9/18/2019 David Dzubay's Top Ten List of Music Preparation & Notation Rules

of Music Preparation & Notation Rules

Rather than a comprehensive list of notation rules, most of which can be found in the usual 4. Plan PAGE TURNS CAREFULLY, on odd pages (1, 3, 5...).
texts (Gould, Read, Stone, etc.), this is a short list of specific guidelines I believe composers While in RARE cases it might make sense to start a part on the left side page,
should follow and all too often do not. My opinions are based on 25+ years of experience with the first page turn on 2, this should be avoided in preference for the
conducting contemporary ensembles, especially the Indiana University New Music Ensemble professional publishing standard of a right hand page start. There is no
(since 1992) and from playing trumpet in numerous ensembles. A few more key suggestions reason to begin a score with a left page.
for notation can be found at the IU Jacobs School of Music Composition Department Music a) Page Turns are more important than saving paper. Plan page turns where
Notation Style Guide. there is plenty of time, even if it means having just one or two systems on a
page.
b) Instrumentalists should not have to play immediately following a page turn.
1. Never, ever, EVER make Scores or Parts in Format all Scores and Parts in In other words, try to have bars of rest either side of a turn. (No surprises!)
LANDSCAPE Orientation (especially with 11x17!). PORTRAIT Orientation. c) Place a warning (V.S.) when a quick page turn is necessary.
Landscape scores fall off stands, necessitate unwieldy, Portrait orientation is the d) A finished part does not require a player to photocopy because page turns
even theatrical page turns, often require two stands, professional publishing standard. were not accounted for. Solve the problem before you hand the part out,
and simply look unprofessional. Remember that once a Sometimes composers use either with formatting, or if absolutely necessary, a fold-out.
portrait-oriented score is opened, it is wider than it is landscape because they think it
tall, so opening a landscape score makes for a doubly fits the ensemble size better; in
wide document. such cases, composers should 5. Use MEASURE NUMBERS well, preferably in the following four ways:
simply format for two or more a) At the start of every system
systems on each page. b) At structural points ("rehearsal numbers"). Rather than letters, I find using
the actual measure number, preferably in a larger font, to be the best way to
indicate rehearsal landmarks. Just one counting system to deal with, and
rehearsal spots are quickly found.
NOTE: ALL PLAYERS should have these numbers, so make sure to break
multi-measure rests at these points.
c) At barlines following all multi-measure rests.
d) Sprinkled liberally throughout the part, especially toward the right side of
systems, where it might take some time counting to find certain bars in
rehearsal. After a part is edited and formatted, go through it once, adding
measure numbers where appropriate.
NOTE 1: One possible exception to this is for piano music, though portrait is still better. NOTE: Never use the system of placing measure numbers every 5 or 10 bars.
NOTE 2: Another exception is for jazz ensemble scores, which are commonly in landscape on This breaks up multi-measure rests into un-musical divisions.
10x13 or letter size; avoid 11x17.
NOTE 3: Composing on landscape manuscript paper (11x17) is a different matter and highly
6. CUES - Use them.
recommended - just don't 'engrave' your final scores in that format!

