

   ,,NEW ,,INTERNATIONAL ,,MANUAL
                ,,OF
    ,,BRAILLE ,,MUSIC ,,NOTATION

            333333333333

   ,BRAILLE ,MUSIC ,SUBCOMMITTEE
        ,WORLD ,BLIND ,UNION

            ,COMPILED BY
          ,BETTYE ,KROLICK



      ,IN #C ,BRAILLE ,VOLUMES

             ,VOLUME ,I






      ,BRAILLE ,PRESS ,Z@URICH
               #AIIF

,,ISBN #IJ-IJJIBFI-B

,AN INK PRINT VERSION OF THIS BOOK
IS AVAILABLE FROM
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,BRAILLE PRINTED BY
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             ,,CONTENTS

,PREFACE ''''''''''''''''''''' ;VII
,COMPILER'S ,NOTES ''''''''''' ;XIII

  ,,PART ,,ONE3 ,,GENERAL ,,SIGNS
,PURPOSE AND ,GENERAL
    ,PRINCIPLES '''''''''''''''' #A
,I4 ,BASIC ,SIGNS '''''''''''''' #D
  ,A4 ,NOTES AND ,RESTS '''''''' #D
  ,B4 ,OCTAVE ,MARKS ''''''''''' #G
,,II4 ,CLEFS ''''''''''''''''''' #AA
,,III4 ,ACCIDENTALS1 ,KEY &
      ,TIME ,SIGNATURES '''''''' #AE
  ,A4 ,ACCIDENTALS ''''''''''''' #AE
  ,B4 ,KEY & ,TIME ,SIGNATURES   #AF
,,IV4 ,RHYTHMIC ,GROUPS '''''''' #AI
,V4 ,CHORDS '''''''''''''''''''' #BE
  ,A4 ,INTERVALS ''''''''''''''' #BE
  ,B4 ,IN-ACCORDS '''''''''''''' #CJ
  ,C4 ,MOVING ,NOTE ,SIGNS ''''' #CD
  ,D4 ,STEM SIGNS '''''''''''''' #CF
,,VI4 ,SLURS & ,TIES ''''''''''' #CH
  ,A4 ,SLURS ''''''''''''''''''' #CH
  ,B4 ,TIES '''''''''''''''''''' #DF
  ,C4 ,MORE ,SLURS AND ,TIES
    ,FOR ,USE IN ,SECTION-BY-
             ,CONTENTS          ;III
    SECTION ,FORMATS '''''''''' #DI
,,VII4 ,TREMOLOS '''''''''''''' #EC
  ,A4 ,REPETITION ''''''''''''' #EC
  ,B4 ,ALTERNATION '''''''''''' #ED
,,VIII4 ,FINGERING '''''''''''' #EF
  ,A4 ,KEYBOARD ,INSTRUMENTS '' #EF
  ,B4 ,STRING ,INSTRUMENTS '''' #EH
    #A4 ,LEFT HAND '''''''''''' #EH
    #B4 ,RIGHT HAND ''''''''''' #FJ
,,IX4 ,BAR ,LINES AND ,REPEATS  #FC
  ,A4 ,BAR ,LINES ''''''''''''' #FC
  ,B4 ,PRINT REPEATS '''''''''' #FD
  ,C4 ,BRAILLE REPEATS '''''''' #FF
    #A4 ,PART-MEASURE REPEATS   #FH
    #B4 ,FULL-MEASURE REPEATS   #GE
    #C4 ,BRAILLE SEGNO '''''''' #HB
    #D4 ,PARALLEL ,MOTION ''''' #HC
    #E4 ,SEQUENCE ,ABBREVIATION #HE
  ,D4 ,VARIANTS ''''''''''''''' #HF
,X4 ,NUANCES '''''''''''''''''' #HI
,,XI4 ,ORNAMENTS '''''''''''''' #IG
,,XII4 ,THEORY '''''''''''''''' #AJI
  ,A4 ,CHORD ,SYMBOLS ''''''''' #AJI
  ,B4 ,FIGURED ,BASS AND
      ,HARMONIC ,ANALYSIS ''''' #AAH
    #A4 ,FIGURED ,BASS '''''''' #AAI
    #B4 ,HARMONIC ,ANALYSIS ''' #ABC
  ,C4 ,BRACKETS ''''''''''''''' #ACJ
,,XIII4 ,MODERN ,NOTATION ''''' #ACC
  ,A4 ,NOTES WITH ,UNUSUAL
      ,SHAPES ''''''''''''''''' #ACC
  ,B4 ,TONE ,CLUSTERS ''''''''' #ACH
  ,C4 8,FAN-SHAPED0 ,RHYTHMIC
      ,GROUPS ''''''''''''''''' #ADJ
  ,D4 ,OTHER ,SIGNS ''''''''''' #ADB

            ,VOLUME ,,II
    ,,PART ,,TWO3 ,,INSTRUMENTAL
           ,,AND ,,VOCAL
,,XIV4 ,GENERAL ,ORGANIZATION   #A
  ,A4 ,PRELIMINARY ,PAGES ''''' #A
  ,B4 ,GENERAL ,FEATURES ON THE
      ,MUSIC ,PAGES ''''''''''' #C
,,XV4 ,KEYBOARD ,MUSIC '''''''' #AA
  ,A4 ,PIANO '''''''''''''''''' #AA
    #A4 ,ORGANIZATION AND ,USE
      OF ,HAND ,SIGNS ''''''''' #AA
    #B4 ,PIANO ,PEDALLING ''''' #AG
  ,B4 ,ORGAN '''''''''''''''''' #BB
    #A4 ,ORGAN ,PEDALS '''''''' #BB
    #B4 ,REGISTRATION ''''''''' #BF
,,XVI4 ,VOCAL ,MUSIC '''''''''' #CJ
,,XVII4 ,STRING ,INSTRUMENTS '' #CH
  ,A4 ,GENERAL ,SIGNS ''''''''' #CH
  ,B4 ,BOWED ,INSTRUMENTS ''''' #DH
             ,CONTENTS            ;V
  ,C4 ,PLUCKED ,INSTRUMENTS ''' #DI
,,XVIII4 ,WIND AND ,PERCUSSION
     ,INSTRUMENTS ''''''''''''' #EF
  ,A4 ,WIND ,INSTRUMENTS '''''' #EF
  ,B4 ,PERCUSSION ''''''''''''' #FJ
,,XIX4 ,ACCORDION ''''''''''''' #FG
,,XX4 ,INSTRUMENTAL ,SCORES ''' #GD
,AUTHORITIES FOR THIS ,WORK ''' #HA
,NATIONAL ,SIGNS OF #AF
    ,COUNTRIES '''''''''''''''' #HE
,INDEX OF ,SIGNS IN ,STANDARD
    ,BRAILLE ,ORDER ''''''''''' #II

           ,VOLUME ,,III
,TABLES OF ,SIGNS ''''''''''''' #A
,GENERAL ,INDEX ''''''''''''''' #DA












              ,PREFACE

  ,THIS ,NEW ,INTERNATIONAL ,MANUAL
OF ,BRAILLE ,MUSIC ,NOTATION IS THE
RESULT OF MANY YEARS OF CONSULTA-
TIONS WITHIN THE ,SUBCOMMITTEE ON
,BRAILLE ,MUSIC ,NOTATION1 ,WORLD
,BLIND ,UNION 7,,WBU74
  ,IT IS CONTINUING THE SERIES OF
MANUALS PUBLISHED AFTER THE CONFER-
ENCES OF ,COLOGNE1 #AHHH1 AND ,PAR-
IS1 #AIBI AND #AIED4 ,THIS NEW MANU-
AL SUMMARIZES THE RESOLUTIONS AND
DECISIONS OF THE ,,WBU SUBCOMMIT-
TEE'S CONFERENCES AND WORKSHOPS HELD
BETWEEN #AIHB AND #AIID4 ,UNIFICA-
TION WAS REACHED ABOVE ALL IN THE
FOLLOWING AREAS3 CLEF SIGNS1 FIGURED
BASS1 GUITAR MUSIC1 CHORD SYMBOLS1
MODERN MUSIC AND MANY OTHER SINGLE
SIGNS4 ,THIS MANUAL ALSO CONTAINS
MATERIAL OF EASTERN ,EUROPEAN COUN-
TRIES THAT WERE NOT PRESENT AT THE
CONFERENCE OF #AIED4 ,IT BENEFITS IN
SEVERAL DETAILS FROM MANUALS PUB-
LISHED IN ,MOSCOW IN THE SEVENTIES
AND EIGHTIES4
             ,PREFACE           ;VII
  ,IMPORTANT DISCUSSIONS TOOK PLACE
AT THE CONFERENCES OF ,MOSCOW1
#AIHB1 7WHERE ,DR4 ,JAN ,DRTINA WAS
ELECTED ,CHAIRMAN72 ,PRAGUE1 #AIHE2
,MARBURG 7,GERMANY71 #AIHG2 AND
,SAANEN 7,SWITZERLAND71 #AIIB4 ,ALL
SIGNS AND RULES COMPILED IN THIS
MANUAL WERE ADOPTED BY THE DELEGATES
OF THE ,SAANEN ,CONFERENCE1 MOSTLY
BY A LARGE MAJORITY4 ,VOTING DELE-
GATES TO THIS CONFERENCE ARE LISTED
BELOW4
  ,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 COM-
MITTEE4 ,CRITICAL AND CONSTRUCTIVE
COMMENTS WERE GATHERED AND PRESENTED
TO THE EXPERTS IN A SECOND DRAFT4
,THIS CORRECTED VERSION WAS UNANI-
MOUSLY VERIFIED AND WAS THE BASIS
FOR THE FINAL WORK4 ,MOST ALL OF THE
DELEGATES CONTRIBUTED SUGGESTIONS
AND/OR MATERIAL FOR THE FINAL VER-
SION4
  ,AN EDITORIAL GROUP CONSISTING OF
,VERA ,WESSELS 7,NETHERLANDS71 ,DA-
VID ,MC,CANN 7,UNITED ,KINGDOM71
,LEIF ,HAAL 7,DENMARK71 AND ,ULRICH
,MAYER-,UHMA 7,GERMANY7 HELPED FIN-
ISH THE BOOK4
  ,BUT IT WAS ,BETTYE ,KROLICK WHO
DID THE MAIN WORK4 ,THANKS TO HER
HIGHLY QUALIFIED COMPETENCE1 SHE
SHOWED PERSEVERANCE WHERE THE PROC-
ESS SEEMED TO STOP AND CONCILIATION
WHERE DIVERGING OPINIONS COLLIDED4
,I WANT TO EXPRESS MY MOST GRATEFUL
THANK YOU TO HER4
  ,LIKEWISE ,I THANK THE ,,SVB IN
,AMSTERDAM FOR PUBLISHING AND DIS-
TRIBUTING THE PRINT EDITION AND THE
,,SBS IN ,Z@URICH FOR PRINTING AND
DISTRIBUTING THE BRAILLE EDITION1
GIVING THE BLIND USER THE POSSIBILI-
TY TO STUDY THE MATERIAL CAREFULLY4
  ,WE ALL HOPE THAT THE SIGNS AND
RULES LISTED IN THIS BOOK1 ACCORDING
TO OUR MAJORITY AGREEMENTS1 WILL BE
RIGOROUSLY USED IN BRAILLE MUSIC
PUBLICATIONS4 ,THEREFORE1 WE ASK THE
DIFFERENT COUNTRIES TO PROVIDE
TRANSLATIONS INTO THEIR NATIVE LAN-
GUAGE AND TO USE IT FOR FUTURE MUSIC
PUBLICATIONS4 ,IN CASES OF DOUBT1
           ,PREFACE CONT4        ;IX
THE ORIGINAL ,ENGLISH VERSION HAS
THE STATUS OF MAJOR AUTHORITY4 ,THIS
IS THE ONLY WAY TO REALIZE THE GOAL
OF THE DELEGATES TO IMPROVE THE EX-
CHANGE OF BRAILLE MUSIC PUBLICATIONS
BETWEEN COUNTRIES4
  ,AS WITH MOST AGREEMENTS1 RESULTS
COULD NOT BE REACHED WITHOUT COMPRO-
MISES4 ,WE ARE AWARE THAT SOME TRA-
DITIONAL SIGNS OF ONE COUNTRY OR THE
OTHER WERE NOT ACCEPTED IN THE VOT-
ING4 ,WE ASK THE RESPONSIBLE EXPERTS
TO RESPECT THE NEW DECISIONS1 EVEN
IF THEY CONCERN SIGNS AND RULES
WHICH ARE NOT YET FAMILIAR TO THEM4
  ,THIS MANUAL DOES NOT INCLUDE ETH-
NIC MUSIC FROM ,AFRICA AND ,ASIA4
,THE EXPERTS OF THESE REGIONS ARE
ASKED TO CONSIDER PROVIDING SIGNS
FOR THE PRINTED MUSIC OF NATIVE IN-
STRUMENTS NOT YET COVERED IN BRAILLE
MUSIC4
  ,WITH THIS MANUAL THE WORK ON UNI-
FICATION OF ,BRAILLE ,MUSIC ,NOTA-
TION CAN NOT BE AT ITS END4 ,IT WILL
BE OUR FUTURE TASK TO REACH DECI-
SIONS ON FORMATS AND SPECIFIC SIGNS
FOR SPECIAL CASES4 ,WE WILL BE
GRATEFUL FOR ALL PROPOSALS COMING
FROM BLIND MUSICIANS1 TRANSCRIBERS
AND OTHER EXPERTS4
  ,MEANWHILE WE WISH THAT THE USE OF
THIS BOOK WILL BE WIDE SPREAD4 ,WE
THANK ALL PARTICIPANTS OF THE FORMER
CONFERENCES FOR THEIR GOOD COOPERA-
TION AND ASK THEM TO JOIN THE FUTURE
WORK IN THIS FIELD4
    ,SUBCOMMITTEE ON
    ,BRAILLE ,MUSIC
    ,NOTATION1 ,,WBU1
    ,ULRICH ,MAYER-,UHMA1 ,CHAIRMAN


      ,OFFICIAL ,DELEGATES TO
      THE ,SAANEN ,CONFERENCE
        ,FEB4 #BC-BI1 #AIIB
,AUSTRALIA3 ,TOM ,MACMAHON
,CZECH ,REPUBLIC3 ,DR4 ,JAN ,DRTINA
,DENMARK3 ,ERIK ,KI@ORBYE
,FINLAND3 ,PAAVO ,KONTTAJ@ARVI
,FRANCE3 ,LOUIS ,CICCONE
,GERMANY3 ,ULRICH ,MAYER-,UHMA
,ITALY3 ,GIULIO ,LOCATELLO
,JAPAN3 ,TOSHIKAZU ,KATO
,THE ,NETHERLANDS3 ,VERA ,WESSELS
           ,PREFACE CONT4        ;XI
,NORTH ,AMERICA3 ,BETTYE ,KROLICK
,POLAND3 ,ANDRZEJ ,GALBARSKI
,RUSSIA3 ,GLEB ,A4 ,SMIRNOV
,SPAIN3 ,JUAN ,ALLER ,PEREZ
,SWITZERLAND3 ,CHRISTIAN ,WALDVOGEL
,UNITED ,KINGDOM3 ,DAVID ,MC,CANN






















         ,COMPILER'S ,NOTES

  #A4 ,WITH KIND PERMISSION1 MOST OF
THE EXAMPLES IN THIS BOOK HAVE BEEN
COPIED FROM EXISTING MANUALS OF
BRAILLE MUSIC NOTATION4 ,MANY OF
THEM APPEAR IN PUBLICATIONS OF MORE
THAN ONE COUNTRY4 ,BETWEEN COUN-
TRIES1 THE EXAMPLES ARE USUALLY SIM-
ILAR BUT NOT IDENTICAL1 BECAUSE OF
DIFFERING LOCAL PRACTICES4 ,SELEC-
TIONS HERE SHOW VARYING POSSIBILI-
TIES AND DEMONSTRATE THE MORE COMMON
METHODS OF BRAILLE TRANSCRIPTION
AROUND THE WORLD USING THE INTERNA-
TIONALLY ACCEPTED BRAILLE MUSIC
SIGNS4
  #B4 ,WHEN 8NATIONAL0 SIGNS ARE TO
BE USED IN MUSIC1 I4E41 FOR PLUS
SIGN1 MINUS SIGN1 ETC41 THE SIGNS
SHOULD BE LISTED IN THE FRONT OF THE
PUBLICATION4 ,NATIONAL SIGNS FROM
THE ,BRAILLE ,AUTHORITY OF ,NORTH
,AMERICA ARE USED IN THIS MANUAL4
,THE SIGNS ARE AS FOLLOWS3
  =+= ,PLUS
  =-= ,MINUS
         ,COMPILER'S ,NOTES    ;XIII
  =7 7= ,PARENTHESES
  =/= ,OBLIQUE STROKE
  =,= ,CAPITALIZATION
  =;= ,LETTER SIGN
  =.= ,ITALICS

  #C4 ,IN THE BRAILLE EDITION1 ISO-
LATED MUSIC SIGNS ARE SURROUNDED BY
FULL CELLS4 ,FOR CONSISTENCY1 KEY
AND TIME SIGNATURES ARE CENTERED
ABOVE THE EXAMPLES EXCEPT IN VERY
SHORT ITEMS WHERE THE SIGNATURE CAN
BE INCLUDED ON THE SAME LINE WITH
THE MUSIC4 ,EACH BRAILLE EXAMPLE
ENDS WITH A FINAL DOUBLE BAR =<K=1
WHETHER OR NOT A DOUBLE BAR IS SHOWN
IN THE PRINT EXAMPLE4 ,ALL OTHER DE-
TAILS MATCH THE PRINT4
  #D4 ,DETAILS THAT DIFFER AMONG MU-
SIC EXAMPLES INCLUDE THE FOLLOWING3
    ,A4 ,SOME EXAMPLES START AT THE
MARGIN WITH RUNOVER LINES BEGINNING
IN CELL THREE1 SOME START IN CELL #C
WITH RUNOVER LINES BEGINNING AT THE
MARGIN1 AND OTHERS HAVE ALL LINES
BLOCKED BEGINNING IN CELLS ONE OR
THREE4
    ,B4 ,SOME FORMATS REQUIRE AN OC-
TAVE MARK FOR THE FIRST NOTE OF
EVERY LINE2 OTHERS DO NOT REQUIRE
OCTAVE MARKS FOR THIS PURPOSE4 ,EX-
AMPLES OF BOTH KINDS APPEAR IN THE
BOOK4
    ,C4 ,SOME KEYBOARD EXAMPLES HAVE
AN OCTAVE MARK FOR THE FIRST NOTE OF
EVERY MEASURE2 SOME DO NOT4
    ,D4 ,SOME COUNTRIES GROUP THE
SMALLER VALUES MORE EXTENSIVELY THAN
OTHER COUNTRIES4 ,EXAMPLES OF BOTH
KINDS OCCUR4
    ,E4 ,SOME COUNTRIES REQUIRE THE
USE OF CLEF SIGNS MORE EXTENSIVELY
THAN OTHER COUNTRIES4 ,EXAMPLES AP-
PEAR BOTH WAYS4
  #E4 ,DETAILS OF SPECIFIC FORMATS
IN USE THROUGHOUT THE WORLD DO NOT
APPEAR IN THIS MANUAL OF SIGNS4
  #F4 ,BECAUSE OF STRONG INTERNA-
TIONAL STATEMENTS THAT BRAILLE MUSIC
SHOULD FOLLOW THE PRINT AS CLOSELY
AS POSSIBLE1 THIS PRACTICE IS FOL-
LOWED IN ALL EXAMPLES4 ,THIS IN-
CLUDES THE USE OF PERIODS AFTER AB-
BREVIATIONS1 PRESENCE OR LACK OF AC-
CENT SIGNS IN FOREIGN WORDS1 ETC4
         ,COMPILER'S ,NOTES      ;XV
  #G4 ,EXCERPTS FROM THE ,TABLES OF
,SIGNS ARE PLACED IN BOXES THROUGH-
OUT THE TEXT1 BEFORE EXAMPLES IN
WHICH THEY WILL BE USED4
  #H4 ,THE WORDS 8USUALLY0 AND 8GEN-
ERALLY0 APPEAR WHEN IT IS KNOWN THAT
AT LEAST ONE COUNTRY DOES NOT FOLLOW
THE PRACTICE4 ,THE TWO WORDS ARE
USED INTERCHANGEABLY4 ,THE WORDS
8MUST0 OR 8SHOULD0 INDICATE INTERNA-
TIONAL AGREEMENT4
    ,BETTYE ,KROLICK
















   ,,NEW ,,INTERNATIONAL ,,MANUAL
 ,,OF ,,BRAILLE ,,MUSIC ,,NOTATION

   ,PART ,ONE3 ,,GENERAL ,,SIGNS

 ,PURPOSE AND ,GENERAL ,PRINCIPLES
  ,A-#A4 ,THE PURPOSE OF THIS MANUAL
IS TO RECORD THE INTERNATIONAL
AGREEMENTS MADE AT THE ,BRAILLE ,MU-
SIC ,CONFERENCES OF #AIHB 7,MOSCOW71
#AIHG 7,MARBURG/,LAHN1 ,GERMANY71
AND #AIIB 7,SAANEN1 ,SWITZERLAND72
BASED ON THE ,INTERNATIONAL ,CONFER-
ENCES OF #AHHH1 #AIBI1 AND #AIED4
,MOST OF THESE AGREEMENTS CONCERN
BRAILLE MUSIC SIGNS WITH THEIR MEAN-
INGS4 ,THE INTERNATIONALLY APPROVED
SIGNS ARE PRESENTED HERE1 SHOWING
COMMON APPLICATIONS IN A VARIETY OF
FORMATS4
  ,A-#B4 ,THE BRAILLE MUSIC SIGNS
SHOWN IN THIS MANUAL HAVE BEEN
AGREED UPON INTERNATIONALLY AND
SHOULD BE USED WHEREVER POSSIBLE IN
PREFERENCE TO LOCALLY-DEVELOPED
SIGNS4
  ,A-#C4 ,IT HAS ALSO BEEN AGREED
      ,PURPOSE AND ,PRINCIPLES    #A
INTERNATIONALLY THAT MUSICIANS CAN
SUCCESSFULLY USE THESE SIGNS IN A
VARIETY OF FORMATS4
  ,A-#D4 ,PUBLISHERS OF BRAILLE MU-
SIC ARE REQUESTED TO USE NO CONTRAC-
TIONS OR SHORT-FORM WORDS IN THE
LITERARY PORTIONS OF MUSIC MATERIAL4
,PRINT WORDING1 INCLUDING ABBREVIA-
TIONS1 SHOULD BE USED4
  ,A-#E4 8,FOLLOW PRINT AS CLOSELY
AS POSSIBLE1 RESPECTING THE NEEDS OF
THE BLIND BRAILLE USER0 IS THE GEN-
ERAL PHILOSOPHY MAKING THESE INTER-
NATIONAL AGREEMENTS POSSIBLE4 ,THESE
INCLUDE NEW AGREEMENTS IN THE AREAS
OF GUITAR FINGERING1 CHORD SYMBOLS
AND HARMONY1 MODERN MUSIC1 ETC4
,THIS PHILOSOPHY CAN HELP GUIDE DE-
CISIONS AS COUNTRIES WORK TO INTER-
NATIONALIZE THEIR MUSIC CODES AND TO
MEET FUTURE CHALLENGES IN BRAILLE
MUSIC4
  ,A-#F4 ,WHEN BRAILLE SIGNS MUST BE
ADDED TO A BRAILLE SCORE1 I4E41 A
REST OR A SHARP TO AN IN-ACCORD
PART1 DOT #E MUST PRECEDE THAT SIGN
TO INDICATE THAT IT DOES NOT APPEAR
IN PRINT4
  ,A-#G4 ,WHEN NATIONAL SIGNS ARE
USED FOR ITEMS SUCH AS THE PLUS AND
MINUS SIGNS1 THOSE SIGNS SHOULD BE
LISTED IN THE FRONT OF THE PUBLICA-
TION4 ,NORTH ,AMERICAN SIGNS USED IN
THIS EDITION ARE FOUND LISTED IN
ITEM #B OF THE ,COMPILER'S ,NOTES4
  ,A-#H4 ,DOUBLING IS A DEVICE COM-
MONLY USED IN BRAILLE MUSIC4 ,WHEN A
FEATURE IS DOUBLED1 IT IS WRITTEN
TWICE ON ITS FIRST OCCURRENCE AND IS
NOT WRITTEN AGAIN UNTIL ITS LAST OC-
CURRENCE4 ,AT THAT POINT THE FEATURE
IS WRITTEN ONCE AGAIN1 AND THE DOU-
BLING ENDS UNLESS THERE IS AN INDI-
CATION OF REDOUBLING4
  ,A-#I4 ,A BRAILLE SIGN REPRESENT-
ING A SPECIFIC PRINT SYMBOL CAN BE
CONSIDERED FOR USE IN A DIFFERENT
CONTEXT4 ,EXAMPLES OCCURRING IN THIS
MANUAL INCLUDE THE PRINT THUMB SIGN
THAT IS USED FOR CELLO WHILE PLAYING
WITH A BOW AND ALSO FOR A 8,BARTOK0
PIZZICATO2 SIMILARLY1 ORNAMENTS THAT
ARE IDENTICAL IN PRINT BUT ARE EXE-
CUTED DIFFERENTLY ACCORDING TO THE
WISHES OF THE COMPOSER4
      ,PURPOSE AND ,PRINCIPLES    #C
        ,I4 ,,BASIC ,,SIGNS
            7,TABLE #A7

