INDIANA UNIVERSITY BLOOMINGTON

Jacobs School of Music

Composition Department

Style Guide
ACCIDENTALS
ARTICULATIONS
BARLINES
BEAMING
BRACKETS
BRASS
CUES
FONTS
MARGINS
MEASURE NUMBERS
METER
MUSIC SIZE
ORIENTATION
OPTIMIZATION
PARTS
PERCUSSION
PLACEMENT
REHEARSAL MARKS
RHYTHM
SIMILE
STAFF NAMES
STRINGS
TEMPO
TUPLETS
WOODWINDS
Music Notation Style Guide

The faculty of the IU Composition Department recognizes that there is not uniform field-
wide agreement about many notational issues composers face. This style guide is being
developed in an effort to standardize at least the IU composition department preferences
for notation, particularly regarding theses and dissertations. Principal authors are David
Dzubay and Don Freund, writing in consultation with Claude Baker, PQ Phan and Aaron
Travers. © David Dzubay & Don Freund.

The overriding goal of this guide is clarity of musical intent and professionalism. Rules
are made to be broken, if for good reason. However, if you are preparing a thesis or
dissertation, consult with your document chair before deviating from the guide below;
this will save everyone a great deal of time.

Standards of Notation

The composition department recognizes the three works listed below as standards of
notational practice; you should refer to one of them when in doubt about correct
procedures, and should consult your committee for advice. 

Gould, Elaine. Behind Bars. London: Faber Music Ltd, 2011.

Read, Gardner. Music Notation: A Manual of Modern Practice. Second Edition. Boston:

Crescendo Publishers, 1969. (paperback edition: New York: Taplinger Publishing
Company, 1979)

Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New

York: W. W. Norton, 1980.  (Based on the International Conference on New Music
Notation in 1974.)

Rev. 10/09, 4/10, 8/11

ACCIDENTALS

Use accidentals for new octaves of same pitch class.

Use a courtesy accidental for a natural pitch in a new bar, following the same pitch name
in the previous bar with an accidental.

ARTICULATIONS

Articulations should be placed on the note head side, and with the exception of the
staccato mark should be placed outside the staff.

BARLINES

a) Use double barlines to indicate sudden changes of tempo - both isolated changes and
strict tempo modulations (quarter = dotted quarter).
b) In some situations, it can be helpful to use (single) heavy barlines to indicate phrase
divisions, or groupings of bars. An example would be in a fast piece conducted in one; a
thick barline here and there relating to the musical phrasing will help players not get lost. 
c) do NOT follow the old practice of using double barlines at changes of meter.
d) barlines should break between choirs according to the large group bracketing.

BEAMING

Beaming Reinforces Meter.  A common error is beaming to show phrasing instead of

meter.  Articulations alone can serve this purpose.  Cross-bar beaming is not uncommon
in solo music, but adds unnecessary difficulties to large ensemble writing.

Feathered Beaming shows a gradual change in the speed of notes.  Shown with a straight
primary beam and one or two diagonal secondary beams (respectively implying an
approximation of sixteenth notes or thirty-seconds at the fastest moment), the fanning out
of beams shows acceleration and contraction shows decceleration.  Though this has
become a relatively common notational device, it will not be familiar to all players;
adding a note of explanation is recommended at the first usage and in the performance
notes.  When an indeterminate number of articulations is desired, usually on the same
pitch, the effect of rushing or pulling back is more important than counting the notes. 
The recommended notation for this is using a normal notehead for the first pitch,
followed by a series of headless stems, as shown below.  When feathered beaming
implies an indeterminate number of pitches, the duration of the figure may be unclear. 
By bracketing a note value (such as dotted half note) over the music, this question will be
eliminated. Finally, stem placement should reflect the acceleration or decceleration.

