Front Matter
Acknowledgements
Preface
Foreword to the Manual of Braille Music Notation, American Edition, 1988
Summary of Rule Changes
Tables of Signs
Basic Signs
Table 1. General Signs
Table 2. Notes and Note Values
Table 3. Octave Marks
Table 4. Clef Signs
Table 5. Rests
Table 6. Accidentals and Key Signatures
Table 7. Meter Indications and Time Devices
Table 8. Irregular Note Grouping
Table 9. Intervals
Table 10. The Tie
Table 11. In-Accord and Measure-Division Signs
Table 12. Stem Signs
Table 13. The Slur
Table 14. Tremolo
Table 15. Fingerings
Table 16. Ornaments
Table 17. Print Repeats
Table 18. Braille Full- and Part-Measure Repeats, Parallel Movement, and Sequence Abbreviation
Table 19. Braille Numeral Repeats
Table 20. Da Capo and Dal Segno Repeats
Table 21. Annotations and Variants
Table 22. Nuances
Table 23. Chord Symbols
Signs for Instrumental Music
Table 24. String Instruments
Table 25. Keyboard Instruments
Table 26. Figured Bass and Harmonic Analysis
Table 27. Harps
Table 28. Accordions
Table 29. Abbreviations for Instrument Names
Table 30. Wind Instruments and Percussion
Signs for Vocal Music
Table 31. Signs in Music Lines
Table 32. Signs in Word Lines
Signs for Methods Not in Use by BANA
Table 33. Section-by-Section
Table 34. Vertical Score and Bar-by-Bar
Table 35. Substitution
Table 36. Note-for-Note
Part I. Basic Signs
1. General Procedures and Signs
1.1. Facsimile and Nonfacsimile Transcription
1.2. Use of English Contractions
1.2.1. Contracted English Braille in Lyrics
1.3. Parentheses
1.4. Preliminary Pages
1.5. Pagination of Music Pages
1.5.1. Inclusive Print Pagination
1.5.2. Print Page Turnover Indication
1.6. The Page Heading
1.6.1. Title on Braille Page 1
1.7. The Music Heading
1.8. Metronome Indications
1.8.1. Metronome or Equivalency Marking within Music
1.9. Prefix for Transcriber-Added Signs
1.10. Bar Lines
1.10.1. Special Print Bar Line
1.10.2. Special Braille Bar Line
1.10.3. Double Bars
1.11. The Braille Music Hyphen
1.12. Doubling of Signs
1.13. Print Brackets
1.13.1. Print Brackets above or below the Staff
1.13.2. Small Brackets Enclosing a Print Symbol
1.14. Coincidence of Notes in More Than One Part
1.15. Errors in Print Music
1.16. Music Notation in Literary Context
1.17. Placement of Copyright Notices in Anthologies
2. Notes and Note Values
2.1. Note Names and Values
2.2. Alternative Signs for Double Whole Note
2.3. Dotted Notes
2.4. Larger and Smaller Value Signs
2.4.1. Different Smaller Values
2.4.2. Value Sign Sometimes Required in Incomplete Measure
2.4.3. Unmeasured Music
2.5. Specially Shaped Notes
2.5.1. Doubling of Specially Shaped Notes
2.6. Proportional Notation
3. Octave Signs
3.1. The Octaves
3.2. Rules for Octave Marks
3.2.1. Octave Marks Required at Beginnings
3.2.2. Need Determined by Melodic Interval
3.3. 8va and 15ma
3.3.1. Facsimile Transcribed as Words
3.3.2. Facsimile Transcribed with Two Octave Signs
4. Clef Signs
4.1. Clef Signs Limited to Facsimile Transcriptions
4.2. Octave Marks and Dot-3 Separators
4.3. Staff Line Given with Clef Sign
4.4. Clef Signs with Ottavas
4.5. Modified Clef Signs
5. Rests
5.1. Rest Signs
5.2. Transcriber-Added Rests
5.3. Multiple-Measure Rests
5.3.1. Multiple-Measure Double Whole Rests
5.4. Dotted Rests
6. Accidentals and Key Signatures
6.1. Placement of Accidentals
6.2. Restating Accidentals
6.3. Quarter-Tone Accidentals
6.4. Accidental Signs in Literary Context
6.5. Key Signatures
6.5.1. Unusual Key Signatures
