

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

            333333333333

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

            ,COMPILED BY
          ,BETTYE ,KROLICK



      ,IN #C ,BRAILLE ,VOLUMES

            ,VOLUME ,,II






      ,BRAILLE ,PRESS ,Z@URICH
               #AIIF

,,ISBN #IJ-IJJIBFI-B

,AN INK PRINT VERSION OF THIS BOOK
IS AVAILABLE FROM
  ,,SVB ,STUDIE- EN VAKBIBLIOTHEEK
    VOOR VISUEEL EN ANDERSZINS
    GEHANDICAPTEN
  ,MOLENPAD #B
  #AJAF ,,GM ,AMSTERDAM1
    ,NETHERLANDS
  ,TEL3 7#CA7 #BJ-FBF-FDFE
  ,FAX3 7#CA7 #BJ-FBJ-HDEI

,A MULTIMEDIA ,WINDOWS ,,CD-,,ROM
VERSION OF THIS BOOK IS AVAILABLE
FROM
  ,OPUS ,TECHNOLOGIES
  #ACCC ,THUNDERHEAD ,ST4
  ,SAN ,DIEGO1 ,,CA #IBABI1 ,U4,S4,A
  ,TEL/,FAX3 7#A7 #FAI-ECH-IDJA
  EMAIL3 SOFLORES@UCSD.EDU

,BRAILLE PRINTED BY
  ,BRAILLE ,PRESS ,Z@URICH
  ,ALBISRIEDERSTRASSE #DJJ
  ,,CH-#HJDG ,Z@URICH1 ,SWITZERLAND
  ,TEL3 7#DA7 #A-DIA-BEEE
  ,FAX3 7#DA7 #A-DIB-FDGE
    ,,CONTENTS OF ,,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
  ,C4 ,PLUCKED ,INSTRUMENTS '''' #DI
,,XVIII4 ,WIND AND ,PERCUSSION
      ,INSTRUMENTS ''''''''''''' #EF
  ,A4 ,WIND ,INSTRUMENTS ''''''' #EF
  ,B4 ,PERCUSSION '''''''''''''' #FJ
,,XIX4 ,ACCORDION '''''''''''''' #FG
,,XX4 ,INSTRUMENTAL ,SCORES '''' #GD
             ,CONTENTS          ;III
,AUTHORITIES FOR THIS ,WORK '''' #HA
,NATIONAL ,SIGNS OF #AF
    ,COUNTRIES ''''''''''''''''' #HE
,INDEX OF ,SIGNS IN ,STANDARD
    ,BRAILLE ,ORDER '''''''''''' #II























            ,PART ,TWO3
    ,,INSTRUMENTAL ,,AND ,,VOCAL

  ,,XIV4 ,,GENERAL ,,ORGANIZATION

  #AD-A4 ,BECAUSE OF THESE SUCCESS-
FUL INTERNATIONAL AGREEMENTS AND
ALSO BECAUSE OF CONTINUING WORK ON
THE DEVELOPMENT OF DATA BASES WITH
LISTINGS OF TRANSCRIPTIONS PREPARED
IN DIFFERENT COUNTRIES1 THE FOLLOW-
ING GENERAL POINTS MAY BE HELPFUL AS
THE USE OF BRAILLE MUSIC ALSO BE-
COMES MORE INTERNATIONAL4

      ,A4 ,PRELIMINARY ,PAGES
  #AD-B4 ,WHETHER OR NOT A COUNTRY
FOLLOWS THE AGREEMENT NOT TO USE
CONTRACTIONS IN LITERARY BRAILLE1 IT
IS EXTREMELY IMPORTANT TO HAVE NO
CONTRACTIONS ON THE TITLE PAGE AND
ON NOTE PAGES4 ,THIS APPLIES TO THE
NAME AND ADDRESS OF THE ORGANIZATION
WHERE THE MUSIC MIGHT BE OBTAINED AS
WELL AS TO THE TITLE OF THE COMPOSI-
TION AND THE COMPOSER4 ,NOTES ABOUT
NATIONAL SIGNS AND SPECIAL SIGNS
           #AD-A4--#AD-B4         #A
MUST BE UNCONTRACTED4
  #AD-C4 ,IF AN ,I4,S4,B4,N4 NUMBER
APPEARS IN PRINT1 IT IS VERY USEFUL
TO LIBRARIANS INTERNATIONALLY4 ,IT
IS SUGGESTED THAT ,I4,S4,B4,N4 NUM-
BERS BE INCLUDED ON ALL BRAILLE TI-
TLE PAGES4
  #AD-D4 ,A NOTE PAGE OR SECTION
SHOULD INCLUDE3
    ,A4 ,ANY SIGNS NOT LISTED IN
THIS MANUAL4
    ,B4 ,NATIONAL SIGNS FOR PLUS1
MINUS1 OBLIQUE STROKE1 ITALICS1 ETC4
IF USED IN THE TRANSCRIPTION4
    ,C4 ,SIGNS FOR ACCENTED LETTERS4
    ,D4 ,DESCRIPTIONS OF EDITORIAL
MARKINGS1 PRINT INDICATIONS SUCH AS
ARABIC OR ROMAN NUMERALS TO MARK PO-
SITION SIGNS IN STRING MUSIC1 INDI-
CATIONS SUCH AS ARROWS OR OTHER UN-
USUAL VISUAL AIDS IN PRINT4 ,THESE
ITEMS ARE ESSENTIAL FOR BLIND TEACH-
ERS WORKING WITH SIGHTED STUDENTS4





     ,B4 ,GENERAL ,FEATURES ON
           ,MUSIC ,PAGES

  ,SIGNS FROM ,TABLE #AD4
777777777777777777777777777777777777
=,'= ,PREFIX FOR MUSIC2 MUSIC
  PARENTHESES
=;2= ,PREFIX FOR LITERARY MATERIAL
  SUCH AS VOCAL TEXT1
  INSTRUCTIONS1 OR OTHER LITERARY
  INFORMATION
=;2= ,COINCIDENCE OF NOTES IN MORE
  THAN ONE PART
="= ,HYPHEN FOR UNFINISHED MEASURE
="3= ,PREFIX FOR PRINT PAGINATION OR
  PRINT PAGE TURN
="L= ,PREFIX FOR EDITORIAL MARKINGS
=>59= ,MUSIC ASTERISK
=7= ,EQUALS SIGN IN A METRONOME
  MARKING
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AD-E4 ,THE PREFIX =,'= INDICATES
A LINE OR SECTION OF MUSIC4 ,IT IS
USED IN DIFFERENT WAYS IN DIFFERENT
COUNTRIES4 ,WITHIN A SENTENCE IT IN-
DICATES A RETURN TO THE MUSIC CODE4
,WHEN IT IS WITHIN A LINE OR SECTION
           #AD-C4--#AD-E4         #C
OF MUSIC IT INDICATES PARENTHESES
7ROUND BRACKETS74 ,IN THAT CASE1 THE
SIGN PRECEDES AND FOLLOWS NOTES1
FINGERING OR OTHER FEATURES THAT ARE
PARENTHESIZED IN PRINT4
  #AD-F4 ,IN SEVERAL COUNTRIES1 THE
PREFIX =;2= PRECEDES EVERY LINE OR
SECTION OF VOCAL TEXT TO DISTINGUISH
BETWEEN LITERARY AND MUSIC CODE4
,SEE ,EXAMPLE #AF-G4 ,IT IS ALSO
USED TO INDICATE LITERARY MATERIAL
IN OTHER SETTINGS4
  #AD-G4 ,WHEN THE SIGN =;2= APPEARS
WITHIN A MEASURE OF KEYBOARD OR IN-
STRUMENTAL MUSIC1 IT WILL BE FOUND
IN MORE THAN ONE PART4 ,IN THAT
SETTING1 IT INDICATES A COINCIDENCE
OF NOTES IN TWO OR MORE PARTS4 ,EX-
AMPLE #AE-AC ILLUSTRATES ITS USE IN
KEYBOARD MUSIC1 BUT THE COINCIDENCE
SIGN IS USEFUL IN ANY TYPE OF ENSEM-
BLE1 I4E41 IT CAN BE USED TO COORDI-
NATE A VOCALIST'S NOTE7S7 IN A MOD-
ERN ENSEMBLE PIECE4
  #AD-H4 ,WHEN DOT #E IS FOLLOWED BY
A SPACE IT ACTS AS A HYPHEN TO INDI-
CATE THAT THE MEASURE IS UNFINISHED4
,IT IS USED AT THE END OF A BRAILLE
LINE1 BEFORE A BREAK IN A MEASURE
FOR THE INSERTION OF TEXT1 AND ALSO
AT THE END OF A DOUBLE BAR IN AN UN-
FINISHED MEASURE THAT WILL BE COM-
PLETED LATER AS THE PIECE CONTINUES4
  #AD-I4 ,THE PREFIX ="3= INDICATES
A PRINT PAGE TURN4 ,THIS MAY BE USED
BY ITSELF OR MAY BE FOLLOWED BY THE
PRINT PAGE NUMBER4 ,IT WILL BE FOUND
IN DIFFERENT LOCATIONS1 I4E41 AT THE
BEGINNING OF A SECTION OF MUSIC1 IN
ANY CORNER OF THE PAGE OF MUSIC1 IN
THE MIDST OF THE MUSIC ITSELF1 OR
CENTERED IN ANY MARGIN OF THE PAGE4
,FORTUNATELY1 MOST COUNTRIES REALIZE
THE VALUE OF INCLUDING A REFERENCE
TO THE PRINT PAGE NUMBERS4
  #AD-AJ4 ,BOTH PRINT AND BRAILLE
PAGE NUMBERS CAN BE INCLUDED AT THE
BEGINNING OF A SECTION OR OTHER LO-
CATION BY USING A COMBINATION OF UP-
PER- AND LOWER-CELL NUMBERS SUCH AS
THE FOLLOWING INDICATION FOR PAGE
#AC IN BRAILLE AND PAGE #AJ IN
PRINT4 ,THE ORDER MAY ALSO BE RE-
VERSED 7PRINT PAGE FIRST71 AND THAT
ORDER WILL REMAIN CONSTANT THROUGH-
           #AD-F4--#AD-AJ4        #E
OUT A PUBLICATION4

    #13AJ

  #AD-AA4 ,OTHER USES FOR UPPER- AND
LOWER-CELL NUMBER COMBINATIONS IN-
CLUDE PAGE NUMBER WITH STAFF NUMBER1
SECTION NUMBER WITH MEASURE NUMBER1
SECTION NUMBER WITH STAFF NUMBER1
ETC4
  #AD-AB4 ,AN UNFINISHED MEASURE AT
THE BEGINNING OF A PIECE OR MOVEMENT
IS NUMBERED #J1 ZERO4 ,MEASURE NUM-
BERS ARE FOLLOWED BY DOT #C IF THEY
COME BEFORE THE CONCLUDING PART OF
AN UNFINISHED MEASURE IN THE BODY OF
A PIECE4 ,THE NUMBERS MAY APPEAR IN
UPPER- OR LOWER-CELL POSITION4 ,THE
FOLLOWING INDICATES THE SECTION OF A
PIECE BEGINNING WITH THE ANACRUSIS
TO MEASURE #AF AND ENDING IN MEASURE
#CB4

    #AE'-CB

  #AD-AC4 ,IN KEYBOARD MUSIC WRITTEN
BAR-OVER-BAR1 MEASURE NUMBERS APPEAR
IN THE MARGIN AND ARE NOT PRECEDED
BY NUMBER SIGNS4 ,THE ONE NUMBER AP-
PLIES TO ALL STAVES IN THAT SYSTEM1
I4E41 RIGHT HAND1 LEFT HAND1 PEDALS4
,WHEN AN ADDITIONAL NUMBER 7WITH NO
NUMBER SIGN7 APPEARS ONE CELL BEFORE
THE LEFT HAND PREFIX1 THIS INDICATES
THE SYSTEM NUMBER ON THE PRINT PAGE4
,EXAMPLE #AD-AC SHOWS THE BEGINNING
OF MEASURE #AF AT THE BEGINNING OF
THE THIRD STAFF ON THE PRINT PAGE4

  ,EXAMPLE #AD-AC4
  AF .>'''
    C_>'''

  #AD-AD4 ,THE INCLUSION OF SYSTEM
NUMBERS IS AN ADDITIONAL HELP TO
TEACHERS OF SIGHTED STUDENTS4 ,THEY
ARE OFTEN INCLUDED IN SECTION HEAD-
INGS1 AND MANY PIECES ARE TRAN-
SCRIBED WITH ONE SECTION OF BRAILLE
FOR EACH PRINT SYSTEM4
  #AD-AE4 ,THE SIGN ="L= PRECEDES A
MUSICAL FEATURE ADDED BY THE EDITOR
RATHER THAN THE COMPOSER4 ,A COMMON
EDITORIAL MARKING CONSISTS OF WRIT-
ING SLURS WITH DOTTED LINES AS SHOWN
          #AD-AA4--#AD-AE4        #G
IN ,EXAMPLE #F-AJ4 ,OTHER EXAMPLES
OF EDITORIAL MARKINGS ARE SHOWN BE-
LOW WHERE THE CRESCENDO AND DECRE-
SCENDO ARE PRINTED WITH DASHED LINES
TO INDICATE THAT THEY ARE EDITORIAL4
,IN BRAILLE1 EACH IS PRECEDED BY THE
SIGN FOR AN EDITORIAL MARKING4 ,THE
RITARD IS ALSO EDITORIAL1 BUT IT IS
PRINTED IN PARENTHESES1 SO IT IS
BRAILLED AS A WORD IN PARENTHESES4

  ,EXAMPLE #AD-AE4
                %#C4
  .>.O'@C<K
  _>"L>C_W+C>7RITARD'7"\'C"L>D"FC<K

  #AD-AF4 ,THE INTERNATIONAL SIGN
FOR AN ASTERISK IN MUSIC IS =>59=4
,THIS SIGN PRECEDES THE MUSIC TO BE
REFERENCED1 AND IT IS REPEATED AT
THE BEGINNING OF THE FOOTNOTE4 ,SEE
,EXAMPLE #H-I4
  #AD-AG4 ,THE INTERNATIONAL CODE
FOR METRONOME MARKINGS USES DOTS
#B-C-E-F TO REPRESENT THE PRINT
EQUALS SIGN AND THE NOTE ,C TO SHOW
NOTE VALUES4 ,ANY WORDS INCLUDED
WITH THE METRONOME MARKING MUST BE
INCLUDED IN BRAILLE4 ,EXAMPLE #AD-AG
SHOWS SEVERAL REPRESENTATIVE METRO-
NOME MARKINGS INCLUDING 7C7 WHICH
USUALLY OCCURS BETWEEN SECTIONS OF
MUSIC ALONG WITH A CHANGE OF METER4

  ,EXAMPLE #AD-AG4
  7A7 D7#GB-HJ
  7B7 CIRCA ?7#AJF
  7C7 ?7N

  #AD-AH4 ,A TEMPO OR MOOD INDICA-
TION AT THE BEGINNING OF A PIECE OR
AT THE BEGINNING OF INDIVIDUAL PARTS
IS FOLLOWED BY A PERIOD UNLESS IT IS
THE ONLY ITEM ON A BRAILLE LINE4
,THE GENERAL ORDER OF INITIAL ITEMS
IS MOOD1 METRONOME MARKING1 KEY AND
TIME SIGNATURE4
  #AD-AI4 ,INFORMATION AT THE END OF
A PIECE SUCH AS TIME OF PERFORMANCE
SHOULD BE BRAILLED WITH WHATEVER AB-
BREVIATIONS ARE USED IN PRINT1 I4E41
8#F MIN4 #CJ SEC40 ,IF SYMBOLS1
RATHER THAN WORDS OR ABBREVIATIONS1
APPEAR IN PRINT1 THE APPROPRIATE
SIGNS ARE USED IN BRAILLE4
          #AD-AF4--#AD-AI4        #I
  ,EXAMPLE #AD-AI4
  #F MIN4 #CJ SEC4


























      ,,XV4 ,,KEYBOARD ,,MUSIC
            7,TABLE #AE7

             ,A4 ,PIANO

   #A4 ,ORGANIZATION AND ,USE OF
            ,HAND ,SIGNS

  ,SIGNS FROM ,TABLE #AE ,A4
777777777777777777777777777777777777
=.>= ,RIGHT HAND PART
=_>= ,LEFT HAND PART
=">= ,SOLO PART TO BE ACCOMPANIED
=.>>= ,RIGHT HAND PART WHEN
  INTERVALS READ UP
=_>>= ,LEFT HAND PART WHEN INTERVALS
  READ DOWN
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AE-A4 ,THE SIGNS IN ,CHAPTER ,,XV
APPLY TO MUSIC FOR KEYED INSTRUMENTS
SUCH AS HARPSICHORD AND CLAVICHORD
IN ADDITION TO PIANO4 ,THEY ALSO AP-
PLY TO ELECTRONIC INSTRUMENTS WITH
KEYBOARDS4
  #AE-B4 ,HAND OR PART SIGNS ARE
PLACED BEFORE THE FIRST SIGN OF THE
PASSAGE TO WHICH THEY APPLY4
           #AE-A4--#AE-B4        #AA
  #AE-C4 ,HAND OR PART SIGNS MUST BE
FOLLOWED BY DOT #C IF THEY ARE IM-
MEDIATELY FOLLOWED BY A SIGN CON-
TAINING DOTS #A1 #B1 OR #C4

  ,EXAMPLE #AE-C4
       #D<#C4
  .>'8"[0 W0C\0V<K
  _>'V VV_]<K

  #AE-D4 ,THE FIRST NOTE FOLLOWING A
SIGN FROM ,TABLE #AE ,A MUST HAVE AN
OCTAVE MARK4
  #AE-E4 ,KEYBOARD ACCOMPANIMENTS
INCLUDE AN OUTLINE OR A DUPLICATION
OF THE SOLO PART USING THE PREFIX
=">=4
  #AE-F4 ,WHEN ACCOMPANIMENT OR OR-
CHESTRAL-REDUCTION KEYBOARD PARTS
INCLUDE ANNOTATIONS ABOUT INSTRUMEN-
TATION1 THE WORDS ARE BRAILLED AS
PRINTED4
  #AE-G4 ,PASSAGES PLAYED WITH AL-
TERNATING HANDS SHOULD1 WHENEVER
POSSIBLE1 BE WRITTEN CONTINUOUSLY IN
THE PART ASSIGNED TO ONE HAND4 ,IT
IS NOT ALWAYS EASY TO DECIDE WHICH
HAND IS THE BETTER FOR SUCH A PAS-
SAGE1 BUT THE GENERAL LAYOUT OF THE
MUSIC IS THE BEST GUIDE4

  ,EXAMPLE #AE-G4
           #D%#D4
  .>"[ \]$.$<K
  _>^:"1^)_G.>_IJ ^$]\%[<>
    _>^)_F.>_HJ_>^)E.>_IJ"
    _>^)_FHJ="D.>"FG<K

  #AE-H4 ,WHEN A PASSAGE DIVIDED BE-
TWEEN THE HANDS CONTAINS ALL THE MU-
SIC1 IT IS PLACED IN ONE HAND PART
AS IN ,EXAMPLE #AE-AA4
  #AE-I4 ,THE ABBREVIATION 8SIM0 MAY
BE ADDED WHEN THE PATTERN OF ALTER-
NATING HANDS IS CONTINUED IN EXACTLY
THE SAME FORM4 ,DOT #E SHOULD PRE-
CEDE ANY ADDED ABBREVIATION1 I4E41
=">SIM=4
  #AE-AJ4 ,A CHANGE OF CLEF SIGN
WITHIN A PART DOES NOT AFFECT THE
DIRECTION FOR READING INTERVALS IN
THAT PART4



          #AE-C4--#AE-AJ4        #AC
  ,EXAMPLE #AE-AJ4
            <<<#C8
  _>'<^Y<988<_(<90>/K'<"(<90"
  >#L_(90^Y8_(<#0<>.8_$.8F<K

  #AE-AA4 ,WHEN IT IS DESIRABLE TO
CHANGE THE DIRECTION FOR READING IN-
TERVALS1 USE THE HAND SIGNS INDICAT-
ING A LEFT HAND PART WITH INTERVALS
READING DOWN OR A RIGHT HAND PART
WITH INTERVALS READING UP4 ,EXAMPLES
#AB-CC TO #AB-CE SHOW THESE HAND
SIGNS IN THEORY TEXTBOOKS1 AND THE
EXAMPLE BELOW SHOWS THE USE OF THE
RIGHT HAND SIGN IN A PORTION OF AN
EXTENDED PIANO PASSAGE4

  ,EXAMPLE #AE-AA4
            _C
  _>^)++00.>>_)_>_Y.>>"Y"
  ">SIM'_Z"E_F"F_="G_F"F"
  _Z"E_D"D+0<K

  #AE-AB4 ,WHEN OCCASIONAL NOTES RE-
QUIRE IN-ACCORDS1 CARE MUST BE TAKEN
TO MARK CLEARLY THE HAND TO WHICH
SUCH NOTES ARE ASSIGNED4

  ,EXAMPLE #AE-AB4
             #D4
  .>.QFEDTIHG_>"PEDJ.>.RGFE"
    .QFEDTIHG_>"PEDJ@C.K
    .>.O"IHG"1_>_J<K

  #AE-AC4 ,IN FLORID MUSIC OF ,CHO-
PIN AND OTHER COMPOSERS1 IT IS SOME-
TIMES NECESSARY TO USE THE COINCI-
DENCE NOTES SIGN =;2= IN EACH PART4

  ,EXAMPLE #AE-AC4
    7A7 7IN BAR-OVER-BAR7
              #E<#F4
  C .>;B_22'.GA<HL*FB;2GAJ1*I<I"
      ;2*H<HLGF"
    _>;B^J_G;2"EJ;2"G_G^2"
  C'.>'<.F1*E<ED;2E1DL*JA;2DBGK"
      *F<F^2<K
    _>;B^J_G;2"F*_I;2"G_G^2<K







