Braille Music Notation

CONFORMING WITH THE DECISIONS

OF THE

INTERNATIOI^AL CONGRESS CONVOKED BY

AMERICAN BRAILLE PRESS, INC,

Paris, April, 1929

(Edited with Footnotes Showing Variant American Practices)

Bound at

American Printing House for the Blind

Louisville, Kentucky
1951
 American Foundation
ForThe Blind INC.

./

/
 Digitized by the Internet Archive
in 2010 with funding from
Lyrasis IVIembers and Sloan Foundation

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 OFFICERS

Wm. Nelson Cromwell

President

John Foster Dulles Henry W. Riecken

Vice-President Treasurer General

George L. Raverat
Secretary General

EXECUTIVE COMMITTEE

Wm. Nelson Cromwell, Chairman Roger L. Farnham

John Foster Dulles, Vice-Chainuan Hon. James W. Gerard
Hon. James M. Beck Max Shoop
T. TiLESTON Wells

BOARD OF DIRECTORS

Hon. James M. Beck Rev. Charles S. Macfarland

Wm. Nelson Cromwell Hon. Morgan J. O'Brien
John Foster Dulles George L. Raverat
Roger Farnham
L. Henry W. Riecken
Hon. James W. Gerard Max Shoop
Otto H. Kahn Bishop Ernest M. Stires
T. Tilestox Wells
 TABLE OF CONTENTS

Pages

Foreword
Preface
I. Notes, Rests, Dot and Double-Dot
II. Method of Indicating Pitch. Octave Marks. Indication of Clefs used in
Inkprint 4
III. Time Signature, How
Group Small Values
to 7
IV. Triplets, Sextuplets and Irregular Groups 10
V. Chords and Intervals 13
VI. Simultaneous Parts Containing Unlike Values |In-accords| 17
VII. Simultaneous Parts Meeting on the Same Note. Double-note |Stem| Signs . .
^5
VIII. Accidentals. Key Signatures 27
IX. The Slur and Tie 30
X. Accent Marks 36
XI. Fingerings 57
XII. Note and Chord Repetitions, Tremolos .-59

XIII. Indications of Mo\'ement and Expression 41

XIV. Ornaments 44
XV. Repeats, Partial Abbreviations and Bars 54
XVI. Miscellaneous Signs, Special Abbreviations 64
XVII. Disposition of the Musical Text
Division of the Musical Text into Phrases 70
}'ertical Score and Bar-bv-Bar Method 71
Disposition of Measure over Measure, called "Bar Over Bar" 72
Disposition, by Division of Page 73
XVIII. Piano Music 75
XIX. Organ and Harmonium Music 86
XX. Music for Stringed Instruments 88
XXI. Vocal Music 96
XXII. Order of Succession of Musical Signs
99
 Braille Music Notation

Confonuinii- willi llic dccisiotis ol' llic liil('i'ii;i lionnl (lonyrcss convoked l)y

AMERICAN BRAILLE PRESS Inc..

Paris, \fril nj:^;)

r)<'sci'i|)lioii ol Music .^\iii1h)]s

with l{x|)laiiali()Ms ami l-^xauiplcs ol' llir (lillbrciil Mclbods ol' Disposilion

(Edited with Footnotes Showing Preferred American Practices)

Printed and PLiblished by

American Braille Press Inc.,

4 Rue de Montevideo. Paris

 ^

A'
 Foreword

It is
my duty and a particularly pleasant one to express my appreciation to all who,
near or far, have facilitated the reunion and the work of the Congress. First of all to the President
of the AMERICAN BRAILLE PRESS, Mr. William Nelson Cromwell, whose interest and
encouragement have never failed us; to Mr. W. McG. Eagar, Secretary-General of the National
Institute for the Blind, London; to Dr. Carl Strehl, Syndikus, Blindenstudienanstalt, Marburg
Lahn; to Schulrat Brandstaedter, Vorsitzender der Deutschen N
otenschriftkommission ftier
Blinde, Koenigsberg; to Mr. Robert B. Irwin, Executive Director of the American Foundation
for the Blind, New York, and to Captain Aurelio Nicolodi, President, Unione Italiana Ciechi,
Florence, whose united friendly collaboration, competence and broadmindedness have greatly faci-
litated my task.

Furthermore, the enormous preliminary research work has been accomplished and perfected
by Mr. Remy Clavers, Professor at the National Institute for the Blind, Paris, in collaboration
with Mr. Paul Dupas of the American Braille Press. Both of them, for several years, have worked
incessantly arduously and benevolently and it gives me pleasure to recognize that, leithout them
, ,

and their profound knowledge of the question, and also without their unfailing optimism, it would
have been impossible to arrive at the result achieved.
It is also befitting to thank Mr. A. Balquet, in charge of the Printing Department of the
National Institute for the Blind, Paris, who has been good enough to undertake the reproduction in
print and in Braille of the Examples contained in this Method.

A large number of the readers of the publications of the American Braille Press have sent
us very interesting suggestions which have been given the fullest consideration and I hope that the
present Method will give them every satisfaction.

The decisions of the Congress of Paris were ratified by each participating country, through
the qualified Commissions, on the following dates:

France: May 30, 1929.

Great Britain: June 7, 1929 .

Italy: July 1929.

20,
Germany: August 12, 1929.
United States: November i, 1929.

/ have always considered that uniformity of style was of secondary importance in compa-
rison with the uniformity of signs, and this was the predominant thought in the work of the Inter-
national Congress of 1929.

George L. Raverat,
Secretary General,
AMERICAN BRAILLE PRESS, Inc.
 Preface

The responsibility of writing a short Foreword has devolved upon me at the unanimous
request of the President and the Delegates of the Intcrnaticnal Congress on Braille Music
Notation, held in Paris in April, 1929.
The appearance of the present treatise happily synchronizes with the Centenary of the
discovery, by Louis Braille, of that system of dot-embossing which forms the script now uni-
versally used by the blind, and which has immortalized the name of its inventor.

In the year- 1829, at the age of 20 years, this great benefactor of humanity (a former
pupil, at that time a Professor at ITnstitution Nationale des Jeunes Aveugles, Paris), devised
and
a script-system which, for the first time in history, enabled the sightless to commit to paper
anything whatever that could be stated in the terminology of Music, Words or Numerals.
It is, of course, the application of the Braille to Music-notation with which we are directly
concerned.

Though based on sound principles. Braille Music-notation could not, in the nature of
things, develop very rapidly; indeed, Louis Braille himself worked assiduously upon its rudi-
ments for some years, until, in 1834, he considered it sufficiently satisfactory to be put to
general use, and at his death in 1852, it was still in a comparatively elementary form.

It is scarcely the function of a preface to outline the long history of the de\'elopment
of this notation system, but it is relevant to state that serious divergence of practice soon
began to arise in the \'arious countries where the method had been adopted.
The causes were the want of text-book matter, the lack of co-ordination due to the isolat-
ing effect of distance, and the absence of facilities for rapid intercommunication such as we
enjoy today.
Perhaps was not entirely without
this its advantages, since it undoubtedly stimulated
original thinking and experimentation.

The situation was saved, howe\-er, in 1888, when an International Congress held in
Cologne effected an agreement between France, England, Germany and Denmark, by which
the system was standardised in those countries. The spread of mere local practice was much
to be deprecated, because of the risk of jeopardising, if not entirely wrecking, any possibilit\- of
the ultimate universal acceptance of one uniform system.
It was inevitable, however, that progressive BraiUists, finding new problems of notation
continually being presented to them in the complicated scores of modern composers, should
 11

feel the increasing inadequacy of the Braille methods of i88S, and desire their revision.

About the year igi2, Braille notation experts in various countries began seriously to
confer with each other on the subject, principally by correspondence; and, by 1922, the Braille
Musical world was confronted with a situation somewhat resembling that prior to 1888, save
that, in countries on either side of the Atlantic text-book matter was published, in letterpress
and in Braille, explaining the particular style of Braille notation they had each decided to
adopt.

Much progress had undoubtedly been made, but, unfortunately, uniformity of practice
was not 3'et in sight.

A period of apparent inaction following, so far as any concerted attempt to secure inter-
national uniformity was concerned, the former danger of splitting up into so many isolated,
if not rival camps, again seemed imminent, especially as in several countries modern Braille

embossing presses, capable of large output, were already publishing considerable quantities
of Braille music, each, of course, in its own characteristic style.

About the year 1927, the seriousness of matters induced Mr. George L. Raverat, then
Foreign Secretary of the American Braille Press, Inc., Paris, to offer his services as a kind of
liaison officer in an attempt to bring together the Braille notation experts of Europe and Amer-
ica, in order to ascertain whether an agreement could be effected whereby, at all events, the
actual notation Symbols could be made uniform everywhere. It was felt that the time had
perhaps not yet come when absolute uniformity of mdhod might profitably be discussed; so
it was arranged to limit discussion to a consideration of notation symbols only, and to defer
questions as to the comparative merits on methods (known as Old stvle; New style; Bar-by-bar;
Bar-over-bar; etc.) to another occasion.

Early in 1929, after two years of unremitting labour, delicate negotiation and constant
travel throughout Europe and the United States of America, Mr. Raverat (now Secretary-Gener-
al of the American Braille Press) was able to announce that arrangements had been completed
for an international Congress of Braille notation experts to meet in Paris in the spring, 'under
the auspices of the x\merican Braille Press. The following countries would be represented at
the Conference table:
France, Germany, Italy, United States of America and Great Britain.
Nine other countries in Europe and South America had intimated their willingness to accept the
Paris decisions as regards their own future practice.

This Congress duly met in April 1929, under the Presidency of M. Raverat, who a'lnounc-
ed that he desired to preserve an attitude of impartiality, his sole desire being to en ible the
experts to meet under friendly auspices, and to thrash out their differences, if possible, so as
to come to a mutual understanding and an international agreement.

The meetings extended from April 22nd to April 29th, 1929. The following was the
constitution of the Congress; the sighted members eing indicated
1 by an asterisk:

President: (*) M. George L. Raverat, Secretary-General c f the American Braille Press, Inc., Paris.

Delegates:

France: M. Maurice Blazy, Professor delegated by the Institution Nationale des

Jeunes x\veugles, Paris.
M. Remy Clavers, Professor delegated by Association Valentin Hauy pour
le bien des Aveugles, Paris.
M. Paul Dupas, of the American Braille Press, Paris.
 .

Ill

Germany: Herr A. Reuss, Director of the Braille printing establishment at Schwet-

zingen (Baden)
(*) Herr Fritz Czychy, Professor of the Blind Institute at Konigsberg.

Italy: Captain Xicolodi (war blinded) President of the "Union Xationale Italienne
des Aveugles", Florence.
Signor Fornasa, Mu5ic Teachar, Vicence.

America: Mr. Louis W. Rodenberg, of the Illinois School for the Blind, Jacksonville,
Illinois, delegated by the American Foundation for the Blind, New York.

Great Britain: (*) Mr. Edward Watson (who acted as Secretary to the Congress, and kept
the Minutes) Secretary, Music Department, National Institute for the
Blind, London.
Mr. P. T. Ma^'hew, Superintendent of Braille Music transcription, National
Institute for the Blind, London.

The decisions of this Congress are duly recorded and explained within the pages of the
present treatise.

This, then, is a brief account of the course of events which have culminated in the com-
pilation of the "Notation Musicale Braille", a work which I now have the honour to commend
to the earnest study of all who are concerned with the musical education of the blind.

It would be difficult for me to conceive a more fitting conclusion to these prefactory

remarks than the statement with which the official Minutes of the Congress conclude:-
"The work of the Congress has happily been crowned with success. We have aU been
enabled to conduct our difficult and responsible task in harmony, and with broadmindedness,
each uniting in a common endeavour to dismiss prejudice, and to understand each other's
point of view, and in the sole desire to secure that which should ultimately prove to be the
true solution of the great problem before us, \'iz: the unification, on a scientific basis, of the
Braille Music Notation Symbols for the use of the blind throughout the world".

Edward Watson.

London, ist July 1930.

PREFERRED AMERICAN PRACTICES

*1. An American Printing House practice in a series of triplet 8ths is to place the triplet

sign I: 22 before every beat instead of the sign doubled before the first, in order
to make the groups more apparent.
*2. In American Printing House practice all chords in both hands are read upwards.
*3. At the American Printing House this device is not used even in church music. Stem
signs are used in all cases.

*4. This usage is not practiced at the American Printing House because there "Vertical
Score" is not employed.
 Braille Music Notation
s*****************************

Translator's note:
In the present literal translation of NOTATION MUSICALE
BEAILLE; the only deviation from the original is the occasional interpolation of explanatory
words or sentences placed in square brackets. Throughout the book, the English terms, semi-
breve, minim, crotchet, and quaver are used.

I. Notes, Rests, Dot and Double Dot

1. Notes, whether isolated or in chords, as well as all other musical signs, are written
in sequence.

2.
Note Values. The seven notes, c, d, e, f, g, a, b, and their values are represented
by four series of signs, corresponding to semibreves, minims, crotchets and quavers, thus:

C D E F G A B


a OR

OR ^

*
I

r
 !

The breve, the value of which is double that of the semibreve, is expressed by means

of two semibreves joined by the sign '.*.'.

Example:

=t

i
)

N. B. The English use, however, is a semibreve followed by points i

.'

3. Semiquavers are represented by the same signs as semibreves; 32nds by the same
signs as minims, 64ths by the same signs as crotchets; i28ths by the same signs as quavers.

The use of the same signs to express two different values cannot give rise to any confu-
sion, the number of notes contained in the measure being an indication which cannot possibly
be mistaken.
However, when two successive notes of different values are represented by signs belong-

ing to the same series, it is clearer to separate these notes b}' the sign ?i T

Example:

e
e

e d

-
P




'

e-
TDc:

^^
e
ae


ZZI

4. Rests. Rests are indicated by:

or

Semibreve, or i6th -fn

i
or

ii Minim, or 32nd m
''
:, Crotchet, or 64th I ^

aa Qua\er, or 128th
 -3-

To indicate more than three consecutive semibreve rests, a numeral, indicating the
number of rests, is followed immediately by a single rest sign.
Example:

26

e* < a
.

As in the case of notes, the sign T; ? : is used if two consecutive rests of different

values are represented by the same sign. The sign T; ': may be placed between a rest
and a note (or vice versa) in a similar case.

Examples:

{a)
i ib)

-e s*

9*-
eee







o-
eoe-
9
m

oaaos

5.
Dot and Double Dot. Point ;: representing the dot and points .
e repre-
senting the double dot, immediately follow the note or rest which the}- prolong.

