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NZSM Composition - and - Orchestration Style Guide PDF
NZSM Composition - and - Orchestration Style Guide PDF
COMPOSITION + ORCHESTRATION
STYLE GUIDE
NZSM COMPOSITION & ORCHESTRATION STYLE GUIDE
This document is an evolving repository of professional knowledge that all composers & orchestrators
should read and follow when submitting notated scores for assessment at the NZSM. Following these
guidelines from the outset will ensure a professionally-presented score, and stand you in good stead
not only with your lecturer, but also with your performers.
1. PRESENTATION FUNDAMENTALS
1.1 Neatly handwritten (and photocopied) or computer typeset
1.2 NO PENCIL or BIRO ON YOUR SUBMITTED ASSIGNMENT. ASSIGNMENTS SUBMITTED IN
PENCIL OR BIRO WILL NOT BE MARKED.
1.2.1 Handwritten scores will only be accepted as a photocopy. Do NOT submit originals.
1.2.2 For handwriting, use a thin, black, felt-nibbed pen (such as the Stabilo 188, Artline
0.5mm or the Sharpie Extra Fine Point all available from Warehouse Stationery).
1.3 For computer-set scores, use a good-quality laser printer for your assignments, not an
inkjet
1.4 Every assignment, both minor and major, must have:
1.4.1 Title
1.4.2 Your name [if an arrangement, use “Composer’s Name arr. Your Name”]
1.4.3 Course Title (e.g. CMPO 101)
1.4.4 Date of composition/orchestration
1.4.5 © notice if appropriate
1.4.6 Tempo/Time indication: All assignments must have an indication of time. Normally
this is through a metronome marking (e.g. q = 84) which is preferred in addition to or
instead of a solitary tempo indication (Moderato). If using time-space notation,
ensure that the duration of sections is clear – this is usually a barline or using
brackets above sections.
1.5 Major assignments must be submitted as a double-sided A4 score, spiral- or wire-bound.
1.5.1 Works for larger ensembles/orchestras may require larger paper (such as A3) to be
legible.
1.5.2 Hint: use a larger binding coil than you think necessary: page turns are easier and
quieter with larger coils.
1.6 Minor assignments must be submitted as a double-sided A4 score, with a single staple in
the top left-hand corner
1.7 Assignments that require submission of parts: parts should be submitted as single-sided A4
portrait, as loose sheets kept together with paper clips
1.8 Scores should always be written transposed (i.e. with transposing instruments written the
same as in their parts), unless you clearly indicate ‘Score in C’ on the score.
1.8.1 If your piece is not in any particular key, use the Atonal Key Signature setting in
Sibelius, which uses accidentals in place of transposed key signatures. In this case,
clearly indicate ‘Transposed Score’ on the score.
1.9 Pieces should have clear and well-placed expressive detail (articulation, dynamics, etc.)
1.10 Staff names
1.10.1 For solo pieces, the instrument should be clearly marked as part of the title text (e.g.
Monologue for solo clarinet). The staves should have no names.
2. HANDWRITING GUIDELINES
2.1 Don’t use pencil or biro for your final copy. Please!
2.2 Rule all barlines and beams. Beams should be thicker than stems.
2.3 Don’t make your noteheads too big (or too small). Compare with other good examples.
2.4 Using a custom-made computer-set blank score as your manuscript paper can often be
more attractive and easier to use than generic blank manuscript paper, and also makes
great sketching paper. You can print these out and then photocopy to A3.
5. PRESENTATION OF PARTS
5.1 Parts MUST be identified with the composer, title, and instrument (including doublings
where appropriate). Hand in with the score in a single manilla folder with your name on it.
5.2 Parts must be presented single-sided A4 portrait
5.3 Orchestral parts
5.3.1 For winds, brass, keyboards, timpani & harp, each player MUST have one, and only
one, separate, exclusive part. There should not be any other player’s music on that
part, with the exception of cues (indicated by small noteheads, and clearly labelled)
5.3.2 Strings share one part between two players. In extensive or complex divisi passages,
the individual parts should be split onto separate staves. In string parts with
consistent divisi of three or more throughout the piece, it may be advisable to prepare
separate parts for each divisi line in order to reduce the frequency of page turns.
5.3.3 Percussionists read off a single percussion part, which includes all the music for
percussion instruments except timpani. The players normally determine amongst
themselves who will play what. Percussion parts should include a list of the
instruments required and must have mallets clearly indicated.
