IMSLP:Score submission guide/General Information/Draft

Contents 1 How to Complete the General Information Section of the Work Page 1.1 Work Title 1.2 Alternative Title 1.3 Composer 1.4 Opus/Catalogue Number 1.5 Key 1.6 Number of Movements/Sections 1.7 Year/Date of Composition 1.8 First Performance 1.9 Year of First Publication 1.10 Librettist 1.11 Language 1.12 Dedication 1.13 Average Duration 1.14 Piece Style 1.15 Instrumentation 1.16 Tags 1.17 Related Works 1.18 External Links 1.19 Extra Information

How to Complete the General Information Section of the Work Page

This is a draft set of guidelines to try and bring together the widely varying practices used throughout IMSLP. If the format of this section can be standardized it should pave the way for automatic translation of the general information section into languages other than English, and make many of the fields automatically searchable.

The last three fields (Related Works, External Links and Extra Information) do not currently exist, but their implementation would bring in information that is currently outside the work page template.

Work Title

Give the title of the work as it appears in the page title, but omitting key signatures and opus/catalogue numbers

Alternative Title

Titles for the work that found in the edition or in standard reference sources, if they differ from the Work Title.

• Different titles in the same language should be separated by spaces and a semi-colon.
• Titles in different languages should be placed on separate lines with <br>.

Examples:

The Marriage of Figaro
Die Hochzeit des Figaro ; Figaros Hochzeit

Composer

This is filled in by default, and cannot be edited.

Opus/Catalogue Number

If they exist, give the most commonly-used number first, with others separated by spaces and a semi-colon.

• Always include the prefix "Op." (with no spaces) when giving the opus number
• Ensure that the punctuation and spacing of catalogue prefixes is consistent with other works by the same composer.

Examples:

Op.15a

Op.90 ; D.899

Key

Give the key signature for the whole work (if there is one), not individual sections or movements.

Use the {{flat}} and {{sharp}} templates for flat and sharp keys.

Examples:

C major

B♭ major

G♯ minor

Number of Movements/Sections

State the number and type of sections within the work.

• For works that are continuous without any breaks, "1" can be used without further description.
• For works that were unfinished by their composer, or which have been partly lost, add " (unfinished)" after the section number

Examples:

4 movements

10 numbers

5 chapters

4 volumes in 8 parts

3 acts and 4 scenes (unfinished)

The titles of the individual sections may be listed underneath, starting each line with a colon ( : ), and numbering them as they appear in the score. Key signatures and numbers of bars/measures can be given if known

Examples:

4 movements:

I. Adagio—Allegro non troppo (B minor, 354 bars)

II. Allegro con grazia (D major, 179 bars)

III. Allegro molto vivace (G major, 547 bars)

IV. Adagio lamentoso (B minor, 171 bars)

If the structure of the sections is complicated, consider putting this at the bottom of the workpage (outside the general information section), or moving it to the discussion section of the workpage.

Year/Date of Composition

The exact dates when a work was started and completed are often difficult to establish, even when a composer's manuscript is dated precisely, since works may be subject to frequent revision at times of performance and publication. For this reason it is advisable to give just a year or range of years of composition, instead of the exact month and day.

• Use the en dash, without spaces, to separate start and end dates. You can use {{subst:EN}} to create an en dash, or see Wikipedia how to produce this on your keyboard
• Use "ca." (not c.), without a space, to indicate an approximate date (from the Latin word circa)
• Use "by" or "after" if start or end dates of compostion are unknown
• The symbol "(?)" after a date means that the information preceding it is doubtful
• The term "revised" means that an existing work was subsequently altered by its composer

Examples:

1925

1863–65 [= begun in 1863 and completed in 1865]

1863–65(?) [= probably begun in 1863 and completed in 1865]

ca.1863–65 [= begun no earlier than 1863, and completed no later than 1865]

by 1871 [= start date unknown, but completed no later than 1871]

after 1732 [= begun no later than 1732, but completion date is unknown]

1869, revised 1870, 1880

First Performance

If the date of the first performance of the work is known, it should be given here. The place, occasion and names of performers may also be given if known.

