This document explains the practices of assigning call numbers to scores in the Yale University Music Library. These practices may or may not coincide with those of other libraries.

A caveat to the following guidance: in order to have different manifestations of the same work or expression sit next to each other on the shelf, one may occasionally call need to assign an incorrect, but already existing class number or Cutter number. If possible, when a class or Cutter number is egregiously incorrect, reclass the item. If there are several items with the incorrect number, use that class or Cutter number. The decision about how many is too many to reclass is a matter of cataloger’s judgement.

For guidance on Yale-specific practice for call numbers for scores: see Local practice in Class M.

Manuscripts and facsimiles:

• Facsimiles of scores or sketches are classed in ML96.4 (collections) and ML96.5 (individual works).

• Manuscripts (not reproductions) are classed in Misc. ms. [no.]. Manuscripts are assigned sequential numbers.

General guidelines for call numbers in Class M

See Class M for a fuller explanation of this classification schedule

Class numbers

Use class M for all printed music (with some exceptions for rare items and for facsimiles) and MT for instructional items that are scores (there are both books and scores classed in MT). The first line of the call number includes the class letter (M or MT) and number.

Class numbers for instrumental music: M6-M175 | M180-M298.5 | M300-M990 | M1000/M1100, etc. | M1005/M1105, etc.
Class numbers for dramatic and vocal music: M1500/M2000, etc. | M1611/M2102, etc.
Class numbers for instrumental instruction: MT179-MT735

When to use MT over M

Use MT (musical instruction and study) when a score is intended for pedagogical use (e.g., method books, studies and exercises, etc.) rather than for performance. Keep in mind that some works titled “studies” are for performance, such as Ralph Vaughan Williams' Six studies in English folk song, or works in the “Concert etudes” genre.

Cutter numbers

The second line of the call number is a Cutter number taken from the Cutter-Sanborn Three-Figure Author Table, usually for main entry, based on the first letter of the main entry followed by two to four numbers.

For most class numbers, including those Cuttered by subject, a single Cutter number for the main entry will not always be sufficient for alphabetical filing. In these cases, additional Cutter numbers are added to ensure both a correct sequence of titles and room for related works to shelve in order.

For Cutter numbers added after the main entry, assign a 2 digit Cutter number based on the filing word. For Q and X, use a 1 digit number.

A call number for a score usually has two Cutter numbers, the first for composer and the second for title. Some call numbers may have only one Cutter number, generally when Cuttering by title main entry. Other call numbers may include three Cutter numbers, usually when an LC class number is subdivided with a Cutter number to include specific medium of performance for instrumental music, liturgical text and language for sacred vocal music, or season or special occasion.

Note: The Yale Music Library does not use decimal points in the Cutter number: M939    not    .M939. Include the decimal point in the 050 field in the OCLC bib record, but not in the local holdings record.

Cutter number for main entry

Use the Cutter-Sanborn Three-Figure Author Table to derive Cutter numbers for composers. See Using the Cutter-Sanborn Three-Figure Author Table for instructions.

When a class number requires a specific Cutter number for instrument (e.g., M110 R4), special season or occasion (e.g., M2098.M6), text (e.g., M2099.G4), etc., use the Cutter number already given in Class M. When required but not specified in class M, derive the number using the LC Cutter table).

Composer as main entry

If the main entry is a composer, use the Cutter number already established for this composer:

If not already established, use the Cutter-Sanborn Three-Figure Author Table to find the appropriate Cutter number, e.g., Mozart = M939.

When the name of a composer falls between two entries in the Cutter-Sanborn table, use the number following where the name falls alphabetically:

The last name Caldicott falls between Calde and Caldw in the table; use C147

146   Calde
147   Caldw
148   Cale

There may be a range of Cutter numbers for common last names such as Smith, requiring using the first name as well to determine the Cutter number.

The name Smith, Janice falls between Smith, J. and Smith, John; use J652

651   Smith, J.
652   Smith, John
653   Smith, Jos.

Browse the shelf list under class number in Alma to ensure the Cutter has not already been assigned to another composer or if or an alternate Cutter number for the composer has already been assigned. Use the alternate Cutter for the composer if already established.

