NZSM Guide To Notation 2019

o o o o
arco o o o o o o
f f f f f
212
N E W Z E A L A N D S C H O O L O F M U S I C | T E KŌ K Ī
G U I D E T O M U S I C N O TAT I O N 2 0 1 9
o o
o o o o o o o o
o o
f f ff f ff f
218
o
pizz.
ff ff
224
29
Extract from Jack Body’s Three Transcriptions for string quartet. © 2015 Wai-te-ata Music Press, reproduced by permission.
NZSM GUIDE TO MUSIC NOTATION 2018
Updated 21 February 2018, Michael Norris
INTRODUCTION: WHY THIS GUIDE?
Imagine that you’re at the first rehearsal of a new orchestral work you’ve just spent the last five months
writing. Your new creation is about to come to life for the first time. But just before the conductor gives the
downbeat, a hand goes up in the flutes: “Um, there are too many notes in bar 7!”. Then another hand in the
violins: “When am I supposed to move to arco playing?”. Soon, half a dozen hands have gone up, all
querying ambiguities and errors in their parts. Pretty soon, instead of rehearsing your piece, 20 minutes has
been spent correcting the errors and fixing the ambiguities. In fact, the conductor stops the rehearsal and
tells you to go and fix your score. I cannot stress enough how much you want to avoid this scenario.
In a recent survey of a NZ community orchestra, 90% of players said that having a well-notated part is
an important factor in their willingness to play a new work, compared with only 10% who said knowing
the composer was important, 50% who said being asked to make ‘sounds they liked’ was important, and
70% who said having the work written with the available rehearsal time in mind was important. To make
matters worse, music notation software such as Sibelius or Finale will rarely correct notation errors, and will
play back poorly notated music without complaint, giving you a completely false sense of security.
The advice contained in this guide is a distillation of the fundamentals of professional notational practice.
It will, if followed, make your first rehearsal a joy rather than a nightmare. It sets out notational advice
gleaned from more than 20 years’ experience in composing, performing, sitting through rehearsals, and
grading hundreds of compositions. I wrote this guide for anyone who wants to reach a professional level of
composing for performers. Whether for concert hall or film scoring stage, you need to know how to notate
music in the most efficient and practical way possible.
If you’re serious about composing, start collecting model scores. I recommend any scores by Faber
Music, or any of the new Wai-te-ata Music Press editions. For more information on typesetting, you should
read Elaine Gould’s Behind Bars, a ‘bible’ for those who want to go beyond the basic information here. — MN
PRESENTATION BASICS
HANDWRITING vs TYPESETTING
— Scores must be either neatly handwritten and photocopied or computer typeset.

— Do not mix handwriting and computer typesetting on the same score.
— Handwritten scores will only be accepted as a photocopy. Do NOT submit originals: NO
PENCIL OR BIRO on your submitted assignment — these will NOT be marked.
— For handwritten scores, it’s best to use a thin, black, felt-nibbed pen.
— For computer-set scores, use dedicated professional typesetting software such as Sibelius,
Dorico or Finale; programs such as Cubase, Logic, Noteflight, ScoreCloud, Crescendo etc, often
look amateurish and/or cannot achieve more advanced notational standards.
— For printing, use a good-quality laser printer, not an inkjet. Good-quality, double-siding laser
printers can be had for under $100 these days — check pricespy.co.nz
REQUIRED ELEMENTS
— Title in large type, top centre (a real title, not just ‘CMPO 101 Minor Assignment 1’)
— Your name, top right (if an arrangement, write ‘Claude Debussy arr. Joe Bloggs’)
— For coursework, you must state the course title and assignment name (e.g. CMPO 101 Minor
Assignment 1 — this can be at the bottom of the page, or on a separate title page)
— Date of composition/orchestration, which can be part of a © notice if appropriate
metronome mark (q=80) with optional descriptor (Moderato). Never use: ‘84 BPM’, c or C
— Tempo/Time indication: All works must indicate some kind of ‘time scale’, normally by using a
— Ensure the metronome mark matches the time signature: i.e. in 2/4, 3/4, 4/4, etc, the
metronome mark will be q=, but in compound time (e.g. 6/8) the mark will be q.=
— If using proportional/time-space notation, the duration of sections must be clearly marked.
Use notehead extenders or beam extensions to differentiate sustained from short notes.
NZSM Guide to Music Notation 2018 1

Title and instrumentation
Composer’s name
Tempo marking and MM
Three Canzonettas
for Violin and Viola
DOUGLAS LILBURN
      
Semplice (q = c.66)

     
con sord.
    
     
p
I   
   
                
  
pizz.
                




                   
p dolce sim.
 
6
         
        
  
 
                   
         
           
   





 
       
           
         
11
 
     
               

   
    




















     







        
16
            
         
       
mf
   
    
                   
        








   



        
mf (pp 2nd time)
(2nd time)
          
  1.
       
    
22 2.
  
p
            
        
         
   



    

       
© Copyright 2015 Alexander Turnbull Library

Extract from Douglas Lilburn Three Canzonettas 
© Wai-te-ata Music Press. Reproduced with permission.
Copyright notice & date
SUBMISSION FORMAT FOR SCORES
MAJOR ASSIGNMENTS
— Double-sided, A4 portrait, spiral-bound.
— Include a title page with title, instrumentation, your
name and course code on it.
— Works for large orchestras may require larger paper
(e.g. A3) to be legible.
— Ensure you choose a large enough binding coil, so that
page turns will be easy and quiet. (There’s nothing
worse than a squeaky score!)
MINOR ASSIGNMENTS
— Double-sided, A4 portrait, stapled in the top left-
hand corner.
— A title page is not required.
— For some courses, a different submission format may be
required.
PREFACE PAGES
You may also need to include a preface page(s) before the music, if
any of the following apply:
— Your piece is a major assignment: please include a short
programme note.
— Your piece is for orchestra or non-standard ensemble: provide
a full list of instruments (including a full list of any percussion
used, and a list of all instrument doublings).
— You have written for any transposing instruments: indicate
whether the score is transposed or at concert pitch on the
preface page(s) (NB: it really should be transposed).
— You have non-standard/unusual techniques, unusual notation, instrumental ‘preparations’, or
special lighting/sound/staging requirements: include a page of performance notes.
— If practical, however, it’s better to put short performance notes on the score and parts rather
than in a preface, as performers tend not to read prefaces. E.g. you could write ‘sempre senza
vib.’ on the score/parts, rather than ‘This piece should be played without vibrato’ in the
preface. Having said that, avoid long paragraphs of text on the score as well.
— If you are using unusual noteheads to indicate an extended technique, it’s always good to
write the instruction above the noteheads as well (e.g. ‘breath only’, ’key clicks’, etc.).
— Most extended techniques have a relatively standardised notation. Don’t invent new
notation just for the sake of it. Look at the scores of composers such as Lachenmann,
Ferneyhough, Pesson, Adámek, Sciarrino, Crumb, Saariaho for examples of fairly standard
notational practice.
— The litmus test of clear and unambiguous notation is: can the performer reproduce the
desired effect from the score without you needing to be there to explain it? 

SUBMISSION FORMAT FOR PARTS
Unless specifically instructed, you do not need to submit parts. If you are required to submit parts,
however, please submit as paper-clipped, single-sided A4 sheets.
TRANSPOSING INSTRUMENTS
If you have written for any transposing instrument (e.g. piccolo, alto/bass flute, cor anglais, clarinet,
bass clarinet, saxophone, horn, trumpet, double bass), the following applies:
— Scores should be written transposed (i.e. with transposing instruments appearing the same in
the score as in their parts). In Sibelius, choose Notes → Transposing Score (shift-cmd-T).
— If your piece is not in a clear major/minor key, use the Atonal Key Signature setting in Sibelius,
which uses accidentals instead of key signatures to do the transposition.
— Horns should always be transposed using accidentals rather than key signatures.
STAFF NAMES
For solo pieces, no staff names should appear. Instead, the instrument should be marked as part of
the title text (e.g. Monologue for solo clarinet). See the Appendix for an example.
For orchestral parts (except multi-instrument percussion parts) the staff name should appear at the
top-left of the first page, and thereafter in the top-middle. Percussion parts with multiple instruments
should have staff names. See the Appendix for an example.
For duos, trios and standard quartets, staff names appear only on the first system. See the
Appendix for an example.
For larger ensembles and orchestral scores, staff names should always appear with the full name
on the first system and abbreviations thereafter.
SCORE LAYOUT
Staves and bars should be evenly laid out and evenly distributed. As a general rule, you should
have between 3–7 bars per system, and bar widths shouldn’t vary wildly. Systems should also be
distributed evenly on the page, without any large gaps between them. There should be a sense of
balance in the page — you may need to manually change the spacing to achieve this.
For solo pieces, you should aim for 6–8 systems per page. For small chamber ensembles, aim for 3–4
systems per page. For large ensemble pieces, 1–2 systems per page. Orchestral scores are usually 1
system per page.
Don’t leave mysterious empty bars at the end of the piece.
Avoid collisions — e.g. dynamics under one staff colliding with notes on top of another.
STAFF ORDER
Most ensembles have a ‘correct order’ of instruments from top to bottom. If the score is incorrectly
ordered, the conductor/performers can get quite confused and may ask you to rewrite it. NB: if you
use the ‘ensemble presets’ in Sibelius/Finale, the staff order should be correct, but if you add
instruments in manually, these can appear in the wrong order.
Orchestral staff order
— (from top to bottom) piccolo, flutes, oboe, cor anglais, clarinets, saxophones, bassoons,
contrabassoon, horns, trumpets, trombones, bass trombone, tuba, timpani, percussion, harp,
piano, violins, violas, cellos, double basses
All other ensembles follow orchestral staff order, except the following:
— For small ensembles with piano (i.e. sextet or smaller): piano always appears on the bottom
— For brass quintet, brass band or concert band: trumpets/cornets appear above horn
— For concert band: clarinets and saxophones appear below the bassoons, and percussion
appears at the bottom
— For wind quintet: flute, oboe, clarinet, horn, bassoon
— For small ensemble with voice: voice goes on top if no piano, or above the piano if there is.

HANDWRITTEN SCORES
Don’t use pencil or biro for your final copy.
Rule all barlines and beams. Beams should be thicker than stems.
Don’t make your noteheads too big (or too small). Compare with other good examples.
Don’t use those horrible manuscript notepads for ringbinders. I recommend you use a custom-made
computer-set blank score as your manuscript paper.
Nine Short Pieces
FONTS DOUGLAS LILBURN
h = Use
c.69the standard music font of your notation software (Opus or Engraver), unless you’re composing
jazz charts, in which case the ‘handwriting' font is fairly standard.
Use a standard ‘body-text’ serif font for all text (titles, staff names, expressions) such as Times, Times
New Roman, Plantin, Century Schoolbook,
mp Garamond, Palatino, sf or Caslon. Some sans-serif fonts
mpare OK, mf
1 f although non-standard. NEVER use an ugly ornamental font like Comic Sans, even if you think it
looks cool!
STAFF SIZE
pp
Solo/duo works or ensemble/orchestral parts should have a staff size of 6–7 mm (6.3–6.6 mm is
7 excellent, though I find 7mm too large). Parts should be comfortably readable at arm’s length.
f
Quartets & quintets are often best with a 5.3–5.8mm staff size, so you can fit 3–4 systems per page.
Orchestral or large ensemble scores are best with a staff size of 4.5–5.0mm.
mp mf
f If you can only fit one or two bars per system, usually that means the staff sizes are too large. You
ought to be able to fit 3–7 bars per system, depending on the complexity of the music. 
This staff size = 6.3mm pp

(good for solo works) Note: 5 bars per system
13
Phantasy
mp
for Stringsf Quartet mf
f
Based on the air “Westron Wynde” (c.1500)
Westron Wynde when wilt thou blow? pp

The small rain down doth rain.
Christ, that my love were in my arms
This staff size = 5.3mm
18
(good for ensembles) ff And I in my bed again.
DOUGLAS
Note: LILBURN
6 bars per system
Moderato (q = c.58)
con sord.
f mf
Violin I mp
sf pp
pizz.
Violin II (pp)
p
con sord.
23 p
Viola
sf pp
pizz.
Cello f sf mp
p
Extracts from Douglas Lilburn Nine Short Pieces and Douglas

Lilburn Phantasy, © Wai-te-ata Music Press. Usedppwith
28
SETTING DEFAULTS IN SIBELIUS
Sibelius’s default settings do not always confirm NZSM’s preferred typesetting practices. You can set it to
meet the guidelines, however, by making the following changes to the settings:
Layout Appearance
Click the disclosure arrow under ‘Document Setup’ to
edit the Document layout. Engraving Rules
Accidentals and dots
Staff size (CHECK) Prefer top accidental at right
Try the following starting sizes, then reduce or (UNCHECK) Restate accidental when note is
enlarge as necessary: tied across a system break
— 6.3mm for solo work
— 5.8mm for quartet Articulation
— 5.6mm for quintet Position of articulations when near the stem:
— 4.6mm for orchestra Center all on stem
Vertical Position: Allow ‘always above’
Page margins articulations to be flipped below
Same, Left pages: 15 (top), 12 (left), 12 (right),

