This breaks up multi-measure rests into un-musical divisions.ĪLSO: It is acceptable in large ensemble scores to place a bar number below every bar (not in the parts, though).īeaming Reinforces Meter. WARNING: Never use the system of placing bar numbers every 5 or 10 bars. After a part is edited and formatted, go through it once, adding bar numbers where appropriate. Sprinkled liberally throughout the part, especially toward the right side of systems, where it might take some time counting to find certain bars in rehearsal.At barlines following all multi-measure rests in parts.NOTE: ALL PLAYERS should have these numbers, so make sure to break multi-measure rests at these points. This creates just one counting system and rehearsal spots are quickly found. Rather than letters (which is also acceptable), using the bar number, preferably in a larger font and/or in an enclosure, is the best way to indicate rehearsal landmarks. At structural points and/or rehearsal landmarks.At the start of every system (not enclosed, unless the bar number also serves as a rehearsal landmark).Use bar numbers well, preferably in the following four ways: Barlines should break between choirs according to the large group bracketing.Do NOT follow the old practice of using double barlines at changes of meter.An example would be in a fast piece conducted in one a thick barline here and there relating to the musical phrasing will help players not get lost. In some situations, it can be helpful to use (single) heavy barlines to indicate phrase divisions, or groupings of bars.Use double barlines to indicate sudden changes of tempo – both isolated changes and strict tempo modulations (quarter = dotted quarter).Use a courtesy accidental for a natural pitch in a new bar, following the same pitch name in the previous bar with an accidental.Īrticulations should be placed on the note head side, and with the exception of the staccato mark should be placed outside the staff.Use accidentals for new octaves of the same pitch class.(Based on the International Conference on New Music Notation in 1974.) Music Notation in the Twentieth Century: A Practical Guidebook. New York: W. (paperback edition: New York: Taplinger Publishing Company, 1979) Music Notation: A Manual of Modern Practice. Second Edition. Boston: Crescendo Publishers, 1969. The composition department recognizes the three works listed below as standards of notational practice you should refer to one of them when in doubt about correct procedures, and should consult your committee for advice. However, if you are preparing a thesis or dissertation, consult with your document chair before deviating from the guide below this will save everyone a great deal of time. Rules are made to be broken, if for good reason. The overriding goals of this guide are achieving clarity of musical intent and demonstrating professionalism. This style guide has been developed in an effort to standardize at least the IU composition department preferences for notation, particularly regarding theses and dissertations. Principal authors are David Dzubay and Don Freund, writing in consultation with Claude Baker, PQ Phan, and Aaron Travers. The faculty of the IU Composition Department recognizes that there is not uniform field-wide agreement about many notational issues composers face.
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