Repeats, Endings, and Roadmaps: Navigating Real Ensemble Notation for Flute

Why “roadmaps” matter in real flute parts

Ensemble parts often include navigation symbols that tell you to repeat, skip, or jump to different places. The goal is to keep your place while counting measures accurately so you re-enter confidently and line up with the group. Think of the printed part as a map: you follow signs in order, and you always keep track of where you are in the measure numbers.

1) Repeat signs: what they mean and how many times to play

Recognizing repeat signs

• Start repeat: a double barline with dots on the right side (dots face the music you will repeat).
• End repeat: a double barline with dots on the left side (dots face the music you are about to repeat).
• Repeat bracket (sometimes): a bracket spanning measures to show the repeated region.

Default rule: play the repeated section twice

If you see a start repeat and later an end repeat, the default is: play from the start repeat to the end repeat, then go back and play it one more time (unless the music explicitly says otherwise).

When the part tells you a specific number of times

Sometimes you’ll see text such as Play 3x or Repeat 3 times. In that case, follow the instruction even if it differs from the default. A practical way to avoid confusion is to mark your part lightly in pencil:

• Write 1 above the first pass through the repeated section.
• Write 2 above the second pass, etc.
• Circle the end repeat so your eyes catch it early.

Step-by-step: how to execute a basic repeat without losing your place

1. As you approach the end repeat, look ahead one measure so you don’t “discover” it late.
2. At the end repeat, finish the measure normally.
3. Jump back to the start repeat (or to the beginning if there is only an end repeat).
4. Keep counting measures; treat the second pass as a new run-through, not a “rewind.”

Common ensemble situation: end repeat with no start repeat

If there is an end repeat but no start repeat earlier, the usual rule is: go back to the beginning of the piece (or beginning of the movement/section). In rehearsal, confirm with the conductor if there is any doubt.

2) First and second endings (1st/2nd endings)

What endings do

Endings (also called “voltas”) let the music change at the end of a repeated section. You play the 1st ending the first time, then on the repeat you skip it and play the 2nd ending instead.

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How to read them in real time

• The 1st ending is labeled 1. (or 1st) above a bracket.
• The 2nd ending is labeled 2. (or 2nd) above a bracket.
• The end of the 1st ending usually leads directly into an end repeat sign.

Step-by-step: executing 1st/2nd endings cleanly

1. First pass: play through the repeated section and take the 1st ending.
2. At the end repeat, go back to the start repeat.
3. Second pass: play the repeated section again, but when you reach the 1st ending bracket, skip everything under the 1st ending and jump to the start of the 2nd ending.
4. Continue forward after the 2nd ending (usually no repeat at that point).

Practical marking tip for flute parts

Above the measure where the 1st ending begins, pencil: 2nd time → skip to 2. Above the start of the 2nd ending, pencil: 2. and draw a small arrow landing point. This reduces “panic scanning” during performance.

3) D.C., D.S., Coda, Segno, Fine: practical reading rules only

These markings create larger jumps than simple repeats. The key skill is to follow the instruction literally and know what symbol you are jumping to.

Core symbols and words

• D.C. (Da Capo): go back to the beginning.
• D.S. (Dal Segno): go back to the Segno sign.
• Segno: a symbol that marks a target location to return to.
• Fine: the ending point (stop there when instructed).
• Coda: a concluding section; you jump to it when instructed.
• To Coda: text that tells you when to jump to the Coda.
• Coda sign: the symbol that marks where the Coda begins.

Most common patterns you’ll see

D.C. al Fine

1. Play forward until you reach D.C. al Fine.
2. Jump to the beginning immediately.
3. Play forward again and stop when you reach Fine.

D.S. al Fine

1. Play forward until you reach D.S. al Fine.
2. Jump back to the Segno symbol.
3. Play forward and stop at Fine.

D.C. al Coda / D.S. al Coda

1. Play forward until you reach D.C. al Coda or D.S. al Coda.
2. Jump to the beginning (D.C.) or to the Segno (D.S.).
3. Continue playing until you reach To Coda.
4. At To Coda, jump to the Coda sign and continue to the end.

Real-world rehearsal rule: confirm the “To Coda” trigger

Sometimes the To Coda appears only on the second pass (after D.C./D.S.), and sometimes it appears in both places but only applies after the jump. If there is any ambiguity, ask or check the conductor’s score cues. In your part, circle To Coda and the Coda sign so your eyes find them quickly.