          #AE-AA4--#AE-AC4       #AE
    7B7 7IN SECTION-BY-SECTION7
              #E<#F4
    .>;B_22'.GA<HL*FB;2GAJ1*I<I"
  ;2*H<HLGF;2<F1*E<ED;2E1DL*JA"
  ;2DBGK*F<F^2<K
    _>;B^J_G;2"EJ;2"G_G^2"
  ;B;2^J_G;2"F*_I;2"G_G^2<K

  ,SIGNS FROM ,TABLE #B4
777777777777777777777777777777777777
=>/K= ,G CLEF IN THE LEFT HAND PART
=>#K= ,F CLEF IN THE RIGHT HAND PART
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AE-AD4 ,WHEN CLEF SIGNS ARE IN-
CLUDED FOR BLIND TEACHERS OF SIGHTED
STUDENTS1 MODIFIED CLEF SIGNS ARE
USED TO INDICATE THAT ONE HAND PART
IS PRINTED IN THE STAFF ALLOTTED TO
THE OTHER4 ,THE DIRECTION IN WHICH
INTERVALS AND IN-ACCORDS ARE READ OR
USED IS UNAFFECTED BY THESE SPECIAL
CLEF SIGNS4

  ,EXAMPLE #AE-AD4
               .C
    .>'>/L.:#%0;O#%0V<K
    _>'>#L_ZI"E>/K"%"G!.E"%GE"
  "!G>#L"E_I:<K
       #B4 ,PIANO ,PEDALLING

  ,SIGNS FROM ,TABLE #AE ,A4
777777777777777777777777777777777777
=<C= ,PED4 OR OTHER INDICATION FOR
  PEDAL DOWN
=*C= ,STAR OR OTHER INDICATION FOR
  PEDAL UP
=*<C= ,STAR AND ,PED4 UNDER ONE NOTE
="<C= ,HALF-PEDAL
="*C= ,PEDAL UP AS SOON AS CHORD IS
  STRUCK
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AE-AE4 ,PEDAL INDICATIONS SUCH AS
THE PRINT STAR AND 8PED40 ARE PLACED
WHERE THEY OCCUR IN PRINT4 ,THEY ARE
USUALLY TRANSCRIBED INTO THE LEFT
HAND PART UNLESS THE NOTES OF THE
RIGHT HAND PART PROVIDE THE CLARITY
NEEDED TO PLACE THEM ACCURATELY4 ,IT
IS ADVISABLE TO TREAT THE PEDAL DE-
PRESSION AND RELEASE AS A PAIR1 IF
POSSIBLE1 PLACING THEM BOTH IN THE
SAME HAND PART4
  #AE-AF4 ,DIRECTIONS SUCH AS 8CON
PED40 SHOULD BE TRANSCRIBED ACCORD-
ING TO THE EXACT WORDING1 AND WHEN
          #AE-AD4--#AE-AF4       #AG
8PED40 IS NOT FOLLOWED BY A STAR1 IT
IS BETTER TO WRITE THAT ABBREVIATION
WITH THE WORD SIGN4
  #AE-AG4 ,WHEN THE INDICATIONS FOR
PEDAL DOWN1 HALF-PEDALLING OR THE
COMBINATION OF A STAR AND PEDAL ARE
PLACED DIRECTLY UNDER A NOTE OR REST
IN PRINT1 THEY ARE TRANSCRIBED BE-
FORE THE NOTE OR REST INDICATED4
  #AE-AH4 ,THE SIGN FOR PEDAL UP
FOLLOWS THE NOTE1 INTERVAL OR REST4
,IN ,EXAMPLE #AE-AH THE PEDAL IS
HELD THROUGH A LONG REST2 IN ,EX-
AMPLE #AE-AI THE PEDAL IS RELEASED
BEFORE THE REST4

  ,EXAMPLE #AE-AH4
             #C4
    _>'<C>P>C.8^?_\#0*CXH<+0
  <C>F_]<+<0-,8<^E<-XV<L*C<K

  #AE-AI4 ,WHEN THE STAR APPEARS UN-
DER ONE NOTE OR CHORD AND 8PED40 IS
UNDER THE NEXT1 THE SIGN FOR PEDAL
UP IS NOT INCLUDED4



  ,EXAMPLE #AE-AI4
             #C4
    >#L'<C>P>C.8^?_\#0<C\<+0
  <C>F_]<+<0-,8<^E<-*CXV<L<K

  #AE-BJ4 ,WHEN BOTH THE STAR AND
THE 8PED40 ARE PRINTED UNDER THE
SAME NOTE1 THE SIGN =*<C= IS USED4

  ,EXAMPLE #AE-BJ4
          #E<#C4
  _>'<C^I-_!##00!II#0*<C"
    ^I_I+3<K

  #AE-BA4 ,HALF-PEDALLING IS INDI-
CATED IN PRINT IN A VARIETY OF WAYS4
,IT USUALLY INVOLVES A HORIZONTAL
LINE THAT IS BENT IN SOME WAY OR AR-
RANGED WITH AN INVERTED ,V WHERE THE
HALF-PEDALLING SHOULD OCCUR4 ,IN
,EXAMPLE #AE-BA1 PLACING THE SIGN
FOR HALF-PEDALLING IN THE IN-ACCORD
CLARIFIES ITS POSITION IN PRINT4




          #AE-AG4--#AE-BA4       #AI
  ,EXAMPLE #AE-BA4
            #D4
  >#L'<C@(-.C<>U^T+0 7<L<>
  "<C_N<+%#0"<CO*+0<L*C<K

  #AE-BB4 ,THE SIGN FOR PEDAL UP IM-
MEDIATELY IS USED WHEN THERE IS A
VISUAL CLUE THAT THE PEDAL SHOULD
NOT REMAIN THROUGH THE ENTIRE NOTE4
,EXAMPLE #AE-BB IS IN #C/D TIME4 ,IN
THE FIRST MEASURE THE STAR IS PLACED
DIRECTLY UNDER THE ,E-SHARP IN THE
LEFT HAND TO INDICATE IMMEDIATE RE-
LEASE OF THE PEDAL4 IN THE SECOND
MEASURE1 THE STAR IS PLACED SLIGHTLY
.AFTER THE FIRST BEAT1 SO THE NORMAL
PEDAL RELEASE IS USED IN BRAILLE4

  ,EXAMPLE #AE-BB4
              %%#C4
  A .>'>MF.?'1%++B.C2YZKAYJ%+D+
    _>'<C;B^G_==K"G%F"*C*FA_G^2
  B .>'>D.F++E>D.E1D%+>D.F+E+<>
      "]]]<K
    _>'<C_JA^))B*C_GC^GJC@J<K

  #AE-BC4 ,REPEATS MAY BE USED WITH
PEDALLING AS LONG AS THE MEANING IS
VERY CLEAR4

  ,EXAMPLE #AE-BC4
          #D4
  <C_YFH"D&D_HF<C7*C<K

  #AE-BD4 ,IN ,EXAMPLE #AE-BD1 A RE-
PEAT SIGN WOULD INDICATE INCORRECTLY
THAT THE PEDAL IS LIFTED AND DE-
PRESSED BEFORE THE FOURTH BEAT4 ,NO
REPEAT SHOULD BE USED IN THIS TYPE
OF SITUATION4

  ,EXAMPLE #AE-BD4
               #D4
  <C_YFH"D<C&D_HFYFH"D&D_HF*C<K

  #AE-BE4 ,IF THE PEDAL IS ONLY USED
DURING PART OF THE REPEATED PASSAGE
AND THE REPETITION IS EXACT1 THE RE-
PEAT SIGN INCLUDES THE PEDALLING4

  ,EXAMPLE #AE-BE4
         #D4
  <C_YFH"D*C&D_HF7<K


          #AE-BB4--#AE-BE4       #BA
             ,B4 ,ORGAN
  #AE-BF4 ,THE SIGNS FOR RIGHT AND
LEFT HAND PARTS AS WELL AS THE IN-
FORMATION IN ,PARAGRAPHS #AE-A
THROUGH #AE-AD ALSO APPLY TO THE
RIGHT AND LEFT HAND PARTS OF ORGAN
MUSIC4

         #A4 ,ORGAN ,PEDALS

  ,SIGNS FROM TABLE #AE ,B4
777777777777777777777777777777777777
=^>= ,ORGAN PEDAL PART
=^>_>= ,START OF PASSAGE WHEN PEDAL
  AND LEFT HAND PARTS ARE WRITTEN ON
  SAME PRINT STAFF
=@>= ,RETURN TO LEFT HAND ONLY2
  PEDAL DROPS OUT
=A= ,LEFT TOE 7WEDGE BENEATH A NOTE7
=B= ,LEFT HEEL 7U OR O BENEATH A
  NOTE7
=L= ,RIGHT TOE 7WEDGE ABOVE A NOTE7
=1= ,RIGHT HEEL 7U OR O ABOVE A
  NOTE7
=C= ,BETWEEN FOOT SIGNS1 CHANGE OF
  PEDALLING ON ONE NOTE
=K= ,CHANGE WITHOUT INDICATION OF
  TOE OR HEEL
=@K= ,FOOT CROSSES IN FRONT 7DASH
  ABOVE TOE OR HEEL SIGN7
=,K= ,FOOT CROSSES BEHIND 7DASH
  BENEATH TOE OR HEEL SIGN7
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AE-BG4 ,WHEN A PEDAL PART FOR OR-
GAN IS PRINTED ON A SEPARATE STAFF1
IT IS TRANSCRIBED AS A SEPARATE
BRAILLE PART BEGINNING WITH THE PRE-
FIX SHOWN ABOVE4 ,WHEN THE PEDAL
PART IS WRITTEN IN THE SAME PRINT
STAFF AS THE LEFT HAND PART1 THE
PREFIXES FOR ORGAN PEDAL AND LEFT
HAND ARE COMBINED AS SHOWN IN ,EXAM-
PLE #AE-BG4 ,THIS COMBINED PREFIX IS
USED ONLY WHERE SUCH A PASSAGE
STARTS4 ,SUCCEEDING MEASURES OR SEC-
TIONS CARRY THE NORMAL PREFIX FOR A
LEFT HAND PART4

  ,EXAMPLE #AE-BG4
               #D4
  ^>_>^OS<>_=+90 ^OO<>_Q'@C+0@C"
    ]<+0 ^RR<>_(+9<K

  #AE-BH4 ,WHEN THE PEDAL DROPS OUT1
THE PREFIX =@>= APPEARS ONLY ONCE TO
          #AE-BF4--#AE-BH4       #BC
CONFIRM THAT FACT4 ,IF IT IS CLEAR
FROM THE MUSIC ITSELF THAT THE PED-
ALS ARE NO LONGER IN USE1 THAT PRE-
FIX IS NOT NECESSARY4 ,IF THE PEDAL
RETURNS1 THE COMBINED PREFIX IS USED
AGAIN4 ,IF THERE WAS NO PEDAL PART
IN THE THIRD MEASURE OF EXAMPLE
#AE-BG1 THE BRAILLE WOULD APPEAR AS
FOLLOWS4

  ,EXAMPLE #AE-BH4
^>_>^OS<>_=+90 ^OO<>_Q'@C+0@C"
  ]<+0 @>_(+9<K

  #AE-BI4 ,WHEN THE POINTED PRINT
SYMBOLS FOR TOE AND THE ROUNDED HEEL
SIGNS ARE PLACED UNDER THE STAFF1
THEY INDICATE THE USE OF THE LEFT
FOOT4 ,WHEN THESE IDENTICAL SYMBOLS
ARE PLACED ABOVE THE STAFF1 THEY IN-
DICATE THE USE OF THE RIGHT FOOT4
,IN BRAILLE1 THESE SIGNS FOLLOW THE
NOTES OR INTERVALS AND ARE TREATED
LIKE FINGERING SIGNS4
  #AE-CJ4 ,HORIZONTAL LINES ABOVE OR
BELOW FOOT SYMBOLS GENERALLY INDI-
CATE CROSSING OF THE FEET1 BUT THEY
MAY HAVE OTHER MEANINGS IN SOME OR-
GAN PUBLICATIONS4 ,THE SIGNS FOR
FOOT CROSSING ARE PLACED BEFORE THE
NOTE4

  ,EXAMPLE #AE-CJ4
               .C
  ^>_?A:L@K<$A%]L \1:A,KWL\A<K

  #AE-CA4 ,SOME PRINT PUBLICATIONS
HAVE SYMBOLS FOR USING THE INSIDE OR
OUTSIDE OF THE TOE AND/OR THE HEEL4
,THIS DOES NOT HAPPEN OFTEN ENOUGH
TO WARRANT SPECIFIC INTERNATIONAL
AGREEMENT FOR THE DIVERSITY OF PRINT
SYMBOLS INDIVIDUAL AUTHORS MAY USE1
BUT ,DENMARK 99 HAS DEVISED BRAILLE
SIGNS FOR THESE UNUSUAL PEDAL SIGNS
THAT MAY BE USED4
      99 ,O4 ,KJAER ,NIELSEN4 ..,DEN
    ,BRAILLESKE ,NODESKRIFT1 ,DANSK
    .,REVISION4 ,K@OBENHAVN3
    ,STATENS ,BIBLIOTEK OG ,TRYKKERI
    FOR ,BLINDE1 ,7,THE ,DANISH
    ,NATIONAL ,LIBRARY FOR THE
    ,BLIND7'1 7,K@OBENHAVN1 #AIGH71
    PRINT EDITION1 P4 #AFA2 BRAILLE
    EDITION1 ,VOL4 #A1 P4 #ADC4
          #AE-BI4--#AE-CA4       #BE
         #B4 ,REGISTRATION
  #AE-CB4 ,CARE SHOULD BE TAKEN TO
INCLUDE ALL INDICATIONS FOR REGIS-
TRATION1 USE AND CHANGE OF MANUALS1
INFORMATION ABOUT STOPS1 ETC4
  #AE-CC4 ,THE TABULATION OF THE DE-
TAILS OF ORGAN REGISTRATION AT THE
BEGINNING OF A PIECE OR MOVEMENT
SHOULD DUPLICATE THE PRINT AS FAR AS
POSSIBLE4
  #AE-CD4 ,PRINT SIGNS FOR 8FOOT01
8PLUS0 AND 8MINUS0 ARE BRAILLED AC-
CORDING TO THE NATIONAL CODE OF THE
COUNTRY4 ,THE ,AMERICAN CODE IS USED
IN THIS EDITION4

  ,EXAMPLE #AE-CD4
  ,GT4 #H FT4 SW4 COUPLED
  ,SW4 ,STOPPED DIAP41 CLARABELLA
    AND GAMBA 7OR SALICIONAL7
    #H FT4
  ,PED4 ,BOURDON #AF FT4 AND
    ,BASS FLUTE #H FT4
  ,GT4 TO ,PED4

  #AE-CE4 ,MAJOR CHANGES OF REGIS-
TRATION THAT OCCUR DURING A PIECE
CAN BE SET OUT AS ABOVE1 BUT MOST
CHANGES ARE PLACED AS WORD TEXT IN
THE BRAILLE MUSIC4

  ,EXAMPLE #AE-CE4
            %%%#D4
  .>'6.]C$X"J.FH<>"TU 6.]C$"
    X>GT'.JH=&<>"TV>F"W<K

  #AE-CF4 ,CHANGES THAT OCCUR SHOULD
BE PUT IN THE PARTS WITH CAREFUL AT-
TENTION TO PLACING THEM IN EITHER OR
BOTH HAND PARTS AS WELL AS THE PED-
AL4 ,AS IN ,EXAMPLE #AE-CF1 AN AB-
BREVIATION IS OFTEN PLACED BETWEEN
STAVES AND PRINTED ONLY ONCE4 ,WHEN
REGISTRATION APPLIES TO MORE THAN #A
STAFF1 IT SHOULD BE WRITTEN OUT IN
ALL RELEVANT PARTS IN THE BRAILLE4
,THE ABBREVIATIONS OR WORDS USED IN
PRINT SHOULD BE USED IN BRAILLE4

  ,EXAMPLE #AE-CF4
        #D<#C4
  .>'V>G.$*:<>V"S@C<K
  _>'V>G"?*W<K
  ^>'>P@ED'>G^SV<K

          #AE-CB4--#AE-CF4       #BG
  #AE-CG4 ,WHEN MORE THAN ONE TYPE
OF REGISTRATION IS INCLUDED IN
PRINT1 IT IS ALSO INCLUDED IN
BRAILLE4 ,FOR ,EXAMPLE #AE-CG1 A
PRINT DIAGRAM PROVIDES REGISTRATION
INFORMATION FOR 8,ELECTRONIC ,OR
,PIPE ,ORGAN0 AND ALSO FOR 8,DRAWBAR
,ORGANS04 ,THE WORDS AND/OR SERIES
OF NUMBERS ARE TRANSCRIBED IN STAND-
ARD LITERARY CODE4

  ,EXAMPLE #AE-CG4
    ,ELECTRONIC ,OR ,PIPE ,ORGAN3
  ,UPPER3 ,FLUTES #H FT4 #B FT4
    PLUS ,XYLOPHONE
  ,LOWER3 ,FLUTES #H FT4 #D FT4
    ,MELODIA #H FT4
  ,PEDAL3 #AF FT4 #H FT4
  ,DRAWBAR ,ORGANS3
  ,U3 #JJ #HJDH #JJJ PLUS ,PERC4
    7,XYLOPHONE7
  ,L3 7#JJ7 #HDBB #JJJ
  ,PEDAL3 #D7#D7 ,VIBRATO3 ,SMALL
  ,AUTOMATIC ,RHYTHM3 ,JAZZ

  #AE-CH4 ,THERE ARE MANY POSSIBLE
VARIATIONS FOR THE PRESENTATION OF
REGISTRATION4 ,ELECTRONIC KEYBOARDS
SOMETIMES HAVE STOPS THAT SHOW PIC-
TURES OF INSTRUMENT TYPES4 ,IN THE
PRINT REGISTRATION BELOW1 THE IN-
STRUMENTS ARE PICTURED2 IN BRAILLE
THEY ARE NAMED4

  ,EXAMPLE #AE-CH4
  #F ,MELLOW ,BRASS
  ,UPPER3 TROMBONE
  ,LOWER3 ,CELLO

















          #AE-CG4--#AE-CH4       #BI
       ,,XVI4 ,,VOCAL ,,MUSIC
            7,TABLE #AF7

  ,SIGNS FROM ,TABLE #AF4
777777777777777777777777777777777777
=C= ,SYLLABIC SLUR
=CA= =CB= ,SYLLABIC SLUR FOR FIRST &
  SECOND LANGUAGE
=CL= =C1= ,SYLLABIC SLUR FOR THIRD &
  FOURTH LANGUAGE
=_C= ,SYLLABIC SLUR VARIATION FOR
  SINGLE VERSES IN ONE LANGUAGE4
=;B ^2= ,BEGINNING AND END OF PHRASE
=B= ,TWO SYLLABLES SUNG ON ONE NOTE
=L= ,THREE SYLLABLES SUNG ON ONE
  NOTE
=>1= ,HALF BREATH
=,/= ,FULL BREATH
=8 0= ,MERGED TEXT SUNG ON ONE NOTE
=9= ,REPEAT TEXT ONCE1 I4E41 9,AMEN9
=99= ,REPEAT TEXT TWICE
=#C9= OR =9#C= ,REPEAT TEXT THREE
  7OR OTHER NUMBER7 TIMES
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AF-A4 ,A VOCAL SOLO PART IS TRAN-
SCRIBED LIKE AN INSTRUMENTAL PART
EXCEPT FOR THE TRANSCRIPTION OF
SLURS AND ACCOMMODATIONS FOR THE VO-
CAL TEXT4
  #AF-B4 ,LINES OR SECTIONS OF WORD
TEXT ARE ALTERNATED WITH LINES OR
SECTIONS OF THE CORRESPONDING MUSIC
FOR THAT TEXT4 ,TEXT PARTS ARE IDEN-
TIFIED WITH THE PREFIX =;2=1 THE
FIRST INITIAL OF THE VOICE1 OR BY
PLACEMENT ON THE BRAILLE PAGE4
  #AF-C4 ,MUSIC PARTS ARE IDENTIFIED
WITH THE PREFIX =,'=1 THE INITIAL OF
THE VOICE PART1 OR BY PLACEMENT ON
THE BRAILLE PAGE4 ,IF INTERVALS AP-
PEAR IN THE MUSIC1 A NOTE SHOULD BE
INCLUDED TO INDICATE THE DIRECTION
FOR READING THE INTERVALS4
  #AF-D4 ,IN SOME COUNTRIES TEXT IS
WRITTEN BEFORE MUSIC2 IN OTHER COUN-
TRIES MUSIC PRECEDES TEXT4 ,EXAMPLES
IN THIS CHAPTER REFLECT SOME OF THE
DIFFERENT POSSIBILITIES FOR PRESENT-
ING VOCAL MUSIC IN BRAILLE4
  #AF-E4 ,IT IS HELPFUL TO ADD DI-
RECTIONS SUCH AS 8RIT401 8ACCEL401
AND 8A TEMPO01 TO THE BRAILLE VOCAL
PART IF THEY APPEAR ONLY IN THE AC-
COMPANIMENT OF THE PRINT COPY4
  #AF-F4 ,MUSIC AND ITS TEXT ARE NOT
           #AF-A4--#AF-F4        #CA
VERTICALLY ALIGNED AS IN PRINT4
,THEREFORE1 THE CORRELATION OF SYL-
LABLES AND NOTES MUST BE MADE VERY
CLEAR USING THE SIGNS ILLUSTRATED IN
,EXAMPLES #AF-G TO #AF-AJ4
  #AF-G4 ,THE SLUR =C= BETWEEN NOTES
INDICATES THAT ONE SYLLABLE OF TEXT
IS SUNG ON THOSE TWO NOTES4 ,THE
SIGN IS DOUBLED IF ONE SYLLABLE CON-
TINUES FOR MORE THAN FOUR NOTES4
,THE SIGNS =;B= AND =^2= ARE RE-
SERVED FOR PHRASES2 THEY ARE NOT
USED FOR THE CORRELATION OF
SYLLABLES WITH NOTES4

