Berklee Press

Editor in Chief: Jonathan Feist

Vice President of Online Learning and Continuing Education: Debbie Cavalier
Assistant Vice President of Operations for Berklee Media: Robert F. Green
Assistant Vice President of Marketing and Recruitment for Berklee Media: Mike
King
Dean of Continuing Education: Carin Nuernberg
Editorial Assistants: Matthew Dunkle, Reilly Garrett, Zoë Lustri, José Rodrigo
Vazquez
Front Cover Design: Sumit Shringi
Front Cover Photos: “Stage in Lights” Copyright Narcis
Parfenti/Shutterstock.com; “Clipboard” by Rangizz/Shutterstock.com
Author Photo, About the Author: Patricia Gandolfo Mann
Author Photo, Back Cover: Wendy Parr, www.wendyparr.com
ISBN 978-0-87639-147-1

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CONTENTS

ACKNOWLEDGMENTS
INTRODUCTION. FORMS: FRIENDS OR FOES?
PART I. AT THE GIG
1. Stage Plot
2. Sound Plot and Input List
3. Performance Run Sheet
4. Set List
5. Song Order Worksheet
6. Performer Breakdown
7. Performance Report

PART II. IN THE STUDIO

8. Mic Assignment Chart
9. Recall Sheet
10. Signal Flow/Gain Stage Diagram
11. Gear Maintenance Schedule
12. Maintenance Checklist
13. Artist Archive Index
14. Song Data Sheet
15. Project Assets Summary
16. Audio Archive Reel Sheet
17. Master Archive Cue Sheet
18. Take Sheet
19. Lyric Take Sheet
20. CD Master Checklist
21. Media Label

PART III. ON THE SILVER SCREEN

22. Spotting Sheet/Notes
23. Timing Notes
24. Master Cue Sheet/Instrumentation Breakdown
25. Music Cue Sheet

PART IV. ON THE ROAD

 26. Assets Inventory
27. Tour Itinerary
28. Tour Checklist
29. Travel Instructions
30. Emergency Contact List/Medical Info Sheet
31. Merchandise Sales Register
32. Venue List
33. Venue Summary Sheet
34. Booking Request Form

PART V. PR AND MARKETING

35. One-Sheet
36. Postcard
37. Press Release
38. Repertoire List
39. Marketing Campaign Timeline

PART VI. AT THE OFFICE

40. Profit/Loss Form
41. Tour Budget
42. Budget-to-Actual Reconciliation
43. Invoice

PART VII. MUSIC PROJECT MANAGEMENT

44. Design Specification
45. Project Scope Statement
46. Work Breakdown Structure
47. Task List
48. Project List
49. Punch List
50. Proposal Summary
51. Job Assignment Matrix
52. Risk Mitigation Chart
53. Telephone Tree
54. Meeting Agenda
55. Meeting Minutes
56. FAQ
PART VIII. ON CAMPUS/AT THE AUDITION
57. Class Timeline and Lesson Plan
58. Grade Book
59. Practice Log
60. Audition Rating Sheet
61. Audition Summary Matrix

PART IX. AGREEMENTS

62. Co-Songwriter Split Sheet
63. Work-for-Hire Release
64. Antipiracy Cease and Desist Letter
65. Booking Sheet
66. Photograph Release

