Section I: General Conventions1 Ground RulesThe staveClefsNoteheadsStemsTailsBeamsLedger LinesOctave signs Using ledger lines or octave signsRest symbolsBarlinesRhythmic spacingSpacing symbols

2 Chords – Dotted notes – TiesCHORDSSingle-stemmed chordsAdjacent-note chords Chords with single-stemmed unison notesDouble-stemmed writing

DOTTED NOTEDDouble stems Dotted unisons

TIESTie designTie direction for single notesTie direction on single-stemmed chordsTie direction in double-stemmed writing Tied unisons Tie direction for single-stemmed moving

chords Open ties

3 Accidentals and Key SignaturesACCIDENTALSDesignPlacingUsing accidentalsUse of accidentals in an atonal contextArranging accidentals for chordsAccidentals in double-stemmed writing

KEY SIGNATURESPlacing and order of accidentalsSpacingKey changesKey signatures in non-tonal or polytonal music

MICROTONES Quarter-tonesOther microtonesCancelling microtonal alteration

4 Dynamics and ArticulationDYNAMICSARTICULATIONSlursArticulation marks

5 Grace Notes, Arpeggiated Chords, Trills, Glissandos and VibratoGrace notesArpeggiated chordsTrillsGlissandosVibrato

6 MetreIntroductionTime signaturesBeaming according to the metreGrouping inner beamsHorizontal position of restsGrouping rests according to the metreBeaming across restsSustaining notes across beats Beaming to reflect musical structureSyncopationCross rhythmInterchanging simple- & compound-time

metresPolymetre Metres of variable stressMixed metres (Alternating time signatures)Denominator as any division of the

semibreve Denominator as noteheadTempo indicationsTempo equationsPausesSilent bars (G.P.)

TABLE OF CONTENTS7 TupletsDefinitionThe tuplet numeralThe tuplet bracketPlacing tuplet indicationsRhythmic alignmentNote-value of the tupletStating the tuplet ratio in fullDegree of note division within tuplets Rests within a tupletTuplet beamingTuplets within tupletsTuplet repetition

8 Repeat SignsTREMOLOSPrinciples of repeated-note abbreviationTremolo definitionSingle-note tremolosTwo-note tremolosREPEAT-BEAT AND REPEAT-BAR

ABBREVIATIONSREPEATED SECTIONSDa Capo and Dal Segno layouts

Section II: General Conventions9 Woodwind and BrassGENERAL TOPICSArticulationMicrotonesGlissandosSpecial techniquesTransposition

WOODWINDClefsTechniques

BRASSClefs, transposition and key signaturesMutesTechniques

10 PercussionAllocating instruments to players Player number allocationListing instruments and specificationsLabellingTuned percussionInstruments of indefinite pitchLayout of instruments of definite and

indefinite pitch for one playerTwo players on one staveNote durationDampingSticks, beaters and malletsTremolos, rolls and trillsBeating spots (striking points)TimpaniDrum notationCymbalsSymbols to express special techniques

11 KeyboardGENERAL TOPICSThe system and clefsDistributing notes between the handsVoice-leading between stavesUnisonsTies between stavesFingeringPart-writingCommon beam for both handsSingle-line passage-workPlacing tuplet indicationsPlacing slursPlacing dynamicsOctave signsGlissandosNote clustersStave layoutsPIANO NOTATIONPedallingSilently depressed keys Effects produced inside the pianoThe prepared pianoORGAN NOTATIONPage formatSystem layoutManualsRegistrationPedal markingsKeys held down with wedges or weights

12 HarpGeneral notation

The tuning mechanismNote-spellingPedal settingsPlaying style of chordsGlissandosTremolos and bisbigliandoDamping and laissez vibrerHarmonicsPluckingScordaturaPercussive sounds on body of instrument

13 Classical GuitarGeneral notationString designationRight-hand fingeringLeft-hand fingeringLeft-hand tenchniquesRight-hand tenchniquesArea of the string on which to playSustaining and dampingHarmonicsScordatura

14 StringsClefsString designation Open stringsFingeringDouble-stoppingTriple- and quadruple-stoppingUse of two stavesBowing definitionsBowing techniquesArea of the string on which to bowPizzicatoLeft-hand finger work Percussive soundsHarmonicsScordaturaTechnical instructionsDivided string ensemble

15 Vocal MusicClefsPlacing dynamics, expression marks and

technical instructionsBeamingSyllabic slursPhrasing and breathing pointsPlacing tupletsEnharmonic spellingTextWord divisionExtendersHyphensAlternative text underlayQualifying text soundsFalsettoSpeech notationVoiced and unvoiced soundsVocal sounds from instrumentalistsCHORAL WRITINGTwo-stave SATB layoutLayout with characters (Stage works)CHORAL REDUCTION

Section III: Layout and Presentation

16 Preparaing MaterialsIntroductionPage sizes and formatsStave sizesPaginationBar numbersRehearsal marksIndentation and layout between movementsCasting offVertical alignmentPerformance instructionsUse of ‘solo’ and ‘soli’Optional cutsThe ossia

17 Score LayoutWhat is included in a full scoreScore transpositionInstrument labellingScore order of instrumentsScore brackets and barlinesEnlarging time-signature symbolsPlacing tempo and rehearsal marksPage layoutMinimizing vertical space requirementsStave sharing

Stave allocation for woodwind and brassStave allocation for percussionDivided string section layoutPlaying scoreWIND AND BRASS BAND: SCORE LAYOUT

AND PART EXTRACTION Wind bandBrass bandORCHESTRAL REDUCTIONLayoutMaterials to includeIndicating instrumentationEnharmonic spellings

18 Part PreparationPreparationLabelling the partPage-turnsClefs, ocatve signs and time signaturesMultiple restsProviding cuesCue notationCue staveRepeated barsTacetAccidentalsCombined-instrument partsPercussion

19 Electroacoustic MusicIntroductionEquipmentAmount and type of notation for the scoreNotation and co-ordinationLayout of the electronic component Dynamics for electronic sounds Co-ordination with pre-recorded material

(mixed media)Sampled soundsDelay linesProgram changesContinuous controllers

20 Freedom and ChoiceRHYTHMIC INDEPENDENCE AND

SYNCHROMISATIONBarlines and time signaturesCadenzas and solo ad libitum passagesUnmeasured bars (Music without metre) Independent parts within an ensembleIndicating synchronization (Unmeasured

bars and independent ensemble)Independent repetitionPlacing material freely within a defined

time-spanProportional spacing (time-space notation)Notation optionsScore layoutDefining time-unitsCues in instrumental partsOPTIONS TO SHOW APPROXIMATE PITCHOn the staveOn a line or gridALTERNATIVES (CHOICES)Performance conditionsLayout principlesAlternative materialAlternative sequences of events Defining limits of choiceOptional additional materialInserts

Behind Bars: The Definitive Guide to Music Notation by Elaine Gould