Part 3

43.--Notes cannot have the same note-head which _begin_ at different times, even though they _end_ at the same time. This would involve writing one of them in the wrong part of the measure (see "Placing of Notes," par. 14).

Hence, as a dotted quarter is a sixteenth shorter than two dotted eighths and a sixteenth, and therefore the final note does not _begin_ at the same time (though it _ends_ at the same time) in the treble and alto parts of the last group of Fig. 16 (par. 35), the example is inaccurate. It should have been written thus:

and would be so played were the passage given, say, to two violins.

[The tyro must not mistake the above two final note-heads, the _longer_ of which comes first, for a breach of the rule exemplified in Fig. 31 (par. 42), and which applies to two notes which _begin_ at the same time. Here the longer note begins _before_ the shorter one.]

* * * * *

44.--In part-music all the accidentals in an open score will have to be reproduced in short score. Each performer is only supposed to read his own part, and cannot be assumed to have seen an accidental in another part which, had it been seen, would have rendered one in his own unnecessary. Thus the sharps in Fig. 35

will remain in a transcription to short score,

if intended for part-singers or players. (A pianist or organist would not need the second sharp in each stave, while probably _preferring_ it as a recognition of the part-writing character of the music.)

* * * * *

45.--In music which is _not_ part-writing, the transcriber will have to use his discretion as to the repetition of accidentals which have already appeared in another "part" in the same measure. The guiding principle will be to avoid the likelihood of error on the part of a competent reader.

* * * * *

46.--Care must be taken to turn the stems of half notes and shorter notes according to the principles of short score, and not necessarily as they are in the open score.

* * * * *

Short Score to Open Score.

47.--Co-relatively, in transcribing from short score to open, it will occasionally be necessary to put accidentals in the latter which are not in the former. The commonest form of this is probably in extracting a single part, soprano, alto, tenor, or bass, from an ordinary short score hymn or chant book, and writing it in a part-book for the particular voice. Thus, in transcribing the tenor of the following extract from the hymn-tune "Heathlands" into a part-book, it would be necessary to insert a natural before the A.

* * * * *

48.--Far more often, however, it is necessary to _omit_ naturals used to contradict an accidental occurring in a part which is not being copied. Thus, in the following extract from the tune "Endless Alleluia," the natural in both the tenor and bass would be unnecessary were these parts written out separately from the other parts and each other.

(The A sharp in the tenor of this extract suggests C sharp so strongly apart from the rest of the harmony, that the natural is almost a necessity even had the previous treble C sharp not been included. Not being required according to rule, however, it should be enclosed in brackets--a not infrequent, and very commendable, device with careful writers, when an accidental is desirable but not necessary according to rule.)

* * * * *

49.--The stems, of course, must be turned up or down according to their position above or below the middle line, and not as in the short score.

* * * * *

Extracting a Single Part.

50.--In copying out a single part from a score, full or short, care must be taken in abbreviating a number of measures' rest. The usual way of doing this is to write the number of measures over a single measure, thus:

But if a pause occurs in any of the other parts of the score this will not do. The number of bars before the pause must be counted, and the pause--or pauses--shown in the abbreviation as follows, assuming it to occur in the thirteenth bar:

* * * * *

Accidentals.

51.--The necessity for inserting accidentals in a part-copy which may not appear in a short-score, has just been pointed out. Yet the musical Hercules is beset with a Charybdis as well as a Scylla. He may be drawn into the bad and very irritating modern habit of using accidentals which are not really called for. Accidentals where unnecessary are doubtless used with the object of making assurance doubly sure. They have _precisely the reverse effect_, besides being uncomplimentary--to put it mildly--to the intelligence of the performer. Sharps, flats, and naturals which sometimes are _foreign_ to the signature, and sometimes _duplicate_ it, cause confusion where there was previously assurance. Bad enough at all times, they are, when one is transposing at sight, exasperating to the last degree.

An accidental is operative during the bar in which it occurs, and no further, unless it inflects the last note of a bar, and the next bar begins with the same note. It is so usual, however, to contradict an accidental in the bar _next_ to that in which it occurs, that this practice may almost be said to have become a rule, breach of which might cause uncertainty in all but the clearest cases. This is no justification for the absurd practice of some writers, of contradicting an inflection the next time the same note _un_-inflected occurs, _however far off this may be_!

As a rule, a natural should only be used where the sharp or flat to be cancelled would _not_ have to be repeated were the inflection intended to continue.

* * * * *

Legibility.

52.--A common cause of illegibility in manuscript music is what may be called a spider-like sameness in the web. Stems and hooks--indeed sometimes stems and note-heads!--are much of the same thickness and blackness. Compare them in printed music, and it will be seen that a dozen, perhaps a score, of stems could be spun out of one hook.

* * * * *

53.--Should it be necessary to erase and rewrite a note, the blurred effect too often resulting may be almost entirely avoided by _penciling_ the correct note before tracing it in ink. This produces a lead-lined groove and prevents the ink from running.

* * * * *

Facility.

54.--Orthography is taught by the careful making--drawing rather than writing--of large letters. The formation of a more rapid and individual hand does not come till later. So with musical phonography. The student, at whatever cost of time and patience, must first acquire _accuracy and clearness_. Not till _these are gained_ must he think of rapidity and ease. Hence the consideration of facility has been deferred to the last.

Facility is well worthy of consideration, especially on the part of those who have much music to write. A little thought will often show how a character may be made in one stroke, which in any other way will take two or more, and that without any loss of clearness.

