![]() ![]() What and/or who was this piece written for? What was the inception of the work?.Some sample questions to address in your program notes could be: Program notes, of course, are always appreciated by artists and presenters looking for some background on your piece that will help to inform their performance and programming decisions respectively. Optionally, this title page can include movement titles and page numbers (as in a table of contents), and the duration of the piece and/or movements within the piece. Please always use this exact title when listing the work in a program or on a recording. Your title page itself should contain the title exactly as it should appear in a formal concert program, including particular capitalization, diacritical markings, and other semantic specifics. In addition to the general formatting guidelines, there are some things to consider specific to scores. As a reminder when using separate Sibelius/Finale/Dorico files for separate movements of the same piece, remember to change the page numbers to reflect the continuation of the piece across movements. In some cases, it is appropriate to format a score or a part to begin on the left-hand page, however these will still follow the same convention and start on page 2. Traditionally, scores start on page 1 - a right-hand page. Optionally, it is also considered standard to list the year of composition alongside your name on the front page in the following format: "Your Name (20XX)".įollowing the first page, ensure that your page numbers follow the convention of odd-numbered pages on the right and even-numbered pages on the left. Additionally, please use the copyright publishing credit that reflects your PRO affiliation. To clarify a couple of points: a multi-movement piece must include BOTH the title of the complete work as well as the title of the first movement. Transposed or concert score (if applicable).Copyright in the following form: ©20XX Publishing license granted to.The first page of music on either a score or a part must include the following pieces of information: Moreover, when proofreading, ensure that each page has the same margins - for example, a cutaway score should expand space between staves or adjust the number of systems on a page with fewer instruments to match the same top and bottom margins as a page with more instruments. Consider how the paper will bend in a saddle-stitch and how much room a coil will need to secure the binding. The minimum margin space to afford clarity in print should be at least 1/2". Before submitting a work, ensure that it is thoroughly proofread and edited so that there are no colliding elements on any given page. There may be more blank space than you think you may want, however it is better to err on the side of too much blank space than to overcrowd the page. In general, this means that there should be enough space for artists to discern all elements of the music they are required to play. Overall, clarity in presentation will be of greatest benefit to those performing your work. Non-traditionally notated works may be exempt from certain details. It is imperative that all ACA composers follow guidelines. ACA reserves the right to send materials back to the composer for correction before accepting works in which the requirements listed below are not met. Two things should be avoided in most cases: custom paper sizes, and non-US paper sizes.Įmail the ACA publishing director at to discuss any unusual situations. In such cases, it is prudent to format parts for 9" x 12" for ease of reading and handling on music stands.ĪCA reserves the right to reformat music to fit optimal size paper for performance and cost effectiveness. The exceptions occur when using large paper for large ensemble works - namely, tabloid and legal. In most cases, scores and parts from the same piece should use the same paper size. Example, large ensembles at primary or secondary education institutions may find it more practical to use letter-formatted materials for their own printing and copying purposes. ACA is flexible with paper size, but its best to use formats that are right for the occasion. Scores with 20 or fewer instruments can fit on 9" x 12" or 10" x 13". Occasionally, a solo piece will work well on letter-sized paper, however 9" x 12" is usually optimal for most solo and chamber music.ġ1" x 17" paper is often best suited for large ensemble music - it is rare that a solo or chamber work is more practical in this form. Working from small to large, letter-sized scores are used most commonly in vocal or choral music. There are four common, standard options for paper size that will serve your scores well in most cases:
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