PART X. NOTATION
67. Full Score
68. Part
69. Piano/Vocal Score
70. Guitar Tablature
71. Drum Chart and Key
72. Lead Sheet
73. Chord Chart
74. Nashville Chord Chart
75. Arrangement Summary Sheet
AFTERWORD. TIPS FOR CREATING FORMS
ABOUT THE AUTHOR
ACKNOWLEDGMENTS
Many people touched this book, directly and indirectly. Special thanks to Jeff
Schroedl, Carin Nuernberg, Debbie Cavalier, Don Gorder, and the Berklee
College of Music Educational Review Committee for their support of this
concept and input into content. Thanks also to Jackie Muth and the staff at Hal
Leonard Corp. (freelancers, too) for the many dimensions of magic they work on
this and all Berklee Press books. And a huge shout-out to my Berklee Press
editorial assistants, Matthew Dunkle, Reilly Garrett, Zoë Lustri, and José
Rodrigo Vázquez always good sports, no matter what windmills I send them
tilting after.
A number of individuals and organizations graciously shared their experiences
and thoughts regarding content, and provided indispensable examples and
models, particularly Shane Adams, Debbie Cavalier, Mark Cross, From the Top,
Hal Leonard Corp., Mike King, superhero editor Susan Lindsay, Isaac Ho, David
Patterson, Lalo Schifrin, Jeff Schroedl, Charys Schuler, Sean Slade, Peter
Spellman, Don Teesdale, and Jonathan Adam Wyner. Special thanks to
photographers Patricia Gandolfo Mann and Wendy Parr, for the author photos.
For endless anecdotes, war stories, and industry insights, I am very grateful to
my authors, colleagues, and students at Berklee College of Music and Berklee
Press, both on campus and from all around the world, via our online school.
More recently, my friends at VocalizeU are continually providing new
inspirations and insights.
And my most profound thanks goes to my family: my education reformer/
visionary wife Marci Cornell-Feist, amazing/hilarious sons Merlin and Forrest,
and Cricket “the love beagle,” who snuggles close or wags her tail just when it is
needed the most.
I don’t know how anyone could possibly write a book without them all.
INTRODUCTION. FORMS: FRIENDS OR FOES?
Like many musicians, I have long loathed inane bureaucracy. Forms often seem
like perfunctory red tape blocking the path between well-meaning people and
their ability to do good work.
But in 2002, outside my work at Berklee College of Music, I started
participating in my small town’s local government, serving on a few boards and
eventually chairing the Town of Harvard Historical Commission (HHC).
Suddenly, the tables turned. I found that my ability to preserve my town’s
beautiful old buildings was at the mercy of how well people filled out forms.
And some of these forms were just dreadful. They were photocopies of
photocopies of photocopies of ill-conceived typewritten forms created thirty
years previously, sometimes supporting laws that had since changed.
One of my early revolutions was to update the HHC’s standard application
form for modifying protected historic properties. We considered what
information was crucial, redesigned the form graphically so that there was
actually room to enter the data that we were requesting, added some instructions
on the back, and made a few other improvements. Lo and behold, we found that
with this improved method of data collection, it became easier for us to achieve
higher quality processes and decisions because our data was more complete and
because the improved, clearer form encouraged better thinking and conversation
about our applicants’ proposed schemes.
My newfound zeal for bureaucracy spread to my work here in the music
book/video publishing industry, and I began to take a closer look at the processes
at work in my office. One of the early forms I developed was the CD Master
Checklist, which has since helped us control some recurring issues in the audio
masters used for our books, avoiding some potentially costly mistakes. Years
and years later, it remains a really helpful tool.
Rather than pointless red tape, I have come to see thoughtfully crafted forms
as a kind of checklist, designed to help everyone remember critical
considerations and maintain quality control. Good forms can improve
communication, save time, reduce risk, and encourage high quality results. I
began to see the forms I come across in the music industry in a new light. Also, I
realized that many of the books we’ve been working on, here at Berklee Press,
discuss the critical forms used in music making: spotting notes, input lists,
marketing one-sheets, and so many others. Clearly, music professionals have a
tradition of valuing this kind of documentation. That said, in conversations I’ve
had with wistful industry old-timers, it is clear that many standard music
industry forms have been fading from use, despite their usefulness.
One theory about why some good forms are receding is that many musicians
are now working in a more independent-operator business model, rather than as
part of a larger corporate one. As a result, some clever tools that were long a part
of industry culture (such as take sheets) are becoming relatively obscure.
Younger generations of musicians are often less exposed to the institutional
memory that kept the industry running for so many decades, and nobody
explains some of the tools and conventions that were developed to solve
common organizational problems. For instance, stage plots have certain
symbology and conventions that may confuse the uninitiated, but that truly make
life easier for both musicians and stage crew, once the hieroglyphics become
