Kathleen
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Hi Julie,
There is no certification for music proofreading. Most of us proofread for each other!
Kathleen
Hi Lindy!
The lines of continuation terminate after the last affected note. So in measure 3, the two lines would both be terminated after the D quarter note.
Measure 9, terminate after the F; likewise in measure 10. In measures 11-15 the secondary lines (the pdf is blurry and I can't read the number - is it 2?) would all terminate after the Gs. The line for 1 would also terminate after the G in measure 15.
Hope that helps!
Kathleen
Hi Lindy!
Indeed, MBC2015 dictates that one numeric indicator serves both page numbers, so no need to repeat the numeric indicator after the hyphen. Only recently has Braille2000 adjusted the automatic music pagination to reflect this rule. (Not sure how Duxbury does automatic pagination ...)
Thanks!
Kathleen
Hi Debbie!
I commend you for taking on music braille!There are some resources you can find online. The Music Braille Code 2015 is an invaluable tool that is useful for any level of music braille transcriber.
I'm also glad to hear that you've been watching the webinars! We've been enjoying presenting them so I hope that they are proving to be helpful!
Some resources I know of are: (and I'm not in a position to endorse any of them but these are the ones available that I know about !)
How to Read Braille Music by Bettye Krolick https://www.nbp.org/ic/nbp/MUSIC.html
Who's Afraid of Braille Music by Richard Taesch and William McCann https://www.dancingdots.com/prodesc/whosafraid.htm (Dancing Dots has other resources and training as well)
Feel the Beat by Christine Short https://www.aph.org/product/feel-the-beat-2/
Also, most of us music transcribers are always happy to help out in providing transcriptions for music students. Don't hesitate to reach out if you need assistance or have questions as you go along.
Hope that helps!
Kathleen
Great question!
I would place the key signature for each part after each marginal hand sign (and after a space) as we would if there were a key change or a time signature change. I have had some Bartok piano pieces in which the two hands are in different keys. This is how I indicated those different signatures. The time signature would remain in the music heading with the tempo indication (if present), but without a key attached to it. You can always cover your bases by adding a sentence about the irregularity on the Transcriber's Notes page or right before the music to give the reader a heads-up.
Hope that helps!
Kathleen
That's a great question!
There really isn't anything standard at this point. I have used transcriber-added rests matching the beat value of what's missing. That helps with the counting of the measure - knowing how many beats are missing and being able to properly evaluate what is already there.
The word sign O could work too, if there is no ambiguity with the counting of the measure. You could try out both ways and see which one feels better. (Be sure to give the student a heads up in a TN whichever way you chose.)
Hi Anna!
These method books are certainly filled with eye-candy.
Where items are labeled in print, as you described in the first part of your question, I usually add a TN and say something to the effect of "the following items are labeled on the staff:" and then just list each one. I don't believe we are necessarily required to describe the way things actually look. It wouldn't be wrong to do it, but it's not required, in my opinion.
For the highlighted material, I think it would be a good idea to let the reader know what is being highlighted if it's not labeled. A TN is an easy way to take care of that. Or you could come up with a way to have the highlighted element (time signature, staccato note, etc) listed before the music. Just off the top of my head, in looking at the page you attached, the first piece has the whole note and whole rest highlighted along with the time signature. These could be listed after the piece title. If you decide to retain the color on the boxes, you could assign a transcriber created typeform to each color and color code the listed things, too. But the necessity of that could be debated!
Don't you just LOVE method books!!
I hope that helps a little. Let me know if you need more clarification.
Kathleen
Hi Shelley!
Thanks for your question about formatting hymnals.
The most common method for transcribing the music for hymnals is using piano format with the right hand containing the soprano and alto parts, (intervals read downwards) and the left hand containing the bass and tenor parts (intervals read upwards). This highlights the melody and the bass line, but contains the inner voices as well. The lyrics would then come after the music, in 3-1 paragraph format, beginning with the stanza number and a period. If there is a refrain or chorus, it is a separate paragraph below the first stanza.
One could use open score, as if for a full choral ensemble, as shown in section 37 of the MBC 2015. Rarely would one do a hymnal with single voice parts done separately.
I hope this helps! Let me know if you have further questions!
Kathleen
Hi Christina!
You always come up with the best questions!
I would do a couple of things to aid the reader - I would use bar lines in the RH to show the division of the smaller measures. Then I would use the coincidence signs at the start of the second RH measure and the middle of the LH measure, where the notes align rhythmically.
Does the print music have the measures numbered? If so, follow print for the measure numbering. If not, I'd probably follow the large measure divisions for numbering, of course with a TN indicating said decisions.
I've attached a doc showing how I might braille it. (Can't figure out how to get it into this text box...)
Hi Shelley,
I think the slur can be omitted at the start of the Coda. No need to use the special "slur that doesn't come from a note" symbol because the slur does actually come from a note!
Thanks!
Kathleen
Hi Christina!
Thanks for the great question. I think what you have shown in measure 16 is good. A couple of things to adjust – when transcribing the right hand to have intervals read upwards, you must use the “special right hand sign” (dots 46, 345, 345).
The tie after the F4 8<sup>th</sup> note should be a chord tie, as the end of the accumulating arpeggio.
Everything else looks as clear as can be!
(Measure 18 needs a little adjustment – the G4 8<sup>th</sup> note should be followed by a chord tie, while the E5 dotted half should be followed by a single tie.)
I stand by my suggestion to create tables of contents for volumes you put together for a specific student which are comprised of various pieces. Imagine how long it would take the student to find the correct pieces for study and rehearsal without that reference. I think we are justified in taking a small liberty from the Formats Guidelines if it would be of great assistance to the musician.
I think your proposed title page looks perfect. Your table of contents would then include all titles and composers (and arrangers if applicable). Specific copyright info can then follow each separate piece.
Kathleen
I always use the editorial prefix for dotted slurs and ties. Dots 5, 123 before the slur or tie.
Kathleen
In Tree of Peace, measure 15, I would use an in-accord with transcriber-added rests to show the crescendo beginning on beat 3 and ending after beat 4. In measure 18 an in-accord isn't necessary. The decrescendo can come before the first note and the piano before the quarter rest.
In 1941, the lower parts should use an in-accord to show the decrescendo beginning on beat 3. A termination of this decrescendo would not be necessary.
Hope that helps!
Kathleen
