Abbreviations (Listed in correct “score” order) Piccolo Flute Alto Flute Oboe English Hom E Clarinet Clarinet in BY Clarinet in A Bass Clarinet Contrabass Clarinet Bassoon Contabassoon, Soprano Saxophone Alto Saxophone ‘Tenor Saxophone Baritone Saxophone Horn in F ‘Trumpet in C ‘Trumpet in Bb ‘Trombone Bass Trombone Tuba Percussion Celesta Piano Harp Violin 1 Violin IL Viola Violoncello ‘Contrabass Pice. Fi. AL Fl. Ob. EH. E5 Cl. BoC. AG. Bs. CL Cbs. Cl. Bn, bn, Sop. Sax. Alto Sax. Ten. Sax. Bari. Sax, Hn. CTpt. Bb Tpt. Ton. Bs. Ton. Tuba Pere. Cel, Pro. Hp. Vn. I Va. Va, f Ve. Cb. For labelling purposes, when he Violins divide, indicate the divisions with | arabic numerals. For instance, Violin I, dvisi a2 would be Tabled as Va. [-1, Vn. 12, and S0 on. See Parts for information on how 10 label instrument changes. Infrequently used instruments should follow the same style of abbreviation used above. For example: Bass Flute should be abbreviated as “Bs. Fl,” Trumpet in D Ciccolo Trumpet) should be abbreviated as "D Tot,” and so on,Percussion Instrument Abbreviations Almglocken Alm. Bass Drum BD. Bell Plate Bell Pl. Bell Tree Bell Ts Bongo Drums Bongos Castanets Cast. Chinese Cymbal Chin. Cym. Claves: Claves Conge Drum Conga Cowbell Cowbell Crotales (Antique Cymbals) Cot. ‘Cymbal(s) [Crash] Cym. Flexatone Flex, Glockenspiet Glock. Gong Gong Guo Guiro Hi-Hat Hi-Hat Log Drum Maracas Marimba Military Drum, Musical Saw Racchet Sizzle Cymbal(s) Slide Whistle Snare Drum Suspended Cymbal(s) ‘Tambourin Provengal “Tambourine Tamtam Temple Block(s} Tenor Drum ‘Timbales ‘Timpani ‘Tom-toms Triangle Tubular Chimes Vibraphone Wood Block XylophoneManual of Styleand Usage 3 Musical Terms The following terms may be abbreviated: crescendo crese. diminuendo dim. espressivo espr. fluttertongue fitg. glissando gliss. ‘marcato mare niente n pizzicato pizz prés de la table pad.Lt. Rattentando Rall Ritard Rit. Ritenuto Riten. simile sim. sordino ord. (asin senza sord, et.) Sostenuto Sost staccato stace. sul tasto S.t, (only in ight sieavions) stil ponticello sul pont. (3p. in tight situations) Musical Abbreviations Z should always be written out, (Use “W.0.” to indicate “Write Out.”) In addition, short repeats (indicated by ||: and :|[) should also be written out. Longer sections that repeat may be left as is. “Short-hand” notations, such as uh are permissible. When an abbreviation is unclear, itis best to write out the first instance and use the abbreviation for every repeated occurrence. EP EF oun cell gf In general, it is a good engraving policy to avoid musical abbreviations; they are essentially tools that 2 copyist would use to save time. Accidentals ‘When positioning accidentals for a chord, itis usually best to place the accidental for the top note first, then the accidental for the lowest note. If there are more notes in the chord, continue with the second highest note, then the second lowest until there are no notes left. For example:4 C. Schirmer ‘There are some exceptions to this rule, Accidentals for octaves should be in the same horizontal i Position. = nt SSS Se Se In proportional notation (as in @ cadenza), it is best to put accidentals in front of every note, and cancel any accidentals that could be confusing. This excerpt wee Would be clearer as BG RMIESIEES or Speemte ee RAE Repeated notes do not need repeated accidemals: In mensural notation, traditional accidental policies apply. + All accidentals carry through the measure in the same octave. + Cross relations should be cancelled with a natural = SSF + Courtesy accidentals should be used from one measure to the next (parentheses are not necessary). Sate + Parenthetical accidentals should also be used at the beginning of staff system when a note is tied and continues for additional measures, (This is to avoid pitch ambiguities, and wit require some discretion as to when it is applied.) S = i3.2 good example of when t use a ——— parenthetical accidental GES AE here, a pmemtherical accidental is not necessary at the beginning ofthe system, When a chord requites parenthetical accidentals, each accidental should have its own set of parentheses: When two voices are written on a single staff, accidentals apply to exch voice separately, This may make it necessary to include accidentals which seem redundant. “Tis sharp must be ate, If the last note in the lower voice were F natural, the natural would have to be stated.Manual of Style and Usage 5 Articulations It is good practice to always place articulations by the notehead. Furthermore, always place smaller articulations closer than larger ones. For example, accents are normally positioned like this: If these articulations became “accent-staccato,” then the dot would be positioned closer than the