BRACKETS

For orchestra: bracket each choir (woodwinds, brass, percussion [not timpani, piano,
harp], strings); secondary brackets on like instruments (flutes, trumpets, violins, etc.);
third level brackets for violin divisi.
BRASS

Muting

For trumpet and trombone, specific mute indications should be used: st. mute,
harmon mute, cup mute, etc. 
Muting should be cancelled with "open." (Leave "senza sord." for the strings,
unless you are going to translate 'straight,' 'harmon,' and 'cup' into Italian as well -
inadvisable.)
Harmon mute: at first occurrence, indicate either a) stem in, b) stem extended, or
c) stem removed.

Mute reminders should be placed on all left side score pages, Generally use
abbeviations placed either just below abbreviated staff name, or above the staff,
using parentheses.  See STAFF NAMES.

Slurs = legato groups of notes played without rearticulating with the tongue. If you feel
you must indicate phrasing, use dotted slurs.

Muliple instruments per staff for brass is allowed, provided the music is very easy to
read. Passages that are at all complex should be divided into separate staves for each
instrument.

CUES (for parts)

Generally, include a cue if an instrument is resting for more than 10 bars. Beyond true
'cues' that insert other instruments' music, one can also include 'cues' that help a player
through a long rest by indicating prominent changes of texture: "brass", or "flute solo", at
the start of multi-measure rests, for example.

FONT STYLES and SIZE

Size
Tempos: large enough to be easily read by a conductor from 3 feet away from score.
(Generally, 18-24 point works well, depending on the page reduction level)

Capitalization
Principal tempo indications are capitalized: Adagio, Moderato, Allegro, Tempo I, Fast,
Slow,...
Tempo qualifications and changes are not capitalized: a poco a poco, assai, molto,
meno, little by little, accelerando, a tempo, ritardando, più mosso, rubato,
stringendo,slowing, quickening,...

Italics
Less common foreign language terms should be italicized, but many words commonly
used in music scores need not be italicized, including: pizz., arco, div., unis., a tempo, etc.

from Wikipedia:
 Generic titles are those that are not specific to one musical work, e.g., the names
of musical forms such as concerto, overture, quartet, sonata, suite, symphony.
Titles of liturgical works, such as Agnus Dei, Kyrie, Mass, Requiem, etc. – are
considered generic titles, as well. Generic titles are in roman face.

 Piano Concerto No. 5

 Sixth Symphony
 Requiem

True titles are titles specific to a single work. These are titles given by
the composer much as an author would title a novel. True titles are italicized,
irrespective of which language they are in.

 From me flows what you call time

 Pelléas et Mélisande

From the IU Style Guide:

Foreign words and phrases

Commonly used foreign expressions and their abbreviations are not italicized: 
e.g., i.e., ex officio, et al., vis-à-vis, cum laude, in vivo, in vitro

Less common foreign terms are italicized: dies irae (day of wrath)

If a term you’re unsure of is listed in the Webster’s “Foreign Words and Phrases”

section, it should be italicized. If it’s in the regular listing, don’t italicize it.

MARGINS (Thesis, Dissertation)

Electronically submitted documents must use 1" margins on all four sides.  If submitting
a bound hard copy of a document, 1.5” inner margins must be used to allow for binding.
The non-binding edges all should have 1" margins. The margin is interpreted to be the
area within which nothing should be printed, i.e., the distance from the edge of the paper
to the first dot of ink (with the exception of page numbers).
WARNING: Do not make your margins overly large, leading to extra page turns and less
music per page than is ideal.
HELPFUL HINT: Make your staff name abbreviations concise and tight.

MEASURE NUMBERS

Use measure numbers well, preferably in the following four ways:

a) At the start of every system (not enclosed, unless the measure number also serves as a
rehearsal landmark)

b) At structural points and/or rehearsal landmarks. Rather than letters (which is also
acceptable), using the actual measure number, preferably in a larger font and/or in an
enclosure, is 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 #s, so make sure to break multi measure rests at these points.

