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=The Classical Style Guidelines=

==Work Titles (currently for use in CSGStandard Lists)==

'''Introduction to CSG'''
# [[User:BrianFreud/sandbox#whatiscsg|What is CSG?]]
# [[User:BrianFreud/sandbox#whatiscsgnote|What is CSG not?]]
# [[User:BrianFreud/sandbox#therecanbeonlyone|Is there one particular CSG?]]
# [[User:BrianFreud/sandbox#whoisclassical|Who is considered a “classical” composer?]]
# [[User:BrianFreud/sandbox#CSGnotapplicable|In what circumstances ought CSG to not be used?]]

'''The Structural Guidelines for CSG Works'''
# [[User:BrianFreud/sandbox#CSGworkopus|The Work and Opus Framework]]
## [[User:BrianFreud/sandbox#CSGspecialWO1|Special Case: Numbered Works]]
## [[User:BrianFreud/sandbox#CSGspecialWO2|Special Case: Named Works]]
## [[User:BrianFreud/sandbox#CSGspecialWO3|Special Case: Variations of Other Works]]
## [[User:BrianFreud/sandbox#CSGspecialWO4|Special Case: Works Using Modulating Keys, Modes, or Scales]]
## [[User:BrianFreud/sandbox#CSGspecialWO5|Special Case: Works Using Non-Standard or Non-European Keys, Modes, or Scales]]

# [[User:BrianFreud/sandbox#CSGmovement|The Movement Framework]]
## [[User:BrianFreud/sandbox#CSGmPosition|Work Position]]
## [[User:BrianFreud/sandbox#CSGmContainer|Movement Container]]
## [[User:BrianFreud/sandbox#CSGmDramaticalPosition|Dramatic Position]]
## [[User:BrianFreud/sandbox#CSGmFormandTempo|Form and Tempo]]
## [[User:BrianFreud/sandbox#CSGmVocalization|Vocalization]]
## [[User:BrianFreud/sandbox#CSGmCommonIdentification|Common Identification]]
## [[User:BrianFreud/sandbox#CSGmRoleIdentification|Role Identification]]
## [[User:BrianFreud/sandbox#CSGspecialWO6|Special Case: Insert Arias and Other Separately Catalogued Works]]

# [[User:BrianFreud/sandbox#CSGworkornamentation|The Ornamentation Framework]]
# Special CSG frameworks for...
## [[User:BrianFreud/sandbox#CSGdacapostructure|Da capos and Dal segnos]]
## [[User:BrianFreud/sandbox#CSGoperastructure|Opera]]
### [[User:BrianFreud/sandbox#CSGspecialWO8|Special Case: Ballet Music]]

## [[User:BrianFreud/sandbox#CSGvariationsstructure|Variations within Movements]]
## [[User:BrianFreud/sandbox#CSGspecialWO9|Work Condition or Version Information]]

# [[User:BrianFreud/sandbox#CSGpunctuation|Punctuation Within CSG Titles]]

'''Resources'''
# [[User:BrianFreud/sandbox#keylist|Keys and scales in commonly used languages]]
# [[User:BrianFreud/sandbox#romannumerals|Roman numerals from 0 to 125]]
# [[User:BrianFreud/sandbox#voiceparts|Vocal classifications]]

----


=Introduction to CSG=

<span id="whatiscsg"></span>
==What is CSG?==

The "Classical Style Guidelines" (CSG) for Works describe a structural framework which allows us to order the disparate data relating to a classical work into a structure which is consistent, logical, and comprehensible. Classical works are performed by many groups world-wide, yet often these works have no definitive title. CSG is intended to allow releases containing these works to be stored within the database and named in a clear and consistent manner.

<span id="whatiscsgnot"></span>
==What is CSG not?==

* CSG for Works is '''not intended''' to provide titles for works where they already exist.
** If a classical composer has already provided distinct titles for some or all of his works (e.g.: [http://musicbrainz.org/artist/a3031680-c359-458f-a641-70ccbaec6a74.html Steve Reich], [http://musicbrainz.org/artist/578c1e77-4756-44dd-86a9-b1e71a5b635e.html Jóhann Jóhannsson], [http://musicbrainz.org/artist/49ae5227-605a-47a8-9b8e-cd89bf01a97c.html Benjamin Britten]), '''''[[Artist Intent|ArtistIntent]] always is superior to the guidelines of CSG.'''''

<span id="therecanbeonlyone"></span>
==Is there one particular CSG?==

CSG is a framework, but no one language is required by it; listings can use German CSG, French CSG, English CSG, etc.

We do ask, however, that until the server is capable of supporting multiple languages for the same work, please use English, French, German, or Italian CSG, in Latin script, for work titles. Russian / Cyrillic might seem the most correct for Tchaikovsky, but we still want the work titles to be useable by the largest possible segment of users.

<span id="CSGnotapplicable"></span>
==In what circumstances ought CSG to not be used?==

If a work already has been given a specific title by the composer, such as "[http://musicbrainz.org/track/2b7c56f9-a6e4-4178-adf4-c57498bd45f1.html Part 1: IBM 1401 Processing Unit]", [[Artist Intent|ArtistIntent]] is the superior guideline, and thus, the work would not be retitled using CSG. This applies even if the worktitle provided by the composer seems generic, such as "[http://musicbrainz.org/track/dc3a5177-de6c-44e0-80b4-30f01a995b35.html Music for 18 Musicians: Section XI]", so long as it truly is an [[Artist Intent|ArtistIntent]] worktitle, and not simply a description of the type of work ("symphony") — see [[Artist Intent Vs Facts|ArtistIntentVsFacts]] for more discussion on this subject. CSG is intended to provide a framework for titling classical works which lack clearly defined titles; it is '''not''' intended to be used as a reason to retitle a work which already has a functional title. Note that there are, of course, those few composers who are considered so inherently "classical" (J.S. Bach, W.A. Mozart, etc.) that even their few works with true "official titles" still are handled under CSG. These tend to be those pre-twentieth century composers who also have comprehensive works catalogs available for all of their works.

CSG has been designed to try to provide a framework for just about any possible classical work, assuming it falls within the guidelines described above. However, there is a huge amount of music out there. Should you find a work to which CSG would apply, but some aspect of the work simply does not fit within CSG, do not [http://en.wikipedia.org/wiki/Wikipedia:What_%22Ignore_all_rules%22_means ignore all rules]. Instead, it is suggested that you post a message on the [http://musicbrainz.org/doc/UsersMailingList UsersMailingList] with "CSG" contained within the subject, providing details about the work as well as why you feel it does not fit within the CSG framework. In this manner, the community of experienced classical editors at [[MusicBrainz]] can help you to find a workable solution.

