Understanding Musical Terms: What They Are and Why They Matter
- Diana Mascari
- Mar 31
- 8 min read
Updated: 5 days ago
While musical terms may not always appear in popular sheet music, they are commonly found in classical pieces and piano exercise books—both of which many of my adult students use in their lessons and practice. These terms provide essential guidance on tempo (speed) and expression, helping musicians bring their pieces to life.
You've likely encountered musical terms and may have questions like:
Why are musical terms often in a foreign language rather than English?
Why is Italian most often used for musical terms?
Which languages are commonly used for musical terminology?
Will learning and applying musical terms enhance my piano skills and performances?
How can interpreting musical terms align with my unique musical identity?
Musical terms are more than just words on a page—they are keys to deeper musical expression. Understanding and applying them can help you connect more deeply with the music and refine your personal style as a pianist.
Why are musical terms often in a foreign language rather than English?
Years ago, while studying composition at Boston University, I had the opportunity to attend a Composers’ Forum featuring John Harbison, the Pulitzer Prize-winning composer. In preparation, I reviewed his piece Flight into Egypt and prepared some comments. While his insights into the composition were fascinating, my biggest "aha" moment came from his response to a question I asked—one that has influenced how I teach piano students to this day.
I asked: Why do some of your musical scores use English terms while others use Italian?
His response:"I’m an American composer, so I prefer to use English musical terms in my scores. However, English often doesn’t offer the same variety of meanings that Italian does."
That simple yet profound answer has stayed with me. Ever since, I’ve chosen to use Italian musical terms in my own compositions, appreciating their depth of expression. I also make a point of explaining to my students why Italian is the standard in classical music notation.
Understanding this can help musicians interpret pieces more effectively and connect with the rich tradition of musical language.
Why is Italian most often used for musical terms?
This is one of my favorite questions to answer! Being of Italian heritage—both of my grandfathers were born in Italy—I’ve experienced aspects of Italian culture firsthand within my family. My great-grandfather, who lived with my mother’s family when she was in high school, spoke only Italian, so my mother learned the language. She also had a memorable experience that perfectly illustrates the Italian approach to expression.
While sharing a recipe, my grandmother told my mother, “Add a pinch of salt—more or less.” Confused, my mother asked, “What’s a pinch? And how much is ‘more or less’?” Of course, there was no precise answer! Instead, there was room for interpretation and personal expression—a concept deeply ingrained in Italian culture, including its musical language.
Now, here’s why Italian is ideal for musical terms:
If I wanted a piece to be played slowly, I could simply write the English word “Slow.” But that lacks nuance. In Italian, I have multiple expressive options:
Grave (slow and serious)
Largo (slow and heavy)
Lento (slow and light)
Adagio (slow and expressive)
Similarly, instead of just writing “Fast” in English, I could use:
Allegro (fast with precision and steadiness)
Vivace (fast and lively)
Presto (very fast and energetic)
As you can see, Italian doesn’t just dictate speed—it conveys character and emotion. This is exactly why composer John Harbison once told me, “English often doesn’t offer the same variety of meanings that Italian does.”
Which languages are commonly used for musical terminology?
Italian, German, French, English, Spanish, Hungarian, Japanese and more.
While German composers often included performance instructions in their native language, they generally continued using Italian musical terms for tempo and expression. This was the standard throughout the Classical Period (1750–1820). However, in the last seven years of his life, Beethoven broke with tradition and began using German terms instead of Italian.
One of the most notable examples is his Pastoral Symphony (No. 6), where all five movements have German titles. Similarly, in the final chorus of his Ninth Symphony, he used German for the famous Ode to Joy. Beethoven believed that German could convey emotional expression more precisely than Italian and wanted to communicate more directly with German-speaking musicians. His national pride may have also influenced his decision to use German.
Beethoven’s decision to replace Italian with German set a precedent, and many German composers followed his lead—some using exclusively German terms, others blending them with Italian. Composers such as Brahms, Schubert, Mahler, and Strauss all contributed to this evolution to the use of German.
This trend by the German composers later influenced French composers like Faure, Debussy and Ravel, who opted for French instead of Italian.
In Christine Ammer’s book, The A to Z of Foreign Musical Terms, she highlights the primary languages used in classical music: Italian, German, French, and, to a lesser extent, Spanish. Hungarian composer Béla Bartók further expanded this diversity. His Mikrokosmos Volume One features titles in multiple languages—including English, French, German, and Hungarian—making it accessible to a wide range of students and teachers. Some editions even include Japanese and Spanish. However, the last seven pieces in the book retain Italian musical terms for tempo and expression. Despite these variations, Italian remains the dominant language for musical terms. The growing use of native languages in classical and contemporary composition reflects a shift away from Italian’s exclusivity. However, in my own compositions, I still prefer to use Italian.
Will learning and applying musical terms enhance your piano skills and performances?
I decided to write this blog about musical terms because it highlights the connection between words and music. For pianists, piano students, composers and other musicians, understanding how musical terms (words) relate to music (notes) is essential. For over three centuries, composers of all nationalities have used musical terms to communicate their interpretative intentions—whether to professional musicians or those, like you, students and people who play the piano for enjoyment.
