As used in the notation of music, abbreviations fall into two main categories: modifications of normal note shapes, signs etc.; and verbal instructions that replace fully written-out music. Abbreviations are far more common in manuscript than in printed music.
Modified note shapes and other non-verbal signs usually represent repetitions of passages of music, varying in length from a single note to a large part of a movement. Other abbreviations of this type avoid such clumsy features of notation as leger lines. See ex.1, ex.2, ex.3, ex.4, ex.5, ex.6, ex.7, ex.8, ex.9, ex.10, ex.11.
Abbreviated verbal instructions are sometimes used in a score when instruments play in unison in orchestral music: the lines belonging to one instrument may be left blank in the score, the notes being replaced by an instruction such as col violini (‘with the violins’) or col basso (‘with the bass’). This often occurs when, for instance, first and second violins play in unison, the seconds having unisono or col primo in the score. Where two parts are written on one staff in the score (e.g. first and second flutes), the sign a 2 denotes that they play in unison; 1, a 1 or solo denotes that only the first plays. In a string part, however, a 2, a 3 (etc.) may occasionally be used to denote a section divided into two, three (etc.) groups; the word divisi is a more common way of indicating this. Come sopra (‘as above’) is used in manuscript scores when a considerable part of a composition is repeated without alteration, a corresponding number of bars being left vacant. Bis is used to indicate a passage to be performed twice over. Dots indicating a repeat are also a form of abbreviation.
For the commonest abbreviated instructions for expression, dynamics etc., see individual entries; see also Tempo and expression marks. Verbal abbreviations used in this dictionary are listed in the front of each volume.
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L. Farrenc: Traité des abréviations (Paris, 1897)
RICHARD RASTALL