Schirmer Manual Of Style Searchable.pdf

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THE G. SCHIRMER/AMP MANUAL OF STYLE AND USAGE

Third Edition

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Contents Abbreviati ons --------------------------------------------------------------------------------------------------------------------------- 3 Instrument Labels ----------------------------------------------------------------------------------------------- 3 Singular vs. Plural -------------------------------------------------------------------------------------------------- 4 Concert Score vs. Transposed Score ----------------------------------------------------------------------- 4 Infrequently used instruments ------------------------------------------------------------------------------------- 4 Percussion Instrument Abbreviations-------------------------------------------------------------------------- 6 Accidentals ------------------------------------------------------------------------------------------------------------------------------- 13 Positioning in Chords -------------------------------------------------------------------------------------------14 When to use Accidentals -----------------------------------------------------------------------------------------15 Arti cula ti ons ------------------------------------------------------------------------------------------------------------------------- 18 Accents, Staccato Dots, Tenuto Marks, etc. ----------------------------------------------------------------18 Barlines --------------------------------------------------------------------..----------------------------------------------------------------- 20 Breaking barlines------------------------------------------------------------------------------------------------------------ 23 Beams-------------------------------------------------------------------------------------------------------------------------------------- 26 Complex Beaming ------------------------------------------------------------------------------------------------------- 28 Stem Direction for Beamed Groups ---------------------------------------------------------------------------- 29 Steml ets--------------------------------------------------------------------------------------------------------------------------- 29 Braces and Brackets ------------------------------------------------------------------------------------------------------------------ 30 Chords, CI usters, and Seconds ------------------------------------------------------------------:..------------------------------ 31 Clefs -------------------------------------------------------------------------------------------------------------------------------- 32 Clef Changes --------------------------------------------------------------------------------------------------------- 3 2 C1ef Usage ----------------------------------------------------------------------------------------------------------------- 34 Dots ---------------------------------------------------------------------------------------------------------------------------------------- 36 Dymunics and Expressive Markings -------------------------------------------------------------------------------------- 38 Editing ----------------------------------------------------------------------------------------------------------------------------------- 39 Fingerings ---------------------------------------------------------------------------------------------------------------------------------- 4 2 String lndications --------------------------------------------------------------------------------------------------------- 43 Mutes-------------------------------------------------------------------------------------------------------------------------------- 44 First and Second Endings----------------------------------------------------------------------------------------------------------45 Footnotes ------------------------------------------------------------------------------------------------------------------------------------ 46 Grace Notes -------------------------------------------------------------------------------------------------------------------------------- 47 Hairpins (crescendi and diminuendi) ----------------------------------------------------------------------------------- 48 Harmonics------------------------------------------------------------------------------------------------------------------------------- 49 How to notate string harmonics ------------------------------------------------------------------------------------ 4 9 Ind entio ns ----------------------------------------------------------------------------------------------------------------------------------- 51 Key Signatures --------------------------------------------------------------------------------------------------------------------------- 51 Courtesy Accidentals after a Key Change -------------------------------------------------------------------52 Keyboard Notati on -------------------------------------------------------------------------------------------------------------- 53 Manuscript Preparation ---------------------------------------------------------------------------------------------------------- 55 Measure Numbers--------------------------------------------------------------------------------------------------------------------- 57 Multip Ie Voices -------------------------------------------------------------------------------------------------------------------------- 58 Mutes ----------------------------------------------------------------------------------------------------------------------------------------- 60 Ottavas --------------------------------------------------------------------------------------------------------------------------------------- 60 Pages (numbers, measure numbers, and other issues) --------------------------------------------------------61 Parts-------------------------------------------------------------------------------------------------------------------------------- 62 Cues ---------------------------------------------------------------------------------------------------------------------------------- 65 Multip Ie-stave Parts -------------------------------------------------------------------------------------------------------- 67 Pedal Indications ----------------------------------------------------------------------------------------------------------------------- 68

Percussion Notation---------------------------------------------------------------------------------------------------------------- 69 Proofreading---------------------------------------------------------------------------------------------------------------------------- 70 Proofreader's Marks ------------------------------------------------------------------:..----------------------------- 72 Proofreading Computer-engraved Music ------------------------------------------------------------------- 73 Proofreading Parts ---------------------------------------------~---------------------------------------------------------- 73 Rests ----------------------------------------------------------------------------------------------------------------------------------------- 74 Rhythm--------------------------------------------------------------------------------------------------------------------------------- 75 S1urs and Ties ----------------------------------------------------------------------------------------------------------------------- 76 When to "break" a slur or tie-------------------------------------------------------------------------------------- 78 Dotted (and dashed) slurs --------------------------------------------------------------------------------------------- 78 Stem Direction ----------------------------------------------------------------------------------------------------------------------- 79 Ternpo Markings ------------------------------------------------------------------------------------------------~-------------------- 7 9 Text ----------------~---------------------------------------------------------------------------------------------------------------------- 82 When to use italics -------------------------------------------------------------------------------------------------- 83 Above or below the staff? -----------------------------------------------------------------------------------------------83 Time Signatures ------------------------------------------------------------------------------------------------------------------------- 84 Trills/Tremolandi ----------------------------------------------------------------------------------------------------------------------84 Notating tremolandi --------------------------------------------------------------------------------------------------- 85 Tupie ts (Irrational Rhythms) ------------------------------------------------------------------------------------------- 86 Determining Rhythmic Values for Irrational Rhythms --------------------------------------------- 87 Vocal Music _______________.;. _____________ .;._______________.:.-------------------------------------------------------------------------------- 88 A pp endixA, Fonts------------------------------------------------------------------------------------------------------------------- 90 Appendix B, Some Contemporary Innovations ------------------------------------------------------------------ 91

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THE G. SCHIRMER/AMP MANUAL OF STYLE AND USAGE

In-house

Third Edition

3 Abbreviations There are two types of abbreviations which are employed in music: textual and musical. Textual abbreviations should be short and unambiguous. Over the years, certain abbreviations have become standard and are preferred over other forms (e.g., Mr. instead of Mstr.). Creating unambiguous abbreviations requires care; for example, "Pc." could mean "Piccolo," "Percussion," or "Piano/Conductor." The following subsections pertain to musical abbreviations:

Instrument Labels It is customary to write out the full name of the instrument on the first system of a score. When an instrument "doubles" on another instrument, it is listed in parentheses below the primary instrument. In an orchestral score, the instrument name is usually abbreviated on subsequent systems. It is important to maintain consistency with these abbreviations. Use the same language throughout and do not change an abbreviation from page to page. Also, the abbreviation should be of the instrument name stated on the first page. For instance, if you use "Contrabass" on the first system of a score, do not abbreviate it as "Db." on subsequent systems. It is not necessary to restate the instruments in chamber works unless the instrumentation changes from system to system. Following are the instrument labels we use in what we consider correct "score" order. Piccolo ........................................................................................................... Pi cc. Flute .................................................................................................................. Fl. Alto Flute ..................................................................................................... A. Fl. Oboe ................................................................................................................ Ob. English Horn .................................................................................................. E.H. Eb Clarinet ................................................................................ CL in E~ (E~ Cl.) Clarinet in Bb ............................................................................ Cl. in Bb (Bb Cl.} Clarinet in A ................................................................................ Cl. in A (A Cl.) Bass Clarinet ............................................................................................... Bs. Cl. Contrabass Clarinet .. ... . .... .. ... .. .. .. .. .. ...... . .. ... .. ... . ... .... .. ... ... ... ... .. .. .. ... ... . .. . Cbs. Cl. Bassoon ............................................................................................................ Bn. Contrabassoon ...... ..... .. .. .. .. .. ... . ... .. .. .. .. .... . .. .. ... ... ... .. .. . .. .. ... ....... .. .. .. ... .. .... ... .. . Cbn. Sopranino Saxophone ............................................. So pr. Sax. in Eb (So pr. Sax) Soprano Saxophone ...................................................... S. Sax. in Bb (Sop. Sax.)

4 Alto Saxophone ............................ ... :............................. A. Sax. in E~ (Alto Sax.) Tenor Saxophone ........................................................... T. Sax. in B~ (Ten. Sax.) Baritone Saxophone ..... :...... :........................................ B. Sax. in E~ (Bari. Sax.) Bass Saxophone ..................................................................... Bs. Sax. (Bass Sax.) ·.;

Horn in F ........................................... :............................................ Hn. in F (Hn.) Cornet ............................................................................................................ Cnt. Trumpet in C ............................................................................ Tpt. in C (C Tpt.) Trumpet in Bb ........................................................................ Tpt. in B~ (B~ Tpt.) Trombone ....................................................................................................... Tbn. Bass Trombone .......................................................................................... Bs. Tbn. Baritone .......................................................................................................... Bar. Euphonium ................................................................................................. Euph. Tuba ............................................................................................................... Tuba Timpani ........................................................................................................ Timp. Percussion ..................................................................................................... Pere. Celesta ............................................................................................................ Cel. Piano .............................................................................................................. Pno. Organ .............................................................................................................. Org. Harp ................................................................................................................. Hp.

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Violin I .......................................................................................................... Vn. I Violin II ........................................................................................................ V n. II Viola ............ ~ .................................................................................................... Va. Violoncello ....................................................................................................... V c. Contrabass ....................................................................................................... Cb. Singular vs. Plural It is common practice to use singular labels to refer to plural groups of instruments. For example, "Vn. I" refers to a section of first violins. Some publishers do make a distinction between plural and singular but we feel that clutters the page and can lead to some confusion with abbreviations such as "Cbs."; is that a section of Contrabassi or a singular abbreviation of Contrabass?

Concert Score vs. Transposed Score Our preference is to engrave transposed scores when preparing new works for publication. This means that any transposing instruments (Clarinets, English Horn, Horn, etc.) will be notated according to their specific transpositions rather than at concert pitch. If we must do a concert score for a particular reason (e.g., a complex, serial work) then we use the abbreviations in·

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5 parentheses when labelling transposing instruments in the score. Sometimes, we may even omit the indication refering to what key the particular instrument is in. We avoid the misnomer of writing "Clarinet in C" to refer to a clarinet line that is written at concert pitch, but intended for Clarinet in A when the part is extracted and copied. When engraving a score at concert pitch, the editor must include a note at the beginning of the work stating this fact and specifying if instruments that transpose by an octave (Piccolo, Celesta, Xylophone, arid Contrabass) have been written traditionally or at sounding pitch. When we engrave scores at concert pitch, we still transpose these instruments since not doing so would necessitate the use of many ledger lines or ottava symbols. There is no need for any textual indication at the beginning of a transposed score.

When strings divide we rarely label the divisions separately, but if it is necessary, indicate the divisions with lower case letters. For instance, Violin I, divisi a2 would be labelled as Vn. I-a, Vn. I-b, and so on. When instruments double (Flute and Piccolo, for example) the editor must insure that the left margin always indicates the correct instrument. [See Parts (p. 62) for information on how to label instrument changes.] Infrequently used instruments Some instruments defy simple abbreviation. The Basset Horn, for instance, is actually an Alto Clarinet in F. If an E~ Alto Clarinet is not employed in the same piece, the abbreviation "A. Cl." would be acceptable provided that on the first system the intrument is listed fully as "Alto Clarinet in F (Basset Horn) ".

More exotic instruments will require more thought on the part of the editor. Try either shortening the name to the first three or four letters or calling the instrument by an alternative name. For example, the Hecklephone could be abbreviated as "Hck." or, since it is actually a Bass Oboe, it could be abbreviated as "Bs. Ob.".

6 Percussion Instrument Abbreviations These are some of the more common percussion instruments, listed alphbetically. Almglocken ................................................................................................... Alm. Anvil ............................................................................................................... Anv. Bass Drum ...................................................................................................... B.D. Bell Plate .................................................................................................. Bell Pl. Bell Tree ..................................................................................................... Bell Tr. Bongo Drums ............................................................................................ Bongos Castanets ...................................................................................................... Cast. Cencerros ..................................................................................................... Cenc. Chinese Cymbal ................................................................................. Chin. Cym. Claves ......................................................................................................... Claves Conga Drum ................................................................................................ Conga Cowbell .................................................................................................... Cowbell Crotales (Antique Cymbals) ........................................................................ Crot. Cymbal(s) [Crash] ........................................................................................ Cym. Flexatone ................................................................ .-..................................... Flex. Glockenspiel ............................................................................................... Glock. Gong ............................................................................................................. Gong Guiro ............................................................................................................. Guiro Hi-hat .................................................................................................. ~ ....... Hi-hat Log Drum ................................................................................................... Log D. Long Drum ............................................................................................... Long D. Maracas ...................................................................................................... Marac. Marimba ......................................................................................................... Mar. Military Drum ............................................................................................ Mil. D. Musical Saw .............................................................................................. M. Saw Ratchet ....................................................................................................... Ratch. Sizzle Cymbal(s) .................................................................................... Siz. Cym. Slide Whistle .............................................................................................. SI. Wh. Snare Drum ..................................................................................................... S.D. Suspended Cymbal(s) .......................................................................... Sus. Cym. Tambourin Provenc;al ........................................................................ Tamb. Prov. Tambourine ........................................... ,..................................................... Tamb. Tamtam ................................................ .'........................................................ Tam. Temple Block(s) .......................................................................................... T. Blk. Tenor Drum ................................................................................................ Ten. D. Tim bales ... '. ................................................................................................... Timb. Timpani ........................................................................................................ Timp. Tom-toms ......................................................................................................... T.-t. Triangle ........................................................................................................... Trg. Tubular Chimes {Tubular Bells) .............................................................. Chimes Vibraphone ....................................................................................... Vib. (Vibes) Wood Block ................................................................................................ W. Blk. Xylophone ....................................................................................................... Xyl. [See Percussion Notation (p. 69) for a discussion of percussion labels.]

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7 Vocal Abbreviations

Soprano Mezzo-Soprano Alto Tenor Baritone Bass-Baritone Bass

as Soloist Sop. Mezzo Alt. Ten. Bar. Bs.-Bar. Bs.

in Chorus S (no period) n/a A (no period) T (no period)

n/a n/a B (no period)

Instrument labels for Reduced (Short) Scores Woodwinds ................................................................................................................ Ww. Brass ........................................................................................................................ Brass Percussion ............................................................................................................... Pere. Strings ........................................................................................................................ Str. All individual instruments should use the abbreviations listed above, but, unlike in full scores, we sometimes use the plural (e.g., Obs. or Fis.). A plus sign(+) is used when an instrumentjoins the group playing (e.g., "+Fls." indicates the flutes have been added to the section already playing). Concert Band Although the abbreviations for concert band scores are the same as those for an orchestral score there are a few differences in score order. Horns should be placed below Trumpets and String Bass should be placed below Tuba. We use "String Bass" as opposed to "Contrabass" in a concert band score. There are several reasons for this: in many scores the Tuba is referred to as "Bass", the uniqueness of having a string instrument in a concert band is worth noting, and there could be some confusion with the use of "Contrabass" as its abbreviation would be "Cb.''. Here are the abbreviations we like to use in correct "score'' order.

Piccolo ...................................................................................................................... Picc. Flute ............................................................................................................................ Fl. Alto Flute ................................................................................................................. A.Fl. Bass Flute ............................................................................................................. Bs. Fl. Oboe ........................................................................................................................... Ob. English Horn ............................................................................................................ E.H.

Eb Clarinet ............................................................................................................. Eb Cl. Bb Clarinet ............................................................................................................. Bb Cl. A Clarinet ............................................................................................................... A Cl. Eb Alto Clarinet .................................................................................................. Alto Cl. Bass Clarinet ......................................................................................................... Bs. Cl. Contra Alto Clarinet ....................................................................................... C. Alt. Cl. Contrabass Clarinet ........................................................................................... Cbs. Cl. Bassoon ........................................................................................................... Bn. (Bsn.) Contrabassoon ............................................................................................ Cbn. {Cbsn.)