• Dates should be given in the format YY-MM-DD, according to the western (Gregorian) calendar.
• Names of cities should come after the date and be separated by the " in " (including spaces)
• The concert venue or occasion, if included, should come after the city, separated by a comma

Examples:

1824-05-07

1824-05-07 in Vienna

1824-05-07 in Vienna, Kärntnertortheater

• If exact dates are unknown then only the year, or the year and the month may be given

Examples:

1750

1863-05

Use <br> to start a new line for the names of performers, if included.

• List any soloists first (in score order), followed by the name of the orchestra/ensemble, and lastly the conductor.
• Identify the role played by the performer in parentheses after their names
• Names should be separated by spaces and a semi-colon
• Link the names of the performers if they have their own IMSLP category, using the {{LinkComp}} template

Examples:

1909-11-28 in New York, New Theater
Sergei Rachmaninoff (piano) ; New York Symphony Society Orchestra ; Walter Damrosch (conductor)

1791-09-30 in Vienna, Freihaus-Theater auf der Wieden
Benedikt Schack (Tamino) ; Emanuel Schickander (Papageno) ; Anna Gottlieb (Pamina)

Year of First Publication

If the date of the first publication of the work is known, it should be given here.

• The place of publication, publisher, plate numbers, and numbers of pages may also be given if known, in the form "City: Publisher, Year. Plate number. Number of pages"
• Use "ca." (not c.), without a space, to indicate an approximate date (from the Latin word circa)
• Use "by" or "after" if start or end dates of publication are unknown
• The symbol "(?)" after a date means that the information preceding it is doubtful
• Use the en dash, without spaces, to separate start and end dates, or ranges of plate numbers. You can use {{subst:EN}} to create an en dash, or see Wikipedia how to produce this on your keyboard
• If a work was published in different forms (such as full scores and vocal scores) give this information at the end of the line. Start a new line with <br> for each different form of the work
• If a publisher page exists on IMSLP, include a link to that page.

Examples:

1802

ca.1810–15

Mainz: B. Schott’s Söhne, 1897

Leipzig: Bosworth & Co., 1894

Braunschweig: Litolff, ca.1900. Plate 1542

Moscow: P. Jurgenson, 1878. Plates 3302–3323. 249 pages. (vocal score)
Moscow: P. Jurgenson, 1880. Plate 3901. 357 pages (full score)

Librettist

The authors of text (librettists) used in the work are very important, as they can affect the work's copyright status. A work can have more than one librettist.

• Give the names of all the librettist(s) for the work, including any translators, and the authors of literary works who are named as the source of the libretto
• Check each name against the list at Category:Works by librettist, and use the form of their name listed there, if it appears
• Link the names of the librettist(s) using the {{LinkLib}} template (even if they are not yet listed at Category:Works by librettist)
• Include the years of birth and death, where known, in parentheses after their names
• The Lied, Art Song, and Choral Texts Page can be helpful in identifying librettists and their dates
• Use the en dash, without spaces, to separate birth and death years. You can use {{subst:EN}} to create an en dash, or see Wikipedia how to produce this on your keyboard
• If the text comes from an identified literary source, give the title of the source and its year of publication, if this is known
• Use "traditional" or "unknown" if the author of the text is unidentified

Examples:

Johann Conrad Lichtenberg (1689–1751)

Friedrich Rückert (1788–1866)

Lorenzo Da Ponte, based on Pierre Beaumarchais: La folle journée, ou le Mariage de Figaro (1784)

Heinrich Heine (1797–1856), translated by Mikhail Larionovich Mikhaylov (1829–1865)

Norwegian traditional

Unknown

• If individual parts of a work have different librettists, then repeat the list given under "Number of Movements/Sections", but replacing the titles with the names of the librettists

1. Nikolay Ogaryov (1813–1877)
2. Vasily Zhukovsky (1783–1852)
3. Mikhail Lermontov (1814–1841)

Language

This is only required for vocal works that have texts, or for literary works.

