music notation preparing scores and parts (berklee guide)
TRANSCRIPT
MUSIC NOTATION: SCORES AND PARTS
Music NotationPreparing Scores and Partsby Matthew Nicholl and Richard Grudzinski
BERKLEE PRESS
Make your music easier to read.Whether you notate music by hand or use computersoftware, this practical reference will show you today’sbest practices for how to render the details of yourscores and parts. Improve your music’s legibility andexpress your ideas clearly to get the best possiblerepresentation of your music.
You will learn to:• Create scores that are easy to conduct and parts that
are easy to perform
• Understand the unique practices and standards forhandwritten vs. computer-generated scores, such asthose by Finale® and Sibelius®
• Lay out scores with proper instrument order,measures per page, and common alignmentpractices
• Understand the publication standards for orchestral,big-band, vocal, and rhythm-section–based scores
• Use appropriate practices for different styles, suchas pop, commercial, classical, and jazz
• Master the details of setting notation elements suchas measure numbers, rehearsal markings, chordsymbols, dynamics, lyrics, and many more
• Use specialized notation such as measure repeats,col, slashes, hits over time, and others
Music Notation: Preparing Scores and Parts is used asa notation textbook by Berklee College of Music’sContemporary Writing and Production Department. Itpresents the definitive word in score and partpreparation, based on contemporary publishing-industry practice.
Berklee Press, a publishing activity of Berklee College of Music,is a not-for-profit educational publisher. Available proceeds fromthe sales of our products are contributed to the scholarshipfunds of the college.
Cover by Robert Heath
Berklee Press1140 Boylston StreetBoston, MA 02215 USA617-747-2146www.berkleepress.com
MUSIC NOTATION: PREPARING SCORES ANDPARTS
Matthew Nicholl Richard Grudzinski
MUSIC NOTATION: SCORES AND PARTS
“Music Notation: Preparing Scores and Parts is a must-have book for bothprofessional and beginning composers and arrangers. It is a completelyup-to-date and thorough treatment of the subject and includes all of thelatest practices for both computer-assisted and hand-written notation. Itis the most comprehensive book on this topic I have seen, and it is writtenand laid out in a clear and easily readable style. I endorse this superb bookas a required text at Berklee, and highly recommend it to anyone aspiringto be a composer or arranger.”
—Kari Juusela, Dean of the Professional Writing Division,Berklee College of Music
“What’s often missing in composers’ training is the correct, professionalway to prepare scores and parts. Fortunately, this much-needed new tomeby Matthew Nicholl and Richard Grudzinski ‘fills in the blanks’ aboutmusic notation. It’s an inspiring and well-organized presentation, with clearand concise explanations pertaining to the most vexing notation problems.All composers should place this book at the top of their next-to-read list.”
—Alf Clausen, composer, (The Simpsons)
“This quality, in-depth tutorial encompasses all you need to knowregarding the preparation of scores and parts. These valuable guidelineswill help you to write clear scores, facilitating better performances andrecordings, and saving you time and money. This comprehensive work isa ‘must have’ for all composers, arrangers, and copyists.”
—Victor Vanacore, Grammy-winning arranger, composer,conductor (Ray Charles, Barry Manilow, the Survivortelevision series, conductor of orchestras worldwide)
“A clean and precise part or score is essential—an intrinsic element ofany music production or performance. Recently, I worked closely withRichard Grudzinski on my own scores, and I witnessed first-hand hisexpertise in turning my musical thoughts and intentions into artistry, in aclean and cogent music preparation. This book is invaluable for anyoneinterested in communicating their musical language precisely andintelligibly through music notation.”
—Philippe Saisse, keyboardist, arranger, producer, recording artist (Rod Stewart, Chaka Khan, Al Jarreau, David Sanborn)
U.S. $16.95
+84088-AJIAHaHL50449540
,!7IA8H6-djahea!:p;L;q;t;P
ISBN-13: 978-0-87639-074-0ISBN-10: 0-87639-074-2
BERKLEE PRESSMUSIC NOTATIONMUSIC NOTATION: SCORES AND PARTS
Music NotationPreparing Scores and Partsby Matthew Nicholl and Richard Grudzinski
Edited by Jonathan Feist
86438 Title Pages 2/13/07 11:57 AM Page 1
Berklee PressVice President: Dave Kusek
Dean of Continuing Education: Debbie Cavalier
Managing Editor: Jonathan Feist
Director of Business Affairs: Robert F. Green
Senior Designer: Robert Heath
Copyrights“Avenue Brazil” by Matthew Nicholl, © 1993, Matthew Nicholl
“December Samba” by Richard Grudzinski, © 2005, Richard Grudzinski
“Dreaming Rain” by Matthew Nicholl, © 1981, Matthew Nicholl
“Harbour Island” by Matthew Nicholl, © 1993, Matthew Nicholl
“It Seems to Be” by Matthew Nicholl, © 1982, Matthew Nicholl
“Just to Have the Chance” by Carlos/Keys, © 2003, Carlos/Keys
“La Rosa de Las Terrenas” music by Rich Grudzinski, lyrics by Rich Grudzinski, Jose Rojas, Benjamin De Roubaix, © 2004 by Richard Grudzinski
“Neither Here nor There” by Matthew Nicholl, © 1998, Matthew Nicholl
“Silent Picture” by Matthew Nicholl, © 2004, Matthew Nicholl
“So Beautiful” by Matthew Nicholl, © 2003, Matthew Nicholl
“Street Scene” by Matthew Nicholl, © 2005, Matthew Nicholl
ISBN-13: 978-0-87639-074-0ISBN-10: 0-87639-074-2
Copyright © 2007 Berklee PressAll Rights Reserved
No part of this publication may be reproduced in any form or byany means without the prior written permission of the Publisher.
1140 Boylston StreetBoston, MA 02215-3693 USA(617) 747-2146
Visit Berklee Press Online atwww.berkleepress.com
Visit Hal Leonard Online atwww.halleonard.com
86438 Title Pages 2/13/07 11:57 AM Page 2
ContentsIntroduction vAcknowledgements vi
Chapter 1. Getting Started 11. Choosing Your Tools: By Hand vs. by Computer 1
The Pros and Cons 12. Scores by Hand 1
Pencils and Other Tools 2Choosing the Right Score Paper 2
3. Computer-Generated Scores 5Equipment 5Page Orientation: Portrait vs. Landscape 7
4. Summary: Getting Started 8
Chapter 2. Laying Out the Score 91. Basic Elements of the Score 9
The Score System 9Braces, Brackets, and Barlines 11
2. Score Order 15Score Orders for Common “Classical” Ensembles 15Score Orders for Common Jazz and Pop Ensembles 22Concert vs. Transposed Score 28
3. Score Page Layouts 29Title Page Layout 29Continuation Page Layout 31The Distance between Staves 32Margins and “White Space” 33Multiple Systems per Page 35Measures per Page 37Score Optimization and “Short” or “Reduced” Scores 40
4. Measure Numbers and Rehearsal Markings 41Measure Numbers 41Formats for Rehearsal Markings 43
5. Summary: Laying Out the Score 47Scores by Hand 47Computer-Prepared Scores 48
Chapter 3. The Contents of the Score 511. Barlines, Clefs, Key/Time Signatures 51
Changing the Clef 53Changing the Key Signature 55Changing the Time Signature 57
2. Notes 58Spacing and Alignment 58
3. Dynamics, Articulations, and Accidentals 62Dynamics 62Articulations 63
Music Notation 2/28/07 1:25 PM Page iii
Slurs and Phrase Marks 64Accidentals 66
4. Divisi Parts 675. Words and Performance Directions in the Score 71
Tempo/Style Marks 71Performance Directions 73
6. Repeat Notation and Form Markings 74One- and Two-Measure Repeats 74Omitted Noteheads 74Repeated Beats 75Use of “Col” 75Large-Scale Repeat Schemes 78
7. Rhythm-Section Notation and Improvisation 88Playing Time and the Changes 88Stop Time 92Cues and Hits over Time in the Drum Set Part 93Fills, Solos, and Ad Lib Passages 95
8. Text Setting and Vocal Notation 97Lyric Font and Spacing 97Hyphens 99Slurs and Word Extensions 100
9. Finishing the Score 101The Final Score Layout 101Proofreading and Editing 104Copying, Binding, and Taping 105
10. Summary: Entering the Contents of the Score 105
Chapter 4. Creating Parts 1091. Choosing the Tools 109
Using a Computer 109Creating Parts by Hand 110
2. Parts by Hand 110Paper 110Equipment 111
3. Parts by Computer 112Equipment and Paper 112The “Parts Score” 113
4. Laying Out the Parts 113General Guidelines 113Page Headers 114Rehearsal Marks, Measure Numbers, and Multi-Measure Rests 115Page Turns 118
5. Sample Parts 1186. Proofreading and Editing 136
Afterword 138Appendix A. Instrument Names and Abbreviations 139Appendix B. Resources 142Index 143About the Authors 147
Music Notation 2/28/07 1:25 PM Page iv
INTRODUCTION Music notation is a highly complex visual language. A great deal of skill and
training is required to create professional-quality scores and parts. While the study
of notation may seem dry and far removed from the art of composing and arranging,
the score and parts are the last step in the process by which a piece of music is
created. Any failure in this final step can immeasurably damage the musical result.
To put it another way, a great piece of music deserves a well-prepared score and
set of parts.
This book provides composers and arrangers with a set of guidelines to follow
when creating scores and parts. Some aspects of score and part preparation are
fairly straightforward, practiced universally by all musicians. Other aspects are
more flexible and are dealt with differently according to the specific situation.
We have attempted to show all the techniques and practices currently in use by
professional writers and copyists, including those instances when some flexibility
is allowed for individual preference and style.
We recommend you read the book through once, from beginning to end, to
familiarize yourself with the contents. Then, using the table of contents and the
index, use the book as reference when working on a score and set of parts. In
addition, you can learn a great deal by studying the scores and parts of
professional writers.
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Music Notation 2/28/07 1:25 PM Page v
ACKNOWLEDGEMENTSWe had a great deal of help preparing this book. In the Contemporary Writing and
Production Department, several faculty members reviewed the manuscript and gave us
valuable feedback: Bill Elliot, Michael Farquharson, Jerry Gates, and George Hargan.
Bob Pilkington and Jeff Friedman of the Jazz Composition Department also made a
number of useful suggestions. The chairs of the Professional Writing Division—Michael
Rendish, Don Wilkins, Joe Mulholland, Jack Perricone, Greg Fritze, and Ken Pullig—
also read the text and made helpful suggestions. Kari Juusela, Dean of the PWD, also
reviewed the text for us. Thanks to all these individuals for their help.
We would also like to thank Susan Nicholl, whose careful editing of the text contributed
greatly to its readability and clarity. She also designed the original layout of the text and
spent countless hours assembling the book.
Finally, many thanks to Jonathan Feist for his support and fine editing. This project
wouldn’t have happened without him.
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Music Notation 2/28/07 1:25 PM Page vi
GETTING STARTED
Before beginning to prepare your score, you must make a crucial decision:
whether to prepare the score by hand or by computer. There are good reasons to
use each method. You must decide what best fits your situation.
THE PROS AND CONS
There are a number of reasons to prepare a score by hand:
• You don’t know how to use a computer notation program. This is a really good reason not to use a computer. Never try to learn a music notation program while you’re in the middle of a writing project.
• You like the tactile quality of writing in pencil on a score page.
• You like to score at the piano, rather than at the computer screen.
• You are working under the direction of a producer, senior writer, or teacher who has directed you to prepare the score by hand.
There are a number of reasons to prepare a score with a computer:
• It can greatly reduce the time you spend creating the parts (if you know the program well and are experienced in part preparation).
• Computer-generated scores are extremely flexible. It’s easy to make changes or multiple versions of a piece.
• Files of computer scores are easy to share through e-mail or the Internet.
• You can use MIDI playback of the score to check for wrong notes.
• With practice, the right information, and instruction, you can create professional-quality scores and parts, which can lead to an entry-level position in the music industry.
If you’ve decided to do your score by hand, the essential next step is to assemble
your materials and pick the best paper for your specific project.
1
1. Choosing Your Tools: By Hand vs. by Computer
2. Scores by Hand
Chapter 1
Music Notation 2/28/07 1:25 PM Page 1
PENCILS AND OTHER TOOLS
Most handwritten scores are done in pencil. There are a few inexpensive, easily
available items you will need to prepare your score. (Please see the appendix
for information on where to buy these and other tools you might need to create
scores and parts.)
• Pencils: Choose dark #2 lead or buy a pencil created specifically for music writing, like those available from Judy Green (see appendix).
• An eraser: Stand-alone erasers, like the Pentel Clic Eraser or the Mars Art Eraser, work well (better than the eraser on the end of any pencil).
• A straight edge and a set of triangles: For drawing barlines, brackets, and any kind of line, a transparent, straight-edged ruler or triangle is essential.
• A brush: An inexpensive brush can be useful for sweeping away eraser crumbs and excess lead left by the pencil.
CHOOSING THE RIGHT SCORE PAPER
A great many different score papers are available commercially, many of
which can be found at most college bookstores or online. If you’re writing a
project for a particular class, your teachers may specify which paper you should
use, or they may leave it up to you. The important considerations when you
choose score paper are:
• the paper size
• the color and quality of the paper
• the size and number of the staves and the distance between them
• the instrument names, clefs, and barlines of pre-formatted paper
Paper size. If you are preparing a score that will be used by a conductor (you or
someone else) during rehearsal and/or performance, a larger score is easier to
read. The preferred size of paper for scores is often 11" x 17" because it is readily
available and is a relatively common size for photocopy machines. A score that
you intend to use only as a record of your work can be prepared with smaller
paper.
Paper color and quality. Off-white score papers, either pale green or ivory,
reflect less light and are usually easier to read than white paper. Score paper
should take pencil well and erase easily. Most professional-quality score paper
has these characteristics.
2
MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:25 PM Page 2
Size of the staves. Like paper size, bigger staves are easier to read. For a
conductor, it is ideal if the sizes of the staves in the score are as big as the
staves on a part. There should be an adequate amount of space between staves
(as will be discussed later).
The number of staves. The paper must have enough staves so that each
instrument (or pair of instruments in orchestral or band scores) can have its own
line. Some types of score paper are already formatted for certain common
ensembles like orchestra or jazz band. However, for many reasons, you will
often need to select blank score paper for a particular project.
If the paper has more staves than you need, group the staves together as much as
possible. If there are blank staves, it’s helpful to draw a diagonal line through them
on each page of the score.
3
CHAPTER 1: Getting Started
Fig. 1.2.01 Score withblank staves and adiagonal line
Music Notation 2/28/07 1:25 PM Page 3
Many writers like to leave a blank stave below a vocal part to allow more space
for the lyrics. Another common practice is to leave an empty staff in the middle
of the score for the measure numbers, as shown below.
Barlines. Many types of score paper are sold with the barlines already in the score
system. This is acceptable in many instances, but can cause problems. If your
music is in a common time signature (2/4, 3/4, 4/4, or 6/8) and doesn’t contain a
great deal of syncopation, the spacing of pre-drawn bars usually works well.
However, for music with other time signatures (7/4, 12/8, for example) or that is
extremely syncopated or rhythmically complex, the size of the pre-drawn bars is
often too small, resulting in cramped or poorly spaced music. Scores containing
vocals often need wider measures to accommodate the lyrics. In these instances,
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MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 1.2.02 Score withmeasure numbers in ablank stave
Music Notation 2/28/07 1:25 PM Page 4
you should use score paper that does not have pre-drawn barlines, and you will
have to be very careful about spacing your music on the page. Look at the sketch
or lead sheet of your music, and decide which type of score paper is appropriate.
If you’ve chosen to create a score using a computer, you are faced with many of
the same issues that arise when creating a score by hand. In some ways, computers
offer greater control over the look and feel of the score, and in some ways less. To
create pro-quality scores quickly and effectively, you must first begin with the right
equipment.
EQUIPMENT
To create computer-generated scores and parts you need the following equipment:
• a computer
• notation software
• a keyboard controller or synthesizer for note entry
• a printer
The computer. For all practical purposes, the relative merits of the two computer
platforms (PC vs. Mac) isn’t much of an issue. As long as you know how to use
your computer, you can create pro-quality scores and parts on either platform.
Notation software. The case is slightly different with computer software. A
number of different music programs create scores and parts. Some are modules or
functions of sequencing or recording software, and some are programs designed
specifically for score and part preparation. In general, sequencing and recording
programs that offer music printing as an added feature do not have the capabilities
and controls necessary to create truly professional scores and parts. You might be
able to generate a quick printout of a track or a basic score of the sequenced parts,
but you won’t be able to create high-quality printed music.
Instead, pick a program that is designed for music notation. Several programs are
widely used; Finale and Sibelius are among the most popular. The effectiveness
of the one you choose will be determined by your mastery of it. Pick a good
program, and learn to use it.
Keyboard controller. While not absolutely necessary, it is extremely helpful to be
able to enter notes in the score via the keyboard of a MIDI controller or synthesizer.
5
CHAPTER 1: Getting Started
3. Computer-Generated Scores
Music Notation 2/28/07 1:25 PM Page 5
Most notation programs allow you to enter notes, either by playing them in “real
time” or by entering the notes one by one. Any MIDI keyboard will work if you
have the necessary interface or cables to connect to the computer. This has become
a common task, and setting up your workstation is easy to do. A simple keyboard
controller is usually less expensive than a keyboard synthesizer and often comes
with built-in interfaces for the computer, but a keyboard synthesizer also
works well.
It is also helpful to use the notation software to play your score. It takes a little
extra time to get your system set up to play your score, but it is a good way to
check for wrong notes in the score. Most notation programs give the option to
play back the score directly from sounds resident in the computer, so an external
synthesizer is not essential. However, if you already own a keyboard synthesizer,
it is not difficult to have it play your scores.
The printer. A good printer is obviously important for printing the score and
parts. Generally, laser printers are better than ink-jet printers for printing music.
One important disadvantage to most printouts from ink-jet printers is that the ink
runs or smears easily when it gets wet. Laser-printed images are more durable
and are generally sharper than those printed on an ink-jet printer. However, ink-jet
printers are certainly adequate for printing drafts of scores and parts.
A printer that prints oversize paper, specifically 11" x 17", is extremely useful
(see below). Some printers also accept other paper sizes, which can be useful
when creating parts (see chapter 4).
Paper size and quality. All the important qualities of score paper described
above apply to printer paper. Unfortunately, white paper is nearly ubiquitous
and other colors usually have to be specially ordered or purchased directly from
the manufacturer.
When preparing a score for a conductor, you should use large paper—11" x 17"
or bigger. If your printer won’t print this size, you can usually find a copy center
that will enlarge an 8.5" x 11" page to 11" x 17". However, it’s better to print
directly to the larger paper size, if possible.
For scores that won’t be used by a conductor, 8.5" x 11" or 8.5" x 14" (legal size)
are usually acceptable. You might use a score like this simply to keep a record of
the piece or to distribute to students for score study. Many producers like smaller
scores in the control room during recording sessions because they take up less desk
space. You can reduce the size of the music enough that almost any ensemble can
fit on letter- or legal-size paper, but the music will be very small and potentially
very difficult to read.
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MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:25 PM Page 6
PAGE ORIENTATION: PORTRAIT VS. LANDSCAPE
When making initial decisions about paper, you can also choose the orientation
of the page. “Portrait” orientation is taller than it is wide. “Landscape” orientation
is wider than it is tall. The two orientations are shown below.
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Fig. 1.3.01a Title pageof a score in landscapeformat
Fig. 1.3.01b Titlepage of a score in portrait format
Music Notation 2/28/07 1:25 PM Page 7
When there are a great many staves in the system, as in an orchestral or concert
band score, portrait orientation is often the best choice. Most professionally
prepared and published orchestral scores use this orientation. However, for a
relatively small group of instruments, landscape orientation can often work well.
A number of factors can affect your choice. When you first begin creating scores
you might need to try both portrait and landscape to see which will look better.
After you’ve had some experience—and perhaps even more important, after you’ve
created templates of the types of scores you use most commonly—you will know
which orientation will work best for a particular project.
When you first begin to work with scores and parts, the initial process of getting
started—choosing your method and assembling your tools and materials—will
take some careful thought. However, once you’ve done several different kinds of
projects, getting started will be quick and easy and won’t involve very many
choices. Your most important choice for every project will be choosing the right
size paper for the specific job. This too will get easier as your experience grows.
8
MUSIC NOTATION: PREPARING SCORES AND PARTS
4. Summary: Getting Started
Music Notation 2/28/07 1:25 PM Page 8
LAYING OUT THE SCORE
The score is the visual grid that contains all the notational elements of the entire
piece of music. The score must be as accurate, complete, and easy to read as
possible. The basic elements of the score are handled in such a way as to insure
that it has these essential qualities.
THE SCORE SYSTEM
One complete vertical set of staves that contains all the instruments of the ensemble
is called a “score system.” Depending on how many instrumental parts the score
contains, a single score page could have one or more systems. The example below
shows an ensemble score that has only one system per page.
&
&
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&
?
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÷
#
#
#
#
#
#
#
#
#
#
#
#
#
C
C
C
C
C
C
C
C
C
Bb Trumpet 1
Bb Trumpet 2
Horn in F
Trombone
Bass Trombone
Piano
Bass
Drums
∑
∑
∑
∑
∑
∑
∑
∑
1
¿
Cue: cowbell
Œ
¿
Œ
∑
∑
∑
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∑
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∑
2
¿
Œ
¿
Œ
∑
∑
∑
∑
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.
F
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.
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.
j
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.
∑
∑
3
‘
∑
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‰
j
œœ. œ
.
œœ- œ
.
∑
∑
4
‘
∑
∑
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∑
∑
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.
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.
‰ œœ
.
j
œ#
.
∑
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5
‘
∑
∑
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j
œœ#
. œ#-
œœ-
œ.
