MUSIC PREPARATION BASICS

Why Bother?
• Well-prepared lead sheets, scores, and parts are essential for good sight-reading. The goal
is to communicate musical intent in the most clear, familiar, and unambiguous manner.
• Good notation shows respect for the musicians reading your music and allows them to play
more musically. Bad notation causes unnecessary mistakes and eats up rehearsal time.
• Music notation software has many obvious advantages over traditional hand-copying, but it
does not eliminate the need to acquire good music preparation skills. There is an art to
preparing music for performance, one which takes time and experience to learn.
• Whether you prepare your music by hand or use notation software, your works must be
prepared to a professional standard. Music notation makes up 20% of your grade in this
class.
The Basics
• The Art of Music Copying by Clinton Roemer is a required text for this class. This out-of-print
book is available digitally on Canvas. Consult this text carefully, particularly Chapters 11, 12,
13, 17, and 18, which are required reading for everyone, regardless of whether you are using
music notation software or copying by hand.
• Traditional paper size for hand-copied music parts is 9.5”x12.5” (or larger) with 8 staves on
the title page, and 10 staves thereafter. If you are copying parts by hand, I recommend that
you acquire this type of paper, which can be ordered from Judy Green Music <https://
www.jgmpaper.com> — select M-303 – 8/10 Stave Wide Line 9.5x12.5. The staff size for
this paper is 9.2 mm tall.
• If you choose to use 8.5”x11” manuscript paper, select paper with 10 staves per page and a
staff size of 8mm. Do not use staff paper where the staves are cramped too close together
— you need room between staves to include chord symbols and/or ledger lines.
• On 10-staff manuscript paper, write the title between the first two staves and begin the
music on the third stave. Write the instrument name (e.g. “Tenor Sax”) or transposition type
(e.g, “C Lead Sheet,” “Bf Instruments”) at top left. Write the composer’s name (i.e., your
name) at top right. Notation software users should use similar positioning for instrument
name, title, and composer.
 Music Preparation Basics — Theory 2B (Argue) p.2

• When music notation software and printing to 8.5”x11” paper, use a staff size of 7.5 – 8 mm
for lead sheets and parts.
• Make sure that you are not inadvertently reducing the size when exporting to PDF, printing,
or photocopying.
• Use portrait orientation (not landscape) for all scores and parts.
• Use double barlines to separate sections, and mark each new section with a unique
rehearsal letter or rehearsal number. Enclose rehearsal letters/numbers in boxes. Note that
rehearsal letters on a lead sheet are different from the letters used for formal analysis — for
instance even if you have composed a piece in AABA form, use the rehearsal letters A, B, C,
and D. Do not repeat rehearsal letters.
• In addition to the rehearsal letters/numbers every measure must be numbered.
• Multi-page parts must be taped and must include a header at the top of all subsequent
pages that includes the title, instrument name, and page number — e.g., “MAIN TITLE — Ef
Instruments p.2”.
Parts for transposing instruments (e.g., Alto Sax in Ef, Trumpet in Bf) must be transposed
•
correctly, including key signatures and chord symbols.
• Prepare an appropriate part for each musician in the reading ensemble, and one copy of the
lead sheet for every person in the class, including me.
• In general, the rhythm section instruments (piano, bass, drums) will read from your C Lead
Sheet. If you have a specific piano, bass, or drum part that is too complex for a lead sheet,
you can prepare that separately, but be sure to include all of the information the player
needs (melody cues, for instance). In that case, you would also prepare a reduced score for
the class that clearly shows all of the individual parts in the most compact way possible
(using stems-up and stems-down voices on a single staff to show two independent horn
parts, for instance).
Tempo
• Tempo markings are left-aligned to the beginning of the time signature. Indicate a
metronome mark and a style or feel, e.g., “q = 208 Med-Up Swing”, “q = 116 Straight 8ths
(Open Feel)”, “qd = 42 Sludgecore”. Write the tempo using the musical symbol for the beat
duration — not, e.g., “120 BPM”.
Phrasing
• When talking about music preparation, “phrasing” means “how the measures are distributed
on each system.” Good phrasing makes the form easy to see at a glance. Bad (lopsided)
phrasing obscures the form.
• Many people believe that all that is needed for good phrasing is to maintain four measures
per system. This is incorrect.
• A much better rule of thumb:
New sections should begin either at the beginning of the system or at the
midpoint of the system.
• “4 measures per system” can be a useful starting point for music that is written in 4
measure phrases, but keep in mind:
• In phrases containing an even number of measures (e.g., 8-bar phrases), odd-numbered
multimeasure rests get the space of one measure, and even-numbered multimeasure
rests take up half a staff system (usually two measures).
• In phrases containing an odd number of measures (e.g., 7-bar phrases, etc.), one system
will have three measures instead of four. (See Chapter 11 of The Art of Music Copying.)
 4
&4 ∑ ∑
Music Preparation Basics — Theory 2B (Argue) p.3
∑ ∑

A (1) (2) (3) (4)

&

(5) (6) (7) (8)

&

B 4 C (1) (2)
&

(3) (4) (5) (6)

&

(7) (8)
D (1) (2)
&
• More than 4 measures/system is okay for passages with long note values (whole notes
∑ required for busy passages (lots
∑ of eighths/sixteenths).
and half notes), or slash notation (i.e., rhythm parts, solo changes, etc). Fewer than 4
&
measures/system may be
• Up to four multimeasure rests per system are acceptable, regardless of how many
sections are involved. Including only one multimeasure rest per system wastes space.
&
Repeats and Jumpers ∑ D.C., etc). ∑
(D.S., ∑ ∑
• Take care when using jumpers (D.S., D.C., Codas, etc). The measure you are jumping from
must have the text “to CODA 𝄌” — including the coda symbol, which should be aligned to
the right barline. The measure you are jumping
© to — the Coda — must begin on a new,
indented system, and have the text “𝄌 CODA” aligned with the start of the measure.