accent. es not EE Certain types of string bowings are treated differently, as in this example: Harmonics, mute indications (0 and +), and bowing marks should always go above the note. If the note is stemmed down, the harmonic should be placed closest to the notehead. > ie tm Two articulations, q_ and y, should always be above as they can look confusing or be mi ed when inverted. J snoutsne j Barlines The usage of connected barlines between staves is sometimes considered a stylistic preference. In piano-vocal music, for example, the barline connects the grand staff of the piano, but a separate barline is used for the vocal part(s). This is done to keep the barline from interfering = with the text, A similar approach is taken with choral music,G. Schirmer Orchestra scores are treated differently. Usually a choir of instruments is connected with a barline, like this: ‘The same approach can be used with chamber music. If it is for woodwinds and strings, connect the barline through all the winds, and use a separate barline for all the strings. Keyboard instruments (on a grand staff) always have their own barline. ‘The connection of barlines through the staves should match the brackets. ‘The last barline in a system should be the same as all the others, and the first line (the system line) connects through every staff, (See Braces/brackets for related information.) In contemporary music, double bars should not be useti to indicate a change of meter or key. They can be used to separate major sections.Manual of Style and Usage 7 Beams Beam grouping does not indicate phrasing, and beaming across a barline should be avoided Historical context should, of course, be considered; the music of Bart6k being one example where beaming is used to indicate phrasing. should be: In common time, beams never cross the middle of the bar. (The first iwo beats, and the last two beats may be beamed together if they contain eighth notes.) Otherwise, and especially when notes are of mixed rhythmic value, it is best to group by the beat. SS S55 In triple meter, it is acceptable to beam all the beats together like this: tae In this example, a flag should be used for the first note: 255 (2255 When in doubt, it always acceptable to beam by the beat. Rests may be included in beam groups. 70 2 7 ad dvd Beams should never be extended over rests at the beginning or end of a group. i STi setae Tey) Avoid beaming “irrational” and “rational” notes together as this can be quite confusing. 3a rq JT) ome J s: clear and permissible.8 G. Schirmer Stem Direction for Beamed Groups ‘When two notes are connected by a beam, the note furthest from the middle line determines whether the notes are stemmed up or down. If it is on or above the middle line, the beam goes under; if it is below the middle line, the beam goes above. not Beaming between the notes should not be used. When a group of notes is beamed, the maj ‘group. iy of notes indictate the stem direction for the ‘There are many exceptions to this rule, which good engravers usually kow from experience. Braces and Brackets ‘The brace is used to connect the staves for any single instrument which is notated on more than one staff (eg. piano). = ——— Note that the brace only connects the staves for the manuals in an organ score, Brackets are used in scores to connect choirs, with subbrackets for like instruments: Flute OboeManual of Style and Usage 9 In chamber mus , brackets may be used to connect instruments from different choirs. Fue rr = = A solo instrament (on a single staff) should not have a bracket, ‘Trumpet Chords, Clusters, and Seconds When a diad contains the interval of a second, the highest note (when stemmed down) is positioned normally according to the stem direction, and the lower note is offset to the left. When stemmed up, the lowest note is positioned normally, and the higher note is offset to the right. When chords have many notes they should be treated the same way. When a second occurs in the middle of a chord, the lowest note of the second (when stemmed up) is position normally, and the next higher note offset to the right. The opposite holds tue when a chord is stemmed down. See Accidentals for further information. For positioning of seconds when two voices appear on a single staff, see Multiple Voices.10 G. Schirmer Although clusters can be created by notating every pitch in the chord, a graphic symbol is sometimes used instead: ‘This type of notation, *8, can usually be avoided by respelling the pitches. #74 If the piece is for strings, and there is a strong case to be made for the first type of spelling, it may be employed. Clef Changes It is always @ good policy not to change clefs frequently, but when they do change, the best guiding principle is to put the new