       ,A4 ,NOTES AND ,RESTS
  #A-A4 ,THE CHARACTERS FOR THE
NOTES ARE FORMED FROM DOTS #A1 #B1
#D1 & #E4 ,THE ABSENCE OR PRESENCE
OF DOTS #C AND/OR #F DETERMINES THE
NOTE VALUES4 ,EACH NOTE OR REST HAS
TWO VALUE POSSIBILITIES4

  ,SIGNS FROM ,TABLE #A ,A4
777777777777777777777777777777777777
C D E F G A B ,REST
Y Z & = ( ! ) M ,WHOLES OR #AFTHS
N O P Q R S T U ,HALVES OR #CBNDS
? : $ ] \ [ W V ,QUARTERS OR #FDTHS
D E F G H I J X #HTHS OR #ABHTHS
=;<1= ,PREFIX FOR #BEFTH NOTES1
  I4E41 ;<1YZ&= 7ETC47
=<1= ,DISTINCTION OF VALUES
=^<1= LARGER VALUES2 #HTHS AND
  LARGER
=,<1= SMALLER VALUES2 #AFTHS AND
  SMALLER
=Y^CY= ,BREVIS1 I4E41 Z^CZ 7ETC47
=M^CM= ,BREVIS REST
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #A-B4 ,FOR DOTTED NOTES1 DOT #C
REPRESENTS EACH PRINT DOT FOLLOWING
A NOTE4 ,IT IS PLACED IMMEDIATELY
AFTER THE BRAILLE NOTE4 ,NO OTHER
SIGN COMES BETWEEN THE NOTE AND ITS
DOT7S74 ,DOTTED RESTS ARE TREATED
THE SAME AS DOTTED NOTES4 ,EXAMPLE
#A-B IS IN FOUR-FOUR TIME4 ,THE
MEASURE ENDS WITH A DOUBLE BAR SIGN3
=<K=4

  ,EXAMPLE #A-B4
  D'YDM'ND''N?<K

  #A-C4 ,THE SIGN FOR #BEFTH NOTES
IS USED AS A PREFIX AND IS FOLLOWED
BY #AFTH NOTES OR RESTS4 ,WHEN A
NOTE OR REST OF DIFFERENT VALUE IN-
TERVENES1 THE PREFIX IS REPEATED BE-
FORE THE NEXT #BEFTH NOTE4
  #A-D4 ,WHEN THE VALUE OF A NOTE IS
NOT APPARENT FROM THE NUMBER OF
NOTES AND RESTS IN THE MEASURE1 THE
GENERAL SIGN FOR DISTINCTION OF VAL-
UES OR SPECIFIC SIGNS FOR SMALL AND
LARGE VALUE ARE USED4 ,EXAMPLE #A-D
IS IN FOUR-FOUR TIME2 A SPACE IS A
             #A-A--#A-D           #E
BAR LINE4 ,IN 7A71 THE DISTINCTION
OF VALUE SIGN IS PLACED BETWEEN A
HALF NOTE AND THE FOUR #CBND NOTES
THAT FOLLOW IT4 ,IN 7B7 THE SPECIFIC
SIGN FOR SMALLER VALUE IS USED4

  ,EXAMPLE #A-D4
  7A7 N<1ONOPGFE Y<K
  7B7 N,<1ONOPGFE Y<K

  #A-E4 ,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 VAL-
UE4 ,EXAMPLE #A-E BEGINS WITH AN
ANACRUSIS TO THE FOUR-FOUR MEASURES4

  ,EXAMPLE #A-E4
  ,<1Y DXJXDXEX FXGXO<K

  #A-F4 ,LARGE AND SMALL VALUE SIGNS
ARE ESPECIALLY USEFUL IN CADENZAS4
,THEY SHOULD BE USED WHEN EVER A
COMBINATION SUCH AS HALF NOTES AND
#CBND NOTES OCCUR EITHER IN A CADEN-
ZA OR A PASSAGE OF MEASURED MUSIC4


  ,EXAMPLE #A-F4
  ^<1R,<1ONTSRQPO<K

  #A-G4 ,THE WHOLE REST IS USED FOR
A COMPLETE MEASURE OF REST IN ANY
TIME VALUE4 ,FOR TWO OR THREE CON-
SECUTIVE MEASURES OF REST1 USE FORM
7A7 BELOW4 ,FOR FOUR OR MORE MEAS-
URES OF REST1 USE FORM 7B74 ,WHEN
THE SQUARE 7BREVIS7 REST APPEARS IN
PRINT1 USE FORM 7C74

  ,EXAMPLE #A-G4
    7A7 MMM
    7B7 #DM
    7C7 M^CM

         ,B4 ,OCTAVE ,MARKS
  #A-H4 ,OCTAVE MARKS1 RATHER THAN
CLEFS ON A STAFF1 INDICATE SPECIFIC
PITCH LOCATIONS IN BRAILLE MUSIC4
,OCTAVES ARE NUMBERED FROM ONE TO
SEVEN1 BEGINNING WITH THE LOWEST ,C
ON THE NORMAL1 SEVEN-OCTAVE PIANO4
,EACH OCTAVE BEGINS ON ,C AND IN-
CLUDES ALL THE NOTES UP TO1 BUT NOT
INCLUDING1 THE NEXT ,C ABOVE4 ,THE
             #A-E--#A-H           #G
FOURTH OCTAVE BEGINS ON THE 8MIDDLE
,C0 OF THE PIANO4 7,BECAUSE OF THE
NUMBER OF 8SIGNS0 IN THIS MANUAL1
THE ORIGINAL TERM1 8MARK01 IS USED
FOR THE MANY REFERENCES TO OCTAVE
MARKS THROUGHOUT THE MANUAL47
  #A-I4 ,THE OCTAVE MARK IS PLACED
IMMEDIATELY BEFORE THE NOTE TO WHICH
IT APPLIES WITH NO INTERVENING
SIGNS4 ,EXAMPLE #A-I SHOWS THE OC-
TAVE MARKS FROM #A TO #G PLACED BE-
FORE QUARTER-NOTE ,C4

  ,EXAMPLE #A-I4
  @? ^? _? "? .? ;? ,?
  @@[ ,A BELOW FIRST OCTAVE
  ,,? ,C ABOVE SEVENTH OCTAVE

  #A-AJ4 ,THE FIRST NOTE OF A PIECE
MUST BE PRECEDED BY ITS OCTAVE MARK4
,FOR THE SUCCEEDING NOTES THE FOL-
LOWING RULES APPLY3
    7A7 IF THE NEXT NOTE FORMS AN
ASCENDING OR DESCENDING SECOND OR
THIRD1 IT DOES NOT RECEIVE AN OCTAVE
MARK EVEN IF IT IS IN A DIFFERENT
OCTAVE4
    7B7 IF IT FORMS AN ASCENDING OR
DESCENDING FOURTH OR FIFTH1 IT ONLY
RECEIVES AN OCTAVE MARK IF IT IS IN
A DIFFERENT OCTAVE FROM THE PRECED-
ING NOTE4
    7C7 IF IT FORMS A SIXTH OR MORE1
IT MUST ALWAYS HAVE ITS OWN OCTAVE
MARK4
  #A-AA4 ,THESE RULES ARE ILLUSTRA-
TED IN THE FOLLOWING EXAMPLE FROM
THE 8,COLOGNE ,KEY0 OF #AHHH4

  ,EXAMPLE #A-AA4
           #D4
  .P:? [.O? W.P: N]$ :R]
  $?.[.? JDEFGHIJ NU<K

  #A-AB4 ,THE EXAMPLE ABOVE CONTAINS
A TIME SIGNATURE ON THE FIRST LINE
CONSISTING OF A NUMBER #D IN NORMAL
CELL-POSITION FOLLOWED BY A NUMBER
#D IN LOWER-CELL POSITION TO REPRE-
SENT #D/D TIME4 ,EACH MEASURE OF
FOUR BEATS IS SEPARATED BY A SPACE1
REPRESENTING THE PRINT BAR-LINE4
  #A-AC4 ,WHEN THE PRINT CONTAINS
8#HVA0 AND 8LOCO0 THE FIRST NOTE OF
THE 8#HVA0 7OR 8#H;BA07 SHOULD RE-
             #A-I--#A-AC          #I
CEIVE TWO OCTAVE MARKS1 THE FIRST
SHOWING ITS POSITION ON THE PRINT
STAFF AND THE SECOND SHOWING ITS AC-
TUAL SOUND4 ,ANY OCTAVE MARKS NECES-
SARY DURING THE PASSAGE MUST SHOW
THE ACTUAL SOUND4 ,THE FIRST NOTE
AFTER THE END OF THE PASSAGE IS GIV-
EN A DOUBLE OCTAVE MARK TO SHOW THAT
ITS POSITION ON THE STAFF CORRE-
SPONDS TO ITS ACTUAL SOUND4 ,EXAMPLE
#A-AC ILLUSTRATES THIS TECHNIQUE FOR
TRANSCRIBING 8#HVA0 AND 8LOCO04

  ,EXAMPLE #A-AC4
  #B4 _Y^(&Y^@Y^^Y&( _?V<K













           ,,II4 ,,CLEFS
            7,TABLE #B7

  ,SIGNS FROM ,TABLE #B4
777777777777777777777777777777777777
=>/L= ,G CLEF2 TREBLE
=>/K= ,G CLEF IN THE LEFT HAND PART
=>#L= ,F CLEF2 BASS
=>#K= ,F CLEF IN THE RIGHT HAND
  PART
=>+L= ,C CLEF2 ALTO CLEF FOR VIOLA
  OR HIGH CLEF FOR BASS
=>+"L= ,C CLEF ON FOURTH LINE2
  TENOR CLEF
=>/L#H= ,G CLEF WITH SMALL #H ABOVE
=>/L#8= ,G CLEF WITH SMALL #H BELOW
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #B-A4 ,ALTHOUGH CLEF SIGNS DO NOT
DETERMINE PITCHES OF NOTES IN
BRAILLE AS THEY DO IN PRINT1 A
KNOWLEDGE OF CLEF SIGNS IS VITAL TO
A COMPLETE UNDERSTANDING OF PRINT
MUSIC4 ,IN PRINT1 A CLEF SIGN AP-
PEARS AT THE BEGINNING OF EVERY
STAFF OF MUSIC4 ,IN BRAILLE1 WHEN
CLEF SIGNS ARE USED1 THEY GENERALLY
APPEAR ONLY AT THE BEGINNING OF
               #B-A              #AA
PIECES UNLESS THERE IS A CHANGE OF
CLEF4
  #B-B4 ,SOME COUNTRIES USE CLEF
SIGNS WITH ALL BRAILLE MUSIC EXCEPT
KEYBOARD MUSIC4 ,OTHERS OMIT THEM
FOR AN INSTRUMENT1 SUCH AS VIOLIN1
THAT ALWAYS PLAYS IN THE SAME CLEF4
,WHEN AN INSTRUMENT SUCH AS THE CEL-
LO CHANGES CLEFS1 THE CLEF SIGN IN-
FORMATION IS IMPORTANT IN TEACHING
MATERIALS4
  #B-C4 ,THE NOTE FOLLOWING A CLEF
SIGN MUST HAVE AN OCTAVE MARK4
  #B-D4 ,DOT #C MUST FOLLOW A CLEF
SIGN IF THE NEXT CHARACTER CONTAINS
DOTS #A1 #B1 OR #C4
  #B-E4 ,WHEN A TREBLE CLEF SIGN IS
PRINTED IN THE BASS STAFF OR A BASS
CLEF SIGN IS PRINTED IN THE TREBLE
STAFF1 THE FORMS ABOVE1 =>/K= AND
=>#K= ARE ESPECIALLY USEFUL TO
TEACHERS OF SIGHTED STUDENTS4 ,SEE
,EXAMPLE #AE-AD4

  ,SIGN FROM ,TABLE #AD4
777777777777777777777777777777777777
="= ,HYPHEN FOR UNFINISHED MEASURE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #B-F4 ,CLEF SIGNS CAN APPEAR ON
ANY LINE OF THE STAFF4 ,IN ORDER TO
SHOW THE LINE ON WHICH THE CLEF SIGN
IS PLACED1 ITS FINAL CHARACTER1 DOTS
#A-B-C1 IS PRECEDED BY AN OCTAVE
MARK AS FOLLOWS3

  ,EXAMPLE #B-F4
            #D4
  >#L^J)Z()Z(>+"L"JZ)>#L"
    "(EJH<K

  #B-G4 ,A CLEF SIGN WITH A SMALL #H
BELOW INDICATES THAT THE NOTES
SHOULD SOUND ONE OCTAVE LOWER THAN
WRITTEN4 ,SIMILARLY1 A CLEF WITH AN
#H ABOVE THE SIGN INDICATES THAT
NOTES SHOULD SOUND ONE OCTAVE HIGHER
THAN WRITTEN2 A #AF ABOVE OR BELOW A
CLEF SIGN INDICATES THAT NOTES
SHOULD SOUND TWO OCTAVES HIGHER OR
LOWER4 ,EXAMPLE #B-G IS MUSIC FOR
LUTE4 ,THE CLEF SIGN INDICATES THAT
THE NOTES WILL SOUND ONE OCTAVE LOW-
ER1 BUT THE PITCHES ARE TRANSCRIBED
AS PRINTED4

             #B-B--#B-G          #AC
  ,EXAMPLE #B-G4
         <<#C8
  >/L#8"JZYZ) D*"F%G<K

























  ,,III4 ,,ACCIDENTALS1 ,,KEY AND
        ,,TIME ,,SIGNATURES
            7,TABLE #C7

          ,A4 ,ACCIDENTALS

  ,SIGNS FROM ,TABLE #C ,A4
777777777777777777777777777777777777
=%= ,SHARP
=<= ,FLAT
=%%= ,DOUBLE SHARP
=<<= ,DOUBLE FLAT
=*= ,NATURAL
=,%= =,<= ,ACCIDENTAL ABOVE OR BELOW
  THE NOTE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #C-A4 ,THE SHARP1 FLAT AND NATURAL
SIGNS ARE PLACED BEFORE THE NOTES1
INTERVALS OR OTHER FEATURES TO WHICH
THEY BELONG4 ,THEY MUST NOT BE SEPA-
RATED FROM NOTES BY ANYTHING OTHER
THAN OCTAVE MARKS4
  #C-B4 ,IF AN ACCIDENTAL APPEARS
ABOVE OR BELOW A NOTE IN PRINT1 IT
IS PRECEDED BY DOT #F IN BRAILLE4
  #C-C4 ,QUARTER-STEP ALTERATIONS OF
AN ACCIDENTAL ARE DISCUSSED UNDER
             #C-A--#C-C          #AE
,MODERN ,NOTATION4 ,SEE ,PAR4 #AC-
AF4

    ,B4 ,KEY & ,TIME ,SIGNATURES
  #C-D4 ,KEY SIGNATURES REFLECT THE
NUMBER OF FLATS OR SHARPS1 NOT THE
ACTUAL PITCHES AS IN PRINT4 ,IF
THERE ARE FOUR OR MORE ACCIDENTALS
IN A KEY SIGNATURE1 THE NUMBER SIGN
IS USED4 ,SEE ,EXAMPLE #C-H4
  #C-E4 ,THE NEXT NOTE FOLLOWING A
KEY SIGNATURE MUST HAVE AN OCTAVE
MARK4 ,IF IT IS NOT FOLLOWED BY A
TIME SIGNATURE1 IT MUST BE FOLLOWED
BY A SPACE4
  #C-F4 ,WHEN TIME SIGNATURES CON-
SIST OF AN UPPER AND A LOWER NUMBER
IN PRINT1 THE BRAILLE USES UPPER-
AND LOWER-CELL NUMBERS WITH A NUMBER
SIGN ONLY AT THE BEGINNING OF THE
COMBINATION4 ,AN UPPER-CELL NUMBER
IS USED FOR A SINGLE-DIGIT TIME SIG-
NATURE4 ,IN OTHER TYPES OF SIGNA-
TURES AS WELL1 THE PRINT IS FOLLOWED
CLOSELY4



  ,SIGNS FROM ,TABLE #C ,B4
777777777777777777777777777777777777
=.C= ,C OR 8COMMON0 TIME
=_C= ,BARRED ,C OR 8CUT0 TIME
=#D4= =#AB8= ,TIME SIGNATURES WITH
  TWO NUMBERS
=#D= #D 7OR OTHER NUMBER7 ,TIME
  SIGNATURE WITH SINGLE NUMBER
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #C-G4 ,A TIME SIGNATURE MUST BE
FOLLOWED BY A SPACE1 AND THE NEXT
NOTE FOLLOWING IT MUST HAVE AN OC-
TAVE MARK4
  #C-H4 ,THE KEY AND TIME SIGNATURES
ARE COMBINED WITH OR WITHOUT ONE
SPACE BETWEEN1 ACCORDING TO THE
PRACTICE OF THE NATION4

  ,EXAMPLE #C-H4
  % #C4 ,ONE SHARP1 THREE-FOUR TIME
  #D<#D4 ,FOUR FLATS1 FOUR-FOUR TIME

  #C-I4 ,WHEN THERE IS A CHANGE OF
KEY AND/OR TIME SIGNATURE1 THE PRINT
MUST BE FOLLOWED EXACTLY4 ,SUCH A
CHANGE IS PLACED BETWEEN SPACES AND
THE NEXT NOTE MUST HAVE AN OCTAVE
             #C-D--#C-I          #AG
MARK4

  ,EXAMPLE #C-I4
  ***%%%
  #D*#F%#C4

  #C-AJ4 ,WHEN A NOTE APPEARS IN A
TIME SIGNATURE1 ,C IS USED FOR THE
NOTE NAME1 IT IS SHOWN WITH ITS TIME
VALUE1 AND IT IS PRECEDED BY THE MU-
SIC PREFIX1 DOTS #F1 #C4 ,SEE ,EXAM-
PLE #AC-AH4
  #C-AA4 ,SOME OTHER UNUSUAL TIME
SIGNATURES ARE SHOWN IN ,EXAMPLE
#AC-AI4













     ,,IV4 ,,RHYTHMIC ,,GROUPS
            7,TABLE #D7

  #D-A4 ,IN PRINT1 SMALLER NOTES ARE
OFTEN JOINED BY ONE OR MORE HORIZON-
TAL BEAMS INTO BEATS OR PORTIONS OF
BEATS4 ,EIGHTH NOTES ARE JOINED BY
ONE BEAM1 #AFTH NOTES BY TWO BEAMS1
#CBND NOTES BY THREE BEAMS1 ETC4
,BRAILLE DUPLICATES THAT PRACTICE
WITHIN CERTAIN CONSTRAINTS4
  #D-B4 ,THREE OR MORE #AFTHS OR
SMALLER-VALUE NOTES MAY BE 8GROUPED0
IN BRAILLE4 ,THE MEMBERS OF THE
GROUP WILL ALL BE IN THE SAME BEAT
OR PORTION OF A BEAT AND HAVE THE
SAME VALUE4 ,WHEN 8GROUPED01 ONLY
THE FIRST NOTE OF THE BRAILLE GROUP
CONTAINS DOTS #C AND/OR #F AS NECES-
SARY4 ,THE OTHER NOTES IN THAT GROUP
ARE WRITTEN AS IF THEY WERE #HTH
NOTES4

  ,EXAMPLE #D-B4
  #D4 "YEFG(IJDZDJI(GFE<K

  #D-C4 ,BECAUSE A GROUP ENDS WITH
             #C-AJ--#D-C         #AI
NOTES THAT LOOK LIKE #HTHS1 IF AN
#HTH NOTE OR #HTH REST FOLLOWS IN
THE SAME MEASURE AND IS ON THE SAME
BRAILLE LINE1 ALL OF THE NOTES IN
THE GROUP MUST BE WRITTEN IN THEIR
NORMAL FORM4

  ,EXAMPLE #D-C4
              #D4
  "YEFG\&=(!HF EG(GFENEFGRIJD"
  JH .Y<K

  #D-D4 ,GROUPING MAY BE USED IF A
REST OF THE SAME VALUE IS AT THE BE-
GINNING OF THE GROUP4 ,IT MUST NOT
BE USED IF A REST APPEARS IN ANY
OTHER POSITION IN THE GROUP4

  ,EXAMPLE #D-D4
  #C4 M"FGHMGHIMHIJ<K

  #D-E4 ,GROUPING IS BASED ON THE
TIME SIGNATURE1 I4E41 IN TWO-FOUR1
FOUR-FOUR1 ETC4 #AFTH NOTES APPEAR
IN GROUPS OF FOUR2 IN THREE-EIGHT1
SIX-EIGHT1 ETC4 #AFTH NOTES APPEAR
IN GROUPS OF SIX4 ,IN GENERAL1
#AFTHS ARE GROUPED BY FOURS IN TIME
SIGNATURES WITH A LOWER NUMBER OF
TWO OR FOUR2 THEY ARE NOT GROUPED BY
FOUR WHEN THE LOWER NUMBER IS EIGHT
OR #AF4 ,THIRTY-SECONDS AND SMALLER
NOTES ARE GENERALLY GROUPED BY FOURS
OR SIXES IN RHYTHMIC PORTIONS OF
BEATS4
  #D-F4 ,GROUPING MAY NOT BE USED IF
THE GROUP CANNOT BE COMPLETED ON THE
SAME BRAILLE LINE4

  ,EXAMPLE #D-F4
              #C8
    "YEFGHI RIHG$ QHGFZDEF =&"
  =(!) ?'<K

  ,SIGNS FROM ,TABLE #A4
777777777777777777777777777777777777
=^<1= ,LARGER VALUES2 #HTHS AND
  LARGER
=,<1= ,SMALLER VALUES2 #AFTHS AND
  SMALLER
=<1= ,SEPARATION OF RHYTHMIC GROUPS
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #D-G4 ,IN A CASE WHERE SYNCOPATED
#HTH NOTES MIGHT BE MISTAKEN FOR A
GROUP OF #AFTHS1 THE LARGER-VALUE
             #D-D--#D-G          #BA
SIGN IS ADDED FOR CLARITY4

  ,EXAMPLE #D-G4
  #B4 .&^<1EDJ! \V<K

  #D-H4 ,WHEN #HTH NOTES ARE GROUPED
ACROSS A BAR LINE IN PRINT1 THE SIGN
=<1= MAY BE USED TO SHOW THE SEPARA-
TION OF RHYTHMIC GROUPS4 ,THIS SAME
SIGN IS ALSO USED IN SOME COUNTRIES
TO SHOW DISTINCTION OF VALUE BETWEEN
GROUPS4

  ,EXAMPLE #D-H4
  #C4 X.DJIH<1I HGF<1GFE<K

  #D-I4 ,IN ADDITION TO BEAMS1 NUM-
BERS ARE ALSO PRINTED ABOVE GROUPS
OF TRIPLETS1 SEXTUPLETS1 ETC4 ,IN
BRAILLE1 THESE NUMBERS PRECEDE THE
FIRST NOTE OF EACH GROUP AND ARE
WRITTEN AS IN ,TABLE #D4






  ,SIGNS FROM ,TABLE #D4
777777777777777777777777777777777777
=_2'= ,GROUP OF TWO
=2= ,TRIPLET
=_3'= ,GROUP OF THREE2 TRIPLET
=_6'= ,GROUP OF SIX
=_10'= ,GROUP OF TEN1 ETC4
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #D-AJ4 ,THERE ARE TWO FORMS TO THE
TRIPLET SIGN4 ,THE SINGLE-CELL SIGN
IS USED WHEN THERE ARE NO OTHER SPE-
CIALLY MARKED RHYTHMIC GROUPS4 ,THE
THREE-CELL SIGN IS USED FOR A TRI-
PLET WITHIN A TRIPLET AND FOR PAS-
SAGES WHERE THERE ARE A NUMBER OF
OTHER MARKED GROUPS SUCH AS DUPLETS1
SEXTUPLETS1 ETC4

  ,EXAMPLE #D-AJ4
  .C .?2FGH2G_3'&=&E?<K

  #D-AA4 ,GROUPING SIGNS MAY BE DOU-
BLED1 BUT IN THE CASE OF THE THREE-
CELL GROUPING SIGNS IT IS UNNECESSA-
RY TO USE DOT #C AFTER THE FIRST OF
THE DOUBLED SIGNS4

