Note: This manuscript is to instruct on basic

notation principles and is not intended to give  Each composer should give considerable thought
details on publisher-quality scores. However,
I value input from professional engravers and
will try to include some specific elements as
Septet as to how the title should look, in terms of font,
point, and layout. There are some published
standards, but practice varies widely. Determine
advised. your preferences and be consistent from movement
to movement, composition to composition.
I indent the first system by 0.5 inches.
in B flat major
 for mixed instruments
 Line the text up using guides. An alternative is to
I prefer to bar sections together and bracket input all the titles into one text box and assign desired
both staves of instruments such as harp or
 piano. This is generally accepted.
Movement 1 fonts to each line. Use the text tool. Display the rulers and
create a guide. Drag the text block handles and drop them

q
near the guide.

b œ. œ œ
Poco Allegro

& b 43
David Young
œ œ œ
∑ Œ Œ œ. œ . œ ‰ Œ Œ
1

J J
Flute
J
P F
3 j‰ œ œ ˙ œ œ j
Clarinet & 4 œ œ œ œ œ œ œ œ œ ˙ œ ‰ Œ Œ
P F
b
Violin & b 43 ∑ ∑ ∑ ∑
œ
‰ j j‰
œ. œ.
P
j
B b b 43 ∑ ∑ ∑ ∑ œ ‰ œj œ. ‰
P .
Viola

? b 3 œ . .
Cello b 4 ∑ ∑ ∑ ∑ ‰ œJ œJ ‰
Note expressions should line up under the notes. One can carefully use the rulers, or to be exact,  P
b
snap the dynamics marks to grid marks or guides. Look under grid/guide options in the view menu.

& b 43 ∑ ∑ ∑ ∑ ∑
Harp

? b 3 ∑ ∑ ∑ ∑ ∑
b 4
q
b ˙˙ œœ œœ œœ œœ œœ ‰ Œ
Poco Allegro

& b 43 ˙ œ œœ œœ œœ œœ ˙˙
1

œœ œ œ œ ˙
˙
Piano p P
? b 3 ˙. œ œ ˙ œ œ œ œ œ ‰ Œ
b 4 œ ˙

The copyright notice should appear on the first page. I prefer Note: Most of the recommendations
times new roman font, plain, 14 point. There are other reasonable that I give regarding font and points
fonts. It should be centered at the bottom (10 inches down are my personal preferences. Major
and 4 & 1/4 inch across). Use the text tool.  publishers and text sources are likely
to differ on this matter.

Copyright © 2001, David Young

  I alternate larger page margins, to accommodate for the center of a notebook or final printed score.
On left pages, I make the left page margin 0.6 inches and the right margin 1.0 inch.

Remember, in Finale, the first page is the right page.

This is the generally accepted page layout.
Keep this in mind when creating margins and footers.
Also keep in mind that even numbered pages are on the
left by convention, and odd numbered pages right. But parts
may be the opposite, if it accomadates page turns
One can adjust beaming by going to speedy entry, click on
the note that should be beamed to the previous note and
press the "/" key. Use speedy entry.


b .. Œ œ œ œ
&b ∑ ∑ ∑ ∑ œ. œ .
Œ
6

Fl.
J
P
Œ ‰ #œ œ œ œ œ œ j . j
Cl. & œ ‰ Œ Œ
œ œ œ œ œ œ .œ œ œ
j‰ œ ‰ Œ Œ
P P It is proper to beam all six 8th notes together in 3/4 meter
b
&b œ ‰ j œj ‰ œ ‰ œ.j œ. ‰ œ œ œ œ ‰ Œ
J Œ .. ∑ ∑
Vn.
n œ. . J

.
B bb œ ‰ œ. œ. ‰ œ ‰ œJ œJ. ‰ œ nœ bœ œ ‰ Œ
J Œ .. ∑ ∑
J J
Va.

? b œ œ. . . . œ œ œ œ
Vc. b ‰ J œJ ‰ œ ‰ œJ œJ ‰ J ‰ Œ Œ .. ∑ ∑
 I choose not to beam these 8th notes, since they do not share beats. In 2/4 meter

b
however lone 8th notes in the middle of the measure are often beamed together.

&b ∑ ∑ ∑ œ Œ Œ .. ∑ Œ
œ ˙˙
Hp. π π
? b ∑ ∑ ∑ œœ Œ Œ .. ∑ ˙ Œ
b
It may seem tedious, but inserting a lot of slurs, dynamics 

œ œœ œ œœ ‰ ‰ œj j
and hairpins improves the look and quality. 

b œœ œœ
& b œœ œœ œ ‰ Œ .. œ œœœ œœ .. œœ
6

œ œ ˙. ˙˙ œœ œ œ œ
Pn. p
? bb œ œ œ ‰ Œ œ
œ œ ‰ ‰ œ ˙.
œJ
˙. .. œ œ œ ˙ œ

 One should do their best to

draw slurs carefully.

I prefer running footers on every page after the first page. The footer identifies the piece
and the movement number. The movement number is in parentheses, two spaces after the
title. I use times new roman font, plain, 14 point. For left handed pages, the running head
 is positioned on the left, bottom, 10 & 3/8 inches down and 1 & 1/4 inch across.
(In metric units, one might choose 26 cm down
2 Septet No. 7 in B flat major (1) and 3.2 cm across.)
 Note; In terms of choice of font and point, my preferences here are simply suggestions. Industry
experts give different preferences. The most important point for composers is to choose fonts
that make sense and then be consistent from page to page, movement to movement, composition
to composition.

On the right pages, I make the left margin 1.0 inch and the right 0.6 inch 

œ œ. œ. œ. œ.
 It is proper to beam these four 8th notes together in 3/4 meter

b œ. œ œ œ œ œ œ œ œ œ œ j
&b œ œ œ.
12

Fl. J œ #œ œ œ œ œ
F P
Cl. & ∑ ∑ ∑ ∑ ∑ ∑

&b
b ∑ ‰ j j‰ œ ‰ j œj ‰ œ ‰ œ.j œ. ‰ œ œ œ œ
œ
œ #œ œ œ
Vn.
œ œ. œ. n œ. . J
P p
j .
B bb ∑ œ ‰ œj œ. ‰ œ ‰ œ. œ. ‰ œ ‰ œJ œJ. ‰ ˙. œ. œ œ œ
. J J
Va.

P p
. . œ. . . .
Vc.
? b
b ∑ œ ‰ œJ œJ ‰ œ ‰ J œJ ‰ œ ‰ œJ œJ ‰ œ nœ #œ ˙ œ
P p
b
&b ˙ Œ ∑ ∑ ∑ ∑ ‰ jœ
œ
Œ
˙
Hp. p
? b ˙ Œ ∑ ∑ ∑ ∑ œ Œ Œ
b

gg ˙ .
b œœ .. œœ œœ œœ œœ ‰ Œ œ
œœ œœ œ ‰ Œ œœ œ œœ ‰ ‰ œj ggg ˙ .
& b œœ
12

J œ œ ˙. gg
ggg
P π ggg
j ggg ˙ .
Pn.

? bb œ œ œ œ ‰ Œ œ œ œ ‰ Œ œ œ ‰ ‰ œ ˙.
˙ œ œ

I prefer running footers on every page after the first page. The footer identifies the work
and the movement number. The movement number is in parentheses, two spaces after
the title. I use times new roman font, plain, 14 point. For right handed pages, the running
head is positioned on the right, bottom, 10 & 3/8 inches down and 7 & 1/4 inches across. 
(In metric units, one might choose 26 cm down
and 18.4 cm across.)
Septet No. 7 in B flat major (1) 3
 Note: Many composers would consider the spacing of music in this manuscript too loose.
I agree. In most cases I would work to compact more measures per system, by applying
a tighter music spacing algorithm. But I believe that the loose spacing in this manuscript
is acceptable for some compositions and is used here to demonstrate notation elements.

Note: I am using Maestro font as the music font.

Others prefer Engraver font or other specialty fonts
I am placing measure numbers over such as November font or Sonata font.
 just the flute and piano staves here.

b
&b ˙ Œ ∑ ∑ ∑ ∑
18

Fl.

Cl. & ∑ ∑ ∑ ∑ ∑
It is proper to beam all six 8th notes together in 3/4 meter 

b œ œ œ œ
Vn. &b œ œ #œ œ œ œ œ #œ œ œ nœ œ œ #œ œ œ œ œ #œ œ œ nœ œ #œ œ œ
F
Va. B bb œ . œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. #œ œ œ
F
? b œ œ œ. œ œ œ œ. œ œ œ. œ
Vc. b ˙ J ˙ J J
F
b
& b ‰ œj œ Œ ‰ j Œ ‰ jœ Œ ‰ œj œ Œ ‰ œj œ Œ
œ œ
œ
P
œ nœ
Hp.

? b œ Œ Œ œ Œ Œ œ Œ Œ Œ Œ Œ Œ
b
 It is proper to insert two quartet rests

b
rather than a half rest in 3/4 meter

&b ∑ ∑ ∑ ∑ ∑
18

Pn.

? bb ∑ ∑ ∑ ∑ ∑

Use the text tool to create running footers and page numbers. Align to the bottom and to the left or right repectively.
For the page number use the insert, page number. Remember to edit the page number offset for subsequent
movements by entering the last page number of the previous movement. You will need to do this proceedure twice,
once for left handed pages, once of right pages. You also have to select right handed pages and left handed pages
under frame attributes. 

4 Septet No. 7 in B flat major (1)

 Professional engravers position measure numbers at the left of the system and use an italic serif
font somewhat larger than represented here. Many published scores position measures numbers about
halfway between the left system margin and the clef.

One can define the measure number font and position by clicking on the measure tool,
click on measure menu and go to measure number. Click on position and font.
One should select regions, 1 to 9, 10 to 99 and 100 to 999 and position the number
in each region. Position carefully. One can also individually position. Use the Measure tool.

I prefer arial italic, 13 point for "ritardando," "a tempo," "crescendo"
 and other minor tempo and dynamic designations. 

b œ œ œœ
œ œ ‰ J œ ≈
ritardando A a tempo

&b ∑ ∑ ∑ Œ
23

Fl.

P
œ œœ
œœœ j
œ ‰ Œ Œ
& œœœ œ œ œ œ œ ∑
œ
Cl.

F p
b ˙ œ œ œ œ œ œ ˙
Vn. &b œ œ œ ‰ Œ
J
Œ ∑
p
B bb œ . œ œ ˙ œ œ
œ œ œ ‰ Œ
J Œ ∑
J
Va.

p
? bb œ . ˙ œ j œ œ
œ œ œ ‰ Œ Œ Œ
Vc.
J œ ˙
p p
The number "3" without brackets is proper for 8th note triplets. The

b ˙ œ
& b ˙˙˙ œ œ
number can be left off subsequent triplets after the first 3 or 4.  3

Œ Œ ∑ œ œœ œ œ œ œœœœœ
3 3 3

˙ œœ œœ
π p
˙ ˙˙ œ œ
Hp

? bb Œ Œ ˙ Œ Œ œ œ
œ
˙

bb j
ritardando A a tempo

∑ ∑ œœ ‰ Œ Œ ∑
23

& ˙˙ œœ
˙ œ œ
Pn p
? b ∑ ∑ œ j
b ˙ œ ‰ Œ Œ ∑

 One should check to see that when a cadence ends,

instruments end on the same length note. Having
an 8th note in 4 staves and a quarter note in 3 staves
would look awkward. (In this case the quarter note
in the harp is not part of the resolution of the cadence.)

