Content
Inserting usûl (adjust meter if necessary):
-Import the appropriate usûl template from the server.
-Some of the usûls such as Dârb-I fetih, may require a few adjustments after importing (i.e. splitting measures for divisions etc.)
-Adjustment of dashed or invisible barlines could be necessary for usûls that are longer than 1 measure through Add or Remove in the Instrument section of Home tab.
- Darb: Hide the Time Signature and add the correct darb number (Text->Styles->General->Time Signatures->Darb), e.g. if the usûl is Çenber it requires 12/2 so that the darb should be written as 12.
- Add the Tempo denominator (Text->Styles->General->Performance Instruction (above) )
NOTE: They are the shortcuts for whole (w), half (h), quarter (q), eighth (e), sixteenth (x) notes. In Text it should be selected font: Opus Std)
Transcribing the melodic line:
- Transcribe the sections of the piece to staff notation in consultation with the concordances.
- Add asterisk markers in the transcription for the editorial notes: Entering jotted version of editorial notes (Notes on Transcription) in critical report in consultation with the concordances. (See Editorial comments below)
Adding CMO Symbols and Necessary Text Styles:
- For Brackets: Notation>Symbols>Conductor>Start Bracket and End bracket:
- For Division Signs: Notation>Symbols>User-defined>Division or End cycle:
-Barlines: Notation>Barline
-For Line breaks: Text>General>Line break
-For Page breaks: Text>General>Page break
-Indicating Subsections: Text>General>Subsection
To indicate sections such as Terennüm, Zemînhâne, or Miyânhâne, select the Subsection. If the scribe in the manuscript writes these sections, they can be represented as given by the scribe. However, if the scribe has not provided them as text (even if indicated with a symbol), the editor should indicate the subsection in the transcription using square brackets (e.g. [Zemînhâne], [Terennüm]).
Figure a Figure b
For example, in Figure b, you might see “mian[hâne]” because the scribe has added "mian" in Armenian script, and the editor has shown "hâne" in square brackets since the word ‘hâne’ is added by the editor.
-Adding Directional Titles to 1st and 2nd Endings in a beste form
In the Notation tab, click on the dropdown box to open the main list as shown in the visual.
Under the System lines find the 1st ending and double-click on "1st ending".
In the section where you selected "1st ending", you will see an option to "Edit…" at the bottom. Click on this.
At the top, you will see "Name" with "1st ending" written next to it. Below this, you will see sections labeled "Line", "Start", and "Cap".
In the "Start" section, click on the "Edit" option next to "Text". A "Text" box will open, and you will automatically see "1." written there.
Replace "1." with "To Zemînhâne" and click "OK".
Repeat the same steps for the 2nd ending:
Click on "2nd ending".
Select "2nd ending" and click "Edit".
Click on "Line" > "Start" > "Text" > "Edit".
In the "Text" box that appears, enter "To Miyânhâne" instead.
These steps help guide the readers through the flow of the piece in beste form more easily.
-Performance instructions: Text>General>Performance instruction
Note: Depending on the conception and position of the addition in the manuscript, you can choose a more specific position such as Text>General>Performance instructions (above) or Text>General>Performance instructions (below).
Editorial comments: (Text>General>Editorial Comment)
As seen below, simply place the * symbol where the mouse will be after selecting the editorial comment. As mentioned above (>7: Transcribe Notation/Transcribing the melodic line), the purpose of this asterisk is to indicate that the editor has a comment at that position. In fact, the function of this asterisk is to support the notes on transcriptions under the "Notes on transcription" section in the critical report, where references are made to division numbers.
Another function of this symbol is to allow the editor to take notes while transcribing and later add these notes to the critical report, helping them remember the location. The asterisk also assists the editor in determining coordinates.
Based on the example here, the reader can view the note on the 1st symbol of the 1st group of the 5th division in the critical report under 5.1.1:
- Text Underlay
The final stage before layout is the placement of the syllables under the text. The text underlay may be provided in the codex you are working on, or it may not be provided at all. Within the CMO editions, two examples of text underlay provided in the codex can be found in Codex TR-Iüne 204-2 and TR-Iboa TRT.MD.d.521. An example where the text underlay is not provided, and the editor has placed the syllables themselves is the Edition of Codex TR-Iüne 208-6. You can review these on the Online publication Platform of CMO https://corpus-musicae-ottomanicae.de/content/edition/browse.xml.
