IMSLP - User contributions [en]

6 Duos for Violin and Viola (Cannabich, Christian)

2026-04-14T08:06:09Z

Coulonnus:

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|Editor=
|Image Type=Normal Scan
|Scanner=Google (British Library)
|Uploader=[[User:Coulonnus|Coulonnus]]
|Date Submitted=2026/4/14
|Publisher Information={{P|J.Fentum||London|n.d.[1779]|||}}
|Copyright=Public Domain
|Misc. Notes=
}}
{{#fte:imslpfile
|File Name 1=PMLP1287447-Cannabich_6_Duos_Vl_&_Va.pdf
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|Editor={{LinkEd|Walter|Höckner}} {{LinkEd|Waldemar|Twarz}}
|Image Type=Normal Scan
|Scanner=
|Uploader=[[User:LinBoHe|LinBoHe]]
|Date Submitted=2022/10/24
|Publisher Information={{P|N. Simrock||Hamburg||1963||}} {{Urtext}}
|Copyright=Public Domain
|Misc. Notes=
}}

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|Year/Date of Composition=
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|Instrumentation=violin (or flute), viola
|Tags=duets ; vn va ; fl va

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| *****END OF TEMPLATE***** }}

File:PMLP1287447-cannabich 6duets viola.pdf

2026-04-14T08:05:28Z

Coulonnus:

6 Duos for Violin and Viola (Cannabich, Christian)

2026-04-14T08:05:28Z

Coulonnus: Added 2 files to 6 Duos for Violin and Viola (Cannabich, Christian)

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|Date Submitted=2026/4/14
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|Copyright=Public Domain
|Misc. Notes=
}}

===Parts===
{{#fte:imslpfile
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|Image Type=Normal Scan
|Scanner=
|Uploader=[[User:LinBoHe|LinBoHe]]
|Date Submitted=2022/10/24
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File:PMLP1287447-cannabich 6duets violin.pdf

2026-04-14T08:05:27Z

Coulonnus:

File:PMLP1440804-stgeorges sonatacmaj bnf.pdf

2026-04-07T06:16:30Z

Coulonnus: uploaded a new version of "File:PMLP1440804-stgeorges sonatacmaj bnf.pdf": fixed

File:PMLP972513-boely andantinoop48 typeset.zip

2026-04-05T10:53:28Z

Coulonnus: uploaded a new version of "File:PMLP972513-boely andantinoop48 typeset.zip": 1 correction

File:PMLP972513-boely andantinoop48 typeset.pdf

2026-04-05T10:52:54Z

Coulonnus: uploaded a new version of "File:PMLP972513-boely andantinoop48 typeset.pdf": 1 correction

Air Grotesque No.2 (Mazzinghi, Joseph)

2026-04-04T18:53:48Z

Coulonnus: Added 1 files to Air Grotesque No.2 (Mazzinghi, Joseph)

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File:PMLP1599925-mazzinghi grotesque2 archive.pdf

2026-04-04T18:53:46Z

Coulonnus:

Air Grotesque No.2 (Mazzinghi, Joseph)

2026-04-04T18:51:31Z

Coulonnus: Create work

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Air Grotesque No.1 (Mazzinghi, Joseph)

2026-04-04T18:46:41Z

Coulonnus:

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Air Grotesque No.1 (Mazzinghi, Joseph)

2026-04-04T18:46:16Z

Coulonnus:

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Air Grotesque No.1 (Mazzinghi, Joseph)

2026-04-04T18:42:59Z

Coulonnus: Added 1 files to Air Grotesque No.1 (Mazzinghi, Joseph)

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File:PMLP1059337-mazzinghi grotesque1 archive.pdf

2026-04-04T18:42:57Z

Coulonnus:

Adagio in F minor (Saint-Georges, Joseph Bologne)

