![]() It is strongly recommended that you never set up scores or parts in landscape fashion, for various reasons, unless your music is graphically notated or the pages are meant to slide from left to right, such as with some graphic scores or marimba solos. To print 10 x 13 and staple bind, you will need to locate 13 x 20 paper and likely run it through a large format printer. 10 x 13 is more of a standard size in Europe. and does not always fit into orchestral folders. ![]() Although 9 x 12 is the preferable size for parts, they may be printed on 8.5 x 11 (UK/EU A4) paper (i.e., 11 x 17 or UK/EU A3 folded and stapled-bound) as a last resort.ġ1 x 17" – (UK/EU A3) or 11 x 14" (UK/EU B4) (scores, and very rarely, parts)Ĩ.5 x 11" – roughly equivalent to UK/EU A4 (choral scores/parts)ġ0 x 13" – roughly equivalent to the European size B4 but mostly unavailable in the U.S. 9 x 12" (12 x 18" Tabloid Extra size folded in half) is an ideal size for most parts and even many scores. In general, the four significant sizes for music are:ĩ x 12” – folio size, used for parts and some scores, equivalent to UK/EU paper size C4. Visit this site for detailed explanations of international paper sizes. Note: page size rough equivalents are listed below. Name of publishing company (centered on the bottom).Ĭopyright Information, e.g., © Copyright 2018 First Name Last Name (ASCAP or BMI) (FULL SCORE or Flute I, top and left-justified) Lyricist (if applicable, usually left side, bottom justified with Composer)ĭescription (e.g. Year composed (optional, usually under Composer)ĭuration (usually on score only, left side) Note: we are grateful when composers add a dedication on their score above the title and/or in the front matter, such as “Written for Mostly American Modern Ensemble,” “Written for Mostly Mostly Modern Ensemble,” or “Written for Mostly Mostly Modern Festival,” etc. Short instrumentation (e.g., for Orchestra, usually right below the title)ĭedication (if included, usually right above the title and in italics). Detailed diagrams are helpful to illustrate particularly complex staging. (also note these details on the cover page of the instrument’s part).ĭescribe any specific staging instructions. Include any special instructions for “prepared instruments” or other uncommon instruments. Instructions should be as specific and as understandable as possible. ![]() Note that the commissioning credit is often included at the end of a program note but can also be included at the bottom of the front matter.ĭescribe any deviations from standard musical notation.ĭescribe any special equipment, synthesizer settings, or other technical requirements (also note these details on the cover page of the instrument’s part). The full title of the work, printed as it would appear in a formal concert program, includes appropriate capitalization and diacritical markings, along with movement titles in their proper order.įull instrumentation (for orchestra works), including doublings and percussion instruments If a part begins on page 2 (i.e., not recto-verso), then a title page may be used for the front of the part, where page 1 would typically go. Note that title pages are generally only used for scores or substantial parts and are not usually included with most orchestral or chamber parts. Name of the publishing company, if applicable (centered on the bottom) Short instrumentation (e.g., for Orchestra)ĭescription (e.g., TRANSPOSED SCORE, C SCORE, or Flute I) They are generally helpful for a span of more than three notes with three or more ledger lines. They are sometimes acceptable in C scores to save space, almost never in orchestral parts, except for piano or other keyboard parts. Scores must be engraved (computer or by hand): i.e., no illegible sketches.Ĭlefs and key signatures (if used) must appear at the beginning of each staff.Ĭare should be taken with the use of the abbreviations 8va and 8vb, avoiding their use if possible. ![]() Pieces may not exceed 8 minutes in performance duration. The following guidelines pertain to book design for music publications (i.e., scores and parts). They are a good starting point for most pieces, but the instrumentation and the specific details of each work will dictate which choices to make. Special thanks to Stephen Cabell and Bill Holab for offering suggestions and helpful information. Music Preparation Guidelines for Composers Robert Paterson
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