Septet No. 7 in B flat major (1) 5

 I use standard names and abbreviations for instruments.
I justify and align right. I positioned them 0.20 inches
 to the left of the barline. Times new roman, plain, 12 point

b
&b ∑ ∑ ∑ ∑ ∑
28

Fl.

œ œ œœ œœ
& ∑ Œ œ. œ œ ‰ J ≈ Œ ∑
Cl.
J
p P Make sure that slurs bridging

œ œ œ


œ
systems look good.

b j œ ‰ J
Vn. &b ∑ #œ œ ‰ Œ ∑ Œ
π p P
B bb j
Va. ∑ œ œ ‰ Œ ∑ ∑ ∑
π
œ œ œ œ œ ≈ œ œ.
Vc.
? bb ‰ J ‰ ∑ ∑ ∑
F

b b œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ
& œ œ œ œ œ œ œ
œ œ œ œœ œœ œ œ œ œ œ œ œ
œœ œœ #œ
œ œœ œ
P p P
œ œ œ œ
Hp

? bb œ Œ œ Œ Œ œ œ Œ œ
œ œ
 Hairpins in a double staved instrument look best straight and even,
placed about midway between staves

b
&b ∑ ∑ ∑ ∑ ∑
28

Pn

? bb ∑ ∑ ∑ ∑ ∑

I prefer positioning page numbers in the lower, outer

corners of the page. I use times new roman, plain, 16 point.
The right numbers are aligned left, bottom at 10 & 3/4
 inches down and 5/8 inch accross. (In metric units, one might choose 26 cm down
and 1.6 cm across.)

6 Septet No. 7 in B flat major (1)

 Professional engravers do not italicize rehearsal letters
 (as I have here).

This is how I do first and second ending Hairpins in single staffed instruments should be drawn under
more or less what is generally accepted the staff and closer to the upper staff than the lower 
(some publishers separate the middle line)  B

b ..
&b ∑ ∑ ∑ Œ œ
33
1. 2.

Fl.
œ
p
œ œ œœ
∑ . œ œ ‰ J œ ≈ Œ
Cl. & œ œ œ œ œ œ .
Make sure that slurs bridging P P
b nœ œ ≈ œ œ.
systems look good.

.. Œ œ
&b ‰ ∑ Œ œ œ œJ ‰ Œ œ œ œ
3
3

Vn.

p
œ œ ‰ Œ
B bb ∑ .. Œ œ œ
œ œ J ‰ Œ œ œ œ œ ‰
3

Va. J J
π p 3

? bb œ œ ‰ Œ ∑ .. œ œ œ œj ‰ Œ œ
œ œ œ ‰ Œ
Vc.
J J
π
Note: Even though  p
3 3

b œ #œ nœ œ œ œ œ
the first beats are triplets, the second beats with the 8th note & rest are expressed as duplets

b .. œ
& œ œ œœ Œ Œ
œ
Œ Œ Œ ≈œœœœ
π π π
? bb œ
Hp

œ Œ œœ Œ Œ .. œœ Œ Œ ∑
B

b ..
&b ∑ ∑ ∑
33
1. 2.

˙˙ œœ
p
˙.
Pn

? bb ∑ .. ∑ ∑

 Be careful to organize the notes in the target measure of a repeat, so that

they make sense as resolutions to the notes in the measure before the repeat

I prefer positioning page numbers in the lower, outer

corners of the page. I use times new roman, plain, 16 point.
The right numbers are aligned right, bottom at 10 & 3/4
inches down and 7 & 7/8 inches accross. 
(In metric units, one might choose 26 cm down
and 20 cm across.) Septet No. 7 in B flat major (1) 7
 Note: I have seen score expressions such as dolce, pesante, perdendo, cantabile or leggiero
positioned above and below staves (usually below), depending upon the publisher, or simply
where the words fit in. Remember that pizz., arco, saltando and trem. are always above the staff.

œ


b
Dynamics should line up with hairpins

œ ‰ œJ
&b œ œ œ ≈ œ œ. ‰ ∑ Œ œ
37

Fl.

F p
œ œ œœ
∑ ∑ œ œ ‰ J œ ≈ Œ
Cl. &
P
b j j œ
Vn. &b œ ‰ Œ œ œ œ œ ‰ Œ j
œ œ œ œ ‰ Œ
œ j
œ œ œ ‰ Œ œ œ

œ œ œ œ ‰ j œ œ œ ‰
Va. B bb ΠJ
Œ œ œ œ œ ‰ Œ œ
œ œ œ ‰
J
Œ œ J

? b œ œj ‰ Œ œ # œ œJ ‰ Œ œ œ œ ‰ Œ œ œ œ
Vc. b œ œ œ œ J œ J ‰ Œ

b
&b ∑ ∑ ∑ Œ ≈nœ œ œ œ
Hp.

? b ∑ ∑ ∑ ∑
b

b œœ œœ ..
&b Œ Œ œœ ∑ ∑
37

œœ œ
œ
π P
œ œ
Pn.

? bb Œ Œ œ #œ ˙ ∑ ∑

Times new roman font, plain 14 point 

8 Septet No. 7 in B flat major (1)

 Note: Scores look better when there is sufficient space between
staves for dynamics, hairpins, tempos and other notation elements.
I recommend a single system per page for larger chamber works.
For string quartets and piano trios, 3 systems per page works.
For piano quartets and quintets, 2 or possibly 3 systems per page.
Some publishers will use a smaller size and place 4 string quartet
systems per page.

b œ œ œ œ
&b ‰ J nœ ≈ œ œ. ‰ ∑ ∑ ∑
41

Fl.

P
Cl. & ∑ ∑ ∑ œ. œ œ œ. œ œ Œ Œ
f
œ. œœœ . œ œ œ. #œ œ œ. nœ
b nœ œ œ œ œj ‰ Œ œ nœ œ J ‰ Œ
Vn. &b J ‰ Œ Œ
F f
œ œ œ œ >œ >
B bb Œ œ œJ ‰ Œ œ œ J ‰ œ . nœ œ ‰ Œ Œ œ #œ. nœ
Va.
J J J
P f
>œ . j >œ . j
? b œ œnœ œ ‰ Œ nœ œ œ. nœ #œ
Vc. b J œ # œ œJ ‰ Œ #œ œ J #œ
f
b ggg œœœ ggg # œœœ
&b ∑ ∑ Œ Œ ∑ Œ Œ
ggg ggg
f ggg ggg
ggg œ ggg œ
ggg œ
Hp.

? b ∑ ∑ gg œ Œ Œ ∑ Œ Œ
b gg g

b ˙˙ j
&b Œ Œ Œ Œ
41

œœ n œœ œœ .. œ œ ˙ œœ œœ .. œ ˙
# n œœ # ˙˙
œœ
π P f
œ œ ˙ œ œ. j
Pn.

? bb Œ Œ œ #œ ˙ ˙ Œ œ n œœ # ˙˙ Œ
œ.

Have these dynamics line up from left to right.

Times new roman font, plain,14 point

Septet No. 7 in B flat major (1) 9

 Create tempo markings easily by using the plug in. Click on the mass mover tool.
Select a measure. Go to the plug-in menu and click on the create tempo marking
plug-in. Insert the desired tempo as a measure expression and click okay. Now go
to the expression tool and double click on the handle of the tempo mark. Click on
edit measure expression assignment and designate which staves you want the expression
Professional engravers prefer a to show. Make sure it shows in all the parts, but just the top staff of two-staff instruments.
bold serif font for tempo markings, You will probably want to use the same staff list that you made for the written tempos.

at about 14 to 16 point.
I like the look of arial font, 14 point, italics Slurs over notes that skip large
for tempo markings. But some authorities intervals are difficult to draw in
recommend times bold at 14 point. an attractive manner. One should
try to make the most pleasing shape.

q™


œ
 

## 4 œ œ œ
bb
C Allegro con brio

∑ ∑  ∑
46

Fl. & 4
F
# ## œ œ
j
Cl. & œ. # œ œ œ . # œ # 44 œ ‰ Œ œ œ œ ∑  œ œ œ
F
j
b œ ## 4 j
ggg œœ ‰ Œ ggg œœ ‰ Œ ggg # œœ ‰ Œ
&b J ‰ Œ Œ 4  
gg œ
 ggg œ
gg œ J
Vn.

f
## 4  ggg œœ ‰ Œ ggg œœ œ
B b b œJ ‰ Œ Œ 4 gg œ  gg œ ‰ Œ  œ ‰ Œ
J J J
Va.

f
œ ‰ Œ
Vc.
? b œ
b
#œ. nœ
J
## 4 œ
4
œ ‰ Œ ‰ œj œ
J
œ ‰ Œ
J ‰ œJ # œ J ‰ œJ
f Arpeggios are necessary in piano and harp parts,
(when a played arpeggio is intended) for without

## 4 ggg œœœ
 an arpeggio the chord will be played as a block.

b
&b ∑ 4 ∑ 
ggg œ
Œ ∑
f gggg
ggg œœ
Hp

? b ∑ ## 4 ∑  gœ Œ ∑
b 4
q™
Allegro con brio

b j # # 4 œ œ œ œ œ œœ œ œ œœ œœ œœ œ œ œ œ # œœ œœ œœ œœ œœ œœ œœ œœ
C

& b # œœ 4 œœ œœ œœ œœ œœ œœ œ œœ œœ œ œ œ œœ œœ œœ œœ œ œ œ
46

œœ .. œ œ œ œ œ œ
# n œœ
f
? b œœ œ. j # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œœ œœ œœ œ œ œ œœ œ
Pn

n œœ # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ.

 It looks better to beam four 8th notes together in 4/4 meter. This is done
only if the four 8th notes cover beats 1 & 2 and/or beats 3 & 4. 8th notes
over beats 2 and 3 are never beamed together. You can use the speedy
entry to connect beams, but one might also use the classic eighth beam plug-in.

Note: An occasional group of four 8th notes may be split if one

of the notes has a particular articulation. For example, if there
is an accent on the first of the four, the first may be flagged and
the last three beamed to accentuate the difference in articulation.
10 Septet No. 7 in B flat major (1)
 Note: You can make your score look better than
many published scores. Your most important step
is to make room for slurs, dynamics as well as
score and note expressions without overlap.

Don't try to draw the ends of the slur

œ œ œ œ œ œ
 right next to the 8th notes here.

## œ œ œ œ œ œ œ œœœœ
 J ‰ Œ œ œ œj ‰ Œ
50

Fl. &

# ## œ œœœœœ j
& # ∑  œ œ ‰ Œ œ œœœœœ
œ
Cl.

Arpeggio marks are unnecessary for violins, violas and cellos. I include them in my

## ggg # œœ ‰ Œ œ. œ œ. œ œ. œ œ. œ
 compositions out of habit, but will delete them in the final published form.

&  ggg œ J J J J
J
Vn.

œ. œ œ. œ œ. œ œ. œ
#œ ‰ Œ
B ##  œ J J J J
J
Va.

