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[[Image:Alert.png]] '''DO NOT USE THIS. DO NOT USE THIS. DO NOT USE THIS.'''

'''THIS IS TOTALLY UNOFFICIAL. THIS IS NOT THE CLASSICAL STYLE GUIDELINES PAGE.'''

''You want this page instead:'' [[Classical Style Guide|ClassicalStyleGuide]]

=The Classical Style Guidelines=

'''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#CSGnotapplicable|In what circumstances ought CSG to not be used?]]
# [[User:BrianFreud/sandbox#CSGhistory|The History of CSG]]

'''The Guidelines'''
# [[User:BrianFreud/sandbox#whoisclassical|Who is considered a “classical” composer?]]
# [[User:BrianFreud/sandbox#CSGdistinctrelease|What constitutes a distinct classical release?]]
## [[User:BrianFreud/sandbox#CSGboxsets|What about box sets?]]

# [[User:BrianFreud/sandbox#CSGreleaseartist|Who is the artist for a classical work?]]
# [[User:BrianFreud/sandbox#CSGreleasetitle|How to title a classical release?]]
# [[User:BrianFreud/sandbox#CSGworkstructure|What is the structure for a CSG titles?]]
## [[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 Condiction or Version Information]]

## [[User:BrianFreud/sandbox#CSGpunctuation|Punctuation Within CSG Titles]]
## [[User:BrianFreud/sandbox#CSGapplication|Applying CSG Titles to Tracks]]
### [[User:BrianFreud/sandbox#CSGspecialWO7|Special Case: Ornamentation]]

# [[User:BrianFreud/sandbox#CSGreleaselanguage|The Release Language for a Classical Release]]
# [[User:BrianFreud/sandbox#CSGadvancedrelationships|Advanced Relationships (ARs) for a Classical Release]]
## [[User:BrianFreud/sandbox#CSGarslevel|At the release level or at the track level?]]

'''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|Voical classifications]]

----


=Introduction to CSG=

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

The "Classical Style Guidelines" (CSG) 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 is '''not intended''' to provide titles 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.'''''

* CSG is '''not intended''' to cause track titles to lose their meaning where forcing any particular language into the CSG structure would cause track titles in that language to lose comprehension.
* CSG is '''not intended''' to create a title where changing a particular title used on a release would cause us to lose contextual meaning ([http://musicbrainz.org/release/eb0d40c1-02d3-4816-abe9-213a979e081a.html example]).

<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.

Where a standardized works list for a given composer is not yet complete, ''any language'' may be used to enter releases for that composer, so long as the CSG framework is used.

'''However''', [http://wiki.musicbrainz.org/CSGStandard standardized works lists] for classical composers are in development. Where a standardized works list has been completed, we ask that you use the appropriate titles from these lists, without translation or alteration, other than that described within [[User:BrianFreud/sandbox#CSGapplication|How should these titles be applied to tracks?]]

<span id="whoisclassical"></span>
==Who is considered a “classical” composer?==

'Classical music' is a broad term that encompasses a broad period from roughly the 9th century through to the present day. Depending upon the particular culture, classical music can be ecclesiastical, instrumental, orchestral — even electronic. To then attempt to define just what classical music is, or to define a 'classical composer', would invariably include artists who ought to be excluded, and exclude artists who ought to be included.

For our purposes, however, one possible way to determine the answer for a given composition or composer is to question which artist is the principal artist for a work. People listen to [http://musicbrainz.org/artist/b071f9fa-14b0-4217-8e97-eb41da73f598.html The Rolling Stones] without much care for who composed the songs. With classical music, though [http://musicbrainz.org/artist/7002bf88-1269-4965-a772-4ba1e7a91eaa.html Glenn Gould] or [http://musicbrainz.org/artist/93dbb52a-3d19-4f64-adc6-524f1921765b.html Hilary Hahn] certainly is important to the performance of the work, the composer of the music being performed is of at least co-equal importance, such that the composer, and not the performer, is the principal artist. Though no list of all classical composers could ever be considered to be complete, we do maintain an [http://wiki.musicbrainz.org/CSGStandard ''incomplete'' list of classical composers].

