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Behind Bars: The Definitive Guide to Music Notation (Anglais) Relié – 20 janvier 2010

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If books, like hotels, had a star-rating system then this book would be off the top of the scale! Among the technical reference books it s colossus. It s a book for composers, arrangers, copyists, typesetters, and anyone who interacts in any way with music notation. If you want to know how to write it clearly and unambiguously, this book will tell you. With this book by your side any chance of inaccurate, lazy or impractical notation becomes quite impossible. But it s not only a useful book, it s also a fascinating one, and it s going to become my bedside reading for many months to come. I couldn t begin to list the areas that it covers: there are far too many of them. As a clarinettist I headed straight for the woodwind techniques section and learned lots on multiphonics, harmonics and how to note unusual modern performance practice ideas. Each area is accompanied by appropriate and generous musical examples from the widest of repertoires there are evidently over 1,500 examples. Simon Rattle, in his munificient introduction, rightly calls this a reference for musicians for decades to come. He also describes the book as part of the living texture of music itself rather than a book of dry rules. He s right. --Music Teacher Magazine, April 2011

I pray that [this book] becomes a kind of Holy Writ for notation in this coming century. Certainly nobody could have done it better, and it will be a reference for musicians for decades to come. Not my words, but those of Simon Rattle on Elaine Gould's new book, Behind Bars: The Definitive Guide to Music Notation. This "wonderful monster volume" - Rattle again - is indeed more than the sum of its parts. Gould's book is the result of decades of experience as senior new music editor at Faber Music, where she has worked closely with composers like Jonathan Harvey, Oliver Knussen, Colin Matthews, and Thomas Ades, and what she has to say in Behind Bars transcends the book's first appearance as a manual of notational best practice. Under the surface of its guide to producing the best and clearest scores - the arcana of making sure you're not asking your harpist for too many pedal changes, that you change clefs in the right place in your orchestral parts, and how best to indicate the plethora of extended instrumental techniques in so much contemporary music - this book expounds an alchemical formula for musical communication. Gould's book shows composers how to ensure that the magical transfer of musical ideas from their imaginations to their scores, from their performers to their audiences, is as seamless as possible. Behind Bars is a practical revelation of the poetics of musical communication. It's especially necessary in the early 21st century. You might think that after centuries of evermore sophisticated copying, printing, and digitising of music notation that all the problems had been solved. Not a bit of it. The rash of computer scores produced with programmes like Sibelius in the last couple of decades are a mixed blessing. Software like Sibelius allows composers to create full scores and individual parts for the musicians at the click of a button, yet it's too easy to overlook the kind of problems that Gould talks about - where a badly placed page-turn in your string parts can mean the difference between a good performance and a catastrophic one. Gould quotes Mahler's frustration with the copyist who mauled the material of his Eighth Symphony before its first performance in Munich in 1910; looking at his exemplary manuscript of the Fifth Symphony that the Morgan Library has just made available for free online, you can see that Mahler abided by Gould's principles of clarity and consistency. But I wonder what Gould would say to Beethoven, if she were faced with pages like this, from the manuscript of the Ninth Symphony, whose facsimile was recently published by Barenreiter? It's not just a contemporary phenomenon: composers have always pushed at the limits of musical and notational comprehensibility." --The Guardian (Tom Service), 12 January 2011

"Say 'musical composition' and you identify a process: but 'a musical composition' is very much a product, a commodity: and never more so than when it takes the form of materials from which performers sing or play, and academics build their theories about music history and aesthetics. Philosophers might continue to agonise about the extent to which a printed score represents the composition. Performers are much more likely to agonise about whether the materials put before them make sense and, if you ask professional musicians where they would like to see composers whose materials create tough challenges for them, 'behind bars' would be one of the politer suggestions forthcoming. Composers best able to avoid the lash of performers' hostility are those lucky enough to work with a well-established publishing operation, and that means an editor like Faber Music's Elaine Gould. --Gramophone Magazine (Arnold Whittall), February 2011

Présentation de l'éditeur

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles.

Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavours of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable.

This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at a weighty 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis. This is a hardback book, with dust jacket.