œ œ . œ. œ œ. œ. œ
Vc.
? ## œ J ‰ Œ ‰ J œ œ
J J
œ
J J

## j‰ œ
‰ œ œ œœœœ
I see no reason to use a bracket here. Just the tuplet number. 

& ∑  ‰ œ œ œ Œ
œ
5

œ œ œœ
f
5

œœœ œ œ œJ
Hp

? ## œ œ œ œJ ‰ Œ
3

∑ œœœœ ‰ Œ ‰ ?
6

œ œœ
3

œœœœ
&
6

œœ œœ œœ œœ # œœ œœ œœ œœ œœ . œ.
 Adjust tuplet number to a consistent and attractive position.

## n œœ œœ .. œœ œœ .. œœ œœ .. œœ
œ œ œ œ œ œ œ œ œ .. œ œ
50

& œ œ.
J
œ œ.
J
J J
œ œ œ œ œœ œœ œœ œœ œœ .. œ œ. œœ œœ .. œ œ. œœ
œ œ
Pn

? ## œ œ œ œ J œ. J J œ. J
 I prefer to add courtesy g naturals
in the piano here given that there are
g sharps in the previous measure.
Parentheses around the courtesy
 Page margin 1.0 inches accidentals are unnecessary. Page margin 0.6 inches 

Septet No. 7 in B flat major (1) 11

 I prefer to draw separate hairpins on both sides of a page rather than one that extends
accross systems. Most publishers draw just one hairpin, causing one to be open on both ends. 

˙. œ #œ
## ∑ ∑
53

Fl. &
F
##
& ## j‰ Œ  ∑ ∑
œ
Cl.

# œ ‰ j œ #œ œ œ œ œ œ œ œ œ ‰ #œ œ œ œ
Vn. & # J œ œ œ œ œ. œ œ J ‰
J
P
œ #œ œ œ œ #œ œœœœ œ
B ## J ‰ j J ‰ J ‰ œœœœ
Va.
œ œ œ œ œ. œ œ
P
? # # # œJ ‰ j Œ
j ‰ œ
Vc.
œ œ œ œ œ. œ œ œ#œ œ œ
œ œœœ œJ ‰
P œ œ
## œ
Œ œ Œ œ Œ  
œ
j

&
j
œ œ
œ

P
œ œ œ
Hp.

? ## œ Œ Œ œ Œ   œ
œ œ œ
j œ
j

œ. œ œ œ œ ˙ œ œ œ
## ˙ œœ œœ ˙ œ #œ #œ
# ˙˙ œœ .. ≈ œœ œœ œ ≈ œ#œ ≈ œ œœ ≈ œœ
53

& R
œ œ P #œ œ # œœ
œœ .. œ œ œ # œœ œœ
3

˙˙ ˙˙ œ œ œ
Pn.

? ## ≈ œR œ œ œ œ ≈ ≈ œ ≈
3

Brackets are proper here 

 Page margin 0.6 inches Page margin 1.0 inches 

12 Septet No. 7 in B flat major (1)

 Note: The TG tool align/move is helpful to align the

## œ.
hairpins and dynamics here in the clarinet staff.

œ #œ. ‰ ∑ ∑
56

Fl. & J
P p
#### ˙. œ #œ
& ∑ œ. œ œ œ
J
Cl.

P p
# œ
œ œ œ œ œ œ
# j J ‰ œ œ œ ‰ #œ œ œ œ #œ ‰ œ œ œ œ œJ ‰ œ œ œ œ
Vn. & # # œ ‰ œ œ œ œ œJ ‰ J J
p
#œ œ œ œ #œ œœœœ œ œœœœ œ
Va. B ## œ ‰ œ œ#œ ‰
J #œ œ J
J ‰ J ‰ J ‰ # œ œ œ œ œJ ‰ œ œ œ œ
p
œ œ œ
? ## œ#œ œ œ
œ œ œ œ œ#œ œ œ J
Vc. J ‰ Œ œ#œ œ œ J ‰ œœœœJ ‰ ‰ J ‰
p œ œ
## œ
j
œ œ œ
œ #œ
œ j
Œ  Œ
œ
&
j j
j œ œ j
œ j j œ
œ #œ

p
œ œ œ
œ œ
Hp

? ## œ Œ  œ j
Œ
œ
œ j
j j j œ
j œ œ j œ
œ j œ
œ
Some slurs are difficult to write attractively, and require some attention. 

# œœ ≈ œœ # ˙˙ œœ # œ ≈ œœ œ ≈ œœ ≈ œ
& # # œœœ œœ ≈ œœ œœ Œ
56

œ ˙ œ œ #œ œ œ # œœ
œ œ œ œ
œ p
œœ œœ
# œ # ˙˙˙ œœ # œ œœ œ œœ œœ ≈ # œœ œœ
œ ≈ # œ ≈ œœ ≈ œœ œœ
Pn

? ## ≈ œ Œ
œ
Carefully adjust slurs that are applied over ties 

Note: One can move staves up and down to allow room for dynamics and expressions. The
systems need to be optimized first. But one can optimize without removing empty staves if
preferred. (It is proper to remove empty staves in large scores, but I prefer to keep all staves
in chamber works.) Click on the page layout tool, right click on the upper left hand system
handle, and then click on allow individual staff spacing. Then click on the staff tool and use
the lower handle on each staff to position each staff to your liking. This will position only
staves on that page.

Septet No. 7 in B flat major (1) 13

 Note: The default settings for beaming in most notation programs is good. But industry
experts prefer the use of the Patterson Beaming plug-in for optimal slants and lengths

 Be sure to break a multimeasure

rest in the flute and clarinet parts here

##
D

∑ ∑ ∑ ∑
59

Fl. &

#### œ j
Cl. & œ œ ‰ Œ ∑ ∑ ∑
π
# œ #œ œ œ j
 Slurs can be shaped to perfection with the smart slur tools introduced in Finale 2002

Vn. & # J ‰ œ œ J ‰ Œ œJ ‰ Œ œ ‰ Œ œj ‰ Œ  ∑
π
œ œ œ
Va. B # # J ‰ # œ œ œ œ J ‰ Œ J ‰ Œ œJ ‰ Œ œj ‰ Œ  ∑
π
œ œ œ œ œ
J ‰ Œ œJ ‰ Œ œ ‰ Œ œ ‰ Œ  ˙.
molto expressivo

? ## J ‰
Vc.
J J
π For certain staff expressions, such as molto expressivo, arco,  P
trem. & pizz. I choose times new roman, italics, 12 point as the font.

#
& # ∑ ∑ œ œ œ œ œ œ œ œ
Hp
pœ œ œ œ œ œ œ œ
? ## ∑ ∑
Professional engravers repeat rehearsal letters

#
D

& # œœ
only in orchestral works, not in chamber music

Œ Œ 
59

˙˙ ˙˙ ˙˙ ww œœ
œ ˙ ˙ ˙ w œ
Pn π
? # # œœœ Œ ˙ ˙ ˙ w œ Œ 
˙ ˙ ˙ w œ

Note: There is some variation as to the placement of staff expression

modifiers such as dolce, expressivo, pesante, cantando, legato and leggiero.
Normally they are positioned under the staff, but occasionally, when applied
to a single staff, molto expressivo is positioned above the staff.

Times new roman font, plain,16 point

14 Septet No. 7 in B flat major (1)

 Note: The highest quality scores that I have seen are published by G. Henle Verlag

The correct enharmonic spelling

in the cello here is an e sharp

#
rather than an f natural 

& # ∑ ∑ ∑ ∑
63

Fl.

##
Cl. & ## ∑ ∑ ∑ ∑

#
Vn. & # ∑ ∑ ∑ ∑

Va. B ## ∑ ∑ ∑ ∑

˙ œ. œ œ œ œ œ œ œ œ
? ## J ˙ œ œ #œ œ œ œ
Vc.

 The cross-staff beamings here look neat, but makes it difficult to insert

#
& # œ
hairpins. When hairpins are needed, I would avoid this beam style.

#œ œ œ œ nœ œ œ œ #œ œ œ œ nœ œ œ

œ #œ œ œ œ nœ œ œ œ #œ œ œ œ nœ œ œ
Hp

? ##
  Professional harpists can change pedal settings fairly fast, but there is no reason

œœ.
to challenge them. The change here from a sharp to a natural is about as fast as one should ask.

## ˙ ˙ œ œ. œœ
∑ ∑ ˙˙ œ œœ œœ .. œœ
63

& ˙
Pn π
? ## ∑ ∑ ∑ ∑
 I like to center dynamic markings in two staff
instruments halfway between both staves as feasible.

Note: Preparing the cross-staff look in the harp is tedious. I remove the rests
from the bass clef by going to the speed entry, enter two half rests, click on them
and type "o" to hide them. I enter all the 8th notes in the treble clef and then use
the cross staff tool to drag the lower notes to the bass clef. I then use the special
tools to first change the upper stems to the other side of the note and then drag
the beams down to a position between the upper and lower notes.
Times new roman font, plain, 16 point 

Septet No. 7 in B flat major (1) 15

 Professional engravers prefer tuplet numbers on the beam side.

Some publishers consistently position tuplet numbers over the note

side and some consistently place the number on the beam side. I prefer
placing on the side that allows a close number without overlapping. The
key is to place the number in an attractive position.

 Brackets are not needed here.

# œœœ œœœ
œ‰Œ œ‰Œ
3 3

& # Œ ‰ Œ ‰ ∑ Œ ‰ œœœœ ‰ Œ
67

Fl. J J J
π 3

##
& ##  Œ ‰ œ œ œ œj ‰ Œ Œ ‰ œ œ œ œj ‰ Œ   Œ ‰
3 3

œœœ
3
Cl.

π
#
Vn. & # ∑ ∑ ∑ ∑

Va. B ## ∑ ∑ ∑ ∑

? ## n˙. œ. œ ˙ œ w w
Vc. œœ
F
#
The correct enharmonic spelling in the

& # œ œ œ œ œ œ œ œ
harp is a "g sharp" rather than an "a flat."

#œ œ nœ œ œ œ œ œ

œ œ œ œ œ œ œ œ
Hp.

? ## #œ œ nœ œ œ œ œ œ

˙
# # # œœœ ... œœœ ˙˙ œ œ nœ
Beam these three

œ œ œ œ
 8th notes together.

œœ ‰ ∑ Œ
67

& ˙˙ ..
œ
p π
œ. œ œ œ
Pn.

? ## #˙ J ‰ Œ Œ ‰ n œJ ˙. Œ ˙ .. Œ
˙
I prefer a staff line thickness of 0.008 inches 
 I prefer to add courtesy g naturals
in the piano and harp here given that
there are g sharps in the previous measure. Note: Look elsewhere on this webpage for
Parentheses around the courtesy accidentals information regarding optimal line thickness.
are unnecessary.

16 Septet No. 7 in B flat major (1)

 I have not found any hard rules for making capitals of the first
letter in tempo designations. Most publishers do the following:
The primary tempo designation is capitalized. If a modifier
preceeds, it is also capitalized. Modifiers after are not
capitalized. For example: Andante con moto, Molto Vivace,
Lento lacrimoso, Poco Adagio, Allegro con brio, Allegro maestoso,
Andante sostenuto assai, Allegretto pastorale, Tempo di Valse 

q™
# # 4
E Piu Allegro

& # Œ ‰ œœœœ ‰ Œ ∑ ∑
71

Fl.
J 4
3

## ### 4 ‰ Œ
& # # œj ‰ Œ Œ ‰
œœœ 4 œj  ∑
3
Cl.

# # 4 œ œ. œ.
Vn. & # ∑ 4˙ œ. œ œ.
œœœ #œ œ
F 3

B ## ∑ # 4Œ œ œ
œ œ . J ‰ Œ Œ œ j
œ œ . œ ‰ Œ
3 3

Va. 4
P
? ## œ Œ  # 4 œ
4 œ œ œ. J ‰ Œ Œ œ œ ‰ 
3 3

œ œ . J
Vc.

p P  Brackets are not

# # 4
& # œ
needed here.

œ œ œ 4œ Œ  ∑

œ œ
Hp.