15 (bottom). For orchestral scores, top and Beams and stems
bottom margins can be reduced. (CHECK) Beam over rests
Staff margins: 35 (top), 8 (bottom). After first (CHECK) Break secondary beams
page, 8 (top), 8 (bottom) — NB: the 35 may
need to be tweaked so that the gap between
systems on the first page matches those on Clefs
subsequent pages. (CHECK) Reset accidentals to current key
Full names: 15 (may need to be increased for signature on clef change
long instrument names)
Short names: 5 (may need to be increased) Instruments
No names: 2 (UNCHECK) Draw left separator
Spaces Between Lines

Change to: Staves: 7 / Systems: 15 Small aperture: 1 spaces
Press: Reset Space Above, Reset Space Below Large aperture: 1.5 spaces
Tweak these sizes so that you get a nice even
spread of systems across the pages, with the
gaps between systems being noticeably larger Staves
than the gaps between staves. Staff line width: 0.13
(CHECK) Justify both staves of grand staff
Text instruments
Click the disclosure arrow under ‘Styles’ to edit the

following text styles: Time signatures:
Gap before time signatures: 0.41 spaces
Main Text Font: Times New Roman (NB: if you already have music entered, you
Tuplets: Font: Times New Roman, Style: italic will need to Reset Note Spacing after changing
this)
Title Text
Vertical Posn: Snap to top margin, 5mm
Notations
Then select and press Reset Position
Click the disclosure arrow under ‘Lines’
Composer
Glissando (straight)
Font: Times New Roman 10pt/9pt
Width: 0.2 spaces
Vertical Posn: Snap to top margin, 20mm
Centred Text: delete

œ. œ.
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LOCATION OF MUSICAL ELEMENTS  & & &
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is
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Tempo markings and rehearsal marks ” beneath staff
Allegro “” q=1
Tempo markings (including rits and accels)œalways
“” “
& the top staff only).&In û &
staff (for grand staff instruments, above & &&
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Sibelius, use Tempo Text for tempo markings (opt-cmd-T), which
œ œ œ œ -œ -œ œ. Allegro.
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œŒ.œœ. œœ. œ.œœ œœ‰œ.-œœ. -œj>˙œœ œ œ œ œ j
should be bold and with a metronome marking.
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Techniques, suchœasœarco, ˙ pizz, sul pont and & 8Œ symbols,œ‰go œ ˙
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& the staff they refer to. In Sibelius, use&Technique Text
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above
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œ be italicized.
for techniques and choose 8 /8 from Lines (L). These markings
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pp
& œ™ Ly œ &-œ rics
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Expressions Allegro f pp > f > pizz
pp . œ . markings,
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they œrefer œto.jœYou .fhairpins
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œ while>œ entering.
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> Ly
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Allegro
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j œ jj
pppp > œ™ œ
f
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> > œ œ
wrong fonts used
& pp œ œ f > > œ™
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f
rics > >
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pp f cresc.
& œ™ œ œ œ™ œ & ∑ & ∑j >

pp f
For vocal parts, however, expressions should go above the staff to

ü & œ™ œ œ œ™ œ &
avoidLy - withrics
colliding the lyrics.
Ly - rics
> > >

#œ˙ #˙ #œ>˙ #˙
mp mp
œ œœ œ œ
œ bœ
&& && &&
{{ {{ {{
For ‘grand staff ’ instruments (e.g. piano, harp, marimba),
w ü?mp?wmpwwwww
expressions go between the two staves if they apply to both;
otherwise put them above the right hand or below the left hand. û ww
??www °
??
> 7 7 œ
˙7 œ œ– –œ œ #>˙
‘mp’ only seems to apply
#
mp
>
to right hand
> œ œ
œ #˙
mp
œ #˙ & && bœ #œ œ#œ bœœ–&
b œ
œ œ bœŒ ŒÓ Ó & bœ œ#
{ {{ { { {
œ œ b œ œ
& & &
ww œ#œ œbœ Œmp wÓw °
{ {
w mp w w°
? ? ? ?∑ w ?
? ww ? ww û ∑
Pedal markings go below the bottom staff.
? ∑
  Ped. marking should be °°
œ–
7
beneath bottom staff
œ– & bœ œ#œ œ œbœ Œ Ó
7
{
& bœ œ#œ œ œbœ Œ Ó ü
{ ?
°
∑
?
°
∑

BEAMING & RHYTHMIC NOTATION
Beaming is the general term given to notating rhythms in a way that is easy to read, and the locations of the
>
& >œ—
beats are visually obvious. Performers rightly expect good beaming and get very grumpy if you do not
& >œ Œ ‰ œ Œ
notate it correctly. Music notation packages do not check your beaming for you: it’s very easy to get it
wrong, and the default is often incorrect. This is simply something you have to do manually.
J
mf Beat 3 is hidden  mf
> j—>-˙ Œ ‰ - >œ– Œj
by the minim
j
There are three main elements to good beaming practice:
& >œ Œ ‰ œ Œ & œ œ

J
a) Don’t hide beats: notes and rests that cross over a beat should
û & >mf œ.>Œ ‰ >œ ŒJ . œ & . œ
œ & >œ— f>Œ
be divided up using ties so that the locations of the primary beats of
mf & > f J
œ– Œ
a bar are immediately visible.
>
—
œ Œj >-œ™ & mf>
j >-˙ & -œ jŒ ‰ mf œ - œ Œ j ‰
& œ. œ> œ. >ü &J œ>. œ> jœ. j J >j
> & œ Œ ‰ œ &Œ œ >˙ & œœ— Œœ ‰ œ&
mf & j œ
- ˙ œ
- J œ™
mfj œ œ>–œ™Œ œ
j -œ™
œ œ
> >œ Œ > J > . >‰ >œ– Œ >- J >
. .
&-œf >—œ
f f
& > œ Œ ‰ j -˙ œ j Œ j œ™ œf -œ
J œ J œ œ
mf mf
& . j j j j &
&mf œ ˙ œj >- >œ™ œ œ- œ™ j&mfœ . œ œ Ój >- >.j j - J jj j
> & œ. ˙ fon beatsœ ü&œ. œ ˙>&œ œ. œ™œ™ œf œœJœ™œ œœ. œ œ
j -œ™ >œ - j
There are exceptions to this: semibreves on beat 1; minims
j > j
œ. not-˙tied) f -œ œ. œ j œ. j Ó
1 or 3; dotted minims on beats 1 or 2; and:
a) a minim on beat 2 (as long& œ
& œ™. œj œj œ™ f
J
b) a dotted crotchet on beat 1 or 3>
& œ ˙ œ
ü f> œ œœ
as it’s
&f j j ∑
j evenj Óthough
These patterns are OK,
c) a dotted crotchet on the offbeat of beat & 1 or 3 œ ˙ œ œ™ü&œ œ œ™ œ œ œ the beat they hide
j j j j
& œ ˙ œ &œ™ œ œ œ™ü œ œ œ Ó
d) a crotchet on the offbeat of beat 1 or 3.
∑
& & œ ≈ œ ≈ œ œ Beats œ ≈ ≈areœ ∑≈notœ beamed
œ≈œ≈ &
together
& ∑
& œ≈œ≈œœœ≈≈œ≈œœ≈œ≈ &&œrœ.‰ œ.œ œœ. œœ. œ≈. œ≈≈œ. œœ.œœ.œ œ. œ ≈ œ &
b) Beam notes within a beat together: beams should connect
notes that fall within the same beat, even if there is a rest between
û R R R
them.
r
& œ ‰ œR œ œ ≈ œR ≈ œ œ œ œ œ ≈ œR ü & œ ‰ œ œ œ ≈ œ ≈ œ œ œ œ œ ≈ œ
NB: Sibelius incorrectly breaks beams if a rest occurs between
notes. Use the beam group tools to make it look like the bottom
example.
Don’t use rests to make notes short
c) Use staccato dots instead of rests: short notes can be made

easier to read by using a staccato dot instead of a rest.
û & œ≈œ≈œœœ≈≈œ≈œœ≈œ≈ &
r
& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈ ü & œ. ‰œ. œR. œ. œ. ≈≈œRœ.≈ œ. œ. œœ. œ œ ≈ œR &
r œœ œœ
& œ ‰ œR œ œ ≈ œR ≈ œ œ œ ≈ œR & œ‰ œœœ≈œ≈œœœ ≈œ
“‘
& “œœ”≈ œœ≈ œ œ˙ œ ≈ ≈ œ ≈ œ œ ≈ œ ≈
& œ œ ˙ & œ undœ er˙ lay un - der - lay
& œ. œ.
?? œ œ ˙ œ œ ˙
& repeated
und er lay & œ œ ˙
un - der - lay
r œ
‘
≈ œ ≈“œ œ œ ≈ ≈ œ˙ ≈ œ œ ≈ œ ≈& œ œ œ ≈ œa tie & œ ‰ œ
‰ R œ œ ≈ œR ≈ œ≈œ œ during
Accidental
& œ œ ˙ & œ? œ“œ” œ 3 & . . . . . . . œ. œ. R 3

œ œ œ œ œ
& 2>œ œ b>œœ™ œ œb˙ >˙
œ œ
& 2 œ>œœ b>œ ™ œ
“‘ r ?œ œ ˙
œ œ
≈ œ & J ‰ œ ˙ ≈ œ ≈ œ œ ≈&
”
≈œ≈ œ û œ œ & œ œ J
“
‰
ACCIDENTALS
& œa tied R œnote.
œ R Theœ œonly R & œ œœ œœ p
?on œthegoes
Accidentals should not be repeated during
b>œœ3™ œ b˙
œover˙a system break,>when 2>œ 3b>œbœ™ nœ #œ ˙œ œ- bœ- & 42
exception is if a tie you may repeat
œ&
& J & 2 œ œ œ >˙ ü & &˙ &
& 4 œ b2œ - - - - >˙ >
>-J ˙>- œ> œ> >œœ >œ œ> ˙
the accidental new system.
œ
& bœ bœ3nœ #œ- œ- œ- bœ- & œ ppnœp ˙ mf
&Dimœ 3 œ, aug˙ 2 ,
3
mp
& 2 œ œ œ œ >˙ œ >-&>-22>- > > >œ >œ ˙ 44 b>œ- erl#œ- ay nœ2 >œ- lay
44- der
rd nd
>- & 4 ˙œ œ œ œ> & œ& 4 & and bmix bœofœflatsœ ˙ œ

û ˙ > - . ˙ œ > -
und un
sharps and
Respell
& œ nœ ˙pp
accidentals to avoid diminished and augmented
& mp œ œœœœœœ œœœ œœ
& œ mp
œ œ&˙
p
intervals — this often occurs if you mix sharps and flats. mf
pp
2
&4 ˙ 44 b>œ #œ &n42œ un - der&
und - erl - ay
44 b>œ bœ
- layunderlay
44 œunbœ --œ der- lay
œ
&
œ & œ˙ œ œ œ œ>œ œ-œ . ˙ü œ œ œ œ
˙ & # œ
œ & & œœ œ œ˙ œ This&is OK,
œ œ œ > -
œ
œ ˙ of
œ because
the G minor implication
pp mp underlay pp un und er- mp
- der lay
lay un - der - lay
>
& 44 bœ #>œ œ- nœ. 4> 44 œ bœ -œ œ œ ? œ œ ˙
œ 4œbœ˙ bœ
&&
In some cases you can mix sharps and flats — e.g. when using the
> œ-
& œ œ&
œ &˙
ü œ œ ˙ #œ -
‘ “
raised leading note of a minor key has a different accidental from
? œ ?œ “œ”˙ œ ˙
other scale degrees, e.g. Fs–Bf in G minor. und er lay un - der - lay
& œ aœline…˙
œ œ ˙
“‘
2 &share
G and Gs
“œ” œ 68 #œ œ. 68
? ˙
If a passage implies some sort of tonality by outlining a triad or& œ &
û &
œ
3 œ #œ
2 ˙œœ œœ œ. œ >˙ & 2 œœ œœ œœ. bœ>˙
&3
part of a scale, spell accidentals to comply with standard tonal 2 œ
2 different notes should p m
3 26 œ. . 68
spellings. This means that, where possible,
3
be on different lines/spaces.
& 2 œ 6œ œ œ >˙ œ &
&2 & 8
6
œ
4 œœ#œœ
œ œ
n˙
œ
. #œ#œ
#œ
nœ œ & 6 œ
œ&œb. 42œbœ bœœ
& 8 œ œ. #œ #œ . ü p&
œ œ
& 8 ˙ œ mfœ. bœœ bœœ #œ ˙ & &
> œ
8 œ œ. #˙œ
2
œ pp
œ œ
mp…but OK here because pp
& 42 6˙ œ œ ˙ 6 4 &
œ
b œ #
2
&4 œ ≈#œœœ>b˙≈nœœœ-bœœ#œnœœ.œb. œn≈œœ≈œ#. œœ&
> 4 œ≈ œ446bœ>œ˙≈&bœœ ≈œœbœœ &
of the shift to B minor
œnœ
& 8 œ œ#œœ. œ#nœœ ##œœ .nœ & & &
8
&œ6& bœ. pp
œ b œ
bœ.œ œ œ œ œmp#jœ> œ#œ œ. œ œ . & œ 8 œ >
œ œ-#œ #œ
& pp œ #œ œ . .
But this often depends on context: for instance, in this passage the ü & 8
rœ œœ œ. #œ #œœ4 . #>œœ-œœœœ œœ™
mp
>
following bar confirms a shift to a ‘sharp 4key’ 4 > œ œœ ‰œ R œ œ ≈&R4≈œ.œ bœœ #œ≈œR œ & œ
& 4 bœ #>œ œ- nœ.
(B minor), so
& 4 bœ b&
the
original spelling is OK.
& œ #œ nœ #œ nœbœ#œœ. œ & &-
> œ bœ bœ
44œ>œ œbœ >.œœ œ œ #œ
œ œ #œ œ-
44 œœ.bœœ.>œœ.
& bœ œ. b œ &
œ b œ ™ b ˙ & bœ- œ- b
œ &#œœJ œ œ. œ. ˙ & œ bœ œ. & J
4
œ. œ œ & 4 œ œ ˙ & 4
4bœœ- œ. œ-nœ nœ˙
& degrees, œ b œ b œ œ & b œœ b œ
In some more scales with more than seven
œ44bflats.
&and
œ .
œ œ ˙
such as the
ü #œ&& œ-44œ.bœ-œœ.bœ- œnœ- #>œ- >œ-œ >œ-bœ >- .
> >- > -> ˙
octatonic scale, it may be best to mix sharps
& 3 &
4
&4 œ œ ˙ 4
& 4 œ-œœ n#œ-œœ ˙œ˙ #œ œ œAvoid
& 4 #œ œœ #œœ œ˙#œ œ
und - erl - ay Bs-and
un der -Es!
lay
& 4 œ œœœœœœ & 4œ œ œœ œ

