New International Manual of Braille Music Notation, Lecture notes of Music

Download New International Manual of Braille Music Notation and more Lecture notes Music in PDF only on Docsity! 1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................. 38 D. Stem signs ................................................................. 40 VI. Slurs and Ties ............................................................. 42 A. Slurs .......................................................................... 42 B. Ties ............................................................................ 49 C. More Slurs and Ties For Use in Section-by- section Formats ................................................... 52 VII. Tremolos .................................................................... 55 A. Repetition................................................................... 55 B. Alternation .................................................................. 57 VIII. Fingering ................................................................... 59 A. Keyboard Instruments ................................................ 59 B. String Instruments ...................................................... 61 1. Left Hand ................................................................ 61 2. Right Hand .............................................................. 63 IX. Bar Lines & Repeats ................................................... 65 A. Bar Lines ................................................................... 65 B. Print Repeats ............................................................. 66 C. Braille Repeats .......................................................... 69 1. Part-measure repeats ............................................. 69 2. Full-measure repeats .............................................. 77 3. Braille Segno .......................................................... 82 4. Parallel Motion ........................................................ 84 Contents 5 D. Variants ................................................................ 268 Table 10. Nuances ....................................................... 269 Table 11. Ornaments .................................................... 271 Table 12. Theory .......................................................... 273 A. Chord Symbols ..................................................... 273 B. Figured Bass and Harmonic Analysis ................... 273 C. Brackets ............................................................... 274 Table 13. Modern Notation ........................................... 275 A. Notes with Unusual Shape ................................... 275 B. Tone Clusters ....................................................... 275 C. “Fan-shaped” Rhythmic Groups ........................... 276 Table 14. General Organization ................................... 277 Table 15. Keyboard Music ............................................ 278 A. Piano .................................................................... 278 B. Organ ................................................................... 278 Table 16. Vocal Music .................................................. 280 A. Prefixes for Parts .................................................. 280 B. Slurs ..................................................................... 280 C. Breath Signs ........................................................ 280 D. Text Signs ............................................................ 281 Table 17. String Instruments ........................................ 282 A. String Signs .......................................................... 282 B. Positions or Frets ................................................. 282 C. Barrés .................................................................. 282 D. Other Signs .......................................................... 283 Table 18. Winds & Percussion ..................................... 284 A. Wind Instruments ................................................. 284 B. Percussion ........................................................... 284 Table 19. Accordion ..................................................... 285 A. General Signs ...................................................... 285 B. Registration Signs ................................................ 286 General Index ................................................................. 287 6 Preface This New International Manual of Braille Music Notation is the result of many years of consultations within the Subcommittee on Braille Music Notation, World Blind Union (WBU). It is continuing the series of manuals published after the conferences of Cologne, 1888, and Paris, 1929 and 1954. This new manual summarizes the resolutions and decisions of the WBU subcommittee’s conferences and workshops held between 1982 and 1994. Unification was reached above all in the following areas: clef signs, figured bass, guitar music, chord symbols, modern music and many other single signs. This manual also contains material of eastern European countries that were not present at the conference of 1954. It benefits in several details from manuals published in Moscow in the seventies and eighties. Important discussions took place at the conferences of Moscow, 1982, (where Dr. Jan Drtina was elected Chairman); Prague, 1985; Marburg (Germany), 1987; and Saanen (Switzerland), 1992. All signs and rules compiled in this manual were adopted by the delegates of the Saanen Conference, mostly by a large majority. Voting delegates to this conference are listed below. We are most grateful that Bettye Krolick was willing to compile the new manual and in the same year sent a first draft to members of the committee. Critical and constructive comments were gathered and presented to the experts in a second draft. This corrected version was unanimously verified and was the basis for the final work. Most all of the delegates contributed suggestions and/or material for the final version. An editorial group consisting of Vera Wessels (Netherlands), David McCann (United Kingdom), Leif Haal (Denmark), and Ulrich Mayer-Uhma (Germany) helped finish the