This starts to get involved when you decide to assemble the resulting pages to a booklet, because you may, for example, want page 4 and page 1 to print on one side of the sheet and pages 2 and 3 to print on the other. So if you’ve decided on 9 x 12″ pages, you’d need to print two-up on 12 x 18″ paper. The first step here is printing two-up on larger paper. However, when multiple pages are involved, printing to larger, better paper, but providing loose individual sheets is like dropping the ball a few inches from the goal. Combining PagesĪs long as none of your pieces go beyond a page or two, we’re done talking about paper. I’ll also share another professional secret: Larger page sizes can provide an informal copy protection method as not everyone can easily photocopy 9 x 12″ or larger pages. My goal isn’t to tell you what size you should use, but simply to suggest that there are alternatives to 8.5 x 11.″ When in doubt, you might look to musicians who perform the type of music you’re creating to see what’s on the stand in front of them. While I should point out that there are no universally accepted standards, MOLA guidelines suggest that North Americans print orchestra parts “on paper at least 9 x 12 inches but no larger than 11 x 14 inches,” while B4 is the most common size for European parts.Ĭhoral music, on the other hand, is often printed octavo size, 6.75 x 10.5.″ This size, and heavier paper, can both help minimize the sound of page turns, especially important in larger choirs. I suspect that jazz guys might complain if you print to white paper, but it’s unlikely that any legit players would complain if you print to buff. While concert and other music that was traditionally engraved was most often found on white paper, some might still argue that anything but white might be a little easier on the eyes. Accordingly, music created for these same genres today will likely be best received when it’s the same color – especially when working with players mature enough to recall buying buff manuscript paper from places like Judy Green. Jazz, commercial, and other kinds of music that used to be done by hand were almost always done on buff or cream-colored paper. While color may be the least critical aspect, it does have an impact and should be considered. In addition to thinking about the weight of your paper, you might also consider “acid-free” and similar qualities attributed to archival use. “cover” All three of these terms refer to heavier cardstock, so always make sure you’re looking at text weights. “index” is something different, as is 70 lb. ![]() “text” paper is perfect, I suggest that, if at all possible, you try to touch some paper and make your decision by feel. It’s a great, free resource you can download here make sure you get the 2017 revision. The Major Orchestra Librarians Association (MOLA) provides guidelines that not only suggest what should go on the page, but what you should use for the page, too. But you can go too heavy – card stock will also produce unfavorable reactions. It’s also less durable, can produce noisy page turns, and is more likely to be blown off the music stand when someone walks by or opens a door. When used for music, lightweight paper suggests that the contents are disposable, and its transparent nature is clearly unsuited for two-sided printing. Perhaps the most important element is the paper’s weight. ![]() When it comes to putting your music on paper, presentation plays a big part in perception, and it’s relatively easy to manage: your main paper variables are weight, color, and size. When musicians are given loose sheets of music, printed one-sided on translucent paper, they can’t help but think (consciously or not) that the music on it is similarly slapdash. If you take pride in the quality of your music notation, then print it on cheap typing paper, you’re dropping the ball a few feet from the goal.
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