A
&

%B to CODA fi

&
(after solos)

& .. Õ Õ Õ Õ Õ Õ Õ Õ ..
OPEN FOR SOLOS

Õ Õ Õ Õ Õ Õ Õ Õ
D.S. al CODA
(after solos)

fi CODA
&

𝅿
Articulations
• Most articulations are placed on the note side, with staccato and tenuto marks placed inside
∑
&appropriate.
the staff when ∑
Marcato accents ( ) always∑ appear above∑ the staff. Staccato and
tenuto marks go inside slur tips. Accents can go either inside or outside slurs. (Note that

^
Roemer recommends placing all articulations above the notes and outside the staff. This is

>Ï ∑ Ï. Ï- Ï- . Ï. Ï. Ï. . ∑
Ï
∑>Ï >
w
not recommended.)

Ï Ï
∑
& b 4 Ï Ï. Ï Ï Ï Ï
. Ï. Ï. Ï.
&
>Ï >Ï . .
4
>
& ∑ ∑ ∑ ∑

&b ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ b4
 Music Preparation Basics — Theory 2B (Argue) p.4

>>Ï Ï.. Ï-- Ï-- ^^ >>ÏÏ Ï.. Ï.. Ï.. Ï.. .. >>
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
Ï Ï Ï w
w
>>ÏÏ Ï.. >Ï Ï. Ï- Ï- >>ÏÏ Ï^ >>ÏÏ Ï.. Ï.. >Ï Ï. Ï. Ï. Ï. . Ï.. Ï.. ÏÏ.. ÏÏ.. w>
b
Beaming
& b 44
& 44
• In 4/4, four consecutive eighth notes beginning on beat 1 or beat 3 are beamed together. It

&b4 Ï> Ï. Ï> Ï^ >Ï Ï. Ï. Ï Ï Ï. Ï Ï

. . Ï. >
is incorrect to beam these eighths in pairs — it makes the lines look discontinuous and is
4
> . - - > Ï . . . . .
& #b# 44 Ïj Ï. Ï ÏÏ ÏÏ ÏÏÏ Ï ÏÏÏ ÏÏ ÏÏ ÏŒ ÏŒ ‰Ï jÏ. Ï. Ï b ÏÏ ÏÏÏ ÏÏÏÏ ÏÏÏ Ïnn ÏÏJ. Ï.ÏÏÏ. Ï Ïwb Ï Ï . ÏÏ
difficult to read.
4
4
& # 44 >ÏÏj ÏÏ Ï Ï Ï Ï ÏÏ> Œ Œ ‰> Ïj ÏÏ Ï b Ï JJ J ÏÏ. Ï b Ï Ï . JJ
WRONG

&
Ï Ï nÏ Ï
& 4 Ïj Ï Ï >ÏÏ Ï Ï.Ï Ï ÏÏ- Ï Ï-Ï Ï Œ ^Œ ‰ Ïj Ï >ÏÏ b ÏÏ. Ï.Ï ÏJÏ. Ï. . J Ï Ïw>b Ï Ï . ÏJ
4
& b# 4 Ï Ï.
> j Ï Ï Ï Ï Ï Ï Ï >ÏŒ ÏŒ ‰>Ï jÏ. Ï. b Ï Ï ÏÏ Ï Ïnn ÏJÏ. Ï.ÏÏÏ. Ï. b Ï Ï . Ï
& # 44 Ïj Ï Ï Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ Ï Ï Œ Œ ‰ Ïj Ï ÏÏ b Ï ÏÏ ÏJÏ ÏÏ n ÏJ Ï Ï ÏÏ b Ï Ï .. ÏJÏ
# Ï
RIGHT

& # 44 ÏÏj ÏÏ Ï Ï
& Ï Ï ÏÏ Œ Œ ‰ Ïj ÏÏ Ï b Ï JJ J ÏÏ Ï b Ï Ï JJ
Ï
j Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï j Ï Ï Ï Ï Ï Ï n ÏJ Ï Ï Ï b Ï Ï . Ï
Ï ÏorÏ after
Ï Ï anÏ eighth
Œ Œ ‰ b n Ï Ï Thisb Ï helps
Ï JÏJ ÏÏtogether. . JÏJto
4
# 4 Ïnotes
&
j Ï Ï Ï Ï Œ Œ ‰ Ïj notÏ Ï b Ï J
Ï Ï Ï Ï Ï
& ## 44 ÏÏj Ï ÏÏÏ ÏÏÏÏnn ÏÏÏ ÏÏÏÏbb ÏÏÏ Ïúú Ï Ï ‰Œnn ÏÏ bbŒÏÏ Ïω Ïωjbb ÏÏ ÏÏÏb ÏÏÏ Ï‰ nnÏJÏÏ ÏÏ bb ÏÏJ ÏÏ nnÏÏ ÏÏÏb ÏÏÏ Ïúú. ÏJ
& #
• Three eighth
4
before rest are beamed
n
& # 44 ÏÏ Ï Ï n Ï
visually distinguish this figure from triplets:
& ‰ ‰ ‰
Ï Ï Ï ú n Ï Ï Ï Ï Ï Ï ‰ n Ï ÏÏ bn ÏÏ ÏÏ n Ï Ï Ï ú
&#4 Ï Ï
b b b
WRONG

