page layout with Coda

[dircknagy]

Hi all

I have some page layout questions: pieces with a coda and a ragged end.

1. Should there be extra white space between the bulk of the piece and the coda measures? (in this case, between lines 6 and 7). In this case, should the coda rest against the bottom page margin?
2. Or should the lines be evenly spaced clear to the bottom margin?
3. Or, should the padding between the title and the music be adjusted to completely fill the page?

Are there any general principles regarding this? I'd imagine that publishers' house styles cover this? I have a lot of similar pieces that don't fit evenly onto the paper; it would be nice to set up my own house style and treat them consistently.

(I also thought of spacing the last 2 measures out enough so it completely fills the line, but it looked ridiculous to me, so i left it. )

thanks!

dirck
.

edit: removed attachment and will resubmit

[Magnus Johansson]

Hello! If this piece is for guitar I miss something.

[dircknagy]

Hello! If this piece is for guitar I miss something.

Did the attachment not send? It looks ok on my side.

Oh right...the ottava clef!

[Magnus Johansson]

Hello! If this piece is for guitar I miss something.

[...]
Oh right...the ottava clef!

Genau!

[OCTO]

Don't add extra space, except if needed for clarity.

I had a similar situation here:

Screenshot 2026-09-12 at 19.16.09.png (328.52 KiB) Viewed 78 times

[John Ruggero]

1. Your title is quite close to the top of the page and almost resting against the top margin. Usually it would be at least twice the distance lower or more. This would take care of the empty space at the bottom, although there is really nothing wrong with extra empty space at the bottom. This is preferable to spacing the staves out evenly with too much space between them so the eye has trouble moving from staff to staff.

2. The composer name is usually placed closer to the top staff. Sometimes it is emboldened. Sometimes it appears in all caps.

3. Your indentation on the first line is quite large. Often it is only about .5 inch or a little more if there is no text to be placed in the space.

4. In this case, I think the indentation for the coda is a good idea. I am not sure the coda sign is necessary, but only the word Coda. Then the indentation could be smaller.

5. Why are the final rests in the last measure not present?

6. How to handle the final staff is a question of taste, perhaps. I myself don't mind spread-out final measures and find it preferable to incomplete staves.

7. I would be tempted to write this piece out without the repeat signs, eliminate the coda and put it on two facing pages. I think it would be much "cleaner" that way.

[dircknagy]

1. Your title is quite close to the top of the page and almost resting against the top margin. Usually it would be at least twice the distance lower or more. This would take care of the empty space at the bottom, although there is really nothing wrong with extra empty space at the bottom. This is preferable to spacing the staves out evenly with too much space between them so the eye has trouble moving from staff to staff.

2. The composer name is usually placed closer to the top staff. Sometimes it is emboldened. Sometimes it appears in all caps.

3. Your indentation on the first line is quite large. Often it is only about .5 inch or a little more if there is no text to be placed in the space.

4. In this case, I think the indentation for the coda is a good idea. I am not sure the coda sign is necessary, but only the word Coda. Then the indentation could be smaller.

5. Why are the final rests in the last measure not present?

6. How to handle the final staff is a question of taste, perhaps. I myself don't mind spread-out final measures and find it preferable to incomplete staves.

7. I would be tempted to write this piece out without the repeat signs, eliminate the coda and put it on two facing pages. I think it would be much "cleaner" that way.

Thanks John!

Will make some changes, and will consider eliminating coda / writing out.

regarding #5: well, i guess i made a mistake!

peace!
dirck

[dircknagy]

What about a situation like this, where the coda is short (sometimes just one or two measures)?

Does this work, or new line for the coda?

(ignore the measure numbers...)

thanks!
dirck

Coda break.jpg (85.99 KiB) Viewed 42 times

[John Ruggero]

Coda's are often done like that.

However, I would use D.C.s and codas only when absolutely necessary and for very good reasons, like page turns. If a piece can fit on two facing pages or has great turns in the middle that makes multiple pages convenient, I would just write the piece out. But it depends on the each situation, of course. Dance pieces that have many simple internal exact repeats are best not written out. Sonata movements with long repeated sections should not be written out. Short pieces that involve intricate combinations of repeats and segnos and such are often best written out. A look through the standard literature will often orient one in the best use of repeat marks etc.

[Magnus Johansson]

I agree with John's recommendations here.