? ## œ œ # 4œ Œ  ∑
4
Piu Allegro q™
## # 4‰ j j
œœ ‰ ˙˙
E

∑ œœ œœ œœœ ... œœœ œœœ ‰ Œ

71 3

& 4 œœ œœ œœ
3

œ œ œ œ œ œ ˙
p 3
œ œ œœ .. œœ œœ ‰ œ
Pn.

? ## # 4‰ œ œ œ
3

∑ 4 œ œ œ œ œ
Œ œ ‰ ˙
J J ˙
Use double barlines for key changes   Placing brackets over these triplet
figure is reasonable, at least on the
initial mixed triplet figures.

Septet No. 7 in B flat major (1) 17

 Note: Unless the composer wishes to write a piece sounding like the
lively conclusion to the Willian Tell overture, or the overture to the
Bartered Bride, one should use a liberal amount of slurs, particularly
in winds, strings and legato piano sections.

 Line up dynamic markings here

# œ. œ œ
∑ Œ ‰ œJ J ‰ ∑ ∑
74

Fl. &
f
##
Cl. & # ∑ Œ ‰ œ œ . œ œJ ‰
J
∑ ∑
f
œ œ œ œ. œ œ œ ˙ œ. œ œ. œ . .
# œ J ‰ J ‰ J . œJ ‰ œ œœœ œ œ bœ
Vn. &
f F 3

j œœ
B# Œ œœ
œœ.J ‰ Œ Œ œ. œ ‰ J ‰ Œ œœ
œœ.J ‰ Œ Œ œ
œ œ . œJ ‰ Œ
3

Va.
œœ
f P
?# œœ ‰  œ. œ ‰ œJ ‰ j ‰ œ œ. œJ ‰  œœ ‰ 
œœ.J œœ .J
3

Vc.
œ
œ J œ œ
Do not need to continue placing the "3"  f P
#
in repeated triplets.

& ∑ ∑ ∑ ∑
Hp.

?# ∑ ∑ ∑ ∑

# ‰ œœœ3 œœœ œœœ œœœ œœœ œœ .. œœ œœ ‰ Œ œ ˙ j

œœ ‰ ˙˙ ‰ œ œ œ œ œ œœ .. œœ œœj ‰ Œ œœ ‰ b ˙˙˙
74

& œ. œ œ œœ œœ œœ œœ œœ œ . œ œ
J J œ
3

? # ‰ œ œ œ œ œ œœ .. œœ œœ ‰ Œ j . œ
‰ œ œ œ œ œ œœ . œ œœ ‰ Œ
Pn.

œ ‰ b˙
3 3

œ ‰ ˙ œ ˙
œœœœœ J œ ˙ œœœœœ J J
Do not need to continue placing the "3" 
in repeated triplets

18 Septet No. 7 in B flat major (1)

 I prefer to make my reheasal letters time new roman, 14 point, italic
enclosed in a box. Other sizes and fonts will suffice, and one need
not enclose the figure. Composers should make a choice and be consistent. 

# œ. œ œ
‰ œJ
F

∑ Œ J ‰ ∑
78

Fl. &
f
## ‰ œ œ. œ œ ‰ œ
Cl. & # ∑ Œ
J J ˙ œ. œ œ.
f F
œ œ œ œ. œ œ. œ œ
# œ J ‰ J ‰ J J ‰ ‰ œ œ œ œ œ œ . œ œj ‰
3

&
3

Vn.

f p
n œ. . œ
B# Œ œ œ b œJ ‰ Œ Œ œ œ # œ œJ ‰ œ ‰ ‰ œ œ œ œ œ œ . œ œJ ‰
3 3

Va.
J
f p
œ. n œ œ. œ
? # nœ œ J ‰  œ # œ J ‰ j ‰ œJ ‰ ‰ œ œ œ œ œ œ . œ œJ ‰
3 3

Vc.
œ
f p
# ∑ ∑ ∑
&
Hp.

?# ∑ ∑ ∑

# j j
‰ n œœœ œœœ œœœ œœœ œœœ b œœœ ...
F

œœ œœœ ‰ Œ œœ ‰ ˙ ∑
78

& œ œœ ˙˙

j
Pn.

?# ‰ œœ œœ œœ œœ œœ b œœ .. œœ œœ ‰ Œ œ ‰ ˙ ∑
J œ ˙
I use the same font and point in preparing page numbers and
running footers in individual parts. I add the instrument name
between the title and movement number. I insert two spaces
between the title and instrument & instrument and movement
number. For example:

Septet No. 7 in B flat major, Violin (1)

Septet No. 7 in B flat major (1) 19

 œ œ
# . œœ
∑ ∑ Œ ‰ J J ‰ ∑
81

Fl. &
P
œ œ œ œ. ˙ œ. œ œ. œ
### œ . œœœ œ. œ J ‰ J ‰ œ œ
& #œ œ J . œœ ‰
Cl.
J
3

# Œ œ œ œ œ œ œ. œ œ œ ˙
Vn. &
œ ‰ ˙
J ‰ J ‰ Œ J ‰ ‰ œ œ œ œ œ œ . œ œj ‰

œ œ œ œ œ œ. œ œ œ ˙
Va. B# Œ œ ‰ ˙
J ‰ J ‰ Œ J ‰ ‰ œ œ œ œ œ œ. œ œ ‰
J

œ ‰ ˙ œ œ œ œ œ œ. œ œ œ ˙
Vc.
?# Œ J ‰ J ‰ Œ J ‰ ‰ œ œ œ œ œ œ . œ œJ ‰

# ∑ ∑ ∑ ∑
&
Hp.

?# ∑ ∑ ∑ ∑

œ. œ. œ œ. œ. œ . . . .
 Some slurs are difficult to position and require an effort to look nice.

# ‰ œ œ. œ. œ œ œ. œ. Œ ∑ ‰ œœœœœœœŒ ∑
81

&
Pn. p π p π
?# ∑ ∑ ∑ ∑

Note: Before completing a piece, I go through a lengthy checklist

to double check the quality of my manuscript. Over the next several
pages I enumerate the checklist and explain the importance of
each item. I go through a similar checklist for parts.

20 Septet No. 7 in B flat major (1)

 œ œ. œœ
# ∑ ∑ Œ ‰ J J ‰
85

Fl. &
F
. œ œ œ œ.
### œ . œœœ œ œ nœ œ J ‰ J ‰ œ œ.
J œœ ‰
Cl. & J
3
f
# Œ œ ‰ ˙ ‰ œ œ œ œ œ œ. œœ ‰ Œ œ ‰ ˙
Vn. & J J J
P
B# Œ œ
J
‰ b˙ ‰ nœ œ œ œ œ bœ. œœ ‰
J Œ œœ ‰ ˙˙
J
Va.

P
?# Œ œ ˙ œ œ œ œ œ œ. œœ ‰ œ ‰ ˙
Vc. J ‰ ‰ J Œ J
P
#


∑ ∑ ∑
Draw hairpins straight and lined up with other hairpins.

&
Hp.

?# ∑ ∑ ∑

œ. œ. œ
# ‰ œ. œ. œ . œ œ œ. œ. œ
œ œ œ bœ œ œ Œ ∑ ‰ œ œ. œ. Œ
85

&
. .
Pn. p π p π
?# ∑ ∑ ∑
Score Checklist:

1) Page margins/size: Here I check to see that all pages,

including added pages at the end preserve the page margin
scheme and measurements. In subsequent movements, make sure
the page margin scheme starts off where the last page leaves off.
Use the page layout tool.
2) Music spacing and updated layout: One can inadvertantly
produce overlapping accidentals when copying and pasting and at
times a page or two ends up too crowded or too loose. Use Finale's
music spacing program under the mass mover tool.
Septet No. 7 in B flat major (1) 21
 When a rehearsal letter appears before the left sided measure, I prefer to position
the letter over the clef rather than the left-most barline. One must watch for these letters
in extracted parts for they will appear off the barline and will need to be repositioned.


G Note: Both "pizz." and "trem." are abreviations and require



#
a period at the end. But "arco" does not require the period.

∑ ∑ ∑
88

Fl. &

## œ ‰ œJ
Cl. & # œ
œ
œ œ œ ‰ œJ œ nœ œ ‰ œ
J
p P
#
In string staves, the modifiers pizz., arco

∑  Œ Œ 
and trem. are positioned over the staff 

œœ
pizz.

& œ
œ
Vn.

p
B# ∑  Œ œ nœ Œ 
pizz.
Va.

p
œ.
?# œ. œ. j ‰ Œ
j ‰ Œ œ œœ
œ œœ ‰ Œ
J
œ œœ
Vc.

p P
#
& ∑ ∑ ∑
Hp

?# ∑ ∑ ∑

œ3 œ œ œ3 œ œ . # œ œ œ œ œ œ œ œ. #œ œ œ œ œ œ œ œ. #œ œ
G

# œ œ œ œ œ œ. #œ œ ‰
& ‰ ‰ œ œ œ œ œ œ . # œ œJ ‰ ‰ œ œ œ œ œ œ . # œ œJ ‰
88

J
Pn π
?# ∑ ∑ ∑
Score checklist:

3) Rehearsal letters: Check all rehearsal numbers for position,

need for individual positioning, and for missing letters.
4) Page numbers / running head: Check the text, position and
font of page numbers and running head for consistency.
5) Tempo: Check fonts and positions of all tempo designations.
For those interested in playback, check that the tempo is
correctly translated. Check also staff listing.

22 Septet No. 7 in B flat major (1)

 # ∑ ∑ ∑
91

Fl. &

## ‰ œj ‰ œj n œ ‰ œj
& # œ nœ œ
œ bœ nœ œ bœ
Cl.

F
#  Œ œ b œœ Œ   Œ
nœ
Vn. & bœ bœ
P
œ bœ
Va. B#  Œ Œ   Œ nœ
P
œ. j bœ. j bœ.
?# œœ ‰ Œ œœ ‰ Œ
j
Vc. œ bœ bœ œœ ‰ Œ

# ∑ ∑ ∑
&
Hp.

?# ∑ ∑ ∑

bœ œ œ œ œ œ. œœ nœ œ œ œ œ œ. #œ œ nœ œ œ œ œ œ. œœ
# nœ œ œ œ œ œ. œœ ‰
‰ bœ œ œ œ œ œ. œœ ‰ ‰ œ œ œ œ œ œ . # œ œJ ‰
n ‰
91

& J J
Pn. p
?# ∑ ∑ ∑
Score checklist:

6) Dynamics: Check that every dynamic marking is properly

placed below the assigned note and line up with other dynamic
and with hairpins vertically and horizonatally as much as possible.
Make sure that every entrance of music in a staff has a dynamic.
7) Measure durations: Use the check regions for duration
plug in to make sure that there are no measures with too few
(frequently overlooked) or too many notes and/or rests.
8) Pizz/arco: Make sure that in the strings, every "pizz." is cancelled
by an "arco" (unless it is at the end of the piece). When a da capo
returns to the beginning, I cancel "pizz." with an "arco" in parentheses. Septet No. 7 in B flat major (1) 23
 bœ. bœ bœ
#
H
bœ bœ
∑ ∑ J
94

Fl. &
P
## j
& # nœ ‰ œj n œ j
œ ‰ bœ ‰ Œ 
bœ bœ bœ bœ
Cl.

bœ bœ
# bœ
Make sure that all pizz. are cancelled by arco.  arco

bœ Œ   Œ J ‰ J ‰ Œ 
&
Trem. or saltando need not be cancelled.
Vn.