5.4 Page turns: consideration in layout should be given for comfortable page turns. [For parts of
only 2–4 pages, this is not so important]
5.5 Staff sizes: As mentioned earlier, instrumental parts should be 6–7 mm. As a rule-of-thumb,
parts should be easily readable when held at arm’s length.
5.6 Bar numbers must appear at the beginning of the first bar of each line for each part.
5.7 In longer works, rehearsal letters are helpful. These should be at regular places in the score
where some obvious event happens. (see 4.10)
5.8 Logical cues are expected during long period of rest, the cues being transposed to the
reading key of the instrument. Cues must be audible to the musician reading the part.
5.9 Standard music notation practice should be observed and any deviation from the standard
clearly explained prior to the first page of music. Add an ‘Explanation of Symbols’ page if
using non-standard notation, but avoid using non-standard notation when there is already a
well-accepted standard notation. Gardner Read’s Music notation: a manual of modern
practice [MT35 R282 M 1974] gives some standard notations. Explanations of one-off effects
can go directly onto the score—however, these should be kept to a minimum to avoid clutter.
5.10 Harp pedalling: most harpists prefer to work out their own pedal changes, though you
should, of course, ensure that all their parts are actually possible.
5.11 Transposition: use Sibelius’s automatic transposition facility if possible, rather than
attempting to manually transpose parts. In non-tonal works, consider using the “Atonal” key
signature, which uses accidentals rather than key signatures in transposed parts.
6.1 Courtesy accidentals help performers realise that you don’t intend the previous accidental
to carry through.
6.2 A trill has three components: 1) tr sign; 2) wavy line following tr for duration of trill; 3) a
stemless notehead in brackets following the note to indicate which note to trill to (the last
may be omitted if you’re working in a strictly tonal setting, or if you use the trs, trn and trf
notations)
6.3 Grace note stem direction normally opposes main note direction. It’s also recommended you
slur the grace note to the main note, and make sure there is a “slash” through the stem of
the grace note(s).
6.4 Fluttertongue: standard notation is fl., flz., or flzg. Must be accompanied by tremolo mark on
the stem.
6.5 Tempo markings: don’t use ‘BPM’
6.6 Glissandi: straight lines indicate embouchure/lip glissandi. Wavy lines indicate fingered
glissandi. Also include gl above the first note of all glisses. Make sure the straight lines are
thick enough to be seen at arm’s length.
6.7 Beaming: I’ve talked about this at length before, but it is one of the most common mistakes.
Look at the last example below, and make sure you understand why the first bar is awful and
why the second bar is better. (The example is based on an actual student piece I received).
Also, see the special appendix on beaming.
6.8 Common score layout issues:
6.8.1 Small chamber ensembles rarely follow orchestral layout
6.8.1.1 Wind quintet: fl, ob, cl, hn, bn
6.8.1.2 Brass quintet: tpt 1, tpt 2, hn, tbn, tba
6.8.1.3 Any small ensemble with piano: piano goes on the lowest staff (e.g. piano trio,
piano quartet, etc)
6.8.1.4 Other mixed ensembles: Generally arrange in order of register (e.g. violin on top,
then clarinet), unless you have a largish ensemble (e.g. septet or larger) with at
least pairs of instruments from at least two orchestral families. Note horn will
often go above bassoon, because of its higher tessitura.
6.8.1.5 Small ensembles with voice: Voice staff may go on top, if a small ensemble with
no piano. If a piano is present, the voice may go above the piano staff.
Cautionary accidentals
& 44 b œ œ œ bœ œ ˙. bœ œ œ bœ Nœ ˙.
Trills
~~~~~~~~~~~~~~~~~
Ÿ
Ÿ~~~~~~~~~~~~~~~~~
& b˙. Œ b˙. Œ b ˙ . (bœ ) Œ
Grace notes
j
& ˙.œœœ Œ œ
˙ Œ œœœ
˙. Œ œ
˙. Œ
J
\
œ ˙ œ ˙
Fluttertongue fluttertongue
fl.
J æJ
&Œ ‰ Œ ‰ æ
Tempo markings
q = 97
#œ #œ
97 bpm
#œ #œ
&œ Œ œ Œ
Glissandi
gl.
~˙
~~
gliss.
~~ ~~~
gliss. gl.