Example:

^-
C-JP

a
aaeaea aaae
as as
e -a -a a -a

ea

a a-

9 9 9 9 9 9 9
a -a
-9
 -4-

II Method of Indicating Pitch

Octave Marks
Indication of Clefs used in Inkprint

6. In braille music notation, the full musical scale [ as that of the piano ] is regarded
as having a span of seven octaves, supplemented by a lower extra octave and a higher extra
one.

Octaves are numbered from lowest to highest, and the lowest note in each is C.
There are, therefore, nine signs, called octave marks, which serve to fix notes in the
musical scale.
These signs are:

Notes below the first octave:

First octave:
e

Second octave:

o
Third octave:

Fourth octave:
o
Fifth octave: a

Sixth octave:
e
Seventh octave:

Notes above the seventh octave:

Si'Si..

m ^ ^^
?
a a a -a a -a a a a
a -a -a 9 a 9 a
 5-

N. B. It may be pointed out that the G, placed in inkprint copies on the second hne
of the treble clef, is that of the fourth octave.

7. The first note of a piece or of one of its sections should always be preceded by its
octave mark. No other sign may intervene between an octave mark and the note which it
affects.

8. When a note forms, with the one preceding it, an interval of a second or a third,
the octave mark is not needed.

Example:

m ^

When such a note forms an inter\-al of a fourth or fifth, it need not be preceded by its
octave mark, pro\'ided the two notes forming the inter\al belong to the same octave, but it
should always be preceded by its octave mark when the notes belong to different octaves.

Example:

^ F^^

In short, such a note should always be preceded by its octave mark when it forms an
interval greater than a fifth.

Example:

#

.

.
=f^^^
aa
-9
.


..
-e
.








i







-o
(>
^

g. In books used for teaching sighted pupils, or in order to facilitate the transcription
of|certain class exercises, it is recommended to indicate in braille the clefs appearing in the
inkprint copy.
 6-

The signs used are the following;

m s

W i

These signs are placed only once at the beginning of fragments paragraphs or
|
di\'isions]
any such indication being sufficient as long as the same clef continues in force in that part.
The note following any one of these clef signs is always provided with its octave mark.

10. It is also advisable to indicate the 8va in braille copies intended to serve blind
teachers of the seeing, but only when the clef signs are represented in braiUe. The beginning
and the end of an 8va passage may be indicated respectively by the words, "S\-a" and "loco",
conforming with inkprint usage, or else in the following manner:
The first note of the passage affected is given two octave marks, one indicating where
the note is situated on the staff, the other, (the one adjoining the note) indicating where
it is played otherwise the 8\'a could not have relative meaning in braille. To mark the end
of the Sva passage, it is sufficient to double the octave mark proper to the first note normally
situated on the staff.

Examples:

()

)

-

aeesa-
o e
99
a

a
a
a
a a

a a
e
>

e I e
> a

a* a a e a a a
 7-.

1 ^*fiS^k^ ^_
ib)
i,\-
J.
-^
^
t
<+
*
-
'"***^
5^-fc.
"^a
IT e
r 1 1
^^ d >
I
'

8.':?. loco

o -a a aa a a a aa -a a aa a -a a a t a a aa a
>a
a a
a

a
a
as
o a

a
a

aa
a a aa

a a -a a
a a
a -a a a aa

a
a
-a a

-a aa

It isnot necessary to mention the 8va for the isolated chords or notes in the extreme
octaves of the musical scale.

III. Time Signature

How to Group Small Values

II. Indication of time signature. Time signatures are written outside the text,
i.e.at the beginning of a piece or of one of its sections. When a time signature occurs within
the text, it is always placed between two blank spaces in each part affected, if the text is divided
in phrases or fractions of page (see chapter XVII).

The figures indicating the number of beats (upper number on the inkprint copy) are

taken from the series formed by points ** while the figures representing the value of the

beats (lower number) are taken from the series formed by' points %%

Example:

i 4 or
-:
=13
46-

a-a
f -aae--
-e-oea

-aa-a

a -


- - - a
a
aa
a

a
- a a
a

- -

aa OR aa-- -a m 9 - a oa - aa

12. The letter C, indicating in the inkprint copy, foitr-foiir time and the letter 0,
a aa - a aa
indicating two-tu'o time, can be represented respecti\'ely b\' '.''.'. and '.%'.'.

13. With the exception of certain styles or dispositions of the musical text in braille
(see chapter XVII, paragraph 120), the bar line is not represented in braille. A blank space
or simply the passage to the following line is sufficient to separate the measures.
 '

14- Music Hyphen.

When a measure cannot be ended in a line, the sign point ".?
(called music hyphen) should be placed after the last sign contained in that line, indicating that
the fragment of the measure is being continued on the following line.

Example:

4i' IJjjii.N.njTi^'ii^^ciJ'^
ae e-
- o e

I


o

< e*s-

As a rule, a Exceptionally, such a division

measure should only be divided after a beat.
may occur after a portion of beat, either when a beat contains too great a number of small
values, or when it cannot be written on a single Une, or else, when the musical phrasing renders
the disposition of the text gains in clearness.
such a division advantageous, especially if
15. Incomplete Measures. When a piece begins with an incomplete measure and
is preceded by the
a doubt may arise as to the value of the first note or rest, this note or rest

(already mentioned in chapter I, paragraph 3), if its \'alue is smaller than a quaver

Examples:

{a)
m (The first G is a 32nd)

.

. . . .

(Here
represents a i6th, and
e
(b)
^^ i not a semibreve or whole note).

e
. as e e
a e as

16 Groiiping of Small Values of Equal Duration. When semiquavers [ i6ths J,

^''nds or 64ths form a group of three or more notes,
representing a beat or one of the rhythmical
the note only of the group characterizes the values contained in
divisions of that beat, first
notes are written in the form of eighths unless the group should exceed
the t^roup and the other
unless followed bv real eighths, written in the same line and belonging to the
the fine or it is
an indication of expression, comprising several characters, occurs in
same measure; or else
the course of that group.


9- ;

Examples:

^jjTJJ Jf^J J

a










o

/)
"^ P' ^^3 T' I
d
r
jd

<



o



e

o***-
9 9

i -* m -# i
e . a 99 99 9- -a -9 99 a a a aa a a
o
a aa 9 99 99 9 99 -9 a 99 9 99 aa a- aa a
6 3 a a 99 99
s -a a aa
o aa . . a

If, in groups thus represented, a rest of equal duration takes the place of the first note,
the value of that rest is sufficient to indicate the value of the notes which follow it.

Example:

a a- aa a- aa aa aa a- < la a -a
aa 9 9 9 99

When the method described above is observed, it is advisable to identify as much as

possible, the group |
in braille] with those formed in inkprint by the line [joined stems] which
replace the crooks.


10

X. B.
In order to avoid possible confusion, when semiquavers are followed by two or
more syncopated quavers, they must be separated from the first of the syncopated quavers by
...
the sign ? , T !

Example:

3==^

e
a-

aaa-a
s
a-

a

MS-~3-'

]\ . Triplets. Sextuplets and Irregular Groups

17. Triplet. The sign 2 is placed before the first note of a triplet.

Example:

as
^
aa
rzixJ
a- %
I

L r

9
I
rrp ^^
eaeaeoe- ca o e- aa
o -sea
'

-a a- -a a-a ao 9

-a

9-
e

9 9 aaa- a-
a-
-aaa
-a

-a
-a
a cj o a

When the text contains more than three successive triplets, the sign J ! is doubled
before the first and repeated before the last.
(See "l, page III).
Example: '

W

4
cxT cu cxJ or cxJ* '

cij
ZZI

aaa a- -a -a -a -aaa -aaaa- -a -aaa-aaaa- -a -a -a aaa-

aa--
a aa
-a
a-
a-a
a- -a ae a- ee a- aa -a aa -a -a aa-aaaae-a-aa-aaa-aa

a
-aa-
a-aa


11

When, within a triplet, another triplet of shorter value occurs, the latter is preceded by

the sign ;
J ??

Example:

i8. Sextitplets and Irregiilar Groups. In passages containing sextuplets or irregular
groups, the indication of the number of values precedes each group. The figure, or figures,

indicating this number are taken from the series formed by points J2 but the numeral sign
e
is here represented hy points '.
2 Furthermore, each numeral should be followed immediately

by point '.

19. When triplets, sextuplets or irregular groups are formed by shorter values than
quavers, the first note of each group or the rest of equal duration which replaces it, is sufficient
to indicate the value concerned; the other notes of the group may be written in quavers in
conformity with the instructions given in chapter III, paragraph 16.

Examiiles:

^=f ^-s
1 352

9 O-
o-' e
eeoaa- ee

-e ee e so

{h)

-oaaa- aeo- C9 -a a a

a- -a m 9 -a -saa a a a

> 9 a o a ae

{')
3^
aa a % a *a aa aa a

a a m a a 9 > aa 9 a- a a

. . . a >a aaaea a a '

 12-

When there are more than three consecutive, identical groups other than triplets, the

numeral in the indication is written twice before the first group, but point i is placed only
:

once at the end of that indication; and the complete indication isplaced once before the last
group.

Example:

^ J J J J J ^^ 0=^ \
rnj: ^=p=

aea- - aeo-

-e

-a

-a -a

-ea-
-e

9
aeaaaac-aaaaa-aaaaea
aa ee
9 aa -a -a -a aa
aa a- a- -a a aa -a aa e- ee -a

20. If triplets occur among sextuplets or irregular groups, it is clearer to use the sign
a
a aa
instead of

Example:
 -13-

^'. Chords and Intervals

21. When chords composed of notes of equal vahie are to be played on the violin, (See ^i
the viola and by the right hand on keyboard instruments and, in general, when the}- express v^a^g-e III).
the higher part of an}' ensemble, they are read downward beginning with the highest note.

When chords are played by the left hand on keyboard instruments, on the organ pedal-
board, on the violoncello, and on the doublebass, and, in general, when they express the lower
parts of any ensemble, they are read upward beginning with the lowest note.

22. Only the initial note of the chord is written in its true form and each of the other
notes is represented successively, whether from highest to lowest or from lowest to highest,
by a sign indicating the interval that it forms with the initial note.

Table of Intervals

Second ,: Third ;; Fourth o2

Fifth . Sixth ,2 Seventh V Octavi

Example:

s
fTTT -o-

% t 3SI

e e
.



-e

..

.
*.
-
.e*
.


OS

.
a . .
o- .e - . (

e s e

e
'

> eo o- . .0 . I' '<

23. When a chord is composed of intervals which gradually exceed the octave, the
same signs are used to represent ninths, tenths, etc. as are used for seconds, thirds, etc.
 '

14

Example:

J
i9 Ik"
9
<

o
9
( I

<

as 3 -

.
.. ..

.. .. ..

The intervals of a chord which, without any intermediate interval, exceed the octave,
should be preceded by the adequate octave mark. When an interval sign expresses successively
the same note in different octaves, a third and a tenth for instance, the sign representing the
tenth should be preceded by the appropriate octave mark.

Example:

^3 E

.
a . . . . .

) > o

24. When a chord is composed of dotted or double dotted notes, the dot or double
dot should be placed immediately after the initial note.

Example:

*




i






^m

'



t

>

25. When more than three successive notes occurring in a fully written part are affect-
ed by the same interval or intervals, not modified by other signs, the passage may be abbre-
viated by marking such intervals twice after the first note, and once only after the last. The
two interval signs, indicating the doubling, should not be separated by any sign, and when,
in the course of the passage, an interval is modified, added or suppressed, it is advisable for the
sake of clearness to interrupt or re-state the doubling of the other intervals.


-15

Examples:

i ,. > F > F F f F M J r F.

b) ^^F^Fy=^ i

>
) a
.
'

<

This rule needs very careful application for experience has shown that its indiscriminate
use complicates the reading instead of simplifying it.

It is often well, without uselessly breaking the doubling of interA'als, to re-state the doub-
ling at points where memory is likely to need such aid.

26. In vocal ensembles or theoretical texts for the writing of which one employs
interval signs, when two notes form a unison and the first note written happens to be the initial
note of the chord, then the second note is represented by the octave interval sign preceded by
the appropriate octave mark.

Example:

^^ -:= Sl
m ZS5Z

a aa ia--aa-aa--a--
> aa--

a a
a a a a aaa -aaa -a m aaaa

But when these notes are both represented by interval signs, the appropriate interval
sign is written twice successively, and the second one is preceded by the adequate octave mark
in order to avoid any confusion with the doubling of the interval sign.


-II

Example:

r
L-J.
^m
e e eao
o as
C 9 aoa


a oe e- e* a* a a
.
e
a a o
a
e 9 9 a a

A similar case can scarcely occur in instrumental music except when two notes, one of
which is affected by an accidental, form, the interval of chromatic semitone (see chapter VIII
paragraph 44).

N. B. In England, this device is used principalh- in church music: in all other cases
the stem sign is used (see chapter VII). ^^^^ ,^^ ^^^^^ ^^^^^

2J. parts represented by interval signs cross each other, in order not to
When two
change the respective arrangement of these parts in the disposition of the chords, the adequate
octave mark is placed before that one of the two notes which forms the lesser interval with the
written note. This case, however, happens very seldom, and is only to be found in ^'ocal music
and theoretical texts. When there is doubt as to the clearness of such chords, a discretely
placed octave mark may appear.

^
(See
^
*4, page HI).
Examples: ,
.

^ J
i
r
A
T
^
J
=^

"TV
g ^
(from low to high)
o o -a 9 a -a -aaa -a -
aaa -a a -a -a -a 9 -9 -a aa -a -a

aa
a a

a
a a a- a- 9 * 9 o 9 9 9 -a aaa- aaaaaa

(from high to low)

aa .ca- ..
9
...
.
a a
a

a a -a -a -a a .... .9
aa ' a 9 9 9 9 aa a . aa -a aa a 99 99 9 aa aa aa
a -a -a
aa a
 -17-

28. In several countries, it is preferred to write the chords beginning always with
the lower note, whate\-er may be the instrument on which they are to be played. The pro-
cedure is similar in writing the simultaneous parts of the "in-accord" sign (see the following
chapter), which parts are always represented in order from lowest to highest. This manner
of writing has the drawback that the higher part of the harmony, being generally the melodic
part, is rendered less evident, but it is justified for reasons of teaching and necessary for certain
dispositions of the musical text.