Thus a half note can be made in one stroke if begun at the point where the ring joins the stem; that is, at the _top_ of the ring for upward stems, at the _under part_ for downward stems.

Quarter notes may be made in one stroke if the head be begun first when the stem is upward, and the _stem_ first when the stem is downward.

If this very simple expedient were more generally known, the practice of writing downward as well as upward stems at the right-hand side of the note-head--never done in printed music--would not be as common as it is. It should be added that to make a quarter or half note satisfactorily in one stroke, a pliable pen, fine, but spreading under pressure, and rapidly recovering itself, is necessary, otherwise the head will be too thin or the stem too thick.

Eighth notes, especially those with downward stems, are best made in two strokes. They can, however, be made in one if begun at the _bottom_. That is to say, those with upward stems must be begun at the head, and those with downward stems at the hook. This hook must be drawn thin, if made thick the pen will scratch when making the stem: if the head be made first the pen ends at the wrong side for a _downward_ stem.

Each shorter note requires an additional action.

The G clef can be made in one stroke if begun at the innermost part of the curl, or at the downward extremity. The F clef requires three strokes, owing to the dots, each of which takes one to itself.

The C clef requires four movements, so does a sharp. A flat may be made in one stroke, but is very apt to look like a half note. A natural requires two movements.

Chords may be expeditiously formed, if with _downward_ stem, by making the top note, with stem, first, and then adding the other notes. Chords with upward stems should be begun at the bottom.

(The joinings are purposely left imperfect to show the method. The numbers show the order of the four actions for the four notes.)

* * * * *

Copyright.

55.--A primer on musical orthography is hardly complete without a few words on Copyright. As long as a work is in manuscript and copies are not offered for sale it enjoys the same protection, under the common law, as if properly entered for copyright. It is an infringement of copyright to copy, reprint, publish, or vend the whole or any portion of a copyright work for any purpose whatsoever. It is an infringement to copy a hymn tune, a portion of an anthem, orchestral parts, or to transpose a song; such infringements can be prosecuted and the full penalty exacted. It can be readily understood that such copying deprives the composer or proprietor of his just returns from the sales of his work. To secure a copyright in the United States of America it is necessary to print on each and every copy, Copyright (date) by (name of proprietor), and to send to the Registrar of Copyright, Washington, D. C., two complete copies with a fee of one dollar for registration and a certificate under seal. The copyright is secured for twenty-eight years from the date of first publication with the privilege of a renewal for twenty-eight years, provided that notice of renewal is given the copyright office one year prior to the expiration of the first term. Securing an international copyright is usually undertaken by the publisher, as are also such matters as mechanical rights.

* * * * *

56.--When the finished composition is ready for publication, a fair copy should be made and care exercised to see that it is legible and correct in every particular. A few suggestions as to proofreading and correcting may prove useful. There are certain symbols in universal use which are as follows:

These symbols should be marked on the margin of the proof (see sample page), and no other instructions are necessary. Notes are indicated by their position on the staff not by their names. The value of a note is indicated by a fraction. Slurs are drawn in and indicated by the word "slur." Dots are encircled with a line to give them prominence.

INDEX

The numbers refer to the _Paragraph_, not the Page.

PARAGRAPH

Accidentals 44-48, 51

Barring 4

Beat-lines 14

Bind 14

Black-notes 42

Change of Key 4

Change of Time 7

Chords 54

Clefs 5

Common Faults 5, 6, 12, 13, 22, 34, 36, 52

Compound Time 13

Copyright 55

Crossing Parts 24

Direct 5

Dots 20, 9, 14, 40

Erasures 53

Extracting a Single Part 50

Facility 54

German Quarter Note Rests 17

Grace-notes 23

Groups 13, 23, 30, 32, 35, 38

Half Note Head with Eighth Note Hook 42

Historical Notes 7, 14, 21, 27, 31

Hooks 29, 42

Introductory 1

Key Signature 4, 6

Leger-lines 36

Legibility 52

Mapping-out 4

Mercer's Psalter 4

Morley's _Practical Music_ 14

Notation of Rhythm 8, 32

Open Score 16, 20, 23

Open Score to Short Score 41

Organ Music 23

Over-lapping Iteration (Piano) 11

Paper 2

Part Writing 19, 44

Pause 50

Placing of Notes 14

Playford's "Whole Booke of Psalms" 27, 31

Rests 15-19, 12, 50

Rhythm, Notation of 8, 32

Scoring 3

Short Score 18, 24

Short Score to Open 42

Sign of Perfection 7

Signatures 6, 4, 7

Simple Time 12

Slur 37, 39

Sonata Pastorale 9

Stems 22

Of Rests 25, 16, 18

Stroke and Dot 9

Three Parts on One Stave 24

Ties 10, 11, 14, 37

Time Signature 7

Turn Over 4, 5

Unnecessary Accidentals 51

Vocal music 37, 23

(Exception 4) 35, 40

Words (See also "Vocal Music") 4

=> _When a higher number precedes a lower in the above index, it is because it refers to a more important Paragraph._

[ Transcriber's Note:

The following is a list of corrections made to the original. The first line is the original line, the second the corrected one.

Quartet-paper: four stave score, no brackets or clefs. Quartet-paper: four-stave score, no brackets or clefs.

Leger-lines, Leger-lines.

cannot be white and black at the same time. In this case _the notehead cannot be white and black at the same time. In this case _the note-head

]