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... an extraordinary achievement... I would praythat it becomes a kind of Holy Writ for notationin the coming century...
– Sir Simon Rattle
The most comprehensive authority onmusical notation
Provides a comprehensive grounding innotational principle
Handled logically and progressively, fromthe elementary to the complex
Computer technologies are embraced, providing valuable support for those using computer note-setting software
Comprehensive sections on electro-acoustic music and microtones
Supported by 1,500 music examples,including extract from works from Bach to Xenakis
Encourages standards of excellence, accuracy and precision
Title: Behind Bars
Author: Elaine Gould
Price: £65.00
Format: 234mm x 156mm
Extent: 704 pages
Illustrations: 1,500 musical examples
ISBN: 0-571-51456-1
EAN13: 9780571514564
Publication Date: 20th January 2011
Behind Bars is the indispensable reference book for composers,arrangers, teachers and students of composition, editors, and musicprocessors. In the most thorough and painstakingly researched bookto be published since the 1980s, specialist music editor Elaine Gouldprovides a comprehensive grounding in notational principles.Behind Bars coveris everything from basic rules, conventions andthemes to complex instrumental techniques, empowering the readerto prepare music with total clarity and precision. With the adventof computer technology, it has never been more important for musiciansto have ready access to principles of best practice in this dynamicfield, and this timely book will support the endeavours of softwareusers and devotees of hand-copying alike. The author's understandingof, and passion for, her subject has resulted in a book that is notonly practical but also compellingly readable. Supported by 1,500music examples of published scores from Bach to Xenakis, this seminaland all-encompassing guide encourages new standards of excellenceand accuracy.
Musicians deserve the very best that the language of notation can provide,and the most elegant layout that can be achieved; in this way they will befree to give of their best in a performance. Behind Bars aims to provide thetools for this purpose.
Elaine Gould
Elaine Gould has been Senior New Music Editor at FaberMusic since 1987, in which capacity she has edited the complexand varied scores of such composers as Oliver Knussen,Jonathan Harvey, George Benjamin, Colin Matthews andThomas Adès. Before this she was a free-lance copyist, specialisingin copying contemporary music for several leading Britishmusic publishers. She is among the most highly respectedmusic editors currently working in the field.
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TABLE OF CONTENTSSection I: General Conventions1 Ground RulesThe staveClefsNoteheadsStemsTailsBeamsLedger LinesOctave signs Using ledger lines or octave signsRest symbolsBarlinesRhythmic spacingSpacing symbols
2 Chords – Dotted notes – TiesCHORDSSingle-stemmed chordsAdjacent-note chords Chords with single-stemmed unison notesDouble-stemmed writing
DOTTED NOTEDDouble stems Dotted unisons
TIESTie designTie direction for single notesTie direction on single-stemmed chordsTie direction in double-stemmed writing Tied unisons Tie direction for single-stemmed moving
chords Open ties
3 Accidentals and Key SignaturesACCIDENTALSDesignPlacingUsing accidentalsUse of accidentals in an atonal contextArranging accidentals for chordsAccidentals in double-stemmed writing
KEY SIGNATURESPlacing and order of accidentalsSpacingKey changesKey signatures in non-tonal or polytonal music
MICROTONES Quarter-tonesOther microtonesCancelling microtonal alteration
4 Dynamics and ArticulationDYNAMICSARTICULATIONSlursArticulation marks
5 Grace Notes, Arpeggiated Chords, Trills, Glissandos and VibratoGrace notesArpeggiated chordsTrillsGlissandosVibrato
6 MetreIntroductionTime signaturesBeaming according to the metreGrouping inner beamsHorizontal position of restsGrouping rests according to the metreBeaming across restsSustaining notes across beats Beaming to reflect musical structureSyncopationCross rhythmInterchanging simple- & compound-time
metresPolymetre Metres of variable stressMixed metres (Alternating time signatures)Denominator as any division of the
semibreve Denominator as noteheadTempo indicationsTempo equationsPausesSilent bars (G.P.)
