• 6.1 Action Stroke Modifications 
• 6.1.1 Bounces 
• 6.1.2 Grasping and Pressing 
• 6.1.3 Supporting and Supported Touches 
• 6.1.4 Unspecified Action 
• 6.1.5 "Brushing" 
• 6.2 Notating the Posture of the Hands 
• 6.3 Notation of the Fingers 
• 6.4 Notating the Posture of the Head and Torso 
• 6.4.1 Notation of the Chest 
• 6.4.2 Notation of the Pelvis 
• 6.4.3 Notation of the Shoulder Blades 
• 6.4.4 Miscellaneous Comments on Notation of the Torso 
• 6.4.5 Notating the Posture of the Head 
• 6.5 Additional Bearing Symbols 
• 6.5.1 Intermediate Directions 
• 6.5.2 Indefinite Directions 
• 6.5.3 Frames of Reference 
• 6.6 Curved Movements 
• 6.7 Advanced Timing Notation 
• 6.8 The "Notes" Column 
• 6.9 Patterns and Motifs 
• 6.10 Couple Dancing 
• 6.11 Folk Dancing in Lines, Circles, Etc. 
• 6.12 Computer-Aided Notation

6.1 Action Stroke Modifications

6.1.1 Bounces

We can, of course, formally notate every elemental movement of every bounce. However, if we do, we may find ourselves either crowding action strokes together, or using more squares of graph paper per count of music. Thus, in the illustration, in the first score, we have doubled the number of squares per count, and still have trouble illustrating the action. We show a step with the right foot onto the flat foot on count 1. Just before count 2, we rise up onto the forward part of the foot; on count 2, we drop the heel down, restoring the flat foot contact; and just after count 2, we rise up onto the forward part of the foot once again. Unfortunately the symbols are rather cramped. 

One solution is to just use a simple supported gesture sign for the main action, and notate the other actions in a "note". However, "bounces" are common enough that an informal shorthand, like the "bird" sign mentioned earlier, comes in handy. This shorthand is illustrated on the second score in the same illustration. 

In essence, we assume that all that counts is the "level". Midlevel is taken to be the level at the time of the last support shown with a solid action stroke, and is symbolized by the middle direction symbol, an "+". A raised level is shown with a white diamond, and a lowered level by a black diamond. The level on the count is placed directly on the dotted line. The preparative level, if different, is placed below the dotted line level marker, and the subsequent level, if different, is placed abovethe dotted line level marker.  

6.1.2 Grasping and Pressing

Placing a flat end on the touch stroke indicates pressure. Whether the pressure takes the form of a push or a pull will depend on the position of the contact surface. The amount of pressure is indicated by a degree sign on the middle of the touch stroke.  

6.1.3 Supporting and Supported Touches

6.1.4 Unspecified Action

6.1.5 "Brushing"

The necessary crowding of these two symbols may make for difficulties in properly notating both movements. Normally, the only important point to note about the touch is where it occurred. If this is the case, it is convenient to place the bearing (or body part) sign showing where the touch occurred over the merged touch and air gesture signs, and, in the posture column, notate the position resulting from the air gesture which followed the touch. In the illustration, the left hand is in front of the chest, with the elbow bent. First, the right hand vigorously brushes the left hand, moving downward so that it is in front of the waist. Then, the same hand strongly brushes the right knee, moving outward so that it is out to the right, straight, at a 45deg. elevation. 

If it is important to detail the entire movement, then one has two choices: (1) expand the scale of the score for the entire figure so that the starting position, the position at the time of contact, and the ending position can all be clearly delineated, or (2) put the details of the brush into a note. 

6.2 Notating the Posture of the Hands

The hand poses an especially intricate problem for a notation system, especially if one wishes to avoid burying the reader in detail. In this section, we will discuss the notation of the most basic aspects only, i.e., those in which the articulation of the fingers is not involved. 

The normal mode of notation is to show the facing of the palm with a 3D facing sign and the rotation of the forearm (while keeping the palm facing constant) with a limb rotation sign. In the default frame of reference, "front" is the elbow-to-wrist direction, and "down" is set by gravity. 

6.3 Notation of the Fingers

In essence, we do not try to notate finger positions on the main score. What we do is (a) we define a particular attitude of the fingers, using a complex "note"; (b) we give that attitude an abbreviation; and (c) we use the abbreviation in the score proper. 