             #D-H--#D-AA         #BC
  ,EXAMPLE #D-AA4
           %#D4
    _7_7'"&HJDEDJ!DFGHGF"
  "ZGIJDJI_7'(J%EFGFE<K

  #D-AB4 ,WHEN THE PRINT DOES NOT
INCLUDE APPROPRIATE NUMBERS FOR TRI-
PLETS1 SEXTUPLETS1 ETC41 THERE ARE
TWO SCHOOLS OF THOUGHT3
    #A4 THE NUMBER OF NOTES IN EACH
GROUP SHOULD BE INSERTED AS ABOVE2
OR #B4 PUT THE SIGN =<1= BETWEEN
GROUPS4















            ,V4 ,,CHORDS
            7,TABLE #E7

           ,A4 ,INTERVALS

  ,SIGNS FROM ,TABLE #E ,A4
777777777777777777777777777777777777
=/= ,SECOND
=+= ,THIRD
=#= ,FOURTH
=9= ,FIFTH
=0= ,SIXTH
=3= ,SEVENTH
=-= ,OCTAVE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #E-A4 8,IN CHORDS IN WHICH THE
NOTES ARE OF EQUAL VALUE1 ONE NOTE
ONLY IS WRITTEN4 ,THE OTHERS ARE IN-
DICATED BY THEIR INTERVALS FROM THAT
NOTE4 ,IN CHORDS WHICH BELONG TO THE
UPPER SERIES OF NOTES--SOPRANO1 AL-
TO1 VIOLIN1 VIOLA1 RIGHT HAND FOR
PIANO1 ORGAN AND HARP--THE UPPER
NOTE IS WRITTEN AND THE LOWER NOTES
ARE EXPRESSED BY DESCENDING INTER-
VALS4
  8,IN THE LOWER SERIES--TENOR1
             #D-AB--#E-A         #BE
BASS1 VIOLONCELLO1 AND LEFT HAND FOR
PIANO1 ORGAN AND HARP--THE LOWEST
NOTE IS WRITTEN AND THE OTHERS ARE
EXPRESSED BY ASCENDING INTERVALS40
    ..,MUSICAL ,NOTATION FOR THE
    .,BLIND1 ,BRITISH AND ,FOREIGN
    ,BLIND ,ASSOC41 ,LONDON1 #AHHH4

  #E-B4 ,THE QUOTATION ABOVE1 FROM
THE DOCUMENT KNOWN AS THE 8,COLOGNE
,KEY01 ESTABLISHED THE DIRECTIONS
FOR READING AND WRITING INTERVALS2
AND THE MEETING ITSELF ESTABLISHED
THE TRADITION OF THE INTERNATIONAL
WORK THAT CONTINUES TODAY4

  ,SIGNS FROM ,TABLE #AE ,A4
777777777777777777777777777777777777
=.>= ,RIGHT HAND PART
=_>= ,LEFT HAND PART
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

  ,EXAMPLE #E-B4
             #D4
  .>.Y/ Y+ Y# Y9 Y0 Y3 Y-<K
  _>_Y/ Y+ Y# Y9 Y0 Y3 Y-<K


  #E-C4 ,INTERVALS LARGER THAN AN
OCTAVE ARE WRITTEN WITH THE SAME SE-
RIES OF SIGNS PLUS AN APPROPRIATE
OCTAVE MARK4 ,A NINTH IS SHOWN WITH
THE INTERVAL OF A #BND IN THE NEW
OCTAVE1 A TENTH IS A THIRD IN THE
NEW OCTAVE1 ETC4

  ,EXAMPLE #E-C4
          #C4
  .>.\_0\_3]_9 P'"+<K

  #E-D4 ,A PRIME OR UNISON IS WRIT-
TEN BY PRECEDING THE SIGN FOR AN OC-
TAVE INTERVAL WITH THE OCTAVE MARK
SHOWING THAT IT IS SOUNDED AT THE
SAME PITCH AS THE NOTE ITSELF4

  ,EXAMPLE #E-D4
             %%#B4
  >/L":X';="0 ]"0X'"Z"- O"-<K

  #E-E4 ,IF MORE THAN ONE INTERVAL
FOLLOWS THE WRITTEN NOTE1 NO OCTAVE
MARK IS NECESSARY UNLESS TWO ADJA-
CENT INTERVALS ARE AN OCTAVE OR MORE
APART4
             #E-B--#E-E          #BG
  ,EXAMPLE #E-E4
            #C4
  >/L.\-#0\9+3]+39 P'+0+<K

  #E-F4 ,WHEN WRITTEN NOTES OF
CHORDS ARE DOTTED1 THE DOTS ARE
PLACED IMMEDIATELY AFTER THE NOTES
AS IN ,EXAMPLES #E-C AND #E-E4 ,IN-
TERVALS HAVE THE SAME VALUE AS WRIT-
TEN NOTES4
  #E-G4 ,THE MELODIC INTERVALS OF
THE WRITTEN NOTES DETERMINE WHETHER
OR NOT AN OCTAVE MARK IS NECESSARY
BEFORE EACH CHORD4

  ,EXAMPLE #E-G4
        %% #D4
  _>_:+9-^E'-Z-:-V<K

  #E-H4 ,IF THERE ARE MORE THAN #C
IDENTICAL INTERVALS IN A ROW1 THEY
MAY BE DOUBLED4 ,THE INTERVAL SIGN
IS WRITTEN TWICE AFTER THE FIRST
NOTE4 ,THE FOLLOWING NOTES OF THAT
SERIES ARE WRITTEN WITHOUT INTER-
VALS1 AND THE SERIES IS CLOSED BY
WRITING ITS INTERVAL OR INTERVALS
ONCE AFTER THE LAST NOTE4 ,AN ACCI-
DENTAL BEFORE ANY DOUBLED INTERVAL
EXCEPT AN OCTAVE MAKES IT NECESSARY
TO INTERRUPT THE SERIES4

  ,EXAMPLE #E-H4
    7A7
            %%#D4
  >/L.:<++:EZ'OEZZ+ O%9?+V<K

    7B7
           #C4
  _>^W00?W [[%0?0 T'0<K

  #E-I4 ,IN A PASSAGE OF DOUBLED OC-
TAVES THE DOUBLING NEED NOT BE IN-
TERRUPTED BY THE OCCURRENCE OF ACCI-
DENTALS AT THE INTERVAL OF AN OC-
TAVE4 ,IN SOME COUNTRIES1 ACCIDEN-
TALS ARE NOT INCLUDED BEFORE AN OC-
TAVE INTERVAL1 ONLY BEFORE THE WRIT-
TEN NOTE OF AN OCTAVE4 ,OTHER COUN-
TRIES MARK ALL ACCIDENTALS AS THEY
APPEAR IN PRINT4

  ,EXAMPLE #E-I4
  #C4 _>_D--<FE<JIH-<K

             #E-F--#E-I          #BI
  #E-AJ4 ,A CHANGE OF CLEF WITHIN A
PART OR VOICE SHOULD NOT CAUSE A
CHANGE TO THE DIRECTION IN WHICH IN-
TERVALS ARE WRITTEN4

          ,B4 ,IN-ACCORDS

  ,SIGNS FROM ,TABLE #E ,B4
777777777777777777777777777777777777
=<>= ,FULL-MEASURE IN-ACCORD
="1= ,PART-MEASURE IN-ACCORD
=.K= MEASURE DIVISION FOR PART-
  MEASURE IN-ACCORD
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #E-AA4 ,WHEN ALL OF THE HARMONIC
PARTS DO NOT CHANGE AT THE SAME
TIME1 THEY ARE SHOWN BY DIVIDING THE
MEASURE INTO VOICES OF LIKE VALUE
AND PRESENTING TWO OR MORE SECTIONS
OF THE MEASURE 8IN-ACCORD0 OR 8WITH0
EACH OTHER4 ,WHEN THE ENTIRE MEASURE
IS DIVIDED1 THE FULL-MEASURE IN-AC-
CORD IS USED4
  #E-AB4 ,THE OCTAVE MARK MUST BE
SHOWN FOR THE FIRST NOTE AFTER AN
IN-ACCORD AND AT THE BEGINNING OF
THE NEXT MEASURE1 WHETHER OR NOT
THAT MEASURE CONTAINS AN IN-ACCORD4
  #E-AC4 ,THE ORDER IN WHICH THE
PARTS ARE WRITTEN IS THE SAME AS THE
DIRECTION OF INTERVALS4 ,IN TREBLE
PARTS THE TOP VOICE IS WRITTEN
FIRST2 IN BASS PARTS THE BOTTOM
VOICE IS WRITTEN FIRST4

  ,EXAMPLE #E-AC4
    7A7
            #D4
  .>.Y<>"$:$] ")<>"\]$:<K

    7B7
            %#C4
  _>_O'<>_[+\<+*]+ _R'<+<K

  #E-AD4 ,IN SOME FORMATS INTERVALS
MAY BE DOUBLED IN AN IN-ACCORD PART1
AND THE DOUBLING MAY BE CARRIED OVER
INTO THE SAME VOICE OF SUCCEEDING
MEASURES AS LONG AS THE SAME NUMBER
OF VOICES CONTINUES4

  ,EXAMPLE #E-AD4
              #E%#C4
  _>_O'@C<>"?'++J*[ _O'<>_['HW+<K

            #E-AJ--#E-AD         #CA
  #E-AE4 ,ACCIDENTALS IN ONE VOICE
DO NOT CARRY OVER TO THE IN-ACCORD
PART4 ,MOST COUNTRIES FEEL THEY MUST
BE RE-MARKED IN THE OTHER PART AND
PRECEDED BY DOT #E TO INDICATE THE
ACCIDENTAL DOES NOT APPEAR IN THE
PRINT COPY4

  ,EXAMPLE #E-AE4
               #D4
  .>'X.E<F%GH<J[<>.?'E"<$'"%G<K

  #E-AF4 ,RESTS MUST OCCASIONALLY BE
ADDED TO AN IN-ACCORD PART4 ,THESE
ALSO SHOULD BE PRECEDED BY DOT #E4

  ,EXAMPLE #E-AF4
            #D4
  .>"[+H+X\GX<>"?'"X?'"X<K

  #E-AG4 ,IF ONLY PART OF A MEASURE
NEEDS AN IN-ACCORD1 THE PART-MEASURE
IN-ACCORD SIGN IS USED ALONG WITH A
SIGN TO SHOW WHICH SECTION OF THE
MEASURE IS AFFECTED BY THE IN-AC-
CORD4
  #E-AH4 ,AS WITH THE FULL-MEASURE
IN-ACCORD SIGN1 THE FIRST NOTE FOL-
LOWING EITHER OF THESE SIGNS MUST
HAVE AN OCTAVE MARK4 ,IF THE IN-AC-
CORD OCCURS AT THE END OF THE MEAS-
URE1 THE FIRST NOTE OF THE NEXT
MEASURE ALSO MUST HAVE AN OCTAVE
MARK4

  ,EXAMPLE #E-AH4
             #D4
  >/L"\H.D.K.Q"1.?JI .P'0V<K

  #E-AI4 ,AS WITH THE FULL-MEASURE
IN-ACCORD1 ACCIDENTALS OR RESTS MUST
BE RE-MARKED 7AND PRECEDED BY DOT
#E7 IF THEY OCCUR IN ANOTHER IN-AC-
CORD VOICE4
  #E-BJ4 ,SOME MEASURES MAY REQUIRE
MORE THAN TWO IN-ACCORD PARTS4

  ,EXAMPLE #E-BJ4
          <<#C4
  >#L_Q'<>"V_S<>V"$'*F<K

  #E-BA4 ,FULL- AND PART-MEASURE
IN-ACCORDS MAY BE USED IN THE SAME
MEASURE4

            #E-AE--#E-BA         #CC
  ,EXAMPLE #E-BA4
           #D4
  >/L"HF.K"I'(G&=(GFE"1
  "DI"E'YJ!)<>_(<K

         ,C4 ,MOVING-NOTES
  #E-BB4 ,ANOTHER WAY OF SHOWING IN-
TERVAL CHANGES THAT DO NOT OCCUR IN
ALL PARTS AT THE SAME TIME IS
THROUGH THE USE OF MOVING-NOTE
SIGNS4

  ,SIGNS FROM ,TABLE #E ,C4
777777777777777777777777777777777777
=,= ,MOVING-NOTE SIGN FOR ONE
  INTERVAL
=;= ,MOVING-NOTE SIGN FOR TWO OR
  MORE INTERVALS
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #E-BC4 ,WHEN TWO1 OR AT MOST
THREE1 NOTES OF EQUAL VALUE MOVE BE-
LOW OR ABOVE A LONGER NOTE1 THEY CAN
BE WRITTEN AS INTERVALS SEPARATED BY
DOT #F4
  #E-BD4 ,IN THE FOLLOWING EXAMPLE
THE FIRST TWO INTERVALS REPRESENT
HALF NOTES AND THE REMAINING INTER-
VALS REPRESENT QUARTER NOTES4
  ,EXAMPLE #E-BD4
  #D4 .>.(+,9 R'+,#,9V<K

  #E-BE4 ,THE MOVING-NOTE SIGN CAN
ALSO BE USED WHEN TWO OR MORE INTER-
VALS MOVE TOGETHER IN A SIMILAR MAN-
NER1 BUT IN THIS CASE DOTS #E-F ARE
SUBSTITUTED FOR DOT #F4

  ,EXAMPLE #E-BE4
  #D4 .>.(+9;9+  R'+9;#-;9+V<K

  ,SIGNIFIES3
  #D4 .>.(<>.P+N0 .R'"1.$+:9"
    ?0.KV<K

  #E-BF4 ,THE USE OF OCTAVE MARKS IN
THE MOVING PART IS GOVERNED BY THE
RULES FOR INTERVALS1 ,PAR4 #A-AJ4
,COMPARE 7A7 AND 7B7 BELOW4

  ,EXAMPLE #E-BF4
        7A7 <<<#F8
  >/L.]'-,<+,-$'0,+,*9<K

        7B7 <<<#F8
  >/L.]'$'<>"G<.E"GH.D*I<K
            #E-BB--#E-BF         #CE
  #E-BG4 ,WHEN AN ACCIDENTAL MODI-
FIES A MOVING NOTE1 THE APPROPRIATE
MOVING-NOTE SIGN PRECEDES THE ACCI-
DENTAL AS IN ,EXAMPLE #E-#BF 7A74
  #E-BH4 ,THE MOVING-NOTE SIGN MAY
BE USEFUL TO VOCAL CONDUCTORS4 ,WHEN
THERE ARE COMPLICATIONS OF FINGER-
ING1 PHRASING1 AND NUANCES1 IT BE-
COMES UNSUITABLE FOR INSTRUMENTAL
AND KEYBOARD MUSIC4
  #E-BI4 ,TONE CLUSTERS ARE DIS-
CUSSED UNDER ,CHAPTER ,,XIII1 ,MOD-
ERN ,NOTATION4

          ,D4 ,STEM SIGNS
  #E-CJ4 ,AN ADDITIONAL STEM PLACED
ON A NOTE OR CHORD MAY INDICATE A
PRIME OR UNISON 7,EXAMPLE #E-D71 ONE
VOICE THAT BECOMES AN IN-ACCORD
7,EXAMPLE #E-BJ7 OR A NOTE TO BE
HELD WHILE A RHYTHMIC PATTERN CON-
TINUES4 ,IN THE LAST CASE1 WHEN AN
IN-ACCORD IS NOT SATISFACTORY1 STEM
SIGNS ARE USED TO INDICATE VALUE4
,WHEN A NOTE HAS TWO STEMS OF DIF-
FERENT VALUE1 THE SMALLER VALUE IS
WRITTEN AS A NOTE1 AND THE LARGER
VALUE IS WRITTEN AS A STEM SIGN4
  ,SIGNS FROM ,TABLE #E ,D4
777777777777777777777777777777777777
=_'= ,WHOLE 8STEM0
=_K= ,HALF STEM
=_A= ,QUARTER STEM
=_B= #HTH STEM
=_L= #AFTH STEM
=_1= #CBND STEM
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #E-CA4 ,STEM SIGNS ARE PLACED AFT-
ER THE NOTES TO WHICH THEY BELONG
AND MAY NOT BE SEPARATED FROM THEM
BY THE MUSIC HYPHEN4 ,THESE SIGNS
MAY BE DOTTED IN THE SAME WAY AS
WRITTEN NOTES1 AND THEY MAY BE MODI-
FIED BY SLURS1 TIES AND NUANCES4

  ,EXAMPLE #E-CA4
             %%%.C
  _>'2_G_KI_A'"E?2*_G_KI_A'"F"
    %: 2_F_KI_A'"G$"
    2_F_KH_A'"F:<K





            #E-BG--#E-CA         #CG
      ,,VI4 ,,SLURS AND ,,TIES
            7,TABLE #F7

             ,A4 ,SLURS
  #F-A4 ,IN PRINT1 ALL SLURS AND
TIES ARE IDENTICAL EXCEPT FOR LENGTH
AND SLIGHT VARIATIONS IN SHAPE4 ,ALL
OF THE BRAILLE SIGNS LISTED IN ,TA-
BLE #F HAVE BEEN APPROVED INTERNA-
TIONALLY FOR USE1 BUT THEIR USE IS
NOT MANDATORY4 ,PRACTICE BETWEEN
COUNTRIES VARIES WIDELY1 I4E41 SOME
COUNTRIES REGULARLY USE SIGNS TO IN-
DICATE WHETHER A SLUR OR TIE IS 8GO-
ING TO0 OR 8COMING FROM0 A DIFFERENT
IN-ACCORD OR STAFF2 SOME COUNTRIES
USE THESE INDICATIONS ONLY IN COM-
PLEX MUSIC1 AND SOME COUNTRIES NEVER
USE A 8FROM0 SIGN4 ,THE EXAMPLES IN
THIS ,CHAPTER ARE PROVIDED TO DEMON-
STRATE THE MEANINGS AND POSSIBLE USE
OF SLUR AND TIE SIGNS THAT ARE USED
ACCORDING TO THE DECISIONS OF LOCAL
NATIONS4




  ,SIGNS FROM ,TABLE #F ,A4
777777777777777777777777777777777777
=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
=;C= ,SLUR THAT DOES NOT END ON A
  NOTE
=;C= ,SLUR FOR SHORT APPOGGIATURA2
  8GRACE NOTE0 SLUR IN SOME
  COUNTRIES
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
                #F-A             #CI
  #F-B4 ,THE SIGN1 =C=1 IS USED FOR
A SLUR OF NO MORE THAN FOUR NOTES4
,IT IS PLACED AFTER EACH NOTE OF THE
PHRASE EXCEPT THE LAST4

  ,EXAMPLE #F-B4
               #C4
  X"HCFXX.DC <JCIX.GCEC*JC ?U<K

  #F-C4 ,WHEN A SLUR EXTENDS FOR
MORE THAN FOUR NOTES1 THERE ARE TWO
POSSIBLE SLURS FOR USE4
    7A7 ,THE =C= SIGN IS DOUBLED
AFTER THE FIRST NOTE OF THE PHRASE
AND REPEATED IN ITS SINGLE FORM AFT-
ER THE NEXT TO LAST NOTE OF THE
PHRASE AS IN ,EXAMPLE #F-C 7A74
    7B7 ,THE SIGN =;B= IS PLACED BE-
FORE THE FIRST NOTE OF THE PHRASE
AND THE SIGN =^2= IS PLACED AFTER
THE LAST NOTE OF THE PHRASE AS IN
,EXAMPLE #F-C 7B74

  ,EXAMPLE #F-C4
    7A7
           #B4
  "\CCIJ ?EF ]FE $CDX<K

    7B7
           #B4
  ;B"\IJ ?EF ]FE $D^2X<K

  #F-D4 ,WHEN THERE ARE TWO SETS OF
SLURS IN PRINT1 THE SECOND FORM
ABOVE IS USED FOR THE LONGER SLUR4

  ,EXAMPLE #F-D4
          #D%#C4
    ;B"W'CHCJC.F \'CGCFCE
  %JCCDFEG&CY W'^2XV<K

  #F-E4 ,WHEN ONE SLUR ENDS AND AN-
OTHER BEGINS ON THE SAME NOTE1 THERE
ARE TWO POSSIBILITIES4

  ,EXAMPLE #F-E4
    7A7
            #D4
    ;B_YEFG(IJDZFED)DJI
  ;B^2HJEJH"EGE JHGE?^2V<K

    7B7
           #D4
    _YCCEFG(IJDZFED)DJI
  H'CCJEJH"EGE JHGEC?V<K
             #F-B--#F-E          #DA
  #F-F4 ,WHEN A SLUR PASSES FROM ONE
IN-ACCORD PART TO ANOTHER ON THE
SAME STAFF1 THE SLUR SIGN PRECEDED
BY DOTS #D-E-F IS USED4 ,IN ,EXAMPLE
7A71 THE FACT THAT THE SLUR WILL GO
TO A DIFFERENT IN-ACCORD IS INDICAT-
ED IMMEDIATELY4 ,IN 7B71 THE INDICA-
TION DOES NOT APPEAR UNTIL THE POINT
OF TRANSFER4 ,EXAMPLE #F-BA 7A7
SHOWS THE SAME MUSIC WITH THE ADDI-
TION OF 8FROM0 SIGNS4

  ,EXAMPLE #F-F4
    7A7
               #B4
    .>'X"F_CDCJC XZ_CC&=FED<>
  _C_S M;B"EFG(IHG<>_C_T "P+^2<K

    7B7
               #B4
    .>'X"FCDCJ_C XZCC&=FED_C<>
  _C_S M;B"EFG(IHG<>_C_T "P+^2<K

  #F-G4 ,WHEN A SLUR PASSES FROM ONE
STAFF TO ANOTHER1 IT IS PRECEDED BY
DOT #E AS IN ,EXAMPLE 7A7 BELOW4
,THE DOUBLED FORM OF THE SLUR IS
USED IN 7B7 BECAUSE THERE ARE MORE
THAN FOUR NOTES IN THE PHRASE TO BE
SLURRED4 ,THE OTHER FORM OF PHRASING
SLUR IS USED IN 7C74 ,THIS EXAMPLE
INCLUDES TRACKER DOTS1 USED ONLY IN
BAR-OVER-BAR FORMAT4 ,EXAMPLE #F-BA
7B7 SHOWS THE ADDITION OF A 8FROM0
SIGN TO CLARIFY THAT THE SLUR ENDS
IN MEASURE #B4

  ,EXAMPLE #F-G4
    7A7
            %%#C4
  .>"[C]C:"C V.:C0?C0 O'0<K
  _>'M "C_S^[C _O'<K

    7B7
             %%#C4
  .>"I"CCHGFED V.:C0?C0 O'0<K
  _>'M _W"C[^[C _O'<K

    7C7
             %%#C4
  .>;B"IHGFED"C V.:0C?0C O'0<K
  _>'M '''''''' _W[^2^[C _O'<K

  #F-H4 ,ANOTHER DIFFERENCE IN PRAC-
TICE BETWEEN COUNTRIES OCCURS IN THE
             #F-F--#F-H          #DC
WAY SLURS ARE WRITTEN WITH CHORDS4
,IN ,EXAMPLE #F-G 7A7 AND 7B71 THE
SLURS ARE PLACED AFTER THE WRITTEN
NOTES OF THE CHORDS AND BEFORE THE
INTERVAL SIGNS4 ,IN ,EXAMPLE #F-G
7C71 THE SLURS ARE PLACED AFTER THE
COMPLETE CHORDS4
  #F-I4 ,IN ,EXAMPLE #F-I1 THE VOICE
MOVING FROM HAND-TO HAND IS INDICAT-
ED IN PRINT WITH A STRAIGHT LINE1 TO
INDICATE VOICE-LEADING1 RATHER THAN
AS A SLUR4 ,THE =@L= SIGN IS USED
FOR A STRAIGHT VOICE-LEADING LINE4
,THE SIGN FOR THE END OF THIS LINE
IS ALSO INCLUDED1 ALTHOUGH SOME
COUNTRIES LIMIT THE USE OF THE 8END-
ING0 SIGN TO MORE COMPLEX SITUA-
TIONS4

  ,EXAMPLE #F-I4
          %%#C4
  .>"[]:@L V.:0?0  O'0<K
  _>'M     .@L_S^[ _O'<K

  #F-AJ4 ,EXAMPLE #F-AJ CONTAINS TWO
EDITORIAL SLURS AND A STANDARD SLUR
IN MUSIC FOR CELLO4 ,THE SLURS ADDED
BY THE EDITOR ARE PRINTED WITH DOT-
TED LINES1 SO THE SIGN ="L= IS USED4
,THAT SIGN IS ALSO USED FOR OTHER
EDITORIAL MARKINGS SUCH AS DYNAMICS1
PEDALLING1 ETC4