Given the breadth of composers and compositions contained within the sphere of classical music, no one guideline can be said to apply equally to all works. It is quite possible that CSG 'composer as artist' style might apply, while CSG release titling or work titling guidelines do not. This is most frequently true of modern / experimental classical composers such as [http://musicbrainz.org/artist/a3031680-c359-458f-a641-70ccbaec6a74.html Steve Reich] and [http://musicbrainz.org/artist/76325a9d-6c25-4649-96b1-84e9b99d6b4b.html John Cage], soundtrack and score composers such as [http://musicbrainz.org/artist/c3161cf7-cab1-4409-9b1f-876561dd7716.html Michael Nyman], [http://musicbrainz.org/artist/a16e47f5-aa54-47fe-87e4-bb8af91a9fdd.html Ennio Morricone], and [http://musicbrainz.org/artist/53b106e7-0cc6-42cc-ac95-ed8d30a3a98e.html John Williams], and composers of music for professional use such as [http://musicbrainz.org/artist/0dbcb631-e74a-4736-87cd-a9f2561fd4d3.html Jeffrey Fayman] and [http://musicbrainz.org/artist/7d610910-e08c-4e2a-8dc6-39ea16a02646.html Yoav Goren]. However, just because all aspects of CSG may not always apply to works for any given composer, there will always be [http://musicbrainz.org/release/abfd648f-12de-495d-a227-63bd8f50b665.html those] [http://musicbrainz.org/release/f30207f8-8313-471f-88b9-3b8f3b9a5ebb.html exceptions] where even works by these composers are subject to all aspects of CSG.

<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 track 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.

Also note that CSG '''does''' override what is written on the liner. This is not contrary to [[Style Principle|StylePrinciple]], though it initially may seem that it is, as the [[Consistent Original Data|ConsistentOriginalData]] for a classical release would be the original composition, not the individual release containing a later recording of the work. As CSG only applies when the original composition does not have a specific title provided by the composer, Principle 4 of [[Style Principle|StylePrinciple]] is the applicable principle. CSG then becomes the guideline indicated by Principle 4.

<span id="CSGhistory"></span>
==The History of CSG==

The CSG artist guidelines began in a [http://lists.musicbrainz.org/pipermail/musicbrainz-users/2004-January/004338.html discussion on the mb-users mailing list] in January of 2004. The CSG release title and track title styles began as [http://lists.musicbrainz.org/pipermail/musicbrainz-users/2004-January/004405.html suggestions within that discussion]. CSG continued to develop through December of 2006, when the basic guidelines were locked down as official. Throughout 2007, various discussions on more obscure areas of CSG took place in all possible discussion areas of [[MusicBrainz]]. In early 2008, CSG was revamped and rewritten by mb-style with the intent of making it both easier to understand and more comprehensive in its guidance.

----


=The Guidelines=

<span id="CSGdistinctrelease"></span>
==What constitutes a distinct classical release?==

** STUFF **

<span id="CSGboxsets"></span>
==What about box sets?==

Box sets are subject, first and foremost, to the [[Strong Guideline|StrongGuideline]] principles.

** STUFF **

<span id="CSGreleaseartist"></span>
==Who is the artist for a classical work?==

'''The artist for the release and the tracks should always be set to the composer(s)''', '''''not''''' the performers or the conductor. If a classical release contains works by multiple composers, the release artist ought to be set to “Various Artists”, not “composer1 & composer 2& composer 3...”.

'''GUIDELINE CURRENTLY UNDER DEBATE'''

<span id="CSGreleasetitle"></span>
==How to title a classical release?==

** STUFF **

<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"
|-
| 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 ("a moll" 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").
|}
{| 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 submovements ''within the work'', not due to physical demands such as multi-tracking, the lowercase latin alphabet is used, appending one letter for each submovment, 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 submovements 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]]
|-
| || || || || || || || || || || || || ▌ || ||
|-
| Dramatical 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 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 ''submovements'', not a single ''form''. They ought '''not''' to be combined within a single Movement Identification.