In some rare cases, the nature of a release may present a case in which CSG would normally apply, but using CSG would damage the overall [[Artist Intent|ArtistIntent]] behind the release. ([http://musicbrainz.org/release/eb0d40c1-02d3-4816-abe9-213a979e081a.html Example]) Please note that though [[Artist Intent|ArtistIntent]] is always the superior principle within the [[MusicBrainz Philosophy|MusicBrainzPhilosophy]], it is not sufficient merely to claim [[Artist Intent|ArtistIntent]] as reason to disregard CSG. Any time that [[Artist Intent|ArtistIntent]] is claimed as reason why a particular release is exempt from CSG, please present your reasons for claiming [[Artist Intent|ArtistIntent]] in the edit notes.

----


=The Guidelines=

<span id="CSGworkstructure"></span>
==What is the structure for CSG titles?==

A CSG title has three distinct sections: the [[User:BrianFreud/sandbox#CSGworkopus|work and opus / catalog identification]], the [[User:BrianFreud/sandbox#CSGmovement|movement identification]], and the [[User:BrianFreud/sandbox#CSGworkornamentation|identification of ornamentation]] used within the movement.
{| border="1"
|-
| Classical Work
|-
| || || || || || || || || ▌ || ||
|-
| [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus]] || [[User:BrianFreud/sandbox#CSGmovement|Movement]] || [[User:BrianFreud/sandbox#CSGworkornamentation|Ornamentation]]
|}

----

<span id="CSGworkopus"></span>
===The Work and Opus Identification Framework===

Most classical composers have their works contained either within opuses or catalogs. The Work and Opus Identification section of a CSG title identifies a particular work and the catalog or opus identifier to which the work belongs.

====Basic structure:====

The basic structure of the work and opus section of a CSG title includes the work type, the instrumentation, the key, the scale, and the catalog or opus number.
{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus Identification]]
|-
| || || || || || || || || ▌ || ||
|-
| Work Type || Instrumentation || Key || Scale || Catalog / Opus Number
|}

The framework which is to be used is either of the following:
* '''[ Work Type ] for [Instrumentation ] in [ Key ] [ Scale ], [ Opus Number ]'''
* '''[ Work Type ] for [Instrumentation ] in [ Key ] [ Scale ], [ Catalog Identifier and Catalog Number ]'''

This, then, looks like this:
* Canon for 3 Voices in 1 in C major, K. 553
* Concerto for Bassoon in B-flat major, K. 186e / KV 191
* Concerto for Piano No. 22 in E-flat major, K. 482
* Symphony No. 5 for Orchestra in B-flat major, K. 22
* Trio for Violin, Viola, and Cello in E-flat major, Op. 3

{| border="1"
|-
| The Work Type ought to always use proper capitalization.
|}
{| border="1"
|-
| For multiple instruments or voices, the quantities should be indicated using Arabic numerals and not written out. [http://en.wikipedia.org/wiki/Serial_comma Serial comma] style ought to be used for listings of three or more instruments and/or voices.
|}
{| border="1"
|-
| For a single instrument, suck as "Concerto for 1 Bassoon" or "Trio for 1 Violin, 1 Viola, and 2 Cellos", for any instruments for which the count is singular (1), do not indicate that singularity. Thus, "Concerto for Bassoon" or "Trio for Violin, Viola, and 2 Cellos".
|}
{| border="1"
|-
| Connecting words like "for" and "in" ought to be their equivalent correct word in the particular language being used with CSG. ("pour", "für", "en", etc.)
|}
{| border="1"
|-
| The Key should always be language correct. A list of keys in various languages can be found [[User:BrianFreud/sandbox#keylist|below]]. It ought to be always uppercased, unless it is more correct within the language being used that minor Keys be lowercased ("si minore", for example). When keys are written in English, "sharp" and "flat" must always be lowercase and linked to the key with a hyphen ("E-flat"). A reference list of [[User:BrianFreud/sandbox#keylist|Keys and scales in commonly used languages]] can be found below.
|}
{| border="1"
|-
| The Scale ought to always be language correct. The Scale should be properly capitalized or lowercased, depending on which is correct for the language being used with CSG. In English, this means "major" and "minor" must be lowercased. The Scale is not optional - if the Key is indicated, the Scale must be as well.
|}
{| border="1"
|-
| The Key and the Scale ought to be separated by a space, unless this would be language incorrect. In French, English, Spanish, Italian, and Russian, this means a space is used to separate the two, thus "C major". In German, this means a hyphen is used, thus "C-Dur".
|}

----

====Advanced structure:====

<span id="CSGspecialWO1"></span>
=====What about numbered works?=====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus Identification]]
|-
| || || || || || || || || ▌ || ||
|-
| Work Type || No. (1 & 4) || Instrumentation || No. (2) || Key || Scale || Catalog / Opus Number || No. (3 & 4)
|}

Many composers, in addition to opuses or catalogs, have had their works numbered. The number can identify fall in one of several places, however, depending on just what is being counted.
# The number may be counting a particular work type, irregardless of instrumentation, in which case it would be inserted between the Work Type and the Instrumentation:
#* Symphony '''No. 5''' for Orchestra in B-flat major, K. 22

# The number may be counting a particular work type paired with a particular instrumentation, in which case it would be inserted between the Instrumentation and the Key:
#* Concerto for Piano '''No. 1''' in F major, K. 37

# The number may be counting which work within an opus is being identified, in which case the work number would be added directly after the Catalog or Opus identification:
#* Sonata for Piano in F minor, Op. 2 '''No. 1'''
#* 12 German Dances for Orchestra in C major, K. 567 No. 12

# Normally there will be only one number to a work, though it is possible that you could have a situation such as the 3rd numbered Sonata which also happens to be the first work within an opus:
#* Sonata '''No. 3''' for Piano in F minor, Op. 2 '''No. 1'''

"No." is always to be used, never "Nr.", "#", "Number", "N°", etc. The numbers used should always be indicated using Arabic numerals and not spelled out.

