Traditional Music Notation

If you are using a computer program to generate your music, notation is done automatically by the software. It is not always done correctly and there are areas that require a little knowledge in order to make the music look professionally done.

To help you learn about notation, we suggest that you start by finding a professionally engraved piece of sheet music in the style that you wish to produce, and then verify the following recommended placements by locating each of the items.

General Placement

Dedications are centered over the title. The point size is smaller and usually in italics.

The composer's name is on the right side of the page, flush with the right hand margin.

The arranger or editor is under the composer.

The lyricist's name is on the left side of the page, flush with the left hand margin.

Tempo markings are flush left over the time signature.

The instrument name is flush left between the title and tempo marking.

The copyright notice is centered at the bottom of the title page.

Tempo instructions in the body of the music are placed over the staff and, except for a tempo are usually in Roman type. Place the tempo instruction at the exact place that the tempo changes. If a time signature accompanies the tempo change, the tempo instruction should be aligned with the time signature.

Temporary modifications and instructions (rit., rall., accel., dolce, marcato, mf, p, ff, cresc. dim. etc.) go under the staff in single line music, or between the staves in a system in keyboard music. In vocal music, words of instruction go over the staff. Be careful to place the beginning of the instruction word exactly at the place in the music that it affects.

Playing instructions such as pizz., unis, div., etc. should appear in Roman type over the staff exactly at the place in the music that is affected. Bowings go above the staff.

In scores, tempo headings are placed above instrument groupings, and temporary changes are repeated for each staff where there is music affected by the change.

Articulations and modifying symbols like staccato marks, accents, tenutos, and fermatas, go on the note head side. For a consecutive group of accented notes, it is sometimes appropriate to keep all accents on the same side rather than skip above or below the staff. Place marks for clarity and to avoid staff lines.

Fingerings go as close to the note head as possible.

Note Heads

When placing accidentals, start at the top of the chord.

Stem Direction

Stem Length

Beams

Ties and Slurs

Slurs are placed below the note heads if all the stems go up. Slurs are placed above the note heads if all the stems go down. When a slur covers notes with both up and down stems, the slur goes over the note heads.

When modifying marks such as accents or dots accompany a slur, the slur encompasses the marks.

When slurring a chord on a single stem, use one slur only. When a part has more than one voice, separate slurs are used and are placed above or below the stems.

Time Spacing

Important heading (composer, instrument, etc.) omitted or not properly placed.

Dynamic marking to the left of the note it affects instead of being under it.

Slurs on the wrong side of the note head.

Slurs between the note head and the articulation.

Incorrect stem direction.

Crescendo and Diminuendo marks that do not start or stop where the actual crescendo or diminuendo starts or stops.

Incorrect spelling.

Too many measures per line.

Use of a half rest in three-four time.

Very important symbol like a repeat sign or coda sign omitted.

A comprehensive article about music notation is beyond the scope of this site. I would like to recommend the following books as resource material for those of you who would like to know more.

Music Notation by Gardner Read, published by Taplinger Publishing Company, N.Y., 1969.

The Art of Music Engraving & Processing by Ted Ross, published by Charles H. Hansen Music and Books, Inc., Miami Beach, Florida, 1970.