book. But it was Bettye Krolick who did the main work. Thanks to her highly qualified competence, she showed perseverance where the process seemed to stop and conciliation where diverging Preface 7 opinions collided. I want to express my most grateful thank you to her. Likewise I thank the SVB in Amsterdam for publishing and distributing the print edition and the SBS in Zurich for printing and distributing the braille edition, giving the blind user the possibility to study the material carefully. We all hope that the signs and rules listed in this book, according to our majority agreements, will be rigorously used in braille music publications. Therefore, we ask the different countries to provide translations into their native language and to use it for future music publications. In cases of doubt, the original English version has the status of major authority. This is the only way to realize the goal of the delegates to improve the exchange of braille music publications between countries. As with most agreements, results could not be reached without compromises. We are aware that some traditional signs of one country or the other were not accepted in the voting. We ask the responsible experts to respect the new decisions, even if they concern signs and rules which are not yet familiar to them. This manual does not include ethnic music from Africa and Asia. The experts of these regions are asked to consider providing signs for the printed music of native instruments not yet covered in braille music. With this manual the work on unification of Braille Music Notation cannot be at its end. It will be our future task to reach decisions on formats and specific signs for special cases. We will be grateful for all proposals coming from blind musicians, transcribers and other experts. Meanwhile we wish that the use of this book will be wide spread. We thank all participants of the former conferences for their good cooperation and ask them to join the future work in this field. Subcommittee on Braille Music Notation, WBU, Ulrich Mayer-Uhma, Chairman. Compiler’s Notes 10 A. Some examples start at the margin with runover lines beginning in cell three, some start in cell 3 with runover lines beginning at the margin, and others have all lines blocked beginning in cells one or three. B. Some formats require an octave mark for the first note of every line; others do not require octave marks for this purpose. Examples of both kinds appear in the book. C. Some keyboard examples have an octave mark for the first note of every measure; some do not. D. Some countries group the smaller values more extensively than other countries. Examples of both kinds occur. E. Some countries require the use of clef signs more extensively than other countries. Examples appear both ways. 5. Details of specific formats in use throughout the world do not appear in this manual of signs. 6. Because of strong international statements that braille music should follow the print as closely as possible, this practice is followed in all examples. This includes the use of periods after abbreviations, presence or lack of accent signs in foreign words, etc. 7. Excerpts from the Tables of Signs are placed in boxes throughout the text, before examples in which they will be used. 8. The words "usually" and "generally" appear when it is known that at least one country does not follow the practice. The two words are used interchangeably. The words "must" or "should" indicate international agreement. Bettye Krolick 11 New International Manual of Braille Music Notation Part One: General Signs Purpose and General Principles A-1. The purpose of this manual is to record the international agreements made at the Braille Music Conferences of 1982 (Moscow), 1987 (Marburg/Lahn, Germany), and 1992 (Saanen, Switzerland); based on the International Conferences of 1888, 1929, and 1954. Most of these agreements concern braille music signs with their meanings. The internationally approved signs are presented here, showing common applications in a variety of formats. A-2. The braille music signs shown in this manual have been agreed upon internationally and should be used wherever possible in preference to locally-developed signs. A-3. It has also been agreed internationally that musicians can successfully use these signs in a variety of formats. A-4. Publishers of braille music are requested to use no contractions or short-form words in the literary portions of music material. Print wording, including abbreviations, should be used. A-5. "Follow print as closely as possible, respecting the needs of the blind braille user" is the general philosophy making these international agreements possible. These include new agreements in the areas of guitar fingering, chord symbols and harmony, modern music, etc. This philosophy can help guide decisions as countries work to internationalize their music codes and to meet future challenges in braille music. Purpose and General Principles 12 A-6. When braille signs must be added to a braille score, i.e., a rest or a sharp to an in-accord part, dot 5 must precede that sign to indicate that it does not appear in print. A-7. When national signs are used for items such as the plus and minus signs, those signs should be listed in the front of the publication. North American signs used in this edition are found listed in item 2 of the Compiler’s Notes. A-8. Doubling is a device commonly used in braille music. When a feature is doubled, it is written twice on its first occurrence and is not written again until its last occurrence. At that point the feature is written once again, and the doubling ends unless there is an indication of redoubling. A-9. A braille sign representing a specific print symbol can be considered for use in a different context. Examples occurring in this manual include the print thumb sign that is used for cello while playing with a bow and also for a "Bartok" pizzicato; similarly, ornaments that are identical in print but are executed differently according to the wishes of the composer. I. A. Notes and Rests 15 1-5. One of the uses for the smaller value sign occurs when it is not clear whether the first note of a piece has a