Kathleen
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Hi Christina!
Yes, of course. This looks just fine.
I think the only reservation that might be made is that both hands having run-overs can be a lot, but in cases like this, I don't see a way around it that makes it as clear as this is. I feel that dividing the measures would be more complicated than both hands having a run-over.
Good job!
Kathleen
Hi Christina!
You're not required to restate that flat on the second chord, as long as you haven't divided the measure. If you divide, restate it, but otherwise, the reader should remember that the A was flatted at the start of the measure.
Great question!
Kathleen
Hi Keith!
I think your solution of using the Nachschlag to show that "flip" ornament is fine, especially since it seems to be defined in the music! Be sure to identify it as such in your special symbols list.
The plus and circle above the notes are shown in Table 30 - the plus is dots 126, 12 and would precede the note, while the circle is dots 13 and follows the note. I know it's a bit odd to have one of them before and the other after - but that's how the Code lays it out!
Hope that helps!
Kathleen
Good morning!
Thank you for your great questions.
I would use music page change indicators, 5, 25, throughout. Notice that the Bluegrass piece does actually have page numbers at the bottom left corner. Even if it didn't, though, Music Code should be used throughout.
The FAS49 preceding the music is simply the catalog number for the publisher. In a transcription like this I generally leave that info out.
Repeats may be used if the repeated measure does not have any bowings - if the bowings are different, of course, you may not use a measure repeat.
In the first measures of Bluegrass, I read the curved lines as a tie between the A's and a slur between the F natural and F sharp. I would transcribe both: put the tie after the A and a slur after the interval of the 3rd.
What you've done with the in-accords to show the stems and rests is perfect. I just checked measures 65 and 66 quickly; look at m. 66 - don't forget the ascending curved lines before the 3rd beat. Also, there are some duplications in the second part of the in-accord that don't need to be there. Make sure you're not repeating notes unnecessarily.
I hope that helps and answers all of your questions!
Let me know if anything is unclear or you need anything else!
Kathleen
Hi Peggy!
Great question! Unfortunately, the Code doesn't really cover examples like this, so we have to use our musical creativity to make things like this clear for the braille reader.
Without seeing the context in which this example lives, I would probably do something like what I've attached: I'd omit the brackets and transcribe only the music first. Then I would braille the individual intervals separately in a list format, followed by the "formula" printed below the music. You'll need to be sure it's clear which way your intervals are to be read (I'm assuming upwards since this is probably a theory book) and you'll need to let the reader know you've omitted the brackets in the music.
Take a look and see what you think. It could be a place to start and give you some other ideas!
Hope that helps!
Kathleen
Thanks for your patience, Keith.
This kind of notation requires extensive transcriber's notes to explain what's going on.
In Figure 12-4 you could explain about the arrows attached to each note (something like "each right hand note has a downward pointing arrow above it..." and then omit them from the actual music transcription. The solid horizontal line following the notes in measure 3 could be represented by a different kind of slur - just define it before the example.
Figure 12-5 would require the same kind of descriptions. The dashed and dotted lines after the right hand notes could be represented by a slur, utilizing a transfer slur from one staff to the next to show the connection to the 2nd octave G-flat; the circled numbers 1-5 can be placed in the music line as word signs. Arrows, since they're not attached to specific notes this time, could be placed above the music line; the timings on a line above the arrows. The zigzag line in the 3rd (4th) measure would need to be described. I would also probably vertically align the musical elements, using special bar lines to delineate the measures, since there is no meter and the timing is visually indicated.
Use the same ideas for 12-6 - vertical alignment, extensive transcriber's notes, boxed stemless note heads within brackets or parentheses; Once you find your method of explaining these things, it becomes easier.
The clock diagram can be described as such. Use a TN to indicated the "events" at each "hour." I would just describe the visual images if they aren't actual music. You could set up your descriptions in a manner like:
1:00 forte-piano in a box, crescendo, circle with a line extending to the right, two accented staccato marks.
2:00 mezzo forte, horizontal line, zigzagging in a crescendo to the middle and decrescendo to a straight line at the end.
These are just rough ideas! I'm sure you can come up with better wording!
Hope that helps - let me know how it goes!
Kathleen
Hi Keith!
This is a great question! I've had to deal with a lot of stuff like this - let me spend a little bit of time contemplating and I'll get back to you! (I just wanted to be sure you knew I got your question!)
Kathleen
Excellent question, Lennie!
Using textbook formatting and pagination is appropriate for instructional textbooks and method books.
(While the Handbook for Braille Music Transcribers 3rd edition has not been updated to reflect UEB or the Music Code 2015, the revised Code does not address this issue, so I feel it is safe to follow those particular guidelines.)
Kathleen
Hi Christina!
Great question!
I would suggest mf; open bracket slur; 4oct C dotted half; straight line; slur; transfer slur.
I would like to be able to do the slur from the C to the 3rd octave F last, after the transfer slur, but I'm afraid that would look like a double slur instead.
Try this and see what you think.
Excellent question, Christina!
In the 2015 code, section 22.3.b it states that word sign expressions are brailled without capitalization. We no longer make an exception for Fine and Coda (unless Coda is part of a music heading).
DeGarmo is being updated as we speak so hopefully soon it will reflect the new code along with UEB standards!
Kathleen
Hi Christina!
I think a basic upward arpeggio in both sides of your in-accord would be clear enough here.
Good question!
Kathleen
(My first thought is to use a crossword puzzle format with full cells indicating the black areas and the paths left open...)
(My first thought is to use a crossword puzzle format with full cells indicating the black areas and the paths left open...)
Quick follow up question-
is a grade 1 indicator necessary in an expression such as the ones I listed?Thanks!