Additionally, for parts:

c) At barlines following all mulit-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.

WARNING: Never use the system of placing measure numbers every 5 or 10 bars. This
breaks up multi-measure rests into un-musical divisions.

ALSO: It is acceptable in large ensemble scores to place a measure number below every
measure (not in the parts, though).

METER

Metric considerations.  There are three categories of meters:

1. Simple meters.  Beats naturally divide into two divisions (e.g., 4/4).
2. Compound meters.  Dotted note beats naturally divide into three divisions (e.g.,
6/8).
3. Complex meters.  Beats divide unevenly, into a combination of two, three (or
four) units (e.g., 5/8) or asymmetrically (e.g., 2/4+3/16)

Some meters are more comfortable for most players than others.  Remember the
following rule: rhythms will be performed more accurately and confidently in familiar
time signatures.  When orchestrating a piece that uses unfamiliar meters, consider
converting to more common ones.  Contemporary musicians are most familiar with
simple meters that have quarter note beats (3/4, 4/4, etc.) and compound meters with
dotted quarter note beats (6/8, 9/8, etc.).  Though complex meters in Western music are
less familiar than simple or compound ones, they are often necessary, and are most easily
read when the denominator is 8 (5/8, 7/8, 11/8, etc.)  If the option exists, make reading
music as easy as possible—use familiar time signatures.

Dividing Complex Meters.  Since the beat value of complex meters is not consistent, the
division of all measures must be immediately evident to the conductor and all players.  If
not, rehearsal time will undoubtedly be wasted as this information is communicated
verbally to the ensemble.  There are several ways to clearly delineate this information:

1. Performance Note.  If the complex meter is always divided in the same way, make
some kind of note about this (e.g., all 5/8 measure are divided 2+3).
2. Rhythmic Notation.  The rhythmic notation should always reinforce the metric
divisions.  Some correctly notated rhythms are inherently ambiguous, and must be
 combined with numeric delineation

3. Numeric Delineations.  If a 7/8 measure, divided 3+2+2, is followed by a 2+3+2

construction, simply write the divisions on the manuscript.
4. Rest Delineations.  Though whole rests normally fill full measures of rest in any
meter, empty bars in complex meters may print rests to show the beat divisions. 

Changing Meters/ Metric Modulation.  When switching between meter types (simple,

compound, and/or complex), the relationship between beats must be clear. Markings
such as 1 show that the eighth note stays constant.  Tempo modulation  (or Metric
modulation), shown by markings like 1 indicate that the beat stays the same, but its
division changes.  A thin double barline should always accompany a metric modulation. 
The parenthetical tempo markings below are included to reinforce the tempo
relationships.

Meters With Too Many or Too Few Beats.  Use Meters of 2, 3, 4 beats for the most part.
Sometimes 5 or 6. Avoid large meters of 7, 8, 9, or more beats in a bar. These are usually
broken down into twos and threes anyway, and the downbeat is easily confused. Players
sometimes get lost when following a conductor through measures with seven or more
beats.  Consider dividing the measure with a dotted barline or splitting these into two
separate bars.  This technique may be helpful for five-beat bars as well.  One beat
measures can be problematic as well; grouping two bars together may be easier to read. If
you can't resist your inner Beethoven and are writing music "in 1", consider using thicker
bar lines to mark phrase divisions - this helps avoid players getting lost.

MUSIC SIZE [Especially for thesis/dissertation***]

Scores to be conducted MUST be sized so that the music can be read from 3 feet away.
It should be expected that for orchestra and other large ensembles, system to system
vertical spacing adjustment will be necessary to avoid collisions. It is NOT acceptable to
size the music extremely small, with large spans between staves simply to avoid all
collisions in one fell swoop.
On the other hand, do not size the music too large; this leads to scores with many
unnecessary page turns and makes phrasing and musical flow hard to follow.