2026-04-03T06:17:46Z

Coulonnus: Bayeux scanner

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===Synthesized/MIDI===
=====For Piano=====
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|Performer Categories=Vincent IV, Teo=Piano
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|Date Submitted=2023/12/1
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{{#fte:imslpfile
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|Year/Date of Composition=1775-90
|Year of First Publication=1981
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|Extra Information=The origins of this are a little unclear. It seems to have been part of ''Recueil de pièces'' for violin and piano [ded. Countess de Vauban], and which Grove Music says was "erroneously called ‘Trios’" in F-Pn. However, the modern edition of the ''Collection of pieces for the Countess of Vauban'' edited by Richardson and Bauer, the instrumentation is piano solo, so somewhere along the line it seems to have been re-arranged. Worldcat gives 1999 for first engraved publication, actually.
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|Tags=adagios ; vn pf

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Sonata and Rondo in C major (Saint-Georges, Joseph Bologne)

2026-04-02T05:48:22Z

Coulonnus:

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|Date Submitted=2026/4/2
|Publisher Information=Manuscript
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|Misc. Notes=Cover: ''Trios (Duos) pour la Piano forte et violon del Sigr St Georges pour Me la Comtesse de Vauban
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{{#fte:imslpfile
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Sonata and Rondo in C major (Saint-Georges, Joseph Bologne)

2026-04-02T05:47:15Z

Coulonnus: note

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Sonata and Rondo in C major (Saint-Georges, Joseph Bologne)

2026-04-02T05:44:52Z

Coulonnus:

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File:PMLP1440804-stgeorges sonatacmaj bnf.pdf

2026-04-02T05:43:53Z

Coulonnus:

Sonata and Rondo in C major (Saint-Georges, Joseph Bologne)

2026-04-02T05:43:53Z

Coulonnus: Added 1 files to Sonata and Rondo in C major (Saint-Georges, Joseph Bologne)

{{#fte:imslppage

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| *****END OF TEMPLATE***** }}

3 Favourite Airs with Variations, Op.2 (Pinto, George Frederick)

2026-03-31T12:44:07Z

Coulonnus: link work

{{#fte:imslppage

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|Page Count 1=
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|Uploader=[[User:Promusician|Promusician]]
|Date Submitted=2013/1/3
|Publisher Information=London: Printed for the Author, n.d.
|Reprint=''The London Pianoforte School'', Vol.14 {{P||Garland Publishing|New York||1985||||}}
|Copyright=Public Domain
|Misc. Notes=
}}

| *****WORK INFO*****

|Work Title=Three Favourite Airs with Variations (Mamma Mia)
|Alternative Title=
|Opus/Catalogue Number=
|Key=
|Number of Movements/Sections=
|Average Duration=
|Dedication=
|First Performance=
|Year/Date of Composition=
|Year of First Publication=
|Librettist=
|Language=
|Piece Style=Classical
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|Related Works= {{LinkWork|2 Canzonettas||Saint-Georges|Joseph Bologne}}

|Tags=variations ; pf

| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Evening Prayer (Dyson, Peter)

2026-03-29T20:39:32Z

Coulonnus: parts ordered

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =

===Arrangements and Transcriptions===
====For Alto and Bass soloists, 2 Violins, 2 Violas, 2 Violoncellos and Tubular Bells (Dyson)=====
{{#fte:imslpfile
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|Thumb Filename=TN - Peter Dyson Evening prayer.jpg
|Misc. Notes=adaptation of the notation of Johann Bach's "Unser Leben ist ein Schatten" to accommodate Russian
text, made by Olga Dyson
}}
====Parts====
{{#fte:imslpfile
|File Name 1=PMLP1590938-Evening_Prayer_Tubular_Bells_part_-_Tubular_Bells.pdf
|File Name 2=PMLP1590938-Evening_Prayer_Violin_1_part_-_Violin_1.pdf
|File Name 3=PMLP1590938-Evening_Prayer_Violin_2_part_-_Violin_2.pdf
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|File Name 5=PMLP1590938-Evening_Prayer_Viola_2_part_-_Viola_2.pdf
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|File Description 3=Violin 2
|File Description 4=Viola 1
|File Description 5=Viola 2
|File Description 6=Cello 1
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|Page Count 4=3
|Page Count 5=3
|Page Count 6=2
|Page Count 7=3
|Editor=Peter Dyson
|Image Type=Typeset
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|Uploader=[[User:Peterdyson49|Peterdyson49]]
|Date Submitted=2026/3/15
|Publisher Information=Peter Dyson, 2026.
|Copyright=Creative Commons Attribution-ShareAlike 4.0
|Thumb Filename=TN - Peter Dyson Evening prayer
|Misc. Notes=Solois should use full score, parts should be printed on single sheets to avoid turns
}}