7. Meter Indications and Time Devices
7.1. Meter Signatures
7.1.1. Meter Signature Incorporating Note Values
7.1.2. Meter Signature with Two or More Upper Numerals
7.1.3. Combined Meter Signatures
7.1.4. Symbols for Meter Signatures
7.1.5. Meter Signature in Literary Passage
7.2. Real-Time Devices
7.2.1. Durations Printed as Numbers
7.2.2. Time Indicated by "Tick" Marks
7.2.3. Alternating Metric and Real-Time Notations
8. Grouping of Notes
8.1. Braille Note-Grouping Procedure
8.1.1. Conditions That Prohibit Note Grouping
8.1.2. Value Signs for Clarity
8.2. Regularly Grouped Eighth Notes
8.3. Irregular Beams Shown by Music Comma
8.3.1. Irregular Beaming of Unequal Notes
8.3.2. Regular Grouping and Music Comma Used Together
8.4. Single-Cell Sign for a Triplet
8.5. Three- or Four-Cell Sign for Irregular Groups
8.5.1. Three-Cell Sign Used for Triplet within Irregular Group
8.5.2. Three-Cell Sign for Triplet among Other Irregular Groups
8.6. Adding Numerals That Are Absent in Print
9. Intervals
9.1. Transcribing Chords
9.1.1. Octave Marks within Chords
9.1.2. Crossed Voices in Successive Chords
9.2. Direction of Intervals
9.3. Doubling of Intervals
9.3.1. Restatement of Interval Doublings
9.3.2. Doubling Terminated at Modifiers or Interruptions
9.3.3. Multiple Doublings Terminated Together
9.3.4. Doubling of Intervals Larger Than an Octave
9.3.5. Accidentals Omitted in Doubled Octave Passages
9.3.6. Doubling of Intervals with Fingerings
9.4. Tone Clusters
9.5. The Moving-Note Device
9.5.1. Moving-Notes in More Than One Voice
9.5.2. Octave Marks with Moving-Notes
9.5.3. Moving-Note with Dotted Values
10. The Tie
10.1. Single Ties
10.1.1. Tie versus Slur
10.1.2. Restatement of Ties
10.1.3. Restatement of Accidentals with Tied Notes
10.2. Chord Ties
10.2.1. Chord Ties with Doubled Intervals
10.2.2. Doubling Chord Ties
10.2.3. Accumulating Arpeggios
10.3. Ties to Implied Notes
11. In-accord and Measure-division Signs
11.1. In-Accord Procedures
11.1.1. Full-Measure In-Accords
11.1.2. Part-Measure In-Accords
11.1.3. Nested In-Accords
11.1.4. Crossed Voices
11.2. Restating Accidentals in In-Accords
11.3. Continued Doublings and Slurs in Consecutive In-Accords
11.4. Dividing a Measure between Lines
12. Stem Signs
12.1. Function of Stem Signs
12.2. Placement of Stem Signs
12.3. Modifiers with Stem Signs
12.4. Intervals with Stem Signs
13. The Slur
13.1. Purposes of Slurs
13.1.1. Rests within a Phrase
13.2. Short Slurred Phrases
13.3. Longer Slurred Phrases
13.3.1. Preference for Doubled or Bracket Slurs
13.3.2. Braille Repeats Enabled by Bracket Slurs
13.3.3. Layered Slurs
13.4. Convergence of Slurs
13.5. Slurs Together with Ties
13.6. Slurs between Parts
13.6.1. Slurs between In-Accord Parts
13.6.2. Slurs between Staves
13.6.3. Straight Line between Staves
13.7. The Half Phrase
13.8. Slurs with Nuances
13.9. Slurs with Appoggiaturas
13.9.1. Appoggiatura Slurs in Facsimile Transcription
13.10. Unattached Slurs
13.10.1. Slurs That Do Not Come from Notes
13.10.2. Slurs That Do Not Lead to Notes
14. Tremolo
14.1. Types of Tremolo
14.2. Repeated-Note Tremolo
14.3. Alternation Tremolo
15. Fingering
15.1. Placing Fingering Signs
15.2. Change of Fingering
15.3. Adjacent Notes with One Finger
15.4. Alternative Fingerings
15.4.1. Alternative Fingerings Shown with In-Accords
16. Ornaments
16.1. Interpretation of Ornaments
16.2. Appoggiaturas
16.2.1. Appoggiaturas with Intervals