***Consult with your committee EARLY in score preparation to make sure that your
formatting approach is acceptable.

ORIENTATION

Format all scores and parts in PORTRAIT Orientation. This is the professional publishing
standard. Sometimes composers use landscape because they think it fits the ensemble size
better; in such cases, composers should simply format for two or more systems on each
page. Landscape scores fall off stands, necessitate unwieldy, even theatrical page turns,
often require two stands, and simply look unprofessional. Remember that once a portrait
oriented score is opened, it is wider than it is tall, so opening a landscape score makes for
a doubly wide document. 
NOTE: Composing on landscape manuscript paper (11x17) is a different matter and
highly recommended - just don't 'engrave' your final scores in that format!
 Landscape

OPTIMIZATION

Score optimization should be used only in certain circumstances, like when doing so will
allow two or more systems on one page. You should NOT optimize every page as a
matter of course, as this can create too many irregularities from page to page, making
scores difficult to read.

PARTS

a) Print parts on 10 x 13 paper.

No, this is not a stock size, but you can easily order it or cut it down from 11x17
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. First, format and edit your music in Finale or Sibelius knowing
you will end up printing on 10x13, so size the music accordingly. Second, If you
have access to a printer that can accept 13x20 paper, order your paper of 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 white. One paper I like is Cougar Natural 70# Text Offset. If your printer
won't take 13x20, order the paper cut to 10x13 and use this in either your printer
or a photocopier. In a pinch, just cut down some white 11x17 stock yourself.

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.   12 pages: 12&1 / 2&11, 10&3 / 4&9,
8&5 / 6&7 etc.   Or, print one side per page onto 10x13

Good: print originals on letter size paper, and photocopy at 117% onto 10x13
paper (fed through "bypass" feeder). Or, print originals on tabloid (using just
11x14 of the paper), and photocopy at 92% onto 10x13 paper.

Note: 11x14 is second best (though it doesn't fit well in folders), 8.5x11 is third

best (make sure the music is not too small).

Exception: For short pieces or pieces you'll be photocopying large runs of

(perhaps for 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).

b) Bind all scores and parts properly. If you can print on 13x20, fold and staple.
Absolutely never hand out loose sheets that can easily fall off stands, or get out of order.
 Best for parts and thin scores (if large paper, like 13x20 is available): folded and
stapled in center. Get a large stapler to make this easy.

Best for thick scores: Coil. Note - buy coils that are long enough. Do not use 11"
coils on 17" scores. [PED has a CoilMac machine available for use by IU
composition majors. Bring your own coils.]

Good: Tape. Works for parts, rarely for scores. Use a flexible tape, like medical
tape or duct tape (!). You can buy a "tape binder," but they are expensive. You can
also learn to stack the pages, sort of bend them back and forth to fan the pages out,
lay down on flat surface, and tape. The fanning out makes the tape reach each
page. Also, this should be done so that the next page that needs to be turned is
sticking out a bit.

Worst: Comb. Can work in a pinch, but is not allowed by groups like the
Minnesota Orchestra. Noisy...easily 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: Stapled on the side. Documents don't lay open flat.

c) Plan page turns carefully, on odd-numbered pages, starting with 1. While in RARE

cases it might make sense to start a part on the left side page, with the first page turn on 2,
this should be avoided in preference for the professional publishing standard of a right
hand page start. There is no reason to begin a score with a left page.

1) Page Turns are more important than saving paper. Plan page turns where there
is plenty of time, even if it means having just a couple systems on a page.

2) Instrumentalists should not have to play immediately following a page turn. In

other words, try to have bars of rest either side of a turn. (No surprises!)

3) Place a warning (V.S.) when a quick page turn is necessary.

4) A finished part does not require a player to photocopy because page turns were
not accounted for. Solve the problem before you hand the part out, either with
formating, or if absolutely necessary, a fold-out.

d) Use Measure Numbers well.

