Section I: General Conventions 7 Tuplets The tuning mechanism Stave allocation for woodwind and brass Definition Note-spelling Stave allocation for percussion 1 Ground Rules The tuplet numeral Pedal settings Divided string section layout The stave The tuplet bracket Playing style of chords Playing score Clefs Placing tuplet indications Glissandos WIND AND BRASS BAND: SCORE LAYOUT Noteheads Rhythmic alignment Tremolos and bisbigliando AND PART EXTRACTION Stems Note-value of the tuplet Damping and laissez vibrer Wind band Tails Stating the tuplet ratio in full Harmonics Brass band Beams Degree of note division within tuplets Plucking ORCHESTRAL REDUCTION Ledger Lines Rests within a tuplet Scordatura Layout Octave signs Tuplet beaming Percussive sounds on body of instrument Materials to include Using ledger lines or octave signs Tuplets within tuplets Indicating instrumentation Rest symbols Tuplet repetition 13 Classical Guitar Enharmonic spellings Barlines General notation Rhythmic spacing 8 Repeat Signs String designation 18 Part Preparation Spacing symbols TREMOLOS Right-hand fingering Preparation Principles of repeated-note abbreviation Left-hand fingering Labelling the part 2 Chords – Dotted notes – Ties Tremolo definition Left-hand tenchniques Page-turns CHORDS Single-note tremolos Right-hand tenchniques Clefs, ocatve signs and time signatures Single-stemmed chords Two-note tremolos Area of the string on which to play Multiple rests Adjacent-note chords REPEAT-BEAT AND REPEAT-BAR Sustaining and damping Providing cues Chords with single-stemmed unison notes ABBREVIATIONS Harmonics Cue notation Double-stemmed writing REPEATED SECTIONS Scordatura Cue stave Da Capo and Dal Segno layouts Repeated bars DOTTED NOTED 14 Strings Tacet Double stems Clefs Accidentals Dotted unisons Section II: General Conventions String designation Combined-instrument parts 9 Woodwind and Brass TIES Open strings Percussion GENERAL TOPICS Tie design Fingering Articulation Tie direction for single notes Double-stopping 19 Electroacoustic Music Microtones Tie direction on single-stemmed chords Triple- and quadruple-stopping Introduction Glissandos Tie direction in double-stemmed writing Use of two staves Equipment Special techniques Tied unisons Bowing definitions Amount and type of notation for the score Transposition Tie direction for single-stemmed moving Bowing techniques Notation and co-ordination chords WOODWIND Area of the string on which to bow Layout of the electronic component Open ties Clefs Pizzicato Dynamics for electronic sounds Techniques Left-hand finger work Co-ordination with pre-recorded material 3 Accidentals and Key Signatures Percussive sounds (mixed media) ACCIDENTALS BRASS Harmonics Sampled sounds Design Clefs, transposition and key signatures Scordatura Delay lines Placing Mutes Technical instructions Program changes Using accidentals Techniques Divided string ensemble Continuous controllers Use of accidentals in an atonal context Arranging accidentals for chords 10 Percussion 15 Vocal Music 20 Freedom and Choice Accidentals in double-stemmed writing Allocating instruments to players Clefs RHYTHMIC INDEPENDENCE AND Player number allocation Placing dynamics, expression marks and SYNCHROMISATION KEY SIGNATURES Listing instruments and specifications technical instructions Barlines and time signatures Placing and order of accidentals Labelling Beaming Cadenzas and solo ad libitum passages Spacing Tuned percussion Syllabic slurs Unmeasured bars (Music without metre) Key changes Instruments of indefinite pitch Phrasing and breathing points Independent parts within an ensemble Key signatures in non-tonal or polytonal Layout of instruments of definite and Placing tuplets Indicating synchronization (Unmeasured music indefinite pitch for one player Enharmonic spelling bars and independent ensemble) Two players on one stave Text Independent repetition MICROTONES Note duration Word division Placing material freely within a defined Quarter-tones Damping Extenders time-span Other microtones Sticks, beaters and mallets Hyphens Proportional spacing (time-space notation) Cancelling microtonal alteration Tremolos, rolls and trills Alternative text underlay Notation options Beating spots (striking points) Qualifying text sounds Score layout 4 Dynamics and Articulation Timpani Falsetto Defining time-units DYNAMICS Drum notation Speech notation Cues in instrumental parts ARTICULATION Cymbals Voiced and unvoiced sounds OPTIONS TO SHOW APPROXIMATE PITCH Slurs Symbols to express special techniques Vocal sounds from instrumentalists On the stave Articulation marks CHORAL WRITING On a line or grid 11 Keyboard Two-stave SATB layout ALTERNATIVES (CHOICES) 5 Grace Notes, Arpeggiated Chords, Trills, GENERAL TOPICS Layout with characters (Stage works) Performance conditions Glissandos and Vibrato The system and clefs CHORAL REDUCTION Layout principles Grace notes Distributing notes between the hands Alternative material Arpeggiated chords Voice-leading between staves Alternative sequences of events Trills Section III: Layout and Presentation Unisons Defining limits of choice Glissandos Ties between staves 16 Preparaing Materials Optional additional material Vibrato Fingering Introduction Inserts Part-writing Page sizes and formats 6 Metre Common beam for both hands Stave sizes Introduction Single-line passage-work Pagination Time signatures Placing tuplet indications Bar numbers Beaming according to the metre Placing slurs Rehearsal marks Grouping inner beams Placing dynamics Indentation and layout between movements Horizontal position of rests Octave signs Casting off Grouping rests according to the metre Glissandos Vertical alignment Beaming across rests Note clusters Performance instructions Sustaining notes across beats Stave layouts Use of ‘solo’ and ‘soli’ Beaming to reflect musical structure PIANO NOTATION Optional cuts Syncopation Pedalling The ossia Cross rhythm Silently depressed keys Interchanging simple- & compound-time Effects produced inside the piano 17 Score Layout metres The prepared piano What is included in a full score Polymetre ORGAN NOTATION Score transposition Metres of variable stress Page format Instrument labelling Mixed metres (Alternating time signatures) System layout Score order of instruments Denominator as any division of the Manuals Score brackets and barlines semibreve Registration Enlarging time-signature symbols Denominator as notehead Pedal markings Placing tempo and rehearsal marks Tempo indications Keys held down with wedges or weights Page layout Tempo equations Minimizing vertical space requirements Pauses 12 Harp Stave sharing Silent bars (G.P.) General notation

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