Kathleen
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Hi there!
Couple of things I noticed - in vocal music, measure number repeats are not used. So at the lyrics "If I'd been out till..." you can't use the lower-cell 5-6. You must braille it out. (see Music Braille Code 35.8)
I usually put CODA fully caps, at the start of the word line, not enclosed in word-sign indicators (to match what we do with REFRAIN and CHORUS etc.)
The verse numbers of just text at the end should be enclosed in literary parentheses, not word-sign indicators.
Ok - now to your actual question! If I start to struggle figuring out the repeat structure and which lyrics go where, I will braille it out completely, rather than have several lines of two verses together - and in this case the song has three verses, so that's not really a possibility! I tend to use more measure numbers than is "required" by the Code. Especially if there are Brailled-out repeats - having more frequent measure numbers can help the reader figure out where they are. And if they also have the piano score, which has numbers for every parallel, there will be more points of connection if the vocal score has measure numbers as well. (FYI - in choral music and ensemble music I put measure numbers on every line! It helps a great deal when a braille-reading musician is collaborating with print-reading musicians who can easily say, let's start at measure 14!)
So basically, once these pop songs start adding more than one verse with more than one Volta, I braille everything out. You'll find it doesn't require that much more space and will reduce complications a bunch.
All the best!
Kathleen
Hi there,
I agree that in a piano-dominant format, showing the different syllable elision for a 2nd or 3rd verse seems unnecessarily complicated. If you are only doing the vocal part, perhaps it's worth it to show the differences in the verses, though.
I think your idea of adding "VERSE" and "VERSE ENDS" looks helpful. These pop songs with complicated repeat patterns are tricky enough as it is! I think readers would be thankful for a little extra help navigating.
(Just noticed that in the pickup measure, you have a half rest instead of a quarter rest!)
Hope that helps!
Kathleen
<p style="font-weight: 400;">Hi there! Thanks for the pdfs!</p>
<p style="font-weight: 400;">Reminder - in bar-over-bar format, a backward-numeral repeat may only be used if the original and the repeat are in the same parallel. (See Music Braille Code 19.7) So you can’t use the 4/3 repeat at measure 5. You can, however, use a measure number repeat – you could use the lower number 1-3 to show that those three measure repeat. If you do that, definitely braille out the right hand of measure 3. It’s too complicated to send the reader back to a repeat that has a different repeat in it!</p>
<p style="font-weight: 400;">The use of the bar line between 19 and 20 is appropriate, since there is a coinciding blank space in all 3 lines of the parallel in the middle of the measure. And yes, also use the hyphens here, too. Not overkill at all – it’s actually helpful, I believe. Same at measure 55. The way you’ve transcribed this is correct.</p>
<p style="font-weight: 400;">Just a couple of things that I spotted while looking over this for your specific question - You don’t need to use the page number within the music line after measure 67. It’s the only page turn over on the braille page, so the number isn’t necessary.</p>
<p style="font-weight: 400;">Be sure your dot 3 separators after your hand signs are indeed dot 3s and not dot 6s! (m. 67 popped out)</p>
Hope that helps!Kathleen
Hi there!
Without seeing the print music, I can't give a complete answer. But just reading the braille, I don't know why you've divided measure 50. Usually only the left hand would be divided to align with the chord symbols, and it doesn't appear to need a division here.
If you choose to use the bar lines, you don't technically need the dot 5 hyphen as well.
If you can send me an image of the print measures, I can more accurately answer this!
Thanks!
Kathleen
Sorry Annie!
I was not alerted that there was a follow-up message!
I think the measure numbers would suffice for the beginning of the verse. I don't think a TN is necessary.
Kathleen
This is a tricky one, as it's not specifically covered in the Code.
However tempting it may be, I don't think I would double the triplets in this case, even though the appoggiaturas are outside the rhythmic content of the measure. Since we put the triplet indicator after the appoggiatura I would argue that it would be more confusing than helpful to have it doubled and then interrupted by the grace notes.
Another argument for not doubling the triplet is that we cannot double intervals or nuances if the appoggiaturas are not affected in the same manner. I say the same goes for the triplet doubling.
Kathleen
Yes, I use formats literary pagination for method books like this. But music pagination can work as well.
It is not unheard of to use literary pagination for preliminary pages, if there is a great deal of prelim material. But I usually use the same style for the whole book. It gets tricky if there is a lot of text interspersed with full musical works (anthologies and similar volumes) but method books are usually good with just one style.
Clear as mud, right?
Hi Julie,
Many of the concepts in it are indeed still valid. It expands upon the Braille Code with additional examples that did not get covered in the Code. Granted, it is in EBAE and adheres to the 1997 code and not the 2015, so there are some things that are outdated. But I still use it. If you chose to use it, just be sure to double check the 2015 code to see if there are any contradictions.
I have it on my list to update the Handbook. (In all of my free time...)
Kathleen
Hi Lindy,
So sorry to have taken months - I was never notified about this question!
You are correct, though! The underline shows that the syllables are elided. We enclose the syllables in quotation marks. Then we add dots 12 after the note on which you sing those two syllables.
If I am transcribing repeats in full and going back to previous pages, I usually use the page turn indicators with the appropriate page numbers in the music line. It's tough to give an example without a print reference, but let's say you've Brailled to page 10 where the repeat is shown in print and you need to go back to page 7. I will leave the page numbering at the top to show we've gotten to page 10, but I will show dots 2, 52 and the number 7 to indicate the music is returning to page 7. Then I'll show the page turns and numbers as they come in the music line and change the top page number only when we get to page 11.
Does that make any sense?!
As for introductions, you'll need to show the measures of rest the singer has to count, even if they aren't singing, so they will know exactly where and when to come in. A TN shouldn't be needed.
All the best!
Kathleen
Those are ties, not slurs, indicating to just continue holding the notes until the end of the passage. You should restate the printed chord where it is implied. Section 10.3 MBC2015 talks about ties to implied notes.
Hope that helps!
According to my cellist colleagues, these are shifts (they all say it's unusual notation, but I've seen it a lot in early cello and violin music).
The fingerings in parentheses below the music are advanced alternate fingering. You'll have to do in-accords for these. Include a TN about that, and then you can also omit the parentheses, including that info in the TN.
The x with the 4 is an extension. The finger stretches a whole step instead of a half step. I've always put the X as a word-sign expression before the note and then include the usual 4th finger after the note. Also include this info in a TN.
hope that helps!
Kathleen
