Continued!
Measures per SystemSome guidelines to keep in mind when organizing the measure distribution:
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Note density: Make sure the notes have a comfortable amount of space. The notes should be far enough apart that they don't touch each other and the rhythm is easily readable. At the same time, make sure that the notes don't look
too stretched apart. Usually, 2-3 measures per system is good for denser measures, 4 measures per system is good for less dense ones, and more than 4 measures per system can work if the rhythms are sparse (for example, mostly whole or half notes).
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Hypermeter: If note density permits, the organization of measures into systems should line up into phrases. For example, if the phrases are four measures long, then it would be ideal for the first, second, etc. measure of each system to correspond to the first, second, etc. measure of each phrase. However, sometimes note density precludes this from being an appealing option, in which case it's often better to go with note density and forgo hypermeter.
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Section breaks: If the note density isn't right for hypermeter, it's still good to try to start on a new system when transitioning from one section of the track to the next.
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Consistency between similar sections: If a section is written with a particular measure distribution, and the section repeats later on (e.g. a reprise), it's good to write the reprise with the same measure distribution for visible consistency, if possible.
Examples of good measure distribution:
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https://www.ninsheetmusic.org/download/pdf/3783 - The number of measures per system changes throughout the sheet according to the hypermeter and the note density (first 3 measures/system, then 4, then 2).
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https://www.ninsheetmusic.org/download/pdf/2551 - Also varies the measure distribution according to the sheet's needs. m9-17, which are dense with notes and accidentals, are given three measures per system. m34-38 is written as a five-measure system where the note density is sparser in order to the restore the hypermeter on page 4 later on.
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https://www.ninsheetmusic.org/download/pdf/4752 - If the notes are too stretched at two measures/system and too crowded at four, using three measures per system throughout can be fine!
System Spacing and Distribution-
Systems per page, space between systems: This varies with the vertical space that the systems occupy. Typically, four systems on the first page and five systems per subsequent page is a good rule of thumb. However, if the systems take up a lot of vertical space (e.g. with 8va's, pedal markings, ledger lines high above or below the staff, or if the space between the staves needs to be expanded), you may have to reduce it to four systems per page and expand the space between systems.
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Space between RH and LH staves: If there's a lot going on between the staves (ledger lines, stems and articulations for layers, dynamics and crescendos), and things are colliding or close to colliding with each other between the staves, then it's good to increase the space between the RH and LH for some more breathing room.
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Header/footer spacing: Give the header (mini-title) or footer (copyright) ample room on each page! Make sure the systems don't get uncomfortably close to them.
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Similar formatting on each page: (except page 1) If you have five systems per page from page 2 onwards, it's ideal to space the systems out similarly on each page so that the formatting is visually consistent throughout. (e.g. If you spread the five systems out evenly on one page, do the same on the next page instead of leaving blank space at the bottom.)
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Try not to have only one system on the last page! It leaves a lot of empty space and doesn't look good. See if you can condense the sheet such that you can move the system up to the previous page, or if that doesn't work, consider reducing the number of systems per page so that the last page is filled more.
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Page breaks: You might also consider adjusting the organization of systems such that new sections start on new pages and page turns aren't excessively inconvenient (i.e. requiring back-and-forth page turns due to a repeat, if avoidable).
Examples of good system spacing:
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https://www.ninsheetmusic.org/download/pdf/1341 - The systems are spread out to fill two pages. The wide system spacing gives room for the ossia in m5. Additionally, in the third system, the distance between the RH and LH staves is expanded to accommodate the crescendo and decrescendo.
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https://www.ninsheetmusic.org/download/pdf/4832 - Where necessary (m11-14, m56-63), the space between the staves is expanded to accommodate dynamics and stem-side articulations on layers. In other places where the staves are less crowded, the space between them is normal.
AlignmentSee the slides (linked in the above post) for image examples of each of these.
Dynamics:
- Should be centered with the noteheads on the corresponding beat.
- Should be approximately centered between the staves, if modifying both hands.
- Should be either above the RH staff (if modifying RH only) or below the LH staff (if modifying LH only).
- Should be vertically aligned with other dynamics and crescendos in the same system, if possible.
- Crescendos should NOT start or end directly on a barline.
- Crescendos can be angled/tilted in exceptional cases where vertically aligning crescendos with preceding/following dynamics is not possible otherwise.
Ottava (8va):
- The "8" should be positioned just left of the first notehead (Finale's default positioning is too far right!).
- The line should terminate immediately after the last notehead it modifies, even if the note is held until the end of the measure.
For repeat endings: The number should be approximately aligned with the left side of the notehead (Finale's default positioning is too far right!), unless the note has accidentals associated with it (in which case the number should be left of the notehead).
For segno and coda: The segno and coda symbols should be centered over the barline (unless they appear at the beginning of a system).
For tempo and performance directions:
- If there is a time signature shown in the measure, the left side of the tempo marking or performance direction should be aligned with the left side of the time signature.
- Otherwise, the left side of the tempo marking or performance direction should be aligned with the left side of the leftmost accidental on the corresponding note, or if there are no accidentals, with the left side of the notehead.
SummaryA good example of all of these practices:
https://www.ninsheetmusic.org/download/pdf/4834- 8va's, repeat ending numbers, and tempo markings/directions are properly aligned.
- Dynamics are centered with noteheads and vertically aligned with each other in places like m10-17.
- The space between the systems is expanded in m10-17 to accommodate the dynamics in between.
- The hypermeter is typically four measures per system but is sometimes expanded to five measures per system (m5-9, m46-50) to accommodate the extra measure introduced by the second repeat ending.
- The systems comfortably fill the space on each page, with four on the first page and five on each of the second and third.
All of these tips and strategies will help you make your sheets clean, organized, and easily readable. If you're interested in further reading, we recommend the book
Behind Bars: The Definitive Guide to Music Notation by Elaine Gould.