‰ ‰
& # 4 Ïj ÏÏ ÏÏÏn ÏÏ ÏÏÏb ÏÏ Ïú Ï Ï Œn Ï bŒÏ ω Ïjb Ï ÏÏb ÏÏ Ï nÏJÏ Ï b ÏJ Ï nÏÏ ÏÏb ÏÏ Ïú. ÏJ
4
& # Ï ÏÏ Ï nÏÏ n Ï Ï bÏÏb Ï ú ú n‰‰Ïn bÏJÏb ÏÏ Ï ‰‰b Ïb Ï ÏÏ ÏÏ ‰‰n nÏÏ ÏÏbbÏÏ ÏÏnnÏÏ ÏÏ ÏÏ úú
RIGHT# 4
& # 4Ï Ï Ï Ï n Ï
& ‰ J ‰ JJ ‰ JJ
Ï Ï ú Ï Ï Ï bÏ nÏ
& # 4Ï Ï Ï Ï Ï n Ï Ï bÏÏb Ï ú ú ‰ ‰Jn bJÏÏb ÏÏ Ï ‰ ‰b ÏJb JÏ ÏÏÏ ÏÏÏ ‰‰n nÏJJÏ ÏÏÏbbbÏÏÏ ÏÏÏnnnÏÏÏ ÏÏÏ ÏÏ úú
Ï Ï Ï
4 n b n n b
& # 4 Ï Ï Ï Ï nÏ ÏbÏ ú ‰ nÏbÏ Ï ‰ bÏ Ï Ï ‰ nÏ ÏbÏ ÏnÏ Ï Ï ú
& Ï Ï sixteenth
#b4b 4tuplets,
? note Ï ‰J ‰ J are ‰always J beamed ≈toÏ stemlets.
≈theÏbeat.
b
&inside
• Eighth
b Ï .
ÏÏ . Ï Ï
‰
∑ Ï Ï Ï Ï Ï ÏÏÏ ≈
notes, and smaller values
Ï
≈
Ï ≈ Ï Ï Ï Ï Ï . Do∑ ≈ not≈ Ïuse
Ï Ï Ï ÏÏ
# 4
Ï n Ï Ï ∑b Ï ú n Ï b Ï Ï ‰ b Ï Ï Ï ‰ n Ï Ï b∑Ï Ï n Ï Ï Ï ú
Rests beams should be allowed to float vertically if needed.
&#4
Ï Ï J J J
? b b4b 4Ï Ï . ω ‰ Ï Ï
? #b b b b 4 Ï . Ï∑ Ï . Ï Ï Ï ‰ Ï Ï Ï Ï ∑Ï Ï Ï Ï ≈ Ï ≈Ï ≈ÏÏ ∑Ï Ï Ï.. Ï ≈≈Ïr ≈≈Ïr≈≈ÏR∑≈≈ÏrÏ Ï Ï
&
WRONG

Ï Ï ≈ ≈ ≈ Ï
& # b 4 Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ
∑ ∑ ∑ ∑
&
? bb b 4 Ï . ω Ï ≈ Ï
? b b b b 4 Ï . Ï Ï . Ï Ï Ï ‰ Ï Ï Ï ÏÏ ÏÏ Ï Ï Ï ≈≈ Ï ≈ Ï ≈≈ Ï Ï Ï Ï ÏÏ.. Ï≈ Ï≈≈ Ï≈ Ï ≈ Ï Ï Ï Ï
≈ ≈ ≈ ≈ ≈ ≈
? #b b b b 4 ∑Ï ∑Ï . Ï Ï Ï Ï Ï ∑ ∑ Ï Ï Ï Ï Ï Ï Ï∑∑Ï Ï Ï Ï Ï ∑∑ Ï Ï Ï
&#b
∑ ∑ ∑ ∑
Ïω‰ Ï Ï ≈≈ ÏÏ
RIGHT
&
? bb b 4 Ï .
? b b b b 4 ÏÏ Ï∑Ï..ÏÏÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ ∑ÏÏ Ï Ï ≈Ï Ï ÏÏ Ï≈ ÏÏÏÏ ∑ÏÏÏÏ ÏÏ..ÏÏ ÏÏ ≈ ÏÏ ∑ ÏÏb ÏÏÏ
≈ ≈ ≈ ≈ ≈≈ ≈ ≈≈
? #b b b b ∑ ∑ ∑∑ ∑ ∑ ∑ n 12
&∑ b b 8
& b
# be beamed
3/4, six consecutive eighths on∑ Beat 1 (or four consecutive
∑ ∑ eighths on ∑Beat 2) should
• 2/4 should like half a measure of 4/4.
&
? b b ∑
b b b b together.∑In slow 3/4, beam∑to the beat. ∑ ∑ ∑
• In fast
?
be beamed
∑ ∑
• Cut timeb is b beamed the same as 4/4.
• 5/4 is beamed as as if it were a measure of 3/4 plus a measure of 2/4 (3+2 or 2+3).