  ,EXAMPLE #AF-G4
             %%#C4
  ,'^W_G=C%&CG%H I!C%([V
    ;2,TU SOLUS ALTISSIMUS
  ,'X_ECC"E'Y)CI%HCG %$%ECD<K
    ;2,JESU ,CHRISTE

  #AF-H4 ,WHEN TWO OR THREE SYLLA-
BLES OR VOWELS ARE MERGED ON ONE
NOTE1 THE SIGN =B= OR =L= IS PLACED
AFTER THE NOTE AFFECTED4 ,IN THE
WORD TEXT1 THE SYLLABLES OR VOWELS
TO BE MERGED ARE ENCLOSED BETWEEN
THE SIGNS =8= AND =0=4

  ,EXAMPLE #AF-H4
               <#F8
  ,FINCH! L'A8RIA ! AN0COR BRUNA1
    "]GFHL.D I.E"
  8E IL0 MONDO TACE4
    .GB"HC*JE ?D<K

  #AF-I4 ,WHEN SONGS ARE PRINTED IN
TWO OR MORE LANGUAGES1 THE NUMBER OF
SYLLABLES IN A MEASURE MAY VARY BE-
TWEEN THE DIFFERENT TEXTS4 ,SLUR
SIGNS FOLLOWED BY 8FINGER0 SIGNS ARE
USED TO INDICATE TO WHICH LANGUAGE
THEY APPLY4 ,IN THE THIRD MEASURE OF
,EXAMPLE #AF-I1 THE FIRST SLUR AP-
PLIES TO BOTH LANGUAGES2 THE SECOND
SLUR APPLIES ONLY TO THE SECOND LAN-
GUAGE4







           #AF-G4--#AF-I4        #CC
  ,EXAMPLE #AF-I4
               <<#B4
  ,'"WBGG .?"GX .:)'CNZ'BCBP ?V<K
  ;28,VOI0 CHE SAPETE1 CHE CO8SA
    !0 AMOR1
  ;2,YOU WHO HAVE KNOWLEDGE1
    WHAT IS LOVE'S SIGN1

  #AF-AJ4 ,WHEN THERE IS A DIFFER-
ENCE IN SYLLABLES IN A MELODIC REPE-
TITION OF ONE VERSE OR BETWEEN TWO
VERSES OF THE SAME LANGUAGE1 THE
SLUR =_C= INDICATES THAT THE SLUR
APPLIES TO ONE SET OF WORDS ONLY4

  ,EXAMPLE #AF-AJ4
             %#D4
  ;2COME YE TO ,BETHLEHEM2
  ;2CITIZENS OF HEAVEN ABOVE6
    ,'"]_C\[W Q_C$'E Z<K

  #AF-AA4 ,BREATH SIGNS ARE PLACED
WHERE THEY OCCUR1 AND AN OCTAVE SIGN
IS NOT REQUIRED FOR THE NEXT NOTE4
,PRINTED BREATH SYMBOLS VARY IN
SHAPE1 AND THE SYMBOL USED BY ONE
COMPOSER FOR A HALF BREATH MAY BE
USED FOR A FULL BREATH BY ANOTHER
COMPOSER OR MUSIC PUBLISHER4 ,WHEN
IT IS NOT CLEAR WHETHER A HALF OR
FULL BREATH IS INTENDED1 A TRAN-
SCRIBER'S NOTE SHOULD BE INCLUDED
DESCRIBING THE SHAPE OF THE PRINT
SYMBOLS WITH THEIR BRAILLE REPRESEN-
TATIONS4 ,EXAMPLE #AF-AA1 IN PRINT
ONLY1 SHOWS THE COMMON SYMBOLS USED
IN PRINT FOR EITHER A HALF OR FULL
BREATH4

  ,EXAMPLE #AF-AA4 7PRINT ONLY7

  #AF-AB4 ,EXCEPT FOR PRINTED RE-
PEATS IN THE MUSIC1 THE ONLY BRAILLE
REPEATS ADVISED ARE THE MEASURE RE-
PEAT FOR SHORT MEASURES AND THE
BRAILLE SEGNO 7FOR VERY LONG AND OB-
VIOUS REPEATS SUCH AS THE FINAL RE-
PETITION OF AN ARIA AFTER THE MIDDLE
SECTION74
  #AF-AC4 ,WORDS OR PHRASES OF THE
TEXT ARE REPEATED BY USING THE SIGN1
=9=1 PLACED BEFORE AND AFTER WITH NO
INTERVENING SPACE4 ,IF THE REPETI-
TION IS TO OCCUR TWICE 7TO BE SUNG
THREE TIMES71 THE SIGN IS DOUBLED
          #AF-AJ4--#AF-AC4       #CE
.EITHER .BEFORE OR .AFTER 7NOT
BOTH74 ,IF MORE THAN TWICE1 A NUMBER
IS COMBINED WITH THAT SIGN4 ,THE
NUMBER SHOWS THE .REPETITIONS4 ,EX-
AMPLE #AF-AC IN BRAILLE ONLY1 SHOWS
BOTH WAYS OF MARKING 8,AMEN0 WHEN IT
IS TO BE SUNG SIX TIMES4

  ,EXAMPLE #AF-AC4
  #E9,AMEN9 7OR7 9,AMEN9#E

  #AF-AD4 ,TEMPORARY DIVISI PARTS OR
ALTERNATIVE NOTES ARE WRITTEN AS IN-
TERVALS OR AS IN-ACCORDS4 ,IF WRIT-
TEN IN SMALL PRINT1 THE SMALL-TYPE
SIGN1 =,5= 7,TABLE #A ,A71 MUST BE
USED4
  #AF-AE4 ,A SEPARATE INDICATION OF
VOCAL RANGE SHOULD BE BRAILLED AS
PRINTED4

  ,EXAMPLE #AF-AE4
    >/L":.[<K

  #AF-AF4 ,HYPHENS PRINTED BETWEEN
SYLLABLES FOR VERTICAL ALIGNMENT
WITH NOTES ARE NOT INCLUDED IN
BRAILLE4
  #AF-AG4 ,WHEN TENOR PARTS ARE
PRINTED IN THE ,G CLEF AN OCTAVE
ABOVE ACTUAL PITCH1 THEY ARE GENER-
ALLY TRANSCRIBED IN BRAILLE AT THE
ACTUAL PITCH TO BE SUNG4
  #AF-AH4 ,A VOCAL ENSEMBLE OR CHO-
RAL SCORE IS A LOGICAL EXTENSION OF
THE FORMAT IN USE FOR SOLO MUSIC
WITH LINES OR SECTIONS OF MUSIC FOR
EACH VOICE PART4 ,WHEN THE TEXT IS
THE SAME FOR ALL PARTS1 IT IS GIVEN
ONLY ONCE2 WHEN TEXT VARIES1 IT AP-
PEARS SEPARATELY FOR EACH VOICE4
  #AF-AI4 ,KEYBOARD ACCOMPANIMENTS
DO NOT APPEAR AS A PART IN A CHORAL
SCORE4 ,THEY ARE TRANSCRIBED SEPA-
RATELY AND USUALLY INCLUDE AN
OUTLINE OF THE IMPORTANT THEMES1
VOICE ENTRANCES1 OR OTHER FEATURES
OF THE ENSEMBLE4 ,INSTRUMENTAL
ACCOMPANIMENTS HAVE THEIR OWN SCORE1
INCLUDING PIANO IF USED1 ALSO WITH
AN OUTLINE OF THE VOCAL MUSIC4




          #AF-AD4--#AF-AI4       #CG
   ,,XVII4 ,,STRING ,,INSTRUMENTS
            7,TABLE #AG7

        ,A4 ,GENERAL ,SIGNS
  #AG-A4 ,THE MUSIC FOR STRING IN-
STRUMENTS IS BRAILLED USING ALL OF
THE PREVIOUS SIGNS THAT APPLY4
  #AG-B4 ,BECAUSE OF THE LACK OF
STANDARDIZATION IN PRINT SYMBOLS FOR
STRINGS1 POSITIONS1 BARR@ES1 HARMON-
ICS AND OTHER FEATURES1 IT IS ESSEN-
TIAL THAT THE TRANSCRIBER HAVE A
THOROUGH KNOWLEDGE OF STRING MUSIC1
PREFERABLY AS A PERFORMER4
  #AG-C4 ,SOME COUNTRIES USE CLEF
SIGNS AS A PREFIX FOR ALL INSTRUMEN-
TAL MUSIC4 ,WHEN CLEF SIGNS ARE
USED1 THEY DETERMINE THE DIRECTION
FOR INTERVALS AND IN-ACCORDS4 ,THE
,C CLEF READS DOWNWARD FOR VIOLA AND
UPWARD FOR VIOLONCELLO AND BASS4 ,IN
THE ABSENCE OF CLEF SIGNS A NOTE
SHOULD BE INCLUDED4 ,THE FORM USED
IN ,EXAMPLE #AG-C MAY BE HELPFUL4

  ,EXAMPLE #AG-C4
  "?/ 33 "N<>":

  #AG-D4 ,THE ,G CLEF WITH A LITTLE
8#H0 BELOW1 SOMETIMES USED FOR
PLUCKED INSTRUMENTS1 INDICATES THAT
THE NOTES SOUND ONE OCTAVE LOWER
THAN PRINTED1 BUT THE MUSIC IS TRAN-
SCRIBED AT THE PRINTED PITCH4

  ,SIGNS FROM ,TABLE #AG ,A4
777777777777777777777777777777777777
=%A=  #AST STRING
=%B=  #BND STRING
=%L=  #CRD STRING
=%1=  #DTH STRING
=%K=  #ETH STRING
=%2=  #FTH STRING
=%'=  #GTH STRING
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AG-E4 ,IN PRINT1 STRINGS ARE IN-
DICATED WITH ROMAN NUMERALS1 ARABIC
NUMBERS OR LETTERS4 ,A NOTE SHOULD
BE INCLUDED STATING THE METHOD USED
IN PRINT4 ,WHEN WORD-LETTER COMBINA-
TIONS SUCH AS 8SUL ,G0 APPEAR1 THEY
SHOULD BE TRANSCRIBED AS THEY ARE IN
PRINT4
  #AG-F4 ,AN OCTAVE MARK IS NOT RE-
QUIRED FOR THE NEXT NOTE AFTER A
           #AG-A4--#AG-F4        #CI
STRING SIGN4
  #AG-G4 ,LINES OF CONTINUATION ARE
SHOWN BY THE PRINCIPLE OF DOUBLING2
ONLY THE SECOND CHARACTER OF THE
SIGN IS WRITTEN TWICE4

  ,EXAMPLE #AG-G4
            .C
  #A %1"?:$] \%LL[W? :?W[
    "\]$%L: Y<K

  ,SIGNS FROM ,TABLE #AG ,B4
777777777777777777777777777777777777
=>>= #AST POSITION/FRET
=>/= #BND POSITION/FRET
=>+= #CRD POSITION/FRET
=>#= #DTH POSITION/FRET
=>9= #ETH POSITION/FRET
=>0= #FTH POSITION/FRET
=,>3= #GTH POSITION/FRET
=>-= #HTH POSITION/FRET
=>-/= #ITH POSITION/FRET
=>-+= #AJTH POSITION/FRET
=>>/= ,HALF POSITION
=@A= ,GLISSANDO OR SHIFT TO A NEW
  POSITION
=@A'= ,BEGINNING OF SHIFT LINE

=,@A= ,END OF SHIFT LINE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AG-H4 ,POSITION/FRET SIGNS USUAL-
LY FOLLOW STRING SIGNS AND PRECEDE
BOWING OR PLECTRUM SIGNS4 ,THE WORD
8POSITION0 IS USED FOR INSTRUMENTS
THAT HAVE A SMOOTH FINGERBOARD1 AND
THE WORD 8FRET0 IS USED FOR INSTRU-
MENTS THAT HAVE FRETS ON THE FINGER-
BOARD4
  #AG-I4 ,IN PRINT1 POSITION OR FRET
SIGNS USUALLY ARE ROMAN NUMERALS OR
ARABIC NUMBERS4 ,A NOTE SHOULD BE
INCLUDED TO DESCRIBE THE TYPE OF
PRINT MARKING USED4
  #AG-AJ4 ,THE NEXT NOTE AFTER THE
POSITION OR FRET SIGN MUST HAVE AN
OCTAVE MARK4
  #AG-AA4 ,A LINE OF CONTINUATION
FOLLOWING A POSITION SIGN IS SHOWN
WITH TWO DOT #C'S1 =''=4 ,THE SIGN
FOR THE END OF THIS LINE1 =>'=1 FOL-
LOWS THE LAST NOTE AFFECTED AND IS
NOT USED IF ANOTHER POSITION SIGN
FOLLOWS IMMEDIATELY4


          #AG-G4--#AG-AA4        #DA
  ,EXAMPLE #AG-AA4
          %%#D4
  >9'';ZFGF Z.IGFZ"I>>"GF"
ZI>+.EF=I>9;EF<K

  #AG-AB4 ,FOR THE FINGERING OF
BOWED AND PLUCKED INSTRUMENTS1 SEE
,CHAPTER ,,VIII1 ,FINGERING4 ,PART
,B CONTAINS SIGNS AND EXAMPLES4
  #AG-AC4 ,SHIFTING LINES ARE COM-
MONLY FOUND IN GUITAR MUSIC AND OC-
CASIONALLY IN BOWED STRING MUSIC4
,THEY LOOK LIKE GLISSANDOS IN PRINT
AND IN BRAILLE1 BUT UNLESS THE WORD
OR ABBREVIATION FOR GLISSANDO IS
PRESENT1 THE SLANTING LINES INDICATE
SHIFTING TO ANOTHER FRET OR POSI-
TION4 ,THE SIGN IS PLACED BETWEEN
THE NOTES AFFECTED4 ,IF THE WORD
8GLISSANDO0 OR AN ABBREVIATION AP-
PEARS IN PRINT1 IT SHOULD BE INCLUD-
ED IN BRAILLE4
  #AG-AD4 ,WHEN INTERVENING NOTES
APPEAR1 IT MAY BE NECESSARY TO INDI-
CATE THE BEGINNING AND THE END OF
THE SHIFT USING THE SIGNS ABOVE4
,ALWAYS USE THE STANDARD SIGN WHEN
POSSIBLE4 ,EXAMPLE 7A7 ILLUSTRATES
THE STANDARD SHIFT1 AND ,EXAMPLE 7B7
ILLUSTRATES THE NEED FOR AND THE USE
OF THE BEGINNING AND ENDING SIGNS4

  ,EXAMPLE #AG-AD
    7A7
         #C4
  .[1@A\'1G<>V":[<K

    7B7
            #D%#I8
  .JHF;D1@A'.HF,@A;E1@A'.HF L
  ,@A;F1.HF;F.HF;$'<K

  #AG-AE4 ,THE SIGN FOR GLISSANDO IS
PLACED AFTER THE FIRST OF THE TWO
NOTES AFFECTED4 ,IF A SLUR IS ALSO
PRINTED1 THE SLUR SIGN PRECEDES THE
GLISSANDO SIGN4 ,IF THE WORD OR AB-
BREVIATION FOR GLISSANDO APPEARS IN
PRINT1 IT SHOULD ALSO APPEAR IN
BRAILLE4





          #AG-AB4--#AG-AE4       #DC
  ,SIGNS FROM ,TABLE #AG ,D4
777777777777777777777777777777777777
=K= ,NATURAL HARMONIC OR OPEN STRING
=*L= ,ARTIFICIAL HARMONIC
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AG-AF4 ,NATURAL AND ARTIFICIAL
HARMONICS ARE IDENTIFIED BY PRINT
SHAPE4 ,THE SIGN FOR ARTIFICIAL HAR-
MONIC IS USED FOR DIAMOND-SHAPED
NOTES2 THE SIGN FOR NATURAL HARMONIC
IS USED WHEN A ROUND NOTE THAT IS
NOT AN OPEN STRING HAS A ZERO ABOVE
IT4
  #AG-AG4 ,THE SIGN FOR NATURAL HAR-
MONIC FOLLOWS THE NOTE2 THE ARTIFI-
CIAL-HARMONIC SIGN PRECEDES THE NOTE
AND IS SEPARATED FROM IT ONLY BY AN
OCTAVE MARK AND/OR AN ACCIDENTAL4
,WORDS OR ABBREVIATIONS SUCH AS
8ART4 ARM40 ARE ALWAYS INCLUDED AS
WORD TEXT4
  #AG-AH4 ,WHEN FINGERING IS GIVEN
FOR A NATURAL HARMONIC1 THE FINGER-
ING PRECEDES THE HARMONIC SIGN4

  ,EXAMPLE #AG-AH4
    .!1K<K

  #AG-AI4 ,THE SIGNS FOR ARTIFICIAL
AND NATURAL HARMONICS MAY BE DOUBLED
FOR A SERIES OF MORE THAN THREE
NOTES OR INTERVALS4 ,THE ARTIFICIAL
HARMONIC SIGN IS DOUBLED AS =*L*L=4
  #AG-BJ4 ,THE FOLLOWING THREE EXAM-
PLES ILLUSTRATE HARMONICS AND OTHER
FEATURES OF STRING MUSIC4 ,IN ,EXAM-
PLE #AG-BJ1 FOR GUITAR1 THE ABBREVI-
ATION 8HARM0 IS SHOWN WITH A BRACKET
TO INDICATE WHICH NOTES ARE HARMON-
ICS4 ,IN BRAILLE1 THE LINE OF CON-
TINUATION IS USED4 ,ANOTHER BRACKET1
WITH A ROMAN NUMERAL1 SHOWS THAT THE
HAND SHOULD REMAIN IN THIRD POSI-
TION1 SO A SECOND LINE OF CONTINUA-
TION IS USED4 ,CIRCLED ARABIC NUM-
BERS INDICATE STRING SIGNS4

  ,EXAMPLE #AG-BJ4
            #C4
  %A>HARM''>+--.W1%B]L"\K
    :K%2_$B>->'%A.\1<K

  #AG-BA4 ,IN ,EXAMPLE #AG-BA1 DIA-
MOND-SHAPED NOTES ARE SHOWN IN ADDI-
TION TO THE PRINT ABBREVIATION1 SO
          #AG-AF4--#AG-BA4       #DE
THE SIGN FOR ARTIFICIAL HARMONIC IS
USED ALONG WITH THE ABBREVIATION AND
ITS LINE OF CONTINUATION4 ,IN THIS
GUITAR EXAMPLE1 THE PRINT HAS CIR-
CLED LETTERS THAT CONTAIN NAMES OF
STRINGS1 E4G41 ,G1 ,B1 AND ,E4 ,THE
TRANSCRIBER MUST UNDERSTAND ALL
STRING INSTRUMENTS TO KNOW THAT ,G
IS #CRD STRING IN GUITAR MUSIC1 #DTH
STRING IN VIOLIN MUSIC1 #CRD STRING
IN VIOLA MUSIC1 ETC4 ,THE BAR LINE
SIGN =L= IS USEFUL IN COMPLEX STRING
MUSIC4

  ,EXAMPLE #AG-BA4
               %#B4
  ")K>HARM''%L*L*L.HF%BJ"
  .(;F.J%L.D L 2;F>RALL'%B.F%LD"
  %A*L.[A<L>'<K

  #AG-BB4 ,IN ,EXAMPLE #AG-BB1 THE
ABBREVIATION 8ARM0 AND THE SIGN FOR
TWELFTH FRET ARE BOTH INCLUDED1 AS
IN PRINT1 TO INDICATE THE HARMONIC4
,FINGERING1 STRING1 AND FRET SIGNS
ARE ALL INDICATED WITH ARABIC NUMER-
ALS1 SO A KNOWLEDGE OF STRING IN-
STRUMENTS IS AGAIN ESSENTIAL IN OR-
DER TO DETERMINE THE MEANING OF EACH
NUMBER4

  ,EXAMPLE #AG-BB4
             #E4
    %11;B"IAJL?1JLIAJA%KHB"
  %2>ARM'>-9"$^2<K

  #AG-BC4 ,WHEN RESULTANTS ARE
PRINTED FOR NATURAL OR ARTIFICIAL
HARMONICS1 THEY ARE WRITTEN AS SMALL
NOTES AND PLACED IN AN IN-ACCORD4
,IF TWO ARTIFICIAL HARMONICS ARE
WRITTEN AS A CHORD1 IT IS BEST TO
SEPARATE THEM WITH IN-ACCORDS BE-
CAUSE THE DIAMOND-SHAPED NOTES DO
NOT PRODUCE THE SOUND REPRESENTED BY
THE PRINTED NOTES4 ,THE RESULTANTS
MAY BE WRITTEN AS CHORDS1 HOWEVER4

  ,EXAMPLE #AG-BC4
  >/L'*L"!#<>*L%"Y+<>,5;&%+<K





          #AG-BB4--#AG-BC4       #DG
      ,B4 ,BOWED ,INSTRUMENTS

  ,MORE SIGNS FROM ,TABLE #AG ,D4
777777777777777777777777777777777777
=<B= ,DOWN BOW
=<'= ,UP BOW
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AG-BD4 ,BOWING OR PLECTRUM SIGNS
USUALLY FOLLOW STRING OR POSITIONS
SIGNS4 ,THEY MAY BE DOUBLED4 ,IF THE
PHRASING SLUR1 =;B=1 IS USED1 IT
GENERALLY PRECEDES THE BOWING OR
PLECTRUM SIGN4

