Re: UE Product design Standards
Posted: 21 Jul 2016, 16:09
I took a minute to check through Gould, which is essentially the Faber style guide, and both the Boosey and Schirmer style guides as I was curious how they compared to the UE guide in the original post with regard to cueing. Regardless of the myriad of ways cues have historically been handled, all four seem to be very close in agreement as to the appropriate ways to handle cueing in current publications.
On cue notes in a bar with an entrance
UE: "Cue notes may not be written in the bar in which the instrument playing the current orchestral part comes in again."
Gould: "Unless it is important to follow through a cue right up to an entry (e.g. to show how the player continues a phrase), finish a cue in the previous bar, so as not to obscure the entry." (pg 571)
Boosey: Doesn't mention cueing in an entry bar per se, but the example in the cueing section 7.12 shows an open-ended tie from the cue measure into the entrance measure which begins with a rest. If the cue was allowed to continue into the entry measure, I assume they would have showed the note in the bar rather than a cue note tied to a full sized rest. (pg 36)
Schirmer: Not mentioned at all in Cue section, pgs 65-67. All examples in this section have an instrument entering on the first beat of a measure so it doesn't seem to be addressed. Other examples of part layout (like pg 61) show the cue ending in the previous bar, and the entry bar beginning with a full sized rest, but as I don't know what piece this is I cannot say this is conclusive one way or the other.
On using solo or vocal parts as cues
UE: "Solo and vocal parts may not be used as cue notes."
Gould: "CUE FROM A SOLOIST, SINGER OR SPEAKER Such a cue should be a last resort - either when there is no alternative cue, or when the instrument's entry depends on it: the soloist or singers may not be present at the first rehearsals. Furthermore, when, in performance, a singer or speaker is positioned at the front of the stage and the players behind, the players may not the able to hear the cue. In a work for a small ensemble, a soloist is likely to be present at initial rehearsals and therefore such a cue is appropriate." (pg 568) "If in doubt, cue the line of a player sitting in close proximity." (pg 567)
Boosey: Not mentioned directly, only "When selecting cues, make sure that the player can hear the cue and - most importantly - that it is unique." (pg 37)
Schirmer: Not mentioned directly, only "Select a clear musical entrance for the cue ... A secondary voice or repetitive pattern that has been continuing for some time would be a bad one." (pg 65)
On transposing cues
UE: "Cue notes are notated in the parts as they appear in the score. If the score is in the key of C, all cue notes must also be notated in C in the transposing instrumental parts. If the score is written transposed, all instruments are also cited in the instrumental parts, whereby here the tuning must also be mentioned in the citation (e.g. Hr. in F)." I'm not entirely clear about what they are trying to say here.
Gould: "A cue should be transposed into the key of the playing instrument, as if the player is to play the cue." (pg 574) "It is best to notate a cue in the player's current clef, especially when the cue is short." (pg 572)
Boosey: Not mentioned. I would assume transposed is standard, but their example is an Oboe cue in a Flute part from Britten's "Four Sea Interludes," and as those are both C instruments this isn't terribly helpful. (pg 36)
Schirmer: "Cues must always be transposed and in the native clef of the instrumental part. ... With instruments that read only one clef you should try to keep cues in that clef." (pg 65)
On type styles of cues
UE: "Names of instruments in cue notes" are Times Roman 10pt (pg VI) Their examples use a superscript when indicating which player as in "Tr. 1ª" and "Ob. 1º".
Gould: "Indicate the cued instrument or voice as an abbreviation at the stem end of the cue, above the stave for cues with conventional stem direction. Indicate instrumental changes during a cue, using the '+' sign for additional instruments." (pg 570) She does not use parenthesis in her examples, and uses a standard serif font, not italic or another text style. No ordinals or superscript.
Boosey: Not mentioned, but labeling style in examples seems consistent with Gould and Schirmer.
Schirmer: "A label identifying the instrument should appear at the beginning of a cue. Abbreviate appropriately; do not use parenthesis." (pg 67) Schirmer also uses a standard serif font in their examples, and no ordinals or superscript.
On superfluous information
UE: Their examples containing elements other than pitch and rhythmic information seem a bit inconsistent. The part on pg 10-11 does not contain other elements, but the part on pg 8 does.
Gould: "Apart from an indication of instrumentation, pitch and rhythmic information is usually all that is needed from a cue. Omit dynamics, articulation and phrasing except when they are important in the context, e.g. when the signal a change of texture." (pg 569)
Boosey: "Dymanics and other performance indications are only normally included if the cue may have to be played - to replace an optional instrument, for example." (pg 36)
Schirmer: "Cues only need pitch and rhythmic information (no slurs, articulations, dynamics, etc.)" (pg 66)
On text cues
UE: Uses text cues "Va., Vc." above the staff on pgs 9 and 13, so clearly allowed.
Gould: "INDICATION OF PROMINENT ENTRIES Prominent entries are useful markers during long rest periods and preceding a melodic or rhythmic cue." (pg 567) Approval of text cues, although I do find her style of always placing them below the staff interesting.
Boosey: Not mentioned nor demonstrated in examples.
Schirmer: "If the entire brass section enters fff on the downbeat of measure 27, this is a good choice for a cue (and the word "Brass" is sometimes sufficient.)" (pg 65) Approval of text cues, but no visual example is given so I'm not sure if Schirmer places them below the staff like Gould does or not.
