,transcriber's ,notes3 ,every effort has been made to replicate this text as faithfully as possible1 including inconsistencies in spelling and hyphenation4 ,some corrections of spelling and punctuation have been made4 ,they are listed at the end of the text4 ,italic text has been marked with underscores4 ,how to ,write ,music ,musical ,orthography ,by ,clement ,a4 ,harris ,associate of the ,royal ,college of ,organists ,edited by ,mallinson ,randall ,new ,york ,the ,h4 ,w4 ,gray ,co4 ,sole ,agents for ,novello ,co41 ,ltd4 ,copyright1 #aiag ,,by ,,the ,h4 ,w4 ,,gray ,,co4 ,made in the ,united ,states of ,america ,,contents ,the numbers refer to the ,paragraph1 not the ,page4 ,introductory #a ,choice of ,paper #b ,scoring #c ,barring #d ,clefs #e ,signatures #f ,notation of ,rhythm #h ,placing of ,notes #ad ,rests #ae ,dots #bj ,stems #bb ,hooks #bi ,leger-,lines #cf ,vocal ,music #cg ,open ,score to ,short #da ,short ,score to ,open #dg ,extracting a ,single ,part from ,score #ej ,accidentals #ea ,legibility #eb ,facility #ed ,copyright #ee ,proof ,reading #ef ,,index1 ,page #ec4 ,how to ,write ,music ,introductory4 #a4--;,it is reasonable to expect that a musician shall be at least an accurate and legible writer as well as a reader of the language of his ,art4 ,the immense increase in the amount of music published1 and its cheapness1 seem rather to have increased than decreased this necessity1 for they have vastly multiplied activity in the ,art4 ,if they have not intensified the necessity for music-writing1 they have increased the number of those by whom the necessity is felt4 ,intelligent knowledge of ,notation is the more necessary inasmuch as music-writing is in only a comparatively few cases mere copying4 ,even when writing from a copy1 some alteration is frequently necessary1 as will be shown in the following pages1 requiring independent knowledge of the subject on the part of the copyist4 7,see e4g41 par4 #bh47 ,yet many musicians1 thoroughly competent as performers1 cannot write a measure of music without bringing a smile to the lips of the initiated4 ,many performers will play or sing a note at sight without hesitation1 which1 asked to write1 they will first falter over and then bungle--at least by writing it at the wrong octave4 ,the admirable working of theoretical examination papers is sometimes in ridiculous contrast with the puerility of the writing4 ,psychologists would probably say that this was because conceptual action is a higher mental function than perceptual3 in other words1 that recollection is harder than recognition4 ,the remedy is simple4 ,recognition must be developed till it becomes recollection3 the writing of music must be taught concurrently with the reading of it4 ,this was once the case3 music-writing was a necessary part of a musician's education4 ,one may be the more surprised at its falling into disuse1 inasmuch as phonography--in the musical sense--is a distinctly pleasant occupation4 ,without being either drawing or writing1 it partakes of the nature of both4 ,but many points in the writing of music are not now considered to form part of the ,rudiments of ,music1 and are not included in primers on the subject4 ,hence the following pages4 ,while containing some matter which may have escaped the attention of more advanced musicians1 they should1 in an educational course1 either be used along with a ,primer on the ,elements1 or immediately follow it4 99 99 99 99 99 ,choice of ,paper4 #b4--,the first matter to claim attention in making a manuscript copy of music is choice of the right kind of music-paper4 ,this will primarily be determined by the number of staves each score requires4 ,most paper contains twelve staves to the page4 ,this is a most convenient number1 allowing for a two-1 three-1 four-1 or six-stave score4 ,song-paper3 three-stave score1 two staves being braced for the piano part1 with a third for the voice part4 ,this latter is at a considerable distance above the other staves1 to allow room for writing in the words4 ,organ-music paper3 three-stave score1 two staves braced for manual part1 and another underneath for pedal part4 ,quartet-paper3 four-stave score1 no brackets or clefs4 ,quartet-paper with accompaniment3 six-stave score1 two bracketed for piano part4 ,full-score paper3 much smaller than short-score staves4 ,very useful for other purposes where a small1 narrow stave is required4 ,for piano and violin music1 paper should be chosen the staves of which are wide apart1 to allow of the large number of leger lines frequently required4 99 99 99 99 99 ,scoring4 #c4--,the paper chosen1 the first use of a pen will be in ruling the score-lines4 ,a score technically is as many staves as are performed simultaneously3 two in pianoforte music1 three in organ music1 four in an unaccompanied quartet1 six in four-part vocal music with piano accompaniment1 and so on4 ,these staves have a line drawn down their left-hand edge4 ,hence the name1 from their being scored through4 ,their position always being at the left-hand edge of the staves1 and their length determined by the number of staves1 they may be drawn before the length of the measures has been arranged4 ,care must be taken when a page is ruled at a time not to draw the score-line through more than the necessary number of staves4 ,except in a full score there will generally be at least two1 and1 of course1 very often more1 scores to the page4 99 99 99 99 99 ,barring4 #d4--;,after the score-lines come the bar-lines4 ,and with the arranging of these begins that careful mapping-out of the whole work1 neglect of which will lead to endless annoyance and dissatisfaction4 ,some music is so uniform that a given space may be assigned to each measure1 and consequently a uniform number of measures to each score1 provided that there is no change of key or time4 ,in determining this space allowance must be made 7#a7 in the first measure of each movement for the key and time signatures1 which may require a considerable space2 7#b7 in the first measure of each score for the key signature3 the time signature is only repeated at the beginning of each movement or when the time is changed2 7#c7 regard must be had to where a turn-over will come1 some passages allowing of this so much more easily than others2 7#d7 also to the number of measures in the entire movement1 otherwise a new page may have to be added for only one measure6 7#e7 in vocal music careful regard must be paid to the words as well as the notes4 ,a syllable will often require more space than a note1 consequently in very simple music the words require more space than the music4 ,in florid compositions a syllable1 on the other hand1 is often sung1 not to several notes merely1 but to several measures1 and the music requires much more space than the words4 ,in the former case the author has found it a good plan to write the words first1 or at least a measure or two of them1 as a guide in estimating their average length4 ,but1 while the words must not be cramped1 they must fall under the notes to which they are to be sung1 and as these notes must occupy as nearly as possible their proportionate part of the measure1 the skilful scribe will keep both words and music in mind simultaneously4 ,where1 however1 in vocal or instrumental music the measures vary greatly1 one having1 perhaps1 a single whole note and the next thirty-two thirty-second notes1 it is necessary to plan each score separately1 or the