[Nichollgrud] Music Notation Prepar(Bookfi.org)

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.

v

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.

vi

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


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


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,

4


Fig. 1.2.02 Score withmeasure numbers in ablank stave


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


3. Computer-Generated Scores


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.

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


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


4. Summary: Getting Started


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.

&

&

&

?

?

&

?

?

÷

#

#

#

#

#

#

#

#

#

#

#

#

#

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

¿

Œ

¿

Œ

∑

∑

∑

∑

∑

œ

.

F

œœn- œ

.

‰ œœ

.

j

œ

.

∑

∑

3

‘

∑

∑

∑

∑

∑

‰

j

œœ. œ

.

œœ- œ

.

∑

∑

4

‘

∑

∑

∑

∑

∑

œ

.

œœn- œ

.

‰ œœ

.

j

œ#

.

∑

∑

5

‘

∑

∑

∑

∑

∑

‰

j

œœ#

. œ#-

œœ-

œ.

∑

∑

6

‘

∑

∑

∑

∑

∑

œn

simile

œœn

œ

‰ œœ j

œ

∑

∑

7

¿

(Play)

F

Œ

¿

Œ

œŒ Œ ‰

J

œ

∑

∑

∑

∑

∑

‰

j

œœ

œ

œœ

œ

∑

∑

8

‘

∑

∑

∑

∑

∑

œ

œœn

œ

‰ œœ

j

œ#

∑

∑

9

‘

∑

∑

∑

∑

∑

‰

j

œœ#

œ#

œœ

œ

∑

∑

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


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


Fig. 2.1.02 A rhythmsection score page withtwo systems per page


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


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


&

&

&

&

?

&

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


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


&

&

&

&

?

&

&

?

?

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.


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


&

&

?

?

÷

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


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


Fig. 2.1.10 Multipleguitar and keyboardparts

2. Score Order


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


Fig. 2.2.01 Score orderfor standard orchestra


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


Fig. 2.2.02 Score orderfor concert band


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


&

&

&

?

?

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)


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.

?

ã

&

&

&

&

&

B

?

?

c

c

c

c

c

c

c

c

c

c

Timpani

Percussion

Soprano

I

II

Viola

Cello

Contrabass

Violin

Harp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

19


vocal soloist

Fig. 2.2.04 Orchestralscore with vocal soloist


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


choir

Fig. 2.2.05 Orchestralscore with choir


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


&

&

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


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


Fig. 2.2.08 Big-bandscore (five saxes, eightbrass, rhythm section)


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


&

&

&

&

&

?

?

÷

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)


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


&

&

&

&

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)


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


&

&

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


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


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


Fig. 2.2.15 Lead vocalswith background vocalsin two staves

Fig. 2.2.16 Five-partvocal music in threestaves


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.

&

&

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P

P

cresc

crescChoir

Solo Vocal Œ . Œ j

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27


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c

c

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c

Soprano 1Soprano 2

AltoTenor

BaritoneBass

RehearsalPiano

Slowly, Gently

œœ

It

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It

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seems to

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b

Fig. 2.2.17 Six-partmusic with piano reduction

Fig. 2.2.18 Choir withseparate solo staff


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

˙˙

˙˙

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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


&

&

&

&

?

bb

b

bb

bb

44

44

44

44

44

Flute

Bb Clarinet

Horn in F

Guitar

Bass

F

F

F

F

F

˙˙

˙˙

˙˙

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˙˙

.˙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


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


3. Score Page Layouts


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.

&

&

&

?

?

&

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÷

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#

#

#

#

#

#

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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

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’ ’

Fill

=104h

Matthew Nicholl

Salsa

"Avenue Brazil"For the Dallas Brass

© 1993, M. Nicholl

30


copyright notice

creditsstyle/tempoinstruments

title

subtitle

Fig. 2.3.01 Title page layout


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.

&

&

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11

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’ ’

Fill

"Avenue Brazil"

- 2 -

31


Fig. 2.3.02 Continuation page layout


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.