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Sopranino Saxophone ..................................................................................... Eb S. Sax. Soprano Saxophone ................................................................ S. Sax. (Sop. Sax.) in Eb Alto Saxophone ....................................................................... A. Sax. (Alto Sax.) in Eb Tenor Saxophone ...................................................................... T. Sax. (Ten. Sax.) in Bl, Baritone Saxopho!le ............................................................... B. Sax. (Bari. Sax.) in Eb Bass Saxophone ...................................................................... Bs. Sax. (Bass Sax.) in Bb

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Cornet ....................................................................................................................... Cnt. C Trumpet .............................................................................................................. C Tpt. Bb Trumpet ......................................................................................... ·................. Bb Tpt. French Horn ............................................................................................................... Hn. Trombone ................................................................................................................. Tbn. Bass Trombone .................................................................................................... Bs. Tbn. Baritone .................................................................................................................... Bar. Euphonium ............................................................................................................ Euph. Tuba ......................................................................................................................... Tuba String Bass ........................................................................................................... Str. Bs. Timpani .................................................................................................................. Timp. Percussion ............................................................................................................... Pere. Celesta ...................................................................................................................... Cel. Piano ........................................................................................................................ Pno. Harp .............................................................................................................. ~ ............. Hp.

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Musical Terms

Following is a list of common terms and their abbreviations. The terms are shown in their correct font (roman or italic, to differentiate between technique and experssion). Terms which should not be abbreviated are indicated with a line in the abbreviation column. An asterisk (*) indicates an abbreviation should only be used when space is at a premium and the context is already established (i.e., the term has already been used in full previously in the same section of music).

...

accelerando .......................................................................................................................... accel.

accompagnamento ............................................................................................ accomp. ad Ii bi tum ........................................................................................................................... ad lib. allargando.. ... ... ... .. .... ... .. ...... ... ..... .... .. ... ......... ... .... ... .... ... .. ....... .... .... ..... ... ... ...... ... ... .... ..... .. allarg. appasslonato ...................................................................................................................... appass.

aperto ........................................................................................................................... arco ............................................................................................................................... arpeggiando ...................................................................................................................... arpegg. arpeggiato ......................................................................................................................... arpegg. arpeggio ....................................... ~ .................................................................................... arpegg. blsbigliando ............................................................................................................................. bis. cantabile ............................................................................................................................... cant. cantando .................................................................................................................................... -

col legno .................................................................................................................... c.l. * col legno battuto ......................................................................... col legno batt., c.l. b. *

...

...

9 come sopra ............................................................................................................................. c.s. *

con sordino ........................................................................................................ con sord. cup mute ...................................................................................................................... crescendo .............................................................................................................................. cresc. decrescendo ...................................................................................................................... decresc.

detache ....................................................................................... ~ ................................. diminuendo ............................................................................................................................ dim.

divisi ........................................................................................................................... div. divisi a2, a3, a4, etc ........................................................................... div. a2, a3, a4 etc. espressamente ................................................................................................................... espress. espressivo ............................................................................................................................... espr.

etouffe .......................................................................................................................... flageolet ...................................................................................................... ~............ flag. fl.a tterzunge ........................................................................................... ~.................. fl tz. flautando ....................................·............................................................................. flaut. fluttertongue ............................................................................................................ fltg. glissando ............................................................................................................................... gliss.

harmon mute .................................................................................. harm. mute (harm.) le altre (feminine of gli altri) ..................................................................................... Jaisser vibrer (let vibrate) ........................................................................................... 1. v. legato ............................................................................................................................ Jeggero .................................................................................................................................... I egg. leggiero ....................................... ;........................................................................................... legg.

left hand ...................................................................................................................... l.h. marcato ................................................................................................................................. mare.

meta (half) ................................................................................................................... naturale ..................................................................................................................... nat. niente ..................................................................................................................... n (no period) non divisi ............................................................................................................. non div. open .............................................................................................................................. ordinario ................................................................................................................... ord. pizzicato ................................................................................................................... pizz. pochissimo .............................................................................................................. poch. portamento ........................................................................................................................... port. pres de la table ................................................................................................................... p.d.1.t. rallentando ............................................................................................................................ rall. ritardando .................................................................................................................. ritard., rit. ritenuto ................................................................................................................................ riten.

right hand ................................................................................................................... r. h. secco ........................................................................................................................................... -

segue ............................................................................................................................ senza sordino ................................................................................................ senza so rd. sempre ........................................................................................................................................ simile ....................................................................................................................................... sim. smorzando ........................................................................................................................... smorz.

sordino ...................................................................................................................... so rd. sostenuto ................................................................................................................................ sost.

spiccato .................................................................................................................. spice. staccato .................................................................................................................. stacc. straight mute ..................................................................................................... st. mute

10 stringendo ........................................................................................................................... string. subito ....................................................................................................................................... sub.

sul ponticello ........................................................................................... sul pont., s. p. * sul tasto ..................................................................................................................... s.t. * tenuto ............................................................................................................... ;........ ten. tranquillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . tranq.

tremolando .............................................................................................................. trem. vibrato ........................................................................................................................ vib. Abbreviations as Symbols Some of the symbols found in engraved music started as abbreviations. Dynamic markings are· the most common example of this. Over the years the period was dropped from these abbreviations so only the letter remained. For example, the dynamic "f" is an abbreviation for forte. Another distinguishing characteristic of these symbols is their font which is bold, italic and reserved solely for their use. This helps explain why "niente" (above) is abbreviated as "n", without a period; it wouldjust look incorrect with one. Another common example is "Pedale," which is abbreviated as "Ped.". This abbreviation, in a Roman font, is good for use in percussion instruments with sustain pedals, but in Piano music the abbreviation has become a symbol, ~. , notable partly because the symbol retains a period. Of course, the other notable thing about this symbol and its release, is that they are unlike any other fonts you'll see on a page of music.

*,

There are some places where we still use textual indications to clarify situations. For instance, we put a textual indication on the first instance of a fluttertongue in a section of a work; after this first instance the "tremolo" beam indication is enough. As with tremolandi, a fluttertongue beam should consist of three slashes (or four in very slow music) when notated on quarter or larger notes and two when notated on eighth or smaller. Which language? It's always good editorial policy to be consistent with the use of language for all text in a score. However, though most of the terms above are in Italian (our prefered musical language here at G. Schirmer/AMP) some are in French and a few are in English. This has become the accepted standard and is not considered incorrect. Any harp player can read pres de la table and bisbigliando without confusion even though the first is in French and the second Italian. Translating either of these terms into the other language would cause confusion for the player. The same holds true for mutes in the brass section. The use of English terms for the various mutes employed by brass players long ago superceded the need to use Italian in a score consistently.

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11 Musical Abbreviations In general, it is good engraving policy to avoid musical abbreviations; they are essentially tools that a composer or copyist uses to save time when writing by hand.

For example, this symbol, :/. , should always be written out. When editing a manuscript, circle the symbol and write "W.O." to indicate "Write Out."

Short repeats indicated with repeat barlines,

~41--11~1:J___; _j_..J..__.,____ ] -J-J-.-.....:11 , are better

written out, unless they indicate a measure that may be repeated variably (like a "vamp"). Longer sections that are repeated may be notated by using repeat barlines, especially if they are used to indicate important structural sections of a piece.

It is permissible to use "Short-hand" notations such as,

LJ

,when the figure repeats for an

extended period. In this case, it is clear to write out the first beat and use the abbreviation for consecutive beats.

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~ 3J J :F73

s i s :r I s :r 1 i s I s i I s :r s :r 1 I s I

Avoid using any type of abbreviation if a figure only repeats once or twice:

1

not

1

r

In Jazz and Popular music, a heavy slash inside the staff is used to denote a repeated chord, a rhythm part, or an improvised section.

'&''i.~~I, i

•;m •;m .

1

:d9

~bM !dbl~ll

., v;,d9V vi1

I

v~,

Frequently found in rhythm instruments (guitar, bass, drums), slashes are commonly placed on every beat even if the player may be performing in a free, improvisatory rhythm. If a composer/ arranger wants a specific rhythm played, stems and/or flags are added.

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Chord symbols or names are placed above the staff for changes of harmony. If an improvised solo occurs in a rhythm instrument the word "improvise" or "solo" is added above the staff, however, this is generally not needed in a solo instrument (Trumpet, Sax, etc.) as these parts are written out until they have a solo.

12 Structural Abbreviations The following terms, symbols, and abbreviations are used to indicate the repetition of large structural elements within a movement or entire work. In music for publication they should only be used in works with readily apparent forms, such as songs in A-B-A form. They should not be used if the repeat structure must be contrived to fit the music, or if the structure is complicated and not readily apparent to the performer. Care must also be taken with the planning of parts from such music. If a "Da Capo al Segno '' will cause a performer to turn back seven pages to read 32 measures and then tum forward seven pages to get to the coda it is best to write the music out in the part whether or not a "D.C. al Segno" is used in the score. However, ifthe "D.C. al Segno" merely returns the player to the top of the previous verso and then the coda is the last three staves of the recto from which the player looked back we have a perfect device to save both page turns and paper. As a rule, this type of structure is found in Popular and older music. It is used very sparingly in public~tions of contemporary music. Da Capo (D. C.)

Go back to the beginning (literally, "to the top")

Dal Segno (D.S.)

Go to the sign (see example)

Da Capo al Fine (D.C. al Fine)

Go back to the beginning and continue until the word "Fine" appears over a double bar (or repeat bar). This is the end of the piece. In some older editions a simple double bar is used without text or you may see a double bar with a fermata over it.

Da Capo al Segno (D.C. al Segno), sometimes Da Capo al Segno e poi la Coda

Go back to the beginning, play to the sign and skip to the Coda. Dal Segno al Fine (D.S. al Fine)

Go back to the sign and play to the end.

Da Capo senza replica or Da Capo senza Ripetizione

Go back to the beginning and play to the end without any repeats. Coda

Literally, "tail.'' Coda indicates the closing section of a piece or movement which is played after everything ~lse and is usually not repeated.

In this type of structure the measures are numbered as written from beginning to end. Only whole measures are numbered; incomplete measures that include upbeats or pickups are ignored. If the final measure is not the end of the piece a simple double barline is used instead of a teminal barline. In the following examples the wavy lines indicate played music on successive passes through the piece. Notice the fonts and capitalization used. Also notice that the "to Coda" sign is the same as the "Coda" sign, only smaller (some inexperienced engravers use this sign as a "muffle" sign in percussion instruments; do not do this). Unless it is impossible for some reason, the Coda should begin on its own staff and, in parts, be indented. The large "Coda" sign may be placed either above the first bar of the Coda or to the left of an indented staff (again, in parts): If the word Coda is used, it must be placed above the first bar of the Coda and set in a bold roman font.

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1

1st

2nd 3rd

1

1st

2nd 3rd

1

1st

2nd 3rd

'I ',,I

2

4

3

2

6

5

+::::f::::::: I::

:fl;; :d;f:;

;;

3

;; ;;::;;:;; f

;;;

~

8

Fine 7

9

10

.i

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:::::Hffa:::

D.C. al Fine

m:

8

Fine 7

6

5

n±;m

;;

9

10

=H D.S. al Fine

2

~

3

11

(3rd)

6

5

:::

II : :

f :::

• =a

8

10

9

D.S. al Coda

-$- (or Coda)

12

~

14

13

15

16

II

When music skips from one part of a printed page to another it is important to be sure that the key signatures, time signatures, clefs, slurs, ties, and other elements are all in agreement. If this becomes too complicated it would probably be best to write out the music.

Accidentals Accidental symbols are used to raise or lower a pitch. In printed music they are also used in some situations to clarify the pitch. The following symbols are used:

Sharp Flat Natural Double-flat Doublesharp

#

b

q

Quarter-step higher

~~~~

bb

x

Quarter-step lower

p~~~

· Three quarter-steps higher

~

m qb cancels bb to b [See also the section on Microtones (p. 121)]

Three quarter-steps lower

q#

cancels x to

#

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Positioning in Chords The overriding principle when determining the position of accidentals in a chord is twofold: use the least amount of horizontal space for the group of accidentals and try to keep the accidentals close to the notehead they modify. ·::

When positioning accidentals for seconds, the accidental for the higher note is placed closest to the notehead: .not

not

When three or more accidentals are involved, position the accidental for the highest note closest to the noteheads first. The accidental for the lowest note is positioned second. If the interval between the lowest and highest note is a seventh or more, the two accidentals should be aligned vertically: ~

-y-

~

not~

The accidental for the second highest note is positioned next:

followed by the second to lowest note:

~ and so on:

. rr

A

B

wt1 tl ·~ 1.

~

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(Note that in example C above, the second lowest and second highest notes are greater than a seventh apart, therefore the accidentals are aligned vertically.) When a chord contains a second, the accidentals for the second should be adjacent:

not

There are some exceptions to these rules. Accidentals for octaves should be kept in the same horizontal position:

not

!.~

and

not

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15 When to use Accidentals In non-mensural notation (as in a cadenza), it is

b~st

to put accidentals in front of every note

they apply to and cancel any accidentals that could be confusing. This excerpt,

'rr

1

rfrfrf

would be clearer as [example a] or [example b] (depending on what the correct pitches are).

• Repeated notes usually do not need repeated accidentals:

not

In mensural notation, traditional accidental policies apply. • All accidentals carry through the measure in the same octave:

't

#L Fur , j

3J gI

not

• Cross relations should be canceled with a natural:

~

~

#~- ~

5)

• Courtesy accidentals should be used from one measure to the next:

(

r

F

(Note that parentheses are not necessary.)

• Parenthetical accidentals should be used at the beginning of a staff system when a note is tied and continues for additional measures.

pr----r----r----r----r---1

I

I

I

(A good example of when to use a parenthetical accidental.)

I

16

Here, a parenthetical accidental is not necessary at the beginning of the system even though the first pitch is f#.

• Accidentals for grace notes carry through the measure unless they are cancelled:

not

not

•

If there is some distance between the grace note and a subsequent note at the same pitch

level, then the accidental may be restated in parentheses:

:.11

[See Key Signatures (p. 51) for further information.]

• When two voices are written on a single staff, accidentals apply to each voice separately. This may make it necessary to include accidentals which seem redundant:

::i~f"a!i:::::;jf-===~lc:===~f===:!:il======r--This

sharp must be stated.

• If the last note in the lower voice is F natural, the natural should be stated:

17

• In serial (twelve-tone or dodecaphonic) music, it is sometimes necessary to amend the abovestated accidental policy. While some c?mposers might place an accidental in front of every note:

This example could be simplified without losing comprehensibility by placing a statement regarding accidental policy at the beginning of the score: "Accidentals affect only the notes they immediately precede with the exception of tied and repeated notes." Most musicians would play the last tied.note as G-flat rather than G-natural. To insure that the last note would be played as G-natural would require explicitly stating the natural.

E

:1

18 Articulations Articulations are small symbols placed in proximity to a notehead that indicate the manner in which the note should be played. In wind and brass parts, they indicate the manner of tonguing (or the lack thereof). In string parts they indicate the use of the bow. Percussion and keyboard parts use articulations to indicate the type of touch and release to be used. [See Slurs and Ties (p. 76) for related information.]

Some of the most common articulations are: >

accent

~

(heavy emphasis)

A

'

accent-staccato (heavy emphasis; short)

marcato accent

~

rnarcato-staccato

(heavy emphasis, but with separation between notes)

(heavy emphasis; short)

tenuto (sostenuto)

tenuto-staccato

(hold note for full value; slight emphasis)

(slight emphasis; not as short as staccato dot)

rnarcatissirno

~

(very heavy accent; very short duration)

accent-tenuto (heavy emphasis; hold for full value)

staccato (very short duration)

The above definitions are good, general guidelines.

Accents, Staccato Dots, Tenuta Marks, etc. We consider an articulation part of the notehead, therefore it is our practice to place them by the notehead. For example, accents are normally positioned like this:

r

:~

19 Notice that articulations can (and should) go inside the staff to bring them close to the notehead:

not

Furthermore, always place smaller articulations closer to the notehead than larger ones. If the previous articulations became "accent-staccato," then the dot would be positioned closer than the accent. Notice that each articulation is in its own space: ~

'

a f

II~

r

#~ >

Generally, articulations should go under a slur: >

>

r

r

f

5

Accents at the beginning of a phrase are sometimes positioned outside of the slur for reasons of

space:~ Slurs are usually positioned with their endpoints centered over the noteheads; ties go from the right side of the first notehead to the left side of the second notehead: tie

F F Engravers sometimes adjust this depending on the available space:

' Fr'r f ~ r I

is better than

'

fr ErsHI

When a note is tied and has an articulation, the articulation should go outside of the tie not

--

Certain types of string bowings, such as loure, require a slur {centered above the notes with articulations inside). Even though both pitches are the same, they are both articulated:

. 20

Harmonics, mute indications ( F and +), and bowing marks should always go above the note, -:;

outside of the staff:

~

n

~

v

~~

0

6

+

~

c ~

~

3

~~

r +

(The last chord has the "+" below the staff. This is a left-hand pizzicato indication that only refers to the bottom note.)

If the note is stemmed down and near or above the top of the staff, harmonic symbols should be

kept above the articulations. 0

F

>

Barlines Barlines are vertical lines drawn perpendicular to the staff dividing it into measures. The connection of barlines through the staves should match the brackets at the beginning of the system: ,,,,/ •\

...

t.l

-. '\

--1

j\

-

t.1

.

~\

-

,t.)

•\

!:. I

..

21

The common exception to this rule is vocal and choral music. In piano-vocal music, the barline connects the grand staff of the piano, but ~ separate barline is used for the vocal part(s). This is done to keep the. barline from interfering with the text.

,..

jll\

-

...

eJ

not

,..

-

-'"'

I

I

~

-

~

I

tJ

-..I

-·..

- .. I

A similar approach is taken with choral music:

..,,, ,.

s

-

eJ

A

-'"'

I

tJ

T

B

-,,'"' ..

...- ,..

.,

I

,..

I:. I

..

I

or

...

22

Orchestral scores are treated differently. Usually a family of instruments is connected with a barline, like this: _, j\

Fl.

1 2

-

1 2

-

1 2

-

t j\

Ob.

tJ jl\

Bb Cl.

1 2

Bn.

tJ L. .... I

~

LI'

jl\

1 3

....

2

....

tJ

FHn.

j'\

4

tJ h

Bb Tpt. ~ ... l

tJ

Tbn.

1 2

.•

..

L. .... I

-·· ~.

Tuba

I

I°'

..

Pere.

•

I

1,.1 ...

I

...

tl

Vn.

..

JI\

II

...•..

tl

Va.

Ve.

- ..

Cb.

-..

L"11.o I

I

:~

23

The same approach can be used with chamber music. For example, in a work for woodwinds, piano, and strings, connect the barline through all the winds and use a separate barline for all the strings:

"""

Fl.

-",.~

tJ

-..

A

Ob.

't)

A

I~.

Pno.

-··,

~

,,,,

..

~

tJ

Vn.

A

....

II

tJ

Va.

..,..,

Ve.

'system barline

Note that keyboard instruments (on a grand staff) always have their own barline. The only barline that is treated differently is the "system line" (which appears to the left of the clefs and connects through every staff visually defining the system). Note also that the last barline at the end of the staff does not connect through every staff. Breaking barlines In most instances, barlines can bisect other items (such as slurs, ties, hairpins, etc.):

I

f It is standard practice to position dynamics so that they do not interfere with a barline:

"

I.~.

..

I

~

ff.f

not

24

When text must cross a barline, and cannot be positioned elsewhere, the barline should be broken to make the text easier to read: j\

- -

I

·I

,,,,,.

~

e.J

not

~

....... - ..

:~

fcresc. ooco apoco

I

-

l',J

I

I

In contemporary music, double barlines should not be used to indicate a change of meter. They can be used to separate major sections; in music employing key signatures, double barlines may be used to separate changes of key:

It is customary to place a terminal double barline at the end of each movement and the end ofa piece.

-----HllI

..

This barline nullifies any changes that have taken effect previously. The

next section begins at each instrument's "default" values. It is not appropriate to have courtesy clef, meter, or key changes around a terminal barline. Doubling instruments should be re-stated at the beginning of new movements.

A double bar line may be used instead of a terminal barline at the end of a movement when the music is continuing, either because of an attacca into the next section or because of a repeat back to a previous section of music. Courtesy clef, meter, and key changes may be used around

.::

these type of barlines. [See Structural Abbreviations (p. 12)]

In long measures of irregular meters (for example, 114 time) dotted or dashed barlines are sometimes used to subdivide the bar. We prefer to indicate the subdivision over the staff (e.g., 3+4) and avoid dashed barlines, although either method is clear:

,1 #J J J F '(4:1-Sl

l #J J J F

:J lz~

:r

11J lz~

J

J l#J J J f

11J ii~

J

J l#J J J (3+4:)

~ lz~

:~

25 The subdivision of the meter is also shown through the use of proper note values (or beaming in meters such as 7/8). Were the above example to have a sustained pitch through both bars, it would be notated as below, likewise, each bar sub-division must be properly divided within

,1 e2

itself (i.e., into 4 for the "4" subdivision and 3 for the "3" subdivision). (4:+-3)

'(tiSl

1

(8+4:)

ff'

Sf"

(8+4:)

J ' J

l#J J

d J

I

Repeat barlines, at the beginning of a line of music, should come after all other information (clef, key, and time signatures) and before the music.

t :: . :::;;; ::: ; J:

;;;; •;;

=II

In contemporary music repeat bars may be used in aleatoric notation, allied with boxed pitches and/or rhythms. In the example below notice that the repeat bars are within the staff; they touch neither the upper nor lower staff line. This keeps performers from confusing them with the bar count. In a full score it is better to use the boxed notation as it is more visually striking (there"is no need to include repeat signs within the box). Whichever notation is used, if the event stretches over several pages it will be necessary to restate the original event on each verso with a leading extender line. The same rules hold for boxed rhythmic notation. Repeat randomly, playing as fast as possible without regard to other players until next event. Used mostly in chamber music and single line music. 1------

t r r 661

2

3

4

5

1

.1

' 11=gr < .P.P asynchronously, presto poss.

Same as above. This notation is preferred by many as it stands out more clearly in a full score. 3

2

5

4

·I Aleatoric pitch cell, do as instructed in composer's footnote until next event. 2

3

[See Braces and Brackets (p. 30} for related information.]

4

5

26

Beams The purpose of beaming is to clarify the rhythm of a group of notes. Beam grouping generally does not indicate phrasing, and beaming across a barline should be avoided.

However, historical and musical context must also be considered; the music of Bart6k is but one example where beaming is used to indicate phrasing. Consider this:

'I tiJ (Ct f f f [§J ~

I

This rhythm would be easier to read as:

But if the previous example did not have any articulations or slurs, beaming would be the only notational device that would inform the player what type of phrasing to use-it would be important to beam across the barline.

In duple meter, beams should not cross the middle of the measure:

not

we generally don't even beam across sub-divisions, but this decision depends on the musical context.

' tr r r r r r r r

(us::::1y) ' I r r r r r r r r

The main reason for beaming by beat is that contemporary music uses ever shifting meters and be~ming

this way is more clear. When notes are of mixed rhythmic value, always group by the

beat:

I J.

not

; J. :~

27

In triple meter, it is acceptable to beam beats together, especially in quick tempi when the music is conducted in one:

'A J JJ II J J J J J J IJ J J J J IB J J J I but not if the rhythmic values are mixed or, in quarter or larger beat, with contemporary music:

'I

JJ J J J J J

not

'I

JJJ J J J J

Do not beam rhythms in 3/4 meter so that they appear as if they were in 6/8:

'

2I

!J.

;, J J

Rests may be included inside beam groups:

not

J

7

'

I

I

J J J

7 3

7

J J J J •

~,

J

Beams should not extend over rests at the beginning or end of a group:

.n

.--3---,

3

I I j)

n-1 1---:J

not

Avoid beaming "irrational" and "rational" note values together when they appear confusing: not

J

J

3

J j

, on the other hand, is quite clear and would be the preferred notation. 3

If possible, divide the beam to indicate the 'tuplet division:

Use a bracket when it is unclear which notes are 'tuplets:

r

.--- 3-----,

I 1

not

r

3

1

·.i

28

Complex Beaming Beamed groups in contemporary music can become quite complex. It's important to be aware of the basic l;leat structure of the music in order to properly group notes. Always remember that notes are grouped by primacy, secondary, and tertiary (etc.) beams according to their equivalents within the beat. :~

And:

i

wwtwwtwwwwtwwrrrrrtttF 12 wruft;ft\fiWfil 11

@

LJ-.J LJ-.J

LJ...l LJ...J

LJ...J LJ...l LJ...J LJ...J

LJ-' L3...J L-3--I L-3--I L-3--I

L3...J L3...J

or

LJ...J L3...J

>

LJ-.J L3...J

>

'WwtwwtwwwwtwwrrurtMf 11§ft;fffjffiifgft;f11 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

not

Study of these examples will show engraving problems (and problems caused by the program's defaults) and their solutions as well as the problem of primary, secondary, and tertiary beams. Note especially the beam slants in the second measure of the first example and the ties in the third measure. In the second example note that one could use either all bracketed triplet figures or all unbracketed, but should not use a combination of the two. Also note the incorrect direction of the sixteenth beam in the second beat of each measure. Some may find the second example more easily read cast in ~ different meter or tempo, as below, but this is not what the composer intended.

't

or

>

>

Wwf M&ff M&f1W&ff Wf:~fff frffttfiFzFftfF qeqff f1Fftf I 3

3

3

3

3

3

3

3

3

3

3

3

·.....

:~

29

Stem Direction for Beamed Groups When two notes are connected by a beam, the note farthest from the middle line determines whether the notes are stemmed up or down. If the farthest note is above the middle line, the beam goes below; if it is below the middle line, the beam goes above:

.not~

•

Beaming between the notes should be avoided:

not~

not

When a group of notes is beamed, the majority of notes indicate the stem direction for the group: not

There are some exceptions to this rule, which good engravers usually know from experience:

'2ar r fE1 er ir n r 0f e ~ not

In this example, it is better to have the first beat of measure two stemmed down since the groups before and after it are stemmed down and the group occupies less space that way. Stemlets Though we do not use them, some composers favor the use of short stems, or stemlets, over rests that are within beamed groups, arguing this helps clarify the rhythm. Stemlets can create tremendous problems for the engraver, who must distort beam and rest placement in order to use them. If stemlets must be used, the following rules apply: the unattached end of the stemlet should appear in the top or bottom space whenever possible and the beams should be straight.

/

30

Braces and Brackets Braces, brackets, and system barlines are used to organize the extreme left end of systems visually. When a system consists of a single staff, it contains none of these items, but if a system has more than one staff it always contains a system barline to the left of the clefs. In addition to the system barline a bracket, brace, sub bracket, or any combination of these is added to group staves together. How the staves are grouped is determined by the instrumentation of the piece.

:~

The brace (0 is customarily used to group two (and occasionally three) staves. We restrict its use to instruments that are notated on a grand staff (e.g., piano or harp, and occasionally mallet instruments such as xylophone or marimba). The organ is unusual in that it is often written on three staves, the bottom staff being for pedals. In this case the brace is only used on the upper two staves (for the manuals). Nothing

I Subbracket, Bracket, System line

Timp.

Brace, System line

-·!~

Bracket, System line

Brace, System line

a~·!

I

I Fl.

Bn.

=

:~

\. ,,,.

..,

Fl.

2

"' .., A

..,

Cl.

A

2

,..,

Note the brace extends from the bottom line of the lower staff to the top of the upper and does not touch the system barline. If more than three staves are to be grouped the bracket is preferable to the brace as it takes up less space and is less visually unwieldy. Brackets are commonly used to group familes of instruments or voices which have more than two staves. If an instrument, such as a solo or timpani, utilizes only a single staff a bracket should not be used on that staff in either an orchestral or chamber score. In an orchestral score it is common to see brackets grouping the different families. Since brackets may extend for several staves, it is helpful to include subbrackets grouping together species within families. In some older editions braces are used instead of brackets; we do not like to do this as we tend to reserve the brace for instruments using a grand staff.

,; A

Ob.

., "'

Bn.

,.., "

Pere.

' ,,,. ..,

Vn.

Graphically the bracket is the same thickness as a beam and is positioned one space to the left of the system barline. It extends one space past the staves it groups and terminates at the top and bottom with a small stroke which crosses the barline.

:

Tlmp

"'

II

.,

:~

Va.

:

Ve.

'

31 Subbrackets are thinner and extend from the bottom line of the lower staff to the top line of the upper. They terminate with thin horizontal lines that connect to the main bracket. In some instances, multiple subbrackets may be used.

"'"

"

Hn.

"

...

0 .c u

" " ...

l

Tpt.

2

Tbn. ....

...

"'"'

...

Hn. 2

[See Barlines (p. 20) for additional

...

...

...

Tpt.

Cl. lnB~

A

information.]

A

l[

A

:g

u

.,

Ob.

"

.,

...

...

... " Ill A

Bs.Cl.

Tuba

'

Chords, Clusters, and Seconds

,.,

When a dyad contains the interval of a second, the inner note (i.e., the lower note when stemmed down and the higher note when stemmed up) is offset to the "wrong" side of the stem:

Fnot

t rn -_-_-:_--_---~inner note~

t.

not

._ _______

When a second occurs in the middle of a chord, or a chord contains more than one second, apply the same .rule, starting with the outermost second:

~not~

not

Although clusters may be created by notating every pitch in the chord, we prefer a graphic symbol:

One notation we try to avoid is the altered unison:

not

=-:~~'frz=t==

