Why they exist
Abbreviations make the score shorter and more readable: instead of rewriting identical sections you use repeat signs, and instead of rewriting repetitive figures you use symbols. The reader has to “reconstruct” the route: it is like reading the map of a piece.
Section repeats
- Repeat: double bar line with dots (|: … :|). The section between the two signs is repeated; if the opening sign is missing, repeat from the beginning.
- First and second endings (brackets 1. and 2.): the first time you play ending 1, on the repeat you skip to 2.
- D.C. (Da Capo): go back to the beginning. D.C. al Fine: from the beginning up to the word Fine. D.C. al Coda: from the beginning up to the coda sign, then jump to the Coda.
- D.S. (Dal Segno, symbol 𝄋): go back to the sign. D.S. al Coda / al Fine as above.
- Coda (crosshair symbol 𝄌): the concluding section you jump to.
- By convention, on D.C. and D.S. returns the internal repeats are often not observed (in many minuets the marking is “Minuet D.C. senza replica”).
Example of a route: A |: B :| C D.S. al Coda → play A, B, B, C, return to the sign (start of B), B, jump to the Coda.
Bar and figure repeats
- Simile (sim.): continue with the same articulation or pedaling.
- Bar repeat sign (slash with two dots, similar to %): repeat the previous bar; with two slashes and a “2” repeat the previous two bars.
- Tremolo: slashes on the stem. One slash on a quarter note = repeated eighth notes; three slashes = fast unmeasured tremolo. Between two different notes = alternating tremolo.
- Slash notation: slashes in place of notes in rhythm parts (guitar, piano): “play the indicated chords with this rhythm” or “accompany freely”.
Octaves and register
- 8va (octave above) with a dashed line; 8vb (octave below); 15ma (two octaves above).
- loco: return to the written pitch.
- col 8va (coll'ottava): double at the octave.
Orchestral and ensemble indications
- a2, a3: two or three instruments of the same family play the same part. 1.: only the first player.
- div. (divisi): the section splits (e.g. violins I divided into two parts). unis.: back to unison.
- tutti / solo: the whole section / a single player.
- tacet: the instrument does not play for the whole movement or section.
- G.P. (Generalpause): general pause of the whole orchestra.
- V.S. (volti subito): turn the page quickly.
- breath mark (comma) and caesura (//): a brief interruption of the sound.
- arco / pizz., con sord. / senza sord..
- Ped. and asterisk (or horizontal bracket): piano sustain pedal; una corda / tre corde: left (soft) pedal.
Abbreviations of instrument names
Fl. (flute), Picc. (piccolo), Ob., E.H. (English horn), Cl., B.Cl., Bsn. (bassoon), Cbsn., Hn. (horns), Tpt. (trumpets), Tbn. (trombones), Tba. (tuba), Timp., Hp., Vln. I / Vln. II, Vla. (violas), Vc. (cellos), Cb. (double basses).
In pop and jazz charts
- Vamp (repeat until cued), fill, tag (repeat the last phrase), break, N.C., lay out (don't play), fine on cue.
- Session players' charts often use the written form as a map: Intro – V1 – PC – C – V2 – PC – C – Br – C ×2 – Outro.
Examples
- Haydn and Mozart minuets: Minuet (with repeats) – Trio (with repeats) – Minuet da capo without repeats.
- Handel's da capo arias: A – B – A (D.C.), with the return ornamented by the singer.
- Real Book lead sheets: “Autumn Leaves” written with a repeat (A A) and then B, with first and second endings.
Exercise for the producer
- Take a structured piece (e.g. a minuet) and rebuild the Playlist in FL Studio following the repeats and D.C.: it is identical to arrangement work with patterns.
- Write the map of one of your own tracks as a chart with repeat signs and first/second endings.
- Use FL Studio Playlist markers to name the sections (Intro, Verse, Chorus…) as in a chart.
Connections
Reading the orchestral score; Articulations; Dynamics; Verse–chorus form; Binary, ternary and AABA form.