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94

’ ’

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back in Oh

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Œ

back in

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yeah Oh,

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96

’ ’

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j

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’ ’

97

’ ’

"Just To HAve The Chance" - P.16

32


Fig. 2.3.03 Greater distance between groupsof staves

Greater distancesbetween these staffgroups


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



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

∑

∑

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’ ’

Fill

=104h

Matthew Nicholl

Salsa

"Avenue Brazil"

© 1993, M. Nicholl

34


&

&

&

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÷

#

#

#

#

#

#

#

#

#

#

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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

∑

∑

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∑

∑

∑

∑

∑

1

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Cue: cowbell

Œ

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∑

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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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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

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’ ’

Fill

=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


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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Harbour Island

Matthew Nicholl

Slow Reggae / Samba / Funk / Rock å = 78

© 1993, M. Nicholl

35


slash marks

Fig. 2.3.05 A score pagewith multiple systems


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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© 2004, M. Nicholl

36


Fig. 2.3.06a Layout of anine-stave score in land-scape format


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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© 2004, M. Nicholl

37


Fig. 2.3.06b Layout ofthe same nine-stavescore in portrait format


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


Fig. 2.3.07 Too manymeasures per page


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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Fig. 2.3.08a The lastpage of the score withtoo few measures

Fig. 2.3.08b The lastpage of the score,adjusted


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


Fig. 2.3.09a A completecontinuation page

Fig. 2.3.09b The samepage, optimized


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


4. Measure Numbers and Rehearsal Markings


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


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Fig. 2.4.02 Measurenumbers in an unusedstaff

Fig. 2.4.01 Measurenumbers below the score


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.

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43


Fig. 2.4.03 Double barwith rehearsal letter


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.

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44


Fig. 2.4.04 Double barwith rehearsal number


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


B9A9 B25a

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8 Barsa

8 Bars

a8 Bars

a8 Bars

Interlude 12 Bars

INT C17 TAG

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Chorus

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8 Bars

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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.”


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.

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46


Fig. 2.4.07 Rehearsalmarks with section labels


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


5. Summary: Laying Out the Score


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 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



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.


• 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



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



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).

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4

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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


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Double barline after pickup measure

Double barline at end of section

Double barline before key change Final barline

52


Fig. 3.1.02 Doublebarlines and finalbarlines in the score


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.

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4

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53

CHAPTER 3: The Contents of the Score

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Alto Sax

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Fig. 3.1.03 Clef, key,and time signature inthe score

Fig. 3.1.04 Showing achange of clef before thebarline


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.

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54


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Viola

Cello

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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


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.

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b

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nb

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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.


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.

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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


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.

&

&

&

&

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4

4

4

4

4

4

4

4

4

4

Flute

Oboe

Bb Clarinet

Horn in F

Bassoon


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3

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3

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3

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5

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6

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7

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8

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&

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4

4

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4

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4

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9

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10

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∑

11

∑

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12

∑

57


Fig. 3.1.11 A change of time signature. Notice the courtesy timesignature after the lastmeasure of the page.


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.

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42

q = 102

1

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f

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2

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3

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3

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4

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5

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œ

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3

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7

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58


2. Notes

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42

q = 102

1

œ

f

œ œ œœ

œ

œ

œ

2

œœ œ œ

3

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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


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


&

#

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


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


Fig. 3.2.03a A scorewith poor vertical alignment


61


Fig. 3.2.03b A correctlyaligned score


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


3. Dynamics, Articulations, and Accidentals

Fig. 3.3.01 Dynamicsbelow the single staff

Fig. 3.3.02 Dynamicsbetween staves in two-stave music


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


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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.


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.

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b

b

b

b

b

b

b

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b

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b

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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

œ

œ

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œ≥

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rit.

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64


Fig. 3.3.07 Slur, bowing,and phrase markings


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

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w

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b

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w

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w

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65


Fig. 3.3.08 Slurs andstem direction


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


& 44 œ œb

œ œ# .œn

J

œ# .œN

J

œb ˙n

& 44 œ œ#

œ œb .œ

J

œb .œj

œ# ˙

& 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


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.

&

&

&

?

##

44

44

44

44

2 Flutes

2 Oboes

2 Clarinets in Bb

2 Bassoons

œœ>

F

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.

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.

