Download RNIB modified Braille music paper March 2012

RNIB Music Advisory Service
Modified Braille Music
Concept and guidelines for production
Contents
Music Advisory Service ........................................................................... 1
Modified Braille Music ............................................................................. 1
Concept and guidelines for production ................................................. 1
Concept ............................................................................................... 1
The need to modify .............................................................................. 2
Materials for Beginners ........................................................................ 4
Layout and text................................................................................. 4
RNIB suggestions for layout and text ............................................... 4
Repeat conventions.......................................................................... 5
RNIB suggestions for repeat conventions ........................................ 5
Performance Directions .................................................................... 5
RNIB suggestions for performance directions .................................. 6
Editorial Markings ............................................................................. 6
RNIB suggestions for editorial markings ........................................... 6
Explanatory notes ............................................................................ 7
RNIB suggestions for explanitory notes ............................................ 7
Commentary..................................................................................... 7
RNIB suggestions for what to include in the commentary ................. 7
Braille scores used with sighted musicians .......................................... 8
RNIB suggestions ............................................................................ 8
Layout .............................................................................................. 8
Repeat conventions.......................................................................... 8
Commentary..................................................................................... 8
Exam Questions .................................................................................. 8
RNIB suggestions for Layout ............................................................ 9
Marking the score ............................................................................. 9
RNIB suggestions for marking the score ........................................ 10
Electronic files ................................................................................... 10
RNIB suggestions for hard copy versus electronic formats............. 10
Final thoughts .................................................................................... 10
Concept
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"Modified" is a term used in educational fields in the UK for
alterations made to inaccessible things to make them accessible to
a particular client group. Modified Braille music is not a new
concept. Within the confines of the Braille music code, as set out in
the 1997 New International Manual (NIM) edited by Bettye Krollick,
transcription agencies have scope for considerable variation, for
example, in layout and conventions for showing repeated bars or
sections, or for the rendering of non-standard stave notation. Given
that a considerable proportion of Braille music is produced by
individual blind musicians for their own use, it may be assumed
that an even greater variety of modified Braille music is in unofficial
use.
As well as some variations based on national or individual
preferences, there have been widely available examples of
modification based on user need. For example, RNIB used to
produce the Associated Board of the Royal Schools of Music
(ABRSM) piano grades 1-3 in simplified form to assist students in
the early stages of learning Braille music. The basic pitch and
rhythm notation was augmented only by other essential signs to
enable an accurate performance of an outline of the piece, whilst
stylistically incomplete.
It is in the context of modification for educational and particular
uses that these guidelines have been produced.
The need to modify
Throughout the 20th century, the principal focus of organisations
around the world was on producing Braille music transcriptions
faithful to the print original, aimed at professional blind performers
and teachers. This approach assumed a competent level of Braille
music literacy among the intended readership who were, in large
part, concentrating their efforts towards a few limited and specialist
fields such as performance of solo piano and organ repertoire.
Braille music was typically taught in special schools for the blind,
often by first medium Braille music readers, as part of a music
curriculum which demanded musical literacy.
With changes over the past twenty years in the way that blind
young people are being educated in mainstream schools, often as
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the only braillist, the ways of acquiring Braille music literacy are
now more varied and more haphazard. Routes to learning may be
with an instrumental teacher willing to learn the code, with selfstudy or with a teaching assistant or volunteer in school. Learning
with the instrumental teacher brings the acquisition of musical
literacy amongst blind pupils closer to that of sighted pupils.
However, fluency in literary Braille is normally, though not
universally, considered a pre-requisite to learning Braille music,
and this may mean learning Braille music starts at a later age than
learning stave notation. These changes in education have
coincided with a widening of opportunities for making music and
employment for blind people in the music business which are now
more likely to include working alongside sighted musicians using
stave notation.
The growing number of Braille music tutorial books in recent years
(L. Wesseling, M. Smith, R. Taesch) as well as online information
and resources, whilst welcome, does not address the issue that
the scores held in many of the libraries around the world are aimed
at blind musicians at the end of their Braille music learning journey
rather than those part way along it. Scores aimed at intermediate
musical levels can make significant demands on Braille music
literacy which render them unsuitable. Even a grade 1 ABRSM
piano or guitar piece may require an understanding of interval
signs and whole and part-bar in-acord conventions, all of which are
peculiar to Braille music and which detract from the musical line.
While sighted musicians learn print notation relevant to their
instrument, for example a recorder student may learn the notes B
A G first, while a piano student may learn C D E F G, Braille music
is more often introduced with reference to the structure of the
code. The three Braille music tutor books referenced above all
start by showing a scale of C. There is a case for a series of Braille
music tutor books for specific instruments such as recorder, violin,
guitar and trumpet.
The teacher (and sometimes the pupil) have to choose whether to
learn from a graduated Braille music literacy text or from a
mainstream instrumental tutor book. Older books presenting
practice examples were written for pianists, with some more
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modern books aimed at more general musicianship lacking the
rigour needed to learn the notation comprehensively.