This notation should only be employed when there is no other solution available:

[See Accidentals (p. 13) for further information. For positioning of seconds when two voices appear on a single staff, see Multiple Voices (p. 58). The Dots (p. 36) section discusses placement of augmentation dots for chords.]

32 Clefs The clef symbol appears at the left end of the staff indicating how the reader should interpret the notes on that staff. There are nine clefs that normally appear in music. The following table lists each clef followed by Middle C: Treble

Vocal clef (sounds an octave lower)

Tenor

119 • Soprano

Alto

lB • Bass

t>=

....

Non-pitched

II

lB • Mezzo-soprano

lB • Baritone

•

t>=

Soprano, Mezzo-soprano, and Baritone clefs are seldom used in current engraving practice, but may be seen in older editions. With the exception of the Tenor vocal clef, we do not make use of clefs with sub or superscript numbers. [See Clef Usage (p. 34) for examples of when to use each clef.] Clef Changes When an individual line changes register to the point that it would require many ledger lines to

:~

notate it correctly, a change of clef in mid-staff is often employed instead. It is always a good policy not to change clefs frequently, but when it happens, the best guiding principle is to put the new clef as close as possible to the next musical entrance so that the performer will not miss it:

...

33

If the new section of music begins on a division of the beat, the clef should go before the beat:

9: Good~udgement

must be used to determine when it is necessary to change to a different clef.

Generally, if an extended section would be written with many ledger lines, it is probably better to change clefs:

not

!}=

Fr Er

f f.; Ic j f ft~ f f rI

Clef changes are rarely needed within beamed groups and should be avoided.

Ill ~ i

~E ;J= ~

~ F

not

Ill

r ,£ !/

3

3

E ~ 3

F

A copyist or editor can often be helpful in clarifying, or simplifying, a composer's intent:

r 0

~:

0

~

~

'j j J ; J ~

~

~

0

Q~J

~~J

;;:~

not

~:

not

'(u[4[''f 4r'T4r~'f I

\

34

Clef Usage The following table indicates which clef is used for common orchestral instruments in modern editions (other clefs and transpositions sometimes appear in older editions):

Treble Only

Mixed

Bass Only

Flute/Piccolo

Bassoon/Contra (bass or tenor; never treble)

Tuba

Oboe/English Horn

Horn (treble, bass) N.B. when in bass clef,

Euphonium

written a perfect fifth higher than sounding.

Baritone

Trombone {bass or tenor; never treble)

Clarinet

Viola (alto, treble)

Bass Clarinet*

Violoncello {bass, tenor, treble)

Saxophones*

Contrabass {bass, treble)

Trumpet Violin * except when notated at concert pitch, in which case bass clef may be used. We feel it is no longer necessary to indicate the proper transposition of a French Horn when it plays in bass clef; it has been many decades since transposition at the fourth was used. In a full score, it is acceptable to change clefs more often to conserve vertical space. The part, however, should be considered separately. For example, in a score, bassoons 1 and 2 may be notated on a single staff in tenor clef:

.

t

.

·

~

~ II 81 E' r-~: i

Bn.

When the separate parts are extracted for each instru~ent, bassoon 2 should be notated in bass clef as its part is not high enough to warrant using tenor clef:

1

Bn. 2

[See Parts (p. 62} for further information.]

3fr

Left blank intentionally

-··--·----------· ---··

i

-~~

36

Dots There are two basic types of dots that appear in music: staccato dots and augmentation dots. Although they look similar, traditional engraving style makes the augmentation dot slightly larger than the staccato dot. The section on articulations discusses the staccato dot; this section will discuss the use of augmentation dots.

A single augmentation dot increases a note's duration by 50% of its undotted value. Two augmentation dots increase the note's duration 75%, and three dots increase it 87.5%. This chart illustrates the effect clearly:

J_) O•

=

o,___..)

·::

J. J_)_} =

O• •

=

0 ...__ _ _....

J. . )

=

0

.....___.... J

L= ~ .h~~ ......_,,

v

'-'

=

j ......____..... J.

=

0

:~

......___..... J..

Another way to think of this is that every dot is equivalent to tying the primary note to another note that is half its value. Each subsequent dot halves the value again.

..

37

Augmentation dots always appear to the right of the notehead on the sam~ space, or if the note is on a line, in the space above:

When a chord Is dotted, the dots are aligned vertically:

'j

Seconds, as in the above example, may create a situation where the dot must be placed below the note it alters.

When two voices are written on a single staff and a note for the lower voice appears on a line, the dot is placed in the space below the note:

not

While we prefer not to use them, current practice allows the use of double dots as long as the rhythm is clear:

ll

or

:h I

This example is easier to read if the double dotted half note is eliminated. not

Special care must be taken when engraving dotted notes with flags or ties as overstriking is a common problem in these instances.

l

'

or

l

J) J'.

not

J1

[For information regarding staccato dots, see Articulations (p. 18).]

·::

38

Dynamics and Expressive Markings Expressive markings usually go below the staff, often with the d)rnamic markings, and all at a level position:

II

r F [ [ [Al~

- - yre$pr. - - - mp - - - - - f

I

not

- -:J - -

II

r F[ [

- -p .-SpT. -

r Aif- ~

- - - mp -: - - - -

I

L - -

:~

When the contour of the music prevents keeping all of these marks level, it is acceptable to move them:

not

Hairpins should be horizontal. In Score, the baseline of hairpins should be set one half space above the dynamics. Note the p4 values in this example.

C'......__... mp

t -7.5 t

,......__.....

'------' f =========---P

-8

Dynamics should be positioned slightly to the left of the note they apply to:

.J

.J

not

nor

mf

mf

.J

mf

Vocal music is treated differently. Here the expressive marks (as well as the dynamics) go above the staff so they don't interfere with the text, and they are positioned on the same horizontal plane:

I

p espr.

'

f Now

r r is

the

f

f

time

for

fI

all

r

good men

..

·..

39 In piano music, dynamics are usually centered between the staves. They may be shifted up or down when they only apply to one hand and put above and below in multiple-voice music: Allegro

Marks pertaining to tempo, or the alteration of tempo, always go above the top staff.

[See Tempo Markings (p. 79) for further information.] Editing There are three types of editing that are done to a musical manuscript to prepare it for publication. The first is a general type of musical editing which examines the music for context and content, the second check for style and engraving instructions, and the third for performance indications.

A) Context and Content: In historical editions, this might involve a musicologist comparing existing editions to a copy of the composer's manuscript in an attempt to determine the correct musical information. If musicologist/editors discover any discrepancies between the sources, they must use their knowledge and experience to determine which source contains the correct information. Because this can be a type of guesswork, editors usually identify their corrections by enclosing symbols in square brackets or by placing a line through a slur:

When editing a contemporary work, this type of "context and content" editing is also necessary, but it is applied differently. It is the editor's task to make sure that the music is written in such a way that it can be understood and performed. If a passage goes beyond the range of the instrument, or contains a measure that looks suspect (e.g., containing 3¥z beats in 4/4 time) the editor's role is to query the composer to determine the correct information.

40 B) Style and engraving instructions: This is similar to the work a copy editor does when preparing a book for typesetting. The copy editor corrects misspellings and poor grammar; the music editor corrects these as well as errors in musical notation (i.e., stems going the wrong direction, incorrect

:~

placement of articulations, etc.) by adding marks on the manuscript in red pencil. The music editor, in collaboration with the engraver, determines the best layout and presentation for the music.

Although it takes experience to learn the methods used to edit a manuscript clearly, we would like to provide a typical example as it might appear from a composer: :~

P. 1

------------ - ....

41 The editor would make indications in red (reproduced here in black) on a copy of the manuscript:

y

When finished, the engraved piece would look like this.: to my mom

SONATA Introduction

Joe Composer, op. 1 {1989)

Allegro dramatico

Piano

f

~.

Flute

~ ;~~~~~-=========================== f

Piano

4

---========== f >

>

>

---....i

411.

-

.. L

r

~:

J

f

~

I -~

r

6

~ >

~>

42

C) Performance indications: The third type of editing is created by noted performers. Many publishers bring out performing editions that reflect a particular performer's fingerings, phrasings, bowings, or articulations, which illustrate a unique interpretation of the work. Although individual performers make personal choices when determining the best fingering, it is often helpful and enlightening to see what solution a distinguished interpretor discovered.

Fingerings Certain types of publications have explicit fingerings stated: most notably in educational works, guitar works, and contemporary works where the composer desires a specific effect or sound. Engravers use different methods to determine the correct placement of fingerings in keyboard and guitar music. In keyboard music, place the fingering above the right hand staff and below the left hand staff:

'

•' ..

l

2

2

5

... . -"

I

~

5

3

In some instances, it is better to place the numbers to the left of the notes:

In guitar music, it is often preferable to place the fingerings to the left of the note:

If there is a strum indication (as in the last chord of the previous example), place the fingering to

the left of the strum.

43

String Indications When composers or editors specify that a passage should be played on a specific string, they usually add "sul" plus the letter of the string, or a Roman numeral, above the passage: ord.

~

sulG-------~

g

J.

1.J

IJ

Et

or

er ord.

~

g

J

i.J

I

J

A line may be used to delineate the passage to be played on the string and the indication "ord." may be used afterwards, though neither is strictly necessary.

String instruments count the highest string as I; for example, the E string on the violin is I and the G string is IV. On the guitar, the strings are also counted from highest to the lowest, so the top E is 1, the B is 2, and so on. Guitar music employs Arabic numerals in a circle to indicate the string since Roman numerals are used to indicate which fret is played.

Violin Viola Cello Bass

Guitar

I

E

A

A

G

CD

E

II

A

D

D

D

@

B G

III

D

G

G

A

@

IV -

G

c

c

E

@

D

@

A

®

E

~

~

XII ®

I

j

12thfret 6 t h strmg .

I

· ---

----·-·-- - - - - .

- -- -~~ --

44 :~

Mutes Mutes are employed by string and brass instruments as

~

means of changing the color of the

sound. They reduce the dynamic level as well, although it is possible to produce a forte sound while playing with a mute.

Indications for mutes are always put above the staff. For strings, it is preferable to use the following: con sord .......................................................... with mute senza so rd................................................. without mute al sord ........................................................... to the mute via sord ...................................................... remove mute In addition, types of bowing (like "sul pont., col legno," etc.) go above the staff. To cancel these indications "ord." is used. [See Text (p. 82) for further information.]

Brass instruments often require more specific types of mutes. Here it is.better to use English. For example: harmon mute, straight mute (metal), plunger mute, etc. The cancellation for these indications should be "remove mute" or "without mute." Some scores, particularly in jazz and popular music, use the term "open" to indicate "without mute." This term can be a misnomer so we tend to avoid its usage. After their first use, mute indications may be abbreviated.

Please note that mute and bowing indications above the staff should be in a roman (not italic) typeface and all lower case.

When writing for the horn, the plus (+) symbol is traditionally used to indicate stopping with the hand; a circle ( F), not the letter o, cancels the indication. Use of a horizontal line to indicate a passage of notes that are stopped, rather than a plus over each note, is acceptable. As with string harmonics, stopped tied notes require that each have its own symbol:

":i.

0

--=====

L._3---.J

r

or

+++

+

@J3 JJ H HJ --=====

L._3---.J

0

r

lffo lffo When the horn player is using a mute (rather than hand stopping) write "con sord."

:~

45

First and Second E11:dings . When a piece's form dictates that it repeats exactly with different endings each time, each ending is specified: fom David Fetherolf,

Concerto for Violoncello 37

IL

Fine

I

accel.

2.

Fl.I

.. .,

(Clock.)

l·.• ..

1· .-

Hp.

-ie:

SoloVc.

l

-

1;

I~

II~

,..

IA-

II.

.. -

-=== =--

Ip

rChs

. 1:

(plzz.)

I'"'


Va.I (pin.)

.

(pm.) ""~-

·-

-

I Fino l 12.

arco

r

I

r

I

1·

larco·--·- II~-

I

nrco

I

.,,.

I

-

~e""·····-,;1

-

"!P

:

I

Ve.I

Cb. I

I 0~

I I arco"'_.,,._

II

.. ..

I~

"'

h.

1·

II

-

ID~

.. (pin.)

Vn.

:

•"'

- - .. -

mp

I

·----G'

[_

1·

(Trg.) ..-

I

I

.l!1!l!P

"'

I

' ..

Col.

pp

I

Pen:.

-

J!P

"'

Tlmp.

11 Tf'

-11·

.. !:.c:::

--~

~e

"' "'I

..

4'...,.

p

e

I

--

accel.

"'

arco ,;......---.-..:,

PJ!P

"'

..;.

area;.

PJ!P

·11

arco n.

arco,,. ~ arco"'

h

·11

_Tl

...

_

JP

"Play parenthetical G the final time only.

·II ·~ •

Note that the ending bracket for a first ending has a terminating vertical line on both sides. It should always encompass the entire ending, even if it is several measures long. A second ending has the vertical line on the left side and need only be one measure long since it is presumed the piece continues. Additional endings would match the style of the second ending. We count bar numbers straight through endings and repeats, so the fourth bar of the above system would be bar 40, not bar 76. As discussed previously, care must be taken so that score and parts match. Ending indications should always go above the top staff in a score. In an orchestral piece, they should be above the top staff and above the string section. The general principle we use is that the ending symbol should appear above the same staff (or staves) as the tempo markings.

[See Measure Numbers (p. 57) and Structural Abbreviations (p. 12) for details.]

46

Footnotes Footnotes are often employed when some aspect of the music requires explanation and there is not ample room within the body of the music for the text. Contemporary music, especially when it employs graphic and unconventional notation, often requires footnoting. :~

When footnotes are included on a music page, they should be indicated with asterisks in the body of the music. The text of the footnote should be 8 point Roman typeface, positioned flush left at the bottom of the page, whether score or part: from John Corigliano, Symphony No. 2 11

Symphony No. 2-Vloloncello

•p

· · [!t: ::::::::::ii: : : : : : : : : : : : I+: : :!! !!!!!!? ~; !::!!!::: ;::;I; ;;;;:;;;;::t;;;;;:; :;::I

I

~

.

m~

~

q

>

•

'1) 1J11J 1,J ;J J J J J J J J 11JaJ J J ; ',J J '.J6J J J It J Jj ~

:~

N-

( J =184)

f

.I Il_ i

>

~

crac.

sul pont.

(J =132-138) acceJ.

.. "While prt!St!rvlng the lntetvnl of a minor third. very slowly move upwards (slow glissando). always arUculoUng the 16th-note rhythm. The mlnOT th1rds will dlmb upwords. ••Ascending mtnor 3rd pottem conunuos from approximately where II lef1 off.

47 Footnotes are also used to indicate an ossia passage (an alternate way to execute a musical figure, usually easier to perform). If possible, place ossia passages within the music. Sometimes, when space is tight, it is necessary to move ossia passages to the bottom of the page.

We do not recommend numbering footnotes as they can easily be confused with measure numbers. Multiple asterisks ( *, **, ***), daggers (t .*) or a combination of the two may be used as needed. Grace Notes Grace notes are smalt ornamental notes usually played as fast as possible as a decoration to the principal note. In contemporary music they are playedjust before the beat unless the composer specifies otherwise. If necessary, a footnote may be added, "grace notes occur on the beat.

tt

Grace notes are always stemmed up, with one exception: when there are two voices on a staff, the grace notes for the lower voice are stemmed down: -

Slurs for grace notes on single voice staves generally go under the note. Connect the slur to the primary note and, if there is an additional slur, it should not include the grace note (the slur is sometimes easier to read when placed above the grace note, use your judgement):

.4tF[

-------~~~-------

r F r F

not

F

Er E

Although the slur has been an integral part of grace notes throughout the 20th century this can cause confusion with their execution by wind, brass, and string players. If a composer wants separate articulations the slur should be omitted. There should be a slash through the flag for single grace notes. Beams on multiple grace notes should be double, or occasionally triple or quadruple, depending on the note values nearby. A longer string of grace notes, such as in a glissando or arpeggio, should have at least a triple beam. These situations do not need a slash. Exceptions to these preferences (e.g., the lack of a slash on a single grace note, the lack of a slur) should be accompanied by a footnote or prefatory note.

rearticulated

4FF f F l;11f F F f I 4FF f F I~ F F FI bowed or fingered

'

tm!g·f~. ;J

~

::>

ff

~

E+. FI _,

--========

48

Grace notes should not be placed before the barline, even though they are played before the beat (exceptions being trill terminations and like indications):

:~

In Classical and Baroque music, grace notes have different meanings and executions. There are several good reference books on period practice. Hairpins (crescendi and diminuendi) A hairpin indicates an increase or decrease in dynamic level, often from one dynamic to another. Although composers often mix the usage of hairpins with.the words crescendo and diminuendo, we prefer the hairpin as it visually represents the dynamic effect:

'j

JJ1u

not' j

JJi"

p f p cresc. f Use crescendo (abbreviated as cresc. or cresc. poco a poco) when the swell will last for many measures

or there is not enough room between the staves to include a hairpin.

It is usually not necessary to break a hairpin unless intermediate dynamics are specified:

' J pp

~ ~ ~ 11·~ mf

~

I f.f

In keyboard music, it is sometimes necessary to position a hairpin through the stems of the notes:

Where possible we prefer placing the hairpin and dynamics above or below the staff for legibility.

mp'~--===============ff

~~

49

Harmonics It is common for composers to request string players to play the soft natural harmonic notes which are produced by subdividing the string at its nodal points. Artificial, or false, harmonics (so-called because they do not lie within the natural overtone series of the string) are also frequently used. Although primarily written in music for strings, guitar, and harp, wirid instruments also occasionally play harmonics. A circle ( F) is always used to denote harmonics (as opposed to the letter "o" which indicates an open string or the number "O" which is used to indicate a null fingering):

When harmonics are tied, the F must always be restated for each note:

r·----·-----r If I

not

--r-----I I

[See Articulations (p. 20) for information regarding how to position harmonic symbols when combined with articulations.] How to notate string harmonics