? bb b ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ n b b b 12
• 6/4 is traditionally beamed as two measures of 3/4. 3/2 is beamed as three measures of
2/4.
b &
• 7/4 is beamed as two measures of 2/4 plus one measure of 3/4 (2+2+3, 3+2+2, or
8
2+3+2).
 Music Preparation Basics — Theory 2B (Argue) p.5

• It is best to avoid measures longer than 7/4. Frequent time signature changes are better
than measures that are too long to take in at a glance.
• Mixed meters like, e.g., 7/8, should also reflect the underlying beat structure. A measure of
7/8 that is subdivided 2+2+3 is beamed differently from one that is subdivided 3+2+2.

b b b 12 Ï Ï Ï bÏ Ï bÏ j Œ j j ‰ j ‰ Ïj ‰ b ú Ï
Compound Meter

& Ï Ï Ï Ï w Ï j Ï Ïj Ïj j
• Compound meters (6/8, 9/8, 12/8) are beamed to the beat.
WRONGb 12
b 8
ÏÏ Ï Ï b Ï Ï Ï b Ï w
b Ï Ï j Œ j Ï j ‰ Ï j ‰ Ïjj ‰ b ú
‰ Ï
& b bb bb 12
& Ï ÏÏ b Ï Ï Ï bb ÏÏ w j Œ Ïj j
ÏÏ Œ Ïj ÏÏ ‰ Ïj ‰ ÏÏ ‰ bb úú
‰ ‰ ÏÏ
w
8
& b b 88 Ï Ï
12
Ï
b Ï Ï Ï Ï b Ï Ï jb Ï j j‰ jÏ
J J
8 Ï Ï Ï b Ï Ï Ï Ïj ú Ï Œ Ï ‰
Ïj Ï ‰ jj ‰ . jj ÏÏ Ï Ï
& b b b 12
12 ‰ b .
. .
& bb bb bb 12 Ï
Ï Ï
J Ï
J Ï Ï Ï j Ï
Ï Ïj b Ï ú . ú Ï Œ
Ïj Ï ‰‰ Ï ‰ ÏÏ j‰ bb ÏÏ . ÏÏj Ï
RIGHT

ÏJ Ï
J Ï b Ï Ï
b .
Ï
. Œ j Ï Ï ‰ ‰ Ï
JJÏ ÏÏ ÏÏ b Ï ú . ÏÏ Ï ‰ Ï Ï b Ï . Ï
& b Ï.
b 8
12 . Œ
& b 88
& bbb ∑ ∑ ∑ ∑ ∑ ∑ n n n 44
b bb b (beat n n n 4 the
Rhythmic Clarity

&half
• In 4/4, you
∑ 3). ∑ ∑ ∑
should avoid writing figures that obscure the “invisible barline” that divides
∑ ∑
& bbb ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑
&bb
bar in

j j j j
& 4 Ï . b Ï . Ï b Ïj ú . Ïj b Ï b Ï Ïjb Ï b Ï Ïj Ï b Ï Ï . Ï Ïj
WRONG
4
& 4b bb b Ï . b Ï . ∑ Ï b Ï ú . bÏ bÏ Ï Ï bÏ
& b ∑ ∑
∑
Ï b Ï b Ï Ï ∑∑ Ï . ∑∑ Ï Ïj
& b
j
& 4 Ï . b Ïj Ï Ïj Ï b Ï Ï Ï Ï . Ïjj b Ï Ï b Ï ÏJ b Ï Ïj Ï b Ï Ï Ïj Ï Ïj
RIGHT

4
& 4b bb b Ï . b Ï ∑Ïj Ï b Ï Ï Ï Ï .∑ Ï b Ï b Ï Ï b Ï ∑ÏJ b Ï Ï Ï b Ï Ï ∑Ïj Ï Ïj
& b b are made∑ for simple figures∑like theb Ïfollowing —∑ do not clutter these
&
• Exceptions ∑ figures with
& 4 Ï ú. ú ú3 ú Ï Ï ú Ï Ï w
needless ties. 33
4
& 4b b bÏ ú ú ú Ï
∑∑ ú Ï ú∑ Ï Ï w ∑∑
b .
& b ∑∑ ∑
& b
Ï Ï ú
should haveú the same Ï Ï time 3 ú signature,Ï Ï Ïbeat,Ï andÏ beaming ú pattern. ú Use
• Odd meters (5/4, 7/4, etc.) have their own 33 “invisible barline” (see above).
4
&instrument
Ï ú ú 3 Ï Ï ú Ï Ï Ï Ï Ï Ï ú ∑ú Ï
4bb bb bÏ that fall∑∑ on the beat
• Every
accents,4not beaming,
&notes to indicate emphasis
∑∑ be shortened∑
that cuts against the meter.
&
& b
• Short 3beat should
3
∑using staccato dots∑ rather than
rests.