∑
∑
6
‘
∑
∑
∑
∑
∑
œn
simile
œœn
œ
‰ œœ j
œ
∑
∑
7
¿
(Play)
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Œ
¿
Œ
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œ
∑
∑
∑
∑
∑
‰
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œœ
œ
œœ
œ
∑
∑
8
‘
∑
∑
∑
∑
∑
œ
œœn
œ
‰ œœ
j
œ#
∑
∑
9
‘
∑
∑
∑
∑
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‰
j
œœ#
œ#
œœ
œ
∑
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10
’ ’
Fill
=104hMatthew NichollSalsa
"Avenue Brazil"
© 1993, M. Nicholl
9
Chapter 21. Basic Elements of the Score
Fig. 2.1.01 An ensemble score pagewith a single system
Music Notation 2/28/07 1:25 PM Page 9
The next example shows a score for a piece for small ensemble that has two
systems per page. Notice the marks, called “slash marks,” on the sides of the
page used to separate the two systems.
If you are preparing your score with a computer, you usually make the final
decision about the number of systems per page later in the process—after you’ve
entered the notes, but before you print the score for the first time.
&
&
&
?
/
bb
bb
bb
bb
44
44
44
44
44
Flugel
Guitar
Keyboard
Bass
Drums
Funk / Reggae
P
∑
∑
∑
∑
1
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
‰ .R
œ œ‰ .
R
œ œ
∑
∑
∑
∑
2
’ ’ ’ ’
∑
∑
∑
∑
3
’ ’ ’ ’
Ó ‰ .r
œ
P
œ œ
∑
∑
∑
4
’ ’ ’ ’
&
&
&
?
/
bb
bb
bb
bb
Flgl
Gtr
Kbd
Bs
Dr
{5 }
P(Muted Pluck)
P
. .œr
œ ˙
’ ’ ’ ’
B!/D E
!69
’ ’ ’ ’
B!/D E
!69
∑
5
’ ’ ’ ’
œ œ
œ
≈ r
œœ œ œ
œ œ
’ ’ ’ ’
B!/D E
!69
’ ’ ’ ’
B!/D E
!69
∑
6
’ ’ ’ ’
œ œ œ œ œ .œ œ ‰j
œ
’ ’ ’ ’
B!/D E
!69
’ ’ ’ ’
B!/D E
!69
∑
7
’ ’ ’ ’
˙‰ .
r
œœ œ
’ ’ ’ ’
F\
’ ’ ’ ’
F\
∑
8
’ ’ ’ ’
Harbour Island
Matthew Nicholl
Slow Reggae / Samba / Funk / Rock å = 78
© 1993, M. Nicholl
10
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.1.02 A rhythmsection score page withtwo systems per page
Music Notation 2/28/07 1:25 PM Page 10
BRACES, BRACKETS, AND BARLINES
To make the score as visually accessible as possible,
braces, brackets, and barlines are used to group staves
in particular ways. In large ensemble scores, brackets
are used to group families of instruments together:
woodwinds, saxophones, upper brass, lower brass,
percussion, and strings. These groups of instruments
are often called “choirs.” Figure 2.1.03 shows the
typical use of brackets in a big-band score. The saxes,
trumpets, and trombones are grouped together with
brackets. In this rhythm section, only the staves of the
piano part are grouped together, joined by a brace.
&
&
&
&
&
&
&
&
&
?
?
?
?
&
&
?
?
÷
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Alto 1
Alto 2
Tenor 1
Tenor 2
Baritone
1
2
3
4
1
2
3
4
Guitar
Bass
Drums
Saxes
Trumpets
Trombones
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
11
CHAPTER 2: Laying Out the Score
“instrument choirs”
Fig. 2.1.03 Brackets in abig band score
Music Notation 2/28/07 1:25 PM Page 11
Extra brackets, sometimes called “sub-brackets,” are used to set off sections within
an instrumental family, such as Flutes 1 and 2 or Violins 1 and 2, as in figure 2.1.04.
In a smaller ensemble of mixed horns, it is common—especially in jazz and pop
scores—to bracket the horns together, even though the horns are from different
instrument families. The purpose here remains to make the score as easy to read
as possible, as shown in the next example.
12
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
&
&
?
&
b
b
b
bb
b
bb
b
44
44
44
44
44
44
Trumpet 1
Trumpet 2
Alto Sax
Tenor Sax
Trombone
Guitar
∑
∑
∑
∑
∑
∑
Sub-bracket
Fig. 2.1.04 Brackets and“sub-brackets” in anorchestral score
Fig. 2.1.05 A smallensemble of mixed horns,with the horns bracketed
Music Notation 2/28/07 1:25 PM Page 12
A brace usually indicates multiple staves played by a
single instrument, such as a keyboard or harp.
To reinforce the visual grouping of instruments joined
by brackets and braces, barlines are drawn through all
the staves in the group. Notice how the barlines are
used in figure 2.1.07.
&
?
?
?
&
&
B
42
42
42
42
42
42
42
Violin 1
Violin 2
Viola
Harp
Piano
∑
∑
∑
∑
∑
∑
∑
13
CHAPTER 2: Laying Out the Score
&
&
&
&
?
&
&
?
?
b
b
b
bb
b
bb
b
bb
b
bb
b
bb
b
44
44
44
44
44
44
44
44
44
Trumpet 1
Trumptet 2
Alto Sax
Tenor Sax
Trombone
Guitar
Bass
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
Fig. 2.1.06 Bracesin a score with pianoand harp
Fig. 2.1.07 Barlineswith braces and brackets
Bracket
Braces
The barline is drawn throughall the staves joined by abracket or brace.
Music Notation 2/28/07 1:25 PM Page 13
However, it is common in vocal music not to draw the barline through all the
staves joined by a bracket because this might interfere with the printed lyrics. In
figure 2.1.08, notice how the barlines don’t extend through the whole system,
leaving space for the lyric. Note also that the Baritone/Bass stave shares the lyrics
with the Alto/Tenor.
The rhythm section as a group is not bracketed and uses normal barlines (though the
piano, of course, uses the brace).
&
V
?
c
c
c
Sopranos
Alto
Baritone
Slowly, Gently
œœ
It
œ
It
œ
œ
œ
˙
˙
˙#
˙
seems to
˙˙#
˙# ˙
seems to
˙ ˙
˙ ˙
.˙ œ
.˙ œ
be that
.˙ œ
.˙n œ
be that
.˙ œ
.˙ œ
.˙
.˙#
you
.˙
.˙
you
.˙
.˙
1
2
Tenor
Bass
14
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
?
?
÷
44
44
44
44
44
Guitar
Bass
Drums
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Fig. 2.1.08 Barlines invocal scores. Though thevoices are grouped witha bracket, the singlebarline is not drawnthrough all the staves.This makes the texteasier to read.
Fig. 2.1.09 The rhythmsection in the score
Music Notation 2/28/07 1:25 PM Page 14
When there are two or more guitar parts, the guitars are usually bracketed, as
shown below. Multiple keyboard parts are not usually bracketed.
Over time, the order in which instruments appear (from top to bottom) has
become standardized. Orchestral and “classical” music has a long tradition of
score organization. Though jazz, rock, and pop music have a much shorter
tradition, common styles of score layout have evolved for these idioms as well.
Whatever the musical style of your score, it’s essential to be aware of and follow
these established guidelines.
SCORE ORDERS FOR COMMON “CLASSICAL” ENSEMBLES
Established score order for orchestral and “classical” music is the most rigidly
followed. The instrumental choirs are grouped, from top to bottom, according to
this scheme: woodwinds, upper brass, lower brass, percussion, keyboards, and
strings. Within each choir, instrument registers are ordered from high to low.
&
&
&
&
&
?
?
÷
ã
44
44
44
44
44
44
44
44
44
Guitar 1
Guitar 2
Bass
Drums
Percussion
Piano
Synthesizer
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
15
CHAPTER 2: Laying Out the Score
Fig. 2.1.10 Multipleguitar and keyboardparts
2. Score Order
Music Notation 2/28/07 1:25 PM Page 15
Woodwinds: Piccolo
Flutes 1 and 2
Oboes 1 and 2
English Horn
Clarinets 1 and 2
Bass Clarinet
Bassoons 1 and 2
Contrabassoon
Upper brass: Horns 1, 2, 3, and 4
Trumpets 1, 2, and 3
Lower brass: Trombones 1, 2, and 3
Tuba
Percussion: Timpani
Percussion
Keyboards: Harp
Piano
Strings: Violin 1
Violin 2
Viola
Cello
Double Bass
Standard orchestral score order is shown in figure 2.2.01. Notice how
the brackets and barlines are used.
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
&
?
&
?
&
&
B
?
?
Piccolo
Flutes 1, 2
Oboes 1, 2
English horn
Bb Clarinets 1, 2
Bass Clarinet
Bassoons 1, 2
Contrabassoon
Tuba
Timpani
Percussion
1
2
Viola
Cello
Double Bass
Horns in F
Bb Trumpets
Trombones
Harp
Piano
Violins
12
34
1
23
1
23
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
16
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.2.01 Score orderfor standard orchestra
Music Notation 2/28/07 1:25 PM Page 16
For concert band, the same order applies, without the strings and with
the saxophones added below the woodwinds. The larger complement
of percussion usually follows the order shown in figure 2.2.02.
&
&
&
&
&
&
&
&
?
&
&
&
&
&
?
&
?
?
?
?
&
?
ã
ã
ã
ã
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Piccolo
Flute
Oboe
1
Bb Clarinets 2
3
Eb Alto Clarinet
Bb Bass Clarinet
Bassoon
Eb Alto Saxophones
Bb Tenor Saxophones
Eb Baritone Saxophone
1
Bb Trumpets 2
3
Horn in F
1
2
Baritone
Tuba
MalletPercussion
Timpani
AccessoryPercussion
Snare Drum
Cymbals
Bass Drum
Trombones
12
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
17
CHAPTER 2: Laying Out the Score
Fig. 2.2.02 Score orderfor concert band
Music Notation 2/28/07 1:25 PM Page 17
Woodwind quintet, brass quintet, and string quartet scores have also been
standardized, as shown below.
&
&
&
&
?
4
4
4
4
4
4
4
4
4
4
Flute
Oboe
Clarinet
Horn
Bassoon
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
18
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
&
?
?
4
4
4
4
4
4
4
4
4
4
Trumpet 1
Trumpet 2
Horn
Trombone
Tuba
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
&
&
B
?
4
4
4
4
4
4
4
4
Violin 1
Violin 2
Viola
Cello
∑
∑
∑
∑
∑
∑
∑
∑
Fig. 2.2.03 Smallchamber group scores(woodwind quintet,brass quintet, and stringquartet)
Music Notation 2/28/07 1:25 PM Page 18
When scores in a “classical” style contain unusual combinations of instruments, the
order is usually organized around the standard score order. “New” music in the
classical tradition sometimes uses a more flexible approach to score order. When in
doubt, find a score from a reputable publisher that uses similar instrumentation, to
serve as a model.
When a vocal soloist is added to an orchestral score, it usually appears above the
strings, as shown below.
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ã
&
&
&
&
&
B
?
?
c
c
c
c
c
c
c
c
c
c
Timpani
Percussion
Soprano
I
II
Viola
Cello
Contrabass
Violin
Harp
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
19
CHAPTER 2: Laying Out the Score
vocal soloist
Fig. 2.2.04 Orchestralscore with vocal soloist
Music Notation 2/28/07 1:25 PM Page 19
Choir parts also go above the strings in an orchestral score.
&
&
&
&
&
?
&
&
B
?
?
c
c
c
c
c
c
c
c
c
c
c
Soprano
Alto
Tenor
Bass
I
II
Viola
Cello
Contrabass
Violin
Harp
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
20
MUSIC NOTATION: PREPARING SCORES AND PARTS
choir
Fig. 2.2.05 Orchestralscore with choir
Music Notation 2/28/07 1:25 PM Page 20
Simple choral music is often written with two staves. The soprano and alto share a
stave, as do the tenor and bass. This is called a “closed score.”
For more complex polyphonic vocal writing in the classical style, each vocal part
is written on a single stave. This is called an “open score” format. Either closed or
open scores can appear in an orchestral score. Notice that the tenor part in figure
2.2.07 is written in a G clef with an 8 below it. This hybrid clef often appears in
both classical and pop/jazz vocal notation. Many times, the normal treble clef is
used for tenor voice with the tacit understanding that the part will sound an octave
lower than written.
&
?
4
4
4
4
SopranoAlto
TenorBass
∑
∑
∑
∑
21
CHAPTER 2: Laying Out the Score
&
&
V
?
4
4
4
4
4
4
4
4
Soprano
Alto
Tenor
Bass
∑
∑
∑
∑
Fig. 2.2.06 Closed vocal score
Fig. 2.2.07 Open vocal score
Music Notation 2/28/07 1:25 PM Page 21
SCORE ORDERS FOR COMMON JAZZ AND POP ENSEMBLES
Scores for pieces in pop and jazz styles have evolved similar conventions about
score order and layout, but these practices are not as generally accepted as in
classical music, even in professionally prepared music. The horns in large
ensembles follow the conventional score order, as shown below.
&
&
&
&
&
&
&
&
&
?
?
?
?
&
&
?
?
÷
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Alto 1
Alto 2
Tenor 1
Tenor 2
Baritone
1
2
3
4
1
2
3
4
Guitar
Bass
Drums
Saxes
Trumpets
Trombones
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
22
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.2.08 Big-bandscore (five saxes, eightbrass, rhythm section)
Music Notation 2/28/07 1:25 PM Page 22
The most common order for the four-piece rhythm section is shown below. Many
writers like this arrangement of the staves because it places the guitar above the
right hand of the piano and the bass below the left hand of the piano. Notice the
use of barlines in the rhythm section.
When additional instruments are added to the rhythm section, similar instruments
are placed on adjacent staves, as shown below.
&
&
?
?
÷
44
44
44
44
44
Guitar
Bass
Drums
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
23
CHAPTER 2: Laying Out the Score
&
&
&
&
&
?
?
÷
ã
44
44
44
44
44
44
44
44
44
Guitar 1
Guitar 2
Bass
Drums
Percussion
Piano
Synthesizer
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Fig. 2.2.09 The rhythmsection in the score
Fig. 2.2.10 A largerhythm section (twoguitars, synthesizer,piano, bass, drums,and percussion)
Music Notation 2/28/07 1:25 PM Page 23
For small group scores of mixed horns, the horns usually are grouped together
above the rhythm section. The instruments are ordered by range, from high to low,
not by instrument family. Conventionally voiced chords are then assigned to the
instruments from top down, from highest note to lowest note. This instrument
order makes the score as visually accessible as possible.
When vocals are added to scores in pop and jazz styles, the vocal staff (or staves)
usually goes at the top of the system. Most writers prefer this because it places the
voice as principal instrument in a visually prominent spot in the score.
&
&
?
/
bb
bb
bb
bb
bb
bb
c
c
c
c
Vocal
Piano
Bass
Drums
Œ ‰j
œ .œ
jœ
Ash - trays and
’ ’ ’ ’
B!-13
˙ œ
3
œœ œb
B!-13
1
œ
Brushes (On Snare) - "2" Feel
œ œ œ
Œ¿
Œ¿
3
œœ œ œ
‰ jœ œ œ
rec - ord sleeves a pair of
’ ’ ’ ’
E!\ E
!ö
˙ ˙
E!\ E
!ö
2
’ ’ ’ ’
Simile
Jazz Ballad
24
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
&
&
Trumpet
Tenor
Guitar
Piano
&
&
?
&
&
Trumpet
Tenor
Trombone
Guitar
Piano
&
&
&
?
&
&
Trumpet 1
Trumpet 2
Tenor
Trombone
Guitar
Piano
&
&
&
&
?
&
&
Trumpet 1
Trumpet 2
Alto
Tenor
Trombone
Guitar
Piano
Fig. 2.2.12 Lead vocalin a small group chart
Fig. 2.2.11 Score orderfor mixed horns (severalexamples of two-, three-,four-, and five-hornensembles)
Music Notation 2/28/07 1:25 PM Page 24
In the case of a duet, the two lead vocal staves are grouped together, with the
highest part on top.
Background vocals go below the lead vocal. If the part is rhythmically simple
and can all be written in the same clef, background parts of up to three voices can
be written on a single stave. Four or more voices require two staves.
25
CHAPTER 2: Laying Out the Score
&
&
bb
bb
44
44
Lead Female
Lead Male
œœ œ œ
œ
œ œ
Dreams have nev er lied to me
œœ œ œ
œ
œ œb
Dreams have nev er lied to me
.˙
‰j
œ
At
.˙ ‰j
œ
At
œœ œ œ
œ
œ œ
least as far as I can see
œœ œ œ
œ
œ œb
least as far as I can see
.˙
.˙
-
-
Fig. 2.2.13 Two lead vocalists
Fig. 2.2.14 Lead vocalwith background vocalsin a single staff
Music Notation 2/28/07 1:25 PM Page 25
When the background vocals get complex or their range is so wide as to not fit in
a single clef, they can be written on two staves. When both male and female
vocalists are singing, separate clefs are usually used for each gender. The male
vocal parts can be written either in treble or bass clef. When the tenor is written
in treble clef, it sounds an octave lower than written.
Scores of a cappella music (music for choir without accompaniment) can have a
wide variety of formats, depending on the complexity of the writing. For relatively
simple four-part vocal music, the two-stave closed score is sufficient. However, for
music with five or more vocal parts—and because a cappella music is often
rhythmically and texturally complex—more staves are usually required.
Five-part music, a common vocal texture in advertising music for radio and TV, is
often written with three staves, as shown below.
&
V
?
44
44
44
Soprano
Alto
Tenor
Baritone
Bass
j
œœ
œœ
j
œœ
œœ
œœ
Sum mer's Here Let's
J
œœœœ
J
œœ
œœ
œœ
Sum mer's Here Let's
J
œ œ
J
œ ˙
Sum mer's Here
j
œœ
œœ
j
œœ
˙˙
Have Some Fun
J
œœ
œœ
J
œœb
˙˙
Have some Fun
J
œ œj
œ ˙
Have Some Fun
ww
ww
w
-
-
-
26
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.2.15 Lead vocalswith background vocalsin two staves
Fig. 2.2.16 Five-partvocal music in threestaves
Music Notation 2/28/07 1:25 PM Page 26
Six-part vocal music is usually written on three staves, with two parts to a stave.
Following this pattern, eight-part music is written on four staves. A cappella
scores usually include a piano reduction for rehearsal purposes.
Solo parts can be written on separate staves above the choir.
&
&
?
P
P
cresc
crescChoir
Solo Vocal Œ . Œ j
œ
œ
j
œ œ œ# œ
A vis - ion of an
.
.
.
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.
.
.
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.
.
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˙
.
.
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cresc
cresc
œ œb
œb .œ .œ
j
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Œ
emp - ty beach
.
.
.
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b
b
.
.
.
˙˙˙
Doo
.
.
˙
˙
.
.˙
˙
b
27
CHAPTER 2: Laying Out the Score
&
V
?
&
?
c
c
c
c
c
Soprano 1Soprano 2
AltoTenor
BaritoneBass
RehearsalPiano
Slowly, Gently
œœ
It
œ
It
œ
œ
œ
œœœ
œœ
œ
˙
˙
˙#
˙
seems to
˙˙#
˙# ˙
seems to
˙ ˙
˙ ˙
˙˙˙
#
˙˙
˙
1
˙˙
˙
# ˙
˙
˙
.˙ œ
.˙ œ
be that
.˙ œ
.˙n œ
be that
.˙ œ
.˙ œ
.
.
.
.
˙˙
˙˙
œ
œœœ
2
.
.
˙
˙
œ
œ
.˙œ
.˙# œ
you and
.˙ œ
.˙ œ
you and
.˙ œ
.˙ œ
.
.
.
˙
˙˙# œœœ
3
.
.
.
˙˙
˙
œœ
œ
.˙
.˙n
me
.˙b
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me
.˙
.˙
.
.
.
˙˙˙Nb
4
.
.
.
˙
˙
˙
b
Fig. 2.2.17 Six-partmusic with piano reduction
Fig. 2.2.18 Choir withseparate solo staff
Music Notation 2/28/07 1:25 PM Page 27
CONCERT VS. TRANSPOSED SCORES
Scores commonly appear in two forms: concert and transposed. In a concert
score, all the instrumental parts are shown at sounding pitch (with a few exceptions,
discussed below). In a transposed score, all parts appear as they are written in the
individual part from which the player reads. Concert scores are identified as such
in the upper left-hand corner of the title page. Many professional writers identify a
transposed score by showing the concert key signature in the upper left-hand corner.
The example below compares part of a score in concert with that same part in a
transposed score.
&
&
&
&
?
bb
bb
bb
bb
bb
44
44
44
44
44
Flute
Bb Clarinet
Horn in F
Guitar
Bass
F
F
F
F
F
˙˙
˙˙
˙˙
˙˙
˙˙
.˙Œ
.˙Œ
.˙Œ
.˙Œ
.˙Œ
œ
Œ Œ ‰ j
œ
œ
Œ Œ ‰ j
œ
œ
Œ Œ ‰ j
œ
œ
Œ Œ ‰ j
œ
œ Œ Œ ‰
J
œ
Two TrainsAndante
Concert Score
28
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
&
&
?
bb
b
bb
bb
44
44
44
44
44
Flute
Bb Clarinet
Horn in F
Guitar
Bass
F
F
F
F
F
˙˙
˙˙
˙˙
˙˙
˙˙
.˙Œ
.˙Œ
.˙ Œ
.˙Œ
.˙Œ
œ
Œ Œ ‰ j
œ
œ
Œ Œ ‰ j
œ
œŒ Œ ‰
j
œ
œ
Œ Œ ‰ j
œ
œ Œ Œ ‰
J
œ
Two TrainsAndante
bb
Fig. 2.2.19 Concert versus transposed scores
Music Notation 2/28/07 1:25 PM Page 28
In the concert score, all parts appear exactly how they sound except instruments
that transpose at the octave, such as bass and guitar. These instruments are always
shown at written rather than sounding pitch. So in both a transposed or concert
score, the guitar, bass, glockenspeil, and piccolo parts are written the same way.
Many writers prefer concert scores: when all parts appear at their sounding pitch,
it is very easy to see what’s going on harmonically with the score.