----

<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 overriden 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 rolename 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, to list them [[User:BrianFreud/sandbox#CSGapplication|as we normally would list a track containing two works]], using a / to separate the works, would unintentionally present the appearance that there are two separate works on the track, 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 interchangable, only the ornamentation framework will be listed within works lists. How to apply ornamentation to track titles is covered in [[User:BrianFreud/sandbox#CSGapplication|Applying CSG Titles to Tracks]].''

----

===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 rementioning 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 Condiction 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 Orchestrain 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 with a CSG title.

'''GUIDELINE CURRENTLY UNDER DEBATE'''

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

----

<span id="CSGapplication"></span>
===Applying CSG Titles to Tracks===

Because of the [[Fundamental Mismatch Of MusicBrainz Entities And Reality|FundamentalMismatchOfMusicBrainzEntitiesAndReality]], you will find one of three cases when using CSG titles:
# '''Each movement (or work, for single-movement works) has its own track:''' Use the movement or work title as the track title. Example:
#* Canon for 3 Voices in 1 in F major, K. 507: Canon. "Heiterkeit und leichtes Blut"

# '''A track includes two or more movements (or single-movement works):''' Use a standard ASCII forward slash with a single standard ASCII space on each side ( / ) to separate the works. Where each movement is from the same overall work, the work identification ought to be omitted where it would be redundant. If the works are by different composers, [[Tracks With Multiple Artists|TracksWithMultipleArtists]] would apply as normal. Examples:
#* Canon for 3 Voices in 1 in F major, K. 507: Canon. "Heiterkeit und leichtes Blut" / Canon for 3 Voices in 1 in F major, K. 508: Canon. "Auf das Wohl aller Freunde"
#* Symphony No. 41 in C major, K. 551 "Jupiter": I. Allegro vivace / II. Andante cantable
#* Symphony No. 38 in D major, K. 504 "Prague": II. Andante / Johann Sebastian Bach - Suite für Violoncello solo No. 6 D-Dur, BWV 1012: Courante

# '''A single movement (or single-movement work) is split across two or more tracks:''' List the movement in each track as if it were the entire movement. In the [[User:BrianFreud/sandbox#CSGmPosition|Work Position]] area of each track, append a hyphen and lowercase Roman numeral to indicate which part of the split teach track is. If the movement is a single-movement work without a movement indication, omit the hyphen. Examples:
## '''A split single-movement work:'''
### Canon for 3 Voices in 1 in F major, K. 507: i. Canon. "Heiterkeit und leichtes Blut"
### Canon for 3 Voices in 1 in F major, K. 507: ii. Canon. "Heiterkeit und leichtes Blut"

## '''Multi-movement work with a split movement:'''
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-i. Recitative. Presto - allegro ma non troppo - vivace - adagio cantabile
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-ii. Allegro assai - presto "O Freunde" - allegro assai "Freude, schöner Götterfunken"
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-iii. Alla marcia - allegro assai vivace "Froh, wie seine Sonnen"
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-iv. Andante maestoso "Seid umschlungen, Millionen!"
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-v. Adagio ma non troppo, ma divoto "Ihr, stürzt nieder"
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-v. Allegro energico, sempre ben marcato "Freude, schöner Götterfunken"
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-vi. "Seid umschlungen, Millionen!"
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-vii. Allegro ma non tanto "Freude, Tochter aus Elysium!"
### Symphony No. 9 in D minor, Op. 125 "Choral": IV-viii. Prestissimo "Seid umschlungen, Millionen!"