end may be reached with too much space for the last measure1 but not enough for another one4 ,carrying a measure from the end of one score to the beginning of the next is not practised now1 as it once was4 ,bar-lines are usually drawn through each stave of vocal music separately1 and in instrumental music through as many staves as belong to the same instrument or group of instruments1 e4g41 through the two staves of a piano part1 and the four or five belonging to the strings in a full score4 ,these instrumental staves are also usually connected by a brace at the left-hand edge of each score thus3 ,illustration3 ,fig4 #a4 ,uniform bar-lines may be ruled a page at a time1 if care be taken not to make the line continuous through more than the required number of staves4 ,it is a fault which one commits the moment watchfulness is relaxed1 and entails much scratching out4 ,where the measures vary in length the ruling will most readily be done in light pencil with a ,t square1 and afterwards inked4 ,a single bar-line out of the perpendicular will spoil the appearance of a whole page4 99 99 99 99 99 ,clefs4 #e4--,the first actual musical characters to be written are the clefs4 ,misconception of the function of these is so common1 not among practical musicians only1 but on the part of elementary theorists1 that a few words of explanation are necessary4 ,the commonest fallacies are to suppose that if clefs are the right shape their exact position on the stave does not matter1 and that their position varies4 ,both suppositions are1 to quote a delightful ,ruskinism1 accurately false4 ,a clef identifies and originally was used with a single line1 and identifies others only by their relationship to this4 ,hence its precise shape is of less importance than its being on the right line4 ,indeed1 the shape of clefs has varied so much that many able practical musicians do not know that they were originally simple letters1 the treble clef a small g1 the bass clef a small f4 ,from this beginning has been evolved so elaborate a sign1 sometimes not merely covering all the lines of a stave1 but going beyond them1 that it is necessary to explain which line a clef is on4 ,thus the ,g1 or treble clef1 is on that line which its interior termination is on1 and which it curls round1 touching it in all four times4 ,the upper part of the treble clef is sometimes kept within the stave1 but1 as in the present examples1 more often rises above the stave4 ,the point is merely a matter of taste4 ,the ,c clef is on that line which has an oblique or straight stroke1 or pot-hook1 above and below4 ,the ,f clef is on that line which its interior termination is on1 and which it curls round either to the right or the left1 and which has a dot above and below4 ,illustration3 ,fig4 #b4 ,and this position never varies4 ,whatever line the ,f clef is on is ,f1 however many or few lines may be above or below it4 ,in olden days any clef line might be taken with any number of lines above and below4 ,for instance1 the ,f line with two lines below and two above2 or three below and one above4 ,this is not now done with treble and bass clefs1 which are only used with respectively the top and bottom five lines of the ,great ,stave of eleven lines4 ,hence care must be taken to write the treble clef on the second1 and the bass clef on the fourth line of its stave4 ,but it is still customary to use the ,c clef1 especially in viola and trombone music1 with both two lines above and two below1 making the alto stave2 and three below and one above1 making the tenor stave4 ,these staves are also used in old vocal music1 and familiarity with them is absolutely necessary in all advanced theoretical examinations4 ,the ,c clef1 therefore1 appears to move1 being sometimes on the third and sometimes on the fourth line4 ,really it is always on the same line1 and it is the selection of lines which varies4 ,hence the misdescription of the treble and bass clefs as immovable1 the ,c clef as movable4 ,note that all clefs are on lines2 no clef is in a space4 ,this is because the first attempt to accurately represent music to the eye was by means of a single line with a letter at the beginning4 ,this was what has since become the fourth line1 the clef line1 of the bass stave4 ,in pianoforte and organ music1 high parts for the left hand1 or low ones for the right1 may be written either3 ,by means of leger lines 7,fig4 #c1 a72 ,by changing the clef 7b72 or ,by writing the part in the stave proper to the other hand 7c74 ,illustration3 ,fig4 #c4 ,the example1 of course1 illustrates a high part for the left hand4 ,the first method is the hardest to write and read4 ,there is not much to choose between the second and third4 ,if the third be adopted care must be taken not to insert rests in the vacant stave3 their absence shows that the hand is not resting4 ,when a part1 in organ or piano music1 though mainly in its proper stave1 begins with notes more easily written in the other1 the clef proper to the part should be inserted1 as showing its general character1 and immediately followed by that in which the notes are most conveniently written4 ,thus ,fig4 #c1 b1 if the first measure of a composition1 should have an ,f clef immediately preceding the ,g clef in the left-hand part4 ,a change of clef affecting the first note of a score should be anticipated in the last measure of the previous score1 and repeated in the measure affected4 ,this is especially the case in regard to the first score of a new page involving a turn-over4 ,in addition to anticipating the clef1 the old plan of inserting a direct is to be recommended4 ,see ,fig4 #d4 ,illustration3 ,fig4 #d4 ,the signature should be repeated in the changed clef4 ,after a change of clef in the middle of a score this is1 of course1 not necessary4 99 99 99 99 99 ,signatures4 #f4--;,following the clef comes the key signature4 ,in printed music this is repeated at the beginning of every score4 ,as preventing many mistakes the repetition is desirable4 ,but in manuscript music it is very usual to repeat it only at the head of each page4 ,common faults are3 7#a7 ,placing the sharps or flats at the wrong octave4 ,the first sharp should1 in the treble clef1 be on the top line1 not in the bottom space4 ,and the second flat should be in the top space1 not on the bottom line4 ,the customary way of writing signatures is not1 in the writer's opinion1 invariably the best4 ,but solecisms1 though not in themselves inaccurate1 should be avoided as causing unnecessary trouble and confusion4 7#b7 ,a perhaps commoner fault is in not allowing sufficient space for the signature1 and therefore cramping it4 ,each sharp or flat should be well to the right-hand of the preceding one1 never over or under it4 7#c7 ,sharps1 flats1 and naturals1 like clefs1 cover much more of the stave than the single line or space which they govern4 ,not nearly enough care is usually exercised to make the center of the sharp1 or the loop of the flat1 exactly correspond with this1 as it should4 99 99 99 99 99 #g4--,the time signature need only be inserted where there is a change of movement4 ,in common time there is a choice between the numeral signature #d_/d and the letter signature ,c4 ,the latter is the more interesting historically4 ,originally it was not a letter at all2 the monks1 who originated modern musical notation1 called triple time perfect in honor of the ,blessed ,trinity1 and represented it with the sign of