clef as close as possible to the next music so that the performer will not miss it, Good judgement must be used to determine when it is necessary 10 change to a different clef, Generally, if an extentied section would be written with many ledger lines, it is probably better to change clefs. — epee t aaa) The following table indicates clef usage for various instruments: ‘Treble Only Mixed Bass Only Flute/Pice. Bassoon/Contra (bess, tenor, never treble) Tuba Oboe/E. H. Hor (ble, bass) N.B. when in bass clef, written a perfect fifth higher than sounding. Clarinet Bass Clarinet (ip concert scores, Trombone (bass, tenor, never treble) bass clef may be used) Saxophones (in concert scores, Viola (alto, weble) bass clef may be used) Trumpet Cello (bass, tenor, teble) Violin Contrabass (bass, tenor, treble)Manual of Style and Usage i In a Score, to conserve vertical space, it is acceptable to change clefs more often. The part, however, should be considered separately. For example: in a score, bassoons 1 and 2 may be notated on a single staff in tenor clef. When the separate parts are extracted for each instrument, bassoon 2 could be notated in bass clef as its part is probably not high enough to warrant using tenor clef. Dots Augmentation dots always appear to the right of the notehead on the samme space, or if the note F=—"= when a chord is dotted, the dots are aligned is on a line, in the space above Seconds, as in the previous example, may create a situation where the dot horizontally must be placed below the note that it alters. When two voices are on a staff, the dots are placed traditionally, unless an ambiguity arises. Double dots are acceptable as long as the rhythm is clear. Dynamics and Expressive Markings Expressive markings usually go below the staff, often with the dynamic markings, and all on the sare horizontal plane. When the contour of the music prevents keeping all of these marks on the same plane, it is acceptable to move them, Peon -- mp f Dynamics should always be positioned slightly to the left of the note they apply to. dm do J of fof Vocal music is treated a little differently. Here the marks (as well as the dynamics) always go above the staff, positioned on the same horizontal plane. peor. be. « =< 5 SE ro Now is the time for all. good coun —12 G. Schirmer In piano music, dynamics are always centered between the staves. They can be shifted up or down if they only apply to one hand, and put above and below in multiple-voice music. egre te ° ? Marks pertaining to tempo, or the alteration of tempo, always go above. (See Tempo Markings for more information regarding this.) Mutes Indications for mutes are always put above the staff, For strings, it is preferable to use the following: con sord, . with mute senza sord. = without mute alsord. ........ 10 mute via sor, ....... remove mute In addition, types of bowing (like “sul pont,, col legno,” etc.) go above the staff. “ord,” is used to cancel these indications, The terms arco and pizz. also go above the staff, and none of these indications are italicized. Brass instruments often require more specific types of mutes, Here it is better to use English. For example; Harmon mute, Straight mute (metal), Plunger mute, etc. First and Second Endings, Da Capos, etc. Ending indications should always go above the top staff in a score. If ic is an orchestra piece, it should also be included above the string section. The general principle is that they should be consistent with the position of the tempo markings in a score. See Tempo Markings for a detailed discussion of placement. See Measure Numbers for details on how to number measures through first and second endings. Footnotes When footnotes are included on a music page, they should be indicated with asterisks in the music rather than numbers. This is to avoid confusion with measure numbers. Multiple asterisks (, #4, #44), daggers (f, $) or a combination of the two may be used. Grace Notes Grace notes are always stemmed up, with one exception. When there are two voices on a staff, the grace notes for the lower voice are stemmed down, =Manual of Style and Usage 3 Except for the above example, slurs for grace notes should usually go under the stote. In addition, these slurs go to the primary note; any additional slurs start at the primary note, not including the grace note. In contemporary music there should be a slash through the flag for single grace notes, or through the beam for multiple grace notes. - fA Grace notes should not be placed before the barline, even though they are played before the beat not Harmonics A circle (°) is always used to denote harmonics (as opposed to the letter “o” which indicates an open string or the number “0” which is used in fingering). When harmonics are