In the transposed score, each instrumental part appears exactly as it does in the
individual instrumental part. Some writers prefer the transposed score because it
allows the writer to see how the music looks to the player. This can make
discussions about notes between the conductor and player much easier during
rehearsal.
Deciding whether to create a concert or transposed score is often a matter of
personal preference. However, if you are writing under the direction of a teacher,
producer, or senior writer, you should be sure to ask which type of score is
expected. For many years, a transposed score has been the industry standard,
though concert scores are becoming more and more common.
Two different page layouts are used in a score: the title page layout (which
appears only on the first page of the score) and the layout for page 2 to the end
of the score. This second type of layout is called the continuation page layout. In
the publishing industry, a continuation page is often called a running page.
While writers do not organize these layouts in absolute uniformity, it is important
that they are used consistently and with attention to clarity and ease of use.
TITLE PAGE LAYOUT
The first page of the score, called the title page, contains a great deal of
information that appears nowhere else in the score and has a unique layout.
The following things appear on the title page:
• complete title and subtitle
• names of all authors (composer, arranger, lyricist, etc.)
• initial tempo and style, often including a metronome marking
• full instrument names
• initial clefs, key signatures, and time signatures
• copyright notice, if appropriate29
CHAPTER 2: Laying Out the Score
3. Score Page Layouts
Music Notation 2/28/07 1:25 PM Page 29
While there are no hard-and-fast rules about exactly where these items appear on
the page, certain conventions are commonly followed.
Referring to the example below, notice the following:
• The title is centered above the top staff, with a subtitle centered below it.
• The credits go on the right above the top staff, often right justified with the last right-hand barline on the page.
• Tempo and style indication is on the left above the top staff, often left justified with the time signature.
• Instrument names are in the left margin.
• The copyright notice is centered at the bottom of the page.
&
&
&
?
?
&
?
?
÷
#
#
#
#
#
#
#
#
#
#
#
#
#
C
C
C
C
C
C
C
C
C
Bb Trumpet 1
Bb Trumpet 2
Horn in F
Trombone
Bass Trombone
Piano
Bass
Drums
•
•
•
•
•
•
•
•
1
¿
Cue: cowbell¿
•
•
•
•
•
•
•
•
2
¿ ¿
•
•
•
•
•
.
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n-
.
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j
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.
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n-
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j
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.
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5
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j
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.
•
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6
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n
simile
n
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7
¿
(Play)
F
¿
‰
J
•
•
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j
•
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8
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n
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’ ’
Fill
=104h
Matthew Nicholl
Salsa
"Avenue Brazil"For the Dallas Brass
© 1993, M. Nicholl
30
MUSIC NOTATION: PREPARING SCORES AND PARTS
copyright notice
creditsstyle/tempoinstruments
title
subtitle
Fig. 2.3.01 Title page layout
Music Notation 2/28/07 1:25 PM Page 30
CONTINUATION PAGE LAYOUT
The layout of the pages after the title page differ in small but important ways from
the title page. The continuation page layout contains the following elements:
• The title, often abbreviated if it is more than a few words long
• The page number
• Abbreviated instrument names
• Clefs and key signatures
• Time signatures and tempo markings only if there has been a change
Notice that there is a great deal less information on the continuation page. It
doesn’t include any of the writer credits or copyright information. Some published
scores, particularly study scores of classical works, do not include any instrument
designation—either in full or abbreviated form—on continuation pages. However,
this can create a lot of difficulty and confusion in rehearsal and performance, so it’s
a good idea to use at least abbreviated instrument names on all continuation pages.
(A complete list of instrument names with their common abbreviations is given in
the appendix.) Clefs and key signatures should appear on all continuation pages.
&
&
&
?
?
&
?
?
÷
#
#
#
#
#
#
#
#
#
#
#
#
#
Tpt 1
Tpt 2
Hn
Tbn
Bs Tbn
Pno
Bs
Drs
11
•
•
•
•
F
Opt:
‰ j
◊j
‰
n
‰j
‰ j
◊j
‰
‰ j
F
j
‰
11
¿
¿
o
¿
+
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o
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+
¿
Baion
‰
J
•
•
•
•
‰
J
j ‰
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j
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J
j ‰
‰
J
j ‰
12
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j
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n
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#
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j
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j
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13
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F
F
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flugel
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J
J ‰
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j
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J ‰
14
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w
w
w
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j
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n
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’ ’
Fill
"Avenue Brazil"
- 2 -
31
CHAPTER 2: Laying Out the Score
Fig. 2.3.02 Continuation page layout
Music Notation 2/28/07 1:25 PM Page 31
THE DISTANCE BETWEEN STAVES
Notation software allows you to adjust the distance between each stave in the
score system. There should be the same distance between each stave in the system.
However, some writers prefer a little more space between choirs in a large score
system to make the score more visually accessible. In this case, the distance
separating each choir is consistent. Notice in the example below that the distance
between the vocals and horns and the horns and rhythm section is slightly larger
than the distance between the staves within each section.
&
&
&
&
&
&
?
&
&
&
&
?
?
/
/
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
bb
b
Ld Voc
Bg Voc
Tpt 1
Tpt 2
Sx 1
Sx 2
Tbn
Gtr 1
Gtr 2
Syn
Bs
Dr
Perc
Pno
F
F
F
F
F
ß
ß
ß
ß
ß
[S\o\p]
œ œ œ œ œŒ
ver a - gain
œ œ œ œ œ
Œ
ver a - gain
Œ œ
-[F\l\u\g\e\l]
œ
.
‰ œ
.
J
œ>
Œ œ
-[F\l\u\g\e\l]
œ
.
‰ œ
.
J
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Œ œ
-
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.
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.
J
œ>
Œ
œ-
[F\l\u\t\e] œ.
‰
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J
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Œ
[W\i\t\h\ \C\u\p] œ-
œ.
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.J
œ>
’ ’
FÖ
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FÖ
∑
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.
‰ j
œ
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93
’ ’
p
p
p
p
p
‰j
œ œ œ œœ
I'd fall out and run
‰ j
œ œ œ œœ
I'd fall out and run
w
w
w
w
w
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Dà
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Dà
∑
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J
œ ˙
Dà
’ ’
94
’ ’
F
F
F
F
F
j
œ œj
œ œœ œ
back in Oh
j
œ œj
œ œœ
Œ
back in
˙Œ .
J
œ
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J
œ
˙Œ .
J
œ
˙
Œ . J
œ
˙
Œ . J
œ
’ ’
B∂
’ ’
B∂
∑
∑
∑
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j
œ ˙
B∂
’ ’
95
’ ’
‰ j
œ
Œ Œœ
yeah Oh,
∑
œœ
œ œ éÓ
œœ
œ œ éÓ
œœ
œ œ éÓ
œœ
œ œ éÓ
œœ
œ œ éÓ
’ ’
C-
’ ’
C-
∑
∑
∑
’ ’
Simile
C-
’ ’
96
’ ’
œ œ œ
j
œ œ
j
œ
that's what I would do
∑
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∑
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FÖ
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FÖ
∑
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FÖ
’ ’
97
’ ’
"Just To HAve The Chance" - P.16
32
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.3.03 Greater distance between groupsof staves
Greater distancesbetween these staffgroups
Music Notation 2/28/07 1:25 PM Page 32
The distance between staves should be set in the first system and remain
consistent throughout the score. Certain pages require more space because of
dynamics, ledger lines, text, or other symbols that take up vertical space. Adjust
the distance between staves on that page, and use that system layout throughout
the score.
MARGINS AND “WHITE SPACE”
When preparing scores with notation software, you have a great deal of control
over how the score system is placed in the page. Generally, you should use as
much of the page’s available “white space” as possible, while avoiding making
the page too dense. This requires you to make some basic judgments about how
the page should look. Often, you need to experiment with the size of the system
and the width of the margins until your page looks right.
Here are some things to keep in mind as you set up your score page:
1. Leave margins wide enough so that nothing will be cut off or not printed
by the printer—at least 1/2 inch. It’s a common problem to have the parts
of the score that are close to the edge of the page missing or cut off when
the score is printed.
2. The page often looks best when the score system is centered in the page.
Too much white space in any single margin (left, right, top, or bottom)
looks odd.
3. The title page margins often differ from the margins of the continuation
pages because it contains more information above the score system. Be
sure to adjust these margins carefully.
4. Experiment with the orientation of the score page and the size of the
music. Remember that you don’t want to reduce the music too much
(especially for a conductor score), but by experimenting with different
sizes of the music and orientation of the page, you can often create a
very effective layout for your specific score.
33
CHAPTER 2: Laying Out the Score
Music Notation 2/28/07 1:25 PM Page 33
Refer to the example below.
&
&
&
?
?
&
?
?
÷
#
#
#
#
#
#
#
#
#
#
#
#
#
C
C
C
C
C
C
C
C
C
Bb Trumpet 1
Bb Trumpet 2
Horn in F
Trombone
Bass Trombone
Piano
Bass
Drums
∑
∑
∑
∑
∑
∑
∑
∑
1
¿
Cue: cowbell
Œ
¿
Œ
∑
∑
∑
∑
∑
∑
∑
∑
2
¿
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¿
Œ
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∑
∑
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.
‰ œœ
.
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6
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simile
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7
¿
(Play)
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∑
∑
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∑
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8
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œœ
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∑
∑
10
’ ’
Fill
=104h
Matthew Nicholl
Salsa
"Avenue Brazil"
© 1993, M. Nicholl
34
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
&
?
?
&
?
?
÷
#
#
#
#
#
#
#
#
#
#
#
#
#
C
C
C
C
C
C
C
C
C
Bb Trumpet 1
Bb Trumpet 2
Horn in F
Trombone
Bass Trombone
Piano
Bass
Drums
∑
∑
∑
∑
∑
∑
∑
∑
1
¿
Cue: cowbell
Œ
¿
Œ
∑
∑
∑
∑
∑
∑
∑
∑
2
¿
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¿
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∑
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.
F
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.
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4
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-
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6
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simile
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∑
∑
7
¿
(Play)
F
Œ
¿
Œ
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J
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∑
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‰
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8
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’ ’
Fill
=104h Matthew NichollSalsa"Avenue Brazil"
© 1993, M. Nicholl
&
&
&
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&
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÷
#
#
#
#
#
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=104h Matthew NichollSalsa"Avenue Brazil"
© 1993, M. Nicholl
Fig. 2.3.04a Poor layout—system not centered in the page
Fig. 2.3.04b Poorlayout—margin toonarrow, not enoughwhite space
Fig. 2.3.04c Good use ofmargins and white space
Music Notation 2/28/07 1:25 PM Page 34
The margin of the last page of the score often needs to be adjusted, as discussed
later in this chapter.
MULTIPLE SYSTEMS PER PAGE
Often, the best page layout uses two or more systems per page. This type of layout
usually works best when the system has a small number of individual staves, for
example, the score to a flute trio or a piece for guitar and oboe. Even when the
score system is shown at full size, several systems can fit on a single score page.
Be sure to leave enough white space around the systems so that each system is
visually distinct. Small bars, sometimes called “slash marks,” visually separate
the systems.
&
&
&
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bb
bb
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Flugel
Guitar
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Drums
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Harbour Island
Matthew Nicholl
Slow Reggae / Samba / Funk / Rock å = 78
© 1993, M. Nicholl
35
CHAPTER 2: Laying Out the Score
slash marks
Fig. 2.3.05 A score pagewith multiple systems
Music Notation 2/28/07 1:25 PM Page 35
For systems with more staves, you should experiment with the size of the system
and the page orientation, to determine whether it is appropriate to use more than
one system per page. Remember, scores for conductors are usually printed at full
size, without reduction, to be as visually accessible as possible during rehearsal
and performance. Figures 2.3.06 a and b show two layouts for a score with nine
staves. The layout with a single system per page is appropriate for use by a
conductor. The layout with two systems per page is perfectly adequate as a record
of the work or for score study.
&
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Silent Picture(For Jamie) Matthew Nicholl
Jazz Ballad / Hip-Hop Funk q = 76
© 2004, M. Nicholl
36
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.3.06a Layout of anine-stave score in land-scape format
Music Notation 2/28/07 1:25 PM Page 36
MEASURES PER PAGE
In most popular or commercial music, there are four measures per score page in
portrait layout and eight measures per page in landscape layout. However, in a
variety of situations it might be desirable to have more or fewer measures per
page, such as a phrase with an odd number of measures, vocal music with lyrics,
or rhythmically complex music, that requires wide measures. Additionally, it is
helpful if a section begins at the beginning of a page, so the writer will sometimes
adjust the number of measures per page for these elements to coincide.
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Silent Picture(For Jamie) Matthew Nicholl
Jazz Ballad / Hip-Hop Funk q = 76
© 2004, M. Nicholl
37
CHAPTER 2: Laying Out the Score
Fig. 2.3.06b Layout ofthe same nine-stavescore in portrait format
Music Notation 2/28/07 1:25 PM Page 37
However, you need to be extremely careful when setting the number of measures per
page. If there are too many measures per page, the notes and markings will appear
crowded and collisions can often occur between elements. The example below shows
an obvious example of too many measures in the page.
If there are too few measures per page, the music looks odd. This often happens
on the last score page, when there are only a few measures left in the score. Adjust
the right-hand margin, to fix this.
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38
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.3.07 Too manymeasures per page
Music Notation 2/28/07 1:25 PM Page 38
Finalize the score’s number of measures per page at the end of the preparation
process, after all notes, markings, and other details have been entered. Even though
most notation software programs will attempt to distribute the measures on each
score page, the result often is less than professional and will need to be examined
and adjusted carefully.
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Silent Picture - P.16
39
CHAPTER 2: Laying Out the Score
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Silent Picture - P.16
Fig. 2.3.08a The lastpage of the score withtoo few measures
Fig. 2.3.08b The lastpage of the score,adjusted
Music Notation 2/28/07 1:25 PM Page 39
SCORE OPTIMIZATION AND “SHORT” OR “REDUCED” SCORES
It is common, particularly in “classical” music, to eliminate staves in which no
music appears on a particular page. Sometimes called a “short” or “reduced”
score, this layout is used to save space and have more music on the page. The title
page always shows a staff for any instrument that plays anywhere in the piece, but
continuation pages can be “optimized” so that they show only staves containing
musical information. The example below shows a full continuation score page
and then how it looks when it is optimized.
40
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.3.09a A completecontinuation page
Fig. 2.3.09b The samepage, optimized
Music Notation 2/28/07 1:25 PM Page 40
While many published scores do not display the names of the instruments shown
in an optimized score, it is extremely helpful to do so. This allows the conductor
to know at a glance who is playing without having to look earlier in the score to
find the beginning of the line or part. Notice that the abbreviated names of the
instruments are shown in the optimized score.
When using notation software, it is extremely important that you only optimize
the score after all notes and markings have been entered. You should also have
already fixed the number of measures on each page of the score. With many
programs, changing the page layout after optimization can result in music
“disappearing.” If this happens, you merely need to remove the optimization,
adjust the page layout as needed, then optimize again. Obviously, this is another
instance in which careful proofreading is essential.
All scores must display measure numbers and rehearsal markings. However, there
is a great deal of variety in the way these elements are displayed on the score. If
you are writing under the direction of a teacher, producer, or senior writer, be sure
to ask how the measure numbers and rehearsal markings should appear. Like many
other aspects of score and part preparation, no matter how you choose to display
these elements, be consistent and accurate throughout your score.
MEASURE NUMBERS
It is current practice for the number of every measure of the piece to appear in
the score. (The scheme for how measure numbers appear in parts is discussed in
chapter 4.) Most often, measure numbers appear below the score system, centered
between the barlines of the measure. When using a computer to prepare your
score, be sure to use a large enough font size so that the measure number can be
easily read.
41
CHAPTER 2: Laying Out the Score
4. Measure Numbers and Rehearsal Markings
Music Notation 2/28/07 1:25 PM Page 41
When preparing a score by hand, measure numbers can also go below, as in the
previous example, or they can be written in the measures of an unused staff.
Measure numbers are most visually accessible if they are large and neatly written.
Pickup measures are usually not numbered: the first full measure of the score is
measure 1.
42
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
B
&
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##
#
##
#
##
#
##
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44
44
44
44
42
42
42
42
Flute
Viola
Harp
q = 92
Œ
Œ
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P
J
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AS I Roved OutTrad/Arr. Nicholl
Fig. 2.4.02 Measurenumbers in an unusedstaff
Fig. 2.4.01 Measurenumbers below the score
Music Notation 2/28/07 1:25 PM Page 42
FORMATS FOR REHEARSAL MARKINGS
There are several widely used formats for rehearsal markings, each useful for a
particular type of music and score. You should carefully consider which format
will be best for your score based on your music and the situation in which it will
be rehearsed and performed.
In one method, commonly used in “classical” music, the measure number appears
above the system in a box or a circle every 10 or 20 measures throughout the score.
Using this format, the placement of measure numbers has nothing to do with the
phrase structure or form of the music. While this is fairly common in published
scores, there are obvious reasons why this method is less useful than some of the
other schemes described below.
It is useful during both rehearsal and performance for the rehearsal markings to
be placed at the beginnings of phrases and/or sections of the piece. In the most
basic use of this format, successive letter numbers appear at the beginning of
musical sections. Sections should be separated by a double bar. This helps make
the structure of the music visually apparent and accessible.
&
&
?
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
Trumpet 1
Trumpet 2
Trombone
Ú¡£º
∑
∑
∑
∑
∑
∑
A
∑
∑
∑
∑
∑
∑
43
CHAPTER 2: Laying Out the Score
Fig. 2.4.03 Double barwith rehearsal letter
Music Notation 2/28/07 1:25 PM Page 43
Many writers prefer to use the measure number as the rehearsal marking, as
shown below. This format is often best if you are working with sequenced music,
since the measure numbers displayed in the sequencer and the score will match.
(Obviously, measures in repeated sections of the score would need to be counted
twice to match the actual measure numbers displayed by the sequencer, so this
format requires some care.)
These two schemes are fairly common, particularly for music that is through-
composed (not based on a set form or the repetition of music elements) or
relatively complex. However, for music based on popular song forms, other
strategies may be more effective. For multi-chorus arrangements of jazz standards,
for example, a different letter (occurring in alphabetical order) can be used for
each chorus as shown in figure 2.4.05. Using this scheme, the rehearsal marks
communicate the form visually to the players. Many jazz composers and arrangers
prefer this rehearsal marking format.
&
&
?
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
Trumpet 1
Trumpet 2
Trombone
Ú¡£º
∑
∑
∑
∑
∑
2
∑
∑
∑
3
∑
∑
∑
4
∑
44
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.4.04 Double barwith rehearsal number
Music Notation 2/28/07 1:25 PM Page 44
This same format is often used in scores of pop songs. Each successive
verse/chorus part of the form is assigned successive letters of the alphabet. The
graphic example below shows how this format would be applied to a typical
pop song.
8 Bars 8 Bars 8 Bars 8 Bars
Tag Ending8 Bars
Intro.
8 BarsIntroduction Chorus Chorus
Chorus
8 Bars 8 Bars8 Bars
B B9 B17 C
Verse Verse
C9
8 BarsSolo
8 Bars 8 Bars
D D9 TAG
A A9 A17
45
CHAPTER 2: Laying Out the Score
B9A9 B25a
8 Barsa
8 Barsa
8 Bars
a8 Bars
a8 Bars
Interlude 12 Bars
INT C17 TAG
Tag Ending6 Bars
Intro.
8 BarsIntroduction Chorus Chorus w/solos, etc.
Chorus
8 Barsba
8 Bars 8 Barsba
8 Barsa
8 Bars
8 Barsba
8 Bars
A25 B
C25
A17
C9C
A B17
Fig. 2.4.06 Multi- section arrangement of a typical pop song,timeline
Fig. 2.4.05 Multi-chorusarrangement of a 32-barAABA standard, timeline
Form: aaba, where each section is eight bars long. One time through the form is one “chorus.”
Music Notation 2/28/07 1:25 PM Page 45
Some writers choose to display a word or phrase describing the section of the
piece in addition to the rehearsal marking, as shown below. This is the easiest way
to communicate the form of the arrangement to the players, but some writers find
this amount of information unnecessary and dislike the visual clutter created by
the additional words.
In summary, there are several different, widely used rehearsal marking formats.
Many writers have strong preferences for a certain format. Be sure to choose the
best format for the particular piece, based on the factors described above. Most
important: whatever format you choose, be clear, accurate, and consistent.
Rehearsal marks appear above the top staff in most scores. In large scores,
rehearsal marks can also appear in a second place, usually in the middle of the
system or above each choir.
&
&
&
?
?
/
##
##
#
#
#
#
A. Sx
Gtr
Pno
Bs
Dr
{9} [F\i\r\s\t\ \A\ \≥S\e\c\t\i\o\n]
˙≈
œ œ œœ
œ
Arpeggio
P
|
EÑ
. .Û
P
R
Û|
EÑ
∑
. .œP
R
œ ˙
EÑ
9
¿
>Ride
P
Light Latin
¿ ¿ ¿ ¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
œŒ Ó
˙‰ .
R
œ œ
œ œ
|
AÑ D/F#
. .Û
R
Û|
AÑ D/F#
∑
. .œr
œ ˙
AÑ D/F#
10
’ ’ ’ ’
˙
≈
œ œ œœ œ
|
BÑ G/C
. .Û
R
Û|
BÑ G/C
∑
. .œ
r
œ ˙
BÑ G/C
11
’ ’ ’ ’
˙≈
.
J
œ œ œ
|
A 2/C#
F/E!
. .Û
R
Û|
A 2/C#
F/E!
∑
. .œ#R
œb ˙
A 2/C#
F/E!
12
’ ’ ’ ’
46
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 2.4.07 Rehearsalmarks with section labels
Music Notation 2/28/07 1:25 PM Page 46
The process of creating and notating a piece of music is very complex. There are
several different ways to approach the various aspects of that process—composing,
arranging, orchestrating, preparing the score, etc.—to arrive at the finished piece of
music. The preparation of the score can occur at several different places within the
larger creative process. The writer can:
1. Compose, arrange, and orchestrate from scratch, directly into a blank score.
2. Have a general idea of the shape and scope of the piece before going to the
score paper, but finish much of the writing while preparing the score.