perfection--a circle3 common1 or quadruple time1 they called imperfect1 and cut a slice out of the right-hand side of the circle to represent imperfection4 ,this printers1 not unnaturally1 mistook for the initial letter of ,common ,time4 ,but the numeral signature is rapidly superseding this1 as showing the exact value of a measure1 and being in accordance with the signatures of all other kinds of time4 99 99 99 99 99 ,notation of ,rhythm4 #h4--;,following the time-signature come the notes4 ,the guiding principle in writing these is that their right interpretation shall be apparent to the eye4 ,two points are of paramount importance4 ,these are 7#a7 the selection of the right characters 7this of course only affects those who are writing original compositions or arrangements1 not mere copists71 and 7#b7 the correct placing of these in the measure4 ,the bare duration of a note1 its merely arithmetical value1 can generally be expressed in more ways than one4 ,but this is not sufficient4 ,that way must be selected which represents its rhythm1 its correct accentuation1 to the eye4 ,simple forms of time1 as distinct from ,compound1 contain but few pitfalls1 and even an inexperienced writer is not likely to go far wrong4 99 99 99 99 99 #i4--;,it may be as well to warn such an one1 however1 that it is not nowadays customary to dot an unaccented note or rest4 ,the dot in this case would represent the succeeding accented beat1 and not represent it nearly as significantly as does a tied note or separate rest2 compare a and b1 ,fig4 #e4 ,illustration3 ,fig4 #e4 99 99 99 99 99 #aj4--,tied notes should not be employed where a single note would represent the same sound without misrepresenting the rhythm4 ,their chief function is to represent durations which cannot be represented by a single character1 such as five eighth notes4 99 99 99 99 99 #aa4--;,in pianoforte music a note is very occasionally intended to be reiterated before the first iteration has ceased to sound4 ,this is effected by allowing the key to rise sufficiently to release the hammer1 but not sufficiently to reimpose the damper on the string4 ,the second sound therefore overtakes the first4 7,it is comparatively easy on some pianos and very hard on others47 ,as the sound1 though periodically reinforced1 is continuous1 the composer indicates his intention by a tie4 ,there is nothing but one's judgment to distinguish this from the ordinary kind of tie4 ,the chief indication is the employment of a tie where a single musical character would otherwise have been better4 ,for instance1 the following tied sixteenth notes from the ,adagio of ,beethoven's ,sonata1 ,op4 #ajf1 could better have been represented by eighth notes1 had it not been for the intention of overlapping iteration 7,fig4 #f74 ,illustration3 ,fig4 #f4 ,the ties commencing in measure #acd of ,beethoven's well-known ,sonata ,pastorale were evidently regarded by ,cipriani ,potter as of this order4 ,as having been a personal friend of ,beethoven's he was likely to know4 7,the great composer refers to him in corresponding with ,ries in #ahah47 ,the duration of these notes could not have been written otherwise than by means of ties4 ,the above test is therefore inapplicable2 this is evidently why1 in the edition edited by ,potter1 they are marked with a tie plus a dot and horizontal stroke 7,fig4 #f;a74 ,illustration3 ,fig4 #f;a4 ,another indication is the tying of an unaccented note to an accented one1 thus obliterating the accent if the tie be observed literally 7instances occur in ,chopin's ,valse1 ,op4 #ca1 ,no4 #a74 ,so much critical judgment1 however1 is required to distinguish this treatment from that proper to a tie1 that composers would do well to adopt some such method as ,cipriani ,potter's to make their exact meaning clear4 ,this interpretation of a tie1 according to which the notes1 since they overlap1 are just not separated1 must not be confused with the mezzo-staccato touch1 also indicated with a slur1 but having dots also 7in the case of a single note indicated by a stroke with a dot71 and which means that the notes are to be just not joined4 ,in legato1 of course1 they should be neither separated nor overlapping1 but exactly contiguous4 99 99 99 99 99 #ab4--,the commonest errors in simple time are not in regard to notes1 but rests4 ,this is because silence cannot be divided or syncopated1 and therefore that would often be quite right as a representation of sound which is quite wrong as a representation of silence4 ,thus a beat should not be represented by two rests where one would do1 though it might be by two notes 7see a1 ,fig4 #g74 ,nor one rest represent parts of two beats 7see b1 ,fig4 #g74 ,nor one rest represent an unaccented and an accented beat 7see c1 ,fig4 #g74 ,in triple time it is better to avoid a single rest representing the latter and greater part of a measure 7see d1 ,fig4 #g71 indeed1 it may be said that half-note rests should not be used in triple time4 ,illustration3 ,fig4 #g4 99 99 99 99 99 #ac4--;,but in compound time errors1 if not more numerous in kind1 are much more common anyway in regard to notes as distinct from rests4 ,a note should never be written which represents a beat and part of another4 ,the commonest violation of this principle--and it is very common--is in writing a dotted half note in six-eight time2 this divides the measure into three thirds instead of two halves1 by representing a beat-and-a-third and two thirds of a beat 7see a1 ,fig4 #h74 ,a beat-and-a-third1 if required1 should be represented by a note of the value of a beat tied to one of the value of a third1 never by a single note equalling both--a half note in this case 7see b1 ,fig4 #h74 ,a similar principle applies to rests4 ,a measure's silence should be represented by rests divisible into beats1 not by rests which fuse a beat and part of the next 7see c1 ,fig4 #h74 ,two dotted quarter notes in twelve-sixteen time are not so bad as a dotted half note in six-eight time1 as they correctly represent the division of the measure into two halves1 but they misrepresent these halves as consisting of three sixths of a measure whereas they rhythmically consist of two quarters 7see d1 ,fig4 #h74 ,illustration3 ,fig4 #h4 ,a twelve-sixteen measure of silence is much easier to write1 since it can be done by a single whole note rest1 which is also commonly used as a measure-rest1 irrespective of the value of the measure4 7,hence the ,german name taktpause47 ,the six-eight measure of silence 7see c1 ,fig4 #h7 might also1 of course1 have been written in the above way1 or by quarter1 eighth1 quarter1 eighth rests in place of the dotted rests4 99 99 99 99 99 ,placing of ,notes4 #ad4--,the characters which will correctly represent the given rhythm having been determined1 the second point is the correct placing of them in the measure4 ,mentally1 at least1 the measure should be divided into as many equal portions as there are beats in it4 ,one well-known composer1 it is said1 rules beat-lines in light pencil1 as well as bar-lines1 in his full scores4 ,in very elaborate music this symmetrical arrangement cannot be fully carried out2 sixty-four sixty-fourth notes cannot be written in the same space as one whole note2 and a whole note would look lost in the space required for the sixty-fourth notes4 ,but simple music can be made quite symmetrical1 and in all music such beat-lines1 actual or mental1 are an invaluable check and guide4 ,each note