Section I - General Conventions: Ground Rules

Chords Dotted notes Ties

Accidentals and Key Signatures

Dynamics and Articulation

Grace Notes, Arpeggiated Chords, Trills, Glissandos and Vibrato



Repeat Signs

Section II - Idiomatic Notation: Woodwind and Brass




Classical Guitar


Vocal Music

Section III - Layout and Presentation: Preparing Materials

Score Layout

Part Preparation

Electroacoustic Music

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Format: Relié
Cet ouvrage comble avantageusement le vide créé par l'arrêt de publication de l'ouvrage de Ted Ross "The art of music engraving & processing", qui n'est plus disponible actuellement qu'en version scannée au format pdf sur cd-rom. Le livre de Ross reste néanmoins intéressant par ses chapitres consacrés à l'historique de la notation et de la gravure. Chez Elaine Gould, l'histoire n'est que très brièvement évoquée dans la préface. Elle prend résolument le parti de consacrer exclusivement son ouvrage aux règles de bonne pratique de la gravure, telle que mise en œuvre au moyen des techniques actuelles d'édition musicale. Ce qui lui permet d'en faire une véritable somme encyclopédique de tous les aspects de la gravure moderne, cas particuliers, notations spéciales, etc. Un ouvrage de référence incontournable pour tout graveur et éditeur de musique. Un ouvrage à consulter aussi par les enseignants soucieux de mieux connaitre les règles de la notation musicale. S'il y avait un (léger) reproche, c'est celui de mettre visuellement sur le même plan les exemples de bonne pratique et ceux à éviter, un simple "not" ne permettant pas toujours de repérer au premier coup d'œil qu'on est face à un mauvais exemple.
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Format: Format Kindle Achat vérifié
In these days of self editing being so popular, with music engraving software accessible to everybody, having such an encyclopedia of what should be done and how is more than precious. Any doubt, and you can immediately refer to the solution, finding in your way other things you were doing wrong, of course. Very helpful.
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Commentaires client les plus utiles sur (beta) 4.6 étoiles sur 5 34 commentaires
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Read this review!!! 28 novembre 2016
Par RM - Publié sur
Format: Relié Achat vérifié
I recommend this book to any one who wants to know anything and just about everything about the rules of music notation. This book is completely thorough on this subject. I bought it since it had a positive review by Sir Simon Rattle who recently stepped down as the conductor of the Berlin Philharmonic. If someone with that type of music knowledge expertise has remarks like that, surely his opinion carries a lot of weight in my book. I am an arranger/composer for a wide variety of styles and I use the Finale software for my publishing. However, like the author in this book states: "I hope that a through understanding of the principles set out in this book will complement - indeed complete - the armoury of skills, short-cuts and techniques that the modern musician sitting at a computer has to hand." (--Introduction page xi). With that being said, I must say that NO music software can replace the human element. I personally am a perfectionist as to how the sheet music comes out of my printer. Matter of fact, I was one of those who used blank music sheets and ink to write down music not so long ago. My music school covered in a general way some of the notational aspects of this book. Some of these aspects needed to be refreshed in my mind; hence the functionality of this book. For instance, what length should the stems in a group of notes or a single note be? What determines the angle of the beams in a group of notes? No matter how much tweaking I constantly do in Finale, I still have to manually correct a big portion of the music within that software. Nowadays, many music schools do not even cover notational aspects like the ones found in this book and people tend to believe that any musical notational software will print out the perfect printed job. Do not get me wrong, using a notational software does aid in helping you publish music (I would not want to go back to using blank sheets of music and ink!) but as the author brilliantly mentions in her book's introduction: your acquired notational knowledge will complement your software skills and make you sheet music look awesome! Written music like any other written form of communication should be clear. Therefore, in the case of printed music, musicians should be able to focus on playing the music presented to them rather than having to do any guess work as to what could possibly be the arranger or composer's intention. With all of this being said, I strongly recommend this book!
4.0 étoiles sur 5 I would like to say that this an excellent book 20 mars 2017
Par Steven G. Wilfong - Publié sur
Format: Relié Achat vérifié
First, I would like to say that this an excellent book. However, I was a bit disappointed and I do not believe that you can call this book truly definitive. The majority of the copy work I do is in a commercial context: musicals, film scores, horn parts, etc.

This book contains nothing about the notation standards for more commercial genres. There is no information about chord symbols, rhythmic and/or slash notation, notation for drum set. Many techniques that are written for commercial brass and woodwinds are excluded. The proper sizing of time signatures for film or for a show are not discussed.

This is an excellent book and covers most of the standards you would see in a classical ensemble, including many modern instrumental techniques. However, the exclusion of material associated with more commercial idioms is disappointing and was something I was looking for.
8 internautes sur 8 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Truly a milestone in the history of music notation 30 octobre 2011
Par PianoGuyFromSC - Publié sur
Format: Relié Achat vérifié
This huge (650-page) volume is a must addition to the library of anyone who is seriously involved in writing or editing published music. It covers virtually every conceivable notational dilemma, including writing for specific instrument groups, and the proper layout of scores. The author has decades of experience and it shows, but she is not pedantic and has a sense of humor (as the title might indicate). The book is loaded with musical examples as well as descriptive text.

If you are not a music professional, do NOT spend 100 dollars on this book. There are plenty of simple volumes that will give you the basics of notation for most purposes. But as an editor for a music publisher, I consider it well worth the money and will keep it close to my desk along with my dictionary and orchestration manuals!
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Great book - poor binding 3 février 2015
Par Michael Bravin - Publié sur
Format: Relié Achat vérifié
Awesome resources and very well indexed, My only complaint is after owning for a short time (under 2 months ) the binding is already showing signing of breaking which will be very upsetting considering the cost of this book .
Maybe 2nd edition make into 2 volumes so that it isn't ruined with a little use .
Or perhaps spiral bound so that its a useable resource book, without the worry that actual reading and use quickly breaks the binding .
Other wise a lifesaver , very well written and covers almost every topic . Joy Bravin
5.0 étoiles sur 5 I had been dreaming of such an encyclopedic book about notation like this. Now I found it 20 décembre 2016
Par Han-Duen Chen - Publié sur
Format: Relié Achat vérifié
In the past, I had been dreaming of such an encyclopedic book about notation like this. Now I found it!!! Its highly systematic arrangement of notating illustration almost solve all my problems when I don't know how to express my thoughts on staves. Sincerely speaking, your shelf must be stacked on a book like this if you are a professional composer or just an amateurish songwriter because the process of notating on your own, not by notation software, will definitely make you ponder your work more profoundly.
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