Numbering Measures

Participants and coaches are expected to number measures in their parts and scores in advance of the Conference, so that groups can make better use of coaching time. Being able to locate a starting point quickly and unambiguously allows us to work more efficiently during coachings and rehearsals, especially when members of the group are working from different editions.

Measure number totals and numbering guidance may have been provided to you on your Tentative Coaching Schedule. If so, be sure to follow the guidance and to check that your totals match those you've been given.

If you are using an edition that contains measure numbers, check whether the numbers follow the Conference conventions, and if they do not, adjust the numbering where needed.

How to Number Measures

There is no universally-agreed-upon system for counting measures. The following scheme is frequently found in pre-numbered parts and can be applied successfully in almost all cases:

Checking Measure Counts

Measure counts for the works you have been assigned are provided, if known, in your Tentative Coaching Schedule. To access a list of all known measure counts, which may include updates since your tentative schedule was printed, click here.

Possible Problems, Possible Solutions

Q: How do I know I've numbered properly?
A: The only way to be reasonably certain that you have numbered properly is to prepare two separate parts or to number with a partner. The score is the easiest part to do correctly, so start with that.

Q: What if one part has first and second endings and another does not?
A
: This is the reason that first endings are not counted – it will work out. Measure numbers also make it easier to rehearse in this circumstance since the phrases “at the first ending” or “after the second ending” may not be meaningful to all parties.

Q: What if the first ending is long, and we want to be able to refer to a measure contained in the first ending? You've told us not to number any ending except the last!
A: Okay, here's the fancier version of that rule: the measures in the first ending have a suffix a attached to the bar number, whereas the second ending starts at the same bar number as the first ending but with a b suffix, and so forth.

Q: What if a repeat is written out in one part?
A
: This particular editorial decision poses problems for bar numbering. In this case the most straight-forward plan is that bar numbers should be re-used in the part written out: different instances of the same bar should have the same number. If you have only your own part and the score, however, you may not be aware of the layout in other parts or other editions. Fortunately this occurs infrequently.

Q: What if the bar lines are unaligned in the different parts?
A
: Usually this can be discerned only by looking at the score. In this case, one should count only those bar lines held in common by all parts. It is very valuable in such spots to place a number over each common bar line, rather than just once per line, so that you will quickly see the common starting points.

Q: What if the parts contain cuts?
A
: Another problem. The group may need to work from a single edition and should count each bar therein.

Known Measure Counts

For reference, following is a link to a list of works that have been assigned at the Conference, with measure counts if known: Measure Counts.

The Chamber Music Conference and Composers’ Forum of the East, Inc.
Tobias Werner, Music Director
Donald Crockett, Senior Composer-in-Residence
Susie Ikeda, Executive Director

617-447-1808  •  cmceast@cmceast.org
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