The symbol for a finger is the hand sign followed by a number. The thumb is 1, the forefinger 2, etc. If we need to refer to a particular part of a finger, we do this in much the same way we define a spot on a limb. The black square is the base knuckle, and the white square is the tip. For the thumb, the inner bone is the black circle, the second knuckle is the "x", and the outer bone is the white circle. For the other fingers, the inner bone is the black circle, the second knuckle is "x" over a blackcircle, the second bone is the "x", the third knuckle is the "x" over a white circle, the third bone is the white circle, and the tip is the white square. A pin is attached to this symbol to show the surface. If the pin points down, it is the palm side, etc. 

In the note, we set out five lines, numbered 1 to 5. On each line, we put, in order, a bearing sign showing where the second knuckle is pointing ("front" is established by a line from the wrist to the first knuckle, "down" by way the palm faces), a flexion sign for the second knuckle, and, for all fingers save the thumb, another flexion sign for the third knuckle. We then add information about touches. If the tip of the thumb touches the tip of the forefinger, then, on line 1, we will have a tip sign (a white square), a touch stroke, the number "2" for the forefinger, and another tip sign. Reciprocal information would appear on line 2. 

If lines 4 and 5 are omitted, it implies that fingers 4 and 5 have the same posture as finger 3. If lines 3-5 are omitted, it implies that they have the same posture as finger 2. 

6.4 Notating the Posture of the Head and Torso

In notating the positions of the head and torso, we make use of facing signs, tilt signs, and displacement signs. 

6.4.1 Notation of the Chest

The most convenient way to begin to notate posture of the chest is to state the direction that the chest is facing. This accounts for both turning to left or right, and for bending forward or back. One problem with notating the facing of the chest is deciding on a proper frame of reference. My preference is to consider front-and-level the direction that the pelvis is facing. However, if the notator wishes to emphasize a pelvicrotation, the frame of reference for the chest may need to be based, at least in part, on the room or prior position frames of reference. 

The sideward lean--which is really a rotation of the chest in the sagittal plane--can be notated with a tilt/rotation sign. 

A chest displacement is shown by using an arrow to show the direction of the displacement. If the chest faces forward, this arrow may be placed above the action stroke. Otherwise, it may be place below it, beside the tilt sign (if any).  

6.4.2 Notation of the Pelvis

Front is usually defined by the chest facing, but other frames of reference are permissible.  

6.4.3 Notation of the Shoulder Blades

6.4.4 Miscellaneous Comments on Notation of the Torso

Whether the back is straight, rounded, or hyperextended may be shown in a note. The symbol for the back is like an I with a horizontal bar on the midpoint; it is the superposition of the chest, waist and pelvis signs. This is followed by a hyphen (for a straight back), a down facing arc like the cross in front sign (for a rounded back), or an up facing arc like the cross behind sign (for a hyperextended back).  

6.4.5 Notating the Posture of the Head

The head is also capable of small displacements, which may be indicated by an arrow showing the direction of displacement. 

6.5 Additional Bearing Symbols

6.5.1 Intermediate Directions

Thus, in the first row of the illustration, we see seven horizontal direction signs, each with the same "primary" direction: forward. However, the three on the left show (from left to right) a large, moderate or small deviation counterclockwise from forward, and the three on the right similarly show (from right to left) a large, moderate or small deviation clockwise from forward. 

Intermediate vertical directions are shown by placing the degree sign beside the far end of the pin. If the sign is counterclockwise of the pin, the intermediate direction is more elevated than the primary direction, otherwise, it is less elevated. In the second row of the illustration, we see that the primary vertical direction in each of the seven cases is 135 deg. up. The three symbols on the left show a large, moderate or small upward deviation, and those on the right show (from right to left) a large, moderate or small downward deviation. 

It is possible to show an intermediate direction which deviates from straight up, or straight down. To do so, we do not use the standard straight up and straight down signs. Instead, we use an arrow-and-pin compound symbol. The arrow points in the direction appropriate to represent the nearest primary horizontaldirection. The pin points straight up if the primary direction is up, straight down if down. Deviation signs may then be attached to the arrow and/or the pin, as needed.  

6.5.2 Indefinite Directions

Special symbols are used to represent that one limb crosses in front of (arc with ends pointing downward) or behind (arc with ends pointing upward) another limb. These symbols are also shown in the fourth line of the last illustration. 

6.5.3 Frames of Reference

The two most common alternative frames of reference may be indicated by placing the bearing or facing sign within parentheses or within square brackets. Parentheses denote an inverted body frame of reference, i.e., one in which front for the leg staff is defined by the chest instead of the pelvis, and in which front for the arm staff is defined by the pelvis instead of the chest. Square brackets denote a room frame of reference, in which front is defined by the room or stage. In both cases, down remains defined by gravity. 