67


4. Divisi Parts

& 44

œœœ

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b

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bbb

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nnn

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& 44

œœœ

œ#

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


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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##

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44

44

q = 92

‰

P

J

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j

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68


&

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862 Fl

.

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ß

œn œ œ

.

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.

œ œ œ œ œ œ œ ‰ Œj

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A2œ

œ œ#œ. œ œ

œ.

Fig. 3.4.02 Unisons indivisi parts

Fig. 3.4.03 Stems direction in divisi parts


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


& 442 Ob Ó

œœ

.

f

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.

‰J

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.

‰

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>

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>

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j

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>

J

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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


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


Fig. 3.4.06 Noteheadsand accidentals for two-part music


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.

&

&

?

?

?

&

&

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

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>

P

Ó Œ

œœœœ

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P

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wwww

wwww

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Ó

Ó

December Samba

71


5. Words and Performance Directions in the Score

Fig. 3.5.01 Basictempo/style marking inthe score

tempo/style


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


Fig. 3.5.02 Tempo/stylemarks for orchestra


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


Fig. 3.5.03 Changingstyle and tempo


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


6. Repeat Notation and Form Markings

B#

{57}œœ

F

œœ

œœ

œœ

œœ

œœ

58

‘

59

‘

60

‘ Fig. 3.6.01aOne-measure repeats

Fig. 3.6.01bTwo-measure repeats


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


& 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


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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>

œ

P

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˘

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>

.˙Œ

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Œ

76


Fig. 3.6.05 Col notationshould only be used toindicate unison doubling,not octave doubling

&

&

&

?

bb

bb

bb

bb

..

..

..

..

Tpt.

A. Sx.

T. Sx.

Tbn.

{9}

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>

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P

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>

œ

P

œ œ œ œ˘

œ œ œ œ œ>

.˙ Œ

.˙

Œ

.˙Œ

.˙ Œ


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

77


&

&

&

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Tpt.

A. Sx.

T. Sx.

Tbn.

{9}

œ

P

œ œ œ œ˘

œ œ œ œ œ

>

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P

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œ

P

œ œ œ œ˘

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œ

P

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œ œ œ œ œ>

.˙ Œ

.˙Œ

.˙Œ

.˙

Œ

Fig. 3.6.06 Col notationshould not be usedbetween parts with different transpositions


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

.

.

.

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.

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.

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.

.

.

.

.

.

.

.

.

.

.

.

.

.

Trumpet

Alto

Tenor

Trombone

Baritone

Guitar

Funky Samba q=120

∑

∑

∑

∑

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∑

∑

∑

∑

∑

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1.

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RKG

December Samba

78


Fig. 3.6.07 Numberedending used in a repeated section


For systems with several large choirs, the repeat notation can be shown above each

choir.

79


Fig. 3.6.08 Showing thenumbered repeat aboveeach choir in the score


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

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.

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8

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9

.œ

J

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10

Ó ‰

œ

œ œ

Moliendo CafeTraditional

Salsa 2/3 q=180

80


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

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3

˙˙

4

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5

J

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œ

6

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7

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8

Ó ‰

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9

J

œ œ

J

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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


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>>

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>

106

Œ ‰

J

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‰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


&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


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


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


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


Fig. 3.6.14 Use andplacement of “To Coda”


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


Fig. 3.6.15 Use andplacement of the Codasign


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



• 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


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

∑


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


Fig. 3.6.17 Use andplacement of the Finewithin the score



• return to the beginning

• play measure 1–16,stop at the Fine


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


Fig. 3.6.18 Use andplacement of the Fine atthe end of the score


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


7. Rhythm-Section Notation and Improvisation

Fig. 3.7.01 Slashes forthe rhythm section,showing that the rhythmsection is playing time


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

¿ ¿ ¿

>

¿

>

¿ ¿ ¿

>

Óœ

Œ

˙̇ ˙˙

D-/C

˙˙˙

˙˙

Û Û ‰ .Û

D-/C

œ ‰Jœ ˙

D-/C

24

¿ ¿

>

¿ ¿

>

¿

>

¿ ¿ ¿

Óœ

Œ

simile

simile

simile

simile

’ ’ ’ ’

Bà

∑

’ ’ ’ ’

Bà

’ ’ ’ ’

Bà

25

’ ’ ’ ’

’ ’ ’ ’

Eï

∑

’ ’ ’ ’

Eï

’ ’ ’ ’

Eï

26

’ ’ ’ ’

89


Fig. 3.7.02Pattern/simile notation:the basic time-keepingpattern is shown andthen slashes are used toindicate that the groovecontinues


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


Fig. 3.7.03 Measurerepeats used instead of slashes to indicateplaying time

/C

Drums

23

¿

>Brush Samba

¿ ¿ ¿

>

¿

>

¿ ¿ ¿

>

Óœ

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


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


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.


