Street Scene
PAGE TURNS
5. Sample Parts
Chan Chan, page 2
• Notice the format of the header on the continuation page.
• Notice how the 4- and 8-bar multi-measure rests are used to balance the part.
Chan Chan, page 3
• Notice how the page turn is handled on this page.
• This page of the part is incomplete. The 3-bar multi-measure rest is the only rest long enough before the end of the part to give the player time to turn the page. The part then continues on page 4 (not shown here) and the player plays to the end without any measures of rest.
• V.S. is placed below the staff to tell the player to turn the page.
• Note how the 3-bar rest on this page helps balance the first line.
• Also notice how the 5- and 3-bar multi-measure rests are used to balance the 12-bar section beginning with rehearsal mark 97.
Street Scene, piano, page 1
• In this computer-generated part, notice that the two staves are joined by bar-lines, which go through the staves to form a system.
• At the left are the brace, clefs, and key signatures. These must be on every system of all 2-stave parts, even when copied by hand. It is considered unprofessional to leave off the clefs, braces, and key signatures of a 2-stave part, as it makes reading the part difficult.
• Notice how the 3-bar multi-measure rest is used to balance the part so that the first section begins at the start of the second system.
• Notice how the last line of the first page only has three measures of music.
Since this is a 6-bar phrase, this line and the first line of the second page each consist of three measures. The end of page 2 also uses this distribution of measures.
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Funk, å=92
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Street Scene
Matthew Nicholl
Piano
Street Scene, piano, page 2
• Notice how using three measures per line balances the 6-bar phrase beginning in measure 19.
• Notice how each of the three sections on this page (19, 25, and 29) begin a system.
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2
Street SceneStreet Scene, piano, page 7
• Notice how the numbered repeats are used on this page. In general, first and second endings should be shown on different systems to help with readability.
• Note how the second ending in the second system is short, which allows the next system to begin at the left.
• Also notice that the repeated sections are kept on one page. This is done whenever possible to eliminate page turns during a repeat and to avoid making the player’s eyes travel too far while reading the part.
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(Repeat Ad Lib)
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7
Street SceneStreet Scene, piano, page 8
• To keep the measures the correct width, the last system doesn’t extend all the way across the page.
• Rhythm section parts are often a challenge to lay out properly, because there aren’t always rests. These players often have to turn the page with one hand while continuing to play with the other. Obviously, some of the notes will not be played unless the player has a “page turner.” Page turners are generally only used in classical music or during a recording session when all of the notes have to be played. Drummers often use two music stands to spread out the music so that they don’t have to turn the page.
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8
Street ScenePno
La Rosa de Las Terrenas, vocals, page 1
• Vocal parts are more like vocal scores in that separate parts are not copied for soprano, alto, tenor, etc. Singers must be able to see (and hear) what the other singers are doing in order to orient their pitch and enunciation of the lyric. Because this part is more like a score, the instrument names and abbreviations are used throughout to clarify who is singing each line of music.
• Notice where the bar numbers are placed to avoid collision with the lyric.
The bar numbers are placed on top of the system, whether it’s a solo or a group part.
• The systems are joined only at the left, and barlines are not drawn through the system in order to avoid collision with the lyric.
• In this example, the measures are in groups of four to the line—a happy coincidence. At other times, it is advisable to lay out the lines using three and sometimes two bars to the line to accommodate the lyric, particularly if the music is complex rhythmically or there are long words and syllables. This will throw the part off balance, but you can make it conform to the standard as much as possible using the techniques illustrated in the piano part.
• Notice how the 7-bar multi-measure rest is used to balance the first system.
• Examine how word extensions and slur marks are used with the text. This aspect of vocal notation often requires careful attention to detail.
• Notice that chord symbols appear on the part. It’s very common to include chord symbols in vocal parts as an aid during rehearsal.
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Lead
Background
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Bachata/Son Montuno
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1-71
7
7
Œ Ó œ œ
En la
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Ld.
BG
9
œ œ ‰ œ œ œ
Cm
pla ya Pla ya Te
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Bb6
rre nas en don del
10
∑
œ œ œ œ œ œ
Ab
MA7
cie lo al canza el
11
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˙ Œ œ œ
G7
mar. Yo la
12
∑
- - - - - -
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bbb
bbb
Ld.
BG
œ œ ‰ œ œ œ
Cm
vi yo vi un
13
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œ œ
Bb
6
an gel pa ra
14
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œ œ ‰ j
œ œ œ œ
Ab
MA7
mi yo a do
15
∑
˙ Œ œ œ
G7
rar Pa re
16
∑
- - - - -
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bbb
bbb
Ld.
BG
œ œ ‰ œ œ œ
Cm
cí a co mo un
17
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œ œ ‰ œ œ œ
Bb6
sue ño cuan do an
18
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œ œ ‰ œ œ œ
Ab
MA7
da ba en tre las
19
∑
œ œ Œ œ œ
G7
o las Su ca
20
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