  ,EXAMPLE #F-AJ4
           <#C4
  _YB"LC&A"LC!"LCYF'"LCY"
    *)1CIC%HCI<K

  #F-AA4 ,A SLUR THAT DOES NOT END
ON A NOTE OR THE 8SLUR INTO NOWHERE0
=;C= IS ILLUSTRATED FOR GUITAR IN
,EXAMPLE #AG-CF AND FOR PERCUSSION
IN ,EXAMPLE #AH-AF4
  #F-AB4 ,A SPECIAL INDICATION THAT
A SLUR IS ASSOCIATED WITH A SHORT
APPOGGIATURA IS ILLUSTRATED IN ,EX-
AMPLE #AA-G4 ,SOME COUNTRIES USE
=;C= AS A 8GRACE NOTE SLUR0 AND OTH-
ER COUNTRIES USE THE NORMAL SLUR1
DOTS #A-D1 FOR ALL APPOGGIATURAS1 AS
IN ,EXAMPLE #AA-F4




             #F-I--#F-AB         #DE
             ,B4 ,TIES

  ,SIGNS FROM ,TABLE #F ,B4
777777777777777777777777777777777777
=@C= ,SINGLE-NOTE TIE
=.C= ,CHORD TIE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #F-AC4 ,IN PRINT1 A TIE IS NOTATED
EXACTLY THE SAME AS A SLUR4 ,WITH
FEW EXCEPTIONS1 TIE SIGNS ARE USED
WHEN THE PRINT LIGATURE APPEARS BE-
TWEEN TWO IDENTICAL PITCHES4 ,THE
SIGN FOR A SINGLE-NOTE TIE IS PLACED
IMMEDIATELY AFTER THE FIRST OF THE
TWO TIED NOTES1 OR AFTER ANY SLUR1
FINGERING OR TREMOLO INDICATIONS
CONNECTED WITH THIS NOTE4 ,IT FOL-
LOWS THE DOTS IN THE CASE OF DOTTED
NOTES4
  #F-AD4 ,WHEN A NOTE INFLECTED BY
AN ACCIDENTAL IS TIED OVER A BAR
LINE AND IS NOT RE-MARKED IN PRINT1
IT IS HANDLED IN THREE DIFFERENT
WAYS ACCORDING TO NATIONAL CODES4
    7A7 ,IF THE NEW MEASURE FALLS ON
A NEW BRAILLE LINE1 THE ACCIDENTAL
MUST BE RE-MARKED2
    7B7 FOLLOW PRINT1 RE-MARKING THE
ACCIDENTAL ONLY IF IT APPEARS IN THE
PRINT COPY2
    7C7 THE SECOND NOTE MUST ALWAYS
BE RE-MARKED4 ,EXAMPLE #F-AD IS
WRITTEN HERE ACCORDING TO 7B71 AS IT
APPEARS IN PRINT4

  ,EXAMPLE #F-AD4
              #C4
  .?@C ?W<W@C W[<[@C [\<IG P<K

  #F-AE4 ,IF ONLY ONE NOTE IS TIED
BETWEEN TWO CHORDS1 THE SINGLE-NOTE
TIE IS PLACED IMMEDIATELY AFTER THE
APPROPRIATE WRITTEN NOTE OR INTER-
VAL4

  ,EXAMPLE #F-AE4
            #D4
  >/L"W+@CD#E@C0:3@CD0X<K

  #F-AF4 ,IF ONE OR MORE OF THE
NOTES OF TWO IDENTICAL CHORDS ARE
REPEATED WHILE THE OTHERS REMAIN
TIED1 THE SINGLE-NOTE TIE SIGN MUST
BE USED FOR EACH TIED NOTE OR INTER-
VAL4
            #F-AC--#F-AF         #DG
  ,EXAMPLE #F-AF4
              #D4
  >/L.N@C#0-@CN#@C0@C- Y#0-<K

  #F-AG4 ,IF TWO CHORDS ARE TIED IN
A SUCCESSION OF CHORDS WRITTEN WITH
DOUBLED INTERVALS1 THE DOUBLING NEED
NOT BE INTERRUPTED4

  ,EXAMPLE #F-AG4
           #F8
  .>.D##00.C DJI.CIH.G.C
  GFE?#0<K

  #F-AH4 ,IN SOME COUNTRIES THE
CHORD TIE SIGN MAY BE DOUBLED AS3
=.CC=4

  ,EXAMPLE #F-AH4
            #D4
  >/L.N#0.CC N#3T+0 T#0S+9
    "S+3.CR@C/0 R+9<K

  #F-AI4 ,A REPEAT DOES NOT INCLUDE
A TIE ON THE LAST NOTE OR CHORD OF
THE PASSAGE4 ,SEE ,EXAMPLES #I-BE
7A7 AND #I-BF4
  #F-BJ4 ,THE ACCUMULATING ARPEGGIO
IS WRITTEN AS FOLLOWS3

  ,EXAMPLE #F-BJ4
  >/L'55_P^C%"R%.N5P)93+_9<K

     ,C4 ,MORE ,SLURS AND ,TIES
            FOR ,USE IN
    ,SECTION-BY-SECTION ,FORMATS

  ,SIGNS FROM ,TABLE #F ,C4
777777777777777777777777777777777777
=._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
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #F-BA4 ,THE SIGNS IN PART 7,C7 OF
,TABLE #F ARE USED MORE WIDELY IN
MUSIC WRITTEN IN SECTIONS4 ,DOTS
#D-F ADDED TO A SLUR OR TIE SIGN
            #F-AG--#F-BA         #DI
CLARIFIES THAT IT IS 8COMING FROM0
ANOTHER IN-ACCORD OR STAFF4 ,EXAM-
PLES #F-BA 7A7 AND 7B7 ARE FROM THE
SAME MUSIC AS ,EXAMPLES #F-F 7A7 AND
#F-G 7B7 RESPECTIVELY4

  ,EXAMPLE #F-BA
    7A7
              #B4
    .>'X"F_CDCJC XZ_CC&=FED<>
  ._C_S M;B"EFG(IHG<>._C_T
  "P+^2<K

    7B7
             %%#B4
  .>"I"CCHGFED V.:C0?C0 O'0<K
  _>'M _W."C[^[C _O'<K

  #F-BB4 ,AS WITH A SLUR1 DOTS #D-
E-F BEFORE A SINGLE-NOTE OR CHORD
TIE SIGN INDICATES THAT THE TIE IS
HELD INTO A DIFFERENT IN-ACCORD
PART4 ,IN ,EXAMPLE #F-BB1 THE SIGN
=._@C= CLARIFIES THAT THE TIE IN THE
SECOND IN-ACCORD PART DEFINITELY
PERTAINS TO THE NOTE ,F4


  ,EXAMPLE #F-BB4
             #F4
  .>.?W\]_@CW?<>"P?:._@C]$<K

  #F-BC4 ,AS WITH SLURS1 DOT #E IN-
DICATES A CHANGE OF STAFF AND AGAIN1
DOTS #D-F INDICATE THAT A SIGN IS
COMING FROM AN IN-ACCORD OR A STAFF4
,IN ,EXAMPLE #F-BC AN ,F FROM THE
LEFT HAND IS TIED TO THE SAME NOTE
TO BE HELD BY THE RIGHT HAND IN THE
NEXT MEASURE4 ,THE SPECIAL TIE SIGN
IS REPEATED BEFORE THE ,F IN THE
RIGHT HAND4 ,BECAUSE THE SIGN OCCURS
IMMEDIATELY AFTER AN IN-ACCORD SIGN1
IT IS APPARENT THAT IT MUST BE 8COM-
ING FROM0 SO THE SIGN WITH DOTS #D-F
IS NOT USED4

  ,EXAMPLE #F-BC4
              #F4
  .>'#D< *.$'*Z&G<F*O<F*E<>
    *"T?@CN<W .?@CD*ZY*J*!)"
    ?@CD<)<!HI<>"@C"Q\Q$@C<K
  _>'#D< _R[JI\?<>*":\]@CQ'"@C
    _Q9?*"/^Q"9_?-<K

            #F-BB--#F-BC         #EA
  #F-BD4 ,IN ,EXAMPLE #F-BD1 THE
SIGN FOR A CLOSING TIE FALLS BETWEEN
A NOTE AND ITS INTERVAL4 ,IN ORDER
TO CLARIFY THAT THE CHANGE-OF-STAFF
TIE SIGN IS 8FROM01 DOTS #D-F PRE-
CEDE THAT SIGN IN THE RIGHT HAND
PART4

  ,EXAMPLE #F-BD4
             #F4
  .>"R'@CR@C\<>*"$]*:."@C*#"
    *P@C/+@C$+<K
  _>_?9*:*9"@C^\_?'J<IH<>
    "N_]R'<K














         ,,VII4 ,,TREMOLOS
            7,TABLE #G7

  #G-A4 ,THERE ARE TWO DIFFERENT
TYPES OF PRINT NOTATION LABELLED
8TREMOLO0 BY MUSICOLOGISTS4 ,ONE IN-
DICATES A REPETITION OF NOTES OR
CHORDS2 THE OTHER INDICATES ALTERNA-
TION BETWEEN NOTES OF PARTS OF A
CHORD4

          ,A4 ,REPETITION
  #G-B4 ,HERE ARE THE MOST COMMONLY
USED SIGNS FROM ,TABLE #G ,A FOR THE
REPETITION-TYPE OF TREMOLO3

  ,EXAMPLE #G-B4
=^B= ,REPETITION IN #HTHS
=^L= ,REPETITION IN #AFTHS
=^1= ,REPETITION IN #CBNDS

  #G-C4 ,WHEN ONE OR MORE SLASHES
CROSS THE STEM OF A NOTE1 THE NOTE
IS TO BE DIVIDED AND REPEATED AS
#HTHS 7ONE SLASH71 #AFTHS 7TWO
SLASHES71 #CBNDS 7THREE SLASHES71
ETC4 ,FOR STRING PLAYERS THIS INDI-
             #F-BD--#G-C         #EC
CATES MEASURED1 OR UNMEASURED1 BOWED
TREMOLO2 FOR WIND PLAYERS IT MAY IN-
DICATE FAST TONGUING2 FOR PERCUS-
SIONISTS IT INDICATES MEASURED OR
UNMEASURED ROLLS AT DIFFERENT
SPEEDS2 ETC4
  #G-D4 ,THE TREMOLO SIGN IS PLACED
AFTER THE NOTE OR CHORD AND FINGER-
ING1 IF PRESENT4 ,THE REPETITION
SIGN MAY BE DOUBLED BY REPEATING THE
#BND HALF OF THE SIGN4
  #G-E4 ,IN ,EXAMPLE #G-E1 THE NOTES
HAVE THREE SLASHES1 SO THEY ARE TO
BE REPEATED AS #CBNDS4 ,IF THE WORD
8TREMOLO0 OR ITS ABBREVIATION AP-
PEARS IN PRINT1 THAT TEXT IS
BRAILLED IN ADDITION TO THE USE OF
THE TREMOLO SIGN4 ,IN THAT CASE1 THE
REPETITION IS VERY FAST AND UNMEAS-
URED4

  ,EXAMPLE #G-E4
  .C .$^11\;?W .:[[\^1<K

          ,B4 ,ALTERNATION
  #G-F4 ,IN KEYBOARD MUSIC1 THE WORD
TREMOLO USUALLY REFERS TO THE ALTER-
NATION OF NOTES OR CHORDS4 ,THE MOST
COMMONLY USED SIGNS FROM ,TABLE #G
,B FOR THE ALTERNATION-TYPE TREMOLO
ARE SHOWN BELOW4

  ,EXAMPLE #G-F4
=.B= ,ALTERNATION IN #HTHS
=.L= ,ALTERNATION IN #AFTHS
=.1= ,ALTERNATION IN #CBNDS

  #G-G4 ,THE SIGNS ARE PLACED BE-
TWEEN THE NOTES OR CHORDS TO BE
RHYTHMICALLY ALTERNATED4 ,BOTH MEM-
BERS OF THE UNIT TO BE ALTERNATED
USUALLY HAVE THE SAME NOTE VALUES IN
PRINT1 AND THIS MUST BE ACCURATELY
REFLECTED IN BRAILLE4 ,EXAMPLE #G-G
APPEARS TO HAVE TOO MANY BEATS IN
THE MEASURES BECAUSE THE MEMBERS OF
EACH UNIT HAVE FULL VALUE AS NOTATED
IN PRINT4 ,SIGNS FOR THIS TYPE OF
TREMOLO MAY NOT BE DOUBLED4

  ,EXAMPLE #G-G4
              #D4
  >#L^D-_Y(N'.LR' N'.LR'?.L_[
  ^)+.L_(<K

             #G-D--#G-G          #EE
        ,,VIII4 ,,FINGERING
            7,TABLE #H7

     ,A4 ,KEYBOARD ,INSTRUMENTS

  ,SIGNS FROM ,TABLE #H ,A4
777777777777777777777777777777777777
=A= #A ,FIRST FINGER
=B= #B ,SECOND FINGER
=L= #C ,THIRD FINGER
=1= #D ,FOURTH FINGER
=K= #E ,FIFTH FINGER
=C= ,BETWEEN FINGERING1 CHANGE OF
  FINGERS ON SAME NOTE
=,= ,OMISSION OF FIRST FINGERING
  WHEN #B SETS ARE GIVEN
='= ,OMISSION OF SECOND FINGERING
  WHEN #B SETS ARE GIVEN
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #H-A4 ,FINGERING IS PLACED IMMEDI-
ATELY AFTER THE NOTE OR INTERVAL TO
WHICH IT BELONGS4 ,IF A NOTE IS DOT-
TED1 THE FINGERING IS PLACED AFTER
THE DOT OR DOTS4
  #H-B4 ,A CHANGE OF FINGERS ON ONE
NOTE OR INTERVAL IS SHOWN BY PLACING
DOTS #A-D BETWEEN THE TWO FINGER
SIGNS4 ,THE SLUR USUALLY APPEARS IN
PRINT AS WELL AS IN BRAILLE4

  ,EXAMPLE #H-B4
  #D4 >/L"?.?KCA;?.?ACK "Y<K

  #H-C4 ,WHEN THE SAME FINGER PLAYS
TWO ADJACENT NOTES1 IT IS MARKED
AFTER BOTH NOTES OR INTERVALS4

  ,EXAMPLE #H-C4
  #D4 .>.RK#L0B-A/A?L0V<K

  #H-D4 ,IN KEYBOARD MUSIC1 ALTERNA-
TIVE FINGERINGS ARE INDICATED BY
PLACING THE TWO FINGER SIGNS AFTER
THE NOTE OR INTERVAL4 ,THE ORDER OF
THESE SIGNS IS IMMATERIAL1 BUT ONCE
THAT ORDER IS ESTABLISHED1 IT MUST
BE STRICTLY MAINTAINED4
  #H-E4 ,IF IN SUCH A PASSAGE ONE OF
THE FINGERINGS IS OMITTED FOR ANY
NOTE7S71 ITS PLACE MUST BE FILLED BY
DOT #F FOR THE FIRST FINGERING OR BY
DOT #C FOR THE SECOND FINGERING4
,THIS APPLIES TO KEYBOARD MUSIC
ONLY4

             #H-A--#H-E          #EG
  ,EXAMPLE #H-E4
           %%#B4
  "]BA[AB .:,1]1K ]1L$LB<K

      ,B4 ,STRING ,INSTRUMENTS
          #A4 ,LEFT ,HAND

  ,SIGNS FROM ,TABLE #H ,B4
777777777777777777777777777777777777
=*K= ,THUMB
=A= #A ,FIRST FINGER
=B= #B ,SECOND FINGER
=L= #C ,THIRD FINGER
=1= #D ,FOURTH FINGER
=K= #J ,OPEN STRING
=C= ,BETWEEN FINGERING1 CHANGE OF
  FINGERS ON SAME NOTE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #H-F4 ,LEFT HAND FINGERING SIGNS
ARE USED AS EXPLAINED IN ,PARAGRAPHS
#H-A TO #H-E WITH AN IMPORTANT DIF-
FERENCE4 ,PASSAGES WITH ALTERNATIVE
FINGERINGS MUST BE REWRITTEN WITH
IN-ACCORDS OR VARIANTS4 ,SEE ,EXAM-
PLE #I-EG4
  #H-G4 ,ESPECIALLY IN METHOD BOOKS1
FINGER SIGNS ARE SOMETIMES FOLLOWED
BY LINES OF CONTINUATION4 ,THESE ARE
SHOWN BY PLACING DOT #C AFTER THE
FINGER SIGN AT THE BEGINNING OF SUCH
A LINE4 ,AT THE END OF THE LINE THE
FINGER IS RE-MARKED AFTER THE NOTE1
PRECEDED BY DOT #F4 ,IT IS BECAUSE
OF THIS USE OF DOTS #C AND #F1 THAT
WHEN TWO SETS OF FINGERING ARE GIV-
EN1 EACH SET MUST BE REWRITTEN4

  ,EXAMPLE #H-G4
           #D4
    ;B22"JA'DB'EL'F1EF"
  EFE2FE,LD,B T,A^2U<K

  #H-H4 ,ACCORDING TO INTERNATIONAL
AGREEMENT1 THUMB SIGNS1 LIKE OTHER
FINGERING SIGNS1 SHOULD FOLLOW THE
NOTE4

  ,EXAMPLE #H-H4
              <<#C4
  >+"L'8_Z"GACHLCGA8_=*K"GCHCG"
  8_)*K"GCHCG<K

  #H-I4 ,WHEN THE SYMBOL FOR A THUMB
IS USED FOR ANOTHER PURPOSE1 SUCH AS
A 8,BARTOK0 PIZZICATO1 THE BRAILLE
             #H-F--#H-I          #EI
SIGN REMAINS THE SAME4

  ,EXAMPLE #H-I4
            #C4
  VV.8%.G<I \>59.\*K\*K<K

  >59 BEDEUTET EIN STARKES
  PIZZICATO1 BEI WELCHEM DIE SAITE
  AUF ,GRIFFBRETT AUFSCHLAGT4

          #B4 ,RIGHT ,HAND

  ,SIGNS FROM ,TABLE #H ,B4
777777777777777777777777777777777777
=P= ,THUMB .PULGAR
=I= ,INDEX FINGER .INDICE
=M= ,MIDDLE FINGER .MAYOR
=A= ,RING FINGER .ANULAR
=C= ,OTHER SINGLE LETTERS2 BRAILLE
  AS PRINTED
=X= ,LITTLE FINGER .CHIQUITO IF CH
  IS PRINTED
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #H-AJ4 ,INSTRUMENTS THAT ARE
PLUCKED1 SUCH AS GUITAR AND BANJO1
CHARACTERISTICALLY INDICATE RIGHT
HAND FINGERING WITH THE LETTERS P I
M AND A4 ,BRAILLE USES THE PRINTED
LETTERS IF THE PRINT HAS ONE LETTER
PER NOTE4 ,IN PRINT THE LETTERS MAY
APPEAR ABOVE OR BELOW THE NOTES4 ,IN
BRAILLE THE LETTERS ARE USUALLY
PLACED BELOW THE NOTES4 ,IF TWO LET-
TERS1 SUCH AS 8CH0 FOR THE LITTLE
FINGER ARE PRINTED1 THE LETTER 8X0
IS USED IN BRAILLE4

  ,EXAMPLE #H-AJ4
              %#D4
  >/L'*.?A*EB"IAWDA"HK<>_I"FB"
        M  M  I MM  I
    ]L_HL%"EA$B<K

  #H-AA4 ,RARELY1 PRINT DOTS ARE
USED INSTEAD OF LETTERS TO REPRESENT
THE 8PIMA0 FINGERING4 ,IN THAT CASE1
LETTERS ARE USED IN BRAILLE4 ,IN
,EXAMPLE #H-AA1 A PLUS SIGN REPRE-
SENTS THE 8P01 ONE DOT ABOVE THE
NOTE EQUALS THE 8I01 TWO DOTS REPRE-
SENTS THE 8M01 ETC4




            #H-AJ--#H-AA         #FA
  ,EXAMPLE #H-AA4
              #D4
  >/L.&D"H.D7=E"I.E7<>"??_]]<K
      AM I M           P
























 ,,IX4 ,,BAR ,,LINES AND ,,REPEATS
            7,TABLE #I7

          ,A4 ,BAR ,LINES

  ,SIGNS FROM ,TABLE #I ,A4
777777777777777777777777777777777777
7SPACE7 ,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
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #I-A4 ,IN ADDITION TO HAVING A
SPACE FOR A BAR LINE1 A TACTILE BAR
LINE1 =L= MAY BE USED4 ,WHEN A
BRAILLE CHARACTER IS USED FOR A BAR
LINE1 IT SHOULD BE PRECEDED AND FOL-
LOWED BY A SPACE4 ,EXAMPLE #AG-AD
7B7 ILLUSTRATES ITS USE IN GUITAR
MUSIC1 AND ,EXAMPLE #AB-CC ILLUS-
TRATES ITS USE IN A THEORY TEXTBOOK4
  #I-B4 ,WHEN A BAR LINE IN PRINT
HAS A DOTTED OR DASHED LINE IN PLACE
             #I-A--#I-B          #FC
OF A SOLID LINE1 DOTS #A-C ARE USED
AS IN ,EXAMPLE #AC-E4
  #I-C4 ,THE FIRST NOTE AFTER A DOU-
BLE BAR USUALLY HAS AN OCTAVE MARK4
  #I-D4 ,IF A MEASURE CONTINUES AFT-
ER A DOUBLE BAR1 THE MUSIC HYPHEN
FOLLOWS THE DOUBLE BAR4

  ,EXAMPLE #I-D4
  #D4 .>;P.+<K'" X.GFE<K

        ,B4 ,PRINT ,REPEATS

  ,SIGNS FROM ,TABLE #I ,B4
777777777777777777777777777777777777
=<7= ,DOUBLE BAR FOLLOWED BY DOTS2
  BEGINNING OF REPEAT
=<2= ,DOUBLE BAR WITH DOTS
  PRECEDING2 END OF REPEAT
=#1= =#2= ,FIRST1 SECOND ENDING
  7VOLTA7
=+= ,PRINT SEGNO SIGN
=+L= ,PRINT CODA SIGN
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #I-E4 ,THE SIGN FOR A DOTTED DOU-
BLE BAR INDICATING THE ENDING OF A
PRINT REPEAT IS PLACED WITHOUT AN
INTERVENING SPACE AFTER THE MEASURE
IN WHICH IT APPEARS4 ,IF IT OCCURS
IN A MEASURE THAT IS AFTERWARDS COM-
PLETED ON THE SAME BRAILLE LINE1 IT
MUST BE FOLLOWED BY THE MUSIC HYPHEN
AND A SPACE4
  #I-F4 ,THE SIGNS FOR THE BEGINNING
OF A PRINT REPEAT AND SIGNS FOR NUM-
BERED ENDINGS ARE PLACED WITHOUT AN
INTERVENING SPACE BEFORE THE FIRST
SIGN OF THE REPEATED MATERIAL4
  #I-G4 ,WHEN ADDITIONAL ENDINGS OR
UNUSUAL NUMBERINGS OCCUR1 BRAILLE
FOLLOWS THE PRINT4

  ,EXAMPLE #I-G4
  #1-3'M<2 #4'M<K

  #I-H4 ,THE FIRST NOTE FOLLOWING
ANY OF THE ABOVE SIGNS MUST HAVE AN
OCTAVE MARK1 AND THE FIRST OR SECOND
ENDINGS SIGNS MUST BE FOLLOWED BY
DOT #C BEFORE SIGNS CONTAINING DOTS
#A1 #B1 OR #C4
  #I-I4 ,THE SIGNS FOR PRINT SEGNO
AND CODA SHOULD APPEAR WHERE THEY DO
IN PRINT2 THEY ARE PRECEDED AND FOL-
LOWED BY A SPACE4 ,EXCEPTION3 IN
             #I-C--#I-I          #FE
SOME COUNTRIES THE CODA SIGN IS PRE-
CEDED BUT NOT FOLLOWED BY A SPACE4
  #I-AJ ,WHEN THE PRINT USES TEXT
SUCH AS 8,D4,S40 OR 8A LA ,CODA01
THIS MUST BE TRANSCRIBED EXACTLY AS
PRINTED4
  #I-AA4 ,EXAMPLE #I-AA IS A TYPICAL
SCENARIO SHOWING THE ORDER IN WHICH
SEGNO SIGNS GENERALLY APPEAR AND
DOUBLE BARS USUALLY ASSOCIATED WITH
THIS TYPE OF MUSIC4

  ,EXAMPLE #I-AA4
''' + #HM<K' +L #HM>DS'<K'
>CODA'MM<K

  #I-AB4 ,THE NEXT NOTE AFTER A
SEGNO PASSAGE MUST HAVE AN OCTAVE
MARK1 AND ANY DOUBLING IN EFFECT
MUST BE RE-MARKED IF IT IS TO BE
CONTINUED4
  #I-AC4 ,IN BRAILLE1 SEGNOS CAN BE
CREATED AS A FORM OF REPETITION4
,SEE ,PAR4 #I-DG4