smaller or larger value. Example 1-5 begins with an anacrusis to the four-four measures. Example 1-5. ,<1y dxjxdxex fxgxo<k 1-6. Large and small value signs are especially useful in cadenzas. They should be used whenever a combination such as half notes and 32nd notes occur either in a cadenza or a passage of measured music. Example 1-6. ^<1r,<1ontsrqpo<k 1-7. The whole rest is used for a complete measure of rest in any time value. For two or three consecutive measures of rest, use form (a) below. For four or more measures of rest, use form (b). When the square (brevis) rest appears in print, use form (c). I. B. Octave Marks 16 Example 1-7. (a) MMM (b) #DM (c) M^cM B. Octave Marks 1-8. Octave marks, rather than clefs on a staff, indicate specific pitch locations in braille music. Octaves are numbered from one to seven, beginning with the lowest C on the normal, seven-octave piano. Each octave begins on C and includes all the notes up to, but not including, the next C above. The fourth octave begins on the "middle C" of the piano. (Because of the number of "signs" in this manual, the original term, "mark," is used for the many references to octave marks throughout the manual.) 1-9. The octave mark is placed immediately before the note to which it applies with no intervening signs. Example 1-9 shows the octave marks from 1 to 7 placed before quarter-note C. Example 1-9. @? ^? _? "? .? ;? ,? @@[ A below first octave ,,? C above seventh octave I. B. Octave Marks 17 1-10. The first note of a piece must be preceded by its octave mark. For the succeeding notes the following rules apply: (a) if the next note forms an ascending or descending second or third, it does not receive an octave mark even if it is in a different octave. (b) if it forms an ascending or descending fourth or fifth, it only receives an octave mark if it is in a different octave from the preceding note. (c) if it forms a sixth or more, it must always have its own octave mark. 1-11. These rules are illustrated in the following example from the "Cologne Key" of 1888. Example 1-11. #D4 .P:? [.O? W.P: N]$ :R] $?.[.? JDEFGHIJ NU<K 1-12. The example above contains a time signature on the first line consisting of a number 4 in normal cell-position followed by a number 4 in lower-cell position to represent 4/4 time. Each measure of four beats is separated by a space, representing the print bar-line. II. Clefs 20 changes clefs, the clef sign information is important in teaching materials. 2-3. The note following a clef sign must have an octave mark. 2-4. Dot 3 must follow a clef sign if the next character contains dots 1, 2, or 3. 2-5. When a treble clef sign is printed in the bass staff or a bass clef sign is printed in the treble staff, the forms above, =>/K= and =>#K= are especially useful to teachers of sighted students. See Example 15-14. Sign from Table 14. ="= Hyphen for unfinished measure * * * 2-6. Clef signs can appear on any line of the staff. In order to show the line on which the clef sign is placed, its final character, dots 1-2-3, is preceded by an octave mark as follows: Example 2-6. #D4 >#L^J)Z()Z(>+"L"JZ)>#L" "(EJH<K II. Clefs 21 2-7. A clef sign with a small 8 below indicates that the notes should sound one octave lower than written. Similarly, a clef with an 8 above the sign indicates that notes should sound one octave higher than written; a 16 above or below a clef sign indicates that notes should sound two octaves higher or lower. Example 2-7 is music for lute. The clef sign indicates that the notes will sound one octave lower, but the pitches are transcribed as printed. Example 2-7. <<#C8 >/L#8"JZYZ) D*"F%G<K 22 III. Accidentals, Key & Time Signatures (Table 3) A. Accidentals Signs from Table 3 A. =%= Sharp =<= Flat =%%= Double sharp =<<= Double flat =*= Natural =,% ,<= Accidental above or below the note * * * 3-1. The sharp, flat and natural signs are placed before the notes, intervals or other features to which they belong. They must not be separated from notes by anything other than octave marks. 3-2. If an accidental appears above or below a note in print, it is preceded by dot 6 in braille. 3-3. Quarter-step alterations of an accidental are discussed under Modern Notation. See Par. 13-16. B. Key & Time Signatures 3-4. Key signatures reflect the number of flats or sharps, not the actual pitches as in print. If there are four or more accidentals in a key signature, the number sign is used. See Example 3-8. 25 IV. Rhythmic Groups (Table 4) 4-1. In print, smaller notes are often joined by one or more horizontal beams into beats or portions of beats. Eighth notes are joined by one beam, 16th notes by two beams, 32nd notes by three beams, etc. Braille duplicates that practice within certain constraints. 4-2. Three or more 16ths or smaller-value notes may be "grouped" in braille. The members of the group will all be in the same beat or portion of a beat and have the same value. When "grouped," only the first note of the braille group contains dots 3 and/or 6 as necessary. The other notes in that group are written as if they were 8th notes. Example 4-2. #D4 "YEFG(IJDZDJI(GFE<K 4-3. Because a group ends with notes that look like 8ths, if an 8th note or 8th rest follows in the same measure and is on the same braille line, all of the notes in the group must be written in their normal form. Example 4-3. #D4 "YEFG\&=(!HF EG(GFENEFGRIJD" JH .Y<K IV. Rhythmic Groups 26 4-4. Grouping may be used if a rest of the same value is at the beginning of the group. It must not be used if a rest appears in any other position in the group. Example 4-4. #C4 M"FGHMGHIMHIJ<K 4-5. Grouping is based on the time signature, i.e., in two- four, four-four, etc. 16th notes appear in groups of four; in three-eight, six-eight, etc. 16th notes appear in groups of six. In general, 16ths are grouped by fours in time signatures with a lower number of two or four; they are not grouped by four when the lower number is eight or 16. Thirty-seconds and smaller notes are generally grouped by fours or sixes in rhythmic portions of beats. 4-6. Grouping may not be used if the group cannot be completed on the same braille line. Example 4-6. #C8 "YEFGHI RIHG$ QHGFZDEF =&" =(!) ?'