#œ
& 43 œ # œ œ #œ œ œ #û & 4 #œ #œ œ #œ œ nœœ bœ nœ b&
œ œ #œ underlay œ 4nœunbœbœ- nœder
If you have any Cfs, Ess, Ffs or Bss, you are probably wrong,
unless you are clearly working within a ‘sharp key’. The same goes
for double-sharps and double-flats.
& œ œ ˙ & œ œ ˙
& 44 #œ #œ #œ nœ ü & 44undbœ er œlay œ œ un - der - lay
? œ œ ˙
& œ œ ˙
“‘
“”
? œ œ ˙
& œ œ ˙
2
6 #œAsœœ. share
&”.8 “”œœ. œ.A#œand œ œ œa& 68 . œ bœœbœ
“.œ œ . ” “. œœ œ . œ “œ”œœ
œ. space
œ. -
œ -
œ
”
2 “
.
œ œ œœ œ œœ œ œ œ. œ œ
&8 6& œ. #œ #œ œ.
& 6
b œ œ 6
8 œœœ#œœ. bnœœ #œ nœ #œ & 8 œ&œ œœ. b#œ#œœnœ. œ
û&&
& & &&
œ
&
Where possible, spell semitone oscillations so that notes appear
on different lines/spaces.
œ Allegro q=120
œ. œ. œ. q=120
œ. œ. œ. œ. œ œ œ. œ. >˙ œ. œ. œ. œ. œ œœ. œœ.. œ.. œ>˙. œ œ œ. œ. >˙ Allegro œ. œ Œœ œ. œ.
b œ œ .
œ
& œ #œ nœ #œ nœ #œ ü Allegro & œ œbœ bœ œœ#œ œ œ
& & & & &
& bœ œ. #œ œ œ. œ
œ
pizz >
œ pp
Allegro
pizz. pizz.
j œ œ™ œ pp .>
œ> >œ œ. >œ & & œ™ &œ. œ™œ œ™œ
j œ j > j
bœ œppnœf
Œ ‰
bœ œ
Œ &œ œ™‰ œœ œ
& œ bœ œ. bœ œ #œ œ4 œ cresc. & bœ œ bœcresc. nœ
&
& 4 . œ. œf ˙ œ .& 44 œ- œ- ˙
> œ> > > > f
pp f pp
& œ™ œ œ œ™ œ ü
j >
In chromatic scales, generally use sharps on the way up and flats
>
&2 &
j œœ ‰
4 4 - rics
œ™ œœ# œ œœ#œœ™œ œœ#œ œ#œ&œ#œœ #Jœ œ#œ œ œ#œ œ#œœ#
œ. ≈ ≈ 6≈ ≈ bœ bœ œ.
on the way down.
&4 œ œ ˙ && Ly46 œ œ
≈ ≈
& 8œ-œ œœ-œ. œ#œœ ˙
# œ ≈ œ œ&œ8 œœ œ œ. & œ.
Ly - rics
2 & œ bœ œbœ œbœü œ œbœœrœœjbœ‰œbœ œbœ œ œbœ œbœœ œœj ‰

.& œ ‰ œR6œ œ ≈ œR ≈ œ œ œ ≈j œœR œ ™ & œ ‰
œ
œ œb&
6 œ 6 œ
& 8 œ œ. #œ #œ . & 8 œ œ. bœ & œ #& b œ œ 8nœ B, #œœAnand œ œinbthis
œ ##œœE#œarenœ.natural
#& œ œ œ œ
& œJ. œ.bœœ. ™ œ. bar,
œ œ > > œ .
œ. ≈bbut
œ˙. œ.it’sœ. not >œ b>œ ™
& œ≈œ≈œœœ≈≈œ≈œœ≈œ≈ & œ. made clear & J
.œ
œ #œ an
& when nrœ‰ #altered
œœ nœ #≈œpitch œ œ œ ≈btoœœ œûœ&&œ œ#œœ‰bœœ œœ. œbœ≈ bœœ≈ œ œ œœœ œbœœœ#≈œœœ œ. œ.
&
œ ≈ œ œreverts &
Use a courtesy accidental
& œ R œ œ R R & œ bœ bœ nœ #œ- œ- - -
- - - >> >>
unaltered in subsequent bars.
>œ b>œ ™ . b˙ >œ b>œ>-™ > > ˙> .

2
œ œ œ 446 œ œ bœ bœ œ œnœ & 44 6œ œ

& &bœ Jœ. bœ bœ #œ œ œ œ& J & n œœ ˙ ˙ #œ . nœ &# œ œ8-œnœ. œ-˙.œ œ.˙bœ bœ
œ
œ . . ü & 8œœ œ œ. œ. #œ b œ &
un - derœ
& bœ bœ nœ #œ- œ- œ- - b œ
und - erl - ay - lay
2
4 œ - >- >6- > > & > >4 3œ œ œ œ œ œœ. œ œœ #œœ œœœ œ
& 4 œ >-œ > ˙& 8 4 œ œ œ &
& 6 4 b œ œ
œ #œ #œ- . - ˙ & 8 œœ #œ#œœœ.nœœbœ##œœ nœ #œ & 8& œœ œb. œ#œ #œœœ # œ œ &
6
# œ
TIES & SLURS & œ nœ ˙ œ œ . & œ œ ˙ & underlay œ œun - der- la
34 (which
Phrase marks (that indicate the phraseology
und - erl - ay of the music) areungenerally &œ 4
- der - laydiscouraged
œ œ b œ œ# œ ˙bœ nœ nbœœ nœ& œ& 44œ ˙ œ œ
these days, because
they are easily mistaken for &
œ œ #œ œ #œ œ #œ & 4 #œ n #œ œ. œ bœ nœbœbœ
œ # œ b œ layœ bœ
slurs specifically indicate bow changes or tonguing).
œ # œœ œ& œ œ # œ nœ # œ nœ œ œ œ undœœ er
& œ œ œ œ & # œ & œ bœ . œ œ #œœ œun#-œderœ- layœ œ
&œ œ œ b
This ? slur could be. .
& mistakenœfor a œ
˙
& 44 #œ #œ #œ nœ & 44 bœ. œ œ œœ œ ˙
underlay un - der - lay
œ œ œ ˙œ 4“‘
tie
& œ œfor ties. & œ. nœ

˙
& bœ œ. b œ b œ œ #œ 4“œ”œœ. œœ ˙ & œ bœ &
& b4œ b
œ. 4 œ œ ˙œ
layœmarks clarify un
Make sure your slurs can’t be mistaken This can happen
if you have a repeated note under a und slur. er Tenuto - der û
that
? œ œ . ˙ - -
œ
- lay
the player should separate them with a small gap. & œ ˙
& œ œ 4˙ ? œ œ ˙
44 œ œ
“ ‘ & 4 œ œ ˙ & 3
& 2 œ- œ -œ œ˙ >˙
3
“”
ü &2 œ œ œ œ
? œ œ ˙ & œ œ ˙
p
& 42 ˙ & 2
4
If any note under a slur is tied, the slur should extend to
3 a number of ˙bars, in which

encompass the full duration of the tied notes. The only
3 û œ œ ˙ ˙
&
exception is if the last note is tied
case, you may slur just to its start.
2
for
œ œ œ œ > & 2 œ œ œ œpp>
˙ mp p
4 >œmf >
b & 44 bœ b>œ œ- œ
p
& 4 #>œ œ- nœ.
& 42 2
ü &4 ˙
˙ œ œ ˙ œ œ ˙
pp mp pp mp
> > -
& 44 bœ #>œ œ- nœ. & 44 bœ b>œ œ- œ & 44 œ bœ œ #œ œ œ-

& œ œ bœ œ nœ ˙ œ œ ˙
œ- b>œ- b>œ- n>œ- #>œ- >- >- >-
>
text - erl - ay un - der - lay
& & & œœœœœœœ & œœœœœœ

œ nœ ˙ œ œ ˙ Looks like ‘der’ and ‘lay’
text - erl - ay
& œ œ œ œ œ ≈are
un - der - lay underlay ≈ ≈ ≈ œ ≈separate
œ œ ≈unœ words≈- der& - lay
œ.
œœœœœœ & œûœ & œ 3œ œ œ œ
4 rœ œœ œ œ œ œœ œ œ œ & 43 œ œ
œ putting
TEXT SETTING
& by
& œ ‰ œœ≈R ≈œœ ≈ & œ‰
Indicate the syllabic division of words hyphens between
un - der - lay R R
their syllables.
& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈Text œ ≈ - un& derœ. œ.layœ. œ. œ. ≈ œ. œ. œ. œText

underlay
>œ ™ . >
˙ œJ bœ ™
3 44& 43œ > b b ˙ ? >
& 4 œ œ œr œ œ & J œ˙ œ œ œ œ œ &
& œ ‰ œR œ œ ≈ œR ≈ü œ œ œ“œ‘œ ≈œ œR & œ‰ œœœ≈œ≈œœœœœ≈œ
“œ” œœ≈bœœb≈œ œnœœ>#œœ- ≈>œ-≈ œ- ≈bœ-œ œ ≈ œ ≈
Text - un der lay Text un - der - lay
4 >œ b>œ ™ ? b˙ ?œ & ˙ œ