PERCUSSION

Reminders should be placed on all left side score pages, so conductors don't need to flip
back through the score to figure out what instruments are being played. Generally use
abbeviations placed either just below abbreviated staff name, or above the staff (using
parentheses in that case).  See STAFF NAMES.

A list of all percussion instruments used in the work should be included in the score on
the instrumentation page and at the start of the percussion part. If appropriate, a set-up
diagram should be included. However, do not rely on players and conductors memorizing
this - be sure to indicate changes of instruments where they occur in the music.
Percussion Notation: (It is best to define the notation in score & part at the first instance.)
Drum Set Notation:

Orchestral percussion will often use different assignment strategies. It is usually best to

keep skins on spaces and woods or metals on lines, for example. Use of alternate
noteheads for metals is suggested. Generally arrange each family (skins, metals, woods)
from low to high on the staff. A few examples:

Alternate staves with fewer lines are acceptable, especially if that part only uses one or
two instruments. When writing a part with multiple instruments and fast changes (or
simultaneous use of different instruments) it is best to use a regular five line staff to avoid
frequent staff changes.
PLACEMENT OF TEMPO MARKINGS, MEASURE NUMBERS & REHEARSAL LANDMARKS

For orchestra: minimumally, at top of score and above string section; possibly above
brass and above percussion as well, depending on size of the orchestra. For band: top of
score, above brass, above percussion.

REHEARSAL NUMBERS/LETTERS (see Measure Numbers)

Rehearsal landmarks, using measure numbers or letters, should be included an frequent

intervals, usually about every 10 bars.

RHYTHM

While there are often multiple ways to beam and group given rhythms, some solutions are
easier to read than others.  Incorrect rhythmic notation greatly increases the risk of
misplayed rhythms, and is one of the “deadliest” errors made by young orchestrators. 

Show Me The Beats!  It is useful to think of “levels” of metrical hierarchy when notating
rhythm. For example, in 4/4 time, events that happen on the half-note level (beats 1 or 3)
are one metrical level higher than events on the quarter-note level (beats 2 and 4). One
level lower is the eighth-note (events which occur on the “and” of the beat), further
divided into the 16th-note level (events which occur on the 2nd or 4th sixteenth note of a
quarter-note beat).   If a note begins or ends on a level two degrees lower than a beat
through which it sustains, the note should be divided, with a tie used to show the higher
level beat.  Observe the examples below.
Rests Reinforce Meter.  Rests notation follows the same stipulations as notes with a few
additional considerations.  In a three beat measure, avoid the use of a rest equaling two
beats in duration (ex. avoid half rests in 3/4).  In measures with four beats, beat 3 must
usually be shown, so use a half rest to cover beats 1 and 2 or 3 and 4, but two quarter note
rests for beats 2 and 3.  Whole rests are used to cover a full measure in ANY meter (with
the single exception of rest delineations in complex meters, as described above.)  
Augmentation Dots.  Dotted rests at the beat level or higher should be reserved for
compound meters.  For example, dotted quarter rests should not appear in a measure of
2/4.  Rests at the division or subdivision level may be dotted (i.e. dotted eighth rests in
2/4 are actually clearer than writing an eighth rest followed by a sixteenth rest).  Dotted
notes are fine, as long as they emphasize the meter, and don’t break any of the rules
above.  Double dotted notes and rests are confusing, often misplayed, and should be
avoided.

Thirty-Second Notes.  If a piece requires frequent thirty-second notes, consider doubling

the note values (ex. thirty-second notes in 4/8 become sixteenths in 4/4).  In the example
below, the first measure shows a written rhythm, the second bar includes a common
misinterpretation, and the final measure demonstrates a foolproof alternative notation.