A more systematic notation for the frame of reference also exists. The basic frame of reference sign combines a vertical line (a mnemonic for the vertical axis) with a diagonal line (/)(a mnemonic for the back-to-front axis, seen in perspective). 

A symbol identifying the reference for the vertical axis is placed between the vertical line and the diagonal line, and one identifying the reference for front is placed beneath the diagonal line. 

Typical frame down symbols indicate that down is defined by gravity(a black triangle), the perpendicular to the floor (a parallelogram)(this sign might be used if the floor is sloped), and the body trunk(symbol formed by superimposing the chest, waist and pelvis body part signs; it looks like an I with a horizontal bar across the middle). 

Typical frame front symbols state that front is defined by the direction that a body part is facing (the appropriate body part symbol, usually, the head, chest or pelvis symbol, is used), the center of the room (a square with a center dot), the location of the musicians (two bridged eighth notes), the audience (three horizontal lines, representing lines of seats), or the opposite wall at the start of the figure (a square missing the bottom side). 

If a number is placed beside a frame front or frame down symbol, it indicates that the direction is determined from the indicated referent as it was on the indicated count. 

You may either place the frame of reference sign beside the bearing/facing sign, or you may put the bearing/facing sign within curly brackets (which warns that it has an unusual frame of reference), and state the frame of reference in a note. 

While most movements are easier to specify in the standard frame of reference, there are exceptions. If you are directing a movement to a particular part of the stage, the room frame of reference may be desirable. Also, if you are changing your body orientation, as by a roll or cartwheel, it may be easier to use a "room", "body", or "original body", frame of reference. 

6.6 Curved Movements

However, movements frequently take a deliberately indirect path; the path traced by the body may be more important than the final destination. 

One method of notating such movements is to simply break down the path into a series of short segments within which the motion is relatively direct, and notate each segment as a separate action. 

This has the disadvantage of obscuring the fluidity of the movement along the path. 

For the most common category of indirect movements, the presentsystem has a specialized form of the action stroke: the action circle. This presupposes that the path of the body part describes a noticeably curved arc, typically, at least a quarter-circle. 

When the action is a circling gesture of a limb, the action circle is used in place of the normal action stroke, and is placed so that its middle is even with the instant on the staffline at which the circling action begins. It has the general form of a circle, on which two markings are placed. 

The first is a short line, crossing the circle, to mark the position in the circle at which the circling movement begins, and hence the initial direction of the circling movement. The second is an arrowhead which points in the direction of the circling (cw or ccw), and whose distance from the starting notch indicates how much of a circle is described. The combination of these two symbols can represent up to a full circle. Additional circles may be shown by a superscripted number (above and to the right of the circle), but I prefer to just use another action circle if more than one full circle is made. 

A white arrowhead indicates a circling with the outer pointer (wrist or ankle), and a black arrowhead, with the inner pointer (elbow or knee). For steps, an ordinary arrowhead is used. 

Inside the circle, two symbols are placed. One is a marking which indicates the radius of the circle. This may be a degree sign (representing small, medium or large) or a number (representing a distance in footlengths). The other is a facing sign (representing the direction in which to face in order to be looking down the center of the circle). 

Thus, in the example shown, the circle has a vertical axis, and is performed clockwise, judged looking down the axis. (Note the similarity to the limb rotation signs.) The circling action begins at "9:00" and ends at "3:00", i.e., it is a half-circle. The radius of the circle is small. 

Steps are usually taken along a curved path in one of three situations: (1) the dancer is traveling by him- or herself in a circle, as in the case of "turning single" in an English country dance; (2) the dancer is doing a couple dance, and the dancers are turning as a couple, so that each dancer is circling the common center of the couple; and (3) the dancer is part of a larger circle of dancers, which is circling as a unit. In situation 1, I would use the action circle as described below. In situation 2, while the action circle could be used, it is moreinformative to notate the movement as turning as a couple. In situation 3, I would probably simply define "front" as being toward the center of the circle (most likely the center of the room), so that a step to the side is inherently a step around the circle. 

To show that steps are being taken along a curved path, the action circle may be used, but it is placed in the general section, in the path column. The initial and final directions of movement are shown by direction signs. A dotted vertical line is drawn between them, and the circle is placed over this vertical line. (This is similar to what is down to show rotation of the dancer.) 