  ,EXAMPLE #AG-BD4
             %%#B4
  V<L;B<'2"=HG2&GH !^2M<B.8IC"
  .Z1KM<'ELC<K

  #AG-BE4 ,ON A BOWED STRING INSTRU-
MENT IT IS POSSIBLE TO PLAY A THREE-
OR FOUR-NOTE CHORD1 HOLDING THE TOP
OR BOTTOM TWO NOTES LONGER THAN THE
OTHERS4 ,WHEN A SINGLE CHORD HAS
NOTES OF DIFFERENT VALUES1 IN-AC-
CORDS ARE USED AS NECESSARY4


  ,EXAMPLE #AG-BE4
  >/L;Q.+"1":9"V.KV<L<K

  #AG-BF4 ,WHEN PRINT INDICATES THAT
THE LEFT HAND SHOULD EXECUTE PIZZI-
CATOS 7USUALLY WITH A PLUS SIGN71
THE STANDARD LEFT HAND SIGN PRECEDES
ALL NOTES SO MARKED4 ,THIS SIGN MAY
BE DOUBLED4 ,EXAMPLE #AG-BF IS MUSIC
FOR THE VIOLIN4

  ,EXAMPLE #AG-BF4
              %#F8
    >/L_>.(_>.G_>.F8E_>.D_>"J"
  _>"!8H_>"G_>"F_>"E8D
  _>_)_>_!8"Z_>_>"Y)!_>_HX"J<K

  #AG-BG4 ,FOR SCORES WITH STRING
INSTRUMENTS1 SEE ,EXAMPLES #BJ-I TO
#BJ-AA4

     ,C4 ,PLUCKED ,INSTRUMENTS

  ,SIGNS FROM ,TABLE #AG ,C4
777777777777777777777777777777777777
=_= ,GRAND OR FULL BARR@E
=^= ,HALF OR PARTIAL BARR@E
          #AG-BD4--#AG-BG4       #DI
=@= ,VERTICAL BRACKET BARR@E
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AG-BH4 ,BARR@ES ARE INDICATED TWO
DIFFERENT WAYS IN PRINT NOTATION3
7#A7 ABOVE THE STAFF WITH CAPITAL
LETTERS ALONE OR IN COMBINATION WITH
NUMBERS OR FRACTIONS THAT INDICATE
WHETHER THE BARR@E IS FULL OR PAR-
TIAL2 7#B7 ON THE STAFF WITH VERTI-
CAL BRACKETS PLACED BEFORE NOTES OR
CHORDS4 ,FOR 7#A71 A NOTE SHOULD BE
INCLUDED TO DESCRIBE THE PRINT NOTA-
TION4 ,FOR 7#B7 THE BRACKET BARR@E
SIGN IN BRAILLE INDICATES THAT A
BRACKET APPEARS IN PRINT4
  #AG-BI4 ,FULL BARR@ES ARE USUALLY
INDICATED ABOVE THE STAFF WITH 8,C0
OR 8,B04 ,INDICATIONS FOR PARTIAL
BARR@ES INCLUDE THE ,C OR ,B WITH A
SLASH THROUGH THEM1 #A/B,C1 #A/B,B1
,,PB1 ,,MC1 ,,MB1 ETC4
  #AG-CJ4 ,BARR@E SIGNS IMMEDIATELY
PRECEDE FRET SIGNS4 ,FRET SIGNS MUST
BE FOLLOWED BY AN OCTAVE MARK4
  #AG-CA4 ,EXAMPLE #AG-CA SHOWS A
FULL BARR@E FOLLOWED BY THE ROMAN
NUMERAL FOR #ETH POSITION/FRET AND A
LINE OF CONTINUATION THAT ENDS WHEN
THE NEXT BARR@E AND THE ROMAN NUMER-
AL FOR THIRD POSITION/FRET OCCUR4
,THEREFORE1 THE END OF THE CONTINUA-
TION LINE IS NOT MARKED4

  ,EXAMPLE #AG-CA4
            <#C8
    _>9''.)BCD1JCI_>+.HCG<>
  "HIJ<K

  #AG-CB4 ,EXAMPLE #AG-CB SHOWS A
PARTIAL BARR@E WITH AN ENDING TO ITS
LINE OF CONTINUATION4

  ,EXAMPLE #AG-CB4
           <#C4
  >D^>/''%.]+0"D.G+07>'<K

  #AG-CC4 ,IN EXAMPLE #AG-CC1 A
BRACKET BARR@E IS PRINTED VERTICALLY
THROUGH THE ENTIRE STAFF1 SHOWING
THAT THE BARR@E INCLUDES THE INITIAL
NOTES OF BOTH IN-ACCORD PARTS4
,THEREFORE1 IT APPEARS AT THE BEGIN-
NING OF BOTH IN-ACCORD PARTS IN
BRAILLE4

          #AG-BH4--#AG-CC4       #EA
  ,EXAMPLE #AG-CC4
           <#D4
    @>+X.Z&LG1IL%DE1XE<>
  @>_\VV%K"]B<K

  #AG-CD4 ,WHEN THE SYMBOL FOR A
BARR@E IS NOT FOLLOWED BY A FRET
SYMBOL1 IT SHOULD BE FOLLOWED BY THE
FIRST CHARACTER OF A FRET SIGN 7DOTS
#C-D-E7 IN BRAILLE4 ,IN ,EXAMPLE
#AG-CD THERE IS NO SYMBOL FOR FRET1
SO THE SINGLE FRET CHARACTER IS USED
IN BOTH OF THE IN-ACCORDS AFFECTED
BY THE BRACKET BARR@E4

  ,EXAMPLE #AG-CD4
          %#B4
  .$'@>.G<>"\@>"[<>"N<K

  ,SIGNS FROM ,TABLE #AG ,D4
777777777777777777777777777777777777
=<B= ,DOWN STROKE
=<'= ,UP STROKE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG




  ,SIGNS FROM ,TABLE #AA4
777777777777777777777777777777777777
=>K= ,ARPEGGIO UP
=>KK= ,ARPEGGIO DOWN
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AG-CE4 ,IN SOME GUITAR MUSIC THE
PRINT SYMBOL FOR 8DOWN STROKE0 IS AN
ARROW POINTING .UP4 ,THE PRINT SYM-
BOL FOR 8UPSTROKE0 IS AN ARROW
POINTING .DOWN4 7,MOVING THE HAND
DOWN ACROSS THE STRINGS CAUSES THEM
TO BE PLUCKED FROM LOWEST TO HIGH-
EST47 ,IN OTHER PUBLICATIONS AN AR-
ROW POINTING UP IS THE PRINT INDICA-
TION OF AN UPSTROKE1 AND AN ARROW
POINTING DOWN INDICATES A DOWN
STROKE4 ,THEREFORE1 A NOTE SHOULD
DESCRIBE THE PRINT MARKING4
  #AG-CF4 ,FOR ,RASGUEADO 7A SPECIAL
TECHNIQUE FOR THE RAPID STRUMMING OF
CHORDS BOTH UP AND DOWN71 THE ARPEG-
GIO SIGNS1 RATHER THAN THE STROKE
SIGNS SHOULD BE USED4 ,FOR AN UPWARD
ARROW1 USE THE SIGN =>K=1 AND FOR
THE DOWNWARD ARROW USE THE SIGN
=>KK=4 ,IF ARROWS GO IN BOTH DIREC-
TIONS USE BOTH SIGNS1 FOLLOWING THE
          #AG-CD4--#AG-CF4       #EC
PRINT4 ,INCLUDE THE WORD RASGUEADO
7WITH ITS DIFFERENT SPELLINGS7 OR
ANY ABBREVATION1 AS PRINTED4

  ,EXAMPLE #AG-CF4
               #C4
  >K.$+0-+V>RASQ'>K_5'"YFH.DF<K

  #AG-CG4 ,WHEN ,GOLPE 7KNOCK7 IS
INDICATED1 USE THE WORD OR ABBREVIA-
TION ACCORDING TO PRINT4 ,WHEN IT IS
EXECUTED ON A REST1 THE WORD OR INI-
TIAL IS PLACED BEFORE THE REST4
,OTHERWISE1 BRAILLE FOLLOWS PRINT
PLACEMENT1 BEFORE OR AFTER A NOTE1
RASGUEADO OR OTHER FEATURE4

  ,EXAMPLE #AG-CG4
            #C8
  >KK.F+0-+>G'X>G'X
>RASQ'>K_5'"NPR.NP>G'X>G'X<K

  #AG-CH4 ,A SLUR THAT DOES NOT END
ON A NOTE OR THE 8SLUR INTO NOWHERE0
=;C= REQUIRES CAREFUL RECOGNITION BY
TRANSCRIBERS4 ,EXAMPLE #AG-CH CON-
TAINS MUSIC FOR GUITAR IN BASS CLEF
WITH THE INTERVALS READING UP4 ,THE
KNOWLEDGEABLE TRANSCRIBER REALIZES
THAT THE FIRST SLUR DOES NOT END ON
A NOTE AND THAT ITS INTERVAL IS NOT
TO BE TIED TO THE HALF NOTE4 ,THE
SPECIAL SLUR SIGN IS PLACED AFTER
BOTH NOTES OF THE CHORD4 ,IF A SLUR
IS AN INDICATION OF ORNAMENTATION
FOR GUITAR1 THIS SLUR SIGN CAN BE
USED4

  ,EXAMPLE #AG-CH4
            <<#C4
  >#L^\;C9;C_O<>_T' ^\;C9;C"
    _:;C^:C<>_T'<K

  #AG-CI4 ,RIGHT-HAND FINGERING FOR
GUITAR IS SHOWN IN ,PART ,B#B OF
,CHAPTER ,,VIII1 ,FINGERING3 ,SIGNS
FROM ,TABLE #H ,B AND IN ,PARAGRAPHS
#H-AJ & #H-AA4







          #AG-CG4--#AG-CI4       #EE
       ,,XVIII4 ,,WIND ,,AND
     ,,PERCUSSION ,,INSTRUMENTS
            7,TABLE #AH7

       ,A4 ,WIND ,INSTRUMENTS
  #AH-A4 ,WIND INSTRUMENTS MAKE USE
OF ALL THE STANDARD SIGNS INCLUDING
OTHERS THAT HAVE SPECIAL MEANING FOR
WINDS4

  ,SIGNS FROM ,TABLE #AH ,A4
777777777777777777777777777777777777
=K= ,LETTER ,O OVER OR UNDER NOTE
=<B= ,PLUS SIGN OVER OR UNDER NOTE
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

  ,SIGNS FROM ,TABLE #AF ,C4
777777777777777777777777777777777777
=>1= ,HALF BREATH
=,/= ,FULL BREATH
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AH-B4 ,THE LETTER ,O SIGNIFIES AN
OPEN SOUND AND OFTEN INDICATES FOR
THE PLAYER TO REMOVE A MUTE OR AD-
JUST FOR A NON-MUTED SOUND4 ,THIS
SIGN GENERALLY FOLLOWS THE NOTE4
  #AH-C4 ,THE PLUS SIGN USUALLY IN-
DICATES THE PLACE WHERE A MUTE IS TO
BE ADDED OR A MUTED SOUND USED4
,THIS SIGN MAY BE FOUND EITHER PRE-
CEDING OR FOLLOWING THE NOTE IN
TRANSCRIPTIONS FROM DIFFERENT COUN-
TRIES4
  #AH-D4 ,BREATH SYMBOLS CONSIST OF
COMMAS1 DOUBLE SLANTED LINES1 AND
VARIOUS OTHER KINDS OF PRINT MARKS4
,IN SOME PUBLICATIONS A COMMA INDI-
CATES A FULL BREATH AND IN OTHER
PUBLICATIONS IT INDICATES A HALF
BREATH4 ,THE SAME IS TRUE FOR THE
OTHER SYMBOLS4 ,THE TRANSCRIBER
SHOULD DETERMINE THE INTENDED MEAN-
ING1 IF POSSIBLE1 AND INCLUDE A
TRANSCRIBER'S NOTE DESCRIBING THE
SHAPE OF THE PRINT SYMBOL7S7 WITH
THEIR BRAILLE REPRESENTATIONS4
  #AH-E4 ,BREATH SIGNS ARE PLACED
WHERE THEY OCCUR1 AND AN OCTAVE SIGN
IS NOT REQUIRED FOR THE NEXT NOTE4

  ,EXAMPLE #AH-E4 7,SOLO ,TUBA7
             <#D4
  >#L^&C(7&C!7GE_E^G \,/[,/"
  ^Z_E^IG(GFI<K

           #AH-A4--#AH-E4        #EG
  #AH-F4 ,PARTS FOR TRANSPOSING IN-
STRUMENTS ARE BRAILLED USING THE
PITCHES THAT APPEAR ON THE PRINT
PAGE4 ,WHEN THIS HAPPENS IN AN EN-
SEMBLE OR WITH KEYBOARD ACCOMPANI-
MENT1 EACH PART MAY HAVE A DIFFERENT
KEY SIGNATURE4 ,THE KEY SIGNATURES
SHOULD APPEAR AT THE BEGINNING OF
EACH PARALLEL OR SECTION4

  ,EXAMPLE #AH-F4
       ,ANDANTINO4 #B4
  ">    M ''''''' >P"$CHCI<K
  .>'<< >P"E++CD7 DCJ+7<K
  _>'<< ^R '''''' R@C<K

  #AH-G4 ,WHEN TWO-NOTE CHORDS AP-
PEAR IN MUSIC FOR WINDS1 INTERVAL
SIGNS OR IN-ACCORDS MAY BE USED1 AC-
CORDING TO NATIONAL PREFERENCE4
  #AH-H4 ,DIRECTIONS SUCH AS 8@A #B0
OR 8SOLO0 SHOULD BE INCLUDED AS IN
PRINT4
  #AH-I4 ,ACCOMPANIMENTS ARE
BRAILLED SEPARATELY1 AND THEY USUAL-
LY INCLUDE AN OUTLINE OF THE SOLO
PART AS SHOWN BELOW OR A DUPLICATION
OF THE SOLO PART AS IN ,EXAMPLE
#AH-F4 ,BOTH EXAMPLES ARE THE SAME
IN PRINT4

  ,EXAMPLE #AH-I4
      ,ANDANTINO4 #B4
  ">'   M ''''''' "$HI<K
  .>'<< >P"E++CD7 DCJ+7<K
  _>'<< ^R '''''' R@C<K

  #AH-AJ4 ,FOR UNUSUAL MODERN NOTA-
TION1 SEE ,SECTION ,,XIII1 ,MODERN
,NOTATION1 AS NECESSARY4 ,EXAMPLE
#AH-AJ IS FROM A MODERN PIECE1 BUT
THE TREMOLO REPETITION IN THIRTY-
SECOND NOTES IS STANDARD NOTATION4
,IT INDICATES FLUTTER TONGUING TO
THE PERFORMER4 ,USE STANDARD NOTA-
TION WHEREVER POSSIBLE4

  ,EXAMPLE #AH-AJ4
    7NO TIME SIGNATURE7
    >PPP"\^1CF^1>P'8<;="
  >PPP;B<"W^11C<[>D'<"\C"
  <F^1^2>4<K



          #AH-F4--#AH-AJ4        #EI
          ,B4 ,PERCUSSION
  #AH-AA4 ,FOR MELODIC PERCUSSION
INSTRUMENTS SUCH AS BELLS1 XYLO-
PHONE1 AND HARP1 STANDARD BRAILLE
MUSIC NOTATION IS USED4
  #AH-AB4 ,FOR NON-MELODIC PERCUS-
SION INSTRUMENTS1 MUSIC IS USUALLY
PRINTED IN ONE OF TWO WAYS DESCRIBED
BELOW4 ,A NOTE SHOULD BE INCLUDED
GIVING DETAILS OF THE PRINT PRESEN-
TATION INCLUDING THE NUMBER OF LINES
USED FOR THE PERCUSSION 8STAFF04
    7#A7 ,A #E-LINE STAFF IS PRINTED
WITH NOTES TO REPRESENT THE INSTRU-
MENTS TO BE PLAYED BY ONE PLAYER4
,EACH DIFFERENT NOTE REPRESENTS A
DIFFERENT INSTRUMENT2 THE NOTES ARE
ARRANGED MELODICALLY OR IN CHORDS
DEPENDING UPON WHETHER THE PLAYER
WILL BE 8HITTING0 ONE OR MORE DE-
VICES AT THE SAME TIME4
    7#B7 ,NOTES FOR EACH INSTRUMENT
ARE NOT WRITTEN ON A #E-LINE STAFF4
,TIME SIGNATURES AND NOTE VALUES ARE
PROVIDED1 BUT THE NOTES ARE WRITTEN
ALONG A SINGLE HORIZONTAL LINE1 OR1
IN SOME CASES1 TWO OR THREE HORI-
ZONTAL LINES4
  #AH-AC4 ,THE #E-LINE STAFF FOR
NON-MELODIC PERCUSSION INSTRUMENTS
HAS A TIME SIGNATURE1 NOTE VALUES1
DYNAMICS1 AND OTHER DETAILS OF PER-
FORMANCE4 ,IT DOES NOT USUALLY HAVE
A NORMAL CLEF SIGN4 ,FOR BRAILLE
TRANSCRIPTION1 NOTES ARE TRANSCRIBED
AS IF THEY ARE IN THE ,F CLEF4 ,ALL
OTHER PERFORMANCE DETAILS ARE TRAN-
SCRIBED IN THE STANDARD WAY4 ,IN-AC-
CORDS OR INTERVALS ARE USED AND IN-
TERVALS ARE DOUBLED NORMALLY4 ,EXAM-
PLE #AH-AC IS FROM A SOLO FOR TWO
TOM-TOMS4

  ,EXAMPLE #AH-AC4
           #D4
  .8_D77HHHDD D.8HDD.8?9\
.8?'99.8D.C?V .8D.8?"
.8D.C?9V<K

  ,SIGNS FROM ,TABLE #AH ,B4
777777777777777777777777777777777777
=L= ,RIGHT HAND
=A= ,LEFT HAND
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG

          #AH-AA4--#AH-AC4       #FA
  #AH-AD4 ,IN PRINT1 LETTERS SUCH AS
,R AND ,L ARE COMMONLY USED TO INDI-
CATE THE USE OF THE RIGHT OR LEFT
HAND4 ,IN BRAILLE1 THE PERCUSSION
HAND SIGNS FOLLOW THE NOTES AND ARE
TREATED LIKE FINGER SIGNS4 ,EXAMPLE
#AH-AD IS FROM AN EXERCISE BOOK FOR
SNARE DRUM4

  ,EXAMPLE #AH-AD4
            #B4
<7.8_&LFA.8FL.8FA&LFL.8FAFL
.8&A.8FLFAFA.8&L.8FAFLFL<2

  #AH-AE4 ,INDICATIONS FOR CHANGING
INSTRUMENTS1 STICKS1 BRUSHES1 ETC4
ARE INCLUDED AS PRINTED WHEN WORDS
ARE USED4 ,IF DRAWINGS OR SYMBOLS
ARE PROVIDED INSTEAD OF WORDS1 THERE
ARE TWO POSSIBILITIES4 ,SPECIAL
SIGNS MAY BE DEVISED OR SHORT ABBRE-
VIATIONS USED1 SUCH AS 8HS0 FOR HARD
STICK4 ,A TRANSCRIBER'S NOTE SHOULD
EXPLAIN THE SIGNS OR ABBREVIATIONS
AT THE BEGINNING OF THE PIECE4
  #AH-AF4 ,EXAMPLE #AH-AF IS A FRAG-
MENT OF MUSIC FOR TWO CYMBALS PLAYED
IN A VARIETY OF WAYS4 ,THE FACT THAT
THE NOTES ARE ,X-SHAPED IS NOTED IN
THE LIST OF INSTRUMENTS AND DOES NOT
HAVE TO BE REPEATED IN THE MUSIC4
,ALL OF THE OTHER SYMBOLS ARE PIC-
TORIAL IN PRINT4 ,IN THIS EXAMPLE1
THE 8SLUR INTO NOWHERE01 =;C=1 MEANS
THAT THE TONE FROM THE CYMBAL IS AL-
LOWED TO CONTINUE TO RING4

  ,EXAMPLE #AH-AF4
^J ,LOW SUSPENDED ,CYMBAL
  7,X-SHAPE NOTES7
_G ,HIGH SUSPENDED ,CYMBAL
  7,X-SHAPE NOTES7
>RS' REVERSE END OF RATTAN
  STICKS
>BR' BRUSHES
>DC' ON DOME OF CYMBAL
>CC' ON CENTER OF CYMBAL
>EC' ON EDGE OF CYMBAL

              #C4
  >EC>P^J;CXV>RS'V #B4 V"
  >DC>PP'2_Q>CC^)>DC_Q>CC^)@C"
  >SIM'2^T)_Q^T_Q@C
  #C8 2_Q=Q.8^)@CJ;C>BR'X<K

          #AH-AD4--#AH-AF4       #FC
  #AH-AG4 ,PERCUSSIONISTS SPEAK OF
8FLAMS01 8ROLLS0 AND USE OTHER TER-
MINOLOGY THAT DIFFERS FROM KEYBOARD
MUSIC1 BUT THE NOTATION ON THE PRINT
PAGE IS FOLLOWED AS IF IT IS KEY-
BOARD MUSIC4 ,EXAMPLE #AH-AG1 A DRUM
SOLO1 HAS A FLAM 7SHORT APPOGGIATU-
RA7 AND ROLLS 7REPETITION AS #AFTH
AND #CBND NOTES74 ,THIS TYPE OF PER-
CUSSION MUSIC CAN BE FOUND EITHER ON
A STAFF OR ON A SINGLE PRINT LINE4