& #œ ˙. #œ ˙. #œ ˙. ˙~
Beaming
& œ œ bœ œ œ œ bœ. nœ. œ œ bœ œ œ œ œ œ bœ
œ n œ.
The notes below will help you out if you feel unsure about certain aspects of writing for specific
instruments. For any questions not answered below, check with a standard orchestrational textbook,
or ask a performer. The library also has a good selection of textbooks dealing with more advanced
contemporary notation.
8. MUTES
To indicate an instrument should be muted, use the expression ‘con sord.’; to indicate that a passage is
unmuted after a muted passage, use ‘senza sord.’. To specify a particular sort of mute, write, for
instance, ‘con sord (harmon)’. If you want to specify just a change of mute, then just write the new
mute’s name (e.g. ‘straight mute’). Normally a player will work out the best time to take off their mute.
On rare occasions you might want to specify exactly when they need to take the mute off. In this case,
use ‘via sord’.
8.1 Woodwind
8.1.1 Only common example is muting the bassoon, which can be seen in some Ligeti
scores. A rag or a horn mute may be used for this.
8.2 Brass
8.2.1 Horn: generally only one mute used, a fibreboard mute. Bouché (hand-stopping) is an
alternative for a more nasal, ‘biting’ sound. Allow 4-5 seconds for change of mute.
Both bouché and standard mutes actually transpose the entire instrument by a
semitone, but the players take care of the transposition at sight.
8.2.2 Trumpet: has the most variety of mutes. Straight is the ‘normal’ mute (what you get
when you write con sord), but also available are cup mute, harmon mute, plunger,
derby. Allow at least 3 seconds to change. Harmon mute has a stem that can be in or
out. You should always specify whether the harmon is stem in, half-in or removed.
(‘Harmon, stem removed’ = much tighter, more nasal sound, the sound that Miles
Davis produces. ‘Harmon, stem in’ = ‘Wah-wah’. Also possible to have ‘stem half in’.
Avoid saying ‘stem out’, as this is ambiguous) A louder, more ‘open’ wah-wah effect
can be achieved with the plunger mute. Allow 4–5 seconds for a change of mute.
8.2.3 Trombone: Straight mute is most common, harmon & plunger also available. Allow at
least 7 seconds to change, as they are reasonably large and need to be ‘screwed in’
8.2.4 Tuba: Only one mute, which requires a lot of time to fit and unfit. Allow at least 15
seconds per change. Tuba players have very mixed feelings towards its use…
8.3 Strings
8.3.1 Normal mute is indicated by con sord. A ‘practice mute’ is also available which has a
much softer, more metallic sound.
9. GLISSANDI
9.1 Woodwind [All woodwind have fingered glissandi possible.]
9.1.1 Flute: Lip gliss: down about a semitone (sometimes further) or up about a
quartertone.
9.1.2 Oboe: Wider glissandi possible higher up the instrument.
9.1.3 Clarinet: Downwards lip gliss depends on register: from about G4 up, downward
glissandi can be up to a third; elsewhere about a semitone or so (check with
performer for wider intervals). Difficult around the throat region and just over the
break, because of use of keys. Again, a combination of ‘gliss embouchure’ with finger
sliding can create smooth glissandi over wide ranges (takes a bit of practice). See
Rhapsody in Blue.
9.1.4 Bassoon: as per oboe.
10. FLUTTERTONGUING
10.1 General: this effect requires the performer to “flutter” their tongue, as in a sustained, rolled
“rrrrr”. Not all performers can do this! Check first before requiring them to do so.
10.2 Notation: put fl. or flz. above note, and add a 3-pronged tremolo marking through stem
10.2.1 Woodwind
10.2.1.1 Flute/piccolo: Possible at all dynamic ranges for the note (though usually softest
dynamic is a shade above softest dynamic with normal playing)
10.2.1.2 Oboe: may be possible, extremely performer-dependent
10.2.1.3 Clarinet/Bass clt: Requires mf–fff dynamic range. Some clarinetists can’t do it, so
check with your performer. “Dirties” the tone a lot more than flute. “Growling” may
be an appropriate substitution if fluttertonguing not possible.
10.2.1.4 Bassoon: apparently this is possible, but check with your performer.
10.2.1.5 Saxophone: possible at mf-fff dynamic range. Similar to clarinet, in that some
performers find it very difficult.