Musicians have different preferences regarding how they like to see string harmonics notated. Our policy is straightforward: simple natural harmonics are notated at the resultant pitch with a F above them. Note that with tied notes the F must be restated. 0----0

Notate artificial harmonics as if they were a double stop: the note to be fingered and a diamondshaped note above (indicating where the finger should lightly touch the string to produce the harmonic):

JS:

Do not place the harmonic symbol ( F) above artificial harmonics.

50 For false harmonics at the fourth, a resultant pitch is generally not necessary. When we do state a . resultant pitch, we prefer to do so cue sized, in parentheses, above the note. If the note is tied (as in the previous example) we do not restate the resultant. False harmonics at the octave also need not have the resultant notated, but other false harmonics should. If there is a mixture of harmonics (false at the fourth, fifth, and octave and/or natural) in a single line it is best to notate the resultants. In some cases we have used a cue-sized line above to indicate the resultant melody.

...

from Bright Sheng, Spring Dreams

a

1

r

r r r t3 r

G

-~'

U~

r I r-----: I

I

-~

iUlft

i

r

I

Natural harmonics other than those at the octave are often notated with diamond noteheads, and sometimes, depending on the context, even octave harmonics are (see below). Although the ·~

diamond noteheads of artificial harmonics are always open, for natural harmonics use the appropriate opened or closed noteheads. Do not use a parenthetical note on the open string when notating natural harmonics (an older convention); use a string indication (e.g., III) above the staff instead. In some rare cases, such as above, even the string indication is not necessary, but it should usually be used.

fom John Harbison, fl Saliscendi Bianco

42

IVm 11 m >

.l

JJ >

mf

not

£] p.JiJ. .l

.l

I

>

cresc.

42

I-

>

A

mf

f

>

•

• >

cresc.

Please note that we treat the diamond shaped note normally: it has augmentation dots and ties where necessary.

D~

not use a dotted tie for the diamond-shaped note:

not

~

l

51 In guitar music, this is the prefered notation for harmonics (fret is always indicated; string is indicated if necessary, which it really is not in this case): XII

®o

J Harp harmonics are traditionally notated an octave lower than the resultant pitch with a small circle above the note: jl\

...

~

..

........ ,,

.-

..

* ,....0

*JJ._ 0

....

0

-

,....

0

I

_

.... 0

0

will produce

•

*harmonics sound an octave higher than written

It is customary to add a footnote stating "harmonics sound an octave higher than written" when using this notation. Indentions

The first system of a piece should be indented enough so that the instrument names can be written out in full (to the left of the staff).

Key Signatures

Works that are tonal or modal in their origin frequently employ a key signature at the beginning of each staff to avoid the necessity of writing the same accidentals repeatedly in the music. This also maximizes the horizontal space by eliminating many accidentals in the music.

When a key signature changes in a piece, it is not necessary to cancel the old signature with naturals. Simply state the new key signature in the measure:

52 A double barline should be used to alert the eye to the key change. It is not necessary to state any naturals in the new key signature:

.. If the key signature changes at the beginning of a system, it should be stated at the end of the

previous system after the barline:

If the piece changes to the key of C, a canceling signature in naturals should be included. If this

change happens to occur at the beginning of a system, the canceling signature need only be stated at the end of the previous system:

II ~11 no key signature

&I Key signatures in C clefs should be indicated like this: :~

In a contemporary orchestral score there should be no key signature in the staves of transposing instruments unless the piece is actually in a key. If the score does have key signatures indicated for transposing instruments but not for non-transposing instruments, it will be assumed that the piece is in either C or a. Courtesy Accidentals after a Key Change When a piece changes key, it is sometimes helpful to add "redundant" accidentals in parentheses in the first measure following the key change to assist the player:

f 11~l11 r

r

J

j

~

c: J

II i##

f ~i

E!'J

F

r

F

..

53 The editor must exercise good judgement when deciding if these accidentals are necessary or not. The above example is a clear case where we would use them, but if a piece changes key every few measures we would not use any courtesy accidentals. Keyboard Notation While many aspects of keyboard notation must be decided on a case-by-case basis, there are some guiding principles that can be applied. In some types of piano music, composers try to specify too many independent voices:

--------

~

*

Notice that the sustain pedal is down. The same example could be more clearly notated as:

Sometimes composers unnecessarily use three staves instead of two:

I

....

~'\

..... I

I

t)

~

I ,_ .... -· I I

I

- ..

L'• I

\

.ll

... -

-

~

,._, _,

-

-

I

-{!;

54

...·.,

The previous example can easily be re-notated on two staves: I

'\ -·-- ...

...

v

-

-...

...I

-

rJ

I

J

~

I

t ...... ... ..

I

-

I

I

..LI..

I I

-

Keyboard instruments (harp, piano, and organ) should never be notated on a single staff, even if only one hand is playing:

I

not

iG J Lt

!1$

In some situations, it is preferable to beam between the staves.

would be clearer as:

-... - I

--

--

--

I

I

I

I

j \

I

j ..

-

I

--

-

-

v

I

I

-

-

l

-

-

In keyboard music, cross relations between the staves should be canceled with courtesy :~

accidentals:

j ..

...

~

...... - .. ... I

... /'I I I

-

I

I

--

.... -_,

t:'1I

-~ I I

55 Keyboard music presents the most difficult challenge to the editor and engraver. It takes an experienced editor to find elegant solutions to the notational challanges that arise, especially with contemporary music. Several issues must be thought of simultaneously: the speed of the music, its complexity, what the right and left hands are doing at any given time and more. Study of the example below will show just how daunting this can be. While we tend to err on the side of too much information, the prevailing concept is to keep things as clear and simple as possible. no Bva .............................................. I

from Bright Sheng,

~s

!!

Red Silk Dance

loco

direct cross-relationship

tt

restatement of b

Manuscript Preparation The creation of a clear, legible, hand-copied manuscript is a skill that every composer and editor should cultivate. While it is beyond the scope of this manual to discuss the different methods that are used to create a "fair copy," we can present some basic information.

Always allow enough room when copying out a score. Do not try to put too many measures on a system, and allow ample space between the staves. Text should be printed in block letters or typed onto the score. The manuscript may be copied in pencil or ink, but it is easier to make changes on a pencil manuscript.

Avoid using paper larger than 11 x 17 inches. The advantage of using a standard size is that any copy shop can photocopy it easily. Larger paper results in a surcharge because it is photocopied on special large-size machines which may not be readily available.

56 Computerized music-typography programs (such as

SCORE),

can be used to create blank

manuscript paper. Pick a suitable staff size, add instrument labels in the margins, include clefs, the name of the piece and print it out for copying. It is often easier to copy out manuscripts on paper that is tailor-made to a specific instrumentation. After the work is proofed, it can be taken to a copy shop where multiple copies can be made for engravers and editors.

..

The prevalence of software programs that will print music has not yet resulted in composers simply supplying publishing houses with computer-generated manuscripts that can be easily edited. This is because the defaults in these programs have generally not been created by programmers who are experienced concert-music engravers.

Whether the manuscript is hand-written or computer-generated makes little difference in the process of engraving, proofreading, editing, extraction of parts, more proofreading and editing

·.~

that every piece of music goes through prior to publication. Also, it may happen that a composer will continue to make changes in his personal copy of a file long after the parts have been printed and shipped. This can cause costly and time-consuming confusion.

When we receive a manuscript that has been computer-generated our first order of business is to ascertain whether it would be faster and more cost-efficient to use the composer's files or to re-engrave the piece from scratch. The latter choice is the more usual one. :~

57

Measure Numbers Every work requires some method of identification so that a performer may easily refer to a specific location in the music. Our house style is to use only measure numbers in most music, except pieces employing non-mensural notation or extremely long works such as operas. In large orchestral works we use Helvetica (a sans-serif font) for measure numbers. In chamber music and for parts we use the Bodoni family italic font.

The first measure of every system should be numbered (in both score and parts) with the exception of measure number " 1." If there is an anacrusis, the first full measure is numbered one and may be noted to clarify the numbering scheme:

The measure number should be positioned above the top staff of a score, slightly above the initial clef. It should neither be enclosed nor stated more than once per system: 5

When there are first and second endings, we prefer to count the measures consecutively (the number "7" would not appear, it is here simply for clarification): 1. 2. 5

7

:II Cadenzas and "free" measures should be counted as a single measure, regardless of their length.

For counting purposes, dotted barlines should be ignored: 6

4tu

&J

J

:r r I J. .

F

8

4u

gt [I 1J

j

IJ

j ~

58 In non-mensural music (where there are no measures, per se) rehearsal letters must be used to identify specific positions in the music. When a work alternates between mensural and non-

.,

mensural notation, it is acceptable to number the measures in the mensural portion.s, counting non-mensural passages as a single bar. Because this can occur, we prefer the use of rehearsal letters instead of rehearsal numbers to avoid any ambiguity. The letter should be enclosed in a box to separate it from the other information on the page:

10

11

[A]

12

·::

not 10

11 A

13

I I ncif

t!f F' 'I

Note the use of a sans-serif font for the letter (in this case, Helvetica Bold). We use the alphabet from A-Z with the exception of the letter J, which we skip because of its close resemblance, in many fonts, to the letter I, before starting over again with "AA". :~

In opera and musical-theater works using separate measure numbers for each scene, song, or aria (i.e., begin numbering at " I " for each scene) as well as using rehearsal letters, assures any measure in the piece may be located quickly and unambiguously. Multiple Voices When two or more voices appear on a single staff (e.g., in an orchestral score or in complicated keyboard music), stems and articulations are reversed for each separate part:

..

59

Accidentals are considered separately for each voice:

=l'~#:=;j jf;: : := = :-=1= =~f~: :=!:i:l=i= = := = t-

This sharp must be stated.

When the voices are in rhythmic unison, they should be stemmed together:

not

When the parts rapidly switch back and forth between multiple voice and single voice notation, it is usually better to retain multiple voice notation:

~

Grace notes are stemmed down for the bottom voice on a staff:

When an interval of a second occurs, the notes are aligned by the stem, like this:

~notAn exception to this rule is seen when one of the notes is dotted:

~not~or~ If different type note heads are used, they must both be visible:

±F F F

not

1

r-· F F F

not

( F F F

r-

7

F F F

but

~

•

J

not

i

3=•

:~

60 Avoid placing a stem between a note and its dot:

not

Mutes [See Mutes, under Dynamics and Expressive Markings {p. 38) .] Ottavas Ottavas are an easy way to indicate a passage should be played an octave higher or lower than where it is written. They are commonly used to save space in orchestral scores or to avoid writing passages in many ledger lines. Often, a passage that has been notated with an ottava in an orchestral score should be written out with ledger lines in the part. The piano and harp make much more extensive use of both ottava and ottava bassa than other orchestral instruments.

There are some basic guidelines to determine when to use the ottava. When an extended passage would require five or more ledger lines, it is permissible to use the Bva indication with a dotted line. When a passage continues through many systems, the Bva should be abbreviated as 8 in any continuations. The dotted line need not have a termination (I) except at the end of the entire passage. When a passage is an octave lower than written, 8ba should be used. It should be abbreviated as Bba in continuations. Do not use .Bvb.

Passages that sound two octaves higher than written should have l 5ma above them. Do not use 16va; it is incorrect. In notating passages that sound two octaves lower, l 5ba is seldom seen; write

out the passage one octave lower and indicate 8ba.

When an instrument uses multiple clefs, txy to not use ottavas; write the passage in an alternate clef. It is generally preferable to write out passages in ledger lines whenever possible, particularly for instruments that are accustomed to reading them. In treble clef, passages of up to five ledger lines above the staff are readable to flute, clarinet, and violin players; tuba, trombone, and

\

61 piano players find passages down to four ledger lines below the staff quite readable in bass clef. These limits may be stretched if the passage extends for a note or two, but if an extended passage would be five or six ledger lines away from the staff, it is best to use an ottava: Bva •••••••••••••••••••

not'trrJ

'f

1

Bva •• - - • - - • - ••• - • - - - - 1

f r r

not

Pages (numbers, measure numbers, and other issues) Page numbers (or folios, as printers call them) should always go in the upper right and left hand corners of the page. Odd-numbered (recto) pages are always on the right, even-numbered (verso) pages on the left. The page number should be 12 point and the measure number 8 to 10 point, depending on the staff size. We use Helvetica or Badoni Italic for measure numbers and Times Europa Roman for the page number. Since many scores have prefatory material prior to the first music page, ft is best to count the first music page as page one {although page "1" never has a page number on it). Any prefatory pages preceding the first music page should be numbered with lower case roman numerals centered at the bottom of the pages.

The page number is the primary means the printer uses to position the page. It should indicate the highest and outermost position of the image, and be on the same baseline as any header:

~Z

_- _· _· _· _- _· _· _- _- _- _· _· _· _· _- _- _- _- _- _- _- _- _"sy~ph~~y::.Tub~ · - -

I

Tbn.J. --

I I

76

:!J=i :?'H ~1 ..._,

Iii I •

•

l

I

>

2 1

II

It

" J IJ

Ii

LJ

Ii

~

Iii

f>-----

~.

f

>-

ff

~

1;

J

>

-.~

..

62 not:

Thn"J. : 76

2

)=t

19

I

1

II

If

--

,)-J

I

J d I<

~

Iii

>...____......

:~

f

7 :~·>=ns;f~,.~i'~I~~-~lt~v~~.~~~)v~~~ll~'v~t~~1~4---~J.~ '-"

>

>.....__.....

>

ff

It should· also be consistently positioned on all the pages of a score. We rarely use headers in orchestral scores, in parts the headers have a p6 value of 1 (or O) which is approximately 9 points. In orchestral scores the even numbers should be flush left with the instrument labels, the odd with the end of the staves. The rule regarding

parenthetic~.!

restatements in orchestral scores

[e.g., (a2), (Vib.), (1 solo), ( b), etc.] is somewhat flexible. In general, if an indication such as one of these begins on the final third of the verso there is no reason to restate it at the beginning of the recto. Such restatements always need to be made on the verso, however. Parts

Instrumental parts conform to the same stylistic rules as scores. Additional rules that apply to parts are:

1) The instrument name should appear in the upper left-hand corner of the first page with any

doubling instruments in parentheses. Use initial capitals for the instrument name. The full instrument name should be used (e.g., Horn 1 in F and Clarinet 2 in B b).

Flute (Piccolo)

from Samuel Barber, Medea ·

for Martha Graham

MEDEA (original ballet version)

Maestoso J = 60 Piccolo

g

b>

.

~

b>

Samuel Barber . Opus 23

Ir (1tr@ 1

~

.,·..

63 2) A header should be added on each additional page with the title and the instrument name (e.g., the Violin II part of Second Fanfare becomes "Second Fanfare-Violin II"). With doubling instruments state only the primary instrument; with transposing instruments a key is not necessary (e.g., "Second Fanfare-Flute 1" and "SecondFanfare-Clarinet3" although Flute 1 doubles Piccolo and Clarinet 3 plays E b and B b instruments as well as Bass Clarinet). Operas and Musical Theater pieces should have a second line under the header with Act and Scene numbers.

3) Multiple bar rests should be used for any rest of two measures or more using the multiple rest symbol:

3 • I_

_.

4) When a player "doubles .. on two or more instruments, indicate the change at the end of a passage above the first available rest, by writing (e.g., to Piccolo) at 11 points. When the new instrument enters, label it appropriately:

2 (Flute) 43

Second Fanfare-Flute 1

~

4r=====--

to Piccolo

5

3

Tpt.J

J

-,

Piccolo

1~~

F 3

mf

Note that "to" is not capitalized, but the initial letter of the instrument name is. We also like to put a parenthetical label on the top left of every page stating whkh instrument is being played as that page begins. This label is set at the same height and size as the header, on the left side of the page {p3=5 in Score). With transposing instruments that double, put the key before the instrument in these indications (i.e., "to A Clarinet .. , not "to Clarinet in A"). It is sometimes a good idea to abbreviate long instrument names (e.g., "to Cbn." for a player doubling Bassoon and Contrabassoon) when space is very tight. Note also in this example that the cue is written in Piccolo transposition.

5) Whole rests should not have a " I " above them.

6) Add measure numbers at the beginning of each system.

64

.•

7) Add page numbers in the right and left hand top corners; even-numbered pages on the left, odd-numbered pages on the right. If possible, each page should end with a page turn. Regardless,

every odd-numbered page must have a suitable page turn. Suitability of a page turn is not difficult to determine. A player should have a least several seconds to make the tum if at all possible. You must be aware of the beat structure and the speed of the music to ensure adequate page turns. Cues should be regarded as music and should never come on a page tum. If there is a mute indication it should come before a page turn if at all possible; if one has to turn and mute simultaneously, it requires more time. Sometimes, in order to ensure adequate page turns, it's necessary to decrease or increase the number of staves on a page. With piano, remember that it only takes one hand to turn a page and with string divisis it is usually the inside players who make the turns.

8) Parts that require fold-outs or accordion printing should be avoided. Any alternative is preferable: more lines per page, a larger page size, a blank page, more measures per line, or even a smaller staff size. If a blank page is used, we prefer it be the verso.

9) New sections, major tempo changes, and key changes should begin on a new system whenever possible. Also try to avoid situations like the following examples which are somewhat analogous to "widows" and "orphans" in text publications: ·93