tied, the ° must always be restated for each note. not af See Articulations Yor information regarding how to position harmonic symbols when other marks are present Indentions The first system of a piece should always be indented, In addition, in a work with multipte movements, each movement should be indented. When a system is indented, the instrument names should be written out in full. When a key signature changes in a piece, it is not necessary to cancel the old signature with naturals, Or to use a double barline. Simply state the new Key Signature in the new measure. z If the Key Signature changes at the beginning of a system, it should be stated at the end of the previous system after a barline,14 G. Schirmer If the piece changes to the key of C, a cancelling signature of naturals should be included. If this change happens to occur at the beginning of a system, the cancelling signature need only be stated at the end of the previous system. ro key signature Key signatures in C clefs should be indicated like this: Keyboard Notation While many aspects of keyboard notation must be decided on a case by case example, there are some guiding principles that can be applied. In some types of piano music, composers make the mistake of trying to specify many different voices: Notice that the sustain pedal is down. The same example could be more clearly notated as: =F pe.Manual of Style and Usage 15 Sometimes composers unnecessarily use three staves instead of two: Keyboard instruments (harp, piano, and organ) should not be notated on a single staff. In some situations, it is preferable to beam between the staves. would be clearer as:1 G Sehizmer In keyteard imusis, cross relacons between (be staves must be cuneelled with cnurtesy aeniceoaas, —— Kerbored music presenes be must chabenges 34 the edince and engraver, tv akes an expericoced adiine i» Find cogsnit salubans 1 the povatiuned probes that arise, tot Uae awerriding concept ig to keep things us clear a passibte. Measure Numbers: Every werk shanld have measure coumbers. The ooly exception te chis would oostar bx music wath onnianal nowian; ix Uais situntion sehearyal letters should be used, “Vee first measuce wf every systhm should be numbered (in bed scone ancl parts) with tet exveplivet of maasone number ane, if bere fa a pickup har, che first full measure Ss camber ue and should have 5 wucnber te clanly the rembering scheme, The measure number stiowkl pusibonad abewe che mp su of a sete. allgntiy above the initial clef. tt shuld nat be in an enelosame, ner sbould it be qvessived, Iman cechsiral scorn, it shield nut be restagcd eos the ‘lrings oF elkewneze on the pase i Crdenmas acd “free” measures should be comned as a sige has, regardless of their berigtl ‘Dotted bertines shoud be ignoned. Multiple Yolees appears on a single sadf, stems anf articulations are reversed far erell Wheo aulciple © sepiarane pr. Teka went set16 G. Schirmer In keyboard music, cross relations between the staves must be cancelled with courtesy accidentals. Keyboard music presents the most challenges to the editor and engraver. It takes an experienced editor to find elegant solutions to the notational problems that arise, but the overriding concept is to keep things as clear as possible. Measure Numbers Every work should have measure numbers. The only exception to this would occur ia music with proportional notation; in this situation rehearsal letters should be used. The first measure of every system should be numbered (in both score and parts) with the exception of measure number one. If there is a pickup bar, the first full measure is number one and should have a number to clarify the numbering scheme. The measure number should be positioned above the top staff of a score, slightly above the initial clef. It should not be in an enclosure, nor should it be oversized. In an orchestral score, it should not be restated above the strings or elsewhere on the page. 5 pa o ‘When there are first and second endings, the bars should be counted consecutively, rn 5 7 Cadenzas and “free” measures should be counted as a single bar, regardless of their length, Dotted barlines should be ignored. Multiple Voices When multiple voices appear on a single staff, stems and articulations are reversed for each’ separate part. Accidentals are considered separately for each voice. “This sharp must be sates.Manual of Style and Usage 17 ‘When the voices are in rhythmic unison, they should be stemmed together, It is best to do this at the beginning or middle of a measure. ‘When the parts would rapidly switch back and forth between multiple voice and single voice notation, it is usually better to retain multiple voice notation. Grace notes are stemmed down for the bottom voice on a staff. & When