Score Example 0300-00


    beam-break Demonstration of how to break a beam down to the sixteenth-note level and how to indicate two triplet "3" marks on a beam. Beethoven piano sonata no. 5 in C minor, op. 10/1, mvmt. 2: Adagio molto.
    beam-grace Demonstration of how grace notes interact with elements. The first subexample shows how to place a gracenote inside of a grouping of beamed regular notes. The second subexample shows how beamed grace notes are represented within a group of regular notes.
    beam-secondary Demonstration of how to break secondary beams. The first subexample shows a beam without breaks. The second subexample shows a break for every three notes. The third subexample shows a break for every two notes.
    chord-artic Demonstration of how to encode articulations on single notes and on chords. There are 4 staccato marks in this example applied to 6 notes.
    chord-bidur Demonstration of how to encode notes in a chord which do not all have the same duration. This example contains an arpeggiated chord containing two quarter notes and one half note. The logical duration of the chord is a half-note. This example is taken from Mozart's piano sonata no. 6 in D major (K1 284 / K6 205b), mvmt. 3, variation 4 (Alte Mozart-Ausgabe).
    chord-seconds Demonstration of how to encode chords with the same pitches, but with different arrangement of seconds along the stem.
    layer-lhrh Demonstration of how to encode a single line of music which is displayed in multiple orthographic layers, but a single perceptual (analytic) layer. Stem directions in this example suggests which hand should play the notes. Beethoven piano sonata no. 2 in A major, op. 2, no. 2, mvmt. 4: Rondo grazioso.
    layer-lhrh2 Example of a layer which starts out in one staff and then changes to another in a measure. Example from Beethoven's piano sonata no. 2 in A major, op. 2, no. 2, mvmt. 4: Rondo: Grazioso.
    layer-lhrh3 Demonstration of a melody spanning two staves, and layers on a single staff with stems going the same direction. Example from Beethoven's piano sonata no. 4 in E-flat major, op. 7, mvmt. 4: Rondo: Poco allegretto grazioso.
    layer-lhrh4 Demonstration of how to encode three musical lines on two staves when the middle line transfers to a different staff half-way through a measure. Beethoven piano sonata no. 4 in E-flat major, op. 7, mvmt. 1: Allegro molto con brio.
    layer-lhrh5 Demonstration of cross-staff layers. Beethoven piano sonata no. 4 in E-flat major, op. 7, mvmt. 1: Allegro molto con brio.
    layer-x3staff How can/should this example be encoded in terms of staff layers? Example is from Beethoven piano sonata no. 8 in C minor, Op. 13, mvmt. 2: Adagio cantabile. The right hand moves to the bottom staff in the middle of the second measure.
    layer-xchord Demonstration of how to encode notes of chords which occur on two different staves. Example from Mozart's piano sonata no. 1 in C major, K1 279, mvmt 2: Andante.
    layer-xstaff Demonstration of an unusual interaction of layers across staves. Note in particular that the first treble clef on the bottom staff comes before the end of the bar so that a note from the stop staff can be written in treble clef. Example from Joseph Haydn's keyboard sonata in G minor, Hoboken XVI:44 (Wiener Urtex no. 32), mvmt. 1.
    layer-xtie Demonstration of how to encode ties which start and end in different layers. This example is from Chopin's mauzrka in A minor Op. 17/4.
    lyrics-syllab The vocal part contains the original text and a translation. In the third measure, the translation has two syllables while the original-language lyrics has one. This is reflected in the music with a quarter note for the original lyrics and two eighth notes for the tranlated lyrics. Similar double-stem notation is used for multiple verses when the number of syllables varies between the verses. Example from the piano reduction of Wagner's Rheingold.
    note-caution Demonstration of how to indicate a cautionary accidental. The first subexample has an E-flat at the end of the second measure, but there is no accidental displayed, since it is contained in the key signature. The second subexample displays the flat, which is not technically required, but is provided for clarity to the performer.
    ornament-fturn Example of multiple finger numbers attached to an ornament (turn). From Beethoven's piano sonata no. 8 in C minor, op. 13, mvmt. 2: Adagio cantabile.
    ornament-trill Demonstration of how to encode trills with and without wavy lines after them. Also demonstration of how to encode accidental for upper neighboring tone on trill mark. Example from Joseph Haydn's keyboard sonata in D major, Hoboken XVI:33 (Wiener Urtex no. 34), mvmt. 1.
    ornament-turn Demonstration of how to encode turn ornaments. The example is from Beethoven's piano sonata no. 1 in F minor, op. 2, no. 1, mvmt. 2: Adagio. The first turn is centered above the note it applies to. The second turn in the next measure is centered *between* the note it is applied to and the following note in the layer. Both of the example turns have accidentals underneath them; the first has a natural sign which means play the lower diatonic note as a natural (B-natural). The second has a sharp sign underneath it which means play a sharped lower diatonic tone (F-sharp). Turns can also have accidentals placed above them which indicate the chromatic alteration of the upper diatonic tone.
    ornament-turn2 Demonstration of how to encode inter-note turn with a chromatic alteration of the lower and upper diatonic neighboring tones. Beethoven piano sonata no. 2 in A major, op. 2, no. 2, mvmt. 1: Allegro vivace.
    rhythm-fractup Demonstration of how to encode tuplet notes which contain rhythms which are not integer subdivisions of the whole note.
    tuplet-ambig Demonstration of how to encode rhythms when the visual display of note rhythms is ambiguous.
    tuplet-ambig2 Demonstration of how to encode rhythms when the visual display of note rhythms is ambiguous. This example is from Chopin's mazurka in A minor, Op. 17/4. The notes in the top staff are quintuplet sixteenth notes, but they are displayed with a single beam rather than two beams. The tuplet notes are also cue-sized in the printed edition.
    tuplet-nested Demonstration of how to encode multiple levels of tuplets. This example simulates a written out ornament played as a quintuplet 32nd notes within a triplet-eighth note pattern.
    staff-keytime Demonstration of key and time signature changes, how they interact with sections, and and non-sequential performance sections.
    staff-layers Demonstration of staff layers, particularly of how invisible rests in thir measure are encoded.
    tie-finger Demonstration of how to encode fingerd slurs. This example is from Beethoven piano sonata no. 23 in F minor, Op. 57, mvmt. 4: Presto.
    tie-finger2 Demonstration of finger pedaling with durations of notes explicitly written out. Beethoven piano sonata no. 3 in C major, mvmt. 1: Allegro con brio.
    tie-xlayer Demonstration of how to encode ties which cross layers (initial to medial, and medial to terminal are in different layers). Beethoven piano sonata no. 4 in E-flat major, op. 7, mvmt 1: Allegro molto brio.