  ,EXAMPLE #AH-AG4
              #B4
    _F^LC .8FX.8$^1C .8F2&&&7
  .8&&&&5FC.8&FFF<K

  #AH-AH4 ,WHEN THERE IS A PRINT EX-
PLANATION SHOWING WHICH NOTES ARE
ASSIGNED TO WHICH INSTRUMENTS1 THIS
MUST BE INCLUDED AND MAY BE TRAN-
SCRIBED AS SHOWN IN ,EXAMPLE #AH-AH4
,WHEN SEVERAL PARTS APPEAR ON ONE
STAFF1 THEY ARE PLAYED BY ONE PER-
FORMER AND ARE TRANSCRIBED WITH
CHORDS OR IN-ACCORDS4 ,WHEN THEY AP-
PEAR ON INDIVIDUAL STAVES1 AS BELOW1
THEY ARE TRANSCRIBED SEPARATELY4
  ,EXAMPLE #AH-AH4
        ?7#ABJ-AFJ #D4
,TIMBALE ,'.8_HFF.8HFF.8HF 7<2
,CLAVES ,'_$X$X$ V$$V<2
,MARACAS ,'.8_EEE.8EEE.8EE 7<2

  #AH-AI4 ,WHEN THE NOTES APPEAR ON
A SINGLE LINE1 A SINGLE NOTE NAME IS
PROVIDED FOR THE NOTES WITH THEIR
TIME VALUES4 ,THE NOTE ,C IS COMMON-
LY USED1 THE NOTE ,D IS SOMETIMES
USED1 AND1 AS BELOW1 OTHER NOTES MAY
BE SELECTED4
  #AH-BJ4 ,IN EXAMPLE #AH-BJ1 PRINT-
ED ON A SINGLE LINE1 THE DIRECTION
OF STEMS INDICATES DIFFERENT INSTRU-
MENTS4 ,THE NOTES FOR SMALL DRUM ALL
HAVE STEMS THAT GO DOWN2 THE NOTES
FOR TRIANGLE ALL HAVE STEMS THAT GO
UP4 ,THE INSTRUMENTS ARE IDENTIFIED
AT THE BEGINNING AND STEMS BECOME
THE IDENTIFIERS FOR THE REST OF THE
PIECE IN PRINT4 ,IN BRAILLE1 A NOTE
IS ASSIGNED FOR THE DRUM AND A DIF-
FERENT NOTE IS ASSIGNED FOR THE TRI-
ANGLE4

          #AH-AG4--#AH-BJ4       #FE
  ,EXAMPLE #AH-BJ4
=_]= SMALL DRUM
="W= TRIANGLE

              #C4
  _]VV 7 "WVV 7 _]GG7 ]"WW<K






















         ,,XIX4 ,,ACCORDION
            7,TABLE #AI7

  ,SIGNS FROM ,TABLE #AI ,A4
777777777777777777777777777777777777
=,>= ,PREFIX FOR ACCORDION MUSIC

  ,ROWS OF BUTTONS
=@= ,FIRST ROW--DASH BELOW THE
  NOTE 7CONTRA-BASS NOTES7
=^= ,SECOND ROW--NO INDICATION
  7BASS NOTES7
=_= ,THIRD ROW--#A OR ,M 7MAJOR
  CHORDS7
="= ,FOURTH ROW--#B OR M 7MINOR
  CHORDS7
=.= ,FIFTH ROW--#C1 ,S OR #G
  7SEVENTH CHORDS7
=;= ,SIXTH ROW--#D OR D
  7DIMINISHED CHORDS7
=,= ,SEVENTH ROW--7VARYING
  INDICATIONS7
=,,= ,EIGHTH ROW--7VARYING
  INDICATIONS7
=@@= ,ROW ZERO--7VARYING
  INDICATIONS7
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
              ,,XIX4             #FG
  #AI-A4 ,THE ACCORDION SIGNS APPLY
ONLY WHEN THE PREFIX =,>= IS USED
FOR THE LEFT HAND PART OF THE
MUSIC4 99
      99 ,SIGNS FOR THE ,RUSSIAN
    ACCORDION1 BAYAN1 ARE DIFFERENT4
    ,THESE ARE EXPLAINED IN3
    ,SHAMINA1 ,U4,I42 ,KLEVEZAL1
    ,G4,P42 AND ,SMIRNOV1 ,G4,A4
    .,NOTNAYA .,SISTEMA .,BRAILIA4
    7,MOSCOW3 ,PROSVESHCHENIYE1
    #AIGH71 ,VOL4 ,,IV1 PP4 #AFE-
    #BJC4
  #AI-B4 ,IN PRINT1 THE BASS NOTES
7FIRST #B ROWS OF BUTTONS7 ARE
USUALLY WRITTEN IN THE LOWER PART OF
THE STAFF WITH STEMS GOING UP4
,NOTES REPRESENTING CHORDS 7REMAIN-
ING ROWS7 OCCUR IN THE UPPER PART OF
THE STAFF WITH STEMS GOING DOWN4
,OCTAVE MARKS ARE UNNECESSARY1 SO
THESE SIGNS ARE USED TO NUMBER THE
ROWS OF BUTTONS4 ,A ROW SIGN REMAINS
IN EFFECT UNTIL A NEW ROW SIGN AP-
PEARS4
  #AI-C4 ,THE SIGNS FOR ROWS OF BUT-
TONS PRECEDE THE NOTES IMMEDIATELY
AND MUST NOT BE SEPARATED FROM THEM
BY ANY OTHER SIGNS EXCEPT ACCIDEN-
TALS4 ,A ROW SIGN IS PLACED .BEFORE
A SHARP1 FLAT OR NATURAL4

  ,EXAMPLE #AI-C4
           .C
  ,>^?_?@$_? ^\.\^W.\<K

  ,MORE SIGNS FROM ,TABLE #AI ,A4
777777777777777777777777777777777777
=<B= ,DRAW 7,V POINTING LEFT7
=<'= ,PUSH 7,V POINTING RIGHT7
=>1= ,CESUR 7NEITHER DRAW NOR PUSH7
=>BS'= ,BASS SOLO 7,B4,S47
=>R'= ,REGISTER
=>WR'= ,WITHOUT ,REGISTER 7USE
  PRINTED INITIALS7
GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
  #AI-D4 ,ABBREVIATIONS ARE PLACED
IN THE ACCORDION PART UNSPACED4 ,THE
PRINT INITIALS SHOULD BE USED1 AND
THE ABBREVIATIONS ARE FOLLOWED BY
DOT #C4 ,FOR EXAMPLE3

  ,S4,R4 7FOR 8SENZA REGISTRO07
  =>SR'=

           #AI-A4--#AI-D4        #FI
  #AI-E4 ,FINGERING IS INCLUDED IN
THE FOLLOWING BASS SOLO4

  ,EXAMPLE #AI-E4
            #D4
,>'>BS'^DLX@JBXI1X^HBX G1X"
@FLX^EBXDLX<K

  #AI-F4 ,THE REGISTRATION INFORMA-
TION FROM THE CIRCULAR SYMBOLS 7SEE
,TABLE #AI ,B7 MUST BE FOLLOWED BY
DOT #C AND PLACED IN THE ACCORDION
PART WITHOUT SPACES4 ,A SPACE IS
NECESSARY BEFORE THE REGISTRATION
ONLY WHEN IT FOLLOWS A TIME SIGNA-
TURE4

  ,EXAMPLE #AI-F4
           #1 1-4
.>_C >#H'V>P"$+0C.8\<+<0C%]+0
  V\<+<0C.8<W<+<0C[+0
  V%[%+%0C.8%?*+0C%W%+%0
  V%?+0C.8$*+0C%:+%0<K
,>_C >#D#H#AF'.8^NU 7#C<K

  #AI-G4 ,IF REGISTRATION SYMBOLS
OTHER THAN THOSE IN ,TABLE #AI ,B
APPEAR1 A NOTE OF EXPLANATION SHOULD
BE ADDED4 ,IF THE PRINT REGISTRATION
IS NUMBERED1 THE PRINT ORDER MUST BE
FOLLOWED IN BRAILLE4 ,WHEN THE REG-
ISTRATION CIRCLE HAS THREE CROSS-
LINES 7AS IN ,EXAMPLE #AI-F71 A DOT
IN THE TOP SECTION REPRESENTS 8#B
FT40 =>#B'=4
  #AI-H4 ,IF THERE IS FINGERING FOR
BOTH PIANO ACCORDION AND BUTTON AC-
CORDION1 THE FINGERING FOR PIANO AC-
CORDION MUST BE WRITTEN FIRST IN THE
BRAILLE4 ,A TRANSCRIBER'S NOTE
SHOULD RECORD THAT FACT4
  #AI-I4 ,WHEN NOTES FOR CHORDS
STAND OVER BASSES OF IDENTICAL TIME
VALUE1 BEING PLAYED SIMULTANEOUSLY
WITH THEM1 THESE CHORD NOTES CAN BE
WRITTEN AS INTERVALS PRECEDED BY THE
ROW SIGNS4 ,IN THIS CASE EACH ROW
SIGN APPLIES TO ONE INTERVAL ONLY4

  ,EXAMPLE #AI-I4
              #C8
  ,>^?_-X :"-X $_0X ]_-X \_-X
  [_0X W_0X D_-XX<K


           #AI-E4--#AI-I4        #GA
  #AI-AJ4 ,INTERVALS MAY BE DOUBLED1
BUT THE DOUBLING MUST BE BROKEN BE-
FORE A CHANGE OF ROW4

  ,EXAMPLE #AI-AJ4
            %#F8
  ,>^\'_--.CHHH_- ['"--.CIII"-
W'_--.CJJJ ?'.CDDD :'.CEXX
W'.CJJJ_- ['"-:'.- \'_-.CH_-"
XX<K

  #AI-AA4 ,WHEN THERE IS A CHANGE
FROM NORMAL CHORD ACCORDION TO MELO-
DY BASS1 THE SIGN FOR LEFT HAND1
=_>=1 IS INSERTED AND THE LETTERS
8,,BAR01 OR OTHER PRINT INDICATIONS
ARE INCLUDED1 AND OCTAVE SIGNS ARE
USED4 ,WHEN THE PREFIX =,>= REAP-
PEARS1 IT INDICATES THE RETURN TO
CHORD ACCORDION WITH ROW SIGNS4

  ,EXAMPLE #AI-AA4
,>'%% ^[C.-.8@F"+<L,/^IC.-C
  OC@C<>_:"\C ^E_-X_>'>BAR';B^\
  2G%EFW@C<K

  #AI-AB4 ,THE RIGHT HAND PART IS
WRITTEN AS IN OTHER KEYBOARD MUSIC4
,THE SIGNS FOR DRAW AND PUSH ARE
PLACED IN THIS PART AND DO NOT RE-
QUIRE AN OCTAVE MARK FOR THE NEXT
NOTE4

  ,EXAMPLE #AI-AB4
            #D4
  .>'>MF'<B"DAFBGLH1IKH1GLFB
<'EAGBHLI1JKI1HLGB<K


















          #AI-AJ4--#AI-AB4       #GC
   ,,XX4 ,,INSTRUMENTAL ,,SCORES

  #BJ-A4 ,A LISTING OF INSTRUMENTS
AS SHOWN IN PRINT IS PROVIDED IN
BRAILLE ALONG WITH THE ABBREVIATIONS
THAT WILL BE USED IN THE BRAILLE
SCORE4 ,THESE ABBREVIATIONS ARE GEN-
ERALLY WRITTEN IN THE LANGUAGE OF
THE COUNTRY OF TRANSCRIPTION1 CON-
SIST OF #B OR #C LETTERS1 AND ARE
FOLLOWED BY A DOT #C4
  #BJ-B4 ,USUALLY1 ALL PARTS ARE
SHOWN ON THE FIRST PAGE2 ON SUCCEED-
ING PAGES1 IF A PART IS SILENT1 IT
IS NOT SHOWN4
  #BJ-C4 ,IF CLEF SIGNS ARE INCLUD-
ED1 THEY NEED ONLY APPEAR ON THE
FIRST PAGE OR WHEN A PART APPEARS
FOR THE FIRST TIME4
  #BJ-D4 ,UNLESS ALL INSTRUMENTS
PLAY IN THE SAME KEY1 KEY SIGNATURES
FOLLOW THE PART NAME ON EVERY PAGE
OF THE SCORE4
  #BJ-E4 ,INFORMATION ABOUT REHEARS-
AL LETTERS1 MEASURE NUMBERS1 AND/OR
PAGE NUMBERS APPEARS ON A FREE LINE
ABOVE EACH PARALLEL OR SECTION4
  #BJ-F4 ,WHEN CHORDS OR IN-ACCORDS
APPEAR1 ALL PARTS SHOULD READ IN THE
SAME DIRECTION4 ,THE DIRECTION
SHOULD BE MADE CLEAR AT THE BEGIN-
NING OF THE SCORE1 FOR EXAMPLE3

    Y/ 33 Y<>Z

  #BJ-G4 ,DIVISI PARTS MAY BE WRIT-
TEN AS CHORDS OR IN-ACCORDS1 BUT THE
FOLLOWING SYSTEM HELPS IDENTIFY THE
PARTS AND ALSO INDICATE THE DIREC-
TIONS OF INTERVALS4 ,THE EXAMPLE IS
FOR TRUMPET IN TWO PARTS 7LOWER-CELL
NUMBERS 8#B #A07 TO BE READ FROM THE
BOTTOM UP4

    >TPT21'

  #BJ-H4 ,PARALLEL MOTION MAY BE
USED FOR PARTS IMMEDIATELY ADJACENT
IN THE SCORE4 ,FOR VERY IMPORTANT1
OBVIOUS LINES DOUBLED AT SOME DIS-
TANCE FROM ANOTHER PART ON THE PAGE1
IT CAN BE TREATED AS FOLLOWS3

    >VL1'< "->FL1'

           #BJ-A4--#BJ-H4        #GE
  #BJ-I4 ,EXAMPLE #BJ-I 7A7 CONTAINS
THE LIST OF INSTRUMENTS FOR ,BEETHO-
VEN1 ,SYMPHONY ,NO4 #C WITH ,ENGLISH
ABBREVIATIONS FOR THE PARTS4 ,THIS
IS FOLLOWED BY 7B7 WHICH CONTAINS
THE FIRST SIX MEASURES OF THE FIRST
MOVEMENT4 ,IN THIS SCORE ALL
INTERVALS READ UP4 ,THE IDENTIFICA-
TION BEFORE THE SCORE INDICATES THAT
THIS SECTION CONTAINS MEASURES #A-F
FROM THE FIRST SYSTEM ON PAGE #A OF
THE PRINT SCORE4 ,7,DOUBLE BARS HAVE
NOT BEEN ADDED TO THE EXAMPLES IN
THIS CHAPTER47'














  ,EXAMPLE #BJ-I4
    7A7
        ,,SYMPHONIE ,NO4 #C
        ,L4 VON ,BEETHOVEN
             ,OP4 #EE

#B ,FL@OTEN """""""""""" >FL21'
#B ,HOBOEN """"""""""""" >OB21'
#B ,KLARINETTEN IN ,B    >CL21'
#B ,FAGOTTE """""""""""" >BS21'
#C ,H@ORNER IN ,ES >HN21' >HN3'
#B ,TROMPETEN IN ,ES """ >TR21'
,PAUKEN IN ,ES-,B """""" >TIM'
#A4 ,VIOLINEN """""""""" >VL1'
#B4 ,VIOLINEN """""""""" >VL2'
,BRATSCHEN """"""""""""" >VLA'
,VIOLONCELLI """"""""""" >VC'
,KONTRAB@ASSE """""""""" >CB'









               #BJ-I4            #GG
    7B7
          ,' ?/ 33 ?<>:
     ,ALLEGRO CON BRIO4 #C4
           #1-6 "3#1'A
  >FL21'>/L'<<< >F'8.W#VV 7 MM
    <7MM
  >OB21'>/L'<<< >F'8.$+VV 7 MM
    <7MM
  >CL21'>/L'< >F'8"[0VV 7 MM
    <7MM
  >BS21'>#L'<<< >F'8_$-VV 7 MM
    <7MM
  >HN21'>/L >F'8"$0VV 7 MM <7MM
  >HN3'>/L >F'8.?VV 7 MM <7MM
  >TR21'>/L >F'8"?-VV 7 MM <7MM
  >TIM'>#L >F'8_$VV 7 MM <7MM
  >VL1'>/L'<<< >F'8_\0+-VV 7
    MM <7MM
  >VL2'>/L'<<< >F'8_\0.0VV 7
    >P"R'^B 7 <7"R'^B 7
  >VLA'>+L'<<< >F'8_\0VV 7
    >P_T'^B 7 <7_T'^B 7
  >VC'>#L'<<< >F'8_$VV 7
    >P_PC\C PC^W <7_$C\CW PC:C
  >CB'>#L'<<< >F'8_$VV 7 MM
    <7MM


  #BJ-AJ4 ,THE NEXT EXAMPLE CONTAINS
THE NEXT FOUR MEASURES OF THE SAME
SYMPHONY4 ,THE INSTRUMENTS THAT ARE
SILENT DO NOT APPEAR IN EITHER THE
PRINT OR THE BRAILLE SCORE4 ,IN OR-
DER TO SHOW AN ADDITIONAL FORMAT
POSSIBILITY1 THIS SEGMENT IS WRITTEN
BAR-OVER-BAR4

  ,EXAMPLE #BJ-AJ4
  7#G7
>VL1'<<< X>P>CRESC'.\\H@C H\\H@C
>VL2'<<< >CRESC'"R'^B     R'^B
>VLA'<<< >CRESC'_T'^B     T'^B
>VC'<<<  >CRESC'%_N'@C    N'
  7#I7
>VL1'<<< .R' '''''' >SF>D.S'@C
>VL2'<<< ;B"H_J77^2 >SF>D;B"G '''
>VLA'<<< _WVV ''''' >SF>D"S'@C
>VC'<<<  >SF_O'@C   >D_O:C

  #BJ-AA4 ,EXAMPLE #BJ-AA SHOWS THE
BEGINNING OF ,SYMPHONY ,NO4 #F BY
,CHAIKOWSKY4 ,THE INTRODUCTORY IN-
FORMATION SHOWS THAT INTERVALS READ
DOWN IN THIS SCORE4 ,THIS EXCERPT
CONTAINS MEASURES #A-D4 ,THE PRINT
          #BJ-AJ4--#BJ-AA4       #GI
PAGE AND SYSTEM NUMBERS ARE BOTH IN
THE UPPER-CELL POSITION1 AND THE
MEANING IS CLEAR4 ,THE PRINT SHOWS
THE FULL SCORE1 BUT THE BRAILLE
SHOWS ONLY THE INSTRUMENTS THAT ARE
ACTIVE4 ,WHEN THE OTHER INSTRUMENTS
ENTER FOR THE FIRST TIME1 THEIR CLEF
SIGNS APPEAR4 ,AFTER THAT THE CLEF
SIGNS ARE NOT REPEATED4

  ,EXAMPLE #BJ-AA4
        ,SYMPHONIE ,NO4 #F
           7,PATHETIQUE7
            Y/ 33 Y<>)
      ,ADAGIO4 ,'?7#ED,' %%.C
            #1-4 "3#C'A
>BS12'>#L'%% UV>SOLO>PP>C^FCG
  >D^\C>C^Q>P>C^GCH >D^[C>C^R"
  >MP>C^HCI >D^WC>C'%^S'
>VLA1'>+L'%% MMM UV>MF>C'<'_FCG
>VLA2'>+L'%% MMM >MP>C'<'_&
>CB12'>#L'%% >DIV'>PP'<'_)@C<>
  >PP'<'_&@C _T@C>CRESC'_T@C<>
  _P>CRESC'%_O@C <B_)<>_O*O@C
  <'_(<>_O%?*?



