Kathleen
Forum Replies Created
-
Posts
-
Hi Robert,
I would not do it as you've done in the example. Single-line format should be single-line, not two lines like that. I would just braille it as you would any other piece. Intervals are read upward in the bass clef, so when the octave intervals begin, you'd braille the 2nd octave G with a doubled octave interval after it. The directions tell the reader what they need to know. No reason to add parentheses that aren't there in print or make it more complicated than it needs to be!
Quite honestly, I have no idea to what these numbers are referring. Is there any guidance from the text? Preface material? Is this a method book?
I think the way you have handled it is pretty good. The only thing different you need to do is precede the negative numbers with a word sign indicator. Otherwise they don't read as numbers, but as some strange combination of intervals. I also don't think you need all the music asterisks nor the music parentheses. One TN at the first instance would suffice, explaining how you are treating the numbers. After that, they should be aware of them as they come along. But you definitely need the word sign indicators before each one.
Hope that helps!
Kathleen
Hi Robert,
It appears as though the Xs are marking places where the parts cross - in the first example, the baritone sings below the bass at the Xs. In the second, the tenor sings below the lead.
How you transcribe that is up to you - but I would probably place the x as a word-sign expression before each note above which it is printed. Unless it's indicated in the score that that's exactly what the Xs are there for, you don't have to explain them. But do put in a TN saying how you are transcribing the Xs.
Kathleen
Hi Julia,
This is indeed very strange notation. I've never seen this kind of thing before, and no, there is no guideline or rule for this.
At first it looked like it was referring to "high" and "low" fingering which most often is notated with an H, L, minus sign or plus sign following the finger number, but then I noticed an arrow not following a fingering (measure 6 after the 2nd G) and an arrow after a 0 or open string (measure 13).
I don't think I would use up bow and down bow signs for these, since the down bow is used for its true purpose on the first note. So I think you'll have to create something to represent those arrows. You may choose to use word sign expressions where the arrows appear: "ua" for up arrow and "da" for down arrow. (I wouldn't use just u and d since the d stands for decrescendo.) And be sure you include a transcriber's note indicating what you are doing!
I know that will make the measures even more cluttered than they already are with position signs and fingerings on almost every note! But I can't think of a clearer way. If you think of something else that works, please share!
Hope that helps a bit!
I consider the n.b. (no break or no breath) to apply to the preceding notes. I would put the one in the first example after the dotted half note. If you are continuing in the same parallel, the forte would follow the n.b. directly.
Likewise, in the second example, I'd put it after the half note on beat 3. If you split the parallel between beats 3 and 4 and you put the n.b on the new parallel with beat 4, it's too late - the singer will likely have taken a breath after beat 3. They'll need to see it directly following the note to which it applies.
hope that helps!
Good morning, Julie!
The Owen's System has been tested and approved by the NBA Music Committee. It is not an official BANA code but hopefully it will be in the future. It is not incorporated in the braille music lessons. (There are many things in the Music Code 2015 that are not in the music certification course...)
My suggestion is that you take a look at it and get a sense of what it entails. There will be webinars and articles about it coming up as well to give some foundational info about it. If, once you feel comfortable with the concepts, you receive a request to transcribe tablature, you can certainly use this code - with the very important step of providing your client with an accessible version of the code along with the music they requested! If they don't have the code to reference, they'll never understand what's going on.
Kathleen
I would say, then, without seeing the whole thing, that when the upper staff is divided into two parts, you should assume it's soprano and alto. The stem signs are used when they sing unison on a note. Otherwise, the lower note is alto.
When there are three parts, the middle part would be soprano 2.
Hope that helps
Hi Robert,
Those two measures aren't enough for me to guide you either way. I'd have to see the majority of the music - for example, are soprano and alto parts printed on different staves or on the same staff? Can you give me some more excerpts to see the soprano and alto divisions versus the times when the soprano divides into 2?
Kathleen
I follow the general guidelines for ensemble scores for choral music where there is no other specific guideline that pertains to only choral music. So yes, I put long word-sign expressions above the music parallel, in between the lyrics and the music, that is, when it pertains to the entire parallel.
Hi there,
This is what is called an orchestral reduction. It is intended for the piano to play, but it is a reduced version of a composition originally scored for orchestra. The identifiers are telling the musicians which instruments would have played it in the orchestral version.
Section 29.9 of MBC 2015 talks about orchestral reductions in piano music. Transcribe this in piano bar-over-bar format. Treat the instrument abbreviations as word-sign expressions and include them in the music where they appear in print. The notes printed in small type can be shown in in-accords using the small type indicator - dots 6, 26 (doubled by repeating the second cell before the first instance and using the 2-cell symbol before the final instance).
Hope that helps!
Kathleen
You can do a quick internet search to find free music notation software.
MuseScore is one option. There are several others that will pop up with a simple Google search.
Hi Mary and thanks for your question.
I follow the same rules with word sign expressions for choral ensemble music as I do for instrumental ensemble music. So yes, long word sign expressions can be placed above the parallel between the lyrics and the first line of the music score.
Hi Robert,
This looks correct to me! (Except for your first octave indicators in the vocal line and right hand should be 4 not 3.)
Kathleen
Hi Susan! I'll jump in, too! Since there is a comma after the time signature, you'll use the dot 6 literary comma. Follow this by a space and then use the music code terminator, dots 56, 23 directly before the next braille word - this switches back to UEB.
Kathleen