SIMILE

Avoid using "simile"  -- this weakens the visual character of your score and creates
ambiguity regarding how long the "simile" is in effect. Articulations, dynamics, slurriing
and hairpins are easily copied independent from pitches. Redundant markings are
not distractions, but welcome reinforcements.
STAFF NAMES

Finale "staff styles" (or the Sibelius equivalent) should be used as extensively as possible
to indicate the prevailing instrumentation as the instruments are listed in the left margin
of every score page. These are absolutely necessary for instrument doublings (eg.,
Fl/Picc., Piano/Celesta). These also may be used to indicate the prevailing mute situation,
extended pizzicato passages, and percussion instrumentation.

Suggested abbreviations:  Picc., Fl., Ob., E.Hn., Cl., Bcl., Bn., Hn., Tp., Trb., Btrb., Tba.,
Timp., Pc., Hp., Pn., Vn., Va., Vc., Cb.

STRINGS

Divisi

div. = section divided; unis. cancels the divisi. 

tutti follows indications for partial section playing, like solo, soli, or la metà.

non divisi and/or brackets should be use to indicate undivided multiple stops.

The divisi situation should always be indicated with div., div. a3, etc. near
abbreviated staff names or group names.  See STAFF NAMES.

Divisi sections that are at all complex should be divided into separate staves for
each line. Block chord long tones can remain on one staff; divisi in rhythmic
counterpoint or with fast moving lines should be separated in both score and part.

Harmonics

a) A small circle above a note indicates that the note should be played as

a natural harmonic sounding at the given pitch. Natural harmonics are quite
resonant, bright and pure sounding. Some composers (Harrison Birtwistle, for
instance) simply write all natural harmonics (or even all harmonics, period!) this
way, leaving it for the player to choose the most convenient way to produce the
written pitch; this relies on very experienced players. Generally, this approach
would be advisable only for long tones or slow passages, with plenty of time to
think about how to produce the pitch. Natural harmonics up through the sixth
partial are easily available. For example, on violin we can write and hear:
b) A diamond indicates a 'touch', showing a player where to lightly touch the string
without pressing down to the fingerboard. It is usually assumed that a diamond alone
shows a touch on the open string next found below the touched pitch. If there is any
ambiguity, like with G4 on violin, the intended string should be indicated with, for
example, "sul D" or "III" or a notehead in parentheses on the open string. A diamond is
usually not showing the sounding pitch, though this is the case at the first harmonic, one
octave above open string, for example. When using diamonds to indicate natural
harmonics, it is often a good idea to show the sounding pitch as a disconnected notehead
in parentheses.

The dotted slurs connect diamonds that can be ambiguous as to which string they
should be played on. For such diamonds, be sure to indicate the string. Note that
the diamonds above show the most common nodes that are touched and written
for - there are other nodes (locations) on the string where the same resulting
harmonics can be found.

c) Make sure the duration is clear when writing natural hamonics. A diamond

notehead with stem might be a quarter or a half. Do not use solid/black diamonds
- they are easily mistaken for regular note heads. Instead, show the duration with a
notehead in parentheses on the open string. The fourth example is best, especially
when writing a fast moving passage, or when writing for less experienced players.
An alternative to writing the sounding pitches in parentheses would be a second
staff above, showing sounding pitches.
 d) Most artificial harmonics should be "touch perfect fourths," stopping a string
on a pitch and touching a perfect fourth higher, producing a harmonic two octaves
higher than the stopped pitch - players are most familiar with this particular
artifical harmonic. Artificial harmonics have a slightly different sound than
natural harmonics - more covered, smooth, even expressive. Intonation is more
flexible with artifical harmonics, and all chromatic pitches are available (starting
two octaves above lowest string). Touch perfect 5th harmonics (sounding an
octave and a P5 above stopped pitch) are possible, especially on violin, though in
the lowest register they may not be easily reached. M3 and m3 harmonics are also
used, especially for contrabass. M3 touch sounds 2 octaves and a M3 above
stopped pitch; m3 sounds two octaves and a P5 above stopped pitch.

e. Ties.  For artificial harmonics, both notes (stopped pitch and diamond) use ties
and augmentation dots.

