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“Explanation of Symbols and Terms,” Children’s Songbook of The Church of Jesus Christ of Latter-day Saints, 303–4

The staff with the bass clef generally includes the left-hand accompaniment, below middle C.

The staff with the treble clef generally includes the melody and the right-hand accompaniment, above middle C.

The time signature is given at the beginning of each song. The top number indicates the number of beats in each measure. The bottom number tells what kind of note gets one beat. For example, the 3 in a 3/4 signature means that there are three beats in each measure in the song. The 4 means that every quarter note gets one beat.

The natural sign cancels a sharp or flat.

Parentheses around a sharp, flat, or natural indicate the sign serves as a reminder. A note in parentheses may be needed in one verse, but not in another, or it may be a note already being played by the other hand. A chord letter in parentheses indicates that the chord change is optional.

Cue notes are optional, small notes that add harmony. (See “He Sent His Son,” p. 35.) The notes may be sung or may be played on the piano.

For a triplet, the three notes are played on one count. (See “Shine On,” p. 144.)

8va

An 8va above the top staff means that you play the notes an octave higher. An 8va below the bottom staff means you play the notes an octave lower. (See “The Thirteenth Article of Faith,” p. 132; “When I Go to Church,” p. 157; and “Supplication,” p. 297.) This marking affects only the nearest staff of music, unless otherwise stated.

This bracket shows that a note in the bass clef is to be played by the right hand.

A fermata (fer-MAH-tah) is a pause or hold. The note is usually held at least half again the note value. (See “The Chapel Doors,” p. 156.)

Accents show that notes or chords should receive emphasis.

A staccato mark above or below a note head indicates that the pianist is to play that note crisply.

Pedal markings show passages where it is especially helpful to use the damper pedal. This pedal (the pedal to the right on a piano) should be used sparingly, generally to connect notes that the hands cannot hold. (See “Children All Over the World,” p. 16.)

Two songs, “Love One Another” and “Teach Me to Walk in the Light,” have bow markings for violinists. The

indicates a downward stroke with the bow, and the

indicates an upward stroke.

The phrase mark tells you that these notes should be connected or played smoothly.

A slur shows when two pitches are used for one syllable or when to connect notes on the piano (play smoothly).

A tie (between two notes of the same pitch) lets you know that you should play or sing that note once and hold it for the total value of the two. Sometimes notes are tied in one verse of a song and not in another.

For a rolled or harplike effect, play the notes one at a time from bottom to top rather than striking all at once.

The breath mark, which looks like a large comma, indicates a slight break in the music. Singers should take a breath at this point.

A crescendo means that the music grows louder.

A decrescendo means that the music grows softer.

Volume markings are given sparingly in this songbook since most songs are sung at a moderate volume. Below, the standard (Italian) markings are shown in relation to each other from softest to loudest.

pp (pianissimo) = very soft

p (piano) = soft

mp (mezzo piano) = medium soft

mf (mezzo forte) = medium loud

f (forte) = loud

ff (fortissimo) = very loud

Music between the repeat bars is played twice. (See “The Sacred Grove,” p. 87.) If only one sign is given, repeat from the beginning of the music.

Some songs have more than one ending. The first time through the song, use the measures for the first ending. Repeat as indicated, skipping the first ending and using the second ending as directed. (See “I Know My Father Lives,” p. 5.)

fine

This marking means “the end” (finale).

D.C. al fine

Da capo al fine means to return to the beginning and play to the word fine. (See “All Things Bright and Beautiful,” p. 231.)

D.S. al fine

Dal segno al fine means to return to the sign

and play to fine. (See “Mother, Tell Me the Story,” p. 204.)

coda

A coda is an added section at the close of a piece of music. To use the coda, play to the

, then skip to the matching

D.S. al coda

Dal segno al coda means to return to the sign

and play until the

; then skip to the matching

. (See “Teacher, Do You Love Me?” p. 178.)

octaves ad lib

This phrase indicates that the pianist may improvise by adding the same notes one octave lower to create a strong bass. (See “I Will Be Valiant,” p. 162; “A Young Man Prepared,” p. 166; and “Called to Serve,” p. 174.)

rit.

Ritardando means to slow the music gradually. (See “He Sent His Son,” p. 35.)

a tempo

These words indicate that the music returns to the original speed. (See “The Chapel Doors,” p. 156.)

simile

This term means to continue in the same way. In this songbook, it sometimes appears after pedal markings—meaning that the pianist should continue to use the damper pedal in the same way as before. (See “Where Love Is,” p. 138, and “To a Wild Rose,” p. 289.)

ten.

Tenuto indicates that you should hold the note for the full duration of the time value. (See “Had I Been a Child,” p. 80.)

descant

A descant is an optional voice part with words of its own. It is possible to play a descant as an instrumental part. (See “Hosanna,” p. 66.)

obbligato

An obbligato is an optional instrumental part above the melody. Sometimes the part is in a range suitable for voice using the same words as the melody. (See “Keep the Commandments,” p. 146.)

ostinato

An ostinato is a repeated musical pattern (often two pitches) sung with a song. (See “Quickly I’ll Obey,” p. 197, or “Westward Ho!” p. 217.)

round

A round is a song that is repeated (usually two or three times) by several groups. One group begins the song, and—at numbered measures—other groups begin. (See “Sing a Song,” p. 253.) It is effective to sing rounds unaccompanied—the harmony of the voices acts as the accompaniment.

two-part song

A two-part song has two melodies that can be sung at the same time. Often part one is sung alone, then part two is sung alone. (One part can hum while the other sings.) Then the two parts are combined and sung together. (See “Love Is Spoken Here,” p. 190.)

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