16.2.2. Grouping Unaffected by Appoggiaturas
16.2.3. Appoggiaturas with Doubling
16.3. Trills
16.3.1. Accidentals with Trills
16.3.2. Doubling Trill Signs
16.3.3. Fingering with Trills
16.3.4. Tied Trills
16.4. Turns and Inverted Turns
16.4.1. Accidentals with Turns
16.4.2. Fingering with Turns
16.5. Mordents
16.6. The Glissando Sign
16.6.1. Glissando in Unspecified Time Value
16.6.2. Glissandos with Coincidence Signs
16.6.3. Glissando with Intervening Notes
16.6.4. Glissando through an Empty Measure
16.7. Ornaments Derived from Jazz Idioms
16.8. Unusual Ornaments
17. Print Repeats
17.1. Initial and Terminal Repeat Signs
17.1.1. Voltas
17.2. Aperiodic Repetition
17.3. Print Measure Repeat Symbol
18. Braille Full- and Part-measure Repeats, Parallel Movement, and Sequence Abbreviation
18.1. General Use of the Braille Repeat Sign
18.1.1. Repeats in Different Octaves and Dynamics
18.1.2. Ties with the Repeat Sign
18.1.3. Slurs with the Repeat Sign
18.1.4. Fingerings with the Repeat Sign
18.1.5. Doublings with the Repeat Sign
18.1.6. Signs That May Be Attached to the Repeat Sign
18.1.7. Modifiers following the Last Note of a Repeat
18.2. Full-Measure Repeats
18.2.1. Multiple Measure Repeats
18.2.2. Full-Measure Repeats in Bar-over-Bar Format
18.2.3. Precluded Full-Measure Repeats
18.3. Part-Measure Repeats
18.3.1. Successive Part-Measure Repeats of the Same Value
18.3.2. Successive Part-Measure Repeats of Different Values
18.3.3. Precluded Part-Measure Repeats
18.4. The Braille Repeat with In-Accords
18.5. Braille Repeats in Unmeasured Music or Irregular Group
18.6. The Parallel Movement Sign
18.6.1. Parallel Movement through Multiple Measures
18.7. Sequence Abbreviation
18.7.1. Repeat Signs with Sequence Abbreviation
18.7.1. Sequence Abbreviation in a Facsimile Transcription
19. Braille Numeral Repeats
19.1. Braille Repeats Using Numerals
19.1.1. Backward-Numeral Repeats
19.1.2. Measure-Number Repeats
19.2. Numeral Repeats in Different Octaves and Dynamics
19.3. Ties with Numeral Repeats
19.4. Slurs with Numeral Repeats
19.5. Doubling in a Numeral Repeat
19.6. Signs That May Be Attached to a Numeral Repeat
19.7. Numeral Repeats in Bar-over-Bar Format
20. Da Capo and Dal Segno Repeats
20.1. Da Capo and Dal Segno Procedures
20.1.1. The Segno Point
20.1.2. End of the Repetition Concluding the Movement
20.1.3. End of the Repetition Leading to a Continuation
20.1.4. Point of Execution
20.1.5. Point of Continuation
20.2. D.C. and D.S. in Print and Braille-Only
20.3. D.C. and D.S. in Bar-over-Bar Format
21. Annotations and Variants
21.1. The Music Asterisk
21.2. Footnotes
21.3. Music Parentheses
21.4. Editorial Markings
21.5. Variant Readings
21.5.1. Variants Shown in Footnotes
21.5.2. Variants Shown as In-Accords
21.5.3. Variants Shown with the Variant Indicator
21.6. Variations in Print Type
21.6.1. Small and Normal Notes within a Chord
21.6.2. Differing Functions of Small Notes
22. Nuances and Verbal Expressions
22.1. Symbols That Precede the Note in Braille
22.1.1. Doubling Symbols of Expression and Articulation
22.2. Symbols That Follow the Note in Braille
22.3. Words and Abbreviated Words of Expression
22.3.1. Single-Word Expressions
22.3.2. Abbreviated Words
22.3.3. Letters and "Hairpins" Designating Dynamics
22.3.4. Lines of Continuation
22.3.5. Expressions Related to the Preceding Notes
22.3.6. Order among Simultaneous Expressions
22.3.7. Expressions at the Ends of Braille Lines
22.3.8. Expressions That Contain Spaces