| *****WORK INFO*****

|Work Title=Evening Prayer
|Alternative Title=
|Opus/Catalogue Number=
|Key=
|Movements Header=1
|Number of Movements/Sections=1
|Average Duration=9 minutes
|Dedication=
|First Performance=
|Year/Date of Composition=2026
|Year of First Publication=
|Librettist=Psalm 67 verses 1 and 2 and liturgy
|Language=Russian
|Piece Style=Classical
|Extra Information=adapted from "Unser Leben ist ein schatten" by Johann Bach (1604 -73)
|Instrumentation=alto, bass, tubular bells, 2 violins, 2 violas, 2 cellos
|Tags=prayers ; alt bass bell 2vn 2va 2vc ; ru

| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Keyboard Concerto in D major, Op.16 (Fodor, Carel Anton)

2026-03-29T07:10:00Z

Coulonnus: alt title

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
===Parts===
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|Editor=
|Image Type=Normal Scan
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|Uploader=[[User:Mveszpremi|Mveszpremi]]
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|Misc. Notes=
}}

| *****WORK INFO*****

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|Alternative Title=Concertino pour le piano avec accompagnement d'orchestre ad libitum.
|Opus/Catalogue Number=Op. 21
|Key={{key|D}}
|Movements Header=3 movements
|Number of Movements/Sections=3 movements
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|Dedication=
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|Year/Date of Composition=
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|Tags=concertos ; pf orch

| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Caprice, Op.33 (Vanhal, Johann Baptist)

2026-03-26T07:27:12Z

Coulonnus: scannex fixed

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
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|Uploader=[[User:Coulonnus|Coulonnus]]
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|Misc. Notes=
}}

| *****WORK INFO*****

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| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Caprice, Op.33 (Vanhal, Johann Baptist)

2026-03-26T07:15:32Z

Coulonnus: Added 1 files to Caprice, Op.33 (Vanhal, Johann Baptist)

{{#fte:imslppage

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| *****FILES***** =
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|File Name 1=PMLP1597018-vanhal_caprice33_slub.pdf
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| *****WORK INFO*****

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|Opus/Catalogue Number=Op.33
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File:PMLP1597018-vanhal caprice33 slub.pdf

2026-03-26T07:15:30Z

Coulonnus:

Caprice, Op.33 (Vanhal, Johann Baptist)

2026-03-26T07:12:19Z

Coulonnus: Create work

{{#fte:imslppage

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|Number of Movements/Sections=3 movements
|Average Duration=
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|Year/Date of Composition=
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| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

La Femme du Marin, Op.139 (Kalkbrenner, Friedrich Wilhelm)

2026-03-23T06:45:45Z

Coulonnus:

{{#fte:imslppage

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===Synthesized/MIDI===
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|Performers=
|Performer Categories=Van Roy, Jos=Computer
|Uploader=[[User:Coulonnus|Coulonnus]]
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{{#fte:imslpfile
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{{#fte:imslpfile
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|Image Type=Normal Scan
|Scanner=afp0815
|Uploader=[[User:Afp0815|Afp0815]]
|Date Submitted=2010/2/20
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{{#fte:imslpfile
|File Name 1=PMLP24449-Kalkbrenner_-_139_La_Femme_du_Marin_-_Pensée_Fugitive_Op.139.pdf
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|Image Type=Normal Scan
|Scanner={{KML}}
|Uploader=[[User:Notenquetser|Notenquetser]]
|Date Submitted=2015/2/16
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{{#fte:imslpfile
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|Scanner=editor
|Uploader 1=[[User:Mcroskell|Mcroskell]]
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|Misc. Notes={{WIMAProject}}
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| *****WORK INFO*****

|Work Title=La Femme du Marin
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|Opus/Catalogue Number=Op.139
|Number of Movements/Sections=1
|Dedication=Offerte à la Madame la Marquise de Vins de Peysac.
|Year/Date of Composition=
|Year of First Publication=1839 - Leipzig: [[Breitkopf und Härtel]] / Paris: [[Pacini]]
:({{HMBref|1839|6}} - Breitkopf publication)
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano
|Tags=nocturnes ; pf

| *****COMMENTS***** =

*Referred to {{GoogleB|PU0FAAAAQAAJ|RA1-PA180|''Bibliographie Universelle'', Année, IIe & IIIe livraisons, 1839, (p.180)}} as "La Femme du Marin. Nocturne."
*Op.139 also assigned to ''Ricordanza. Mélange sur les plus jolis Thèmes de l’Ambassadrice'' published by Schott ({{HMBref|1838|55}}).

| *****END OF TEMPLATE***** }}

File:PMLP24449-kalkbrenner femmemarin typeset.zip

2026-03-23T06:44:05Z

Coulonnus:

La Femme du Marin, Op.139 (Kalkbrenner, Friedrich Wilhelm)

2026-03-23T06:44:05Z

Coulonnus: Added 1 files to La Femme du Marin, Op.139 (Kalkbrenner, Friedrich Wilhelm)

{{#fte:imslppage

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===Synthesized/MIDI===
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{{#fte:imslpfile
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{{#fte:imslpfile
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|Date Submitted=2015/2/16
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{{#fte:imslpfile
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|Uploader=[[User:Coulonnus|Coulonnus]]
|Date Submitted=2026/3/23
|Publisher Information=coulon
|Copyright=Public Domain
|Misc. Notes=
}}

| *****WORK INFO*****

|Work Title=La Femme du Marin
|Alternative Title=Pensée fugitive, pour le piano ; Nocturne.
|Opus/Catalogue Number=Op.139
|Number of Movements/Sections=1
|Dedication=Offerte à la Madame la Marquise de Vins de Peysac.
|Year/Date of Composition=
|Year of First Publication=1839 - Leipzig: [[Breitkopf und Härtel]] / Paris: [[Pacini]]
:({{HMBref|1839|6}} - Breitkopf publication)
|Librettist=
|Language=
|Piece Style=Romantic
|Instrumentation=piano
|Tags=nocturnes ; pf

| *****COMMENTS***** =

*Referred to {{GoogleB|PU0FAAAAQAAJ|RA1-PA180|''Bibliographie Universelle'', Année, IIe & IIIe livraisons, 1839, (p.180)}} as "La Femme du Marin. Nocturne."
*Op.139 also assigned to ''Ricordanza. Mélange sur les plus jolis Thèmes de l’Ambassadrice'' published by Schott ({{HMBref|1838|55}}).

| *****END OF TEMPLATE***** }}

Andantino con moto (Onslow, George)

2026-03-16T14:38:57Z

Coulonnus: moved Andantino con moto (Onslow, George) to Andantino con moto in E minor (Onslow, George): key

#REDIRECT [[Andantino con moto in E minor (Onslow, George)]]

Andantino con moto in E minor (Onslow, George)

2026-03-16T14:38:57Z

Coulonnus: moved Andantino con moto (Onslow, George) to Andantino con moto in E minor (Onslow, George): key

