Editing Sheet music (section)

==Types==<!--[[Short score]] redirects directly here.-->
Modern sheet music may come in different formats. If a piece is composed for just one instrument or voice (such as a piece for a solo instrument or for ''[[a cappella]]'' solo voice), the whole work may be written or printed as one piece of sheet music. If an instrumental piece is intended to be performed by more than one person, each performer will usually have a separate piece of sheet music, called a [[Part (music)|''part'']], to play from. This is especially the case in the publication of works requiring more than four or so performers, though invariably a ''full score'' is published as well. The sung parts in a vocal work are not usually issued separately today, although this was historically the case, especially before music printing made sheet music widely available.

Sheet music can be issued as individual pieces or works (for example, a popular song or a [[Ludwig van Beethoven|Beethoven]] sonata), in collections (for example works by one or several composers), as pieces performed by a given artist, etc.

When the separate instrumental and vocal parts of a musical work are printed together, the resulting sheet music is called a ''score''. Conventionally, a score consists of [[musical notation]] with each instrumental or vocal part in vertical alignment (meaning that concurrent events in the notation for each part are arranged in parallel). The term ''score'' has also been used to refer to sheet music written for only one performer. The distinction between ''score'' and ''part'' applies when there is more than one part needed for performance.

Scores come in various formats.
[[File:Der 100. Psalm Max Reger.jpg|thumb|upright=1.5|First page of the full score for [[Max Reger]]'s ''[[Der 100. Psalm]]'' for [[choir]], [[orchestra]] and [[Organ (music)|organ]]]]

=== Full scores, variants, and condensations {{anchor|full score}} ===

A ''full score'' is a large book showing the music of all instruments or voices in a composition lined up in a fixed order. It is large enough for a [[Conducting|conductor]] to be able to read while directing [[orchestra]] or [[opera]] rehearsals and performances. In addition to their practical use for conductors leading ensembles, full scores are also used by [[musicologist]]s, [[music theory|music theorists]], [[composer]]s and music students who are studying a given work. 

A ''miniature score'' is like a full score but much reduced in size. It is too small for use in a performance by a conductor, but handy for studying a piece of music, whether it be for a large ensemble or a solo performer. A miniature score may contain some introductory remarks.

A ''study score'' is sometimes the same size as, and often indistinguishable from, a miniature score, except in name. Some study scores are [[Octavo (book)|octavo]] size and are thus somewhere between full and miniature score sizes. A study score, especially when part of an anthology for academic study, may include extra comments about the music and markings for learning purposes.

A ''piano score'' (or [[reduction (music)|''piano reduction'']]) is a more or less literal [[Transcription (music)|transcription]] for piano of a piece intended for many performing parts, especially orchestral works; this can include purely instrumental sections within large vocal works (see ''vocal score'' immediately below). Such arrangements are made for either piano solo (two hands) or piano [[duet]] (one or two pianos, four hands). Extra small staves are sometimes added at certain points in piano scores for two hands to make the presentation more complete, though it is usually impractical or impossible to include them while playing.

As with vocal score (below), it takes considerable skill to reduce an orchestral score to such smaller forms because the reduction needs to be not only playable on the keyboard but also thorough enough in its presentation of the intended [[Harmony|harmonies]], [[Texture (music)|textures]], [[Figuration (music)|figurations]], etc. Sometimes markings are included to show which instruments are playing at given points.

While piano scores are usually not meant for performance outside of study and pleasure ([[Franz Liszt]]'s [[Beethoven Symphonies (Liszt)|concert transcriptions of Beethoven's symphonies]] being one group of notable exceptions), [[ballet]]s get the most practical benefit from piano scores because with one or two pianists they allow the ballet to do many rehearsals at a much lower cost, before an [[orchestra]] has to be hired for the final rehearsals. Piano scores can also be used to train beginning conductors, who can conduct a pianist playing a piano reduction of a symphony; this is much less costly than conducting a full orchestra. Piano scores of operas do not include separate staves for the vocal parts, but they may add the sung text and stage directions above the music.