an interval of a second occurs, the notes are aligned by the stem, like this ‘An exception to this rule is seen when notes are dotted. Ec =| is correct ‘Two noteheads are required if one of them is a halfnote, or is dotted. not Mutes See Dynamies and Expressive Markings. Octaves When an extended passage would require many ledger lines (five or more ledger lines), it is permissible to use the 8" indication with a dotted line - - - - . When a passage continues through many systems, the 8” should be abbreviated as 8 in any continuations. The dotted line should not have @ termination except at the end of the passage. When a passage is an octave18 G. Schirmer lower than written, 8 bassa should be used. It may be abbreviated as 8" in continuations. It is generally preferable to write out passages in ledger lines whenever possible, particularly for “treble” instruments (ie. flute, clarinet, violin, etc.) Page Numbers (Folios) Page numbers (or folios, as printers call them) should always go in the upper right and left hand corners of the page, respectively, Odd-numbered pages are always on the right, even-numbered pages on the left. The page number should be larger than the measure number (to differentiate it). Since many scores have prefatory material prior to the first music page, it is best to count the first music page as page one (although page one never has a page number on it). Any pages that precede this can be numbered with lower case roman numerals centered at the bottom of the pages. The page number is the primary means the printer uses to position the page. It should indicate the highest and outermost position of the image. It should also be consistently positioned on all the pages of a score Good positioning Bad positioning ae ‘Bee 2 LED J} If the image on a page is a different size than the rest of the piece, for example taller, the position of the page number must be altered to account for this difference.Manual of Style and Usage 19 Parts In general, parts should conform to the same stylistic rules as scores (page numbers, measure numbers, notational conventions, etc.). In addition, the following should be added to parts: + The instrument name in the upper left hand comer of the first page. + A header for each additional page with an abbreviated title and the instrument name. (ie. the Violin II part of Second Fanfare becomes “2nd Fanfare - Vn. II”) + Multiple bar rests indicated for any rest of two measures or more using the multiple rest symbol 3 = + Whole rests should not have a “1” above them. + Instrumental cues when an instrument enters after a short period of rest. Include more cues in complex and/or chamber music. When a piece is not conducted, any entrance where the beat is ambiguous should be cued, even if the player has been resting a short while. + Cues should always be transposed (a flute cue in a clarinet part should be in B-flat, in a horn part in F, etc.) + Cues should only include pitch and rhythmic information (no slurs, articulations, dynamics, ete.) except in band music, when the cue is sometimes an ossia passage and must have full performance information. + Cues should be notated with all stems up (if the majority of the cue is above the middle line of the staff) or with all stems down (if the majority of the cue is below the middle line of the staff). A regular size whole rest should be placed in each measure of the cue above the staff (if the cue is stemmed down) or below (if the cue is stemmed up). + A label identifying the instrument should appear at the beginning of a cue. Abbreviate appropriately; do not use parentheses. + When a player “doubles” on two or more instruments, indicate the change at the end of a passage above the first available zest, by writing (e.g. to Flute). In addition, label the new instrument's entrance (e.g. Flute). + Measure numbers at the beginning of each system (see Measure Numbers) + Page numbers in the right and left hand top corners; even-numbered pages on the left, ‘odd-numbered pages on the right. If possible, each page should end with a page turn, and odd numbered pages must always have a suitable page turn. + Parts that require fold-outs or accordion printing are not acceptable. Any alternative is preferable: more lines per page, a larger page size, a smaller staff size, more measures per line, + For hand-copied parts, 11 x 14” vellum (transparencies) is our standard for masters. Staff lines must be on the front surface of the paper (to allow for xerox reproduction as well as ozalid reproduction), The first page should be shorter to allow for a titie and copyright notice, which will be added by the Schirmer Production Department. Any page with a movement title should also be a little shorter for the same reason, + White-out