<K IV. Rhythmic Groups 27 Signs from Table 1. =^<1= Larger values; 8ths and larger =,<1= Smaller values; 16ths and smaller =<1= Separation of rhythmic groups * * * 4-7. In a case where syncopated 8th notes might be mistaken for a group of 16ths, the larger-value sign is added for clarity. Example 4-7. #B4 .&^<1EDJ! \V<K 4-8. When 8th notes are grouped across a bar line in print, the sign =<1= may be used to show the separation of rhythmic groups. This same sign is also used in some countries to show distinction of value between groups. Example 4-8. #C4 X.DJIH<1I HGF<1GFE<K 4-9. In addition to beams, numbers are also printed above groups of triplets, sextuplets, etc. In braille, these numbers precede the first note of each group and are written as in Table 4. Signs from Table 4. 30 V. Chords (Table 5) A. Intervals Signs from Table 5 A. =/= Second =+= Third =#= Fourth =9= Fifth =0= Sixth =3= Seventh =-= Octave * * * 5-1. "In chords in which the notes are of equal value, one note only is written. The others are indicated by their intervals from that note. In chords which belong to the upper series of notes – soprano, alto, violin, viola, right hand for piano, organ and harp – the upper note is written and the lower notes are expressed by descending intervals. "In the lower series – tenor, bass, violoncello, and left hand for piano, organ and harp – the lowest note is written and the others are expressed by ascending intervals." (Musical Notation for the Blind, British and Foreign Blind Assoc., London, 1888.) 5-2. The quotation above, from the document known as the "Cologne Key," established the directions for reading and writing intervals; and the meeting itself established V. A. Intervals 31 the tradition of the international work that continues today. Signs from Table 15 A. =.>= Right hand part =_>= Left hand part Example 5-2 #D4 .>.Y/ Y+ Y# Y9 Y0 Y3 Y-<K _>_Y/ Y+ Y# Y9 Y0 Y3 Y-<K 5-3. Intervals larger than an octave are written with the same series of signs plus an appropriate octave mark. A ninth is shown with the interval of a 2nd in the new octave, a tenth is a third in the new octave, etc. Example 5-3. #C4 .>.\_0\_3]_9 P'"+<K 5-4. A prime or unison is written by preceding the sign for an octave interval with the octave mark showing that it is sounded at the same pitch as the note itself. V. A. Intervals 32 Example 5-4. %%#B4 >/L":X';="0 ]"0X'"Z"- O"-<K 5-5. If more than one interval follows the written note, no octave mark is necessary unless two adjacent intervals are an octave or more apart. Example 5-5. #C4 >/L.\-#0\9+3]+39 P'+0+<K 5-6. When written notes of chords are dotted, the dots are placed immediately after the notes as in Examples 5-3 and 5-5. Intervals have the same value as written notes. 5-7. The melodic intervals of the written notes determine whether or not an octave mark is necessary before each chord. V. B. In-accords 35 5-13. The order in which the parts are written is the same as the direction of intervals. In treble parts the top voice is written first; in bass parts the bottom voice is written first. Example 5-13 (a) #D4 .>.Y<>"$:$] ")<>"\]$:<K (b) %#C4 _>_O'<>_[+\<+*]+ _R'<+<K 5-14. In some formats intervals may be doubled in an in- accord part, and the doubling may be carried over into the same voice of succeeding measures as long as the same number of voices continues. V. B. In-accords 36 Example 5-14. #E%#C4 _>_O'@C<>"?'++J*[ _O'<>_['HW+<K 5-15. Accidentals in one voice do not carry over to the in- accord part. Most countries feel they must be re-marked in the other part and preceded by dot 5 to indicate the accidental does not appear in the print copy. Example 5-15. #D4 .>'X.E<F%GH<J[<>.?'E"<$'"%G<K 5-16. Rests must occasionally be added to an in-accord part. These also should be preceded by dot 5. Example 5-16. #D4 .>"[+H+X\GX<>"?'"X?'"X<K V. B. In-accords 37 5-17. If only part of a measure needs an in-accord, the part- measure in-accord sign is used along with a sign to show which section of the measure is affected by the in-accord. 5-18. As with the full-measure in-accord sign, the first note following either of these signs must have an octave mark. If the in-accord occurs at the end of the measure, the first note of the next measure also must have an octave mark. Example 5-18. #D4 >/L"\H.D.K.Q"1.?JI .P'0V<K 5-19. As with the full-measure in-accord, accidentals or rests must be re-marked (and preceded by dot 5) if they occur in another in-accord voice. 5-20. Some measures may require more than two in-accord parts. Example 5-20. <<#C4 >#L_Q'<>"V_S<>V"$'*F<K 5-21. Full- and part-measure in-accords may be used in the same measure. V. D. Stem signs 40 Example 5-26. (a) <<<#F8 >/L.]'-,<+,-$'0,+,*9<K (b). <<<#F8 >/L.]'$'<>"G<.E"GH.D*I<K 5-27. When an accidental modifies a moving note, the appropriate moving-note sign precedes the accidental as in Example 5-26 (a). 5-28. The moving-note sign may be useful to vocal conductors. When there are complications of fingering, phrasing, and nuances, it becomes unsuitable for instrumental and keyboard music. 5-29. Tone clusters are discussed under Chapter XIII, Modern Notation. D. Stem signs 5-30. An additional stem placed on a note or chord may indicate a prime or unison (Example 5-4), one voice that becomes an in-accord (Example 5-20) or a note to be held while a rhythmic pattern continues. In the last case, when an in-accord is not satisfactory, stem signs are used to indicate value. When a note has two stems of different value, the smaller value is written as a note, and the larger value is written as a stem sign. V. D. Stem signs 41 Signs from Table 5 D. =_'= Whole “stem” =_k= Half stem =_a= Quarter stem =_b= 8th stem =_l= 16th stem =_1= 32nd stem * * * 5-31. Stem signs are placed after the notes to which they belong and may not be separated from them by the music hyphen. These signs may be dotted in the same way as written notes, and they may be modified by slurs, ties and nuances. Example 5-31. %%%.C _>'2_G_KI_A'"E?2*_G_KI_A'"F" %: 2_F_KI_A'"G$" 2_F_KH_A'"F:<K 42 VI. Slurs and Ties (Table 6) A. Slurs 6-1. In print, all slurs and ties are identical except for length and slight variations in shape. All of the braille signs listed