F
nœ bœ
bœ bœ
arco

Va. B# nœ Œ   Œ J ‰ J ‰ Œ 
F
?# bœ. j bœ. j‰
bœ œœ ‰ Œ bœ. j ‰ œJ ‰ Œ
Vc.
bœ œœ bœ œ œ
F
#
& ∑ ∑ Œ b œ b œ b œJ ‰ œ œ
bœ bœ œœ
p
bœ
Hp

?# ∑ ∑ bœ bœ Œ ‰ œ Œ
bœ
nœ œ œ œ œ œ. œ œ nœ œ œ œ œ œ. œ œ bœ
# nœ œ œ œ œ œ. œ œ nœ œ œ œ œ œ. œ œ bœ
H

‰ J ‰ ‰ J ‰ Œ 
94

&
p P
b b ˙˙ œœ b bb ˙˙˙ œœ bœ
Pn

?# Œ J ‰ Œ œ ‰ b b œœ Œ 
J
Score checklist:

9) Beaming: Check all 8th note groups to be sure

there is proper beaming, within reason.
10) Tuplets and arpeggios: Check every tuplet to be sure that the
number is attractively positioned and whether the numbers could
be eliminated altogether. Check arpeggios for positioning
and to avoid overlap.
11) Rest groups: Check groups of rests to be certain that proper notation
is used, for example, two quarters rather than a half rest in 3/4 when
there is one quarter note at the beginning or end.
24 Septet No. 7 in B flat major (1)
  Be careful to notate proper enharmonic spelling.

# bœ bœ œ bœ bœ n˙
J J bœ bœ bœ œ ∫œ œ bœ œ bœ bœ œ bœ bœ
97

Fl. &

##
Cl. & # ∑ ∑ ∑

# b ˙ b b ˙˙ b˙
b b ˙˙
trem.

& b˙ ∑ b˙
 
Vn.

π
b˙
B# b˙ b ˙ ∑ b˙
trem.

 

Va.

π
?# Œ ‰ bœ bœ ‰ œ bœ Œ  Œ ‰ bœ bœ ‰ œ
pizz.

J J J J
Vc.

# bœ b œ b œJ ‰ bœ nœ ‰ Œ
& J ‰ Œ  Œ b œ b œ n œ bœ œ J 
bœ

bœ bœ
Hp.

?# ∑ bœ bœ Œ ‰ œ Œ ∑
 Putting one slur over all notes in these phrases would be ideal,

#
but difficult. I have taken the easy way out here by dividing slurs.

∑ ∑ ∑
97

&
Pn.

?# ∑ ∑ ∑
Score checklist:

12) Slurs: One should spend considerable time looking over drawn slurs, so that the shape is attractive,
is sufficiently curved high over notes, are adjusted over system breaks, do not come to close to ties
and do not interfer with accidentals.
13) Staff spacing: Check the space between staves to accomadate for high and low notes,
markings and anything that might result in overlap.
14) Staff names and abbreviations: Make sure that the staff names and abbreviations are in your
customary font and point and are positioned in a consistent manner.
15) Measure numbers: Check font, position and staff assignment of measure numbers.

Septet No. 7 in B flat major (1) 25

 Note: I prepare individual parts with the same page margins and general fonts as
I do for the score. I make the staves somewhat larger at 65 percent page reduction.
This may be still a little small for some perfrmers and I would advise or at least
consider using a 70 percent page reduction for parts.
Beam these four
 8th notes together.

# j
bœ bœ œ bœ ∫œ. œ bœ bœ bœ bœ b˙ w
100

Fl. &

##
Cl. & # ∑ ∑ ∑

b˙
&
# ∑ b b ˙˙ b˙ ∑
 
Vn.

b˙ b˙
Va. B# ∑   ∑

?# bœ Œ  ∑ bœ bœ œ nœ œ bœ
arco

Vc.

P
bœ bœ
# Œ b œ b œ b œJ ‰ œ bœ œ J ‰ Œ  ∑
& bœ bœ

bœ bœ
bœ bœ bœ Œ
Hp.

?# ‰ Œ ∑ ∑
bœ. b œ œ œ b œœ
3

# b œ. b œœ
∑ ∑
100

&
π
bœ. b œ œ œ b œœ
Pn.

?# ∑ ∑ & b œ. b œœ
3

 Brackets are not

Score checklist:
needed here.
16) Courtesy accidentals: Check to see where courtesy accidentals may
be necessary or helpful.
17) Clef changes: Make sure that there are no overlap of notes and clef
changes.
18) Page number: Make sure that subsequent movements, if in a different
file, start with the next consecutive page number from the last movement.
19) Titles: Make sure that the fonts and points of your title are consistent from
movement to movement according to your predetermined custom.
26 Septet No. 7 in B flat major (1)
 Note: Finale comes with a plug-in that beautifies beams and notes. The flat here indicates that c flat is the note that
Apply by selecting measures and implementing Patterson beams  is alternated with the notated b flat.

Ÿ b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
under plug-ins.

# bw
w w
103

Fl. &

## bœ ‰ Œ
Cl. & # bœ bœ œ nœ œ nœ J  ∑
P
bœ œ nœ œ bœ
bœ
# ∑ bœ J ‰ Œ 
Vn. &
P

Va. B# ∑ ∑ ∑

bœ
Vc.
?# J ‰ Œ  ∑ ∑

√
# ∑ ∑ Œ ≈ ‰ ≈ bœ bœ bœ
& b œ b œJ
bœ bœ
Hp.

?# ∑ ∑ b œ b œJ ‰ &≈ b œ b œJ ‰
bœ bœ bœ b œ

# bœ. b œ œ œ b œœ
b œ. b œœ Œ
103

& bœ. b œ œ œ b œœ
3

3 b œ. b œœ b b ˙˙ ..
#
Pn.

. .
b b œœ . ‰ 
b b ˙˙ . Œ
?
& bœ. b œ œ œ b œœ
3

b œ. b œœ
Part checklist:

The checklist for parts includes everything for the score plus a few extras

1) Page turns: Be sure that there are one or two measures of rest (or
the end of a movement) at the lower right hand corner.
2) Cue notes: Work out cue notes for instruments where there are a large
number of rests.

Septet No. 7 in B flat major (1) 27

 In the event that musical material threatens to overlap with rehearsal letters,
one can individually position the letters. Click on the expression tool, right click
on the rehersal letter expression handle, click on edit measure expression
assignment and then check the "allow individual positioning box." This allows
 the engraver to position one rehearsal letter without moving the other.

q.
# œ
I

b b b b b b 38
Molto Vivace
J‰ Œ  ∑ ∑ ∑ ∑ ∑ ∑
106

Fl. &

## b b b b 38
Cl. & # ∑ ∑ ∑ ∑ ∑ ∑ ∑

# ∑ b b b b b b 38 ∑ ∑ ∑ ∑ œ œœœœ œ œœœœ
Vn. &
P
œ
Va. B# ∑ b b b b b b 38 ∑ ∑ ∑ ∑ ‰ œ œ ‰ œ
p
?# ∑ b b b b b b 38 ∑ ∑ ∑ ∑ ‰ œ
Vc.
œ œ ‰ œ
(√) p
# bœ œ nœ œ
& J‰ Œ  b b b b b b 38 œ œ œ œ
œ œ
œ
œ œ œ œ œ œ
œ œ
p
# œ œ œ œ œ œ œ œ œ œ
Hp.

œ œ nœ œ œ œ
∑ b b b b b b 38 œ
?
& œ
q.
#
I

b b b b b b 38 œ .
Molto Vivace

bœ. œ ˙ j ‰ ‰ ‰ ‰ j j‰ ‰
106

& b b b œœœ n n œœ .. œœ ˙˙ œ j œœ œ . œ
œ. œ œ n œœ œ. œ
π
bœ bœ. œ ˙
Pn.

?# bœ. œ ˙ bbbbbb 8 œ .
3 œ ‰ ‰ ‰ ‰ œj œ œ œ.
J
œ ‰ ‰
J J
 It is customary to insert two 8th rests rather
than one quarter rest in 3/8 or 6/8 meter
Part checklist:

3) Count measures: Count the measures between rehearsal letters and make
sure that the number is the same, respectively, for each instruments. This
avoids the embarrassment of inadvertantly leaving measures out.
4) Multimeasure rests: Look at all multimeasure rests and position the
measure number in an attractive, consistent position above the measure.
Make sure that all multimeasure rests are broken for rehearsal letters, key
changes and tempo changes. Make sure there is no overlap between clef
28 changes within the multimeasure rest and the rest bar.
Septet No. 7 in B flat major (1)
 Note: Large sections of rest measures in parts require instrument cues.
I prefer to reduce cue notes to 70% of the standard note size, indentify
the instrument playing the cue notes with times new roman, 17 point,
italic font with the first letter capitalized as a note attached expression.
Whatever one prefers, make note of it and be consistent.
When drawing consecutive crescendo and decresendo
hairpins, purists would demand that one designate how
much louder and softer one should play the passage.
If a phrase starts and ends piano does it swell to only
mezzopiano or as high as forte ? For long hairpins,
I think that it makes perfect sense. But I believe that
for very brief phrases,like the one here, one can leave
out the middle dynamic. 

b
& b bbbb ∑ ∑ ∑ ∑ ∑ ∑ ∑
113

Fl.

b nœ
Cl. & b bb œ . œ œ œ œnœ œ œ ∑ ∑
œ. œœ œ œ
œœœœ ∑
p
b œ œœœœ œ œœœœ œ œ œœœœ
Vn. & b b b b b œJ ‰ ‰ ∑ J ‰ ‰ ∑

œ œ œ œ œ ‰ ‰ œ œ
Va. B bbbbbb J ‰ ‰ ∑ ‰ œ ‰ J ∑ ‰

œ œ
? bbb j ‰ ‰ ∑ ‰ œ ‰ œ œ ‰ ‰ ∑ ‰
Vc. bbb œ œ
œ J

b œ œ
& b bbbb œ œ œ nœ œ œ œ œ
œ œ œ œ œ œ
œ œ.
œ œ.

œ œ
œ œ œ
Hp.

? bbb œ œ œ nœ œ œ œ
œ œ œ œ œ œ.
bbb œ

b
& b bbbb ‰ ‰ j j ‰ ‰ ‰ ‰ j j
113

j n œœ œœ œ . œ œ œœ œœ œ .
œ œ. œ œ.

œ œ
Pn.