10.2.1.6 Brass: Possible at most dynamics. “Buzzes” the tone in an interesting way.
11. MICROTONES
11.1 Microtones on woodwind can be created either through alternative fingerings or through
embouchure. If the microtone is just meant as an “inflection”, using glissandi, then
embouchure is fine. If note is intended as a stable microtonal pitch (as part of a broader
melodic or harmonic gesture) then using an alternative fingering, if available, is preferable.
Unfortunately, 99% of performers never learn these alternative fingerings and find them very
challenging to play. So, always check with your performer before you begin writing
microtones. The more accommodating performers are happy to play them and to work out
the fingerings themselves, as long as they are not used in great abundance or in rapid
figures. Most players are happy to do them occasionally, as long as you tell them the right
fingering. Nearly all performers will get stressed out if you give them too many, however. Only
the most advanced international contemporary performers can play microtones with great
fluency and at speed: this takes years of specific practice, however.
E.g:
r œ œœ
& ‰ Rœ
œ œ œ ≈ œR œ ➾ &œ ‰ œœ≈œœ
j j j j j
&œ ˙ œ œ ➾ & œ œ. œ œ œ
E.g:
& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ®≈ œ ®≈ ➾ & œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ.
2. Spell accidentals to be consistent with an implied tonality 3. Avoid Cb, E#, B#, Fb and double-sharps & flats if poss.
x x
x
4. Spell semitonal alternations on different lines/spaces 5. Sharps going up, flats going down
Michael Norris
j
∏ # œœ ˙˙
5
.
64 Ów> . ‰ . b œœ ˙˙
non sentimentale; un poco lontano q = 38
>
& 48 W
ƒ F
& 48 Œ Œ ≈ b œœ œœ 46 Œ Œ ≈ b œœ ˙˙ .
5 5
œ œ www œ ˙ ..
° ∏ ∏
∏ j
poco 5
# œœ œœ b # œœ . œœ
5
œ œ >œJ w œ œJ w œ ˙ ..
3
& w. œ
ƒ F 3
∏ 3
&Œ Œ ≈ b œœ ˙˙ . Œ Œ ≈ b œœ ˙˙ . Ó ‰ . b œjœ ˙˙ ..
5 5 5
œ ˙ .. œ ˙ .. bœ ˙.
∏ ∏
r5
œ
#œ œœ ii
Ó>. Œ Œ b œœ œœ iI 3
œ œ œ œ œ . œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœœœ
5
œ
6 3
&˙
3
J π P
ƒ π (quasi echo) π p π P
3 3 3
j
‰ b œœ ˙˙˙
œ œ œ b b œœœ œœœ œœœ œ œ œœœ .. œœœ
5
& Ó. .
5 5 5
œœ œœ R R bœ
œ œœ .
∏ π ∏ π
6
R
∏ P 5 ∏
4 ˙ œ œ œ œ b œœ .. œœ œ
5 5
&4 ˙
b b ˙ œœ b œœ œœ œœ b œ . œ œœ b œœœ œœœœœ
R R œœ
p 5
∏
œ œ
≈ b b œœœ œœœ
poco rit. a tempo
5
œ œœ œœ œœœ
10
ƒ F f
œ œ œ
5
œ
r r b œ
& 43 ˙˙˙˙ .. 46 ˙˙˙˙ 54 b œ
5
œ A
b
Flutes I, II & b b b 44 Œ Ó Œ
ƒ^ œœ- œœ- œœ- œœ- œ̆œ
b b b b 4 œœ Œ Ó Œ
Oboe I, II & 4
ƒ œ^ œœ- œœ- œœ- œœ- œœ̆
bb 4 œ Œ Œ Ó
a2 a2
& 4
œ œ œ- œ- œ- œ- fœ. œ- œ- œ- œ- œfl
Clarinet in B b I, II
ƒ œ œ
P- - ƒ P- - f
? b b 4 Œ a 2 œ œ œ œ œ. Œ œ œ œ œ œ œ œ̆ Œ Ó
bb 4 œ- œ- - - - - œ- œ- œ- œ- œfl P- - - - - -
Bassoon I, II
P f ƒ f
^ >œ œ .