       ,C4 ,BRAILLE ,REPEATS
  #I-AD4 ,A MAJOR DIFFERENCE BETWEEN
BRAILLE MUSIC AND ITS PRINT COUNTER-
PART IS THE INTRODUCTION OF REPEAT
SIGNS THAT DO NOT APPEAR IN THE
PRINT4 ,REPEATS THAT ARE USED JUDI-
CIOUSLY CAN HELP EASE READING1 AS-
SIST MEMORIZATION AND SAVE SPACE4

  ,SIGNS FROM ,TABLE #I ,C4
777777777777777777777777777777777777
=7= ,FULL- OR PART-MEASURE REPEAT
='= ,SEPARATION OF REPEATS WITH
  DIFFERENT VALUES1 I4E41 7'7
=.7= ,REPEAT BEGINNING IN FIFTH 7OR
  OTHER NUMBER7 OCTAVE
=7#D= ,REPEAT FOUR 7OR OTHER NUMBER7
  TIMES
=*7= ,BEGINNING OF REPEAT IN CADENZA
  OR UNMEASURED MUSIC
=#H#F= ,COUNT BACK AND REPEAT
  MEASURES
=#D#D= ,REPEAT THE LAST FOUR 7OR
  OTHER NUMBER7 MEASURES
=#D= ,REPEAT THE LAST FOUR 7OR OTHER
  NUMBER7 MEASURES
=#9-16= ,REPEAT SPECIFIC MEASURES
=#B9-16= ,REPEAT SPECIFIC MEASURES
  FROM A NUMBERED SECTION 7I4E41
  REPEAT MEASURES #I-AF FROM
            #I-AJ--#I-AD         #FG
  ,SECTION #B7
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

     #A4 ,PART-MEASURE REPEATS
  #I-AE4 ,THE SIGN =7= IS USED TO
SHOW A REPEAT WITHIN A MEASURE4 ,IT
APPLIES TO WHAT IMMEDIATELY PRECEDES
IT4 ,ITS USE INVOLVES THE EXERCISE
OF GOOD JUDGMENT AND MUSICAL KNOWL-
EDGE4
  #I-AF4 ,IN ,EXAMPLE #I-AG1 THE RE-
PEAT SIGN IS USED FOR SINGLE NOTES
OR CHORDS IN DIFFERING PARTS OF
MEASURES1 FOLLOWING MUSICAL BEATS4
  #I-AG4 ,A PART-MEASURE REPEAT MUST
NOT BE THE FIRST BEAT OF A MEASURE
OR THE FIRST BEAT ON A NEW BRAILLE
LINE4 7,THE REPEAT SIGN CANNOT BE
USED FOR THE FIRST BEAT OF MEASURE
#D EVEN THOUGH IT IS IDENTICAL TO
THE LAST BEAT OF MEASURE #C47

  ,EXAMPLE #I-AG4
              #D4
  >/L.D"HIJ7 ??#0:+97 F+"H77"
  .=E"H.E =Z"(.ZF'+0&+07E+9X<K


  ,SIGNIFIES3
             #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

  #I-AH4 ,REPEATS SHOULD NOT 8CROSS
THE BEAT0 EXCEPT IN THE MOST OBVIOUS
AND SIMPLE CASES4 ,IN MEASURE #C OF
THE EXAMPLE ABOVE1 THE TWO REPEATS
WOULD HAVE BEEN INCORRECT HAD THEY
BEGUN ON THE SECOND HALF OF THE
FIRST BEAT1 BUT THE FOLLOWING EXAM-
PLE IS NORMAL AND MUSICAL IN APPEAR-
ANCE4

  ,EXAMPLE #I-AH4
               %#C4
  >/L.\--:'H<>X":+7E+ .G'(['H-<>
  X":/7E/<K

  #I-AI4 ,TWO OR MORE REPEATS FOL-
LOWING ONE ANOTHER ARE OF THE SAME
VALUE4 ,WHEN IT IS DESIRABLE TO HAVE
REPEATS OF DIFFERENT VALUES1 THEY
MUST BE SEPARATED BY DOT #C4

            #I-AE--#I-AI         #FI
  ,EXAMPLE #I-AI4
            #D4
  >#L^DD9-+77'77 D9-+7'77"
    D0/%#7<K

  ,SIGNIFIES3
               #D4
  >#L^DD99--++DDDDDD DDDDDD9-+"
    D0/%#D0/#<K

  #I-BJ4 ,FOR ,EXAMPLE #I-AI1 SOME
COUNTRIES USE THE FOLLOWING FORM OF
REPEAT WITHIN A MEASURE2 OTHERS RE-
SERVE THIS FORM FOR A FULL-MEASURE
REPEAT4

  ,EXAMPLE #I-BJ4
           #D4
  >#L^DD9-+7#F ^D9-+7#E"
    ^D0/%#7<K

  #I-BA4 ,THE USE OF THE SLUR IN
COMBINATION WITH THE PART-MEASURE
REPEAT REQUIRES SOME CAUTION4 ,THE
FOLLOWING EXAMPLES SHOULD BE STUDIED
CAREFULLY4
  #I-BB4 ,THE USE OF A PART MEASURE
REPEAT ON THE SECOND AND FOURTH
BEATS OF THE FOLLOWING EXAMPLE WOULD
HAVE GIVEN THE READER INCORRECT IN-
FORMATION ABOUT THE SLURS4

  ,EXAMPLE #I-BB4
  #D4 "FCHCFCHGCHCGCH<K

  #I-BC4 ,WHEN SLURRED AS FOLLOWS1
THE REPEATS MAY BE USED4

  ,EXAMPLE #I-BC4
  #D4 "FCH7GCH7<K

  #I-BD4 ,THERE ARE TWO TYPES OF
LONG SLURS4 ,CARE MUST BE TAKEN THAT
REPEATS ARE CLEAR4

  ,EXAMPLE #I-BD4
    7A7
             #D4
  "YCCFHFYFHCFYCCFHF7C ?VU<K

    7B7
            #D4
  ;B"YFHFYFHF^2;B7 ?^2VU<K

  #I-BE4 ,THE NEXT TWO EXAMPLES ARE
            #I-BJ--#I-BE         #GA
CORRECT4

  ,EXAMPLE #I-BE4
    7A7
             #D<#B4
  .>.F+7CI+97C F+7CD+7.C D+XV<K

    7B7
          #D4
  "YFCHCFC7C7C7C ?VU<K

  #I-BF4 ,A REPEAT DOES NOT INCLUDE
A TIE ON THE LAST NOTE OR CHORD OF
THE PASSAGE1 SO TIE SIGNS MUST BE
ADDED4 ,IN SOME COUNTRIES A TIE SIGN
IS NOT PLACED AT THE END OF A MEAS-
URE4 ,IT IS PLACED BEFORE THE FIRST
NOTE OF THE NEXT MEASURE1 ESPECIALLY
IF THAT MEASURE IS ON A NEW LINE OR
IS SEPARATED FROM THE ORIGINAL RE-
PEAT BY AN IN-ACCORD PART4 ,OTHER
COUNTRIES DO PLACE A TIE AT THE END
OF A MEASURE AS IN ,EXAMPLE #I-CE4

  ,EXAMPLE #I-BF4
         #D4
  .>.YFED@C7@C7@C7<>
  "[\%]*] @C.?0VU<K
  #I-BG4 ,THE PART-MEASURE REPEAT
SIGN MAY BE USED FOR REPEATING A
PASSAGE IN A DIFFERENT OCTAVE FROM
THE ORIGINAL4 ,THE OCTAVE MARK AT
THE BEGINNING OF THE REPEATED PAS-
SAGE IS USED1 EVEN IF PART OF THE
NOTES ARE IN A DIFFERENT OCTAVE4 ,IT
IS PLACED IMMEDIATELY BEFORE THE RE-
PEAT SIGN4

  ,EXAMPLE #I-BG4
           #D4
  "YFHJ.7;YIHF.7 "?VU<K

  #I-BH4 ,CARE MUST BE TAKEN IN THE
DOUBLING OF INTERVALS1 ETC4 IN CON-
NECTION WITH REPEATS4

  ,EXAMPLE #I-BH4
             #D4
  >/L"&++GHG+77!0EH0G+ &+<K

  #I-BI4 ,DOUBLING MAY BE CONTINUED
THROUGH A REPEAT IF IT IS STILL IN
EFFECT AFTERWARDS4 ,IN ,EXAMPLE #I-
BH1 THE DOUBLING ENDED WITH THE RE-
PEAT1 SO IT ENDED IN BRAILLE BEFORE
            #I-BF--#I-BI         #GC
THE REPEAT SIGN4
  #I-CJ4 ,CARE MUST ALSO BE TAKEN
WITH NUANCES AND OTHER DETAILS4 ,THE
SECOND BEAT OF THE FOLLOWING EXAMPLE
SHOULD NOT BE WRITTEN AS A REPEAT4

  ,EXAMPLE #I-CJ4
          #D4
  >SF.YIHJYIHJ77 NU<K

  #I-CA4 ,WHEN PART OF A MEASURE IS
FINGERED AND IS FOLLOWED IMMEDIATELY
BY AN EXACT REPETITION WITHOUT FIN-
GERING1 THE REPEAT SIGN MAY BE USED4

  ,EXAMPLE #I-CA4
  #D4 "YAEBFLG1(KGFE7<K

  #I-CB4 ,THE REPETITION OF PASSAGES
IN CADENZAS OR UNMEASURED MUSIC IS
MADE POSSIBLE BY THE USE OF THE
SIGN1 =*7=4 ,IT IS PLACED BEFORE THE
FIRST NOTE OF THE PASSAGE TO BE RE-
PEATED4 ,THAT SIGN IS NOT ACTUALLY A
REPEAT SIGN4 ,IT IS USED TO IDENTIFY
THE BEGINNING OF A FRAGMENT THAT
WILL BE REPEATED4 ,THE DOTTED HALF
NOTE CHORDS IN ,EXAMPLE #I-CB ARE
TIED OVER TO THE NEXT MEASURE4

  ,EXAMPLE #I-CB4
            #E<
.>;B*.;T'+93.C,<1TRPN"
  *7_>'*..T.>.RPN"7_7"
  _>'*^T*7R.>'*^T*OQ_7"7.7<K
_>'*_R'+9%3.C<K

  ,SIGNIFIES3
             #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

     #B4 ,FULL-MEASURE REPEATS
  #I-CC4 ,THE =7= SIGN MAY ALSO BE
USED FOR THE REPETITION OF A COM-
PLETE MEASURE4 ,IN THIS CASE1 IT IS
BRAILLED WITH A BLANK SPACE ON EI-
THER SIDE4 ,THE RULES FOR PART-MEAS-
URE REPEATS APPLY IN GENERAL WHEN
THE FULL-MEASURE REPEAT IS USED4
,THE FOLLOWING EXAMPLES ILLUSTRATE
            #I-CJ--#I-CC         #GE
THE MAIN POINTS4
  #I-CD4 ,IN ,EXAMPLE #I-CD BOTH
FORMS OF THE LONG SLUR ARE SHOWN4

  ,EXAMPLE #I-CD4
    7A7
  #D4 "DCCEFGHGFCE 7 7 NU<K

    7B7
  #D4 ;B"DEFGHGFE^2 7 7 NU<K

  ,SIGNIFIES3
  #D4 "DCCEFGHGFCE DCCEFGHGFCE
  "DCCEFGHGFCE NU<K

  #I-CE4 ,REPEATS WITH SINGLE-NOTE
AND CHORD TIES ARE ILLUSTRATED BE-
LOW4 ,IN THE LONGER ILLUSTRATIONS
THE INITIAL NOTES OF RUNOVER LINES
MAY OR MAY NOT START WITH OCTAVE
MARKS4 ,DIFFERENT FORMAT PRACTICES
ARE ILLUSTRATED THROUGHOUT THIS MAN-
UAL4





  ,EXAMPLE #I-CE4
              #D4
  >#L_?\$?@C 7@C ?VU $"?_\$@C
  7 ]VU !+0.C 7 \#0VR#0.C 7.C
  R#0R+9<K

  ,SIGNIFIES3
             #D4
  >#L_?\$?@C ?\$?@C ?VU
  $"?_\$@C $"?_\$ ]VU !+0.C
  !+0 \#0VR#0.C \#0VR#0.C
  R#0R+9<K

  #I-CF4 ,WHEN A MEASURE IS REPEATED
THREE OR MORE TIMES1 THE APPROPRIATE
NUMBER1 WITH NUMERAL PREFIX1 FOLLOWS
THE REPEAT SIGN WITHOUT AN INTERVEN-
ING SPACE4 ,THE FIRST NOTE AFTER A
NUMERAL SIGN USUALLY HAS AN OCTAVE
MARK4

  ,EXAMPLE #I-CF4
    7A7
        #C8
  ;B.E<FD 7#D^2<K


            #I-CD--#I-CF         #GG
  ,SIGNIFIES3
           #C8
  ;B.E<FD E<FD E<FD E<FD
  E<FD^2<K

    7B7
           %%#C8
  .>.:'0- .C7#C .C.E0-XX<K

  ,SIGNIFIES3
          %%#C8
  .>.:'0-.C 7.C 7.C 7.C
    E0-XX<K

  #I-CG4 ,THE FULL-MEASURE REPEAT
MAY BE USED WITH AN IN-ACCORD AS
LONG AS THE REPETITION STAYS IN THE
SAME VOICE4

  ,EXAMPLE #I-CG4
            #B4
  >/L.FE%DE<>"R+ .E*DJD<>7
  .P+<>"II%HI 7<>*"HH%GH<K

  #I-CH4 ,ANOTHER METHOD OF REPEAT-
ING ONE OR MORE MEASURES CONSISTS OF
WRITING TWO NUMBERS TOGETHER BETWEEN
BLANK SPACES1 THE FIRST SHOWING HOW
MANY MEASURES MUST BE COUNTED BACK
AND THE SECOND SHOWING HOW MANY OF
THOSE MEASURES ARE TO BE REPEATED4
  #I-CI4 ,IF THE TWO NUMBERS ARE
IDENTICAL1 SOME COUNTRIES WRITE ONLY
ONE NUMBER4 ,HOWEVER1 IF THE TIME
SIGNATURE OF THE PIECE CONSISTS OF
ONLY ONE NUMBER1 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 SIGNATURE4
  #I-DJ4 ,THE FIRST NOTE FOLLOWING
THIS TYPE OF REPEAT MUST HAVE AN OC-
TAVE MARK4

  ,EXAMPLE #I-DJ4
             %#D4
  "\'G$\ ['H]: P]'G ( #D#D<K

  #I-DA4 ,THIS REPEAT MAY BE COM-
BINED WITH THE SLUR AS LONG AS THE
PHRASING IS COMPLETELY CLEAR4




            #I-CG--#I-DA         #GI
  ,EXAMPLE #I-DA4
    7A7
           #C4
  .?CC"\.?@C ?JIW #B#A@C
  .?JICW<K

    7B7
           #C4
  ;B.?"\.?@C ?JIW #B^2<K

  ,SIGNIFIES3
            #C4
  ;B.?"\.?@C ?JIW ?"\.?@C
  ?JIW^2<K

  #I-DB4 ,WHEN MEASURES ARE NUMBERED
IN THE BRAILLE TEXT OR IN THE PRINT1
THOSE NUMBERS CAN EFFECTIVELY BE
USED FOR REPEATS4 ,THE NUMBERS OF
THE FIRST AND LAST MEASURES OF THE
PASSAGE TO BE REPEATED1 PRECEDED BY
THE NUMERAL PREFIX AND SEPARATED BY
A HYPHEN ARE WRITTEN AS FOLLOWS3

    #1-8

  #I-DC4 ,THE FIRST NOTE AFTER A RE-
PEAT WITH A NUMERAL PREFIX MUST HAVE
AN OCTAVE MARK4 #I-DD4 ,IN THE
COURSE OF A PIECE1 IF SOME BARS ARE
REPEATED IN A HIGHER OR LOWER OC-
TAVE1 THE NUMBERS INDICATING THIS
REPETITION ARE WRITTEN1 PRECEDED BY
THE OCTAVE MARK IN WHICH THE REPETI-
TION STARTS4

    .#1-8

  #I-DE4 ,SIMILARLY1 IF SEVERAL BARS
ARE TO BE REPEATED WITH A DIFFERENT
EXPRESSION MARK1 THE NUMBERS INDI-
CATING THE REPETITION ARE PRECEDED
BY THE CHARACTERS INDICATING THE DY-
NAMIC CHANGE4 ,DOUBLE BARS OR DOTTED
DOUBLE BARS MAY ALSO BE ADDED TO RE-
PEATS OF VARIOUS TYPES4

    >F'#1-8

  #I-DF4 ,A COMMON FORM OF REPEAT IN
MUSIC WRITTEN BY SECTIONS CONSISTS
OF A SECTION NUMBER FOLLOWED IMMEDI-
ATELY BY MEASURE NUMBERS IN THE
LOWER-CELL POSITION4 ,THE EXAMPLE
INDICATES A REPEAT OF MEASURES #I-AB
            #I-DB--#I-DF         #HA
IN THE SECOND SECTION OF THE TRAN-
SCRIPTION4

    #B9-12

        #C4 ,BRAILLE ,SEGNO

  ,MORE SIGNS FROM ,TABLE #I ,C4
777777777777777777777777777777777777
=+A= ,BRAILLE SEGNO ,A 7OR ,B1 ETC47
="+A= ,REPEAT BACK TO SEGNO ,A 7OR
  ,B1 ETC47
=*= ,END OF SEGNO MUSIC TO BE
  REPEATED
=+L= ,CODA SIGN
=-= ,PARALLEL MOTION
=-= ,SEQUENCE3 ,CONTINUE THE PATTERN
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #I-DG4 ,ANOTHER FORM OF REPEAT
THAT IS USEFUL WHEN THE SECTION TO
BE REPEATED IS AT SOME DISTANCE FROM
THE ORIGINAL PASSAGE IS A BRAILLE
SEGNO4 ,THE MUSIC IS ANALYZED AND
TREATED AS IF SEGNO SIGNS APPEARED
IN PRINT4 ,A BRAILLE SEGNO SIGN THAT
INCLUDES A LETTER SUCH AS ,A1 ,B1 OR
,C IS PLACED AT THE BEGINNING OF THE
PASSAGE TO BE REPEATED4 ,THE LETTERS
REFLECT A POSITION AS THE FIRST1
SECOND1 THIRD1 ETC41 SEGNO IN THE
PIECE4 ,THE END OF THE PASSAGE TO BE
REPEATED IS SHOWN BY DOTS #A-F1 =*=1
AND IS FOLLOWED BY A SPACE4
  #I-DH4 ,AT THE POINT OF REPETI-
TION1 THE SIGN1 ="+=1 7WITH ITS AP-
PROPRIATE LETTER7 IS USED4 ,THIS
SIGN IS SOMETIMES FOLLOWED WITHOUT
AN INTERVENING SPACE BY A NUMBER
SHOWING THE NUMBER OF MEASURES TO BE
REPEATED4
  #I-DI4 ,THE NEXT NOTE AFTER A
SEGNO PASSAGE MUST HAVE AN OCTAVE
MARK1 AND ALL DOUBLING MUST BE RE-
MARKED4

  ,EXAMPLE #I-DI4
            %#C4
  ": +A "\W: W\\ [DJIH ]::
  \JIHG $?$ :\]* "RJD :"
  JDEF :?W ?IJDE ?W[ WHIJD
  W[\ ].:%? O": "+A "RV<K

       #D4 ,PARALLEL ,MOTION
  #I-EJ4 ,IN KEYBOARD MUSIC WHEN ONE
HAND MOVES PARALLEL WITH THE OTHER
            #I-DG--#I-EJ         #HC
AT THE DISTANCE OF ONE OR MORE OC-
TAVES1 THE WRITING OF THE SECOND
PART MAY BE ABBREVIATED BY SUBSTI-
TUTING FOR ITS NOTES A SINGLE OCTAVE
INTERVAL 7WITH AN APPROPRIATE OCTAVE
MARK WHERE THE TWO HANDS ARE MORE
THAN ONE OCTAVE APART74 ,THIS DEVICE
MAY ALSO BE USED IN A SCORE WHEN ONE
PART MOVES PARALLEL TO ANOTHER4

  ,EXAMPLE #I-EJ4
        %%_C
  .>"W#0:+9:#:+9<K
  _>'-<K

  ,SIGNIFIES3
        %%_C
  .>"W#0:+9:#:+9<K
  _>_:+0\+9[#\+9<K

  #I-EA4 ,WHEN PARALLEL MOTION EX-
TENDS OVER MORE THAN TWO MEASURES1
THE OCTAVE INTERVAL IS FOLLOWED
WITHOUT INTERVENING SPACE BY A NUM-
BER1 WITH NUMERAL PREFIX1 INDICATING
THE NUMBER OF MEASURES CONTAINED IN
THE PASSAGE4

  ,EXAMPLE #I-EA4
              <<#D4
    .>'>#K_N@CDF<IJ >/L"D<I"FJ.7
  ;D.HJ<I\%GX X%GHG%FG2IH<F
  F'Z2GFE:V<K
    _>'-#E<K

     #E4 ,SEQUENCE ,ABBREVIATION
  #I-EB4 ,IN TECHNICAL STUDIES WHERE
A MELODIC FIGURE IS REPEATED SEQUEN-
TIALLY MANY TIMES1 IT IS POSSIBLE TO
ABBREVIATE THE PASSAGE IN BRAILLE BY
USE OF THE SIGN WITH DOTS #C-F1 =-=4
,THE FIGURE TO BE ABBREVIATED IS
WRITTEN ONCE OR TWICE4 ,FOR SUCCEED-
ING FIGURES1 ONLY THE FIRST NOTE IS
WRITTEN1 AND IT IS FOLLOWED BY THIS
SIGN4

  ,EXAMPLE #I-EB4
  #D4 "YEFDZ-&-=-<K

  ,SIGNIFIES3
  #D4 "YEFDZFGE&GHF=HIG<K

  #I-EC4 ,THE REPETITION MUST BE
EXACT WITH NO MODIFICATIONS OF FIN-
            #I-EA--#I-EC         #HE
GERING1 ACCIDENTALS1 ETC4 ,IT IS
GENERALLY RESTRICTED TO TECHNICAL
STUDIES AND SHOULD BE USED ONLY
WHERE CORRECT EXECUTION IS ABSOLUTE-
LY CLEAR4

           ,D4 ,VARIANTS

  ,SIGNS FROM ,TABLE #I ,D4
777777777777777777777777777777777777
=5= ,VARIANT OF MEASURE 7SIGN
  PRECEDES AND FOLLOWS7
=5#B= ,VARIANT OF TWO 7OR OTHER
  NUMBER7 MEASURES
=#B5= ,SECOND 7OR OTHER NUMBER7
  VARIANT OF MEASURE
=#A5#C= ,NUMBERED VARIANT1 FOLLOWED
  BY NUMBER OF MEASURES 7I4E41
  ,VARIANT #A1 FOR #C MEASURES7
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #I-ED4 ,WHEN AN ALTERNATE PASSAGE
IS PROVIDED IN THE PRINT MUSIC1 IT
CAN BE PLACED AS A FOOTNOTE ON THE
BRAILLE PAGE OR 7IN THE CASE OF VERY
SHORT PASSAGES7 IT CAN BE JOINED TO
THE MEASURE WITH THE IN-ACCORD SIGN4
  #I-EE4 ,ESPECIALLY FOR LONGER PAS-
SAGES1 VARIANT SIGNS MAY BE USED4
,THE VARIANT SIGN =5= IS PRECEDED BY
A SPACE OR A NUMBER AND IS FOLLOWED
BY THE NUMBER OF MEASURES IN THAT
VARIANT4 ,NO SPACE IS LEFT BETWEEN
THE VARIANT SIGN AND THE MUSIC4 ,THE
FIRST NOTE OF EACH VARIANT MUST HAVE
AN OCTAVE MARK4 ,EACH VARIANT ENDS
WITH AN UNSPACED VARIANT SIGN =5=4
,THE FIRST NOTE OF THE MUSIC FOLLOW-
ING THE VARIANT7S7 MUST ALSO HAVE AN
OCTAVE MARK4

  ,EXAMPLE #I-EE4
          #D% _C
"FCDFCD_HC"DFCD ECJECJHCJ"
ECJ 5#B2.FD"H2FD_H2^H_H"D"
&H.DF 2EJH2EJH2^H_HJZHJE5

  #I-EF4 ,IF THERE ARE TWO OR MORE
VARIANTS1 THESE ARE NUMBERED PRECED-
ING THE VARIANT SIGN4 ,IF A PASSAGE
HAD THREE VARIANTS THEY WOULD BE
PRECEDED RESPECTIVELY BY THE FOLLOW-
ING SIGNS4

  ,EXAMPLE #I-EF4
  #A5#B  #B5#B  #C5#B
            #I-ED--#I-EF         #HG
  #I-EG4 ,IN ,EXAMPLE #I-EG FOUR
SETS OF FINGERING ARE TO BE PRAC-
TICED WITH THE SAME NOTES4 ,THERE
ARE THREE NUMBERED VARIANTS IN ADDI-
TION TO THE ORIGINAL1 AND EACH IS
TWO MEASURES LONG4

