Sometimes these symbols are used in combination. The tenuto mark also indicates that the note should be played for its full value - not cut off earlier. This separation may be enough to emphasize the note, or it may have to be played a little louder, at the discretion of the player. The tenuto mark, shown fifth above, indicates that a note is to be separated with a little space from surrounding notes. This mark is correctly known by classically trained musicians as marcato, though it is usually simply referred to as an accent. The fourth mark shown, the Accent mark, indicates that the marked note should have an emphasized beginning and then taper off rather quickly. It is correctly known as martelato or martellato, which is Italian for "hammered". This type of accent is known incorrectly as marcato by many classically-trained musicians, and even as just a "rooftop accent" by those not knowing its name at all. The third one shown, the vertical accent, is played with the same dynamics as a regular accent mark but condensed into about half the original length of the note (depending on style, song, preference, etc.), essentially a combination of accent and staccato. A staccatissimo quarter note would be correctly played in traditional art music as a lightly articulated sixteenth note followed by rests which fill the remainder of the beat. The staccatissimo, shown second, is usually interpreted as shorter than the staccato, but composers up to the time of Mozart used these symbols interchangeably. The duration of a staccato note may be about half as long as the note value would indicate, although the tempo and performers' taste varies this quite a bit. Staccato, the first symbol shown above, indicates that the last part of a note should be silenced to create separation between it and the following note. The remaining marks typically shorten a note. In most musical works this type of accent is meant to be played more forcefully and usually shorter. The vertical accent has many informal names such as a teepee, housetop, or mamba-jamba. The vertical accent, third in the diagram, may be stronger or weaker than the horizontal accent composers have never been consistent in using these markings. The most common is the horizontal accent, the fourth symbol in the diagram above this is the symbol that most musicians mean when they say accent mark. In music notation, an accent mark indicates a louder dynamic to apply to a single note, or an articulation mark. It doesn't really matter where the marking is, it is still played the same way. If the marking is going to be in the way of other notes, or hard to see, then sometimes it is placed at the end of the stem. If the stem goes down, the mark goes above. If the stem on the note goes up, then the mark goes below. It's quite simple to understand why the marks are above a note or below. They explain how the note should be played. Basically, accents and markings over and under notes serve this purpose. You can hit the note hard or soft, touch it quickly or more smoothly. Imagine all of the different ways you can play or sing the same note. I'll attempt to explain what the most common ones mean here. Often you will see little markings above and below the notes. Accents and Markings - Making Sense of "^" and "."
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