3. Work from a detailed sketch that is virtually complete, so that preparing
the score is essentially a process of transferring musical ideas from the
sketch to the score.
Each of these approaches has advantages and disadvantages, and every writer has his
or her own preferences. The process of score preparation goes much more quickly
when all the writing is complete so that no compositional decisions are being made
as you work on the score. Depending upon the project—and your own preferred
method of working—this may or may not be possible or even desirable. It’s very
important that you start to develop a consistent approach to score preparation so
that you work both quickly and accurately. You will develop “chops” in score
preparation in much the same way you develop them as a writer or performer—
through application and practice.
To simplify the explanation that follows, this section assumes that—while every
single detail might not be fixed by the time you lay out the score—the form of the
piece has already been determined. That means that you know how many measures
are in the entire piece and where each section begins and ends.
The laying out process is slightly different for scores created by hand than scores
created with notation software. This section will summarize the process for each.
SCORES BY HAND
Here are the steps for laying out the score. Some of the steps have several parts:
1. Choose the right paper for the project.
2. Assemble your tools: pencils, pencil sharpener, eraser, straight edge, etc.
47
CHAPTER 2: Laying Out the Score
5. Summary: Laying Out the Score
Music Notation 2/28/07 1:25 PM Page 47
3. Lay out the title page:
• Write the title, author(s), and style/tempo information.
• Determine the score order and write the full instrument names on the left of the score system.
• Add brackets and braces as appropriate.
• Decide whether your score will be transposed or concert.
• Add the appropriate clefs, key signatures, and time signatures.
4. Lay out the remaining pages of the score (or a rough estimate of pages
needed if you don’t know the exact number of measures in the piece):
• Write the title and page number, centered at the top of the page.
• Add the abbreviated instrument names on the left of the score system.
• Add brackets and braces as appropriate.
• Add the appropriate clefs and key signatures.
5. Add measure numbers, double barlines, and rehearsal markings:
• If your paper has pre-drawn barlines, determine where the measure numbers will go and number each measure.
• If your paper does not have pre-drawn barlines, determine the number of measures and what size they should be for each separate page.
• Decide which rehearsal-marking scheme is appropriate for the form of the piece.
• Add double barlines and rehearsal marks.
COMPUTER-PREPARED SCORES
Here are the steps to follow in laying out the score using notation software.
Computer preparation differs from hand preparation because decisions about page
layout can be made later in the process. This is because when using the computer,
you lay out the system first and can wait until after the notes are entered before
laying out the score pages. This section divides the layout of the score into two
parts: first, laying out the system; and second, laying out the score page.
48
MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:25 PM Page 48
Like the process of preparing a score by hand, some of the steps have several parts.
Part 1. Laying out the score system: Do this before entering any notes in the
score.
1. Lay out the score system for the title page:
• Determine the score order and add the full instrument names for each stave in the system.
• Add brackets and braces as appropriate.
• Decide whether your score will be transposed or concert.
• Add the appropriate clefs, key signatures, and time signatures.
2. Lay out the score system of the continuation pages:
• Add the abbreviated instrument names for each stave.
• Set the software so that clefs and key signatures appear at the beginning of each score system (many software programs allow you to choose not to do this).
3. Create the measure numbers:
• Determine the size and font for the measure numbers.
• Set where the measure numbers will appear in the score.
• Set where the measure numbers will begin (consider pickup measures).
4. Add double bars and rehearsal markings:
• Decide which rehearsal marking scheme is appropriate for the form of the piece.
• Add double barlines and rehearsal marks.
Part 2. Laying out the score pages: After all the notes have been entered in the
score, set the layout for each page.
1. Determine the number of measures per page. Most software programs will
automatically allot measures to each page, but you will need to check each
page to be sure that it has the best number of measures. Avoid the following
extremes:49
CHAPTER 2: Laying Out the Score
Music Notation 2/28/07 1:25 PM Page 49
a. The collision of elements, particularly accidentals and noteheads, when there are too many measures per page.
b. Odd-looking notation when there are too few measures per page. (This often happens on the last score page, when there may be only a few measures on the page.)
• Starting at the beginning of the score, adjust each page to have the best-looking number of measures.
• If necessary, adjust the margins of the last page so that the measures on that page are appropriately sized.
2. Create the page layout for the title page:
• Set the margins for the page.
• Place the title, author(s), and style/tempo information in the appropriate locations.
3. Create the layout for the continuation pages:
• Determine the margins for page 2, and apply these to the rest of the score.
• Add the title and page number in the appropriate location.
• Check the margins on the last page of the score and adjust as necessary.
4. Optimize the score, if necessary:
• Generally speaking, do not optimize systems unless you absolutely have to.
• Apply score optimization from page 2 to the end of the score.
• Go back and examine the layout of each page. If you will be using two or more systems per page, you will probably need to adjust the margins of your score.
• Important: if you ever add or remove notes to the score after you’ve optimized, you must remove the optimization and reapply it to make sure all the notes appear.
50
MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:25 PM Page 50
THE CONTENTS OFTHE SCORE
Three types of barlines are most commonly used in a score: the single barline,
the double barline, and the final barline.
Double barlines are usually used before changes of key or time signature, as
discussed below, and at the end of musical sections. The final barline is used at
the end of the music. The double barline is also used as the first barline in a piece
of music with a pickup measure. After the pickup, the double barline indicates the
first full measure of music. Measure numbers in the score usually begin counting
with the first full measure of music (see figure 3.1.02).
&
&
&
&
?
#
#
#
4
4
4
4
4
4
4
4
4
4
Flute
Oboe
Bb Clarinet
Horn in F
Bassoon
Moderato {q = c 108}
∑
∑
∑
∑
∑
∑
∑
∑
∑
1
∑
∑
∑
∑
∑
2
∑
∑
∑
∑
∑
3
∑
∑
∑
∑
∑
4
∑
Double barline Single barline Final barline
51
Chapter 3
1. Barlines, Clefs, Key/Time Signatures
Fig. 3.1.01 The threetypes of barlines used ina score
Music Notation 2/28/07 1:25 PM Page 51
&
&
&
&
?
#
#
#
4
4
4
4
4
4
4
4
4
4
Flute
Oboe
Bb Clarinet
Horn in F
Bassoon
Œ
Œ
Œ
Œ
Œ
∑
∑
∑
∑
1
∑
∑
∑
∑
∑
2
∑
∑
∑
∑
∑
3
∑
∑
∑
∑
∑
4
∑
&
&
&
&
?
#
#
#
Fl.
Ob.
Bb Cl.
Hn.
Bsn.
5
∑
∑
∑
∑
5
∑
∑
∑
∑
∑
6
∑
∑
∑
∑
∑
7
∑
∑
∑
∑
∑
8
∑
&
&
&
&
?
#
#
#
b
b
b
b
b
b
n
nb
n
b
b
b
b
b
Fl.
Ob.
Bb Cl.
Hn.
Bsn.
∑
∑
∑
∑
9
∑
∑
∑
∑
∑
10
∑
∑
∑
∑
∑
11
∑
∑
∑
∑
∑
12
∑
Double barline after pickup measure
Double barline at end of section
Double barline before key change Final barline
52
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.1.02 Doublebarlines and finalbarlines in the score
Music Notation 2/28/07 1:25 PM Page 52
The clef, key, and time signature always appear in the first measure of the score.
The clef and key signature appear at the beginning of every score system. The time
signature appears only in the first measure of the score and when the time signature
changes.
There are some writers, particularly of music for Broadway, who prefer to show the
key signature only at the beginning of the score and whenever the key signature
changes. This technique can cause significant problems in rehearsal and performance
and is not recommended.
CHANGING THE CLEF
To change the clef, a reduced-size clef appears before the barline of the measure
using the new clef.
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
I
II
Viola
Cello
Contrabass
Violin
P
∑
∑
œ
œœ
œ
&
∑
∑
∑
∑
.˙
F
œ
∑
∑
∑
∑
˙˙
∑
∑
∑
∑
w
p
∑
∑
53
CHAPTER 3: The Contents of the Score
&
&
&
B
?
##
##
#
##
##
##
##
44
44
44
44
44
Alto Sax
Violin 1
Violin 2
Viola
Cello
P
P
P
P
.œ œ
‰ j
œ ˙
.œ# œ
‰j
œ ˙
.œ œ‰
j
œ ˙
.œ œ
‰
J
œ ˙
w
w
w
w
Jazz Ballad / Hip-Hop Funk q = 76
Fig. 3.1.03 Clef, key,and time signature inthe score
Fig. 3.1.04 Showing achange of clef before thebarline
Music Notation 2/28/07 1:25 PM Page 53
If necessary, the new clef can appear in the middle of the measure.
Often when the clef changes at the beginning of a page, a courtesy clef is shown at
the end of the previous system as an aid to the conductor.
&
&
B
?
?
I
II
Vla.
Vc.
Cb.
Vln.
9
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑&
∑
∑
Courtesy clef
54
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
I
II
Viola
Cello
Contrabass
Violin
Moderato {q = c 108}
∑
∑
œ
P
œ œœ
∑
1
∑
∑
∑
œ œ
F
.œ
J
œ
&
∑
2
∑
∑
∑
.˙ œ
∑
3
∑
∑
∑
w
p
∑
4
∑
&
&
&
?
?
I
II
Vla.
Vc.
Cb.
Vln.
13
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑ B
∑
∑
New clef
Fig. 3.1.05 Showing theclef change in the middleof the measure
Fig. 3.1.06 Showing acourtesy clef at the endof a score system when a clef change occurs inthe first measure of the following system
Music Notation 2/28/07 1:25 PM Page 54
CHANGING THE KEY SIGNATURE
Some writers prefer to precede changes in the key signature by a double bar. (In
handwritten scores, a “half-moon” or “arc” is sometimes used to indicate the new
key signature.)
In “classical” music, the old key is cancelled before the new appearance of the
new key signature. This is done except when the new key signature is created by
simply adding more flats or sharps to the existing key signature.
&
&
&
&
?
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
n
b
n
b
#
n
n
b
Flute
Oboe
Bb Clarinet
Horn in F
Bassoon
Moderato {q = c 108}
œ
P
œ œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
.˙ œ
∑
∑
∑
1
∑
.˙ œ
∑
∑
∑
2
∑
.˙œ
∑
∑
∑
3
∑
w
∑
∑
∑
4
∑
55
CHAPTER 3: The Contents of the Score
&
&
&
&
?
#
#
#
4
4
4
4
4
4
4
4
4
4
b
b
b
b
b
b
n
nb
n
b
b
b
b
b
Flute
Oboe
Bb Clarinet
Horn in F
Bassoon
Moderato (q = c. 108)
œ
F
œ œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
w
∑
∑
∑
1
∑
.˙ œ
∑
∑
∑
2
∑
.˙ œ
∑
∑
∑
3
∑
w
∑
∑
∑
4
∑
Fig. 3.1.07 Showing achange of key signature
Fig. 3.1.08 Cancelingthe old key signature at achange of key. This iscommon in scores of“classical” music.
Music Notation 2/28/07 1:25 PM Page 55
In popular and commercial music, the old key signature is cancelled only if the
new key is C major or A minor—in other words, if the new key signature has no
accidentals.
When the key change appears at the beginning of a system or page, a courtesy
key signature is placed at the end of the previous system.
&
&
&
&
?
#
#
#
b
b
b
b
b
b
n
nb
n
b
b
b
b
b
Fl.
Ob.
Bb Cl.
Hn.
Bsn.
∑
∑
∑
∑
9
∑
∑
∑
∑
∑
10
∑
∑
∑
∑
∑
11
∑
∑
∑
∑
∑
12
∑
56
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
&
&
&
?
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
b
b
#
n
b
Flute
Oboe
Bb Clarinet
Horn in F
Bassoon
Moderato {q = c 108}
œ
P
œ œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
.˙ œ
∑
∑
∑
1
∑
.˙ œ
∑
∑
∑
2
∑
.˙œ
∑
∑
∑
3
∑
w
∑
∑
∑
4
∑
&
&
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
Fl.
Ob.
Bb Cl.
Hn.
Bsn.
∑
∑
∑
∑
13
∑
∑
∑
∑
∑
14
∑
∑
∑
∑
∑
15
∑
∑
∑
∑
∑
16
∑
Fig. 3.1.09 A change of key in pop and commercial music. Only the key signaturesof C major or A minorare canceled.
Fig. 3.1.10 A courtesykey signature at the endof a score system when a key change occurs inthe first measure of thefollowing system
Music Notation 2/28/07 1:25 PM Page 56
CHANGING THE TIME SIGNATURE
Changes in the time signature are handled in much the same way as changes of
key. The new meter is often preceded by a double bar (or the half-moon, if the
score is prepared by hand). When a time signature appears at the beginning of a
page, a courtesy time signature is placed at the end of the previous page.
&
&
&
&
?
4
4
4
4
4
4
4
4
4
4
Flute
Oboe
Bb Clarinet
Horn in F
Bassoon
Moderato {q = c 108}
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
∑
∑
∑
∑
1
∑
∑
∑
∑
∑
2
∑
∑
∑
∑
∑
3
∑
∑
∑
∑
∑
4
∑
&
&
&
&
?
4
3
4
3
4
3
4
3
4
3
Fl.
Ob.
Bb Cl.
Hn.
Bsn.
∑
∑
∑
∑
5
∑
∑
∑
∑
∑
6
∑
∑
∑
∑
∑
7
∑
∑
∑
∑
∑
8
∑
&
&
&
&
?
4
4
4
4
4
4
4
4
4
4
Fl.
Ob.
Bb Cl.
Hn.
Bsn.
∑
∑
∑
∑
9
∑
∑
∑
∑
∑
10
∑
∑
∑
∑
∑
11
∑
∑
∑
∑
∑
12
∑
57
CHAPTER 3: The Contents of the Score
Fig. 3.1.11 A change of time signature. Notice the courtesy timesignature after the lastmeasure of the page.
Music Notation 2/28/07 1:25 PM Page 57
Many of the specific requirements for drawing by hand the various elements of
musical notation—noteheads, stems, beams, accidentals, etc.—are covered at
length in other texts. (Please see the bibliography in the appendix.)
Notation software deals automatically with most of these details. However, anyone
working with music notation—by hand or by computer—should be aware of
several factors.
SPACING AND ALIGNMENT
The spacing of notes in the measure strongly affects the visual quality of written
music. Notation software allows you to control the spacing of the measure in four
ways: first, by allowing you to set the width of the measure manually changing
the width of each bar; second, by adjusting the number of measures on each score
page (see the last chapter); third, by moving individual notes; and fourth, by
reducing notation size. Obviously, fewer measures per page results in wider
measures.
The music should be neither too crowded nor too widely spaced. The examples
below show these two extremes.
&
#
42
q = 102
1
œ
f
œœœœ
œ
œ
œ
2
œœœœ
3
œ œ œœœ
3
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œ œ œ œ
4
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5
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œœ
œ
œ
6
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3
œ œ œœœ
7
œœœœ
œ œ œ œ
58
MUSIC NOTATION: PREPARING SCORES AND PARTS
2. Notes
&
#
42
q = 102
1
œ
f
œ œ œœ
œ
œ
œ
2
œœ œ œ
3
œ œ œ œ œ
Fig. 3.2.01a Poorlyspaced music: the musicis too crowded, making ithard to read
Fig. 3.2.01b Poorlyspaced music: the musicis too widely spaced andlooks odd
Music Notation 2/28/07 1:25 PM Page 58
When creating the score by hand, correct spacing requires more dexterity. If you
are using paper with pre-drawn barlines, the music must be spaced as well as
possible between the existing barlines. In rhythmically simple music in one of the
common time signatures (2/4, 3/4, 4/4, etc.) this is usually not too difficult, as
shown below.
59
CHAPTER 3: The Contents of the Score
&
#
42
q = 102
1
œ
f
œ œ œœ
œœ
œ
2
œœ œ œ
3
œ œ œ œ œ
3
œœ œ œ
œ œ œ œ
4
œ œ œ œ œ œ œ œ
Fig. 3.2.01c The previ-ous passage of music,correctly spaced
Fig. 3.2.02 Simple music in common timesignatures
Music Notation 2/28/07 1:25 PM Page 59
For music with greater rhythmic complexity or in unusual time signatures, it can
be very difficult to space the music well within the pre-drawn barlines. If your
music is complex in this way, use score paper with wider measures or without
pre-drawn barlines.
One of a score’s most critical qualities is the vertical alignment of simultaneous
events. Notation software aligns automatically, but when preparing a score by
hand, the writer must pay careful attention to this alignment. Figures 3.2.03 a
and b show a musical excerpt both poorly (a) and correctly (b) aligned.
60
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.2.03a A scorewith poor vertical alignment
Music Notation 2/28/07 1:25 PM Page 60
61
CHAPTER 3: The Contents of the Score
Fig. 3.2.03b A correctlyaligned score
Music Notation 2/28/07 1:25 PM Page 61
DYNAMICS
Dynamics are placed directly below the note or notes they affect (though a few
exceptions are discussed later in this chapter). If there is not enough space below
the note, the dynamic mark can go slightly to the left of the note. The examples
below show common practice for placing dynamics in single-stave music.
In parts written on two staves, such as piano and harp, dynamics go between the
staves.
62
MUSIC NOTATION: PREPARING SCORES AND PARTS
3. Dynamics, Articulations, and Accidentals
Fig. 3.3.01 Dynamicsbelow the single staff
Fig. 3.3.02 Dynamicsbetween staves in two-stave music
Music Notation 2/28/07 1:25 PM Page 62
Dynamics go above the staff in vocal music to avoid conflict with the lyric or text.
Dynamic wedges, sometimes called “hairpins,” are used for short crescendos and
diminuendos, usually when these dynamic changes take place within a measure or
two. For longer changes of dynamic, use the terms “cresc.” and “decresc.” or “dim.”
ARTICULATIONS
There are two approaches to the placement of articulations. In the “classical”
tradition, articulations are usually placed on the notehead side of the note, as
shown in figure 3.3.05.
In contemporary practice, particularly for jazz and pop scores prepared by hand,
articulations go above the staff, regardless of stem direction.
&
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63
CHAPTER 3: The Contents of the Score
&
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œ
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œ
10
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11
œ œ œ
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œ
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Fig. 3.3.03 Dynamicsabove the staff in vocalmusic
Fig. 3.3.04 Dynamicwedges and words usedto indicate dynamics
Fig. 3.3.05 Articulationson the notehead side.This is common in scores in the “classical”tradition.
Fig. 3.3.06 Articulationsabove the staff. This iscommon in the scores of pop and commercialmusic.
Music Notation 2/28/07 1:25 PM Page 63
Deciding where to place the articulations is often a matter of personal preference.
However, if you are writing under the direction of a teacher, producer, or senior
writer, be sure to ask which style of articulation is expected. It is essential that the
method you choose is used consistently throughout the score and parts.
SLURS AND PHRASE MARKS
Slurs or phrase marks mean different things for different instruments. For most
instruments it indicates how the music is phrased. For stringed instruments, it
shows how the music is bowed. Slurs are used in a very specific way in vocal
music, as discussed later in this chapter. You must clearly understand how you
are using this symbol in your music in order to use it correctly.
&
&
&
&
B
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
4
4
1
2
1
2
Viola
Cello
Flutes
Violins
Œ ‰ J
œ œ œœ
œ
Œ ‰ J
œ œ œ
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rit.
w
w
w
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w
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w
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w
U
w
U
w
U
w
U
w
U
w
U
64
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.3.07 Slur, bowing,and phrase markings
Music Notation 2/28/07 1:25 PM Page 64
For passages with all notes of a single stem direction, slurs are placed on the
notehead side of the notes. For a passage with mixed-stem direction, the slur
goes above the notes.
Software programs often draw slurs oddly, requiring manual adjustment to make
them look “right.” Additionally, the default line thickness of the slur often needs
to be adjusted so the slur can be visually differentiated from staff lines and other
score marks. Be sure to carefully examine the slurs in your score.
&
&
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
Fl. 1
Fl. 2
Tpt.
H.n
Tbn.
25
∑
∑
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P
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26
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27
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w
w
28
w
~~~~~~~~~~
Glissando
~~~~~~~~~~
Glissando
~~~~~~~~~~
Glissando
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
Fl. 1
Fl. 2
Tpt.
Hn.
Tbn.
˙
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j
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29
.œ
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J
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31
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œ œ œ œ œ œ œ œ
w
w
32
w
~~~~~~~~~~~
Glissando
~~~~~~~~~~~
Glissando
~~~~~~~~~~~
Glissando
65
CHAPTER 3: The Contents of the Score
Fig. 3.3.08 Slurs andstem direction
Music Notation 2/28/07 1:25 PM Page 65
ACCIDENTALS
Whether you are notating by hand or using a computer, accidentals need to be
handled carefully. First, you need to decide whether the note will appear as a sharp
or as a flat. When there is a non-diatonic note in a line, the general convention is
to spell the note based on its melodic direction: notes that are part of an ascending
line are written with sharps, while descending lines use flats. There is an obvious
visual logic that makes the line easier to read, as in the examples below.
No
Yes
Carefully proofread your score to make sure you have spelled the non-diatonic
pitches in each individual part as carefully as possible.
Courtesy accidentals, placed in parentheses, are used whenever there might be
some question about the identity of a note that had been previously written with
an accidental. This is especially important when considering a sequence of notes
that crosses a barline. The example below is technically correct—because the
accidental usually does not carry through across the barline—but is potentially
confusing to the player. A courtesy accidental eliminates any uncertainty the
player might have about the correct pitch.