• Give the name of the language is it is known in English (for instance, "German" not "Deutsch")
• If a work includes the same text in more than one language, list them in the order in which they appear, separated by spaces and the "/" symbol.
• If individual sections of a work use different languages, so that all of them are needed to perform or read the work in full, list them in the order in which they appear, separated by spaces and a semicolon, and identify the sections in parentheses.
• Use the language(s) of the first edition, and not any later translations. The Lied, Art Song, and Choral Texts Page can be helpful in identifying the original language

Examples:

French

German / English [= both languages are used in parallel, with the German text shown above the English]

Swedish (Nos.1–3 and 5) ; Danish (Nos.4 and 6) [= in a cycle of six songs, Swedish is the language used in four of them, and Danish in the remainder]

Polish / German (Nos.1–3) ; Czech / German (Nos.4–6) [= in a cycle of six songs, Polish was used in the first three, and Czech in the last three, with German translations given in the first edition for all six songs]

Dedication

The name of the person or institution to whom the work is dedicated (if there is a dedication). This can be given in the form it appears in the score, with clarification given in brackets if necessary. If the dedicatee is a musician with their own category on IMSLP, then include a link to that category, using the same spelling of the name.

Examples:

Dr Eugenio Egas

"To my wife" (Elisabeth Bortkiewicz)

"K.R." (Grand Duke Konstantin Konstantinovich of Russia)

The Philharmonic Society of London

Franz Liszt

John Smith and Henry Jones

If the individual parts of a work are dedicated to different persons, then repeat the list given under "Number of Movements/Sections", but replacing the titles with the names of the dedicatees.

Examples:

1. Mariya Kondratyeva

2. Anna Davydova

3. Anna Merkling

Average Duration

This should be given in whole minutes, with the word "minutes" written out in full.

Examples:

5 minutes

1–2 minutes

100 minutes

For short pieces. ranges should be used instead of fractions (e.g. "2–3 minutes" not "2.5 minutes" or " 2'30 ").

Timings for individual movements (as specified in the previous section) can also be given, if they are known.

Examples:

40 minutes (15 + 10 + 15)

125 minutes (45 + 25 + 30 + 25)

Piece Style

This is filled in automatically, based on the overall style set for the composer. It can be changed for an individual piece, using the descriptions shown on the Browse by composer time period page.

Instrumentation

It is important to give correct and precise information in this section.

• Names of instruments and ranges should be given in English, normally in the sequence shown below:

Voices (solo) — voices [unspecified], sopranos, mezzo-sopranos, contraltos, altos, tenors, baritones, bass-baritones, basses, narrators;

Choruses — mixed choruses, female choruses, male choruses, childrens voices;

Woodwinds — piccolos, flutes, alto flutes, bass flutes, flutes d'amore, recorders, oboes, oboes d'amore, English horns, bass oboes, chalumeaux, clarinets, bass clarinets, basset clarinets, basset horns, saxophones, bassoons, contrabassoons;

Brass — horns, trumpets, cornets, saxhorns, trombones, euphoniums, tubas, bass tubas;

Folk instruments — accordions, bagpipes, cimbaloms, concertinas, dulcimers, erhu, flageolets, harmonicas, musettes, ocarinas, pan pipes, pipa, sheng, toy instruments, vuvuzelas, xiao flutes, zithers

Percussion — timpani, drums, cymbals, triangles, celestas, glockenspiels, tubular bells, bells, marimbas, vibraphones, xylophones

Strings (plucked) — arpeggiones, guitars, lutes, barytons, banjos, ukeleles, mandolas, mandolins, harps

Strings (bowed) — violins, vielles, violas, tenor violas, violas da gamba, violas d'amore, viols, violones, cellos, cellones, double basses