## '''Multi-movement work with a split sub-movement:'''
### Requiem in D minor, K. 626 (Süßmayr completion): IIIe-i. Sequenz: "Confutatis"
### Requiem in D minor, K. 626 (Süßmayr completion): IIIe-ii. Sequenz: "Confutatis"
### Requiem in D minor, K. 626 (Süßmayr completion): IIIe-iii. Sequenz: "Confutatis"

<span id="CSGspecialWO7"></span>
====How to Apply Ornamentation to Track Titles:====

The proper style for ornamentation is listed within the [[User:BrianFreud/sandbox#CSGworkornamentation|Ornamentation Framework]]. As defined there, ornamentation works are to be listed as:
* (Cadenza: Wolfgang Amadeus Mozart, K. 626aI/31 / KV 624/9, Version A)
* (Cadence: Ludwig van Beethoven, WoO 58 No. 2)

To list such ornamentation within a track title, if only one ornamentation work is used, simply append it to the end of the track title. Examples:
* Concerto for Piano No. 12 in A major, K. 385p / K3 386a / KV 414: II. Andante (Cadenza: K. 626aI/31 / KV 624/9, Version A)
* Concerto for Piano No. 20 in D minor, K. 466: III. Rondo. Allegro assai (Cadence: Ludwig van Beethoven, WoO 58 No. 2)

When applying ornamentation to a track title, omit redundant information. Thus, note in the above example, "Wolfgang Amadeus Mozart" was omitted, as he was also the composer of the work being ornamented, while "Ludwig van Beethoven" was retained, as he was not the composer of the work being ornamented.

To list multiple ornamentation works for the same track, append them as Ornamentation, Cadenza, Eingänge, and separate them with a semi-colon separated on each side by one ASCII space ( ; ). Again, omit redundant information. Examples:
* Concerto for Violin and Orchestra No. 1 in B-flat major, K. 207: I. Allegro moderato (Cadenzas: Jean-Delphin Alard; Martin Wulfhorst; Eingänge: Jean-Delphin Alard; Martin Wulfhorst)
* Concerto for French Horn No. 2 in E-flat major, K. 417: II. Andante (Eingänge: Timothy Brown; Dominic Nunns)
* Concerto for Piano No. 18 in B-flat major, K. 456 "Paradis": I. Allegro vivace (Cadenzas: K. 626aI/52 / KV deest, Version A; K. 626aI/54 / KV 624/27, Version C; Eingänge: K. 626aI/55)

All tracks containing ornamentation by composers other than the composer of the ornamented work ought to also be added to the listing in [[Tracks With Multiple Artists|TracksWithMultipleArtists]].

<span id="CSGreleaselanguage"></span>
==The Release Language for a Classical Release==

The Release Language setting for a release should reflect the language used for the CSG titles. It does not reflect the language spoken or sung on the release, nor any of the specific languages found on the liner for any given release of the same recording.

<span id="CSGadvancedrelationships"></span>
==What Advanced Relationships (ARs) ought to always be set for a classical release?==

When adding a classical release, you are encouraged, as always, to set all ARs possible. However, '''even if you don't set any other ARs, we do ask that you always set the performer, conductor, and chorus master ARs for each work. If a release you are adding includes arrangements of classical works, please also always set the arranger AR.'''

Reasoning: For any given classical release, it is quite likely that there are several other releases containing the same works in the same order; if these basic ARs are not set, the release is essentially a 'blank' listing. Such unidentified 'blank' listings have a bad tendency to become full of PUIDs, TRMs, CD TOCs, and other data from a range of unrelated releases. Setting these basic identifying ARs allows the users of the database to identify that the releaser you are adding is not, in fact, the one that they want, both avoiding inaccurate data being added, and potentially leading to more releases being added, both of which benefit the data-health of the database.

<span id="CSGarslevel"></span>
===At the release level or at the track level?===

While there will always be those ARs which do belong at the release level, performer, composer, conductor, chorus master, and other related ARs should always be set at the track level if you have sufficient data to be able to be that specific. If an artist performs on all tracks, please set such ARs on all tracks rather than just setting a single AR for the release.

=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 mol || 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>
==Voical classifications==

Ordered from highest pitched to lowest pitched:
# Soprano
# Castrati
# 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