No
Yes
& 44
œ# œœb œ .œb
j
œb .œ j
œ# ˙
66
MUSIC NOTATION: PREPARING SCORES AND PARTS
& 44 œ œb
œ œ# .œn
J
œ# .œN
J
œb ˙n
& 44 œ œ#
œ œb .œ
J
œb .œj
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& 44
œ# œœb œ .œb
j
œb .œN j
œ# ˙
Fig. 3.3.10b The courtesy accidental usedto avoid confusion
Fig. 3.3.10a The “G”on the downbeat of measure 2 should have acourtesy accidental
Fig. 3.3.09b Accidentalsused to indicate thedirection of the line;sharps ascend and flatsdescend
Fig. 3.3.09a Accidentalsused incorrectly; theydon’t indicate thedirections of the line
Music Notation 2/28/07 1:25 PM Page 66
Accidentals should never collide with one another. Most software programs
automatically place the accidentals to avoid collisions, but if the music is too
compressed—especially if there are too many measures on a line—the accidentals
can collide with each other or with surrounding notes.
No
Yes
There are several common instances in which two or more instrumental parts are
written in the same staff. These are called divisi parts. In orchestral scores, pairs of
winds or brass are often written in the same staff. The example below shows a
typical example of paired winds in an orchestral score.
&
&
&
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44
44
44
44
2 Flutes
2 Oboes
2 Clarinets in Bb
2 Bassoons
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.
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.
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.
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.
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.
67
CHAPTER 3: The Contents of the Score
4. Divisi Parts
& 44
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b
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bbb
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nnn
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bbb
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œœœ
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b
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Fig. 3.3.11b The measure is correctlyspaced so that theaccidentals do not collide
Fig. 3.3.11a Themeasure is too narrowand as a result theaccidentals collide withone another
Fig. 3.4.01 Pairedwoodwinds in an orchestral score
Music Notation 2/28/07 1:25 PM Page 67
If the parts are rhythmically identical or very similar, they can share noteheads
and beams. In passages where the two instruments play in unison, the indication
“Unison” or “a2” is used (meaning “by two players”). The example below shows
this type of notation. An isolated unison within the divisi can share one notehead
with separate stems.
If the divisi parts are rhythmically distinct, the parts must be written as separate
entities sharing the staff. Because that type of notation can become quite complex,
take a great deal of care to ensure the separate parts are readable. Decide whether
or not the music warrants a separate staff for each part. If the parts are quite
different throughout much of the music, separate staves might be the best choice.
If the music requires only short passages of two-part music, then one single stave
usually is enough.
Each part must be rhythmically complete, including all necessary rests so that
the measure contains the appropriate number of beats. To separate the two parts
visually, the higher part is written with all stems up and the lower part with all
stems down, as shown below. If there is any question about who plays which part,
you can indicate the player with a written direction.
&
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44
44
q = 92
‰
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J
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1
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68
MUSIC NOTATION: PREPARING SCORES AND PARTS
&
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.
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ß
œn œ œ
.
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.
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Fig. 3.4.02 Unisons indivisi parts
Fig. 3.4.03 Stems direction in divisi parts
Music Notation 2/28/07 1:25 PM Page 68
When the parts cross, the stem directions are maintained for each part.
In the case of notation for strings and voices, when a section of players—rather
than just two in the case of paired winds and brass described above—is reading
from a single stave, the terms “unis.” (for “unison”) and “div.” (for “divisi”) are
used to indicate who plays which part. This is especially important in string music,
where the difference between double stops and divisi needs to be clearly indicated.
When the parts are close together, particularly when they are a second apart, the
notation must be handled carefully. Notation software does not usually follow
the appropriate practices to keep elements from clashing with one another, so it
is often necessary to adjust notes and accidentals manually. The placement of
accidentals follows the placement of the noteheads.
69
CHAPTER 3: The Contents of the Score
& 442 Ob Ó
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.
f
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.
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.
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Fig. 3.4.04 Stem directions when divisiparts cross
Fig. 3.4.05 Divisi parts in vocal and string music
Violin
1
2
Music Notation 2/28/07 1:25 PM Page 69
For major and minor seconds, the common practice is this:
• For notes sharing a stem, the lowest note goes on the left, no matter what the direction of the stem.
• For notes with separate stems, the lowest note goes on the right.
Some examples are shown below:
Notation for the drum set in pop and jazz music, commonly shown as two-part
music, is discussed later in this chapter.
& 44
œœ
œbœ
œœ#
œœ
œœœœ#
œœbœœ
70
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.4.06 Noteheadsand accidentals for two-part music
Music Notation 2/28/07 1:25 PM Page 70
The placement of words and directions in the score requires some care. While the
placement of some types of directions in the score follows fairly strict guidelines,
there are many situations in which the writer needs to determine the best place for
the various visual elements.
TEMPO/STYLE MARKS
Every score needs an indication of style and tempo at the beginning of the piece.
This indication should go above the system, on the left.
&
&
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&
&
bb
bb
bb
bb
bb
bb
bb
44
44
44
44
44
44
44
Trumpet
Alto
Tenor
Trombone
Baritone
Guitar
Synthesizer
Funky Samba q=120
∑
∑
∑
∑
∑
Ó Œ
œœœœ
>
P
Ó Œ
œœœœ
>
P
∑
∑
∑
∑
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wwww
wwww
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∑
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∑
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n>
Ó Œ
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n>
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∑
∑
∑
wwww
wwww
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December Samba
71
CHAPTER 3: The Contents of the Score
5. Words and Performance Directions in the Score
Fig. 3.5.01 Basictempo/style marking inthe score
tempo/style
Music Notation 2/28/07 1:25 PM Page 71
In scores with a large number of staves, the tempo/style mark should appear in
several places. In scores for large ensembles, such as orchestra and marching band,
the marks go above the woodwinds, above the brass, and above the strings. For
big-band scores and smaller ensembles, one tempo/style mark at the top of the
system is usually enough.
72
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.5.02 Tempo/stylemarks for orchestra
Music Notation 2/28/07 1:25 PM Page 72
Marks indicating changes in tempo or style go above the system, aligned with the
left barline of the first measure in the new tempo or style.
Directions in the score related to changes in tempo (ritard, accelerando, etc.) follow
the same placement guidelines used for tempo/style marks.
PERFORMANCE DIRECTIONS
Other words in the score are handled in a variety of ways. Technical directions
usually go above the staff. This applies to many different types of directions, such as:
• words that convey general musical directions, like “legato,” “smoothly,” etc.
• sound indication for guitar and synthesizer
• words describing the form
• repeat directions: first and second endings, “To Coda,” etc.
Some words that go below the staff usually include:
• dynamics
• the word “simile” meaning “like what has come before”
73
CHAPTER 3: The Contents of the Score
Fig. 3.5.03 Changingstyle and tempo
Music Notation 2/28/07 1:25 PM Page 73
Repeats are used for many reasons. Small repeats, such as a one- or two-bar repeat,
can help the player see larger patterns at work in the music. Large-scale repeats
can make the score and parts shorter and help the player understand the form. Here
are the common types of repeats and the ways they are used.
ONE- AND TWO-MEASURE REPEATS
These short repeats are used to make the repetitive nature of the music visually
obvious to the player and to make the score and parts easier to read. The example
below shows the typical symbols for these repeats.
Use these repeats to make it easy for the reader to find the pattern that is being
repeated. This often means showing the written music at the beginning of new
sections of music or in the first bar of a new page of the score or part. A line
should never begin with a one- or two-bar measure repeat.
Though you sometimes see four-bar repeats, most professional writers and
publishers do not use them.
OMITTED NOTEHEADS
When a single note or set of notes are repeated many times in succession, the
repeated noteheads can be omitted. This makes the music easier to read. The page
is less cluttered and the eye is drawn to the most important elements of the passage—
B#
f
{49}œ
œ œ œœ
œ
œ
œ
50
œœ œ œ
3
œ œ œ œ œ
51
«
2
52
74
MUSIC NOTATION: PREPARING SCORES AND PARTS
6. Repeat Notation and Form Markings
B#
{57}œœ
F
œœ
œœ
œœ
œœ
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58
‘
59
‘
60
‘ Fig. 3.6.01aOne-measure repeats
Fig. 3.6.01bTwo-measure repeats
Music Notation 2/28/07 1:25 PM Page 74
the initial note or notes to be repeated and the place at which the repeated notes
change. This type of notation is usually used for repeated chords in guitar and
piano parts.
REPEATED BEATS
A repeated figure occurring on a single beat can be indicated by using slashes
similar to those used in pop and jazz notation, as discussed below. Each slash
represents the repetition of the figure on a single beat.
USE OF “COL”
In contemporary jazz and pop charts, instruments doubling parts can be shown
using Col notation. Col is an abbreviation of “colla,” meaning with. For example,
when the alto sax doubles the first trumpet, the term “Col Trumpet 1” is written in
the staff, followed by a wavy line, as shown below. This technique is usually used
for a relatively long passage, not for just a few notes. Use your own judgment about
when and where to employ Col notation.
75
CHAPTER 3: The Contents of the Score
& 44
J
œœœ
J
J
J
J
J
J
J
J
œœœ
b
J
www
& 44
’ ’ ’œ œ œœ
’ ’ ’œb œ œ œ ’ ’
œœ
œœ
œ œ œ œ Fig. 3.6.03 Slashes indicating repeated figures
Fig. 3.6.02 Showingrepeated notes by omitting noteheads
Fig. 3.6.04 Col notationindicating the unisondoubling of a part
Music Notation 2/28/07 1:25 PM Page 75
Generally, Col notation is used only for unison doubling, not for when an instrument
doubles another part at the octave. Most conductors prefer to see one line per octave
and only used within an instrument family.
No
Yes
&
&
&
?
bb
bb
bb
bb
.
.
.
.
.
.
.
.
Tpt.
A. Sx.
T. Sx.
Tbn.
~~~~~~~~~~~~~~~~~~~~~~~
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{9}
Col. Tpt. 8vb
Col. Ten. 8vb
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P
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P
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76
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.6.05 Col notationshould only be used toindicate unison doubling,not octave doubling
&
&
&
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bb
bb
bb
bb
..
..
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Tpt.
A. Sx.
T. Sx.
Tbn.
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Music Notation 2/28/07 1:25 PM Page 76
Col notation should not be used between instruments with different transpositions
in a transposed score, since Col technically means one instrument’s part is “exactly
like” another instrument’s. For example, Col would not be used in a transposed score
when the alto sax doubles the trumpet, as shown below, because these instruments
have different transpositions. In the same passage in a concert score, Col notation
is acceptable.
No
Yes
&
&
&
?
#
bb
..
..
..
..
Tpt.
A. Sx.
T. Sx.
Tbn.
~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~
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Col. Tpt.
Col. Ten.
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P
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>
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P
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.˙ Œ
.˙Œ
77
CHAPTER 3: The Contents of the Score
&
&
&
?
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bb
..
..
..
..
Tpt.
A. Sx.
T. Sx.
Tbn.
{9}
œ
P
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P
œ œ œ œ˘
œ œ œ œ œ>
.˙ Œ
.˙Œ
.˙Œ
.˙
Œ
Fig. 3.6.06 Col notationshould not be usedbetween parts with different transpositions
Music Notation 2/28/07 1:25 PM Page 77
With this method, it is visually very obvious when the parts are in unison (or
octaves). Creating Col notation can be somewhat difficult with notation software,
and extra time is necessary when creating parts—obviously, each part must have
the completely written music. However, this notational shortcut is extremely useful.
LARGE-SCALE REPEAT SCHEMES
A number of standard terms and symbols are used to indicate the repetition of
entire sections of the music. Repeat notation is used instead of writing the music
out again to save the writer time and to make the score and parts visually reflect
the repetitive nature of the music.
Repeat signs are used to repeat a complete section of music, often with numbered
endings. Like most of the symbols relating to form, indications about the ending
usually occur only on the top staff of the score.
&
&
?
?
?
&
bb
bb
bb
bb
bb
bb
44
44
44
44
44
44
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Trumpet
Alto
Tenor
Trombone
Baritone
Guitar
Funky Samba q=120
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
1.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
RKG
December Samba
78
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.6.07 Numberedending used in a repeated section
Music Notation 2/28/07 1:25 PM Page 78
For systems with several large choirs, the repeat notation can be shown above each
choir.
79
CHAPTER 3: The Contents of the Score
Fig. 3.6.08 Showing thenumbered repeat aboveeach choir in the score
Music Notation 2/28/07 1:25 PM Page 79
Any use of sectional repeats raises the possibility of confusion or mistakes during
rehearsal and performance, so they should be used only when necessary. In the
example below, the use of repeats only saves the writer from writing out two
measures and makes the road map of the music confusing. This passage would be
much easier to read if it were written without repeats.
No
Yes
& 4
4 ..‰
œ
œ œ
1J
œ œ
J
œ ‰ œ
J
œ
2
‰ œ
J
œ ‰ œ œ œ
3
1.
˙˙
.
.
4
Ó ‰
œ
œ œ
5
2.
.˙Œ
6
Ó ‰
œœ œ
7
J
œ œ
J
œ‰
œ
J
œ
8
‰œ
J
œ
J
œ œ
J
œ
9
.œ
J
œ ˙
10
Ó ‰
œ
œ œ
Moliendo CafeTraditional
Salsa 2/3 q=180
80
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.6.09 Poor use of repeat notation: thispassage would be mucheasier to read completelywritten out
& 4
4‰
œ
œ œ
1J
œ œ
J
œ ‰ œ
J
œ
2
‰ œ
J
œ ‰ œ œ œ
3
˙˙
4
Ó ‰
œ
œ œ
5
J
œ œ
J
œ ‰ œ
J
œ
6
‰ œ
J
œ ‰ œ œ œ
7
.˙Œ
8
Ó ‰
œœ œ
9
J
œ œ
J
œ‰
œ
J
œ
10
‰œ
J
œ
J
œ œ
J
œ
11
.œ
J
œ ˙
12
Ó ‰
œ
œ œ
Moliendo CafeTraditional
Salsa 2/3 q=180
Music Notation 2/28/07 1:25 PM Page 80
However, in a longer section with a shorter first ending, the use of repeats is
justified.
When a section repeats more than once, the number of times the passage is played
is indicated at the beginning of the repeated section, not the end of the section.
Indications for each player about which repeats to play are also written at the
beginning of the section. Since the word “repeat” can be confusing in written
directions, use the word “play” instead. In other words, instead of writing the
direction “Repeat three times,” write “Play four times.”
&
&
b
b
b
b
b
b
.
.
.
.
.
.
.
.
Fl. 1
Fl. 2
105 Play 4 Times Play 3rd & 4th Times Only
Œ
œ˘
f
‰ J
œ>
‰ J
œ>
105
Œ œ
˘
f
‰
J
œ>
‰
J
œ>
Œ ‰ J
œ>>
‰
œœ œ
>
106
Œ ‰
J
œ>
‰œ
œ œ
>
Œ
œ˘
‰ J
œ>
‰ J
œ>
107
Œ œ
˘
‰
J
œ>
‰
J
œ>
Œ ‰ J
œ>>
‰
œœ œ
>
108
Œ ‰
J
œ>
‰œ
œ œ
>
81
CHAPTER 3: The Contents of the Score
&b
b
4
4 ..
Up Swing
‰ j
œb
3
œnœ œ
œ œ œ
œ
Bb G-73
œb œn œbœ
œb œ
j
œ.œ
C-7 F7
‰ j
œb
3
œnœ œ
œ
œ œœ
D-7 G7
œœ œb œ œ
Œ
C-7 F7
&b
b..Œ
œ œb œnœ
œb œb
Bb Bb7
œœ œ œ
J
œb œ
J
œ
Eb A b71
œœ œ œ
œb œœ
œn
D-7 D b7
œœ œ œ
j
œ#
‰ Œ
C-7 F7
&b
b
2
œœ œ œb œn œ œn œb
D-7 G7 C-7
œœ œ
œ
Œ ‰J
œ
F7Bb D7
œ œ œ œ œ œb œ œ#œ Œ Œ ‰
j
œ
R.C.TR. Grudzinski
Fig. 3.6.10 Correct useof repeat notation
Fig. 3.6.11 Repeatdirections placed correctly at the beginning of the repeated section
© 2005, Richard Grudzinski
Music Notation 2/28/07 1:25 PM Page 81
Two symbols are used to indicate a return to an earlier point in the music: D.C.
and D.S. The abbreviation D.C. stands for the Italian phrase “Da Capo,” which
means return to the beginning. The D.C. is placed above the end of the last
measure to be played.
D.S. stands for “Dal Segno” and means return to the sign, indicated with the
symbol �. The D.S. is also placed above the end of the last measure. The sign
itself is placed above the left barline of the measure beginning the repeat.
.
.
.
.
.
.
.
.
.
.
’
2.
∑
∑
’ ’ ’ ’
Emi7
∑
∑
D.S. al Coda
∑
∑
’ ’ ’ ’
Eb
F
∑
∑
December Samba
82
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.6.12 Use andplacement of the D.C.
Fig. 3.6.13 Use andplacement of the D.S.
.
.
.
.
.
.
.
.
.
.
’
2.
∑
∑
’ ’ ’ ’
Emi7
∑
∑
D.C. al Coda
∑
∑
’ ’ ’ ’
Eb
F
∑
∑
December Samba
Music Notation 2/28/07 1:25 PM Page 82
The terms “To Coda” and “Coda” are used with the coda symbol to indicate when
the music jumps from one point in the score to a later point in the score called
“the coda.” (The term “coda” is not used here in the “classical” sense—as a formal
section of the music—but merely as a notational convention indicating the point to
which the music jumps.)
The coda sign goes directly above the right barline of the measure from which the
music jumps, with the term “To Coda” to its left. These symbols never appear in
a measure using ending repeats (such as a first or second ending).
œ œ œ œ œœ-
f
.œœ
>
œ œ œ œ œœ-
f
.œœ
>
∑
∑
∑
.˙ Œ
.˙ Œ
∑
∑
∑
To Coda fi
∑
∑
∑
∑
∑
December Samba
83
CHAPTER 3: The Contents of the Score
Fig. 3.6.14 Use andplacement of “To Coda”
Music Notation 2/28/07 1:25 PM Page 83
The coda always begins a new score system. The coda sign goes directly above
the clef of the first measure of the coda, with the term “Coda” to its right. If there
is no clef, the coda sign goes directly above the left barline.
Coda indications are commonly combined with D.C. and D.S. notation to indicate
large-scale repeats in the music. Some graphic examples in a single line of music
are shown on the next page.
&
&
&
?
?
bb
bb
bb
bb
bb
Tpt.
A.
Ten.
Tbn.
Bari.
fi Coda
œ
-
F
œ œœ
-
.œ œ
>
œ
-
F
œ œœ
-
.œ œ
>
œ
-
F
œ œœ
-
.œ œ
>
œ
-
F
œ œœ
-
.œ œ
>
œ
-
F
œ œœ-
.œ œ
>
œœ œ œ œ
œœ œ œ œ
œœ œ œ œ
œœ œ œ œ
œœ œ œ œ
œ
-
œ œœ
.
.œœ
>
œ
-
œ œœ
.
.œœ
>
œ
-
œ œœ
.
.œœ
>
œ
-
œ œœ
..œ
œ>
œ
-
œ œœ
..œ
œ>
84
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.6.15 Use andplacement of the Codasign
Music Notation 2/28/07 1:25 PM Page 84
How this would be interpreted:
• play measure 1–24
• return to the beginning,play measure 1–22
• jump to measure 25,play to the end
How this would be interpreted:
• play measure 1–24
• return to the sign at measure 9
• play to measure 22
• jump to measure 25,play to the end
&
#
#
#
4
4
1
∑
2
∑
3
∑
4
∑
&
#
#
#
5
∑
6
∑
7
∑
8
∑
&
#
#
#
9
∑
10
∑
11
∑
12
∑
&
#
#
#
13
∑
14
∑
15
∑
16
∑
&
#
#
#
17
∑
18
∑
19
∑
20
∑
&
#
#
#
21
∑
22
fiTo Coda
∑
23
∑
24D.C. al Coda
∑
&
#
#
#
25
fi Coda
∑
26
∑
27
∑
28
∑
85
CHAPTER 3: The Contents of the Score
Fig. 3.6.16 Graphicrepresentation of the use of D.C. and D.S.notation
&
#
#
#
4
4
1
∑
2
∑
3
∑
4
∑
&
#
#
#
5
∑
6
∑
7
∑
8
∑
&
#
#
#
9 %
∑
10
∑
11
∑
12
∑
&
#
#
#
13
∑
14
∑
15
∑
16
∑
&
#
#
#
17
∑
18
∑
19
∑
20
∑
&
#
#
#
21
∑
22
fiTo Coda
∑
23
∑
24D.S. al Coda
∑
&
#
#
#
25
fi Coda
∑
26
∑
27
∑
28
∑
Music Notation 2/28/07 1:25 PM Page 85
The term “Fine,” meaning end or ending, is often used in a large-scale repeat
scheme to indicate the last measure of music. This is shown in the example below.
&
#
#
#
4
4
1
∑
2
∑
3
∑
4
∑
&
#
#
#
5
∑
6
∑
7
∑
8
∑
&
#
#
#
9
∑
10
∑
11
∑
12
∑
&
#
#
#
13
∑
14
∑
15
∑
16
Fine∑
&
#
#
#
17
∑
18
∑
19
∑
20
∑
&
#
#
#
21
∑
22
∑
23
∑
24
D.C. al Fine
∑
86
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.6.17 Use andplacement of the Finewithin the score
How this would be interpreted:
• play measure 1–24
• return to the beginning
• play measure 1–16,stop at the Fine
Music Notation 2/28/07 1:25 PM Page 86
Fine is often written at the end of a score, though it’s not really necessary when
the final barline is used and there are no more measures of music.
It is very important that the score (and the parts) be as clear and easy to
understand as possible. Complex directions about the form of the piece can be
responsible for a great deal of wasted time in rehearsal (discussing the formal
structure) and mistakes and “train wrecks” in performance. We recommend you
use only the repeat terms and symbols discussed here—ending repeats, D.C.,
D.S., Coda, and To Coda—to avoid problems in rehearsal and performance.
All repeat indications should be used carefully and with discretion.
