If you’ve ever written a paper in school, you probably remember being hit with a long list of grammar and formatting rules. And if you’re anything like me, you’ve probably had troubles remembering them all—Is the title italicized or in quotes? Is this the right spelling? Where does the comma go?
It can definitely get confusing—especially once you realize that there isn’t just one set of rules. While grammar has its foundations, style guides like APA, MLA, or AP each have their own rules for how to write, spell, and format material (some even get rid of Oxford comma).
Think of them as playbooks. They help keep writing clear, consistent, and tailored to a specific audience or purpose. In this article, we’ll explore a handful of writing and formatting tips specifically for writing about music—like what to italicize, how to reference titles, and how to address common issues. The goal? To help you start building your own go-to style guide for program notes, blogs, or academic writing about music.
Quick note before we dive in:
- Throughout this post, we’ll refer to text formatting like Roman, Italics, and Bold. Roman simply means regular text—no bold or italics.
- Serif fonts have small strokes or “feet” on the ends of letters (like Times New Roman), giving them a traditional look.
- Sans-serif fonts (like Arial or Helvetica) skip those strokes, giving them a cleaner, more modern appearance.
Lastly, this post focuses on formatting written content about music—such as concert programs or essays—not on how content appears inside a music score. Although some of these concepts may still apply in a score.
TITLES
When writing about a piece, the font conventions you use (Roman vs. Italics) depend on how the work is titled. Titles of standard classical pieces usually include the number, key, catalog number, and, if available, an assigned title.
Generic Titles
Generic titles use familiar form names—Symphony, Concerto, Sonata, etc. These titles include the genre, number, key, catalog number, and sometimes a nickname. These are not italicized or placed in quotation marks.
- Symphony No. 1 in C Major, Op. 68 – Johannes Brahms
- Nocturne in E-flat Major, Op. 9 No. 2 – Frédéric Chopin
- Symphony No. 4 in E Minor, Op. 98 – Johannes Brahms
Titles Given by Composer
When a composer assigns a unique title to a piece (rather than a generic label), the title is usually italicized.
- Clair de Lune – Claude Debussy
- Honk! – Mica Redden
- The Rite of Spring – Igor Stravinsky
- Eine kleine Nachtmusik – Wolfgang Amadeus Mozart
Common Names
Some works with generic titles have acquired common names. When used with a generic title, the nickname appears in quotation marks and parentheses.
- Piano Sonata No. 11 in A Major, K. 331 (“Turkish March”) – Wolfgang Amadeus Mozart
- Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”) – Ludwig van Beethoven
- Symphony No. 2 in C Minor (“Resurrection”)
When a generic title (e.g., Symphony No. 2 in C Minor) is used, a nickname or common name like “Resurrection” should appear in quotation marks and parentheses. If the nickname is used alone, it can be treated as a given title and set in italics (depending on style guide), but many writers may capitalize it without italics.
The performance of Symphony No. 2 in C Minor ("Resurrection") will be given by the Nashville Symphony on November 2.
or with italics
The performance of Mahler’s Resurrection Symphony will be given by the Nashville Symphony on November 2.
or no italics
The performance of Mahler’s Resurrection Symphony will be given by the Nashville Symphony on November 2.
Operas, Musicals and Arias
Titles of operas and musicals are italicized. Arias, scenes, or individual numbers are placed in quotation marks.
- “L’amour est un oiseau rebelle” from Carmen
- “Some Enchanted Evening” from South Pacific
Song Titles and Albums
Similarly, in modern and popular music, song titles are placed in quotation marks, while album titles are set in italics.
- “Come together” from the album Abbey Road by The Beatles
- “All Too Well” from the album Red by Taylor Swift
Other Languages
A few things to be aware of in other languages:
Spanish: Spanish capitalizes the first word of proper nouns, but lowercases the additional words included in the noun or title.
La casa de al lado
and not
La Casa De Al Lado
Chinese: Chinese is read from left to right. There are two common writing systems: Simplified Chinese and Traditional Chinese. Simplified Chinese is commonly used in Mainland China, Singapore, and Malaysia, while Traditional Chinese characters are used in Taiwan, Hong Kong, and Macau.
Hebrew and Arabic: Copy in these languages run right to left. You should consider this when including text or title translations.
FLATS AND SHARPS (AND OTHER ACCIDENTALS)
One common issue that comes up when writing about music is how to refer to flats and sharps. Many people use a lowercase “b” for flat or a number sign “#” for sharp—but these are incorrect in professional writing and can lead to confusion.
In most cases, the best approach is to write out the words “flat” or “sharp” to avoid formatting issues. For example:
- A-flat Major
- C-sharp Minor
If you have music notation software like Finale, Sibelius, or Dorico, you may have access to music fonts that include proper flat and sharp symbols. However, be cautious—these fonts don’t always display correctly across all platforms or documents, so it’s safest to stick with the written terms in most contexts.
DYNAMICS
Dynamics are written in italics.
The first movement began at pianissimo, but built to a strong forte.
You may also reference dynamics using abbreviated markings, which are typically shown in bold italics using a serif font.
The first movement begin at pp, but built to a strong f.
If you choose to use abbreviations, it may be helpful to spell out the term with the abbreviation in parentheses at the first mention. After that, you can use just the abbreviation. If the dynamic appears only once, simply spelling out the word is clearer and avoids unnecessary confusion.
The first movement began at pianissimo (pp) and built to a strong forte (f). In my view, starting at pp was an unwise dynamic choice, as it created significant challenges for the winds.
TIME SIGNATURES
When writing about time signatures, especially in program notes or descriptive passages, clarity and consistency are key. While there’s no universally mandated style guide, a few standard approaches have emerged—and the best choice often depends on your audience.
Numerical Format
This is the most common and straightforward way to write time signatures, especially for a musically literate audience.
This piece is in 3/4 time, with the feel of a brisk waltz.
Spelled-Out Format
This approach appears more often in literary or narrative writing. It can soften the technical tone of your text.
This piece is in three-four time, with the feel of a brisk waltz.
Descriptive Format
Using meter terms (like “duple,” “triple,” or “compound”) is helpful when emphasizing feel or flow rather than notation.
This piece is in triple meter, with the feel of a brisk waltz.
Your choice depends on your audience. If you’re writing for musicians or those familiar with music theory, the numerical format is likely the clearest and most concise. However, if your readers may not have a musical background, the descriptive or spelled-out formats can make your writing more accessible.
COMPOSER NAMES
Use full name on first mention, and last name on subsequent mentions.
Dr. Rose Densen is an American singer, composer, and educator. Densen's career began with the premiere of her work, Bird Calls, with the Sarasota Symphony in 2014.
You do not need to mention the a persons professional title (Dr.) on the subsequent mention unless you feel the situation requires it to honor who you are writing about. It goes without saying, but always double check spelling and preferred names.
AVOID “JARGON”
Not all readers will be familiar with terms like “parallel fifths” or “modulation to the mediant.” When you do need to use technical language, make sure to briefly explain it in plain terms or provide context for why it matters. A quick explanation helps keep your writing accessible without watering it down—and it invites less experienced readers into the conversation rather than shutting them out.
What counts as “jargon” is often subjective and depends largely on your audience. A term that’s everyday language to one reader might be confusing to another. When in doubt, aim for clarity—even when writing for experts. Clear, simple language doesn’t dumb down your ideas; it makes them more powerful and accessible.
More technical version:
The piece features a modulation to the relative major, a shift that brings a subtle but noticeable lift in character.
More approachable version:
Partway through, the piece changes key, moving to a closely related major tonality that brightens the mood without feeling abrupt.