& b 4 ∑
j j ∑ j
j
∑
j
∑
bb bb bbb 444 ‰ ∑Ïj Œ∑ Ó ÏÏj ‰ ∑Œ ∑ ‰ bb ÏÏ Œ Œ ‰∑ ∑Ïj Ó jj ‰∑b Ï ŒŒ
WRONG
b b ‰ Œ Ó ‰ Œ ‰ Œ Œ ‰ Ó Œ ‰
Ï ∑∑b Ï--
& Œ Ï
&
&
&bb Ï ∑ ∑ ∑Ï
& b 4 ∑ ∑∑ j ∑∑ ∑∑ 4
bb bb b 44 ‰‰ ∑ jj ŒŒ ÓÓ ŒŒ ‰‰ b Ïj ŒŒ ŒŒ ‰‰∑ Ïjj ÓÓ
RIGHT

& b b bb Ï ∑ Ï
Ï..
∑
∑∑ b Ï ∑∑Ï
ŒŒ ∑
ÏÏ. ∑∑b Ï--b Ï ŒŒ 4
&bb4 Ï ∑
&
&
.

& bb bb b ∑∑
& b

& bb bb b ∑∑ ∑∑ ∑∑
& b
 Music Preparation Basics — Theory 2B (Argue) p.6

Rests
• Rests must be grouped to clarify the beat. Rests that last more than a beat must begin on the

j Ï ÏjŒú Ïjú Ïjj Œ j Ï Ï Ï Ï ú. ú.

beat. Do not use dotted rests longer than a dotted eighth rest in simple meters (e.g., 3/4, 4/4).

ÏjÏÏ Ï ú ÏÓjj. Ó ..
4 Œ.
& 44
ÏÏj ŒŒ ÏÏ ÓÓ . ÏÏ ÏÏ ú ..
ŒŒ .. ÏÏj ÏÏ ÏÏ ú ú
WRONG

& 4
& 44
j j
4 ŒŒ . ‰ jjj Ï ÏÏjŒ‰ú ‰ ÏÏjúúÏjj ‰ ‰ ÏÓÓjj. Ó Œ Œ ÏÏ Ï ÏÏ Ïúú .. ú .
ŒŒ ‰‰ ÏÏÏÏjjÏÏ ÏÏ Ï ÏÏ ÏÏj ‰‰ ‰‰ ÏÏj ÓÓ ŒŒ ÏÏ ÏÏ úú ..
& 44
RIGHT
& úú
&
Ï Ï Ï
4
& 44
j ‰ ∑Ïjú
& 44 Œ ‰ ∑ÏjÏ Ï Ï‰ ∑Œ Ï Ï ú. ∑
• In compound meters (e.g, 6/8, 12/8), dotted quarter rests are used when they begin on the

& Ó
beat. Dotted half rests are used at the beginning of the bar, or at the midway point. For

& ∑∑ ∑∑ ∑∑
clarity, consolidate two eighth rests into one quarter rest when they occur at the beginning ∑∑
&
of a beat.

j Œ . ÏÏjjj‰‰ ŒŒ.. bbÏÏ . ÏjjÏÏ ∑Ï j

‰‰ ‰‰ ÏÏjj‰‰ b Ïj ‰ Ï ‰∑ Ï Œ ‰
WRONG
12 jŒ ∑ ∑ÓÓ
& 12
& b Ï
Ï. j ŒŒ - . Ï.jj ŒŒ .. Ï..j ‰‰
. ÓÓ ŒŒ .. b Ï ÏjÏ ÏÏ ‰‰ ‰‰ Ïj ‰‰ b Ïjj ‰‰ Ï ‰ ŒŒ ‰‰
ÏÏ. j bb ÏÏ- . ÏÏ. bÏ Ï Ï Ï
8
12
& Ï.. Ï b Ï Ï ‰ ÏÏ
12
& 88
. - .
jŒ‰. ‰ ω‰j ‰Ïjj ‰Ó Ó . Œ . b‰Ïb Ï ÏjÏÏ Ï Ï‰ Œ‰ ÏjÏjj‰‰ bjÏj‰‰ ω‰ Œ Œ . ‰
RIGHT

12 jŒ‰ ‰ j
& 12
& j Ï
8 Ïj‰ ‰b Ï-. ÏÏ.j‰ ‰ . ‰ . j ‰ Ó . ‰‰ b Ï Ï ÏÏ Ï ŒŒ Ïj‰‰b Ï jj‰‰ÏÏ ‰ÏÏ ŒŒ ..
.
& 88 ÏÏÏ... j ‰ ‰ bb-ÏÏ- .. . ÏÏ. j ‰ ‰ ‰ ÏÏ.. ‰ Ó .
b
bÏ Ï Ï Ï Ï bb ÏÏ Ï ‰ ÏÏ
128
& 12
. - .
j ‰ ‰ b Ï∑∑ . j ‰ ‰ ‰ Ïj ‰ Ó . ∑∑ ‰ b Ï Ï Ï Ï Œ Ïj‰ b Ïj‰∑∑ Ï ‰ Œ .
• Empty measures always take a whole rest centered between the barlines, regardless of the
time signature.
& 12
Ï. 3/4) tuplets . Ï they
Tuplets &
&
&
8
• In simple Ï. (e.g.,
meter -∑ 4/4, must be∑ shorter than the “normal” ∑ notes
replace, but longer than the next smallest note value. For example, quarter-note tuplets are

Ï ∑∑Ï Ï Ï Ï
12 ∑∑Ï . Ï Ï Ï Ï . ∑∑ Ï Ï Ï ÏÏ
shorter than normal quarter
WRONG RIGHTnotes, but longer than eighth notes. RIGHT
WRONG