6.7 Advanced Timing Notation

Of course, with a video camera, it is possible to determine the timing of a movement to the nearest thirtieth of a second (assuming a frame rate of 30 frames/sec.). And with high speed cinematographic equipment, it is possible to track the movement of a bullet, let alone a dancer. However, as a practical matter, unless stated otherwise in the score, the observation accuracy is assumed to be half a count. 

Another consideration is a scaling problem. In order to depict the posture of a limb, the notation usually assumes that it can use two vertically adjacent cells of the graph paper. If one wishes to show eight counts of the figure on a page, and there are only, say, 48 squares in the long direction, it is likely that one will choose a scale of 4 squares per count (allowing room for a title and a starting position). That means that if movements are closer together than half-a-count, the notator must either reduce the number of counts per page, or show less information about the quicker movements. 

It can be profitable to classify movements as being either major movements, which typically fall on the count or the half-count, and minor movements, usually slightly before or after a major movement. Those which come before may be called "preparations",and those which come after may be termed "recoveries". I usually prefer to show only the major movement on the main score, and to describe the minor movement in a note. I put the note symbol (a number in a circle) directly on the action stroke for the major movement to indicated that there is more to it than seems at first glance. In the numbered comment, which may be to the right of or after the main score, I put down both the minor movement and the associated major movement on a short staff with a greatly enlarged scale. 

There are four basic methods of indicating timing. 

Simple Timing, which looks only at the "critical point" of the movement, has already been discussed. 

However, we have not yet introduced two symbols which can be used to clarify the timing of movements. The first is the "in motion" sign, which looks like the short, parallel, vertical lines. This indicates that at the marked instant in the score the limb is already in movement toward the destination notated by the action stroke which follows. This allows one to distinguish between a slow and fast movement. For example, if an action stroke appeared at count 4, it would normally be assumed to have begun shortly before count 4 so as to reach its critical point on the count. To show that the movement began, or was in progress, on count 2, one would put an "in motion" sign in the action stroke column at count 2. 

There is also a related symbol (the "and so forth" sign) which appears as three dots, placed close together vertically. This is the opposite of the "in motion" sign; it shows that an action notated as having occurred at an earlier instant is continuing; it is normally used in conjunction with an "action circle" (discussed later) since the circle is placed at the instant where the circling action begins. 

Relative Timing allows one to state, for a step action stroke, whether the transfer of weight (or the body rotation, in the case of a dotted stroke with a rotation sign on it) takes up normal, shorter-than-normal (staccato), or longer-than normal (legato) time. The relative timing sign is just half of a standard degree marker, placed on the action stroke where it touches the staffline. 

 
Exact Timing is the most specific representation of timing. This shows not only the beginning and end of an action, but also its dynamics. In essence, we plot the action with time as the vertical dimension and the percentage completion of the action as the horizontal dimension. A line or curve is drawn from the point on the staffline corresponding to the time at which the action commences, to the far edge of the action stroke column, even with the staffline, which is when the action reaches the critical point. If the movement is with constant velocity, this plot is a line; if the velocity varies, it is a curve. 

In the figure, the first three entries show the dynamics of an air gesture. The first item shows a normal timing, with the movement starting half a count early. The second item shows staccato action, in which the movement starts late, but is rapid, and the third item shows a legato action. 

In the case of a step, besides the movement to the critical point (when the foot begins to take weight), there is also the question of the time for the weight transfer to be completed. This is plotted in the reverse direction, starting from the outer line of the action stroke column, and moving to the staffline. Entries 4-6 in the figure show normal, staccato, and legato transfers of weight. 

Of course, for a step, these indications may be combined, as in the seventh item in row 1 of the figure. 

In the second row, we show a few more complex examples. In the first example, we have a "pulled" karate kick or punch. The movement is initial rapid, but, near the end, decelerates rapidly to avoid contact. The second example is a fall onto a foot. The movement is slow at first, but accelerates thanks to gravity. 

The third example is a pendulum arm circle. The arm starts in the vertical position. Initially, it moves slowly; at the halfway mark, it reaches peak velocity; as it returns to its starting position, it slows down. In contrast, the fourth example is a "controlled" arm circle in which the arm movement is maintained at constant velocity. 

Preferably, these exact timing plots are in color, using a red pencil, or drawing a red line on a computer screen. If it is necessary to print, one may use a dotted line, or allot a separate column to the timing plot. 

