The English language is famously complex because it frequently adopts words from other languages while attempting to balance original foreign grammar with modernized English rules. When discussing musical compositions, we often encounter loanwords from Italian, leading to confusion about how to form their plurals correctly. Understanding how to pluralize terms like concerto requires a look at both traditional linguistic roots and contemporary usage in words such as concertos, concerti, solos, and tempi. This guide is designed for music students, writers, and language enthusiasts who want to master the nuances of musical terminology and pluralization patterns. By exploring the history and application of these terms, you will gain the confidence to use them accurately in academic, professional, and casual contexts.
Table of Contents
- Definition and Origin of Concerto
- The Two Plural Forms: Concertos vs. Concerti
- Structural Breakdown of Italian Loanwords
- Etymology and Linguistic History
- Usage Cases: When to Use Which Form
- Related Musical Terminology Plurals
- Extensive Examples and Contextual Sentences
- Comparative Tables for Plural Forms
- Common Mistakes and How to Avoid Them
- Advanced Topics: Anglicization vs. Preservation
- Practice Exercises and Assessment
- Frequently Asked Questions (FAQ)
- Conclusion and Final Tips
Definition and Origin of Concerto
A concerto is a musical composition typically structured in three movements, where a solo instrument—such as a piano, violin, or cello—is accompanied by an orchestra or concert band. The term serves as a cornerstone of Western classical music, representing a dialogue or a “struggle” between the individual performer and the larger ensemble. In its earliest forms, the word didn’t always imply a soloist; the concerto grosso featured a small group of soloists (the concertino) against the full orchestra (the ripieno).
The function of the concerto is to showcase the technical virtuosity of the soloist while maintaining a cohesive harmonic structure provided by the orchestra. Because the word is a direct loanword from Italian, it carries with it the grammatical “baggage” of its native tongue. In Italian, nouns ending in -o are typically masculine and change to -i in the plural. However, as the word entered the English lexicon in the 18th century, it began to follow the standard English rule of adding -s to form a plural.
In modern English, both concertos and concerti are considered correct, but they carry different stylistic connotations. The choice between them often depends on the “register” of the writing—whether it is formal musicology or a general newspaper review. Understanding this distinction is the first step in mastering the pluralization of Italian musical terms.
The Two Plural Forms: Concertos vs. Concerti
The primary question most learners have is whether one form is “more correct” than the other. The answer lies in the concept of anglicization. When a foreign word becomes common in English, it often sheds its original pluralization rules in favor of English ones. This is why we say pianos instead of piani, even though piano is also an Italian loanword.
Concertos is the anglicized plural. It is the most common form used in general English and is preferred by most modern style guides, including the Associated Press (AP) and many mainstream publishers. It follows the standard pattern of adding -s to a noun ending in a vowel. This form is accessible, easy to pronounce, and fits naturally into the flow of an English sentence without sounding overly academic or pretentious.
Concerti is the traditional Italian plural. It is frequently used in professional musical circles, academic program notes, and by classical music historians. Using concerti signals a specific level of expertise or a desire to respect the historical roots of the genre. While it is perfectly acceptable, it can sometimes come across as “hyper-correct” or elitist in non-musical settings. The table below illustrates the basic differences between these two forms.
Structural Breakdown of Italian Loanwords
To understand why concerto has two plurals, we must look at the structural patterns of Italian nouns. Italian is a Romance language where word endings are highly systematic. Masculine singular nouns usually end in -o, and their plural counterparts end in -i. Feminine singular nouns usually end in -a and change to -e in the plural.
When English adopts these words, it creates a linguistic tension. English speakers are accustomed to the -s or -es suffix for plurals. This leads to a period of transition where both the foreign and the domestic forms coexist. Over centuries, one usually becomes dominant. For example, opera is actually the Latin plural of opus, but in English, we treat opera as a singular noun and pluralize it as operas.
In the case of concerto, the transition is still ongoing. We see a similar pattern in words like virtuoso (virtuosos/virtuosi) and libretto (librettos/libretti). The structural choice involves a decision between morphological consistency (keeping the word’s original shape) and functional integration (making the word act like an English word).
Etymology and Linguistic History
The word concerto traces its roots back to the Italian verb concertare. Interestingly, this verb has two seemingly contradictory meanings: “to join together” and “to fight or contend.” This dual meaning perfectly describes the nature of the musical form, where the soloist and orchestra must work in harmony while also competing for the listener’s attention.
The term appeared in the late 16th century, originally referring to any ensemble of voices or instruments. By the Baroque period, composers like Vivaldi and Bach solidified the concerto as a specific genre. As these scores were published and traveled across Europe, the Italian terminology traveled with them. English musicians in the 1700s adopted the vocabulary of the masters, which is why our musical dictionary is filled with words like adagio, allegro, and forte.