- - ˙ - -œ > b>œ ™ > > ˙
& œ.
&4 œ > >& > > & œ œ ˙
œ œ & ˙ J J
“‘ and pronunciation is r
œœ ≈‰nœœœR≈œ˙œœ œ≈ œœR ≈ ≈œ œ Syllables œ≈ œœ œœ ≈ œœ ≈ &&œ ‰
“œ” &
Divide syllables so that the meaning
û && œ & Rœdo not
œ natural ˙
œ ≈ œ ≈
˙& syllable œ œ œ ≈ ≈ œ ≈ œ œ 3b
≈ œœ ≈ œ œ œ œ œ ≈ 3œ œ œ œ
œ each nœ- #aœ>- >œ-& œ>&
immediately clear (e.g. ‘think-ing’ rather than ‘thin-king’). Where
>-2 >˙-œ und -œay ˙. . . . & . 2divisions œ >œ >˙ >
. œ-.derœ. - .lay
œœ ‰œ œ œ œ ≈ œ ≈ œ œ œ œ œp≈ œ &œ œ&mfbœœ™
™
? to begin œ- bas>œ- blong
œ-with follow
you have a choice, it often makes sense
> &> œ >œr - erlb œ > b ˙
un
consonant (e.g. ‘un-der-lay’ rather than ‘und-erl-ay’) > as
≈ œœ ≈ œuncertainœ≈ œœ ≈≈ ≈ œ œ≈ œœ œœ& &&≈œœJœ≈ Rœ & œ œœ.Rœœœ. œœ. œ. œœ. ≈& œ. œ.Rœœœ.œ œœ. œJ≈ œœ œ
& œIfœr&
this does not make the meaning of the word ambiguous. Split words
& ‰you’re œ œ ˙ œ œ ≈
& & ˙œ ‰ œ œ ≈ ≈ œ œ
Rœ nœthat œ ˙œ>
with doubled consonants thus: ‘im-mor-tal’.
R will 3 ü 2 R underlay
-™ lay œ b˙ ˙ bœ
about the correct hyphenation, there3 is a good website 2 >der- la>
& 2 œ œ œ rœ >und ˙ & 2 >
& œ4 œ unœœ- der un&-4
˙ œJ bœ >bœœnœ>#œ-‰ œ-œ - -≈ œ ≈ œ&œ œœJ≈˙ œbœ
b œ
& œ bœ ™ œ œ b˙ œ œ p œ >-3mfœ>-&b>-œœ™> > œ>˙œ > œ œ
work it out for you: http://juiciobrennan.com/hyphenator/
>œ - erl - œay œ
œ œ œ&& > œ
> ‰ ≈ ≈ ≈
& œJ & Rœ œ œ Rœ œ œ œ ppR>-& &&4 Jœœ œ œœ œœ œ œ œ œ
mp
&pp43
2 >™ 2 > b>œ ™ œ
& 4 & >œ bœunderlay b ˙ &&& 4 œ ˙ œ
b˙nœ-œbJ>œ- n>œ- #œ>œ- Melisma œ b
˙
& œ
-œ >- >-˙isœunclear œ ˙
˙ & J œ œ ˙ œ œ bœ œœ&
-
un
Text - - der
un-
>
lay der lay Te
->
œ- b>œ- b>œ-mpn>œ-3 #>œ- >- >- >- 4 > pp ? œ œ œœ ˙
text erl - ay un - der - lay
pp
> &4 & 4œ & 3
4
mp
œ œ œ œ œ œ
& œœ ‘nœœ œ˙ œ œ œœ & & ˙ œ œ œ œ˙ œ œ œ
“
& œwith
# œ œ aœ
bûœ- & œ œ
b œ n
& œœ- bnœ-œ is>-a˙ >-melisma,œ -
>- >-- >un&> der ” -˙erl - ay
“
Melismata (multiple notes sung to one syllable) are written
>
slur over all the notes of the syllable. If the last syllable > Text
œ lay œtext Text unun- -derder- -lay
lay
un? œ
- der - layœ
underlay
˙
un - der - l
4
an extender line can be used. text - erl - ay
?œ œ œœ ˙ & œ œœ œ˙ œ œ
& œ&nœ4 œ˙ œ ˙ & & ˙ œ œ œ œ
& text œ œ œ“‘œ œ œ œ &
œ & œ œ4 œ œ œ œœ œ œ œ &
œ 3 &
3
4
- layœ œ
un - derœ
“ ”
- erl - ay ü un - 3derunderlay 3
?œ œœ œœœ œ˙ œ & 2unœ œ-œTextœder-œlay - ˙un der lay &2 œ œ œ œT
œ œ >
underlay
& && 3 œ ˙œ œ œ œ
3 4 & 4 œ 3 œ œ œ ?œ œ p œ & ˙ 43
& 4 œ œ œ œ œ & 4 un œ & -œ 4der ˙œ- lay œ œ œ œ
“‘23
underlay
3 2 2
lay & 4& & 4
& 4 œœ œ œ >œ œ? 4“œ”pp œpœ&˙43 œ mpœmf
HAIRPINS & DYNAMICS
& 2 ˙ ˙
Text - un der lay
Dynamics always appear below the staff, with3 the
Text - œun œ der
œ ˙ œ œœ >
Text œœ un ˙- der - lay ˙
?œ œ œ œ ˙ p
following
44 ?&œ4 œœ œ˙ ˙ œ
& œ œ ˙
exceptions:
“‘
for vocal parts, hairpins go above the& ˙
œ
‘
œ 2
“& 4
staff
œ ? ˙ “œ”
2
Text - un der lay Text un - der - lay
&4
& 4“œ”œ œ œpp˙ ˙
œ3 œ ˙
for instruments that use a grand staff, dynamics go between
4 ˙ œ 3
œ œ œ ˙ ˙ ˙
?2
the staves
& œ œ œ >˙ pp &&œ2 œmpœœ ˙œ œ
“‘
? œ œ
œ
& ˙
mp
Generally speaking, use hairpins rather than “

”
Degree ofpcresc. is
œ œ or decresc., 3
? ˙ & 23 œ œ&œ42 œ
unclear
2
&œ342 œœ œ ˙œ œ >˙
cresc.
unless the dynamic change spans more than a couple 3
& 2 œ œ œ œ >˙
of bars. û & &
& 2 œ˙ œ œ œœ >˙ œ ˙
p
ppp mf mp
&223 œ œ œ œ >˙ ü & 23 œ œ œ2 œ >˙

It’s a good idea to indicate the dynamic levels that start and end p
& 42
your hairpins, unless it’s a short expressive swell that only lasts a
few notes. 
&4 &4 ˙ &4 œ œ ˙
˙ œ œ ˙ p ˙ mf œ œ ˙
pp mp
& 42 ˙ & 42 ˙
pp mp pp mp
œ œ ˙ œ œ ˙
pp mp pp mp
& œ≈œ≈œœœ≈≈œ≈œœ≈œ≈ & œ.
r œ
& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ&œ ≈œœ‰≈ R œ œ& ≈ œ ≈œ œœœœœœœœœ ≈ œœ œ œ & ‰
R . . . . . R. . . œ. œ
>œ b>œ ™ b˙ œ Avoidœone-offœ8>œsœ b>œœ™
8 /8 SIGNS
va ba
r œ œ œ œ œ œ
‰ ≈ ≈
œ Rœ.œ œ Rœ. œ œ & J R ≈ ≈œœœ&
&“”œ ‰ œ œ ≈ifœpossible œœ J-œ -œ≈œ.
va
Generally, the only times you need to use 8 or 8& are: va vb
œ œ> œ. >
“.
œ œ œ
”
bœ ™ or  b˙ œœ #œbœœ™ œ- b&
— high flute or high violin
> >
&&œJ
— the extreme registers of harp, piano, keyboards
û& & bœ & b œ n œ- ˙
œ - - - J -
>- >- > > > > > >
pitched percussion.
œ. ” “.” œ .
. . . . . . .
>˙& œœœ≈nœœ ≈ œœ˙œ œ ≈œ≈œœ œ≈&
& bœœ bœœœnœœ#œ-œ œ- œ.œ-œ.bœ-& . “ .
œœœœ≈œœœœ ≈œœ œ. œ> œ œ. œ.
Allegro
˙˙&
q=120
Generally speaking, avoid ‘one-off’ 8 /8 . signs,

œ - -
&>- >unless
va -vb> > > >
> >they ü &text - erl - ay& & un - der - lay
r œ
‰œ R œ œ ≈ œRœ ≈œœœœœœœœ œ≈passages
would require more than 6 ledger lines to write out at pitch.
& ≈ ≈ ≈ ≈ ≈ & & ≈ œ ≈ œ long
≈Avoid œ‰ œ
&Allegr
œ
Allegro
œ
& œ nœ pizz. œ œ˙œ œ œ œ œ œ œ œ ˙&œ œ
& œ œ. œ. œ. œ. œ pp . > many . œ . œ . . . œ R œ œ
œ œ œ
&ledger linesœœ. œ.œ
. . . . with
j œ underlay œ . >
For short passages of less than 6 œ
. œ. &outr ‰Œatœpitch.
text - erl -
”œ≈ œœ“≈.” ‰ œ>œœ&
ay
&
un
>œœ œb>œœ™ &
- der - lay
œ -œbœ™ -œ˙ œœ. œ ˙œj œ œ™“un”œ& >œ ™- la
>œ- bder
& œœ œœR œœœ. œ>œœœR>œœœœœ >Allegro œ ≈ œ ‰ œ ≈ œ ≈ œ œ
œ œœ J œ -
& œ œ
≈ œ
œ œ JR œ œ&œ œœ œœœ œ
ledger lines, write “
& & 3 œ œ 3
& & pp> û f & & 4unpizz. >œder™ -œlay œb˙œ œ&
f
™
&pp4 œ
cresc.
>œunderlay
œ b œ b ˙ > œ > œ
b
œ. œ . œ j
œJ œ -œ -œœ œ œ œ™ œœ-“Œ”b&. & œ
œ- b>Text # œ
œ-Jnœ- ->- ‰un œ œ
- j -
>- . >œder>œlay∑
-
&& &
“.” “.” œ™ Allegro& >œ œ > œ & œ™ Te
œ passages of more
œFor longer .œ œœ. 4œ.œledger
œ œthan .œ œ œlines,
.œ œ. >˙use&8Ly 34/8 . .œ œ. œ. œ.œ œœœ . >. œ&
q=120>
> -
œ 3 -
œ œ > >
œ -œ&œœrics œ& 44 œ œ >˙ 4 œ œ&& ?œ Œœœ œœ ˙cresc. ‰ œj
va vb
& & & && œ

ü b œ &
& nœ ˙ ˙ œ ˙ œ
œ bœ bœ- nœ- - - #œ - - œ œ œ œ œlay >
>- >- >Text> >- >un > der> laytext“‘- erl - ay j >Textœ™ œun lay >
der -->
pp f - der
&?“”œ™ œ˙ œ &
Allegro un -pizz
œ. œ. œ. œ. œ œ œ. œ. >˙ œ. œ. œ. œ.& 4
Allegro q=120
pizz. œ . .
&j 4œœ œœnœœ œ˙˙ ˙ > &? œ
&œjŒ >Ly œœ œœ
˙ œ œ
œ œ™ œ-‰˙ œ rics jœ œ &œ use œ œ
j8œ>œ˙inœœ™œ
text“-‘erl - ay & œ™û
Œ ‰ œ
pp
& & & œ & œ œ & œ
œ> >œto treble >œ clef. œun -underlay œ > > & œ™ bass
derœ- lay œ - der-lay
Never va
> pizz >f >

“œ”œ œ œ œ cresc.
Never use 8 above bass clef — change
va un clef
œ
Allegro pp f
?f
& œ ˙ œ œ & œ
3œ 3 œ ˙ ˙ œ œ œ œ œ 3 3
j > j > &
& 2 & 4j > œ œ œ & 2 &
œ œ∑ œœ 4
& j œœ œ™œunderlay
pp
œ œ
pizz.
œ™
œ œ œ
∑œunœ œœœ- œ™ œ - layœ>
ü
& Œ ‰ œ œ
pp
œ > > & œ™ œ™œ & & œ™ &

>œ >
der
Text - un der lay p Tex
rics& 2& 4 3 ˙ & 3
23f pp f3
œ œ œ œ œ œ 4
2 œ& œ 4œ œœ œ>˙ œ?Never
œœ useœœ 8 ˙in 2
cresc.
f the treble clef — change to bassœclef.œ œ >
Ly -
&
& 4 &4
vb
j >œ œ™ œ ˙
˙œ‘ p∑œ œTextœmf un˙- der - lay clef
ppNever use 8 below
û
“
˙
vb
∑
treble
& œ™ œ & &
”pp œ ˙ 2 mp
Text - un der lay
“
p
42
&44 œ˙ œ ˙ œ œü ?
& ? œ ˙& 4
˙ ˙ & œœ œœ ˙ ˙
‘
“pp
Ly - rics
“œ” œ
mp pp mp
˙ 3
? & 23 œ œ œ œ >˙
CLEFS
&& œ2 œ œœ œ˙ œ >˙
Most instruments only read treble clef, with the following common exceptions:
p m
Bassoon & contrabassoon bass & tenor clef
& 23 œclef
œ œ œ >˙ &223 œ lines); ˙ clef very
& 4 ˙ œ œ œœ >œ ˙ & 42 ˙
Horn treble (OK to have 4 ledger bass
rarely
Trombone & tuba bass & tenor clef; trombone treblepclef very rarely
mf
pp mp pp
42 ˙tenor & treble 2

Viola alto & treble clef
Cello & double bass &
bass,
œ œ ˙
clef (tenor &
preferred 4
to
˙
treble)
œ œ ˙
Piano, keybd, hp, marimba treble & bass clef (piano can use 8va clef very rarely)
pp mp pp mp
Timpani bass clef
Unpitched perc percussion clef
[NB: bass clarinet reads treble clef only, as per normal clarinet]
Only change clef if you have a sustained passage of 3 or more ledger lines for a reasonable period of time, or
a one-off note of 5 or more ledger lines.