----

<span id="CSGspecialWO2"></span>
=====What about named works?=====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus Identification]]
|-
| || || || || || || || || || ▌ || ||
|-
| Work Type || No. (1 & 4) || Instrumentation || No. (2) || Key || Scale || Catalog / Opus Number || No. (3 & 4) || "Common Name"
|}
<ul><li style="list-style-type:none">For works with a common name, the common name should be placed after the catalog or opus number. If there is a opus work number present, the common name is placed after that as well. The common name ought to be surrounded by quotation marks of the type correct for the CSG language style being used. If there is more than one common name, within the quotes use a standard ASCII forward slash with a single standard ASCII space on each side ( / ) to separate the names. The common name ought to be capitalized according to the appropriate [[Capitalization Standard|CapitalizationStandard]] for that name's language.
</ul>
* Symphony No. 41 for Orchestra in C major, K. 551 '''"Jupiter"'''
* Missa brevis No. 9 for Soloists, Chorus & Orchestra in C major, K. 196b / KV 220 '''"Spatzenmesse"'''
* Kantate, BWV 106 '''"Gottes Zeit ist die allerbeste Zeit / Actus tragicus"'''

----

<span id="CSGspecialWO3"></span>
=====What about Variations of other works?=====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus Identification]]
|-
| || || || || || || || || ▌ || ||
|-
| Work Type || No. (1 & 4) || Basis Work Composer || Basis Work || Instrumentation || No. (2) || Key || Scale || Catalog / Opus Number || No. (3 & 4) || "Common Name"
|}

Variations can be rather confusing. You're essentially inserting one entire CSG work title into another. Immediately following the Work Type, insert the name of the composer of the work the variation is based upon, then the full CSG title of that work. Note that in addition to the "No." fields which normally can appear, you may also have "No." fields appearing within the basis work, providing for potentially as many as 4 "No."s to appear within the work title.

The structure looks like this:
* '''[ Work Type ] on [ Basis Work Composer ]: [ Basis Work ] for [Instrumentation ] in [ Key ] [ Scale ], [ Opus Number ] [ No. ]'''
* '''[ Work Type ] on [ Basis Work Composer ]: [ Basis Work ] for [Instrumentation ] in [ Key ] [ Scale ], [ Catalog ID and Catalog # ] [ No. ]'''

and looks like this:
* 6 Variations '''on Antonio Salieri: La fiera di Venezia: "Mio caro Adone"''' for Piano in G major, K. 173c / KV 180 No. 3
* 7 Variations '''on Dutch Traditional: "Wilhelmus van Nassau"''' for Piano in D major, K. 25 No. 2
* 8 Variations '''on André Ernest Modeste Grétry: Les mariages samnites: March "Dieu d'amour"''' for Piano in F major, K. 374c / KV 352

If you the work being imported was composed by the same composer, the [ Basis Work Composer ]: section ought to be omitted, giving:
* '''[ Work Type ] on [ Basis Work ] for [Instrumentation ] in [ Key ] [ Scale ], [ Opus Number ] [ No. ]'''
* '''[ Work Type ] on [ Basis Work ] for [Instrumentation ] in [ Key ] [ Scale ], [ Catalog ID and Catalog # ] [ No. ]'''

and thus:
* Divertimento '''on The Fairy's Kiss''': IV. Pas de deux
* Symphony '''on Serenade No. 7 for Orchestra in D major, K. *248b / KV *250 NMA IV/11/7 No. 2 "Haffner"''': V. Adagio - allegro assai

----

<span id="CSGspecialWO4"></span>
=====What about Modulating Keys, Modes, or Scales?=====

Some rare works use modulating keys, modes, or scales. In such a case, list both keys, modes, or scales, and use the equivalent translation within the CSG language style being used for the word "to" to connect them. Examples:
* Modulating Prelude for Piano in F major '''to E minor''', K. deest NMA IX/27/2 No. 2

----

<span id="CSGspecialWO5"></span>
=====What about Non-Standard or Non-European Keys, Modes, or Scales?=====

* For works using non-diatonic scales, such as Persian or Yaman, insert the scale indication before the Key. ("...in Yaman A major")
* For works using diatonic scale modifications such as harmonic or melodic, insert the scale modification indication before the Key (and after the non-diatonic scale name, if needed). ("...in Yaman harmonic A major")
* For works using harmonic mode modifications (augmentation or diminishment), add the modification indication after the Scale. ("...in A major diminished")
* For works using Scales other than major or minor, use them as needed. They ought to be properly capitalized or lowercase, depending upon the name of the scale and the rules within the language being used.
* For works using Keys other than the European half-tone keys, use them as needed. ("...A𝄳 major")

----

<span id="CSGmovement"></span>
===The Movement Framework===

Whereas the [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus Framework]] identifies a work, the Movement Framework identifies the particular movement within a work. This applies even if the work consists only of a single movement.

As the Movement Framework consists of quite a lot of different types of information, it is most simple to conceptualize not as all the individual parts, but as a collection of sub-frameworks. This is how it will be presented below.
{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || || || || || ▌ || ||
|-
| [[User:BrianFreud/sandbox#CSGmPosition|Work Position]] || [[User:BrianFreud/sandbox#CSGmContainer|Movement Container]] || [[User:BrianFreud/sandbox#CSGmDramaticalPosition|Dramatic Position]] || [[User:BrianFreud/sandbox#CSGmFormandTempo|Form and Tempo]] || [[User:BrianFreud/sandbox#CSGmVocalization|Vocalization]] || [[User:BrianFreud/sandbox#CSGmCommonIdentification|Common Identification]] || [[User:BrianFreud/sandbox#CSGmRoleIdentification|Role Identification]]
|}

----

<span id="CSGmPosition"></span>
====Work Position====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || ▌ || ||
|-
| Work Position
|}

This sub-framework defines the particular movement of a multi-movement work.<br/> For single-movement works, this area is left unused (though there can be one exception: see [[User:BrianFreud/sandbox#CSGapplication|item number 3]]).

The Work Position is '''always''' to be indicated using uppercase Roman numerals, '''never''' Arabic numerals. Where a movement is split across several sub-movements ''within the work'', not due to physical demands such as multi-tracking, the lowercase Latin alphabet is used, appending one letter for each sub-movment, beginning with the letter "a". Examples:
* Sonata for Violin (or Flute) & Piano No. 5 in B-flat major, K. 10: '''I.'''
* Sonata for Violin (or Flute) & Piano No. 5 in B-flat major, K. 10: '''II.'''
* Sonata for Violin (or Flute) & Piano No. 5 in B-flat major, K. 10: '''III.'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": '''IIIa.'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": '''IIIb.'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": '''IIIc.'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": '''IIId.'''

A reference list of Roman numbers is [[User:BrianFreud/sandbox#romannumerals|available below]].

