The Writer's Corner

As promised, here is Bill Elliott’s version of “Fools Rush In,” as sung by Michael Feinstein. I’ve also included the score in pdf format.

Note that right from the very beginning, Bill lets us know what we are in for with his use of woodwinds. Also note where Bill places the fills and how the strings have a very lush sound because of the range he puts them in.

Enjoy, and feel free to post comments as to your own listening/writing experience.

Fools Rush In Audio

Fools Rush In Score

Hi everyone,

If you’ve spent a lot of time (and erasers or electricity) on the lead sheet and sketching stages, this part should go easily and actually might be fun. Now you’re just transferring information that’s already been slaved over – in a neat and precise way. The most grueling part is usually in the sketching stage, because this is generally where you have to create. Creating is not always easy. The end result, however, is worth it.

1. If working in pencil, transfer all information from your sketch to the appropriate staffs on the score page. Double and triple-check this process. It is at this point that many mistakes can and will occur. The best way to work is a page at a time. Start at the top of the page (in this case, trumpet), and work your way across and then down the page. If you start, for example, by putting in the rhythm section first, you’ll smudge the lead on the score paper as you rest your hand or arm on the lower parts.

2. Write in all dynamics and articulations that you wish to use. Don’t forget about measure numbers for every measure, as well as rehearsal markings that you’ve already written on the sketch.

3. When you feel that you’ve completed the scoring process, go back to the sketch, and make sure that you’ve transferred everything the way you want it-especially harmonizations of any kind.

4. If you are using a notation software program such as Finale or Sibelius, the notes are already input ino the staffs. You should now “format” the pages for the number of measures and systems per page – it won’t necessarily be the same on each page. This can be very tricky but remember one thing: It is better to turn a lot a pages and be able to easily read the music than having less pages but the font is so small (more measures) that it can’t be easily read. Also, try to get all double bar lines (ends of sections) to appear on the right side of the page. In this way the beginnings of sections will all appear on the right.

5. I can’t emphasize enough how important it is to proofread your work at all stages. A mistake made (wrong pitch for example) in the lead sheet or sketching stages will show up in the scoring stage as well if not found.

In my next post I’ll finish the process and talk about part extraction, which is historically known as “copying.”

Until then,

Jerry

Completed Score Page

Hi everyone,

If you’ve spent a lot of time (and erasers or electricity) on the lead sheet and sketching stages, this part should go easily and actually might be fun. Now you’re just transferring information that’s already been slaved over – in a neat and precise way. The most grueling part is usually in the sketching stage, because this is generally where you have to create. Creating is not always easy. The end result, however, is worth it.

1. If working in pencil, transfer all information from your sketch to the appropriate staffs on the score page. Double and triple-check this process. It is at this point that many mistakes can and will occur. The best way to work is a page at a time. Start at the top of the page (in this case, trumpet), and work your way across and then down the page. If you start, for example, by putting in the rhythm section first, you’ll smudge the lead on the score paper as you rest your hand or arm on the lower parts.

2. Write in all dynamics and articulations that you wish to use. Don’t forget about measure numbers for every measure, as well as rehearsal markings that you’ve already written on the sketch.

3. When you feel that you’ve completed the scoring process, go back to the sketch, and make sure that you’ve transferred everything the way you want it-especially harmonizations of any kind.

4. If you are using a notation software program such as Finale or Sibelius, the notes are already input ino the staffs. You should now “format” the pages for the number of measures and systems per page – it won’t necessarily be the same on each page. This can be very tricky but remember one thing: It is better to turn a lot a pages and be able to easily read the music than having less pages but the font is so small (more measures) that it can’t be easily read. Also, try to get all double bar lines (ends of sections) to appear on the right side of the page. In this way the beginnings of sections will all appear on the right.

5. I can’t emphasize enough how important it is to proofread your work at all stages. A mistake made (wrong pitch for example) in the lead sheet or sketching stages will show up in the scoring stage as well if not found.

In my next post I’ll finish the process and talk about part extraction, which is historically known as “copying.”

Until then,

Jerry

Completed Score Page