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1594808-onslow_andant_dantanbnf.pdf
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|Image Type=Manuscript Scan
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|Uploader=[[User:Coulonnus|Coulonnus]]
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|Publisher Information=Manuscript
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|Misc. Notes=In a collection labelled Album d'autographes de musique collectionné de 1835 à 1869 par Dantan jeune statuaire et légué par lui à la bibliothèque impériale.
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| *****WORK INFO*****

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| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Andantino con moto in E minor (Onslow, George)

2026-03-16T14:38:12Z

Coulonnus: note

Andantino con moto in E minor (Onslow, George)

2026-03-16T14:36:52Z

Coulonnus: Added 1 files to Andantino con moto (Onslow, George)

{{#fte:imslppage

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File:PMLP1594808-onslow andant dantanbnf.pdf

2026-03-16T14:36:51Z

Coulonnus:

Andantino con moto in E minor (Onslow, George)

2026-03-16T14:33:11Z

Coulonnus: Create work

{{#fte:imslppage

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| *****END OF TEMPLATE***** }}

Chanson de Marie-Louise (Bachmann, Georges)

2026-03-14T17:33:37Z

Coulonnus: BNF link fixed

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
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|Uploader=[[User:Coulonnus|Coulonnus]]
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|Misc. Notes=
}}

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| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Keyboard Concerto in D major (Fodor, Carel Anton)

2026-03-06T15:07:37Z

Coulonnus: moved Keyboard Concerto in D major (Fodor, Carel Anton) to Keyboard Concerto in D major, Op.16 (Fodor, Carel Anton): Opus

#REDIRECT [[Keyboard Concerto in D major, Op.16 (Fodor, Carel Anton)]]

Keyboard Concerto in D major, Op.16 (Fodor, Carel Anton)

2026-03-06T15:07:37Z

Coulonnus: moved Keyboard Concerto in D major (Fodor, Carel Anton) to Keyboard Concerto in D major, Op.16 (Fodor, Carel Anton): Opus

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
===Parts===
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|File Name 1=PMLP1143203-Fodor,_Piano_Concerto_BW.pdf
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|Editor=
|Image Type=Normal Scan
|Scanner=
|Uploader=[[User:Mveszpremi|Mveszpremi]]
|Date Submitted=2021/7/17
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|Copyright=Public Domain
|Misc. Notes=
}}

| *****WORK INFO*****

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|Alternative Title=
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|Year/Date of Composition=
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| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

2 Sonates suivies d'une fugue (Stadler, Maximilian)

2026-02-27T08:06:31Z

Coulonnus:

{{#fte:imslppage

| *****AUDIO***** =

| *****FILES***** =
{{#fte:imslpfile
|File Name 1=PMLP1301245-Deux sonates suivies d'une fugue pour le piano forte.pdf
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|Date Submitted 1=2022/12/8
|Date Submitted 2=2026/1/30
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| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

File:PMLP1301245-stadler 2sonfug bayern.pdf

2026-02-27T07:35:11Z

Coulonnus:

2 Sonates suivies d'une fugue (Stadler, Maximilian)

2026-02-27T07:35:11Z

Coulonnus: Added 1 files to 2 Sonates suivies d'une fugue (Stadler, Maximilian)

{{#fte:imslppage

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|Uploader 1=[[User:Feduol|Feduol]]
|Uploader 2=[[User:Coulonnus|Coulonnus]]
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{{#fte:imslpfile
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File:PMLP1301245-stadler sonatas loeb.pdf

2026-02-27T07:05:02Z

Coulonnus: uploaded a new version of "File:PMLP1301245-stadler sonatas loeb.pdf": was incomplete

IMSLP:Typesetting Guidelines

2026-02-19T11:50:36Z

Coulonnus: /* Producing good typesets */ MPA document updated

==IMSLP Music Typesetting Guidelines==

The purpose of this document is to promote a minimum set of quality guidelines for newly typeset works posted to IMSLP.