or opaque tape must never be used on vellum masters; if @ staff line is erased, it must be redrawn. + For engraved parts (which will be published), the standard size is 9 x 12", Computer- ‘generated parts on 8% x 11” paper are perfectly acceptable,20 G. Schirmer + When possible, new sections, major tempo changes, and key changes should begin a new system, New movements should begin a new page, unless they are very short (ie. half a page) or there is a page tum problem. Header Instrumental cue Page number —++ Measure numbersexceptions, such as: Manual of Styleand Usage 2 Pedal Indications In piano music, the %@ and * symbols are the preferred choice. When more specificity is required, the ”— or line may be used. If necessary, “sost, ped.” may be used to indicate the Sostenuto pedal. When notating pedal indications, “less is more.” Rests. Whole rests are used to indicate a whole measure of rest. They can be used in triple meter of any kind (3/4, 6/8, 3/16) duple meter (4/4, 2/4) or even in 1/4 measures. It does not indicate four beats of rest. When instruments rest during a cadenza, use a whole rest with a fermata centered above it and indicate “cadenza.” 3 In 4/2, the double whole rest should be used == The multiple rest symbol =, is used to indicate multiple measures of rest greater than one measure. It is usually used in instrumental parts. In general, it is a good practice to consolidate rests within a beat (of a quarter or less In triple meter, the rests should not be consolidated. In a triple division of a single beat, the rests should be consolidated. Rhythm Many of the same principles for rests also apply to rhythmic notation. It is good practice to consolidate thythms when possible.2 G. Schirmer For a discussion of how to notate “irrational” rhythms, see Tuplets. Slurs and Ties If a group of notes is slurred, the direction of the slur is decided by the direction of the stems for those notes. If they are all stemmed up, the slur goes underneath. If the stems are mixed (up and down), the slur always goes above, p—4 s 6 = —— ‘When notes are tied, the slur always goes to the /ast note. — — a owl SS SS SSS If two nares are tied, and their stem directions are mixed, the tie goes above. = = qaetS «Sat S ar to a parentheses on its side Ties to indicate Lv. (lascia vibrare) should always be short, si =e tot = When a note is indicated to “Lv.” for many measures, do not restate the ties. Instead, use pedal indications to denote duration, or in percussion and harp music, use the mute symbol -@- to indicate the end. Stem Direction Notes on or above the middle line are always stemmed down, Notes below the middle line are stemmed up. Stems should always be an octave long, unless they are in the “wrong” direction in which case they should be shortened to about a fifth. See Beams for information on stem direction for beamed groups. See Grace Notes for stem direction for grace notes. Tempo Markings ‘Tempo indications should always go above the top staff of a score, flush left with the time signature, In an orchestral score, the tempo should also be restated above the string section, In chamber works the tempo may also be stated twice, depending on he number of instruments. A piano score with solo instrument or voice should only have one tempo marking above the solo line.Manual of Style and Usage 23 Alterations of the basic tempo (rit, rall, etc.) should also go above the staff. They should be set in an italic font, and the first letter should not be capitalized (ritard). The following abbreviations are used: ritard rit ritenuto riten. rallentando ral. In general, dotted lines should not be used to indicate tempo changes. “ri ~~ A tempo” is unnecessary. Instead, use poco a poco. In a choral octavo, the basic tempo marking should go at the top above the chorus. Alterations of tempo (rit, rall., etc.) should go above each part. Allegro ritard SS | This is an ex = ample of 8 | Tard a le SS ve ~ T t 2 or Notice that the ritard indication is-placed between the staves in the piano reduction. This is acceptable when space is tight, as in this example. When metronome markings are included, they should not be in parentheses. “Circa” should be abbreviated as “ca.” Tempo markings should never be abbreviated (A tempo, nor A TE) ‘Tempo markings should be set in a bold typeface with the first letter capitalized (Allegro con brio). Text (fonts) Schirmer printed editions use Goudy Old Style for the title of a work and the composer’s name. The title should be centered above the music in upper case letters. If there is a dedication, it is set in italics, centered above the title, in a smaller point size. The composer's name should be24 G Schirmer set with initial caps, flush right with the music. If there is an