should be placed in the left-hand end of its space4 ,this is for the simple reason that music1 like words1 is read from left to right and1 roughly1 space represents duration4 ,any other arrangement is misleading1 as may be seen from old music1 in which a note was often placed in the middle of its space4 ,the following 7,fig4 #i7 is an example from an organ work of ,rinck's 7#aggj-ahdf74 ,illustration3 ,fig4 #i4 ,but for the fact that in open score half notes below the middle line have their stems turned down1 even an expert would not improbably suppose the time to be four half notes in the bar4 ,this is not the case1 the time is two half notes and the whole note is to be sounded simultaneously with the two half notes4 ,confusion worse confounded1 is1 so far as the eye is concerned1 hardly too strong a term to apply to the results of this illogical method when applied to polyphonic music4 ,compare a and b1 ,fig4 #aj1 in the former of which four notes intended to be begun simultaneously are no two of them in line1 owing to each being in the middle of its space6 ,illustration3 ,fig4 #aj4 ,this practice was consistently carried out1 even when it involved writing a note on the bar-line6 or a note in one measure and its dot in the next 7see ,fig4 #aa74 ,illustration3 ,fig4 #aa4 7,pianists will recall a modern instance1 so far as the dot is concerned1 in a little exercise in ,c major of ,czerny's47 ,the practice cannot have been due to the non-invention of the tie or bind4 ,for though the first use of this is difficult to trace1 clear instances1 in the form of a bracket1 1 occur in ,morley's ,practical ,music1 published in #aeig4 99 99 99 99 99 ,rests4 #ae4--,rests1 especially whole note rests1 when used for a whole measure1 are still very often illogically placed in the middle of the space they represent4 ,this has been defended on the ground that they represent silence or inaction1 and that therefore no error can arise from their appearance being deferred4 ,but a performer should be conscious of the action or inaction of every voice or part4 ,if there be a seeming vacuum or hiatus1 how is he to know whether it is a note or rest which has been omitted8 ,if he concludes1 from the absence of any note1 that a rest is intended1 he can only guess how long it will prove to be when it does come4 ,therefore1 in the writer's opinion1 rests should be located on the same principle as notes4 ,if it be not a profanation to say so1 since the example is from ,bach1 the rest in ,fig4 #ab would have been better placed at the beginning of the measure4 ,let a sheet of paper be held over the right half of the measure1 and though the player will be able to begin1 he will not know in how many parts the piece is written4 ,illustration3 ,fig4 #ab4 99 99 99 99 99 #af4--;,in open score1 that is1 in writing a single melody or part on one stave1 it is usual to make whole note rests below the fourth line1 and half note rests above the third4 ,quarter note rests should be written exactly in the middle of the stave4 ,the crook of eighth note rests1 and the upper crook of shorter rests1 is generally placed in the third space1 in the absence of any reason to the contrary4 ,the stems of rests are1 in manuscript music especially1 better slanted somewhat4 ,this helps to distinguish them from the stems of notes--in rapidly written manuscript a not unimportant thing6 99 99 99 99 99 #ag4--,there are two forms of quarter note rest1 the ,english1 which is like the eighth note rest but turned to the right-hand1 and the ,german1 which is somewhat difficult to describe4 ,the ,german is far the better of the two as being much more distinct from the eighth note rest4 ,it is1 however1 harder to write1 and of the slightly varying forms1 perhaps the easiest is that with a crook at each end of a very oblique stem and which is thus very much like a reversed letter ,z 7see the first example in ,fig4 #ac74 ,illustration3 ,fig4 #ac4 ,manuscript forms of ,german quarter note rest4 99 99 99 99 99 #ah4--;,in short score1 that is1 in writing two or more parts or voices on one stave1 the rests are placed1 not only in the top or bottom space of the stave as may best indicate to which part they apply1 but above and below it1 involving1 in the case of whole note and half note rests1 the use of a leger-line 7see b1 ,fig4 #ad74 ,this is partly because the stems of all rests are turned down1 and therefore cannot be made1 as the stems of notes can1 to indicate the part they belong to by the direction taken4 ,this1 therefore1 has to be shown by their position on1 or off1 the stave 7see ,fig4 #ad74 ,illustration3 ,fig4 #ad4 ,j4 ,s4 ,bach4 ,it will be seen that the lower eighth note rest in the first example belongs to the same part as the following sixteenth note rest1 though by no means on a line with it4 99 99 99 99 99 #ai4--;,in modern piano music which is not of a strictly part-writing character1 rests often represent the absence1 not of a part or voice1 but of the hand4 ,if the notes1 though representing as many parts as the piece can be supposed to possess1 are all to be played by one hand1 rests are employed to represent the absence of the other4 ,and in music which is of a part-writing character1 though the parts are incomplete1 rests are often not employed if both hands are engaged 7see ,fig4 #c1 c1 bass clef1 supposing it to be of more than two parts74 ,bach rarely1 if ever1 employed rests to represent the hand2 with him they always represent a voice4 ,thus in a melodic or one-part passage divided between the hands1 each playing alternate groups1 he used no rests to represent the absent hand4 ,these1 appearing simultaneously with the notes1 would have implied a second part4 ,with him rests represent a living1 though absent1 voice2 in modern usage they frequently represent1 not music1 but the way of playing it4 ,see ,fig4 #ae1 the first half of which is in two parts1 therefore rests represent the thirty-second note silences2 and the second half of which is in one part1 therefore no rests are employed though only one hand is engaged at a time4 ,it is from a ,b flat ,prelude in ,bach's ,well-tempered ,clavier4 ,illustration3 ,fig4 #ae4 99 99 99 99 99 ,dots4 #bj4--;,dots are used in music for three purposes3 7#a7 as repeat marks1 7#b7 to indicate semi-staccato1 7#c7 to prolong a note one half4 ,as repeat marks1 they may be placed in each of the four spaces of the stave 7which in the writer's opinion is the better plan1 as being less liable to confusion with time-dots71 or in the second and third spaces only1 in accordance with a modern custom4 ,staccato dots and staccatissimo dashes1 when two parts are being written on one stave1 should be placed below the note if applying to the lower part1 and above if applying to the higher4 ,in the case of open score 7a single part on one stave71 they are best placed on the side opposite the stem4 ,time-dots1 or those which prolong a note one half1 if applied to a note in a space1 should be in the same space as the note2 if applied to a note on a line they should be placed in the space above1 if the next note of the part is higher1 and in the space below if it is lower4 ,the importance of this usage is often overlooked4 ,if it cannot be called a rule1 it is high time it was made one6 ,when two parts are written on one stave1 and a note is doubled1 having two stems1 one up and the other down1 to indicate this1 and in one part it is dotted1 and in the other not1 it is