Fuzzy Timing is a deliberately nonspecific method of indicating timing. It should be used when the notator wishes to indicate that the timing of the movement is uncertain, but still indicate where, in the order of the movements of the figure, the particular movement occurred. The timing may be uncertain either because the notator was unable to determine it precisely, or because the dancer is permitted to vary the timing. (Which reason applies should be indicated in a "note".) Fuzzy timing is less specific than normal timing. 

To show that the timing of an action is fuzzy, place an "about" sign (~) next to the action stroke, or simply do not attach the action stroke to the staff. 

6.8 The "Notes" Column

In the "Notes" column itself, we put a circled number. This number is a key to an appendix to the score which fully explains each note. This explanation we will call the note text. The process is much like footnoting. 

If a standard symbol exists for the object, relationship, etc., it will be used. If not, just state the situation in words, or draw a picture if that would help. It is quite possible that in a particular dance, there will be a nuance important for that dance, but which occurs so rarely that it is not worth coining asymbol for. 

At present, the notation system does not address what the fingers are doing, so that will need to be explained by words or diagrams. 

The note text will contain one or more entries for each note. Each entry will typically take the form: 

<ACTOR><RELATIONSHIP TYPE, VALUE><SUBJECT><DURATION> 

In this context, both "actor" and "subject" may mean the dancer, a particular body part, a fixed point in space, another dancer, or a prop. The dancer is shown by a whole body symbol if there is only one dancer, by a male or female gender sign if it is a couple dance, or by a circled number if there are several dancers. Body parts are shown by the standard body part symbols. It may be necessary to identify both the dancer and the body part, of course. 

"Duration" is whether the relationship is to exist only for the current action (symbolized by the musician's accidental sign), or whether it is good until cancelled by a contradictory notation for the object(s)(symbolized by ellipsis dots, "..."). 

The following relationships have standard symbols: 

(1) supporting 

(2) touching (use right side touch action stroke) 

(3) grasping (use right side grasping touch action stroke) 

(4) pressing (use right side pressing touch action stroke) 

(5) relative position (use bearing sign and distance) 

(6) relative bearing (use bearing sign) 

(7) proximity 

(8) vertical separation 

(9) horizontal separation 

(10) collinearity (of object A with objects B and C)(use line with three x's on it) 

I welcome suggestions for additional or alternative relationship signs. 

Another type of entry is of the form 

<movement><actor 1><relative size><actor 2> 

The movement symbol could be a rotation sign (/), flexion sign (^) etc. The relative size sign is mathematical (> for greater than, = for equal, ~ for about equal, < for less than, >> for much greater than, << for much less than). 

A special kind of "Note" is a key signature. This note is placedat the beginning of the score (either below the first staff, or beside the title of the piece), to state the conditions that apply throughout the score. This is analogous to the use of key signatures in music. 

6.9 Patterns and Motifs

The symbol for executing motif A with left and right (directions and footwork) reversed is A|, motif A with forward and backward reversed is A-, and motif A with both reversed is A/. Thus, if motif were done first normally, and then with left and right reversed, we could write AA|. 

Repeats are shown by superscripts. Thus, if A is done 4 times, we may either write AAAA or A⁴. If ABAB is done 2 times, we may write ABABABAB or (ABAB)² or ((AB)²)². Subscripts are used to show that a motif occurs only on certain repeats. Thus, 

(AAA(B)_1-3(C)₄)⁴ 

is equivalent to AAAB AAAB AAAB AAAC. 

If we wish to indicate how many measures a motif or series of motifs takes, we draw a continuous line under them and then write the number of total measures under the line. For example, if ABAC takes 16 measures, we may write 

ABAC 

16 

Or we can show which measures the movement occurs on, as with the following: 

ABAC  

17-32 

When a motif is almost but not quite identical to a previously defined motif, and one wishes to emphasize the resemblance, the same letter may be used, but primed. Thus, A' or A" are variations on the basic motif A. 

It is not necessary to name motifs with letters like A, B or C. They can be given more descriptive names (these should be placed in angle brackets). For example, <carousel> is a name given in my city to a particular jitterbug aerial. Or <crosskey> is the name of an Irish dance motif. 

On the score proper, a section may be bracketed and labeled with a name, e.g., "=sweep turn". Subsequently, if that series of movements recurs, the action strokes alone are shown, and in a side column, we put "sweep turn, see ___" and the identification of the section of the score in which the movement is fully notated. If the section is repeated but with opposite direction and footwork, we say "sweep turn ODF, see __". OD alone means opposite direction and OF alone, opposite footwork. 

An individual action may also be labeled. For example, a "kick" may be defined as "=K". When that kick recurs, the action stroke appears, and next to it, or on it, we put a circled K. 