opus number, it goes after the composer’s name. The date of composition is centered on the line below. In a vocal piece, the author's name should be set flush left on the same line as the composer, Do not use “words by...” or “poem by...” dedicateda A SAMPLE TITLE Author Composer, Op. 13 (1989) Lyrics may be set in any basic serif font (such as Times Roman). Terapo markings should be in a bold font, with the first letter of the first word capitalized. All indications above the staff should not be italicized, with the exception of alterations of tempo (rit., rall, etc.). Expressive indications below the staff, in any language, should be italicized. See Tempo Markings for more information, Time Signatures. ‘Time signatures should always be stated in every instrument in a score. In manuscript (facsimile) editions, it is usually clearer to have large time signatures at the top of the page and above the string section. It is acceptable f0 use @ snd qh, but they should be avoided in polymetric music. Trills/Tremolos Trills should be indicated with the traditional symbol € above the note. When a note with a trill is tied, a wavy extension line is added, like this: ee Notice that the extension line only extends to the second notehead; it does not extend for the full duration of the second note. Do not use the extension line if the trilled note is not tied, regardless of its duration. Inne han = 3 not z ‘Trills should be indicated when the ancillary note is a whole or half step above or below. Use 3 tremolo when the ancillary note is a minor third or more away from the principle note, ®Manual of Style and Usage 25 In contemporary music, do not use an accidental above the trill to indicate the ancillary note. Instead, use a small note in parentheses (as in the above example). When a trill is tied onto another line, use parentheses: cp). The extension line is not necessary, unless the note is tied for additional measures. — A Each note of a tremolo is equal to the total duration of the tremolo: ° o °° J FE ee d= pl cle ee ? In general, use three “slashes” (including any beams) 10 indicate an unmeasured tremolo. In very slow tempi, an additional slash may be added. Tuplets ‘There are many different policies regarding the notation of tuplet or “irrational” rhythms Generally, in instrumental and vocal music, if it is complete and clear a number with a beam should be used.26 G. Schirmer The bracket should always be centered over the group of notes, and not extend past the last note o34 3s of the group. 5 not % Se == Brackets should be used with beamed groups when the rhythm is unclear, or in the rare situation when an irrational and rational value are beamed together. 34 ‘When possible, the number should be on the stem side of the note. It is more important, however, that the numerals be consistent, is better than It is permissible to use numbers such as “7:2” only when the rhythm is unclear or confusing; using “7.” is not. 2 2 When a duple rhythm occurs in triple meter SSS = it should be notated as a conventional rhythm S|Manual of Style and Usage 7 Determining Rhythmic Values for Irrational Rhythms ‘The guiding principle here is to have the notated irrational rhythmic value close to its rational equivalent, This chart explains our method: Quarter Ha Triplet Quintet Sextuplet, Septuplt 728 Nonuplet 98 Vocal Music Because of the text, vocal music is notated differently than instrumental music. Dynamics and expressive markings always gc above the staff, and barlines never connect between staves so as to not interfere with the text Vocal music should be beamed in exactly the same manner as instrumental music. this ie an ex this an ox When hyphenating text for a vocal piece, the syllables should always be divided as in the dictionary, not as they would be sung. “Walking” would be hyphenated as “Walk - - ing” even though it is sung as “Wa(w) - - - king.” In melismatic settings, if at the end of the word or a single syllable word, an “extension line” is added, flush with the base line of the text. Any punctuation marks should precede the extension Tine.28 G. Schirmer Notice the length of the extension line, and the use of the slur to indicate melisma not phrasing This is standasd in vocal music. In extremely long melismas, the slur may be omitted. The extension line, like a trill’s extension line, extends to the tied note, and not past it ext ex When a first or middle syllable of a word is set mellismé ly, Instead, hyphens are added to indicate the mellisma, like this: the extension line is not used. In addition, the text of the piece should match the original source (poern, novel, etc.) with regard to its punctuation and capitalization, Proofreader’s Marks SYMBOL, EXPLANATION EXAMPLE. F cove on 5 ne at a