How to Correctly Notate and Present a Chart/Sheet Music
Lately, I’ve noticed many people bringing poorly written charts to rehearsals. In our early (and also sometimes later) musical training, we’re not always taught what makes a chart readable; however, by the time you pursue a professional music career, I believe this is an essential skill, so hopefully this article can serve as a guide if you’re unsure. Alternitavely, when I’m presented with a clear chart, it doesn’t go unnoticed and it’s definitely appreciated, especially when the music itself can be challenging.
Also as a side note, I do believe that there is flexibility with how you choose to present your chart, but within this there are some firm ‘dos and don’ts', and ultimately, whatever you chose to do, should be justified and intentional.
My reasons for wanting clear charts include, firstly, that rehearsal time is precious, and wasting it trying to understand inadequately written charts is frustrating and time consuming. Secondly, we all want to reach the music-making stage as quickly as possible, so removing any unnecessary obstacles to this is vital. Additionally, there may be situations where someone sits in on a tune during a gig and needs to sight-read the music, or there’s no rehearsal time at all. For these situations in particular, the music must be clear and as legible as possible.
It’s important not to be lazy when writing charts. Spending just five to ten minutes checking over your chart at the final stages can save you an hour of rehearsal time and allow the music to be played to its full potential instantaneously. Also, the more you incorporate these elements as part of your process, the more efficient you become.
Here are some tips that I think will help you write a good chart:
Make sure your rhythms are legible
The middle of the bar needs to be visible, i.e. in 4/4 don’t have a note that hides beats 2-3. For example, instead of a two dotted quarter notes, followed by a quarter note, you would write it as a dotted quarter note followed by a quarter tied to an eighth note, then the quarter note (the same applies for rests). Exceptions are made for simple figures such as a quarter note followed by a dotted half note. Here’s an article that explains it in a bit more detail: ‘The Imaginary Barline’.
Each beam should outline each beat.
When writing in odd meters, have the beaming correlate with the rhythmic groupings. For example, in 7/8, if the clave is 4 + 3, have the beaming represent that.
There’s potentially more to say about writing out rhythms depending on the complexity of the material, but I find these are the basic rules to follow.
Key signature
Does this tune even need one? If it clearly has a tonal centre then use one. If there are many modulations from bar to bar, and chromaticism for example, I personally think it’s easier to read with no key signature.
Bars to a line
The amount of bars there are to line should represent the harmonic phrasing. If the harmony moves in four-bar, balanced phrases, have 4 (or 8) bars to a line. Don’t do 3 on one line and 5 on the next. If I see this, I think that’s where the harmonic resolutions lie and it makes it unnecessarily complicated. It’s also easier to internalise solo forms with the correct cadences when they’re written out appropriately.
Transposing scores
Whilst most transposing instrumentalists are pretty competent at transposing sheets that aren’t horrendously complicated, if the music is more nuanced or has a more challenging melody, it’s nicer to have a transposed score in Eb or Bb. Although, I know some saxophone players that now prefer reading concert after having done it so much, so it’s best to check in with who you’re bringing the chart for if possible. So in regards to transposing scores, please don’t just click transpose and be done with it. Check the chart! Things to watch out for are:
The range. Is it in the correct range? Is it possible to play?
The key signature. Please check to see if it’s transposed to a key signature that it’s not supposed to be! When writing in concert on Sibelius, many people put C major instead of atonal/no key signature, so when you transpose it to Eb or Bb instruments, it ends up being in A major or D major. For me there’s honestly nothing worse than reading music that has A major as the key signature when it’s not in A major, as it results in having to decipher a plethora of accidentals that make no sense.
Accidentals and enharmonics. Check that there’s no unnecessary double sharps etc, and that the chord symbols are spelt correctly, i.e Fmaj7 vs E#maj7.
Accidentals and chromaticism
When writing chromatic passages or passages with accidentals, make sure they make as much sense as possible. Generally, if a passage fits a tonality, write it to fit within that key centre/harmonic context. Most of the time for chromatic passages it makes sense to have sharps to naturals ascending, and flats to naturals descending. The goal is to keep it as simple and logical as possible.
Form
Have the form be as clear as possible. Whilst having to talk through the form is sometimes unavoidable as it can be potentially interchangeable depending on the musical context; having repeats, marked sections, codas etc. clear is very important. Also, if you have a solo section, don’t use rest bars if there’s 2 bars on one chord, for example. Make sure each bar is written out with the slash note heads.
Is the music teachable by ear or written out material?
Do you prefer to teach things by ear? If so, a similar approach of having all the information as clear and accessible as possible applies. Have your ideas organised and make sure you can explain or demonstrate them with ease. If this isn’t possible, then perhaps the best option is to make a chart. One pro to teaching by ear is that the music is instantly internalised; however, a con is that for more in-depth and challenging music, teaching by ear is not always practical or possible, and can also be time-consuming.
Ask band members what they like to see if you’re not sure
I’ve found when writing out charts that aren’t specifically lead sheets for instruments that I don’t play, for example drums, the best way to learn is to ask them directly.
Whilst on the topic of bringing a specific drum chart other than a lead sheet, unless there is a very specific drum part that you’re adamant on having, try not to write down too much unnecessary information. Musical elements to prioritise for the drummers within the specified form are usually the melody, baseline (if there is a specific one), rhythmic hits, textural instructions i.e. sticks vs mallets and dynamics. If you’re unsure what your drummer likes, just ask.
Too much information vs too little information
It’s important to strike a balance between these two. Sometimes not every little detail needs writing out as it can hinder the musicians’ interpretation; alternatively, missing essential information is also an issue. For example, having a tricky baseline or hits written in the melody part is nice to have, just because the horn player isn’t playing it, it’s helpful for it to be there to understand the music quicker.
Keep the chart to as few pages as possible
If your chart has somehow ended up being four pages, check through to see if it can be made into less. When using Sibelius, I always select the whole score and click ‘Hide Empty Barlines’. Also, make use of repeats when possible, codas, etc.
Don’t be afraid to break your own rules and use your common sense
If you genuinely feel that there’s a better way to write out a particular part and it potentially breaks the ‘rules’, then do it. An example of this is perhaps having a melodic passage that would make more sense being written out as flats, but the chord symbol might be written in a sharp context. I also occasionally think some of my shorter tunes suit being in landscape more, maybe that’s theoretically ‘wrong’, but honestly it doesn’t matter as long as the information is clear and presented intentionally. Another thing is that I think it’s absolutely fine to write performance directions as and where you see fit if they’re relevant and appropriate to the music. Perhaps this is thinking in a more of a contemporary musical setting, so context is important. Another thing is that I personally hate seeing Cmaj7 written as CM7. Perhaps this is my dyslexia, but for me I find it difficult to distinguish between CM7 and Cm7. So either Cmaj7 or with the triangle please…
Do your own research
With access to the internet, there are thousands of accessible charts online. If you’re unsure of something, have a look to see how other people do it, but also use your common sense and judgement to figure out if it’s the best way of doing it depending on the resource. Also, there might be more than one correct way to do one thing, so choose what you prefer.
Generally, before I bring my music to a rehearsal, I look through each part as if I were the musician receiving it, imagine that I’ve never seen it before, and ask myself if everything’s clear and legible. Another nice premise to follow is that if someone were to read your music without you being there, could they? Sometimes we miss things or learn that there’s a better way for a specific piece of music that we perhaps didn’t think of whilst rehearsing it, but I find if I follow these general rules, it makes the music-making process considerably easier, the other musicians generally happier, and the music ultimately sounding better.