? b b b b ‰ ‰ œj œ œ œ. œ ‰ ‰ ‰ ‰ œ J
œ.
bb J J J
Part checklist:

5) Running footers: Make sure that the running footer consistently

adds the instrument name
6) Harp pedals: For harp parts, add pedal position change indications
according to your consistent policy. Make sure that every necessary
change is indicated.
7) Staff names: Delete staff abbreviations from subsequent systems in parts

Septet No. 7 in B flat major (1) 29

 bb œ œ œ œ
J

& b b bb ∑ ∑ ∑ ‰ ‰ ‰ ‰
120

Fl.

F
bb œ œ œ œ
Cl. &bb ∑ ∑ ∑ ‰ ‰ ‰ ‰
F
œ nœ œ œ œ œ nœ œ œ œ nœ œ œ
b bbb b œ œ œ œ J J J J J J
Vn. & b
f
œ nœ nœ œ œ nœ œ œ œnœ nœ œ œ œnœ nœ œ œ œnœ nœ œ œ œnœ
Va. B bbbbbb œ ‰ œ œ
f
œ œ œ nœ œ œ œ
? bbb œ ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰
Vc. bbb œ. œ. œ. œ.
f
b œ œ œ œ
& b bbbb œœœ ... nœ œ œ n n œœœ œ nœ œ n n œœœ œ nœ œ
nœ œ œ J œ J J œ J
F
œ nœ nœ nœ nœ
Hp

? b b b œ. œ nœ œ œ J œ J œ J œ J
bbb œ œ

bb
J
j j
& b b b b œœœ ... œ ‰ ‰ ∑ ∑ ∑
120

œ. œ œ.

j j
Pn

? bb b b œ . œ œ œ. œ ‰ ‰ ∑ ∑ ∑
bb œ. œ œ. œ
Part checklist:

8) Measure numbers: In the parts, apply measure numbers to all

instruments (but only the top staff of a two staff instrument). Do
the same for endings and text repeats.
9) Tempo marks and rehearsal letters: Be sure intended tempo
designations and rehearsal letters are present in each part and
is properly positioned.

30 Septet No. 7 in B flat major (1)

 œœœ œ œœ
œ.
b
& b bbbb ∑ ∑ ‰ ≈ ∑ ‰ ≈ ∑
127

P p
Fl.

b œœœ œœ œ
Cl. & b bb ∑ ∑ ∑ ‰ ≈ ∑ ‰ ≈ œ.
P p
œ œnœ œ
b nœ œ œ œ œ œ œ œ
Vn. & b bbbb nœ œnœ œ
œœœœœ œœœœœ œ œ œ œœ œ œ œœ œ œ ‰
P p
n œ œ œ œ œœ n œ œ œ œ œœ œ œ œ œ
B bbbbbb nœ nœ nœ nœ œ ‰
J J J J
Va.

P p
? bbb ‰ nœ œ ‰
Vc. bbb œ n œ œ œ œ nœ œ œ nœ œ œ nœ œ œ nœ œ
P p
œ œ œ
b
& b bbbb ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œœ ‰ ‰ œœ ‰ ‰ œœ œ œ œ
J J J J J J
Hp. p
? bbb œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ∑
bbb œ œ œ œ œ œ
œ nœnœ œ
œ n œ n œ œnœ œ œ
b ‰ ‰ ≈ œr n œ n œ œ n œ œ œ
& b bbbb ∑ ∑ ∑ J ‰ ‰
127

p F
8 8
Pn.

? bb b b ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb
Rules for tuplets: With one exception, tuplets are created with the smaller sized note that the tuplet  Keep the hairpin straight, even
is expanded on. For example, in 2/4 meter, when one wants seven equal notes in the space of a though the run of notes goes up.
quarter note, one would choose a tuplet of seven 16th notes, for it would normally take four 16th
notes to make one quarter note and eight 16th notes to make two quarter notes. If one wanted
nine equal notes within a quarter note beat, one would choose a tuplet of nine 32nd notes, for eight
32nd notes would ordinarily take up that amount of time. The exception is in 6/8 (or 3/8) meter
where one normally finds two 8th notes used as a duplet to equal the space of a dotted quarter note.

Septet No. 7 in B flat major (1) 31

  I raise these slurs so that they are not too close to the ties.

b œ. œ. œ œ œ œ œ œ œ. œ.
& b bbbb nœ œ
134

Fl. J

b œ. œ. œ œ œ nœ nœ. œ.
& b bb œ œ nœ œ
Cl.
J

b œ œ œ. œ. œ.
Vn. & b bbbb n œ ‰ ‰ ‰

œ nœ nœ. œ. œ.
Va. B bbbbbb œ ‰ ‰ ‰

nœ œ œ. œ. œ.
? bbb œ ‰ ‰ ‰
Vc. bbb

b œ
& b bbbb œ n œ œ œ
nœ œ œ
nœ œ
j ‰ ‰ ∑
#œ œ #œ
œ #œ
œ

#œ œ
Hp

? bbb ∑ ∑ ∑ ∑ # œ œ ∑
bbb #œ œ
The harp cannot repeat the same note quickly, but one can
 "Improper" enharmonic


b
get around this by using the enharmonic equivalent.

& b bbbb ∑ ∑ ∑ ∑ ∑ ∑
134 spelling is allowed here.

Pn

? bbb ∑ ∑ ∑ ∑ ∑ ∑
bbb

32 Septet No. 7 in B flat major (1)

 Without any hard and fast rules about distances,
I put these two tempo measure expressions about
this far apart (and carefully line them up).


q.
b b b b œJ
Adagio

b b b b b 68
K

b ‰ ‰ ∑ ∑ ∑
140

Fl. & b
π
œ. œœœœœ
œ œ. œ œ œ œ œœœœœœ œ
Cl.
b œ
& b bb J ‰ ‰ bb b 68 œJ œ. œœœœ œ
π P
b œ b b b b b 68
Vn. & b bbbb J ‰ ‰ ∑ ∑ ∑
π
œ
Va. B bbbbbb J ‰ ‰ b b b b b 68 ∑ ‰ œ œ œ. œ œ œ œ œ
œ
π p
? b b b b œJ ‰ ‰ b b b b b 68 ∑ ∑ ∑
bb
π
Vc.

b b b b b œJ ‰ ‰ b b b b b 68 ∑ ∑ ∑
& b
Hp π
? bb b b ∑ b b b b b 68 ∑ ∑ ∑
bb
q.
œ. j œœ œœœ ... œœœ j
Adagio
b b b b b b 68 œœ .. œœ œœœ ...
& b bbbb
œœ œœ
K

∑ œœ
140

œ œJ œ
π
œ
Pn

? bb b b ∑ bb b 68 œ œ œœ . œ œ œ œ œ œ œ
œ œ
bb bb œ œ œ . œ . œ.
. œ.

Septet No. 7 in B flat major (1) 33

 I prefer arial plain, 9 point for measure numbers. This is a fairly small point and some composers
might like a larger size. Be consistent from movement to movement, work to work. The number
should be positioned right above the clef. One might need to work with measure regions for the
 most attractive positioning. One industry expert prefers maestro point 12 plain.

œ. œœœœœœ œ. œ nœ œ nœ œ œ œ œ œ œ bœ
œ. nœ œ
bbbb ∑
144

Fl. & b
œ œ œ
œ
Cl. & bbb œ . œ ≈R J ‰ ‰ Œ ‰ ∑ ∑

b ‰ œ œ œ
. nœ nœ œ œ œ
Vn. & b bbb ∑ ∑ œ
p
Va. B bbbbb œ . œ ‰ ‰
J
∑ ∑ ∑

? b b œ. œ. œ.
pizz.

b b b œ. ∫œ. œ. Œ ‰ ∑ ∑
œ. œ. œ.
Vc.

p Most publishers will insert a quarter rest and 8th

j
œ
b
& b bbb
œ
rest in place of a dotted quarter rest in 6/8 meter 

∑ ∑ ∑ Œ ‰ ‰
Hp p
? bb ∑ ∑ ∑ Œ ‰ œ ‰
bbb j
œ

b œ. j œœ œœ œœ n n œœ .. œœ j
œ œœ .. œœ ..
& b b b b œœ .. ∫ œœœ b œœ œ œ œ. œ œœ
144

œœ œ . œ
J œ. J œ
p
œ œ
Pn

? bb œ œ œ ∫œ œ œ œ bœ œ. œ
œ
œ œ
œ
œ. nœ œ œ
bbb œ œ. œ œ. œ. œ.
œ. œ.

34 Septet No. 7 in B flat major (1)

 Create rehearsal letters with the expression tool. Make them measure
attached. Click on the measure following the intended rehearsal letter.
Click on the desired letter or click on create and enter the desired letter.
Define the point and font of your choice and enlcose the expression.
I prefer the default box and make the letters 14 point times new roman
italics. Select and use your staff list for staff assigment.


œ. ∫œ q.
The proper alternating note in the violin

œ œ. ### 6
L Poco piu mosso is an f double sharp rather than a g natural 

b
& b bbb ∑ ∑ ∑
148

Fl. 8

#### 6
 Brackets are not

b
&bb ∑ # 8‰ ‰ ‰ ‰ œ œj ‰ ‰ ‰ œ œ œ œ œ ‰ ‰
needed here.

œ j
3

œ J
3

œ
œœ œ œ œ
Cl.

p
(sometimes as 32nd note grace notes in very slow tempos). π
œ œ
Two grace notes should be written as 16 note grace notes

b b b  ### 6 œ œ œ œ
œ. ‹œ œ œ œ
Vn. b
& b œ œ œ. œ œ œ 8 œ. œ. œ œ œ œ # œ œ J
P
3

B bbbbb ∑ ### 6 ∑ ∑ ∑
Va. 8

? bb j ## 6
œ@ ‰ ‰ # 8
bbb ∑ ∑ ∑
arco - trem.
Vc.
œ.
π
 The harp cannot play a "b double flat" but can play and sound the equivalent "a natural"
j
### 6
œ
b ‰ œœœ ...
j

& b bbb œ
nœ
nœ. ‰ 8 ∑ ∑ Œ
p
œ. œ.
‰ # # # 68
Hp

? bb œ ∑ ∑ Œ ‰ œ.
bbb œ
j
j
œ
q. ^œœ œ
œ. œœ .. œœ # œ œœ n œœ ..
Poco piu mosso

# # # 6 œœœ ... œœ .. œ. œ œœ œ # œœ œ.
L
b œ .. œœ .. œ
& b bbb J
148
œœ
œœ . œ. 8
P
∫œ œ œ # # 6 œ œ œ œœœ
Pn

? bb œ b œ # 8 œ œ œ œ œœœ œ
œ œ # œ n œ œ œ. œ œ
bbb œ. œ œ. œ œ œ œ œJ
œ. œ J œ. J

 One can create 16th note grace notes by entering 16 notes in simple or speedy entry.
In simple entry, click grace notes over the 16th notes to make 16th note grace notes.
If necessary, go to speedy entry to beam the grace notes together with the "/" key.