----

<span id="CSGmContainer"></span>
====Movement Container====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || ▌ || ||
|-
| Movement Container
|}

The container sub-framework is used most frequently within ecclesiastical works. This area stores the title of the work-within-a-work that identifies the overall movement to which sub-movements belong. Provide the title of the container, followed by a full colon (:). Examples:
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": Ia. '''Kyrie:'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": Ib. '''Kyrie:'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIa. '''Gloria:'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIb. '''Gloria:'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIa. '''Credo:'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIb. '''Credo:'''
* Mass No. 3 for Soloists, Chorus & Orchestra in C major, K. 66 "Dominicusmesse": IIIc. '''Credo:'''

----

<span id="CSGmDramaticalPosition"></span>
====Dramatic Position====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || || || || || || ▌ || ||
|-
| Dramatic Position
|-
| || || || || || || || || || || || || ▌ || ||
|-
| Act || Scene || Song Number
|}

This sub-framework normally is used for operas, though other rarer forms may also have need for these fields. The Dramatic Position section stores the Act, Scene, and/or song number within the overall work. These should always be the Act, Scene, and song number '''as assigned within the original work'''. If you have a release which reorders scenes, uses insert arias, or makes other changes to the normal order, '''do not''' rename the fields within this section; '''the original running order indications should be preserved.''' This also means that, when appendix works are inserted within the work, the Appendix indication should remain.

Act and Scene are always to be indicated using uppercased Roman numerals. The sole exception is for "Scene Ultima".<br/> "Act" and "Scene" '''should''' be translated into the correct word for the CSG language style being used.

Song numbers should always be indicated using Arabic numerals. The numbers used should always be indicated using Arabic numerals and not spelled out.<br/> "No." is always to be used, untranslated, and never "Nr.", "#", "Number", "N°", etc.

When multiple Acts or Scenes are spanned within the same (sub)movement, they ought to be indicated using an ASCII hyphen separated by one ASCII space on either side ( - ).

Structure:
<ul><li style="list-style-type:none">'''[ Appendix ]. [ Act # ], [ Scene # ]. No. #'''
</ul>

In situations where there is an Act, but there is not a Scene, the period ought to be used, omitting the comma:
<ul><li style="list-style-type:none">'''[ Appendix ]. [ Act # ]. No. #'''
</ul>

Examples:
* Ascanio in Alba, K. 111: '''Act I, Scene IV'''
* Così fan tutte ossia La scuola degli amanti, K. *584: '''Appendix. Act. I, Scene XI No. 15'''
* Die Entführung aus dem Serail, K. 384: '''Appendix.'''
* Il sogno di Scipione, K. 126: '''Act I. No. 1'''
* L'oca del Cairo, K. 422: '''Scene III. No. 1'''
* La finta semplice, K. 46a / KV 51: '''Act I, Scene I. No. 1'''
* Lucio Silla, K. 135: '''Act III, Scene Ultima'''

A reference list of Roman numbers is [[User:BrianFreud/sandbox#romannumerals|available below]].

----

<span id="CSGmFormandTempo"></span>
====Form and Tempo====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || || || || ▌ || ||
|-
| Form and Tempo
|-
| || || || || || || || || || || ▌ || ||
|-
| Form || Tempo || Form Title
|-
| || || || || || || || || || || ▌ || ||
|-
| || Tempo || Tempo Title ||
|}

This sub-framework stores the form and tempo of a movement.

The Form ought to always have the first word capitalized, with any remaining words capitalized according to the [[Capitalization Standard|CapitalizationStandard]] for the language of the form.

Though traditionally [http://en.wikipedia.org/wiki/Tempo#Italian_tempo_markings Italian tempos] have been used, tempos can be any many languages, including [http://en.wikipedia.org/wiki/Tempo#French_tempo_markings French], [http://en.wikipedia.org/wiki/Tempo#German_tempo_markings German], and [http://en.wikipedia.org/wiki/Tempo#Tempo_markings_in_English English]. Tempos ought to always have the first word capitalized with any remaining words in a single tempo indication should be capitalized according to the [[Capitalization Standard|CapitalizationStandard]] for the language of the tempo. If there is no composer specified tempo for a work, use "(no tempo indication)" without the quotation marks to indicate this absence.

The most basic structure of this sub-framework is:
<ul><li style="list-style-type:none">'''[ Form ]. [ Tempo ]'''
</ul>

Examples:
* Concerto for Piano No. 13 in C major, K. 387b / KV 415: II. '''Andante'''
* Concerto for Piano No. 13 in C major, K. 387b / KV 415: III. '''Rondeau. Allegro'''
* Concerto for Bassoon in B-flat major, K. 186e / KV 191: III. '''Rondeau. Tempo di menuetto'''

However, many movements change tempo in the middle of the movement, sometimes multiple times. To indicate a tempo change, add the additional tempo(s) after the initial tempo, and connect them using an ASCII hyphen separated by one ASCII space on either side ( - ). Additional tempos ought to be lowercased.

Structure:
<ul><li style="list-style-type:none">'''[ Form ]. [ Tempo ] - [ tempo ]'''
</ul>

Examples:
* Fugue for Piano in C major, K. 383a / 394: II. '''Fugue. Andante maestoso - adagio'''
* Recitative for Tenor and Orchestra in C major, K. 33i / KV 36: '''Allegro maestoso - andante - maestoso - allegro - andante - maestoso - andante'''

In rare cases, you may also have a form which has a common title. This should be capitalized according to the [[Capitalization Standard|CapitalizationStandard]] for the language of the title, and contained within standard quotation marks. Note, this position is only for '''forms''' with titles, '''not''' movement titles.

Structure:
<ul><li style="list-style-type:none">'''[ Form ]. [ Tempo ] - [ tempo ] "[ Form Title ]"'''
</ul>

You may then also have multiple forms within a movement. Add each additional form after the tempo of the prior form and connect them using an ampersand separated by one ASCII space on either side ( & ). The first letter of each additional form should be capitalized, with any additional words within the form capitalized according to the [[Capitalization Standard|CapitalizationStandard]] for the language of the form.

Structure:
<ul><li style="list-style-type:none">'''[ Form ]. [ Tempo ] - [ tempo ] "[ Form Title ]" & [ Form ]. [ Tempo ] - [ tempo ] "[ Form Title ]"'''
</ul>

Examples:
* 3 German Dances for Orchestra in C major, K. 605 No. 3: '''German Dance & Trio "Die Schlittenfahrt" & Coda'''
* Sonata for Piano No. 6 in D major, K. 205b / KV 284 "Dürnitz": III. '''Tema. Andante & Variations I - X & Variation XI. Adagio cantabile & Variation XII. Allegro'''

In the extreme case that you also have tempos within forms which themselves also have titles, the tempo title should be capitalized according to the [[Capitalization Standard|CapitalizationStandard]] for the language of the title, and contained within standard quotation marks. It is to be positioned immediately following that specific tempo, and, if that tempo is followed by another tempo, positioned prior to the connecting hyphen.