  ,EXAMPLE #I-EG4
  #D4 "?A<:B?A*:B ?A<$B?A*$B
  #A5#B"?B<:L?B*:L ?B<$L?B*$L5
  #B5#B"?L<:1?L*:1 ?L<$1?L*$15
  #C5#B"?1<:K?1*:K ?1<$K?1*$K5<K

  #I-EH4 ,IF THE ALTERNATE OR VARIA-
TION APPEARS IN SMALL PRINT1 THE
SMALL-TYPE SIGN1 =,5= 7,TABLE #A71
SHOULD BE USED4











           ,X4 ,,NUANCES
            7,TABLE #AJ7

  #AJ-A4 ,TEXT AND SYMBOLS ARE USED
TO ADD EXPRESSION TO MUSIC4 ,WHEN
WORDS OR ABBREVIATIONS APPEAR1 THEY
SHOULD BE TRANSCRIBED AS TEXT RATHER
THAN SUBSTITUTING SYMBOLS4 ,THE
BRAILLE SHOULD NOT CONTAIN CONTRAC-
TIONS4
  #AJ-B4 ,LITERARY MATERIAL IS AL-
WAYS PRECEDED BY A WORD SIGN1 =>=4
,THIS INCLUDES SINGLE LETTERS1 AB-
BREVIATIONS1 WHOLE WORDS AND GROUPS
OF WORDS4
  #AJ-C4 ,DYNAMICS AND ABBREVIATIONS
ARE PRECEDED BY THE WORD SIGN AND
PLACED WITHOUT ANY INTERVENING
SPACES WHERE THEY OCCUR IN THE MU-
SIC4 ,THE FIRST NOTE FOLLOWING SUCH
NUANCES MUST HAVE AN OCTAVE MARK4
  #AJ-D4 ,DOT #C REPRESENTS THE PE-
RIOD OR DOT FOLLOWING AN ABBREVIA-
TION4 ,DYNAMICS SUCH AS P OR F ARE
FOLLOWED BY DOT #C IF THE NEXT SIGN
CONTAINS DOTS #A1 #B1 OR #C4 ,IF TWO
DYNAMICS FOLLOW EACH OTHER1 EACH
            #I-EG--#AJ-D         #HI
MUST HAVE ITS WORD SIGN1 BUT DOT #C
IS NOT NECESSARY BETWEEN THEM UNLESS
IT REPRESENTS A PERIOD4

  I4E41 >P>C'

  #AJ-E4 ,THE OPENING SIGNS FOR
CRESCENDO OR DECRESCENDO WHEN PRINT-
ED AS DIVERGING OR CONVERGING LINES
ARE PLACED BEFORE THE AFFECTED
NOTES4 ,THE CLOSING SIGNS ARE PLACED
AFTER NOTES WHERE TERMINATION OCCURS
7AND AFTER ALL OTHER SIGNS NORMALLY
FOLLOWING THOSE NOTES74 ,SEE ,EXAM-
PLE #AJ-AG4
  #AJ-F4 ,THE ENDING SIGNS SHOULD
NOT BE INCLUDED IF ANOTHER DYNAMIC
FOLLOWS IMMEDIATELY4
  #AJ-G4 ,FOR INDICATIONS OF ONE OR
TWO WORDS1 USE A WORD SIGN BEFORE
EVERY WORD OR ABBREVIATION4 ,DO NOT
LEAVE A SPACE BEFORE OR AFTER A SIN-
GLE WORD OR A SHORT GROUP4

  ,EXAMPLE #AJ-G4
  "?DD>A>TEMPO"DD?<K

  #AJ-H4 ,FOR LONGER LITERARY INDI-
CATIONS1 THE WORD SIGN IS PLACED BE-
FORE THE FIRST OF THE GROUP OF WORDS
AND AFTER THE LAST4 ,THIS IS FOL-
LOWED BY A SPACE1 AND THE NEXT NOTE
MUST HAVE AN OCTAVE MARK4
  #AJ-I4 ,WHEN LONGER LITERARY EX-
PRESSIONS START WITHIN A MEASURE1
THE MEASURE IS INTERRUPTED WITH A
MUSIC HYPHEN FOLLOWED BY A SPACE4
,IT RESUMES AFTER THE SPACE THAT
FOLLOWS THE FINAL WORD SIGN4

  ,EXAMPLE #AJ-I4
  "?DD" >POCO A POCO CR'> "?<K

  #AJ-AJ4 ,WHEN THERE ARE NO PAREN-
THESES IN PRINT1 THERE SHOULD BE NO
PARENTHESES IN BRAILLE4 ,WHEN PAREN-
THESES DO OCCUR1 THEY FOLLOW THE
WORD SIGN IN BRAILLE1 I4E41
>7DOLCE74
  #AJ-AA4 ,THE SIGNS IN ,TABLE #AJ
ARE GIVEN COMMON NAMES1 BUT OTHER
TERMS ARE USED FOR THE SAME PRINT
SYMBOLS1 I4E41 THE DOT MAY INDICATE
SPICCATO2 THE SHORT LINE MAY INDI-
CATE LOUR@E OR TENUTO1 ETC4 ,THE DE-
           #AJ-E--#AJ-AA         #IA
SCRIPTIONS IN THE PARENTHESES ARE
MORE DEPENDABLE THAN THE NAMES4

  ,SIGNS FROM ,TABLE #AJ4
777777777777777777777777777777777777
=8= ,STACCATO 7DOT7
=,8= ,STACCATISSIMO 7PEAR-SHAPED
  DOT7
="8= ,MEZZO-STACCATO 7DOT & LINE7
=_8= ,AGOGIC ACCENT 7SHORT LINE7
=.8= ,ACCENT 7HORIZONTAL ,V POINTING
  TO THE RIGHT7
=@8= ,REVERSED ACCENT 7HORIZONTAL ,V
  POINTING TO THE LEFT7
=;8= ,MARTELLATO 7THICK ,V7
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AJ-AB4 ,AN OCTAVE MARK IS NOT RE-
QUIRED FOR THE NOTE FOLLOWING ONE OF
THESE ARTICULATIONS4 ,WHEN A NUANCE
BEGINS WITH A WORD SIGN1 I4E41 =>C=1
AN OCTAVE MARK IS REQUIRED FOR THE
NEXT NOTE4
  #AJ-AC4 ,EXPRESSION MARKS REPRE-
SENTED BY SYMBOLS THAT APPEAR DI-
RECTLY ABOVE OR BELOW NOTES IN PRINT
ARE USUALLY PLACED BEFORE THE NOTES
IN BRAILLE4 ,THE EXCEPTIONS ARE THE
FERMATA SIGNS2 THEY FOLLOW THE NOTE4
,MOST OF THE SIGNS MAY BE DOUBLED IF
THEY APPLY TO FOUR OR MORE NOTES IN
SUCCESSION4 ,MUSIC COMMAS1 FERMATAS
AND SWELLS MAY NOT BE DOUBLED4
  #AJ-AD4 ,EXAMPLE #AJ-AD SHOWS DOU-
BLED STACCATOS WITH IN-ACCORDS4
,THESE SIGNS AFFECT ONLY THE IN-AC-
CORDS WHERE THEY APPEAR4 ,IN SOME
FORMATS DOUBLING MAY CONTINUE FROM
ONE MEASURE TO ANOTHER IF IT CONTIN-
UES IN THE SAME IN-ACCORD PART4

  ,EXAMPLE #AJ-AD4
              #C4
  >/L'VX.HC%GCH 8[\*] 8$8:8?<>
  VX"FCECF "T'<>88"]:\
  .N'<>"$:8?<K

  #AJ-AE4 ,WHEN TWO OR MORE SIGNS
ARE COMBINED1 AN ORDER SIMILAR TO
THAT IN THE NEXT EXAMPLE IS RECOM-
MENDED3

  ,EXAMPLE #AJ-AE4
  >/L'8.8"?<K
  >/L'8;8"?<K
  >/L.8_8"?<L<K
           #AJ-AB--#AJ-AE        #IC
  ,MORE SIGNS FROM ,TABLE #AJ4
777777777777777777777777777777777777
=''= ,BEGINNING OF FIRST LINE OF
  CONTINUATION
=>'= ,END OF FIRST LINE OF
  CONTINUATION
=--= ,BEGINNING OF SECOND LINE OF
  CONTINUATION
=>-= ,END OF SECOND LINE OF
  CONTINUATION
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AJ-AF4 ,THE NEXT NOTE FOLLOWING
THE BEGINNING OR ENDING OF A LINE OF
CONTINUATION MUST HAVE AN OCTAVE
MARK4
  #AJ-AG4 ,THE NEXT TWO EXAMPLES IL-
LUSTRATE A VARIETY OF DYNAMICS AS
WELL AS LINES OF CONTINUATION4

  ,EXAMPLE #AJ-AG4
    7A7
              #D<#D4
      >C"[[ W>3'*"EFGFIJ N>C.??
    *.:>3'%"GH>CRESC'"IH.DE
    >C'*.P>F.]>D'<.F'>DIM'<.Z
    .:?:D') W[\I'( >PIU>P"\"
    "\\I'(<K

    7B7
           #D4
  >RIT' E DIM''> .?JI\$
  "Q>PERDENDOSI--":'J>'
  >PP>D":N>-V<K

  #AJ-AH4 ,DYNAMICS AND WORDS OF EX-
PRESSION ARE GENERALLY PLACED IN THE
RIGHT HAND PART OF KEYBOARD MUSIC
UNLESS THEY SPECIFICALLY APPLY TO
THE LEFT HAND4
  #AJ-AI4 ,WHEN DYNAMICS OCCUR DUR-
ING THE COURSE OF SUSTAINED NOTES1
AN IN-ACCORD IS USED IN BRAILLE TO
REFLECT THE CHANGES ACCURATELY4

  ,EXAMPLE #AJ-AI4
  #D4 >P>C_Y<>"U>F"U<K

  #AJ-BJ4 ,REPEATS MAY BE USED WITH
NUANCES IF THE CHANGE OF NUANCE IS
CLEARLY INDICATED4

  ,EXAMPLE #AJ-BJ4
  #D4 >F"YEFG(IJD>P'7<K


           #AJ-AF--#AJ-BJ        #IE
  ,SIGNIFIES3
  #D4 >F"YEFG(IJD>P"YEFG(IJD<K


























         ,,XI4 ,,ORNAMENTS
            7,TABLE #AA7

             ,TABLE #AA
=6= ,TRILL ,7,IT4 TRILLO2 ,F4
  CADENCE1 TREMBLEMENT2 ,G4
  ,TRILLER2 ,SP4 TRINO7'
="5= ,APPOGGIATURA ,7,IT47' ,7,F4
  PORT DE VOIX2 ,G4 ,VORSCHLAG2
  ,SP4 APOYADURA7'
=5= ,SHORT APPOGGIATURA 7FORMERLY3
  GRACE NOTE7
=4= ,TURN ,7,IT4 FIORITURA2 ,F4
  DOUBLE1 CADENCE1 DOUBLE CADENCE2
  ,G4 ,DOPPELSCHLAG2 ,SP4 GRUPITO7'
  BETWEEN NOTES
=,4= ,TURN ABOVE OR BELOW A NOTE
=4L= ,INVERTED TURN BETWEEN NOTES
=,4L= ,INVERTED TURN ABOVE OR BELOW
  A NOTE
=,= ,BEFORE AN ACCIDENTAL1 INFLECTED
  LOWER NOTE OF ORNAMENT ,EX4 ,%4
  ,*4
="6= ,SHORT TRILL1 ,7SHORT SHAKE1
  PRALLTRILLER1 INVERTED1 I4E41
  UPPER1 MORDENT7'
=;6= ,EXTENDED SHORT TRILL1 SHAKE OR
                 ,XI             #IG
  PRALLTRILLER
="6L= ,MORDENT ,7,IT4 MORDENTE2 ,F4
  MORDANT 7PINC@E1 PINCEMENT72 ,SP4
  MORDIENTE7'
=;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

  #AA-A4 ,ORNAMENTS ARE PLACED BE-
FORE THE NOTES OR INTERVALS TO WHICH
THEY APPLY4 ,NO SPECIAL OCTAVE MARK
IS REQUIRED FOR SUCH NOTES4
  #AA-B4 ,IN ,TABLE #AA1 ORNAMENT
NAMES ARE GIVEN IN SEVERAL LANGUAGES
TO AID RECOGNITION4 ,THE BRAILLE
SIGNS REFER TO THE PRINT SYMBOLS
THAT APPEAR IN THE PRINT EDITION OF
THIS MANUAL4 ,PERFORMERS SHOULD BE
AWARE OF MULTIPLE POSSIBILITIES1 AND
TRANSCRIBERS SHOULD INCLUDE ALL IN-
FORMATION REGARDING MEANING AND/OR
PERFORMANCE THAT MAY BE INCLUDED IN
PRINT4 ,DURING THE ,BAROQUE PERIOD
AND THE YEARS SINCE THAT TIME1 DIF-
FERENT COMPOSERS HAVE GIVEN DIFFER-
ENT NAMES TO THE SAME ORNAMENTS1
DIFFERENT ORNAMENTS HAVE BEEN GIVEN
THE SAME NAMES1 AND THERE IS LITTLE
AGREEMENT CONCERNING SPECIFIC PER-
FORMANCE DETAILS4 ,FOR EXAMPLE1 THE
8,NEW ,GROVE0 99 SHOWS THE PRINT
SYMBOL FOR A TRILL 7DOTS #B-C-E7
WITH THE FOLLOWING DEFINITIONS1 EACH
FOLLOWED BY ITS 8,GUIDE TO ,USE OR
,SOURCE04
      99 ..,THE ,NEW ,GROVE ,DIC-
    TIONARY OF ,MUSIC AND .,MUSI-
    CIANS 7,LONDON3 ,MAC,MILLAN
    ,PRESS ,LIMITED1 #AIHJ71
    ,VOL4 #AC1 P4 #HFC4

    7A7 ,TRILL2 ,UBIQUITOUS ,FR4 AND
,GER4 FROM #AGTH CENTURY3 THE COR-
RECT USAGE
    7B7 ,DOUBLE MORDENT2 ,LOULI@E
    7C7 ,APPOGGIATURA-PREPARED LOWER
MORDENT2 8 ,LOCKE1 ,PURCELL
    7D7 ,PREPARED TRILL2
,L',AFFILARD
    7E7 ,ASCENDING TRILL2 ,GOTTLIEB
            #AA-A--#AA-B         #II
,MUFFAT
    7F7 ,VIBRATO2 ,MACE
    7G7 ,TREMOLO2 ,L',AFFILARD

  ,EACH OF THE FOLLOWING EXAMPLES IN
,CHAPTER ,,XI ILLUSTRATES THE FIRST1
7A71 LISTING BY THE 8,NEW ,GROVE04

  #AA-C4 ,FOR THE SIGN =6=1 MOST
PERFORMERS WILL USE THE UBIQUITOUS
MEANING1 TRILL1 BUT PERFORMANCES
WILL VARY ACCORDING TO THE TEMPO1
THE STYLE OF THE MUSIC1 AND OTHER
FACTORS4 ,THE PRINT SYMBOL DOES NOT
INDICATE WHETHER THE TRILL IS PRE-
PARED OR WHETHER IT ENDS WITH A
TURN2 PERFORMERS MAY INCLUDE THOSE
FEATURES IF APPROPRIATE4
  #AA-D4 ,IF TWO NOTES OF A CHORD
ARE TO BE TRILLED1 BOTH NOTES MUST
BE SO MARKED4

  ,EXAMPLE #AA-D4
      #B4 6.P6+<K

  #AA-E4 ,WHEN ONLY ONE TRILL SYMBOL
APPEARS1 FOLLOWED BY A WAVY LINE
ACROSS SEVERAL NOTES1 A LINE OF CON-
TINUATION 7,TABLE #AJ7 MAY BE USED
AS IN ,EXAMPLE #AA-E4

  ,EXAMPLE #AA-E4
             #B4
  6''.N@C >D'7@C 7@C >PP'7>'
  @C.N<L<K

  #AA-F4 ,THE MOST COMMON PRINT SYM-
BOL FOR APPOGGIATURA IN MODERN EDI-
TIONS IS A NOTE PRINTED IN VERY
SMALL TYPE4 ,WHEN THIS SMALL NOTE
HAS AN OBLIQUE STROKE THROUGH ITS
STEM1 A VERY QUICK1 SHORT APPOGGIA-
TURA IS INDICATED4 ,TWO OR MORE AP-
POGGIATURAS BEFORE A NORMAL NOTE
MUST ALSO BE EXECUTED QUICKLY4

  ,EXAMPLE #AA-F
  #D4 5")C5YC5ZCN5GC$V<K

  #AA-G4 ,WHEN AN APPOGGIATURA DOES
NOT HAVE THE STROKE OR IS NOT PART
OF A GROUP1 THE NORMAL SIGN FOR AP-
POGGIATURA SHOULD BE USED4 ,THE
LENGTH OF THE ORNAMENT WILL DEPEND
UPON THE STYLE OF THE MUSIC4
            #AA-C--#AA-G        #AJA
  ,EXAMPLE #AA-G
          %%#D4
  .S"5H;C]"5F;C: \'F?V<K

  #AA-H4 ,IF POSSIBLE1 APPOGGIATURAS
ARE WRITTEN ON THE SAME LINE AS THE
NOTES WHICH THEY EMBELLISH4 ,THE
SIGN FOR A SHORT APPOGGIATURA MAY BE
DOUBLED4

  ,EXAMPLE #AA-H4
          #D%#C4
  ;B"T'55%Y)%!5)^2 .FC*E"
    .EC%DDCJ<K

  #AA-I4 ,IN EACH OF THE NEXT EXAM-
PLES1 AN ORNAMENT IS FOLLOWED BY THE
REALIZATION OR EFFECT OF THAT ORNA-
MENT SIGN4 ,EXACT RHYTHMIC DETAILS
MAY VARY ACCORDING TO THE MUSICAL
STYLE4 ,THESE EXAMPLES ARE PROVIDED
BY ,ASSOCIATION ,VALENTIN ,HA@UY
POUR LE ,BIEN DES ,AVEUGLES1 ,PARIS4
,EXAMPLE #AA-I SHOWS A TURN BETWEEN
TWO NOTES IN PRINT4 ,IN BRAILLE THE
TURN SIGN PRECEDES THE FIRST OF THE
TWO NOTES4

  ,EXAMPLE #AA-I4
  #C4 4.N$<K' .?'ONTN$<K

  #AA-AJ4 ,IN ,EXAMPLE #AA-AJ1 THE
DOT #F PRECEDING THE TURN SIGN INDI-
CATES THAT THE TURN SIGN APPEARS DI-
RECTLY ABOVE A NOTE IN PRINT4 ,IN
BRAILLE1 THE SIGN PRECEDES THAT
NOTE4

  ,EXAMPLE #AA-AJ4
  #B4 ,4.?$<K' .ZDJD$<K

  #AA-AA4 ,WHEN DOTS #A-B-C FOLLOW
THE TURN SIGN1 AN INVERTED TURN1
=4L=1 IS INDICATED4 ,EXAMPLE #AA-#AA
7A7 SHOWS THE SIGN BETWEEN TWO NOTES
IN PRINT1 AND 7B7 SHOWS IT DIRECTLY
ABOVE A NOTE4

  ,EXAMPLE #AA-AA4
    7A7
  #C4 4L.N$<K' .?'TNON$<K

    7B7
  #B4 ,4L.?$<K' ")DED$<K

           #AA-H--#AA-AA        #AJC
  #AA-AB4 ,ACCIDENTALS PRINTED ABOVE
OR BELOW AN ORNAMENT SYMBOL PRECEDE
THAT SIGN IN BRAILLE4 ,IF THE ACCI-
DENTAL APPEARS BELOW THE SYMBOL IN
PRINT1 IT IS PRECEDED BY DOT #F IN
BRAILLE4 ,EXAMPLE #AA-AB 7A7 SHOWS A
SHARP FOR THE LOWER NOTE OF THE
TURN1 AND 7B7 INDICATES ACCIDENTALS
FOR BOTH OF THE AUXILIARY NOTES4
,THIS METHOD OF MARKING ACCIDENTALS
APPLIES TO ANY TYPE OF ORNAMENT4

  ,EXAMPLE #AA-AB4
    7A7
             #D4
  ,%4"R.?V<K' "\'SR%QR.?V<K

    7B7
              #D4
  <,%4"R.?V<K' "\'<SR%QR.?V<K

  #AA-AC4 ,TRILLS ARE USUALLY INDI-
CATED IN PRINT WITH LETTERS SUCH AS
8TR0 OR A WAVY LINE WITH 8V-SHAPED0
POINTS4 ,A VERY SHORT WAVY LINE WITH
ONLY TWO OR THREE 8V'S0 WAS CALLED
AN UPPER MORDENT IN SOME EARLIER
BRAILLE MANUALS4 ,THAT NAME IS NOW
CALLED 8A MISAPPROPRIATION04 99 ,THE
UBIQUITOUS NAME FOR THE ORNAMENT IS
.TRILL4 ,THIS IS NOT A CONTINUOUS
TRILL AS WITH DOTS #B-C-E4 ,IT USES
THE UPPER AUXILIARY NOTE ONCE OR
TWICE AND IS EXECUTED QUICKLY4
      99 .,IBID4 #AC3#HFD

  ,EXAMPLE #AA-AC4
  #B4 "6.?V<K' .NOD'V<K

  #AA-AD4 ,THE SIGN =;6= INDICATES
AN EXTENDED SHORT TRILL OR SHORT
SHAKE4 ,AS WITH ALL ORNAMENTS1 THE
EXACT SPEED AND RHYTHMIC COMBINATION
VARIES WITH THE PERFORMER'S INTER-
PRETATION AFTER CONSIDERING THE COM-
POSER AND THE PERIOD OF THE COMPOSI-
TION4
  #AA-AE4 ,THE PRINT SYMBOL FOR A
MORDENT IS THE SAME AS THE PRINT
SYMBOL FOR A SHORT TRILL WITH THE
ADDITION OF A SHORT1 VERTICAL OR DI-
AGONAL LINE THROUGH IT4 ,IN THE EXE-
CUTION OF A MORDENT1 AS IN 7A71 THE
LOWER AUXILIARY NOTE IS PLAYED ONCE
OR TWICE4 ,FOR AN EXTENDED MORDENT1
           #AA-AB--#AA-AE       #AJE
AS IN 7B71 THE LOWER AUXILIARY IS
PLAYED A FEW MORE TIMES4

  ,EXAMPLE #AA-AE4
    7A7
  #B4 "6L.?V<K' .NTD'V<K

    7B7
  #B4 ;6L.?V<K' .NTNTDV<K

  #AA-AF4 ,WHEN FINGERING APPEARS
WITH AN ORNAMENT1 THE ORNAMENT SIGN
IS PLACED BEFORE THE NOTE OR INTER-
VAL AND THE FINGERING FOLLOWS IMME-
DIATELY AFTER IT4

  ,EXAMPLE #AA-AF4
           #D4
  .>'6"RL1L+@C5%=5(.?0V
  ,%,4W1LB+:*0"\+V<K

  #AA-AG4 ,INTERVAL DOUBLING MAY BE
USED WITH ORNAMENTS PROVIDING THE
DOUBLING CONTINUES THROUGH THE ORNA-
MENT4

  ,EXAMPLE #AA-AG4
  #B4 .>.Y++EDE5Y5ZFZY+<K
  #AA-AH4 ,THE DOUBLING MUST BE
STOPPED FOR THE SHORT APPOGGIATURA
IN ,EXAMPLE #AA-AH4

  ,EXAMPLE #AA-AH
           %#C8
  .>.Z++).FE+ 5EY++)DE+<K

  #AA-AI4 ,SOME PRINT SYMBOLS INDI-
CATE A COMBINATION OF ORNAMENTS SUCH
AS A TRILL WITH A CIRCULAR TWIST AT
THE END TO INDICATE A TURN OR AN IN-
VERTED TURN4 ,IN THIS CASE A COMBI-
NATION OF BRAILLE SIGNS MAY BE USED4
,A TRILL SIGN FOLLOWED BY THE APPRO-
PRIATE TURN CAN CONVEY APPROPRIATE
INFORMATION TO THE BRAILLE READER4
  #AA-BJ4 ,THE ARPEGGIO UP SIGN1
=>K=1 IS PLACED BEFORE A CHORD IN
ONE PART4 ,WHEN AN IN-ACCORD IS NEC-
ESSARY1 THE SIGN APPEARS BEFORE ALL
NOTES OR CHORDS THAT ARE PART OF THE
ARPEGGIATED CHORD4 ,WHEN THE ARPEG-
GIO EXTENDS THROUGH MORE THAN ONE
PART1 THE SIGN =">K= IS USED BEFORE
NOTES OR CHORDS IN ALL PARTS AFFECT-
ED4 ,ALSO SEE ,EXAMPLES #AG-CF AND
           #AA-AF--#AA-BJ       #AJG
#AG-CG4