N^

VI. Simultaneous Parts containing- Unlike Values

In Accords] I

29. "In-accord" and "Bar-section" Signs. When, in a measure, two or several parts
which should be played simultaneously contain unlike values, and consequently cannot be en-
tirely expressed by means of chords, each of these parts is written successively. The simulta-

neousness indicated by the sign ?i i? called the "in-accord" sign, placed between the dif-
is
ferent parts, without any intervening space.

Example:

t\
Jf
A
J
V /-
A
4-
A
* *~* ** 1

\'\j ^ ^ ^ m Si 1

a* -0 e e (0

- e >
< a> .


<

30. In the preceding example, the effect of the in-accord extends over the whole
measure. But, when the use of the in-accord sign is necessary for only a fragment of the measure,
this measure should be divided so as to isolate the in-accord section. The simultaneousness is
then indicated by the in-accord sign '.**.'. placed without any blank space between the dif-
ferent parts of this fragment. Thus constituted, the different sections of a mea-sure should be

connected by placing the sign i i between them, without intervening space. Since each
! !

section must contain the whole ensemble for the fragment it represents, the effect of the in-ac-

cord sign cannot extend be3'ond the section in which it occurs.

 -i^-

Examples:

M *=^ p W^ ^ i J '
J_-| TV
-o-

a*

h) ^^^^
f r
i
ra
^ ^ P
< '

,
a
.
.

.
.

.
.

. .

o*

<

ae

o 9
<

-a
a

N. B.
In England, it is customary to use the sign '.**.'. even when the in-accord
-sign extends o\-er the whole measure.

Thesection mark permits, in most cases, the a\-oidance of the use of rests which do not
.appear in print and consequently provides for a more accurate reproduction of the latter.
No rule can very definitely be established as to the length of bar sections, since all depends
upon the contexture of the measures thus treated, and because in this case, one's musical sense
and practical experience can be the only guides. However, it is desirable to avoid the section-
ing of a measure otherwise than after a beat, in order that the section should always preserve
a rhythmical, if not a musical, sense.

31. sometimes necessary to write the whole measure for one part which moves
It is
but little, while for other parts, it is preferable to write the same measure in sections. The
part thus treated should always be written either first or last and be connected with the others
-
by the in -accord sign ?; i? which should follow or precede it, according to its place in the
measure.
 19- ,

Example:

o & 5
r r
r r
r
t ): a " 331
-O-

oo
e

8
oaa
.. ea -a -a
aaa-
a- -a
o9
e o
-ae-
aae
'a
a
oaeo -ao-
-ea- aea- a-
-e
-a
.

Qc .

. a a oaaa ea -oe- oo .. -s -a -a -a o-
a a ooo
a-
a- o *
-a -a -a aa -e
-aa-

-o
-e
aaa-
o -a a-
ft- *
aaa-
-a
-a
a a o ea

a a a o
a oaaa aa * q -a -a -a -o -aa-
a a 9 e
o a aa a - - a a - a - a a
a - o - a a
aaoa- eaaa
-

aa a ea - a -a -a -a I
. .
a . . .
o a ao - -

aa o e
- - - aa -a a a a - - a a

aa 9 * -a -oo-
as- .. a- -a -aaa -a
- a- aa -a a- -saaa-

32. The note which follows either of the in-accord signs or the bar section sign should
always have its octave mark. Likewise, when a measure ends with a fragment which has
been written with in-accord signs, the first note of the following measure should have its octave
mark.

Example:

^^
^Wg^^' ^ '

- aa a aa a - - aaaaa- -a -aaa 9 9 9 o 9

-09
- a -a ae - a
- - a a a - -a a- * -a -- - a a -

- - - a a -aaa - 99 aa a a e - a ae - -

a -eaaa- aaaaa- -a -a a a a a - - - aaaaa- -a -a as a- aa -a a

-
a aa -a -a a- aa ac a- aa a a - - a a a- 99 99 9- aa -a -a a- -

aaa aa a
-

-aaa - - aa aa aa
a aa a a- 99 aa a- -a -a ae a- aa -a -a a- aaaa -- -

- aaa- a a a -a a- aaaaa- -
-

aa - -a -- - a- aaaaa- -a a
a -aaa aa aa
- - a- -a a -- -

- -aaa -a -a a- -a a' a a - - - - a - a aa -

aaa -aaaa- ac --' a a - aa

aa -eat
a
- - - <

- -aea aa - - -

Simultaneous parts connected by in-accord signs should follow one Another prefe-
33.
rably, from highest to lowest or from lowest to highest, according to the method adopted for
the disposition of chords in the instrument on which they arc to be played.

However, the order of succession may be momentaril}- modified when it facilitates,

the reading.
 ;

20-

Example:

o




m



^
e-




'Oc- -e
oao
o-
r-

^^
-o
eo-
'ee*-


ririri
^ i

e*-
-aa- ' ' ' a 9 a a aa - a o
e oa -o 9 -a -a -a a aa -

oo- ... .. a a a a 9

o e

Furthermore, it may be well to note that when the simpler part is presented tirst, the
text is more rapidh' identified in the reading.

Examples:

a a a o a a )

a a a a a a a -a -a -a
99 a a 99 a a a a
a a a a a a aa -aaa - aa -aaa aaaeee -aea 9 -a a*
a
-a -a -a -a -a -a
. . . . . '

9 9 99 . . a -a a -a -a -a -a -a
O ' o ea -a a - a -a 9 9 oa -aaa aa -a

'')
^ 1^0^
3i:
^
i^ J J.

Pi ^ J

a a a - -
oeoo- aaa- a ea -a -aa- -a -aaaa- -a -a -a
a -a a
o -aaa aaa- -o a -a aaa- aaa- aa -a -a -a a- aa
e a ' o eeaa- a- -aa- -- -a a -a -a a -a -a
aaa- a a - - a a aa aa a- -a a- aa aa a- a- aa a aa
o -a a aa a - a a a- aa aa a- aa aa a- -a aa aa a a

aaa- e 9 o o a a -a -a a -a Q a -

34- The in-accord sign or the bar section sign placed at the end of a line takes the
place of the music hyphen. In certain editions these signs sometimes stand at the beginning
of a line, but then, the preceding line is ended by the music h^'phen.

35. Movements oj Parts Expressed bv Intervals. It is sometimes possible, without

using the in-accord sign, to indicate by means of intervals, after the written note or even within
a chord, the movement which occurs in one of the simultaneous parts. Thus may be indicated
two or three successive notes of equal value, each corresponding, according to their number, to
the half or the third of the written note. The interval signs representing these notes are sepa-
rated by point :
 )
<

-21-.

Examples:

55=31 ^
1 <->
J
**
-i
1 ^ 35;

- e

e o
I o

Written \\ith the in-accord sign:

e c
<
'
'

e o e 'c

c ( o e e

b)
S )

f^
**

('
'

r -r
__
jCSI
-t>-

o . . . a . .

- > e c

Written with the in-accord sign:

) <

) ae e '

m rf 9 ^
n



-a

o o - e-

Written with the in-accord sign:

o
e o

e

- -aasa-


a

d) -e-
2fc=^
r r T r

' a ' a .a-a---a-a-- ae-^a

a a ' a a aaa-a
-aaa
9 u
aa -a a a a a a -aaa a- aaei
Written with the in-accord sign:
a a . a aa a la a a
aa
a
a
a

a a
a -a
-a -a

-a
a a a a -aaa*
I a

-a
a
 oo.

Moreover, under these conditions, two interval signs may represent a dotted note and
the note followirig it, the complete value of the two being equivalent to the written note. This
is shown by placing the dot after the interval sign representing the dotted note.

Examples:

m ^.^^
so 9 o oo e O
. o a e e oo o
a o oo os o ae o o o oe

Written with the in-accord sign:

o oo o o o o oo o o e 9 o o ao o o o
o o o o o o o o o o oo a oo o oo
oo o oo o O oo -9 o e - o o ^ o . o e o

e oe

o o o
o o so

Written with the in-accord sign:

a o o 9 Oo o O O '
O oo -9
a 9 o o oo o oo . .
s . . . e
o a o o 9 a 9 O e a o
o o 9 -9 9 9 9

oo '
o O 9 . o 09 e O 9 9 9

oo o 9 9 99 . .9 a 9
o oo oo O O . e e 9 0- -9 99 89 00

36. In a succession of notes thus represented, no octa\-e mark is needed as long as

the distance separating the interval signs from the written note does not exceed the octave
interval. But, when a simple interval is followed by a compound one or vice yqvss., the com-
pound interval is preceded by the adequate octave mark.

Example:

A
i i
^pi J_A --

zss: <>-
:xsi
1
9 -9 9 000 a
a

a

a -a
-a

a a o a <

a a a aa a a a a mm
a 9 o 00
'
O 99 o o
' 99 o 00
 ^

23

Written with the in-accord sign:

This rule appHes also when it deals with intervals wider than the compound octave.

Example:

-4 -^

^^

-

fe

..

.

. .

Written with the in-accord sign:

'

37. The same method may be used for the simultaneous movement of two or even
three parts; but in this case, the different groups of intervals, establishing the simultaneous

movement of these parts are separated from each other by points J Furthermore, the groups :

of intervals constituted in this way always affect the extreme notes of a chord, that is to say,
its upper notes if it is written upward, or its lower notes if it is written downward.

Examples:

P^i^
o

..
..

I*
.

.

Written with the in-accord sign:

o

I*
 - 3 *
/.) s
as -oa- o

oa

99
o
9

9
e**-

o-

OS
9
00 oa -a

O
Written with the in-accord sign:
99 '
-aa- -a -a
9 -9
a- -a

9 9
O-
-oaa

-a
-a
''
-a -a
9 9
-a
-9
-a
a- oaa- -a a- a- -a a- -a -aaaaa -aaaae -aaa a-

C)
=3=^
^
^^F^

a aa
a a a -a

a aa aaa a* . . -a
aa a
> -a -a a

a .. .e -aa-
) aa aaa- aa
Written with the m-accord sign:

a aa a a aa- -a -a -a a- -aaa -a
a a a aaa

-aaa-- -aa- -aaa--aa--

-

aa ' -9 aa- -a -aaa aa -- aa

aa -a
-a a - - - - -

a.Q.. ... -aa-

a-- aa
aa aaa-

r/)
W~2 g :
^ ^
a -a a- -aaa -a a- -a-- -a--
-a - -a -- -a
-

a a a a a- a- -< a -aaa
-

aa
-

a a- a- a- -a aa aa a< aaa- -a a- - aaaa -- aaa-

Written with the in-accord sign:

a aa a a aaa a - - a - a - a - a - a a a . .a - - a
- -
aaa
'

- a -a a ' - a a - - - a . -a - - - a -

aa - - a '
> - a a aaaa

38. In a succession of chords, this procedure avoids the sectioning of a measure; but
if there is an uninterrupted movement of one part, necessitating writing the whole measure in
this way, it is better to use the in-accord sign.
 5

25-

Example:

# a^- ?
s
To be avoided:
a aa -a a a -a
O ' .as. . .
e o 9 a -a ' a
e a a ' a a a a a a a aa a ae . a a e a a aa 9a

Preferable:
a -a a aaaaea- aaa- -a o- -a -aaaa- -a aaa -a
a a a a -aa- -aaaa- -a a a aa e> a- aa -a -a
a aa a a -a -a -a -a a . .
a 9m

39. The examples given in the preceding paragraphs show the application of this
method, especially con^enient in vocal ensembles or theor.'tical texts, ft is very seldom used
in instrumental music, principally because of the confusion that may be caused by the double
use of two octave marks of the higher register.

^^m\affi-Al<il>l,

VII. Simultaneous Parts Meeting on the Same Note

Double-Note Stem Si^ns I
|

40. When two parts meet on the same note (which is represented in print by a double-
stemmed note when the forms of the note values render it possible) one of these parts is repre-
sented by the actual note, while the other is shown by one of the following signs, called stem
signs, placed after the written note.

,
a
Semibre\-e Minim :
I ; Crotchet :

a a '

a a
Quaver !
J T ! Semiquaver [
J J :2nd e

These signs may be followed by the dot or double-dot, when the \alues which they repre-
sent are themselves thus affected.
 26-

The two values thus represented, generally being of unequal duration, the longer value,
as a rule, is expressed by the stem sign. In this case, the latter has the effect of prolonging the
duration of the written note without altering, either in its reading or its execution, the rhythmi-
cal sense of the part to which this written note belongs.

Example:

3JME

ClTHZ ^T^X
i
s^^e^^
^ s^

<



-

a
.
-o u 9*

9 .

.
o

. .

(Here, by way of comparison, is shown how the same example would be written if the
in-accord sign were used).

CI ' o ' e - < -

( e
a c c '

e e ' '- - -




e

<

i
a e '

o
e a-






9

> s -

-e*-

'

o
I o
o o

Since stem signs most often express a melodic part or the bass, their use is not
41.
advisable it is impossible in this way to represent integrally all of the part under consi-
when
deration, that is to sa}', if one is obliged still to use at times, the in-accord sign.
 27-

Example:

i^G?ii^u'
bad:

e

' a

) <

<

'

jood:

O ( o

(
I* (

VIII. Accidentals. Key Signatures

42. Accidentals are placed before the note or the inter\'al sign which represents it,
thus:

Sharp ;
i Double sharp '.,'., Natural '.

Flat ', Double flat ', ',

43. To indicate the key signature, it is necessary merely to write the required number
by placing once, twice or three times in succession the accidental sign in question.
of accidentals
When the key contains more than three accidentals, their number is indicated by a figure preced-
ing the characteristic sign.

Example:

< ) .


2S-

The key signature is placed outside tlie text, that is to say, at tlae beginning of a piece,
or at the beginning of one of its sections wlien it is modified, or whenever it seems necessary to
re-state tlie inchcation.

The key signature is written before tlie time signature from whicJi it may be separated
hv a space. Like the latter, it appears in each part affected when interpolated in a musical
text which has been di^ided into phrases or put in fraction of page (see chapter XVII).

Example:

lfc=
(at the beginning of a piece (modified key signature) z^sr^wv^
J

I a e I

(modiiied time and ke}' signatures) ^^

'
^^ ferfA*
it

' -
-aeca*
'
' '

< ' '

44. The rules concerning the use of accidentals are the same as those used in print
with the two following exceptions. No other sign but an octave mark mav inter\'ene between
an accidental and the note which it affects.