4
& 4 œ œ > ˙ & 4 œ #&
- 4 > -
œ 4œ œ-#œ œ-œ œ œ˙#œ. œ #œ œ . n
6 œ #œ n œ #œ
œ nœ
o 2
6 œ b œ . œ œ œ œ6.
œ
&
& 8 œ œoœ. #oœ #œœ 4. # œ
& 8 &
&
œ œ
# œbbœ>œnbœœ#œ.œ. nbœœ4 #bœœ& 8#œœ œ&
b œ œœ>œ#œb#œœœnœœ. œ #œœj œœ #
sul G
& 4 4
nbœœ.œbœnœ bœœ& 4œb.œ bœ>œ œ- . œ œ.
o
œ œ
B
#œ œ &
œ
3 . 4œœ ##œœœ&
o
& 4 n œ 4
œ
œœ
o
#œ
œ œ
œbœ œ œbœ œbœ œ & 4 œ #& # œ œ #œ & œ #œ > - œ. nœ bœ nœ œ bœ nœ
œ œœ#œ23 œ œ #3œ
& œ œ b œ œ b œ j ‰ œ
.
>œœ œ œ œ œ bœœ64tr.œ4 b>œ bbœœ œ. &
.
44bœœ b4bœœ -œœ nœœ. nœœ
TRILLS & TREMOLOS
&
œ # œ n œ # œ
œ b
nœ b
44œb~~~~~~~~~~~~~ œ Ÿ ~~~~~~~~~~~~~~~~~~~~~
œ
> orœ- &.&#œ&
& and another &
bœ .note w #œtone# œ n œ & 4
& 4 œœ bœ œ #œ Noœœwavy œœ b#w & 6
œœ b8œœ.line
&œœand4 œ #bœœ&
4 œwritten & with three 4û & œ bœ8œwœ. œœ. œ. >#œ#-˙ . & & . œ.œ. -bœ - -˙
A trill is a rapid alteration between a note a
# œ œ given
semitone above. Trills should 2
& 4 œ in brackets.
always
components: ‘tr.’, a wavy line and a trill#note
be
#œ nœTompcreate& 4 bœ œ œ
no trill note
44 œsulbœD-œ œ. mp
a
44 b>œline#œ fromnœthe Lines b>œ bœ œ œsul
44dialog mp
& 6 & . >#æœ #-œæœ. æ4&4 .3œ&#8œ nœ&œ#œœ. nbœœO. b##œœœœbœœ-bœ4&&
œ & 6 œ. œ68 nbœœ nœœœœ #œœœ#œœ n
æ
œ
˙œææ ææandææ&
sul Atrill in Sibelius, select the ‘trill’
-4note œ easy
#œæ&æ4œ.&œœO4-Ÿ‰~~~~~~~~~~~~~~~~~~~~~ 4œ æœ- œ #œœ-œ œ#˙.œ#œ nœœ#
Unfortunately, creating > . bœis b&
æ
œ 8so œ œ œ œ™ - ˙ ˙œ bRœ ‰œ.™ æ&
æ æ
4 œ 4
æ
& & œ œ . & œ œ
œ (Create→Line…). a trill not —
œwæ œmainœ œüO &. R w bœ #O œ œ œ œ