  ,EXAMPLE #AA-BJ4
            <<#B4
  .>">K.?/9?+9<>">K"D*E<$<K
  _>">K^]93]93<>">K_]GH<K

  #AA-BA4 ,THE NUMBER OF DOTS 7STAC-
CATOS7 IN THE BRAILLE BEBUNG SHOULD
EQUAL THE NUMBER OF PRINTED DOTS IN
THAT ORNAMENT4

















          ,,XII4 ,,THEORY
            7,TABLE #AB7

  #AB-A4 ,THE INTERNATIONAL DECISION
TO FOLLOW PRINT1 PUTTING TEXT MATE-
RIAL INTO BRAILLE TEXT RATHER THAN
BRAILLE SIGNS1 HAS ENABLED GENERAL
AGREEMENT ON THEORY NOTATION4 ,THIS
AGREEMENT IS PARTICULARLY HELPFUL
WHEN BLIND AND SIGHTED MUSICIANS ARE
STUDYING OR WORKING TOGETHER4

        ,A4 ,CHORD ,SYMBOLS
  #AB-B4 ,MANY TYPES OF MUSIC PUBLI-
CATIONS FROM HYMNS TO GENERAL SONG
BOOKS TO FAKE BOOKS 7WORDS ONLY7 AND
OTHER POPULAR MUSIC NOW INCLUDE
CHORD SYMBOLS AS A ROUTINE PRACTICE4
,SOME OF THESE ARE VERY SIMPLE INDI-
CATIONS SUCH AS 8,G0 OR 8,D#G0 AND
OTHERS ARE VERY COMPLEX4 ,MOST CAN
BE WRITTEN IN LITERARY BRAILLE WITH
THE ADDITION OF MUSIC SIGNS FOR
PITCH ALTERATION AND THE FOLLOWING
SIGNS FROM ,TABLE #AB ,A THAT HAVE
INTERNATIONAL APPROVAL4

           #AA-BA--#AB-B        #AJI
  ,EXAMPLE #AB-B4
=3>= ,PREFIX FOR A CHORD SYMBOL
  PART
=4= ,SMALL CIRCLE
=4'= ,SMALL CIRCLE BISECTED BY
  LINE
=0= ,SMALL TRIANGLE
=0'= ,SMALL TRIANGLE BISECTED BY
  LINE
=.#G= ,ITALICIZED #G FOR A
  SPECIALIZED SEVENTH CHORD

  #AB-C4 ,THE SIGNS FOR PLUS1 MINUS1
PARENTHESES1 OBLIQUE STROKE1 CAPITAL
AND LOWER CASE LETTERS1 AND ITALICS
ARE PART OF THE LITERARY CODE OF
EACH COUNTRY AND SHOULD BE LISTED IN
EACH PUBLICATION4 ,THOSE USED IN
THIS PUBLICATION ARE SHOWN BELOW3

  ,EXAMPLE #AB-C4
=/= ,OBLIQUE STROKE
=7 7= ,PARENTHESES
=+= ,PLUS SIGN
=-= ,MINUS SIGN OR LITERARY HYPHEN
=;= ,LOWER CASE LETTER
=,= ,CAPITAL LETTER

  #AB-D4 ,THE STANDARD MUSIC SIGNS
ARE USED FOR ACCIDENTALS2 DOT #C IS
USED FOR PERIODS4
  #AB-E4 ,NUMBERS ARE PRECEDED BY
THE NUMERAL SIGN AND WRITTEN IN NOR-
MAL1 UPPER-CELL POSITION4 ,IF PRINT-
ED VERTICALLY1 THE NUMERALS ARE
BRAILLED FROM LOWEST TO HIGHEST4
  #AB-F4 ,THE FOLLOWING IS A REPRE-
SENTATIVE LIST OF POSSIBLE CHORD
SYMBOLS USING THE INTERNATIONAL
SIGNS4

  ,EXAMPLE #AB-F4
    7,SIGNS ARE IDENTICAL IN PRINT
  AND IN BRAILLE47
  ,DM
  ,DMAJ#G
  ,F%DIM#G
  ,F%4#G
  ,C#GSUS
  ,DM7%#G7
  ,B#G-#I
  ,GMAJ#G+#I
  ,C0#G
  ,C0'#G
  ,G#F/,D
            #AB-C--#AB-F        #AAA
  #AB-G4 ,IN BAR-OVER-BAR FORMATS1
CHORD SYMBOLS ARE ALIGNED BENEATH
THE TEXT LINES OR BENEATH THE MUSIC4
,NO PREFIX IS USED2 THE PLACEMENT IS
ENOUGH TO IDENTIFY THESE AS CHORD
SYMBOLS4 ,EXAMPLE #AB-G SHOWS POPU-
LAR OR FOLK MUSIC WHEN SONG TEXT IS
GIVEN ONLY WITH CHORD SYMBOLS IN A
8LEAD SHEET0 FOR USE WITH GUITAR1
OTHER PLUCKED INSTRUMENTS OR IMPRO-
VISED ON A KEYBOARD4 ,IN PRINT1 THE
CHORD SYMBOLS ARE ALIGNED ABOVE THE
TEXT2 IN BRAILLE THEY ARE ALIGNED
BELOW4

  ,EXAMPLE #AB-G4
  ,HAPPY BIRTHDAY TO YOU1
         ,F          ,C#G
  HAPPY BIRTHDAY TO YOU4
                    ,F

  #AB-H4 ,WHEN A MELODY IS ALSO PRO-
VIDED1 IT IS ADDED AS A THIRD LINE
TO THE PARALLEL4 ,SOME COUNTRIES AL-
WAYS PLACE THE TEXT ABOVE THE MELO-
DY2 OTHERS PLACE IT BELOW4 ,WHEN
CHORD SYMBOLS ARE ALIGNED WITH TEXT1
THE TEXT IS SPACED1 IF NECESSARY1 TO
ACCOMODATE THE CHORD ALIGNMENT4 ,EX-
AMPLE #AB-H 7A7 HAS THE TEXT ABOVE
AND 7B7 HAS THE TEXT BELOW THE MELO-
DY4 ,IN BOTH CASES1 THE CHORD SYM-
BOLS ARE ALIGNED WITH THE TEXT4 ,IN
7A71 DOTS #C-F ARE ADDED AS A FILLER
FOR SPACES IN THE TEXT1 BUT THEY ARE
NOT FILLED IN 7B74 ,NEITHER VERSION
FILLS SPACES BETWEEN CHORD SYMBOLS4
,AT LEAST ONE SPACE MUST BE LEFT BE-
TWEEN EACH CHORD SYMBOL4

  ,EXAMPLE #AB-H4
    7A7
           <#C4
  ,HOW CAN --- ,I   EVER
  ,F   ,FMAJ#G ,F#G ,B<
    "??? :]"
  FORGET YOU1
     ,F
    "W S' Q'<K






            #AB-G--#AB-H        #AAC
  7B7
            <#C4
  "??? :]"
  ;2 ,HOW CAN     ,I   EVER
     ,F   ,FMAJ#G ,F#G ,B<
  "W S' Q'<K
  ;2 FORGET YOU1
        ,F

  #AB-I4 ,WHEN CHORD SYMBOLS ARE
ALIGNED WITH THE TEXT1 IT IS ALSO
POSSIBLE TO INDICATE CHORDS THAT
PRECEDE OR FOLLOW A WORD4 ,THIS IS
DONE BY PLACING THE CHORD SYMBOL AT
LEAST #B CELLS TO THE LEFT OF A WORD
OR ONE CELL TO THE RIGHT4 ,PUNCTUA-
TION IS IGNORED WHEN COUNTING SPACES
AFTER A WORD4

  ,EXAMPLE #AB-I4
  ,ALL THROUGH THE NIGHT4    ,WHEN
  ,G#G             ,C   ,B#G ,EM
    "T?: Y U"\<K

  #AB-AJ4 ,WHEN CHORD SYMBOLS ARE
PLACED BELOW THE MELODY1 THEY MAY BE
ALIGNED WITH SPECIFIC NOTES OR WITH
THE BEGINNINGS OF THE APPROPRIATE
MEASURES4 ,IN ,EXAMPLE #AB-AJ THE
CHORD SYMBOLS ARE ALIGNED AT THE BE-
GINNING OF THE MEASURES1 AND A SPACE
IS LEFT BETWEEN EACH CHORD SYMBOL4

  ,EXAMPLE #AB-AJ4
  ,ALL ALONE1 ,I'M ALL ALONE2
    .D:J@CWW IWH@C\V<K
    ,D#G ,G  ,B#G ,EM

  #AB-AA4 ,IF CHORD SYMBOLS ARE IN-
CLUDED WITH THE PIANO ACCOMPANIMENT1
THEY ARE PLACED BELOW THE LEFT HAND
PART AND ARE USUALLY ALIGNED WITH
BEGINNINGS OF MEASURES4 ,THE
8TRACKER0 DOTS 7DOT #C7 BELOW ARE
PART OF THE BAR-OVER-BAR FORMATS
ONLY4

  ,EXAMPLE #AB-AA4
               %_C
  .>_J'Y%D'ZF'*YG'0Z "R0U<K
  _>^H'!%I')?: ''''' ^\E@H@C\V<K
    ,G ,C ,D#G       ,G

  #AB-AB4 ,THE CHORD SYMBOL PREFIX
IS USED IN SECTION-BY-SECTION FOR-
           #AB-I--#AB-AB        #AAE
MATS4 ,EXAMPLE #AB-AB IS THE SAME
MUSIC AS #AB-AA4 ,IN 7A71 THE LITER-
ARY SYMBOLS ARE PLACED IN THE CHORD
SYMBOL PART AFTER THE PREFIX =3>=4
,THERE ARE NO SPACES BETWEEN CHORDS2
A SPACE IS A BAR LINE4 ,STEM SIGNS
MAY FOLLOW CHORD SYMBOLS TO SHOW
VALUE WHEN THE CHORDS DO NOT HAVE
THE SAME TIME VALUE4 ,SIGNS FOR RE-
PEATS1 PRIMA AND SECONDA VOLTA1 ETC4
MAY BE USED AS USUAL4 ,RESTS 7PRE-
CEDED BY DOT #E7 CAN BE USED TO SHOW
MEASURES OR BEGINNINGS OF MEASURES
WITH NO CHORD SYMBOLS4 ,IN 7B7 THE
BASS LINE IS REPEATED AFTER EACH
CHORD SYMBOL IN ORDER TO SHOW EXACT
LOCATION4

  ,EXAMPLE #AB-AB4
    7A7
            %_C
  .>_J'Y%D'ZF'*YG'0Z R0U<K
  _>^H'!%I')?: ^\E@H@C\V<K
  3>,G_K,C,D#G ,G<K




    7B7
            %_C
  .>_J'Y%D'ZF'*YG'0Z R0U<K
  _>^H'!%I')?: ^\E@H@C\V<K
  3>'>,G^H'!%I')>,C_?"
    >,D#G_: >,G^\E@H@C\V<K

  #AB-AC4 ,OTHER LOCAL OR NATIONAL
METHODS MAY BE USED TO INDICATE NOTE
VALUE WITH CHORD SYMBOLS4
  #AB-AD4 ,SOME PRINT SYMBOLS1 SUCH
AS THE SMALL CIRCLE 7DIMINISHED7 AND
SMALL CIRCLE WITH A LINE THROUGH IT
7HALF-DIMINISHED71 HAVE STANDARD
MEANINGS4 ,OTHERS HAVE DIFFERENT
MEANINGS IN DIFFERENT PUBLICATIONS2
I4E41 THE SMALL TRIANGLE AND THE
ITALICIZED #G HAVE BEEN USED TO IN-
DICATE MAJOR SEVENTHS AND ALSO DI-
MINISHED SEVENTHS ACCORDING TO DIF-
FERENT COMPOSERS4 ,ALL EXPLANATORY
MATERIAL WILL1 OF COURSE1 BE INCLUD-
ED IN THE TRANSCRIPTION4 ,IN EXAM-
PLES 7A7 AND 7B7 BELOW1 THE SYMBOLS
ARE USED TO INDICATE MAJOR SEVENTH
CHORDS4 ,IN BOTH CASES1 THE MEANING
OF THE CHORD SYMBOL WAS EXPLAINED AT
           #AB-AC--#AB-AD       #AAG
THE BEGINNING OF THE PRINT PUBLICA-
TION4 ,THE PREFIX FROM ,TABLE #AE
FOR THE RIGHT HAND PART WHEN INTER-
VALS READ UP IS USED IN THESE EXAM-
PLES4 ,IN #AB-AD 7B71 THE 8NOTES0
ARE MERELY AN INDICATION OF RHYTHM
FOR A JAZZ GUITARIST4

  ,EXAMPLE #AB-AD4
  7,INTERVALS READ UP7
    7A7
           .C
  .>>_[+0 <[/0   R+90<K
  _>_:    ^\     _N<K
   ,D-#G ,G#G<#I ,C0

    7B7
       #AB8
  "JJJJJJ" W'V'<K
  ,GM ,C#G ,F.#G

       ,B4 ,FIGURED ,BASS AND
        ,HARMONIC ,ANALYSIS

  ,SIGNS FROM ,TABLE #AB ,B4
777777777777777777777777777777777777
=;>= ,PREFIX FOR A FIGURED BASS PART
=#6= =#35= ,NUMBERS
=#%K= =#<K= ,ISOLATED ACCIDENTALS
=#'= ,OMITTED FIGURE IN A STRING OF
  FIGURES
=#A= ,A LINE OF CONTINUATION
=#AA= ,TWO LINES OF CONTINUATION
=#;6= ,FIGURE 7ANY NUMBER7 THAT IS
  CROSSED IN PRINT
=#/= ,OBLIQUE STROKE
=-= ,SEPARATION OF SIGNS
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

         #A4 ,FIGURED ,BASS
  #AB-AE4 ,FIGURED BASS CONSISTS OF
NUMBERS1 ACCIDENTALS AND OTHER 8FIG-
URES0 PRINTED BENEATH SPECIFIC NOTES
IN VERTICAL COLUMNS4 ,IN BRAILLE1
THE FIGURES FOLLOW THE SPECIFIC
NOTES4 ,A NUMBER SIGN MUST INDICATE
THE BEGINNING OF EVERY COLUMN OF
FIGURES1 EVEN IF THE 8FIGURE0 IS AN
ACCIDENTAL1 AN OBLIQUE STROKE1 OR
OTHER FEATURE4
  #AB-AF4 ,NUMBERS ARE WRITTEN IN
THE LOWER PART OF THE CELL4
  #AB-AG4 ,THE LOWEST FIGURE OF A
COLUMN1 IN TERMS OF PLACEMENT IN
PRINT RATHER THAN NUMERICAL SE-
           #AB-AE--#AB-AG       #AAI
QUENCE1 IS PLACED FIRST AFTER A NOTE
AND IS FOLLOWED BY THE SUCCEEDING
FIGURES READING UPWARDS4
  #AB-AH4 ,ACCIDENTALS PRECEDE FIG-
URES TO WHICH THEY APPLY4
  #AB-AI4 ,AN ISOLATED ACCIDENTAL
7INDICATING INFLECTED THIRD7 IS FOL-
LOWED BY DOTS #A-C EXCEPT AT THE END
OF A BAR4
  #AB-BJ4 ,A FIGURE THAT IS
8CROSSED0 7INDICATING THAT IT IS
RAISED7 IS PRECEDED BY DOTS #E-F4
  #AB-BA4 ,IN A STRING OF FIGURES1
AN OMITTED FIGURE IS REPRESENTED BY
DOT #C4
  #AB-BB4 ,WHEN MORE THAN ONE COLUMN
OF FIGURES APPEARS UNDER A SINGLE
BASS NOTE1 EACH COLUMN BEGINS WITH A
NUMBER SIGN IN BRAILLE4 ,EXAMPLE
#AB-BB ILLUSTRATES THE FEATURES
LISTED IN ,PARAGRAPHS #AB-AE THROUGH
#AB-BA4 ,VERSION 7A7 IS IN SECTION
FORMAT2 VERSION 7B7 IS BAR-OVER-BAR4
,SOME COUNTRIES WHO USE SECTION FOR-
MAT WRITE THE LEFT HAND NOTES WITH
THE FIGURED BASS AS IN 7B7 OF THIS
EXAMPLE1 RATHER THAN WRITING A SEPA-
RATE LEFT-HAND PART AS IN 7A74
  ,EXAMPLE #AB-BB4
    7A7
             <<.C
  #18-19 .>'*"WECJN<><"[\\[<>
"]]$'E .?C*WN<>"R#R+<K
  _>_ECD*JCH_?] HCGCH^H_N<K
  ;>_E#<5;6D*J#56H_?]#<K57#''6
H#45GH#*K^H_N<K

    7B7
            <<.C
AH .>'*"WECJN<><"[\\[<>"]]$'E
   ;>_EC#<5;6D*JC#56H_?"
     _]#<K57#''6
AI .>.?C*WN<>"R#R+<K
   ;>_HC#45GCH#*K^H_N<K

  #AB-BC4 ,DOT #A REPRESENTS A PRINT
LINE OF CONTINUATION4 ,THE NUMBER OF
DOT #A'S EQUALS THE NUMBER OF CON-
TINUATION LINES4 ,IN ,EXAMPLE #AB-
BC1 WHERE THERE ARE TWO NUMBERS IN A
COLUMN1 BOTH NUMBERS ARE FOLLOWED BY
A PRINT LINE OF CONTINUATION IN THE
NEXT COLUMN4


           #AB-AH--#AB-BC       #ABA
  ,EXAMPLE #AB-BC4
              %#B2
  _$$?#6?#A W#46W#AA[#56[#AA<K

  #AB-BD4 ,IF IT IS NECESSARY TO IN-
DICATE THE RHYTHM OF A CHANGE OF
FIGURES ON ONE NOTE1 THE FIGURES
SHOULD BE FOLLOWED BY A STEM SIGN
SHOWING THE VALUE OF THE CHORD RE-
PRESENTED BY EACH COLUMN OF FIGURES4
,THIS SHOULD ONLY BE USED WHERE ES-
SENTIAL AND WHERE THE PRINT IS QUITE
CLEAR AS TO THE INTENDED RHYTHM4

  ,EXAMPLE #AB-BD4
        #D4
  .>'%"G(!R]<K
  ;>_Z#%K#4_K#%K<K

  #AB-BE4 ,WHEN NOTES WITH FIGURES
ARE FOLLOWED BY OTHER MUSICAL SIGNS
7I4E41 STACCATO7 THE SIGN WITH DOTS
#C-F1 =-=1 SEPARATES THE FIGURED
BASS SIGNS FROM THE MUSIC SIGNS4 ,AT
THE BEGINNING OF A MEASURE1 AS IN
,EXAMPLE #AB-BE1 THE SEPARATION SIGN
IS NOT NECESSARY4

  ,EXAMPLE #AB-BE4
  8^H#4-8H#3<K

  #AB-BF4 ,IF OTHER NOTES APPEAR ON
THE STAFF WITH THE BASS LINE AND
FIGURES1 THESE NOTES ARE USUALLY
WRITTEN SEPARATELY1 AFTER AN IN-AC-
CORD SIGN4 ,IF SMALL NOTES ARE USED
IN THE PRINT1 THEY SHOULD BE WRITTEN
USING THE SMALL-NOTE SIGN IN BRAILLE
7,TABLE #A74

  ,EXAMPLE #AB-BF4
  ;>'%_H#6F:#%46<>_J#%(!W<K

  #AB-BG4 ,AN OBLIQUE STROKE IS RE-
PRESENTED BY DOTS #C-D1 PRECEDED BY
THE NUMBER SIGN4

  ,EXAMPLE #AB-BG4
  ;>_$#36]#/\#/<K

      #B4 ,HARMONIC ,ANALYSIS
  #AB-BH4 ,WHEN MUSIC IS BEING USED
FOR HARMONIC ANALYSIS1 IT IS COMMON
FOR THE INTERVALS OF ALL PARTS TO BE
WRITTEN UPWARD4 ,A STATEMENT ABOUT
           #AB-BD--#AB-BH       #ABC
THE DIRECTION OF INTERVALS SHOULD
APPEAR IN THE TRANSCRIPTION4 ,IF
KEYBOARD HAND SIGNS ARE BEING USED1
THE SIGN FOR THE RIGHT HAND PART
SHOULD INDICATE THAT INTERVALS READ
UP1 =.>>=1 7,TABLE #AE74
  #AB-BI4 ,HARMONIC ANALYSIS USES
ROMAN NUMERALS AND LETTERS IN ADDI-
TION TO THE FIGURES OF FIGURED BASS4
  #AB-CJ4 ,FIGURES ARE WRITTEN AS IN
THE PRECEDING SECTION OF THIS CHAP-
TER4
  #AB-CA4 ,ROMAN NUMERALS AND LET-
TERS FOLLOW PRINT1 USING THE CAPITAL
OR LETTER SIGNS ACCORDING TO THE
NORMAL LITERARY USAGE IN EACH NA-
TION4 ,AMERICAN CAPITALS AND LETTER
SIGNS ARE USED IN THIS EDITION4
  #AB-CB4 ,EACH CHORD SYMBOL IS SEP-
ARATED BY A SPACE4
  #AB-CC ,IF THE SYMBOLS NEED TO BE
ALIGNED WITH MUSIC1 THEY ARE WRITTEN
ON A LINE BELOW THE NOTES AND THE
MUSIC IS SPACED SO THAT THE START OF
EACH NOTE-GROUP COINCIDES WITH THE
FIRST SIGN OF THE CHORD SYMBOL4 ,IN
THIS SITUATION THE SIGN =L= IS USED
TO REPRESENT A BAR-LINE4
  ,EXAMPLE #AB-CC4
  7,INTERVALS READ UP47
           #D<#C4
  .>>":+ :+  ?*+  L N'#<K
  _>'_:9 W-  ?3   L ^Q'_+<K
     ,VI ,IV ,V#7%  ,I

  #AB-CD4 ,EXAMPLE #AB-CD IS HARMON-
IC ANALYSIS FROM A THEORY TEXTBOOK4
,VERSION 7A7 IS IN BAR-OVER-BAR FOR-
MAT WITH EACH BEAT ALIGNED2 VERSION
7B7 IS IN A SECTION4 ,BAR LINES
WOULD BE PLACED BETWEEN MEASURES4
,IN BOTH CASES1 THE LETTERING AND
CAPITALIZATION IS TRANSCRIBED AS IT
APPEARS IN PRINT

  ,EXAMPLE #AB-CD4
  7,INTERVALS READ UP47
    7A7
           <<<#C2
  .>>"S<# *S+ '''''' R*+<K
  _>'_Q-  %Q3 '''''' R9<K
 ;C3 ,N#6 ;VII4#7/,V ,V



           #AB-BI--#AB-CD       #ABE
    7B7
           <<<#C2
  .>>"S<#*S+R*+<K
  _>_Q-%Q3R9<K
  ;> ;C3 ,N#6 ;VII4#7/,V ,V

  #AB-CE4 ,WITH THIS INTERNATIONAL
SYSTEM1 UNUSUAL LETTERING AND NUM-
BERING CAN BE ACCOMMODATED4 ,AGAIN1
THE EXACT LETTERING AND CAPITALIZA-
TION OF THE PRINT IS REPRODUCED4
,VERSION 7A7 IS BAR-OVER-BAR2 VER-
SION 7B7 IS IN A SECTION4

  ,EXAMPLE #AB-CE4
  7,INTERVALS READ UP47
    7A7
         #D%.C
  .>>"$PED<>"WID"Q@C L
  _>'_N   %S ''''''' L
     ,S#6 ,D#56
  .>>"OT<>"Q'$@C<K
  _>'^)@C<>V_WR<K
     ,DP      ,TP#46




    7B7
             #D%.C
    .>>"$PED<>"WID"Q@C L
  "OT<>"Q'$@C<K
    _>_N%S L ^)@C<>V_WR<K
    ;> ,S#6 ,D#56 L ,DP ,TP#46

  #AB-CF4 ,WHEN LETTERS REPRESENT
PASSING NOTES1 NON-CHORD OR AUXILIA-
RY NOTES1 SUSPENSIONS1 ETC4 7USING
X1 N1 A1 S ETC4 IN PRINT71 EITHER
THE LETTERS1 WITH WORD SIGNS1 SHOULD
PRECEDE THE NOTES TO WHICH THEY RE-
FER OR THEY SHOULD BE PLACED WITH
LETTER SIGNS 7RATHER THAN WORD
SIGNS71 ON THE SAME LINE AS THE
CHORD SYMBOLS1 DIRECTLY BELOW THE
NOTES TO WHICH THEY APPLY4 ,IN ,EX-
AMPLE #AB-CF1 UPPER CASE ROMAN NU-
MERALS REPRESENT MAJOR CHORDS1 LOWER
CASE REPRESENT MINOR CHORDS1 AND ,IC
IS AN EXAMPLE OF THE ,I CHORD WITH
LETTERING THAT REPRESENTS #BND IN-
VERSION4 ,IN 7A71 THE SYMBOLS ABOVE
THE STAFF IN PRINT PRECEDE THE NOTES
TO WHICH THEY APPLY AND THOSE BELOW
THE STAFF ARE ALIGNED BELOW THE
           #AB-CE--#AB-CF       #ABG
NOTES TO WHICH THEY APPLY2 IN 7B71
ALL THE SIGNS ARE ALIGNED BELOW4

