MUSIC NOTATION PREPARING SCORES AND PARTS (Berklee Guide)

154 Pages·2007·2.91 MB·English

MUSIC NOTATION: SCORES AND PARTS MUSIC NOTATION: SCORES AND PARTS
BERKLEE PRESS
Make your music easier to read. “Music Notation: Preparing Scores and Parts is a must-have book for both
Whether you notate music by hand or use computer professional and beginning composers and arrangers. It is a completely
software, this practical reference will show you today’s up-to-date and thorough treatment of the subject and includes all of the
best practices for how to render the details of your latest practices for both computer-assisted and hand-written notation. It
scores and parts. Improve your music’s legibility and is the most comprehensive bok on this topic I have sen, and it is writen Music Notation
express your ideas clearly to get the best possible and laid out in a clear and easily readable style. I endorse this superb book
representation of your music. as a required text at Berklee, and highly recommend it to anyone aspiring Preparing Scores and Parts
to be a composer or arranger.”
by Matthew Nicholl and Richard Grudzinski
You will learn to: —Kari Juusela, Dean of the Professional Writing Division,
• Create scores that are easy to conduct and parts that Berklee College of Music
are easy to perform
“What’s often missing in composers’ training is the correct, professional
• Understand the unique practices and standards for
way to prepare scores and parts. Fortunately, this much-needed new tome
handwritten vs. computer-generated scores, such as
those by Finale® and Sibelius® by Matthew Nicholl and Richard Grudzinski ‘fills in the blanks’ about
music notation. It’s an inspiring and well-organized presentation, with clear
• Lay out scores with proper instrument order, and concise explanations pertaining to the most vexing notation problems.
measures per page, and common alignment All composers should place this book at the top of their next-to-read list.”
practices —Alf Clausen, composer, (The Simpsons)
• Understand the publication standards for orchestral,
big-band, vocal, and rhythm-section–based scores “This quality, in-depth tutorial encompasses all you need to know
• Use appropriate practices for different styles, such regarding the preparation of scores and parts. These valuable guidelines
as pop, commercial, classical, and jazz will help you to write clear scores, facilitating better performances and
recordings, and saving you time and money. This comprehensive work is
• Master the details of setting notation elements such a ‘must have’ for all composers, arrangers, and copyists.”
as measure numbers, rehearsal markings, chord
—Victor Vanacore, Grammy-winning arranger, composer,
symbols, dynamics, lyrics, and many more
conductor (Ray Charles, Barry Manilow, the Survivor
• Use specialized notation such as measure repeats, television series, conductor of orchestras worldwide)
col, slashes, hits over time, and others
“A clean and precise part or score is essential—an intrinsic element of
Music Notation: Preparing Scores and Parts is used as any music production or performance. Recently, I worked closely with
a notation textbook by Berklee College of Music’s Richard Grudzinski on my own scores, and I witnessed first-hand his
Contemporary Writing and Production Department. It expertise in turning my musical thoughts and intentions into artistry, in a
presents the definitive word in score and part clean and cogent music preparation. This book is invaluable for anyone
preparation, based on contemporary publishing- interested in communicating their musical language precisely and
industry practice. intelligibly through music notation.”
—Philippe Saisse, keyboardist, arranger, producer, recording artist
(Rod Stewart, Chaka Khan, Al Jarreau, David Sanborn)
Berklee Press, a publishing activity of Berklee College of Music,
is a not-for-profit educational publisher. Available proceeds from
the sales of our products are contributed to the scholarship
funds of the college.
Cover by Robert Heath
Berklee Press
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ISBN-13: 978-0-87639-074-0
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HL50449540
MUSIC NOTATION: PREPARING SCORES AND PARTS Matthew Nicholl Richard Grudzinski
86438 Title Pages 2/13/07 11:57 AM Page 1
MUSMICU SNIOCT NAOTITOANTION: SCORES AND PARTS BERKLEE PRESS
Music Notation
Preparing Scores and Parts
by Matthew Nicholl and Richard Grudzinski
Edited by Jonathan Feist
86438 Title Pages 2/13/07 11:57 AM Page 2
Berklee Press
Vice President: Dave Kusek
Dean of Continuing Education: Debbie Cavalier
Managing Editor: Jonathan Feist
Director of Business Affairs: Robert F. Green
Senior Designer: Robert Heath
Copyrights
“Avenue Brazil” by Matthew Nicholl, © 1993, Matthew Nicholl
“December Samba” by Richard Grudzinski, © 2005, Richard Grudzinski
“Dreaming Rain” by Matthew Nicholl, © 1981, Matthew Nicholl
“Harbour Island” by Matthew Nicholl, © 1993, Matthew Nicholl
“It Seems to Be” by Matthew Nicholl, © 1982, Matthew Nicholl
“Just to Have the Chance” by Carlos/Keys, © 2003, Carlos/Keys
“La Rosa de Las Terrenas” music by Rich Grudzinski, lyrics by Rich Grudzinski,
Jose Rojas, Benjamin De Roubaix, © 2004 by Richard Grudzinski
“Neither Here nor There” by Matthew Nicholl, © 1998, Matthew Nicholl
“Silent Picture” by Matthew Nicholl, © 2004, Matthew Nicholl
“So Beautiful” by Matthew Nicholl, © 2003, Matthew Nicholl
“Street Scene” by Matthew Nicholl, © 2005, Matthew Nicholl
ISBN-13: 978-0-87639-074-0
ISBN-10: 0-87639-074-2
1140 Boylston Street
Boston, MA 02215-3693 USA
[phone]
Visit Berklee Press Online at Visit Hal Leonard Online at
www.berkleepress.com www.halleonard.com
Copyright © 2007 Berklee Press
All Rights Reserved
No part of this publication may be reproduced in any form or by
any means without the prior written permission of the Publisher.