impossible1 apart from this rule1 to tell which part has the note dotted and which not 7except1 of course1 from the context1 which may expose any mistake74 ,the following example from ,henry ,smart's ,festive ,march in ,d1 for the organ1 appears to contain two dotted half notes4 ,it would probably be so read by anyone playing the passage at sight4 ,the context shows that it is the eighth note not the half note which is intended to be dotted4 ,all the dots except that to the last note but one should have been in the space below the note1 where this is on a line4 ,illustration3 ,fig4 #af4 ,logic would suggest that where a doubled1 that is a two-stemmed1 note is dotted in both parts or voices1 two dots should follow one above the other4 ,this would1 however1 be awkward when the note was in a space2 and also when it was on a line1 if1 as in the last group above1 both voices proceeded to a lower note 7or both to a higher74 ,for according to the rule here being considered1 both dots would have to be in the space below 7or above74 ,there is another slight inaccuracy in the above example which will be noticed later on4 ,let the tyro try and find it6 99 99 99 99 99 #ba4--;,as regards distance from the note they prolong1 time-dots may be written either immediately after such note1 as in ,fig4 #af1 or in the part of the measure with which they synchronize1 as in the following excerpt from ,sterndale ,bennett's piano study ,the ,lake4 ,illustration3 ,fig4 #ag4 ,elsewhere throughout the same study the composer has placed dots immediately after the note they prolong4 ,here1 therefore1 he seems to have anticipated the objection that he was dotting un-accented notes 7see ,notation of ,rhythm1 ,par4 #i71 and to refute it by showing that there are in reality two series of accents in each measure1 at cross purposes with each other1 that1 indeed1 the alto1 and tenor measures are an eighth note behind the treble1 though they could not be written with separate bar-lines4 ,this is clear when the whole passage is seen4 ,observe that the dot to the last note of a measure is placed at the beginning of the next1 to make the overlapping clear to the eye4 7,also that the dots to the last alto and tenor quarter notes are placed not in the space next1 but in the space next-but-one higher than the note they prolong47 ,dots are not infrequently placed thus--that is1 in or near the part of the measure with which they synchronize--apart from any such purpose as that just explained4 ,the dot made its first appearance in music about ,a4,d4 #acjj4 ,sometimes it had a tail 7punctus caudatus7 and looked not unlike an inverted comma4 ,it did not1 however1 acquire its present meaning till about a century later4 99 99 99 99 99 ,stems4 #bb4--,there is no rule as to the length of stems1 and they vary greatly4 ,the stems in a single group of notes are as often as not of different lengths1 according to the position of the notes and the direction taken by the hook4 ,a common fault is to make them too short1 especially when the four hooks of a sixty-fourth note have to be added4 ,this1 however1 is generally the result of a badly directed hook 7see a1 ,fig4 #ah74 99 99 99 99 99 #bc4--;,as to the direction they take there is a definite rule4 ,in open score 7when one part only is being written on a stave71 the stems of notes above the middle line should be turned down1 the stems of those below the middle line should be turned up 7see b1 ,fig4 #ah74 ,the object of this is to keep the stems within the stave and prevent their sprawling above or below4 ,the ill-equipped writer betrays himself by nothing more often than by sprawling stems4 ,the stems in a group of notes are generally turned according to the direction of the first note1 or the majority4 ,in a group containing a wide skip they are often turned individually according to the rule1 involving opposite directions1 the hook being drawn between them 7see c1 ,fig4 #ah74 ,five exceptions are common3 7#a7 ,the stem of a grace note is almost invariably turned upwards1 though according to ,dr4 ,hullah it should be turned in the direction contrary to that of the stem of the principal note1 for the sake of greater distinctness 7see d1 ,fig4 #ah74 ,in copy for the printer grace-notes are best written in red ink4 7#b7 ,in piano music when a single part1 or row of notes1 is to be divided between the hands1 one playing one group and the other the next1 the stems of the right-hand notes are turned up1 and those of the left down 7see ,fig4 #ae1 latter half of measure74 7#c7 ,similarly in some organ music1 especially that printed in ,germany1 pedal notes which are to be played by the right foot have the stems turned up1 those by the left1 down4 7#d7 ,in vocal music1 when a subsequent verse1 though having the same notes1 requires different time-values from the first verse1 or a translation requires different time-values from the original language1 the time-values required by one verse or language have the stems of the notes turned up1 those required by the other down 7see e1 ,fig4 #ah1 from ,molique's oratorio ,abraham74 7#e7 ,in music written on two staves1 when the notes of a single group skip from one stave to the other1 the hook is placed between the staves1 and the stems of the notes on the lower stave are turned up1 and of those on the upper stave down1 irrespective of their relation to the middle line of the stave 7see f1 ,fig4 #ah1 from the ,moonlight ,sonata74 ,illustration3 ,fig4 #ah4 99 99 99 99 99 #bd4--;,in short score1 that is when two parts have to be written on one stave1 the stems belonging to the upper part should be turned upwards1 and those to the lower downwards4 ,only by this means can the course of the parts be made clear to the eye4 ,when the parts cross1 the rule must be strictly adhered to3 the note belonging to the upper part1 not the upper note1 must have the upward stem4 ,to make quite clear which note each stem belongs to1 it is well in this case to make the notes a little less close together than they otherwise would be 7see a1 ,fig4 #ai1 a well-known case from a chant by ,sir ,john ,goss1 where the tenor goes below the bass74 ,sometimes more than two parts are written on one stave2 in this case the stems of two parts must be turned the same way1 and considerable ingenuity is required to make the course of the parts clear4 ,usually the middle part varies in the direction of its stems4 ,simultaneous notes are generally written not quite in a line with each other1 to allow of separate stems3 the stems are generally rather short1 so as not to run into each other1 and the hooks of simultaneous eighths and shorter notes do not concur4 ,two measures from ,bach's piano fugues will illustrate these points 7b and c1 ,fig4 #ai74 ,illustration3 ,fig4 #ai4 99 99 99 99 99 #be4--,the stems of rests are always turned downwards4 99 99 99 99 99 #bf4--,there is also a definite rule as to the side of a note at which the stem should be placed3 stems turned upwards should be at the right-hand side of the note-head1 those downwards1 at the left4 ,this rule is observed less in the case of half notes than of shorter notes--for what reason the writer is unable to say4 99 99 99 99 99 #bg4--;,at one time whole notes and shorter notes were not round1 but lozenge-shaped1 the longer notes being square1 and the stem was then in the middle1 thus ,symbol3 square note4 ,these gave way to round notes about the seventeenth century4 ,playford's well-known ,whole ,booke of ,psalms1 published about #afge1 was probably one of the earliest books printed wholly with round notes4 99 99 99 99 99 #bh4--;,it follows from the foregoing rules that even so apparently simple a task as transcribing a part--soprano1 alto1 tenor1 or bass--from a short-score hymn or chant book into a choir part-book is not mere copying4 ,in the hymn or chant book the stems of one part are all turned the same way3 in the part-book they must be turned according to their relation to the middle line4 99 99 99 99 99 ,hooks4 #bi4--,with one exception1 hooks should be made at the right-hand side of the stem2 they are therefore sometimes at the same side as the note-head1 and sometimes not4 99 99 99 99 99 #cj4--,the exception is when longer and shorter notes are combined in the same group4 ,in this case the hooks not common to the whole group are invariably turned so as to lie within the group1 and1 subject to this1 if the group contains more than one beat1 so as to lie within the beat of which they form part4 ,illustration3 ,fig4 #bj4 99 99 99 99 99 #ca4--,previous to #affj1 each eighth or shorter note had a separate hook or hooks4 ,but at the time of the ,restoration1 ,john ,playford substituted a connecting horizontal line for the separate hooks of two or more eighths belonging to the same division of the measure4 ,the device was copied by the ,dutch1 ,french1 and ,germans4 ,the ,italians did not adopt it till later4 ,thus1 ,marcello's ,psalms1 published in ,venice as late as #agbd-bg1 have separate hooks4 7,in an edition in the writer's possession1 published in #ageg1 united hooks are used1 but this is probably rather due to the venue than to the later date47 99 99 99 99 99 #cb4--;,hooks in instrumental music must be united in strict accordance with the laws of rhythm 7see ,notation of ,rhythm1 pars4 #h-ac74 ,thus1 four eighth notes must not have the same hook in ,compound ,time3 they must be grouped as three and one1 or one and three1 or two and two1 according to the position they occupy in the beat they belong to4 ,in three-four time1 six eighth notes may have one hook1 but in six-eight time they should preferably have separate hooks of three eighth notes each4 ,broadly speaking1 the notes forming a single beat of the measure should be united in one hook1 but very commonly two beats have one hook between them1 especially in four-four time4 ,in the case of sixteenths and shorter notes1 the outermost hook often shows the half-measure1 and the inner hook or hooks the sub-division into beats 7see ,fig4 #ba74 ,illustration3 ,fig4 #ba4 99 99 99 99 99 #cc4--,so closely should the hooks follow the rhythm1 that where a phrase crosses the measure beginning at the end of one measure1 and ending at the beginning of the next1 the hook crosses the bar-line too1 uniting notes in different measures 7see a1 ,fig4 #bb74 ,notes may have the same hook though separated by a rest 7see b1 ,fig4 #bb74 99 99 99 99 99 #cd4--,the hook to a group of notes which ascends or descends may either slant in the direction taken by the notes1 or may be straight 7see c1 ,fig4 #bb74 ,in the writer's opinion slanted hooks are preferable as being a better guide to the eye4 ,in manuscript music1 when hooks have to be drawn within the stave1 and not above or below it1 they should invariably be slanted when this is possible2 otherwise they are very apt to coincide with the stave-lines1 and fail of distinctness4 ,a common fault is in not making them thick enough4 ,notes are sometimes hooked in accordance1 not with the rhythm1 but with the hand which is to play them 7see d1 ,fig4 #bb74 ,this is necessitated by the usage with regard to stems in such cases see ,stems1 par4 #bb1 exception 7#b74 ,illustration3 ,fig4 #bb4 99 99 99 99 99 #ce4--;,in vocal music notes should not have the same hook which are sung to a different syllable 7see ,vocal ,music1 par4 #cg74 ,subject to these exceptions1 notes must be grouped according to their rhythm4 99 99 99 99 99 ,leger-lines4 #cf4--,the appeal to the eye 7see ,notation of ,rhythm1 par4 #h1 and ,placing of ,notes1 par4 #ad7 must be maintained as regards the pitch as well as the duration of notes--their perpendicular as well as their horizontal position4 ,consequently leger-lines must be the same distance from the stave1 and from each other1 as the stave-lines are one from another4 ,carelessness in this matter is very common and very confusing4 ,how often a lower note looks as though above a higher one1 because leger-lines are cramped together in one case and too wide apart in another 7see ,fig4 #bc74 ,illustration3 ,fig4 #bc4 ,two things which are equal to the same thing are equal to each other1 as ,euclid says3 let leger-lines be equidistant with stave-lines1 and they will be level with each other4 ,but accuracy in the number of lines is of more importance than the appeal to the eye1 and the appeal to the eye must of course not be made a substitute for it4 ,the context shows the high note in ,fig4 #bd 7which is several times repeated7 to have been intended for ,e1 the position of which1 on the paper1 it about occupies4 ,but1 being on the first leger-line1 it is ,a1 and would be were it a yard above the stave6 7,the example is taken from a printed1 not a manuscript copy6 ,the first two notes are evidently intended as grace-notes1 though the stems are turned down2 the stems in the second half of the first measure should have been turned up47 ,illustration3 ,fig4 #bd4 99 99 99 99 99 ,vocal ,music4 #cg4--;,in vocal music the singing of one syllable to two or more notes is shown in the case of whole notes1 half notes1 and quarters1 by a slur 7see ,fig4 #be74 ,illustration3 ,fig4 #be4 ,te ,deum4 ,c4 ,v4 ,stanford4 ,it will be seen from the above that a slur does not dispense with the necessity for tying consecutive notes of the same pitch1 occurring in a passage sung to one syllable4 ,for an apparent exception see a passage from ,handel's ,but who may abide3 ,illustration3 ,fig4 #bf4 ,but here1 the repeated note occurring on a strong accent preceded by a weak one1 is evidently intended not to be tied1 but to receive an emphasis4 7,similar exceptions may be found in ,every ,valley47 ,in modern music1 when all the notes of a measure are to be sung to the same syllable1 and there is no likelihood of confusion1 the slur is often dispensed with4 ,this is especially the case in ,mendelssohn's music4 ,illustration3 ,fig4 #bg4 ,mendelssohn's ,st4 ,paul4 99 99 99 99 99 #ch4--;,eighths and shorter notes1 to which one syllable is to be sung1 should have a united hook1 provided that they belong to the same rhythmic group2 and separate hooks1 though belonging to the same rhythmic group1 if sung to separate syllables3 ,illustration3 ,fig4 #bh4 99 99 99 99 99 #ci4--,many writers place a slur over eighth notes1 as well as quarters and longer notes1 when sung to one syllable4 ,but this is quite unnecessary with hooked notes unless1 as in the preceding example1 a syllable is sung to a whole group and part of another1 or parts of two groups4 ,redundancy of slurs--very common in old music--is confusing rather than helpful4 ,intelligibility depends much upon getting the syllables exactly under or over the notes to which they are to be sung4 99 99 99 99 99 #dj4--,syllables sung to notes extending over more space than themselves should be followed by dots if forming a complete word1 and by strokes1 or hyphens1 if parts of a word4 ,see preceding examples4 99 99 99 