Example:

aa
-a
a-aa--aea-aaaaaaa-a----i
-a- a- - -eoe -a -a -aa-
o a
o a- a- a- -a a -a -a -- t a

-a

laaaa- -a 09
a a a a ' a o -a u
a a o ea aa e a -a a- 9 -aao a ' s e a o
<

aaaaaao as
'

a
m
' a a a a
aa
9
ee
aaaaaa
n -a

1

o ' a a <

.a

m a- -a a ' a

a a a - - a -

a -a a

a a a a a ea

When, in print,two parts are situated on the same staff and are written separatel}- in
braille, it may be necessary to indicate in one of these parts an accidental, even though it does
not appear in that part, in the inkprint copy, ha\ing alread\- appeared in the other part.
 -2f)-'.

Example:

(Incorrect though conforming to the print text)

0900 aooo- -o

>
o- -B o-aeao-
oeoo-09-a-'
o

(on the same staff)

ae a*- -r a-
.. . a- a- aoe- ao

o a mm- m -a m

good:

oao aaaa a- -a -aaaaaa-

-a aaa- -a -a
o aaaa- mm -a -mm- aaa-
10-- a- -a ea a ---a

mm
.. .
aaa- -
.. -aa-
a- aaa

- mm mm
-a -
m a a

In a succession of octa\-es, the accidental which affects a written note is implied in

the doubling of the interval sign, thus avoiding the breaking of the doubling.

Example:

-^^^^^^^^=
rtlfV r'^
--.-4^^^=^^
m mm a a aaaa a- aaaa a a - aa

a a mm aa -< aaa- a - a -o -

>a - -
a - aaaa -a -- -a < - - & aa

tl#^|#^t1^
 e

30

IX. The Slur and Tie

45. The sign placed after a note or an interval sign, signifies that this note or
: :

the one represented by the interval sign is slurred to the foUowing note in the same part. If

a slur extends over two, three, or four notes, it must be marked after each note except the last.
If it extends over more than four notes, the sign is doubled after the first note and placed
once onlv after the last but one.

Examples:

*'
J_.f P

e
. .e -o

b)

. o e o o e e e e- ae
-OS- e
e e e
e - . . . . e a

o e o

. o
. e e a

HE

f
.. .
a..e .............
..

> .- o

46. When a long slur extends over a musical phrase or passage or when it outlines an

accompaniment, the beginning of this slur is indicated by the sign ! 2 T ! preceding the first

note, and the end thereof by the sign '.*.

I', following the last note. When a note happens
to be, at the same time, the last of one slur and the first of another slur, it is precedecl bv

the signs (example b).

 '

-31

Examples:

( a > a a a aa aa aa a

a o a a -a a a
a
a . .
a

&)

oaae- aaaaa- -a -eaoa- * 99 -aaa o -a

a a -a -a a- aaaaa- aa -o o -a -aaa -aaae-
aa aaa aa aa

>a

-a 9

a
a

-aaa

-a
a a- aa -a a-
aa aa aa -a -a -a a- a-
a a a- aa

ro^L^r
9 9 aaaaa- aaeaoaa- aa -< a so a a
-a -a - -aa- - oaoa
- -

a -a -aa- a ea a a
aa
- -

aa -a aa

a- 9 9 -a
a aaa -o - -o -aa-
aa a--a-

The last example shows how shorter slurs may be placed \vithin a long slur.

47. In music written for keyboard instruments, when two slurred notes belonging
t9 . .

to the same partare not played by the same hand, the'slur is indicated bv the sign '.*.'. ac-
cording to the rule given in paragraph 45. If, in such a case there is a succession of more than
four slurred notes, the beginning and the end of the slur are indicated respectively by the signs
aa aa
- aa

'.*.'.'.'.'. '.'.'. (example b).

 Examples:

e e o
<

e -so
O '
-
<

b)
fe^^ ZJ

wm i: ^

. o

o


-

ao***- <
o


o

o oe

o ' e . o o - e o o

o o

e o

such slurs apply to notes which, although belonging to the same melodic part,
When
are placed, some before and some after the in-accord sign, such slurs are represented by the

siens

Examples:

sru
ru
a
o

e
L
o

-
o
^j 1 ^ _>_
-O-

' a o < O O9 -O***'

. .. . .
-

..

Q .

O
. . .(
'
..

..

. .. . .. ..

'0 -e
so*-
oo

o '

 -33-

b)

.


- o-



*.

. . . .

48. When two ormore consecutive notes of the same sound and nearly ahvays of
the same name are

tied, each of the signs representing them, except the last one, is followed
by the sign '.'.'.'.
called "tie".

Examples:

i p r r r f
[J
i>^
I

rd" r r ^=?





-

- - 9

.

b)
^

c so*

-ooaac oa

^ ^
:^

49. When all the notes of a chord are tied to those of the following chord, the sign

: is placed after the last interval of the chord thus prolonged.

 Example:

#
4-

Wf ^^^PP t -IS- -

- -a
-
o- '

(The same example using the ordinary tie)

999 -aaa -a -aaa -aaaaa -a aa

-a a a a -a -a -a
' - -aa 99 99 99 99 99

a
aaa

-a
-a
-aaa
a
-aaa
aa -a -a
-a -a-a
-a

-a
a-
-a
-a
-a

. . . .

. . . . .

a -a a a aa aa -aa- aaaa -aaaaa--

99 a aa a aaa
-aaaaa -- -aaaa-
-a -a -a -- aa
-a -a a 9 9 9
a -a 99 aaa a- aaaaaa
99 -a 99 -9 -9 9 -- -aaaaa -a - aa -
a a a- -- -a -- -a
- a a a aa aaaaaa -
e o aa e a e -aaa -- -aaa - -aaaa- -a -a - -- aa
aa-- -a-a-- -

-a a
ea -- -- aa - -- aa a- aeaaaaaa
ea -o 99 t -a a - -oae -a -aea aa -aaa -a -aaa <- -aaa -e -aaaaa -a - -aaa
a -a a a a- -- -a-- --
a 99 aa -< -- aa a - aa -- -- aa - - aa aaaaaaaa

N. B. In certain foreign editions, [not Frenchj the sign ^ '.

'.

'. isused when, in a chord

of several notes, at least two of them are tied to the following chord. In a succession of more
a aa
than four chords, including one or se\-eral common notes which are tied, the sign '.
9 '.
'.

also may be doubled after the first chord and placed once again before the last.

Example:

iM
ej
<-j

t -^zr
TX~

a a a aa -a -- aa -a - a a - a - -

a -a-a -a -a -a -a -a -a a - a aa
I - a a a a - -
a- aa a- a- aa aa a - aa - -

a - a - -
aa a a - a
aa - - -a
a aaaa aa aa ea


3o-

rendered:

. . . .

(

) O 9 e

50. If, in a succession of cliords written in doubled intervals, a chord is tied to the
following one, it is useless to break the doubling, but the note representing that chord is followed

by the sign '.

i '.
'.

Example:

i ;*=*

-
9 . . . . a

51. When all the notes of an arpeggio are successively tied to those of the succeeding

chord, the sign '.*'.'. is placed after the first note of the arpeggio.

Example:

/^4 j^'T'^Jlri

-e****









-


c-

rendered:

.
.. .. .. . . ..

<









 .36-

52. When either a note or a chord is at the same time slurred and tied, the slur
should be marked first, the order being shir and tie.

Examples:

gFt=^
g^^g^jg

b)
^Ji

53. The stem signs may be followed by different slur and tie signs affecting the part
which they represent.

X. Accent Marks

54. The se\-eral marks of expression and accentuation are represented as follows:

Staccato :;
J f Staccatissimo !
i Ji I Ten uto staccato
ten.
.... r r .. ..
r
Tenuto .11',
c Martellato ..1
:; ;,
Portamento staccato . . J ' '
I

;.: r
Accent !
i Si1 r Inverted sforzando

Crescendo and diminuendo on a note ^;; r

 With the exception of the portamento staccato, all of these signs are placed before the
notes affected.

Notes which are affected by the portamento staccato, being both staccato and slurred,
the staccato sign J; is placed before the note while the slur sign : ; is placed after the note.

Example:

-&-

aa
. % . . % . a . . . .

) <

55. When more than three consecutive notes are affected by one of the above signs,
the sign is doubled before the first note and placed once only before the last.

XI. Fino-erino's

56. The following signs are used to mark fingering and are placed after a note or the
inter\'al sign which represents it.

1st finger '.

'.

2nd finger ]vd finger J 4th finger * '.

5th finger ; :

Example:

s -o-

4 5
2 3 m
y
fi tB
*
" ^
^ m
\h \

\y
J !

9J

e




. .







* .

 ;

38-

A finger sign may be separated from its note only by the dot.

57. When fingers are changed on a note, the finger signs are connected by a shir : :

Example:

53

^^
2 1
2 1
i -

. . . . .
. o . . . o

> <
'

a .

e o

. . o

58. the text presents a choice of fingerings, these are written successively after
When
each note affected. Great care should be taken always to present the alternative fmgermgs
in the same order throughout the passage thus treated.

When a passage may be fingered in two ways and when, on one note, only the second fin-

gering is marked, the given finger mark should be preceded by point !

Example:

-



e CO
- '

'

_^i!y&^^^
"?,,",'.'? j
"
 -39-.

XII. Note and Chord Repetitions. Tremolos

5g. Notes and chords repeated in equal values of shorter duration than the written
note are indicated by one of the following signs placed after the note or chord affected.

Fractioning Signs

'
In crotchets '.* '.
In quavers :
*. In semiquavers ! T J

*
In 32nds '.' In 64ths :r ;:

Example:

^i '
U i t I'T^^ ^ -G-
^
-


>






-
aa

rendered: ...
. . . 9 ' -o ' ' e- ' '


.
eaoa oa*a* -.

..
-e

60. When it becomes necessary to double one of the above signs, only that part of
the sign which determines the \'alue of the repetitions is doubled after the first note or chord
and the whole sign is placed once after the last note or chord..

Examples:

') ^5 1^ JSr- ^
"-

e-

 -40-

b)
im^^^=^ ^^ i i

o*

a >

a* a
a
) so

6i. The rapid alternation or "tremolo" of two notes or chords, repeated successively
in notes of smaller \-alue, is indicated by one of the following signs placed between the two
notes or chords which alternate.

a ' '

Quavers Semiquavers '.

32nds 64ths

Example:

. a
aa

eao

a aa a

a -a aa a-
a
a
a a a
99 a
-

a*- aaaa -aa- a- a aa a a<

Care should be exercised never to double tremolo signs.

 -41-,

XIII. Indications of Movement and Expression

62. General indications of mo\'ement, cliaracter and expression are written fully
before the ke^' signature.

63. The metronome-mark is expressed by the note C of a value corresponding to

the duration of a simple oscillation of the pendulum; this C is immediately followed by points

2; representing "equals" and the number of the graded scale under which the counterpoise
must be placed.

Example:

Jr 60 1^=132
'

J-- 120
eo




-

Sometimes in print this order is reversed. It is well then to conform the braille text to
the print copy by writing successively the number, the sign for "equals" and the note C indi-
^b the value.
cating;

Example:

96=J U4 = J

e o* -e '
' eo

(As an example and corollary of what has already been seen in chapters III and VIII,
a succession of indications is presented in their order of sequence, appearing either at the begin-
ning of a piece or in the course of it).

Example:

-o
m
^


Andante espressivo 6

#
n -ee**-
ae

=

60

o o o- o- o- o-

o
-oo-ao -
o*
oao--


64. Indications of movement and expression appearing in the course of the text are

placed before the passage to which they They must be preceded by the sign ;T called refer.

word sign, in order to distinguish between literal and musical characters. The continuation
of the musical text is shown by the adequate octave mark which must always precede the first
following note.

Example:

e




^

f


(

isi

dolce

o |. .. -o < I

When composed of several words, it should be as independent as possible

an indication is
of the musical text; so sometimes necessary to use the music hyphen to divide the measure.
it is

Each word is written between two spaces and only the first should be preceded by the ivorA
sign (example a). Such indications may be placed between parentheses, the word sign being
then superfluous, but the octave mark should precede the note that follows (example b).

Example:
Poco rit. Tempo

esprcsszvo

eo eo- e- a c -a a a -a
a)
.0

o

0.
e -so-
.. .

.

o-


)

I
.

9
< aa

-a
-

a
a
a a
-a
a o- aa aa a- oa a aa a a a a -a a

a e a a a -a -a . . . . . .a aa a aa

o a a ' a a

. -a aaa- a a a a aa aa a
9 o -a 9 99 99 9
a a a a a aa -a
99 99 99 99 99 aa aa a a a

a a
a a 99 9 aa a
a

a e o a aa a a a ( a a a a aa
a

b) a a a a a a a aa a a ' a

a e a a a a > a a
a a a a - - aa a aa a a - a -a -

aa a a a a a a a aa a a - -a a a a a a
a a
a
a a a a a a a a a a a

a a a a a a a- 99 99 9-
99 -9 a- -a aa
aa aa aa aa aa a- a- a- a- aa

a -a aa a- ao a
a -a
 43

N. B. In certain foreign editions not French |, expression marks -are not only placed
|

between parentheses, but the first parenthesis is preceded by the it'ord sign.

65. Indications of expression and movement, except those mentioned below, should
conform exactly with those appearing in print.

Crescendo or cresc.


o

e eo . . -

Decrescendo or decresc.
e ae

Diminuendo or dimin.
s CO

Beginning of diverging lines for Cresc.
e

Beginning of converging lines for Dimin.

The end of diverging lines for crescendo is represented by the sign
e

The end of diverging lines for diminuendo is represented by the sign

The two last signs given above may be omitted whene\-er another mark of expression
implies the end of diverging or converging lines.

Example:

i^p1=

-

.. ao



e e
9
o e
o

-e

e o -e a . o ' e e

Preferable:

e a o

a . . . -a
o e

66. When consecutive indications are each composed of a few letters only, it is not
necessary to divide the measure by the music hyphen, but then the different indications should
be connected by the word sign.
 -44-

Example:

o- o* OS* e- o e oe* -o -o**

-ee- o-

o -csos- 9 -o -oo' 9-

e
o

9 '9 009- -9 -9 -9
0-- --oo ...

67. Often, in print, an indication is prolonged by a dotted line, the end of which is
. s

represented in braille by the sign i? i! nnless another indication should implicitly cancel
the effect of the one thus prolonged.

XW . Ornaments

*
68. The appoggiatura, or long grace note is preceded by the sign '.'