22.3.9. Expressions Executed during Sustained Notes
22.4. Fan-Shaped Beams
22.4. Fan-Shaped Beams
22.4.1. Changes in Feathered Beams
23. Chord Symbols
23.1. Transcribing Chord Symbols
23.1.1. Letters and Numbers
23.1.2. Characters That Are Not Alphanumeric
23.1.3. Slash Notation Substituted for Written-Out Bass Note
23.2. Indications That Are Not Chord Symbols
23.3. Chord Symbols in Various Formats
Part II. Instrumental Music
24. Instrumental Solos And Ensemble Parts
24.1. Single-Line Format
24.1.1. Format of Segments
24.2. Placing Rehearsal Reference Marks
24.3. Markings Extracted from a Score
24.4. Parts with Cues
24.5. Parts Printed Together in a Staff
25. Bowed String Instruments
25.1. General Notation
25.2. Interpreting Print Roman Numerals
25.2.1. String Numbers
25.2.2. Positions
25.3. Bowing Marks
25.4. Fingerings
25.4.1. Lines of Continuation with Fingerings
25.4.2. Alternative Fingerings
25.5. Arco and Pizzicato
25.5.1. Left-hand Pizzicato
25.6. Tremolo
25.7. Natural Harmonics
25.8. Artificial Harmonics
25.8.1. Resultants Shown with Artificial Harmonics
26. Fretted Plucked String Instruments
26.1. Various Print Notation Systems
26.2. Interpretation of Staff Notation
26.3. Strokes of a Plectrum
26.4. Left-Hand Fingering
26.5. String Signs
26.5.1. Doubling String Signs
26.6. Position Signs
26.6.1. Position Signs and String Signs Together
26.7. Right-Hand Fingering
26.8. Shift Indications
26.8.1. Opening and Closing Shift Marks
26.8.2. Glissando
26.9. Barré
26.9.1. Barré Indicated by Letters and/or Fractions
26.9.2. Barré Indicated by Bracket
26.9.3. Barré and Vertical Bracket Printed Together
26.10. Harmonics
26.11. Arpeggio and Rasgueado
26.12. Golpe (Knock)
26.13. Interpretation of Chord Diagrams
26.13.1. Braille Display of Chord Diagrams
26.13.2. Barré in Chord Diagram
26.13.3. Interpreting a Print "x"
26.13.4. List of Chord Diagrams
26.14. TAB Notation
27. Instrumental Lead Sheets
27.1. Aligning Chord Symbols below Notes and Rests
27.1.1. Chord Symbol Positioned after the Beginning of a Note
27.1.2. Braille Repeats with Chord Symbols
27.2. Separating Measures in Both Lines
27.3. Spacing Chord Symbols within a Measure
27.4. Spaces in the Music Line
27.4.1. Alternative Procedure When Blank Cells Coincide
27.5. Music Lines without Chord Symbols
27.6. Strumming Signs
27.7. Guitar Chord Diagrams with Chord Symbols
28. Instrumental Bar-over-bar Format
28.1. General Principles
28.1.1. Dividing a Measure between Parallels
28.1.2. Run-Over Lines
28.1.3. Guide Dots
28.2. Repeat Devices
28.3. Parallel Movement and Sequence Abbreviation
28.4. Adjusting the Format for Various Media
29. Keyboard Instruments
29.1. Print Staves vis-à-vis Braille Hand Parts
29.2. The Hand Signs
29.3. Typical Structure of the Keyboard Music Parallel
29.3.1. Dividing a Measure between Parallels
29.3.2. Run-Over Line Used When Measure Cannot Be Divided
29.3.3. Placement of Shorter Expressions
29.3.4. Longer Expressions within Measures
29.3.5. Longer Expressions at the Beginnings of Parallels
29.3.6. Dividing an In-Accord Measure between Parallels
29.3.7. A Run-Over Line with an In-Accord
29.4. Combined Parts and Visiting Hands
29.4.1. Crossing or Alternating of Hands
29.4.2. Reducing the Parallel with Alternation of Hands
29.4.3. In-Accord Included in Reduced Parallel
29.5. Coincidence of Notes
29.6. Extended Rest in One Part
29.7. Expanding the Parallel to Open Score
29.8. Keyboard Accompaniments
