History:Classical Track Title Partnumber Style

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Status: This Page is Glorious CSG History!

The content of this page exists thanks to the contributions of the many editors who have worked to develop the Classical Style Guide (CSG). It could be a discussion, an outdated style guideline, or a past proposal. It could include some of the unofficial CSG practices that many editors have followed. Whatever the case, this page might help explain how CSG came to be, or perhaps even serve as the basis for further development. The current classical guidelines can be found under Style/Classical

Style Guideline > Classical Style Guide > Classical Track Title Style > Classical Track Title Part Number Style

Style for Part_number in Classical Track Titles

  • Alert.png This is work in progress and not official yet. The aim of this proposal is to provide a common framework how classical part numbers can be formed.

This proposed style guideline defines a structure for Part_number in ClassicalTrackTitleStyle. It is discussed on the mb-style mailing list.

Numbering tracks vs. parts of the work

There seem to be two schools of thought about the purpose of Part_number:

  1. Give every track a distinct "number"
  2. Provide a "number" that links back to the original work

Both are currently in use. For example, the MultiTrackMovementStyle proposal follows philosophy (A.) whereas opera numbering follows (B.). We propose to agree on (B.):

Part_number provides meaningful information that refers to the score of the original work. As a consequence, different tracks can have the same Part_number, eg. if a movement is split across several tracks.

Note that this proposal would supercede MultiTrackMovementStyle which was discussed in this thread but not brought to RFC or RFV.

Structure of Part_number

The structure of Part_number (which is part of Work_title) can be semi-formally defined as:

  • Part_number
  • Part_number_element
  • should be: Roman_number | "No. " Arabic_number | Division_name " " Roman_number
  • Division_name
  • should be the translated version (following ReleaseLanguage) of: "Act" | "Scene" | "Part"


The following are valid examples of the above definition:

  • Symphony No. 9 in D minor, Op. 125: II. Molto vivace
  • Symphony No. 9 in D minor "Choral", Op. 125: IV. Andante maestoso - Adagio ma non troppo, ma divoto
  • Symphony No. 9 in D minor "Choral", Op. 125: IV. Andante energico e sempre ben marcato
  • Requiem in D minor, KV 626: III, No. 1. Sequenz: Dies irae
  • Requiem in D minor, KV 626: III. Sequenz: No. 1. Dies irae
  • Cantata, BWV 17 "Wer Dank opfert, der preiset mich": Part II, V. Aria "Welch Übermaß der Güte"
  • Don Giovanni: Act I, Scene III. (Duettino: Don Giovanni, Zerlina) "Là ci darem la mano"
  • Don Giovanni: Act I, Scene III, No. 7. (Duettino: Don Giovanni, Zerlina) "Là ci darem la mano"
  • Matthäus-Passion, BWV 244: Teil II, No. 56. Rezitativ "Der Landpfleger sagte"
  • Matthäus-Passion, BWV 244: No. 56. Rezitativ "Der Landpfleger sagte"

For the purposes of this proposal, ignore how the rest of the part title is written. As David Gibson commented, this needs to be sorted. But that's for a separate proposal.

Multiple Track Movement

In some (rare) cases, a movement is split across multiple tracks. This leads to a situation where multiple tracks in a release could have the same title. While it isn't required that track titles be unique, a split movement could be indicated and disambiguated as follows:

  • Symphony No. 9 in D minor "Choral", Op. 125: IV. (a) Allegro assai
  • Symphony No. 9 in D minor "Choral", Op. 125: IV. (b) Tempo I
  • Symphony No. 9 in D minor "Choral", Op. 125: IV. (c) Allegro assai

Genre specific rules

The following more specific rules apply:

  • Movements in concertos, symphonies and similar works should be indicated using roman numerals.