Example:

i%^fe^ ^2 fa f-

9 99 9 .0 9- 00 990' 9 ' 99 99 9'

-99'
9 -9 e- '9 9- 99 09 -9 9- 9- -Q 09 9

9 9 OO- -9 -O -O -O .99- - 9 9<

6g. Short grace notes, whether isolated or in groups, are represented by the sign

characteristic of their value, preceded by the sign T;

Example:

^m
JL

99 9- 99 99 99 9-
m
I- <9999- -99- -9 99- 999- 9-
9 ' 99 '9 99 -9 99 9- -9 - '9 99


-4o

When a group contains more than three short grace notes, the sign T; is doubled
before the first and placed once only before the last.

Example:

i :^ I 3e:
^







..
.
.
.

.
a
..

As a rule, grace notes should always be written in the same line as the principal notes
which thev accompany.

70. The different signs representing turns precede the notes to which they belong
or the interval signs which represent the notes. These signs are as follows:

Turn ajter the note: TJ

Example: effect:

cv-

i :Z2=
g i p

o
>

Turn on the note: ii TJ

Example: effect:

e


i

>j

-
g

4^
^



46

Inverted turn after a note; TJ J

Example: effect:

a
-^
^ '
.^^

i*=

i' f

^
I

' '
'

Inverted turn on a note: ii *\ J;

Example: effect:

^ yn-

i
-,
x_ ia r^
lA
V J 4^
J

'

> -

'

Accidentals which affect a turn are placed before the si^n which represents it. The
accidental affecting the lower note is alwa\-s preceded b^ point '.

When both the high and the lower notes ha\"e accidentals, the sign affecting the higher
note is marked first even in the case of in\'erted turns.

Examples: effect:

CO

i
f P ^4 J. ^f S





'

'

' '
' ' -

' e '
<

^
effect:

b)
i .0 o -

i i - ' ^ " ^^ ^
t;
'

CO
'


' '
' . '


...

-

 47-

effect:

CV3

i 9)
i i * m
-o
>





'

effect:

CV3

^m
piiMn 1 1
mi nil
I?

d)
^3i
e
n


- o*

effect:

CS5

ig=
J r
aSaB^l
r r ^ fe i^^^n?^

. .-
e- a-
eeo
-oe
I- ' -eo'
-09- OS ' oeeo
'
-

. ' o< o -' ea -oso -s ooo

^
X

i fWW=^
oo -ooooeo-
oooo - ooeoa
-ooo-- .-. .. . -OOI
-oo
O -O -O -O -O
-O -O -O -O -O

effect:

oo to oo o- oo -o oo oo o- OS oo o
OOO0-- --o- -o--

. . -oo
OOOOO
. . . .

o oo o oo -O << -O -9 'O -SO)

 48-

effect:

^ e J^3^ E^

-

-- -

effect:

h)
M

>'

ct

p

i



-^

'
z^ *

'
'Jj
^ r

effect:

ir^ 1^ ^^i fe ^
-
n'l
^ #^
XM *Tf*-
k
I '1^
tT
ff:

e ) -

-ao**-


.
.. -o*-

e-

.e -9 ' a e- < a

effect:

i)

t -JBiae,^
:x:
iW^^
-e ' '
'

' '



'

effect:

k) ^=i cn^^ ^P rTW JE

. . . . .

(
. ' <
 ft

I)
i p~i^aht
#F=^
'

> '
o
<' ea '



a

' '

'
o-
'

(

effect:

iJ^ H

I*
^m t
'

' '
^Hii^


o-
...
- ' '' '

71. The different signs representing the mordent precede the note which thev affect
or the inter\-al sign representing the note. These signs are:

Upper mordent: '.*

Z*

Example: effect:

E
'

'

'

'

'




<

'
^

'

'

'

'

'

'

Extended upper mordent '.

Example: effect:

i
- - '

'
 50-

Lower mordent:

Example: effect:

^
^
<o e
a o*

- < o

Extended lower mordent !

2 J? J

Example: effect:

o
a
a
a

'
^
f


A-^

a
.

a
o
a

a


a
a a<

'
9 aa -a aa -a a-
-a aa -a aa -a a-
aa- a- a- a- - aa
CeeE

o a a<
Extensed upper mordent preceded by a turn: a

9 a

Example: effect:

^^-vw

M
a e e a a- aa -a ea ei' aa C' oa
a a ' a a a - - - o a -aee a -o -a -a -a
a a a - a o a o

Extended upper mordent jolloived by a turn: :J J? TJ

Example: effect:

wv
ma -m-i^
1^ ' Q
p
a aa
a a a a -a -a -a -a -aaa -a
a a a -a - a
 .1-

I
Extended upper mordent preceded by an in\-erted turn:

Example: effect:

r^

IP ' OS
' ee

-o 'C -e -o

Extended upper mordent /oil meed by an in^'erted turn:

Example: effect:

vw>
'^
p frf

I-



e*
-e

When, in which are combined ^\ith mordents are represented merely by

print, turns
cur\'es placed before or after the mordent, either above or below, the last four signs mentioned
may be replaced bv the following which, in this case, preser\'e respecti\-ely the same meaning:

: :: : equal to ::::*

: : ,: equal to ii :

:, :: :* equal to 'J J: :

'
: : :: equal to I
','

N. B. In certain foreign editions [not French |, the signs : : ij J* and ij JT : :

are
*
replaced respectively by the signs '.'
;J JT and '.J JT '.

72. In case of double turn or double mordent, it goes without saying that the charac-
teristic sign is placed before each of the two notes, e\-en if one of them is represented by an
interval sign.
 52-

Examples:

ir^^ff-^ b) ^=r
C\3
"T

'
-

'

'
- - <




'

'I
- I

73. The trill is marked by the sign JT preceding the note or the interval sign
which represents the note.

Examples:
//-...

)
i 1221
3

effect:

b)
m
?

4i\

effect:

I ^^^F^y
I
 5:1:

74- As in the case of the mordent, a trill is sometimes combined with a turn. In
this case the signs are grouped in the same way as those shown in paragraph 71 but, ot | |

course, the trill takes the place of the mordent.

75. An accidental placed abo\-e or below one of the foregoing signs (mordent or trill)
is written in braille immediateh- before the sign.

Examples: effect:

w
-^




'

'

a

.

a


m
^

a
'
'

.a

.

'
a

effect

*v
m a
b)
ip
^ ?
mr
l
^w
I t I

a
a
. . .

'

76. Finger signs which sometimes accompany' a turn, a mordent or a trill, are placed
after the note or the interval sign affected by one of these ornaments.

Example:
CV43 2

- ' a a a a a
' -a -mm
'

asaaa-
-
-

''

-

e-
a ' '- Q m ' '

N. B.
In print copies of older classical music one sometimes comes across certain curves
accompanying the note, the meaning of which may not be apparent. In such a case, it is ad\i-
sable to devise an appropriate sign, taking care to explain it.


W. Repeats, l^artial Abbreviations and Bars

77. The frequent use of repeat signs and partial abbre\-iations constitutes one of
the main differences between print and braille music. For, whereas, in the former, the necessi-
ties of sight reading render the use of repeats inexpedient, in the latter, a great deal can be done
towards clearness, saving of space and ease in reading and memorizing by their judicious use.

78. Repeats. The fragment to be repeated cannot, in any case, exceed a measure.

The sign J J is placed immediately after the fragment to be repeated. Except in unu-
sual cases, a repeat should not cross the natural division of the measure in beats or fractions of
beats. A rapid examination of the measure considered and the place occupied b\' one or se^'eral
repeat signs are sufficient to show the value.

79. The repetition of a half-measure and that of a beat are often used.

Examples:

a) fe
S R=H iLrC,-g

i^ i
3^3E
i::;.jT"

. '.e.
.'

!
.*
.*
.
..
.*
'
- .. .*
. o a-

.
.. . .*. ' -.

. ve -o

.

. .

a

.





-

means:

. . I . '

. . . . . . .

s
- e . .

o e . -
. . . . . . . . . o . . -
. . so o . . e I

c* . o . '

. ' . . . . . . .
. . I I .
 -55-,

b)

e a a
e o ' o
a (

means:

o*
-o
-oo*


e

o

..

-o**



'
-o

'

<
-o
)

-t <

o -o**

As is shown by the last two measures of example c) above, the fragment which ends a
measure, when it is repeated at the beginning of the following measure, cannot be expressed
at the beginning of the latter by the sign. JJ

Example:

bad:
i 6? ^ ^^;^
r^
Mt-M*
r^^-^9--
^mxE3sTm
J

-a o e e e
e
o so o e e o I o o
9
as . . o a o 3

90-
CO
'OO*


-9

O 19 90 99 SO OS ' eO O ' 9 9

8o. The repetition of a fraction of beat (half or third) is of more delicate and less
frequent use. Such a repetition is advantageous especially in the passages formed of rapid
values or in formulae of accompaniments of which the rhythm is easily disco\'ered.

Examples:

99
9
fe
9
.
^^
99
9
o 9

9 9
9 9
9 9
9 9
99
-9
9
-
-

'
9 9 9
9 9

9
e
9 9

9
9
9 9

 !

o6-

b)
^
9

O


O

-9
-9 '0 00 99 'Oao
-as-
9 a

90 99
O 99 99 99 99 9 99 9- 99 99

meaning:

9 9O 0999- -9 ' 9- -9 9- -9 -Sg- 99- -9

9 -9 9 -9 99-9 -9 99 -9 -9 99 -9 -O -9 99 -9 99 -9 -9
99 - e 9999 9999 - 9999 9 999-

C. .0..9. .8--
09
-
9 99 -9
9 9- 99 9-

It is well to notice that example b) above could be written by means of fractioned chords
but it is alwavs better to conform with the inkprint copy.

When
a portion of beat is repeated consecuti^'ely more than three times, the sign J J
can be followed bv a numeral indicating how many times the repetition takes place. If, in
the same measure, such an indication is followed bv a note, the latter is to be furnished with
its octave mark.

Example:

Si. Two consecuti\-e repeat signs not having the same ^alue are to be separated

b\' point i

Thus the first measure of the preceding example (paragraph So) should read as follows:

Example:

9 99 9 99 ' 9 9 -99 99
9 9- 9 9 9- -9 -9 -991 9 -9 9 9 9 9 ' 9 1

' 9 9 9 9 e ' 9 1

82. It has been said (paragraph y8) that a repetition should respect the natural divi-
sion of a measure. Exception may be made in certain special cases such as chords of synco-
pated values.
 -57-

Example:

^^ f i
m
i

i
p
- -
4.

r-
5 p ^"W
)

..
..
I

'


-

S3. When the sign J 2 requires the repetition of a whole measure, it is placed be-
tween blank spaces. When a measure is repeated more than twice consecutively, the repeat
sign JJ is followed by a number indicating how many times it is repeated.

Example:

g-f
"^W^W o
IE g I ,

'
- s
' e

a '
o . . .
e
- ' o a

(The last measure is played four times).

N. B. In
certain foreign editions not French |, there are indications of this kind in |

which the numeral sign is omitted. Then, the numeral indicating how many times the repe-

tition takes place, immediately follows the sign JJ and like it, is taken from the series formed
a
by points J|s
I

84. The repeat sign placed before or after one of the in-accord signs *.*.
JJ

or '.*.*.'. repeats the corresponding part of the preceding measure or section of measure.
 !

58-

Examples:

r 'T- '
r
'

r- ? ^
> a ' I a -a
- - I I a -a
e
e a e o
< I

a a -a
> a a a a a a -a
'I I so 9 I s a a -a a a a a a o

r^ e a o -aoaa- a a a a a a -a

et

a- -a -a a- -a a- a aa a
u -as- m -a -a a a aa

)
^ -?
t- / :* :J: ^
il i
7 */

^
r f r r
f
aaa -oaa - aa -aa- -a a- -a -aa- -aaa
a -a -a -a -aaa -a -aaa -a -a q 9
aa a aa -a

-aaaaa aaaa -ma- a 99

a- -eaaa- -a aa- aa -aa aa -a -a -aa- -aaa -aa
aa-aa
-aaa -a -a a- -aaa aaa-- -aaa-aa- - -aaa-- -a
aaaa -aa- aa -
a- aa- -ao- aa -aaa a aa -a -- aa - <

aa 'a aa -a -a -a aa a . . .

-aaa -aaa
.

'aaa -a
a -a aa - eaaa '

85. When a measure including repeat signs is broken by the music hyphen, the text
should be set in such a way as not to place a repeat sign at the beginning of a line.

S6. A repetition includes all indications of expression, accent and slurs.

When the same slur extends o\-er a fragment and the repetition of this fragment, it is

clearer to replace the signs '.'.'.'. '. '.

by the signs ! J ? which
present the advantage of enclosing the whole of the passage affected.

Example:

a aa 9 aaaaa- aa -- a- aaaa -aaa a -

aa-
- -

a -a -a -a a- aaa- aaa< a a aa- -a aa a- aa aa aa aa -a a

-

aa < -
-a - oa aaai a a-aa aaaaaa--a
a a a a .. .. 99 . ..

o . . . -- aaaa -a - a-


-59-^

The example gi\-en above is better than the following:

Example:

ea '
'

a



< o** <

'

8y. It is not advisable to combine repeat signs with the slur : [ for less than four
notes.

Example:

to be avoided:
i
f ^

<
- '








<

preferable:
e '

) - ' - <
c e ' OS

88. The tie affecting the last note or the last chord of a fragment to be repeated
(measure or fraction of measure) is placed not after the note or the chord, but before the repeat
sign, and, in order to be included in the repetition, the tie must be placed again before the note
or the chord b\- which the musical text continues.

Example:
a.

^
ja.
^^
P 3e^ ^ TfTfi Ff
-^o^

f^

S ^' ^^
m m
31

'
.?2_

o e -
I

<





-

ae
a

I > >

' -e
-
'



 (iO-

rendered:

a a a a
e . a a -

a a a a a a

a -a -a aa

.

.
. . . .
a-
-a
-a
-a
-a
-a aa a-
-a -a aa
a aa
a

aa

a .

aa aa -a
.

-a

a a a a a a -a

....

a a
I

a a aa a 9 a '
a aa

o . .a . .
a . .

a a -a a a a

e 9 o a a a a

89. Partial Abbreviations. When a passage has to be repeated immediatelv, a

number placed between two blank spaces indicates how many measures the passage contains.