There seems to be a remarkable consistency with how current publishers handle cues. Style trends may come and go I suppose, but the current style that musicians will expect for new work is pretty clear from the above guidelines.
On cue notes in a bar with an entrance
UE: "Cue notes may not be written in the bar in which the instrument playing the current orchestral part comes in again."
Gould: "Unless it is important to follow through a cue right up to an entry (e.g. to show how the player continues a phrase), finish a cue in the previous bar, so as not to obscure the entry." (pg 571)
Boosey: Doesn't mention cueing in an entry bar per se, but the example in the cueing section 7.12 shows an open-ended tie from the cue measure into the entrance measure which begins with a rest. If the cue was allowed to continue into the entry measure, I assume they would have showed the note in the bar rather than a cue note tied to a full sized rest. (pg 36)
Schirmer: Not mentioned at all in Cue section, pgs 65-67. All examples in this section have an instrument entering on the first beat of a measure so it doesn't seem to be addressed. Other examples of part layout (like pg 61) show the cue ending in the previous bar, and the entry bar beginning with a full sized rest, but as I don't know what piece this is I cannot say this is conclusive one way or the other.
On using solo or vocal parts as cues
UE: "Solo and vocal parts may not be used as cue notes."
Gould: "CUE FROM A SOLOIST, SINGER OR SPEAKER Such a cue should be a last resort - either when there is no alternative cue, or when the instrument's entry depends on it: the soloist or singers may not be present at the first rehearsals. Furthermore, when, in performance, a singer or speaker is positioned at the front of the stage and the players behind, the players may not the able to hear the cue. In a work for a small ensemble, a soloist is likely to be present at initial rehearsals and therefore such a cue is appropriate." (pg 568) "If in doubt, cue the line of a player sitting in close proximity." (pg 567)
Boosey: Not mentioned directly, only "When selecting cues, make sure that the player can hear the cue and - most importantly - that it is unique." (pg 37)
Schirmer: Not mentioned directly, only "Select a clear musical entrance for the cue ... A secondary voice or repetitive pattern that has been continuing for some time would be a bad one." (pg 65)
On transposing cues
UE: "Cue notes are notated in the parts as they appear in the score. If the score is in the key of C, all cue notes must also be notated in C in the transposing instrumental parts. If the score is written transposed, all instruments are also cited in the instrumental parts, whereby here the tuning must also be mentioned in the citation (e.g. Hr. in F)." I'm not entirely clear about what they are trying to say here.
Gould: "A cue should be transposed into the key of the playing instrument, as if the player is to play the cue." (pg 574) "It is best to notate a cue in the player's current clef, especially when the cue is short." (pg 572)
Boosey: Not mentioned. I would assume transposed is standard, but their example is an Oboe cue in a Flute part from Britten's "Four Sea Interludes," and as those are both C instruments this isn't terribly helpful. (pg 36)
Schirmer: "Cues must always be transposed and in the native clef of the instrumental part. ... With instruments that read only one clef you should try to keep cues in that clef." (pg 65)
On type styles of cues
UE: "Names of instruments in cue notes" are Times Roman 10pt (pg VI) Their examples use a superscript when indicating which player as in "Tr. 1ª" and "Ob. 1º".
Gould: "Indicate the cued instrument or voice as an abbreviation at the stem end of the cue, above the stave for cues with conventional stem direction. Indicate instrumental changes during a cue, using the '+' sign for additional instruments." (pg 570) She does not use parenthesis in her examples, and uses a standard serif font, not italic or another text style. No ordinals or superscript.
Boosey: Not mentioned, but labeling style in examples seems consistent with Gould and Schirmer.
Schirmer: "A label identifying the instrument should appear at the beginning of a cue. Abbreviate appropriately; do not use parenthesis." (pg 67) Schirmer also uses a standard serif font in their examples, and no ordinals or superscript.
On superfluous information
UE: Their examples containing elements other than pitch and rhythmic information seem a bit inconsistent. The part on pg 10-11 does not contain other elements, but the part on pg 8 does.
Gould: "Apart from an indication of instrumentation, pitch and rhythmic information is usually all that is needed from a cue. Omit dynamics, articulation and phrasing except when they are important in the context, e.g. when the signal a change of texture." (pg 569)
Boosey: "Dymanics and other performance indications are only normally included if the cue may have to be played - to replace an optional instrument, for example." (pg 36)
Schirmer: "Cues only need pitch and rhythmic information (no slurs, articulations, dynamics, etc.)" (pg 66)
On text cues
UE: Uses text cues "Va., Vc." above the staff on pgs 9 and 13, so clearly allowed.
Gould: "INDICATION OF PROMINENT ENTRIES Prominent entries are useful markers during long rest periods and preceding a melodic or rhythmic cue." (pg 567) Approval of text cues, although I do find her style of always placing them below the staff interesting.
Boosey: Not mentioned nor demonstrated in examples.
Schirmer: "If the entire brass section enters fff on the downbeat of measure 27, this is a good choice for a cue (and the word "Brass" is sometimes sufficient.)" (pg 65) Approval of text cues, but no visual example is given so I'm not sure if Schirmer places them below the staff like Gould does or not.
There seems to be a remarkable consistency with how current publishers handle cues. Style trends may come and go I suppose, but the current style that musicians will expect for new work is pretty clear from the above guidelines.