Slurs = bowings. If you feel you must indicate phrasing, use dotted slurs.
TEMPO INDICATION / METRONOME MARKINGS

a) Use metronome speeds for tempo indications (not simply "Allegro"). These should be
either clear directions for a new tempo (no parentheses) or a reminders/clarifications of a
tempo (with parentheses, as when associated with a "Tempo I" indication).   

b) Horizontal placement: The left edge of the tempo indication should align with the left
edge of the meter, or the first notational element.

c) Use only one number, not a range, unless the tempo is supposed to be in flux, speeding
up and slowing down within a range.

     
NOTE: Neither a or c overly restrict players, who, as human beings, will approximate
tempo, and vary as necessary depending on the situation (acoustics, etc.). Giving precise
tempo indications is particularly important in works with a variety of tempi, as the
relationship between different tempi is then clear. Musicians will appreciate the clarity of
intent.

d) Use numbers found on analog metronomes; musicians are familiar with these tempi.
Avoid speeds like 113, unless a precise tempo modulation gets you to that somehow.

e) Express tempo and meter in terms of the duration that will be conducted or felt as the
pulse. 
      
Exception: when the meter doesn't clearly express the pulse (5/8, 6/8, 7/8, etc. conducted
or pulsed in quarters and dotted quarters.)

TUPLETS

The recently coined term “tuplets” refers to irregular subdivisions of metrical units;
triplets and sextuplets are the most familiar.  Always grouped by either a beam or a
bracket, the amount of notes per unit must be shown with a number.  There has been
some debate about the “correct” way to notate tuplets.  Some feel that they speed up a
note value, while others argue they slow it down.  For example, beat-long quintuplets in
12/8 have been notated as five quickened eighth notes or five slowed down sixteenths;
more recently, as in the music of Elliott Carter or Oliver Knussen, this quintuplet is
written as five dotted sixteenths, which is the most accurate representation. If the beat
unit being divided is in any way ambiguous, it is recommended that a ratio (5:3) or an
equation (5 = [dotted quarter]) be given. 

Duplets and quadruplets can cause confusion as well, especially in large ensemble
situations, and there are many good reasons why they should be forever replaced by
actual non-tuplet dotted notes; a dotted half divides perfectly into two dotted quarters and
four dotted eighths, with no tuplets required. 

All tuplets should be easily read.  There is not complete agreement on a rule to handle all
tuplets, but in general:

 use square brackets if a bracket is needed, as when the tuplet begins or ends with a
rest.  [Do not use slurs for tuplets.]
 place the tuplet number outside staff.
 do not allow a tuplet to separate a note head and its articulation.
 avoid cluttering up the note head side (articulation must be on note head side;
adding slurs and tuplets there can create problems).

Possible 'systems' to follow, advocated variously at IU (consult your chair for

preferences):

1. tuplets always on stem (or beam) side.

2. tuplets always above.
3. varied, according to the situation, choice made for maximal clarity.

In any case, the notation should be clear and consistent, and have no collisions.

WOODWINDS

Slurs = legato groups of notes played without rearticulating with the tongue. If you feel
you must indicate phrasing, use dotted slurs.

Muliple instruments per staff for winds is allowed, provided the music is very easy to
read. Passages that are at all complex should be divided into separate staves for each
instrument.

BIBLIOGRAPHY

Beck, John. Encyclopedia of Percussion. New York: Garland Pub., 1995.

Brindle, Reginald Smith. Contemporary Percussion. New York: Oxford University Press,

1991.

Gould, Elaine. Behind Bars. London: Faber Music Ltd, 2011.

Read, Gardner. Music Notation: A Manual of Modern Practice. Second Edition. Boston :

Crescendo Publishers, 1969. (paperback edition: New York : Taplinger Publishing
Company, 1979)

Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New

York : W. W. Norton, 1980. (Based on the International Conference on New Music
Notation in 1974.)

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