    ,AUTHORITIES FOR THIS ,WORK

        ,MUSIC ,AUTHORITIES
  ..,THE ,NEW ,GROVE ,DICTIONARY OF
,MUSIC AND .,MUSICIANS4 ,EDITED BY
,STANLEY ,SADIE1 ,LONDON3 ,MACMILLAN
,PRESS ,LIMITED1 #AIHJ4
  ,APEL1 ,WILLI4 ..,HARVARD ,DIC-
TIONARY OF .,MUSIC4 ,SECOND ,EDI-
TION1 ,CAMBRIDGE1 ,MASSACHUSETTS3
,THE ,BELKNAP ,PRESS OF ,HARVARD
,UNIVERSITY ,PRESS1 #AIGB4

      MINUTES OF ,MEETINGS AND
          ,WORKING ,GROUPS
  ..,BRAILLE ,MUSIC ,CONFERENCE1
#AIIB1 ,SAANEN .,SWITZERLAND4 ,Z@U-
RICH3 ,BRAILLE ,PRESS ,Z@URICH1
#AIIB4
  8,WORKING ,GROUP ,MEETING ON
,BRAILLE ,NOTATION FOR THE ,ACCORDI-
ON04 ,FREDERICIA1 ,DENMARK1 #AIIJ4
  8,WORKSHOP ON ,ORGAN ,MUSIC AND
,MUSIC ,THEORY04 ,EASTBOURNE1 ,UNIT-
ED ,KINGDOM #AIHI4
  8,WORKSHOP ,STUDYING ,SPECIFIC
,SIGN ,NOTATION FOR THE ,GUITAR04
            ,AUTHORITIES         #HA
,MADRID1 #AIHH4
  ..,,BRAMCE1 ,BRAILLE ,MUSIC ,CON-
FERENCE1 .#AIHG4 ,MARBURG/,LAHN3
,DEUTSCHE ,BLINDENSTUDIENANSTALT
E4,V41 ,MARBURG/,LAHN1 #AIIA4
  8,INTERNATIONAL ,CONFERENCE ON
,UNIFICATION OF ,BRAILLE ,MUSIC ,NO-
TATION AND ,PUBLICATION OF ,MUSIC
,LITERATURE FOR THE ,BLIND1 #AIHB1
,MOSCOW04 ,CONFERENCE PAPERS PRE-
PARED BY ,GLEB ,A4 ,SMIRNOV1
,MOSCOW1 #AIHB4

         ,SOURCES OF ,PRINT
           ,ILLUSTRATIONS
  ,ASSOCIATION ,VALENTIN ,HA@UY4
.,NOTATION .,MUSICALE .,BRAILLE4
,CONFORM@E AUX ,D@ECISIONS DU ,CON-
GR@ES ,INTERNATIONAL CONVOQU@E PAR
,AMERICAN ,BRAILLE ,PRESS1 ,INC4 @A
,PARIS1 EN ,AVRIL1 #AIBI4 ,PARIS3
,AMERICAN ,BRAILLE ,PRESS1 ,INC4
  ,DE,GARMO1 ,MARY ,TURNER4 ..,IN-
TRODUCTION TO ,BRAILLE ,MUSIC
.,TRANSCRIPTION4 ,WASHINGTON3 ,LI-
BRARY OF ,CONGRESS1 #AIGJ4
  ,KERKHOF1 ,F4 AND ,SLEGERS1 ,A4
.,HET .,BRAILLE .,MUZIEKSCHRIFT4
,NIJMEGEN3 ,INSTITUUT 8,HENRICUS0
VOOR ,VISUEEL ,GEHANDICAPTEN1 #AIGI4
  ,NIELSEN1 ,O4 ,KJAER4 ..,DEN
,BRAILLESKE ,NODESKRIFT4 ,DANSK ,RE-
VISION1 .#AIGF4 ,K@OBENHAVN3
,STATENS BIBLIOTEK OG TRYKKERI FOR
BLINDE1 #AIGH4
  ,SMIRNOV1 ,GLEB ,A41 ..,ZAPPSY
,NOT ,PO ,SISTEME .,BRAILIA4
,MOSCOW3 ,PROSVESHCHENIYE1 #AIHH4
  ,SPANNER1 ,H4,V41 COMP4 ..,REVISED
,INTERNATIONAL ,MANUAL OF ,BRAILLE
,MUSIC ,NOTATION1 .#AIEF4 ,LOUIS-
VILLE1 ,KENTUCKY3 ,AMERICAN ,PRINT-
ING ,HOUSE FOR THE ,BLIND1 #AIFA












            ,AUTHORITIES         #HC




























      ,,NATIONAL ,,SIGNS ,,OF
          #AF ,,COUNTRIES

  ,IN THE INTERNATIONAL BRAILLE MU-
SIC CODE1 THE SIGNS FOR PLUS1 MINUS1
OBLIQUE STROKE1 UPPERCASE LETTERS1
LOWERCASE LETTERS1 ITALICIZED LET-
TERS1 AND A SPECIAL LETTER SIGN1 IF
USED1 COME FROM THE COUNTRY PREPAR-
ING THE TRANSCRIPTION4 ,THESE NA-
TIONAL SIGNS ARE INCLUDED HERE FOR
#AF COUNTRIES4 ,IN ADDITION1 COUN-
TRIES THAT HAVE ACCENTED LETTERS
HAVE INCLUDED THE BRAILLE SIGNS THAT
MAY BE ENCOUNTERED WHEN READING VO-
CAL TEXT OR OTHER LITERARY MATERIAL
IN THOSE LANGUAGES4 ,RULES FOR TRAN-
SCRIPTION ARE NOT INCLUDED2 THE
SIGNS ARE SHOWN ONLY AS AN AID FOR
READING4 ,IT WAS NOT POSSIBLE TO IN-
CLUDE THE ,CYRILLIC OR ,JAPANESE
CHARACTERS ALTHOUGH SOME OF THE
,RUSSIAN SYMBOLS ARE INCLUDED4 ,THE
FOLLOWING COUNTRIES ARE REPRESENTED
IN ALPHABETICAL ORDER3
  ,AUSTRALIA
  ,BRAZIL
          ,NATIONAL ,SIGNS       #HE
  ,CZECH ,REPUBLIC
  ,DENMARK
  ,FINLAND
  ,FRANCE AND ,SWITZERLAND 7,FRENCH7
  ,GERMANY AND ,SWITZERLAND
7,GERMAN7
  ,ITALY AND ,SWITZERLAND 7,ITALIAN7
  ,THE ,NETHERLANDS
  ,NORTH ,AMERICA 7,CANADA &
,U4,S4,A47
  ,POLAND
  ,RUSSIA
  ,SPAIN
  ,UNITED ,KINGDOM

   ,NATIONAL ,SIGNS OF ,AUSTRALIA

=;6= PLUS
=;-= MINUS
=/= OBLIQUE STROKE
=99= ASTERISK
=#H@9= #H 8FOOT0 FOR ORGAN MUSIC
=,D= ,D UPPERCASE LETTER
=.D= D ITALIC
=;D= D WITH LETTER SIGN

  ,DOT #D IS USED FOR AN UNSPECIFIED
FOREIGN ACCENT
    ,NATIONAL ,SIGNS OF ,BRAZIL

=5= PLUS
=9= MINUS
=/= OBLIQUE STROKE
=..D= ,D UPPERCASE
=_D= D ITALIC
=,D= D WITH LETTER SIGN

    ,ACCENTED ,LETTERS
=(= A ACUTE
=== E ACUTE
=/= I ACUTE
=+= O ACUTE
=)= U ACUTE
=*= A CIRCUMFLEX
=<= E CIRCUMFLEX
=?= O CIRCUMFLEX
=$= A GRAVE
=>= A TILDE
=[= O TILDE
=\= U DIAERESIS1 UMLAUT





         ,AUSTRALIA--,BRAZIL     #HG
   ,NATIONAL ,SIGNS OF THE ,CZECH
             ,REPUBLIC

=4= PLUS
=-= MINUS
=]= OBLIQUE STROKE
=9= ASTERISK
=.D= OR =,D= ,D UPPERCASE LETTER
=@D= D WITH LETTER SIGN

    ,ACCENTED ,LETTERS
=*= A ACUTE
=%= C HACEK1 CARON1 WEDGE
=?= D ALIF1 HAMZA1 APOSTROPHE
=>= E ACUTE
=<= E HACEK1 CARON1 WEDGE
=/= I ACUTE
=$= N HACEK1 CARON1 WEDGE
=[= O ACUTE
=W= R HACEK1 CARON1 WEDGE
=:= S HACEK1 CARON1 WEDGE
=\= T ALIF1 HAMZA1 APOSTROPHE
=+= U ACUTE
=)= U OVERRING1 KROUZEK1 CIRCLE
  ABOVE
=&= Y ACUTE
=!= Z HACEK1 CARON1 WEDGE

    ,NATIONAL ,SIGNS OF ,DENMARK

=6= PLUS
=-= MINUS
=/= OBLIQUE STROKE
=>59= ASTERISK
=#H'= #H 8FOOT0 FOR ORGAN MUSIC
=.D= ,D UPPERCASE LETTER
=,D= D LOWERCASE LETTER
=;D;= D ITALIC
=>D= D WITH LETTER SIGN

    ,ACCENTED ,LETTERS
  ,MOST ACCENTED LETTERS ARE WRITTEN
NORMALLY AND PRECEDED BY DOT #E4
,FOR EXAMPLE3 ="A= A ACUTE OR GRAVE
  ,THE EXCEPTIONS ARE3
=>= A DIAERSIS1 UMLAUT OR AE
  DIPHTHONG
=[= O DIAERSIS1 UMLAUT OR OE
  DIPHTHONG
=*= A OVERRING1 CIRCLE ABOVE

  ,IN CHORD SYMBOLS THE ,U4,S4
LITERARY SIGNS WILL BE USED4


     ,CZECH ,REPUBLIC--,DENMARK  #HI
    ,NATIONAL ,SIGNS OF ,FINLAND

=6= PLUS
=-= MINUS
=/= OBLIQUE STROKE
=,D= ,D UPPERCASE LETTER
=.D= D ITALIC
=;D= D WITH LETTER SIGN

    ,ACCENTED LETTERS
=>= A UMLAUT1 DIAERESIS
=*= A OVERRING1 CIRCLE ABOVE
=[= O UMLAUT1 DIAERESIS
=^= ,DOTS #D-E ARE USED FOR AN
  UNSPECIFIED FOREIGN ACCENT

  ,NATIONAL ,SIGNS OF ,FRANCE AND
       ,SWITZERLAND 7,FRENCH7

=6= PLUS
=-= MINUS
=/= OBLIQUE STROKE
=#H'= #H 8FOOT0 FOR ORGAN MUSIC
=.D= ,D UPPERCASE LETTER
=_D= D ITALIC



    ,ACCENTED ,LETTERS
=(= A GRAVE
=*= A CIRCUMFLEX
=== E ACUTE
=!= E GRAVE
=<= E CIRCUMFLEX
=$= E DIAERESIS1 UMLAUT
=%= I CIRCUMFLEX
=]= I DIAERESIS1 UMLAUT
=/= I GRAVE
=+= O GRAVE
=?= O CIRCUMFLEX
=)= U GRAVE
=:= U CIRCUMFLEX
=\= U DIAERESIS1 UMLAUT
=&= C CEDILLA
=[= OE DIPHTHONG

  ,NATIONAL ,SIGNS OF ,GERMANY AND
       ,SWITZERLAND 7,GERMAN7

=@6= PLUS
=@-= MINUS
="1= OBLIQUE STROKE
='= FULL STOP FOR SENTENCE1
  ABBREVIATION DOT1 OR APOSTROPHE IN
  MUSIC CONTEXT
          ,FINLAND--,GERMANY     #IA
=#H'= #H 8FOOT0 FOR ORGAN MUSIC
=.D= ,D UPPERCASE LETTER
=_D= D ITALIC
=,D= D WITH LETTER SIGN

    ,ACCENTED ,LETTERS
=>= A UMLAUT1 DIAERESIS
=[= O UMLAUT1 DIAERESIS
=\= U UMLAUT1 DIAERESIS
=@= ,DOT #D IS USED FOR AN
  UNSPECIFIED FOREIGN ACCENT

  ,THE SIGNS FOR 8PLUS0 AND 8MINUS0
MAY BE PRECEDED BY DOT #D OR #E IN
SOME SITUATIONS4 ,THE APOSTROPHE IN
LITERARY BRAILLE IS DOT #F1 BUT DOT
#C IS USED IN MUSIC AS ABOVE4
  ,SEVERAL CAPITAL LETTERS IN A ROW
ARE MARKED WITH DOTS #DE1 I4E41
=^BWV=

   ,NATIONAL ,SIGNS OF ,ITALY AND
      ,SWITZERLAND 7,ITALIAN7

=6= PLUS
=-= MINUS
=/= OBLIQUE STROKE
=#H'= #H 8FOOT0 FOR ORGAN MUSIC
=.D= ,D UPPERCASE LETTER
=_D= D ITALIC

    ,ACCENTED ,LETTERS
=(= A GRAVE
=!= E GRAVE
=== E ACUTE
=/= I GRAVE
=+= O GRAVE
=)= U GRAVE

      ,NATIONAL ,SIGNS OF ,THE
            ,NETHERLANDS

=6= PLUS
=-= MINUS
=/= OBLIQUE STROKE
=9= ASTERISK
=#H'= #H 8FOOT0 FOR ORGAN MUSIC
=.D= ,D UPPERCASE LETTER
=_D= D ITALIC

    ,ACCENTED ,LETTERS
=>= A DIAERESIS1 UMLAUT
=(= A GRAVE
=*= A CIRCUMFLEX
=$= E DIAERESIS1 UMLAUT
         ,ITALY--,NETHERLANDS    #IC
=!= E GRAVE
=== E ACUTE
=[= O DIAERESIS1 UMLAUT
=+= O GRAVE
=?= O CIRCUMFLEX
=]= I DIAERESIS1 UMLAUT
=%= I CIRCUMFLEX
=\= U DIAERESIS1 UMLAUT
=)= U GRAVE
=:= U CIRCUMFLEX
=&= C CEDILLA

     ,NATIONAL ,SIGNS OF ,NORTH
   ,AMERICA 7,CANADA & ,U4,S4,A47

=+= PLUS
=-= MINUS
=/= OBLIQUE STROKE
=99= ASTERISK
=#H FT4= #H 8FOOT0 FOR ORGAN MUSIC
=,D= ,D UPPERCASE LETTER
=.D= D ITALIC
=;D= D WITH LETTER SIGN
=@= ,DOT #D IS USED FOR AN
  UNSPECIFIED FOREIGN ACCENT



    ,NATIONAL ,SIGNS OF ,POLAND

=6= PLUS
=-= MINUS
=\= OBLIQUE STROKE
=9= ASTERISK
=#H/= #H 8FOOT0 FOR ORGAN MUSIC
=^D= ,D UPPERCASE LETTER
=,D= D LOWERCASE LETTER
=_D= D ITALIC

    ,ACCENTED ,LETTERS
=*= A OGONEK1 ,POLISH HOOK
=%= C ACUTE
=:= E OGONEK1 ,POLISH HOOK
=<= LETTER L WITH SHORT CROSS-LINE
=?= N ACUTE
=+= O ACUTE
=[= S ACUTE
=&= Z OVERDOT
=!= Z ACUTE

    ,NATIONAL ,SIGNS OF ,RUSSIA

=6= PLUS
=-= MINUS
=.T= ,T UPPERCASE LETTER
       ,NORTH ,AMERICA--,RUSSIA  #IE
=^' ,B= ROUND BRACKETS
=_2 ;L= SQUARE BRACKETS

     ,NATIONAL ,SIGNS OF ,SPAIN

=6= PLUS
=-= MINUS

    ,ACCENTED ,LETTERS
=(= A ACUTE
=!= E ACUTE
=/= I ACUTE
=+= O ACUTE
=)= U ACUTE
=\= U DIAERESIS1 UMLAUT
=]= N TILDE

  ,NATIONAL ,SIGNS OF THE ,UNITED
              ,KINGDOM

=;6= PLUS
=;-= MINUS
=;7= EQUALS
=/= OBLIQUE STROKE
=#H@9= #H 8FOOT0 FOR ORGAN MUSIC
=,D= ,D UPPERCASE LETTER
=.D= D ITALIC
=;D= D WITH LETTER SIGN
=@= ,DOT #D IS USED FOR AN
  UNSPECIFIED FOREIGN ACCENT

























       ,SPAIN--,UNITED KINGDOM   #IG




























        ,INDEX OF ,SIGNS IN
     ,STANDARD ,BRAILLE ,ORDER

  ,NUMBERS IN PARENTHESES ARE ,TABLE
NUMBERS4 ,THESE ARE FOLLOWED BY A
,PARAGRAPH REFERENCE AND1 IN ITAL-
ICS1 A ,TOPIC IN THE ,INDEX WHERE
ADDITIONAL REFERENCES ARE LOCATED4
  ,IN THE FOLLOWING DIAGRAM THE SIX-
TY-THREE BRAILLE CHARACTERS ARE AR-
RANGED IN SEVEN ROWS1 EACH SIGN HAV-
ING A REFERENCE NUMBER4 ,THE ,INDEX
IS DIVIDED INTO PARAGRAPHS1 EACH
HEADED BY ITS OWN NUMBER4 ,SIGNS
WITH TWO OR MORE CHARACTERS WILL BE
FOUND IN THE PARAGRAPH HEADED BY THE
NUMBER OF THE INITIAL CHARACTER
7E4G4 =CA= IS UNDER #C2 =*K= IS UN-
DER #CA4








       ,INDEX ,BRAILLE ,ORDER    #II
  ,DIAGRAM OF THE #FC ,BRAILLE
,CHARACTERS
,SIGNS #A-AJ3  =A B C D E F G H I J
,SIGNS #AA-BJ3 =K L M N O P Q R S T
,SIGNS #BA-CJ3 =U V X Y Z & = ( ! )
,SIGNS #CA-DJ3 =* < % ? : $ ] \ [ W
,SIGNS #DA-EJ3 =1 2 3 4 5 6 7 8 9 0
,SIGNS #EA-EF3 =/ + # > ' -
,SIGNS #EG-FC3 =@ ^ _ " . ; ,



















        ,INDEX OF ,SIGNS IN
     ,STANDARD ,BRAILLE ,ORDER

  ,NUMBERS IN PARENTHESES ARE REFER-
ENCES TO THE ,TABLES OF ,SIGNS4
  ,HYPHENATED NUMBERS ARE CHAPTER-
PARAGRAPH REFERENCES4
  ,ITALICS INDICATE TOPICS FROM THE
MAIN ,INDEX4