& 343b Ï4 Ï Ï
ÓÏÏ ÏÏ ÏÏÏjÏω Ï j Ï Ï
4 2 2 2

ÏÏj ŒÏÏ 88 ‰ÏÏb..Ï ŒÏÏ .. ŒÏÏ Ïω ÏÏÏj ÏÓ ÏÏ .. ŒÏÏ .. ÏjÏω bÏÏÏ- ÏÏ2Œ Ï
WRONG RIGHT 4 WRONG RIGHT
& . .
& 44b bÏÏ4 Ïω
• The sole exception
WRONG to this rule
RIGHT occurs in compound
WRONG meter, e.g., 6/8, 12/8), where
RIGHT 2 duplets
12
4 2 2
Œ12
4

& 8
Ï Ï
2 eighth note
3
and quadruplets4 are longer than
4 the “normal” notes they
2 replace.
2 For example,
duplets are longer than than eighth notes.
2

& 34b Ï4 Ï Ï Ï∑ Ï ∑Ï Ï Ï 12 ∑Ï . Ï Ï Ï Ï ∑ Ï . ∑ Ï Ï Ï Ï
WRONG RIGHT WRONG RIGHT 2

j
8 ‰ b Ï Œ Œ ‰ j Ó Ï .∑∑ Œ
Ï
4 4 2 2 2

& j ∑∑
Ï
.
Ï. b Ï- 2
& b
& 4 Ï b ‰ Œ Ó Œ Ï Œ
.
Ï Ï Ï Ï Ï Ï . b Ï Ï—Ï require
Ï Ï Ï Ï b Ï Ï Ï Ï n
Ï Ï
b
Ï J
Ï
Ï Ï ÏÏ brackets
• Beamed tuplets take a number only, on the beam side. Tuplets included on the same beam

Ï∑ Ï Ï ∑ Ï
Ï 44 Ï . Ï Ï Ï Ï 455 Ï b∑Ï Ï Ï Ï ÏÏ n Ï Ï Ï Ï 433
Ï Ï stem
∑ Ï Ï∑ b Ï∑. b
J Ï
2 4 5 3 5 a
Ïon the
& 42bStemmed . b . b
adding a4slur for Jall beamed
n b
as non-tuplets — such as three tuplet sixteenth notes followed by an eighth note

& ÏÏ placing Ï Ï Ï Ï Ï Ï Ï
ÏÏ Ï Ï Ï all4 tupletsÏ Ïabove Ï Ï Ï Ï Ï Ï Ï 455
Ï Ï the staff
& b b
bracket. or mixed tuplets also require a bracket. It is standard for tuplet
2
4
to appear 4 .
side. (Note that 4
Roemer recommends 44
tuplets,4and 4 — this is not recommended.) 4

j3
WRONG

& b b 4 Ï3 Ï ∑ Ï 3 ∑3 ∑
& 4Ï J Ï Ï Ï Ï. Ï ÏbÏ Ï Ï bÏ Ï ú Ï w
3 3

b4 Ï Ï Ï j3
b Ï J Ï Ï Ï Ï. Ï ÏbÏ Ï Ï bÏ Ï ú Ï w
3
& 4
3

3 3 3
 j j j
& 8 j Œ b Ï . Ïj Œ . Ï. ‰ Ó Œ . b Ï Ï Ï Ï ‰ ‰ Ï ‰ b Ïj ‰ Ï ‰ Ï Œ ‰
12
Ï. - 3.
bb 4 Ï Ï3 Ï ÏMusic Ï j ú
J Ï Ï Ï. Ï Ï b Ï Ï Ï b Ï Ï Ï w
3 3
& 4
3 3

j j
‰ b Ï Ï Ï Ï Œ Ï ‰ b Ïj‰ Ï ‰ Œ .
Preparation Basics — Theory 2B (Argue) p.7

12 j ‰ ‰ b Ï . Ïj ‰ ‰ ‰ Ï ‰ Ó . Ï
&
RIGHT 8 Ï
. - . 3 .
j
& b 4 Ï Ï Ï ÏJ Ï Ï Ï Ï. Ï Ï b Ï Ï Ï b Ï Ï ú Ï w
b4 3 3

& 3 ∑ 3 ∑ 3 ∑
Key Signatures
• When keyb signatures are used, they should appear at the beginning of every system, not just
& bsystem. ∑ RIGHT ∑ ∑
Ï Ï Key
the top

Ï
Ï signature Ï
Ï Ï— this option Ï
Ï . ÏOpenÏKey/Atonal Ï Ï Ï Open
WRONG WRONG RIGHT

Ï Ïa key Ï Ï Ï Ïin. Sibelius,

2
3 12
4 4 2 2

& 4using
• For compositions without a key signature, the transposed parts should be transposed
without
8 . is called .
b
in Dorico, and Hide Key Signature and Show All Accidentals in Finale.