Example:

^
S^P
1 ^4=i^
rf If ^71^ r
^ I

f ^ r
'
'
'r ^^
s r
I

r
'
'

r
'
r
'
'r r r r 1^
P

gg^^
^
^
a aa a a a aa -a a a a a -a -a a a

aa -a a -a -a a a a 1 a a aa a I aa

a a a aa a a a -a a a a aa -a . a a
a 9 a aa -a -a a a a a a a '
a a
a -a mi -a -a aa aa

90. If one or more of the last measures of the passage are not to be repeated, a first
numeral shows how many measures should be counted back and another numeral, placed
immediately after the first, shows how many measures of the first number are to be repeated.
 ()1-

Example:

fr>4 r J
^^ ^ ^m
t^=^

^

I '
^

-&-

'
' ' '

- ' '

9
(The abbreviation ,J :" iJ :: signifies that, out of the last four written measures,
only the first tliree are repeated).

Tlie first note of tlie measure which follows one of these partial abbreviations must always
be provided with its octave mark.

91, Partial abbreviations should not go back more than eight measures. Neither
should the\' repeat m.easures which have been included in a preceding abbreviation.

Partial abbre\-iations should ahvavs take into consideration the meaning and flo\\- of
the musical phrase.

92. As a rule, nuances are included in a repetition' or partial abbreviation. The

nuances may
be modified onl}' if it is possible to mark them immediately before the repeat
sign or the numerals indicating the partial abbreviation.

The word seiiipre may accompany an indication placed before a repeat wdien the effect
of this indication seems to extend throughout the whole fragment expressed by the repeat.

^3. When one or several beats, or one or several measures are repeated in a different
octave, the repeat sign, or the indication of the partial abbreviation, is preceded by the octave
mark adequate to the first note of the passage thus repeated.

After such a repeat, the next note should be preceded by its octave mark.


(i2-

Example:

^ ^^^ i
!
i
i \f t} i \

f
f^^^f
*

SS ^
e -


o
o

-

'

- e
'

'

94. Seg7io. The segno is placed between two blank spaces, and in each part affected,
before the first measure of an extended passage having to be repeated later in the course of the
piece.

The segno is indicated by the sign ii alwaj's followed by one of the letters a. b,c,d,

etc.,according to the number of segno passages occurring in the text. Tlie sign !i is
placed at the end of the last measure of the fragment to be repeated.

The repetition is indicated by the segno preceded by point '. ' and is followed by a
numeral indicating how many measures are to be repeated.

Example:

w =^=^
^ -* ^'-ei-
-0-
8

M 9

fe
10

&
1:-;
1

-&_

g 1*^r
tj- ^ ^F=^
^
7 8 9 10

^ I o U .

m
nr-^ i

rcr
r
15

>
e
<
-

'

.



a
. . . . .

- '

o
- a


 -63-

When the musical text is divided into phrases paragraphs |

|
, it is preferable not to ex-
tend the same segno beyond the phrase which it affects.

95. In foreign editions not French in which measures are numbered, partial abbre-
I
|,

viations mav be indicated simply by writing the number of the first and of the last measure of

the fragment to be repeated, separating the numerals by points ;;

Measure numbering not being used in France, it is superfluous to enter into the details
of such usage, which in fact, is quite simple. To comprehend the method it is sufficient to
know the following:

i) According to the style adopted for the particular text under consideration, the numer-
als are placed at the beginning of every line or of every paragraph. Each of these figures
indicates the number of the first full measure beginning in the line or paragraph. If a line
contains only the fragment of a measure begun above, the number of that measure is stated at

the beginning of this line and is followed by point ; :

-

2) If the piece begins with an incomplete measure, that measure is numbered

Measures included in repeats made by Dal Segno or double-bar signs are not counted
3)
in the measure numbering. Howe\-er, prima and seconda volta measures, or any other variant,
receive together a single, adequate number.

4) In formal works, such as sonatas, concertos, etc., each of the different divisions or
movements is reckoned as an isolated piece.

96. The segno sign appearing on the inkprint % is represented by the sign ;;

The repeat is directed by the sign '.*.

'^i and the indication Dal Segno may be abbreviated by
c

'

' '

Da Capo is written ,'

97. Bars Double-bars are represented thus:

The double-bar {| T, ;: is placed at the end of a piece.

I,
The thin-lined double-bar 11 ;;;: separates the different fragments of a piece.

The double-bar 1 1 | followed by two dots in inkprint | T; JJ is placed at the beginning

of a passage which is to be repeated immediately.

. . .

I
preceded by two dots in inkprint | \ I. is placed at the end of a pas-

sage to be repeated immediately.

N. B. The double-bars occurring before the first measure or after the last measure
of anv partial abbreviation numeral repeat are not included in the abbreviation.
| j
 (it

98. The indication Prima ]'olia [first ending] and Seconda I'olfa [second ending]

showing the variant readings at the end of a repetition, are marl<;ed rcspectivelv b\- iJ *!

and iJ j! preceding the measure or measures in question.

X\'l. .Miscellanc(_)Lis Signs. Special Abbre\iali()ns

99.
Hand and Pedal Signs. In music written for ke\-boarcl instruments, wlien tliere
isneed of indicating tliat the text is plaved by one of the hands or on tlie pedals (organ music),
one of the following signs is placed before the first rote played by the hand designated or on the
pedals.

i iT for the right hand, for the left hand, '.*

t* for the pedal.

The first note wliich appears after one of these three signs must alwa\-s be preceded

by its octave mart:, and the sign is followed by point i! if separated from the octave mark
bv another musical sign.

Examples:

* ^" m *
'' m* if* <
S
^^^J d
h 1

^ 3=^
f ^f
^







'


'


-
'
' '
' -
I

<

' 'I
<

-

 65-

b)
i^r^
m 3
W
^ ^p d:
^


' '

' '



'

'





'

'

'
'
'



<

100.Arpeggio.
The arpeggio is indicated by one of the fohowing signs placed
before the nominally written note of the chord:

[a] \ Arpeggio indicating that the notes of the chord follow one another from the

lowest to the highest iT i 1

(&) ;:
Long or continnous arpeggio, formed of the notes of both hands (keyboard

instruments) from lowest to highest !
* , ' . ! The sign appears in both hand-parts.

loi. Pause. T\w pause ^
*, T: is placed after the note or the rest which it

affects.

\Mien, in print, the pause occurs over a bar-line, the sign *,\. is written between
two spaces.


*
When placed between two notes, the pause
it is is represented by the sign :
*

which is written between these notes.

102.

Commas. The comma ' indicating a short breath, is lepresented by the

sign !
i i ! placed after the note.
'
The crossed comma, indicating a short breath 9 is represented by the sign ,*.'.'.

placed after the note.

103.Variantes. When a passage may be played in two (^r se\-eral ways, the \ariante
or variantes are written successiA^ely after the passage.
 ,

-()().

The fragment constituting a \-ariante is preceded and followed, without an}' intervening
space, by the sign \ The number of measures contained in the \-ariante is always indi-
cated immediately after the sign placed at the beginning, even \ when the variante does
not extend over more than a single measure.

Example:

^
fe ^tf
(p J I J I I
I
i

M i
I I I I I

~9

OSSIA

^^
-ij-i.

-aa* --aa
a 9
... ... ....
aa % -aa- aa -a -aa- -aaaaa aaaa
t


m

aa a- a- a- -a
-aaa-.a- -a

a-

a
a- -a

-aaa -a
a--

.. . 9 m
-aaa -aaa
. 9 9 m a- a- -aa- -a
a- -a 9 -a a- a- 9 mm u 9 -aaa -aaaaa -a
a a aa-- -a-- - a a a a
a a -a a - - -

-aaaaa-aa-
aa a

Ifa passage has several \-ariantes, they are successively numbered by figures preceding
them. Thus, three different variantes would be preceded "respectively by the indications:

- a a a
-99
a a a - - - - a a -aaa - e a
- a - a - a - a o > - a e - a - - a - - a
aa - - a a a a a - - - a a a - aa - - - a a a -

The first note of a variante should always be preceded by its octa\-e mark as also should
the note which begins the musical text after the variante.

104. When notes are written in larger or smaller characters in inkprint, thev are
preceded in braille by one of the following signs:

Large notes .1 * Small notes or optional notes '.9*9

These signs may be doubled as stated in chapter XIV, paragraph t>g, but only that part
of the sign formed by points \ is doubled.
Optional notes are written with the in-accord sign, when they are played simultaneously
with another part.
 -67-

105-
Blank Spaces. In theory exercises or in examination papers, if the inkprint con-
tains a blank space which is to be filled in by the pupil, this blank space is represented in braille

b\- the sign not separated from the rest of the measure of which it forms a part.

io6. Pagination of the inkprint copy. It is customary in France to mark the pages
of the print copy books used for teaching sighted pupils. Such indication should include
in
the number of the page or pages from which the text contained on the braille page is drawn.

The beginning of each print page is marked in the course of the braille text by the sign
:T V i^laced between two blank spaces, in all parts if the text is di\-ided into phrases. Some-
times the sign '.*.*.* is placed before a general indication of mo\-ement or before a title.

107. When a passage, expressed by a numeral repeat or a segno, turns over a page

in print, two numbers, separated by the sign when added one to the other, how '.**.* indicate,
many measures are contained in the passage. The first number, which alone is preceded by
the numeral sign, expresses the r umber of measures belonging to that page, the second expresses
the number of measures belonging to the next page.

Example:

'

means

-
-

means

108. Melodic Progressions.

Only the first group or pattern of a melodic progression
is written in full. Successive recurrences thereof on other degrees, if absolutelv identical.

may be indicated by their initial note followed h\ the sign ',',

Example:

i^E J^J^' 0^' ^

'

means

<

e o '

0









- I

 : :

08-

log. Parallel movement.

When in music for l<;eyboai-d instruments, one hand mo\-es
parallel with the other, a third, sixth, octave or tenth apart, without changing the key signa-
ture, the writing of this part may be abbreviated by placing between two spaces the adequate
interval sign to indicate the distance between the hands. When this parallel movement extends
o\-er more than two measures, the interval sign is to be followed by a number indicating o\-er
how manv measures this abbre^iation extends.

Example:

. . .
.

e ' '

When a part abbre\'iated in this waj' is more than an (jcta\'e distant ivom the written
notes, the indicating interval sign is preceded by an octave mark.

This abbre\'iatiun may be used in organ music fur the left hand jxirt it the pedal part is
written first, or in the pedal part when it follows the left hand, according to the disposition.

Such an abbreviation maj' likewise be used in ensembles, trios, quartets, etc. in this
case the indicating interval sign is always determined by the part written first.

N. B. These abbreviations are not important and are entirely given up. in France.

no. Suhstitutiuji.
A long succession of notes which necessitates the \'erv frecpient
use of octave marks may be written, if the notes are of equal value and the passage does not
exceed four octaves, bv means of an abbreviation called substitution which a\-()ids the use of
octave marks in the passage considered.

This abbreviation is indicated by an octave mark fixing the lowest octave of the span of
the musical scale set aside for the passage thus treated; the octave mark is immediateh' fol-

lowed bv the sign : , called substitute and b\' one of the signs listed below indicating the value
of the notes:

crotchets '.
'.

quavers semiqua\'er;

52nds ? 64ths ;

Example:

-B9-

Thc duration of these notes being known, the signs of \-alue may momentarily drop their
usual meaning and be used to indicate the place of the notes on the musical scale shown bv the
octa\-e mark, each series of signs referring to a different octave: quavers to the lower octa\-e,
thence in ascending order minims, semibreves, crotchets.

The reappearance of an octave mark is sufficient to indicate the end of this abbreviation.

In the course of a passage thus treated, it is advisable to repeat the indication of the
substitution after a nuance or in any other case usually necessitating an octave mark. It may
be well to point out that the span of the musical scale reser\'ed for one passage mav be altered
bv an adequate octave mark shifted to fit a passage higher or lower |
|.

Example:

.?
'
mmw e
e
IS

cr r

' '

lo
a

'''
' '
'
e o e Q

'
'
o* ' o ' e* as ee
' o ' ' e*a

' e
' '

rendered;

-



'



'


'

' '


' ' ' ' e

. e

e

-
- o e o

 - 70 -

N. B.
Substitution which is still employed in certain countries is practically aban-
doned in France.

i^^fi

W'll. Disposition of the Musical Text

111. The braille music notation does not render impossible the setting out of the text
in score |as in staff] but the musical text thus represented occupies much space and cannot
always be comprehended by touch.

Before explaining consecutively the different methods of representing a musical text, it is

well to note that, while no method seems to have all the advantages, one of them maybe more
suitable than another for a certain style of music, according to the structure of the piece.

112. Dic'ision oj the Musical Text into Phrases.

This method, which, until the present
I
the Congress of 1929I, was practiced in France and certain other countries, consists in pre-
senting consecutively, in the order of the score, a certain number of measures for each of the
elements of which it is composed.

113. As a rule, phrases are relati\'ely short. However, a piece should be divided
in such a way that each phrase contains a complete fragment and, as far as possible, the musical
sense should not be broken. In this regard, the form of the piece is the only guide.

When a piece contains transposed or simply reproduced fragments, these transpositions

or reproductions should be di\'ided in the same way as the original, even when a whole repro-
duction may be expressed in braille by means of repeats.

114. Each of the elements in inkprint right hand, left hand or voice parts should
|
|

begin on a new line for each phrase in braille. It is ob\'ious that the same phrase must contain
an equal number of measures for each of the elements it contains.

115. All the phrases of the same text are numbered at the beginning of the part
presented first. The number of the phrase is always followed by a space.

116.

the indication
'
In music for keyboard instruments, the text of the right hand

;: ,: '.' that of the left hand by

'.'.** ,'. and that
is preceded by

of the pedal
i'.

(organ music) by I'. H '.* '. These indications must be separated from the text by a
space.
 - /

The indications ; : ;: '.* for m.d., ^'. ,'.
^'. **
i'. and I.
for m.g. '.* ^'.
H
pedal
may be replaced at the beginning of each phrase by the appropriate hand sign or hv that
of the pedal (see chapter XVI, paragraph 99).

117. The various instrumental parts of the inkprint score are represented at the
beginning of each phrase, by the first letters of their respective names, which, however, must
be written in full in the first phrase. In separated parts, the order of numbering at the begin-
ning of phrases is the same.

118. Vertical Score and Bar-by-Bar Method.

In England, the obvious need to
have under the fingers, as soon as possible, the full harmonic ensemble, justifies the use of two
methods of disposition, which are sometimes used alternately in the course of the same text.

It is well to recall that the intervals of chords are always read in ascending order.

119. In vertical score, the ensemble of the score in inkprint is considered in ascending
order for each bass note; that is to say, that, when the elements which form this score can be
grouped in successi\-e chords, the different parts are expressed bv inter\-al signs.