in Table 6 have been approved internationally for use, but their use is not mandatory. Practice between countries varies widely, i.e., some countries regularly use signs to indicate whether a slur or tie is "going to" or "coming from" a different in-accord or staff; some countries use these indications only in complex music, and some countries never use a "from" sign. The examples in this Chapter are provided to demonstrate the meanings and possible use of slur and tie signs that are used according to the decisions of local nations. Signs from Table 6 A. =C= Slur between two notes or chords =Cc c= Phrasing slur over more than four notes or chords =;b ^2= Phrasing slur over more than four notes or chords =;b^2= Beginning and end of phrasing slur on one note =,c= Beginning and end of short slur on one note =_c= Slur from one in-accord part to another ="c= Slur from one staff to another =@l= Straight line between staves for voice leading =.@l= End of straight line ="lc= Slur added by an editor in print VI. A. Slurs 45 Example 6-5 (a) #D4 ;B_YEFG(IJDZFED)DJI ;B^2HJEJH"EGE JHGE?^2V<K (b) #D4 _YCCEFG(IJDZFED)DJI H,CCJEJH"EGE JHGEC?V<K 6-6. When a slur passes from one in-accord part to another on the same staff, the slur sign preceded by dots 4-5-6 is used. In example (a), the fact that the slur will go to a different in-accord is indicated immediately. In (b), the indication does not appear until the point of transfer. Example 6-21 (a) shows the same music with the addition of "from" signs. VI. A. Slurs 46 Example 6-6. (a) #B4 .>'X"F_CDCJC XZ_CC&=FED<> _C_S M;B"EFG(IHG<>_C_T "P+^2<K (b) #B4 .>'X"FCDCJ_C XZCC&=FED_C<> _C_S M;B"EFG(IHG<>_C_T "P+^2<K 6-7. When a slur passes from one staff to another, it is preceded by dot 5 as in example (a) below. The doubled form of the slur is used in (b) because there are more than four notes in the phrase to be slurred. The other form of phrasing slur is used in (c). This example includes tracker dots, used only in bar-over- bar format. Example 6-21 (b) shows the addition of a "from" sign to clarify that the slur ends in measure 2. VI. A. Slurs 47 Example 6-7 (a) %%#C4 .>'"[C]C:"C V.:C0?C0 O'0<K _>'M "C_S^[C _O'<K (b) %%#C4 .>'"I"CCHGFED V.:C0?C0 O'0<K _>'M _W"C[^[C _O'<K (c) %%#C4 .>';B"IHGFED"C V.:0C?0C O'0<K _>'M ''''''''' _W[^2^[C _O'<K 6-8. Another difference in practice between countries occurs in the way slurs are written with chords. In Example 6-7 (a) and (b), the slurs are placed after the written notes of the chords and before the interval signs. In Example 6-7 (c), the slurs are placed after the complete chords. 6-9. In Example 6-9, the voice moving from hand-to hand is indicated in print with a straight line, to indicate voice- VI. B. Ties 50 Example 6-14. #C4 .?@C ?W<W@C W[<[@C [\<IG P<K 6-15. If only one note is tied between two chords, the single- note tie is placed immediately after the appropriate written note or interval. Example 6-15. #D4 >/L"W+@CD#E@C0:3@CD0X<K 6-16. If one or more of the notes of two identical chords are repeated while the others remain tied, the single-note tie sign must be used for each tied note or interval. Example 6-16. #D4 >/L.N@C#0-@CN#@C0@C- Y#0-<K 6-17. If two chords are tied in a succession of chords written with doubled intervals, the doubling need not be interrupted. VI. B. Ties 51 Example 6-17. #F8 .>.D##00.C DJI.CIH.G.C GFE?#0<K 6-18. In some countries the chord tie sign may be doubled as: =.CC=. Example 6-18. #D4 >/L.N#0.CC N#3T+0 T#0S+9 "S+3.CR@C/0 R+9<K 6-19. A repeat does not include a tie on the last note or chord of the passage. See Examples 9-25 (a) and 9-26. 6-20. The accumulating arpeggio is written as follows: Example 6-20. >/L'55_P^C%"R%.N5P)93+_9<K VI. C. More Slurs and Ties 52 C. More Slurs and Ties For Use in Section-by- section Formats Signs from Table 6 C. =._c= Slur from another in-accord part =."c= Slur from another staff =_@c= Single-note tie between in-accord parts =."@c= Single-note tie from another staff =._@c= Single-note tie from another in-accord ="@c= Single-note tie between staves * * * 6-21. The signs in part (C) of Table 6 are used more widely in music written in sections. Dots 4-6 added to a slur or tie sign clarifies that it is "coming from" another in-accord or staff. Examples 6-21 (a) and (b) are from the same music as Examples 6-6 (a) and 6-7 (b) respectively. Example 6-21 (a) #B4 .>'X"F_CDCJC XZ_CC&=FED<> ._C_S M;B"EFG(IHG<>._C_T "P+^2<K (b) %%#B4 .>'"I"CCHGFED V.:C0?C0 O'0<K _>'M _W."C[^[C _O'<K 55 VII. Tremolos (Table 7) 7-1. There are two different types of print notation labelled "tremolo" by musicologists. One indicates a repetition of notes or chords; the other indicates alternation between notes of parts of a chord. A. Repetition 7-2. Here are the most commonly used signs from Table 7 A for the repetition-type of tremolo: Example 7-2. =^b= Repetition in 8ths =^l= Repetition in 16ths =^1= Repetition in 32nds * * * 7-3. When one or more slashes cross the stem of a note, the note is to be divided and repeated as 8ths (one slash), 16ths (two slashes), 32nds (three slashes), etc. For string players this indicates measured, or unmeasured, bowed tremolo; for wind players it may indicate fast tonguing; for percussionists it indicates measured or unmeasured rolls at different speeds; etc. 7-4. The tremolo sign is placed after the note or chord and fingering, if present. The repetition sign may be doubled by repeating the 2nd half of the sign. 7-5. In Example 7-5, the notes have three slashes, so they are to be repeated as 32nds. If the word "tremolo" or its abbreviation appears in print, that text is brailled in VII. B. Alternation Tremolos 56 addition to the use of the tremolo sign. In that case, the repetition is very fast and unmeasured. VII. B. Alternation Tremolos 57 Example 7-5. .C .