s

~:1 98

~:

... II

I ..:::::::

II

I

II ~·

f

>

I

~

~I

p

or

II

IO) New movements should begin on a new page, unless they are very short (e.g., half a page) or if there is a page turn problem. No matter where the new movement begins, it should be indented. Also remember that the heavy double bar at the end of a movement nullifies any changes made, be they clefs, keys, meters, muting instructions, or anything else. If a Viola is playing pizzicato in the treble clef at the end of one movement, then the next movement begins arco with an alto clef and needs no technical indications (unless the composer has indicated otherwise, of course).

65 Cues Choosing cues wisely is a complicated area that requires years of experience to learn. Here are some basic guidelines.

• Include an instrumental cue when an instrument enters after a period of rest. The tempo of the work dictates how frequently you should cue: in a brisk 2/4 Allegro, six measures of rest may go by in an instant and not require a cue. The same six measures of rest in a Largo movement should be cued.

• Include more cues in complex or chamber music, especially if the rhythm is complex. When a piece is not conducted, any entrance where the beat is ambiguous should be cued, even if the player has been resting for a short while.

•Select a clear musical entrance for the cue. If the entire brass section enters flfon the downbeat of measure 27, this is a good choice for a cue (and the word "Brass" is sometimes sufficient). A secondary voice or repetitive pattern that has been continuing for some time would be a bad one. Try to cue from within the same family: if Clarinet 1 has a solo three measures before Clarinet 2 enters, use it to cue the entrance for Clarinet 2. Remember that the musician has an easier time hearing the players that are nearby.

• Cues must always be transposed and in the native clef of the instrumental part. A Flute cue should be written in B-flat when it appears in a Clarinet part, but in a Horn part it should be written in F. If the same cue appeared in a Piccolo part, it would be written down an octave. If the Violin part is cued by the Viola, the cue should be in treble clef, not alto. With instruments that read only one clef you should try to keep cues in that clef. If this is not possible, use either treble or bass clef, which all orchestral members read. Try to avoid using non-pitched percussion instruments for cueing other orchestral players. If it is necessary to use non-pitched instruments for a cue, do not switch to percussion clef, use "x" noteheads in a space (the percussion key is meaningless to other orchestral members). Remember that when a cue has necessitated a clef change in a part, that change stays in effect until it is changed back. When cueing an instrument

66 that uses two staves {piano, harp, etc.) one can put bass cues on the bottom staff and treble cues on the top; it is not necessary to always have the cue on the top staff. When a player doubles on two or more instruments, it is common practice to write the cue in the key of the new instrument when the player switches: ·~

English Hom

25

~

p

:pp-=:::::======not----------------------------------------to English Hom 4: I I

25

I

p

English Hom

r

~

:~

pp-=:::::======-

Cl.

• Cues only need pitch and rhythmic information (no slurs, articulations, dynamics, etc.). The one exception to this is in band and educational music where cues are sometimes used to indicate alternate passages (e.g., an oboe solo may be cued in a flute part in case the group does not have an oboe player) and therefore must have full performance information.

• Cues should be notated according to the principles used to write two voices on a single staff. 11

Add a normal-size whole rest in each measure of the cue to indicate the second" voice (in essence, the instrument which is resting): 11

'

5

I

StgsJ

j

J

11

9. ---

1

12 I

3

Tpts.

11£ J

J

:)

F

l&J

3

mf

Note that this cue was stemmed up, as the majority of the notes are above the middle line. In the ·following example, the cue is stemmed down as the opposite is true: 19

'

8

I

---

Vns. 11

d

.

---

[2[j II c. c=-1 r 3

r

Ir

--~

l&J mf

F

m

I

·~

67 • A label identifying the instrument should appear at the beginning of a cue. Abbreviate appropriately; do not use parentheses.

Multiple-stave Parts To conserve vertical space in a score, divisi passages are sometimes written on a single staff. When the part for this passage is created, the divisi is customarily written out with a separate staff for each part:

div.

r= 11 r

Vn.I or div. a2

div.

Vn.I div. a2

not

,It f i 1f f F .h

I

In the first example separate staves are not necessary and wouldn't be used unless there were a compelling reason, such as: the rest of the page is split onto two staves or a more complicated divisi follows on the same line. In the second example the use of two staves is absolutely necessary. With multiple string splits the use of many staves is sometimes called for and close attention is needed to keep the part from becoming too confusing to read. Often strings divisi a4 will be notated on two staves in the part, with each staff "div. a2", etc. If there is a solo string player within a section, the part almost always requires the use of two staves (1 solo and gli altri).

When creating a multiple-stave percussion part, the opposite situation can sometimes occur. For example, supposing a percussion part for a work that has three percussionists playing different instruments. A three-stave part is extracted, but some systems contain passages where only one

68

or two of the performers are playing. In these instances, the part would be condensed by removing the staves with only whole rests. Not only does this conserve space on the page, but it can reduce the total number of pages for the part and make it easier to read: 23 Vibraphone

- ..

--

~j\

1

.,_

ti

f Pere. 2

23 Vibraphone

1-11:+--"~*'"·i- - - - - + - - - - - 1

1

-

f

3 should be 25

25

1

Pere. 2 3

Note the indication to the left of the single staves. Where percussionist number 1 is playing it is indicated and where the section is resting there is no one indicated.

..

Pedal Indications In piano music, the ~. and

* symbols are the preferred choice. The * is in ZapfDingbats font,

keystroke "i". When more specificity is required, a line l\r-- or /\____, may be used. We indicate the sostenuto pedal by writing "Sost." in Ti~es Europa. To indicate the end of a "Sost." passage, a horizontal line with a vertical ascender is fine. The "soft" pedal is indicated "una corda" in TimesEuropa, with its ending being "tre corde." When notating for the pedal, "less is more." These pedal markings are for keyboard instruments only (piano, celesta, synthesizer, etc.). Percussion instruments with sustain pedals should have them notated with a simple "Ped." in Times Europa.

-.~

69

Percussion Notation There are two categories of percussion instruments: pitched and non-pitched. Pitched instrume~ts, such as Timpani, are notated on traditional five-line staves in standard fashion. Pitched mallet instruments, such as Vibraphone or Marimba, are notated on a single staff unless the part requires the use of a grand staff.

Non-pitched percussion may be notated on a single-line staff or the traditional five-line staff. Deciding which type of staff to use requires good judgement on the part of the editor. Does the

a

piece employ only snare drum and triangle? Use a single-line staff. Does the piece require one player to have a barrage of many instruments? In this case, we prefer using a five-line staff, creating a percussion "key" to indicate which line or space each instrument should appear on. This key may seem arbitrary, but there are some accepted positions for certain instruments:

Percussion Key snare drum

II

•

bass drum

•

cymbals

I

tom-toms

:

triangle

•

Drums (membranophones) usually appear on spaces; cymbals (and other metallophones) usually appear on lines.

When the player quickly alternates between different instruments, the key gives a visual reference to which instrument is played. In addition, label the instrument above its entrance and, if it continues onto an additional staff, label the continuation with the instrument name abbreviated in parentheses. When an instrument first appears in either a score or a part, it should be labelled with its full name. Any appearance after that may be labelled with its abbreviation. Some composers like to indicate the next instrument played to the Percussionist or even a Timpanist (e.g., "to Vibraphone" or "to Timp. IV"). These can be set in Times Europa at p6=1 in the score and parts.

Note in the following example that notating rolls with tremolo beams is prefered. The rules regarding these rolls and ties are the same as in string tremolo writing; i.e., if a roll is tied over a barline there is no accent on the beat and if the roll is not tied the beat is articulated.

70 23 Vibraphone

- ..

"""' j \

1

--

&~

--

"l'"ll

-

t.•

---

~ .-:JI

"~~ ~~

-

f 2 Tom-toms

Pere. 2

.. ..•- - - - ____, -

Snare drum (snares off)

Triangle

-

.....

"'

..,..--

,~

,,_

i...---

.

f Suspended Cymbal

3

.. ...... --·-

~

-·

,_

f

3 ,,__,....,

25 Xylophone

.

_,I'"'

1

tJ

·~

~

~

---

I

I

-

I

- _,,.. -

I

~·-

__J

-

-

..... I

I I

....

-

-

Vib.

.. ....

. -· ~

llTI~ ~

ff

p

(T.-t.) >

Pere. 2

.. -I

.....

~

(S.D.)

.... '

--.

I

-·

I I

P.P

(Sus. Cym.)

3

.- ->-·-

-

For further information, we recommend the Handbook ofPercussion Instruments by Karl Peinkofer - and Fritz Tannigel (Schott & Co. Publishers). Proofreading Although experienced editors often have their own method of proofreading, we can suggest one system which has proved very successful. It breaks down the process into discrete steps to reduce the risk of missing small details while focusing the proofreader so that he or she does not fall into the trap of "reading" the music.

At the top of the page, pencil in the following letters: P R D A M Pd T Ex. Proofread the page once for each separate element and cross off the letter when you are finished.

71 The letters indicate: P - Pitch (clefs, clef changes, accidentals) R- Rhythm (rests, multiple rests [in extracted parts], ties) D - Dynamics (hairpins, cresc. and dim. indications) A - Articulations (including expressive markings) M - Measure numbers

Pd - Pedal markings (keyboard music) T - Text (vocal music, titles, tempi, instrument labels) Ex - Extremities

This last c~tegory requires explanation. Normally, when proofreaders look at a page of music (or text) they tend to overlook things that appear at the extreme ends of lines and at the top and bottom of the page. Because of this, a good proofreader will specifically look at the extremities of a page to try to find the extraneous details someone else might miss. Some things to look for when examining extremities are:

! Are ties at the end of a system restated in the next system (or on the next page)? ! Are parenthetical accidentals necessary? ! Are the clefs at the beginning of a system correct? ! Is the key signature at the beginning of a system correct? ! If a time or key signature is changed at the end of one line, is it correctly stated in the next

line, and vice versa? ! Does any indication continue (pedal, trill, ottava) and is it correctly notated? ! Are instruments correctly labelled? (particularly important in orchestral scores) ! Is the text correct? (copyright, dedication, instrumentation, program notes, duration, etc.)

! In orchestral scores, are the percussion instruments and any "doubling" instruments correctly labelled?

Always mark corrections in red pencil (and if other proofreaders are employed, they should use a different, contrasting color). Blue pencil is usually used by engravers for their marks.

72 Using the PRDAMPdTEx method, one could conceivably look at each page of a piece 8 times. And, if the piece requires it, one might even look at other aspects on a separate pass through the the page.

In publishing, it is an accepted practice to have more than one person proofread a piece. This is done in an effort to reduce the margin of error when one person proofreads. No proofreader, regardless of experience, will catch every error in a piece. Multiple proofreaders may. .

With regard to the concept of extremities, examine the paragraph beginning .. Using the PRDAMPdTEx.... " A double word has been included to demonstrate how easily the eye can be fooled. Similar errors easily slip by in music. :~

Proofreader's Marks The following marks are used when editing and proofreading music:

SYMBOL

~

:=i ~ w.o.

(J-r.s. x. 1 NOT Y

-

/1.c. :::r..c.

/\

EXPLANATION deleie

move left

move right

r

~

flip stems

@f.s.

lower

CllSC

small caps insen

& c> ~illiam

whe'R

close up

wt(!n

reverse letters

r/ti

italic text

~

~b.f.

bold text

~b;f.

II

flush left text

-

~

::;.

EXAMPLE

ru

@w.o.

upper case

EXPLANATION space

*"""

wrilc out

wrong note

SYMBOL

EXAMPLE

NOT

;/a/.

J

I\

or wjlliam

=..

'}!tc

"'

,"fq/,

I~ is a sample of

flush right text

[

center text

ll

This is a sample of a typical flush right

11

paragraph.

J

This is a sample [ of a typical ccnlered paragraph.

justify text (/This is a sample of a para· ~h lhat includes justified

Wpfiiam J.C., w~

*"

typ;::!~ush left

,, B

/\

{I :~

s.c,

'Oft:i.. /\

r

STET

pointsizeJleading

10/12 (10 point type on 12 point leading)

leave it the way it is

the · ·

s~ way to do this

73 If a page requires a correction, place an X in the upper right-hand corner. For each correction on

a line of music, place an X in the margin by the staves. When inserting small marks, such as staccato dots, it is helpful to circle them to alert the eye of the person doing the corrections. Thfs helps engravers find the corrections and speeds their work.

Proofreading of a ·score is done using the above PRDAMPdTEx method. When proofreading parts, we

proofr~ad

for the above items but also check for the following items.

Proofreading Parts ! If the score is in concert pitch, all transposed parts must be read carefully for pitch.

! Check each part for good page turns. If necessary, indicate measures to be moved between

systems (or pages) to facilitate turns. Carefully check the measure numbers. Carefully check the page numbers. ! Make sure the part has ample and appropriate cues [See Parts]. ! All cues should be carefully checked for pitch. The cue should be in the same key as the

instrument. Make sure the cue instrument is indicated, and all details (dynamics, articulations, and expressive indications) are removed. There should be whole rests in the measures that are cued. In addition, look for some specific items when checking parts created with ScoRE: ! Check carefully for any items that overlap; these should be circled to indicate correction. ! Stems that do not attach to the beam should be circled. ! Multiple-bar rests should be checked to insure they are accurate. ! The part should be checked to make sure that all dynamics and text indications are included. (It is very easy to omit a text item or dynamic accidentally.)

74 ! Carefully proofread the pa~t for hairpins, especially between systems and between pages. (The

·

1

justification routine will sometimes alter the horizontal position and length of hairpins.) Be especially careful with hairpins at the ends of systems.

! Carefully check slurs and ties between systems. ! Carefully check the header text at the top of each page for accuracy. Rests Whole rests are used to indicate a whole measure of rest. They can be used in triple meter of any kind (3/4, 6/8, 3/16) duple meter (4/4, 2/4) or even in 1/4 measures. A whole rest does not indicate

:~

four beats of rest. When instruments rest during a cadenza, use a whole rest with a fermata centered above it and indicate "cadenza" centered above the fermata.

3

The multiple rest symbol:

is used to indicate two or more measures of rest. It is

commonly seen in instrumental parts.

In general, we prefer to consolidate leading rests (within the beat) but not trailing rests. We find this rule of thumb is especially useful in compound meters:

not

not

'£ )

t

!f·

'H }t

but

t ) l·

or

'I

'H

~.

y·

};¥

)

'f

'{'I

t )t·

we do not consolidate rests in the middle of the beat:

'g'f

not

i:I

In triple meter, the rests should not be consolidated either:

J

not

J

or

With irrationals, we prefer the rests not be consolidated, but it can be acceptable, depending on the context:

·~

75 Rests should never be consolidated across the middle of a measure:

'i 'I

),

2

I

not

~ I I ~

not

'i 'IJ '1 ciftf rf1f J

t ..

J

Rests within beamed groups should sometimes be moved away from the center of the staff so the note's stems are not too long:

not

not

'd; f ttb

1

1

Rhythm Many of the principles that apply to rests also apply to rhythmic notation. It is good practice to consolidate rhythms when possible: not

Generally, rhythms should not be consolidated across the middle of a measure: not

With simple rhythmic structures exceptions occur, such as this:

j

J

Such exceptions must be very simple though, otherwise:

J J.

not

J

JJI

[For a discussion of how to notate irrational rhythms, see Tuplets (p. 86) .]

76 Slurs and Ties

A slur indicates that two or more notes are to be played in a legato manner. In wind and brass music, this indicates articulation (or rather, the lack thereof). In string music, it indicates bowing.

Slurs are usually centered over the noteheads:

slur

The curvature and position of the slur is decided by the direction of the stems for those notes. If the notes are all stemmed up, the slur goes underneath. If the stems are mixed (up and down) or all down, the slur always goes above:

'Fffl

1w-1

I~.

J]J

Ties usually go from the right side of the first note to the left side of the second note: :~

tie not

r r

When space is tight, ties are sometimes placed outside the notes for better visibility:

A tie may also go outside the notes when it indicates a special type of bowing:

When a slur and a tie are combined, the slur always goes to the last note:

not

:~

77 If two notes are below the center line, tied, and their stem directions are mixed, the tie should be

placed according to the position of the first note. In almost all instances of note~ being on or above the center line the tie goes up:

' Ff·1 r I

not

'

Ff-df

When two voices appear on a single staff, the slur should not be at the tip of the stems:

not

Ties to indicate 1. v. (lascia vibrare} should always be short, similar to a parentheses on its side: not

These ties must be short so that they do not appear to tie the note (or notes) to the following measure. Do not use both the 1. v. ties and the textual indication "1. v." at the same time, it is redundant. If a part has several measures where every note has a lascia vibrare indication, use the 1. v. ties on the first measure and then indicate "sempre 1. v. in the following measure. Indicate ti

the end of such a passage with "ord.

ti.

When a note is indicated to "1. v." for many measures, do not restate the ties. Instead, use pedal

•\ I

indications to denote duration or, in percussion and harp music, use the mute symbol to indicate

:' . I

the end:

!

-

........... .........

..,

• • - 111•r..o1111 • '-""

"' ,.

11.

,.,,. •

'--""'

'!ib.

not

IL

....

t.I ..

..... -..

I

........

,

.

1u•r_..•'-"" r...t1 •"""""

.- ·~

.

I

"?:: · -

*

Note that we do not recommend placing whole rests in parentheses.

[Please read the section Articulations (p. 18) for information on how to combine slurs and ties with articulations.]

78 When to "break" a slur or tie In most situations a slur or tie needn't be broken. Some engravers break them when going through a time signature:

'

·.•

It r

It

=

This is probably the most common example, and can be avoided by careful placement of the tie:

Either one is correct and permissible, but we prefer the latter. Dotted (and dashed) slurs Although often overused, the dashed slur or tie is best employed when a phrase is meant to be

:~

performed legato, but it is not technically possible:

We do not use dashed ties for tremolandi, trills, or artificial harmonics:

,------

.....-----.....