29.9. Orchestral Reductions for Keyboard
29.10. Piano Pedaling
29.10.1. Placement of Pedaling Signs
29.11. Piano Pedaling and Repeats
29.11.1. Pedaling Contained within Original and Repetition
29.11.2. Pedal Down in Original and Held through Repeat
29.11.3. Original and Repeat Each Wholly within Pedaling
29.11.4. Original Not Pedaled and Repeat Pedaled
29.11.5. Original Pedaled and Repeat Not Pedaled
29.12. Typical Parallel for Organ Music
29.12.1. Organ Pedal Part Printed in Staff with Left Hand
29.13. Organ Foot Signs
29.14. Tabulation of Organ Registration
29.15. Directions for Organ Registration
29.15.1. Preset Devices
29.15.2. Suppression of a Registration
29.16. Instrument-Specific Annotations
29.16.1. Drawbar Organs
29.17. Chord Symbols in Keyboard Music
29.17.1. Irregularly Spaced Chord Symbols
30. Figured Bass And Harmonic Analysis
30.1. Figured Bass
30.1.1. Braille Representation of Figured Bass
30.2. Figured Bass in Horizontal Mode
30.2.1. Accidentals, Oblique Strokes, and "Crossed" Numerals
30.2.2. Stem Signs Indicate Rhythmic Values
30.2.3. Lines of Continuation
30.2.4. Additional Music in the Staff with Figured Bass
30.2.5. Modifier Signs with Figured Bass
30.2.6. Tasto Solo
30.2.7. Bracketed and Parenthetical Figures
30.3. Figured Bass in Vertical Mode
30.4. Harmonic Analysis
30.4.1. Multiple Print Lines with One Bass Melody
30.4.2. Using Open Score for Harmonic Analysis
30.5. Analytical Symbols in Literary Text
31. Harps
31.1. Standard Notation
31.1.1. Special Notations
31.2. Pitch Settings
31.2.1. Changes of Pitch with Lever Harps
31.2.2. Changes of Pitch with Pedal Harps
31.2.3. Pedal Diagrams
31.3. Damping of Strings
31.3.1. Damp a Single String or Chord
31.3.2. Damp All Strings
31.3.3. Damp All Strings at and below a Given Pitch
31.3.4. Damp a Specific Range of Adjacent Notes
31.3.5. Damp Only Selected Pitches
31.3.6. Delay Damping of a String
31.3.7. Damp Successive Notes
31.4. Special Indication for Fingernail Technique
32. Accordions
32.1. Accordion Notation
32.1.1. Left-Hand Bass and Chord Buttons
32.1.2. Chord Buttons Shown as Intervals
32.1.3. Button Signs Together with Chord Symbols
32.1.4. Fingerings
32.1.5. Incidental Bass Solo
32.1.6. True Melodic Bass
32.2. Fully Written Bass Part
32.3. Draw and Push Markings
32.4. Registration
33. Instrumental Ensemble Scores
33.1. Application of Bar-over-Bar Format
33.2. List of Instruments
33.2.1. Abbreviations of Instrument Names
33.2.2. Numbering Included in Abbreviations
33.2.3. Instruments with Multiple Staves
33.3. Page Layout
33.4. The Parallel
33.4.1. Key Signatures
33.4.2. Intervals and In-Accords
33.4.3. Braille Repeats
33.4.4. Doubling of Braille Signs
33.4.5. Placing Longer Expressions
33.4.6. Measure Numbers and Rehearsal References
33.4.7. Run-over Lines
33.5. Dividing a Measure between Parallels
33.6. Parallel Movement
33.7. Consolidating Identical Parts
33.7.1. "A Due" Passages
34. Percussion
34.1. Categories of Print Scores
34.2. Typical Braille Transcription
34.2. Typical Braille Transcription
34.2.1. Note Names
34.2.2. Octave Marks
34.2.3. Interval Signs and In-Accords
34.3. Ornaments
34.4. Special Note Shapes
34.5. Pictographs
34.6. Hand Signs for Percussion
34.7. Drum Kit Transcriptions
Part III. Vocal Music
35. Solo Songs And Choral Parts
35.1. Principles of Line-by-Line Format
35.1.1. The Lyrics
35.1.2. The Music
35.1.3. Dividing between Parallels
35.2. Syllabic Slurs
35.3. Syllables Carried between Parallels
