MUS1097 Creative Projects Notation Checklist

THE FIRST PAGE OF A SCORE SHOULD HAVE

Title of the composition top, centre; in italics unless a generic title is used
Composers name / student number top, right
Lyricists name (if applicable) top, left
All the instruments involved in the piece shown full names on left margin (abbreviated thereafter)
Copyright notice bottom, centre


EVERY SCORE SHOULD HAVE

Clef appropriate for each instrument
Key signature (or open / atonal)
Time signature including beat subdivision if needed (e.g. 3+2+2)
Tempo metronome marking
Opening dynamic very important for the entry of each instrument


SOME GENERAL RULES OF NOTATION

Dynamics (p, mf, fff, etc.) are written underneath the staff; exceptions being in vocal music where the
lyrics are written underneath and dynamics above, and for piano notation where dynamic markings
should be between the staves (suggested font for dynamic markings is Opus Text)
Techniques (arco, pizz., molto vibrato, etc.) are written above the staff
Abbreviations of techniques should only exist after the full version, unless the abbreviated version is
considered standard notation (pizz. or sul pont.)
Articulation markings (accents, tenuto, staccato, etc.) are preferably at the note head end
Triplets, quintuplets, etc., are preferably at the stem end
Beams between notes should not cross the natural beat of the bar, unless a specific subdivision is
intended
Where there is a change in time signature, a cautionary time signature at the end of a system is required
If producing a handwritten score, make sure that bar lines are aligned and that all notes and rests
coincide vertically


FURTHER READING

Adler, Samuel, The Study of Orchestration (New York: W.W. Norton & Company Inc., 2002).

Blatter, Alfred, Instrumentation and Orchestration (New York: Schirmer Books, 1997).

Cope, David, Techniques of the Contemporary Composer (New York: Schirmer Books, 1997).

Forsyth, Cecil, Orchestration (New York: Dover Publications Inc., 1982).

Homewood, Susan & Matthews, Colin, The Essentials of Music Copying: A Manual for Composers, Copyists and Processors
(London: Music Publishers Association, 1990).

Read, Gardner, Music otation: A Manual of Modern Practice (New York: Taplinger Publishing Company, 1979).