Where IMSLP has more than one edition posted of a work, the quality guidelines will be applied more rigorously than if there is only one edition posted. The rationale behind this is that having one edition is better than having none, but where we do have more than one, a typeset with major flaws that could cause potential problems in rehearsals and/or performances should be fixed or deleted.

However, a typeset work that falls short of the guidelines will not automatically be deleted. IMSLP will first contact the uploader and explain what the shortfalls are, and ask that they be fixed.

===Producing good typesets===
There are two aspects to producing a good typeset: one is learning what constitutes good notation, and the other is learning the finer points of whatever music notation package you use, so that you can do the more complicated typesetting.

One good resource would be ''Music Notation: A Manual of Modern Practice'' by Gardner Read. There are also smaller resources available on the web:
*[https://www.mpa.org/wp-content/uploads/2018/06/standard-practice-engraving.pdf Standard ''Music notation practice''] by Music Publishers' Association of the United States.
*[https://web.archive.org/web/20240905233754/https://alpinevistamusic.weebly.com/uploads/2/3/0/7/23077310/essential_dictionary__of_music_notation.pdf ''Essential Dictionary of Music Notation''] by Gerou & Lusk. Complete book.
*[[Repository_of_music-notation_mistakes_(Coulon,_Jean-Pierre)|''Repository of common music-notation mistakes'']] by {{LinkName|Jean-Pierre|Coulon}}.
*[http://www.areditions.com/media/wysiwyg/pdfs/StyleGuide.pdf ''Style Guide''] by A-R Editions, Inc.
*[http://web.archive.org/web/20080107080020/http://www.coloradocollege.edu/dept/mu/Musicpress ''Colorado College project''] Archived site.
*[https://books.google.fr/books?id=yBK_DwAAQBAJ&printsec=frontcover&dq=intitle:behind+intitle:bars+inauthor:Elaine+inauthor:Gould&hl=fr&sa=X&ved=0ahUKEwjE3IONta3nAhUBUK0KHdh-CBsQ6AEIKTAA#v=onepage&q&f=false ''Behind Bars''] by Elaine Gould. Google books' limited preview.
Reading these will be a good start on basics. Other resources will be the forums for whatever package you use, whether it is Finale, Sibelius, or some other package. There is always someone available who can give advice on how to solve the unusual typesetting problems.

In order to understand the seeming pickiness of these rules, it might help to understand what sorts of problems badly typeset music cause for the performing musician.

The fact is that if music is extremely complex – but accurate, clear, large enough, adequately spaced, with proportional rhythmic spacing, good page turns and adequate cues, musicians can sightread fairly accurately, which means less rehearsal time wasted on correcting and adding things to the part that should have been there to start with.

Finally, while we acknowledge that some of the manuscript editions at IMSLP make for very bad reading as well, they have a very valuable place in the collection, especially autograph manuscripts from which one gleans the composer’s original intentions. First editions have similar high musicological value. Ideally, we want a combination of musicologically valuable editions, even if they are not necessarily usable in performance, combined with modern typesets that make rehearsals and performances easy {{EN}} in other words, we want the best of both worlds.

===The guidelines===

*State the source of your score. This has a two-fold purpose: 1) so that people can check the original source if they have a question about something, and 2) so that the public domain status of your typeset can be determined.

*General accuracy. This applies to notes, rhythms, articulations, dynamics, tempo changes, and everything else that is a part of the music.

*General visual appearance. Music size should be large enough to read easily (bear in mind that some instrumentalists cannot sit very close to their stands, for example, trombonists, harpists, double bass players. On the other hand, the music should not be so large, or widely spaced, as to waste paper or cause unnecessary extra page turns.

*Avoid collisions between elements:
:Staves must be adequately spaced so that low notes from a stave do not collide with high notes from the stave immediately below it.

:Similarly, stave spacing must make room vertically for dynamics, tempo changes, or other symbols.

:There must be no collisions of any elements (accidentals, dynamics, etc.) in the horizontal plane.

:Vertical bar lines drawn between staves should not cause collisions with lyrics in vocal parts or other written text.