              #A4 =A=
=A= ,FIRST ,FINGER 7#H,A #H,B7 #H-A
    SEE .FINGERING
  ,LEFT ,TOE 7#AE,B7 #AE-BI SEE
    .ORGAN .PEDALS
  ,RING FINGER .ANULAR 7GUITAR7
    7#H,B7 #H-AJ SEE .FINGERING1
    8.PIMA0
  ,LEFT HAND 7PERCUSSION7 7#AH,B7
    #AH-AD SEE .PERCUSSION
              #B4 =B=
=B= ,SECOND FINGER 7#H,A #H,B7 #H-A
    SEE .FINGERING
  ,LEFT HEEL 7#AE,B7 #AE-BI SEE
    .ORGAN .PEDALS
  ,TWO SYLLABLES SUNG ON ONE NOTE
    7#AF,B7 #AF-H SEE .VOCAL .TEXT
               =A=--=B=         #AJA
              #C4 =C=
=C= ,SLUR BETWEEN TWO NOTES OR
    CHORDS 7#F,A7 #F-B SEE .SLURS
  ,SYLLABIC SLUR 7#AF,B7 #AF-G SEE
    .VOCAL .MUSIC1 .SLURS
  ,BETWEEN FINGERINGS1 CHANGE OF
    FINGERS ON ONE NOTE 7#H,A #H,B7
    #H-B SEE .FINGERING
  ,BETWEEN FOOT SIGNS1 CHANGE OF
    PEDALLING ON ONE NOTE 7#AE,B7
    #AE-BI SEE .ORGAN .PEDALS
=CA= ,SYLLABIC SLUR FOR THE FIRST
    LANGUAGE 7#AF,B7 #AF-I SEE
    .VOCAL .TEXT
=CB= ,SYLLABIC SLUR FOR THE SECOND
    LANGUAGE 7#AF,B7 #AF-I SEE
    .VOCAL .TEXT
=CL= ,SYLLABIC SLUR FOR THE THIRD
    LANGUAGE 7#AF,B7 #AF-I SEE
    .VOCAL .TEXT
=CC= ,PHRASING SLUR 7#F,A #AF,B7
    #F-C 7A7 SEE .SLURS
=C1= ,SYLLABIC SLUR FOR THE FOURTH
    LANGUAGE 7#AF,B7 #AF-I SEE
    .VOCAL .TEXT
              #D4 =D=
=D= ,C EIGHTH AND #ABHTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #E4 =E=
=E= ,D EIGHTH AND #ABHTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #F4 =F=
=F= ,E EIGHTH AND #ABHTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #G4 =G=
=G= ,F EIGHTH AND #ABHTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #H4 =H=
=H= ,G EIGHTH AND #ABHTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #I4 =I=
=I= ,A EIGHTH AND #ABHTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
  ,INDEX FINGER .INDICE 7GUITAR7
    7#H,B7 #H-AJ SEE .FINGERING1
    8.PIMA0
              #AJ4 =J=
=J= ,B EIGHTH AND #ABHTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #AA4 =K=
=K= ,FIFTH FINGER 7#H,A7 #H-A SEE
    .FINGERING
  ,OPEN STRING 7#H,B #AG,D7 SEE
    .STRING .INSTRUMENTS
  ,NATURAL HARMONIC 7#AG,D7 #AG-AF
               =C=--=K=         #AJC
    SEE .HARMONICS
  ,DOTTED BAR LINE 7#I,A7 #I-B SEE
    .BAR .LINES1 .DOTTED
  ,LETTER ,O OVER OR UNDER NOTE
    7WINDS7 7#AH,A7 #AH-B SEE .WIND
    .INSTRUMENTS
  ,CHANGE OF ORGAN PEDALLING WITHOUT
    INDICATION OF TOE OR HEEL
    7#AE,B7 #AE-BI SEE .ORGAN
    .PEDALS
              #AB4 =L=
=L= ,THIRD FINGER 7#H,A #H,B7 #H-A
    SEE .FINGERING
  ,RIGHT TOE 7#AE,B7 #AE-BI SEE
    .ORGAN .PEDALS
  ,THREE SYLLABLES SUNG ON ONE NOTE
    7#AF,B7 #AF-H SEE .VOCAL .TEXT
  ,BAR LINE 7#I,A7 #I-A SEE .BAR
    .LINES
  ,RIGHT HAND 7PERCUSSION7 7#AH,B7
    #AH-AD SEE .PERCUSSION
              #AC4 =M=
=M= ,MEASURE REST 7#A,A7 #A-G SEE
    .RESTS
  ,WHOLE AND #AFTH REST 7#A,A7 #A-A
    SEE .RESTS
  ,MIDDLE FINGER .MAYOR 7GUITAR7
    7#H,B7 #H-AJ SEE .FINGERING1
    8.PIMA0
=M^CM= ,BREVIS REST 7#A,A7 SEE
    .RESTS
=M^C^CM= ,LONGA REST 7#A,A7 SEE
    .RESTS
              #AD4 =N=
=N= ,C HALF AND #CBND 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #AE4 =O=
=O= ,D HALF AND #CBND 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #AF4 =P=
=P= ,E HALF AND #CBND 7#A,A7 #A-A
    SEE .NOTE .VALUES
  ,THUMB .PULGAR 7GUITAR7 7#H,B7
    #H-AJ SEE .FINGERING1 8.PIMA0
              #AG4 =Q=
=Q= ,F HALF AND #CBND 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #AH4 =R=
=R= ,G HALF AND #CBND 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #AI4 =S=
=S= ,A HALF AND #CBND 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #BJ4 =T=
=T= ,B HALF AND #CBND 7#A,A7 #A-A
               =L=--=T=         #AJE
    SEE .NOTE .VALUES
              #BA4 =U=
=U= ,HALF AND #CBND REST 7#A,A7 #A-A
    SEE .RESTS
              #BB4 =V=
=V= ,QUARTER AND #FDTH REST 7#A,A7
    #A-A ,SEE .RESTS
              #BC4 =X=
=X= ,EIGHTH AND #ABHTH REST 7#A,A7
    #A-A ,SEE .RESTS
  ,LITTLE FINGER .CHIQUITO 7GUITAR7
    7#H,B7 #H-AJ SEE .FINGERING1
    8.PIMA0
              #BD4 =Y=
=Y= ,C WHOLE AND #AFTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
=Y^CY= ,C ,BREVIS 7#A,A7 SEE .NOTE
    .VALUES
=Y^C^CY= ,C ,LONGA 7#A,A7 SEE .NOTE
    .VALUES
              #BE4 =Z=
=Z= ,D WHOLE AND #AFTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #BF4 =&=
=&= ,E WHOLE AND #AFTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #BG4 ===
=== ,F WHOLE AND #AFTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #BH4 =(=
=(= ,G WHOLE AND #AFTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #BI4 =!=
=!= ,A WHOLE AND #AFTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #CJ4 =)=
=)= ,B WHOLE AND #AFTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #CA4 =*=
=*= ,NATURAL 7#C,A7 #C-A SEE
    .ACCIDENTALS
  ,END OF ORIGINAL SEGNO PASSAGE
    7#I,C7 #I-DG SEE .BRAILLE .SEGNO
=*C= ,STAR OR OTHER INDICATION FOR
    PEDAL UP 7#AE,A7 #AE-AH SEE
    .PEDALLING1 .PIANO
=*K= ,THUMB 7STRINGS7 7#H,B7 #H-H
    SEE .FINGERING
=*L= ,ARTIFICIAL HARMONIC 7#AG,D7
    #AG-AF SEE .HARMONICS
=*<C= ,STAR AND PED4 UNDER ONE NOTE
    7#AE,A7 #AE-BJ SEE .PEDALLING1
    .PIANO
=*7= ,BEGINNING OF REPEAT IN CADENZA
    OR UNMEASURED MUSIC 7#I,C7 #I-CB
              =U=--=*7=         #AJG
    SEE .CADENZAS
=*'= ,SWELL2 DIVERGING AND
    CONVERGING LINES ON ONE NOTE
    7#AJ7 #AJ-AC SEE .NUANCES
              #CB4 =<=
=<= ,FLAT 7#C,A7 #C-A SEE
    .ACCIDENTALS
=<B= ,DOWN BOW 7#AG,D7 #AG-BD SEE
     .STRING .INSTRUMENTS1 .BOWED
  ,PLECTRUM DOWNSTROKE 7#AG,D7
    #AG-CE SEE .STRING .INSTRUMENTS1
    .PLUCKED
  8,DRAW0 7ACCORDION7 7#AI,A7 #AI-AB
    SEE .ACCORDION
  ,PLUS SIGN OVER OR UNDER NOTE
    7WINDS7 7#AH,A7 #AH-C SEE .WIND
    .INSTRUMENTS
=<C= ,PED4 OR OTHER INDICATION FOR
    PEDAL DOWN 7#AE,A7 #AE-AG SEE
    .PEDALLING1 .PIANO
=<K= ,DOUBLE BAR AT END OF
    COMPOSITION 7#I,A7 SEE .DOUBLE
    .BAR .LINES
=<K'= ,DOUBLE BAR AT END OF BAR OR
    SECTION 7#I,A7 SEE .DOUBLE .BAR
    .LINES
=<L= ,FERMATA1 PAUSE 7#AJ7 #AJ-AC
    SEE .NUANCES
=<<= ,DOUBLE FLAT 7#C,A7 #C-A SEE
    .ACCIDENTALS
=<1= ,SEPARATION OF RHYTHMIC GROUPS
    7#A,A7 #D-H SEE .RHYTHMIC
    .GROUPS
  ,DISTINCTION OF VALUES 7#A,A7 #D-H
    SEE .NOTE .VALUES
=<2= ,PRINT DOUBLE BAR WITH DOTS
    PRECEDING2 END OF REPEAT 7#I,B7
    #I-E SEE .PRINT .REPEATS
=<7= ,PRINT DOUBLE BAR FOLLOWED BY
    DOTS2 BEGINNING OF REPEAT
    7#I,B7 #I-F SEE .PRINT .REPEATS
=</= ,LOW TREMOLO 7#AI,B7 #AI-F SEE
    .ACCORDION .MUSIC1 .REGISTRATION
=<>= ,FULL MEASURE IN-ACCORD 7#E,B7
    #E-AA SEE .IN-ACCORDS
=<'= ,UP BOW 7#AG,D7 #AG-BD SEE
    .STRING .INSTRUMENTS1 .BOWED
  ,PLECTRUM UPSTROKE 7#AG,D7 #AG-CE
    SEE .STRING .INSTRUMENTS1
    .PLUCKED
  8,PUSH0 7ACCORDION7 7#AI,A7 #AI-AB
    SEE .ACCORDION
              #CC4 =%=
=%= ,SHARP 7#C,A7 #C-A SEE
    .ACCIDENTALS
              =*'=--=%=         #AJI
=%A= ,FIRST STRING 7#AG,A7 #AG-H SEE
    .STRING .INSTRUMENTS
=%B= ,SECOND STRING 7#AG,A7 #AG-H
    SEE .STRING .INSTRUMENTS
=%K= ,FIFTH STRING 7#AG,A7 #AG-H SEE
    .STRING .INSTRUMENTS
=%L= ,THIRD STRING 7#AG,A7 #AG-H SEE
    .STRING .INSTRUMENTS
=%%= ,DOUBLE SHARP 7#C,A7 #C-A SEE
    .ACCIDENTALS
=%1= ,FOURTH STRING 7#AG,A7 #AG-H
    SEE .STRING .INSTRUMENTS
=%2= ,SIXTH STRING 7#AG,A7 #AG-H SEE
    .STRING .INSTRUMENTS
=%/= ,HIGH TREMOLO 7#AI,B7 #AI-F SEE
    .ACCORDION .MUSIC1 .REGISTRATION
=%'= ,SEVENTH STRING 7#AG,A7 #AG-H
    SEE .STRING .INSTRUMENTS
              #CD4 =?=
=?= ,C QUARTER AND #FDTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #CE4 =:=
=:= ,D QUARTER AND #FDTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #CF4 =$=
=$= ,E QUARTER AND #FDTH 7#A,A7 #A-A
    SEE .NOTE .VALUES

              #CG4 =]=
=]= ,F QUARTER AND #FDTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #CH4 =\=
=\= ,G QUARTER AND #FDTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #CI4 =[=
=[= ,A QUARTER AND #FDTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #DJ4 =W=
=W= ,B QUARTER AND #FDTH 7#A,A7 #A-A
    SEE .NOTE .VALUES
              #DA4 =1=
=1= ,FOURTH FINGER 7#H,A #H,B7 #H-A
    SEE .FINGERING
  ,RIGHT HEEL 7#AE,B7 #AE-BI SEE
    .ORGAN .PEDALS
              #DB4 =2=
=2= ,TRIPLET 7#D7 #D-AJ SEE
    .RHYTHMIC .GROUPS
              #DC4 =3=
=3= ,SEVENTH INTERVAL 7#E,A7 #E-A
    SEE .INTERVALS
=3>= ,PREFIX FOR A CHORD SYMBOL PART
    7#AB,A7 #AB-B SEE .CHORD
    .SYMBOLS