œ
f
œ œ œ œ œ œœ œ>
ƒ
≈ œ¨
Œ
œ
f
œ œ œ œ œ œœ
œ>
ƒ
≈œ¨
Œ
œ
f
œ œ œ œ œ œ
œœ
>
ƒ
≈ œ
¨
Œ
œ
f
œ œ œ œ œ œœ
œ>
ƒ
≈ œ¨
Œ
¶Fine®
œ
f
œ œ œ œ œ œ
œœ>
ƒ
≈ œ¨
Œ
87
CHAPTER 3: The Contents of the Score
Fig. 3.6.18 Use andplacement of the Fine atthe end of the score
Music Notation 2/28/07 1:25 PM Page 87
Notation for instruments in the rhythm section—keyboard, guitar, bass, drums, and
some percussion instruments—differs significantly from notation for horns, winds,
and strings. In many cases, rhythm-section notation is not a literal transcription of
what the instruments play. It is a guide that gives the players enough information
to create their parts within a particular style. The writer has a great deal of
discretion about how the parts appear for the individual instruments and must
carefully consider all the options before selecting the best one.
PLAYING TIME AND THE CHANGES
In many contemporary styles of music, one of the rhythm section’s principle
functions is to play time. At its simplest, playing time is indicated for all rhythm-
section instruments with slash notation. This type of notation merely shows the
players that time is going by. All the instruments except the drummer (and the
percussionist, when playing time) also are given chord symbols.
&
?
&
?
/
Gtr
Bs
Dr
Pno
’ ’ ’ ’
Fmaj7
∑
’ ’ ’ ’
Fmaj7
’ ’ ’ ’
simile
Fmaj7
27
’ ’ ’ ’
’ ’ ’ ’
∑
’ ’ ’ ’
’ ’ ’ ’
28
’ ’ ’ ’
’ ’ ’ ’
F#à
∑
’ ’ ’ ’
F#à
’ ’ ’ ’
F#à
29
’ ’ ’ ’
’ ’ ’ ’
Bò
∑
’ ’ ’ ’
Bò
’ ’ ’ ’
Bò
30
’ ’ ’ ’
88
MUSIC NOTATION: PREPARING SCORES AND PARTS
7. Rhythm-Section Notation and Improvisation
Fig. 3.7.01 Slashes forthe rhythm section,showing that the rhythmsection is playing time
Music Notation 2/28/07 1:25 PM Page 88
To make the style clear, it’s usually a good idea to write out one or two measures
of the time pattern—the groove—for each of the rhythm-section players. A written
style designation is also important. After the basic time pattern has been written out,
slash notation can be used to show the measures going by. The term “simile” is
written (below the staff) to indicate that the player continues playing time based
on the written pattern. If the music has more than one groove, the pattern should
be written out again, with the written style designation, when the groove changes.
After several statements of each pattern, the notated pattern can be omitted and
slashes and the style term alone can be used to show the groove.
&
?
&
?
/
C
C
C
C
C
itar
ass
ums
o
ww
DÑ
www
Û Û ‰ .Û
DÑ
œ ‰Jœ
˙
DÑ
23
¿
>Brush Samba
¿ ¿ ¿
>
¿
>
¿ ¿ ¿
>
Ӝ
Œ
˙̇ ˙˙
D-/C
˙˙˙
˙˙
Û Û ‰ .Û
D-/C
œ ‰Jœ ˙
D-/C
24
¿ ¿
>
¿ ¿
>
¿
>
¿ ¿ ¿
Ӝ
Œ
simile
simile
simile
simile
’ ’ ’ ’
Bà
∑
’ ’ ’ ’
Bà
’ ’ ’ ’
Bà
25
’ ’ ’ ’
’ ’ ’ ’
Eï
∑
’ ’ ’ ’
Eï
’ ’ ’ ’
Eï
26
’ ’ ’ ’
89
CHAPTER 3: The Contents of the Score
Fig. 3.7.02Pattern/simile notation:the basic time-keepingpattern is shown andthen slashes are used toindicate that the groovecontinues
Music Notation 2/28/07 1:25 PM Page 89
Some writers prefer to use one- or two-measure repeats after the written pattern,
instead of slashes, to show the passage of time. There is no hard-and-fast rule
about when to use slashes and when to use repeat notation, but we recommend
using slashes when the players are just playing time and repeat notation when
you want a more literal interpretation of the written music. Psychologically, the
players will interpret slashes a little more freely than the repeat notation.
In any part that uses two staves, such as piano, organ, or synthesizer, slashes go
only in one stave, usually the top stave. Combinations of slashes in one staff and
written notation in the other staff are confusing and should be avoided. In almost
every instance, if the music is this complex, it should be written out with
conventional notation.
No
No
No
Yes
&
?
Pno
’ ’ ’ ’
Fmaj7
∑
’ ’ ’ ’
∑
’ ’ ’ ’
F#à
∑
’ ’ ’ ’
Bò
∑
90
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.7.03 Measurerepeats used instead of slashes to indicateplaying time
/C
Drums
23
¿
>Brush Samba
¿ ¿ ¿
>
¿
>
¿ ¿ ¿
>
Ӝ
Œ
24
‘
25
‘
26
‘
&
?
Pno
’ ’ ’ ’
B!maj7
’ ’ ’ ’
B!maj7
’ ’ ’ ’
A7
’ ’ ’ ’
A7
’ ’ ’ ’
A!maj7
’ ’ ’ ’
A!maj7
’ ’ ’ ’
GÑ
’ ’ ’ ’
GÑ
&
?
Pno
’ ’ ’ ’
B!maj7
Œ Û ‰ .Û
B!maj7
’ ’ ’ ’
A7
Œ Û ‰ .Û
A7
’ ’ ’ ’
A!maj7
Œ Û ‰ .Û
A!maj7
’ ’ ’ ’
GÑ
Œ Û ‰ .Û
GÑ
&
?
Pno
˙ œ œb œ œb
Œ Û ‰ .Û
B!maj7
w
Œ Û ‰ .Û
A7
˙
3
Œœ œ
’ ’ ’ ’
A!maj7
.œ j
œ Œ œ>
’ ’ ’ ’
GÑ
Fig. 3.7.04a Never useboth staves of a pianopart to show slashes:use only one stave
Fig. 3.7.04d Show slashes and chord symbols in the upperstave and rests in thelower stave
Fig. 3.7.04b and 3.7.04cDon’t combine slashes inone stave with writtennotes or other types ofnotation in the otherstave
Music Notation 2/28/07 1:25 PM Page 90
If both piano and guitar are playing changes for a complete section of music, the
changes should only appear in one part, with Col notation appearing in the other
stave.
Showing the chords in only one of the comping instruments has both advantages
and disadvantages. On the plus side, it reduces clutter and redundancy in the score.
However, it can cause problems when extracting parts in notation software: you
have to add in the chord symbols that don’t appear on the score before you extract
the parts. Additionally, when looking at the score, the conductor can’t tell who has
the changes and who doesn’t. No matter how you decide to handle the changes in
the rhythm section, be consistent and proofread your parts carefully.
A common type of notation for guitar or keyboard is “top-note voicing.” A kind of
shorthand, in top-note voicings, only the highest note of the chord is notated, leaving
it up to the player to choose the notes below the top note. In addition to the chord
symbols and the written indication, the highest pitch is shown above a slightly
elongated stem, as shown below.
&b
44 .œ
j
œ
.œ
j
œ
AÑ GÑ Fmaj7
.˙ Œ
91
CHAPTER 3: The Contents of the Score
Fig. 3.7.05 Col notationused when two or morerhythm-sectioninstruments are playingchanges
&
&
?
C
C
C
Guitar
Piano
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Col Changes
’ ’ ’ ’
DÑ
∑
’ ’ ’ ’
D-/C
∑
’ ’ ’ ’
Bà
∑
’ ’ ’ ’
Eï
∑
Fig. 3.7.06 Top-note voicings for guitar.Notice the height of thestems.
Music Notation 2/28/07 1:25 PM Page 91
STOP TIME
Stop-time notation, sometimes called rhythmic notation, is used to specify the
rhythm of a passage while leaving the specifics of playing the figure up to the
player. All stems go down in stop-time notation.
For bass parts, it is often easier to write out the notes rather than use stop-time
notation, particular when the chord symbols are complex.
No
Yes
? #
13
.Û Û Û Û|
DÑ C#à CÑ
.Û Û Û Û|
G 2/B E∂
|.œ
>
F
œn
>
.œ œ
AÑ{16}
’ ’ ’ ’
G
92
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.7.07 Stop-timenotation showing specificrhythms
Fig. 3.7.08b Instead ofstop-time notation, eachnote is written out
Fig. 3.7.08a Stop-timenotation used in the basspart. In this instance, itis easier for the player toread a fully notated part.
&
#
13
.Û Û Û Û|
DÑ C#à CÑ
.Û Û Û Û|
G 2/B C#µ/E
|Ó
AÑ{16}
’ ’ ’ ’
Muted Pluck
F
G
? #
13
.œ œb œ œ ˙ .œœn œ œ ˙
˙.œ
>
F
œn
>
.œ œ
{16}
’ ’ ’ ’
G
Music Notation 2/28/07 1:25 PM Page 92
For two-stave piano parts, stop time appears only in the upper stave. Stop-time
notation in one staff is never combined with written notes (or slashes) in the other
staff.
No
Yes
CUES AND HITS OVER TIME IN THE DRUM SET PART
Slashes and noteheads can be combined for the drum part to show cues, kicks over
time, cymbal patterns, and kick drum patterns. Cues are written stems up, above the
staff, along with a word or two indicating the instrument or section the cue displays.
&
?
#
#
. .Û
P
R
Û|
EÑ
∑
. .Û
R
Û|
AÑ D/F#
∑
. .Û
R
Û|
BÑ G/C
∑
. .Û
R
Û|
A 2/C#
F/E!
∑
93
CHAPTER 3: The Contents of the Score
Fig. 3.7.09a In two-stave parts,stop-time notation in onestave is never combinedwith other types of notation
&
?
#
#
œ œ
œœ
œ ˙
. .Û
R
Û|
EÑ
œ œœ
œ ˙
. .Û
R
Û|
AÑ D/F#
. .Û
R
Û|
BÑ G/C
. .Û
R
Û|
BÑ G/C
’ ’ ’ ’
A 2/C#
F/E!
. .Û
R
Û|
A 2/C#
F/E!
Fig. 3.7.09b Stop-timenotation above rests inthe lower stave
Fig. 3.7.10 Cues shownabove the staff in thedrum part
/
35
’ ’ ’ ’
[C\u\e\:\ \H\o\r\n\s
Œ œ œ ≈ .
j
œ œ
’ ’ ’ ’
Decresc.
Ó .œ œ œ œ
’ ’ ’‰
J
Û|
Music Notation 2/28/07 1:25 PM Page 93
Kicks over time are shown in much the same way.
Specific cymbal rhythms and patterns are often indicated using this type of notation,
particularly in Latin styles. The slashes indicate that the drummer plays time as usual
on the rest of the drum set.
A similar type of notation can be used to indicate the rhythm of the kick drum.
Like the example above, the slashes show that the drummer plays time as usual on
the rest of the drum set while specifying a particular rhythm for the kick drum. This
can actually make the part easier to read than writing out the whole groove pattern,
since it calls the drummer’s attention to the critical part of the groove at that point—
the kick drum.
/
20
¿
>Ride Cym
P
¿ ¿ ¿ ¿ ¿ ¿ ¿
>
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
œŒ Ó
’ ’ ’ ’ ’ ’ ’ ’œ‰
J
œÓ
’ ’ ’ ’.œ œ‰
J
œÓ
94
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.7.11 Kicks overtime shown above thestaff in the drum part
Fig. 3.7.12 Specificcymbal patterns shownabove the staff in thedrum part
Fig. 3.7.13 The kickdrum part shown belowthe slashes in the drumpart
/
44
’ ’ ’ ’
‰j
œ
’ ’ ’ ’ ’ ’ ’ ’
‰j
œ
{47}
’ ’ ’ ’
/
{9}
’ ’ ’ ’
Ride Cym
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
’ ’ ’ ’ ’ ’ ’ ’
(4)
’ ’ ’ ’
Music Notation 2/28/07 1:25 PM Page 94
FILLS, SOLOS, AND AD LIB PASSAGES
For all instruments, slash notation with changes are used to show improvised
passages. (However, in contemporary “classical” or “new music,” improvisation
can be indicated in many ways. This section refers to the commonly accepted
notation for improvisation in contemporary popular music.) The beginning and
end of the solo are indicated with written terms.
It can sometimes be helpful to the soloist to show stop-time figures of important
accents in the accompaniment.
Fills, most common in the drum set part, are carefully written to show, as closely
as possible, when the fill begins and ends.
52
’ ’.Û Û ‰
J
Û
>
’ ’ ’ ’
[\F\i\l\l
{54}
’ ’ ’ ’ ’ ’ ’ ’
56
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[\F\i\l\l
95
CHAPTER 3: The Contents of the Score
Fig. 3.7.14 Notation forimprovised solos
Fig. 3.7.15 Stop-timefigures in the soloist’spart
Fig. 3.7.16 Notation for fills
#
{65}
’ ’
˙[S\o\l\o
GÑ
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
A\ Aï
#
69
’ ’ ’ ’
GÑ
’ ’ ’ ’
F/E! DÑ D
!Ñ
’ ’ ’ ’
C‹
’ ’ ’ ’
\E\n\d\ \≥S\o\l\o]
#
{65}
’ ’
˙[S\o\l\o
GÑ
’ ’ ’ ’ ’ ’ ’ ’ ’‰
J
Û Û Û
A\ Aï
#
69
’ ’ ’ ’
GÑ
’ ’.Û Û .Û Û
F/E!
DÑ D!Ñ
’ ’ ’‰ .
R
Û
C‹
|
\E\n\d\≥ \S\o\l\o]
Music Notation 2/28/07 1:25 PM Page 95
Chord symbols can be combined with written music to indicate that the player has
a certain amount of freedom in interpreting the passage. This type of hybrid notation
is often used to show that the player can take liberties with the interpretation of a
melody. The term “melody ad lib” can be used in these instances.
Changes can also be shown above rhythm section instruments like the guitar or
keyboard. Most players interpret this notation to mean that the written music is
shown as an example of how the part should be played, not as music to be played
literally.
Some writers use chord symbols as an aid to the player when they read the part,
expecting the player to play the passage exactly as written. In this case, “As Is”
or “As Written” should be written at the start of the passage.
&
?
##
##
44
44
{9}
www
[\\\A\s\≥ \\W\\\\r\i\t\t\e\n]
EÖ
˙ œ
œ
3
œ œb œ
˙˙˙
˙˙˙
A 2/C#
G 2/C
˙ ˙n
w
E-/G
.œ
J
œ ˙
.œ
j
œb ˙
E!/G
w
w
D/F#
.œJ
œb ˙
.œ
j
œN ˙
F#´
w
96
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.7.17 Written solosand ad lib notation
Fig. 3.7.18 Changesabove a fully notatedpart
Fig. 3.7.19 Changesused as an aid in sight-reading
##
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#
{17}
w
[M\e\l\o\d\y\ \A≥\d Lib]
F
C#Ñ
œœ œ
œ
A#Ñ Amaj7
.˙
3
œ œ œ
F#Ñ
.˙ ‰ œ œ
Dmaj7
&
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{9}
www
EÖ
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3
œ œb œ
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˙ ˙n
w
E-/G
.œ
Jœ ˙
.œj
œb ˙
E!/G
w
w
D/F#
.œJœb ˙
.œ
jœ ˙
F#´
w
Music Notation 2/28/07 1:25 PM Page 96
Because it combines text and music, vocal notation can be difficult and extremely
time-consuming to create. The lyrics often affect the spacing of the music, requiring
wider measures so that the text is both complete and legible.
LYRIC FONT AND SPACING
The lyrics should be large enough that they can be easily read, but not so large
that the measures become unnaturally wide. When preparing the score by hand,
writers use all capital letters. Using software, a mixture of uppercase and lowercase
letters appropriate to the meaning of lyric should be used. In addition, if you’re
using notation software, a sans serif font (a relatively plain style) can make
smaller type easier to read.
&b
bb
b
17
œ œ.œ
j
œ
mid - night of the
œ œbœ#
‰ j
œn
day you left that's
œ# œnœn œ
how I miss New
˙n
Œ ‰j
œb
York The
97
CHAPTER 3: The Contents of the Score
Fig. 3.8.01 A sans seriffont used for the lyrics
8. Text Setting and Vocal Notation
Music Notation 2/28/07 1:25 PM Page 97
Letters and other symbols in the lyrics must not collide. Experiment with the
measure layout of the score to find the best width for each measure. Measures must
be wide enough that the elements of the lyrics do not collide, but not so wide as to
look bizarre. This is relatively easy with notation software, but must be handled
carefully when creating a score by hand.
No
No
Yes
When writing by hand, using a ruler or straightedge makes the baseline straight and
exactly parallel to the staff. The lyrics then look much more neat and precise.
98
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.8.02a The measures are too wide,creating too much spacebetween them
Fig. 3.8.02b The measures are too narrow,causing collisionsbetween lyrics
Fig. 3.8.02c The widthof the measure allows forgood spacing of thelyrics
Fig. 3.8.03 Handwrittenlyrics created using astraight edge
&b
bb
b
{21}
œ œn .œb j
œ
cit - y's draped in
œ œ œb‰
j
œ
shades of grey the
&b
bb
b
{21}
œ œn .œb j
œ
cit-y'sdrapedin
œ œ œb‰
j
œ
shadesofgrey the
œn œb œn œb
Sound isblackand
˙
Œ ‰j
œ
blue the
œ œ.œ
j
œ
mid-nightof the
œ œbœ#
‰ j
œn
dayyou left that's
&b
bb
b
{21}
œ œn .œb j
œ
cit - y's draped in
œ œ œb‰
j
œ
shades of grey the
œn œb œn œb
Sound is black and
˙
Œ ‰j
œ
blue the
Music Notation 2/28/07 1:25 PM Page 98
To avoid collisions with the text, dynamics go above the staff in vocal music.
HYPHENS
The syllables of a multi-syllable word are separated by a hyphen. It’s important that
hyphens are used correctly, so consult a dictionary to see exactly how a word is
divided.
No
Yes
&b
bb
b
13.œ
j
œ œ œ
A bsol ut ely
j
œ œ
j
œ œœ
oh so co mplet ely
.œ
J
œ œ œ
fal ling in
.œJ
œ œœ
love.- - - - - -
99
CHAPTER 3: The Contents of the Score
Fig. 3.8.04 Placement ofdynamics in vocal music
&
V
?
44
44
44
Soprano
Alto
Tenor
Baritone
Bass
p
p
p
cresc.
cresc.
cresc.
j
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œœ
j
œœ
œœ
œœ
Sum mer's Here Let's
J
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J
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œœ
œœ
Sum mer's Here Let's
J
œ œ
J
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Sum mer's Here
f
f
f
j
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œœ
j
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˙˙
Have Some Fun
J
œœ
œœ
J
œœb
˙˙
Have Some Fun
J
œ œj
œ ˙
Have Some Fun
ww
ww
w
-
-
-
&b
bb
b
9.œ
j
œ œ œ
Ab so lute ly
j
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j
œ œœ
oh so com plete ly
.œ
J
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fall ing in
.œJ
œ œœ
love.- - - - - -
Fig. 3.8.05a Hyphensused incorrectly; wordsare not separated intocorrect syllables
Fig. 3.8.05b Hyphensused to show the correctsyllables of each word
Music Notation 2/28/07 1:25 PM Page 99
A single syllable word is written in its entirety, with no hyphen, no matter when
the final consonant or vowel might be sung in performance.
No
Yes
SLURS AND WORD EXTENSIONS
Slurs are not used to indicate phrasing or articulation in vocal parts. A slur is used
to show two or more notes sung with a single word or syllable. A word extension is
used with the slur. Note that the extension extends just to the right of the last
notehead under the slur.
No
Yes
&b
bb
bœ œ œ
œ .œj
œ
Help me
œ ˙‰
j
œ
know the
100
MUSIC NOTATION: PREPARING SCORES AND PARTS
&b
bb
b .œ
J
œ œ œ
fall i ng in
.œJ
œ œœ
lo ve.- - -
&b
bb
b .œ
J
œ œ œ
fall ing in
.œJ
œ œœ
love.-
&b
bb
bœ œ œ
œ .œj
œ
Help me
œ ˙‰
j
œ
know the
Fig. 3.8.06a A single-syllable word divided bya hyphen to show wherethe singers “close” theword
Fig. 3.8.06b A single-syllable word writtencorrectly
Fig. 3.8.07b Word extensions extend just tothe right of the lastslurred notehead
Fig. 3.8.07a Word extensions are either tooshort or too long
Music Notation 2/28/07 1:25 PM Page 100
After all the contents of the score have been entered, there is still a lot of work to
do to finish the score. When using notation software, print a draft of the score to
review and edit. If you’re preparing the score by hand, much of the editing
described below will already have been done, but you should still proofread the
score—particularly notes and rhythms.
THE FINAL SCORE LAYOUT
The end of chapter 2 contains a number of suggestions about how to work the score
layout. Please review these ideas because many of them deal with ways to work
with the final layout of the score once the notes have been entered. This section
deals with the final touches made to the score once you’ve entered all the notes
and other symbols and are preparing your final copy.
Check the spacing of the measures so that elements don’t collide. It might be
necessary to move a measure or two to the following page to create better spacing.
If the measures are too wide, you’ll need to add measures to that page. You
sometimes have to experiment to get the best result, and you can’t always trust
that the software will automatically give you the best layout.
Some writers like the score to visually represent the form of the music, if possible.
This means that sections begin in the first measure of the page and end in the last
measure. Obviously, this sometimes doesn’t work, depending on how the spacing
of the measures works out.
&
&
&
B
?
##
##
#
##
##
##
##
A Sx
Vln 1
Vln 2
Vla
Vc
{9}
w
w
w
˙ œ
œ
3
œ œb œ
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w
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j
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w
w
.œ
jœb ˙
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w
w
w
w
w
Silent Picture - P.2
101
CHAPTER 3: The Contents of the Score
9. Finishing the Score
Fig. 3.9.01 Sectionsbeginning in the firstmeasure of a score page
Music Notation 2/28/07 1:25 PM Page 101
Never have two-measure repeats split between two pages or begin a line or page with
a two-measure repeat.
