If a part begins on page 2 (i.e., not recto-verso), then a title page may be used for the front of the part, where page 1 would typically go. Note that title pages are generally only used for scores or substantial parts and are not usually included with most orchestral or chamber parts. Name of the publishing company, if applicable (centered on the bottom) Short instrumentation (e.g., for Orchestra)ĭescription (e.g., TRANSPOSED SCORE, C SCORE, or Flute I) They are generally helpful for a span of more than three notes with three or more ledger lines. They are sometimes acceptable in C scores to save space, almost never in orchestral parts, except for piano or other keyboard parts. Scores must be engraved (computer or by hand): i.e., no illegible sketches.Ĭlefs and key signatures (if used) must appear at the beginning of each staff.Ĭare should be taken with the use of the abbreviations 8va and 8vb, avoiding their use if possible. Pieces may not exceed 8 minutes in performance duration. The following guidelines pertain to book design for music publications (i.e., scores and parts). They are a good starting point for most pieces, but the instrumentation and the specific details of each work will dictate which choices to make. Special thanks to Stephen Cabell and Bill Holab for offering suggestions and helpful information. Hey, do you know what the best part about bar lines is? They are used as a way of organizing music all across the world.Music Preparation Guidelines for Composers Robert Paterson The grouping of notes or rests into three counts continues until there is a time signature change or the end of the piece. This continues very consistently throughout the music until the end.įor example, one measure (or the area between the bar lines) may contain three counts total. The notes and rests are grouped together according to a set amount of counts or beats. The bar lines in between a certain number of music notes act in the same way as spaces do between words. The visual importance of clearly defined words in reading a book is also necessary for reading music. We need some kind of organization to help us out. It would be too difficult to read music with all of the notes and rests smashed together on the same page. The addition of lines, every so many counts, better defines larger groupings to act as measures. ![]() In the case of reading music, the notes and rests have spaces in between them already. Now, our eyes can track a lot faster when we are reading and our comprehension significantly improves. They help us identify letters grouped together to form words. It may take you twice as long to read this, than if there were spaces between these words.Īhh, much easier… The spaces between the words are very important. In the case of reading words, we prefer to see the spaces in between the words rather than the lines separating the words. Visually, we don’t really enjoy seeing the smashed-together words on a page. ![]() Your eye will naturally try to group words together in an effort to make sense of what you are reading. It|may|take|you|twice|as|long|to|read|this|than|if|there|were|spaces|between| Now, let’s put some lines between the words. Itmaytakeyoutwiceaslongtoreadthisthaniftherewerespacesbetweenthesewords ![]() If you don’t believe me, try and read this: ![]() How easy is it to read? It may take you 2-3 times longer to read the same book. Now, take away those spaces and smash all the words and letters together. This makes reading music much easier to accomplish at a quick glance.Ī bar line acts the same way in music as a space does between words in a book. Chunking Musicīar lines organize groups of notes and rests together into little chunks. For instance, the bar lines in the middle of this example break up an otherwise long line of music into four different parts. Their job is to separate a line of music into sections or measures. The vertical lines you see on the music staff are called bar lines.
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