Structure:
<ul><li style="list-style-type:none">'''[ Form ]. [ Tempo ] "[ Tempo Title ]" - [ tempo ] "[ Tempo Title ]" "[ Form Title ]" & [ Form ]. [ Tempo ] "[ Tempo Title ]" - [ tempo ] "[ Tempo Title ]" "[ Form Title ]"'''
</ul>

Example:
* Symphony No. 9 in D minor, Op. 125 "Choral": IV. '''Recitative. Presto - allegro ma non troppo - vivace - adagio cantabile - allegro assai - presto "O Freunde" - allegro assai "Freude, schöner Götterfunken" - alla marcia - allegro assai vivace "Froh, wie seine Sonnen" - andante maestoso "Seid umschlungen, Millionen!" - adagio ma non troppo, ma divoto "Ihr, stürzt nieder" - allegro energico, sempre ben marcato "Freude, schöner Götterfunken" - "Seid umschlungen, Millionen!" - allegro ma non tanto "Freude, Tochter aus Elysium!" - prestissimo "Seid umschlungen, Millionen!"'''

Note that "Recitative and Aria" and "Minuet and Trio" each indicate two ''sub-movements'', not a single ''form''. They ought '''not''' to be combined within a single Movement Identification.

Special note on tempos: Please do not 'shorten' them. "Allegro" and "Allegro moderato" are not exactly the same thing.

----

<span id="CSGmVocalization"></span>
====Vocalization====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || || || || || ▌ || ||
|-
| Vocalization
|}

This sub-framework identifies which voice parts sing within a vocal work.

Each voice part should be proper cased. Where more than one of a voice part is indicated, Arabic numerals are to be used.

Voice parts should be ordered starting with the highest pitch and moving to the lowest. A [[User:BrianFreud/sandbox#CSGvoiceparts|reference list]] is available below.

Structure:
<ul><li style="list-style-type:none">'''([ voicepart1 ], [ voicepart1 ]... )'''
</ul>

Examples:
* Notturno for 3 Voices and 3 Basset Horns in F major, K. 436: Andante. '''(2 Sopranos, Bass)'''
* Kyrie for 4 Voices & Organ (in Figured Bass) in D minor, K. 90: (no tempo indication). '''(Soprano, Alto, Tenor, Bass)'''

----

<span id="CSGmCommonIdentification"></span>
====Common Identification====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || || || ▌ || ||
|-
| Common Identification
|-
| || || || || || || || || || ▌ || ||
|-
| Libretto || Common Title
|}

This sub-framework is used for one of two purposes. It either stores the libretto or it stores the common title ''of the movement''.

To clarify on ''the'' movement common title:
* It is not the work's common title. Even in a single-movement song, the title of that song is the work title, not the movement title. The correct position for the work title is described in the [[User:BrianFreud/sandbox#CSGspecialWO2|Work and Opus Framework]].
* It is not the title of only a single form within a multi-form movement. The correct position for such a title is described in the [[User:BrianFreud/sandbox#CSGmFormandTempo|Form and Tempo sub-framework]].
* It is not the title of only a single tempo within a multi-form and/or multi-tempo movement. The correct position for such a title is described in the [[User:BrianFreud/sandbox#CSGmFormandTempo|Form and Tempo sub-framework]].
* Be sure not to confuse the [[User:BrianFreud/sandbox#CSGmContainer|Container]] title with the movement title. The same text is occasionally both titles.

The libretto title and the movement title are mutually exclusive. Where a work does have a movement title, the libretto title should be omitted.

Structure:
<ul><li style="list-style-type:none">'''"[ libretto/movement common title ]"'''
</ul>

Examples:
<ul><li style="list-style-type:none">Movement with a libretto only:
* Mitridate, rè di Ponto, K. 74a / KV 87: Act I, Scene X. No. 8 Cavata. '''"Se di lauri il crine adorno"'''
* Canon for 3 Voices in 1 in F major, K. 507: Canon. '''"Heiterkeit und leichtes Blut"'''
Movement with a libretto only, where the work also has a title:
* Song for Solo Voice and Basso continuo in F major, K. 47e / K3 43b / KV 53 "An die Freude": Mäßig. '''"Freude, Königin der Weisen"'''
* Song for Solo Voice and Piano in D major, K. 125h / KV 148 "Auf die feierliche Johannisloge": Longsam. '''"O heiliges Band der Freundschaft treuer Brüder"'''
Single-movement work with a libretto and title, libretto omitted due to movement title:
* Carol for Female Choir and Piano, EHWV 137 "Christkindleins Wiegenlied": (Sopranos, Altos) '''"O Jesulein zart"'''
<ul><li style="list-style-type:none">''Note: the above example shows an incomplete CSG listing; the key of the work is unknown and unlisted.''
</ul>
* Kantate, BWV 5 "Wo soll ich fliehen hin": II. Recitativo '''"Der Sünden Wust hat mich nicht nur befleckt"'''
Movement with title, container title, and work title:
* Requiem in D minor, K. 626 (Süßmayr completion): II. Kyrie: '''"Kyrie eleison"'''
Movement with a title only, Work and Opus framework overridden as there is a composer-assigned work title:
* Pictures at an Exhibition: IIa. Andante. '''"The Old Castle"'''
Movement with a title and libretto, non-opera Opera special style in effect due to composer-assigned work title, libretto omitted due to movement title:
* Our Hunting Fathers, Op. 8: IV. '''"Dance of Death (Hawking for the Partridge)"'''

</ul>

----

<span id="CSGmRoleIdentification"></span>
====Role Identification====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || || || ▌ || ||
|-
| Role Identification
|}

This sub-framework identifies which roles perform within a vocal work. Each role name ought to be properly capitalized as a name; non-proper named roles such as Chor, Coro, Choir, Servants, etc ought to be proper cased. Named characters ought to be completely listed before groups (such as "Coro") are listed. Where multiple roles appear, the roles ought to be ordered alphabetically by the first letter of the role name, not the last name: Alice Smith, Fred, Tom Brown, Chorus

Structure:
<ul><li style="list-style-type:none">'''([ role1, role2, role3... ])'''
</ul>

Examples:
* Così fan tutte ossia La scuola degli amanti, K. 588: Act II, Scene Ultima No. 31 Finale. Allegro molto "Fortunato l'uom che prende" '''(Despina, Don Alfonso, Dorabella, Fiordiligi, Ferrando, Guglielmo, Chor)'''
* Il dissoluto punito, ossia il Don Giovanni, K. 527: Act I, Scene VII. No. 5 Coro '''"Giovinette, che fate all'amore" (Zerlina, Coro)'''
* Le nozze di Figaro, K. 492: Act II, Scene II. Recitativo. "Bravo! che bella voce!" '''(Cherubino, La Contessa, Susanna)'''