$^11\;?W .:[[\^1<K B. Alternation 7-6. In keyboard music, the word tremolo usually refers to the alternation of notes or chords. The most commonly used signs from Table 7 B for the alternation-type tremolo are shown below. Example 7-6. =.b= Alternation in 8ths =.l= Alternation in 16ths =.1= Alternation in 32nds * * * 7-7. The signs are placed between the notes or chords to be rhythmically alternated. Both members of the unit to be alternated usually have the same note values in print, and this must be accurately reflected in braille. Example 7-7 appears to have too many beats in the measures because the members of each unit have full value as notated in print. Signs for this type of tremolo may not be doubled. VIII. A. Keyboard Instruments 60 8-3. When the same finger plays two adjacent notes, it is marked after both notes or intervals. Example 8-3. #D4 .>.RK#L0B-A/A?L0V<K 8-4. In keyboard music, alternative fingerings are indicated by placing the two finger signs after the note or interval. The order of these signs is immaterial, but once that order is established, it must be strictly maintained. 8-5. If in such a passage one of the fingerings is omitted for any note(s), its place must be filled by dot 6 for the first fingering or by dot 3 for the second fingering. This applies to keyboard music only. Example 8-5. %%#B4 "]BA[AB .:,1]1K ]1L$LB<K VIII. B. String Instruments. 1 61 B. String Instruments 1. Left Hand Signs from Table 8 B. =*k= Thumb =A= 1 First finger =B= 2 Second finger =L= 3 Third finger =1= 4 Fourth finger =K= 0 Open string =C= Between fingering, change of fingers on same note * * * 8-6. Left hand fingering signs are used as explained in paragraphs 8-1 to 8-5 with an important difference. Passages with alternative fingerings must be rewritten with in-accords or variants. See Example 9-57. 8-7. Especially in method books, finger signs are sometimes followed by lines of continuation. These are shown by placing dot 3 after the finger sign at the beginning of such a line. At the end of the line the finger is re- marked after the note, preceded by dot 6. It is because of this use of dots 3 and 6, that when two sets of fingering are given, each set must be rewritten. VIII. B. String Instruments. 1 62 Example 8-7. #D4 ;B22"JA'DB'EL'F1EF" EFE2FE,LD,B T,A^2U<K 8-8. According to international agreement, thumb signs, like other fingering signs, should follow the note. Example 8-8. <<#C4 >+"L'8_Z"GACHLCGA8_=*K"GCHCG" 8_)*K"GCHCG<K 8-9. When the symbol for a thumb is used for another purpose, such as a "Bartok" pizzicato, the braille sign remains the same. 65 IX. Bar Lines & Repeats (Table 9) A. Bar Lines Signs from Table 9 A. (space) Bar line =L= Braille bar line for special uses =K= Dotted bar line =<k= Double bar at end of composition =<k'= Double bar at end of bar or section * * * 9-1. In addition to having a space for a bar line, a tactile bar line, =L= may be used. When a braille character is used for a bar line, it should be preceded and followed by a space. Example 17-14 (b) illustrates its use in guitar music, and Example 12-33 illustrates its use in a theory textbook. 9-2. When a bar line in print has a dotted or dashed line in place of a solid line, dots 1-3 are used as in Example 13-5. 9-3. The first note after a double bar usually has an octave mark. 9-4. If a measure continues after a double bar, the music hyphen follows the double bar. IX. B. Print Repeats 66 Example 9-4. #D4 .>;P.+<K'" X.GFE<K B. Print Repeats Signs from Table 9 B. =<7= =<2= Double bar followed by dots; beginning of repeat Double bar with dots preceding; end of repeat =#1 #2= First, second ending (volta) =+= Print segno sign  =+l= Print coda sign  * * * 9-5. The sign for a dotted double bar indicating the ending of a print repeat is placed without an intervening space after the measure in which it appears. If it occurs in a IX. B. Print Repeats 67 measure that is afterwards completed on the same braille line, it must be followed by the music hyphen and a space. 9-6. The signs for the beginning of a print repeat and signs for numbered endings are placed without an intervening space before the first sign of the repeated material. 9-7. When additional endings or unusual numberings occur, braille follows the print. Example 9-7. #1-3'M<2 #4'M<K 9-8. The first note following any of the above signs must have an octave mark, and the first or second endings signs must be followed by dot 3 before signs containing dots 1, 2, or 3. 9-9. The signs for print segno and coda should appear where they do in print; they are preceded and followed by a space. Exception: in some countries the coda sign is preceded but not followed by a space. 9-10. When the print uses text such as "D.S." or "a la Coda," this must be transcribed exactly as printed. 9-11. Example 9-11 is a typical scenario showing the order in which segno signs generally appear along with double bars usually associated with this type of music. IX. C. Braille Repeats. 1 70 use involves the exercise of good judgment and musical knowledge. 9-16. In Example 9-17, the repeat sign is used for single notes or chords in differing parts of measures, following musical beats. 9-17. A part-measure repeat must not be the first beat of a measure or the first beat on a new braille line. (The repeat sign cannot be used for the first beat of measure 4 even though it is identical to the last beat of measure 3.) Example 9-17. #D4 >/L.D"HIJ7 ??#0:+97 F+"H77" .=E"H.E =Z"(.ZF'+0&+07E+9X<K Signifies: #D4 >/L.D"HIJD"HIJ ??#0:+9:+9 F+"H.F+"H.F+"H.=E"H.E =Z"(.ZF'+0&+0F'+0&+0E+9X<K 9-18. Repeats should not "cross the beat" except in the most obvious and simple cases. In measure 3 of the example above, the two repeats would have been incorrect had they begun on the second half of the first beat, but the following example is normal and musical in appearance. IX. C. Braille Repeats. 1 71 Example 9-18. %#C4 >/L.\--:'H<>X":+7E+ .G'(['H-<>X":/7E/<K 9-19. Two or more repeats following one another are of the same value. When it is desirable to have repeats of different values, they must be separated by dot 3. Example 9-19. #D4 >#L^DD9-+77'77 D9-+7'77" D0/%#7<K Signifies: #D4 >#L^DD99--++DDDDDD DDDDDD9-+" ^D0/%#D0/#<K 9-20. For Example 9-19, some countries use the following form of repeat within a measure; others reserve this form for a full-measure repeat. IX. C. Braille Repeats. 1 72 Example 9-20. #D4 >#L^DD9-+7#F ^D9-+7#E" ^D0/%#7<K 9-21. The use of the slur in combination with the part- measure repeat requires some caution. The following examples should be studied carefully. 