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Score Part Copying Guide

This document provides guidelines for scoring and copying parts for jazz arranging. It discusses best practices for notation including making notes and rests legible, indicating metric centers, articulations like short vs. long rhythms, and slash notation vs. stem direction for time vs. stop time feel. It also covers drum notation, other articulations for instruments like ghosts and bends, proper use of repeats and rehearsal markings, and including key signatures on each system. The goal is to make parts clear and efficient for rehearsal through standardized notation conventions.

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Joshua Rager
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263 views2 pages

Score Part Copying Guide

This document provides guidelines for scoring and copying parts for jazz arranging. It discusses best practices for notation including making notes and rests legible, indicating metric centers, articulations like short vs. long rhythms, and slash notation vs. stem direction for time vs. stop time feel. It also covers drum notation, other articulations for instruments like ghosts and bends, proper use of repeats and rehearsal markings, and including key signatures on each system. The goal is to make parts clear and efficient for rehearsal through standardized notation conventions.

Uploaded by

Joshua Rager
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Score & Part Copying Guidelines

Jazz Arranging MUJZ 261


McGill University

1. Notes and Rests need to be LEGIBLE! Use big round noteheads. The eighth note rests should touch the middle two lines of
the staff. The quarter note rest should touch all four spaces. Halfnote rests sit on top of the center line and the Whole-note rest hangs above the center line.

2. Always show the metric center of the bar

3. Since quarter-notes can be played both long or


short ALWAYS indicate the articulation. For basic
arranging you only need to use two indications:

4. Avoid writing eigth-notes ON the beat to indicate


a short rhythmic value.

E7

5. Slashes in the middle of the bar indicates that the


player continues to play time while rhythmic figures
with stems indicates stop time. (Rhythmic notation the stems alway go down)

B7

6. Sometimes for comping instruments you can


use rhythmic notation and indicate the top note of
the voicing. (use parentheses)

7. Drum parts can indicate either time with slashes


or stop time (usually in a shout chorus)

E7

Long


Difficult to read
Bmin7

Instead write this

Short

Bmin7

E7

B7

E7


(top note of voicing)

8. Often the drum parts will indicate some of the


rhythmic figures of the band while the drummer
continues to play time. Drumers are comfortable with seeing this and will encorporate the rhythmic figures into
the time feel of the music.

9. Other articulations for horns:

Ghost

Shake
Bending effect (mainly for brass)

(player starts note


below and bends up)

Rise (mostly for brass,


hard for saxes)
Grace note

gliss

Short fall Long fall

Closed and open for plungers or hand


(trumpets, trombones)

10. DO NOT use repeats within repeats. If there is a large repeated phrase which contains short repeated phrases
within it, the short phrases must be written out. Otherwise the repeat indications become unclear.
11.You must use bar numbers and rehearsal markings. You can indicate bar numbers at the beginnings of each
system. This is mandatory for your music to be rehearsed quickly and efficiently.
12. When using rehearsal letters, repeats, or DS. CODA always keep the parts consistent with each other. When
rehearsing the music it will become quickly difficult for the musicians to find their place.
13. Use key signatures on each system. This is a good habit to get into especially if you write in condensed score.
If you don't have much experience copying parts its easy to forget the key signature especially when there are
a lot of accidentals in the bar as in the case of block chords.

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