The plural concerti was the standard in English for a long time because music was considered a specialized, scholarly pursuit. However, as classical music became more accessible to the public in the 19th and 20th centuries, the plural concertos gained traction. Today, the choice between the two is a matter of personal or institutional style rather than a strict rule of grammar.
Usage Cases: When to Use Which Form
Deciding which plural to use involves analyzing your audience and the purpose of your writing. If you are writing a casual blog post or a general news article, concertos is usually the safer and more modern choice. It avoids distracting the reader with “foreign” grammar and keeps the focus on the content.
Conversely, if you are writing a dissertation on 18th-century music, a program for a symphony hall, or a technical analysis of a composer’s work, concerti may be more appropriate. It demonstrates a familiarity with the traditions of the field. However, consistency is the most important rule. You should never mix concertos and concerti within the same document.
There is also a subtle distinction in how the words are sometimes used to describe different types of works. Some critics use concerti specifically when referring to the concerto grosso era (Baroque) and concertos for the Romantic or Modern eras. While this is not a hard rule, it reflects the historical weight the Italian plural carries.
Related Musical Terminology Plurals
The concerto/concerti dilemma is not unique. Many musical terms follow this same dual-pathway for pluralization. Understanding the broader context of these words helps reinforce the pattern. For instance, the word solo is almost universally pluralized as solos in English, while soli is reserved for very specific musical instructions in a score indicating that a section of instruments should play alone.
Other terms like cello (short for violoncello) have almost entirely moved to the English plural cellos. You will rarely hear anyone say “celli” outside of a professional orchestra rehearsal. On the other hand, tempo still frequently sees the use of tempi in academic settings, though tempos is perfectly acceptable in standard English.
The following categories help organize these terms by how “settled” their English plurals are. Some are fully anglicized, while others remain in a state of linguistic flux. Knowing where concerto sits in this spectrum—somewhere in the middle—is key to using it correctly.
Extensive Examples and Contextual Sentences
To truly master these forms, it is helpful to see them used in a variety of contexts. Below are several examples of both concertos and concerti used in sentences that reflect different writing styles and levels of formality.
Using “Concertos” in Sentences:
- The student practiced three different concertos for her final conservatory exam.
- Most of Mozart’s piano concertos were written for his own performances in Vienna.
- The record label released a box set containing all of Rachmaninoff’s concertos.
- Contemporary composers are still finding new ways to innovate within the structure of violin concertos.
- I prefer the energy of live concertos over studio recordings because of the interaction between the soloist and the conductor.
Using “Concerti” in Sentences:
- The musicologist provided a deep analysis of Vivaldi’s L’estro armonico, a collection of twelve concerti.
- During the Baroque era, the concerti grossi were the most popular form of orchestral music.
- The conductor’s interpretation of the Bach concerti was praised for its historical accuracy.
- We will be studying the development of the keyboard concerti from the mid-18th century.
- The archives contain several unpublished concerti by lesser-known Italian masters.
Comparative Tables for Plural Forms
The following tables provide a comprehensive look at how concerto and similar musical terms are pluralized. These tables serve as a quick reference guide for writers and students.
Table 1: Pluralization of Common Musical Terms
This table compares the English (Anglicized) plural with the Italian (Traditional) plural for various musical terms.
| Singular Term | English Plural (Common) | Italian Plural (Formal) | Usage Recommendation |
|---|---|---|---|
| Concerto | Concertos | Concerti | Both acceptable; use ‘concertos’ for general audiences. |
| Solo | Solos | Soli | ‘Solos’ is standard; ‘Soli’ is used in musical scores. |
| Cello | Cellos | Celli | ‘Cellos’ is standard; ‘Celli’ is very formal. |
| Tempo | Tempos | Tempi | ‘Tempos’ is common; ‘Tempi’ is preferred in musicology. |
| Soprano | Sopranos | Soprani | ‘Sopranos’ is almost universal in English. |
| Libretto | Librettos | Libretti | ‘Libretti’ is common in opera scholarship. |
| Virtuoso | Virtuosos | Virtuosi | Both common; ‘Virtuosi’ implies high prestige. |
| Maestro | Maestros | Maestri | ‘Maestros’ is standard English. |
| Sonata | Sonatas | Sonate | ‘Sonate’ is rarely used in English; use ‘Sonatas’. |
| Oratorio | Oratorios | Oratorii | ‘Oratorios’ is standard. |
| Intermezzo | Intermezzos | Intermezzi | ‘Intermezzi’ is often used in scholarly contexts. |
| Capriccio | Capriccios | Capricci | ‘Capricci’ is very common in music titles. |
| Scherzo | Scherzos | Scherzi | ‘Scherzi’ is standard in musical analysis. |
| Adagio | Adagios | Adagi | ‘Adagios’ is standard. |
| Arpeggio | Arpeggios | Arpeggi | ‘Arpeggios’ is standard. |
| Staccato | Staccatos | Staccati | ‘Staccatos’ is standard. |
| Tremolo | Tremolos | Tremoli | ‘Tremolos’ is standard. |
| Pizzicato | Pizzicatos | Pizzicati | ‘Pizzicati’ is often used in scores. |
| Forte | Fortes | Forti | ‘Fortes’ (as a noun) is rare; usually an adverb. |
| Rondo | Rondos | Rondi | ‘Rondos’ is standard. |
Table 2: Frequency and Contextual Preference
This table suggests which form to use based on the specific writing context or medium.