----

<span id="CSGspecialWO6"></span>
=====What about Insert Arias and other dual-catalogued works?=====

{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGmovement|Movement Identification]]
|-
| || || || || || || || || || || || || ▌ || ||
|-
| [[User:BrianFreud/sandbox#CSGmPosition|Work Position]] || [[User:BrianFreud/sandbox#CSGmContainer|Movement Container]] || [[User:BrianFreud/sandbox#CSGmDramaticalPosition|Dramatic Position]] || [[User:BrianFreud/sandbox#CSGmFormandTempo|Form and Tempo]] || [[User:BrianFreud/sandbox#CSGmVocalization|Vocalization]] || [[User:BrianFreud/sandbox#CSGmCommonIdentification|Common Identification]] || [[User:BrianFreud/sandbox#CSGmRoleIdentification|Role Identification]] || Dual catalogued works
|}

In some rare cases, most frequently with insert arias to operas, you will find works which appear within the same catalog twice. These present a sticky problem; if they are listed as the individual catalog listing, they will make the release appear to have an unrelated work inserted within it. In such a case, after the [[User:BrianFreud/sandbox#CSGmRoleIdentification|Role Identification]] sub-framework, append an additional sub-framework for the secondary movement catalog number.

Structure:
<ul><li style="list-style-type:none">'''[[ movement catalog number ]]'''
</ul>

Examples:
<ul><li style="list-style-type:none">Collaboratively composed opera, only the single movement bears the catalog number:
* Der Stein der Weisen: Act II. Duett. "Nun, liebes Weibchen" (Lubanara, Lubano) '''[K. 592a / KV 625]'''
Insert aria contained both within the appendix to the opera and separately cataloged:
* Il dissoluto punito, ossia il Don Giovanni, K. 527: Anhang. Act I, Scene XIV. No. 10a Aria. "Dalla sua pace" (Don Ottavio) '''[K. 540a]'''

</ul>

----

<span id="CSGworkornamentation"></span>
===The Ornamentation Framework===

{| border="1"
|-
| Classical Work
|-
| || || || || || || || || ▌ || ||
|-
| [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus]] || [[User:BrianFreud/sandbox#CSGmovement|Movement]] || [[User:BrianFreud/sandbox#CSGworkornamentation|Ornamentation]]
|}

Ornamentation presents a difficult problem. These are works specifically intended to be inserted into other works. Therefore, listing them by simply using a / to separate the works would unintentionally present the appearance that there are two separate and distinct works present, not a single work which contains the second work.

Therefore, when Ornamentation, or its sub-types, Cadences, Cadenzas, and Eingänge <ref>Eingänge, also "Eingang" is a term used primarily by Wolfgang Amadeus Mozart and Ludwig van Beethoven to describe a shorter fermata embellishment versus a normal Cadenza. While cadenzas traditionally contain modulation and are placed over a tonic six-four chord, Eingänge avoid modulation and are indicated by a fermata over a dominant seventh chord. While cadenzas typically fall within a Form, eingänge typically are used to lead from one Form into a new Form. Eingänge will specifically be named as such a form by the composer. The term "Lead-in" may also be used to describe an Eingänge.</ref> appear, the following form is to used:
<ul><li style="list-style-type:none">'''([ Type ]: [ Composer ], [ Catalog or Opus Number ] [ Work Number within the Opus or Catalog Number ], [ Version ])'''
</ul>

Examples:
* (Cadenza: Wolfgang Amadeus Mozart, K. 626aI/31 / KV 624/9, Version A)
* (Cadence: Ludwig van Beethoven, WoO 58 No. 2)
* (Eingänge: Wolfgang Amadeus Mozart, K. 626aI/55)
* (Ornamentation Cadenza: Wolfgang Amadeus Mozart, K. 293e / KV deest)
* (Trumpet and Drum Ornamentation: Wolfgang Amadeus Mozart, K. 370a / KV deest)

''Note that, as ornamentation is by definition interchangeable, only the ornamentation framework will be listed within works lists.''

----

===Special Frameworks===

<span id="CSGdacapostructure"></span>
====Special Framework under CSG for Da capos and Dal segnos====

{| border="1"
|-
| [[Image:dacapo.png]] || [[Image:segno.png]] || [[Image:dalsegno.png]] || [[Image:coda.png]]
|-
| '''Da capo''' || '''Segno''' || '''Dal segno''' || '''Coda'''
|}

Da capos come in three common variations:
* Da capo
<ul><li style="list-style-type:none">Repeat the specified section of the work.
</ul>
* Da capo al fine
<ul><li style="list-style-type:none">Repeat the entire work.
</ul>
* Da capo al segno
<ul><li style="list-style-type:none">Repeat from the beginning through to the segno sign.
</ul>

Dal segnos come in two common variations:
* Dal segno al Coda
<ul><li style="list-style-type:none">Repeat from the segno to the coda sign then play the coda.
</ul>
* Dal segno al Fine
<ul><li style="list-style-type:none">Repeat from the segno through to the end of the work.
</ul>

These are commonly found accompanying Minuets, Trios, and at the end of Serenades.

** How do we handle them? ** ** STUFF **

----

<span id="CSGoperastructure"></span>
====Special Framework under CSG for Operas====

Operas are handled a bit differently than other works. Were they to be formatted using the standard structure, a large amount of redundant information would be added to the title, making it appear cluttered rather than structured.

In a title for an opera, the [[User:BrianFreud/sandbox#CSGmovement|Movement]] and [[User:BrianFreud/sandbox#CSGworkornamentation|Ornamentation]] frameworks follow the standard structure described above. However, the [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus]] framework is restructured.
{| border="1"
|-
| Opera Work and Opus Identification
|-
| || || || || ▌ || ||
|-
| Opera Name || Catalog / Opus Number || No. (3)
|}

Note that this is almost the same as the standard [[User:BrianFreud/sandbox#CSGmovement|Movement framework]], except that most of that framework's structure is unused. The sole structural difference between the Opera Work and Opus framework and the standard [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus]] framework is that instead of:
* , K. 492 "Le nozze di Figaro"
* , Op. 8 Our Hunting Fathers

this special structure instead creates:
* Le nozze di Figaro, K. 492
* Our Hunting Fathers, Op. 8

Note as well that in the Opera special framework, the opera's name is '''not''' enclosed within quotation marks.