A [[Part (music)|''part'']] is an extraction from the full score of a particular instrument's part. It is used by orchestral players in performance, where the full score would be too cumbersome. However, in practice, it can be a substantial document if the work is lengthy, and a particular instrument is playing for much of its duration.
[[File:CuiVil3 2p204.png|thumb|upright=1.5|An excerpt of a piano-vocal score for [[César Cui]]'s opera ''[[William Ratcliff (Cui)|William Ratcliff]]''. {{audio|CuiVil3 2p204.mid|Play}}|left]]

===Vocal scores===
A ''[[vocal score]]'' (or, more properly, ''piano-vocal score'') is a reduction of the full score of a vocal work (e.g., [[opera]], [[Musical theatre|musical]], [[oratorio]], [[cantata]], etc.) to show the vocal parts (solo and [[Choir|choral]]) on their [[musical staff|staves]] and the orchestral parts in a [[Piano Reduction|piano reduction]] (usually for two hands) underneath the vocal parts; the purely orchestral sections of the score are also reduced for piano. If a portion of the work is ''[[a cappella]]'', a piano reduction of the vocal parts is often added to aid in [[rehearsal]] (this often is the case with ''a cappella'' religious sheet music).

Piano-vocal scores serve as a convenient way for vocal soloists and choristers to learn the music and rehearse separately from the orchestra. The vocal score of a [[Musical theatre|musical]] typically does not include the spoken dialogue, except for cues. Piano-vocal scores are used to provide piano accompaniment for the performance of operas, musicals and oratorios by amateur groups and some small-scale professional groups. This may be done by a single piano player or by two piano players. With some 2000s-era musicals, keyboardists may play [[synthesizer]]s instead of piano.

The related but less common ''choral score'' contains the choral parts with reduced accompaniment.

The comparable ''organ score'' exists as well, usually in association with church music for voices and orchestra, such as arrangements (by later hands) of [[George Frideric Handel|Handel's]] ''[[Messiah (Handel)|Messiah]]''. It is like the piano-vocal score in that it includes staves for the vocal parts and reduces the orchestral parts to be performed by one person. Unlike the vocal score, the organ score is sometimes intended by the arranger to substitute for the orchestra in performance if necessary.

A collection of songs from a given [[Musical theatre|musical]] is usually printed under the label ''vocal selections''. This is different from the vocal score from the same show in that it does not present the complete music, and the piano accompaniment is usually simplified and includes the melody line.

===Other types===
A ''short score'' is a reduction of a work for many instruments to just a few staves. Rather than composing directly in full score, many composers work out some type of short score while they are composing and later expand the complete orchestration. An opera, for instance, may be written first in a short score, then in full score, then reduced to a vocal score for rehearsal. Short scores are often not published; they may be more common for some performance venues (e.g., band) than in others. Because of their preliminary nature, short scores are the principal reference point for those composers wishing to attempt a 'completion' of another's unfinished work (e.g. Movements 2 through 5 of [[Gustav Mahler]]'s [[Symphony No. 10 (Mahler)|10th Symphony]] or the third act of [[Alban Berg]]'s opera ''[[Lulu (opera)|Lulu]]'').

An ''open score'' is a score of a [[Polyphony|polyphonic]] piece showing each voice on a separate staff. In Renaissance or Baroque keyboard pieces, open scores of four staves were sometimes used instead of the more modern convention of one staff per hand.<ref>{{Cite Grove |last=Cochrane |first=Lalage |title=Open score}}</ref> It is also sometimes synonymous with full score (which may have more than one part per staff).

In a ''close score'', all voice parts are represented on the two major staffs (treble and bass staffs).

Scores from the Baroque period (1600–1750) are very often in the form of a [[bass line]] in the bass clef and the melodies played by instrument or sung on an upper stave (or staves) in the treble clef. The bass line typically had figures written above the bass notes indicating which intervals above the bass (e.g., chords) should be played, an approach called ''[[figured bass]]''. The figures indicate which intervals the [[harpsichord]]ist, [[pipe organ]]ist or [[lute]] player should play above each bass note.

[[File:Trifle In Pyjamas lead sheet.jpg|thumb|upright=1.5|The lead sheet for the song "Trifle in Pyjamas" shows only the melody and chord symbols. To play this song, a jazz band's [[rhythm section]] musicians would improvise chord voicings and a bassline using the chord symbols. The lead instruments, such as sax or trumpet, would improvise ornaments to make the melody more interesting, and then improvise a solo part.]]

===Popular music===
A ''[[lead sheet]]'' specifies only the melody, lyrics and harmony, using one staff with [[chord symbol]]s placed above and lyrics below. It is commonly used in [[popular music]] and in [[jazz]] to capture the essential elements of song without specifying the details of how the song should be arranged or performed.