W.0. write out @Qwo. Orsks flip stems Xj NOT Y wrong noe @cmrs upper case “Htce. rover ese A se. small caps insertSYMBOL STET Manual of Style EXPLANATION space lose up reverse letters italic text, bold text fush left text flush right text center text Justify text poimtsize/leading leave it the way it is and Usage 29 EXAMPLE when an win w duration ‘tal, Allegre bef. his is a sample of fs typical lush left vagraph, 2 typical flush right ‘This is a sample *(| paragraph. This is a sample Join spiel ene paragraph, graph that includes justifie| a | 1012 (10 point type on 12 point leading) When inserting small marks, such as staccato dots, itis helpful to circle them to alert the eye of the person doing the corrections. ‘The letters indicate: Proofreading Suggestions Although experienced editors often have their own method of proofreading, here is one system which has proved very successful through the years. At the top of the page, pencil in the following letters: P R D A M Pd T Ex. You proofread the page once for each separate element (as explained below) and check it off when you are finished. By only looking at individual | aspects when you proofread, you focus your eye and don’t fall into the trap of “reading” the music. Always mark corrections in red pencil (if other proofreaders are employed, they should use a contrasting color other than red). Blue pencil is usually used by engravers for their marks. P - Pitch (clefs, clef changes, accidentals) R - Rhythm (rests, multiple rests [in extracted parts}, ties) D - Dynamics (hairpins, crese. and dim. indications)30 G. Schirmer A.- Articulations (expressive markings, instrument labels, tempi) M- Measure numbers Pd - Pedal markings (keyboard music) T - Text (vocal music) Ex - Extremities ‘This last category requires explanation. Normally, when proofteaders look at a page of music (or text) they tend 10 overlook things that appear at the extreme ends of lines and at the top and bottom of the page. Because of this, a good proofreader will look at the extremities of a page t0 try and find the extraneous details someone else might miss. Some things co look for when examining extremities are: + Are ties at the end of a system restated in the next system (or on the next page)? + Are parenthetical accidentals necessary? + Are the clefs at the beginning of a system correct? + Is the key signature at the beginning of a system correct? + If'a time or key signature is changed at the end of one line, is it correctly stated in the next line, and vice versa? + Does any indication continue (pedal, till, octava) and is it correctly notated? + Are instruments correctly labelled? (particularly important in orchestral scores) + Is the text of the copyright notice correct? + In orchestral scores, are the percussion instruments and any “doubling” instruments correctly labelled? Using the PRDAMPATEx method one could conceivably look at each page of a piece 8 times. And, if the piece requires it, one might even look at other aspects on separate pass through the the page. In publishing, it is an accepted practice to have more than one person proofread a piece, to have “separate eyes” examine it. This is done in an effort to reduce the mangin of error when a person proofreads. No proofreader, regardless of experience, will catch every error in a piece. Multiple proofreaders will. With regard to the concept of extremities, examine the paragraph beginning “Using the PRDAMP@TEx....” A double word has been included at the end of the second line and ce beginning of the third 10 demonstrate how easily the eye can be fooled, Similar errors easily slip by in music.Manual of Style and Usage a Editorial Procedures The following guidelines are suggested for any editor working on a G. Schirmer/AMP edition. AS with proofreading, editorial marks should be indicated in red. All published music should be examined to insure that it correctly conforms to the principles set forth in this manual. In addition, the following should be checked. + Does every measure have the correct number of beats? + Does the composer ever exceed the range of the instrument? + Are any unconventional notational devices employed? If so, is there a conventional way to notate it? (Unconventional notation is discouraged, unless there is a valid argument for it.) + If an unusual notation is employed, make sure it is explained in a footnote or preface + If percussion instruments are used, are they consistently placed on the same line or space of the staff? +Is the notational practice consistently applied throughout the work? + Is every notational aspect clear and unambiguous for the engraver/copyist? (N.B. if a work is to be engraved in Korea, English instructions to the engraver should be avoided whenever possible.)