9-22. The use of a part measure repeat on the second and fourth beats of the following example would have given the reader incorrect information about the slurs. Example 9-22. #D4 "FCHCFCHGCHCGCH<K 9-23. When slurred as follows, the repeats may be used. Example 9-23. #D4 "FCH7GCH7<K 9-24. There are two types of long slurs. Care must be taken that repeats are clear. IX. C. Braille Repeats. 1 75 Example 9-28. #D4 >/L"&++GHG+77!0EH0G+ &+<K 9-29. Doubling may be continued through a repeat if it is still in effect afterwards. In Example 9-28, the doubling ended with the repeat, so it ended in braille before the repeat sign. 9-30. Care must also be taken with nuances and other details. The second beat of the following example should not be written as a repeat. Example 9-30. #D4 >SF.YIHJYIHJ77 NU<K 9-31. When part of a measure is fingered and is followed immediately by an exact repetition without fingering, the repeat sign may be used. Example 9-31. #D4 "YAEBFLG1(KGFE7<K IX. C. Braille Repeats. 1 76 9-32. The repetition of passages in cadenzas or unmeasured music is made possible by the use of the sign, =*7=. It is placed before the first note of the passage to be repeated. That sign is not actually a repeat sign. It is used to identify the beginning of a fragment that will be repeated. The dotted half note chords in Example 9-32 are tied over to the next measure. Example 9-32. #E< .>;B*.;T'+93.C,<1TRPN" *7_>'*..T.>.RPN"7_7" _>'*^T*7R.>'*^T*OQ_7"7.7<K _>'*_R'+9%3.C<K Signifies: #E< .>;B*.;T'+93.C,<1TRPN" _>'*..T.>.RPN_>'*"T.>"RPN" _>'*_T.>_RPN_>'*^TR.>'*^T" *OQ_>_R.>'*_T*OQ_>"R" .>'*"T*OQ_>.R.>'*.T*OQ<K _>'*_R'+9%3.C<K IX. C. Braille Repeats. 2 77 2. Full-measure repeats 9-33. The =7= sign may also be used for the repetition of a complete measure. In this case, it is brailled with a blank space on either side. The rules for part-measure repeats apply in general when the full-measure repeat is used. The following examples illustrate the main points. 9-34. In Example 9-34 both forms of the long slur are shown. Example 9-34 (a) #D4 "DCCEFGHGFCE 7 7 NU<K (b) #D4 ;B"DEFGHGFE^2 7 7 NU<K Signifies: #D4 "DCCEFGHGFCE DCCEFGHGFCE "DCCEFGHGFCE NU<K 9-35. Repeats with single-note and chord ties are illustrated below. In the longer illustrations the initial notes of runover lines may or may not start with octave marks. Different format practices are illustrated throughout this manual. IX. C. Braille Repeats. 2 80 Example 9-37. #B4 >/L.FE%DE<>"R+ .E*DJD<>7 .P+<>"II%HI 7<>*"HH%GH<K 9-38. Another method of repeating one or more measures consists of writing two numbers together between blank spaces, the first showing how many measures must be counted back and the second showing how many of those measures are to be repeated. 9-39. If the two numbers are identical, some countries write only one number. However, if the time signature of the piece consists of only one number, it is recommended that two identical numbers be used for the repeat rather than a single number that could be interpreted as a change of time signature. 9-40. The first note following this type of repeat must have an octave mark. Example 9-40. %#D4 "\'G$\ ['H]: P]'G ( #D#D<K 9-41. This repeat may be combined with the slur as long as the phrasing is completely clear. IX. C. Braille Repeats. 2 81 Example 9-41. (a) #C4 .?CC"\.?@C ?JIW #B#A@C .?JICW<K (b) #C4 ;B.?"\.?@C ?JIW #B^2<K Signifies: #C4 ;B.?"\.?@C ?JIW ?"\.?@C ?JIW^2<K 9-42. When measures are numbered in the braille text or in the print, those numbers can effectively be used for repeats. The numbers of the first and last measures of the passage to be repeated, preceded by the numeral prefix and separated by a hyphen are written as follows: #1-8 9-43. The first note after a repeat with a numeral prefix must have an octave mark. 9-44. In the course of a piece, if some bars are repeated in a higher or lower octave, the numbers indicating this repetition are written, preceded by the octave mark in which the repetition starts. IX. C. Braille Repeats. 3 82 .#1-8 9-45. Similarly, if several bars are to be repeated with a different expression mark, the numbers indicating the repetition are preceded by the characters indicating the dynamic change. Double bars or dotted double bars may also be added to repeats of various types. >F'#1-8 9-46. A common form of repeat in music written by sections consists of a section number followed immediately by measure numbers in the lower-cell position. The example indicates a repeat of measures 9-12 in the second section of the transcription. #B9-12 3. Braille Segno More signs from Table 9 C. =+a= Braille segno A (or B, etc.) ="+a= Repeat back to segno A (or B, etc.) =*= End of segno music to be repeated =+l= Coda sign =-= Parallel motion =-= Sequence: Continue pattern * * * 9-47. Another form of repeat that is useful when the section to be repeated is at some distance from the original passage is a braille segno. The music is analyzed and treated as if segno signs appeared in print. A braille segno sign that includes a letter such as A, B, or C is placed at the beginning of the passage to be repeated. IX. C. Braille Repeats. 5 85 Example 9-51. <<#D4 .>'>#K_N@CDF<IJ >/L"D<I"FJ.7 ;D.HJ<I\%GX X%GHG%FG2IH<F F'Z2GFE:V<K _>'-#E<K 5. Sequence Abbreviation 9-52. In technical studies where a melodic figure is repeated sequentially many times, it is possible to abbreviate the passage in braille by use of the sign with dots 3-6, =-=. The figure to be abbreviated is written once or twice. For succeeding figures, only the first note is written, and it is followed by this sign. IX. D. Variants 86 Example 9-52. #D4 "YEFDZ-&-=-<K Signifies: #D4 "YEFDZFGE&GHF=HIG<K 9-53. The repetition must be exact with no modifications of fingering, accidentals, etc. It is generally restricted to technical studies and should be used only where correct execution is absolutely clear. D. Variants Signs from Table 9 D. =5= Variant of measure (sign precedes and follows) =5#b= Variant of two (or other number) measures =#b5= Second (or other number) variant of measure =#a5#c= Numbered variant, followed by number of measures (i.e., Variant 1, for 3 measures) * * * 9-54. When an alternate passage is provided in the print music, it can be placed as