Such a method is seldom applicable except to harmonized texts (chorals, hymns, etc.)
and to lessons in harmonv and counterpoint.

such music, thus set out, that the movement of a part, expressed by moving
It is in
intervals frequently found (see chapter VI, paragraph 35 etc.) although it is sometimes
is
necessary to use the in-accord sign.

120. In bar-by-bar transcription, the ensemble of the score in inkprint is likewise

considered in ascending order but here, an entire measure of one instrumental or vocal part
is written after that of another part. The different parts are separated bv a space which necessi-

tates the use of the bar-line (points J :
)
placed between two spaces to separate the different
measures of the text.

In piano music, a measure of the left hand and a corresponding measure of the right hand
are written successively. In organ music, the pedal part is presented first, then that cif the left
hand and that of the right hand.

In the first measure of the text, each of the parts is designated bv its characteristic sign
(seechapter XVI, paragraph 99) which precedes it without space. The hand and pedal signs
do not appear again in the course of the text unless the normal order of succession of parts is
modified or interrupted.

121. When one or several measures are silent for ah the parts, the rest sign or signs
are placed once only between the bar-lines. But, if a rest sign does not concern all the parts, '

it represents only the part whose place it occupies.

122. ^^'hen a part enters alone at the beginning of a piece or of one of its fragments as,
for example, in a fugue, the bar-line is not necessary, but becomes so as soon as one or more
 .

other parts enter in their turn, and it should even be placed before the first measure in which
at least two parts appear. The bar-line is likewise necessary when a passage of alternating
hands (keyboard instruments), which may be expressed as a single part, begins in a text.

As soon as a bar-line appears in a text, the use of bar-lines continues thereafter even
if it is necessary, in a passage, to revert momentarily to vertical score.

123. Disposition of Measure over Measure, called "Bar over Bar"

The bar over bar
method, used America, resembles the staff notation as nearly as is possible in
jirincipally in
braille. Th_' inkprint score being imitated in presenting the higher part abo\'e the lower, a
braille lin ' is rcscr\'ed for each of the parts which make up the instrumental or \-ocal ensemble.

Thus, for piano music, two lines are used at once, the first for the right hand, the second
for the left hand. Organ music is written on three lines of which the last is reserved for the
pedal part.

The appearance of the lines occupied b^' the different parts resembles then, somewhat,
the sta^es that are united by the brace on the inkprint score.

In this disposition, the chords are always written beginning with the low note.

Thus arranged, the several parts should present the beginning of each measure
124.
in the vertical space in order that the concordance of the parts may easily be found.
same
Nevertheless, in certain cases, this principle may be disregarded when, for example, it would
allow the measure to end with the line.

The text may also be disposed coimt over count, in order better to show how several
parts of an ensemble accord. It is then, sometimes necessary to section the measure with
a hyphen.

When a measure exceeds the line, the remaining fragment is naturall)' carried o\-er to
the beginning of the corresponding line below.

\MTien a line would end with one of the in-accord signs, the latter may be placed at the
beginning of the corresponding line below.

125. In music for keyboard instruments, the sign designating the part stands at the
beginning of each line (see chapter XVI, paragraph 99).

Furthermore, the first note of each measure should always be written with its octa\-e
mark.

12O. The measures being numbered (see chapter X\', paragraph 95), the numerals
stand in the left-hand margin before the first line of e^er^ group of lines.

127. The indications of mo^ement or of expression, when they occup\' more than
a half line, are written on a special line above the part they affect.
 78

128. Disposition by Division of Page.

This method, devised by M. Remy Clavers
I
to facihtate the task of the bUnd teacher, is especially suitable for piano music, but
Paris I

it may also be used for an}- text presented in ink on two staves: music for harmonium or organ
without pedal part, music for two violins without piano accompaniment, etc.

I2g. This disposition consists in presenting on the same page, under the text of the

right hand, the corresponding text of the left hand. A line formed by points TT separates
the two parts of the page.

130. Numerals, placed in the margin or in paragraph indentations, serve as land marks

to facilitate the concordance of the two texts. These numerals are formed of points J J and
each of them indicates the number of the staff on the inkprint page, so that the beginnings of
the staves coincide with the beginnings of the numbered lines or paragraphs in braille.

The line of separation should extend the full length of the line if uumerals ha\'e been
placed in the margin. When these numerals have been indented, the line must begin in the
seventh space.

131. After a double-bar, a pause, etc., marking off the phrases of a piece, it is pref-
erable to continue the text on the following line. When this happens in the course of a staff,
no numeral is necessary, a paragraph indentation being sufficient as guiding mark.

132. It is necessary to indicate in the two dix'isions of the page the octave of the first
note at the beginning of every page in braille, of every line in print or of any other indentation.

133. It is not necessary to designate the parts at the beginning of each fraction of
page, except, if desired, at the beginning of the piece, for it is well understood that in piano
music, for example, the upper fraction is reserved for the right hand and the lower for the left
hand.

The sign '.*.*.*

indicates changes of page in print before titles or general indications.
It should not be used, howe\'er, in the course of the text because, the staves being numbered,

the numeral ',**.'. indicates a change of page each time it appears.

134. Titles, as well as general indications, are placed in the upper fraction.

135. In braille, when a piece is finished on one page and the following piece begins on
the same page, it is preferable to write the last measures of the left hand immediately under
those of the right hand and to divide the rest of the page into sections. In this case, the second

separation line should begin with the points !
i and end with points i
'.

136. \\'hen a long note or rest in one part ends a fraction, and the equi\'alent thereof
in the other part cannot be written in its respective fraction, the remaining measures are written
 -7'i-

in the corresponding fraction of the following page, and e^ery measure which has been thus

carried over is preceded by the sign ;;

The sign ;; should always be preceded by a space but it should never be followed bv
one.

137. In music written for keyboard instruments, when a passage with alternate
hands (chapter XVIII, paragraph 142) occupies an entire page, there is no separation line.

\\'hen such a passage occupies only a few lines in a fraction, the interruption of the text

in the other fraction is recognized by a series of points T '.

placed at the beginning of a line,
the remaining portion of the line being left blank.

When a passage exceeds the fraction of the page allotted to it, the dotted line appears
again on the following page in the fraction temporarih' abandoned.

138. A line in print or a fraction of a page in braille should not begin either with a
repeat sign representing a measure or with numerals indicating a partial abbre\'iation.

On the contrary, it is useless, at the end of a line in print or of a di\-ision of a page in

braille, to interrupt the doubling of the different signs if this is not otherwise necessary.

139. As a rule, partial abbreviations must be stated in the same manner in both frac-
tions of the page.

It is not recommended to use repeats extending over several lines of the inkprint text,
as this pre\-ents the numbering of these lines and the frequent marks of guidance which are
the special advantages of this method.

140. Below the dotted line, mentioned in paragraph 137 as also after a repeat exceed-
ing a single staff in inkprint, it is necessary to indicate the number of the staff and of the measure
therein in which the writing in braille is continued, the latter being indicated by a numeral

formed of points ** This double indication is presented in the following manner.

*
Example: iJ *l '. means fourth line, second measure.

X. B. For texts in which the measures are numbered

(see chapter XV, paragraph 95),

the measure-numbers are formed by points '* and are placed as in the example above close |

up after the staff-number |, at the left margin. Furthermore, the rule mentioned in para-
graph 140 is cancelled by the numbering of the measures.

141. In order to make a disposition by fraction of page, it is necessary that, on the

braillemanuscript prepared as a prehminary draft, the two divisions of the page begin, each
at a certain place on the page, namely the first and the last line.
 -7o-

Thus, and onlv in the prdiininary draft, the braille lines which constitute the upper frac-
tion succeed each other in descending order while those which constitute the lower fraction
succeed each other in ascending order. It is necessary to leave between the two fractions the
space which the separation line must occupy and below this line there is sometimes a line which
will remain blank.

In reproducing the preliminary draft, the irregularity occasioned by the ascending order
of the lines contained in the lower fraction is made to disappear. For this, it is sufficient to
place the last hne of the draft immediately below the separation line and to continue to write
in descending order what is read in ascending order from the draft.

N. B. The disposition bv division of page is especially useful for pieces for four hands
in piano music if, as on the inkprint copy, the left page is used for the seconda and the right for
the prima.

XVIII. Piano .Music

142. Passages with Alternate Hands.

Passages played with alternate hands are
written preferably in'the part reserved for the hand which plays the first note or the predom-
inating notes.

The hands are marked by their characteristic sign, according to the instructions given
in chapter XVI, paragraph gg.

When the passage is divided regularly between the hands and after the method of play-
ing the passage has been sufficiently indicated, the word "simile" may be written to avoid
the continual re-stating of the hand signs.

Example:

H ^ 1
^


76-

i
V V
U V ^ BeJ
s s

W e 9 c o ' '
' <
'
'

'

' '
'

'

' ' ' '

. . . . '
'
' - e
' ' '
'' ' ' ' ' - '

'

'

<>

<t

'

'' '
e e o ' '
'

'

' ' -
' ' '
'

' ' '

' '


' ' '
- ' ' -
'

'

'

'

<

1>

'
' ' '
'
' '

143. When the musical te.xt is divided into phrases and a passage with alternate
hands is written in one of the hand parts, it is sometimes necessary to introduce, into the other
hand part, rests which do not appear in the print copy.

Example:

W
^ P ^ ^'g^ ^ ^
t

^Q <

^m
g
^

0*

e '
-

-

-
'
' a ' ' (
-

e

e 9

' -




' a ' a aa a
'

o a a a a a

'

9
- '

9 a ' I a a
' ' a a a a a a a a

'

o a a
a

But
\\-hen such a passage extends over se\-eral measures and contains the complete text
of thefragment under consideration, it is better to reserve to this fragment, a special phrase,
however short it ma\' be, at the beginning of which no hand sign should appear.

144. Such fragments are sometimes quite extensive and may even contain one or
two supplementary parts written with the in-accord sign.

It is advisable to indicate carefully to which hand these parts belong.

145. It is necessary to a\'oid the doubling of interval signs when the text alternates
between the hands since some chords are written in ascending and some in descending order.
This recommendation, however, should not be applied to the octa\-e interval sign as this sign
always represents a note of the same name whate\-er be the method adopted for writing the
chords.

Examples:

fS h
JL

^ ^
to be avoided:

a a a - a
a a a a m -a 9 99 -I a a a
a I a a a
-a '
a a a a a a a a a a a a a a a

a -a a a a a a a
-a 9m <
 7S.

preferable:
- - -a






.. .
- - ' -

t . .

b)
iw
7f
S^

to be avoided:
N#^



-

' ' -

preferable:
-

- -

'

- '

c)
iE S flfl
-'^'
s^
r r r

jood:





. . .. . .. .a .. .. a*

.

. .

.

. .


-

'
'




'
- -

When a chord is divided between the hands, the adequate sign precedes the first inter\-al
pla%'ed by the other hand. This sign has no force beyond the chord in which it appears unless,
when in an arpeggio, for example, it is clear that the notes following an indication belong to
the hand designated (example b).
 79-

Examples:

i
^ rt

e
-
s

b)

9 (

c
c
e

X. B. must be noted that the signs :; ;? and .\ ;T indicate the direction of the
It
stems pnnt or the overlapping of an}' part \\liate\-er on the staff. They avoid
of the notes in
the introduction, into a passage or melodic part, of unnecessary rests which might break the
sense of the text. However, in an exact transcription of texts for ^-oung pupils, these signs
may not replace the letters "m.d." "m.g." used to indicate the crossing of hands.

146. In Germany, in the writing of passages for alternate hands, the hands are desi-
" . . . ...
gnated thus: right hand ; 1 ; left hand Til!
When the hands plav alternately the same number of notes, the sign indicating the
hand playing the first notes is placed once only at the beginning of the passage. A numeral,
formed of points J J and separated from the hand sign by the word sign, indicates the number
of notes played in turn by each hand.
 o . ; ' .

80-

!xamplt

i ^ S =i

^^ ^"

'

....
- . .

'
'

' '- '

a

In a passage of definite length, \\hen the hands alternate regularlx- but do not play the
same number of notes, such an indication for each of the hands precedes the passage in question.

Example:

fe -

ffi
s^

o

-
1


.
^
.

o . .
F

e

^

e
o e

-
s a

In organ music, the sign !T ,T indicating the pedal, is replaced in similar cases bv

the sign J !
i !

It is to be noted that the signs mentioned above are employed only with notes of equal
duration and that they may be used in passages written in substitution.

147. Clefs. When the clefs used in inkpr-int are represented in braille and one of
the hand parts appears in the inkprint copy on the staff reserved for the other hand, not only

is a new indication of clef necessary, but points J : forming the third part of the clef sign, are

in this case, replaced by points ;

 ' '

8]

Example:

mE ^^^

'




m^


^


^f

(In this example, the notes in the G clef played by the left hand, are written in tht
inkprint copy on the staff reserved for the right hand).

148. Cadenzas. In cadenzas or in irregular passages printed in small notes, if

there is no other indication of the number of \-alues belonging to a group, the following signs
are placed immediately before the notes coinciding with the striking of beats or fractions of

beats: .* \ *
'. when there are crotchets or qua\'ers and

when there are values

shorter than quavers.

Examples:

igF^
3Z3Z

rw
^s ^ M i
'

r
j^raztoso

m 3^ zai

'

-

- '
-


)

. . .
. .

 82-

b)

'

'


.
-

.*

..


.

. . ..

. '

<

..

( ..

or :; T;
In an over-complete measure,
*'. in both hand parts in order to
it may
make
be necessary to place one of the signs
the disposition more exact.
'

149.
Nuances. The indications of interpretation, interpolated in the musical text,
are written in the right-hand part unless it appears clearly that they affect the left-hand part

150. Pedal.
The indications for the use of the pedal are represented by the follow-
ing signs which are placed in the left-hand part unless the contexture of a passage suggests,
for the sake of clearness, a different treatment.

*%&. (pedal down). This sign immediately precedes the note or rest, on which
the pedal is lowered.

;; (pedal up). ; :
^ This sign immediately follows the note or rest after which
the pedal must be raised.

Example:

.
^

^&C5.

'
^
8y-

> ..
.

. . . . . . .

< '

-
 -83-

\Mien, in braille, the indication pedal doicn immediately follows pedal up, the latter
is generally omitted.

Example:
JL f.

3 %
%i. ^ %). *

to be avoided:

'
-9 S

' '

preferable:

..
'

151. In the printed text, when the indication "ped" (pedal down) comes between

two values, the sign '.**.', precedes the first of these two \-alues.
'.'.