Automated instruments — mechanical instruments, mechanical organ, electronic instruments, ondes martenot, synthesizer, theremin

Keyboard — claviers, clavichords, harpsichords, lute-harpsichords, pianos, piano left hand, piano right hand, piano 3 hands, piano 4 hands, piano 5 hands, piano 6 hands, 2 pianos 8 hands, toy pianos, pedal pianos, organs, organ 4 hands, harmoniums

Basso continuo — continuo

• Separate the names of instruments with a comma followed by a space, without using the word "and".
• Use numbers to group two or more instruments (e.g. "3 trombones", but don't use "1" before a single instrument name)
• If solo instruments are used with an orchestra or instrumental ensemble, then list the solo instruments first, with " + " (including spaces) before the rest of the performers
• The first character on the line should be capitalised, unless it is a number, but otherwise give instruments in lower-case letters (except for "English horn")
• The word "voices" may be used instead of listing several independent voice parts
• The word "strings" may be used instead of listing several independent string parts
• The word "orchestra" may be used if a listing of the individual parts is unavailable
• Keys for transposing instruments may also be given in parentheses after ther names. For example: "clarinet (B♭)"
• Instrumental doubling may be indicated by a "/" symbol between the instrument names. For example: "3 flutes/piccolo" means that one of the flute players also substitues on the the piccolo during the performance
• For choral works, the letters S, A, T and B (without spaces) may be used in parentheses to represent the soprano, alto, tenor and bass parts of a chorus. For example, "mixed chorus (SSATTB)" means that the chorus comprises 2 soprano and 2 tenor sections with single alto and bass sections.
• Optional instruments, which can be omitted, should be listed in parentheses. For example: "timpani, (bass drum, cymbals), strings" means that the bass drum and cymbal parts are optional.
• Alternative instruments, where one instrument may be completely replaced by another, should be indicated by the word "or". For example: "flute or violin, piano" means that the work can be performed either by flute and piano, or by violin and piano.
• The names of characters in stage works may be given in parentheses after their voice parts, separated by commas.

Examples:

Piano

Violin, cello or viola

2 violins, viola, cello

2 flutes, 2 oboes, English horn, 2 clarinets (B♭), bass clarinet (B♭)

Piano + 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings

Mezzo-soprano, baritone + mixed chorus (SATB), 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, harp, strings

Soprano (Tatyana), 2 mezzo-sopranos (Larina, Filippyevna), contralto (Olga), 2 tenors (Lensky, Triquet), baritone (Onegin), 3 basses (Gremin, Captain, Zaretsky) + mixed chorus (SATB), piccolo, 2 flutes, 2 oboes, 2 clarinets (A, B♭), 2 bassoons, 4 horns (F), 2 trumpets (F), 3 trombones, timpani, harp, violins I, violins II, violas, cellos, double Basses

Tags

This field should only be used by members of the IMSLP categorization project team. If you think a work has been incorrectly categorized, contact a team member.

Related Works

If the current work is based on another work, or if its music was used later in other works, then that can be mentioned here in the form of a list (starting each new line with "<br>"). The {{LinkWork}} template can be used to link to other work pages, if they exist.

Examples:

Adapted from the second movement of the String Sextet No.1, Op.18, by Johannes Brahms

Based on themes from the opera I puritani by Vincenzo Bellini

Arranged by Bach from the Concerto for 2 Violins and Cello in D minor, RV 565, by Antonio Vivaldi

External Links

Links to other sites should be placed here, in the form of a list (starting each new line with "<br>")

Examples:

Wikipedia

The Lied, Art Song, and Choral Texts Page

Extra Information

Any relevant information that does not fit into the above headings can be placed here

Examples:

The concerto may be attributed to Johann Caspar Seyfert

Mozart's Requiem was unfinished at the time of his death. Unless otherwise stated the scores below relate to the completion of the work by his student Franz Xaver Süssmayr (1766–1803)