No
Yes
&
&
&
##
##
#
##
##
A Sx
Vln 1
Vln 2
{42}
’ ’ ’ ’
[S\o\l\o]
P
G#-
.œJ
œ .œ
J
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.œ#
j
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j
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G#maj7
.˙Œ
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’ ’ ’ ’
G#-
«
2
«
2
’ ’ ’ ’
G#maj7
’ ’ ’ ’
G#-
«
2
«
2
’ ’ ’ ’
G#maj7
’ ’ ’ ’
G#-
«
2
«
2
’ ’ ’ ’
G#maj7
Silent Picture - P.4
102
MUSIC NOTATION: PREPARING SCORES AND PARTS
Fig. 3.9.02a A two-measure repeat splitbetween two pages
Fig. 3.9.02bA two-measure repeat contained within a single page
&
&
&
##
##
#
##
##
A Sx
Vln 1
Vln 2
{42}
’ ’ ’ ’
[S\o\l\o]
P
G#-
«
2
«
2
’ ’ ’ ’
G#maj7
’ ’ ’ ’
G#-
«
2
«
2
’ ’ ’ ’
G#maj7
’ ’ ’ ’
G#-
«
2
«
2
’ ’ ’ ’
G#maj7
’ ’ ’ ’
G#-
«
2
«
2
Silent Picture - P.4
Music Notation 2/28/07 1:25 PM Page 102
Be sure to check the last page of the score and adjust the final barline, if necessary,
to have correctly sized measures. (See examples 2.3.8a and 8b in chapter 2.)
It can be helpful to the conductor to indicate those items that continue from the
previous page so that it isn’t necessary to flip back to an earlier page to see what’s
going on. (These additions usually have to be deleted from the individual extracted
parts.)
##
##
#
##
##
##
##
##
##
##
A Sx
Vln 1
Vln 2
Vla
Vc
Bs
Dr
Pno
’ ’ ’ ’
(Solo Cont'd)
C\ Cü
’ ’ ’ ’
C\ Cü
88
’ ’ ’ ’
’ ’ ’ ’
DÑ
’ ’ ’ ’
DÑ
89
’ ’ ’ ’
Ó Œ
3
‰ œ
P
œ
’ ’ ’ ’
Gü
’ ’ ’ ’
Gü
90
’ ’ ’ ’
p
p
p
p
.˙n
3
œœ œ
wn
˙b ˙n
˙n ˙
˙ ˙
’ ’ ’ ’
End SoloGÑ F 2/A
’ ’ ’ ’
GÑ F 2/A
91
’ ’ ’ ’
Cresc.
Cresc.
Cresc.
Cresc.
Cresc.
Cresc.
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-
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n œœœ
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92
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93
.Û Û ‰
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silent Picture - P.7
103
CHAPTER 3: The Contents of the Score
Fig. 3.9.03 Showing thata solo continues from theprevious page
Solo continues
from previous
page
Music Notation 2/28/07 1:25 PM Page 103
PROOFREADING AND EDITING
Once you’ve determined the final score layout, print another draft of the score
for proofreading. Whether you’re preparing the score by hand or using notation
software, proofread your score carefully.
Here is a list of things to check:
• If you have the right equipment, play the score via MIDI and check that all the notes are correct. It can take some time to get your equipment set up to play your score correctly, but this can be a great way to check for wrong notes.
• Be sure that no words or music are cut off by any of the margins. The instrument names in the left margin are often too close to the edge of the paper—though they look fine on screen—and don’t print completely.
• Make sure all bars contain complete measures of music. Notation software usually alerts you when you have too many beats in a bar but not when you have too few.
• Scan the score for accidentals. See if any non-diatonic notes need to be respelled to make the direction of the line clear. See if any courtesy accidentals are needed. Also, check to see if the chords in the piano part are spelled correctly. Notation software often misspells non-diatonic pitches in chords.
• Make sure score elements do not collide. You can do this quickly by scanningthe score for dynamics, notes written with ledger lines, slurs, “hairpin”dynamic marks, words in the score, and articulations. These are the elements that most often collide with one another.
• Check any staves with divisi parts. Software notation often misses collisions between elements in separate layers of the music, so look carefully at accidentals, notes, dots, and rests.
• Check the initial entrances of each instrument (and any entrances after long rests) to be sure their dynamic level is indicated.
• Check that all parts have the necessary articulations.
• Check for changes of key signature and add courtesy key signatures as necessary. Also, check for changes in time signature and clef.
104
MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:25 PM Page 104
COPYING, BINDING, AND TAPING
Once you have a final draft of the score, decide how you want to “finish” it.
Depending on how you’ll use the score, you have a number of options. Photocopies
of the scores can be single or double sided. A double-sided photocopy can be
extremely useful and uses less paper, and many conductors and producers prefer
double-sided copies because there are fewer page turns.
A number of inexpensive binding methods are easily available at most copy shops.
Some writers, especially those who prepare a great many scores, go so far as to buy
their own binding machines. After the initial purchase of the device, there is a great
cost saving if you do it yourself.
Some conductors, particularly when conducting recording sessions, feel that the
spiral or plastic binders make too much noise when turning pages. They prefer
taped scores instead because they make less noise when turning pages.
If you’re preparing your score for a teacher, producer, or senior writer, ask how they
want the score finished. If the score is for your use only, simply decide what works
best for your particular situation.
In preparing the score, entering the notes and other musical symbols can be
extremely time-consuming. However tedious the work might be, it’s also important
that the score is error free. You should develop a consistent approach to how you
work with your scores so that you can work quickly and efficiently. Here are some
suggestions for this process.
1. Decide whether to begin creating the score before the composition and orchestration of your work is complete. This critical decision affects how you will work with your score. If you have a completed sketch or rough draft from which to work, the process of creating the score can be very fast and relatively easy. If you’re writing while creating the score, the score will take shape much more slowly.
105
CHAPTER 3: The Contents of the Score
10. Summary: Entering the Contents of the Score
Music Notation 2/28/07 1:26 PM Page 105
If you’ve completed the writing process…
2. Create a blank score. Your blank score should have all the layout elements in place: page numbers, measure numbers, rehearsal marks, double barlines, etc.
3. Enter all the notes in the score. You can do this either page by page, section by section, or by following a single stave all the way through from beginningto end.
4. Add articulations and phrase markings. As in the note-entry stage, you can follow several possible schemes.
5. Add all dynamics.
6. Add all words in the score.
7. Proofread your score carefully. If you’re working with notation software,print a draft of your score and then proofread, marking errors and things that need changing with a colored pen (red is best—it’s easy to see when scanning the page). Then, enter all the changes in the score on screen, page by page. If you’re preparing your score by hand, make corrections as you go.
8. Proofread again. You need to keep checking the score until it’s error free.
If you’re writing as you go—either orchestrating or composing—you’ll need to
develop the skills to work on the score accurately and quickly. It’s essential that you
don’t let the mechanical process of putting notes in the score interfere with the
creative process of deciding what those notes should be. Here are some suggestions
for working this way.
1. Don’t worry too much about details as you write. Only include as many elements as are necessary to get the idea down on paper. You can go back and add dynamics, articulations, and other score details later.
2. If you’re using notation software, don’t attempt to write while creating the score unless you know the software extremely well. It’s really frustrating to try to compose or orchestrate music, create a score, and learn a software program at the same time—especially if you’re working under a deadline.
106
MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:26 PM Page 106
3. Don’t feel that you have to finish a section before you move on. This dependssomewhat on your compositional technique, but it’s important not to get “stuck” in the score. Allow yourself to temporarily skip a place in the piece that’s causing problems and go on while the energy and inspiration are there. You can always go back later and work out the problem area.
4. Once the piece is written, go back and enter all the missing elements in the score. As described above, systematically go through the score and add the dynamics, articulations, performance directions, etc., in the score.
5. Proofread your score carefully.
107
CHAPTER 3: The Contents of the Score
Music Notation 2/28/07 1:26 PM Page 107
Music Notation 2/28/07 1:26 PM Page 108
CREATING PARTS
In today’s world, the majority of parts are created on computer. However, there
are pros and cons to working this way, just as there are with the “older” method of
creating parts by using pen and ink.
USING A COMPUTER
There are great advantages to using a computer to generate parts:
• Parts are extracted from the score (if the score has either been originally created with a computer or entered from a handwritten copy).
• Transpositions can be automated.
• Music can be copied and pasted.
• Future edits can be made and the parts simply reprinted.
• The composition or arrangement can be easily transposed to another key.
• Printing computer-generated parts saves time and money, compared with creating parts by hand.
• Templates can be created to further save time.
• Notation software permits MIDI playback of your music.
• Errors are less likely to occur when parts are generated by computer,compared with parts copied by hand.
There are several disadvantages to this method:
• Standard 8.5" x 11" paper is not good paper for parts.
• Printing parts can be problematic. Parts normally have to be printed on 8 1/2" x 11" paper and then photocopied onto larger, heavyweight paper. (The industry standard size is 9.5" x 12.5", 70-lb. paper.) Alternatively, you can invest in a printer that will print to oversize paper, which adds expense and requires setup and preparation. Or, you can print on 11" x 17" paper and trim it to size.
• Players tend to like the “written by hand” look (which is why there are fonts that emulate the handwritten style).
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1. Choosing the Tools
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• If the score was originally done by hand, you have to create another computer score, which is redundant work unless the score is to be published.
• The industry standard program (if there is one) is generally considered to be Finale, which has a steep learning curve and a significant investment in hardware, software, and time to learn the program.
• A number of other programs are becoming popular, which means that severaldifferent file formats are commonly in use within the industry. This can makesharing electronic files difficult.
CREATING PARTS BY HAND
The main advantages to creating parts by hand:
• The work can be done on industry-standard paper from the beginning.
• If the score was originally done by hand, it is unnecessary to create a second version on the computer.
• Players tend to respond better to the look and feel of the handwritten part.
Additionally, the work has a meditative, “Zen-like” quality—one sits in a quiet room
using pen and ink to draw the notes and other musical characters—and is more of an
art than using the computer to generate the parts.
However, once a part has been created by hand, it is difficult to make changes to it.
Music usually has to be erased or recopied entirely to make room for any edits or
changes. Parts often must be patched (literally copied and pasted) to accommodate
edits. If the entire score has to be transposed to another key (for a singer whose top
range has diminished over time, for example), all the parts must be recopied, thus
increasing costs and taking more time. In short, changes cannot be made easily.
PAPER
Finding the best paper may be problematic, depending on where you live and
work. In New York and L.A., you can buy quality paper in many places, although
the number of places is shrinking. The best paper is 70 lb. card stock, which is
“golden” or “buff” in color to reduce glare and has a coating that enables a pen to
glide over the surface, making copying fast and painless. This paper is normally
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2. Parts by Hand
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folded so that two pages are already connected, making taping unnecessary until
the music exceeds two pages. The paper is a standard size (9.5" x 12.5") and
normally has eight staves on the title page and ten staves on the continuation page.
If the part requires more pages, you simply use additional continuation pages,
called “10 x 10” (ten staves on each page). Additionally, there are specialty papers
for almost every conceivable situation: lead sheets (6" x 8"), piano vocal (three-
stave systems), etc. See appendix B for information about locations to find paper.
EQUIPMENT
Pens—This is where things get complicated, because few pens will work right out
of the box. A good copyist normally customizes the pen points to their particular
specifications and for different types of parts. Several pens are necessary for copying
a part. One pen is used for general music writing, another for directions (often called
“English on parts,” although Italian, French, and other languages might be used), and
yet another for other types of directions, all of which need to be different sizes so
that they stand apart from one another. Some professional copyists use up to a dozen
different pens to write different types of parts. Conductor and piano/conductor parts
require the most pens; a copyist may well use at least six different pens to more
easily distinguish different directions from one another.
• Straight edges (most commonly triangles)—used to make stems, barlines,and other lines that must be perfectly straight
• French curves and flexible curves—often used to make slurs and other curvedlines consistent, particularly for work that might be published or for solos (like a piano concerto)
• Correction fluid, correcting tape (tape with the staff lines printed on one side,for large errors), electric erasers—used to correct errors
• Quality ink (black, India-type ink)—for a solid, opaque image, particularly waterproof ink, so that spills of water or other substances do not ruin the part
• Photocopying machine—for making duplicates of parts for orchestra, most commonly for the string section
This is quite an array of equipment, but relatively cheap (except for the
photocopying machine, which is readily available in commercial copy shops)
compared to the cost of a fast computer with a large display and a good printer.
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EQUIPMENT AND PAPER
There is one big advantage to using 8.5" x 11" paper: it is the standard size used byprinters and photocopy machines in North America. The paper is inexpensive andeasy to find. Most printers and copiers are set by default to this size, so it’s easy toprint your 8.5" x 11" documents.
However, the standard 8.5" x 11" white copy paper is poor paper for parts. Its brightwhite color can be hard on the players’ eyes and its reflective quality can make ithard to read. This paper has a relatively light weight so it wears quickly, is difficultto tape together, and easily slips off the music stand. The 8.5" x 11" white copypaper is a poor substitute for the 9.5" x 12.5" professional part paper describedearlier in this chapter.
There are several options for the writer who wants to avoid 8.5" x 11" copy paper.First, parts can be printed from the computer on standard 8.5" x 11" paper and thenenlarged and photocopied onto standard professional part paper. Obviously, thispaper can’t have pre-printed staves on it and most music stores don’t stock it, so youwill probably have to buy it on the Internet or by mail order (see appendix B).
Most retail copy shops can enlarge 8.5" x 11" documents relatively easily. It onlytakes a little trial and error to find the right settings on the copy machine that can beused to create parts on 9.5" x 12.5" paper. One drawback to this method is that thepages of the parts usually need to be copied to single sheets of part paper rather thanto the folded paper (since folded paper will create jams in most copy machines). Theindividual pages of the part are then taped together.
Alternatively, you can use a printer that accommodates oversize paper. A number ofinexpensive ink-jet printers print on paper up to 11" x 17" in size. There are alsolaser printers that print on oversize paper, but they tend to be expensive. Having anoversize printer is a good option because it will print 11" x 17" scores and 9.5" x12.5" parts, as well as 8.5" x 11" documents. Most of these printers can also print onfolded paper, reducing the number of pages needing to be taped together. However,ink-jet printers don’t print images as sharply as laser printers, so the music doesn’tlook quite as crisp and clean. In addition, even though the printers themselves have arelatively low cost, their ink cartridges are fairly expensive.
Another option is to buy professional part paper in the 8.5" x 11" size. Like the 9.5"x 12.5" paper, this paper can be bought in either single sheets or two folded pages.This size is often more convenient for the players because it fits conveniently intocommon folders and notebooks.
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3. Parts by Computer
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THE “PARTS SCORE”
When creating the score and parts by computer, it can save a great deal of time tomake a “parts score” to be used only as a source from which to extract parts. Certainitems can appear differently in the score than they appear in the parts. Here are a few differences:
• Some font sizes that look fine on the score are too big on the parts,particularly if the score is large, with lots of instruments.
• Staff names shouldn’t appear on the parts.• While clefs appear at the beginning of every system in the score, they usually
appear only in the first line of each page of the parts (see below).• The position of the measure numbers in the parts often differs from their
position in the score.
After you’ve created the final draft of the score, save the file under another name.Make all the necessary changes to this score and then extract the parts from it. Whenyou’re done, you can delete this score since you won’t need it anymore.
GENERAL GUIDELINES
Here are some general guidelines to follow when laying out parts:
• Because most music is in even-numbered phrases (2-, 4-, and 8-bar phrases are extremely common), 4 bars per line is the generally accepted way of laying out parts. In addition, most professional copyists compute their price per page based on four measures per line. On average, a title page has 32 bars and continuation pages have 40 bars. Obviously, multi-measure rests will affect the total number of measures per page.
• Information regarding tempo, articulations, changes of instruments (for players who double on another instrument), mutes (for brass), brackets for tuplets, rehearsal marks, and information pertaining to the ensemble as a whole usually goes above the staff.
• Dynamics (except for vocal parts), individual bar numbers, and information pertaining to an individual player generally go below the staff.
• Generally, a large multi-measure rest—eight bars or larger—takes up a wholeline. This is in case more music might be added after the parts have been copied or printed, and to allow the maximum amount of white space so that the part is visually accessible. Even when parts are printed from a computer program, last-minute fixes are often done by hand.
• Multi-measure rests of less than eight bars can take up whatever amount of space is necessary in order to help visually “balance” the part. The part is balanced when phrases and sections start at the left in the first measure of a line and end at the right in the last measure of a line.
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4. Laying Out the Parts
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PAGE HEADERS
The top part of the page is called the “header.” The header of the title page should
have the space of two staves (or lines, as they are generally referred to). This leaves
plenty of room to insert the title information without crowding. As in the page layout
of the score, the part should have as much white space as possible to allow the music
to be visually accessible.
Referring to the example at right, notice the following information on the title page:
• At the top left of the page, aligned with the end of the staff and about a half inch from the top, is the instrument name, either spelled in full or abbreviated. The type size should be large enough to easily read, but not as large as the title.
• At the top right, aligned with the end of the staff about a half inch from the top, is the name of the artist or the production, aligned with the instrument name. This type size should be comparable to the size of the instrument name. Whether or not you have this line of information depends on how yourscore will be used.
• Below these, put the name of the piece, in the largest type, centered on the page. A subtitle is centered underneath. In hand copying, a marker pen or rubber stamp is used. In computer copying, the title is in 24-point (or larger) type; the subtitle font is smaller.
• Just below the title, and justified right, put the name(s) of the composer,arranger(s), and/or lyricist in the smallest type. It is not always necessary to indicate the composer’s name, especially if it is well-known.
• Tempo and style information are placed just over the staff, above the time signature. The size is smaller than the instrument name but larger than the name(s) of the composer/arranger.
• Clef, key signature, and meter are at the left, on what is now the first staff. If there is no title paper available when preparing the part by hand, use the first two staves to write in the title information. If you’re preparing the score by computer, you may indent the first staff slightly.
• On single-line parts, it is common practice to show the clef only on the first line of each page. Since few instruments read more than one clef, only the key signature is shown on the remaining staves of the page. However, on piano parts and other multi-stave parts, the clefs and the key signatures must be on every system. Omit the left barline of single-line parts when the clef is present.
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As in score layout, the continuation pages of a part have a standard format.
The header of the continuation page has the following elements:
• An abbreviated form of the instrument name at the top left
• The page number centered at the top in large type
• The title at the right in small type in case the pages become separated
• The clef of the single-line part shown only on the first line of the page
• Omission of the left barline when the clef is shown
REHEARSAL MARKS, MEASURE NUMBERS, AND MULTI-MEASURE RESTS
The rehearsal marks in the score and parts must match exactly. Every rehearsal mark
that appears in the score must appear in all the parts. This is extremely important.
It is currently common for writers to number every bar, from the beginning to the
end, with no double numbering of repeated sections. The numbers are placed just
under the barlines. Be sure that they do not interfere with musical information.
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CHAPTER 4: Creating Parts
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Music Notation 2/28/07 1:26 PM Page 115
If you are using measure numbers as rehearsal marks, the number of the measure
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under the staff is eliminated.
Some writers prefer to number only the measures that begin a line of music. This
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MUSIC NOTATION: PREPARING SCORES AND PARTS
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Music Notation 2/28/07 1:26 PM Page 116
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117
CHAPTER 4: Creating Parts
Fig. 4.4.06a Double bar and rehearsal marknot shown
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Music Notation 2/28/07 1:26 PM Page 117
PAGE TURNS
If the part is longer than three pages, players need some period of rest in order to
turn the page. Usually one to two bars at a slow tempo, or two or more at a fast
tempo, will suffice. If necessary, a page of the part can be incomplete, ending after a
few measures of rest in what would normally be the middle of the page, to give the
player time to turn the page. V.S. (an abbreviation of volti subito, meaning turn sud-
denly) is used to tell the player that there isn’t any more music to play on that page
and to turn the page. While there may be enough time for the player to leisurely turn
the page, the use of V.S. to indicate page turns has become common practice. The
next section of this chapter shows an example of this in a sample part.
Following page 3, there will be page turns on every odd page—5, 7, 9, etc. This is
because the player generally opens the first three pages (which fit comfortably on a
music stand), but then flips the pages after page 3 and can only see two pages at a
time—4 and 5, 6 and 7, etc.
The next several pages show excerpts of several different parts, prepared both by
hand and by computer. The parts, shown on the right-hand pages, have obviously
been reduced to fit it on the page. Comments about the parts are shown in the
left-hand pages.
Chan Chan, page 1
• Notice the format of the header on the title page.
• Note that there are only eight staves (lines) on the title page, but that the continuation pages have ten.
• Note how the 7-bar rest in the first line and the 3-bar rest in the sixth line help to balance the part.
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5. Sample Parts
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119
CHAPTER 4: Creating Parts
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Chan Chan, page 2
• Notice the format of the header on the continuation page.
• Notice how the 4- and 8-bar multi-measure rests are used to balance the part.
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121
CHAPTER 4: Creating Parts
Music Notation 2/28/07 1:26 PM Page 121
Chan Chan, page 3
• Notice how the page turn is handled on this page.
• This page of the part is incomplete. The 3-bar multi-measure rest is the only rest long enough before the end of the part to give the player time to turn the page. The part then continues on page 4 (not shown here) and the player plays to the end without any measures of rest.
• V.S. is placed below the staff to tell the player to turn the page.
• Note how the 3-bar rest on this page helps balance the first line.
• Also notice how the 5- and 3-bar multi-measure rests are used to balance the 12-bar section beginning with rehearsal mark 97.
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Music Notation 2/28/07 1:26 PM Page 123
Street Scene, piano, page 1
• In this computer-generated part, notice that the two staves are joined by bar-lines, which go through the staves to form a system.
• At the left are the brace, clefs, and key signatures. These must be on every system of all 2-stave parts, even when copied by hand. It is considered unprofessional to leave off the clefs, braces, and key signatures of a 2-stave part, as it makes reading the part difficult.