152.
Pedal and Repeats. When the indications pedal down and pedal up both appear
in afragment that is to be repeated, they are not included in the repetition unless one of them
occurred in the course of that fragment, that is to say, if the latter was not entirely played
with pedal.

Examples:

1 .^U \- ^ r
U=^ y I

tv
^. ^
*. ..
' ' ' -
-'
meannig:
' ' -
'
-
. .. ' '
.. . .. .* . ' ' '

-
'


' -

..
- '

-I

'&5. ^
. *. '
.' .*
'


 I -

8i-

meanm.t
- - ' -




- -

I

>

- I

But when the indication pedal doicn precedes the first note of a fragment and when
the indication pedal up occurs between the last note of that fragment and the repeat sign,
the fragment should be repeated without pedal.

Example:
*- ^
L\- ^^
V ^ f rJ
m ^
1

f m r
1
w
^ p w

-

..






-

'

meaning:

'

- -



*



-

- .
a . .

When the fragment that is to be repeated contains only the indication pedal domi, the
effect of the latter is carried on throughout the whole repetition.

Examples:

^ -^ -p- -g-
-

fc4 fei
W. ^
., e
- -


. .. -I
.,
,,
..
.. ., . .. -


....a

meanmg:

. .. .. -
-

-

*.












e <
 -)

g5^


b)

^^^^
* r

<L

'-^


^

ife^

>

meaning:

..






.

.



a

Ifthe pedal should be renewed for the repetition of a fragment, the indication pedal
down should precede the repeat sign.

Example:

-

-






-e

-C '

-
-
'
' - - -

' '
.. . .. ..

However, the indication pedal up may be placed immediately after a repeat sign, but in
no case, may two consecutive repeat signs be separated by a pedal indicati)n.

Example:

'>
'rL L\r r U
'^. *
^
bad:



- <
 .85-

jood:

o
e

o

'

<

'
-

also good:

'

-
'

-I

XIX. Organ and Harmonium Music

153. All that has been said in the preceding chapter (paragraphs 142 to 149 inclusive)
is applicable to music written for the organ as well as to that for the harmonium.

154.
Organ. The use of the toe or the heel ^^ *^ '^ on the pedal is indicated ^
by the signs for the first four fingers, used according to principles giA'en (chapter XI) and
adapted as follows:

Left foot: toe heel :

Right foot: toe J: heel

Example:
T ,,P ,
r T

^^ r Pw
'-' ,A A ^ _W_
3 ^i i 9
ijc
g
*.
' . >
e -


I-
.
*.

*.

'
 -87-

155- The indications of stops appearing at the beginning of a piece or of one of its
divisions are placed preferably before the indications of movement, kej/ and time.

The indications of stops which it is necessary to insert in the musical text are ruled by
the principle governing the indications of movement and expression (chapter XIII, para-
graph 64).

The initial letters or abbre\'iations of the names of the different manuals should always
be followed bv point i! and should conform to the indications appearing in print.

Example:

G.R.

Ped. R.

156.
HarmoniuDi. It is customary to place between parentheses, the indications
of stops used on the harmonium.
When an indication of stops requires several consecutive numbers, they are united by
the numeral-sign.

Example:

(G.J.)

.. .. .* .. . .* .

..
..
.

..
..

..

Every unnumbered indication should be in exact conformity with that appearing in

print.

When an indication of stops applies to both hands, it appears only in one part, preferably

in that reserved for the right hand. In that case the sign l\ preceding this indication is

doubled.

Example:

i G.J.IO

. .
...
...
.
... .
 -88-

157- When a stop is to be suppressed, the number or letters which represent it are

written again, but this time, are immediate!}' preceded b}' points ;T

Example:

(-6-. -^. ^ (4) (3) (E

.. .. .. .. .

(inverse indication)

(@ G. J.
)
g

<

'



-

)
<

158. When an independent pedal part "ad libitum" is added to the text of the left
hand, it is written with the in-accord sign and is preferably written first.

XX. Music for Stringed Instruments

159. Positions. The

different signs indicating the positions precede the first note
which is to be plaved in the position determined by each of them. This note is preceded by
its octave mark.

These position signs are:

 .8!)-

1
ist position 7th pos ition

2nd 8th -.

31-d 9th ,.

loth f >

t

5th nth ..

>

6th Half J

Same position '.

i ,*

N. B. Should there be an\' danger of confusion between the sign iT ** indicating the
7th position and the same sign marking the end of di\'erging lines for crescendo, the position

sign may be preceded by point '.

160. Strings. The indications for strings are placed before the note and are repre-
sented thus;

e
1st string : , '.

3rd string :, :

e
2nd
4th

When, in inkprint, a string indication is prolonged by a dotted line, the appropriate

sign is doubled before the note and placed once only before the last, that is to say, at the
first
end of this line. In a similar case, position marks may be doubled in the same manner.

Indications of strings, expressed b\' a letter preceded by the word "sul", are written
in the foUowino manner:

Example:
' 9 e '

 90-

i6i. Fingen')igs.
Fingerings are indicated by the signs for the first four fingers, used
according to tlieprinciples given in cliapter XI, paragraphs 56 and 58.
o
Tliethumb, used on the violoncello, 9 indicated bv the sign
is i i ! ! \Mien the
string on which the thumb must be placed is specified, this is indicated as follows:

Thumb on ist string !
i i Thumb on 3rd string !
'

2nd 4th

The zero, which in print indicates open string or harmonic, is represented in braille by
the sign for the fifth finger ^'. . .

Examples:

violin:

i
^
e e '
. .
a . . . . . a .
a . . .

open string harmonic

violoncello:
o
3
XI.

i)
m -o- m
e . . a . a '

'

' a '

open string harmonic

When a note may be pla\-ed optioucillv on an open string or on the string immediately
below, the fingering is marked after the open string sign.
 ;

-01-

i62. In certain works used for teaching, one sometimes finds a small line uniting
two non-consecutive notes, meaning that the finger should remain on the string as long as

this line lasts. In braiUe, the beginning of the line isindicated by point ; : following the
finger-mark of the note on which the finger is held. To show the end of this line, the finger-

mark must be re-stated even if it is not so in print, and preceded by point :

Examples: violin

iw ^-^


'



-


-I

b)

I
- <

. . . . . .

ioloncello

163. The glissaiido, represented in print by a series of dots or by a line, is indicated

in braille by the sign .. .: which is placed after the first of the two notes thus joined. When
these two notes are slurred, the glissando follows immediately after the slur.
 ;

92-

Example:
violin:

e 9 9 - 9 9 9 9

9 9 9

13 9 9 9 -9 9

164. Harinonics. It has been explained in paragraph 161 how the zero indicating
a harmonic is represented. When, in print, a harmonic is expressed by a square or diamond-
9 9

shaped note, this note, in the braille text, should be followed by the sign !
i J

Example:
violin:

oe

+-

9 99
I
9 -9 9 9 9 99 9
99 9 9 9- 9 9 9

Artificial harmonics, which are produced by pressing the string with one finger while
another finger touches it lightly at the upper inter\al of a third, a fourth or a fifth, are written
by means of a note followed b\- an interA'al sign. According to the direction adopted for the
writing of chords, the note to be touched lightly is represented either by a written note or by
an interval sign. In either case, it is always accompanied by the sign indicating harmonics,
according to the instructions gi\Tn above.

Examples:
violin:

p-
\>l

999 9 9 9 9 9 9 9 9
9
19
99o

'

9 9 9 9 9 9 99


93,

violoncello:

b)
^
'

-

In a succession of harmonics represented bv identical inter\-als, it is advisable not to

double the inter\"al sign; but the sign, accompanying the note to be touched lightly, may be
placed twice after the first note of that passage and once only after the last note.

165. A
note and an interval sign expressing an artificial harmonic cannot be followed
by other It is better to make use of in-accord signs for the writing of simulta-
inter\-al signs.
neous sounds, one or all of which are harmonics.

Examples:

violin:

ym^
jood:

a-
- -

bad:

'
>



'

-



)

good:
b)

^^ M
m
f
j:

'

<
 .!>i.

bad:

-'
a



- '


' ' '

-o**



- ..
... ..
c-

Two natural harmonics which should be heard simultaneously may be written in chords.

Example:
1

# m^^ :2i

violin violoncello:

'

' '

'

As a rule, a natural harmonic and another note which should be heard simultaneously
may be written as chords, the contexture or fingering rendering confusion almost impossible in
this case. Such cases are extremely rare.

i66. When resultants are indicated, they are written with the in-accord sign inniic-
diateh' alter the part measure or part-measure containing harmonics.
\
In order to a\-oid |

confusion, the note or notes thus represented are preceded by the sign .
^ \ used as in the
case of optional grace notes (chapter paragraph 104). XM,

Example:

violin:

.. ..

'

-9o-

In the case of simultaneous harmonics, resultants mav be written as chords.

Example:

vioim:

'

'
-
' '

167.
V Indications concerning the bow. The indications "down-bow' n
. : and

"up-bow" A
/\ V
**
:

' are placed before the note.

The indications for the different strokes of the bow or its divisions should be in confor-
mity with those appearing in inkprint and when it seems necessary to devise an appropriate
sign, it must be explained beforehand.

The sign ;T J; mav, in certain cases, be substituted for the word "arco".

16S. The indication pizzicato may be followed, if necessary, by one of the signs

:; ;T .1 iT (see chapter XVI, paragraph 99) indicating with which hand the string
should be plucked.

Example:

2^ Corde
-A^ -A.
^tin -4-
i
f
M.G.
pizz
y i i- w 7 J J

f
-
'
-

. . ..
'

.. . .. . ..


.

.

..

.


..

..

'

'



'
'
.' -
-






' - '
<

- '


-
*.
-

!H>-

XXI. Vocal Music

ibq. When several notes are to be sung on the same svllable. thev are united bv the
*
sign : : The sku" for phrasing is represented by the signs .1 '. ! ? I ! (see chapter
IX, paragraphs 45 and 46).

170. The poi'tainento or i^lide is indicated bv the sign '.'. '.'.
placed after the first of
the two notes thus united.

Example:

)
.
EE33E3=
.
m






. - -<
.

effect:

h-H^ftf
^=^^
- . e
. o.

. o

171. There are two breath-marks; full breath :; ;; and half-breath ,? T:

172. When a mute svllable is merged into the next one and thus does not count in

the voice part, it is followed by point ','.

Example:

is ^ h
^ M
<. ^,

h h
C'est I'heure ou sen. tent bon les fleui-s,

melody:
) -.
e I

-
 o

-t7-

words:

. .

a .

.

.



-

.
'
'

'

- '
'
e**-

e-*


'o-a*-
'
C'
' ' ' -
' 'e-
e--**
- -
'
-
-


'

It sometimes happens that a mute syllable is witliout any note in the voice part. In

this case the syllable is preceded by point :

;

Example:

^ ? r^^ ^
J

Mil Mr I

f
s^ 4^
^r-^
^^ K-
^ zz;

Heu. reuse, heui-euse la re . tiaite, oil la paLxchanteaufonddu coeur

melody:

-
-
'

- ' e

words:

-
' ' ''''

-

-




a

-


'

173. The repetition of a word or phrase is shown by placing the sign iT close up
before and after it.

Examples:

jn
P^ ^^ ZZ2

De
-4
branche
J
ou
C lan . te, chan . te, voix tou . chan . te, la

P i P ir '
'Q
r
du ro . seau. Chan . te, chan . te, voix tou . chan . te, Chan . te,

i^^ chan.te pe . tit oi . seau!

 -98-

melodv:
'

'' ''
'-


9

'- e*
' '

.

-



'

-o*--*
'

'
'
-
-

'
'-
aae
-
o


-e-a-o
' 9 o

words:

-I - -

- >

- ' -

' '

' ' '

' ' '

a . . . . . .
a I

b)
m
On doit dor . mir
J I
J
'

Quandvient
J'
f la lu . . ne,
mm Pe . tit en .

-^'F r ^ '
r
. fant, pe . tit en . fant.

melody:

o I

words:

'I I '

o ' -
' '

If there are two repetitions, the repeat sign ;T is doubled at the beginning. If there
are more than two repetitions, an appropriate numeral is placed immediately before the repeat
sign.
 .

- 09

174- The segno ii (see chapter XV, paragraph 94) may likewise be used for the

words; in this case, the sign :

i is placed after the last word in the fragment to be repeated.

When the segno applies to both words and music, the sign is placed in both parts.

175. Disposition.
Whatever disposition is adopted, (see chapter XVII), the musical
phrase is alwa\^s presented before the words which correspond to it.

The sign '.','. is placed before the notes and the sign :
J \'. before the words,
at the beginning of each ofthe di\'isions of the piece.

176. When, in a piece comprising several stanzas, the voice part contains variants,
they are written consecutively with the in-accord sign immediately after each of the measures
thus modified. Furthermore, a variant should always be preceded by the adequate number.

XXII. Order of Succession of .Musical Siu^ns

177. The order in which signs and indications precede or follow notes, conforming
with the instructions gi\'en throughout this text, is as follows:

Before the note:

1. Clefs used in the printed copy.

2. Pedal down. String or position.
3. Nuances.
4. Hand-sign. Bow-sign.
5. Beginning of a long slur.
6. Triplet, group or beat signs.
7. Arpeggio.
8. Accents: staccato, staccatissimo, tenutostaccato, martellato, sforzando, etc.
g. Ornaments.
10. Accidentals.
11. Octave marks.
 -100

After the note:

Dots.
Fingering, open string or harmonics
Note repetition and tremolo.
Shu's and ties Ending of a long slur.
Commas or breatli-marks. Pauses
Pedal up.

17S. It is advisable to observe the order of succession indicated above for long slurs,
groups, arpeggios, marks of expression, accents, ornaments, accidentals and octaA'e marks which
are placed before notes; for dot, fingering, fractioning and tremolo signs and slurs which are
placed after notes. But this order may be modified to ad\-antage for the other indications,
which generally affect more than one note and whose significance will be made clear by the
experience of the reader or b}' the contexture of the music.
/'HV1695
A
American Braille Press.

BRAILLE MUISC NOTATION.

(Paris, April, 1929.)

Date Due
HV1695
A
American Braille Press
AUTHOR
BRAILLE MUSIC NOTATION.
TITLE

(Paris, April, 1929.)

DATE DUE BORROWERS NAME

A^<o \J'T^Sf~^-
fi-.p4M/rr-~