7. BARLINES
2. Print Parts on 10x13 PAPER.
a) Use Double Barlines to indicate sudden changes of tempo - both isolated
Yes, I know this is not a stock size, but you can easily order it or cut it down from 11x17
changes and strict tempo modulations (quarter = dotted quarter).
yourself. 10x13 is the best size for parts, and is the required size for some professional
ensembles, including the Minnesota Orchestra. Here are some ways to print on 10x13. b) It can be helpful to use (single) Heavy Barlines to indicate phrase
First, format and edit your music in Finale or Sibelius knowing you will end up printing on divisions, or groupings of bars. An example would be in a fast piece
10x13, so size the music accordingly. conducted in one, where measures are flying by. A thick barline here and
Second, If you have access to a printer that can accept 13x20 paper, order your paper of there relating to the musical phrasing will help players not get lost.
choice from a supplier like Xpedex, having them cut it to 13x20 for you. The paper type
should be "offset", 60# or 70#, "text," preferably a light natural color, not too dark and not
8. TEMPO
white. One paper I like is Cougar Natural 70# Text Offset.
a) Use metronome speeds for tempo indications (not simply "Allegro").
If your printer won't take 13x20, order the paper cut to 10x13 and use this in either your b) Use only one number, not a range, unless the tempo is supposed to be in
printer or a photocopier. In a pinch, just cut down some white 11x17 stock yourself. flux, speeding up and slowing down within a range.
BEST:
- Print two pages per side on 13x20 paper, fold and staple in center (or cut and bind for larger
documents).
4 page document: print 4&1 / 2&3
8 page document: print 8&1 / 2&7, 6&3 / 4&5 NOTE: Neither a or b overly restricts players, who, as human beings, will
12 pages: 12&1 / 2&11, 10&3 / 4&9, 8&5 / 6&7 approximate tempo, and vary as necessary depending on the situation
etc. (acoustics, etc.). Giving precise tempo indications is particularly important in
- Or, print one side per page onto 10x13 works with a variety of tempi, as the relationship between different tempi is
GOOD: then clear. Musicians will appreciate the clarity of intent.
- print originals on letter size paper, and photocopy at 117% onto 10x13 paper (fed through c) Use numbers found on analog metronomes: 40, 42, 44, 46, 48, 50, 52, 54,
"bypass" feeder). 56, 58, 60, 63, 66, 69, 72, 76, 80, 84, 88, 92, 96, 100, 104, 108, 112, 116,
- Or, print originals on tabloid (using just 11x14 of the paper), and photocopy at 92% onto 120, 126, 132, 138, 144, 152, 160, 168, 176, 184, 192, 200, 208; musicians
10x13 paper. are familiar with these tempi. Avoid speeds like 113, unless a precise tempo
NOTE: 11x14 is second best (though it doesn't fit well in folders), 8.5x11 is third best (make modulation gets you to that somehow.
sure the music is not too small). d) Express tempo (and meter) in terms of the duration that will be conducted
EXCEPTION: For short pieces or pieces you'll be photocopying large runs of (perhaps for or felt as the pulse.
band, for example), it can work well to format for letter size, print "2 up" onto tabloid (print
pages 4&1, then 2&3 on the back side), fold, and staple if the part is more than 4 pages
(requiring more than one sheet of 11x17).

3. BIND all Scores and Parts properly. Exception: when the meter doesn't clearly express the pulse (5/8, 6/8, 7/8,
Absolutely never hand out loose sheets that can easily fall off stands, or get out of order. etc. conducted or pulsed in quarters and dotted quarters.)
BEST for parts and thin scores:
- Stapled in center. Get a large stapler to make this easy.
9. METER
BEST for thick scores:
a) Use Meters of 2, 3, 4 beats for the most part. Sometimes 5. Avoid large
- Coil. Note - buy coils that are long enough. Do not use 11" coils on 17" scores.
meters of 6, 7, 8, 9, or more beats in a bar. These are usually broken down
GOOD:
into twos and threes anyway, and the downbeat is easily confused.
- Tape. Works for parts, rarely for scores. Use a flexible tape, like medical tape or duct tape
b) In irregular meters (5/8, 7/8, etc.), make sure the divisions (2+3, 3+2+2,
(!). You can buy a "tape binder," but they are overpriced, IMHO. You can also learn to stack
etc.) are clear and in agreement in all parts through use of rests and
the pages, sort of bend them back and forth to fan the pages out, lay down on flat surface,
durations, including tied notes where necessary [NEVER use a half note in
and tape. The fanning out makes the tape reach each page. Also, this should be done so that
5/8!]. If you use an irregular meter with a consistent division, whole rests are
the next page that needs to be turned is sticking out a bit.
fine in empty measures; if the division changes much, it is best to show the
WORST:
division by using appropriate rests in empty bars.
- Comb. Can work, but is not allowed by groups like the Minnesota Orchestra. Noisy...easily
c) see 8d
damaged...doesn't fit in folders well. If you must use comb, don't use 11" combs for 17" scores
and don't overlap combs. Order combs that are long enough.
EVEN WORSE: 10. Never, ever, EVER make scores or parts in LANDSCAPE Orientation.
-Stapled on the side. Documents don't lay open flat.
Last updated: 06-Mar-2018
Comments: [email protected]
© Copyright 2007, David Dzubay

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