7 TupletsDefinitionThe tuplet numeralThe tuplet bracketPlacing tuplet indicationsRhythmic alignmentNote-value of the tupletStating the tuplet ratio in fullDegree of note division within tuplets Rests within a tupletTuplet beamingTuplets within tupletsTuplet repetition
8 Repeat SignsTREMOLOSPrinciples of repeated-note abbreviationTremolo definitionSingle-note tremolosTwo-note tremolosREPEAT-BEAT AND REPEAT-BAR
ABBREVIATIONSREPEATED SECTIONSDa Capo and Dal Segno layouts
Section II: General Conventions9 Woodwind and BrassGENERAL TOPICSArticulationMicrotonesGlissandosSpecial techniquesTransposition
WOODWINDClefsTechniques
BRASSClefs, transposition and key signaturesMutesTechniques
10 PercussionAllocating instruments to players Player number allocationListing instruments and specificationsLabellingTuned percussionInstruments of indefinite pitchLayout of instruments of definite and
indefinite pitch for one playerTwo players on one staveNote durationDampingSticks, beaters and malletsTremolos, rolls and trillsBeating spots (striking points)TimpaniDrum notationCymbalsSymbols to express special techniques
11 KeyboardGENERAL TOPICSThe system and clefsDistributing notes between the handsVoice-leading between stavesUnisonsTies between stavesFingeringPart-writingCommon beam for both handsSingle-line passage-workPlacing tuplet indicationsPlacing slursPlacing dynamicsOctave signsGlissandosNote clustersStave layoutsPIANO NOTATIONPedallingSilently depressed keys Effects produced inside the pianoThe prepared pianoORGAN NOTATIONPage formatSystem layoutManualsRegistrationPedal markingsKeys held down with wedges or weights
12 HarpGeneral notation
The tuning mechanismNote-spellingPedal settingsPlaying style of chordsGlissandosTremolos and bisbigliandoDamping and laissez vibrerHarmonicsPluckingScordaturaPercussive sounds on body of instrument
13 Classical GuitarGeneral notationString designationRight-hand fingeringLeft-hand fingeringLeft-hand tenchniquesRight-hand tenchniquesArea of the string on which to playSustaining and dampingHarmonicsScordatura
14 StringsClefsString designation Open stringsFingeringDouble-stoppingTriple- and quadruple-stoppingUse of two stavesBowing definitionsBowing techniquesArea of the string on which to bowPizzicatoLeft-hand finger work Percussive soundsHarmonicsScordaturaTechnical instructionsDivided string ensemble
15 Vocal MusicClefsPlacing dynamics, expression marks and
technical instructionsBeamingSyllabic slursPhrasing and breathing pointsPlacing tupletsEnharmonic spellingTextWord divisionExtendersHyphensAlternative text underlayQualifying text soundsFalsettoSpeech notationVoiced and unvoiced soundsVocal sounds from instrumentalistsCHORAL WRITINGTwo-stave SATB layoutLayout with characters (Stage works)CHORAL REDUCTION
Section III: Layout and Presentation
16 Preparaing MaterialsIntroductionPage sizes and formatsStave sizesPaginationBar numbersRehearsal marksIndentation and layout between movementsCasting offVertical alignmentPerformance instructionsUse of ‘solo’ and ‘soli’Optional cutsThe ossia
17 Score LayoutWhat is included in a full scoreScore transpositionInstrument labellingScore order of instrumentsScore brackets and barlinesEnlarging time-signature symbolsPlacing tempo and rehearsal marksPage layoutMinimizing vertical space requirementsStave sharing
Stave allocation for woodwind and brassStave allocation for percussionDivided string section layoutPlaying scoreWIND AND BRASS BAND: SCORE LAYOUT
AND PART EXTRACTION Wind bandBrass bandORCHESTRAL REDUCTIONLayoutMaterials to includeIndicating instrumentationEnharmonic spellings
18 Part PreparationPreparationLabelling the partPage-turnsClefs, ocatve signs and time signaturesMultiple restsProviding cuesCue notationCue staveRepeated barsTacetAccidentalsCombined-instrument partsPercussion
19 Electroacoustic MusicIntroductionEquipmentAmount and type of notation for the scoreNotation and co-ordinationLayout of the electronic component Dynamics for electronic sounds Co-ordination with pre-recorded material
(mixed media)Sampled soundsDelay linesProgram changesContinuous controllers
20 Freedom and ChoiceRHYTHMIC INDEPENDENCE AND
SYNCHROMISATIONBarlines and time signaturesCadenzas and solo ad libitum passagesUnmeasured bars (Music without metre) Independent parts within an ensembleIndicating synchronization (Unmeasured
bars and independent ensemble)Independent repetitionPlacing material freely within a defined
time-spanProportional spacing (time-space notation)Notation optionsScore layoutDefining time-unitsCues in instrumental partsOPTIONS TO SHOW APPROXIMATE PITCHOn the staveOn a line or gridALTERNATIVES (CHOICES)Performance conditionsLayout principlesAlternative materialAlternative sequences of events Defining limits of choiceOptional additional materialInserts
The author, Elaine Gould, has attracted widespread support fromthose who know her work best:
Elaine Gould is widely respected in the music world for her exceptionallydiligent and imaginative skills in editing. She has a composer's eye fordetails, and a depth of understanding of the minutiae of musical notationthat is beyond compare.
George Benjamin (UK)
With the explosion of music publishing software in recent years, the needfor authoritative guides on music notation has never been more pressing.… Elaine Gould's book is bound to be a hallmark of best notation practice.I fully imagine it will become the bible of music creators everywhere.
Matthew Hindson (Australia)
For many years we composers at Faber Music have had the good fortune tohave the support and assistance of Elaine Gould and her supreme knowledgeof musical notation … When her outstanding experience and knowledgebecomes generally available, the book will undoubtedly be a very significanttechnical resource for all involved in the world of music.
Nicholas Maw (USA)
… from my reading of Elaine's book I can say with complete confidence thatshe has produced a masterpiece in the field. She has been my editor formore than 20 years and there is no one in whom I would place greaterfaith. This will be an indispensable book!
Colin Matthews (UK)
We have all been eagerly awaiting Elaine's monumental study. Those whohave had as many years of her editorial guidance as I have will concur thatshe is clearly the one person with the requisite breadth and length ofexperience to render a balanced and penetrating view of the chaotic world ofnotation as it currently exists.
Jonathan Harvey (UK)
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