While Italian is the most commonly used language for these terms, don’t be surprised if you encounter English, French, German, Japanese, or other languages. Whenever you come across an unfamiliar term, you can easily look up its meaning online. The key is to understand these terms and apply them effectively.
Beyond tempo indications like Adagio and Presto, other terms and symbols help bring a composer’s intentions to life. Mastering these markings allows you to express music more vividly. One well-known collection that introduces these concepts is Six Sonatinas, Opus 36 by Muzio Clementi. Although Mozart and Haydn did not hold him in high regard, his sonatinas have remained a staple for piano students for over two centuries. These pieces provide technical and rhythmic training while also serving as a music history lesson. Additionally, Clementi’s compositions incorporate various dynamic markings, including:
pp (pianissimo) – very soft
p (piano) – soft
mp (mezzo piano) – moderately soft
mf (mezzo forte) – moderately loud
f (forte) – loud
ff (fortissimo) – very loud
crescendo – gradually getting louder
decrescendo or diminuendo – gradually getting softer
ritardando – gradually slowing down
accelerando – gradually speeding up
The more you refine your ability to execute these nuances, the more expressive your playing will become. Not only will your Clementi performances improve, but your overall musicianship will deepen. Mastering elements like tempo (speed), dynamics (louds and softs, phrasing (connections between notes), and articulation (how notes are played-short, long, accented, etc.) will become second nature.
Is it easy to incorporate all these instructions into your playing? No, it takes practice. But will it make a significant difference? Absolutely. Once you learn to interpret and apply these directions, you’ll find yourself bringing more expression and life to any piece you play—whether it’s a classical work, a jazz standard, a show tune, or a pop song. Even the simplest classical pieces provide a foundation for playing all styles of music with greater depth and emotion.
How Can Interpreting Musical Terms Align with Your Unique Musical Identity?
Every pianist interprets musical terms in their own unique way. Years ago, when I played in Top 40 bands, the goal was to replicate songs as they sounded on the record. As you might expect, this was nearly impossible for my three-piece combo, since most recordings featured larger ensembles and studio production enhancements. While some bands successfully incorporated recorded tracks into their live performances, that was never my objective. Instead, I focused on what made my playing unique—because that’s what musical identity is all about.
During my master’s studies at New England Conservatory, I took a course on J.S. Bach’s Well-Tempered Clavier. In one class, each student brought in a different recording of the same fugue. To our amazement, no two versions sounded alike. Despite being the exact same piece, each interpretation reflected the individuality of the performer. That’s musical identity in action.
About 30 years ago, I composed an orchestral piece that was performed by four different orchestras. Even though I had specified the tempo, dynamics, phrasing, and articulation, each performance sounded distinct. Surprisingly, the first and fourth performances were the best, but they were still different from one another. This experience reinforced a fundamental truth: every musician brings something unique to a piece, shaping it according to their personal musical identity.
If you ever doubt your own musical identity, just search for a song or classical piece on YouTube. Listen to several different recordings—you’ll quickly notice how unique each performance is.
One major reason for this individuality is the way musicians interpret musical terms. Consider this simple phrase (my grandmother said to my mother) "a pinch of salt—more or less," and how it can mean different things to different cooks. Similarly, markings like Adagio or pianissimo (pp) leave room for personal interpretation. Your approach to these terms is a reflection of your own musical identity. The way you bring a piece to life is an expression of who you are as a musician.
Embrace your uniqueness. It’s what makes your music truly yours.
Conclusion
In this chapter, we’ve explored musical terms, the languages used to define them, how they shape musical expression, and their impact on your unique musical identity. While these terms may not frequently appear in standards, show tunes, jazz pieces, or folk songs, the principles they convey can still be applied to your interpretations of these styles.
How can you make these musical instructions a natural part of your playing?
One effective approach is to study classical pieces, even simple ones, to become comfortable applying the directions given by musical terms. You might also consider using a music score, such as Clementi: Sonatinas or Chopin: 14 of His Easiest Piano Selections. Look for editions that include a CD or seek out recordings online. One of my students, for example, found all the pieces in Bartók’s Mikrokosmos, Volume One on YouTube.
As you listen to these recordings, pay close attention to changes in dynamics (softs and louds), tempo markings (Vivace, Allegro, etc.), and articulation—such as staccato (detached) and legato (smooth and connected). Observe how these elements influence the overall feeling of the music. This practice will help you internalize musical terms so that when you play a song, you’ll instinctively consider when to play softly or loudly, when to use staccato or legato phrasing, and how to shape the emotional impact of your performance.
And guess what? In this process, you’re not only developing a deeper understanding of musical expression—you’re also discovering your own unique musical identity.
About Diana Mascari
Diana Mascari-Piano Teacher for Adults
Diana Mascari has taught piano to hundreds of adults and children for more than 46 years. She holds two Masters of Music degrees from New England Conservatory and taught keyboard harmony to music majors while pursuing doctoral studies at Boston University. She was the music director for a multi-cultural Presbyterian Church for four decades, and her jazz and classical compositions have been performed worldwide. Diana has been performing for more than 50 years. From solo jazz piano to commercial groups touring the East Coast to leading her own jazz ensembles at colleges and jazz clubs throughout New England.
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