Music Notation 2/28/07 1:25 PM Page iii
Contents
Introduction v
Acknowledgements vi
Chapter 1. Getting Started 1
1. Choosing Your Tools: By Hand vs. by Computer 1
The Pros and Cons 1
2. Scores by Hand 1
Pencils and Other Tools 2
Choosing the Right Score Paper 2
3. Computer-Generated Scores 5
Equipment 5
Page Orientation: Portrait vs. Landscape 7
4. Summary: Getting Started 8
Chapter 2. Laying Out the Score 9
1. Basic Elements of the Score 9
The Score System 9
Braces, Brackets, and Barlines 11
2. Score Order 15
Score Orders for Common “Classical” Ensembles 15
Score Orders for Common Jazz and Pop Ensembles 22
Concert vs. Transposed Score 28
3. Score Page Layouts 29
Title Page Layout 29
Continuation Page Layout 31
The Distance between Staves 32
Margins and “White Space” 33
Multiple Systems per Page 35
Measures per Page 37
Score Optimization and “Short” or “Reduced” Scores 40
4. Measure Numbers and Rehearsal Markings 41
Measure Numbers 41
Formats for Rehearsal Markings 43
5. Summary: Laying Out the Score 47
Scores by Hand 47
Computer-Prepared Scores 48
Chapter 3. The Contents of the Score 51
1. Barlines, Clefs, Key/Time Signatures 51
Changing the Clef 53
Changing the Key Signature 55
Changing the Time Signature 57
2. Notes 58
Spacing and Alignment 58
3. Dynamics, Articulations, and Accidentals 62
Dynamics 62
Articulations 63
Music Notation 2/28/07 1:25 PM Page iv
Slurs and Phrase Marks 64
Accidentals 66
4. Divisi Parts 67
5. Words and Performance Directions in the Score 71
Tempo/Style Marks 71
Performance Directions 73
6. Repeat Notation and Form Markings 74
One- and Two-Measure Repeats 74
Omitted Noteheads 74
Repeated Beats 75
Use of “Col” 75
Large-Scale Repeat Schemes 78
7. Rhythm-Section Notation and Improvisation 88
Playing Time and the Changes 88
Stop Time 92
Cues and Hits over Time in the Drum Set Part 93
Fills, Solos, and Ad Lib Passages 95
8. Text Setting and Vocal Notation 97
Lyric Font and Spacing 97
Hyphens 99
Slurs and Word Extensions 100
9. Finishing the Score 101
The Final Score Layout 101
Proofreading and Editing 104
Copying, Binding, and Taping 105
10. Summary: Entering the Contents of the Score 105
Chapter 4. Creating Parts 109
1. Choosing the Tools 109
Using a Computer 109
Creating Parts by Hand 110
2. Parts by Hand 110
Paper 110
Equipment 111
3. Parts by Computer 112
Equipment and Paper 112
The “Parts Score” 113
4. Laying Out the Parts 113
General Guidelines 113
Page Headers 114
Rehearsal Marks, Measure Numbers, and Multi-Measure Rests 115
Page Turns 118
5. Sample Parts 118
6. Proofreading and Editing 136
Afterword 138
Appendix A. Instrument Names and Abbreviations 139
Appendix B. Resources 142
Index 143
About the Authors 147
Music Notation 2/28/07 1:25 PM Page v
INTRODUCTION
Music notation is a highly complex visual language. A great deal of skill and
training is required to create professional-quality scores and parts. While the study
of notation may seem dry and far removed from the art of composing and arranging,
the score and parts are the last step in the process by which a piece of music is
created. Any failure in this final step can immeasurably damage the musical result.
To put it another way, a great piece of music deserves a well-prepared score and
set of parts.
This book provides composers and arrangers with a set of guidelines to follow
when creating scores and parts. Some aspects of score and part preparation are
fairly straightforward, practiced universally by all musicians. Other aspects are
more flexible and are dealt with differently according to the specific situation.
We have attempted to show all the techniques and practices currently in use by
professional writers and copyists, including those instances when some flexibility
is allowed for individual preference and style.
