >sed in this conte#t, the term is not necessarily related to tempo. Stringendo V pressing on faster

While the !ase tempo indication (such as allegro appears in large type a!o$e the staff, these ad,ustments typically appear !elow the staff or (in the case of key!oard instruments in the middle of the grand staff. They generally designate a gradual change in tempo" for immediate tempo shifts, composers normally ,ust pro$ide the designation for the new tempo. (@ote, howe$er, that when 'i, Mosso or Meno Mosso appears in large type a!o$e the staff, it functions as a new tempo, and thus implies an immediate change. 5e$eral terms, e.g., assai, molto, poco, subito, control how large and how gradual a change should !e (see <ommon )ualifiers . %fter a tempo change, a composer may return to a pre$ious tempo in two different ways: a tempo ( returns to the !ase tempo after an ad,ustment (e.g. &ritardando ... a tempo& undoes the effect of the ritardando . Tempo primo or Tempo 6 ( denotes an immediate return to the piece:s original !ase tempo after a section in a different tempo (e.g. &%llegro ... 'ento ... Hoderato .... Tempo 4& indicates a return to the %llegro . This indication often functions as a structural marker in pieces in !inary form.
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These terms also indicate an immediate, not a gradual, tempo change. %lthough they are 4talian, composers typically use them e$en if they ha$e written their initial tempo marking in some other language. @empo markings in other languages 5ee also: Glossary of musical terminology %lthough 4talian has !een the pre$alent language for tempo markings throughout most of classical music history, many composers ha$e written tempo indications in their own language. The definitions of the tempo markings mentioned in this section can !e found in the ?ar$ard 7ictionary of Husic and/or the online foreign language dictionaries which are listed in 5ources. .rench tempo markings 5e$eral composers ha$e written markings in French, among them !aro)ue composers FranZois <ouperin and Xean(Dhilippe Qameau as well as <laude 7e!ussy, Ili$ier Hessiaen, Haurice Qa$el and %le#ander 5cria!in. <ommon tempo markings in French are: Au mouvement V play the (first or main tempo. $rave V slowly and solemnly #ent V slowly Modr V at a moderate tempo Moins V less, as in Moins vite (less fast 0apide V fast Tr3s V $ery, as in Tr3s vif ($ery li$ely &if V li$ely &ite V fast

+rik 5atie was known to write e#tense tempo (and character markings !y defining them in a poetical and literal way, as in his Gnossiennes 1*/2. German tempo markings Hany composers ha$e used German tempo markings. Typical German tempo markings are: #angsam V slowly #ebhaft V li$ely (mood M78ig V moderately 0asch V )uickly
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 Schnell V fast /ewegt V animated, with motion1*C2 Ine of the first German composers to use tempo markings in his nati$e language was 'udwig $an 6eetho$en. The one using the most ela!orate com!ined tempo and mood markings was pro!a!ly Gusta$ Hahler. For e#ample, the second mo$ement of his 5ymphony @o. E is marked 6m Tempo eines gem7chlichen #7ndlers. etwas t7ppisch und sehr derb, indicating a slowish folk(danceRlike mo$ement, with some awkwardness and much $ulgarity in the e#ecution. Hahler would also sometimes com!ine German tempo markings with traditional 4talian markings, as in the first mo$ement of his si#th symphony, marked Allegro energico. ma non troppo( 9eftig. aber markig (+nergetically )uick, !ut not too much. .iolent, !ut $igorous1*E2 . @empo markings in -nglish +nglish indications, for e#ample -uickly, ha$e also !een used, !y 6en,amin 6ritten and Dercy Grainger, among many others. 4n ,a-- and popular music charts, terms like &fast&, &laid !ack&, &steady rock&, &medium&, &medium(up&, &!allad&, and similar style indications may appear.

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