Text Underlay Workflow
- Assign Lyric Line Numbers:
-Click on the note where the syllable will be entered
-Go to Text>Lyrics > Lyrics line 1 no
Sibelius will automatically wait for your command to enter a number (e.g. 1.) or letter (e.g. t1 for 1st part of terennüm).
For example, if the text underlay belongs to a "Beste" Form, the syllables of the first hemistich are typically given in H1. In the common structural feature of the beste form, the melodies of H1 (Zemînhâne), H2, and H4 are the same. if the text underlay of H1 is to be entered, for the line number click on Text > Lyrics > Lyrics line 1 no and enter "1.".
Since the second hemistich's syllables will be placed in the next line for H2, specify this by selecting line 2 in the same manner: Click on Text > Lyrics > Lyrics line 2 no and enter "2."
For the third line, where H4's words will appear, follow the same process. Click on Text > Lyrics > Lyrics line 3 no and enter "4." This is because hemistich 3 typically belongs to the Miyânhâne and has a different melody. Therefore, to enter the syllables for hemistich 3 in the Miyânhâne, click on Text > Lyrics > Lyrics line 1 no and enter "3." to represent Hem. 3.
Figure c: Lines 1, 2, and 3 for the hemistiches of H1, H2, and H4.
Figure d: Since the hem. 3 (Miyânhâne) is on the 1st line, the line no is 1, but the number for the hem. assigned by the editor will be 3.
2. Place the Syllables:
After assigning line numbers, the next step is to place the syllables on the respective lines. Just as with assigning line numbers, click on the note where the syllable will be entered and then go to Text > Lyrics > Lyrics Line 1.
Sibelius will automatically wait for your command to enter a syllable under the note in Line 1. At this stage, you can place the syllables appropriately.
-The editor may adhere to the placement style given by the scribe if a syllable underlay is provided. However, if it is necessary to intervene due to metrical/rhythmic considerations, the editor can make adjustments with proper justification. If no text underlay is provided by the scribe, the editor will place the syllables starting with a square bracket ‘[’ and ending with a square bracket ‘]’ based on the methodology followed.
Fundamental Rules for Placing Syllables
-Melisma on Opening/Intermediary Syllable:
Indicated by hyphenation, e.g., gēl - - - mēdi.
-Melisma on Final Syllable:
Indicated by an underscore, for example, ca-nım____.
-Repeated syllables: (in the beginning, middle, or final position)
Indicated by hyphenation, for example, ca-nım - - - nım.
-Single Syllable from Two Words: (Ulama case)
Separated by a vertical line, e.g. fēy (from lutʿf ēylē) becomes f|ēy:
When the final sound of one word and the first sound of the following word are written together as a single syllable, they are separated in the transcription by a vertical line, for example, fēy (from lutʿf ēylē) becomes f|ēy:
Note: The placement of a final consonant or semivowel of a syllable in the underlay may precede its actual pronunciation. In gēl - - - mēdi, for example, it can be assumed that the melisma occurs on ē rather than l, which is presumably pronounced immediately before m. Likewise, if the underscore follows a word-final consonant or semivowel (reflecting the placement of letters in the original underlay), it is assumed that the melisma is sung on the final vowel, for example, gülis-tʿan____. The exact placement of the final consonant or semivowel is left to the discretion of the performer. Alternatively, the placement of the final consonant or semivowel of a syllable may be specified by the source, in which case it is indicated by hyphenation, for example, gē - - - l - mēdi or gülis-tʿa - - - n. Both practices are encountered in the sources, and therefore also in the transcriptions. Accordingly, when the underlay is added by the editor, it may follow either practice, depending on the conventions of the concordances used as well as the discretion of the editor.
-Alternative Endings:
In the case that a single line of underlay has two or more alternative endings (as may occur in the beste, for example, when the terennüm concludes with the final word(s) of the relevant hemistich in each hâne), the alternative endings are enclosed in braces { } to indicate that they are all sung with the same surrounding text:
-Additional typographic features
Bold or italics used in block lyrics are not used in the underlay.
Brackets are used only for editorial insertions or emendations.
Performance instructions related to the lyrics, usually directing the singer to the next hemistich, are transcribed as they appear in the source, with the number of the hemistich supplied by the editor.
Instructions to proceed to a particular hemistich or section of the text may also be supplied by the editor in brackets to clarify the order of performance:
- Block Lyrics
- Block Lyrics in Manuscripts:
Block lyrics are often supplied in the manuscripts preceding or following the notation of a vocal piece.