35.3.1. Continuation of the Vowel Sound in the Text
35.3.2. Continuation of the Notes
35.4. Repeat Sign for Words or Phrases
35.5. Syllables Merged in One Note
35.6. Texts in Two or More Languages
35.6.1. Differing Syllables between Languages
35.7. Multiple Verses
35.7.1. Variation of Syllables among Verses
35.7.2. Strophic Songs with Refrains
35.7.3. Alternating Single and Multiple Lyrics
35.8. Braille Repeat Devices in Vocal Music
35.9. Measure Numbers and Rehearsal References
35.10. Parts Extracted from Choral Scores
35.10.1. Divided Choral Parts
35.11. Chants, Canticles, and Recitatives
35.11.1. Chant or Canticle Text Printed without Music
35.12. Vocal Compass and Transposed Key
36. Chord Symbols With Lyrics
36.1. Expansion of Parallel to Include Chord Symbols
36.1.1. Required Transcriber’s Note
36.2. Adjustment of Spacing of Words
36.2.1. Word Repetition with Chord Symbols
36.3. Alignment of Chord Symbols below Lyrics
36.3.1. Chord and Syllable Sounded Together
36.3.2. Chord Sounded before Syllable
36.3.3. Chords Sounded during Syllable
36.3.4. Chord Sounded following End of Syllable
36.3.5. Parallels That Contain No Chord Changes
36.3.6. Chord Changes in Interludes and Introductions
36.4. Chord Symbols and Lyrics Alone
36.5. Chord Changes in Strophic Songs
36.5.1. Minor Variations of Text between Two Verses
37. Choral Ensembles
37.1. Expanded Bar-over-Bar Format
37.2. All Parts Having the Same Words
37.2.1. Slight Variations of Words among Parts
37.3. Parts Having Different Words
37.3.1. Combining Identical Lines
37.4. Lyrics in Two Languages
37.5. Temporarily Divided Part
37.6. Parallel Requiring More Than One Braille Page
38. Music Drama
38.1. Vocal Scores and Extracted Solo Parts
38.2. List of Characters
38.3. Stage Directions
38.4. Relaxing Rules in Nonfacsimile Transcriptions
38.5. Cues following Extended Rests
Part IV. Appendix: Formats Not Currently In Use In Bana Countries
39. Line-Over-Line
39.1. Differences from Bar-over-Bar Format
39.2. Stave Numbering
39.3. Unmeasured Passages
40. Section-By-Section
40.1. Format of a Section
40.1.1. Section Headings
40.1.2. Measure Numbers Shown in Print
40.1.3. Change of Staves
40.1.4. Placing Word-Sign Expressions and Piano Pedaling
40.1.5. Alternating Hands
40.1.6. Measure-Number Repeats
40.1.7. Braille Segno Repeats
40.1.8. Vocal Music
40.1.9. Vocal Accompaniments
41. Vertical Score and Bar-By-Bar
41.1. Historical Background
41.2. Vertical Score
41.2.1. Octave Marks
41.2.2. Converging Voices
41.2.3. Disposition of Hand Parts
41.2.4. "Senza Ped." Indication
41.2.5. Hymn Melody Duplicated
41.2.6. Paragraphing by Staves or Contour
41.2.7. In-Accord Signs
41.3. Bar-by-Bar
41.3.1. Bar Line
41.3.2. Octave Marks
41.3.3. Marking Order of Parts
41.3.4. Paragraphing Related to Print Staves
41.3.5. Measure Rests
41.3.6. Measure Repeats
41.3.7. Starting with One Part
42. Substitution
42.1. Substitution Device
42.1.1. Initial Sign for Substitution
42.1.2. Rests and Stem Signs Included
42.1.3. Signs That Terminate Substitution
43. Note-For-Note
43.1. Note-for-Note Method
43.1.1. Direction of Reading
43.1.2. Dotted Notes
43.1.3. Octave Marks on Subnotes
43.1.4. Crossed Voices
43.1.5. Doubling of Subnotes Limited to Octave Passages
43.1.6. The Moving-Note Sign
43.2. Changes of Meaning of Music Braille Signs
43.2.1. Separating These Signs with the Hyphen Sign
43.2.2. Substituting the Unused Interval Signs
Index of Signs
General Index