It is also worth mentioning again that in the [[User:BrianFreud/sandbox#CSGmDramaticalPosition|Dramatic Position]] section of the [[User:BrianFreud/sandbox#CSGmovement|Movement framework]], though "Act" and "Scene" '''should''' be translated into the correct word for the CSG language style being used, "No." '''should not''' be translated.

<span id="CSGspecialWO8"></span>
=====Ballet Music=====

Ballet music normally falls well within the normal CSG structure. However, in some rare cases, it can present difficulties. At one time, short ballets were performed between the acts of operas and other similar musical theater presentations. While most of these have not survived, some rare ones have, and continue to be performed and recorded today.

When such a work is encountered, should the normal CSG structure fail to well fit the work, the special Opera style described above may be used in conjunction with the special style for [[User:BrianFreud/sandbox#CSGspecialWO3|Variations of Other Works]], prefixing the music with "Ballet Music for" in the CSG language style being used for the work.

Example:
<ul><li style="list-style-type:none">The listing for the opera would be:
* Idomeneo, rè di Creta, K. 366
The listing for the ballet music composed for that opera thus would be:
* Ballet Music for Idomeneo, rè di Creta, K. 366, in B-flat major, K. 367: III. Passepied

</ul>

----

<span id="CSGvariationsstructure"></span>
====Special Framework under CSG for Variations within Movements====

Variations can potentially lead to needlessly long titles. Rather than include each and every variation, where variations do not have tempo changes, link them with a hyphen ( - ). Example:
* Sonata for Piano No. 6 in D major, K. 205b / KV 284 "Dürnitz": III. Tema. Andante & '''Variations I - X''' & Variation XI. Adagio cantabile & Variation XII. Allegro

----

<span id="CSGspecialWO9"></span>
====Work Condition or Version Information====

Well-known works will rarely need much, if any additional information to be provided. Some more obscure works, however, may need such information - identifications such as "Appendix", "fragment", "sketch", "original version", "spurious", "doubtful", completion-related information, etc.

Such information may be located in one of two places.

The first has already been described, in the [[User:BrianFreud/sandbox#CSGmDramaticalPosition|Dramatic Position]] section, and indicates that a movement of a theatrical work is part of the appendix, not part the normal running of the theatrical work.
{| border="1"
|-
| [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus Identification]]
|-
| || || || || || || || || || ▌ || ||
|-
| Work Type || No. (1 & 4) || Instrumentation || No. (2) || Key || Scale || Catalog / Opus Number || No. (3 & 4) || (Work Condition / Version Note) || "Common Name"
|}

The second is not included directly as part of any one framework, as such version or work condition information may apply to an entire work, or it may apply only to a single movement within a work. It may be that the entire work is considered spurious, or it may be that one movement from a work has only survived as a fragment. Whichever is the case, when such information needs to be included, we ask that you keep it as short as possible, include it within parenthesis, and place it between the Numbered work of a Work Catalog / Opus Number section and the Common Name section within the [[User:BrianFreud/sandbox#CSGworkopus|Work and Opus Framework]].

Except where names are involved, all such note information should be lowercased.

Examples:
* Concerto for Violin and Orchestra in D major, K. 271i / K2 271a / KV K2271a (doubtful): I. Allegro maestoso
* Sonata for Keyboard with 4 Hands in G major, K. 497a/KV 357/1 (Julius André completion): Allegro
* Suite for Piano in C major, K. 385i / 399 Fr 1782i (5.5 measure fragment): IV. Sarabande
* Symphony No. 3 for Orchestra in E-flat major, K. Anh A 51 / K3 Anh 109i / KV 18 (spurious): I. Molto allegro

----

<span id="CSGpunctuation"></span>
===Punctuation Within CSG Titles===

Standard ASCII punctuation should always be used for the space , the full-colon :, the semi-colon ;, the hyphen-minus -, single quotation marks ' ', double quotation marks " ", parenthesis ( ), square braces [ ], commas ,, periods ., and all other punctuation.

If French CSG is being used, the additional punctuation spacing rules of [[Capitalization Standard French|CapitalizationStandardFrench]] also apply.

