Elaine Gould's guest appearances

Elaine Gould

The Extraordinary Business Book Club

Scoring Notes

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If there is one book that anyone working with music notation needs to have, either on their desk, or on their device — or at least in a library within walking distance of their home — it's Behind Bars: The Definitive Guide to Music Notation. Published in 2011 by Faber Music, Elaine Gould's 700-page volume quickly became the preeminent reference for music engravers, providing an exhaustive collection of rules, traditions, suggestions, and conventions for how to set music in the clearest way possible.It's those "general" conventions that take up first third of the book — starting from what Elaine calls the "ground rules" such as the appearance of the staff, clefs, noteheads, and more — and continues on for another 200 pages or so, before the book moves onto the areas of instrumentation and layout. Elaine joins Philip Rothman and David MacDonald to tell us about the new publication of that first section, Behind Bars: General Conventions, as a stand-alone edition suitable for slipping into your bookbag, where it won't break the bank, or your back.In this wide-ranging conversation, Elaine talks with us about her early background and how she came to the profession of music preparation and editing. We uncover the seeds that eventually became Behind Bars, and the decades-long journey from meticulous refinements to its eventual publication and virtually overnight success.Elaine gives us her practical tips for working with composers, performers, and publishers, the realities of time pressures and budget restrictions, and the inevitable revisions that occur with new music, and tells us how she's navigated the often-conflicting goals of the  engraving ideal and the necessity of deadline-driven production.She also has advice for those that are just starting out in the field, and naturally, given our focus on music notation software and technology, she opines on what the computer's strengths and weaknesses, the crucial differences between looking at music on a screen and on a page, and the progress made since Behind Bars was first published in 2011.

If there is one book that anyone working with music notation needs to have, either on their desk, or on their device — or at least in a library within walking distance of their home — it's <a href="https://amzn.to/431VIvu" rel="noopener nofollow" target="_blank">Behind Bars: The Definitive Guide to Music Notation</a>. Published in 2011 by Faber Music, Elaine Gould's 700-page volume quickly became the preeminent reference for music engravers, providing an exhaustive collection of rules, traditions, suggestions, and conventions for how to set music in the clearest way possible. It's those "general" conventions that take up first third of the book — starting from what Elaine calls the "ground rules" such as the appearance of the staff, clefs, noteheads, and more — and continues on for another 200 pages or so, before the book moves onto the areas of instrumentation and layout. Elaine joins Philip Rothman and David MacDonald to tell us about the new publication of that first section, <a href="https://www.fabermusic.com/shop/p462723" rel="noopener nofollow" target="_blank">Behind Bars: General Conventions</a>, as a stand-alone edition suitable for slipping into your bookbag, where it won't break the bank, or your back. In this wide-ranging conversation, Elaine talks with us about her early background and how she came to the profession of music preparation and editing. We uncover the seeds that eventually became Behind Bars, and the decades-long journey from meticulous refinements to its eventual publication and virtually overnight success. Elaine gives us her practical tips for working with composers, performers, and publishers, the realities of time pressures and budget restrictions, and the inevitable revisions that occur with new music, and tells us how she's navigated the often-conflicting goals of the  engraving ideal and the necessity of deadline-driven production. She also has advice for those that are just starting out in the field, and naturally, given our focus on music notation software and technology, she opines on what the computer's strengths and weaknesses, the crucial differences between looking at music on a screen and on a page, and the progress made since Behind Bars was first published in 2011.

Behind “Behind Bars” with Elaine Gould

Music notation may seem a world away from business books, but the parallels are striking: when music editor Elaine Gould wrote what was to become the classic reference work Behind Bars: The Definitive Guide to Music Notation, her focus was relentlessly on the musicians who had to use those marks on the staves in performance. Good notation allows the composer's vision and the performer's skill to be translated without interference into the music the audience experiences.  'My greatest joy is going along to a concert, and the composer dashing up to me from the other end of the room and saying, "Thank you!"' When you're translating your expertise into a book, that focus on how the reader is going to experience and use your message is equally important. Her rigorous attention to detail is inspiring, and her reaction to seeing the finished book heart-warmingly honest - I for one can empathise with this:  'When [they] handed me the first copy off the press, I was just so overwhelmed. It was wonderful. I hugged that book all the way back on the train to London, and I think I slept with it beside my bed. And in the morning, I looked up to see, was it really there? After all these years, was it there? And then it was there, and I thought you know what? For the rest of my life, I haven't got to write that book again.'

Music notation may seem a world away from business books, but the parallels are striking: when music editor Elaine Gould wrote what was to become the classic reference work Behind Bars: The Definitive Guide to Music Notation, her focus was relentlessly on the musicians who had to use those marks on the staves in performance. Good notation allows the composer's vision and the performer's skill to be translated without interference into the music the audience experiences.  'My greatest joy is going along to a concert, and the composer dashing up to me from the other end of the room and saying, "Thank you!"' When you're translating your expertise into a book, that focus on how the reader is going to experience and use your message is equally important. Her rigorous attention to detail is inspiring, and her reaction to seeing the finished book heart-warmingly honest - I for one can empathise with this:  'When [they] handed me the first copy off the press, I was just so overwhelmed. It was wonderful. I hugged that book all the way back on the train to London, and I think I slept with it beside my bed. And in the morning, I looked up to see, was it really there? After all these years, was it there? And then it was there, and I thought you know what? For the rest of my life, I haven't got to write that book again.'