| Context | Preferred Form | Reasoning |
|---|---|---|
| Journalism (Newspapers/Magazines) | Concertos | Accessibility and adherence to AP/Chicago style. |
| Academic Thesis/Dissertation | Concerti | Demonstrates specialized knowledge and tradition. |
| Concert Program Notes | Concerti | Standard industry practice in the classical world. |
| Casual Conversation | Concertos | Sounds more natural in everyday English speech. |
| Sheet Music/Score Marking | Concerti | Maintains the Italian terminology used in music theory. |
| Fiction Writing | Concertos | Avoids breaking the reader’s immersion with jargon. |
| English Language Exams (TOEFL/IELTS) | Concertos | The standard English plural is generally preferred. |
Usage Rules: Comprehensive Coverage
When navigating the pluralization of concerto, there are several “soft rules” and guidelines that can help you maintain grammatical integrity. While English is flexible, following these principles will ensure your writing remains professional and clear.
Rule 1: The Consistency Principle. As mentioned earlier, the most critical rule in any writing is consistency. If you choose to use concerti on page one of your essay, you must use it throughout the entire piece. Switching between concertos and concerti suggests a lack of attention to detail or confusion about the terminology.
Rule 2: The Audience Rule. Consider the “Musical Literacy” of your audience. If you are writing for people who likely do not know that Italian nouns change -o to -i, use concertos. Using concerti for a general audience can be seen as “pretentious” or “opaque.” Conversely, if you are writing for the Oxford Music Online, concerti is the expectation.
Rule 3: Proper Nouns and Titles. If you are referring to a specific collection of works that has a formal historical title, use the title exactly as it appears in the catalog. For example, if a collection is titled Twelve Concerti for Violin, do not change it to Twelve Concertos when citing the title, even if you use concertos in your own analysis.
Rule 4: Pronunciation. Note that the pronunciation changes significantly. Concertos is pronounced /kənˈtʃɛərtoʊz/, while concerti is pronounced /kənˈtʃɛərti/ (ending with an “ee” sound). If you are speaking, choose the form you are most comfortable pronouncing correctly.
Common Mistakes and How to Avoid Them
Even experienced writers can stumble when dealing with foreign plurals. Here are the most common errors associated with the plural of concerto and how to fix them.
Mistake 1: The “Double Plural.” Some writers mistakenly add an -s to the Italian plural, resulting in “concertis.” This is incorrect because concerti is already plural.
Incorrect: He performed three concertis this season.
Correct: He performed three concerti (or concertos) this season.
Mistake 2: Incorrect Spelling of the Italian Form. Because the “i” sound at the end of concerti is pronounced like “ee,” some people spell it “concertee” or “concertie.” Always remember that the Italian plural for masculine nouns ending in -o is simply -i.
Mistake 3: Misapplying the Rule to Feminine Nouns. Learners sometimes assume all Italian musical terms end in -i in the plural. However, words like sonata or cantata end in -a and would pluralize to sonate or cantate in Italian. In English, we almost always use sonatas and cantatas.
Table 3: Correct vs. Incorrect Plural Usage
| Incorrect Form | Correct Form (English) | Correct Form (Italian) | Explanation |
|---|---|---|---|
| Concertis | Concertos | Concerti | Do not add ‘s’ to an already plural Italian word. |
| Concertoes | Concertos | Concerti | The plural of concerto does not require an ‘e’ before the ‘s’. |
| Concertie | Concertos | Concerti | The Italian plural ends in a single ‘i’. |
| Virtuosos’s | Virtuosos’ | Virtuosi’s | Watch for possessive plural apostrophe placement. |
Advanced Topics: Anglicization vs. Preservation
The debate between concertos and concerti is part of a larger linguistic phenomenon called loanword integration. When a language adopts a word, it goes through several stages. In the first stage, it is treated as a foreign “guest,” and its original grammar is preserved. In the final stage, it is fully “naturalized” and follows the rules of the host language.
In English, we have many words that are currently in different stages of this process. For example:
- Cactus: We use both cacti (Latin) and cactuses (English).
- Formula: We use formulas in general contexts but formulae in scientific contexts.