& b ∑ ∑ ∑
2
Time Signatures
• Traditional inside-the-staff time signatures are fine for music that does not change meter,
but are too small for music∑ with many time signature changes. In multi-metric ∑ extend upmusic,
& time signatures: the bottom time signature number should
oversized
use
to the 4th
b
&b ∑ ∑ ∑
staff line, and the top time signature number should sit on the 4th staff line and extend

Ï Ï Ï Ï Ï 3 . b ÏJ Ï Ï 5
Ï
above the staff.
b
& 4 Ï Ï Ï Ï Ï 4 Ï. ÏÏÏ Ï Ï Ï 4
2 4 5 Ï b Ï Ï Ï Ï n
4 4
b
&b
• Do not abbreviate 4/4∑to “C”. ∑ ∑
Pickup Measures
• A pickup measure is an incomplete measure that begins the piece. Pickup measures are not
included in measure numbering. The end of a pickup measure must be marked with a
double bar. Instruments/staves not playing in the pickup measure must have rests equivalent
to the number of beats in the pickup.

& 4 Ï Ï Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï- Ï. Ï Ï Ï Ï Ï Ï n Ï Ï Ï Ï Ï Ï Ï Ó
WRONG

#4 A 3

?#4 Œ ‰ úú bú bú ú ú
ú
bú
4 2
nú 3 bú ú 4
nú
#
# 4 ∑j ∑ ∑ ∑
RIGHT

&
Ï Ï Ï ÏÓ
Ï Ï Ï Ï- Ï. Ï Ï Ï Ï Ï n Ï Ï Ï Ï Ï Ï
A
& 4ÏÏÏ ÏÏÏ
3

?# ∑ ∑ ∑ ∑
?#4 ‰ Œ ú bú bú ú ú bú
4 ú nú bú ú ú nú
5 6 7 8

#
1 2 3

& #Stems ∑ ∑ ∑ ∑
∑ be separated by
∑ a double barline ∑and marked with a ∑boxed rehearsal
Barlines and
• Each&new section must
letter or rehearsal number.
?# ∑ ∑ ∑ ∑
• Barlines should be slightly thicker than stems. Stems should be slightly thicker than staff
?#
lines.
9 ∑ 10 ∑ 11 ∑ 12 ∑
#
4 5 6 7

&# ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
?#
 Music Preparation Basics — Theory 2B (Argue) p.8

Other Lines
• Hairpins, tuplet brackets, ledger lines, ending repeat brackets, 8va lines, etc. should be
drawn boldly (minimum 1 point thick).
• Ending repeat brackets must be drawn above chord symbols, 8va lines, and all other above-
the-staff items.
Slurs and Ties
• Notation programs often squash ties between closely-spaced notes, making them very

& 54
5 ∑
difficult to read. Whether you are drawing by hand or using notation software, always make
sure all ties are clearly visible. ∑ 4
4
• Slurs over tied notes must extend to the final note in a chain of tied notes.

4 j ‰ ÏjÏ b Ï w ú3 ‰ ÏJ Ï b Ï w ú
& 4 Ï Ï#b Ï4 w jAú ‰b Ï Ï Ï
WRONG

& 4ÏÏÏ ÏÏ Ï Ï Ï Ï Ï Ï Ï- Ï. Ï Ï Ï Ï Ï Ï n Ï Ï Ï Ï Ï Ï Ï JÓ

4 Ïj Ï#b Ï4 Œw ‰ ú j ÏJú Ï b Ï w úú
RIGHT

&4 ? ‰ Ïb úÏ b Ï w b ú ú ‰ ‰b Ïú Ï Ï
4 ú 2
nú bú
3 ú 4
ú nJú
#
Accidentals and Enharmonics
∑∑ ∑ ∑ ∑ ∑
• As a general rule, use the correct enharmonic spelling for the key and chord. For example, in
&
& ∑
the key of Fs, the IV chord is BMA7 and is spelled B–Ds–Fs– As. In the key of Gf, the IV chord
is CfMA7 and is spelled Cf–Ef–Gf–Bf.

?#
• Apart from the root, tritone substitutions are spelled as chromatically altered versions of the
∑ ∑ ∑
V7 chord they are replacing. For example, in the key of G, an Af7(s11) chord functioning as a ∑
∑ ∑ ∑
subV7 would be spelled Af–C–D–Fs (instead of Af–C–D–Gf) since it is replacing D7.
&
5 6 7 8

bbbb
Ab7(#11) Db<9
# Ab7(#11) G<
& b n ww ww ww ww
∑ ∑ ∑
? bb b w
& ww # w w
bb w bw w
#
& ∑∑ ∑ ∑ ∑ ∑ ∑
• In highly chromatic passages and/or rapidly moving passages, enharmonic spelling rules
&
can be relaxed for ease of reading. In particular, chord symbols should never be spelled with
double-sharps or double-flats.
• In general, spell perfect fourths, fifths, and octaves as perfect intervals. Avoid augmented
?# ∑∑ ∑ ∑
thirds (e.g., Ef–Gs), diminished sixths (e.g., Fs–Df), augmented sevenths (e.g., Bf–As), and
∑
&
similar.
∑ ∑
• If you 13enter your music in concert
14
pitch, watch 15for bad enharmonic16spelling for transposing

#
instruments (especially unwanted double flats and double sharps). Always proofread the

& ∑ ∑
enharmonic spelling of transposed parts carefully, including chord symbols.
∑ ∑
∑ ∑ ∑
• When you have, e.g., an Fs in one measure, followed by an Fn in the subsequent measure, be
&
sure to add a courtesy natural in the part. This is especially important when the Fn directly

?#
follows the Fs!
∑ ∑ ∑
• Accidentals carry throughout the measure, in the given octave only. A Bf in one octave does ∑
not affect
17
the B’s in any other
18
octave — though 19it is often useful to add
20
a courtesy accidental
as a reminder.
©
 Music Preparation Basics — Theory 2B (Argue) p.9

• In dense chromatic music, it is sometimes necessary to use courtesy sharps and flats within
the measure as a reminder.