• Notice how the 3-bar multi-measure rest is used to balance the part so that the first section begins at the start of the second system.
• Notice how the last line of the first page only has three measures of music. Since this is a 6-bar phrase, this line and the first line of the second page each consist of three measures. The end of page 2 also uses this distribution of measures.
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MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:26 PM Page 124
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CHAPTER 4: Creating Parts
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Street Scene, piano, page 2
• Notice how using three measures per line balances the 6-bar phrase beginning in measure 19.
• Notice how each of the three sections on this page (19, 25, and 29) begin a system.
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MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:26 PM Page 126
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Street Scene, piano, page 7
• Notice how the numbered repeats are used on this page. In general, first and second endings should be shown on different systems to help with readability.
• Note how the second ending in the second system is short, which allows the next system to begin at the left.
• Also notice that the repeated sections are kept on one page. This is done whenever possible to eliminate page turns during a repeat and to avoid making the player’s eyes travel too far while reading the part.
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MUSIC NOTATION: PREPARING SCORES AND PARTS
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7 Street Scene
129
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Street Scene, piano, page 8
• To keep the measures the correct width, the last system doesn’t extend all theway across the page.
• Rhythm section parts are often a challenge to lay out properly, because there aren’t always rests. These players often have to turn the page with one hand while continuing to play with the other. Obviously, some of the notes will notbe played unless the player has a “page turner.” Page turners are generally only used in classical music or during a recording session when all of the notes have to be played. Drummers often use two music stands to spread out the music so that they don’t have to turn the page.
130
MUSIC NOTATION: PREPARING SCORES AND PARTS
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131
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La Rosa de Las Terrenas, vocals, page 1
• Vocal parts are more like vocal scores in that separate parts are not copied for soprano, alto, tenor, etc. Singers must be able to see (and hear) whatthe other singers are doing in order to orient their pitch and enunciation of the lyric. Because this part is more like a score, the instrument names and abbreviations are used throughout to clarify who is singing each line of music.
• Notice where the bar numbers are placed to avoid collision with the lyric. The bar numbers are placed on top of the system, whether it’s a solo or a group part.
• The systems are joined only at the left, and barlines are not drawn through the system in order to avoid collision with the lyric.
• In this example, the measures are in groups of four to the line—a happy coincidence. At other times, it is advisable to lay out the lines using three andsometimes two bars to the line to accommodate the lyric, particularly if the music is complex rhythmically or there are long words and syllables. This will throw the part off balance, but you can make it conform to the standard as much as possible using the techniques illustrated in the piano part.
• Notice how the 7-bar multi-measure rest is used to balance the first system.
• Examine how word extensions and slur marks are used with the text. This aspect of vocal notation often requires careful attention to detail.
• Notice that chord symbols appear on the part. It’s very common to include chord symbols in vocal parts as an aid during rehearsal.
132
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&
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Lead
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- - - - - - - - -
La Rosa de Las TerrenasMusica-Richard GrudzinskiLetra-R. Grudzinski, Jose Rojas & Ben DeRoubaix
©2004 Richard Grudzinski
Vocals
133
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La Rosa de Las Terrenas, vocals, page 2
• Notice how all three background vocal parts are written in the bottom staff.
• Notice how an abbreviation of the title is used on the continuation pages. Because the title is relatively long, a shortened form of it avoids visual clutter.
134
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- - - -
2 La Rosa...Voc.
135
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La Rosa de Las Terrenas, vocals, page 3
• Notice how the two multi-measure rests are used to balance the part.
Remember, whether parts are copied by hand or generated from a computer
program, design and layout are critical to the readability of the part. Although
some composers and arrangers may use different methods than those presented
here, these examples conform with the industry standard practiced by music
preparation professionals in the music business.
When the parts are done, it is advisable to have an independent proofreader check
for mistakes. In the world of professional music copying, the proofreader compares
the parts to the score and makes any necessary corrections with a pen. The original
copyist will usually never see the parts again unless he or she is also the librarian
(the person who delivers the parts to the venue, makes sure that everything is in
order, etc.).
For many writing situations, no independent proofreader will be available. Because
it is difficult to proof your own work, particularly when it is fresh in your mind,
try to wait a day or so before proofing. Try to be fresh and clear of mind before
proofing. It is vital that all details (accidentals, notes, dynamics, etc.) are correct.
You are the last person to check the parts before the musicians see them, so if there
are any mistakes, you take the blame. In some professional situations, the librarian
may be called upon to make last-minute changes and/or fixes. These are normally
done by hand, regardless of whether the parts were originally generated by hand or
by computer. It is usually faster, and normally there is no computer and printer at
the venue, unless the venue is a film scoring studio, which may well have a music
preparation office on site.
In particular, music prepared for recording studio sessions must be particularly
carefully prepared, because there is often no rehearsal, when any mistakes could
have been caught. The chart may be played once or twice to check for notes and to
go over musical interpretation, after which tracking takes place. Recording is only
interrupted to re-record a take (for various reasons) or to do overdubs.
Whether the parts are done by hand or computer—and for whatever performance
situation—it is extremely important that your scores and parts meet industry
standards and be error free.
136
MUSIC NOTATION: PREPARING SCORES AND PARTS
6. Proofreading and Editing
Music Notation 2/28/07 1:26 PM Page 136
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49Interlude
49-56
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67
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68∑
- - - - - - -
3 La Rosa...Vocals
137
CHAPTER 4: Creating Parts
Music Notation 2/28/07 1:26 PM Page 137
AFTERWORDThis book provides a road map for the creation of scores and parts for most
contemporary music styles in accordance with current industry standards. While
some composers and arrangers may have slightly different ideas about some of
the notation practices recommended here, all writers appreciate well-written
scores and parts. Music notation is a language, a representation of the music. It’s
not the music itself. However, it conveys the writer’s intentions and instructions
and therefore should do so in the clearest, most accessible and artful way possible.
Good soulful music deserves high-quality scores and parts, the better to
communicate the ideas and emotions of the music.
We have not included much in the way of music notation specific to “contemporary
classical” or country music, although an in-depth reading of our book will certainly
aid you in preparing scores and parts for those genres. While both modern classical
and country music have developed unique notational practices, scores and parts in
these styles must still exhibit the basic qualities of good music notation: accuracy,
clarity, and attention to the visual requirements of the musicians reading the score
and parts. While we have not included specific notation devices used in either of
these styles, we have provided a resource guide in appendix B to aid the writer who
wishes to go beyond the scope of this book.
Writers who extend their art beyond musical sound to the written page through
their scores and parts should not feel hindered by “industry standards,” but they owe
it to the players and the listener to communicate their ideas as efficiently as possible.
The beginning writer should embrace the information in this book and always feel
that they can go beyond it. The emerging professional will gain the respect and
good-will of the musicians, producers, conductors, and other music professionals
with whom they work by following these recommendations. As stated in the I
Ching—the world’s oldest book, itself a testament to the powers of man to commu-
nicate—perseverance furthers.
138
MUSIC NOTATION: PREPARING SCORES AND PARTS
Music Notation 2/28/07 1:26 PM Page 138
APPENDIX A. INSTRUMENTNAMES AND ABBREVIATIONSWoodwinds WW.
Piccolo Picc.
Flute Fl.
Oboe Ob.
English Horn E. Hn.
Clarinet Cl.
Bass Clarinet B. Cl.
Soprano Saxophone S. Sx. or S. Sax.
Alto Saxophone A. Sx.
Tenor Saxophone T. Sx.
Baritone Saxophone Bar. Sx.
Bassoon Bsn.
Brass Brs.
Horn Hn.
Trumpet Tpt.
Cornet Cnt.
Flugelhorn Flghn. or Flgl.
Trombone Tbn.
Bass Trombone B. Tbn. or Bs. Tbn.
Baritone Bar.
Tuba Tb.
Percussion (orchestral) Perc.
Timpani Timp.
Bass Drum B. Dr.
Snare Drum S. Dr.
Cymbals Cym. or Cyms.
Suspended Cymbals Sus. Cym.
Gong G.
Chimes Ch.
Finger Cymbals Fing. Cym.
Crash Cymbals Cr. Cym.
Glockenspiel Glock.
Bells Bells
139
APPENDIX A. Instrument Names and Abbreviations
Music Notation 2/28/07 1:26 PM Page 139
Xylophone Xyl.
Vibraphone Vib.
Marimba Mar.
Temple Blocks Temp. Bl.
Wood Block Wd. Bl.
Harp and Keyboard Hp. and Kbd.
Harp Hp.
Celeste Cel.
Harpsichord Hpscd.
Organ Org.
Piano Pno.
Synthesizer Syn.
Strings Str.
Violin Vln.
Viola Vla.
Cello or Violoncello Vc.
Double Bass Db.
Contrabass Cb.
Voices
Soprano S.
Alto A.
Tenor T.
Baritone Bar.
Bass B.
Lead Vocalist(s) Ld. Voc.
Background Vocalist(s) Bg. Voc.
Voice Vox
Female Vocalist(s) Fem. Vox
Male Vocalist(s) Male Vox
140
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Rhythm section R. Sec.
Guitar Gtr.
Electric Guitar E. Gtr.
Acoustic Guitar A. Gtr.
Nylon String Guitar Nyl. Gtr.
Steel String Guitar Steel Str. Gtr.
Piano Pno.
Acoustic Piano A. Pno.
Electric Piano E. Pno.
Synthesizer Syn.
Clavinet Clav.
Organ Org.
Keyboard Kbd.
Bass Bs.
Electric Bass E. Bs.
Acoustic Bass A. Bs.
String Bass St. Bs.
Drums Dr. or Drs.
Drum Set Dr. or D.S.
Auxiliary Percussion Aux. Perc.
Bongos
Claves
Conga
Cowbell Cb.
Guiro
Maracas Mar.
Tambourine Tamb.
Timbales Timb.
Wood Block Wd. Bl.
Mallets Mlts.
Shaker Sh.
Sticks Stks.
141
APPENDIX A. Instrument Names and Abbreviations
Music Notation 2/28/07 1:26 PM Page 141
APPENDIX B. RESOURCESBooks about music notation:
Giese, Gayle and Pick Edmondson. Guidelines for Manuscript Preparation. CPP
Belwin. Inc.
McGrain, Mark. Music Notation: Theory and Technique for Music Notation. Boston,
MA: Berklee Press, 1986.
Music Preparation Guidelines for Orchestral Music. Major Orchestra Librarians’
Association, Online Publication, 2004.
Read, Gardner. Modern Rhythmic Notation. Bloomington: Indiana University Press,
1978.
Roemer, Clinton. The Art of Music Copying: The Preparation of Music for
Performance. Sherman Oaks, CA: Roerick Music Co., 1973.
Rosecrans, Glen. A Music Notation Primer: How to Write the Symbols of Music:
Music Calligraphy, 2nd Edition. Woodland Hills, CA.: A Pen Pusher Publication,
1976.
Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New
York: W.W. Norton and Company, 1980.
Warfield, Gerald. How to Write Manuscript (in Pencil): A Workbook in the Basics of
Music Notation. New York: David McKay Co., 1973.
Williams, Ken. Music Preparation: A Guide to Music Copying. New York: Ken J.
Williams Publications, 1980.
Where to find paper:
Judy Green Music Papers
All Print USA
Toll Free 877-685-6397
Fax: 877-685-2378
e-mail: [email protected]
142
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143
INDEX
INDEX1-bar repeats. See One-measure repeats2-bar repeats. See Two-measure repeats
A cappella music, 26, 27AABA, 45Accidentals, 55–56, 62
collision of, 67courtesy, 66
Ad lib notation. See Melody ad libAlignment, 60–61Articulations, 62–64“As I Roved Out,” 42“Avenue Brazil” (Nicholl), 9, 30, 31, 34, 40
Background vocals, 25–26, 134–135Barlines, 4, 11, 23
double, 51, 52final, 51, 52single, 51through staves, 13–14three types of, 51used in orchestral score, 16in vocal scores, 14
Bowing, 64Braces, 11, 13Bracketing guitars, 15Bracketing horns, 12Brackets, 11–13
guitars joined by, 15horns joined by, 12used in orchestral score, 12, 16
Chamber group, 18“Chan Chan,” 118–123
format of header, 118–121multi-measure rests in, 120–121page turn in, 122–123score, 119, 121, 123
Changes, 88–91, 96of clef, 53–54of key signature, 55–56of style/tempo, 73of time signature, 57
Choir(s), 20instrument, 11multiple, in score system, 79orchestral score with, 20with separate solo staff, 27
Clef, 48, 49, 51changing, 53–54courtesy, 54placement, 53
Closed vocal score, 21Coda, 83–85Col, 75–78, 91Computer, 5
advantages/disadvantages to using, 109–110paper size/quality, 6, 110–112parts by, 112–113preparing score by hand v., 1
Computer-generated scoreequipment for, 5–6pros and cons of, 1steps for, 48–50“Street Scene” as, 124–125, 127, 129, 131
Concert score, 28–29, 49Continuation page
header, 115layout, 31
Copyright notice, 30Courtesy
accidentals, 66clef, 54key signature, 56time signature, 57
Credits, 30Cues, 93–94
Da Capo. See D.C.Dal Segno. See D.S.D.C. (Da Capo), 82, 84, 85“December Samba,” 78, 82Directions, 71, 73, 87Divisi parts, 67
stem direction in, 68–69unison in, 68for vocal/string music, 69
Music Notation 2/28/07 1:26 PM Page 143
Double barline, 43, 44, 51, 52, 57, 117Drumset part, 93–95D.S. (Dal Segno), 82, 85Dynamic(s), 62–63
in vocal music, 99wedges, 63
Editing, 104, 136Ensemble, 9, 15–21, 22Equipment, 5–6, 111
Fills, 95–96Final barline, 51, 52Finale, 5, 110Fine, 86Form markings, 74
Grudzinski, R., 81, 119, 121, 123, 144Guitar, 15
“Harbour Island” (Nicholl), 10, 35Hits over time, 93–94Horns
bracketing, 12mixed, 24
Hyphens, 99–100
Instrument choirs, 11
Jazz ensemble, 22
Key signature, 28, 48, 49, 51changing, 55–56courtesy, 56placement, 53
Keyboard controller, 5Kick drum, 94Kicks over time, 94
“La Rosa De Las Terrenas”background vocals in, 134–135multi-measure rests in, 136–137score, 133, 135, 137vocal parts in, 132–136
Landscape, 7–8, 36–37Large-scale repeat schemes, 78
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Layout, 31, 34, 113–118score page, 29, 49of seven stave score, 36, 37
Lead vocal(s)with background vocals, 25–26in small group chart, 24two, 25
Lib passages, 95–96Lyrics, 14, 97–99
Margins, 33–35, 38, 50Materials. See ToolsMeasure numbers, 4, 41, 115–117
below score, 42in blank stave of score, 4creating, 49as rehearsal marking, 44above system, 43
Measure repeats, 90. See also One-measure repeats; Two-measure repeats
Measures per page, 37–39, 49Melody ad lib, 96MIDI, 1, 5–6, 104“Moliendo Cafe,” 80Multi-chorus arrangement, 45Multi-measure rests, 115–117, 120–122, 136–137Multiple systems per page, 35Multi-section arrangement, 45
Nicholl, Matthew, 9, 10, 30, 34, 35, 36, 37, 38, 39,40, 115, 124–131, 144
Notationas language, 138repeat, 74, 78, 80–81in rhythm section, 88, 91software, 5, 6, 32, 49
Notes, 58–61omitted, 74repeated, 75spacing/alignment of, 58–59
Octave doubling, 76Omitted noteheads, 74One-measure repeats, 74–75Open vocal score, 21
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Orchestral scorebarlines in, 16brackets in, 12, 16with choir, 20closed/open score in, 21order for, 16paired woodwinds in, 67sub-brackets in, 12tempo/style marks for, 72with vocal soloist, 19
Pagecontinuation, 31, 115headers, 114measures per, 37–39, 49multiple systems per, 35orientation, 7–8, 36–37score, layout, 29, 49title, header, 115title, layout, 29–30, 48, 49, 50turns, 118, 122–123
Paper, 2, 6, 110–112Parts by computer, 112–113Parts by hand, 110–111“Parts score,” 113Performance directions, 73Phrase marks, 64–65Playing time, 88–91Pop ensemble, 22
pop/commercial music, 22, 55–56Portrait, 7–8, 36–37Printer, 6Proofreading, 104, 136
“R.C.T.” (Grudzinski), 81Rehearsal letter, 43Rehearsal markings, 41, 115–117
choosing scheme for, 48formats for, 43measure number as, 44with section labels, 46
Rehearsal number, 44Repeat directions, 81Repeat notation, 74, 78
correct use of, 81poor use of, 80
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INDEX
Repeated beats, 75Rhythm section, 10, 14
Col notation in, 91four piece, 23notation/improvisation, 88, 91slashes for, 88–90in “Street Scene,” 130–131
Scoreas art, 138barlines in, 14, 16basic elements of, 9–15big-band, 22with blank staves/diagonal line, 3braces in, with piano and harp, 13for a cappella music, 26, 27“Chan Chan,” 119, 121, 123clef/key/time signature in, 53concert v. transposed, 28–29, 49double barlines in, 51, 52ensemble, with single system, 9entering contents of, 105–107final barlines in, 52final layout, 101–103fine placement in, 86–87finishing, 101–105“La Rosa De Las Terrenas,” 133, 135, 137in landscape format, 7laying out, summary, 47layout of seven-stave, 36, 37with measure numbers in blank stave, 4with multiple systems, 35optimization, 40–41, 50order, 15–21, 22page layout, 29, 49in portrait format, 7preparing by hand v. computer, 1rhythm section in, 14, 23rhythm section, with two systems, 10short/reduced, 40“Street Scene,” 125, 127, 129, 131system, 9–10, 35, 43, 49, 79, 126–127vocal, 14, 26words/performance direction in, 71–73
Score optimization, 40–41, 50
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Score orderfor common “classical” ensembles, 15–21for common jazz and pop ensembles, 22for concert band, 17for mixed horns, 24for small chamber group, 18for standard orchestra, 16
Score page, layout, 29, 49Score paper, 2Score system(s), 9–10, 49
ensemble with single, 9measure numbers above, 43multiple, 35rhythm section with two, 10with several choirs, 79of “Street Scene,” 126–127
Scoring by handpros and cons of, 1steps for, 47tools for, 1–5
Sibelius, 5“Silent Picture” (Nicholl), 36, 37, 38, 39Simile, 89Single barline, 51Slash marks, 10, 35, 88–90Slurs, 64–65, 100Software. See NotationSolos, 19, 27, 95–96Spacing, 58–59Staves
barlines through, 13–14distance between, 32layout in score with seven, 36, 37measure numbers in blank, 4number of, 3–4piano parts with two, 93score with diagonal line/blank, 3size of, 3slashes in, 90in vocal music, 25–27
Stem direction, 65, 68–69Stop-time, 92–93, 95“Street Scene” (Nicholl), 115
computer-generated part, 124–125repeated sections in, 128–129rhythm section in, 130–131score, 125, 127, 129, 131systems of, 126–127
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MUSIC NOTATION: PREPARING SCORES AND PARTS
Style/tempo, 30changing, 73
Sub-brackets, 12Subtitle, 30Syncopation, 4Synthesizer, 5–6
Tempo/style marks, 71–72Time signature, 4, 31, 48, 49, 51
changing, 57common, 59courtesy, 57placement, 53placement in score, 53
Time-keeping pattern, 89Timeline, 45Title, 30Title page header, 115Title page layout, 29–30, 48, 49, 50Tools, 109–110
assembling, 1–8for scoring by hand, 1–5
Top-note voicing, 91Transposed score, 28–29Transpositions, 77“Two Trains,” 28Two-measure repeats, 74–75, 102Two-part music, 70Two-stave piano parts, 93
Unison, 68divisi parts containing, 68doubling, 76
Vocalbackground, 25–26, 132–136closed, score, 21divisi parts for, 69dynamics, 99lead, 24–26music, 27open, score, 21score, 14, 26soloist, 19staff, 24staves in, music, 25–27
“White space,” 33–34Word extensions, 100
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ABOUT THE AUTHORSMatthew Nicholl is Chair of the Contemporary Writing and Production Department
at Berklee College of Music. He has composed sound tracks for films by the
National Geographic Society, NASA, the US Postal Service, the Marriott
Corporation, and Blue Cross/Blue Shield, and scored station ID and promotional
packages for PBS as well as numerous local television and radio stations. He has
provided music for the national advertising campaigns of Maybelline, Radio Shack,
Subway Sub Shops, and United Way. He also composed scores to TV spots for the
presidential campaigns of Bob Dole, Michael Dukakis, and George H.W. Bush. His
music has appeared in a number of TV shows, including One Life to Live.
Nicholl has released several CDs of original compositions, including Windborne,
featuring the Dallas Brass, and From Here to There with Grammy-winning bassist
Eliot Wadopian. He has performed, presented clinics, and taught in North and South
America, Europe, and Asia.
Richard Grudzinski is an associate professor at the Berklee College of Music,
where he has taught since 1985. He teaches arranging, music preparation, and
music technology/production courses in the Contemporary Writing and Production
Department. He is an active composer, arranger, and keyboardist.
Grudzinski has worked in almost every facet of the music business, including
performance, composition, arranging, music preparation, and publishing. Before
coming to Berklee in 1985, he was busy working in Los Angeles, where he learned
the art of music copying from music copyist Bill Hughes.
Grudzinski has worked on many projects as a music copyist, including the 1983
Academy Awards show, several records for the New Kids on the Block, and many
musicals such as Marty (music by Charles Strousse) and Seussical—The Musical.
He also worked as MIDI editor/copyist for an audio book version of The Polar
Express (music by Michael Moss), which was nominated for a Grammy in the
spoken-word category, and was a copyist for jazz composer George Russell as well
as others, including Berklee faculty and the Boston Pops Orchestra. Grudzinski has
also worked as an orchestrator/copyist on many projects, including the Huntington
Hartford Theatre’s production of The Mikado.
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