Reading, learning, memorising or sight-reading from Braille music
all require the acquisition and practice of skills for blind musicians
not needed by sighted learners of stave notation. Appreciating
these challenges and how blind musicians develop these skills,
along with contexts in which they use scores, is the basis for this
paper.
Materials for Beginners
Layout and text
Within the NIM, matters of layout are given less attention than
symbols (see chapters XIV-XX). Examples of good practice are
illustrated but there is scope for national variation.
RNIB suggestions for layout and text
 The title, composer, arranger, and any other text heading the
transcription be shown in uncontracted braille. (The implications
of the recent adoption of UEB on literary text in Braille music
scores in the UK have yet to be fully explored.)
 Print system numbers not be given.
 Bar numbers be given at helpful landmarks throughout the
piece, for example the beginning of new sections, at changes in
key or time signature, at changes of mood or style, or in the
case of ensemble pieces, at the entry of the part being
transcribed after a rest.
(In print, bar numbers often appear at the beginning of systems.
There are a range of opinions on how best to show bar numbers,
including:
- Showing new print systems with a new line in Braille together with
the corresponding bar number;
- Showing the bar number above or at the beginning of each new
Braille line;
- Marking every 5 or 10 bars in the Braille with bar numbers above
the Braille.
All of these have merits and limitations. Ultimately, it is up to the
transcriber and the user.)
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 Rehearsal letters or numbers be given in literary brackets and
be placed on a blank line above the bar to which they refer,
followed by the bar number if given in the print.
 Landmarks such as the beginning of new sections, entries after
rests, return of main subjects, sequences or phrases start on a
new line to aid navigation and memorisation.
 Cues after long rests be given only where they are helpful. Care
should be taken to ensure that the cue is not confused with the
actual score which might helpfully be placed on a new line.
 The primary focus throughout should be on musical sense
rather than saving space. Examples of good practice include
starting a new line early to show a sequence on one line rather
than split over two lines, and avoiding widows and orphans by
starting a new section after a rest on a new page.
 Pagination is a matter of taste. Where a score can be spiral
bound, double-sided Braille may be preferred, however singlesided Braille is easier to use from a music stand or on the lap,
and also to find sheets in a loose leaf folder. Use of A4 portrait
format may also be helpful particularly for short pieces.
Repeat conventions
Braille music includes several ways of showing repeated beats,
bars, groups of bars or sections which are not used in stave
notation. These serve to save space, and, in complicated
passages, to identify exact repeats which can aid the memorisation
process.
RNIB suggestions for repeat conventions
 the convention of going back x bars and repeating x bars be
used only where this will not compromise the reader in being
able to sight-read or follow the score.
 the convention for repeating specific numbered bars be avoided
given that this will inevitably hinder fluency.
Performance Directions
This section is taken to include dynamic markings (letters such as
F or P and hairpins), nuances such as staccato dots and accents
and performance directions such as verbal instructions.
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Dynamic markings are placed above or below the stave in print
notation whereas in Braille, they must be incorporated into the
musical line. This makes their exact positionning important to
prevent the music being interrupted unnecessarily. The placing of
dynamic markings is often less specific in print than in Braille.
Thus, in a faithful transcription, they may be shown in the Braille in
what can seem illogical points, for example after the first note of a
phrase or splitting a grouping of semiquavers. This can lead to a
cluttered appearance in the Braille which can hinder the flow of
sight-reading, following a score and memorisation.
RNIB suggestions for performance directions
 Some editorial licence be taken regarding the placing of these
signs to suit the musical phrasing.
If the pattern of nuances is regular throughout the piece, or for a
motif which is repeated, this might usefully be explained with bar
references in a note to the Braille reader, and the nuances
included only the first time. This corresponds to the use of "simile"
in print though may be used in different contexts, as for example in
the doubling conventions in Braille music.
In some cases, the following two approaches may be helpful:
either
 a. an edited version of the score be produced with a note
explaining which signs have been omitted, or
 b. the student be encouraged to produce their own edited
version.
Editorial Markings
Many tutor books and teaching editions include editorial markings
aimed at guiding the player towards a musical performance. In
print, these are often placed within different kinds of brackets,
above or below the stave, in bold or thin type.
RNIB suggestions for editorial markings
 A simplified score is made without these editorial markings,
and,
 A full version of the score is prepared, without brackets, but with
a written note about what are editorial markings.
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Explanatory notes
The NIM sets out in chapter XIV what the explanatory notes should
include. Musically this is only those signs which do not appear in
the NIM.
RNIB suggestions for explanitory notes
 Modified Braille scores also include descriptions of any signs
which are not likely to be recognised. Examples for beginners
may include:
 Glissandos, portamenti, jazz lines;
 Appogiaturas, acciaccaturas and other less common
ornaments;
 Explanation of breath marks, commas and caesuras;
 Groupings of quintuplets etc;
 Conventions for repeats where these have been used (that is
"Braillisms", features not used in the stave notation)
Commentary
It can be helpful to include a verbal commentary of the piece. This
can be helpful where:
 The geography of the piece is complicated by repeats, segnos,
first and second time bars, introductions and codas, as used in
band parts and songs from the shows.