6.10 Couple Dancing

In a couple dance, it is frequently the case that the leg movements are relatively unimportant (or at least one can assume that the dancers know them already), and that what it is important to describe is the couple hold, and the dancers' relative facing and position. 

While this can be figured out by a careful comparison of the two subscores, I think it better to provide a simple set of symbols so that one can quickly discern at least the basics of the position. 

The first innovation is to show stage facing of both dancers. Arbitrarily, the male is shown by a black pin and the female by a white pin. These are placed adjacent to each other in such a way as to reflect the relative position of the dancers, but ignoring the space between them. 

This couple facing symbol may be placed in the facing column of both subscores, or in a special column of its own. 

In the figure, in the first row, we have (1) M and Wfacing stage front, M to left of W; (2) M and W facing stage left, M to left of W; and (3) M and W standing left hip to left hip, with M facing diagonally stage front and right. In the second row, we have (1) M and W facing each other, M facing stage front; (2) M to left of W, with a "V" type facing, and (3) M facing stage front and W stage back, with M and W in a staggered position. 

To show transitions between one facing and the next, we may use modified rotation signs. In the figure, the signs are (1) man (only) turns cw, (2) woman (only) turns cw, (3) woman turns cw and man turns ccw, (4) both man and woman turn singly, cw, and (5) both man and woman turn cw as a couple. The degree of rotation will normally be apparent from the facing signs, but if extra turns are performed, one may add "+1", "+2", etc. 

The second innovation is a symbol which shows the topology of the hold. In essence, it shows which hands are free, holding a partner's hand, or holding the partner's body. It is easier to explain this set of symbols by example. 

The topology is always described as if the man is looking up the page and the woman is looking down the page. Thus, the upper left symbol represents what the woman's right hand is doing, the upper right, what her left hand is doing, the lower left, what the man's left hand is doing, and the lower right, what the man's right hand is doing. 

A dot indicates a free hand. A straight line indicates that the hand is holding the partner's hand. If the hold is hand-to-hand, no special indication is needed. If the hand is holding the partner's wrist, elbow, etc., the line is an arrow. A curved line (actually, a small semicircle) indicates that the hand/arm is holding the partner's torso. 

Thus in the illustration, in the first row, we have (1) all hands free, (2) M's left and W' right hands free, M's right hand holding W's left hand; and (3) M's left holding W's right; M's right holding W's left. 

In the second row, we have (1) M's left and W's right free, M's right and W's left on partner's torso (which can be the shoulder, shoulder blade, waist, or hip); (2), M's left hand holding W's right hand; other arms on partner's torso; and (3) both arms of both dancers on partner's torso. 

In the third row, we have (1) M's and W's right hands free, M's left hand holding W's left hand; and (2) M's left hand holding W's left hand; M's right hand holding W's right hand; left hands over right hands. 

In the fourth row, we have (1) left joined to left, right to right, but without specifying over or under (this might be used if the dancers were back-to-back, or in a varsouvienne position); and (2) M's left hand holds W's right arm (not hand); M's right hand holds W's left hand. 

In the final row, I describe a hold used sometimes for "buzzing" in contra dances: the M's right hand is on the W's torso; the W's right hand is on the M's torso, the M's and W's left hands are joined and are under the right arms. 

This hold topology symbol is normally placed in a special column inbetween or to the left of the two subscores. 

6.11 Folk Dancing in Lines, Circles, Etc.

Folk dance formations are typically a circle, an arc, or a line. In some cases, the size of the circle, or the length of the arc or line, is restricted. Also, some formations are all men, some all woman, some men in one section and woman in another, and some men and woman alternating. 

Typical folk dance holds include hands on shoulders, hands on belts, hands held out and low, hands held out and high, hands straight down (sometimes overlapping), arms bent so the hands are near the shoulder (sometimes called a "W" position), a position like the "W" position, but tighter and with hands overlapping, arms crossed in front (a "front basket"), and arms crossed in back (a "back basket"). 

In most folk dances, the formation and the hold do not change within the course of a particular figure, and sometimes not even within the course of the entire dance. Therefore, it is useful to put formation and hold signs at the beginning of the score, i.e., in a key signature. 

The formation sign will typically be a circle, ar or line, with a degree marker to indicate size, or, if precision is necessary, a number indicating the number of dancers. The international male and female signs may be placed besides the formation sign to show the gender composition. 

With regard to hold, doubled body part or limb posture symbols are used. 

6.12 Computer-Aided Notation

 
Symbols for Cut-and-Paste