- Criterion: We almost always use the Greek plural criteria, and many people have forgotten that criterion is the singular.
Concerto is interesting because it has resisted full naturalization for hundreds of years. This is likely due to the high prestige of Italian musical culture. Because Italy was the “cradle” of the Renaissance and the Baroque era, the language of music has remained “frozen” in Italian to honor that heritage. Using concerti is not just a grammatical choice; it is a cultural nod to the history of the art form.
Furthermore, in the world of International Standard Bibliographic Description (ISBD) and library cataloging, the choice of plural can affect how works are indexed. Most modern databases have become smart enough to link concertos and concerti, but in the past, choosing the “wrong” plural could make a record harder to find.
Practice Exercises and Assessment
Test your knowledge of the plural of concerto and related terms with the following exercises. Answers are provided at the end of the section.
Exercise 1: Multiple Choice
Choose the most appropriate plural form for the given context.
- In a formal academic paper about Vivaldi, you should probably use:
a) Concertos
b) Concerti
c) Concertis - Which of these is not a valid plural for concerto in any context?
a) Concertos
b) Concerti
c) Concertoes - If you are writing a text message to a friend about a local concert, the best choice is:
a) Concertos
b) Concerti
c) Concertino - The word concerti is derived from which language?
a) Latin
b) Italian
c) French - Which plural form is generally preferred by the Associated Press (AP) Stylebook?
a) Concertos
b) Concerti
c) Both equally
Exercise 2: Fill in the Blanks
Complete the sentences using either concertos or concerti. Note that in some cases, both may be technically correct, but one may be more stylistically appropriate.
- The orchestra performed three of Brandenburg ________ by J.S. Bach.
- How many piano ________ did Beethoven write?
- The soloist specialized in the violin ________ of the 20th century.
- The library’s collection of historical ________ is unrivaled in Europe.
- I am going to buy a CD of Mozart’s horn ________.
Exercise 3: Matching Related Plurals
| Singular | Italian Plural | English Plural |
|---|---|---|
| 1. Solo | A. Soli | I. Solos |
| 2. Virtuoso | B. Virtuosi | II. Virtuosos | C. Libretti | III. Librettos |
Answers to Exercises
Exercise 1: 1) b, 2) c, 3) a, 4) b, 5) a
Exercise 2: 1) concerti (historical/formal), 2) concertos (standard), 3) concertos (modern), 4) concerti (academic), 5) concertos (casual)
Exercise 3: 1-A-I, 2-B-II, 3-C-III
Frequently Asked Questions (FAQ)
Q: Is “concerti” more correct than “concertos”?
A: Neither is “more” correct in a vacuum. Concertos is the standard English plural, while concerti is the original Italian plural. Your choice should depend on the level of formality and the expectations of your audience.
Q: Can I use “concerti” in a casual conversation?
A: You can, but it might sound a bit formal or “high-brow.” Most English speakers use concertos in everyday speech. If you are among professional musicians, concerti will sound perfectly normal.
Q: How do I pronounce “concerti”?
A: It is pronounced con-CHAIR-tee. The “c” in the middle makes a “ch” sound (like in “church”), and the ending “i” sounds like a long “e” (like in “bee”).
Q: Do all Italian musical words follow this rule?
A: Most masculine nouns ending in -o do (e.g., solos/soli, tempos/tempi). However, feminine nouns ending in -a (like sonata) change to -e in Italian (sonate), but in English, we almost always just add -s (sonatas).
Q: Is “concertos” ever wrong?
A: It is rarely “wrong” in English, but it might be frowned upon in a very strict musicology department or a traditional European conservatory where Italian terminology is strictly maintained.
Q: What about the word “concertino”?
A: A concertino is a “small concerto” or the group of soloists in a concerto grosso. Its plurals are concertinos (English) or concertini (Italian).
Q: Why does English keep these foreign plurals at all?
A: English is a “prestige-driven” language. By keeping the original plurals of words related to art, music, and science, English speakers signal their respect for the cultures that pioneered those fields.
Q: Should I capitalize “concertos” or “concerti”?
A: Only capitalize them if they are part of a specific title (e.g., “The Grieg Piano Concerto”). As general nouns, they should remain lowercase.
Conclusion and Final Tips
Mastering the plural of concerto is a gateway to understanding how the English language evolves and adapts to foreign influences. Whether you choose the modern, anglicized concertos or the traditional, elegant concerti, the most important factor is clarity and consistency. Generally, concertos is the best choice for everyday writing, while concerti shines in academic or professional musical contexts. Remember that language is a tool for communication; as long as your audience understands you and your style remains consistent, both forms are valuable assets to your vocabulary. Keep practicing with different musical terms, and soon the distinction between Italian and English plurals will become second nature, allowing you to write about music with both authority and grace.
