OLS Original Lead Sheet CLS Completed Lead Sheet, also referred to as simply the LS CS Chord Sheet HS Hymn Sheet VS Vocal Sheet

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1 Abbreviations OLS Original Lead Sheet CLS Completed Lead Sheet, also referred to as simply the LS CS Chord Sheet HS Hymn Sheet VS Vocal Sheet Published Product The publisher's printed product (the OLS) is the primary source. This means that when the Finale file is played through, it should follow the printed product in all respects: pitches, rhythms, tempos, repeats, codas, etc. No changes will be made to the pitches, rhythms, or chords symbols. Exceptions: 1. Omission of instrumental introductions under the following rules. When the given introduction is long (more than 8 measures) and could be considered unrelated to the song. When a short introduction (4 measures) uses the same chord progression as another section of the song. 2. Reconfiguration of repeats and codas to save space. For instance, when the same four measures are written out 4 times on the OLS (Original Lead Sheet), the engraver can, and should, write them out once as a repeated section with 1st and 2nd endings as needed. 3. Use of more theoretically correct chord symbols (Am7 instead of C/A, or C#7 in the key of A instead of Db7). 1 P a g e

2 Use of Recordings Use of other sources (CDs, DVDs, YouTube) is not allowed. Exceptions: 1. If the print product is markedly unclear, or presents serious internal inconsistencies (e.g. conflicts between the chord symbols and the accompaniment, or repeat phrases that are unclear), the engraver may consult the authorized recording on file. 2. If the engraver wishes to use a recording other than the authorized recording (YouTube, for instance), permission must be obtained from the Creative Services department manager. Other SongSelect Products All SongSelect products will match in all respects: title, authors, tempo, rhythms, pitches, repeat phrases, etc. Examples: 1. If an introduction is included in the LS (Lead Sheet), it must also be included in the CS (Chord Sheet), and the HS/VS (Hymn Sheet / Vocal Sheet). 2. When creating a new layout to accommodate certain harmonies on the HS/VS, the LS must be updated to match. Templates Finale Templates for each product will be provided as needed. The settings for each template have been carefully tested to ensure that the final product displays correctly in our player, and adheres to the CCLI guidelines. Lead Sheets created using other templates or notation software will not be accepted. Introductions Introductions will be included if: 1. It is short (between 4 and 8 measures). 2. It is not included anywhere else on the OLS. 3. It is unique. That is to say, its chord progressions and/or melody lines are not included anywhere else on the OLS, and are considered important in establishing the character of the song. 2 P a g e

3 Titles Titles will be taken from CCLI's database. If the title given on the OLS differs from that given in the database, the title in the database will be used. The first letter of each word in the title will be capitalized. If a parenthetical title following the main title causes that title to extend beyond reason, the parenthetical title will appear on a second line under the main title and be reduced to font size 18. (See example above) * FINALE NOTE: The title will be entered in the Title field of the File Info window. Authors Authors' names will be justified to the right page margin, above the top staff and below the title, and listed as: Words and Music by <Composer Name>. Authors' names will be given in the same order as they appear on the OLS, first name first (even if they appear different in the database), unless otherwise instructed by the Creative Services Administrator. Each name will be separated by a comma, except for the last two, where the comma will be replaced by the word "and". Authors with the same last name (Keith and Kristyn Getty, for instance), will be listed separately (Keith Getty and Kristyn Getty). When a string of authors' names extends into the center third of the page, a return will be inserted to divide the names up between two lines, or three, if needed. (See example above). If a lyricist is listed separately on the OLS, he/she will be listed first, in the same field as the other composers. Translators' names will be justified to the left page margin. (When there is no translator, the place holder for the translator will be deleted from the template.) *FINALE NOTE: The author(s) will be entered in the Composer field of the File Info window. 3 P a g e

4 Key Signature The key signature will be set to reflect the key signature given on the OLS and will be further identified as major or minor. When inconsistencies are discovered between the key signature given on the OLS, and its own melody, and/or accompaniment, the key signature that is most consistent with the melody and/or the accompaniment will be used. Occasionally, a key signature will be encountered that the player is not capable of displaying. In this case the Lead Sheet will be engraved either up or down a half step (Cb to C, for instance). Tempo If the OLS includes a tempo marking, that tempo marking will also be included on the Lead Sheet. (See the Notation page for more information.) If no tempo marking is given, the engraver must decide whether the player's default tempo is adequate for meaningful playback, or to include a more musically appropriate tempo marking taken from an authorized recording. When the OLS indicates that the eighth notes are to be performed in a swing style, the engraver may choose to indicate it as well, using the expression, "Swing eighths". *FINALE NOTE: The tempo marking will be entered using the ones provided in the template. 4 P a g e

5 Meter (Time) signatures 4/4 will be used for Common time (not the abbreviated C). The abbreviated will be used for cut time. In compound meters, such as 6/8, 9/8 and 12/8, the dotted quarter note note will receive the beat. Key Signature The key signature will be set to reflect the key signature given on the OLS and will be further identified as major or minor. (See the Header Info page for more detailed information.) Tempo Marking Placement Horizontal spacing positioned so that the notehead is centered over the top of the treble clef. Vertical spacing positioned so that the base line is slightly above the top edge of the chord symbols. (See the Header Info page for more detailed information.) Pitches All pitches will match the melody given on the OLS, and will be notated in the treble staff. However, in some cases the melody may need to be transposed up an octave, under the following conditions. 1. When the OLS has the melody written in the bass clef. 2. When the OLS has the melody written in the lowest voice of a three-part treble clef harmonization. 5 P a g e

6 Rhythms 1. in 4/4 2. in 3/4 When notating rhythm combinations of eighth notes and sixteenth notes, keep the division between all beats intact. When notating rhythm combinations of quarter notes and eighth notes, keep only the division between beats 2 and 3 intact. When notating rhythm combinations of half notes and quarter notes, there is no need to keep any beat divisions intact. Beams will span no more than two eighths or four sixteenths. Avoid using dotted rests, except for the dotted eighth rest. Beams should span no more than two eighths or four sixteenths. A whole rest is used in 3/4 time to indicate a full measure of rest. Avoid using dotted rests, except for the dotted eighth rest. 3. in 6/8, 9/8 and 12/8 Use dotted eighths when syncopating in these meters, rather than using an eighth and a sixteenth tied together. A whole rest is used in these meters, to indicate a full measure of rest. DO use dotted quarter notes and dotted rests in these meters. 6 P a g e

7 Instrumental Cues Though it is not required, an engraver may choose to include instrumental passages given in the OLS, if the melodies of those passages are judged to be significantly helpful in establishing the character of the song. All notes in an instrumental passage will be cued at 78%. Use instrumental cues to accurately place chord symbols. 1. When a chord occurs on the 'and' of beat 2, while the melody has a whole note, instrumental cues below that melody can be helpful in accurately placing that chord symbol. 2. When there are several off-beat chord changes in a row, instrumental cues are preferable to using strings of tied notes or eighth rests. (See the Chords page for more information about chord placement.) Vocal Cues Every effort will be made to notate all sung notes at full size. (Lyric rests are used for variations in a 2nd verse. See the Lyrics page for more information on lyric rests. However, when different pitches and rhythms for a second verse are notated in the same measure as the first verse, cued notes may be used. Vocal cues will also be set to 78%. Antiphonal or Echo Phrases If both the Call and Response fit on the same staff, the Call notes will have stems up, while the Response will have stems down. If the notes for the Call and Response do not overlap, they can be entered in the same layer, and have their stems manually flipped, as needed. If the notes for the Call and Response overlap, the notes for the Response will be entered in a second layer. 7 P a g e

8 Slurs and Ties On single layer, unison passages, ties and slurs will be placed on the notehead side of the stems. (This is Finale's default setting.) Where two layers (or voices) are used, one layer will have stems up, with the ties and slurs placed above the notes, while the other will have stems down with the ties and slurs under the notes. A hanging slur will be used instead of a tie in places such as: 1. On the last note of a 1st ending that is meant to be tied to the note it repeats to. 2. On the first note of a 2nd ending or Coda section that is meant to be tied to the note that precedes it. Staff Styles Slash notation When using slash notation on non-vocal measures, quarter or half rests will be used to help space the slashes out. Rhythmic notation Rhythmic notation will be used sparingly; not all note values display properly in the player. 8 P a g e

9 Capitalization Capitalization will follow the OLS unless otherwise instructed by the Creative Services Administrator. All words preceded by a period, semicolon or colon will be capitalized. When the OLS lyrics do not conform to the these standards, it is up to the engraver as to which should be changed: the capitalization or the punctuation. If a change is made, the change must be made to all products. Punctuation All punctuation will follow the OLS, including commas, periods, colons, semi-colons, apostrophes, quotation marks, exclamation marks, question marks, long dashes, etc. If an OLS is lacking in punctuation, the engraver has the freedom to add the necessary marks so that the lyrics make sense. Quotation marks and apostrophes will be in a font type that produces smart (or curly) quotes and apostrophes. (Alt+0147 and Alt+0148 for opening and closing quotes, Alt+0145 and Alt+0146 for opening and closing single quotes, and Alt+0145 for apostrophes.) Hyphenation and Spelling Hyphenation and spelling should be corrected as needed, with the awareness that spellings can vary from region to region (Savior vs. Saviour). Hyphenation will follow the hyphenations given at Dictionary.com ( Only one hyphen will be used between syllables. When a second syllable occurs on a different system, only the first syllable will have a hyphen. When a hyphenated word occurs before a backward repeat, the syllable preceding the hyphen will be followed by both a "hard" space (Alt+0160), and a "hard" hyphen (Alt+0173). 9 P a g e

10 Verses All lyrics will be entered in the Verse field; the Finale designations "Chorus" and "Section" are not used to enter lyrics. All verses given on the OLS will be included on the LS and HS/VS, except where any verses beyond verse 5 would require an additional page. In this case, additional verses may be added as block text under the last system. If pickup lyrics for verse 2 appear later in the song with a repeat back to the beginning of verse 1, those lyrics will also be entered under the pickup lyrics for verse 1, but in parenthesis, provided they use the same rhythms and pitches as verse 1. If the rhythms and pitches are significantly different, the verse number in parenthesis will be entered as part of the first lyric of the first complete measure. If lyrics for verse 2 end in a second ending, they will entered as part of verse 1. When lyrics for verse 2 use rhythms and pitches different from verse 1, there are two options: 1. Use cued notes in a second layer or voice (at 78%), with their stems in an opposite direction from those of verse Extract verse 2 (if it is stacked with verse 1 in the OLS), and engrave it separately. This will most likely require a reconfiguration of repeat phrases, but is the best option when a Hymn Sheet or Vocal Sheet will also be engraved. Verse Numbers Verse numbers will be entered as part of the first syllable followed by a period and a hard space (Alt+0160). The first number/syllable combination of a verse will be moved to the left so that the syllable is centered under the note. However, stacked verses will be moved so that the periods following the numbers are aligned. 10 P a g e

11 Use of Lyric Rests If verse 2 requires extra notes that are not part of verse 1 (e.g. when verse2 has a three note pickup, where verse 1 only has two notes), the extra note(s) will remain full size and a lyric rest will be added to the verse. Note values may be combined for the lyric rests, but will not exceed a quarter rest. For instance, if verse 2 has two extra eighth notes, a quarter rest is preferable to two eighth rests. Lyric Extensions The word or syllable that has the lyric extension will be centered under the first note of the phrase. The lyric extension will end flush with the right most point of the note head through which it extends. When an extension is needed but not automatically generated (e.g. under a hanging slur), an extension will be manually created and moved to be in line with other extensions in that staff, and centered under the note and its hanging slur. There are two ways in which this type of lyric extension may be created: 1. In lyric entry, use a combination of m-dashes (Alt+0151) and n-dashes (Alt+0150). This is preferable. 2. When it is not possible to use the lyric dashes (for instance, when the lyric extension must be drawn under more than one note), use a straight slur instead. Non-standard Lyrics Echoes Echoes will be entered in the verse below the main melody and italicized. Spoken lyrics If the spoken lyrics are rhythmic in nature and attached to notes, they will be entered as regular lyrics and italicized (e.g. rap lyrics). Narrations Narrations (passages that are not spoken to a particular rhythm) are not typically included. However, when the decision is made to include them, they will be entered as an expression and set to Italics, size 12. Their placement in relation to the measures will be as close as possible to that found on the OLS. 11 P a g e

12 Chord Entry Chord symbols will be entered using the chords found in the Chord Library programmed into the Lead Sheet template. Alternate Bass Chords will be entered using Finale's default "After Root" setting. Chord Placement All chord symbols will be placed over a note or rest. When there is no note or rest in the melody for accurate chord placement, there are three options. 1. Rewrite a note as two tied notes of shorter value (e.g. a half note as two tied quarters). Avoid using more than two tied notes in a row. 2. Rewrite a rest as a combination of two rests of shorter value. Avoid using more than two eighth rests in a row. 3. Use cued notes, at 78%, in a second layer, and attach the chords to those. If there is an accompaniment part given in the OLS, the top-most note that doesn't collide with the melody will be used for the cues. Chords in Empty Measures When chords must be placed in measures that onlyhave whole rests, half rests will be used for chord attachment. Those half rests will then be hidden, and a whole rest in a second layer will be added for display purposes. When chords must be placed in measures of slash or rhythmic notation, quarter or half rests will be used, depending on the spacing needs. 12 P a g e

13 When a chord is not found in the chord library Use an alternate chord symbol that has the same definition. For example, use Csus in place of Csus4, C2(no3) in place of Csus2, and Cmaj7 in place of CM7. When a new chord symbol must be created, duplicate an existing chord that utilizes the same layout, and edit it. o For example, can be edited to create. When the OLS has no chords When a hymn style OLS has no chord symbols, an analysis will have to be made by the engraver. When doing an analysis the engraver will attempt to keep the chord changes to no more than one chord per beat. For instance, if the parts indicate a chord change on the last two eighth notes of a measure from C6 to C7, a C7 can be use for both. 1. When the actual root or bass note changes on the "and" of a beat, the chord symbols will reflect that. (C to D on two eighth notes.) 2. Exception: When the bass part uses a passing note between two chords, and that bass line is considered integral to the song, the engraver may include an alternate bass chord on that half beat that reflects that. 13 P a g e

14 All repeat phrases and symbols, except for the Coda sign, will be accompanied by a double barline or a repeat sign. Only text phrases will receive Repeat Assignments; symbols will always be set to Never Jump. Segnos and Coda Signs Horizontal spacing positioned so that the symbol lies between the left end of the staff and the clef sign. (If the Segno must appear in the middle of a system, it will be centered over the left double barline of the measure to which it is attached.) Vertical spacing positioned so that the base line of the symbol is slightly above the top edge of the chord symbols. *FINALE NOTE: The Action in the Repeat Assignment dialog box will be set to "Never Jump" The Segno The Segno will always be placed at the beginning of a section. Make every attempt to lay out the song so that the Segno appears at the beginning of a system, as well. Coda Signs The Coda sign will always be placed at the beginning of a system that is indented to 144 EVPUs. D.S., D.C., D.S al Coda, D.C. al Coda Horizontal spacing positioned so that the last letter of the phrase is flush with the right double barline (or backward repeat sign) of the measure to which it is attached. Vertical spacing positioned above the top of the staff and below the chord symbol baseline. The chord symbol baseline will be adjusted as needed to provide space for the phrase. This phrase should only appear in the last measure of a system, or within an ending bracket. *FINALE NOTE: The Target in the Repeat Assignment dialog box will be set to jump to the appropriate measure. 14 P a g e

15 Fine Horizontal spacing positioned so that the last letter of the phrase is flush with the right double barline of the measure to which it is attached. (Adding a final bar to a Fine is considered redundant.) Vertical spacing positioned above the top of the staff and below the chord symbol baseline. The chord symbol baseline will be adjusted as needed to provide space for the phrase. *FINALE NOTE: The Action in the Repeat Assignment dialog box will be set to Stop on the appropriate pass. Second time to Coda / Last time to Coda Horizontal spacing positioned so that the right edge of both the symbol and the phrase is flush with the right double barline of the measure to which it is attached. Vertical spacing positioned so that the phrase is above the symbol, and the center line of the symbol is in line with the top edge of the chord symbols. When these phrases occur on a measure line that begins an ending bracket, the double bar may be omitted, defaulting to a normal barline. "Last time to Coda" will be used for all jumps to the Coda that occur on the third pass or higher. *FINALE NOTE: The Action in the Repeat Assignment dialog box will be set to Stop on the appropriate pass. Endings Two different sets of endings will not share the same forward repeat sign. Endings placed within longer ending sections will not be used (nested endings). This may require a different layout than that of the OLS. Any ending may substitute a D.S. or D.C. phrase for the standard repeat sign, as long as it is accompanied by a double barline. Avoid long endings if at all possible. For example, rather than framing 16 measures of a verse within a first ending, it is better to use a D.S. or D.C. phrase. Where an ending spans more than one system, the opening bracket will only extend over the first measure of the ending, while the closing bracket will extend over the last measure. (This is Finale's default.) 15 P a g e

16 Where both opening and closing brackets are on the same system, the top line of the opening bracket will be extended to create a single bracket. Avoid placing a forward repeat sign at the beginning of asecond or third ending. If a repeat sign occurs simultaneous with the beginning of a second ending, an extra measure should be inserted, so that the repeat sign occurs in the second measure after the ending. The legs of an ending will extend to touch the top line of the staff. Multiple ending numbers will be separated by a comma and a space. D.S.S. and Codettas On the rare occasion when more than one Coda or Segno is needed, the phrase D.S.S. al Codetta, and their corresponding symbols will be used. Every attempt will be made to avoid overlapping D.S.'s. For instance, a double segno will not occur before the single segno. 16 P a g e

17 Sections Sections include, but are not limited to: Verses, Pre-Choruses, Choruses, Bridges, and Instrumentals. However, section headers are not used. Each new section will typically begin on a new system. Pickup notes to a new section will typically occur in the last measure of the previous system. Double Barlines Double barlines will be placed at the beginning of each new section Verses, Prechoruses, Choruses, Bridges, Instrumentals, etc. When there is a pickup to a new section, the double barline will be placed after the pickup, on the downbeat of the musical phrase. This may require a layout that differs from the OLS. Adding Extra Staves When engraving a partner song where the two parts occur simultaneously, a second staff may be added. When adding a staff, the resulting two staves will be named appropriately(e.g. Vocals 1 and Vocals 2, or Melody and Descant). All staff names will be hidden. When only one section of a song needs two staves, the score will be Optimized, and the empty staves hidden, to minimize the page count. System Margins The first system of a song and any coda sections will be indented to 144 EVPUs. When there is a need to increase the space between the systems (e.g. when multiple verses are present), the bottom margin will be changed; all others will be left unchanged. When the last system of a song is too short to fill the width of the page with normal note spacing, the right margin may be reduced. In the event that, after following these guidelines, the last page is left with just one system, the margins for the systems on the second to last page may be reduced, within reason, to allow that last system to be included, resulting in one less page. (FINALE NOTE: reduce the bottom margin of each system to 90.) 17 P a g e

18 *FINALE NOTE: Any changes made to the System Margins will be made in the Edit System Margins window under the Page Layout menu. Final Checks In Finale, under Playback options, Ignore Repeats will be checked. Any explanations regarding necessary deviations from these guidelines will be entered in the Description field in the File Info window of Finale File Naming All files will be named using the following convention: <Song Sheet abbreviation>-<ccli song number>-u-<language Code><Region Code> Song Sheet abbreviations: o LS Lead Sheet o HS Hymn Sheet o VS Vocal Sheet o CS Chord Sheet Language/Region Codes when written in o The United States enus (English lyrics) es US (Spanish lyrics) o United Kingdom engb (where the English is uniquely British) o Brazil ptbr (Portuguese lyrics) enbr (English lyrics) esbr (Spanish lyrics) o Germany dede (Germany lyrics) ende (English lyrics) o Mexico esmx (Spanish lyrics) enmx (English lyrics) o South Africa afza (Africaan lyrics) enza (English lyrics) o Netherlands nlnl (Dutch lyrics) Example: o LS U-afZA (where LS=Lead Sheet, =the song number, U=Universal size, af=africaans, and ZA=South Africa) 18 P a g e