Septet No. 7 in B flat major (1) 35

 . œ. œ. œ œ
 Brackets are not

### œ j .œ œ
‰ œ. œ. œ. œ ‰ ‰ ‰ œ. œ. œ œ ‰
needed here.

∑ ‰ ‰ J ‰ ‰
152

Fl. & J
p 3 3

# ## œ j
Cl. & # # ‰ ‹œ œ œ œ ‰ ‰ ∑ ∑ ∑

### œ
#œ œ. ∑ ∑ Œ ‰ œ.
trem.
Vn. & J 
F p
# .
B ## ∑ ∑ ∑ Œ ‰ œ
trem.

Va.

p
œ
œœ œ
œ œ œ#œ œ œ #œ. œ œ œ œ
Vc.
? ### ∑ œ. œ. J
P
### œ. œœ ..
& œœ .. œ. ∑ ∑ ∑

? ### œœ . œ.
Hp

. ∑ ∑ ∑
œ.
œ. ^œ œ œ. ^œœ
œœ .. œœ œ œœ .. œ
### J
œœ .. œœ .. œ. œ œœ œ œœ .. œœ ..
œ. œ. œ.
152

&
F p
# œ œœ œ œ œ œ # œ œ œ n œœ
Pn

? ### œ œ œ œ œ#œ nœ
œ. œ œ œ œ œ œ œ œ œœ œ œ œ œ œ #œ
œ.
œ
J
J . œ J œ. J œ

Note: One would never see a quarter rest followed by an eighth note in the first half of a 6/8 meter measure.
Instead, one always sees two eighth rests followed by an eighth note. But in the second half of the measure
one might see a quarter rest followed by an eighth pickup. Dotted quarter rests for one half of the measure
are not considered proper, but there are classical manuscripts where one can find this.

36 Septet No. 7 in B flat major (1)

 Note: One uses the term "a tempo" to resume a tempo that was momentarily
modified by a "ritardando" or "accelerando." I prefer arial font, italics,
13 point without capitals. On the other hand, one uses "Tempo 1" for
resuming the intial tempo after a distinct section at a different tempo.
Here I prefer arial font, italics, 14 point with a capital "T" in "tempo."

I do not capitalize the first letter of

score expressions such as ritardando. 

.
### œ. œ. œ œ œ # 2
ritardando

‰ J ‰ ‰ ∑ ∑ ∑ ∑
156

Fl. & 4

# ## ### 2
Cl. & # # ∑ ∑ ∑ ∑ ∑ 4

### œ. # 2
& œ. œ. œ. ∑ ∑ ∑ 4
 
Vn.

π
#
B ## œ. œœ .. # œœ .. œœ .. ∑ ∑ ∑ # 2
4
  π  
Va.

œ #œ œ.
? ### œ.
J œ. œ. j ‰ ‰ Œ ‰ # 42
œ. ˙. œ
Vc.

π
## # 2
& # Œ ‰ œ. ∑ ∑ ∑ ∑ 4
œ.
Hp p
? ### Œ ‰ œœ .. ∑ ∑ ∑ ∑ # 42
œ.

### œ. œ. œ œ œ. œ. œ œ œ. # 2
ritardando
œ. œ. œ œ. œ. œ
156

& œ. œ. œ. ˙. 4
Pn
π
œ œ œ œ œ œ œœ œ œ œ œœœ œ œ œ œœœ
? ### œ. œ. œ œ œ. œ œ œ œ œ œœ œ œ œ œœ ˙˙ .. # 42
œ J œ J œ J œ J œ J

Septet No. 7 in B flat major (1) 37

 Note: The composer must give some thought as to the length of notes designated pizzicato. In almost all circumstances,
pizzicato is assigned to either 8th notes or quarter notes. 16th notes are too short (unless there are a run of 16th pizz
or dotted rhythm.), and half notes are too long, except perhaps in cut time. I have made all the pizzicato below 8th notes,
for consistency. I could have made the notes in the cello quarter notes and the playback would sound the same, but in this
case consistency with the off beat notes in the violin and viola would necessitate unnecessary complications with tied notes.

M
q
œ œ œ œ œœ
Andante con moto
#
& 42 ∑ ∑ œ œ œ œ #œ œnœ œ œ œ œ œ ‰ Œ ∑
161

Fl.
J
P
## œ œ œ œ œ œ
& # 42
Cl. ∑ ∑ ∑ ∑ ∑ ∑ œ
P
# 2 ‰ pizz. j j j j œ ‰ œ ‰ œJ ‰ œJ ‰ œj ‰ œj ‰ œj ‰ œJ
Vn. & 4 œJ ‰ œ ‰ œJ ‰ œ ‰ œJ ‰ œ ‰ œJ ‰ œ ‰ J J
p
j j j œ ‰ œJ ‰ œJ ‰ œJ ‰ œ ‰ œ ‰ œ ‰ œ
B # 42 ‰ œJ ‰ œ ‰ œJ ‰ œ ‰ œJ ‰ œ ‰ œJ ‰ œ ‰ J
pizz.

J J J J J
Va.

p
? # 2 j‰ œ ‰ j‰ œ ‰ j‰ œ ‰ j‰ œ ‰ j‰ j‰ j ‰ ‰ j ‰ œ ‰ œj ‰ œ ‰
pizz.

4œ J J œ J J œ œ œ œj œ J J
œ œ
Vc.

p
# 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& 4
Hp.

?# 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4
M
Andante con moto q
# 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
161

& 4
Pn.

?# 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4
Note: For string quartets I prefer to reduce the page size to 60% or 62% and position 3
systems per page, except for page one of each movement, where I position 2 staves below a title.
I position the top line of each stave as follows: Violin 1: 1 inch, Violin 2: 1.75 inches,
Viola 2.5 inches, Cello: 3.25 inches. Each system is positioned with suitable space between
systems and above and below the systems. Some publishers will position four smaller systems
per page, but one must be careful to avoid crowding and overlaping of musical elements.

38 Septet No. 7 in B flat major (1)

 I place rehearsal letters approximately
every 8 to 32 measures, depending upon
the tempo and presence of a clear cadence.   This is the proper enharmonic spelling for this flute figure

œ œ #œ œ œ œnœ œ œ
# œ. bœ œ œ œ œ œ œ œJ ‰
N

∑ ∑ œ Œ
169

Fl. &
P
# œ
# #œ œ œ #œ œ œ œ œ œ j ‰ Œ
Cl. & # œ ∑ ∑ ∑ ∑

# j j j œ
bœ œ
& ‰ œ ‰ œ ‰ œ ‰ J œJ ‰ Œ ∑ ∑ ∑
arco

Vn. œ
P
j œ
Va. B # ‰ œ ‰ œJ ‰ œJ ‰ œJ J ‰ Œ ∑ ∑ ∑ ∑

?# j œ ‰ œ ‰ j ‰ j‰ Œ
œ ‰ J
∑ ∑ ∑ ∑
Vc.
J œ œ
Harpists prefer music for both hands, so that even in light passages,

# œ œ j‰ œ œœ œ ‰ œ j ‰ œ œ œj ‰ b œ œ œ
 try to use both staves (even if both are treble or both are bass).

& ∑ ∑ Œ œ œ œ
J œ œ œ
p
œ œ œ œJ œ œ œJ œ œ œJ œ
Hp.

?# ∑ ∑ œ œ J ‰ œ ‰ # œ ‰ œ ‰ œ œJ ‰
œ œ
œ bœ œ bœ
# ≈
N

∑ ∑ ∑ ∑ ∑ ∑ ≈
169

&
Pn. p
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑

Septet No. 7 in B flat major (1) 39

 Note: There is considerable variation from published work to published work regarding the rules for beaming 8th notes
in 2/4 meter. In the Dover scores of Mozart's symphonies nos. 1-21 the engravers go to great lengths to ensure that every
group of four 8th notes in 2/4 are beamed together. Most of the four 8th note groups are beamed together in Dover's scores
of Brahms serenades. In contrast, the Dover score of the Nutcracker Suite has a considerable mixture of beaming in 2/4,
and in the Overture and Russian dance in particular, almost every group of four 8th notes are beamed into two groups of
two. I prefer the classic look of all four 8th notes beamed, as feasible. More difficult are rules about beaming when there
are only 3 consecutive 8th notes in 2/4. In many scores, only the first two 8th notes are beamed and the 3rd flagged when
there are three 8th notes and an 8th rest. But all three are beamed in the Mozart symphonies and in this score (see below).
It is more frequent to see the last three 8th notes of a measure beamed together when the first entry is an 8th rest. In 2/4
meter, some publishers will often beamtogether groups of 4 notes, when the first and third are dotted 8ths and the second
and fourth notes are 16th notes. Or, beam five notes together when there are three 8th notes and two consecutive 16ths.

# bœ ˙ ˙
∑ ∑ Œ
176

Fl. &
p
## œ ˙ ˙
Cl. & # ∑ ∑ Œ
p
# œ œ nœ œ œ œ
Vn. & œ bœ œ bœ œ œ bœ ‰ ∑ ∑

œ
B# nœ bœ nœ œ
arco

Va. ∑ ‰ ∑ ∑
p
œ bœ
?# ∑ nœ nœ œ œ nœ œ œ nœ œ
arco

Vc.
J J J J
p π  Syncopated rhythms here properly use

# bœ œ bœ j ‰ j
a quarter note rather than two tied 8th notes

j œ
bœ ‰ nœ œ œ ‰
& œ Œ ∑ ∑

œ œJ ‰
Hp.

?# j ‰
œ b œ œ n œ b œJ ‰ nœ
œ b œ ∑ ∑
nœ nœ

# œ bœ
≈ b œ œj œ ≈ œ œj ‰ Œ Œ œ bœ nœ bœ œ œ œ œ Œ
176

& nœ œ bœ nœ bœ œ œ
P
nœ œ bœ œ
Pn.

?# ∑ ∑ ∑ ∑ Œ

 Although the phrasing is over three 16th notes, the

beaming should be over the customary four 16th notes

40 Septet No. 7 in B flat major (1)

 Tempo markings should be positioned over the top stave and over
an important lower instrument stave in large scores. They should
be positioned in each extracted part, but not twice in harp or piano
parts. Ideally, a metronome indication will be positioned close to
the tempo indication. Some publishers position the tempo
markings above the top staff and below the lowermost staff. 

q
^œ œ œ
Molto Allegro

œ œ
# nœ œ. b b 42 J ‰ œ œ œ œ œJ ‰ œ œ œ œ
O

‰ J ˙ ‰
181

Fl. &
f
## œ œ nnn 2œ ^œ œ œ
Cl. & # ‰ J
n˙ œ. ‰ 4 J ‰ œ œ œ œ œJ ‰ œ œ œ œ
f
œ ^œ œ œ
# ^ œ^ ^œ ^ œ^
Vn. & ∑ ∑ ∑ bb 24 œœœ J ‰ œ
f
œ œ^ œ œ ^œ ^œ # ^œ ^œ ^œ
Va. B# ∑ ∑ ∑ bb 4
2 J ‰ J ‰
f
œ ^œ œ œ ^œ ^œ œ^ ^œ ^œ
?# œ nœ œ j 24 J ‰ J ‰
Vc.
J J bœ ‰ Œ ∑ bb
f
# œ
∑ Œ j bb 24 œœœ
& n œ ‰ b œJ ‰ Œ Œ Œ
œœ œ # œœ œœ œ
p f
œ œ
Hp.

?#
b b 42 œ
∑ Œ ∑ Œ Œ œ œ œ œ
œ
q
œœ œ œœ œœ >
Molto Allegro

# b b 42 œœ œœœ œœ œœ œ œ œ œ œ œ # œœ œ œ œ œ œ œ
O

∑ ∑ ∑
181

&
f œ œ # >œœ œ œ œ œ œ
œ œ
2œ œ œ œ œ œ œ
Pn.