b œ œ
& b b 44 œ œ œ œ œ œ œ œ œ œ. œ̆ Œ
J œ œ œ œ œ œ œ Œ Ó
œ- œ- œ- œ- œ. œ- œ- œ- œ- œfl
I, II
ƒ
Horns in F ^ Pœ- œ- f ƒ œ œ
P- - f
bb 4 œ >œ œ . œ Œ
& b 4 œ œ œ œ œ œ œ œ œ œ. œ̆ œ œ œ œ œ œ œ Œ Ó
œ- œ- œ- œ- œ. J œ- œ- œ- œ- œfl
III, IV
ƒ œ œ ƒ œ œ
P- - f P- - f
œ^ a -2 - -œ œ- œ- œ- œ. œœ- œœ- œœ- œœ- œœ̆
œ- œ- œ- œ- œ̆ Œ
a -2 -
b
I, II & b 44 œ œ œ Œ œ œ Ó
Trumpets in B b ƒ P f ƒ P f
b b 4 œ^ œ- œ- œ- œ- œ- œ- œ
. œ- œ- œ- œ- œ̆ Œ œ- œ- œ- œ- œ- œ- œ̆ Œ Ó
III & 4
ƒ P f ƒ P f
œ^ a 2 >œ œ
œ œ .. œ̆œ
?bb4 œ œ œ œ œ œ. J Œ
a2
œ œ œ œ œ̆ Œ Ó
bb 4 œ œ - - - - œ- œ- - - - -
ƒ P- -
I, II
f ƒ P f
? b b 4 œ^ œ œ œ œ
Trombones
bb 4 œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ Ó
œ- œ- œ- œ- œ. œ> œ œ- œfl œ- œ- œ- œ- œfl
III, IV
ƒ Pœ- œ- f ƒ
œ œ
P- - f
?bb4 ^ Œ Œ Ó
bb 4 œ œ œ œ- œfl
œ- œ- œ- œ- œ. œ- œ- œ- œ- œfl
Tuba
ƒ œ- œ- œ œ
P- -
> >
P f ƒŸ~~~~~~ f
? b b b 44
Timpani ?åsƒ© b œ Œ Ó
œ œ œ œ œ>
œ
Œ Ó
f >œ^ > > > œ >
œ œœ
œ . j j
-zscvghm
b
& b b b 44 Œ Ó Œ Œ J Œ œœ ‰ œ Œ
œœ
Œ œœ ‰ œœ Œ
f P f œ. . n œ. œ.
f P p
? b b b 44 œ^
Harp
œ œ œ œ Œ Œ œ œ œ œ œ Œ Ó
gl.
b œ œ œ œ œ œ
Bn
œ- œ- œ- œ. œ. œ- œ- œ>
œ- œ- œ- >œ œ .
œ œ- œ- œ- œ-
b - - - -œ -œ -œ œ. J Œ œ- œ- œ- œ- œ- œ- œ̆ Œ Ó
Tenor Sax. in B b & b 44 Œ œ œ œ
P f ƒ P f Ab b
bb4 Œ >œ œ> >œ œ> > j j
D
œ œ œ œ œœ Œ
7
b
& 4 b Œ Ó Œ œœ ‰ œœ Œ Œ œœ ‰ œœ Œ
œ- œ- œ- œ- œ- œ- œ. œ- œ- œ- œ- œ œ. œ. b œ. œ.
Guitar
œ^ P f œ œ
P- -
fl
p
>œ œ> >œ œ> œ> f Ab b
b œ œœ œœ œœ œœ œœ rœ j
& b b b 44 ‰ . œ œ œ b œœ n œ œ ‰ Œ
D
Œ Ó Œ Ó Ó Ó œœ œ⌫œœ
7
(fills ad lib.)
f^ P f P f P
?bb4 œ œ œ œ œ œ Œ
Piano
bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ Œ Ó ’ ’ ’ ’ ’ ’ ’ ’
œ- œ- œ- œ- œ- œ- œ. œ œ œ œ >
œ- œ- œ- œ- - œ- œ
Ab b
> > > > fl
? b b b 44 ^ ˘
j j j
œ œ œ œ. œ œ œ œ
>
D
œ œ œ œ œ Œ œ œ œ œ œ œ œ̆ Œ Ó œ.
