Lead / Top Line Chord Notation for Rock, Jazz & Pop Charts in Finale & Sibelius

Lead Line Chord Notation, also referred to as Topline Notation is a shorthand notation convention that is sometimes used for rock, jazz and pop guitar or keyboard charts.

Lead Line / Topline notation is a good way to get the chord voicings you are looking for as a composer or arranger, particularly if you don’t actually play guitar (or piano); it allows you to specify melodic motion of the chords without having to supply details of voicings you may or may not know are practical (or possible) on that instrument.

To create this type of notation, visually, the stems are extended past the noteheads to show that the chords are voiced below (or above) the written lead notes. Here is an example:

Let’s take a look at how to create this type of notation in Finale and Sibelius.

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Create true equidistant measure widths in a Sibelius score

Q: I am currently engraving an orchestral score by a living composer in Sibelius 7.1.3 and he is asking me for evenly spaced measures in the score (regardless of note content). The score itself is very complex and I would like to know if there is any other way other that filling a bar’s second voice with 64ths and then hiding all of them. This would solve the problem in the score but then I would have to repeat the process for every single separate sheet.

A: The quick and easy solution is to use Sibelius’s Auto Layout feature which locks a specific number of measures per system regardless of content. For instance, each system (or score page) can always be 4 bars, or 2 bars, or even a single bar. In Sibelius 7, use Auto Breaks in the Layout tab fix the number of measures per system / page. (Auto Breaks are found in the Layout Menu in Sib 6). You can use this feature in both the score and parts.

This “container lock” method works just fine in many cases. With this method, measure width essentially overrides note spacing. However, there are certain situations where you not only want equidistant width of the measures themselves, but also more exact control of the spacing of the notation content within these bars. (see the score example at the end of this post).

Sibelius factors the content of every staff vertically down the score into its note spacing routine, with the most active staff taking precedence. You can use this to your advantage if your goal is to create wide, even spacing in a score or part.

To see the effects of this clearly, turn off Auto Breaks in the Layout tab (or Layout Menu in Sib 6).

In a passage where you have more note density in one staff than another, (or more notes in one voice than another), the overall note spacing will adjust to accommodate the busier music. Note how the whole notes in the top staff become spaced further and further apart as the staff below it becomes filled with smaller and smaller note values:

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Using Music Fonts to Create Woodwind / Brass Fingering Charts in a Score

Q: I need to notate some complex fingerings within a score. How do I create fingering Charts? Is there an easy and quick way or any way at all?!

A: It’s a good question. Sometimes, particularly with woodwinds, it is desirable to be able to indicate specific fingerings for multiphonics or extended techniques (sample PDF).

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Finale : Feathered Beams in Cross-Staff Notation

Feathered Beams in Finale are straightforward to create in a single staff (see this tutorial).

However, creating feathered beams in a grand staff with cross-staff notation is a little more involved, so it seems like an excellent topic.

In this tutorial, we’ll examine several methods for creating cross-staff feathered beaming in Finale. Thanks to Peter Thomsen, Luke Dahn and Zuill for their contributions to this tutorial, and a shout out to Alexander Blank at Indiana University for bringing us all together on the OF NOTE blog!

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Archaic Techniques : Note Spacing : Centering Notes of Bar-Length Duration

“In traditional engraving, when a bar consists of a single note and there are no other durations in any part, the note is placed just to the left of the center of the bar. Such bars, by definition are usually fairly narrow. This spacing creates a better balance than a single note positioned at the beginning of the bar:

In widely spaced bars, the note can be placed closer to the barline so as not to appear isolated. When there are other durations in other parts, the single duration is placed at the beginning of the bar as normal.” 

from : Behind Bars: The Definitive Guide to Music Notation
by Elaine Gould (pg 41)

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West meets East – Notation & playback of Quarter tone music using Sibelius

As a composer and teacher, I often have the chance to explore areas of music and musical notation with which I am unfamiliar. A few years ago one of my students expressed an interest in composing “outside” the traditional Western idea of the equal tempered 12-tone scale. We decided to start our exploration with the concept of quarter tones. As so often is the case, the resulting study benefitted me as much as my student. Along the way, I was delighted to find my notation software was up to the challenge of creating and playing our various compositional attempts.

A very brief history of quarter tone music

The simplest way to describe a quarter tone is a pitch falls halfway between what we think of as a half step (semitone) in the traditional western chromatic scale. A quarter tone scale contains twice as many notes (24) as its 12 note chromatic cousin. Here’s what Wikipedia has to say on the origins of quarter tone music:

Known as gadwal in Arabic, the quarter tone scale was developed in the Middle East in the eighteenth century and many of the first detailed writings in the nineteenth century Syria describe the scale as being of 24 equal tones. The invention of the scale is attributed to Mikhail Mishaqa whose work Essay on the Art of Music for the Emir Shihāb (al-Risāla al-shihābiyya fi ‘l-ṣinā ‘a al-mūsīqiyya) is devoted to the topic but also makes clear his teacher Sheikh Muhammad al-‘Attār’ (1764-1828) was one of many already familiar with the concept.

The quarter tone scale may be primarily considered a theoretical construct in Arabic music. The quarter tone gives musicians a “conceptual map” with which to discuss and compare intervals by number of quarter tones and this may be one of the reasons it accompanies a renewed interest in theory, with instruction in music theory being a mainstream requirement since that period.

http://en.wikipedia.org/wiki/Quarter_tone

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On Location : Number Repeated Measures in Finale & Sibelius

When the same bar of music is repeated over and over, it’s common to indicate the the repeated pattern in subsequent bars using a single bar repeat sign, notated with a single slash with two dots:

However, if there are more than a few of these in a row, it’s pretty easy for the performers to get disoriented without some sort of numerical reference. So, it’s common practice to indicate the current number of the repeated measures by placing a number over every other measure, or every four measures:

In some cases, the numbers appear over every measure.

Sometimes, it’s desirable to number ostinato patterns which remain written out. That is, the one bar repeat sign doesn’t replace the notation, but the iterations of the pattern are numbered above each measure, or every n bars:

 

Both Finale and Sibelius offer tools to help you number repeated measures for either of these situations.

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