~~~

' rnr ' illi '' fl

"'

not

.

~~

not

~~

'r r ' ------1, '' fr•

not

.........

..

----··1

As with rolls on indefinite pitched percussion instruments, the ties above indicate that there is to be no accent on the downbeat of the second measure. There is no need for a superfluous textual indication. If the downbeat of the second measure is to be articulated, a tie should not be used.

-~

79 Stem Direction Notes on or above the middle line are always stemmed down. Notes below the middle line are stemmed up. Stems should generally be an octave long, unless they go beyond one ledger line (above or below the staff) or are part of a beamed group:

one octave

[F

rr

w

not

r

J

exceptions:

Stems that are in the "wrong" direction (as in multiple-voice notation} should be shortened to about a fifth:

.J J ca. fifth I

[See Beams (p. 26) for information on stem direction in beamed groups and Grace Notes for stem direction of grace notes.]

Tempo Markings Tempo indications should always go above the top staff of a score, flush left with the time signature. In an orchestral score, the tempo should also be restated above the string section (above the first violins) [example next page].

We use 12-point type so it can be read easily. The first letter of the first word only should be capitalized, and any metronome marking should come two spaces after the text (without the use ofa comma). We do not use abbreviations for tempo indications (e.g., A Tpo. for A tempo). We use Times Europa Bold for these indications.

80

---J>• Allegro J =ca. 144 ,,, -.., A

Fl.

1 2

Ob

1 2

A

--

.., A

-

Cl. 1 in Bb 2

Bn

~

.., --·

1 2 :"'\

I-'

A

3

--

2 4

-

Tpt. 1 in Bb 2

A

1

Hn in F

.., A

~

.., -

..,

'-· -

Tbn. 1 2

:~

-

Tuba i'

I

-,.. -

II

-

Pe re.

........._ .,I

Allegro

J =ca.

144

A

..,

Vn A

..,

Va

Ve Cb

--·

~-·

--·

In chamber works the tempo may be stated twice, depending on the number

o~

instruments.

Generally, we find one instance is sufficient for works of up to eight staves. If a piano is included, the tempo is often stated above the top staff of the piano part as the player may choose to perform the work from the score.

81

A piano score with solo instrument or voice should only have one tempo marking above the solo line. It unnecessary to restate the tempo above the piano part since accompanists will be reading the solo part as they play.

Alterations of the basic tempo (rit., rall., etc.) should go above the same staves as the tempo indications. We use 12 pt. Badoni Italic, and the first letter should be lower case (ritard. rather than Ritard.). The following abbreviations may be used:

ritardando

ritard. or rit.

ritenuto

riten.

rallentando

rall.

allargando

allarg.

accelerando

accel.

Some terms, like piu mosso, can be used as an alteration of tempo or as a new tempo. OftE!n, if the tempo indication is accompanied by a metronome marking, it indicates a new tempo (and should be boldface). Ultimately, the editor must examine the context to make a final determination. Note that alterations of tempo align with the note, not the time signature.

It is our policy to avoid dotted lines between tempo indications. In instances where a lengthy passage is involved, use poco a poco:

not

82

In a choral octavo, the basic tempo marking should go at the top above the chorus. Alterations of tempo (rit., rall., etc.) should go above each voice part:

We prefer to abbreviate "Circa" as "ca.": Allegro

J = ca. 160 ·.i

Text

It is common for a publisher. to use ·a specific typeface for the title and cover lettering in a publication. G. Schirmer and Associated Music Publishers use Goudy for the title of a work and the composer's name.

The title should be centered above the music in upper case letters. If there is a dedication, it is set in Italic, centered above the title, in a smaller point size. The composer's name should be set with initial caps, flush right with the music. If there is an opus number, it goes after the composer's name. The date of composition is centered below the composer's name. In a vocal piece, the name of the author of the text should be set flush left on the same line, and at the same size, as

:~

83 the composer. We prefer the omission of "words by... " or "poem by... "; it is self-evident. Similarly, in a dedication, it is adequate to say "to"; the word "dedicated" is implied and understood (i.e.,

to my mother rather than dedicated to my mother).

Lyrics may be set in any basic serif face (such as Times Europa Roman). When a four-part chorus is notated on two staves, it is preferable to place the text between the staves. When to use italics A simple rule that applies to most of the situations one will encounter is that text indications above the staff should not be italicized with the exception of alterations of tempo (rit., rail., etc.) and expressive indications below the staff, in any language, should be italicized:

Moderato

J =ca. 80

ritard.

2J. @W Ir· J1;FJ lf0 @p&!J I f

cantabile, espr.

Above or below the staff? Any text relating to tempo or its alteration goes above the staff (Allegro, ritard., freely, etc.). Bowing and mute indications are placed above the staff as well: con sord., pizz., harmon mute, sul pont., sul tasto, etc.

Expressive indications as to how a performer plays a passage should always go below the staff, in italics: espr., dolce, cantabile, with great passion, dryly, etc.

[See Tempo Markings (p. 79) for further information.]

84 Time Signatures In contemporary works-especially in orchestral music-some composers use one or two large time signatures rather than individual time signatures on every staff. In polymetric music, this can be an aid to the conductor but it is less useful in small chamber works or solo pieces. Our preference is to state the time signature on every staff regardless of the type of music. We make an exception when we publish orchestral works in facsimile of the composer's hand: here it is often preferable to have large time signatures above -the top staff and the first violins.

We prefer to write out common time as 4/4 and cut time as 2/2 rather than using the symbols and

C

¢ .We find it unsettling to see meter changes from bar to bar that go from 3/4 to C and back

again. In editions of older music, as well as in large sections or movements that do not change meter, these symbols may be used.

Trills/Tremolandi Trills should be indicated with the traditional symbol above the note 1fr· When a note with a trill

is tied, a wavy extension line is added, like this:

r;..__r·

Notice that the extension line only extends to the second notehead; it does not extend beyond. Do not use the extension line if the trilled note is not tied, regardless of its duration: 'fr

r-

'tr"

'tr

r·

not

r

'li1'

r·

Use a trill when the ancillary note is a whole or half step above or below:

not

Use a tremolo when the ancillary note is a minor third or more away from the principal note: 'tr'•'

not

r

.....

85 In contemporary music, which can often be highly chromatic, a small note in parentheses to indicate the ancillary note is generally better than an accidental indication above the trill:

J

J

not

When a trill is tied onto another staff, restate the wavy extension line only.

-

r~ Notating tremolandi

Each note of a tremolo is equal to the total duration of the tremolo:

e

w==a J

J

In general, use three slashes to indicate an unmeasured tremolo. Use two slashes on flagged notes, however, and adjust the stem length to accomodate the slashes. In very slow tempi, an additional slash may be added: unmeasured

measured but

The same rules apply for fluttertongues (fltg.).

=

rrrrrrrr

86 Tuplets (Irrational Rhythms) There are many different policies regarding the notation of 'tuplet, or irrational, rhythms. Generally, in instrumental and vocal music, a number over the beam should be used:

3

5

JJJJJJJJ If the group is not beamed in its entirety, a bracket must be used:

.-3--,

r - 3--, .-- 5---,

J

Jl J

y

JJJ !/

We view tuplet brackets as if they were beams, therefore the bracket should always be centered over the group of notes, and should not extend past the last note of the group:

'

Jr--+--,j

not

'

.....----3------.

J

j

Brackets should also be used with beamed groups when the rhythm is unclear, or in the situation where an irrational and rational value are beamed together:

J JJj

3

not

J QJj

When possible, the number should be on the stem side of the note (as if it were beamed): ·::

*JJJr 0JlJ~gr1 L--3____.I

3

Some older editions omit the numerals in repetitive patterns; we believe the numbers should always be stated: '

6 6 6 6 J3JJJJJJJJJJJJJJJJJJJJJJI

not

'JJJjJJJJJJJJJJJJJJJJJJJJI

87 It is permissible to use indications such as "7:4" when the rhythm is unclear or confusing; we do not use "7:d".

f

not 3

7:J

When a duple rhythm occurs in triple meter it usually can be notated conventionally:

J.

J.

2

J.

not

J

J

2

J

Determining Rhythmic Values for Irrational Rhythms The guiding principle here is to beam irrational rhythms to the closest note value, adding a beam each time the basic sub-division more than doubles. For example, given the basic subdivision of a quarter (2 eighths). one uses eighth beams for irrational groupings until there are more than twice as many notes in use (2x2+ 1=5), at which point a beam is added; another beam is added when there are more than four tim.es as many notes (2x4+1=9), etc.:

Quarter (2 eighths) 3

Triplet

m 5

Quintuplet

J JJJJ 6

Sextuplet

Septuplet

r-3-----,

J JJ

JJJJJ

(>4. <8)

6

JJJJJJ.

7

7

.J JJJJJj

(<4)

5

J J:JJJJ

9

Nonuplet

Half (2 quarters)

(>4, <8)

.

JJJJJJJ 9

{>4, <8)

.

--- ----.I • .I .I .I .I••• J J J J J J J J j

(>8. <16)

According to this scheme, the fourth beam would be added at 17, but that probably will not often happen.

88 The same rule may be used in ternary rhythms: Dotted Quarter (3 eighths)

Dotted Half (3 quarters)

2

r--2---,

n

Duplet

Quadruplet

Quintuplet

J

J

4

r--4----i

J JJJ

JJJJ

5

r---5-i

(>3, <6)

JJJJJ

J J J JJ

7

7

JJJjJJj

Septuplet

·~

(<3)

(>3, <6)

(>6, <12)

JJJJJJJ 9

9

JJJJJJJJj J JJJJJJJJ

Nonuplet

13

Triskaidekatuplet

(>6, <12) :~

13

-------------

Jj j j JJJJj JJj j

(>12, <24)

as in duple rhythms, whether or not to add a fourth beam when the number of notes used exceeds 8 times the original sub-division (3x8+ 1 , or 25) is a question more theoretical than practical. Vocal Music Because of the text, vocal music is notated differently than instrumental music. Dynamics and expressive markings always go above the staff, and barlines never connect between staves so they do not interfere with the text.

Current practice dictates that vocal music should be beamed in the same manner as instrumental music:

' this J 0is anJ

~

not this is

ex

an

ex

When hyphenating text for a vocal piece, the syllables should be divided as in the dictionary, not as they would be sung. "Walking'' would be hyphenated as "Walk-ing" even though it is sung as "Wa(l) - king." Similarly, it is incorrect to place the final consonant at the end of a note even though some people think this is correct: or

not text. _ _

tex _ _ t.

'JQJB text. __ (t)

l

89 In melismatic settings, an "extension line" is added at the end of a word (or at the last syllable), flush with the base line of the text. Any punctuation marks should precede the extension line:

IO J J I ~

J.....____.....I J

-f~

text. _ _ _ __

Notice the length of the extension line, and the use of the slur to indicate melisma rather than phrasing. This is standard in vocal music. In extremely long melismas, the slur may be omitted. The extension line, like a trill's wavy extension line, extends to the tied note but not past it.

When a first or middle syllable of a word is set melismatically, the extension line is not used. Instead, hyphens are added to indicate the melisma, like this:

f

£) J] ~

walk

-

-

j ing

The text of the piece should match the original source (poem, novel, etc.) in its punctuation and capitalization.

90

Appendix A Fonts Over the years G. Schirmer/AMP has used several different font sets. The set now in use will remain so for the foreseeable future and is as follows:

Goudy

Title (all caps, 24-26 points, centered) Sub-Title (initial caps, 16-18 points, centered) Movement numbers (16-18 point, Roman numerals, no period if without text) Composer (initial caps, 16-18 points, flush right) Lyricist (initial caps, same point size as composer, flush left)

Times Europa Bold

Tempo indications (12 points, leading cap, text first then l\fl\1, flush with meter or centered on notes)

Times Europa Roman

Technical indications Marginalia Instruction to switch instruments (8 point in score, 11 in part) Instrument names in percussion staves Conductor's notes (8 point on bottom of score page, flush left) Page numbers (12 points)

Bodoni Italic

Dedication (10-12 point, lower case except for proper nouns) Tempo alterations (12 points, centered on notes) expressive indications bar numbers in small chamber works and parts

Helvetica

Bar numbers in large chamber or orchestral scores (9-10 points) Rehearsal letters (Caps, 12 point, boxed; do not use "J")

The copyright line is set in Times Europa Roman at 8 points with 9 point leading and centered on the first page of music. The first two lines of this notice are normal, the second two are bold, all with mixed cases: Copyright © 2001 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

·::

Copyright© 2001 by Associated Music Publishers, Inc. (B:MI) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

Please use Adobe fonts. We cannot provide these fonts for you; you must purchase them yourself.

:~

91

AppendixB Some Contemporary Innovations Edgar Varese once said, regarding the notation of new music," Just because there are other ways to get there, you don't kill the horse." That such a statement could be attributed to one of the 20th century's most innovative composers may come as a shock to some until they remember that Varese sometimes worked as a music copyist. Many composers, especially in the years following World War II, tried, with varying degrees of success, to create new systems of music notation, often tossing out several hundred years of notational evolution in the process. Most of these systems were quickly abandoned. The more rational and necessary of them have been modified and perfected to the degree required by performers and publishers and admitted into the lexicon, although standards are still being set. The concept of a single note head defining both pitch and rhythm was a slowly evolving one necessitated by the increasing sophistication of reproducible music as well as the need for a more common graphical musical language (not surprisingly coincident with the advent of movable type). Systems that challenge the elegant simplicity of the note head on a staff are not generally accepted. These systems have often been created by pianist/composers and show a strong prejudice towards keyboard music (often following a "white note equals white key, black note equals black key" paradigm). Two such systems that arose in the past century were Klavarskribo and Equitone. Both of these systems are related to tablature and use the white/black paradigm. While interesting to study, neither of these systems expanded on prevailing notational methods, instead attempting to replace conventional notation. This brings us to an extremely important point. Traditional music notation, with its 5-line staff, note heads, beams, stems, etc., not only is not incapable of conveying the innermost intentions of the composer; by its very nature and mutability it is ideally suited to such means. The historic evolution of our system of notation demands that it constantly evolves. People often "blame" aleatoric and/or indeterminate music for the advent of new notational systems, but a quick survey of the music of John Cage, for example, will show that the majority of his music uses traditional notation; the chance elements of his music were to be worked out beforehand and are no better served by new and startling notational systems than by the traditional one. One system that was experimented with in the 1950s and '60s is related to "frenching" scores. We spoke of this earlier in the manual; a frenched score is one in which the unused staves are removed from the page. There is no musical reason for this process. The purpose served by frenched scores was to save plates and paper, and therefore money. While the advent of computer typography has changed the equation with regards to saving the costs of burning plates, saving paper is still of concern, as are lower consumer costs and environmental concerns. Another benefit of frenching scores is that it saves the conductor page turns. The concept of french scoring was taken to extremes by some composers, however, with staves appearing on a page only when there was music on them. In a chamber work, such as Crumb's Ancient Voices of Children, this is not too disconcerting, but in

a large orchestral score such as Penderecki's Violin Concerto it can lead to confusion, with no focus to connect music and marginalia.

92 Another type of musical representation that was growing in popularity at the time was analogue notation, which was closely tie d to graphic notation. Analogue notation came into being with the advent of purely electronic music. Many composers of electronic music felt (and still feel) that, since their music is infinitely reproducible through electronic m ean s, there is no real u se for a graph ic repr esentation of it. This led to the idea of a musical score as a work of art : something suitable for hanging on a museum wall but not suitabl e for translation by a musician into sounds in real time. This is a rather provocative idea, and n ot without merit in its limite d application, in which the score (a visual analogue of the music) can only come into existence after the music h as been realized. Analogue notation is now sometimes u sed in conjunction with traditional and/or non-traditional notation in pieces that mix human with electronic performers, such as Karen Tanaka's Metallic Crystal, which is for solo percussionist and computer. In a case like this, the analogue may be used as a cue line by the perform er, whose p art has a mix of both spatial and traditional notation. Another noticeable device in this example is the u se of time stamps rather than b ar numbers and the breaking of each time unit into five discret e bars of one second each. The judicious use of traditional notation render s the piece compreh en sibl e to a player without the n eed to r efer to copious prefatory notes.

,-. I

from Karen Tanaka, Metallic Crystal

5'30"

$•35•

r

·'

·~

~~"

/ ~

" ,,.

!

I

I

•

... <-

,

~~

-

L

I

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I

I I

.. .. ...

"

......

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.. .. .. ,

.... ,..