?# bœ nœ bœ œ œ Œ ∑ bb 4 œ
nœ œ œ bœ œ œ œ

Septet No. 7 in B flat major (1) 41

 œ œ œ œ œ œ
œ œ œ
b b J ‰ ‰ J ‰ J ‰ J ‰ J ‰ J Œ Œ
187

Fl. &
p P
j œ œ œ œ œ œ œ œ
Cl. & bœ ‰ ‰ J ‰ J ‰ J ‰ J ‰ J Œ Œ
p P
^œ
bb J ‰ œ œ œ œ œ œ œ œ œ œ œ œ
Vn. & œ
œ œ œ œ œ œ œ œœ œ œ Œ œ œ
p
œ^ œ œ
œ œ œ œ œ œ. œ œ. œ œ œ œ
Va. B bb J ‰ œ J œ œJ
p
b ^œ œ œ œ
œ œ œ œ œ œ œ œ œ
? b J ‰ œ œ œ œ
Vc. b œ
p
b
& b œœ Œ ∑ ∑ ∑ ∑

? b œœ
Hp.

b Œ ∑ ∑ ∑ ∑

>œ œ œ
bb b œœ œ œ œœ œœ œœ œœ n œœ œ œœ œœ œœ œœ œœ œœ
œœ œ œœ œœ œ œœœ œœ
œ œ œ œ œ œJ J
187

& œ œ œ œ œ
b >œœ œ œ p 
œ œ œ
œ œœ œ œœ œœ œ œ œ œœ œ œœ j
Pn.

? bb œ œ œ œ œ œ œ œ œ œ
J œ œ

 I prefer to beam all four 8th notes in 2/4 meter, but in some
cases of very fast 2/4 meter publisher with beam two groups
of two 8ths to match the beaming pattern in the other staves

The left numbers are aligned left, bottom at 10 & 3/4

inches down and 5/8 inches accross.

42 Septet No. 7 in B flat major (1)

 ^œ œ œ
œ œ œ œœœ œœœ
b œ œ œ œ œJ ‰ œ œ œ
3 3

J œ J ‰ J
&b ‰ ‰ ‰ ‰
192

Fl.

f p
^œ œ œ
&
œ œ
J ‰ œ œ œ œ œJ ‰ œ œ œ b œj ‰ ‰ J ‰ œœœ‰ œœœ
œ
Cl.

f p
^œ œ ^œ
3 3

œ œ ^ œ^ ^œ ^œ œ^ œ bœ œ œ œ œ œ œ
Vn. & bb œœœ J ‰ J ‰ œ œ œ
f p
œ œ^ œ œ ^œ ^œ # ^œ ^œ ^œ œ^
Va. B bb J ‰ J ‰ J ‰ œ œ œ œ
f p
^œ œ^ ^œ b ^œ
^œ œ ^œ ^œ œ œ œ œ
? b œ œ ‰ J ‰ J ‰
Vc. b J
f p
œ
bb œœœ Œ Œ œœ Œ ∑
& œœ œ # œœ œœ œ
f
? b œœ œ œœ
Hp.

Œ Œ œ œ œ œ Œ ∑
b œ

œ
b œœœ
œ
œœœ
œœ œœ >œ œ b >œœ œ œ œœ
b œœ œœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œœ œœœ b œœœœ
192

& œ
f
œ œ œ # >œœ œ œ œ œ œ b >œœ œ œ p 
œ œ
? b b œœ œ œ œ œ œ œ œ œœ œ bœ
Pn.

œ œ œ œ œ

The right numbers are aligned right, bottom at 10 & 3/4

inches down and 7 & 7/8 inches accross. 

Septet No. 7 in B flat major (1) 43

  Line all these forte's in a column.

Ÿ̇ ~~~~~~~~~~~~~~~ œ
œœœ œ
P

b J
œ J
œ
3

&b ‰ Œ ‰ ‰ Œ Œ
197

P
Fl.

f
Ÿ̇ ~~~~~~~~~~~~~~~ œ
œœœŒ œ œ œ
& ‰ J ‰ J ‰ Œ Œ
P
Cl.

f
œ œœœ œœ œ
3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b J
Vn. &b Œ ‰ œ
F f
œ œ œ œ œ œ œ
œ œ. œ. œœœ œ œ œ œ œ œ œ
Va. B bb œ œ œ
F f
? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vc. b œ œ œ œ œ œ
F f
b
&b ∑ ∑ ∑ œœ
œ
Œ Œ œœœ
f
œ
Hp.

? b ∑ ∑ ∑ Œ Œ œ
b œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œ >
œœ
P

b œœ œ œœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œ
197

f
œ œ j j
œ œœœ
Pn.

? b b œœ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ œ œ œ œ
>
Except for staccato and tenuto, note 
articulations are placed outside of slurs.
In larger slurs, any articulation over center
notes may be placed inside the slur.

 Position on the left, bottom, 10 & 3/8 inches down and 1 & 1/4 inch across.

44 Septet No. 7 in B flat major (1)

 Note: For score titles, such as "Variation 1" or
"Trio" I use arabic numbers, times new roman font,
bold, italics, 16 point and positioned over the top
most staff and in larger scores, over a lower staff.

The correct enharmonic spelling in the

flute here is an a flat and g flat rather
than a g sharp and f sharp 

œ œ œ œœœœœœ œ œ bœ bœ œ œ œ
b b J ‰ Œ Œ J ‰ Œ ‰ J ‰ Œ ‰
202

Fl. &

œ ‰ Œ œ œ œœœœœœ j ‰ Œ
Cl. & J Œ œ ‰ œ b œ b œ œ œ œ œj ‰ Œ

œœœœœœ œ œ
b œ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ
Vn. & b œ œ

œœœœœœ œ œ œ œ œ œ œ œ œn œ . œ œ. œ œ bœ. bœ œ. œ
Va. B bb œ œ. J œ. J

œ œ #œ œ œ œ
? b œ œœœœœœ œ œ œ œ œ œ œ. J ‰ bœ. J ‰
Vc. b œœ œ œ
 One can express these double 16th notes as 8th notes with a slash. This is perfectly acceptable. I try to avoid slashes

b
in chamber music, and only for long stretches of measured bowed tremolo, but this is my personal preference.

& b œœœ Œ Œ œœœ œœ

œ
Œ ∑ ∑ ∑

? b œœ œ
Hp.

Œ Œ œ Œ ∑ ∑ ∑
b œ
œœœœœœ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œœ œœ œœ
œ œœ # œœ œ # œœ œœ œ œ œ œ œ
b b œ œ
202

& J

b œœœœœœ œ œ œ œ œ œ œ œ œ œ œ
Pn.

œ œ œ bœ bœ œ
&b j œ ?
œ œ œ œ œ bœ œ bœ œ
œ œ
 Breaking the beam in the first beat of this measure
makes sense, because of the large leap.

Position on the right, bottom, 10 & 3/8 inches down and 7 & 1/4 inches across. 

Septet No. 7 in B flat major (1) 45

 œœœ œ œ œ œ œ
œ œ œ œ œ œ œ
3

b œ œœœ
&b J ‰ Œ ‰ Œ ‰ Œ
208 3

Fl.

P
œœœ œ œ œ œ œ
œ œ œ œ œ œ œ
3

∑ œœœ ‰ Œ ‰ Œ
3

Cl. &
P
œ ‰ œ œ œ œ œj ‰ œ œ œ œ œ œœœ œ œ œ œ œ
&b
b
J ‰ œ œ œ œ œ œ œ œ
Vn.
J
P F
B bb œ ‰ œ œ œ œœœ œ œ œœœ œ œ j j j j j
Va. J J œ œ œ œ œ œ œ œ
P F
œ œœœœ œ œœœ œ œœœœ
? b
b J ‰ J ‰ œ J ‰ œ j j j j j
Vc.
J œ œ œ œ œ œ œ œ
P F
œo
b œo
&b ∑ Œ œo ∑ ∑ ∑
P
œo
Hp

? b Œ Œ ∑ ∑ ∑ ∑
b œo
œœ œ. œ œ nœ bœ œ bœ œ nœ bœ œ bœ
œ œ. œ bœ
bb J ‰ œ ˙ œ œ œ nœ bœ œ bœ œ nœ bœ œ bœ
208

& œ ˙ œ œ bœ
P F
œ. œ œœ n œœ b b œœ œœ b b œœ œœ n n œ b b œ œ œ œ œ
? b b œœ ‰ œ œ œ œ bœ
Pn

˙ œ œ. œ œ bœ
J œ ˙ œ

Professional engravers usually position page numbers in the upper outer corners of the manuscript.
Dover scores are split about 50/50, with many scores positioning the numbers at the lower outer corners
along with the title. I prefer the latter method and believe that when one opens a score they should be
able to tell what music they are reading.

46 Septet No. 7 in B flat major (1)

 Note: A "DC al Fine" should be placed above
the staff and in large scores should be placed over
two or three staves, normally the top staff and
an important lower staff, such as violin 1 or
(as in this piece) piano. In smaller scores, such
as string quartet, position the mark over the top
Be careful to adjust both sides
staff onl.y. (I have seen these positioned under
 of slurs that bridge systems

œ
staves as well.).

œ œ
œ. œ œ œ
b b J ‰ œ œ ‰ J ‰ J ‰ J ‰ Œ J ‰ œ œ. ‰
214

Fl. & J
f ƒ
œ
J ‰ œ j œ. œ œ ‰ œJ ‰ œ ‰ Œ
œ ‰
& J J œ ‰ ‰
Cl.
J œ œ.
f ƒ
œ œ
œœœœœœœœ œ. œ œ œ œ
b b œ ‰ J ‰ J ‰ J ‰ Œ J ‰ gggg œ ‰ ∑
& J ggg œœ
gJ
Vn.

f ƒ
œ. œ œ œ œ œ œ
b
Bb œœ œ œ œ œ œ œ œ J ‰ J ‰ J ‰ Œ J ‰ gggg œ ‰
J ‰
∑
Va.
gg œJ
f ƒ
? b œ œ œ j j j gœ
b œ ‰ œ.
œ
œ œ ‰ J ‰ œ ‰ Œ j ‰ gggg œœ ‰ ∑
œ œ gJ
Vc.

f ƒ
b œ œœ ..
& b œœ œ
œ
œ
Œ ∑ ∑ Œ œœ
œ œ.
‰
f f
œ œœ œœ ..
Hp.

? b œœ œ Œ ∑ ∑ Œ œ. ‰
b œ œ œ

œ œ
œ œ œ œ
b b œ œ œ œ œ œ œ œ œ ‰ œœ ... œœ œœ ‰ œœ ‰ œœ ‰ Œ œœ
J ‰ œœ œœ .. ‰
214

& J J J J œ œ.
f ƒ
œ œœ œ œ œœ j
œ œ œ ‰ œ .. œ œ œ œ ‰ œœœ œœ ..
Pn.

? bb œ œ
œ
œ œ ‰ œ ‰ œ ‰ Œ œ. ‰
J J J J œ

Measures should be distributed so that the last page 

has a fairly normal number of measures. Making the
score look good in this way should be easy for pieces
with over 100 measures.

Septet No. 7 in B flat major (1) 47