7
b œ œ- œ- œ- - - - œ. œ œ œ œ œ
P- - - - - - f J
Bass
f P f > > > > P
4 œ^ x x x x ˘X /
FILL (ad lib.) TIME
x x x x > >X > X> x x x x x
Drum Kit ã 4 œ œ œœœ œ Œ œ Œ œœœ œ œ œ œ œ x x œx x x x œx x x x œx x œj œ œ œ œ œ
œ
f P P
f œ œ œ œ œ œ œ
> > > f P P
bb4
Vocalist &b b 4 Œ œ
œ œ bœ bœ
Œ
Groovy (q=85) œ œ œ œ
œa game
bb4
A
œ.
It seems life has played on me
>œ
œœ. Œ
div.
&b b 4 Œ œ. Œ Ó
gl.
œ. œ œ .
unis.
œ œ J œ œ n˙ b˙
Violin I
œ f ƒ œ w
P P f p
b j
& b b b 44 Œ
div.
œœ Œ Œ Ó
gl.
œœ œœ ..
unis.
Violin II
œ œ œ œ. > . œ œ œ œ. w n˙ b˙
P f ƒ P f p
B b b b b 44 Œ œ œ œ œ. j œ œ. Œ
gl.
Viola
œ œ. œ. Œ œ œ Ó
P f > P f
ƒ
? b b 4 Œ pizz. œ >
œ œ> Œ œ
>
œ
>
œ Œ Ó
bb 4 œ > œ œ œ œ œ> œ
Cello
>
>
pizz. P f > > > > P> f
? b b b 44 ^ >
œ œ> Œ œ
>
œ
>
œ Œ Ó
Double Bass b œ œ œ œ œ œ œ œ>
œ
f P> > f > > > > P> > f
© Copyright 2005 Michael Norris.
Sample part Joe Zawinul, arr. M Norris
Flute I
œ^ œ- œ- œ- œ- œ̆
Groovy (q=85)
b 2 A 8
& b b b 44 Œ Ó Œ
ƒ
B
b œ- œ. œ- b œJ- œ b œ- œ. œ- œ- œ œ- œ. œ- b œJ- œ b œ- œ. œ- œ-
& b bb Œ
13
J J J J J J
F
œ- œ- œ- œ- œ̆
2 C 4
bbbb œ Œ Ó Œ
17
&
ƒ
j- . œ
bœ - œ- œ. œ̆ œ̆J œ œ b œ œ œ œ
D
œ. œ œ œ
b /œ œ
b
& b bb ⌘ Ó ◆ ‰ Œ Ó ‰ J ‰
25
b œ n œ-
j
b œ bœ œ r œ œ bœ œ œ œ bœ œ œ nœ bœ œ bœ œ
& b bb J ‰ Ó ‰. œ œ œ. Œ Ó
29
œ œ
3
b œ˘ œ̆ œ̆ œ̆ œ œ n œ b œ œ œ. E - œ. œ- b œJ- œ b œ- œ. œ- œ. œ- b œJ-
bb œ̆ Œ œ œ- œ œ-
&b b ◆ ◆ ◆
32
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This arrangement © Copyright 2005 Michael Norris.
» CMPO Major Assignment Checklist NAME: _________________________________
Submit this checklist with your assignment. Before you hand in your assignment, please check through the
list below and tick off each point as applicable. Marks will be deducted for items that are not ticked or have
been ticked incorrectly (up to 10% in total of the final grade).
» SCORE
| Score is neatly handwritten and photocopied or printed using good quality laser printer
| Score has: a title page, a page listing all instruments used
| Score has: title, name, course code, date, © notice, tempo
| All staves appear on first system of score, even if not playing [except doubling instruments]
| Transposed score
| Both full and abbreviated staff names have instrument numbers where appropriate (e.g. Flute I, II / Fl. I, II).
If solo piece, the instrument name is included as part of the title (e.g. “Monologue for solo clarinet”), not
next to the staves.
| Score presented double-sided and bound
| Standard music font & text font used
| On first page of each part: Instrument name at top-left, name of piece at top-centre, composer and ar-
ranger at top-right
| Cues given after periods of long, unbroken rests (e.g. 15 or more bars) in parts
| Parts printed using high quality laser printer
| Parts presented single-sided, unbound, paper-clipped together
Orchestral parts:
| Exactly one exclusive part per player for each wind, brass, keyboard, timpani and harp. [NB: doubling in-
struments still only get one part, with both instruments incorporated into the part.]
| One part per section for strings & percussion (excluding timpani).
» GENERAL PRESENTATION
| Rehearsal letters given, c. every 10-20 bars, at important points in the music
| Bar numbers at beginning of each system (except first) in both score and parts