----

=Resources=

<span id="keylist"></span>
==Keys and scales in commonly used languages==

{| border="1"
|-
| '''English''' || '''French''' || '''German''' || '''Italian''' || '''Russian''' || '''Spanish'''
|-
| A major || La majeur || A-Dur || La maggiore || Ля мажор || La mayor
|-
| A-flat major || La bémol majeur || As-Dur || La bemolle maggiore || Ля диез мажор || La bemol mayor
|-
| A-sharp major || La dièse majeur || Ais-Moll || La diesis maggiore || Ля бемоль мажор || La sostenido mayor
|-
| A minor || la mineur || a-Moll || la minore || Ля минор || la menor
|-
| A-flat minor || la bémol mineur || as-Moll || la bemolle minore || Ля диез минор || la bemol menor
|-
| A-sharp minor || la dièse mineur || ais-Moll || la diesis minore || Ля бемоль минор || la sostenido menor
|-
| B major || Si majeur || H-Dur || Si maggiore || Си мажор || Si mayor
|-
| B-flat major || Si bémol majeur || B-Dur || Si bemolle maggiore || Си бемоль мажор || Si bemol mayor
|-
| B-sharp major || Si dièse majeur || His-Dur || Si diesis maggiore || Си диез мажор || Si sostenido mayor
|-
| B minor || si mineur || h-Moll || si minore || Си минор || si menor
|-
| B-flat minor || si bémol mineur || b-Moll || si bemolle minore || Си бемоль минор || si bemol menor
|-
| B-sharp minor || si dièse mineur || his-Moll || si diesis minore || Си диез минор || si sostenido menor
|-
| C major || Ut majeur || C-Dur || Do maggiore || До мажор || Do mayor
|-
| C-flat major || Ut bémol majeur || Ces-Dur || Do bemolle maggiore || До бемоль мажор || Do bemol mayor
|-
| C-sharp major || Ut dièse majeur || Cis-Dur || Do diesis maggiore || До диез мажор || Do sostenido mayor
|-
| C minor || ut mineur || c-Moll || do minore || До минор || do menor
|-
| C-flat minor || ut bémol mineur || ces-Moll || do bemolle minore || До бемоль минор || do bemol menor
|-
| C-sharp minor || ut dièse mineur || cis-Moll || do diesis minore || До диез минор || do sostenido menor
|-
| D major || Ré majeur || D-Dur || Re maggiore || Ре мажор || Re mayor
|-
| D-flat major || Ré bémol majeur || Des-Dur || Re bemolle maggiore || Ре бемоль мажор || Re bemol mayor
|-
| D-sharp major || Ré dièse majeur || dis-Dur || Re diesis maggiore || Ре диез мажор || Re sostenido mayor
|-
| D minor || ré mineur || d-Moll || re minore || Ре минор || re menor
|-
| D-flat minor || ré bémol mineur || des-Moll || re bemolle minore || Ре бемоль минор || re bemol menor
|-
| D-sharp minor || ré dièse mineur || dis-Moll || re diesis minore || Ре диез минор || re sostenido menor
|-
| E major || Mi majeur || E-Dur || Mi maggiore || Ми мажор || Mi mayor
|-
| E-flat major || Mi bémol majeur || Es-Dur || Mi bemolle maggiore || Ми бемоль мажор || Mi bemol mayor
|-
| E-sharp major || Mi dièse majeur || Eis-Dur || Mi diesis maggiore || Ми диез мажор || Mi sostenido mayor
|-
| E minor || mi mineur || e-Moll || mi minore || Ми минор || mi menor
|-
| E-flat minor || mi bémol mineur || es-Moll || mi bemolle minore || Ми бемоль минор || mi bemol menor
|-
| E-sharp minor || mi dièse mineur || eis-Moll || mi diesis minore || Ми диез минор || mi sostenido menor
|-
| F major || Fa majeur || F-Dur || Fa maggiore || Фа мажор || Fa mayor
|-
| F-flat major || Fa bémol majeur || Fes-Dur || Fa bemolle maggiore || Фа бемоль мажор || Fa bemol mayor
|-
| F-sharp major || Fa dièse majeur || Fis-Dur || Fa diesis maggiore || Фа диез мажор || Fa sostenido mayor
|-
| F minor || fa mineur || f-Moll || fa minore || Фа минор || fa menor
|-
| F-flat minor || fa bémol mineur || fes-Moll || fa bemolle minore || Фа бемоль минор || fa bemol menor
|-
| F-sharp minor || fa dièse mineur || fis-Moll || fa diesis minore || Фа диез минор || fa sostenido menor
|-
| G major || Sol majeur || G-Dur || Sol maggiore || Соль мажор || Sol mayor
|-
| G-flat major || Sol bémol majeur || Ges-Dur || Sol bemolle maggiore || Соль бемоль мажор || Sol bemol mayor
|-
| G-sharp major || Sol dièse majeur || Gis-Dur || Sol diesis maggiore || Соль диез мажор || Sol sostenido mayor
|-
| G minor || sol mineur || g-Moll || sol minore || Соль минор || sol menor
|-
| G-flat minor || sol bémol mineur || ges-Moll || sol bemolle minore || Соль бемоль минор || sol bemol menor
|-
| G-sharp minor || sol dièse mineur || gis-Moll || sol diesis minore || Соль диез минор || sol sostenido menor
|}

<span id="romannumerals"></span>
==Roman numerals from 0 to 125==

''CSG uses the simplified Roman numerals system. While no work is ever actually expected to have a sufficient number of works for it to matter, should a work with 499 or more movements ever be written, movement 499 would be indicated as ID, not CDXCIX, LDVLIV, XDIX, or VDIV.''
{| border="1"
|-
| 0 || N || 21 || XXI || 42 || XLII || 63 || LXIII || 84 || LXXXIV || 105 || CV
|-
| 1 || I || 22 || XXII || 43 || XLIII || 64 || LXIV || 85 || LXXXV || 106 || CVI
|-
| 2 || II || 23 || XXIII || 44 || XLIV || 65 || LXV || 86 || LXXXVI || 107 || CVII
|-
| 3 || III || 24 || XXIV || 45 || XLV || 66 || LXVI || 87 || LXXXVII || 108 || CVIII
|-
| 4 || IV || 25 || XXV || 46 || XLVI || 67 || LXVII || 88 || LXXXVIII || 109 || CIX
|-
| 5 || V || 26 || XXVI || 47 || XLVII || 68 || LXVIII || 89 || LXXXIX || 110 || CX
|-
| 6 || VI || 27 || XXVII || 48 || XLVIII || 69 || LXIX || 90 || XC || 111 || CXI
|-
| 7 || VII || 28 || XXVIII || 49 || XLIX || 70 || LXX || 91 || XCI || 112 || CXII
|-
| 8 || VIII || 29 || XXIX || 50 || L || 71 || LXXI || 92 || XCII || 113 || CXIII
|-
| 9 || IX || 30 || XXX || 51 || LI || 72 || LXXII || 93 || XCIII || 114 || CXIV
|-
| 10 || X || 31 || XXXI || 52 || LII || 73 || LXXIII || 94 || XCIV || 115 || CXV
|-
| 11 || XI || 32 || XXXII || 53 || LIII || 74 || LXXIV || 95 || XCV || 116 || CXVI
|-
| 12 || XII || 33 || XXXIII || 54 || LIV || 75 || LXXV || 96 || XCVI || 117 || CXVII
|-
| 13 || XIII || 34 || XXXIV || 55 || LV || 76 || LXXVI || 97 || XCVII || 118 || CXVIII
|-
| 14 || XIV || 35 || XXXV || 56 || LVI || 77 || LXXVII || 98 || XCVIII || 119 || CXIX
|-
| 15 || XV || 36 || XXXVI || 57 || LVII || 78 || LXXVIII || 99 || XCIX || 120 || CXX
|-
| 16 || XVI || 37 || XXXVII || 58 || LVIII || 79 || LXXIX || 100 || C || 121 || CXXI
|-
| 17 || XVII || 38 || XXXVIII || 59 || LIX || 80 || LXXX || 101 || CI || 122 || CXXII
|-
| 18 || XVIII || 39 || XXXIX || 60 || LX || 81 || LXXXI || 102 || CII || 123 || CXXIII
|-
| 19 || XIX || 40 || XL || 61 || LXI || 82 || LXXXII || 103 || CIII || 124 || CXXIV
|-
| 20 || XX || 41 || XLI || 62 || LXII || 83 || LXXXIII || 104 || CIV || 125 || CXXV
|}

''While it is quite true that the original Roman numeral system did not have a zero, fortunately, in those rare cases where a Roman zero is needed, just such a numeral indicaton was added to the simplified roman numeral system in 725 AD.''

<span id="CSGvoiceparts"></span>
==Vocal Classifications==

Ordered from highest pitched to lowest pitched:
# Soprano
# Castrato
# Sopranist
# Dugazon
# Falcon
# Mezzo-soprano
# Alto I
# Alto II
# Haute-contre
# Countertenor
# Contralto
# Tenor I
# Tenor II
# Baritenor
# Baritone
# Bass-baritone
# Bass
# Contrabass

Latest revision as of 14:33, 26 March 2010