b#the
~~~~~~~~~~~~~œO following
^
.‰ ™ & œ #
sul D G
œ tr.
. œ # œ œ # œ
r
& you ˙ & ˙
#œcan either
. œ create a grace-note before note
w a stemless,&cue-sized,
j œ œ™
manually moveœit, or you can# O
#&˙create
& # œ Œ
6
bracketed note .in an unused voice at the same spot as the
& 8 mp œ #œ œ. 6 bœ bœ œ 6
&œ8 bœœ œœœ.œ. #œœ #œœ nœ. #œ
œ #œ mp8
& œ œ
œ 4. 3 & œ #œ nœœ #œ . n4œ #3œ& & œ bœ bœ œœ œb#œ#œœ œ œœ#œ4 œ &
mp
note and manually shift it to the right.
& 4&œ 4 œ æ˙
ææ ææ ææ œææ # œææ œ #&
& 4
& œ4 œ 4 bœœ #œ œ œ
œ#æœœœæ##œœtr.)œ#œ&œ 44#nœœ œ #œ˙ &
nœ bœ. 4nœ.œ bœ nœœœ
œ 44œ œ œ#œ -œ&œœ#-æœ4#(colour
œ ˙ .
æ
& œkey æ æ œæ œæ ˙tongue ramœ& æ œæ œ œŸœ~~~~~~~~~~~ ˙ ˙ œ
bœ œ
&trillsœ¿#toœ œan
nœalternative
#œ nœ #œ fingering
& onœ bbœœœœœ. œœœ œ #œ .
bœ œ nœ n
slaps
& œ b œ 4 œ #œ œ & 4 œ b œ
breath only
Colour trills, in which the player
3instruments, b œ œ b œ
ord.
but only. on
& 4>>4¿ ¿ ¿# - - œ - - œ #œ 4& œ#œœ œ œ. ˙œœ. Jbœ nœ btr.œ&
œ #4œ4~~~~~~~~~~~~~ œnœ4gl.bœ-œ. œ-œ ˙ Ÿ
) )the) )same
) ) )pitch,
) ) are
) possible
œ on&all wind &œ 4#>œ#>œ >œ ##>>œœ œ#œ>> œ n#œœ & 4& œ #œ 4wbœ #œ ˙nœœ & œ w& 4 bœ nœ ˙œ b& œœ nœwœ
& ‰ ¿ ¿ ¿ ≈ Œ & ˙ œ œ ‰ Œ
&
some pitches. Always check with your player first.
˙
>>
44 œ œ. &œ #˙ œ .
44 & #˙˙ &
œœ. œnœmp #˙
>> - li s s
& œ& & œ
g
œ b œ b œ œ œ œ
œ& 4 œ œ œ. œ. œ & œ b œ b œ nœ œ nœ œ
bœ . œ 4 #œ 3˙ & œ b4œ œ-. œœ- tr.˙
4 #œ
p ff p
mp m
.#œ. Ÿœ~~~~~~~~~
œæ œ #œToo many strokesbœ
œ
æ
˙ ~~~~~~~~~~~~~
œœ # œ œæ #Ÿœœ~~~~~~~~~~~~~~~~~~~~~ œ
æ
& 4 œ #œ
æ bœ æ
44 tremolos’ tr. 4
gl. æ wæ
~~~~~~~~~~~~~
w & ææ ææ&
#œ
æ æ & w æ
& æmpœæ œ
Unmeasured single-note tremolos & nœ strings, & 4 w w
æ
#œ
#œ wusing three-stroke & b œ œ &
& &
(‘bowed on
if4
‘fluttertongue' on winds & brass) are notated
44they œ œ œ œ ˙˙mp
& 4
& #˙a œbeam sœ ˙ &
3& #˙ - mp- ˙ 4 & œ ˙œû #œ˙ œmp#œ œ œ œ bœ4nœ bœœœnœ bœ nœ
mp
4æ#œ æŸ œæ #ææœ nœ
tremolo marks, or fewer strokes g li
add up to three). You can use fewer strokes for &
˙
s. already exists
a 4
(so
œ #
œ
æ
# œ ~~~~~~~~~~~~~~~~~~~~~ œæ
mp
#
æ
tr. œ #œ œ &
æ æ æ
~~~~~~~~~~~~~
æ æ
& 4 bœ
tremolo’, but these can sometimes be confusing, and it mayœbe
æ æ & æ œ œ œ 4˙æ æ
# œbest
ææ orææ five-stroke æ æ
‘measured
never useæfour-
æ æ ææ & æ& æ œæ œ æ˙ æ ææ
æ
w w w
æ
æ œ ˙mp œ #ü æœmp4bœ nœœ bœœ ˙ tr.œ œœ
to write them out ‘in full’. You should& & bœ
& 43 œ # œmp & æ inœæSibelius. œ œ œ œ œ

&
4
&œ~~~~~~~~~~~~~
œ 4œ œnœœbœ nœœ œ bœ nœ bœ&Ÿ~~~~~~~~~ 4˙
œ œ # œ œ
tremolos, even though these are readily available
œ #œ œ œ #4œ #œ
æ ææ
& 4 #œ #œ nœ & w & 4 bœ & œw œ
æ æ æ
æ æ on ææ strings) æ
& w bœ
Multiple-note tremolos (called ‘fingered æ
andœæareœæwritten
essentially trills larger than a second,& œ ˙æ a three- &û æ& æ4mpæ œæœ ˙æ œ mpœ 4
tr.œ 4 œœ 4 & 4 ˙ mp ˙
tremolos’ are
œ œ
4 æ
œ œ
liss4æ˙ æ æ ˙ bœ& #˙ œ ˙œ
4 4 Ÿ~~~~~~~~~~~~~~~~~~~~~
ææ æææ ææ ˙œææ & æ œæ ˙ææ
œw #æ˙œg&
~~~~~~~~~~~~~
œ œ
with
stroke tremolo mark between two notes of#theœ same duration,
&4#& œ 4nœœ œ & œ 4 bœ œ œ& & æ w œ
œ
#œi.e. a tremolo & w two & æ æ
which .
œ ˙ &
œ œ œ
is the total duration of the tremolo: between
mp œ œ
4 4
crotchets lasts for a crotchet; a tremolo between two minimsmp lasts mp gl.
ææ w
&4 œ œ œ œ œ œ & ü ~~~~~~~~~~~~~~~~~~~~~
˙bgœli4ss.˙˙ ˙ œ&gl.œ#˙ œ œ˙
æ æ æ
~~~~~~~~~~~~~ Ÿ#&
æ æ æ
& #˙
æ æ
for a minim. It’s also a good idea to slur tremolos to show
tr. that the
æ æ æ æ æ æ
˙ æ æœ& œæ #˙˙ mp ˙& 44& œæ œœæ&œ #œ˙œ ˙ œ ˙
&
notes are under one bow or breath.
w & w &
& #˙g & li s s .
mp œ œ & 44
mp
œ gl. œ œ ˙ ˙
ææ&ææ#˙ææglissææ. ˙æææ & #˙ æ ˙æ æ ææ & #˙ ˙
GLISSANDI
& æ œæ œæ œæ ˙ 44& œæœœ œ œœ ˙ œ 44 œ
gl.
œ & gli ˙ & ˙ œ ˙ œ & #˙ œ
ûœ &œ#˙ ˙ & #˙ notation
Non-standard
Glissandi should be indicated with a solid black line between œthe ss .
noteheads (but not quite touching). NB: do not use the default
& 44 delete œ Text’.& 44

‘gliss.’ line from Sibelius — this is actually non-standard. To
œ the œ‘Centred ˙ œ œ Gliss line˙should go
gl.
&œ#˙gliss. ˙ û˙ & #˙ œ ˙ œ &between

correct this, edit the Line Definition and
œ often
You can optionally add the word ‘gl.’, but it’s œimplied. #˙ noteheads
gl.
& #˙ gliss. ˙ & #˙ ˙ & #˙ ˙

ü
l.v. marks
inconsistent length
>
& >œ— Œ
LAISSEZ VIBRER
Laissez vibrer (l.v.) marks, used to indicate that notes ‘ring on’, û & >œ Œ ‰ œJ Œ ‰
should be short and uniformly sized. Rather than using a tie, which mf mf
ü & >œ— Œ ‰ œJ– Œ

varies in length depending on the distance to the next rest, you
> >
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PRESENTATION OF ENSEMBLE/ORCHESTRAL SCORES
BINDING & TITLE PAGE
Orchestral/ensemble scores must be presented bound and double-sided. If you are required to
submit parts as well, place score & parts in a single manilla folder with your name on it.
Orchestral scores should include a title page and a preface page that lists the instruments used.
Doubling instruments should be indicated thus: ‘Oboe II (dbl. cor anglais)’
INSTRUMENT PAIRS SHARING STAVES
For orchestral scores, all woodwind and brass pairs should share a single staff on the score, unless
they are consistently rhythmically independent. But the parts must be separate: so Fl. 1’s part does
not contain any of Fl. 2’s notes. The only time players playing different notes share the same part is
when strings are in divisi.
If the shared instruments are rhythmically identical, the two noteheads should share the same stem. If
rhythmically independent, stems must be in opposing directions.
For shared staves, both full and abbreviated staff names on the score must have ‘I, II’ or ‘I & II’ on
them. E.g. ‘Flutes I, II’ on first page and ‘Fl. I, II’ thereafter.
When a single melodic line appears on a shared staff, you must indicate which of the instruments is
to play this line, in the following way:
For wind and brass, use the following indications only on the score, NEVER on the part.
1. or Solo player one only
2. player two only
a2 both players (this only ever needs to appear above a single line to be played by
both players in unison, otherwise it will be ambiguous to the conductor)
For strings, use the following abbreviations, on both score AND part.
div. section divides in 2
div. a 3 section divides into 3 (or more) parts
unis. section plays together after a period of divisi playing
1 desk front desk only (1 desk = a pair of players)
Solo section principal only
In the parts, it makes life easier for the players to have divisi split out onto separate staves (see
Appendix). Only combine parts on one stave if there's a compelling reason to do so.
FIRST PAGE
On the first page of the score, show all staves. Any doubling instruments that are picked up later in the
piece do not need to be shown on the first page, but should be listed in the instrument list page
TEMPO CHANGES, PICKUP BARS AND FERMATAS
The rule-of-thumb is: all players, even if not playing, must know how the beat changes and what the
conductor will be beating. This means:
tempo markings must appear on all parts (use Tempo Text)
every player must know how long a pick-up bar lasts: if it lasts one beat, make sure players
have a crotchet rest in their parts, not a bar rest
if one or more parts have a fermata in it, then every player must be given that fermata for the
same duration and at the same location. If they have a rest or sustained note in that bar, you
should break up the rest or notes as necessary so that the fermata’s duration and beat is clear.
REHEARSAL LETTERS
Adding rehearsal letters (A, B, C, etc...) every 15–20 bars aids the rehearsal process. Rehearsal letters
and tempo indications must break multimeasure rests. Use the automatic rehearsal letter feature of
your notation software.

PRESENTATION OF PARTS
MANDATORY ELEMENTS
Parts are only required to be submitted if your lecturer will be marking them and passing them on to
the players for in-class readings.
Parts MUST be identified with the composer, title, and instrument (including doublings where
appropriate). Hand in with the score in a single manilla folder with your name on it.
Parts must be presented single-sided A4 portrait, paper-clipped together.
Standard music notation practice should be observed. Any unconventional notation must be clearly
explained on a preface page. Explanations of one-off effects can also go directly onto the part, as
they’re more likely to be observed there — however, explanations should be kept to a minimum to
avoid cluttering the parts with writing.
ORCHESTRAL PARTS
For winds, brass, keyboards, timpani & harp, each player MUST have one, and only one, separate,
exclusive part. There should not be any other player’s music on that part, except for cues (see below).
— For doubling instruments, when the player finishes playing one instrument and moves to
another, you should indicate which instrument they should change to (e.g. ‘TO COR ANGLAIS’)
immediately following their final notes. In the score only: the staff name should change to reflect
the new instrument. In the part only: the name of the new instrument should appear over the top
of its first note (e.g. ’COR ANGLAIS’).
Strings share one part between two players. In extensive or complex divisi passages, the individual
parts should be split onto separate staves. In string parts with consistent divisi of three or more
throughout the piece, it may be advisable to prepare separate parts for each divisi line in order to
reduce the frequency of page turns.
Percussion parts should be divided into ‘stations’. Each station should include one ‘large’ instrument
(e.g. vibraphone, marimba, bass drum, tam-tam) and any number of smaller instruments.
PAGE TURNS, BAR NUMBERS, REHEARSAL LETTERS & CUES
Consideration in layout should be given for comfortable page turns.

Bar numbers must appear at the beginning of the first bar of each line for each part.
In longer works, rehearsal letters are helpful every 15–20 bars, especially at tempo changes.
Logical cues are expected during long period of rest, the cues being transposed to the reading key of
the instrument. Cues must be audible to the musician reading the part.
STAFF SIZES
As mentioned earlier, instrumental parts should be 6–7 mm. As a rule-of-thumb, parts should be
easily readable when held at arm’s length.
HARP PEDALLING
While most harpists prefer to work out their own pedal changes, you should ensure that you don’t
have any conflicting pedal indications (e.g. having an Fn and an Fs in the same chord).
Indicate the pedal settings before a glissando by writing out the first seven notes, or providing the
pedal settings (in the correct order). See Glissandi below. 

STRING WRITING
≤
≥
Slurs indicate which notes are to be included under one bow-stroke. Only provide up-bow ( ) and
down-bow ( ) symbols if they are not obvious to the player.
String indications: you can indicate a note or passage is to be played on a specific string in two ways:
1) using ‘sul’ notation (e.g. ’sul G’); or 2) Roman numeral indications (I, II, III, IV from highest to
lowest). Make sure it’s clear how long the string indication lasts for. Only use string indications when:
— you’re using a diamond-headed natural harmonic (see below)
— you have a downward glissando that ‘crosses over’ the pitch of an open string
— you want to specify a string for colouristic reasons (e.g. playing in high positions)
— the desired string is not immediately obvious (e.g. to indicate a tremolo between two strings)
Multiple stops can be difficult to write well. A general rule is: any double stop that includes an open
string is easy. Otherwise, intervals from a semitone to an octave are possible, but fifths can be
awkward. Sixths are the most comfortable. Avoid fast changes between multiple-stops.
STRING HARMONICS
There are two main methods of producing harmonics on string instruments: natural harmonics and
false/artificial harmonics. Natural harmonics are played with one finger, false harmonics with two.
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Piano harmonics are available, but can be awkward to produce (it requires one hand inside the piano,
the other on the keys). It works best in the bottom two octaves: a harmonic circle above the note
indicates an indeterminate harmonic. If you want an exact harmonic to be sounded, you can also
indicate the sounding pitch as well as the played pitch (with the played pitch as diamond notehead,
similar to flute harmonics) — but this requires the pianist to put Twink on the string at the node, which
may not be allowed. Furthermore, the big iron struts of the piano’s frame can vary from piano to piano,
meaning that exact harmonics may not always be accessible. 

PIANO WRITING
Piano scores are written on a ‘grand staff’ (two staves bracketed together). Occasionally a third or
even fourth staff is seen in more advanced scores — but usually this is unnecessary.
The upper staff generally indicates notes played by the right hand; the lower staff notes played by the
left hand. It is important to show how the hands of the player move, even if this may make the
notation more complex (e.g. cross-staff beaming). Use clef changes (treble or bass) to indicate a
hand going out of its usual register.
Dynamics that apply to both hands are centred between the staves. Individual dynamics for each
hand may be placed between the staves, but close to the part. If that is not clear enough, dynamics
may be placed on the outside of the system.
Piano pedals
A full grand piano has three pedals, from left to right:
1. una corda (aka ‘soft pedal’): this pedal shifts the entire hammer
action to the right so that the hammer only strikes one or two of
the strings, instead of the normal three. The difference is subtle,
but gives the sound a slightly duller, less resonant sound. Notate
with ‘una corda’ underneath the bottom staff.
2. sostenuto pedal (aka ‘third pedal’). If any notes are held 1.
down, depressing the sostenuto pedal will keep those dampers
raised even after the pianist has let go of the keys. This allows the 2.
composer to control the specific strings that can resonate, or allows a 3.
particular string to continue sounding while others are staccato around it.
Notate with ‘Sost. Ped.’ or ‘3rd Ped’.
3. sustain pedal: the ‘default’ pedal, which raises all of the dampers when depressed. Every
string therefore continues to resonate when played, and also resonates with other notes being
played. Indicate using Ped. under the bottom staff. Other indications might indicate special
pedalling: ‘poco Ped.’ (a little, subtle pedalling), ‘sempre con Ped.’ (hold the sustain pedal down
continuously), ‘senza Ped.’ (absolutely no pedal).
œœ˙ œ
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? ∑ ∑
° ø
HARP WRITING
The harp is one of the most technical instruments to write for (except, perhaps, guitar). Read any
decent orchestration textbook before attempting to write for the harp. Carolyn Mills of the NZSO has
prepared a little manual, which she is happy to share with composers. This is available from the
Programme Leader, Composition.
MALLET PERCUSSION WRITING
One way to tell whether a particular passage is possible on the vibraphone or marimba is to hold out
the thumbs and pinkies of each hand, and use only these fingers to play a passage on the piano. This
roughly simulates using two mallets in each hand for a percussionist. 

CONTEMPORARY INSTRUMENTATION GUIDELINES
These guidelines cover some of the issues that arise when writing more ‘contemporary’ playing techniques. 
Always be sure you understand exactly how a technique is created physically, as it is quite common to see
extended techniques that are unplayable. If in doubt, always check with a performer.
MUTES
GENERAL
To indicate an instrument should be muted with the default mute, write ‘con sord.’ above the staff.
To indicate that a passage is unmuted after a muted passage, write ‘senza sord.’ above the staff.
To specify a mute other than the default, write, for instance, ‘con sord. (harmon)’.
If you want to specify just a change of mute, then just write the new mute’s name (e.g. ‘straight mute’).
Normally a player will work out the best time to take off their mute. On rare occasions, you might want
to specify exactly when they need to take the mute off. In this case, use ‘via sord’.
WOODWIND MUTES
There is only one common example of muting woodwind: muting the bassoon, which can be seen in
some Ligeti scores. A rag or a horn mute in the bell can be used for this. Attempting to mute any other
woodwind instrument in this manner is largely ineffective.
BRASS MUTES
Horn
The horn normally uses only one mute, indicated using ‘con sord’. Allow 4–5 seconds for
inserting or removing. The horn can also be stopped with the hand by pushing it further into the
bell — this is marked ‘bouché’ and it has a distinctive ‘biting’ sound. (In low registers, the horn
player often uses a ‘stopping mute’ instead of the hand.)
Trumpet
The default mute is straight, but also available are cup, harmon, plunger, bucket and
whispa. Allow at least 4 seconds to mute/unmute, or 7–8 seconds to change between different
mutes. Bucket mute requires considerably longer, as it has a rather awkward setup.
Harmon mute has a stem with three positions: stem in, stem half-in or stem removed.
‘Harmon, stem removed’ is a tight, nasal sound, like Miles Davis.
For harmon and plunger mutes, you can also indicate whether the mute is open (o) or closed
(+).
Trombone
The trombone’s default mute is the straight mute, with harmon and plunger also available.
Apart from plunger, allow at least 7 seconds to change, as they need to be ‘screwed in’
Tuba
The tuba only has one mute, which requires a lot of time to fit and unfit. Allow at least 15
seconds per change. Tuba players have very mixed feelings towards its use.
STRING MUTES
The normal string mute is indicated by ‘con sord.’

A ‘practice mute’ is also available which has a much softer, more metallic sound. Indicate using ‘con
sord. (practice mute)’ 

-O & O &
& œO bœO
- œ-O œ & O O
-
o oo
œo # œo ˙o noœ œ
Sounding
Sounding:
#œ ˙
& œ œ ˙˙ &
& O &
O O
œ^.
GLISSANDI (Flute) (Viol
Fingered glissandi are available on winds ando brass, by ~ ~ ~ ~
~~~
gl.
oThese oare usually
gl.
o & œ ~~ œ Ó˙˙ & œ
Sounding:
using a wavy line between noteheads.
& œ
executed as fast chromatic runs. œ ˙˙ &p ff p
(Flute) ^.
œ
(Violin)
œ^.
~ ~
~~~~~
Continuous glissandi (‘pitchbend’
gl. on winds/brass,
gl.
& œ ~~ Ó & œ Ó
‘portamento’ on strings) uses a straight line. This implies a
smooth glissando, which may not be possible on some
instruments.
p ff p ff
WOODWIND GLISSANDI
All woodwind have fingered glissandi possible, usually executed as a fast chromatic or diatonic run.
For pitch bends, instruments use a combination of embouchure and key sliding.
— Flute: Lip gliss: down about a semitone (sometimes further) or up about a quartertone.
— Oboe/bassoon: Wider pitch bends possible higher up the instrument.
— Clarinet/saxophone: Downwards lip gliss. depends on register: from about G4 up, downward
glissandi can be up to a third; elsewhere about a semitone or so (check with performer for wider
intervals). Difficult around the throat region and just over the break, because of use of keys. A
combination of ‘gliss embouchure’ with finger sliding can create smooth glissandi over wide
ranges — the canonic example is Gershwin’s Rhapsody in Blue.
BRASS GLISSANDI
Fingered glissandi are slower than winds because of more sluggish valve mechanisms and fingering.
Trombone ‘fingered’ gliss is impossible, of course.
For continuous glissandi:

— Horn: most common is the ‘rip’, which goes up the harmonic series (you can write using a
continuous gliss line, or writing out the harmonics). Narrow glisses by a semitone are possible,
usually by hand-stopping or half-valving.
— Trumpet: narrow glisses are available by half-valving. Rips are also possible.
— Trombone: glisses created by slide, but slide can only move 6 semitones, and then only between
harmonic series of E1 (slide out) and Bf1 (slide in), so you have to work out whether they are
possible or not. A gliss on harmonics is called a ‘rip’.
HARP GLISSANDI
Harpists can cover a great range very quickly, given that an octave covers about 10cm. When writing
loud glissandi, always allow a large range (at least 4 octaves) to allow the player to pluck the
strings with greater velocity.
A harp glissando must always cover all seven strings in an octave — you can’t leave out any,
“œ” –
{ {
although using enharmonics, you can reduce the total number of pitch classes — e.g. if you wanted a
gliss on C-D-E-G-A, you would need to tune the harp: Dn Cn Bs | En Ff Gn An
& Ó Œ & ∑
Notate a gliss by showing the first 7 pitches with accidentals gl.
followed by a gliss line, or you can give the pedal settings and ? Œ Ó ? ∑
nœ nœ#œ
n œ n œ n œ bœ
write a gliss from the bottom note to top note.
f
pp
A ‘tuning key gliss’ is available, though it requires practice. Indicate the sounding pitch only — it will
actually be performed on a larger (i.e. lower) string. It has a range of about an octave or so.
A ‘pedal gliss’ is possible, when a pedal is raised/lowered to change the tuning of the string. This is
not smooth, however, and has a range of 2 semitones. It can also buzz a bit.  

& Œ ‰ œj œ
Allegro
& œ™ œ
j œ™ œ
œ & œ™ œ. œ. œœ. jœ> >œ. >. œ>˙ > >
œœ œ>œœ™
.pizz
œ œ. œ. œ. œ. œ œ œ.
œ Allegro q=120
>œ > pizz.> > œ. ppœ. œ. œ.f œ œ . . >
> œ ˙
&
pp pp
œ. œ. œ.f œ. œ œ . . > &
>
f œ ˙
cresc.
&& œ™ œj œ œ™œ œ
Œ f œ ‰ œj œ Allegro œœ
pp &
cresc.
&& œ™ j >œj œ™œ œ™ œ & Œ
j > > œ > > Allegro & œ™ pizz.œ œ & œ # œ œ#œ piz œœ
& œ™ œ œ >œ™ œ & œ # œ œ#œ œ œ#cresc. œ #
œ pizz. œ œ # œ œ fœ ‰
J
pp
‰ œj œ
f pp >
j œœ
STRING ppGLISSANDIf & Œ Ly pp - rics & œ
œ œ œ™
Ly - rics j > j œœ j>>œ>œ™gliss
> >a gliss-like œ mustcresc.
be &on a
Glissandi on strings
œ™ are
œ continuous only,
Œ although a‰ rapid fingered
œ ‰ scale gives œ™ f
specific string
&sonority œ
œ™ (especially & œ #œ & œ™ œ
when written for massed strings).
œ & œ # sul
œ œ
G œ #œœ œ # œo> o> J
œ # œ > >o œo œ B œ
When the gliss is downwards, and crosses over
Ly - rics o o œone of the & pp bœ. >œbœf œbœ œf œbœ
œ œcresc. j ‰ pp &
& œ œbopen
œ œbstrings’
œ œbœ œpitch, you mustj ‰ indicate& which string û
œ thef gliss #jœ œ œ œbœ
pp œ o&& œ œ œ™ & œ # œ œœ#œ œ œ#œ œ#œœ
should be played on — i.e. œ the string the lowest
& œ™ œ3 note œo œ™ohaso toœo œ& Ly - œrics
œb œ œ b œ j >sul G o B œ œ™ œ
be played on.
3œ
œ œœ#œ.œ#.œœ#œ œ œJ ‰
& œ œbœ œbœ œbœ œ œbœ œbœ œj ‰ Ly -& rics œœ œ #sulœ œA&#œ #sulœ D œ
sul A œ .sul D œ. sul G
ü Oœ œ‰b™œ œbœ Ro ‰™œ. o œo j œ‰ B œ # ˙ o œo #œœ

œ . sul D ^r 3 3 sul G
. # œ œ.
O o
#œ œ # O ™ & sul G o & # O
& sul A & #˙O # œ ‰ Œ & &R #O œbœ œsulœœobDœ œœbœ œ & œ
œ. sul D # œ O
Glissandi
œ . up or down the natural harmonic
& œbœ œbœrseries
^ œ b œ œare j‰ sul G
. & œ .
O & 3
&possible:
#œnotateœ this either with& a diamond notehead #œO ‰ ™ orŒ by ü &
œ b œ œ b œ œ O ‰™ 3 R ‰™ 3
writing out the soundingœ. pitches with a harmonic circle above
# O # R #O
#˙
them.
sulOA
sul A œ . sul D ^r
œ . sul D
& # œ ^
œ r & ##˙O ##œO ‰G™ . Œ
sul
œ
False harmonic glissandi are possible, though this can
ü
#œ œ O
& & ##˙O ##œO .‰ ™ Œ &
create the so-called ‘seagull’ effect if it is large. O R
œ
.
breath only key slaps to
ord.
FLUTTER-TONGUING & ))))))))))‰ œ ¿¿¿¿
& >>
- >> >¿ >¿ ¿#>-
This effect requires the performer to ‘flutter’ their tongue, as in a sustained, rolledff‘rrrrr’.
p Not all
>> >
p
performers can do this! Check first before requiring them to do so.
ﬂz.
Notation: put fl. or flz. above note, and add a 3-pronged ˙ œ^
tremolo marking through stem. ü & æ
æ R ‰™ Œ &
WOODWIND FLUTTER-TONGUING
p sffz
Flute/piccolo: Possible at all dynamic ranges for the note (though usually softest dynamic is a shade
above softest dynamic with normal playing).
Oboe: may be possible, extremely performer-dependent.
Clarinet/Bass clt: Requires mf–fff dynamic range. Some clarinetists can’t do it, so check with your
performer. ‘Dirties’ the tone much more than flute’s fluttertongue. ‘Growling’ may be an appropriate
substitution if flutter-tonguing not possible.
Bassoon: apparently this is possible, but check with your performer.
Saxophone: possible at mf-fff dynamic range. Some performers find it difficult.
BRASS FLUTTER-TONGUING
Possible at most dynamics. ‘Buzzes’ the tone in an interesting way.
MICROTONES
B
The standard microtonal notations are as follows (for equal-tempered quarter-tones):
µ
Quartertone flat:
Quartertone sharp:
Microtones on woodwind can be created either through alternative fingerings or by bending the
pitch with the embouchure. If the microtone is indicated as a pitch bend, then embouchure is best,
but if the note is intended as a stable microtonal pitch then using an alternative fingering is best, if
available. Most performers never learn microtonal fingerings and find them very challenging to
play, especially at speed. The more accommodating performers are happy to play them and to work
out the fingerings themselves, as long as they are not used in great abundance or in rapid figures.
Nearly all performers will get stressed out if you give them too many, however. Only the most
advanced international contemporary performers can play microtones with great fluency and
at speed: this takes a lot of practice, however.

WIND MICROTONES
Flute/piccolo: possible on most notes, except lowest 5 or 6 semitones, and one or two others.
Fingered or bent.
Oboe/cor anglais: possible on most notes, except lowest 5 or so semitones. Fingered or bent.
œ. œ. “.” “.”
Clarinet/bass clarinet: possible on most notes, except lowest 5 semitones, and the 5 or so
œ œ œ œ œ
semitones near the break (fingered Bf, B, C, Cs, D). There are some auxiliary key possibilities for
œ
these, but check with your performer first. & & &
Bassoon/contrabassoon: possible on most notes, except lowest few semitones.
Saxophone: possible on most notes, except lowest 6 semitones. Fingered or bent.
BRASS MICROTONES
œœ Allegro q=
œ. œ. .
“.” “.” œ. œ. œ. œœ. œ œ œœ. œ-œ. >˙-œ œ “”œ.œœ. œœ. œ.
Horn: possible on all notes with bending.
œ œ Also has someœnaturally œ œ œoccurring
& quartertones as part of &œ œ
the harmonic series. A chart of
&fingerings and pitches&is here: bit.ly/1jRAvJ5 & &
Allegro
Trumpet: Possible, though ‘faked’ through half-valving, so avoid fast runs with microtones.
Trombone: Slide allows for continuous microtonal detuning. Difficult to incorporate microtones in fast
runs because of ‘approximation’ effect. pizz. pp
Tuba: Possible through half-valving and harmonic series, but avoid fast runs.
Allegro q=120 j
œ. œ. œ. œ. œ œ œ. œ. >˙ œ. œ. Œœ. œ. œœ œœœ. œ.‰ >˙ œ œ
& & œ™ œ
> > & Œ œœ‰
HARP MICROTONES > >
& &
cresc.
pizz > >
Possible by flattening a string a quartertone lower. Note that the detuned string must remain detuned
Allegro
for the entire piece. Do not detune too many strings on the harp, if that harp is to be used for other
works in the same concert. pp f
Microtonal ‘tuning key glisses’ are possible
pizz. — see ‘glissandi’. pp
j >œ œ™ œ
& œ™ j œ> œ™ & œ # œ œ#œj œ>œ#œœ
& Œ ‰ œj œ & œ™ Lyœ -œ rics œ & œ™ œ œ
PIANO MICROTONES œ
>œ > > >
Not possible without detuning the piano, which is unlikely to be allowed
cresc. in most situations. The
f pp f
easiest solution is to use a sampled piano.
s
PERCUSSION MICROTONES pp f
j >
Difficult on most instruments, unless they can be flexed or dipped in water for indeterminate pitch
œ œbœ œbœ œ œ ‰
& œ™ œ œ œ™ œ #œ œ œ#œ œ#œœ#œœbœ œJ œbœ œbœ œ
changes. If you want true microtonal percussion, you’ll need custom-built instruments.
& œ # œ œ& j‰ &
Ly - rics
STRING MICROTONES
Possible for non-amateurs, and best for solo strings — getting an entire string section to play a
microtone in tune is really difficult, even for professional orchestras (believe me, I’ve tried). Solo
strings, however, like a string quartet or chamber ensemble, seem much more successful.
sul A sul G o B œo
Always
o . o œo œo œ
sul D
check your performers are OK with it first. Fast changes of microtones are very difficult for performers
œ œ . ^r
#œ
& b œ ‰
œbœ œbœ œ œbœ œbœ j & & œœ œ œ
who have not trained in microtonal performance (i.e. who have not practiced microtonal scales and
œ œ &##˙O #œ ##œOœ
&
arpeggios). œ 3 3.
NOISE EFFECTS
breath only key s
sul A ord. sul D
Breath sounds can be indicated in a number of ways. Many
sul D ^r
&ü
œ ‰ sul G . & >¿ >¿
#œ.
composers replace the notehead with a hollow square and an
œ & ) ) ) ) )
#œO ‰ ™ Œ ) ) ) ) ) œ- O ‰ ™
indication ‘breath only’. You can also put a large hollow circle at the
& œ. # O # > >& R #O
#˙ p
start of the breathy section, and a filled-in circle at the end.
ff pO
Percussive noise effects (slap-tongue on single-reeds, key-clicks

on winds, damped piano strings, tapping on body of string
breath only key slaps tongue ram
ord.
instrument, etc) are indicated with either a cross notehead or a
& ) ) ) ) ) ) ) ) ) ) ‰ œ ü & >¿ >¿ >¿ >¿ ¿ ¿ ¿# - - ≈ - - Œ
cross through the stem, and a note either on the score or in an
&
explanatory preface to explain the desired effect. Tongue rams on
>> - >>> >> >>
flute have been standardized as down-pointing triangle noteheads
p ff p

APPENDIX
MUSICAL EXAMPLES
Example of solo score (single staff) ............................. Atsinganos by Helen Bowater

Example of solo score (grand staff) ............................. Nine Short Pieces by Douglas Lilburn
Example of small chamber ensemble...........................Phantasy by Douglas Lilburn
Example of choral score ..............................................Five Lullabies by Jack Body
Example of small orchestra ......................................... Meditations on Michelangelo by Jack Body
Example of large orchestra (shared staves) ................. Melodies for Orchestra by Jack Body
Example of large orchestra (individual staves) .............Claro by Michael Norris
Example of orchestral part (with divisi)........................Claro by Michael Norris (Violin II)
All samples © Wai-te-ata Music Press. Typesetting Alistair Gilkison 

Atsinganos
for solo violin HELEN BOWATER
q = 76
mf
f
7
3 3
mf
mp
11
3
15 pizz. arco
3
mf 3
mf ff
6
19
LH pizz.
22 3
5 5
mp
p mf
25 6
5
3
f mf
29 3 5
f 3
7
Nine Short Pieces

 
for piano DOUGLAS LILBURN
  
   
h = c.69
     
 
  
      
 
mp sf mp mf
 
 
f
 
 
 
   

 



pp




7
    
f
       
 mf

  
mp
   
f
     
 
   
  
    
  

pp
    
    

   
13
       
 

     
  
 
mf

sf
 
f mp

   
      




 

 pp
 
 
  
18
   
ff
  

  

 
f
 
  
mf
 
  
mp
     
   
 
 
 

(pp)
 
    
23 p
      

 
 

 



   

f sf mp
 

    
  


    
    


pp

 
   
  
28
    
  

  

     
ff
      
pp mp
 
 
  
  
 
  
Phantasy for String Quartet
Based on the air “Westron Wynde” (c.1500)
Westron Wynde when wilt thou blow?

The small rain down doth rain.
Christ, that my love were in my arms
And I in my bed again.
DOUGLAS LILBURN
 con sord.
Moderato (q = c.58)
Violin I           
sf pp
                          
pizz.
    
Violin II
p
         
   
con sord.
Viola         
sf pp

 
                                         
pizz.
Cello
p


7 poco rit. A tempo
       
 
    
          
p
                          
         

p
            
p
 
    
 p

                  
       
  
p
   
13 A
          
      
   

     
  

sf
             
f
       
                 
 
p
 
        
    mf

                                    
 
p
© Copyright 2015 Alexander Turnbull Library

FIVE LULLABIES
for choir JACK BODY
I
Liltingly q. = 144
p
°
Soprano & œ œ œ. ˙. œ œ ˙. ˙. œ œ œ. ˙. œ œ œ. ˙.
b œ. b œ. b œ. b œ.
Sha ba sa da ma sha sa ka da sha ba sa
mp
j - -
Alto & ‰. œ œ œ œjœ ˙. ‰. œ œ œj œj ‰. œ œ œ œj j j œ œ. ‰. œ œ œ œj j -j
œ œ. ˙. œœ œ œ œ œ.
bata sa k’ra malasha b’ta kara da m’la sha ba bata sa k’ra da
p
œ œ. ˙. bœ œJ ˙. ˙. bœ œJ œ. ˙. bœ œJ œ. ˙.
Tenor & bœ J
‹ Sha ta da la sa ra sha ta
p
? b˙ . œ. b˙ . ˙. bœ . œ œJ ˙. bœ œ. œ ˙.
J
Bass Œ. Œ.
¢
Sha da sa la sha ra
5 mp mf
° -
& œœœ ‰ œ œ œ. œ
j ˙. Œ. ‰. œ œj œ œ œj œ. ˙. œ ‰ œ.
b œ. J œ
ma la ka r’da ba ta sa ka la sha ma
mf -
j œ œ.
& ‰. œ œ œ œj
œ
J œ ˙. œ. Œ. Œ ≈ œr œj œ œ. ‰. œ œ œj œj œ ˙.
la sha ba t’sa ma ra da ma ba ta sa k’ra da
mp mf
œ ˙. œ œ ˙. œ. > œ. œ ˙. œ Œ
& bœ J ‰ Œ. ‰ bœ Œ . bœ J J
‹ ma sha ma la ka da sha ta
mp - mf
? b˙ . ˙. œ -œ œJ œ. b>œ. b>˙.
J Œ Œ. Œ. Œ. Œ. Œ.
¢
ma sha ba sha sha
7 mf - mp mf
° j - j bœ œ j j
& œ œ œ. œ ‰ ‰. œ œ œ- œj œ. œ œ œ œ. œ. Œ. œ œ nœ
b œ. bœ
la sha ta da ma la sha ba ta ka ra ma ta ka ra
mf mf
j - - j -
& ‰. œ œ œ œ œ œ œ œ œ. œ œJ œ. Œ œ. œ œ bœ. œ. œ ‰ œj œ Œ
sha ba ta sa ka ra ma ta sa ra da ma la ta sa
mf - .
j
& bœ
œ œ.
J Œ Œ. œ œ. Œ. Œ. Œ Œ. Œ bœ œ œJ œ Œ. Œ
‹ la ba la sha ba
mp
> œ œ œ b>œ œ œ œ. œ. b>œ œ.
? bœ . J ‰. Œ. Œ Œ. Œ J
œ
J Œ Œ. Œ
¢
la sa da sha sha
2 © Copyright 2005 by Jack Body

Meditations on Michelangelo
I JACK BODY
( S’un casto amor, s’una pietà superna )
        
Restless (q = 60)
   
Solo Violin            
 
div. f 3
con sord.
Violin I          
           
div. mp p mp p sim.
  
con sord.
      
       
Violin II
       
mp p mp p sim.
       
  
con sord.
Viola
   
mp p mp p sim.
 
sul pont.
Cello       
p p p
           
 
pizz. sul A
   
D. Bass
   
f
              
 
5
                
Solo


3 3
        
         
Vn I

       
      
Vn II
     
     
Vla    
    
Vc      
p p
            

  
Db
   
            
9
        
      
                 
Solo  

3
3
        
Vn I
            
        
           
Vn II
  
 
       
Vla
 
Vc
      
          

  
Db
   
2
MELODIES FOR ORCHESTRA
JACK BODY
 
Con Fuoco q = 132
Piccolo     
1
Flute 2      
    
Oboe
1
2 
    
1
Bb Clarinet 2 
 
    
1
Bassoon
2
     
1
2 

F Horn
3
4     
D Trumpet

    
C Trumpet
1
2      
Trombone
1      
2
    
Bass Trombone 

Tuba
     
 
Glockenspiel     

Xylophone
     
     

Harp
    
    

 
Piano
   
    
                                                        
Con Fuoco q = 132

ff

                                            
2 Solo Violins
  
ff
Violin I      
Violin II

    
Viola

    
Violoncello
     
 
Double Bass
    
© Copyright 2005 by Jack Body

 
poco rit.

(q = 78)
Flute 1        

Flute 2
(+ Picc.)
        

Oboe         

Cor Anglais         

Bb Clarinet 1         

Bb Clarinet 2         
 
Bassoon 1        
 
Bassoon 2
        
   

    
F Horn
1
2


F Horn
3
4
        

C Trumpet
1
2
        
 
Trombone
1
       
2
 
Bass Trombone        
 
Tuba
        
 
Timpani        
    
           
CROTALES GLOCKENSPIEL CROTALES
        
 
  
VIBRAPHONE (motor off) p

Percussion

 
(medium rubber mallets)
             

          
mp
 
Ped.
     
                    
    

mp mp

Piano mf
       





    
          
   
o o
           
o o o o o
     
   

Harp mf f
       

     poco rit.

 
(q = 78)

          
pizz.
       
mp
 mf
      
 
Violin I div.
     
pizz. arco
      
  
 
mp
pizz. 
    
p

                      

 
mp
pizz. 
mf
 
Violin II div.
   
arco

         
III
 
mp
 
 
mp
arco II 
p
  
 
pizz.
               
mp mf mp

 
Viola div.
         

pp
p

pizz.  
  
         
mf

Cello div.


        

pp
  p
D. Bass
        
© Copyright 2015 by Michael Norris

VIOLIN II
CLARO MICHAEL NORRIS
    
(q = 78)
 
pizz.
  
               

div. mp
 
mf
          
pizz.

arco
    
mp


p
   
A tempo
  
7 poco rit. o 3 molto rit.
      
pizz.
                
   
mf p mf
 
   

pizz. arco
             
III 3
  
mp
 p
pp
 
 
A Poco meno mosso (q = 72)
 
unis.
    Tempo
 
I (q = 78)
          
13 o o
         
pizz.
   

mf
p 

A tempo (q = 78)
 
17 B
 
poco accel. (q = 84) rit.
                      
         
  (pizz.)

mf f

    
    

22
 arco
   
       


mf f
 mf f
 
ppp
 

mp
           
   
div.
             
mf f mf f mf
C A tempo
   
27 rit.
  
pizz.
           
          
   
mf
  
ppp mp
              
  
     
 pizz.  Più mosso (q = 84)
       
32 arco III poco accel.
  
    pizz. 
pp mf
              
arco
 
  pp mf
D
CMPO Major Assignment checklist — for your personal use
SCORE
□ Score is neatly handwritten and photocopied or printed using good quality laser printer
□ Score has: a title page, a list of instruments used (for ensemble/orchestra), explanation of
non-standard techniques, title, name, course code, date, © notice, tempo
□ All instruments appear on first system, even if not playing [except doubling instruments]
□ If using transposing instruments, score is transposed
□ Both full and abbreviated staff names have instrument numbers where appropriate (e.g.
Flute I, II / Fl. I, II). If solo piece, the instrument name is included as part of the title (e.g.
“Monologue for solo clarinet”), not next to the staves.
□ Score presented double-sided and bound
□ Standard music font & text font used
PARTS (IF REQUESTED)
□ On first page of each part: Instrument name at top-left, name of piece at top-centre,
composer and arranger at top-right
□ Cues given after periods of long, unbroken rests (e.g. 15 or more bars) in parts
□ Parts printed using high quality laser printer
□ Parts presented single-sided, unbound, paper-clipped together

Orchestral parts:
□ Exactly one exclusive part per player for each wind, brass, keyboard, timpani and harp. [NB:
doubling instruments still only get one part, with both instruments incorporated into the
part.]
□ One part per section for strings & percussion (excluding timpani).
GENERAL PRESENTATION
□ Rehearsal letters given, c. every 10-20 bars, at important points in the music
□ Bar numbers at beginning of each system (except first) in both score and parts
GENERAL MUSICAL CORRECTNESS
□ Accidentals spelled intelligently
□ Beaming checked
□ Ample time [at least 6 seconds] given for instrument changes & mute changes
□ Automatic transposition facility used. ‘Atonal’ key signature used, where appropriate.
□ Appropriate phrasing (slurring/bowing), dynamics and articulation added where necessary
□ Correct clefs used:

Bassoon/cbn [bass & tenor only] Horn [treble almost always; bass very rarely]
Tbn & tuba [bass & tenor only; treble very rarely] Viola [alto & treble only]
Cello & bass [bass, tenor & treble only] Keyboards/harp/pitched perc [treble & bass only]
Timpani [bass only] • Unpitched perc [percussion clef] All others [treble only]

NZSM Guide To Notation 2019

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NZSM Guide To Notation 2019

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o o o o

INTRODUCTION: WHY THIS GUIDE?

— Scores must be either neatly handwritten and photocopied or computer typeset.

NZSM Guide to Music Notation 2018 1

© Copyright 2015 Alexander Turnbull Library

NZSM Guide to Music Notation 2018 3

NZSM Guide to Music Notation 2018 4

This staff size = 6.3mm pp

Westron Wynde when wilt thou blow? pp

Extracts from Douglas Lilburn Nine Short Pieces and Douglas

Same, Left pages: 15 (top), 12 (left), 12 (right),

Spaces Between Lines

Click the disclosure arrow under ‘Styles’ to edit the

NZSM Guide to Music Notation 2018 6

œ go above the œ œ. œ œ. œ. œ. œ. œ. œ œ œ. œ. >˙ œ. œ. œœ. œ.œ œœ

&&Œ œ œ ‰ >œ >œ& œ™ œ Œ& œ œœ œ™‰ œœ œ Œ

& œ™ œ œ œ™ œ & ∑ & ∑j >

For vocal parts, however, expressions should go above the staff to

> > >

NZSM Guide to Music Notation 2018 7

& >œ Œ ‰ œ Œ & œ œ

Don’t use rests to make notes short

c) Use staccato dots instead of rests: short notes can be made

& œ œ ˙ & œ? œ“œ” œ 3 & . . . . . . . œ. œ. R 3

>- & 4 ˙œ œ œ œ> & œ& 4 & and bmix bœofœflatsœ ˙ œ

& 4 œ œœœœœœ & 4œ œ œœ œ

2 & œ bœ œbœ œbœü œ œbœœrœœjbœ‰œbœ œbœ œ œbœ œbœœ œœj ‰

>œ b>œ ™ . b˙ >œ b>œ>-™ > > ˙> .

œ œ œ 446 œ œ bœ bœ œ œnœ & 44 6œ œ

& œ œfor ties. & œ. nœ

3 a number of ˙bars, in which

NZSM Guide to Music Notation 2018 10

& & & œœœœœœœ & œœœœœœ

& œ ≈ œ ≈ œ œ œ ≈ ≈ œ ≈ œ œ ≈Text œ ≈ - un& derœ. œ.layœ. œ. œ. ≈ œ. œ. œ. œText

4 >œ b>œ ™ ? b˙ ?œ & ˙ œ

Generally speaking, use hairpins rather than “

&223 œ œ œ œ >˙ ü & 23 œ œ œ2 œ >˙

Generally, the only times you need to use 8 or 8& are: va vb

Generally speaking, avoid ‘one-off’ 8 /8 . signs,

& & & && œ

> pizz >f >

œ > > & œ™ œ™œ & & œ™ &

42 ˙tenor & treble 2

NZSM Guide to Music Notation 2018 12

œwæ œmainœ œüO &. R w bœ #O œ œ œ œ

& 43 œ # œmp & æ inœæSibelius. œ œ œ œ œ

& 44 delete œ Text’.& 44

&œ#˙gliss. ˙ û˙ & #˙ œ ˙ œ &between

& #˙ gliss. ˙ & #˙ ˙ & #˙ ˙

ü & >œ— Œ ‰ œJ– Œ

NZSM Guide to Music Notation 2018 13

BINDING & TITLE PAGE

INSTRUMENT PAIRS SHARING STAVES

TEMPO CHANGES, PICKUP BARS AND FERMATAS

NZSM Guide to Music Notation 2018 14

PAGE TURNS, BAR NUMBERS, REHEARSAL LETTERS & CUES

Consideration in layout should be given for comfortable page turns.

NZSM Guide to Music Notation 2018 15

& >œ Œ &‰ œœJ Œ ‰ œJ&Œ >œ— Œ &‰ œ—œJ– Œ ‰ >œJ– Œ

>> Œ natural >harmonics, >> on

f-j >> >jj >-> f j- >

& IVœO IIIœO&

œ-œ-œ #“3œ-” above

All samples © Wai-te-ata Music Press. Typesetting Alistair Gilkison 