The layout of block lyrics (i.e., alternation of verse and terennüm sections, line breaks, and spacing) follows conventions observed in printed and manuscript collections of song texts.
The order of text presentation in the source is generally adhered to, but spacing and line breaks may be altered by the editor for clarification and consistency.
2. Typographic Conventions
Hemistichs: Given in bold.
Nonsense Syllables and Words (Terennüm) and Exclamations: In roman.
Formal Labels (e.g., miyānḫāne) and Performance Instructions (e.g., mükerrer): In italics.
Separation of Sections: Verse and terennüm sections are separated by an empty line.
Formal labels are adjoined to the relevant section of text.
Performance instructions are separated from verse and terennüm sections by an empty line if they occupy a whole line, or by a tab space if they occur on the same line as a hemistich or part of the terennüm.
3. Line Breaks and Modifications
Original Line Breaks: Each hemistich typically occupies a single line.
If necessary to modify line breaks (e.g., to place a hemistich on one instead of two lines), the original line breaks are indicated by forward slashes (/) within that section of text only.
If no adjustment is made, original line breaks are not indicated.
Terennüm Sections: Line breaks are usually applied arbitrarily by the scribe based on spatial distribution on the page.
Editorial line breaks correspond to internal textual or musical units (labelled t1, t2, t3, etc.) shown in the Structure part of the critical report.
Forward slashes are used only if original line breaks have been modified.
4. Additional Textual Material
Underlay vs. Block Lyrics: Additional textual material in the underlay but not in the block lyrics (e.g., exclamations, verse, nonsense syllables, or words) is added by the editor and enclosed in braces { }.
If textual material in the block lyrics differs from the underlay, it is underlined and marked with a superscript number.
The variant in the underlay is provided in a footnote below the block lyrics.
If material is omitted from the underlay, it is marked in the block lyrics in the same manner and indicated in the footnotes by "omit."
Discrepancies between block lyrics and underlay are indicated only if they relate to substantive differences, not orthographic differences.
5. Performance Instructions and Order
Adding Performance Instructions: Performance instructions, as well as sections of verse or terennüm, may be added by the editor to clarify the order of performance in complex pieces.
This helps avoid significant discrepancies between the block lyrics and the score.
Block lyrics represent a concise but accurate performance order of the piece, except in the case of the beste, where the terennüm follows the entire verse in the block lyrics but follows each hemistich in performance.
6. Deriving Block Lyrics
No Block Lyrics in Source: If block lyrics are not provided in the source, they are derived from the underlay by the editor.
Additional text not included in the underlay and correct orthography are based on concordances, including both notated sources and song-text collections.
- Aligning Formatting According to CMO Standards
- General layout
Quantity of divisions per line can vary from piece to piece. For example, instrumental pieces generally may have two divisions on a line. However, if the melodic line contains many notes, there may be only one division on a line in such cases. It is recommended that an editor ensures the line arrangement (in terms of the distance between the last bracket and the division or end cycle sign at the end of the line) is seen consistently.
In semâî or some pieces, if spreading one or two divisions across a line creates too much blank space, even three divisions can be placed on the same line.
First Sections of Each Hâne:
Divisions starting with the first sections of each hâne are only shown on one line because sections like H1 or H3 (Miyânhâne) are already indented (Staff line distance 50), making them narrower compared to other lines.
Manual Adjustments in Sibelius:
Since Sibelius does not automatically arrange the desired layout, the editor must make such adjustments manually.
To extend a line to a new line below, the editor should click Layout>Breaks>System Break.
If the editor wants to combine divisions, they should click Layout>Format>Keep Bars Together to merge the divisions.
Ensure that the spaces between divisions are balanced.
- Layout Aspects for Vocal Pieces
Spacing and Alignment:
There can be roughly six squared spaces (at 300% zoom) counted between the closing bracket of the last group and the division sign at the end of the line.
It is recommended to have two squares between the Key signature and Darbs.
Then two squares between the number of the lyric line and the darb.
Adjusting Positions:
The automatic position seems like this:
Use the keyboard shortcuts (↑ + ALT + “→”) to change positions.
Continue by clicking on the note, not the song number, while changing positions, as Sibelius automatically adjusts the lyrics and the song numbers.
It is also advisable to have a two-square distance between the last sign in the key signature at the beginning of a line and the first group’s bracket or the first symbol:
Sometimes, during this alignment process, hyphens between syllables in the text underlay can disappear due to the close spacing. In such cases, the distance may exceed two squares.
- Check all the formatting and layout settings explained before.
- Proofread Transcription