99 99 ,open ,score to ,short ,score4 #da4--;,in transcribing from open score to short score1 a single sound sung by two voices simultaneously beginning and ending at the same time1 should1 if a whole note1 be represented by two note-heads linked2 if a half note or shorter note1 by having two stems1 one up and the other down3 ,illustration3 ,fig4 #bi4 99 99 99 99 99 #db4--;,black notes1 though of different lengths1 may have the same note-head if they begin at the same time1 the difference being shown in the hook or hooks3 ,illustration3 ,fig4 #cj4 ,but a whole note and a half note must have separate note-heads1 since a stem would turn a whole note into a half note2 and a whole note or half note and a quarter note must have separate note-heads1 since a note cannot be white and black at the same time4 ,in this case the note-head of shorter duration must be written first3 ,illustration3 ,fig4 #ca4 ,the rule is sometimes relaxed1 and the longer note written first1 when the shorter note is the first of a group4 ,albeit a half note and an eighth1 or other hooked note1 may have the same note-head1 provided this be that of the half note1 because the hook shows that in one part the note is intended to be read as an eighth note4 ,they cannot have an eighth note-head because there is nothing to distinguish the stem of a half note from that of a quarter3 ,illustration3 ,fig4 #cb4 ,s4 ,heller4 99 99 99 99 99 #dc4--,notes cannot have the same note-head which begin at different times1 even though they end at the same time4 ,this would involve writing one of them in the wrong part of the measure 7see ,placing of ,notes1 par4 #ad74 ,illustration3 ,fig4 #cc4 ,hence1 as a dotted quarter is a sixteenth shorter than two dotted eighths and a sixteenth1 and therefore the final note does not begin at the same time 7though it ends at the same time7 in the treble and alto parts of the last group of ,fig4 #af 7par4 #ce71 the example is inaccurate4 ,it should have been written thus3 ,illustration3 ,fig4 #cd4 and would be so played were the passage given1 say1 to two violins4 ,the tyro must not mistake the above two final note-heads1 the longer of which comes first1 for a breach of the rule exemplified in ,fig4 #ca 7par4 #db71 and which applies to two notes which begin at the same time4 ,here the longer note begins before the shorter one4 99 99 99 99 99 #dd4--;,in part-music all the accidentals in an open score will have to be reproduced in short score4 ,each performer is only supposed to read his own part1 and cannot be assumed to have seen an accidental in another part which1 had it been seen1 would have rendered one in his own unnecessary4 ,thus the sharps in ,fig4 #ce ,illustration3 ,fig4 #ce4 will remain in a transcription to short score1 ,illustration3 ,fig4 #cf4 if intended for part-singers or players4 7,a pianist or organist would not need the second sharp in each stave1 while probably preferring it as a recognition of the part-writing character of the music47 99 99 99 99 99 #de4--;,in music which is not part-writing1 the transcriber will have to use his discretion as to the repetition of accidentals which have already appeared in another part in the same measure4 ,the guiding principle will be to avoid the likelihood of error on the part of a competent reader4 99 99 99 99 99 #df4--;,care must be taken to turn the stems of half notes and shorter notes according to the principles of short score1 and not necessarily as they are in the open score4 99 99 99 99 99 ,short ,score to ,open ,score4 #dg4--;,co-relatively1 in transcribing from short score to open1 it will occasionally be necessary to put accidentals in the latter which are not in the former4 ,the commonest form of this is probably in extracting a single part1 soprano1 alto1 tenor1 or bass1 from an ordinary short score hymn or chant book1 and writing it in a part-book for the particular voice4 ,thus1 in transcribing the tenor of the following extract from the hymn-tune ,heathlands into a part-book1 it would be necessary to insert a natural before the ,a4 ,illustration3 ,fig4 #cg4 99 99 99 99 99 #dh4--;,far more often1 however1 it is necessary to omit naturals used to contradict an accidental occurring in a part which is not being copied4 ,thus1 in the following extract from the tune ,endless ,alleluia1 the natural in both the tenor and bass would be unnecessary were these parts written out separately from the other parts and each other4 ,illustration3 ,fig4 #ch4 7,the ,a sharp in the tenor of this extract suggests ,c sharp so strongly apart from the rest of the harmony1 that the natural is almost a necessity even had the previous treble ,c sharp not been included4 ,not being required according to rule1 however1 it should be enclosed in brackets--a not infrequent1 and very commendable1 device with careful writers1 when an accidental is desirable but not necessary according to rule47 99 99 99 99 99 #di4--,the stems1 of course1 must be turned up or down according to their position above or below the middle line1 and not as in the short score4 99 99 99 99 99 ,extracting a ,single ,part4 #ej4--;,in copying out a single part from a score1 full or short1 care must be taken in abbreviating a number of measures' rest4 ,the usual way of doing this is to write the number of measures over a single measure1 thus3 ,illustration3 ,fig4 #ci4 ,but if a pause occurs in any of the other parts of the score this will not do4 ,the number of bars before the pause must be counted1 and the pause--or pauses--shown in the abbreviation as follows1 assuming it to occur in the thirteenth bar3 ,illustration3 ,fig4 #dj4 99 99 99 99 99 ,accidentals4 #ea4--,the necessity for inserting accidentals in a part-copy which may not appear in a short-score1 has just been pointed out4 ,yet the musical ,hercules is beset with a ,charybdis as well as a ,scylla4 ,he may be drawn into the bad and very irritating modern habit of using accidentals which are not really called for4 ,accidentals where unnecessary are doubtless used with the object of making assurance doubly sure4 ,they have precisely the reverse effect1 besides being uncomplimentary--to put it mildly--to the intelligence of the performer4 ,sharps1 flats1 and naturals which sometimes are foreign to the signature1 and sometimes duplicate it1 cause confusion where there was previously assurance4 ,bad enough at all times1 they are1 when one is transposing at sight1 exasperating to the last degree4 ,an accidental is operative during the bar in which it occurs1 and no further1 unless it inflects the last note of a bar1 and the next bar begins with the same note4 ,it is so usual1 however1 to contradict an accidental in the bar next to that in which it occurs1 that this practice may almost be said to have become a rule1 breach of which might cause uncertainty in all but the clearest cases4 ,this is no justification for the absurd practice of some writers1 of contradicting an inflection the next time the same note un-inflected occurs1 however far off this may be6 ,as a rule1 a natural should only be used where the sharp or flat to be cancelled would not have to be repeated were the inflection intended to continue4 99 99 99 99 99 ,legibility4 #eb4--;,a common cause of illegibility in manuscript music is what may be called a spider-like sameness in the web4 ,stems and hooks--indeed sometimes stems and note-heads6--are much of the same thickness and blackness4 ,compare them in printed music1 and it will