The Correct Bracket Notation

When marking a cut in your music, use a clear bracket system:

Use a thick black or red line to mark the start and end of your cut

Draw the cross from the bottom left corner to the top right corner of the bar

The bracket should point inward toward the music that is to be played

Don't face the brackets outward — it scrambles the brain's reading flow

Box method: draw a box around the bars you're cutting, then cross from bottom left to top right. This is the cleanest visual signal. The box tells the accompanist 'do not play any of this' with no ambiguity.

If a bracket ends at the natural end of the song, you don't need to bracket it — the end of the page is clear enough. But if your instinct says to add one, it doesn't hurt.

Box + cross-out for unused staves: When a section of music is not part of your cut but shares a page with music you are singing, draw a box around the bars you want removed and cross them out — bottom-left to top-right. Don't just bracket them. The box says 'do not play this' definitively. This is especially useful when you're skipping an entire section on a page and need the accompanist's eye to skip cleanly past it.

Labeling START and END: Optional. Some people find it gives them a psychological boost — like a little pump of confidence — to write 'START' at their entry point. It's fine if you want to do that. Just know it's not strictly necessary if your brackets are clear.

Using a single chord as an intro: If you want just one chord to set the tempo and then silence before you begin, write the chord and mark 'tacet' over the rest of the bar. This tells the accompanist: play that chord, then stop and wait for my breath.

The 'Don't Bracket the End' Rule:

If your cut ends at the natural end of the song or arrangement, you do NOT need a closing bracket.

The end of the page is clear enough. The accompanist can see that the music finishes.

Adding a bracket at the very end of the piece implies that there is another bracket somewhere else — that this music is being skipped. It creates unnecessary confusion.

If your instinct says to add one for confidence, it doesn't hurt. But know that it's not necessary and can be misleading.

If your cut ends mid-page (before the song's natural end), a bracket IS necessary to show where the cut stops.

Tacet and Play Between the Staves:

If you want the accompanist to be silent for a section but they still need to see the music (e.g., for a held note or a dramatic pause), write 'tacet' between the treble and bass staves.

When the accompaniment resumes, write 'play' between the staves at the entry point.

Don't wipe out or white-out the silent bars entirely — the accompanist still needs to see the key signature, time signature, and any other notational context. The word 'tacet' is enough to tell them not to play.

This is especially useful for:

A held vocal note where the piano would clutter the moment

A dramatic pause before a key change

An a cappella section where you want the piano silent

The first bar of a song if you're starting on vocal alone

Crossing out lyrics in cut sections: If you've cut a section that has lyrics visible, strike through the words with a clean line. Don't just bracket the bars and leave the lyrics untouched. The accompanist's eye will naturally follow the text, and they may hesitate, wondering if you're going to sing those words. A simple line through the lyrics removes all doubt.

Bonus tip: Use a ruler. Clean lines matter. A wobbly freehand cross can be ambiguous. A ruler sends a professional signal.

Liked this lesson?

The full course takes you from choosing your songs to walking out of the audition room, with every lesson taught from the accompanist's bench.

Get full access · $147 AUD

14-day money-back guarantee · one-time payment

Want another taste first? Watch the other free lesson