Resolving conflicts with composer as main entry

When there is a conflict with a Cutter number (i.e., the Cutter is the same as one assigned to another composer), add an additional number to the Cutter, adjusting it to ensure that the composers' names are in alphabetical order within that class number. That may require adding an additional number to the Cutter number preceding the number already established for the first composer.

To file before the conflict: add a digit to the conflicting Cutter number

C5975 Clarke, Herbert L. (Herbert Lincoln), 1867-1945
C598 Clarke, Jeremiah, 1669?-1707

To file after the conflict: add a digit to the conflicting Cutter number.

K96 Kuhlau, Friedrich, 1786-1832
K965 Kuhnau, Johann, 1660-1722

To file between two conflicting Cutter numbers: assign the minimum number of additional digits to file alphabetically. When possible, leave room for further conflicts to resolve.

G2152 García, Fidel.
G2155 García, Juan
G216 García, Orlando
G2165 García, Ramón
G2167 García, Severino

Preferred title as main entry

If the main entry is a preferred title (130 field), Cutter by the first word.

Title proper as main entry

If the main entry is the title proper (245 field), Cutter by the first word, excluding any initial article.

Additional elements for title

Additional elements for title are added in most cases. It is best to use the same type of additional element for a composer's work in a given class number. Add the additional element is in this order of preference, but existing practice within a class number takes precedence:

1. Opus or work number

2. Serial number

3. Cutter number for the first filing word in the title

4. Key

5. Date of composition

6. The title is implied by the class number (e.g., M8, M23, M219, M231, M1001, etc.)

7. Parts of a larger work

Opus or work number

When known, opus or work number is the preferred means of indicating title in the call number because it is a unique identifier for the work. The number may appear on the score or it may be found in another source.

There is no space between the opus or work number and the number:
M1001 B415 op.91
M1004 S912 AV80
M246 T268 TWV41:a3

When opus or work number is available, use that element only; do not also include a Cutter number for title. For example, for this work, "op.45" is unique enough to identify this work; adding "S48" for "serenade" would be redundant, since the title is already indicated by "op.45" in the call number:

When two works are included, both opus/work numbers will appear in the call number:

Special procedures for individual composers

Follow these instructions for adding opus or work numbers to call numbers for works by these composers. When practice within a class number varies from these instructions, follow that practice.

J.S. Bach: Work numbers assigned to works by J.S. Bach should be preceded by S. (Schmieder) rather than BWV (Bach-Werke-Verzeichnis). When needed in the preferred title, BWV rather than S is used. The number itself would be the same in either case:

C.P.E. Bach: Work index numbers assigned to works by C.P.E. Bach should be the W. (Wotquenne) numbers, even though the preferred titles are assigned the H. (Helm) numbers. They are not the same:

Beethoven: for WoO numbers, use "K." instead of "WoO" in the call number. The WoO number will be the same as the K. number.

Haydn: String quartets: use the opus number instead of the H. (Hoboken) number. The number will not be the same:

Haydn: Symphonies: use M. (Mandyczewski) instead of H. (Hoboken) in the call number. The H. number is used in the preferred title. The number will remain the same:

Serial number

Use when an opus or work numbering is unknown or lacking.

Do not include a space between "no." and the number so that they will appear on the same line when the label is printed.

M452 A385 no.1
M452 S559 no.1-5

For a series of numbered works with the same title for different instruments that would class in different class numbers, Cutter by the title and do not add the serial number:

Add the serial number when two or more of the works are classed in the same class number:

For a series of numbered works with the same title for the same instrument (they would class in the same class number), see below in the section on Cuttering by first letter of the title.

Cutter number for the first filing word in the title

Some class numbers include a Cutter number as part of the class number; for example, instrument (e.g., M110 R4), special season or occasion (e.g., M2098.M6), text (e.g., M2099.G4). Use the Cutter number already given in Class M. When required but not already given in class M, derive the number using the LC Cutter table).

Most class numbers, however, do not include a specific Cutter number. In those cases, use the Cutter-Sanborn Three-Figure Author Table to derive Cutter numbers for titles. See Using the Cutter-Sanborn Three-Figure Author Table for instructions.