be seen that a dozen1 perhaps a score1 of stems could be spun out of one hook4 99 99 99 99 99 #ec4--,should it be necessary to erase and rewrite a note1 the blurred effect too often resulting may be almost entirely avoided by penciling the correct note before tracing it in ink4 ,this produces a lead-lined groove and prevents the ink from running4 99 99 99 99 99 ,facility4 #ed4--,orthography is taught by the careful making--drawing rather than writing--of large letters4 ,the formation of a more rapid and individual hand does not come till later4 ,so with musical phonography4 ,the student1 at whatever cost of time and patience1 must first acquire accuracy and clearness4 ,not till these are gained must he think of rapidity and ease4 ,hence the consideration of facility has been deferred to the last4 ,facility is well worthy of consideration1 especially on the part of those who have much music to write4 ,a little thought will often show how a character may be made in one stroke1 which in any other way will take two or more1 and that without any loss of clearness4 ,thus a half note can be made in one stroke if begun at the point where the ring joins the stem2 that is1 at the top of the ring for upward stems1 at the under part for downward stems4 ,illustration3 ,fig4 #da4 ,quarter notes may be made in one stroke if the head be begun first when the stem is upward1 and the stem first when the stem is downward4 ,illustration3 ,fig4 #db4 ,if this very simple expedient were more generally known1 the practice of writing downward as well as upward stems at the right-hand side of the note-head--never done in printed music--would not be as common as it is4 ,it should be added that to make a quarter or half note satisfactorily in one stroke1 a pliable pen1 fine1 but spreading under pressure1 and rapidly recovering itself1 is necessary1 otherwise the head will be too thin or the stem too thick4 ,eighth notes1 especially those with downward stems1 are best made in two strokes4 ,they can1 however1 be made in one if begun at the bottom4 ,that is to say1 those with upward stems must be begun at the head1 and those with downward stems at the hook4 ,this hook must be drawn thin1 if made thick the pen will scratch when making the stem3 if the head be made first the pen ends at the wrong side for a downward stem4 ,illustration3 ,fig4 #dc4 ,each shorter note requires an additional action4 ,the ,g clef can be made in one stroke if begun at the innermost part of the curl1 or at the downward extremity4 ,the ,f clef requires three strokes1 owing to the dots1 each of which takes one to itself4 ,the ,c clef requires four movements1 so does a sharp4 ,a flat may be made in one stroke1 but is very apt to look like a half note4 ,a natural requires two movements4 ,chords may be expeditiously formed1 if with downward stem1 by making the top note1 with stem1 first1 and then adding the other notes4 ,chords with upward stems should be begun at the bottom4 7,the joinings are purposely left imperfect to show the method4 ,the numbers show the order of the four actions for the four notes47 ,illustration3 ,fig4 #dd4 99 99 99 99 99 ,copyright4 #ee4--;,a primer on musical orthography is hardly complete without a few words on ,copyright4 ,as long as a work is in manuscript and copies are not offered for sale it enjoys the same protection1 under the common law1 as if properly entered for copyright4 ,it is an infringement of copyright to copy1 reprint1 publish1 or vend the whole or any portion of a copyright work for any purpose whatsoever4 ,it is an infringement to copy a hymn tune1 a portion of an anthem1 orchestral parts1 or to transpose a song2 such infringements can be prosecuted and the full penalty exacted4 ,it can be readily understood that such copying deprives the composer or proprietor of his just returns from the sales of his work4 ,to secure a copyright in the ,united ,states of ,america it is necessary to print on each and every copy1 ,copyright 7date7 by 7name of proprietor71 and to send to the ,registrar of ,copyright1 ,washington1 ,d4 ,c41 two complete copies with a fee of one dollar for registration and a certificate under seal4 ,the copyright is secured for twenty-eight years from the date of first publication with the privilege of a renewal for twenty-eight years1 provided that notice of renewal is given the copyright office one year prior to the expiration of the first term4 ,securing an international copyright is usually undertaken by the publisher1 as are also such matters as mechanical rights4 99 99 99 99 99 #ef4--,when the finished composition is ready for publication1 a fair copy should be made and care exercised to see that it is legible and correct in every particular4 ,a few suggestions as to proofreading and correcting may prove useful4 ,there are certain symbols in universal use which are as follows3 ,illustration3 move over ,illustration3 take out ,illustration3 turn over ,illustration3 transpose ,illustration3 close up ,illustration3 space ,illustration3 wrong font ,illustration3 lower case ,these symbols should be marked on the margin of the proof 7see sample page71 and no other instructions are necessary4 ,notes are indicated by their position on the staff not by their names4 ,the value of a note is indicated by a fraction4 ,slurs are drawn in and indicated by the word slur4 ,dots are encircled with a line to give them prominence4 ,illustration ,,index ,the numbers refer to the ,paragraph1 not the ,page4 ,,paragraph ,accidentals #dd-dh1 #ea ,barring #d ,beat-lines #ad ,bind #ad ,black-notes #db ,change of ,key #d ,change of ,time #g ,chords #ed ,clefs #e ,common ,faults #e1 #f1 #ab1 #ac1 #bb1 #cd1 #cf1 #eb ,compound ,time #ac ,copyright #ee ,crossing ,parts #bd ,direct #e ,dots #bj1 #i1 #ad1 #dj ,erasures #ec ,extracting a ,single ,part #ej ,facility #ed ,german ,quarter ,note ,rests #ag ,grace-notes #bc ,groups #ac1 #bc1 #cj1 #cb1 #ce1 #ch ,half ,note ,head with ,eighth ,note ,hook #db ,historical ,notes #g1 #ad1 #ba1 #bg1 #ca ,hooks #bi1 #db ,introductory #a ,key ,signature #d1 #f ,leger-lines #cf ,legibility #eb ,mapping-out #d ,mercer's ,psalter #d ,morley's ,practical ,music #ad ,notation of ,rhythm #h1 #cb ,open ,score #af1 #bj1 #bc ,open ,score to ,short ,score #da ,organ ,music #bc ,over-lapping ,iteration 7,piano7 #aa ,paper #b ,part ,writing #ai1 #dd ,pause #ej ,placing of ,notes #ad ,playford's ,whole ,booke of ,psalms #bg1 #ca ,rests #ae-ai1 #ab1 #ej ,rhythm1 ,notation of #h1 #cb ,scoring #c ,short ,score #ah1 #bd ,short ,score to ,open #db ,sign of ,perfection #g ,signatures #f1 #d1 #g ,simple ,time #ab ,slur #cg1 #ci ,sonata ,pastorale #i ,stems #bb ,of ,rests #be1 #af1 #ah ,stroke and ,dot #i ,three ,parts on ,one ,stave #bd ,ties #aj1 #aa1 #ad1 #cg ,time ,signature #g ,turn ,over #d1 #e ,unnecessary ,accidentals #ea ,vocal music #cg1 #bc 7,exception #d7 #ce1 #dj ,words 7,see also ,vocal ,music7 #d ,when a higher number precedes a lower in the above index1 it is because it refers to a more important ,paragraph4 ,transcriber's ,note3 ,the following is a list of corrections made to the original4 ,the first line is the original line1 the second the corrected one4 ,quartet-paper3 four stave score1 no brackets or clefs4 ,quartet-paper3 four-stave score1 no brackets or clefs4 ,leger-lines1 ,leger-lines4 cannot be white and black at the same time4 ,in this case the notehead cannot be white and black at the same time4 ,in this case the note-head