To help ensure a smooth rehearsal process and a successful performance, please follow this guide when formatting your music for submission:

Notation:

• Use Clear Rehearsal Marks: Place large, boxed rehearsal marks (A, B, C or measure numbers in boxes) at the beginning of major sections and phrases.
• Number Measures Systematically: Set your software to place a measure number at the beginning of every system (line) on individual parts (minimum) and every measure at least 2 different sections of the score (top/bottom, top/before strings, etc.)
• Appropriate bar lines: Use a double barline to signal the end of one section and the beginning of another such as changes in Key Signature, Time Signature, Major theme, etc.
• Use Prominent, Oversized Time Signatures: To improve readability and prevent errors, time signatures on the conductor’s score should be significantly larger than standard notation. A large, bold time signature is immediately visible to the conductor, who must read from a distance while managing the entire ensemble. This is most crucial at the start of a piece and at every meter change. Be sure these repeat multiple times vertically down the score. 
• Prioritize Logical Spacing and Layout: Avoid cramming too many measures onto one line. The music should be comfortably spaced and easy to read at a glance. It’s better to use more pages than to have a cramped, illegible score. 
• Check beaming on subdivisions: Ensure beams on eighth and sixteenth notes correctly reflect the beat groupings of the time signature
• Explain All Extended Techniques: If your piece uses non-standard techniques, provide a clear, concise explanation in a footnote on the first page or in a preface. Use a consistent symbol for each technique throughout the score.
• Avoid Awkward System and Page Breaks: Beyond just planning page turns, ensure that line breaks (system breaks) are also logical. Avoid splitting up complex rhythmic figures or beaming patterns between the end of one line and the beginning of another. Do not leave a single “orphan” measure on the last page of a piece; adjust spacing to fit it on the previous page if possible.

Score:

• Optimize the Conductor’s Score: Always provide a concert pitch score. Use a large font size for measure numbers, rehearsal marks, and tempo markings. Never provide sections that include repeats. Use oversized Time Signatures
• Provide Appropriate Key Signature(s): Except in the case of atonal music or in the case of no central key or tonic, be sure to include appropriate key signature(s).
• Include Essential Information on Every Page: Every single page of the score should include the name of the game, title of the piece, and a page number.
• Diligently Proofread for Collisions: Methodically check every page of the score for collisions, where dynamic markings, lyrics, slurs, accidentals, or other symbols overlap with notes or staff lines.
• Individual, grouped percussion parts: Avoid instrument-specific percussion parts outside of Timpani. Instead, combine instruments into a single part as allowed to best utilize an individual player.  (e.g. Percussion I: Suspended Cymbal, Triangle, Djembe; Percussion II: Vibraphone, Suspended Cymbal; etc.).
• Efficient Instrument Assignments: Where possible, try not to spread the same instrument across different parts.  For example, it is preferable to have 5 parts where 1 person plays only Suspended Cymbal versus 4 parts where all 4 percussionists play Suspended Cymbal in addition to other instruments. On percussion heavy pieces, this may be unavoidable since we are limited to only 5 players.

Parts:

• Provide Cues After Long Rests: In an instrumental part, if a musician has more than eight bars of rest, provide a short, recognizable cue from another instrument in the bars immediately preceding their re-entry.
• Consolidate Rests Intelligently: Use multi-measure rests in instrumental parts. Ensure that rehearsal marks or cues correctly break these multi-measure rests.
• Use Cautionary Accidentals: Use cautionary accidentals for notes that were altered in the previous measure but would now follow the key signature
• Plan for Practical Page Turns: For instrumental parts, never place a page turn in the middle of a busy phrase. The ideal page turn occurs during a multi-measure rest of at least 4-5 bars.
• Measure number at the beginning of every system (line) or number every measure. 
• Include Essential Information on Every Page: Every single page of each part should include the title of the piece, the name of the instrument part (e.g., “Violin I”), and a page number.
• Use Clear and Consistent Markings: Ensure dynamics (f, p, mf), articulations (staccato, accents), and expressive text (e.g., cantabile, dolce) are placed logically and consistently across all parts.
• Diligently Proofread for Collisions: Methodically check every page of each individual part for collisions, where dynamic markings, lyrics, slurs, accidentals, or other symbols overlap with notes or staff lines.
• Avoid Long Repeats: If a section to be repeated would exceed 16 measures or cross a page turn, instead write out the music twice and omit the repeat. 
• Explicitly Mark ‘divisi’ or ‘non divisi’ for Strings: When a string part contains chords, always specify whether the section should divide the notes (divisi or div.) or if each player should perform the chord as a double/triple stop (non div.).
• Clearly Indicate Instrument Changes: For players who double on other instruments (e.g., Flute/Piccolo, Clarinet/Bass Clarinet), clearly label the switch (e.g., “To Piccolo“) well in advance. Ensure enough time to switch instruments. Also ensure that all instruments used in a single part are included at the start of the part. (e.g. Percussion I: Suspended Cymbal, Triangle, Djembe).  

Choral Parts:

• Ensure Lyrics are Legible and Correctly Hyphenated: For choral parts, use a large, readable font for the lyrics. Align lyrics precisely under their corresponding notes and use correct syllabic hyphenation for words that span multiple notes. Melismas should be slurred and indicated with an extender line (_) after the syllable.
• Give Clear Pitch Cues: Before a choral entrance, especially after a long rest or a harmonically ambiguous orchestral section, have an instrument (such as a clarinet, horn, or oboe) clearly play the choir’s first note or a note from their first chord to guide them to the correct pitch. This may also include pitches in the piano part if the choir comes in at the start of the piece. 
• Notate Cues: Notate provided cue notes in the choral parts including the instrument(s) in which they occur so they know where to listen. Provide a Piano Reduction for Rehearsals: For works that include choir, always create and provide a piano reduction of the orchestral score. This is an indispensable tool for choir rehearsals, soloist practice, and sectional work when the full orchestra is not present.

Any questions?  Email the Arrangement Coordinator.