We recommend you read the book through once, from beginning to end, to
familiarize yourself with the contents. Then, using the table of contents and the
index, use the book as reference when working on a score and set of parts. In
addition, you can learn a great deal by studying the scores and parts of
professional writers.
v
Music Notation 2/28/07 1:25 PM Page vi
ACKNOWLEDGEMENTS
We had a great deal of help preparing this book. In the Contemporary Writing and
Production Department, several faculty members reviewed the manuscript and gave us
valuable feedback: Bill Elliot, Michael Farquharson, Jerry Gates, and George Hargan.
Bob Pilkington and Jeff Friedman of the Jazz Composition Department also made a
number of useful suggestions. The chairs of the Professional Writing Division—Michael
Rendish, Don Wilkins, Joe Mulholland, Jack Perricone, Greg Fritze, and Ken Pullig—
also read the text and made helpful suggestions. Kari Juusela, Dean of the PWD, also
reviewed the text for us. Thanks to all these individuals for their help.
We would also like to thank Susan Nicholl, whose careful editing of the text contributed
greatly to its readability and clarity. She also designed the original layout of the text and
spent countless hours assembling the book.
Finally, many thanks to Jonathan Feist for his support and fine editing. This project
wouldn’t have happened without him.
vi
Music Notation 2/28/07 1:25 PM Page 1
GETTING STARTED
Chapter 1
1. Choosing Your Tools: By Hand vs. by Computer
Before beginning to prepare your score, you must make a crucial decision:
whether to prepare the score by hand or by computer. There are good reasons to
use each method. You must decide what best fits your situation.
THE PROS AND CONS
There are a number of reasons to prepare a score by hand:
• You don’t know how to use a computer notation program. This is a really
good reason not to use a computer. Never try to learn a music notation
program while you’re in the middle of a writing project.
• You like the tactile quality of writing in pencil on a score page.
• You like to score at the piano, rather than at the computer screen.
• You are working under the direction of a producer, senior writer, or teacher
who has directed you to prepare the score by hand.
There are a number of reasons to prepare a score with a computer:
• It can greatly reduce the time you spend creating the parts (if you know
the program well and are experienced in part preparation).
• Computer-generated scores are extremely flexible. It’s easy to make
changes or multiple versions of a piece.
• Files of computer scores are easy to share through e-mail or the Internet.
• You can use MIDI playback of the score to check for wrong notes.
• With practice, the right information, and instruction, you can create
professional-quality scores and parts, which can lead to an entry-level
position in the music industry.
2. Scores by Hand
If you’ve decided to do your score by hand, the essential next step is to assemble
your materials and pick the best paper for your specific project.
1
Music Notation 2/28/07 1:25 PM Page 2
MUSIC NOTATION: PREPARING SCORES AND PARTS
PENCILS AND OTHER TOOLS
Most handwritten scores are done in pencil. There are a few inexpensive, easily
available items you will need to prepare your score. (Please see the appendix
for information on where to buy these and other tools you might need to create
scores and parts.)
• Pencils: Choose dark #2 lead or buy a pencil created specifically for
music writing, like those available from Judy Green (see appendix).
• An eraser: Stand-alone erasers, like the Pentel Clic Eraser or the Mars
Art Eraser, work well (better than the eraser on the end of any pencil).
• A straight edge and a set of triangles: For drawing barlines, brackets, and
any kind of line, a transparent, straight-edged ruler or triangle is essential.
• A brush: An inexpensive brush can be useful for sweeping away eraser
crumbs and excess lead left by the pencil.
CHOOSING THE RIGHT SCORE PAPER
A great many different score papers are available commercially, many of
which can be found at most college bookstores or online. If you’re writing a
project for a particular class, your teachers may specify which paper you should
use, or they may leave it up to you. The important considerations when you
choose score paper are:
• the paper size
• the color and quality of the paper
• the size and number of the staves and the distance between them
• the instrument names, clefs, and barlines of pre-formatted paper
Paper size. If you are preparing a score that will be used by a conductor (you or
someone else) during rehearsal and/or performance, a larger score is easier to
read. The preferred size of paper for scores is often 11" x 17" because it is readily
available and is a relatively common size for photocopy machines. A score that
you intend to use only as a record of your work can be prepared with smaller
paper.
Paper color and quality. Off-white score papers, either pale green or ivory,
reflect less light and are usually easier to read than white paper. Score paper
should take pencil well and erase easily. Most professional-quality score paper
has these characteristics.
2
Music Notation 2/28/07 1:25 PM Page 3
CHAPTER 1: Getting Started
Size of the staves. Like paper size, bigger staves are easier to read. For a
conductor, it is ideal if the sizes of the staves in the score are as big as the
staves on a part. There should be an adequate amount of space between staves
(as will be discussed later).
The number of staves. The paper must have enough staves so that each
instrument (or pair of instruments in orchestral or band scores) can have its own
line. Some types of score paper are already formatted for certain common
ensembles like orchestra or jazz band. However, for many reasons, you will
often need to select blank score paper for a particular project.
If the paper has more staves than you need, group the staves together as much as
possible. If there are blank staves, it’s helpful to draw a diagonal line through them
on each page of the score.
Fig. 1.2.01 Score with
blank staves and a
diagonal line
3