a footnote on the braille page or (in the case of very short passages) it can be joined to the measure with the in-accord sign. 9-55. Especially for longer passages, variant signs may be used. The variant sign =5= is preceded by a space or a number and is followed by the number of measures in IX. D. Variants 87 that variant. No space is left between the variant sign and the music. The first note of each variant must have an octave mark. Each variant ends with an unspaced variant sign =5=. The first note of the music following the variant(s) must also have an octave mark. Example 9-55. #D% _C "FCDFCD_HC"DFCD ECJECJHCJ" ECJ 5#B2.FD"H2FD_H2^H_H"D" &H.DF 2EJH2EJH2^H_HJZHJE5 9-56. If there are two or more variants, these are numbered preceding the variant sign. If a passage had three variants they would be preceded respectively by the following signs. Example 9-56. #A5#B #B5#B #C5#B 9-57. In Example 9-57 four sets of fingering are to be practiced with the same notes. There are three numbered variants in addition to the original, and each is two measures long. . X. Nuances 90 Example 10-7. "?DD>A>TEMPO"DD?<K 10-8. For longer literary indications, the word sign is placed before the first of the group of words and after the last. This is followed by a space, and the next note must have an octave mark. 10-9. When longer literary expressions start within a measure, the measure is interrupted with a music hyphen followed by a space. It resumes after the space that follows the final word sign. Example 10-9. "?DD" >POCO A POCO CR'> "?<K 10-10. When there are no parentheses in print, there should be no parentheses in braille. When parentheses do occur, they follow the word sign in braille, i.e., =>7DOLCE7= (dolce). 10-11. The signs in Table 10 are given common names, but other terms are used for the same print symbols, i.e., the dot may indicate spiccato; the short line may indicate louré or tenuto, etc. The descriptions in the parentheses are more dependable than the names. . X. Nuances 91 Signs from Table 10. =8= Staccato (dot) =,8= Staccatissimo (pear-shaped dot) ="8= Mezzo-staccato (dot & line) =_8= Agogic accent (short line) =.8= Accent (horizontal “V” pointing to the right) =@8= Reversed accent (horizontal “V” pointing to the left) =;8= Martellato (thick “V”) * * * 10-12. An octave mark is not required for the note following one of these articulations. When a nuance begins with a word sign, i.e. , =>C=, an octave mark is required for the next note. 10-13. Expression marks represented by symbols that appear directly above or below notes in print are usually placed before the notes in braille. The exceptions are the fermata signs; they follow the note. Most of the signs may be doubled if they apply to four or more notes in succession. Music commas, fermatas and swells may not be doubled. 10-14. Example 10-14 shows doubled staccatos with in- accords. These signs affect only the in-accords where they appear. In some formats doubling may continue from one measure to another if it continues in the same in-accord part. . X. Nuances 92 Example 10-14. #C4 >/L'VX.HC%GCH 8[\*] 8$8:8?<> VX"FCECF "T'<>88"]:\ .N'<>"$:8?<K 10-15. When two or more signs are combined, an order similar to that in the next example is recommended: Example 10-15. >/L'8.8"?<K >/L'8;8"?<K >/L.8_8"?<L<K More signs from Table 10. =''= Beginning of first line of continuation =>'= End of first line of continuation =--= Beginning of second line of continuation =>-= End of second line of continuation * * * . 95 XI. Ornaments (Table 11) Table 11 =6= Trill [It. trillo; F. cadence, tremblement; G. Triller; Sp. trino] ="5= Appoggiatura [It.] [F. port de voix; G. Vorschlag; Sp. apoyadura] =5= Short appoggiatura [formerly: grace note] =4= Turn [It. fioritura; F. double, cadence, double cadence; G. Doppelschlag; Sp. grupito] between notes =,4= Turn above or below a note =4l= Inverted turn between notes =,4l= Inverted turn above or below a note =,= Before an accidental, inflected lower note of ornament. Ex. = ,%4 ,*4= . XI. Ornaments 96 ="6= Short trill [short shake, pralltriller, inverted, i.e., upper, mordent] =;6= Extended short trill, shake or pralltriller ="6l= Mordent [It. mordente; F. mordant (pincé, pincement); Sp. mordiente] =;6l= Extended mordent =>k= Arpeggio up =">k= Upward arpeggio through two or more staves =>kk= Arpeggio down =">kk= Downward arpeggio through two or more staves =@8888= Bebung * * * 11-1. Ornaments are placed before the notes or intervals to which they apply. No special octave mark is required for such notes. 11-2. In Table 11, ornament names are given in several languages to aid recognition. The braille signs refer to the print symbols that appear in the print edition of this manual. Performers should be aware of multiple possibilities, and transcribers should include all information regarding meaning and/or performance that may be included in print. During the Baroque period and the years since that time, different composers have given different names to the same ornaments, different . XI. Ornaments 97 ornaments have been given the same names, and there is little agreement concerning specific performance details. For example, the "New Grove" *1 shows the print symbol for a trill (dots 2-3-5) with the following definitions, each followed by its "Guide to Use or Source". [*1 The New Grove Dictionary of Music and Musicians (London: MacMillan Press Limited, 1980), Vol.13, p. 863.] (a) Trill; Ubiquitous Fr. and Ger. from 17th century: the correct usage (b) Double mordent; Loulié (c) Appoggiatura-prepared lower mordent; ?Locke, Purcell (d) Prepared trill; L’Affilard (e) Ascending trill; Gottlieb Muffat (f) Vibrato; Mace (g) Tremolo; L’Affilard Each of the following examples in Chapter XI illustrates the first, (a), listing by the "New Grove". 11-3. For the sign =6=, most performers will use the ubiquitous meaning, trill, but performances will vary according to the tempo, the style of the music, and other factors. The print symbol does not indicate whether the trill is prepared or whether it ends with a turn; performers may include those features if appropriate. 11-4. If two notes of a chord are to be trilled, both notes must be so marked.