Kathleen
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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 Granted, it is in EBAE and adheres to the 1997 code and not the 2015, so there are some things that are outdated.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
In cases like these, I alway consult a string player, since I am not one! If you'd like to send me a pdf of the examples, I can run them by my colleagues and get some answers for you!
Kathleen
Good morning,
(Please forgive the tardiness of this response. I just was informed there was a message here and the system did not notify me.)
We normally put the number as a word-sign expression before the note. See the attached word doc for the simbraille!
All the best,
Kathleen
It goes directly in the music line, not above. If it’s very lengthy you can use a music asterisk and put it in a footnote at the bottom of the Braille page. But because single-line format doesn’t use parallels, you can’t move the expression above it! A sectional heading can be a centered music heading if it consists of a tempo/character change but otherwise just in line.
Hope that helps!I would probably place it at the bottom of the braille page like a music footnote, especially if it's a footnote to the music heading (meter, tempo, key, etc). Even if it is for the title or composer, I think consistency is best in the music format.
I hope that helps!
Kathleen
Is there a preface to the edition that explains the symbol? I’ve never seen it before -
if you choose to use a special note head symbol, be sure it’s not one that you’re using anywhere else.
As far as the tenor clef symbol, I would treat it the same as the treble clef and add it in where you add in the other clefs.Hi Martin,
Good question - While MBC2015 doesn't specify that the start of multiple interval doublings must be started at the same point, I tend to air on the side of clarity and not double a new interval while in the midst of another doubled interval.
The Introduction to Music Braille Transcription, 2nd edition by DeGarmo, advises that "it is better not to double more than one interval, unless the doubling begins and ends simultaneously for all the intervals..." (pg 360)
So while there is no rule that says you can't, remember that even the procedure of doubling is not required - we MAY chose to use doubling if it remains clear and is truly helpful. Once you start doubling multiple intervals, the complexity could very quickly outweigh the benefit of the procedure. It's not always about just saving space - it's about making the music easy to memorize and perform/study.
Hope that helps!
Kathleen
I usually use the 128th-note fractioning symbol after the note, dots 45, 3, since the z is representing a very fast repetition of the note. Be sure to list it on the special symbols page.
Please forgive the tardiness of this reply. There is a glitch in the system and I'm not receiving alerts that there are questions. My sincerely apologies.
Kathleen
You are correct. There must be a blank cell aligned between all lines of the parallel to show the measure division. The second version in the attachment is correct.
I apologize for the tardiness of this reply. There is a glitch in the system and I'm not receiving these messages. Please forgive me.
Kathleen
I think using the RH sign and intervals would be acceptable. You may want to include a quick TN if this is the first (or only) time it will be used. But I'm imagining this might be at the start of the piano method book in which case introducing the hand signs would be appropriate.
If however, it's part of a book for a single line instrument and intervals are few and far between, using an in-accord may be clearer. (I'm partial to piano format when piano music occurs, but it really is a matter of context.)
Hope that helps!