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


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


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


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|


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


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)

’ ’ ’ ’


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


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]


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


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

##

##

#

{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

&

?

##

##

{9}

www

EÖ

˙ œ

œ

3

œ œb œ

˙˙˙

˙˙˙

A 2/C#

G 2/C

˙ ˙n

w

E-/G

.œ

Jœ ˙

.œj

œb ˙

E!/G

w

w

D/F#

.œJœb ˙

.œ

jœ ˙

F#´

w


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


Fig. 3.8.01 A sans seriffont used for the lyrics

8. Text Setting and Vocal Notation


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


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


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

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99


Fig. 3.8.04 Placement ofdynamics in vocal music

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Fig. 3.8.05a Hyphensused incorrectly; wordsare not separated intocorrect syllables

Fig. 3.8.05b Hyphensused to show the correctsyllables of each word


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

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100


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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


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.

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101


9. Finishing the Score

Fig. 3.9.01 Sectionsbeginning in the firstmeasure of a score page


Never have two-measure repeats split between two pages or begin a line or page with

a two-measure repeat.

No

Yes

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102


Fig. 3.9.02a A two-measure repeat splitbetween two pages

Fig. 3.9.02bA two-measure repeat contained within a single page

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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.)

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91

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103


Fig. 3.9.03 Showing thata solo continues from theprevious page

Solo continues

from previous

page


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



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


10. Summary: Entering the Contents of the Score


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



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




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).

109

Chapter 4

1. Choosing the Tools


• 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

110


2. Parts by Hand


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.

111

CHAPTER 4: Creating Parts


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.

112


3. Parts by Computer


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.

113


4. Laying Out the Parts


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.

114



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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2 La Rosa...Voc.

115


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Piano

Fig. 4.4.01 The titlepage header

Fig. 4.4.02 The continuation page header


If you are using measure numbers as rehearsal marks, the number of the measure

goes in a box just above the staff at the beginning of each section and the number

under the staff is eliminated.

Some writers prefer to number only the measures that begin a line of music. This

practice eliminates some of the visual clutter created by numbering every measure,

but makes locating specific measures a bit more difficult.

Whenever two or more rests occur, use a multi-measure rest. This makes it much

easier for the player to keep track of the part when not playing.

No

Yes

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Fig. 4.4.05a Two measures of rest notgrouped into a multi-measure rest

Fig. 4.4.05b The correct use of a multi-measure rest


A multi-measure rest should never include measures containing rehearsal marks

and double bars. The multi-measure rest should be divided in two parts to show the

double bar and rehearsal mark.

No

Yes

Many writers prefer that the numbers of the measures included in the multi-measure

rest be shown as a range of numbers below the staff, at the beginning of the rest.

117


Fig. 4.4.06a Double bar and rehearsal marknot shown

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Fig. 4.4.07 Measurerange of the multi-measure rest shownbeneath the staff


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.

118


5. Sample Parts


119



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.

120



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.

122



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.

124



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Street SceneMatthew Nicholl

Piano

125




• 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.

126



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2 Street Scene

127




• 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.

128



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7 Street Scene

129




• 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



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131



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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- - - - - - - - -

La Rosa de Las TerrenasMusica-Richard GrudzinskiLetra-R. Grudzinski, Jose Rojas & Ben DeRoubaix

©2004 Richard Grudzinski

Vocals

133




• 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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135




• 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


6. Proofreading and Editing


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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



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


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



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


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



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


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

144


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


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

145

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


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

146


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


147


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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moliendo cafesalsa

sans serif

harbour islandmatthew

visual clutter

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fully notated

partsby matthew

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