              =%A=--=3>=        #AAA
              #DD4 =4=
=4= ,TURN BETWEEN NOTES 7#AA7 #AA-I
    SEE .ORNAMENTS
  ,SMALL CIRCLE IN CHORD SYMBOLS
    7#AB,A7 #AB-AD SEE .CHORD
    .SYMBOLS
=4L= ,INVERTED TURN BETWEEN NOTES
    7#AA7 #AA-AA SEE .ORNAMENTS
=4'= ,SMALL CIRCLE BISECTED BY LINE
    IN CHORD SYMBOL PART 7#AB,A7
    #AB-AD SEE .CHORD SYMBOLS
              #DE4 =5=
=5= ,SHORT APPOGGIATURA 7#AA7 #AA-H
    SEE .ORNAMENTS
  ,VARIANT OF MEASURE 7SIGN PRECEDES
    AND FOLLOWS7 7#I,D7 #I-EE SEE
    .VARIANT .PASSAGES
=5A= ,BLACK NOTE HEAD WITH NO STEM
    7#AC,A7 #AC-C SEE ..NOTES1 WITH
    UNUSUAL .SHAPES
=5B= ,X-SHAPED NOTE HEAD 7#AC,A7
    #AC-B SEE ..NOTES1 WITH UNUSUAL
    .SHAPES
=5K= ,VERTICAL STEMS THAT INDICATE
    APPROXIMATE PITCH 7#AC,A7 #AC-H
    SEE ..NOTES1 WITH UNUSUAL
    .SHAPES
=5L= ,DIAMOND- OR TRIANGLE-SHAPED
    NOTE HEAD 7#AC,A7 #AC-B SEE
    ..NOTES1 WITH UNUSUAL .SHAPES
=5#B= ,VARIANT OF TWO 7OR OTHER
    NUMBER7 MEASURES 7#I,D7 #I-EE
    SEE .VARIANT .PASSAGES
=5'= ,END OF SLANTING LINE TO
    DESIGNATE APPROXIMATE PITCH
    7#AC,A7 #AC-I SEE .APPROXIMATE
    .PITCH
              #DF4 =6=
=6= ,TRILL 7#AA7 #AA-B SEE
    .ORNAMENTS
              #DG4 =7=
=7= ,MEASURE OR PART-MEASURE REPEAT
    7#I,C7 #I-AE SEE .BRAILLE
    .REPEATS
  ,EQUALS SIGN IN METRONOME MARKING
    7#AD7 #AD-AG SEE .EQUALS .SIGN
=7'7= ,PART-MEASURE REPEATS OF
    DIFFERENT VALUE 7#I,C7 #I-AI SEE
    .BRAILLE .REPEATS
=7#D= ,REPEAT #D 7OR OTHER NUMBER7
    TIMES 7#I,C7 #I-CF SEE .BRAILLE
    .REPEATS
              #DH4 =8=
=8= ,STACCATO 7#AJ7 #AJ-AC SEE
    .NUANCES
               =4=--=8=         #AAC
  ,MERGED TEXT SUNG ON ONE NOTE
    7#AF,D7 #AF-H SEE .VOCAL .TEXT
              #DI4 =9=
=9= ,FIFTH INTERVAL 7#E,A7 #E-A SEE
    .INTERVALS
  ,REPEAT TEXT ONCE 7#AF,D7 #AF-AC
    SEE .VOCAL .TEXT
=99= ,REPEAT VOCAL TEXT TWICE
    7#AF,D7 #AF-AC SEE .VOCAL .TEXT
              #EJ4 =0=
=0= ,SIXTH INTERVAL 7#E,A7 #E-A SEE
    .INTERVALS
  ,SMALL TRIANGLE IN CHORD SYMBOL
    PART 7#AB,A7 #AB-AD SEE .CHORD
    .SYMBOLS
=0'= ,SMALL TRIANGLE BISECTED BY
    LINE IN CHORD SYMBOL PART
    7#AB,A7 SEE #AB-AD SEE .CHORD
    .SYMBOLS
              #EA4 =/=
=/= ,SECOND INTERVAL 7#E,A7 #E-A SEE
    .INTERVALS
              #EB4 =+=
=+= ,THIRD INTERVAL 7#E,A7 #E-A SEE
    .INTERVALS
  ,PRINT SEGNO 7#I,B7 #I-I SEE
    .PRINT .SEGNO
=+A= ,BRAILLE SEGNO 7#I,C7 #I-DG SEE
    .BRAILLE .SEGNO
=+L= ,CODA SIGN 7#I,B #I,C7 #I-I SEE
    .SEGNO .SIGN
              #EC4 =#=
=#= ,FOURTH INTERVAL 7#E,A7 #E-A SEE
    .INTERVALS
=#A= ,A LINE OF CONTINUATION IN
    FIGURED BASS 7#AB,B7 #AB-BC SEE
    .FIGURED .BASS
=#AA= ,TWO LINES OF CONTINUATION IN
    FIGURED BASS 7#AB,B7 #AB-BC SEE
    .FIGURED .BASS
=#A5#C= ,NUMBERED VARIANT1 FOLLOWED
    BY NUMBER OF MEASURES 7#I,D7
    #I-EF SEE .VARIANT .PASSAGES
=#B5= ,SECOND 7OR OTHER NUMBER7
    VARIANT OF MEASURES 7#I,D7 #I-EF
    SEE .VARIANT .PASSAGES
=#D= ,REPEAT FOUR MEASURES 7#I,C7
   #I-CI SEE .BRAILLE .REPEATS
=#D#D= ,REPEAT FOUR MEASURES 7#I,C7
   #I-CI SEE .BRAILLE .REPEATS
=#1= ,FIRST ENDING 7#I,B7 #I-F SEE
    .PRINT .REPEATS
  ,REPEAT MEASURE #A 7OR OTHER
    NUMBER7 7#I,C7 #I-DB SEE
    .BRAILLE .REPEATS
              =9=--=#1=         #AAE
=#1-8= ,REPEAT GROUP OF MEASURES
    7#I,C7 #I-DB SEE .BRAILLE
    .REPEATS
=#2= ,SECOND ENDING 7#I,B7 #I-F SEE
    .PRINT .REPEATS
  ,REPEAT MEASURE #B 7OR OTHER
    NUMBER7 7#I,C7 #I-DB SEE
    .BRAILLE .REPEATS
  ,FIGURED BASS NUMERAL 7#AB,B7
    #AB-AF SEE .FIGURED .BASS
=#35= ,FIGURED BASS NUMERALS 7#AB,B7
    #AB-AF SEE .FIGURED .BASS
=#/= ,OBLIQUE STROKE IN FIGURED BASS
    7#AB,B7 #AB-BG SEE .FIGURED
    .BASS
=#'= ,BLANK SPACE IN A STRING OF
    FIGURES 7#AB,B7 #AB-BA SEE
    .FIGURED .BASS
=#;= ,BEFORE A FIGURE1 ANY NUMBER
    THAT IS CROSSED IN PRINT
    7FIGURED BASS7 7#AB,B7 #AB-BJ
    SEE .FIGURED .BASS
              #ED4 =>=
=>= ,WORD SIGN2 LITERARY MATERIAL
    7#AJ7 #AJ-B SEE .NUANCES
  ,END OF BARR@E SIGN WHEN IT IS
    NOT FOLLOWED BY A FRET SIGN
    7#AG,C7 #AG-CD SEE .BARR@ES
=>BS'= ,BASS SOLO 7,B4,S47 7#AI,A7
    #AI-D SEE .ACCORDION
=>C= ,DIVERGING LINES 7CRESCENDO7
    7#AJ7 #AJ-E SEE .NUANCES
=>D= ,CONVERGING LINES 7DECRESCENDO7
    7#AJ7 #AJ-E SEE .NUANCES
=>K= ,ARPEGGIO UP 7#AA7 #AA-BJ SEE
    .ORNAMENTS
=>KK= ,ARPEGGIO DOWN 7#AA7 #AA-BJ
    SEE .ORNAMENTS
=>R= ,REGISTER 7#AI,A7 #AI-D SEE
    .ACCORDION
=>WR= ,WITHOUT REGISTER2 USE PRINT
    INITIALS 7#AI,A7 #AI-D SEE
    .ACCORDION
=>1= ,COMMA1 ,HALF BREATH 7#AJ
    #AF,C7 #AF-AA SEE .BREATH .SIGNS
  ,NEITHER DRAW NOR PUSH1 CESUR
    7#AI,A7 #AI-AB SEE .ACCORDION
=>3= ,END OF DIVERGING LINES 7#AJ7
    #AJ-E SEE .NUANCES
=>4= ,END OF CONVERGING LINES 7#AJ7
    #AJ-E SEE .NUANCES
=>59= ,MUSIC ASTERISK 7#AD7 #AD-AF
=>9= ,FIFTH POSITION OR FRET 7#AG,B7
    #AG-H SEE .STRING .INSTRUMENTS
=>0= ,SIXTH POSITION OR FRET 7#AG,B7
             =#1-8=--=>0=       #AAG
    #AG-H SEE .STRING .INSTRUMENTS
=>/= ,SECOND POSITION OR FRET
    7#AG,B7 #AG-H SEE .STRING
    .INSTRUMENTS
=>/K= ,G CLEF IN LEFT HAND PART 7#B7
    #B-E SEE .CLEF .SIGNS
=>/L= ,G CLEF2 TREBLE 7#B7 #B-A SEE
    .CLEF .SIGNS
=>/L#H= ,G CLEF WITH SMALL #H ABOVE
    7#B7 #B-G SEE .CLEF .SIGNS
=>/L#8= ,G CLEF WITH SMALL #H BELOW
    7#B7 #B-G SEE .CLEF .SIGNS
=>/@L= ,G CLEF ON FIRST LINE2
    ,FRENCH VIOLIN CLEF 7#B7 #B-F
    SEE .CLEF .SIGNS
=>+= ,THIRD POSITION OR FRET 7#AG,B7
    #AG-H SEE .STRING .INSTRUMENTS
=>+L= ,C CLEF2 ALTO CLEF FOR VIOLA
    OR HIGH CLEF FOR BASS 7#B7 #B-A
    SEE .CLEF .SIGNS
=>+@L= ,C CLEF ON FIRST LINE2
    SOPRANO OR DESCANT CLEF 7#B7
    #B-F SEE .CLEF .SIGNS
=>+^L= ,C CLEF ON SECOND LINE2
    MEZZO-SOPRANO CLEF 7#B7 #B-F
    SEE .CLEF .SIGNS
=>+_L= ,C CLEF ON THIRD LINE2 ALTO
    CLEF FOR VIOLA OR HIGH CLEF FOR
    BASS 7#B7 #B-F SEE .CLEF .SIGNS
=>+"L= ,C CLEF ON FOURTH LINE2 TENOR
    CLEF 7#B7 #B-F SEE .CLEF .SIGNS
=>+.L ,C CLEF ON FIFTH LINE2
    BARITONE CLEF 7#B7 #B-F SEE
    .CLEF .SIGNS
=>#= ,FOURTH POSITION OR FRET
    7#AG,B7 #AG-H SEE .STRING
    .INSTRUMENTS
=>#AF'= #AF FT4 7#AI,B7 #AI-F SEE
    .ACCORDION .MUSIC1 .REGISTRATION
=>#D'= #D FT4 7#AI,B7 #AI-F SEE
    .ACCORDION .MUSIC1 .REGISTRATION
=>#D#AF'= #D FT4 #AF FT4 7#AI,B7
    #AI-F SEE .ACCORDION .MUSIC1
    .REGISTRATION
=>#D#H'= #D FT4 #H FT4 7#AI,B7 #AI-F
    SEE .ACCORDION .MUSIC1
    .REGISTRATION
=>#D#H#AF'= #D FT4 #H FT4 #AF FT4
    7#AI,B7 #AI-F SEE .ACCORDION
    .MUSIC1 .REGISTRATION
=>#H/'= ,TREMOLO 7#AI,B7 #AI-F SEE
    .ACCORDION .MUSIC1 .REGISTRATION
=>#H+'= ,DOUBLE TREMOLO 7#AI,B7
    #AI-F SEE .ACCORDION .MUSIC1
    .REGISTRATION
            =>/=--=>#H+'=       #AAI
=>#H#AF'= #H FT4 #AF FT4 7#AI,B7
    #AI-F SEE .ACCORDION .MUSIC1
    .REGISTRATION
=>#H'= #H FT4 7#AI,B7 #AI-F SEE
    .ACCORDION .MUSIC1 .REGISTRATION
=>#K= ,F CLEF IN RIGHT HAND PART
    7#B7 #B-E SEE .CLEF .SIGNS
=>#L= ,F CLEF2 BASS 7#B7 #B-A  SEE
    .CLEF .SIGNS
=>#_L= ,F CLEF ON THIRD LINE2 TENOR
    CLEF 7#B7 #B-F SEE .CLEF .SIGNS
=>#.L= ,F CLEF ON FIFTH LINE2 SUB
    BASS CLEF 7#B7 #B-F SEE .CLEF
    .SIGNS
=>>= ,FIRST POSITION OR FRET 7#AG,B7
    #AG-H SEE .STRING .INSTRUMENTS
=>>/= ,HALF POSITION 7#AG,B7 #AG-H
    SEE .STRING .INSTRUMENTS
=>'= ,END OF FIRST LINE OF
    CONTINUATION 7#AJ7 #AJ-AF SEE
    .NUANCES
=>-= ,END OF SECOND LINE OF
    CONTINUATION 7#AJ7 #AJ-AF SEE
    .NUANCES
  ,EIGHTH POSITION OR FRET 7#AG,B7
    #AG-H SEE .STRING .INSTRUMENTS
=>-/= ,NINTH POSITION OR FRET
    7#AG,B7 #AG-H SEE .STRING
    .INSTRUMENTS
=>-+= ,TENTH POSITION OR FRET
    7#AG,B7 #AG-H SEE .STRING
    .INSTRUMENTS
=>-#= ,ELEVENTH POSITION OR FRET
    7#AG,B7 #AG-H SEE .STRING
    .INSTRUMENTS
=>-9= ,TWELFTH POSITION OR FRET
    7#AG,B7 #AG-H SEE .STRING
    .INSTRUMENTS
              #EE4 ='=
='= ,AFTER NOTE OR REST2 DOTTED
    NOTE OR REST #A-B SEE .NOTE
    .VALUES
  ,OMISSION OF SECOND FINGERING WHEN
    TWO SETS ARE GIVEN 7#H,A7 #H-E
    SEE .FINGERING
=''= ,AFTER NOTE OR REST2 DOUBLE
    DOTTED NOTE OR REST #A-B SEE
    .NOTE .VALUES
  ,BEGINNING OF FIRST LINE OF
    CONTINUATION 7#AJ7 #AJ-AF SEE
    .NUANCES
              #EF4 =-=
=-= ,OCTAVE INTERVAL 7#E,A7 #E-A
    SEE .INTERVALS
  ,PARALLEL MOTION 7#I,C7 #I-EJ SEE
            =>#H#AF'=--=-=      #ABA
    .PARALLEL .MOTION
  ,SEQUENCE ABBREVIATION 7#I,C7
    #I-EB SEE .SEQUENCE
    .ABBREVIATION
  ,SEPARATION OF SIGNS 7FIGURED
    BASS7 7#AB,B7 #AB-BE SEE
    .FIGURED .BASS
=--= ,BEGINNING OF SECOND LINE OF
    CONTINUATION 7#AJ7 #AJ-AF SEE
    .NUANCES
              #EG4 =@=
=@= ,FIRST OCTAVE 7#A,B7 #A-H SEE
    .OCTAVE .MARKS
  ,FIRST ROW OF BUTTONS 7#AI,A7
    #AI-B SEE .ACCORDION1 .ROWS
  ,VERTICAL BRACKET ,BARR@E 7#AG,C7
    #AG-CC SEE .BARR@ES
=@A= ,GLISSANDO 7#F,A #AG,B7 #AG-AE
    SEE .STRING .INSTRUMENTS
  ,SHIFT TO NEW POSITION 7#AG,B7
    #AG-AC SEE .SHIFT .LINES
=@A'= ,BEGINNING OF SHIFT 7#AG,B7
    #AG-AD SEE .SHIFT .LINES
=@C= ,SINGLE-NOTE TIE 7#F,B7 #F-AC
    SEE .TIES
=@K= ,FOOT CROSSES IN FRONT 7ORGAN7
    7#AE,B7 #AE-CJ SEE .ORGAN
    .PEDALS
=@L= ,STRAIGHT LINE BETWEEN STAVES
    FOR VOICE LEADING 7#F,A7 #F-I
    SEE .SLURS1 .STRAIGHT .LINE
=@<= #A/D STEP ALTERATION OF A FLAT
    7#C,A7 #AC-AF SEE .ACCIDENTALS
=@%= #A/D STEP ALTERATION OF A SHARP
    7#C,A7 #AC-AF SEE .ACCIDENTALS
=@2= ,HALF PHRASE 7#F,A7 SEE .SLURS
=@8= ,REVERSED ACCENT 7HORIZONTAL ,V
    POINTING TO THE LEFT7 7#AJ7 SEE
    .NUANCES
=@8888= ,BEBUNG 7#AA7 #AA-BA SEE
    .ORNAMENTS
=@>= ,RETURN TO LEFT HAND PART ONLY
    7#AE,B7 #AE-BH SEE ..ORGAN
    MUSIC1 PEDAL .PARTS
=@@= ,BELOW FIRST OCTAVE 7#A,B7 #A-H
    SEE .OCTAVE .MARKS
  ,ROW ZERO 7#AI,A7 #AI-B SEE
    .ACCORDION1 .ROWS
              #EH4 =^=
=^= ,SECOND OCTAVE 7#A,B7 #A-H SEE
    .OCTAVE .MARKS
  ,SECOND ROW OF BUTTONS 7#AI,A7
    #AI-B SEE .ACCORDION1 .ROWS
  ,PARTIAL BARR@E 7#AG,C7 #AG-CB
    SEE .BARR@ES
              =--=--=^=         #ABC
=^A= ,REPETITION IN QUARTERS 7#G,A7
    #G-B SEE .REPETITION-TYPE
    .TREMOLO
=^B= ,REPETITION IN EIGHTHS 7#G,A7
    #G-B SEE .REPETITION-TYPE
    .TREMOLO
=^C= ,ACCUMULATING ARPEGGIO 7#F,B7
    #F-BJ SEE .TIES
=^K= ,REPETITION IN #FDTHS 7#G,A7
    #G-B SEE .REPETITION-TYPE
    .TREMOLO
=^L= ,REPETITION IN #AFTHS 7#G,A7
    #G-B SEE .REPETITION-TYPE
    .TREMOLO
=^*B= ,TONE CLUSTER WITH NATURAL
    SIGN 7#AC,B7 #AC-AJ SEE .TONE
    .CLUSTERS
=^<B= ,TONE CLUSTER WITH FLAT SIGN
    7#AC,B7 #AC-AJ SEE .TONE
    .CLUSTERS
=^<L= ,FERMATA IN SHAPE OF UMBRELLA
    OR TENT 7#AJ7 #AC-AG SEE
    .NUANCES
=^<1= ,LARGER VALUES2 EIGHTHS AND
    LARGER 7#A,A7 #A-D SEE .NOTE
    .VALUES
=^<1,<1= ,ACCELERANDO WITHIN 8FAN-
    SHAPED0 RHYTHMIC GROUP 7#AC,C7
    #AC-AC SEE .RHYTHMIC .GROUPS
=^%B= ,TONE CLUSTER WITH SHARP SIGN
    7#AC,B7 #AC-AJ SEE .TONE
    .CLUSTERS
=^1= ,REPETITION IN #CBNDS 7#G,A7
    #G-B SEE .REPETITION-TYPE
    .TREMOLO
=^2= ,END OF PHRASING SLUR 7#F,A
    #AF,B7 #F-C 7B7 SEE .SLURS
=^5B= ,TONE CLUSTER WITH NO
    ACCIDENTALS SPECIFIED 7#AC,B7
    #AC-AJ SEE .TONE .CLUSTERS
=^>= ,PREFIX FOR ORGAN PEDAL PART
    7#AE,B7 #AE-BG SEE ..ORGAN
    MUSIC1 PEDAL .PARTS
=^>_>= ,PREFIX FOR PEDAL AND LEFT
    HAND PARTS ON ONE STAFF 7#AE,B7
    #AE-BG SEE ..ORGAN MUSIC1 PEDAL
    .PARTS
=^'= ,REPETITION IN #ABHTHS 7#G,A7
    #G-B SEE .REPETITION-TYPE
    .TREMOLO
              #EI4 =_=
=_= ,THIRD OCTAVE 7#A,B7 #A-H SEE
    .OCTAVE .MARKS
  ,THIRD ROW OF BUTTONS 7#AI,A7
    #AI-B SEE .ACCORDION1 .ROWS
              =^A=--=_=         #ABE
  ,FULL BARR@E 7#AG,C7 #AG-CA SEE
    .BARR@ES
=_A= ,QUARTER STEM 7#E,D7 #E-CA SEE
    .STEMS
=_B= ,EIGHTH STEM 7#E,D7 #E-CA SEE
    .STEMS
=_C= ,SLUR FROM ONE IN-ACCORD
    PART TO ANOTHER 7#F,A7 #F-F SEE
    .SLURS
  ,SYLLABIC SLUR FOR VARIANT VERSES
    WITHIN ONE LANGUAGE 7#AF,B7
    #AF-AJ SEE ..SLUR1 IN VOCAL
    .MUSIC
  ,BARRED ,C1 8CUT0 TIME 7#C,B7 #C-G
    SEE .TIME .SIGNATURES
=_K= ,HALF STEM 7#E,D7 #E-CA SEE
    .STEMS
=_L= #AFTH STEM 7#E,D7 #E-CA SEE
    .STEMS
=_<= #C/D STEP ALTERATION OF A FLAT
    7#C,A7 #AC-AF SEE .ACCIDENTALS
=_<L= ,FERMATA ON BAR LINE 7#AJ7
    #AJ-AC SEE .NUANCES
=_%= #C/D STEP ALTERATION OF A SHARP
    7#C,A7 #AC-AF SEE .ACCIDENTALS
=_1= #CBND STEM 7#E,D7 #E-CA SEE
    .STEMS
=_2'= =_3'= ,RHYTHMIC GROUPING 7#D7
    #D-AJ SEE .RHYTHMIC .GROUPS
=_8= ,AGOGIC ACCENT 7#AJ7 #AJ-AC SEE
    .NUANCES
=_>= ,PREFIX FOR LEFT HAND PART
    7#AE,A7 SEE .KEYBOARD .MUSIC
  ,LEFT HAND PIZZICATO 7#AG,D7
    #AG-BF SEE .STRING .INSTRUMENTS
=_>>= ,LEFT HAND PART WITH
    INTERVALS READING DOWN 7#AE,A7
    #AE-AA SEE .KEYBOARD .MUSIC
=_'= ,WHOLE STEM 7#E,D7 #E-CA SEE
    .STEMS
=_@C= ,SINGLE-NOTE TIE BETWEEN IN-
    ACCORD PARTS 7#F,C7 #F-BB SEE
    .TIES
=_.C= ,CHORD TIE BETWEEN IN-ACCORD
    PARTS 7#F,C7 #F-BC SEE .TIES
              #FJ4 ="=
="= ,FOURTH OCTAVE 7#A,B7 #A-H SEE
    .OCTAVE .MARKS
  ,FOURTH ROW OF BUTTONS 7#AI,A7
    #AI-B SEE .ACCORDION1 .ROWS
  ,HYPHEN AT END OF UNFINISHED
    MEASURE 7#AD7 #AD-H SEE .DOT .#E
  ,PREFIX FOR ADDED SIGNS IN BRAILLE
    7#AD7 #E-AE SEE .DOT .#E
="C= ,SLUR FROM ONE STAFF TO ANOTHER
              =_A=--="C=        #ABG
    7#F,A7 #F-G SEE .SLURS
="L= ,PREFIX FOR EDITORIAL MARKINGS
    7#F,A #AD7 #AD-AE SEE
    .EDITORIAL .MARKINGS
="*C= ,PEDAL UP AS SOON AS CHORD IS
    STRUCK 7#AE,A7 #AE-BB SEE .PIANO
    .MUSIC1 .PEDALLING
="<C= ,HALF PEDAL 7#AE,A7 #AE-BA SEE
    .PIANO .MUSIC1 .PEDALLING
="<L= ,FERMATA BETWEEN NOTES 7#AJ7
    #AJ-AC SEE .NUANCES
="1= ,PART-MEASURE IN-ACCORD 7#E,B7
    #E-AG SEE .IN-ACCORDS
="3= ,PREFIX FOR PAGINATION OR PRINT
    PAGE TURN 7#AD7 #AD-I SEE .PAGE
    .TURN
="5= ,APPOGGIATURA 7#AA7 #AA-G SEE
    .ORNAMENTS
="6= ,SHORT TRILL 7#AA7 #AA-AC SEE
    .ORNAMENTS
="6L= ,MORDENT 7#AA7 #AA-AE SEE
    .ORNAMENTS
="8= ,MEZZO-STACCATO 7DOT AND LINE7
    7#AJ7 #AJ-AC SEE .NUANCES
="+A= ,REPEAT BACK TO SEGNO ,A 7OR
    ,B1 ETC47 7#I,C7 #I-DG SEE
    .BRAILLE .SEGNO
=">= ,SOLO PART TO BE ACCOMPANIED
    7#AE,A7 #AE-E SEE .KEYBOARD
    .ACCOMPANIMENTS
=">K= ,UPWARD ARPEGGIO THROUGH TWO
    OR MORE STAVES 7#AA7 #AA-BJ SEE
    .ORNAMENTS
=">KK= ,DOWNWARD ARPEGGIO THROUGH
    TWO OR MORE STAVES 7#AA7 #AA-BJ
    SEE .ORNAMENTS
="' ,1= ,VERTICAL BRACKETS
    SURROUNDING NOTES OR FEATURES
    7#AB,C7 #AB-DJ SEE .BRACKETS
="@C= ,SINGLE-NOTE TIE BETWEEN
    STAVES 7#F,C7 #F-BC SEE .TIES
=".C= ,CHORD TIE BETWEEN STAVES
    7#F,C7 #F-BC SEE .TIES
              #FA4 =.=
=.= ,FIFTH OCTAVE 7#A,B7 #A-H SEE
    .OCTAVE .MARKS
  ,FIFTH ROW OF BUTTONS 7#AI,A7
    #AI-B SEE .ACCORDION1 .ROWS
=.A= ,ALTERNATION IN #FDTHS 7#G,B7
    #G-F SEE .ALTERNATION-TYPE
    .TREMOLO
=.B= ,ALTERNATION IN #HTHS 7#G,B7
    #G-F SEE .ALTERNATION-TYPE
    .TREMOLO
=.C= ,CHORD TIE 7#F,B7 #F-AG SEE
              ="L=--=.C=        #ABI
    .TIES
  ,C 8COMMON0 TIME 7#C,B7 #C-G SEE
    .TIME .SIGNATURES
=.K= ,MEASURE-DIVISION FOR IN-
    ACCORD 7#E,B7 #E-AG SEE .IN-
    ACCORDS
=.L= ,ALTERNATION IN #AFTHS 7#G,B7
    #G-F SEE .ALTERNATION-TYPE
    .TREMOLO
=.1= ,ALTERNATION IN #CBNDS 7#G,B7
    #G-F SEE .ALTERNATION-TYPE
    .TREMOLO
=.7= ,REPEAT BEGINNING IN FIFTH 7OR
    OTHER NUMBER7 OCTAVE 7#I,C7
    #I-BG SEE .BRAILLE .REPEATS
=.8= ,ACCENT 7HORIZONTAL ,V POINTING
    TO THE RIGHT7 7#AJ7 #AJ-AC SEE
    .NUANCES
=.#G= ,ITALICIZED #G2 SPECIALIZED
    SEVENTH CHORD 7#AB,B7 #AB-E SEE
    .CHORD .SYMBOLS
=.>= ,PREFIX FOR RIGHT HAND PART
    7#AE,A7 SEE .KEYBOARD .MUSIC
=.>>= ,RIGHT HAND PART2 INTERVALS
    READ UP 7#AE,A7 #AE-AA SEE
    .KEYBOARD .MUSIC
=.'= ,ALTERNATION IN #ABHTHS 7#G,B7
    #G-F SEE .ALTERNATION-TYPE
    .TREMOLO
=.@L ,END OF STRAIGHT VOICE-LEADING
    LINE 7#F,A7 #F-I SEE .SLURS1
    .STRAIGHT .LINE
=._C= ,SLUR FROM ANOTHER IN-ACCORD
    PART 7#F,C7 #F-BA SEE .SLURS
=._@C= ,SINGLE-NOTE TIE FROM ANOTHER
    IN-ACCORD PART 7#F,C7 #F-BA SEE
    .TIES
=._.C= ,CHORD TIE FROM ANOTHER IN-
    ACCORD PART 7#F,C7 #F-BA SEE
    .TIES
=."C= ,SLUR FROM ANOTHER STAFF
    7#F,C7 #F-BA SEE .SLURS
=."@C= ,SINGLE-NOTE TIE FROM ANOTHER
    STAFF 7#F,C7 #F-BA SEE .TIES
=.".C= ,CHORD TIE FROM ANOTHER STAFF
    7#F,C7 #F-BA SEE .TIES
=.;C= ,SLUR THAT DOES NOT COME FROM
    A NOTE 7#F,A7 #F-AA SEE .SLURS
              #FB4 =;=
=;= ,SIXTH OCTAVE 7#A,B7 #A-H SEE
    .OCTAVE .MARKS
  ,SIXTH ROW OF BUTTONS 7#AI,A7
    #AI-B SEE .ACCORDION1 ROWS
  ,DOUBLE MOVING-NOTE 7#E,C7 #E-BB
    SEE .MOVING .NOTE .SIGNS
              =.K=--=;=         #ACA
=;B= ,BEGINNING OF PHRASING SLUR
    7#F,A7 #F-C 7B7 SEE .SLURS
=;B^2= ,BEGINNING AND END OF
    PHRASING SLUR ON ONE NOTE 7#F,A7
    #F-E SEE .SLURS
=;C= ,SLUR THAT DOES NOT END ON A
    NOTE 7#F,A7 #F-AA SEE .SLURS
  ,SLUR FOR SHORT APPOGGIATURA1
    8GRACE-NOTE SLUR0 IN SOME
    COUNTRIES 7#F,A7 #F-AB SEE
    .SLURS
=;K= ,END OF RHYTHMIC GROUP 7#AC,C7
    #AC-AC SEE .RHYTHMIC .GROUPS
=;<L= ,FERMATA WITH SQUARE SHAPE
    7#AJ7 #AC-AG SEE .NUANCES
=;<1= ,PREFIX FOR #BEFTH NOTES
    7#A,A7 #A-C SEE .NOTE .VALUES
=;1 "2= ,SQUARE BRACKET ABOVE THE
    STAFF 7#AB,C7 #AB-DB SEE
    .BRACKETS
=;1 "'= ,SQUARE BRACKET ABOVE THE
    STAFF WITH UNCLEAR ENDING
    7#AB,C7 #AB-DD SEE .BRACKETS
=;11 ""2= ,DOTTED SQUARE BRACKET
    ABOVE THE STAFF 7#AB,C7 #AB-DC
    SEE .BRACKETS
=;2= ,PREFIX FOR LITERARY MATERIAL
    SUCH AS VOCAL TEXT1
    INSTRUCTIONS1 OR OTHER LITERARY
    INFORMATION 7#AD #AF,A7 #AD-F
    SEE .LITERARY .MATERIAL
  ,COINCIDENCE OF NOTES 7#AD7 #AD-G
    SEE .COINCIDENCE .OF .NOTES
=;5= ,NOTES PRINTED IN LARGE TYPE
    7#A,A7 SEE .NOTES
=;6= ,EXTENDED SHORT TRILL 7#AA7
    #AA-AD SEE .ORNAMENTS
=;6L= ,EXTENDED MORDENT 7#AA7 #AA-AE
    SEE .ORNAMENTS
=;8= ,MARTELLATO 7THICK ,V7 7#AJ7
    #AJ-AC SEE .NUANCES
=;>= ,PREFIX FOR FIGURED BASS PART
    7#AB,B7 SEE .FIGURED .BASS
=;' ,2= ,SQUARE BRACKET BELOW THE
    STAFF 7#AB,C7 #AB-DB SEE
    .BRACKETS
=;' ,1= ,SQUARE BRACKET BELOW THE
    STAFF WITH UNCLEAR ENDING
    7#AB,C7 #AB-DD SEE .BRACKETS
=;'' ''2= ,DOTTED SQUARE BRACKET
    BELOW THE STAFF 7#AB,C7 #AB-DC
    SEE .BRACKETS
              #FC4 =,=
=,= ,SEVENTH OCTAVE 7#A,B7 #A-H SEE
    .OCTAVE .MARKS
              =;B=--=,=         #ACC
  ,SEVENTH ROW OF BUTTONS 7#AI,A7
    #AI-B SEE .ACCORDION1 .ROWS
  ,MOVING-NOTE 7SINGLE7 7#E,C7 #E-BB
    SEE .MOVING .NOTE .SIGNS
  ,OMISSION OF FIRST FINGERING WHEN
    TWO SETS ARE GIVEN 7#H,A7 #H-E
    SEE .FINGERING
=,C= ,BEGINNING AND END OF SHORT
    SLUR ON ONE NOTE 7#F,A7 #F-E SEE
    .SLURS
=,K= ,FOOT CROSSES BEHIND 7ORGAN7
    7#AE,B7 #AE-CJ SEE .ORGAN
    .PEDALS
=,<1= ,SMALLER VALUES2 #AFTHS AND
    SMALLER 7#A,A7 #A-D SEE .NOTE
    .VALUES
=,<1^<1= ,RITARDANDO WITHIN 8FAN-
    SHAPED0 RHYTHMIC GROUP 7#AC,C7
    #AC-AC SEE .RHYTHMIC .GROUPS
=,<1,<1= ,STEADY RHYTHM WITHIN
    8FAN-SHAPED0 RHYTHMIC GROUP
    7#AC,C7 #AC-AD SEE .RHYTHMIC
    .GROUPS
=,<= =,%= ,ACCIDENTAL ABOVE OR BELOW
    THE NOTE 7#C,A7 #C-B SEE
    .ACCIDENTALS
=,<4= =,%4= ,INFLECTED LOWER
    AUXILIARY OF A TURN 7#AA7 #AA-AB
    SEE .ORNAMENTS
=,4= ,TURN ABOVE OR BELOW A NOTE
    7#AA7 #AA-AJ SEE .ORNAMENTS
=,4L= ,INVERTED TURN ABOVE OR BELOW
    A NOTE 7#AA7 #AA-AA SEE
    .ORNAMENTS
=,5= ,NOTES PRINTED IN SMALL TYPE
    7#A,A7 #AF-AD SEE .NOTES
=,8= ,STACCATISSIMO 7#AJ7 #AJ-AC SEE
    .NUANCES
=,/= ,FULL BREAK OR BREATH 7#AJ
    #AF,C7 #AF-AA SEE .BREATH .SIGNS
=,>= ,PREFIX FOR ACCORDION MUSIC
    7#AI,A7 #AI-A SEE .ACCORDION
=,>3= ,SEVENTH POSITION OR FRET
    7#AG,B7 #AG-H SEE .STRING
    .INSTRUMENTS
=,'= ,MUSIC PREFIX 7#AD7 #AD-E SEE
    .MUSIC .PREFIX
=,' ,'=  ,MUSIC PARENTHESES 7ROUND
    BRACKETS7 7#AB,C #AD7 #AD-E SEE
    .BRACKETS
=,@A= ,END OF SHIFT 7#AG,B7 #AG-AD
    SEE .SHIFT .LINES
=,,= ,NOTES ABOVE SEVENTH OCTAVE
    7#A,B7 #A-H SEE .OCTAVE .MARKS
  ,EIGHTH ROW OF BUTTONS 7#AI,A7
              =,C=--=,,=        #ACE
    #AI-B SEE .ACCORDION1 .ROWS

            333333333333

