*Rhythms must be visually spaced proportionally to those rhythms.
=====''The following items apply particularly to individual parts extracted from scores''=====
*Multi-movement or multi-sectional pieces should be combined into a single file for any given part. For example, the classic parts we have available for well-known symphonies like those of Beethoven and Brahms have all of the movements - not four different Violins I, Bassoon 1, etc. The only time a separate section should be extracted is if it is intended to be performed as a stand-alone piece, or is famous as a stand-alone piece (like the famous ''Canon'' from {{LinkWorkN|Canon and Gigue in D major||Pachelbel|Johann}}). For new arrangements for large groups such as orchestra or band of excerpts from very high-traffic works such as like Handel's ''Messiah'', all the parts should be merged into a single PDF file.

*Adequate page turns, especially for instruments that are “one-on-a-part” (for example, woodwinds, brass, percussion, harp). Page turns in string parts should take into account where it is not feasible to lose half the section sound while inner desk string players stop playing to turn the page.

*Repeats should not cause backward page turns.

*Use courtesy accidentals in reverting to diatonic notes, and other appropriate places. Typesetting programs do not automatically do this, especially if the music is entered by playing it in. Courtesy accidentals must be added manually.

*Use correct symbols. Tildes (”~ ~ ~ ~ ~”) are not acceptable as a substitute for the traditional trill squiggle, and neither are “MIDI-dump” equivalents. (A MIDI dump is where the typesetting program automatically typesets from a sound file or recording. In a MIDI dump, trills are inevitably written out as many demi-semiquavers or hemi-demi-semiquavers (32nd or 64th notes). Apart from taking up an awful lot of space horizontally (as well as ink), it is impossible to see at a glance how long the trill is.)

*Where there are repetitive patterns, indicate how many times the repetition happens. There are various ways to do this; use an incrementing number over the beginning of each repetition, or indicate “x6” over the first repetition, or use the symbol [[File:repeatsign.jpg|17x13px|text-bottom]] combined with numbers.

*Do not leave multiple-bar rests as individual bars. Group them in the traditional way – according to phrases, e.g. –4– –8– –12–, where each of those groups is an audible phrase.

*Musicians with many bars rest must have adequate cues toward the end of the rests:
:Cues must be wisely chosen; use something distinctive and audible to the person playing the part.
:Cues are to be labelled with the instrument playing them.

*Cues and grace notes must not be entered as full-size notes. Some variance with individual typesetting packages might be necessary, but 70% for cues should give a note that cannot be mistaken for a note to be played, and 60% for grace notes should be readable without being mistaken as adding to the base rhythm in the bar.

*Be clear as to where slurs and ties stop and start. If they do not start from the exact centre of the note, they should start close enough to the centre as to be clearly from that note.

*Clef changes should be put in rests, not in the middle of a played passage. If this is not possible, for example, in a very long run, at least choose a diatonic note that is at the beginning of a beat, and preferably at an octave or some other landmark place within the run. Do not put the clef change in front of a note with an accidental. Also check the part extraction, because in some cases, the computer program puts the part entirely in whatever clef the part starts in, with no changes afterward, i.e. your score will be correct, but the part extracted from it will have many leger lines. Proofreading is essential.

*Number the pages. If you are doing separate movements as separate files, make sure movement 2 is consecutively numbered after the last page number of movement 1, etc.

*Make sure all elements from a score that are printed once only at the top of the score come through to individual parts in an automated part extraction. Proofreading is essential here.

*Indications for use of mutes must include both the “with” (''con sordino'') and “without” (''senza sordino'') markings. The same applies to any other similar indication, for example, bells up (''schalltrichter auf'') and the ''una corda'' marking for pianists; indicate where the bells come down again, or where the soft pedal should stop. ''Solo'' or ''soli'' passages that stop at a certain point should also include the ''tutti'' marking.