4) Multi-measure rests and counting measures in tacet sections

What multi-measure rests mean

A multi-measure rest (multi-rest) is a thick horizontal bar (or a rest symbol) with a number above it, telling you how many measures of rest you have. Example: a bar with 12 above it means rest for 12 full measures.

Step-by-step: how to count multi-rests accurately

1. Identify the number above the multi-rest (e.g., 12).
2. Find the measure number where the rest begins (or mark it).
3. Count measures, not beats: 1, 2, 3... up to the printed number.
4. Locate your re-entry measure and check for cues (dynamics, articulation, or a written cue note if provided).
5. Prepare early: in the last 2–3 measures of rest, shift attention to the conductor and the ensemble texture.

Tacet: resting for a long time

Tacet means you do not play for an extended span (sometimes an entire movement). Your job is still active: track where the ensemble is so you can come in correctly later (or confirm you truly do not play at all).

Practical tools for staying oriented during tacet sections

• Measure checkpoints: lightly pencil measure numbers every 5 or 10 measures in long tacet passages.
• Rehearsal letters/numbers: if the part has them, write “enter after C” or “enter at 42” next to your first entrance.
• Count with landmarks: note obvious events (big percussion hit, brass chorale, tempo change) as anchors, but keep counting measures as the primary method.
• Watch for cutoffs: ensemble cutoffs often align with your upcoming entrance; use them to confirm your count.

Important caution: multi-rests can be “broken” in rehearsal

In performance, a multi-rest is usually reliable. In rehearsal, conductors may start at a rehearsal letter or skip around. Be ready to convert your multi-rest into “real-time counting” from wherever the rehearsal begins.

5) Applied drills: trace the roadmap, then perform while counting measures

For each drill below, do two passes: (A) trace the path with your finger and say the navigation out loud (e.g., “repeat back,” “second ending,” “D.S. to Segno,” “To Coda jump”), then (B) clap or play a single pitch on each measure while counting measure numbers to prove you can stay oriented.

Drill 1: Basic repeat (2x) with measure counting

Measures:  1  2  3  4  5  6  7  8 ||: 9 10 11 12 :|| 13 14 15 16

Roadmap rule: Measures 9–12 are repeated.

Performing task: Play a comfortable long tone for one full measure each measure. Speak the measure number at each barline. At the repeat, say “back to 9.”

Drill 2: First and second endings

||: 1  2  3  4  [1.] 5  6 :||  [2.] 7  8  9

Roadmap rule: First time take measures 5–6, then repeat. Second time skip to measure 7.

1. Trace: “1–4, first ending 5–6, repeat back to 1; 1–4, second ending 7–9.”
2. Perform: clap once per measure while counting measures aloud. On the second pass, say “skip 1st ending” as you jump to 7.

Drill 3: D.S. al Fine (with Segno and Fine)

1  2  3  4  (Segno) 5  6  7  8  9  10  (Fine) 11  12  (D.S. al Fine)

Roadmap rule: When you reach D.S. al Fine at measure 12, go back to Segno (before measure 5) and stop at Fine (after measure 10).

1. Trace: “1–12, jump to Segno at 5, play 5–10, stop.”
2. Perform: play one note per measure; count measures. When you hit 12, say “D.S.” then restart at 5 and stop at 10.

Drill 4: D.C. al Coda with To Coda trigger

1  2  3  4  5  (To Coda) 6  7  8  (D.C. al Coda)  |  (Coda) 21 22 23 24

Roadmap rule: At measure 8, go back to 1. On the second time through, when you reach “To Coda” at measure 5, jump to Coda at measure 21.

1. Trace: “1–8, D.C. to 1; 1–5, To Coda jump to 21–24.”
2. Perform: count measures; on the second pass, say “To Coda” at 5 and immediately say “21” as you land in the Coda.

Drill 5: Multi-measure rest accuracy (tacet counting)

Measure 17: |==== multi-rest ====|  (12 measures)  Re-entry at measure 29

Task: Set a steady tempo (metronome optional). Count measures 17 through 28 silently, then speak “29” and play your entrance. Repeat the drill while adding checkpoints: whisper “20,” “25,” and “28” to verify you didn’t drift.

Quick self-check rubric (use during drills)

• Eyes: Did you look ahead early enough to see the sign (repeat, ending, D.S./D.C., To Coda)?
• Counting: Did you keep measure numbers consistent through jumps and rests?
• Landing: Did you land exactly at the correct target (start repeat, 2nd ending, Segno, Coda)?
• Recovery: If you lost your place, did you jump to the nearest landmark (rehearsal letter/measure number) and rejoin cleanly?