 The score is for an ensemble piece and includes melody,
accompaniment and extended periods of rests.
RNIB suggestions for what to include in the
commentary
 An overview of the structure of the piece with reference to bar
numbers or rehearsal letters, for example "Introduction bars 1-4;
main theme bars 5-20; play to end of section (bar 48) and
repeat minus introduction; play until end of section in bar 66 and
return to letter B, and play to Coda".
 Comparison of material found at different bar numbers or
rehearsal letters, for example, "L is a transposition of G" or "F is
similar to C, but with a different pattern of accents and
staccatos".
 Reference to particularly noteworthy sections, such as extended
technically demanding passages, or signposts such as
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sequences, doubling with other instruments, changes of styles
or moods, changes of key, tempo or time.
Braille scores used with sighted musicians
Where the Braille music score is intended for use alongside
sighted musicians using stave notation, some of the above
guidelines may not be appropriate whilst other considerations may
be helpful. As a general rule, as the Braille music reader becomes
more fluent and competent, the Braille music score will need less
modification and resemble more closely standard music Braille.
RNIB suggestions
Layout
 Print system numbers and page numbers be given as they
appear in the print.
Repeat conventions
 The convention of going back x bars and repeating x bars be
avoided to aid the process of following the score.
Commentary
 For complex ensemble pieces, a suggested plan for learning
and memorising the score may be included, along with an
overview of the geography and layout.
Exam Questions
Examinations require a range of skills other than reading, learning
and memorising, including:
 Following a score whilst listening to a recording;
 Answering questions pertaining to specific locations in the
score;
 Comparing what is heard with what is presented in a skeleton
score;
For Braille music readers, these pose particular challenges,
including:
 Reading the score fast enough to keep up with the recording
(coping with multi-stave scores, page breaks and lyrics.)
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 Gaining a sufficient overview of the score in limited time.
(finding section repeats, changes of tempo, time or key.)
 Making notes in the score on the fly or remembering answers;
 Remembering the questions whilst using both hands to follow
the music.
RNIB suggestions for Layout
 questions, music and the explanatory notes be printed singlesided and on different sheets;
 page breaks BE given in convenient places, such as during
rests, at the end of musical sections;
 bar numbers be given on a blank line above the music for
single-line scores;
 bar numbers be placed between lyrics and the vocal line for
vocal music;
 bar numbers be given at the beginning of each line for keyboard
music written bar-over-bar.
 only beat, part-bar and bar repeat signs be used to aid the task
of following the score.
 Where lyrics are given but are not relevant to the questions,
they may be written below the music or separately after the
music.
Marking the score
In exam scores, it is necessary to mark the score at locations
referring to specific questions. Currently, for GCSE and A level
examinations in England, Wales and Northern Ireland, these are
shown by braces around the note(s) or bar(s) in question,
preceded by an abbreviation to serve as a reminder of the
question, for example (CH) for chord. Whilst logical and usually
clear, this method has two disadvantages:
 The braces and abreviations take up considerable space,
meaning that fewer bars can be placed on one line and thus
interrupt the flow of following the score.
 Where two questions refer to the same note(s) or bar(s), the
system of braces and abreviations can be difficult to show
accurately.
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RNIB suggestions for marking the score
 As a general rule, it is suggested that the score be kept as
simple as possible whilst retaining a score which is both
equivalent and fair.
 As this is the current method for transcribing examination
materials, it is suggested that teachers with candidates sitting
these examinations obtain copies of past papers so that
candidates can familiarise themselves with the conventions.
Electronic files
So far we have considered only hard copy Braille where the user
has no ability to alter the score. Presenting music scores in
electronic formats to be read on a Braille notetaker or via a Braille
display allows the blind reader to edit and manipulate the score.
Specifications for the electronic Braille music file, such as exact file
format, pagination and translation tables, are beyond the scope of
this paper. However, the following are some factors to consider
when deciding whether to use hard copy or electronic formats.
RNIB suggestions for hard copy versus electronic
formats
 How easy is it to navigate the electronic document (finding
particular bars, rehearsal letters etc)?
 How easy is it to scroll across the full line if the Braille displays
fewer than 40 cells at a time?
 How portable and easy to carry is the Braille device?
 Will the different kynaesthetic experience of reading from a
Braille display as opposed to a physical book have implications
for the memorisation process?
Final thoughts
The RNIB Music Advisory Service wishes to thank all those who
have read, commented on and made suggestions for these
guidelines. Above all, we are grateful to the young Braille music
readers who have provided the inspiration for us to work on this
area of Braille music. At the heart of our efforts is the simple wish
to encourage the music-making of young people with sight
difficulties and in doing so, produce materials in a format which will
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encourage future generations to discover the joy of having
independent access to music notation.
RNIB Music Advisory Service
November 2011
Revised March 2012