&4
5 ∑
• Do not parenthesize courtesy accidentals. Parentheses distort spacing and make the
accidentals less legible.
∑
4
44
&4
5
Chord Symbols ∑ ∑4
4 j Ï w Cmi7,ú Cmi7(f5), ‰ ÏjÏ b etc. ú ‰ ÏJ Ï b Ï w ú ‰b Ï Ï
• There are two main systems for spelling chords (see the Chord Symbols and Harmonic Analysis

& 4 Ï Ï bCMA7, Ï w Ï
J
handout):

j
4 ÏbÏ w ú ‰ Ï ÏbÏ w ú ‰ Ï Ï j b Ï w ú ‰b Ï Ï Ï
Traditional:

& 4oneÏ system J J

Geometric: C∆, C–7, Cø, etc.
• Choose and use it consistently.

j Ï bwith
Ï w
pluses ú jÏ b Ï w ú Ï ÏbÏ w ú ‰b Ï Ï
Ï Ï J Ï
• Alterations should be parenthesized and spelled with sharps and flats — e.g., G7(f9), F7(s9)
‰ ‰ J
&
4 than
j b Ïbe left-aligned to thej beat where they land (not
Ï Ï w ú
— rather and minuses.
• Chords 4
Ï Ï typeswof “slash
ú chords” Ï wthey mean
‰ Ï Ï band Ï
ú different b
‰ J things: ‰b Ï Ï Ï
J
&are
4
should centered).
• There 4 two
• Chords with a diagonal slash indicate a chord inversion, or a chord with an alternate

&
bass note.
∑ ∑ ∑
∑ ∑ ∑
• Chords with a horizontal slash indicate a compound chord (i.e., two complete chords,
&
one played above the other).

C </ F 7/ E sus / B/ C G E— Eb—

E Eb C# C E: Eb: C#: C: <:
& CÕ </E Õ FÕ7/Eb Õ EÕ sus /C#Õ BÕ /C Õ Õ Õ ÕE:
C Õ
G
Eb:
ÕC#
Õ
E—
:
Õ ÕC: <:
Eb—

&Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ
• Do not use slash chords to replace common chord symbols.
Õ Õ Õ Õ

& ∑ B ‚ 7/ ∑ E 7(b9)
WRONG RIGHT
E—/ D—/ C±/ C MA7 B mi7(b5) A mi(ÂÅ7)
C B E A
&Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ

& ∑ ∑
• For transposing instruments, chord symbols must also be transposed to the player’s key. ∑
& ∑

& ∑ ∑ ∑
& ∑ ∑ ∑

& ∑ ∑ ∑
& ∑ ∑ ∑
 Music Preparation Basics — Theory 2B (Argue) p.10

RECOMMENDED BOOKS

Clinton Roemer, The Art of Music Copying (Roerk Music). The music copyist’s bible. Absolutely
essential for every jazz musician, and a required text for this class. A digital copy is included on
Canvas.

Steven Powell, Music Engraving Today (Brichtmark Music). The best modern introduction to
music notation standards. The software-specific advice is somewhat out of date, but the general
notation advice is extremely useful.

Elaine Gould, Behind Bars (Faber Music). An excellent and very thorough encyclopedia of music
engraving standards. Best for the advanced user of notation software looking to learn to create
publisher-quality work.

RECOMMENDED WEBSITES & FORUMS

SIBELIUS FORUMS
Official Forum: http://www.sibeliusforum.com
Avid Sibelius Users (Facebook): https://www.facebook.com/groups/sibeliussoftwareforum/
Sibelius Power Users (Facebook): https://www.facebook.com/groups/323691061147132/

Here are some relevant Sibelius resources and tutorials:

Norfolk and Pori Fonts for Sibelius: https://www.nycmusicservices.com/musicresources/
These two fonts are massive improvements over the fonts that come with Sibelius. Norfolk is
an engraved font based on the open-source font Bravura, which is used for all of the musical
examples in this handout. Pori is a manuscript-style font based on the open-source font
Petaluma, which is inspired by the hand-copyists who prepared Sher Publishing’s The New Real
Book Vol. 1. It comes with a solution to create diagonally-arranged slash chords in Sibelius.

Tweaking Slash Notation and Rhythmic notation in Sibelius: http://www.rpmseattle.com/

of_note/sibelius-rhythmic-slash-notation-tweaks/

Left-Align Chord Symbols in Sibelius: https://www.scoringnotes.com/tips/left-align-chord-

symbols-sibelius/

Creating Metric Modulations in Sibelius: http://www.sibeliusforum.com/viewtopic.php?

t=1054

FINALE FORUMS
Official Forum: http://www.finaleforum.com
Finale Blog: https://www.finalemusic.com/blog/
Finale 101 (Facebook): https://www.facebook.com/groups/1889032998012042/
Finale Powerusers (Facebook): https://www.facebook.com/groups/finalepower/

ALL PLATFORMS 
Scoring Notes: https://www.scoringnotes.com
Of Note: http://www.rpmseattle.com/of_note