- Proofread a book before having it photo-copied.
- All alterations and additions to the published parts must be photo-copied or prepared by computer onto full-page paste-ins.
- Full-page paste-ins are pasted into the books with removable doubleStick adhesive or taped at the four corners so as to not complicate page turns
- Full-page paste-ins must be identified by
- Name of the Show
- Name of the Song & it's "Big Number"
- Name of the book (i.e. "Reed III")
- Page number in the book
- When paste-ins reach close to 40% of the book, a new book should be made, combining the retained pages with the new ones, back to back, with either a sprial or comb binding
- The music prep person will NOT leave anything in pencil. Computerized changes are to be photo-copied or and pasted in as full-page units. This makes these changes "ink", and thus they are differentiated from any "pencil" added later by the players.
- The advantages are that the changes cannot be accidently erased, are easier to read (blacker) and the players just "read the ink".
- When consolidating paste-ins, every effort must be made to keep the copy at the same size as the printed part. NEVER reduce the size of the copy below 94%.
- Never mark one part differently than the others (i.e. repeats, extra measures, inserted pieces, etc.) all parts must have the same information
- No matter how small an inserted change/cut/addition might be, it must always be a full-page paste-in.
- Never print bowings, fingerings, tunings, etc…
- Avoid "double line" parts (i.e. Violin A &B in the same book) as this causes double the normal page-turns
- Multiple-measure rests should always correspond to the musical phrasing
- Transpositions must always be done via computer, both for future re-use and for ease of correction
- When only a portion of a piece is transposed, the transposed portion must be pasted in and then photo-copied into a full-page paste-in
- Transpositions must be "layed out" in the same format as the original part, including measure & rehearsal numbers as well as page-turns
- If cuts are not done on computer, the music prep person always marks cuts by
- blocking out the cut measures with white paper
- photo-copying the full page for a full-page paste-in.
- Full page cuts should always be covered by a blank sheet of paper. Multiple page cuts should be taped together to avoid
unnecessary page turns.
- Cuts should never result in large blank spaces between staves -- the music lines must be contigous, with blank space only on the bottom of a page.
- Cuts/Alterations should NEVER result in pages with only a few measures followed by a cut to another page of similar layout.
They should be combined to make normal full-page manuscript, with blank space only on the bottom of a page.
- When multiple cuts are made in a number, effort should be made to avoid unnecessary page turns by
consolidating the remaining material onto fewer pages, with blank space only on the bottom of a page.
- When blocking out measures, care needs to be taken to make sure that other pertinent info is still visible.
- NEVER let the tape for paste-ins touch any of the printed matter on the original page.
- When entering a cut, make sure to not obscure or complicate:
- Page turns
- Key Signature
- Time Signature
- Key Signature changes
- Time Signature changes
- Instrument/mute changes
- Arco/pizz changes
- measure numbers
- Rehearsal numbers
- If subsequent matters cause the cut to be changed after the books are released to the players, then in the orchestra
read the paste-in can easily be removed & the players can mark the changes in pencil.
- If the music director knows that cuts or changes might be added AFTER the books have been released to the players,
the affected pages are photo-copied before the books are released. If changes are made, then full-page paste-ins are given to the players at the reading.
Changes & Additions
- When adding repeats:
- NEVER use D.C., D.S., or CODA
- NEVER make repeats over page turns
- Repeats MUST correspond with the musical phrase
- NEVER repeat to a measure containing only the 'repeat preceeding measure' sign
- ALWAYS indicate the number of multiple repeats by 'played X times'
- NEVER put repeats in any part unless they are in ALL parts
When adding measures:
- Added measures are numbered with lowercase letters after the original measure number (i.e. 1a,1b,1c,1d and so on)
- The measure immediately after the added measures resumes the original number (in this example, "2").
- If a "tag" requires going back more than a few lines in the part, then it must be written out, NOT "back to measure x for tag".
- If a number is reprised later in the performance, a second copy must be inserted into the books at that point, NOT "turn back to page x".
- New parts must be done via computer, both for further use & for ease of correction.
- After completing a score, each individual part must be individually formatted.
- Never use the score layout for the individual parts.
- Always number pages.
- Always show measure numbers.
- Part layouts must reflect the phrasing of the music as it affects that part.
- The number of measures per line must correspond with the musical phrasing.
- Multiple-measure rests must correspond to the musical phrasing
- Never have a phrase continue over a line if it will fit one one line.
- Never have a phrase continue over a page-turn.
- Always arrange page-turns to occur during rests or at the end of a number.
- Never put a rest after a page turn -- put it on the preceeding page.
- Never use key signatures for Timp parts or French Horn parts -- always show the accidentals.
- Never use key signatures for mallet instruments when they are part of a multi-percussion set-up -- always show the accidentals.
- When adding pages into a bound book always have the added pages "bind" to the center binding of the book, never have any "fold-outs"
- When adding pages into a bound book always be aware of page-turns
- When consolidating or re-assiging parts every effort must be made to:
- Assign parts to an appropriate instrument
- Avoid "using up all of the rests"
- Avoid assigning parts above or below an instrument's "normal" range
- Avoid assigning parts that are "out of character" for an instrument
- Identify re-assigned parts so as to help with style
- Never require a player to read from more than one book
When preparing a part for a "doubler" always leave adequate time for changing:
- Changing from Electric Bass to Acoustic Bass is a major move, & cannot be done quickly
When preparing a part for a "doubler" make sure that the instrument being used is clearly indicated.
- List all of the instruments needed on the cover of the book.
- Indicate “change to inst X“ at the end of the last passage for instrument Y.
- Leave enough time to make the instrument change possible
- After a change, indicate the name of the instrument above its first notes
Standard Terms and Practices
When preparing parts, the terms & conventions defined here should be observed
These guidlines will:
- Enable rehearsals to deal with musical matters rather than proofreading of the parts
- Save rehearsal time by removing the conductor's need to talk thru changes, & the musician's need to ask about them. Since it is "the ink", there is no need to explain changes -- the musicians just read the dots on the staff!!