In the absence of opus, work, or serial number, Cutter by the first filing word of the title. When there is a preferred title in the 240 field, Cutter by that title. If there is no preferred title in the 240, Cutter by the first word, excluding any initial article, of the title proper (245):

When two different works by the same composer in the same class number would be assigned the same Cutter number, add another number to the Cutter number of the second work. As much as possible, adjust the number to ensure that the works appear in alphabetical order within that class number:

For a series of numbered works with the same title for the same instrument (they would be classed in the same class number), Cutter by the title and add the serial number. Do not include a space between "no." and the number so that they will appear on the same line when the label is printed.

When the first two letters in the filing word of a series of titles are all the same, which occurs with masses, madrigals, etc., Cutter by the first two letters of the second word:

When two or more editions of the same work are being cataloged, adding an additional Cutter number for editor is one method of making the call number unique, as explained in the section about elements needed to make the call number unique.

Specific works are assigned a Cutter for title even when the opus, work, or serial number is known. After the Cutter, a capital letter makes the call number unique as explained in the section about elements needed to make the call number unique.

Key

Use the key to distinguish among works when Cuttering by title would not make sense (such as when the title is implied by the class number) and there is no other way to distinguish among them (opus, work, or serial number). For example, it would not make sense to Cutter all of Telemann's sonatas for recorder by S69, S691, S692, etc. or Wagenseil's symphonies as S98, S981, S982, etc., so key is used to distinguish among them:

M242 T268 Cmaj.
M242 T268 Fmaj.

M1001 W131 Dmaj.
M1001 W131 Emaj.
M1001 W131 Fmaj.

Date of composition

When there is no other means of assigning unique call numbers, the date of composition may be used. The date may appear in the preferred title, in the title proper, or in a reference source. To distinguish the piano sonata of 1949 from that of 1956:

To distinguish Hindemith’s two violin, piano sonatas, the date is used. Since the mode of the keys were not used in the preferred title, using the letters E and C in the call numbers would imply different editions of the same work, as described below in further elements needed to make the call number unique.

The title is implied by the class number (e.g., M8, M23, M219, M231, M1001, etc.)

Some class numbers imply a title, e.g.,

M8 = organ sonatas
M23 = piano sonatas
M219 = violin sonatas
M231 = cello sonatas
M1001 = symphonies

In these classes, it does not make sense to Cutter by title because almost everything in that class number would be Cuttered by the same Cutter number, e.g., S69 for sonata or S98 for symphony

If the composer has written only one work of that type that would be classed in that class number, there is not need to add any additional Cutter numbers for the title:

However, do include a Cutter number for title if the work has a distinctive title, such as:

If the composer has written more than one sonata/sonatina or symphony in that class number, use either opus or work number, serial number, key, year, etc. to distinguish among them. For example:

These violin sonatas by Bach (below) are Cuttered by work number only, since S69 (sonata) is implied by the class number and is redundant. (Elements to make the call number unique are added as explained in the section about elements needed to make the call number unique).

Parts of a larger work

Add an additional element to the call number when cataloging a score that is a part of a larger work.

Part of a larger work with a numeric designation

Add the number designation for a part of a larger work on a separate line.
Do not include a space between "no." and the number so that they will appear on the same line when the label is printed.
M242 A139 op.6 no.1
M242 A139 op.6 no.3
M242 A139 op.6 no.6
M252 M939 K.439b no.1

M1012 B717 op.2 bk.2 no.1

There are two sonatas in Brahm’s op. 120; both are included in this edition. The call number reflects the entire opus number:

When a part of a larger work has a serial number, but the work itself has no work or serial number, use a Cutter number for the title of the work followed by the serial number for the part of the work:

When a part of a larger work has both a serial number and a title, generally use the serial number rather than a Cutter number for the part in the call number:

When the work itself has a work, opus, or serial number, but the individual parts have titles, but no numbers, use the work, opus, or serial number for the larger work with a Cutter number for title of the part.

Mozart's incidental music Thamos, König in Ägypten is K. 345; the individual parts are titled but not numbered:

Two or more (but not all) numbered parts are included:

Sequentially numbered parts: