August 2023

MUSIC PREPARATION FUNDAMENTALS FOR

JAZZ COMPOSERS & ARRANGERS
by Darcy James Argue

Why Bother?
Well-prepared lead sheets, scores, and parts are essential for good sight-reading. Good notation shows
respect for the musicians reading your music, and allows them to play more musically. Bad notation causes
unnecessary mistakes and eats up valuable rehearsal and recording time.
Music notation software has many advantages over traditional hand-copying, but does not eliminate the
need to learn good music preparation skills. Regardless of whether you prepare music by hand or use
notation software, every part you put in front of another musician needs to be prepared to a professional
standard.
If you use music notation software, you will want to create a template that is con gured to follow the best
notation practices. Setting up a good template will save you an enormous amount of time in the long run!
Do not assume that the software’s defaults are correct.

Score & Part Setup

IF COPYING MUSIC BY HAND
Select paper with 10 staves per page and a sta size of 8mm. Do not use sta paper with more than 10
staves per page. Do not use sta paper with excessive margins, or where the staves are crammed too
close together — you need room between staves to include chord symbols, ledger lines, repeat
endings, and other elements.
Write the title between the rst two staves and begin the music on the third sta . Write the Part Name
(e.g, “C Lead Sheet,” “Bb Lead Sheet”) or Instrument Name (e.g. “Tenor Sax”) at top left. Write the
composer’s (or composers’) name(s) at top right. If the work is an arrangement, write the arranger’s
name below the composer’s.

IF USING NOTATION SOFTWARE

Use a sta size of 7.5mm or 8mm for lead sheets and parts. They should generally have 8 or 9 staves on
the rst page, and 10 staves on subsequent pages.
Center the title 1 inch (25 mm) below the top edge of the page. Place the Part Name (e.g, “C Lead
Sheet,” “Bb Lead Sheet”) or Instrument Name (e.g. “Tenor Sax”) at top left and the the composer’s (or
composers’) name(s) at top right — both go above the title — with a page margin of 0.5 inches (12.5
mm) on all sides. If the work is an arrangement, add the arranger’s name below the composer’s.
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 2 MAIN TITLE

A
& .. ∑ ∑ ∑ ∑
(1) (2) (3) (4)
ARGUE: Music Preparation Fundamentals 2
1 2 3 4

Parts must be single-sided. For parts longer than three pages, you should include time for the player to
..
1.

∑ ∑ ∑ ∑
(5) (6) (7) (8)
& a page break at a valid spot for a page turn — pages do not have to be full!
turn the page (i.e., a multimeasure rest) at the bottom of page 3, and on every subsequent odd-numbered
page. Create
5 6 7 8

Multi-page parts must be taped, accordion-style, with the sticky part of the tape on the inside of the fold.
To achieve this,
2. tape pages 1-2 on the front side, tape(7)pages 2-3 on the back side,(8)and so on. Be extremely
∑ ∑ ∑ Tape as it can be easily
(6)

removed&without
careful about page order when taping music. (I recommend Nexcare Gentle Paper
9
damaging the page if
10
you make a mistake while taping.)
11

Multi-page parts must also include a header at the top of page 2 and all subsequent pages. The header
shouldBinclude the title,
(1) instrument name, (2) and page number. (3)
This is particularly helpful when you are
∑ taped! ∑ ∑ ∑
(4)

&
laying out pages to be
12 13 14 15

∑ ∑ ∑ ∑
(5) (6) (7) (8)

&
16 17 18 19

ú or printing
b ú music, be
Scores may be bound or stapled into double-sided booklets rather than taped.

ú Ifsure bú
Intro A
4
& music, make it too heavy or too faint, or otherwise
When generating PDFs, or when photocopying, scanning,
distort the reduce legibility. you
not to reduce, clip, or
are scanning music
(69-72) 73 74
using your phone, use a dedicated mobile scanning app, like Adobe Scan. Do not use the camera app on

j
your phone.

&ú Ï . (not landscape)

4
ensemble 75jazz scores, but is notÏrecommended
w
Use portrait orientation for all scores and parts. Landscape was once traditional for large-
76 in the era of music notation software — particularly when
(77-80)
printing to US Letter or A4 paper!

# ú marks
# ú shouldÏbe j above
Ï Ï
B
. centered
with a rehearsal 5
ú
? , or
Use a double barline at the end of every phrase. Mark each phrase mark: a boxed letter

ú
or boxed&measure number. Rehearsal
# nÏ
the left edge of the sta
centered above
81 the barline when
82 they appear mid-system.
83 (84-88)

^ ^ j^ j
Ï Ï Ï Ï Ï Ï Ï- Ï Ï Ï
C D
?Œ ∑
- - ú. Ï Ï
f p
89 90 91 92

? the form ∑ clear at&a glance. Avoid

∑ long stretches with ∑ no rehearsal marks.
∑ 2
Rehearsal marks should occur at structurally signi cant points, generally every 8–16 measures. They should
help to make
93 94 95 96
4
Rehearsal letters are not the same as the letters used for formal analysis. Rehearsal letters must be
sequential: [A], [B], [C], [D] — not [A], [A], [B], [A], nor [A], [A2], [B], [A3], or similar. Every rehearsal letter
must be unique. Never repeat rehearsal letters.
In addition to boxed rehearsal letters or numbers, every measure must be numbered. In lead sheets and
parts, place measure numbers immediately below the sta , at the beginning of each measure (see example
above). In large ensemble scores, center each measure number below the bottom sta of each score
system. It is not su cient to include measure numbers only at the beginning of each system.
Parts for transposing instruments (e.g., “Alto Sax in Eb,” “Trumpet in Bb”) must be transposed correctly,
including key signatures and chord symbols.
Each horn player needs an individual part. Do not combine multiple horn parts onto the same page.
In general, with a simple lead sheet, rhythm section instruments (guitar, piano, bass, drums) may all read
from their individual copy of your C Lead Sheet. If you have written a speci c bass line, you may use a C
Lead Sheet written on a grand sta : add a bass clef sta and group the two staves with a piano brace.

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 ARGUE: Music Preparation Fundamentals 3

Clifford Brown

DAAHOUD
(comp. 1954)

If the rhythm section parts are too complex to t on a grand sta lead sheet — for instance, if you have a

> A player. For very complex arrangements, or>when writing for larger
speci c, written-out piano part and a speci c, written-out bass line — you can prepare a master rhythm

Ï Ï section
w parts for guitar, Ï b Ï Ïbass,
Swing q = 240

j Ï b Ïpiano, Ï drums, etc.

bÏ Ï Ï bÏ nÏ Ï Ó
part to distribute to every rhythm section
ensembles, prepareb individual
Ï Ïparts
&bb4 Ï should Ï Ï include
w all of the information
Ï b Ï Ï the
..
Ï Ïplayer Œ bÏ
TPT
4
Ï Ï b Ï needs
rhythm

instance. Don’t just giveÏJthe Ï Ï Ï Ï — and

Ï b n
symbols, with no other information! >
In all cases, rhythm section melody cues, for

>
rhythm section players a page containing only slash notation chord

Eb—9 Ab13(b9) Db—9 Gb13(b9) B< >Ï

b Ï n Ïa two-horn
? b b must‰ show j .. Õ Õ you Õ bothJ horn parts, by
T.SX.

Œ 4 Œ
all of‰ the music ‰
b independent horn Ï parts, yourÕ CÕ Lead Õ Sheet
Õ ÕmustÕ clearly Õ show
Your C Lead Sheet have written. For example, if you write

>
arrangement with two 4 2 3
combining stems-up (Horn 1) and stems-down (Horn 2) voices, in concert pitch, on a single sta . Be

>
certain to clearly indicate which notes each instrument is playing:

b Ï Ï Ï Ï bÏ Ï ‰ j
bÏ
TPT

&bbŒ wÏ .
Ï Ï Ï Ï bÏ bÏ ÏJ Ï . n ÏJ Ï . Ï bb ÏÏJ ÏÏ . Ï Ï n ÏÏ
> > > J
> >
>7 b >Ï 13Ï .
F 7>[b13 >EÏ 13 Ï . >Eb
‰ ÏJ Ï. Ïb9 Ï .
T.SX.

Ï
Ab— Gb ] <
? b Ó
bb ΠJ J n
J
b
J
4 5 6

> 2. >
(Don’t forget — combing horns on a single sta is for the C Lead Sheet only. Each horn player gets an

b b b are unclear when combined‰ Ïjonto aÏsingle Ï Ï— for ÏÏ are widely

jDonaldson Ï
individual part showing only the notes1.they play.)

& w or if the texture is highly contrapuntal

Ï b Ï Ï ..GusÓKahn if& the
— inÏaddition toArranged Ï Ï
‰ instruments
w ÏJ for Ï b Ï Ï and a master rhythm J Mulligan
>
If the horn parts sta instance,

Ï reference,
Walter

>
separated in range, the horn by parts,
Gerry you should

>Ï 7 MAKIN’ WHOOPEE

prepare a Full Score (one sta per instrument) part (or individual rhythm

Ï nÏ ‰ Ïj
section parts) for the rhythm sectionBbto
? b ú
play from.

‰ J
Eb< Eb—9 Bb—11
bb j .. Ó
Ó Œ Œ ‰
>Ï 3
q = 82 Swing

‰b Ï Ïj
A
Tpt. & b
4 ‰ Œ Œ ‰ Ï Ïbú > Œ ‰Ï#Ïnú Ï Ï Ï Ï#ú
4
bú
7 8 9
3 3

> j > > > Ï Ï> Ï

ú jÏÏ Ï ÏÏ ŒÏ ‰ jÏb Ï Ï ÏÏÏj b Ïj‰ új.Ï Ï Ï >Ï Ï Ï Ï ú .
b ?
Bar.Sx. b b ú b
4 Ï ÏÏ Ï # Ï Ï Œ Ï ‰ bÏÏJ ‰ Ï ‰ b Ï Ïú . Ï ÏÏ ÏÏ Ó ‰ j Ï b b ÏÏ
B
4
&
J J G#‚ A— b ÏJ 3
F > F#‚ 7 > G—7> > >7 7 >
B 7(b9) Bb— 9 Eb7 >
?
b 114 ‰ Œ ú ú # ú Ab< ú nú bú
4
#Ebú7
? b b Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ b úÕ
Bs.
Bb—
b be written either as a Concert Pitch Score or a Transposed Score. This must be clearly
1 2 3 4

onb the rst page of music — never write just

Ï ÏPitch
Ï bScore
ú oftenb úmakesnitú easier to give j ” (N.B.
‰ “Score. Œ
A Full Score can

Ï Ï Ïfeedback.)
speci ed&
Ïand
Ï Ïreceive Ï nÏ Ï Ï Ï bÏ Ï
10 11 12 13
In arranging and composition classes,

Note that?in aÏConcert

Ï Ï ŒPitchÏ ÏScore,
Ï b Ï instruments
Ï Ï Ï Ï sometimes
Ï n Ï Ï Ïuseb clefs
ú that areúdi erentbfrom Ï
using a Concert

b part. For example, in a Concert Pitch Score, the bari sax sta is written in bassÏ Ïclef. Ï Tenor sax
3
the clef used in
the transposed
A—/ written B ‚ 7and treble clef,F /Adepending
3
F 7in a mix ofBb—7 Ab7(#11) on theG 7sus
register.Gb7(#11)
? bú clefs shouldú nevernbeú used, except
staves are often bass clef

Ï tenor
b Ï voice.
C
Œ for Ï in aÏConcert
b ú Pitch Score — this
ú to use6 octave-transposing Ï staves
Octave-transposing (Note that certain notation
programs are
5 con gured 7 clefs for tenor sax 8

b ‰ jPitch ‰ j Ï ú instruments ‰ j b(e.g., ‰ b Ï areÏjstill written at

is a very
B bad default!)

Ï Ï ú Ï Ï Ï ú b ú pitch. This avoids

Even in a&
transposed pitchÏ— i.e., as they appear on the player’s partÏ— rather than at the sounding
b # n
Concert Score, octave-transposing guitar, bass)

Ï Ïlines.
Ï j ú nÏ Ï Ï Ï Ï ú . ÏÏÏ Ï Ï
?b ‰ÏÏÏ ÏÏÏ
excessive ledger 3

3
F F#‚ 7 G—7 G#‚ 7 A—7 B 7(b9) Bb—9 Eb7
?b nú bú
ú #ú ú #ú ú bú
9 10 11 12

b ‰ j
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 E b Instruments
ARGUE: Music Preparation Fundamentals 4
Alana Smithee
arr. Basil Valentine

Tempo
MAIN TITLE
w of the
C " be speci
Gb6and style must F 7 ed at
ú 7 Ï Include
Bbmi
Ï both ú
ú a metronome
Db7piece. Initial
Gb7 tempo
The tempo (or tempo range) the beginning of the
bb b b b to the beginning
w
& “q = b208 Med-Up
markings are left-aligned 4 time signature. mark and a
style or feel, e.g., 4
Swing”; “q = 116–120 Straight 8ths (Open Feel)”; “ = 42 Sludgecore.” Write
the metronome 1mark using the musical symbol2 3
for the beat duration. Do not4 write, e.g., “120 BPM.”
q. = 106 Bembé

&8 y ‰ y ‰ y y
6 ‰ yJ ‰ y ‰ y
1 2

Traditionally, tempo markings have been written with the style coming before the metronome mark, e.g.,
A
“Blazing Swing q = 420.”
&4 Œ
4 .. ∑ ∑ ∑ ∑
(1) (2) (3) (4)

I recommend reversing
1
this order; placing
2
the metronome3 mark rst makes it4 easier to see at glance, and,
when there are tempo changes, aligns the metronome mark to the point in the music where it takes e ect.

..
1.

∑ ∑ ∑ ∑
(5) (6) (7) (8)

In music&
Phrasing
E b Instruments Alana Smithee
preparation, “phrasing” means “how the measures are distributed on each system.” Good phrasing
5 6
makes the form easy to see at a glance. Bad (lopsided) phrasing obscures the form. MAIN TITLE 7 8

beye 6 players
it easyGbfor
b w—
(8) C ú
" particularly
Ï(1) Ï
F 7 B Bbmi7rhythm
ú ú 7 —(2)to glance away from
Db7 players
Gb
& bb 4w
Good phrasing also makes section
b
2.
the part (in order to ∑make b 4
∑2 ∑ ∑
(7)

&when they look

the music 1
back
contact
at the
with
page.
other musicians,
3
for example)
4
and easily retrieve their place in
9 10 11 12
q. = 106 Bembé

(4) J
An important convention of jazz music preparation is that phrases on a lead sheet or part must begin either
8 ‰
&(3)
at the beginning of the y ‰oryat ythe‰midpoint
6 y system y ‰ y of
‰ the
y system — i.e., in the third measure of a 4-
∑ ∑ ∑ ∑
(5) (6)

&
1 2
measure system:
A
& 4 Œ .. ∑ ∑ ∑ ∑
13 14 15 16
4 (1) (2) (3) (4)

C
1 2 3 4

∑ ∑ ∑ ∑
(7) (8) (1) (2)
& (5)
∑ ∑
(6)
1.

∑
(7)
∑
(8)
..
17 & 18 19 20
5 6 7 8

2. B
∑ ∑ ∑ ∑
(7) (8) (1) (2)
&
9 10 11 12

∑ ∑ ∑ ∑
(3) (4) (5) (6)
&
13 14 15 16

C
∑ ∑ ∑ ∑
(7) (8) (1) (2)
&
17 18 19 20
©
As a general rule of thumb, a default of 4 measures per system is a good and useful starting point.
&
However, pickup measures, ∑
rst & second ∑
endings, and so on can easily throw o the phrasing balance:
21 22
WRONG 4 MAIN TITLE

A
& ..
(1) (2) (3) (4)

..
© 1.
(5) (6) (7) (8)
&

2.
(8)
B (1) (2) (3)
&

(4) (5) (6)

&

(7) (8) C

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 ARGUE: Music Preparation Fundamentals 5

To resolve this phrasing imbalance, do not force both rst and second endings on a single system if this
would cause more than 4 measures on a system:
WRONG 4 MAIN TITLE

A
& ..
(1) (2) (3) (4)

..
1. 2.
(5) (6) (7) (8) (8)
&

B (1) (2) (3) (4)

&

Instead, use a three-measure system

(5)
and a mid-system rehearsal letter:
(6)

RIGHT &
4 MAIN TITLE

A
& ..
(1) (2) (3) (4)
C
∑ ∑
(7) (8)
&
(5) (6) (7)
& ∑ ∑ ∑ ∑
&
B
..
1. 2.
(8) (8) (1) (2)

& ∑ ∑ ∑ ∑
&
Here’s another example of using
(3)
a three-measure
(4)
system to avoid
(5)
lopsided phrasing
(6)
caused by ending
& ∑ ∑ ∑ ∑
&
repeats:
RIGHT 2 MAIN TITLE
C
∑(3) ∑
A (7) (8)

&
& .. ∑∑ ∑∑ ∑∑ ∑∑
(1) (2) (4)

1 2 3 4

& ∑∑ ∑∑∑ ∑∑∑ ∑ ∑∑ ..

1.
(5) (6) (7) (8)

&
5 6 7 8

& ∑ (6)∑ ∑ ∑ ∑ ∑
2.

∑
(7) (8)

&
9 10 11

∑∑ ∑∑ ∑∑ ∑∑
B
&
(1) (2) (3) (4)
&
12 13 14 15

∑∑ ∑∑ ∑∑ ∑∑
Three-measure systems may also be required for busy passages (e.g., lots of(8)eighths/sixteenths) or on vocal
&
(5) (6) (7)
&
parts to avoid lyric collisions.
16 17 18 19

Do not use fewer than 3 measures in a system unless the music is extremely dense and otherwise would
not t without collisions. This∑ includes the nal
∑ system. ∑ ∑
&
& ∑
Do not use more than20 4 measures in a system unless the notation consists entirely of long note values
(whole notes and/or half notes) or of slash notation (i.e., rhythm parts, solo changes, etc). In those speci c
cases — and only those cases — systems containing 6 or 8 measures are acceptable.
In a phrase containing an odd number of measures (e.g., a 7-bar phrase), one system will be a 3-measure
system.
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 A
& .. ∑ ∑ ∑ ∑
(1) (2) (3) (4)

1 2 3 4
ARGUE: Music Preparation Fundamentals 6

..
1.

∑ ∑ ∑ ∑
(5) (6) (7) (8)
&
Keep in mind that the above phrasing rules apply to lead sheets and parts. Scores often include 6–8
5 6 7 8

measures per system, or sometimes more if collisions are not an issue. However, excessively long score
systems make it2. easy for the eye to get lost. This is particularly true in landscape(8)orientation, which is one of
∑ ∑ ∑
(6) (7)
the reasons landscape scores
&
are not recommended.
9 10
Consult Chapter 11: Phrasing of Clinton Roemer’s The Art of Music11 Copying for additional guidance.
B Rests
consecutive∑ empty measures should∑ be combined ∑into multimeasure rests.
∑ Break multi-
Multimeasure (1) (2) (3) (4)
In the parts,&
measure rests12 at the end of every13 phrase, and at every
14 15
fermata, tempo change, or feel change.
In phrases containing an even number of measures (e.g., 8-bar (7)
phrases), odd-numbered multimeasure rests
∑ ∑ ∑ ∑
(5) (6) (8)

measures: 16
&
should be given the space of one measure, and even-numbered multimeasure rests get the space of two
17 18 19

ú bú ú bú
Intro
4 A
&
(1-4) 5 6

&ú nÏ. j 4
7
Ï w 8 (9-12)

#ú #ú Ï. j
Ï Ï
B 5
& #ú
13
ú 14 15 nÏ (16-20)

# ## # bb
Multimeasure rests must show measure number ranges, — e.g., “(1–4)” — centered below the rest.
& # #
Up to four multimeasure ∑ per system are acceptable,
rests bb
b b regardless∑of how many phrases are involved.
Introducing a system break after every multimeasure rest wastes space.

4 ∑— these
8 help∑the repeats
4 ∑stand 8out on∑the page. ∑ ∑
Repeats and Jumpers (D.S., D.C., etc.)
3 12 2 6 3 12 3
Use winged&
repeats 4 8 4
Always use a forward-facing repeat at the beginning of a repeated section, even when the piece repeats
back to the beginning.
WRONG RIGHT

#4 bÏ #4
Ï bÏ bÏ Ï bÏ
A
Ï Ï
A
& 4Ï Ï Ï .. & 4 .. Ï Ï Ï Ï Ï
..
2 2

Take#care when using jumpers (D.S., D.C., Codas, etc): #

&• ∑ ∑ ∑ & ∑∑ ∑ ∑ ∑
5 The measure you6 are jumping from7 must include the
5 8text “to CODA 6 ” (including the 7 symbol). This 8

text should be above the sta and aligned to the right barline of the last measure to be played
# before jumping to the Coda. #
∑ you are jumping to —∑ i.e., the
& • The measure & ∑ ∑ ∑ ∑
9 10
rst11 measure
9
of the Coda — must
10
include the text: 11
“ CODA” (including the symbol). This text should be above the sta , aligned with the start of the
# #
measure.
∑ begin on a new, indented
& • The Coda must ∑ ∑ ∑ vertical white space
& with additional
system,
∑ separating it ∑
12 13 14 12 13 14
from the previous system. (If you are using manuscript paper, leave an empty sta before the Coda.)

# #
& ∑ ∑ & ∑ ∑ ∑ ∑
15 16 17 15 16 17

# # ∑ ∑ ∑
& ∑ ∑ & ∑
18 19 20
18 19 20

#
𝄌

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 ARGUE: Music Preparation Fundamentals 7

A
&
A
&
%B to CODA fi
% B& to CODA fi

j j
(after solos)

4& j ÏŒ Ïú Ï Ï ú.
ÏÏ Ï
(after solos)

& 4 Œ. Ó.
.. OPEN Õ Õ Õ Õ ...
OPEN FOR SOLOS

& .. ÕÕ ÕÕ ÕÕ ÕÕ
FOR SOLOS
Õ Õ Õ Õ Õ Õ Õ Õ
Õ .
j j
& Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ D.S.Õal CODA
4 ‰ j Ï
& 4 Œ fi CODA ω‰Ïú Ó Œ Ï Ï ú.
ÏÏ
(after solos)
D.S. al CODA
(after solos)

fi CODA
&
&
∑ ∑ ∑
&lay out for one or more pass through a repeated section, use text that tells them when they ∑
play, as opposed&
If a player is to
∑ don’t. For example,
∑ use “2nd X only”
∑ rather than “Tacet
∑
& ∑
to when they ∑ ∑ ∑ 1st X.”

j
& 8& j b Ï∑ . Ï j Œ . jof‰ theÓ the repeat:
Ï. ∑ Œ . “3x,”“4x” etc.‰ ‰ j ‰ j ‰
b Ï Ï∑ Ï Ï Ï b∑Ï Ï ‰ Ï
It is assumed that all repeats mean “play twice” unless otherwise speci ed. If a passage is to be played more
than twice, indicate thatΠat the beginning
12 Œ ‰
&
Ï
.
Avoid using “Open” for -
∑
open .
repeats — on a ∑
brass part, “open” ∑
can also mean “no ∑mute.” Instead, use “Repeat
till cue” or “Repeat for solos” or similar.

j j∑‰ Ó . j‰∑ j‰
j Ï . theÏbeginningÏ ∑of every system
‰ ‰ ∑ ‰ ‰ ‰ b Ï —∑ ÏnotÏ just
‰ ∑ Œ Ï the Ïrst∑bsystem.
Ï Ï‰ Œ.
Key Signatures 12
. Ï
&must &
8 Ï - .
& appearb∑at
.
Key signatures
Use standard major and minor key signatures only. For modal compositions, use the key signature of the
∑ use a key signature
∑ of D minor.∑ ∑ b4
nearest major or minor key with the same tonic. For example, for a piece in F lydian, use a4key signature of F
major. For a piece&
& &
in D dorian,
∑∑ ∑ ∑ ∑ ∑ ∑b4
For highly chromatic or non-tonal compositions written without a key signature, the transposed parts
should be transposed using accidentals only. In other words, when a C Lead Sheet or Concert Pitch Score is

& 4 Ï Ï Ï Ï Ï Ï Ï Ï 8 Ï. Ï. Ï Ï Ï Ï Ï. Ï. Ï Ï Ï Ï
keyless, the transposed
WRONG parts must also be keyless.
RIGHT This option is called Open
WRONG Key in Dorico and Sibelius,
RIGHT
2
3 12
4
Open/Atonal Key Signature 4
in MuseScore, and Keyless in Finale.2 2

Time Signatures
2
Do not abbreviate 4/4 to “C.”

& ∑ time signatures are helpful: the bottom ∑ time signature number
Traditional, inside-the-sta time signatures are ne for music that does not change meter. In music with
many time signature changes, oversized
should extend up to the 4th sta line, and the top time signature number should sit on the 4th sta line and

b Ï Ï Ï Ï Ï n Ï Ï Ï Ï 3 b Ï . b ÏJ Ï Ï 5
extend above the sta .

2 4 Ï
& 4 Ï Ï Ï Ï Ï 4 Ï. ÏÏÏ Ï Ï 4
5 Ï
4 4
> Ï. - Ï- ^ >Ï Ï. . . Ï. . >
Ï. Ï notes beginning
& b Ï eighth
4 Ï Ï Ïbeamed
Ï. 3 are
Ï on Ïbeat 1>Ï orÏ.beat Ï Ï Ï Ïtogether.
w
. Ï. Ï.read: It is incorrect to
and is di cult. to
Beaming
> pairs — it makes the lines>look discontinuous
4
In 4/4, four consecutive
beam these eighths in

Ï Ï Ï Ï nÏ Ï Ï
& 4 Ïj Ï Ï Ï Ï Ï Ï Ï Ï Œ Œ ‰ Ïj Ï Ï b Ï Ï J J Ï Ï b Ï Ï . J
#4
WRONG

Ï Ï Ï Ï nÏ Ï Ï
& 4 Ïj Ï Ï Ï Ï Ï Ï Ï Ï Œ Œ ‰ Ïj Ï Ï b Ï Ï J J Ï Ï b Ï Ï . J
#4

ff

ff

ff

fi

fi

ffi
fi

ff
 4> > ^ > . . . Ï.
>
4 Ï >ÏÏ ÏÏ. ÏÏ-- ÏÏ- . - ^ > . .
>ÏÏ ÏÏ. ÏÏ.. Ï ÏÏ.. ÏÏ. Ï.. Ï >>
w
& 4 >ÏÏ Ï.. Ï Ï Ï Ï Ï Ï w
>ÏÏ Ï >>ÏÏ Ï.. Ï.. Ï.. Ï. ÏÏ. ÏÏ.
& b
b
.
>
# 4Fundamentals
j Ï Ï Ï Ï Ï Ï Ï Ï Œ Œ ‰ j Ï b Ï Ï Ï J Ï. . Ï b Ï Ï . Ï
> Ï n Ï
& 4Ï Ï Ï Ï Ï J Ï J
ARGUE: Music Preparation 8

## 4
j
j Ï Ï
Ï Ï
Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ŒŒ ŒŒ ‰‰ jj Ï bb ÏÏ ÏÏ ÏÏ ÏÏ nn ÏÏJ ÏÏ Ï bb ÏÏ ÏÏ .. ÏÏ
RIGHT &
& 4 ÏÏ Ï Ï Ï ÏÏ Ï ÏÏ Ï JJ J ÏÏ Ï JJ
Ï Ï Ï Ï
Ï Ï Ï Ï
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Œ Œ ‰ Ïj Ï Ï b Ï Ï J J Ï Ï b Ï Ï . J
#4 j n
## 4 j
j Ï Ï
Ï Ï
Ï ÏÏ ÏÏ ÏÏeighth
ÏÏ ÏÏ notes j
j Ï Ï
Ï Ï
Ï ÏÏ ÏÏ nn ÏÏJin 4/4. ÏÏ b Ï Ï . ÏÏ
ÏÏ b Ïhelps
Ï . toJJ visually
& 4 Ï fromÏ Ïtriplets:
& Ï Ï
Ï Œ
Œ Œ
Œ ‰
‰ Ï Ï
ÏÏ b
b JJ J ÏÏThis
distinguish this # gureÏ Ï Ï
4 Ï Ï nÏ ÏbÏ ú ‰ nÏbÏ Ï ‰ bÏ Ï Ï ‰ nÏ ÏbÏ ÏnÏ Ï Ï ú
In modern practice, three consecutive are not beamed together

WRONG & 4 Ï
## 4 Ï ÏÏ ÏÏ nn ÏÏ ÏÏ bb ÏÏ úú ‰ nn ÏÏ bb ÏÏ ÏÏ ‰ bb ÏÏ ÏÏ ÏÏ ‰ nn ÏÏ ÏÏ bb ÏÏ Ï nn ÏÏ Ï Ï ú
& 4 ÏÏ Ï
& ‰ ‰ ‰ Ï ÏÏú
# 4 Ï Ï Ï nÏ ÏbÏ ú ‰ nÏbÏ Ï ‰ bÏ Ï Ï ‰ nÏ ÏbÏ ÏnÏ Ï Ï ú
& 4Ï J J J
## 4 Ï Ï ÏÏ nÏ n Ï Ï bÏÏb Ï ú ú ‰ n Ïn bÏÏb ÏÏ Ï ‰ b Ïb Ï ÏÏ ÏÏ ‰ n nÏÏ ÏÏbbÏÏ Ï nnÏÏ Ï Ï ú
RIGHT

& 4Ï Ï Ï
& ‰J J ‰ JJ ‰ JJ Ï ÏÏú
? bb4 . ω ^ ≈ > ≈ . Ï . Ï . ≈ ≈ >≈ Ï ≈ Ï
Ï > . -Ï Ï Ï Ï Ï Ï are Ï Ï.beamed
. ÏÏ Ï and-
Ï Ïsmaller
Ï Ï rhythmic Ï Ï.Ï Ï Ï. Ï.to Ïw Whenever
Ï Ï Ï these
b b ÏÏ Ïnotes, Ï Ï Ï values
≈ ÏÏ the Ï beat.
b 4 Ï sixteenth Ï. Ï Ï Ï Ï . Ï
4
& . . . Ï
4## used,> > > ∑ .
Eighth note triplets,

&
&
smaller values are every
∑
beat
∑
must be clearly visible.
∑
Ï Ï Ï
4 MAIN TITLE
? bb4 .
#b b 4bÓb j4 Ï Ï‰ÏÏÏ. ÏÏÏ6Ï Ï‰ Ï ÏÏÏ ÏÏ ŒÏÏÏ ŒÏ Ï‰Ï ≈b ÏÏj≈Ï ÏÏ ≈ÏbÏÏÏÏÏÏÏÏ ÏÏ .nÏÏÏ. ≈ ÏÏ ≈ Ï ≈b Ï Ï≈.Ï Ï Ï
WRONG

& 4#
& # Ï
Ï Ï Ï # Ï Ï # Ï Ï ÏJ Ï ÏÏ J J b Ï .Ï ÏÏ ú J
& ∑∑ ∑∑ ∑∑ ∑∑
RIGHT 4&
& 4?Ï b b ú . ú ú ú∑ Ï Ï ú ∑ Ï Ï w
3

∑3 Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ïn Ï. b ÏÏ Ï ∑
Ï Ï Œ Œ ‰ j Ï Ï b Ï J J Ï ÏÏb Ï úÏ . ÏJ
Ï
bb# 4bÓb Ï Ï Ï Ï
& 4# Ïj Ï Ï Ï Ï # Ï Ï Ï Ï Ï
& ‰ # b
Ï
3

# ∑
∑ 3∑∑ ∑∑ ∑∑
&
& Ïshouldú be allowed ú
Ï bthe Float Rests plug-in.)Ï Ï ú Ï Ï Ï Ï Ï
Ï ú∑ ú n b 12
4
& 4?
bb# b b b ∑ Ï ∑n Ï b∑Ï ú ∑ n Ï∑ b Ï ∑ b
Ï ‰ b Ï ∑Ï Ï ‰ n Ï Ï b Ï∑ Ï n Ï Ï &Ï ú∑ 8
b
& 4ÏÏÏ Ï 3
Rests inside beams to oat vertically so that the stem length is not distorted. (Sibelius

‰
users should use
& 4##
bb4 j ∑∑ Ï ‰ ∑∑ ≈ ≈ ≈ ∑∑ Ï ∑∑Ï
WRONG
&
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ï. Ï. Ï. . Ï Ï Ï
? &b b 4 Ï. Ï Ï
& # 4 Ï Ï ∑Ï n Ï Ï b Ï ú ∑‰ n ÏJ b Ï Ï ‰ b Ï Ï Ï∑ ‰ n Ï Ï b Ï Ï n Ï Ï ∑Ï ú
bb
& J and slope.
4 Ï They distort stem length, and beam direction
Do not use stemlets. J Except in certain very extreme
? b b b almost always
∑ ∑ ∑ ∑ ∑
b
cases, stemlets make the music more di cult to read.
WRONG b
&b 4 ∑ Ï Ï Ï
∑ ∑ ∑
? ? bb b 4 Ï . ω ≈Ï≈ Ï
b 4 Ï Ï . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ≈≈ Ï Ï ≈≈ Ï Ï Ï Ï Ï . Ï Ï ≈ Ï Ï Ï Ï
≈ ≈
? bb b ∑ ∑ ∑ ∑
b
b
&b ∑ ∑ ∑ ∑
? bb b 4 Ï . Ïω‰ Ï Ï ≈ ≈ ≈≈ Ï ÏÏ.. ≈≈ ≈≈ ≈≈ÏÏ ≈≈ ÏÏ
Ï Ï Ï
RIGHT

ÏÏ∑ ÏÏ..ÏÏÏÏ Ï Ï Ï ∑ Ï Ï Ï Ï Ï ÏÏ Ï ÏÏÏÏ∑ ÏÏÏ ÏÏ ÏÏ ÏÏ ∑ ÏÏ ÏÏÏ

Ï
b 4 ≈ ≈
? bb b
b
b b time signatures
When beaming
& ∑ other than 4/4:∑ ∑ ∑
• 2/4 ? b bbe beamed
∑ like half a measure∑ of 4/4. ∑ ∑
bbbb ∑ ∑
b b may beam
should
• In?
3/4,byou ∑ 6 consecutive eighths
∑ beginning on Beat ∑ 1, or 4 consecutive∑ eighths beginning
b b
b
& &b ∑ ∑ ∑ ∑
on Beat 2. In all other cases, show two out of three beats. Never use a half rest in 3/4.

? bb ∑∑ ∑ ∑ ∑ ∑ n b b b 12
• 2/2 (cut time) is beamed the same as 4/4.

? b b bb b ∑ &∑
b ∑ ∑ ∑ 8
b
&b ∑

fi

fl

ffi

 ARGUE: Music Preparation Fundamentals 9

• 5/4 is beamed as as if it were a measure of 3/4 plus a measure of 2/4 (i.e., either 3+2 or 2+3).
• 6/4 is (traditionally) beamed as two measures of 3/4.
• 3/2 is beamed as three measures of 2/4.
• 7/4 is beamed as two measures of 2/4 plus one measure of 3/4 (i.e., 2+2+3; 3+2+2; or 2+3+2).
• It is best to avoid measures longer than 7/4. Frequent time signature changes are better than
measures that are too long.
• Asymmetrical meters, like 7/8, should re ect the underlying beat structure. A measure of 7/8 that
is subdivided 2+2+3 is beamed di erently from one that is subdivided 3+2+2.

Compound Meter
MAIN
MAIN TITLE
Compound meters such as 6/8, 9/8, 12/8 are beamed to the beat — i.e., the dotted quarter note:33
TITLE

& 4 bÓb 12 Ï Ï Ï j Œ Œ j j ‰8 j∑‰. Ïj ‰ ú

6 Ó.
Ï Ï Ï bÏ w 4 Ï4
2 3Ó 23 12
WRONG

b
& 8 b 8 Ï Ï Ï Ï b
MAIN TITLE
97
97

& Ó
2 6 Ó. 3Ó Œ 12 ∑ . 2
RIGHT 4 86 43 8 43
& 4 b 12 ∑Ï Ï Ï 8b Ï Ï j
∑ ∑
jj
∑
j4
2 12
&bb 8 JJÏ ÏÏ Ï . Œ Ïj Ï ‰ Ï ‰‰ ÏÏ ‰‰ b Ï . Ï Ï
Ï ú
4 8
b .
43 WRONG 44∑ 8 44 ∑ ∑ RIGHT∑
2 WRONG 6RIGHT 3 12 RIGHT 3
Rhythmic &
Ï Ï Ï Ï
4 22 8 4
Ï Ï Ï Ï Ï Ï
6 Ïbarline” Ï
RIGHT WRONG
WRONG

4 Ïb beat 3: Ï 8Ï Ï
22

& should &

Clarity 22 2
2

& bWRONG
b 4∑ ∑ 4 ∑ ∑2 ∑ RIGHT ∑2
In 4/4, you avoid writing gures that obscure the “invisible that divides the bar in half. In

& 34 Ï Ï Ï Ï Ï Ï 4 Ï Ï & 68 Ï 2 Ï Ï Ï Ï 2 Ï Ï 2 Ï
other words, show RIGHT MAIN TITLE WRONG 3
2
WRONG3 WRONG 4 6
Ï j Ï b8Ï .Ï bÏÏ Ï ÏjÏ ÏjbÏú Ï Ï ÏÏj
2

Ï Ï
& 44 ÏÏ Ïb Ï . Ï Ïb Ï Ïú .
RIGHT WRONG RIGHT

j
2

&
Ï Ï
4
b. bÏ b Ï
&4 b b ∑ j ∑
j
∑
j j
∑
& 4 Ï . b Ï . Ï b Ïj ú . Ïj b Ï b Ï bb ÏÏ .. b Ï Ïj jÏjb ú j 4
Ï Ï j 4j
& 4 Ï . b Ïj. Ï bbÏÏ ú . Ï j Ï Ï bÏÏ Ï Ï b ú j Ï
RIGHT

bÏ Ï Ï Ï Ï Ï Ï bÏ bÏ b b J Ï Ï Ï bÏ Ï Ï Ï Ï4
Ï. bÏ Ï b Ï bÏ bÏ Ï Ï Ï Ï
.
&4
b J b
&4 b b ∑ ∑ j ∑ j ∑
j ofÏ exceptions
b Ï Ï Ï Ï . Ïj b Ï b Ï Ï j
b Ï Ïj Ï b Ï Ï Ï Ï— and j only
Ï Ï J Ï
4 these
Ï . j tojÏcrossbbeat
Ï Ï 3:Ï Ï . . Ï b Ï b Ï b Ï Ï ÏJ ‰b Ï j ÏÏ Ï b Ï Ï Ïj Ï Ïj 44
There are&a small number
b
Ï Ï Ï Ï
4
&are
to the invisible barline rule. In 4/4, these gures

& 4 #ÏÏ. b ‰ Ï Ï Ï ú bÏ #Ï Ï Ï w
gures — 4 permitted
4
• half notesb and dotted half notes beginning on beat 1 or beat 2.
Ï ‰ Ïjj Ï Ï Ï ú .
• whole notes

• half &
bb ∑ ∑ ∑j ∑
&note# Ïtriplets
4
#Ï Ï ‰ Ïj Ï Ï w
ÏÏ the
b Ï of
& #Ï Ï ‰ Ï Ï Ï
Ïj ÏÏ exceptions!
‰‰ above Ï Ï Doú .not clutterbthese
Ï Ï ‰‰gures
Ïj Ïwith inappropriate
Ï w
#Ï Ï ‰ Ï Ï
44
& note
nÏ ú. Ï nw
Make careful ties:
WRONG4

b b b Ï ú ∑ ú Ï Ï 33 ∑Ï ∑ j ∑b13
& Ï Ab mi11(b5) Cú13 Ï Ï Ï Ï ú Ï
4
ú Ï Ï ú ÏÏÏ Ï ÏÏ ú
.
&4 Ï Ï ú
&mi9(ÂÅ7)
Ï Ïj ú #9#9 ]] ú
mi9(ÂÅ7)
4 MA1313 (#11) 13 sus(b9)
(b9) mi9(ÂÅ7) MA13 (#11) 13(#11) 7 [ b13

& Õ Õ Õ Õ 3Õ Õ Õ Õ Õ Õ Ï Õ Õ Õ Ï Õ ú Õ ú Õ
MA (#11) mi11(b5) sus mi9(ÂÅ7) MA (#11) [
Eb G F Eb 13 Db
. 13(#11) C 7

b ú.
ú mi11(b5)
3

&4 Ï b Abú MAMA1313(#11)

b ∑ ú 3 ú C 1313sus
susÏ(b9)
(b9)Ï ú F mi9(ÂÅ7)
∑ mi9(ÂÅ7) úMA. 13(#11)
Ï Ï EbMA13(#11) Ï Db13(#11)
∑ ∑b13]
RIGHT 3
4
&mi9(ÂÅ7)
&4 Ï . (#11) G mi11(b5) ú ú ú Ï Ï ú ú. ÏÏ ú ú
C 77[[b13
Õ Õ ÏÕ Ï Õ Õ Õ Ï Õw Õ Õ
mi9(ÂÅ7) 13(#11)
Eb #9 ]
#9
&Õ Õ Õ Õ Õ Õ Õ
j Ï ‰ ∑Ïjj Ï
&&4 b# Ïb Ï ‰ Ïj∑ Ï
4 b Ï n Ï ú∑. #Ï Ï nw ∑
& b Ï Ï ∑‰ Ï Ï Ï Ï∑ ú . bÏ Ï∑ ‰ Ï Ï Ï ∑w bb
&4
Ebmi9(ÂÅ7) AbMA13(#11) G mi11(b5) C 13sus(b9) F mi9(ÂÅ7) EbMA(1)13(#11) Db13(#11) 7[b13
C(2) #9 ]
C 7[b13
& Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ #9 ]Õ
Ebmi9(ÂÅ7) AbMA13(#11) G mi11(b5) C 13sus(b9) F mi9(ÂÅ7) EbMA13(#11) Db13(#11)
&Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ
fi

fi
ff

fl

fi

fi

 bb b ‰ >>AÐ 7 Œ Ó ^ 77 ^ 77 Gb7>F 7[ #9 ] Gb7 F 7[#11

ÐÐ-- ‰‰ ÐÐ ÐÐ^ ŒŒ ^
ŒŒ ÐÐ ŒŒ ‰‰ ÐÐ nn bb ÐÐ >ÐÐ ‰‰ ?? ÏÏJ ÏÏ
A7 Ab—77
Ab— Db F— Eb/ #9 ]
#11
G nn
Db F— Eb/G
Œ
& b bb ‰ ÐJJFundamentals
&
ARGUE: Music Preparation Œ Ó JJ JJ J ÏÏ Œ 10

?
?tied ∑∑ unless the beat∑∑also contains sixteenth
∑∑ note subdivisions.∑∑Do not tie
It is correct to use o -beat quarter notes, so long as they do not cross the invisible barline. Do not split
these into bb eighth notes, &
&
notes that
share the same beam.

## ÏÏ ÏÏ
WRONG

& b ‰ Ïjj Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ # Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ # Ï Ï Ï ú
& b‰
Ï Ï #Ï Ï #Ï Ï Ï ú ## ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ

jj j j jj jj ## ÏÏ ÏÏ ÏÏ ÏÏ
& b ‰ ÏÏ ÏÏj ÏÏj ÏÏ ÏÏj ÏÏj ÏÏ ## ÏÏjj ÏÏjj ÏÏ ÏÏ ÏÏ ## ÏÏ ÏÏjj úú
RIGHT

& b‰
## ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
Odd meters (5/4, 7/4, etc.) have their own invisible barline, which helps clarify how the measure is
subdivided b(e.g., 5/4 subdivided
∑∑ ∑∑ 2+2+3, etc).∑See Beaming above∑for beaming of odd
&
meters. & b
3+2, 7/4 subdivided
∑ ∑
Every instrument should have the same time signature, the same beat, and the same beaming pattern.

b ∑∑ should be shortened
∑∑ using staccato dots,
∑∑ rather than rests. ∑∑
Use accents (not beaming) to indicate emphasis that cuts against the meter.
&
& bon the beat
Short notes

b b b 44 ‰ j Œ∑ Ó j j Œ ‰ jÓ
WRONG

Ï ‰ Œ ‰ b Ï ∑∑Œ Œ ∑ j ‰ bÏ Œ
&&
&b
b Ï ∑ Ï ∑Ï -

& b b 4 ‰ Ïj Œ Ó Œ ‰ b Ïj Œ Œ ‰ jÓ
RIGHT
b 4
Ï. Ï
Œ
Ï. b Ï-
Œ

Rests
b
©
©

bb ∑
& (e.g., 3/4, 4/4), do not use dotted rests longer than the length of a beat. The largest available
Rests must be grouped to clarify the beat. Rests that last longer than a beat must begin on the beat.
In simple meter
dotted rest is a dotted eighth rest that does not cross the beat boundary. Never use dotted quarter rests
or dotted half rests in simple meter.

bbb ∑ j Œ ∑ j Ó. ∑
j Ï Ï
&
Ï ú Ï Ï ú.
WRONG

& 44 Œ . Ï Ï
4

b
&bb ∑
j j
∑ ∑
‰ Ïj Ï ú Ï ‰ ‰ Ï Ó Ï Ï ú.
RIGHT

&4 Œ Ï Œ
4
b b (e.g, 12/8,∑ 6/8), dotted quarter rests∑are used when they begin∑on the beat. Dotted
In compound bmeter
&
∑ ∑ ∑ ∑
half rests are used at the beginning of the bar, or on beat 3.
&
For clarity in compound meters, combine two consecutive eighth rests into one quarter rest whenever the

b b on the beat. ∑
rst rest occurs at the beginning of a beat. Do not combine consecutive eighth rests when the rst rest
& b ∑ ∑
j
does not begin

j Œ . b Ï Ï Ï Ï ‰ ‰ Ïj ‰ b Ïj ‰ Ï ‰ Œ ‰
b Ï- . Ï.j Œ
12 jŒ . Ï. ‰ Ó
& 12 Ï Ï
b.
8
&bb ∑ ∑ ∑

& 8 j‰ ‰ . j ‰ ‰ ‰ Ïj ‰ Ó . ‰ b Ï Ï Ï Ï Œ Ïj‰ j‰ Ï ‰ Œ .
b Ï- Ï. bÏ
12
b Ï. . Ï
fi

ff

fi

 &4 ÏÏÏ Ï Ï

&
ARGUE: Music Preparation Fundamentals
∑ ∑ ∑ ∑ 11

j j
& 8 j Œ b Ï . Ïj Œ . ÏÏ.j ‰‰ ÓÓ ŒŒ.. bbÏÏ . ÏjÏÏ ÏÏ ‰‰ ‰‰ ÏÏj‰‰b Ïj ‰ Ï ‰
WRONG

12 Œ ‰
Ï. - . . Ï

j j
& 8 Ïj ‰ ‰ b Ï . Ïj ‰ ‰ ‰‰ Ï. ‰ Ó . ‰ b Ï Ï Ï Ï Œ Ï ‰ b Ïj‰ Ï ‰ Ï Œ .
RIGHT
12
. - .
Empty measures always take a whole rest centered between the barlines, regardless of the time signature.

& ∑ ∑ ∑
MAIN TITLE 3
WRONG

&4 Ó
2 6 Ó. 3Ó Œ 12 ∑ . 2
8 4 8RIGHT 4
& 4 Ï Ï Ï ∑Ï Ï Ï Ï Ï 8 Ï . ∑Ï . Ï Ï Ï Ï Ï . Ï . ∑ Ï Ï Ï Ï
WRONG RIGHT WRONG
2
3 12
4 4 2 2
RIGHT

2
&4 ∑ 6 ∑ MAIN TITLE
3 ∑ 12 ∑ 4
8 4 8 4
2 3

2Ó 6 Ó. 3Ó Œ 12 ∑ .
∑ must be shorter ∑than the regular notes∑ they replace, 2
In simple&meter
& ∑ tuplets ∑
Tuplets
44 8 4 8 4
∑ For example, quarter-note
∑ ∑ shorter than regular∑ quarter notes, but
(e.g., 4/4, 3/4) but longer than
the next&
97

4
smallest note value. tuplets are

Ï
3jÏ(e.g., Ï Ï Ï Ïduplets b Ï quadruplets
b Ï . ∑and Ï Ï 35 are
J
longer than regular eighth notes.

b ∑ j j
Ï8. replace.∑ Ï
Ï example,
b Ï Ï Ï Ï
j n
6/8,∑ 12/8), where
j blonger
Ï∑ 4 they Ï ÏÏÏ Ï For 4b Ï4 ∑ in 6/8, eighth
2 2to occurs6in compound 12
4 ÏÏÏnotes Ï Œ 4than
& b ‰ Œ Ó ‰ Œ ‰ Œ Œ ‰ Ó Œ ‰
Ï note8 duplets
4 5 3
Ï ∑Ï Ï
4
&4the4 bregular 4 ∑are Ï∑ -
The exception this rule meter

∑ 4 ∑
longer than
regular &
eighth notes:

& 4 bÏb 4Ï ‰ j Œ Ó Ï Ï Ï Œ Ï ‰ j Œ & 8Œ Ï

Ï Ï Ï j ÏÓ Ï ŒÏ Ï Ï ÏŒ
WRONG RIGHT WRONG RIGHT
2 2
3 6
4 4 2

bÏ
2

&
& b4 ∑ Ï Ï. ∑ ‰
∑ Ï Ï. ∑ b Ï-
j should appear
j on the stem side. j j
Ï. bÏ Ï Ï bú j
bÏ ú.
Beamed tuplets take a number only, on the beam side. Stemmed or mixed tuplets require a bracket in

Ï beam
Ï . same Ï notes Ï∑ be.g., Ï an eighth
4
& 4 bÏb b. onbthe Ï Ï and
addition to the number. Tuplet brackets

b b—
&& require∑a bracket: ∑ ∑ ∑
Tuplets included as non-tuplet three triplet sixteenth notes
note — also

j
b Ï 3Ï Ï Ï 3 b Ï Ïj3 Ï Ï .
j
Ï b Ï 3b Ï b Ï Ï3 b Ï Ïj 3Ï b Ï Ï Ïj Ïj
J
4
Ï
WRONG
& 4 Ïb .
&& b 4 Ï ∑Ï ÏJ Ï Ï ∑Ï Ï ÏbÏ Ï Ï b∑Ï Ï ú Ï w∑
Ï .
4
.
j
& 4 #Ï Ï ‰
4 Ï Ï ÏÏ Ï ‰3 Ïj Ï Ï w
Ï ú.
Ï Ï Ï Ïj ∑Ï Ï Ï b Ï Ï Ï b∑Ï
#
&& b 4 Ï ∑Ï Ï ú Ï w
b4
RIGHT

∑
J Ï .
3 3

Ï jÏ3 j
# Ï Copying,
‰ Ï ClintonÏ Roemer
n Ï suggests
ú. # Ï Ïmanuscript
‰ Ï Ï practice
Ï nofw adding a slur for all
3
4
&of4Music
3

b
beamed tuplets, and ∑placing all tuplets above
∑ ∑ ∑ ∑ This is not
In The Art the older
&& b ∑
recommended in modern music preparation.
∑
the sta regardless of stem/beam direction.

Ebmi9(ÂÅ7) AbMA13(#11) G mi11(b5) C 13sus(b9) F mi9(ÂÅ7) EbMA13(#11) Db13(#11) C 7[b13

#9 ]
&Õ Õ
Pickup Measures Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ
&& b b the∑beginning ∑
∑ of the piece. ∑ ∑ ∑∑
A pickup measure is an incomplete measure that begins the piece. Pickup measures cannot be used
anywhere except
Ebmi9(ÂÅ7) AbMA13(#11) G mi11(b5) C 13sus(b9) F mi9(ÂÅ7) EbMA13(#11) Db13(#11) C 7[b13
#9 ]
&Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ
b
&b ∑ ∑ ∑
b

ff

 ARGUE: Music Preparation Fundamentals 12

Pickup measures are not included in measure numbering. The end of a pickup measure must be marked
with a double bar. Instruments/staves not playing in the pickup measure must have rests equivalent to
the number of beats in the pickup, and those rests should clarify the meter:
WRONG

j#4 Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ó
A
& 4ÏÏÏ ÏÏÏ Ï Ï Ï Ï- Ï. Ï Ï Ï
3

?#4 Œ ‰ úú bú bú ú ú
ú
bú
4 2
nú 3 bú ú 4
nú
RIGHT
# ∑ ∑ ∑ ∑
&
#4
& 4 Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï- Ï. Ï Ï Ï Ï Ï Ï n Ï Ï Ï Ï Ï Ï Ï Ó
A 3

?# ∑ ∑ ∑ ∑
?#4 ‰ Œ ú bú bú ú ú bú
ú n ú bú ú ú nú
5 6 7 8

4
#
& ∑ ∑ ∑ ∑
1 2 3

#
∑ on the note side.∑Staccato and tenuto∑marks can be placed∑ inside the sta
Articulations
& are placed
Most articulations
?# ∑ inside or outside ∑ slurs. ∑ ∑
when appropriate. Marcato accents (^) always appear above the sta . Staccato and tenuto marks go inside
slur tips. Accents can go either
?#9
∑ ∑ 10
∑ ∑11 12

#
& ∑ ∑ ∑ ∑
4 5 6 7

# Copying, ∑ Clinton ∑ ∑ ∑
&above the notes
In The Art of Music Roemer suggests the older hand-copying practice of placing all

?#
Use articulations to clarify∑ your intended phrasing
∑ and note length.∑ In a swing feel, quarter
∑ notes can be
articulations and outside the sta — this is not recommended.

? long
played either # or short,
13
∑ so it is a good idea∑to mark every quarter
14
∑ note with a tenuto ∑ (long) or staccato
15 16

# to be long unless marked otherwise, and long quarter notes do not need to be marked
(short), unless the musical context makes the intended length obvious. (For example, in a ballad, quarter

& ∑ ∑ ∑ ∑
8 9 10 11
notes are assumed

#
with tenutos.)

& ∑ ∑ ∑ ∑
? # often∑squash ties between∑closely-spaced notes,∑ making them di cult
Slurs and Ties
Notation programs ∑ to read. Always
&
5 ∑ ∑ 4
? 4# ∑ ∑ ∑ ∑
take care to ensure all ties are clearly visible.
17 18

Slurs over tied notes must extend to the nal note in a chain of tied notes.
19
4 20

12 13 © 14 15

4# j j ‰ ∑ÏJ Ï b Ï w ú ∑ ‰b Ï
Ï Ï b Ï ∑w ú Ï Ï∑b Ï w ú
WRONG

JÏÏ
&4 ‰

?#
j b Ï ∑w ú ‰ ÏjÏ b Ï w
∑
ú
∑
ÏJ Ï b Ï w
∑
ú ‰b Ï Ï
RIGHT

&4 Ï Ï ‰
JÏ
416 17 18 19

& ∑ ∑ ∑

fi

ff

ff

ffi
ff
        

j j Fj
j
Ï Ï b ú  Ï Ïj 4
cautionary n cautionary n

&4 Ï . b Ï .  Ï bÏ ú.  Ï  Ï Ï
Gm7 C7 F sus E "7 A7
b .
Ï
4 b 4
  bÏ b
ARGUE: Music Preparation Fundamentals 13

j
cautionary n cautionary b

7 j
Ï Ï Ï Ï . areÏjcancelled
Ï Ï Ï and Ï
b Ï by Ïtheb Ïbarline.
Ï ÏEven Ï Ï Ï
j
 Ï
j a chromatic
Accidentals and Enharmonics
  J 
4 theb measure 4
& hold   
 Ï  accidental
b   
 must be used 
Ï subsequent
  inbthe
b    
b  
 as a reminder Ï
  to the player.
B bthroughout
 . 4

4
Accidentals so, following

       
alteration, a cautionary measure

j j
WRONG

& 4 #Ï Ï ‰ Ï Ï Ï F Ï ú. # Ï Ï ‰ Ï Ï BÏb7 wB ‚ 7
confirms 3 confirms
clashing n7

4
dim. 8ve

  
     
7

RIGHT  
  

      
    
j j # requires cancellation
& 4 # ÏOLDÏSTYLE‰ - cautionary
Ï Ï accidentals
Ï n Ïparenthesized
ú. #Ï Ï ‰ Ï Ï Ï nw
4 # requires confirmation


Eb E Eb D Db C B C
    as cautionary
    long      accidentals     
       are used
 make
  the
accidentals less legible. So    thoughtfully,
  and
consistently      omitting
There is no need to parenthesize courtesy accidentals — parentheses distort spacing and

&
the parentheses ∑ cause any confusion.
will not ∑ ∑ ∑


NEWinSTYLE
Accidentals apply the -given
cautionary accidentals
octave only.notThe
parenthesized
presence of a Bb in one octave does not a ect the B’s in any
Eb E Eb D Db C B C
  Augmented/diminished
                fourths   con rmation, as
octaves.
& clashes ∑     and      ∑            ∑
other octave. However, cautionary accidentals provide helpful enharmonic con rmation of augmented or
∑ with

diminished fths also sometimes bene t from
do intentional the given chord symbol.
In general, spell perfect fourths, fths, and octaves as perfect intervals. Avoid augmented thirds (e.g., Eb-

respellings of perfect∑intervals.  
G#), diminished sixths (e.g., F#-Db), augmented sevenths (e.g., Bb-A#), and other misleading enharmonic

& ∑ ∑ ∑
In dense chromatic music, it is sometimes necessary to use courtesy accidentals within the measure as a
reminder of what came previously:

   3
cautionary #


                                             
confirms Gn confirms Fn
cautionary n

 
confirms
dim. 4th

4
Use double-sharps MAIN
and double- ats with caution. TITLE
While they are sometimes appropriate for use in sta
C ats are best avoided in chord symbols.
# # is BMA7 ## #
notation, double-sharps and double-
∑ for the∑ key. For∑ example, ∑ of F#,∑the IV# chord
∑ in the key
(5) (6)
&
Use the enharmonic spelling that is correct
and is spelled B–D#–F#– A#. In the key of Gb, the IV chord is CbMA7 and is spelled Cb–Eb–Gb–Bb:

# # # # # B MA7 b www
CbMA7
& # www & b bbbb w
w
4
As a general MAIN
rule, try to avoid enharmonic clashes TITLE melodic spelling and chord symbol spelling. For
between
with a Gb in the melody is confusing to read. However, melody
∑ to (6)clash
notes are&permitted ∑ with chord
∑ C symbols
∑ if the∑“correct”∑chord spelling
∑ would #∑# # # # — this
∑ be awkward
instance, in most situations, a DMA7 chord
∑ ∑ ∑ ∑ ∑ ∑ #
(5)
&
often occurs in keys with many sharps or ats.
For instance, in the key of Db, the bVI chord is technically BbbMA7 — but as noted above, double ats in chord

# # ∑ B MA7 ∑ You should

∑ ∑ ∑ Cb∑MA7 ∑ ∑ ∑
& #
w
# # # notes b w
— for instance, Db (scale degreeb ) b—b should
w
to AMA7. However, in this case,

www a clash with the respelled chord symbol (A

symbols are best avoided. ip this chord symbol enharmonically
& & b b ww MA7):
diatonic melody not be respelled, even though they may
technically represent
WRONG RIGHT

& b b b b∑ ú ú ú ú ú ú ú
Bb∑m7 ∑ 7 Ab7 ∑ ∑ b b Db
∑ 6 Bbm7∑ A MA7 ∑Ab7 ∑
ú
Db6 BıMA
& b &bbb

b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

fl
fi

fl
fl
fl

^
fi

fi

fi
ff

fl
fi
ff

 ARGUE: Music Preparation Fundamentals 14

As a general rule of thumb, do not ip diatonic melody notes enharmonically unless the harmonic
progression has taken us outside the original key.
In highly chromatic passages and/or rapidly moving passages, enharmonic spelling rules may be relaxed for
ease of reading.
MAIN TITLE 3
Transposing Instruments
Ó 2
& enharmonic Ó.
When writing parts for transposing instruments,
keys to their 4
6
8 Ó Œ ∑.3
like trumpet or alto sax, it is sometimes
4
necessary to wrap
equivalent to avoid placing the music in an excessively sharp key. For example, in a
12
8
2
4
piece with a key signature of E major, the Bb instruments should be written in the key of Gb major (not F#),
and the Eb instruments should be written in the keyTITLE
MAIN of Db major (not C#). 3

& 42
2 ∑ ∑ 6 3 ∑ 8 ∑ . GMA∑9  42
12 3

&4        8  
 
.
  4 Ó
Ó 8 Ó 4 Œ
8
C INSTRUMENTS
Em9 6 E MA13 C MA9 3 B MA9(#11) 12
 WRONG 
4

& 42 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï3
RIGHT WRONG RIGHT

Ï Ï
34 2
6
2
3
3

&
4 2 2

∑  G bm968 G bMA13∑ D MA9 3 8 ∑b

 ∑  4
&4       D MA9(#11) 8 
12
 
A MA 9
  
Bb INSTRUMENTS

       
4
j j j 2 j RIGHT
& 43 Ï . b Ï4 . Ï b Ï ú . 4 b Ï . WRONG
2b Ï Ï 2j
Ï Ï Ï ú Ï
4 WRONG 3 4
Ï
& 4 Ï Ï Ï DÏbm9 Ï ÏD bMA13Ï ÏA MA9 b Ï 8 & Ï A bMAÏ 9(#11)Ï Ï Ï EÏMA9 Ï Ï
b b
RIGHT
3

6 4
        
2

    
Eb INSTRUMENTS

     j
& 4 Ï . b Ï3j Ï Ï b3Ïj Ï Ï Ï . jÏj b Ï b Ï ÏJ b Ï Ïj Ïjb Ï Ï Ïj Ï Ïj 4
4 4
b Ï carefully
ú. b Ï b Ï . issues. b Ï Notation
Ï Ï b úand chord j may need
& 4parts
Transposed
Ï . b Ï . be Ïchecked
must Ï enharmonic
for Ï Ï
b Ï of notes and chord symbols, including unwanted
b Ï 4
symbols

and double-
  jGats.     j 
may be necessary. 
  # Ï Ï  ‰ Ï Ï  Ï  Ï ú.
A MA9
to be enharmonically ipped to avoid awkward spelling


bm9 Changes
 Ï Ï
G bMAto MA9 D bMA9(#11)
 
13 theDcourtesy
Bb INSTRUMENTS

Do not  4  your music notation software will Ï of thisÏ forj you.Ï w

‰
4
j take#care
double-sharps
WRONG accidentals
&
& 4 Ï . b Ïj3Ï Ï b Ï3 Ï Ï Ï . Ï b Ï b Ï ÏJ b Ï Ï Ï b Ï Ï Ïj Ï Ïj 4
4
bÏ
assume

Ï ‰  ÏjisD Ïaligned
mismatched melody mismatched melody

j Ï the chord
  
Chord Symbols
4chord
 # Ï  symbol 
& chord symbol & chord symbol

Ï  
& #Ï  Ï ‰ Ïj Ï  Ï  Ï ú. Ï Ï ú
bm9 E MA
Eb INSTRUMENTS
9 means that the left
the4
 # Ï Ï  ‰ Ï j Ï Ï n w
D bMA13 MA9 chord symbols A bMA9(#11)
edge of & n
Athat
. ‰
For rhythmic
WRONG clarity, it is extremely important be left-justi ed. This

#Ï Ï Ï w
to the beginning of the beat where is played.
WRONG4 3 3 mismatched melody mismatched melody

Ebmi9(ÂÅ7) AbMA13(#11) G mi11(b5) C 13sus(b9) F mi9(ÂÅ7) EbMA13(#11) Db13(#11) C 7[b13

#9 ]
& chord symbol & chord symbol

& 4Õ Õ Õ jÕ Õ Õ Õ Õ Õ Õ Õ jÕ Õ Õ Õ Õ
& 4 #Ï Ï ‰ Ï Ï Ï nÏ ú. #Ï Ï ‰ Ï Ï Ï nw
C 7[b13
RIGHT
Ebmi9(ÂÅ7) AbMA13(#11) G mi11(b5) C 13sus(b9) F mi9(ÂÅ7) EbMA13(#11) Db13(#11) #9 ]
&Õ Õ Õ Õ Õ
Ebmi9(ÂÅ7) AbMA13(#11) G mi11(b5) C 13sus(b9) Õ Õ Õ Õ
F mi9(ÂÅ7) EbMA13(#11) Db13(#11) C 7[b13
Õ #9 ] Õ Õ Õ Õ Õ Õ
&Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ

notation& Ebmi9(ÂÅ7) ∑AbMA13(#11) G mi11(b5) ∑C 13sus(b9) F mi9(ÂÅ7) ∑EbMA13(#11) Db13(#11) ∑C 7[b13

Chord symbols must never be centered, or otherwise misaligned. Here is how to do that in the major
#9 ]

• In &
programs:
Õ Õ chord
MuseScore, Õ Õsymbols
Õ areÕ left-justi
Õ Õed byÕdefault.
Õ Õ Õ Õ Õ Õ Õ
• To left-justify chords in Dorico, under Engraving Options > Chord Symbols > Horizontal Position >

Finale, select∑ the Chord tool and choose

∑ ∑ from the Chord ∑menu.
Horizontal alignment relative to note, chord or rest, choose Left.
• In & Left-Align Chords

fl
fl

fl

fi

fi

 ARGUE: Music Preparation Fundamentals 15

chord-symbols-sibelius/ and ∑save these settings in your template. ∑

• Sibelius users should follow the instructions here: https://www.scoringnotes.com/tips/left-align-
& 45
5 4
∑
44 Roman.
for chord symbols. Do not use a ∑serif font like Times New
& 4 are more legible when a sans-serif font is used.
Use a sans-serif font (Helvetica or similar)
4
j Chord Symbol Spellingj for recommended chord symbols.
bÏ w ú
Chord symbols

4 ÏbÏ w
Ïj accurately re ect any ú
Ïj tensions included in the ‰ ÏbÏ w
JÏ Ïmelody. if theÏ melody
ú ‰ÏÏ ‰b Ï Ï
& should b Ï w (For ú J
See the Appendix:

Ï w ú
b over ÏanÏF dominant seventh chord, Ï w ú
Ï Ï the chord symbol should Ï
J be F7 b9) — not just F7.Ï Ï
44 b ‰ b ‰ ‰ b
note is a G&
J
Chord symbols instance,
4
j j Ï ÏbÏ w ú
& 44 Ïj Ï b Ï w ú ‰ Ï ÏbÏ w ú ‰J ‰b Ï Ï Ï
Chord alterations must be parenthesized and should be spelled with sharps and ats — e.g., G7(b9), F7(#9) —

‰b JÏ Ï Ï
4
j ‰ ÏJ Ï b Ï w ú
& 4 Ï ÏbÏ w ú ‰ Ï ÏbÏ w ú things:
not pluses and minuses.

J
There are two types of slashed chords and they mean di erent
• Chords with a diagonal slash indicate an inverted chord, or a chord with an alternate bass note.

& ∑ ∑ ∑
• Chords with a horizontal slash indicate a compound chord, i.e., two complete chords, one above

& ∑ ∑COMPOUND CHORDS ∑

the other).
INVERTED CHORDS & ALTERNATE BASS NOTES
C </ F 7/ E sus / B/ C G E— Eb—
E Eb C# C E: Eb: C#: C: <:
C G E— Eb—
& CÕ </E Õ FÕ7/Eb Õ EÕ sus /C#Õ BÕ /C Õ Õ Õ ÕE: Õ:
Eb ÕC#:
Õ Õ ÕC: <:
&Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ
Do not use slashed chords to replace common chord symbols:
Õ Õ Õ Õ

∑ B ‚ 7/E C±/A ∑ E 7(b9) A mi(ÂÅ7)

WRONG RIGHT

& E—/
C
D—/
B C MA7 B mi7(b5)
&Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ

∑ ∑
&lead sheet, a separate solo section is only necessary if the solo changes or form di er from what ∑
For transposing instruments, chord symbols must be transposed to the player’s key.
On a simple
& the head. For more complex arrangements
is played during
∑ or arrangements for larger forces, use a
dedicated solo section.

not restate&
∑ next chord symbol. When∑the chord is unchanged over∑ multiple measures, do
Chord symbols hold until the
the chord every measure, and do not use the one-bar repeat symbol (Ô). Exceptions: do restate
the chord & ∑
symbol at the beginning of a new system, in∑the rst measure of a 2nd ending,
∑ and in the rst
measure of a Coda.

& appropriate ∑ to the style and context.∑ ∑

Chord symbols are usually attached to primary beats — generally beat 1 and beat 3. Chord players may

& ∑ ∑ ∑
play anticipations

Slash Notation, Rhythmic Cues, Rhythmic Notation, Drum Parts

Use slash notation (i.e., stemless slashes in the sta ), not rests, to indicate improvisation or comping — see
examples above.
On a lead sheet, use rhythmic cues — small x-noteheads or slash noteheads above the sta , with ledger
lines hidden — to show written anticipations, comping rhythms, unusual chord rhythms, or other speci c
rhythmic gures:
F mi7 Abmi(ÂÅ7) G mi7(b5) BjMA7
‰ Àj Œ
j‰ À Œ j‰ À ‰ Àj Œ ‰ Àj Œ j 7(b9)
Gb

j j j
‰ Ï Ï Ï ‰ Ï Ï Ï ‰ Ï Ï Ï ‰ Ï Ï Ï ‰ Ï Ï bÏ w
EbMA7 Œ
b 4
&bb4 Ó

b > ^ ^ >
#11

Ð- ‰ Ð Ð Œ Œ Ð Œ ‰ Ð Ð Ð ‰ ? ÏJ Ï Œ
A7 Ab—7 Db7 Eb/ Gb7 F 7[ #9 ]
F—7
G
& b b ‰ ÐJ Œ Ó J J Ï &

b
&bb ∑
fi

fl
ff

ff
fi

fl

ff
ff

fi
fi
 ARGUE: Music Preparation Fundamentals 16

F mi7 j mi(ÂÅ7) ‰ Gj mi7(b5) B MA7

‰ Àj Œ to be‰ shown À theŒ staj ,‰ orÀwhen
Ab j 7(b9)
Gb
‰ Àja master rhythm part (or
À Œ above
j indicate j Ï ‰using j rhythmic j bnoteheads
Ï Ï ‰ Ïnotation:
EbMA
If the guresbare too 7 Πor complex Πusing
&rhythm Ï
4
Ï Ï ‰ Ï gures
b b Ósection‰parts), Ï Ï Ï Ï ‰ slash Ï Ï Ï w with stems,
dense
individual
written inside the sta :
4

b > -Ð ‰ Ð Ð^ Œ ^ >
#11

Œ Ð Œ ‰ Ð Ð Ð ‰ ? ÏJ Ï Œ
A7 Ab—7 Db7 Eb/ Gb7 F 7[ #9 ]
F—7
G
& b b ‰ ÐJ Œ Ó J J Ï &

Individual
Drumdrum
Set set parts should include clearly labeled cue notes on theMusic rst space above the sta . In
bb b big band writing, a good starting point is∑ Lyrics
by Darcy James Argue
replicate&
traditional jazz oftenbytoPaisley
take the entire lead
Rekdal, from hertrumpet part and
original poem

Commissioned
Bass cues and other low instrument cues should
MAE WEST: ADVICE
it as a single line of cue notes, written above the slash notation in the drum sta .
by Michael Good and
be written onJoAnn
the Close
rst space below the sta .
 = 132 Swing – smooth, slinky, gliding open feel

b TBNs
&Ab b   ∑   ∑   ∑
4 Õ Õ Õ Õ
     
4      
Õ Õ Õ
    
Õ Õ Õ Õ Õ
  
Õ  Õ  Õ Õ
       

2 3 4

bbb  things like ∑ “Break,” “Solo btw/hits,” “Stop

BS

  ” “In 2,” “Double-Time


& indicate  ∑  Time,
     ∑  Feel,” “Brushes,”
 ”Õetc., as
Be sure to

 
Õ needed.
Õ Õ  Õ  Õ  Õ  Õ  Õ Õ Õ Õ Õ  Õ  Õ  Õ 
  
“Mallets,

   not necessary
  detailed drum  unless something very
 set notation,

7
In a jazz context,
5 it is usually to include 6 8


B & b b b ∑
  ∑ 
 ∑ 
speci c is required.
             
Õ Õ Õ Õ Õ Õ Õ  Õ  Õ  Õ  Õ  Õ  Õ Õ  Õ Õ
           
       
 b
9 10 11 12

∑  
& b b  
∑  ∑ 

VOICE enters

R        
Õ Õ Õ Õ Õ Õ Õ Õ  Ð | ÐÐ 
BREAK
VOX

Õ Õ Õ Õ
              
      
15

b b btime behind voice ∑   

13 14 16 17

&loose ∑ 
∑ 
  

        
Õ Õ Õ Õ Õ Õ Õ
C 3

Õ Õ Õ Õ Õ Õ Õ Õ Õ

b
18 19 20 21

& b b    ∑     ∑
 
       ∑TBNs

Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ
22 23 ©24 25

     
                
Õ
D
Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ Õ
26 27 28 29

 Ð Ð Ð  Ð 
   
Õ Ð Ð |
BREAK

Õ Õ Õ Õ Õ Õ Õ
  

30 31 32 33


         
Õ
E SAXES TBNs


Õ Õ
    
Õ Õ Õ Õ Õ Õ  Õ  
Õ Õ Õ  Õ Õ Õ
       
      
34 35 36 37

Music © 2022 Cercopithecine Music (BMI). Lyrics © 2016 Paisley Rekdal. Used with permission. 2022/08/26
All Rights Reserved.
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 ARGUE: Music Preparation Fundamentals 17

RECOMMENDED BOOKS
Clinton Roemer, The Art of Music Copying (Roerk Music). The music copyist’s bible — absolutely essential for
every jazz musician. Out of print, but available in most music department libraries.
Elaine Gould, Behind Bars (Faber Music). An excellent and very thorough encyclopedia of music engraving
standards. Best for the advanced user of notation software looking to learn to create publisher-quality work.

RECOMMENDED MUSIC NOTATION SOFTWARE

Dorico Pro is a modern music notation software package from Steinberg. Dorico is also available for iPad.
Finale, from MakeMusic, is the longest-running music notation software. (N.B. I designed the Finale Jazz Font
Default, which is included with the latest Finale version and is compatible with the music preparation guidelines
given above. )
Sibelius|Ultimate is subscription-based music notation software from Avid. Sibelius is also available for iPad.
MuseScore is free, open-source music notation software. It has made great strides in recent years, but remains
more limited than the commercial software packages listed above.

RECOMMENDED RESOURCES & FORUMS

“But my software doesn’t do that!” is not a valid excuse. It is also almost always incorrect. If there is something you
are trying to do and you don’t know how to do it, search the online knowledge base for your software, or ask
your question on a software user forum, or consult with a knowledgable peer. There are many good online music
notation resources — here are some of them:
GENERAL MUSIC PREPARATION ADVICE
Scoring Notes: https://www.scoringnotes.com
Of Note: http://www.rpmseattle.com/of_note
Tim Davies’ deBreved: http://www.timusic.net/debreved/

DORICO
Steinberg Dorico blog: https://blog.dorico.com/
Dorico Users Group (Facebook): https://www.facebook.com/groups/dorico/

FINALE
MakeMusic Finale Blog: https://www. nalemusic.com/blog/
Finale 101 (Facebook): https://www.facebook.com/groups/1889032998012042/
Finale Powerusers (Facebook): https://www.facebook.com/groups/ nalepower/

SIBELIUS
Avid Sibelius Blog: http://www.avidblogs.com/tag/sibelius/
Avid Sibelius Users (Facebook): https://www.facebook.com/groups/sibeliussoftwareforum/
Sibelius Power Users (Facebook): https://www.facebook.com/groups/323691061147132/

MUSESCORE
MuseScore Forum: https://musescore.org/en/forum
MuseScore Discussion and Support Group (Facebook): https://www.facebook.com/groups/musescore/

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ARGUE: Music Preparation Fundamentals 18

SIBELIUS-SPECIFIC ISSUES
If you use Sibelius, you must left-align chords and oat rests, neither of which Sibelius does by default. Here
are instructions on how to achieve these results:
Left-Align Chord Symbols in Sibelius
https://www.scoringnotes.com/tips/left-align-chord-symbols-sibelius/

Float Rests in Sibelius

https://www.scoringnotes.com/tips/new-plug-in- oat-rests/

Additionally, Sibelius’s default rhythmic notation and slash notation greatly bene t from these improvements:
Tweaking Slash Notation and Rhythmic notation in Sibelius
http://www.rpmseattle.com/of_note/sibelius-rhythmic-slash-notation-tweaks/

Norfolk and Pori Fonts for Sibelius

These two fonts are both improvements over the fonts that come with Sibelius:
• Norfolk is an engraved font based on the open-source font Bravura, which comes with Dorico but can
be used with other software. I use Bravura with Finale — it’s the font used for all of the musical
examples shown in this handout. Sibelius requires some compatibility adjustments in order to use
Bravura, which is what Norfolk provides.
• Pori is a manuscript-style font based on the open-source font Petaluma, inspired by Sher Publishing’s
The New Real Book.
These fonts also come with a much-needed solution to create diagonally-o set slash chords in Sibelius:
https://www.nycmusicservices.com/musicresources/

SCORING EXPRESS TEMPLATES

NYC Music Services, a professional music preparation service, o ers Scoring Express Jazz, a set of well-
designed jazz templates for Dorico, Finale, and Sibelius, which I highly recommend. These templates are
available for purchase here:

https://www.notationcentral.com/product-category/templates/

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 ARGUE: Music Preparation Fundamentals 19

APPENDIX: CHORD SYMBOL SPELLING

In the real world, chord symbol spelling is highly variable. Everyone wants to believe that their preferred method
of spelling chords is the One True Way. In reality, what is considered correct is determined by consensus within
musical communities. That said, there are practical reasons to prefer chord symbols that are concise, compact,
consistent, unambiguous, and visually distinct from one another; this is the basis for the following
recommendations. Chord symbols are more legible if a sans-serif font (like Helvetica) is used.

CHORD NAME RECOMMENDED ACCEPTABLE DO NOT USE

MAJOR TRIAD G GMA, G triad, G<, G<ˇ‰, etc.

MINOR TRIAD G—, Gm, Gmi Gmin GMI, Gm triad, etc.

AUGMENTED TRIAD G+ Gaug

DIMINISHED TRIAD G0 Gdim

SIXTH G6 anything else

MINOR SIXTH Gm6, Gmi6, G—6 Gmin6 GMI6, etc.

MAJOR SEVENTH GMA7, G< G<7, Gmaj7 GM7, Gma7, GMaj7, etc.

SEVENTH G7 anything else

Gm(ÂÅ7), Gmi(ÂÅ7),
G—< Gmin(ÂÅ7), G—<7 Gm(Â7), GmÂÅÔ7, etc.
MINOR-MAJOR SEVENTH

MINOR SEVENTH Gm7, Gmi7, G—7 Gmin7 GMI7, etc.

HALF-DIMINISHED G", Gm7(b5), Gmi7(b5) G"7, G—7(b5), Gmin7(b5) GMI7b5, G—7-5, etc.

DIMINISHED SEVENTH G07 Gdim7

G<9, GMA13, G—9, GMA7(9), Gm7(11), G7(å∂∂13),

Gm11, G13, G69, etc. G6/9, etc.
CHORDS w/EXTENSIONS

CHORDS w/SUSPENSIONS Gsus, G7sus, G9sus Gsus4, G7sus4, G9sus4 G4, G7(4), G11, etc.
b13
G(#11), G13(b9), G7[ #9],
G#11, G7-13+9, G+7(+9), etc.
CHORDS w/ALTERATIONS
etc.
INVERSIONS & CHORDS w/ G / G7/ G</
ALTERNATE BASS NOTES B, F, Eb, etc. G/B, G7 on F, G</Eb bass, etc.

POLYCHORDS/COMPOUND G G7 G< G7
CHORDS B, F, Eb—, etc.
— — —— G over B, —
F triad, etc.
——