*Clarinets, saxophones, horns, and trumpets are transposing instruments. Regardless of whether your score uses written pitch or concert pitch throughout, the extracted parts for those instruments must be transposed to the pitches the musicians will read. The common transpositions are B{{flat}} or A for clarinets (with the proviso that A clarinet is never used in a wind band setting), B{{flat}} for soprano and tenor saxophones, E{{flat}} for alto and baritone saxophones, B{{flat}} for trumpets, and F for horns. There a few others that apply to instruments used less frequently, e.g. E{{flat}} for piccolo clarinet, or D for piccolo trumpet.

:Check all automated transpositions. B major concert should become D-flat major for a B-flat clarinettist, not C-sharp major. If your program won’t do this in the score, make the key signature independent and change it manually.

*Bars AKA measures should be numbered, but in such a way that they do not clutter the page. Do not put them on every bar. A standard place to put them is at the beginning of every system, in a readable but unobtrusive font. If a piece starts with an upbeat it should be bar No.0. If there is a first-time second-time passage both versions should have the same bar numbers. Reset the bar number at each movement.

*(This is a point that not everyone might agree with.) It became the fashion at one point to number bars in increments of 10, but phrases rarely start every 10 bars, and this type of numbering is a nuisance when there is a multi-bar rest. Many performing musicians would rather see a barline where the phrase starts, because it gives a visual landmark on the page for an aural landmark that is easy to hear. Take the trouble to go through the score and mark where the multi-bar rests should divide, rather than letting the computer do an arbitrary division based on a number that has never been a common phrase length.

===Lastly, proofreading cannot be emphasized enough===
Everyone should proofread thoroughly, but especially those that get typesets from recognition software or use MIDI dumps from sound files. Although these technologies can save some time, they are simply not advanced enough yet to give foolproof typesets.

Ultimately, careful proofreading is for the benefit of those performing the works you write and edit, and that, in turn, benefits you.

==See also==
*[[IMSLP:Typeset Music formats]]
[[Category:Manuals]]

4 Keyboard Duets, Wq.115 (Bach, Carl Philipp Emanuel)

2026-02-13T07:52:21Z

Coulonnus: Added 1 files to 4 Keyboard Duets, Wq.115 (Bach, Carl Philipp Emanuel)

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File:PMLP1586265-cpebach 4duets115 breitkopf.pdf

2026-02-13T07:52:20Z

Coulonnus:

4 Keyboard Duets, Wq.115 (Bach, Carl Philipp Emanuel)

2026-02-13T07:50:19Z

Coulonnus: Create work

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3 Piano Sonatas, Op.3 (Carbonel, Narcisse)

2026-02-10T07:06:47Z

Coulonnus:

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|Copyright=Public Domain
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===Arrangements and Transcriptions===
====Sonata in {{K|D}} (No.1)====
=====For Flute and Piano (Coulon)=====
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|Date Submitted 1=2026/1/7
|Date Submitted 2=2026/1/7
|Date Submitted 3=2026/2/10
|Publisher Information=Jean-Pierre Coulon
|Copyright=Creative Commons Attribution-ShareAlike 4.0
|Misc. Notes=Piano r.h. put into flute and violin put into r.h. piano.
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|Year of First Publication=
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File:PMLP1511627-carbonel sonata3.zip

2026-02-10T07:04:06Z

Coulonnus:

3 Piano Sonatas, Op.3 (Carbonel, Narcisse)

2026-02-10T07:04:06Z

Coulonnus: Added 1 files to 3 Piano Sonatas, Op.3 (Carbonel, Narcisse)

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|Copyright=Public Domain
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===Arrangements and Transcriptions===
====Sonata in {{K|D}} (No.1)====
=====For Flute and Piano (Coulon)=====
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|Publisher Information=Jean-Pierre Coulon
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File:PMLP1511627-carbonel sonata3 flute.pdf

2026-02-10T07:02:27Z

Coulonnus: uploaded a new version of "File:PMLP1511627-carbonel sonata3 flute.pdf": expanded