·-

J#

.... := ..

...

... . ....

·-

ifii1Titli'i~~' · '

!fi!J;;ii: I •

I.. ll~J.!~ I :··

I

..s·ss,. . .. u

.,:~

It

1

,ij:

.-

,

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..,__

:

. I• .

'·

'

I

5'50"

S-4S"

-··

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oi

t

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..

..

·~

la

=

.. ...- .

,_

.Jkr:4b~!:-~: i

I

·~

.

I I -,

...

,~

.... = ''"ll:~ l

Graphic n otation is different in that it is supposed to be interpret e d by a performer in real time. Some of the most famous graphic scores were written by Earle Brown; they repre sent4 fine examples of this type of notation in its purest form. These from Earle Brown, scores combine ideas of ch ance, or aleatoric, Folio (1 952) mus ic with a nalogue representation. The composer h as given con trol of all aspect s of the music over to the performer. There is no way to divine pitches, durations, expre ssivity, tempi, or anything else from this repre sentation. A sin gl e interpret er m ay perform this work in a totally different way a t any given time. Gr aphic scores h ave u sed all manner of drawing; the ir point i s to I provide the performer with a canvas on which to paint their own musical experience. By definition, this type of notation defies standardization. It is used mo stly for solo and small ensemble work s and is generally reproduced in facsimile.

.,

93 Here we have another example of graphic notation. It differs substantially from the Brown piece in that the composer provides some concrete ideas as to how the performer should interpret his drawings and includes notes on each page explaining what is meant in many of the graphic boxes. Still, this mixture of styles is probably most effective when performed by chamber groups or specific ensembles who specialize in contemporary music and/or have a working relationship with the composer. from Barry Guy, Mobile Herbarium

94

Graphic notation, being non-standard, is outside the purview of this manual. What happens though, when a composer mixes these styles so thoroughly with traditional notation that we are called upon to produce it? Study this example: from Tan Dun, Orchestral Theatre ll:Re

ORCHESTRAL THEATRE II: RE

Tan Dun (1'3Y"-2')

Osdicslra ODlllJC

"'

It-----------~

:; (fldela)J'

(llllmmlaaJ

@&l§c~

I :_. ,

·~ IC§f~~~! ~

/~~r.., lbummmsJ

® J..t' Plcc.3,.

m

m

(bummlaaJ

1-@ £' Pla:.2!.

m

lbummln1J

1-Pl
(°>Al cue 15 !be condUCIOr Is 10 tide OUI &II pl1,..n Clcepl Ille Bus. lbe Bw Is ID

collllnoe tor 111>ou18 secon&.

(°> Arla abcc>1 ctslu secoads coaduClcr I should be:ln sccUm C. llw rides ClUI 11 cue 4 ot sce11on C.

Hq

SI• len•S (()diesnl

©

(3")

r:: /':\ Pcrlmmcnl. J All

L

s

stop llcR)

/':\

95

This is the first page not only of an orchestral score, but of every part for the orchestral players. It is pleasing to look at (fulfilling one of analogue notation's functions) and it is graphic in nature. The composer has compelling conceptual and musical reasons to want the score to look like this, and for a published score it would present no problem. Creating performance materials is a different matter, however. This type of score requires that prefatory notes be distributed to the conductors and the players well in advance of performance, but runs the risk that such notes might not be understood. Sometimes an editor's role is to suggest whether the same ideas might be expressed in a more traditional fashion.

from Tan Dun,

FLOATING (3)

Peony Pavilion

CO:MPOSER'S VOICE & IMPROVISATIONS Ceramic Drum (6)

,

,

,

,

,

~

LI II

I I I I

I I

(4)

Water Gong

,l'vv-

'

........__

Liu: You give me your love, my dearest, how could I dismiss you from my head?

!

()·······················

Du: I.er me leave before cockcrow.

............................

() Liu: Bur may I know your honored name?

CD[l] Composer

(3)

~

3

--~--~

floating sound

~

!.

•J&•

~~

3@iall~~~.~~ •.~~~§§~~~~~§~~~ S!J!P

(2)

Xun playing & vocalising as the composer

() .....•..... Du: Sir, iris for you

Here we have another interesting example of non-traditional notation. The major differences between this example and Orchestral Theatre II: Re are that this work is for a small chamber group and this graphic figure, which reappears throughout the piece in variation, involves the composer directly. If he is not there to perform, a concert CD is made available to the performing organization. Also, since the figure is fairly constant, it needs to be explained to the performers only once. As with electronic music, there will be plenty of documentary evidence to tell future performers precisely what the composer had in mind for this figure.

96

At the same time developments in graphic and analogue notation were accelerating there arose a need for a more flexible standard of temporal notation. There had already long been debate on how best to eradicate not only the barline, but the hierarchical beat structure within the bar. Composers such as Stravinsky and Ives tried to deal with mensural ambiguity by utilizing devices like cross-bar beaming and polyrhythmic structure. These devices proved unwieldy however, and both composers went back to old works an~ tried to express their intentions with more traditional notation. By the '50s music had taken on such complexity of structure that the old notehead/beaming combination just couldn't work in all circumstances. Interestingly, as musical structure became more complex and rigorously applied a desire for greater interpretive freedom arose as well. Out of this came what are perhaps the most important notational innovations of the century, generally grouped together and known as: spatial notation (or time or proportional notation) and non-specific notation. Spatial notation is proportional and, while it does look different from traditional notation, it builds on what already existed and is both easy to learn and intuitive. To the student of music history it may seem somewhat amusing that we have come full circle from the non-mensural notation of early chant, which depended largely on the tactus and syllabic length to determine time value, through the use of the note head/stem/beam apparatus (developed from about 1250 on), through the use of barlines (about 1450 on) and right back to proportional, non-mensural time.

..·..

At its most basic, spatial notation consists of note head, with or without a stem/beam combination, placed within an unmeasured bar. The space occupied by the bar may or may not represent a specific unit of time. If it does, it is usually measured in seconds. The notes are placed within the bar in the approximate position at which the composer would like to hear them. Since it is not always possible to use a direct proportion of space to time, especially in orchestral scores, it is common practice to use arrows and/or textual indications to show when one instrument enters against another. from Mel Powell, Modules

~l

~

§~ 1i

i

.

~

·~

L'lt-~

GD.Ir . . . . .

.,.~~ .... .

]I

~r,I":\J-...a.r-

, ,.;:"\ l

.. >-~

.:~

~

=.r,;:::• ~·--

l

~

1 1 1

c~ 1'lrlf>.tft.

[~

~=·

'f/JJ!

1.al.-1&

.

1111 1

:l'*rl• •

.

-

~

Im . '

,::;.:;...,,..

~.

_,..... ,llllflJ'. -

.· . .

~

- -

-

.:~:-..

~-J

~..,V -...J·U1....,.

l((l'D 11

....

:~

97 Even when writing for small groups, the use of arrows will help the composer control the interpretation. The mixture of spatial with traditional notation is accepted and generally poses no great difficulty to performers. from John Corigliano, Mr. Tambourine Man (Seven Poems of Bob Dylan)

34 A

-

~

..,

I

....

-

.. swer,

I

-.,

I

(~)...

...

...

...

·......,

:

:.

•

...........

- --

I

l

-

.P

------------========--

v~

~

~

~

-

..~

-

in

in'

the

p

L:

·-

~

~

-

------- ------blow

.P

.P

--·-.. - ..

-

.. .. --

I

I

I

is

friend,

my

~ A

r-3--,

~

I

-

an

~

.---- 3 - - - , ..

~~

~

~ ........

- - -

I

--

--

-..

--

~

-~

~

~........ *~

.P

In spatial notation, if the traditional note head/stem/beam combination is not used to indicate

temporal flow it is common to use note or beam extenders. We prefer to use extenders from the note heads. These are thick lines that extend to the right of the notehead for some horizontal space. Score can set these extenders to start either within the notehead or to the right of it. We prefer to start within the notehead. Often, this type of notation is used without any indication of tempo or length of total elapsed time; this leaves the interpretation in the hands of the performer. from David Fetherolf, Suite-Fantasia for Violoncello

arco 0

mp +

.brr

b~!::: -

~if

f slow harnwnic gliss, sul A 0

'

c~ s

0

--- s ---

I':'\

.

"" "" ........

arco 0

pt'\ .J.!.. . .

----c

I':'\

' ';II

1~

h~tz- ..

~

mp

hi

if

:!

411

h

~

h

I':'\

(!/)

I':'\

r,_:

Quasi recitative h hi

(j)

!.

P). . .

pizz.

,

•

c.....-~~s~~--.

!YI ~.

•

~.

!,.

I•

•

•

Notice in the example from Mr. Tambourine Man that we have ended the line with a thin double bar as the piece returns to traditional mensural notation. Likewise, in the Suite-Fantasia a thin double bar is used to offset the mensural writing, the bridge, and the spatial section. In some editions if music switches from mensural to spatial notation a "zero" meter has been used. This meter already has a specific meaning and should not be used for such a purpose.

98 Non-specific notation is closely allied to spatial notation and uses many of the same devices. In scores utilizing non-specific notation it is not unusual to see note extenders, pitch and rhythm cells [see page 25], and traditional mensural notation all occurring at the same time. In a large orchestral score this type of organized chaos has to be ordered in a fashion immediately comprehensible to a conductor and transferable to the players' parts. The solution, which came largely out of Eastern European publishing houses in the '50s and '60s, is the use of large "cue beats." These beats appear in the score as large triangles over the top staff. Different publishers tend to use slightly different variations on this idea; a primary beat may be a white triangle with its secondary beats as black triangles, a primary beat may have a number inside of the triangle to tell the players how many secondary beats there are and then the secondary beats may be black, or white, or have numbers in them representing a countdown to the next primary beat. They all function the in the same fashion, the primary beats delineate sections of music and the secondary beats should fall at places where new events happen within those sections. We prefer to treat the triangular cue-beat symbol as if it were a meter. If there is a number "3" within the triangle, that represents three cue-beats and is placed over a solid barline. The next two barlines, which represent secondary cue-beats, are dashed. The third barline is solid again. The "3" beat would stay in effect until such time as the meter changed (either to a different cue-beat or to a mensural section). Since we treat the cue-beat symbol as a meter, we include courtesy symbols at the end of staves or systems where appropriate. In orchestral scores we place the symbols as we do tempi, above the strings and the top staff.

w

w

I

I

w I

:~

·•

w I

Iii

This system is also easily transferable from orchestral score to orchestral parts whereas some o~ the other systems used require either re-entering or moving symbols around in the parts or the use of a large number of cues in the parts to let players know exactly where they are. The symbological lexicon has been added to by building on what came before and a new direction in orchestral writing is represented in a manner that is not startlingly new or different. The next two examples show a piece of score and some corresponding parts. Notice how in the Flute 1 part, which is measured, we've included parenthetical cue beats so the player knows what is happening at the podium. Also notice that the measure numbers have been altered to match the numbers seen by the majority of players. Care should be taken when using new systems that the work truly cannot· be notated in a more traditional manner. :~

Although the notation for non-specific music has gained a good deal of currency it is not yet fully standardized. Composers should work closely with their publishers and/or copyists, as well as performers, when choosing what is the best solution for their music.

\

99 from John Corigliano, Phantasmagoria 14

-'•

Picc. 1 ~ Picc.

2

FL

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J =ca. 48

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w p •All instruments ringer line of eighth no res. Occasionally, each player independently plays their line. ••violins and violas enter niente, crescendo to mezzo pi11no at approximate positions in measure (airer preceding note). Each nore is played by !WO players. •••Continue in tempo 1J •ca. 48) without being conducted. Keep this steady tempo throughout the following measures I pages.

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*Triangles with numerals within mean free cue beats. The numeral denotes the number of beats (cues, or dotted measures) in the measure. ••Continue in tempo J = 48, without being conducted. Triangles in parentheses represent conducting beats for the rest of the orchestra. N.B.: Measure numbers have been altered to match those of the orchestral score. .

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101 There are many other symbols used in contemporary music notation, some of which are actually quite old, some of which are old symbols with new meanings, and some of which are so lacking in standards they require lengthy explication in order to be useful. Percussion iconography falls into this last category. There have been so many different symbols created by so many different people for the same instruments, mallets, etc. that we prefer to stick to English textual indications. We very rarely use anything other than a five line staff with regular note heads for our percussion parts. Microtones have been used in western music for much longer than many people imagine. The symbols we use for '-A-sharp and %-sharp were created in the mid-18th century. The symbols we use for %-flat and '-A-flat are quite a bit newer, but have also been around for some time. When dealing with other microtones, we prefer to use the sharp and flat signs with small arrows attached and to indicate the microtonal fraction textually. In these cases the sharp/arrow sign indicates not a half step above the base pitch, just higher than the base pitch, and the flat/arrow sign the opposite. Study the four ascending scale fragments below.

1/6

113

!r k

113

1/6

1/12

Pr

Pr

Pr

This shows the microtonal notation preferences of G. Schirmer/AMP.

Another often used effect without standardized notation is the tone cluster. Facsimile scores, such as Penderecki's Threnody ... make good use of thick black lines representing clusters, but this is often impractical for our use. The notation of clusters is a place where the keyboard paradigm comes in very handy. Below is a short chart of our preferred cluster notation. Of course, on instruments other than keyboards, the term "black key" refers to all sharps and/or flats and "white key" to all naturals.

white key clusters

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,

black key clusters

mixed key clusters

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As you can see, the cluster notation uses a shaped note head. Shaped note heads have a long history and many have specific meanings. Except for a few instances, we do not use differently shaped note heads to indicate expressive or technical aspects of music. Regular note heads with textual indications work better in almost all cases. One other shaped notehead regularly used and accepted is the triangle notehead which, when pointing up and above the staff means "as high as possible" and when pointing downward and below the staff means the opposite. The triangle is either open or closed depending on its duration and it may be used with or without ledger lines.

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--

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102 There are many other symbols regularly used in contemporary music which occurred with less frequency in older editions. We feel these symbols are now sufficiently common to warrant their use without redundant textual explanations. These include, but are not limited to: glissandi, l.v. ties, tremolandi, and pizzicato markings. Both the left hand pizz. and the snap pizz. symbols are well known to all string players. Snap, or Bart6k, pizz.

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Notice that the snap pizz. symbol has its tail pointed up. This is so it will not be confused with the symbol for thumb position. Also note that after the use of a snap pizz., the "arco" marking is necessary whereas in the left hand pizz. example there is no need to state either "pizz." or "arco".

\

..

103

Samuel Barber, Medea

Barry Guy, Mobile Herbari.um

Copyright © 1949 by G. Schirmer, Inc. (ASCAP). New York, NY International Copyright Secured. All rights reserved.

Copyright © 1992 by Novello Co. & LTD., London, England International Copyright Secured. All rights reserved.

Earle Brown, Folio (1952)

John Harbison, ll Salisciendi Bianco

Copyright© 1961 by Associated Music Publishers (BMI) New York, NY International Copyright Secured. All rights reserved.

Copyright© 2000 by Associated Music Publishers (BMI), New York, NY International Copyright Secured. All rights reserved.

John Corigliano, Symphony No. 2

Mel Powell, Modules

Copyright © 1995 by G. Schirmer, Inc. (ASCAP), New York, NY This arrangement copyright© 2000 by G. Schirmer, Inc. International Copyright Secured. All rights reserved.

Copyright © 1985 by G. Schirmer, Inc. (ASCAP). New York, NY International Copyright Secured. All rights reserved.

John Corigliano, Mr. Tambourine Man (Seven Poems ofBob Dylan) Mr. Tambourine Man Words by Bob Dylan Copyright© 1964, 1965 Warner Bros., Inc. Copyright renewed 1992, 1993 Special Rider Music International Copyright Secured. All rights reserved. Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All rights reserved.

David Fetherolf, Concerto for Violoncello Copyright © 1993 by David D. Fetherolf (BMI) International Copyright Secured. All rights reserved.

Bright Sheng, Spring Dreams Copyright© 2000 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All rights reserved.

Bright Sheng, Red Silk Dance Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All rights reserved.

Tan Dun, Peony Pavilion Copyright © 1998 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All rights reserved.

Karen Tanaka, Metallic Crystal Copyright © 1994 by Chester Music, London, England International Copyright Secured. All rights reserved.

David Fetherolf, Suite-Fantasia for Violoncello Copyright © 1995 by David D. Fetherolf (BMI) International Copyright Secured. All rights reserved.

Copyrights other than those owned by G. Schirmer/Associated Music Publishers used by pennission.

/