  ,EXAMPLE #AB-CF4
    7A7
              %#D4
  ;>"\ L \   ]    F>X"GH>X"I L
    ,I   ;VI ;III ,IV  ;VI
  ;>"J>A.D[    \<L<K
    ,I;C  ,V#7 ,I

    7B7
               %#D4
  ;>"\ L \   ]    F   G  H   I L
    ,I   ;VI ;III ,IV ;X ;VI ;X
  ;>"J   D  [    \<L<K
    ,I;C ;A ,V#7 ,I

  #AB-CG4 ,CHORDS ARE NORMALLY
ALIGNED VERTICALLY UNLESS THERE CAN
BE NO CONFUSION1 I4E41 IF THE PRINT
HAS EXPLAINED THEIR POSITION4 ,IN
,EXAMPLE #AB-CG THE CHORDS ARE NOT
ALIGNED4 ,THE PRINT IS THE SAME AS
IN ,EXAMPLES #AB-CF 7A7 AND 7B74



  ,EXAMPLE #AB-CG4
          %#D4
  ;>"\ \]F>X"GH>X"I
    ,I ;VI ;III ,IV ;VI
  ;>"J>A.D[\<L<K
    ,I;C ,V#7 ,I

  #AB-CH4 ,WHEN FIGURED BASS AND RO-
MAN NUMERALS BOTH APPEAR IN THE
BASS1 THE ROMAN NUMERALS CAN BE
PLACED UNDERNEATH4 ,WHEN SPACING IS
NEEDED IN ORDER TO LEAVE AT LEAST
ONE SPACE BETWEEN EACH CHORD1 THE
BAR LINE SIGN IS USED4

  ,EXAMPLE #AB-CH4
         %%#D4
  ;>_Q#6 R#56 L P#346"
    ,I#6 ,II#56 ,V#34
  ;>'%_O#356<K
    ,V#56 OF ,II






           #AB-CG--#AB-CH       #ABI
           ,C4 ,BRACKETS

  ,SIGNS FROM ,TABLE #AB ,C4
777777777777777777777777777777777777
=,' ,'= ,MUSIC PARENTHESES 7ROUND
  BRACKETS7
="' ,1= ,VERTICAL BRACKETS
  SURROUNDING NOTES OR FEATURES
=;1 "2= ,SQUARE BRACKET ABOVE THE
  STAFF
=;1 "'= ,SQUARE BRACKET ABOVE STAFF
  WITH UNCLEAR ENDING
=;11 ""2= ,DOTTED SQUARE BRACKET
  ABOVE THE STAFF
=;' ,2= ,SQUARE BRACKET BELOW THE
  STAFF
=;' ,1= ,SQUARE BRACKET BELOW STAFF
  WITH UNCLEAR ENDING
=;'' ,,2= ,DOTTED SQUARE BRACKET
  BELOW THE STAFF
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AB-CI4 ,THE SIGN FOR MUSIC PAREN-
THESES 7ROUND BRACKETS7 IS USED AS
FOLLOWS4




  ,EXAMPLE #AB-CI4
            %#D4
  ;>'*_Q#6P#7#6,'%,' _O#<K"
    :#2%?<K

  #AB-DJ4 ,BUT IF THE SYMBOL IN
PRINT IS A VERTICAL SQUARE BRACKET1
THAT DISTINCTION SHOULD BE SHOWN IN
BRAILLE4

  ,EXAMPLE #AB-DJ4
             %%%#C4
  ;>_[[? S#6\#6 @C\Q#7#"'%,16<K

  #AB-DA4 ,BRACKETS ABOVE AND BELOW
THE STAFF ARE FOUND COMMONLY IN HAR-
MONIC NOTATION1 SUCH AS ,SCHENKER
,ANALYSIS4 ,WHEREVER BRACKETS OCCUR1
IN ANY KIND OF MUSIC1 THE SIGNS
ABOVE THAT HAVE RECEIVED INTERNA-
TIONAL APPROVAL ARE AVAILABLE4
  #AB-DB4 ,COMPLETE BRACKETS CONSIST
OF A HORIZONTAL LINE WITH A SHORTER
LINE AT EACH END1 DRAWN AT A RIGHT
ANGLE TO THE HORIZONTAL4 ,IF THE
BRACKET IS ABOVE THE LINE1 THE SIGNS
=;1 "2= ARE USED1 AND IF IT IS BE-
           #AB-CI--#AB-DB       #ACA
LOW1 THE SIGNS =;' ,2= ARE USED4

  ,EXAMPLE #AB-DB4
            %%#D4
  ;1;ZFGF ;'Z.IGF,2Z"I"2GF<K

  #AB-DC4 ,IF THE BRACKETS ARE DRAWN
WITH DASHED OR DOTTED LINES1 THE
SIGN FOR DOTTED BRACKETS IS USED4

  ,EXAMPLE #AB-DC4
              %#C4
  _("F;11DF;''7,,2""2_(%"D%ID<K

  #AB-DD4 ,WHEN A BRACKET DOES NOT
HAVE A RIGHT ANGLE AT THE END1 IT IS
CONSIDERED UNCLEAR WHERE THE EXACT
ENDING OCCURS4 ,IN THAT CASE1 THE
SIGN ="'= IS USED AT THE END IF THE
BRACKET IS ABOVE THE STAFF1 AND =,1=
IS USED IF THE BRACKET IS BELOW THE
STAFF4

  ,EXAMPLE #AB-DD4
           %%.C
  ;1;ZFGF Z.IGFZ"I"'GF<K


    ,,XIII4 ,,MODERN ,,NOTATION
            7,TABLE #AC7

  #AC-A4 ,WHEREVER POSSIBLE1 STAND-
ARD BRAILLE NOTATION SHOULD BE USED
IN ALL KINDS OF MUSIC4 ,WHEN MODERN
BRAILLE NOTATION FROM THIS CHAPTER
IS USED1 A TRANSCRIBER'S NOTE OF EX-
PLANATION SHOULD APPEAR IN THE SAME
VOLUME4

  ,A4 ,NOTES WITH ,UNUSUAL ,SHAPES

  ,SIGNS FROM ,TABLE #AC ,A4
777777777777777777777777777777777777
=5A= ,BLACK NOTE HEAD WITH NO STEM
=5B= ,X-SHAPED NOTE HEAD
=5K= ,VERTICAL STEMS THAT DESIGNATE
  QUASI-NOTES
=5L= ,DIAMOND OR TRIANGLE-SHAPED
  NOTE HEAD
=5'= ,END OF A SLANTING LINE TO
  DESIGNATE APPROXIMATE PITCH
  7QUASI-NOTE7
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AC-B4 ,PRINT NOTATION FOR MODERN
MUSIC HAS NOT BEEN STANDARDIZED4 ,A
           #AB-DC--#AC-B        #ACC
DIAMOND-SHAPED NOTE-HEAD MAY INDI-
CATE KEYS PRESSED SILENTLY ON THE
PIANO1 8BREATHY0 NOTES ON THE FLUTE
OR ANY NUMBER OF OTHER EXOTIC
THINGS4 ,THEREFORE1 THE BRAILLE NO-
TATION INDICATES THE SHAPE OF THE
NOTE RATHER THAN ITS MEANING4 ,IF A
DIAMOND-SHAPED NOTE INDICATES AN AR-
TIFICIAL HARMONIC IN STRING MUSIC
7,PAR4 #AG-BJ 7B771 OR IF AN ,X-
SHAPED NOTE IN PERCUSSION MUSIC IN-
DICATES A PARTICULAR INSTRUMENT
7,PAR4 #AH-AF71 THE MODERN SIGNS
SHOULD NOT BE USED4 ,THE SIGNS IN
THIS CHAPTER ARE INTENDED FOR UNUSU-
AL1 MODERN PRINT NOTATION4
  #AC-C4 ,THESE SIGNS MAY BE DOUBLED
BY REPEATING THE SECOND CHARACTER OF
THE SIGN1 I4E41 =5AA= IS A SERIES OF
BLACK NOTE HEADS4
  #AC-D4 ,WHEN NO SPECIFIC NOTE VAL-
UE APPEARS1 THE VALUE OF AN EIGHTH
NOTE IS USED AS IN ,EXAMPLE #AC-E4
  #AC-E4 ,IN ,EXAMPLE #AC-E1 WHOLE
NOTES APPEAR AS WELL AS BLACK NOTE
HEADS4 ,THE WHOLE NOTES DO NOT RE-
CEIVE THE NORMAL FOUR BEATS OF CLAS-
SICAL MUSIC4 ,HOWEVER1 BECAUSE THE
PRINT SYMBOLS ARE IDENTICAL TO WHOLE
NOTES1 THE NORMAL BRAILLE SIGNS FOR
WHOLE NOTES ARE USED4 ,THERE IS NO
KEY OR TIME SIGNATURE IN THIS MUSIC
FOR TROMBONE2 DOTTED BAR LINES ARE
USED 7,TABLE #A ,A7 AND NORMAL EX-
PRESSION MARKS4

  ,EXAMPLE #AC-E4
>#L'>P>C;B_85AA^FCG"
>GLISS'@A<^JC_F,C5A"D^2>3 K
;B%"Y@A5AAJ@A"G@AF@A"
5A*_D^2 K %(<K

  #AC-F4 ,EXAMPLE #AC-F IS FOR
FLUTE4 ,THERE IS NO TIME SIGNATURE4
,THE FIRST MEASURE INDICATES FLUTTER
TONGUING WHICH IS NOTATED NORMALLY1
AS A REPETITION-TYPE OF TREMOLO4
,MEASURE THREE HAS DIAMOND-SHAPED
NOTES4 ,BECAUSE OF VARYING BEATS IN
EACH MEASURE1 GROUPING IS NOT USED
FOR THE #CBND NOTES1 BUT THE SLURS
ACCURATELY REFLECT THE PRINT GROUP-
ING4


            #AC-C--#AC-F        #ACE
  ,EXAMPLE #AC-F4
  >/L'>PPP"]^1C<F^1 >PP,<18*;!77
    >PPP;B5LL.PC@A%RC@AT"
    ;NC@APC@ARC@A5L<T^2<K

  #AC-G4 ,EXAMPLE #AC-G FROM THE
SAME FLUTE PIECE HAS ,X-SHAPED
NOTES4 ,ACCORDING TO THE PERFORMANCE
DIRECTIONS1 THESE ARE 8TAPPED-KEY0
NOTES4 ,ALL PERFORMANCE NOTES ARE1
OF COURSE1 INCLUDED IN TRANSCRIP-
TIONS4

  ,EXAMPLE #AC-G4
  >SF'88.8.85BB.ZM>SF.YM"
    >SF'<")M>SF'<"!M"
    >SF'8.85B"=M<K

  #AC-H4 ,EXAMPLE #AC-H HAS #BJ
STEMS OBVIOUSLY REPRESENTING MORE
THAN JUST THE #AD POSSIBLE HALF
STEPS BETWEEN THE BEGINNING AND END-
ING NOTES4 ,BY INCLUDING SOME ENHAR-
MONIC NOTES1 THE TRANSCRIBER CONVEYS
THE IDEA WITHOUT SPECIFYING WHICH
QUARTER-TONES TO USE4 ,THAT IS UP TO
THE PERFORMER4 ,A NOTE IN THE TRAN-
SCRIPTION SHOULD MAKE IT CLEAR THAT
PITCHES IN BRAILLE1 AS WELL AS THE
STEM SIGNS IN THE PRINT1 ARE ONLY
APPROXIMATE4 ,THE SLANTED LINE
ACROSS THE BEGINNING OF THE GROUP IS
A MODERN WAY OF INDICATING SHORT AP-
POGGIATURAS4

  ,EXAMPLE #AC-H4
>SPICCATO>MF>D'558;8<.H"
5KK%G*GF<F%E*E<E%D*DJ<J%I*I"
<I%H*H<H%G*G5KF>P'58<"F<K

  #AC-I4 ,IN ,EXAMPLE #AC-I THE END
OF THE SLANTING LINE IS INDICATED AS
A QUASI-NOTE1 AN APPROXIMATE PITCH4
,IF A TIME VALUE INDICATION HAD BEEN
GIVEN1 THE LENGTH OF THE GLISSANDO
COULD HAVE BEEN INCLUDED AS A VALUE
SIGN OR WITH AN INDICATION IN AN
IN-ACCORD PART4 ,THIS EXAMPLE IN-
CLUDES A DOTTED BAR LINE AND CLEF
SIGNS4 ,THE SMALL VALUE SIGN PRE-
CEDES THE #CBND NOTES IN THE ABSENCE
OF A TIME SIGNATURE4



            #AC-G--#AC-I        #ACG
  ,EXAMPLE #AC-I4
>#L'>D'5A_EC@A5A%D@A"
>GLISS' TR@ES LENT> 5'^G>4 K
>+"L,<18*"T8T<K

        ,B4 ,TONE ,CLUSTERS

  ,SIGNS FROM ,TABLE #AC ,B4
777777777777777777777777777777777777
=^*B= ,TONE CLUSTER WITH NATURAL
  SIGN
=^<B= ,TONE CLUSTER WITH FLAT SIGN
=^%B= ,TONE CLUSTER WITH SHARP SIGN
=^5B= ,TONE CLUSTER WITH NO
  ACCIDENTALS SPECIFIED
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AC-AJ4 ,IN PRINT1 A TONE CLUSTER
IS A THICK BAR OR OTHER SHAPE PLACED
BETWEEN TWO NOTES OF A CHORD TO IN-
DICATE THAT ALL THE NOTES BETWEEN
MUST BE PLAYED SIMULTANEOUSLY4
,SOMETIMES ONE OR MORE ACCIDENTALS
ARE INCLUDED4 ,IN BRAILLE1 THE TONE
CLUSTER IS TREATED AS A CHORD1 SO
THE APPROPRIATE SIGN IS PLACED BE-
TWEEN THE WRITTEN NOTE AND ITS IN-
TERVAL4 ,THE TONE-CLUSTER SIGN HAS
#C PARTS4 ,DOTS #D-E1 =^=1 START THE
CLUSTER FOLLOWED BY ANY PRINTED AC-
CIDENTALS2 IF THERE ARE NONE1 DOTS
#B-F1 =5=1 IS INSERTED4 ,THE SIGN
ENDS WITH DOTS #A-B1 =B=4
  #AC-AA4 ,A TONE-CLUSTER SIGN MAY
BE DOUBLED BY REPEATING THE FINAL
CHARACTER1 I4E41 =^<BB=4
  #AC-AB4 ,IN THE NEXT EXAMPLE1 EACH
TONE CLUSTER IS NOTATED DIFFERENTLY
IN PRINT4 ,IN 7A71 AN ARROW WITH A
POINT ON BOTH ENDS IS PRINTED NEXT
TO THE STEM BETWEEN ,D AND ITS FIFTH
BELOW4 ,THE SYMBOLS FOR BOTH A SHARP
AND A NATURAL ARE PRINTED JUST TO
THE LEFT OF THE ARROW1 SO BOTH ACCI-
DENTALS APPEAR WITHIN THE CLUSTER
SIGN IN BRAILLE4 ,IN 7B71 STEM SIGNS
ON BOTH SIDES OF THE TWO ,F'S JOIN
TO SURROUND BOTH ,F'S AND THE SPACE
BETWEEN4 ,THIS INDICATES THE CLUS-
TER4 ,NO ACCIDENTALS APPEAR IN PRINT
OR IN BRAILLE4 ,IN 7C71 A THICK VER-
TICAL BAR CONNECTS THE TWO NOTES TO
INDICATE THE CLUSTER4 ,A SHARP PRE-
CEDES THE #BND OCTAVE ,A1 AND A NA-
TURAL PRECEDES THE #CRD OCTAVE ,A4
,THEREFORE1 THOSE ALTERATIONS ARE
           #AC-AJ--#AC-AB       #ACI
SHOWN WITH THE SPECIFIC NOTES RATHER
THAN WITHIN THE CLUSTER SIGN4

  ,EXAMPLE #AC-AB4
  7A7 .>.:^%*B9
  7B7 .>.Q^5B-
  7C7 _>'%^S^5B*-

    ,C4 8,FAN-SHAPED0 ,RHYTHMIC
              ,GROUPS

  ,SIGNS FROM ,TABLE #AC ,C4
777777777777777777777777777777777777
=^<1,<1= ,ACCELERANDO WITHIN
  RHYTHMIC GROUP
=,<1^<1= ,RITARDANDO WITHIN RHYTHMIC
  GROUP
=,<1,<1= ,STEADY RHYTHM
=;K= ,END OF RHYTHMIC GROUP AS SHOWN
  IN PRINT
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AC-AC4 ,WHEN THE LIGATURES OR
BEAMS OF A RHYTHMIC GROUP ARE FAN-
SHAPED RATHER THAN PARALLEL1 THE
NOTES OF THE GROUP ARE TO BE EXE-
CUTED AS AN ACCELERANDO OR A RITARD-
ANDO4 ,STANDARD NOTE VALUES ARE
USED1 BUT THE GROUP IS PRECEDED BY
THE SIGN FOR ACCELERANDO OR RITARD-
ANDO AND FOLLOWED BY THE TERMINATION
SIGN4 ,IF THE LIGATURES START TO-
GETHER AND FAN OUTWARD ON SUCCEEDING
NOTES1 AN ACCELERANDO IS INDICATED4
,IF THE FAN-SHAPE IS REVERSED1 A
RITARDANDO IS INDICATED4

  ,EXAMPLE #AC-AC4
>MF>C^<1,<1_8^I_&=88SSSS;K"
X>F^<1,<1_I!SS;KX"
>FF,<1^<1_S!8I;K<K

  #AC-AD4 ,WHEN THE FAN-SHAPE
CHANGES WITHIN A RHYTHMIC GROUP BE-
FORE THE LIGATURES END1 THE SIGNS
ABOVE ARE USED WHERE THE CHANGES
TAKE PLACE4 ,THE SIGN FOR A STEADY
RHYTHM IS USED IF THE LIGATURES BE-
COME PARALLEL RATHER THAN FAN-SHAPED
WITHIN THE PRINT LIGATURE4 ,EXAMPLE
#AC-AD IS FROM MUSIC FOR ,BAYAN4
,BETWEEN THE FIRST AND LAST CHORDS1
THE PRINT HAS STEMS ONLY1 SO THE
SIGN FOR VERTICAL STEMS IS USED AND
DOUBLED4

           #AC-AC--#AC-AD       #ADA
  ,EXAMPLE #AC-AD4
>#L^<1,<1^F//++<##5KKF&&PPPPPP"
,<1,<1PPPPPPPPPPPP,<1^<1PPPP"
&&5KFF/+<#;K<K

         ,D4 ,OTHER ,SIGNS

  ,SIGNS FROM ,TABLE #C ,A & ,B4
777777777777777777777777777777777777
=@%= =@<= #A/D STEP ALTERATION OF
  PITCH
=_%= =_<= #C/D STEP ALTERATION OF
  PITCH
=#D,'?= ,TIME SIGNATURE3 #D OVER
  QUARTER NOTE
=#C,'D= ,TIME SIGNATURE3 #C OVER
  #HTH NOTE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

  ,SIGNS FROM ,TABLE #AJ4
777777777777777777777777777777777777
=;<L= ,FERMATA WITH SQUARED SHAPE
=^<L= ,FERMATA WITH TENT SHAPE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AC-AE4 ,THE SIGNS IN THIS SECTION
OF THE CHAPTER ARE NOT RESTRICTED TO
MODERN MUSIC ONLY4 ,ALTHOUGH MORE
COMMONLY FOUND IN MODERN MUSIC1 THEY
SHOULD BE USED WHERE EVER THE PRINT
SIGNS ARE FOUND4
  #AC-AF4 ,ALTERING A PITCH BY ONE-
QUARTER STEP IS NOT A MODERN INVEN-
TION4 ,IT IS INCLUDED HERE BECAUSE
IT APPEARS MORE COMMONLY IN MODERN
THAN IN STANDARD MUSIC4 ,THE PRINT
SIGNS VARY4 ,ARROWS POINTING UP OR
DOWN1 NUMBERS INDICATING SPECIFIC
MICROTONES AND OTHER MEANS ARE USED4
,ONE OF THE MORE COMMON SYMBOLS FOR
A #A/D STEP HIGHER IS A SHARP WITH
ONLY ONE VERTICAL LINE4 ,FOR #C/D
TONE HIGHER1 A SHARP SYMBOL WITH
THREE VERTICAL LINES IS USED4 ,IN
THAT PRINT SYSTEM1 THE SYMBOL FOR
#A/D TONE FLAT IS A FLAT PRINTED
BACKWARDS4 ,FORTUNATELY1 THESE ARE
USUALLY ACCOMPANIED BY FOOTNOTES OR
EXPLANATORY NOTES THAT MUST BE IN-
CLUDED IN THE TRANSCRIPTION AS WELL
AS AN INDICATION OF THE BRAILLE
SIGNS BEING USED4 ,IN ,EXAMPLE #AC-
AF1 THE PRINT USES SMALL ARROWS PLUS
THE FOOTNOTE TO EXPLAIN THE MEANING
OF THE ARROWS4 ,MUSIC FOR A BLIND
TEACHER SHOULD ALSO INCLUDE A DE-
           #AC-AE--#AC-AF       #ADC
SCRIPTION OF THE TYPE OF PRINT INDI-
CATION THAT APPEARS4

  ,EXAMPLE #AC-AF4
  >59@<"EC@A@<Q''<K
    >59 #A/D TONE LOWER

  #AC-AG4 ,COMPOSERS DO NOT AGREE ON
THE MEANING OF UNUSUAL FERMATA
SIGNS4 ,THE FERMATA WITH A 8SQUARED0
SHAPE HAS BEEN USED AS 8A VERY LONG
PAUSE0 AND ALSO AS 8A SHORT PAUSE0
BY DIFFERENT COMPOSERS4 ,THE SAME IS
TRUE OF THE FERMATA WITH THE SHAPE
OF A 8TENT0 OR AN 8UMBRELLA04
,THEREFORE1 THE SHAPE1 RATHER THAN
THE MEANING1 IS INCLUDED IN BRAILLE4
,THE INITIAL SIGN FOR A FERMATA ON A
BAR LINE1 DOTS #D-E-F1 OR FOR A FER-
MATA BETWEEN NOTES1 DOT #E1 CAN BE
ADDED TO THESE SIGNS AS IN THE EXAM-
PLE BELOW4

  ,EXAMPLE #AC-AG4
  >#L'>MF>C'5<^JCF";<L5ICF";<L"
  5<JCF";<L5%GCF>D'5^HCF";<L"
  5<JCF5ICFX5%GCF>4 K_;<L '''<K

  #AC-AH4 ,WHEN A NOTE APPEARS IN A
TIME SIGNATURE1 IT IS PRECEDED BY
DOTS #F1 #C4 ,THE NOTE ,C IS USED TO
REPRESENT THE VALUE SHOWN IN PRINT4
,THE FIRST TIME SIGNATURE BELOW IS
#C OVER A DOTTED #AFTH NOTE4 ,THE
NEXT IS #D OVER A DOTTED #AFTH4 ,THE
MUSIC IS FROM A SOLO FOR STRING
BASS4

  ,EXAMPLE #AC-AH4
         #C,',<1Y'
>#L'*"Z'%='Z' #D,'Y' _8*"H'"
<_H'C <J'_8D'<K

  #AC-AI4 ,OTHER UNUSUAL TIME SIGNA-
TURES INCLUDE TWO TIME SIGNATURES
SIDE-BY-SIDE AND SIGNATURES WITH
MORE THAN ONE UPPER NUMBER4 ,SOME-
TIMES THESE NUMBERS ARE SEPARATED BY
A SPACE1 SOMETIMES BY A PLUS SIGN
AND SOMETIMES BY A HYPHEN4 ,IN GEN-
ERAL1 PRINT IS FOLLOWED4 ,WHEN PLUS
SIGNS ARE INVOLVED1 EACH NATION USES
ITS OWN SIGN4 ,EXAMPLE #AC-AI GIVES
TWO ILLUSTRATIONS4 ,IN THE FIRST1
TWO TIME SIGNATURES ARE TOGETHER IN
           #AC-AG--#AC-AI       #ADE
PRINT AND IN BRAILLE4 ,THE SECOND
TIME SIGNATURE IS #D PLUS #B PLUS #C
OVER #H4

  ,EXAMPLE #AC-AI
  <#D4#C2
  #D+B+C8

            333333333333



