A ''[[chord chart]]'' (or simply, ''chart'') contains little or no melodic information at all but provides fundamental harmonic information. Some chord charts also indicate the rhythm that should be played, particularly if there is a [[syncopation|syncopated]] series of "hits" that the arranger wants all of the rhythm section to perform. Otherwise, chord charts either leave the rhythm blank or indicate slashes for each beat.

This is the most common kind of written music used by professional [[session musician]]s playing [[jazz]] or other forms of [[Genres (popular music)|popular music]] and is intended for the [[rhythm section]] (usually containing piano, guitar, bass and drums) to improvise their [[accompaniment]] and for any [[jazz improvisation|improvising]] soloists (e.g., [[saxophone]] players or [[trumpet]] players) to use as a reference point for their extemporized lines.

A [[fake book]] is a collection of [[jazz]] songs and tunes with just the basic elements of the music provided. There are two types of fake books: (1) collections of lead sheets, which include the melody, chords, and lyrics (if present), and (2) collections of songs and tunes with only the chords. Fake books that contain only the chords are used by [[rhythm section]] performers (notably chord-playing musicians such as [[electric guitar]]ists and [[piano]] players and the bassist) to help guide their improvisation of [[accompaniment]] parts for the song. Fake books with only the chords can also be used by "lead instruments" (e.g., [[saxophone]] or [[trumpet]]) as a guide to their improvised solo performances. Since the melody is not included in chord-only fake books, lead instrument players are expected to know the melody.

{{stack|[[File:Diatonic scale on C tablature clef.png|thumb|C major scale in regular notation (above) and in [[tabulature]] for [[guitar]] (below)]]}}
A ''[[tablature]]'' (or ''tab'') is a special type of musical score – most typically for a solo instrument – which shows ''where'' to play the pitches on the given instrument rather than ''which'' pitches to produce, with rhythm indicated as well. Tablature is widely used in the 2000s for guitar and electric bass songs and pieces in popular music genres such as [[rock music]] and [[heavy metal music]]. This type of notation was first used in the late [[Middle Ages]], and it has been used for keyboard (e.g., [[pipe organ]]) and for fretted string instruments (lute, guitar).<ref>{{cite book |last1=Hawkins |first1=John |title=A General History of the Science and Practice of Music |date=1776 |publisher=Cambridge University Press |location=Cambridge |page=237 |edition=First |url=https://books.google.com/books?id=03oelz4TsF8C |access-date=3 May 2020 }}</ref>

=== Song sheets ===

Song sheets are the printed lyrics without musical notation. Academic studies of American music call these sheets ''songsters''.{{r|kernfeld|p=25}} Over the first half of the 20th century, lyrics to songs were printed and sold individually, in collections on newspaper-sized sheets, combined into booklets, and in magazines.{{r|kernfeld|pp=53–54}} Song sheets typically included photographs of famous entertainers associated with the song, as well as attributions to musical theater and films.{{r|kernfeld|p=58}}

Song sheets were recognized as competition to sheet music by the [[American Society of Composers, Authors and Publishers]] (ASCAP) in 1930, when a representative said, "Thousands now learn the popular melodies from the radio, the publishers state. With the lyrics available for five or ten cents and the strain known, impulse to buy sheet music is eliminated." While sheet music for a song might cost thirty or thirty-five cents, a song sheet typically sold for a nickel or a dime. Choral societies would buy a single copy of the sheet music for the pianist and then multiple song sheets for the singers.{{r|kernfeld|p=55}}

When the lyrics are printed without permission from the [[copyright]] owner, the song sheets are called bootleg song sheets. Song-sheet bootlegging was seen as a minor problem in Chicago in the early 1890s, but became a significant issue from 1929 through the 1930s.{{r|kernfeld|pp=25–26}} The first publishers and distributors of bootleg song sheets were charged with criminal copyright infringement in February, 1930.{{r|kernfeld|p=30}} Through the efforts of the [[Music Publishers' Protective Association]] and law enforcement, as well as the advent of legal song sheet magazines, song-sheet bootlegging ended in the early 1940s.{{r|kernfeld|pp=39–40}}

The first legitimate song sheet magazines began in 1934, and [[Lyle Engel]]{{'}}s ''Song Hits'' which was first published in 1937 was successful for decades.{{r|kernfeld|pp=40–41}} Song sheet magazines included advertisements, gossip columns, record reviews, and promotional biographies of celebrities.{{r|kernfeld|p=69}}

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