clear. And that is the ultimate goal of this book: to present some tools that can
make your life creating music easier.
My vantage point at Berklee gives me the opportunity to talk with an
extraordinary number of seasoned music industry veterans about their work at a
very specific nuts-and-bolts level. In working on their books, I get to ask them
detailed, technical questions—okay, to geek out—in the normal course of
conversation. Brilliant people come from all over the world to teach here, and so
there’s a kind of warehouse here of institutional memory from many different
places (Hollywood, Nashville, New York, London, rural Maine...) that has
informed this book at a profound level. While I personally have never
engineered a session with James Brown, toured with Stan Getz, won a
GRAMMY®, scored a Hollywood blockbuster, signed recording contracts with
Billboardcharting artists, or auditioned thousands of performers hoping to win
scholarships, I have been fortunate to edit books by people who have done all
these things, and more. So, my task in this project has been to leap between
shoulders of the many giants who surround me, and present some of the lessons
they have shared.
Some forms discussed in this book, such as stage plots, are so critical and so
relevant that you might use them every day. Many, such as gain stage diagrams,
are long-established classics in the industry, and you can probably find tens of
thousands of examples of their use in the field. Especially for old workhorse
forms like those, I’ve included some of the abbreviations and symbols common
to those contexts. Sometimes, I present a couple of variations.
A few forms are a little obscure. Non-engineers might be unlikely ever to
draw up an audio archive reel sheet. However, understanding the recording
archival shorthand used for so many decades can mean (and has meant) the
difference between your reissuing a carefully engineered master or accidentally
publishing a rough backup only intended as a safety copy.
An occasional form here should strike you as common sense. Repertoire lists
(the songs your band is ready to play), for example, don’t require unusual genius
to invent. But I include them because they are standard and critical, and seeing
them here might remind you that you need them, somewhere. Of course, you
should have a repertoire list on your wedding band’s website, silly! All the other
wedding bands have them, and yours should too.
Some forms are also frequently used in other industries. For example, a
“design spec” is common wherever graphical design is used, such as publishing
and advertising. Musicians also manage a lot of graphical art creation these days:
album art, Web page design, promo photography, and so on. Similarly, some of
the classic project management forms aren’t commonplace in the music industry
yet, but I find them useful, and as I’ve been teaching Project Management for
Musicians classes and workshops lately, maybe some others will start catching
on.
Please keep in mind that these samples are not intended as “standard” or
“gospel” for you to use verbatim. Rather, they are designed as starting points to
spark your imagination of how similar tools can support your own work. You’ll
find regional and cultural variations of many of these details, even on the most
common forms. Vive la difference! Hopefully, this presentation will give you the
essential concept of how they can help, and perhaps decipher some confusing
argot.
PART I
At the Gig
The forms in this section are common in performance settings, from bar rooms
to concert halls to circus tents. Some are used by performing musicians, but they
might also be prepared by stage managers, producers, sound engineers, and
others involved in the show. Many have their origins in the theater.
1. STAGE PLOT
Stage plots (or stage setup diagrams) show the positions of music stands,
chairs, and other equipment on a stage, ready for a rehearsal, performance, or
recording. These diagrams are often prepared by the stage manager (informed by
the artist), and are referenced by the stagehands. Touring artists frequently travel
with their own stage plots. If the diagrams are sensibly drawn, they are generally
received cheerfully by the local stage crew. Text helps clarify less common
instruments or gear, designates major instrument sections, and distinguishes
between specific risers (often, indicated in inches, such as 8" for eight-inch high
risers) or the conductor’s podium. Symbol legends are also a good idea, once
you get beyond chairs and stands.
It is important to indicate the orientation of the diagram with relation to the
audience. Towards that end, a rough approximation of the stage shape might be
given, or a curvy/dotted line indicating the curtain/proscenium. A cross shape
indicates center stage, and there might be an actual cross or X on the floor (a
“spike”) made with tape.
Stage directions describe the general stage geography. Stage right or stage left
are the performer’s right and left as they face the audience, as opposed to house
or camera right and left, which is the audience perspective. Stage right and
house left are the same place. Downstage is towards the audience; upstage is
towards the back of the stage. When you “upstage” another performer, you
approach them from behind and force them to turn away from the audience
towards you, thus yielding their prominence. Actors have to worry about this
more than musicians do.
Common symbols and terms:

X chair
– music stand

piano with bench

harpsichord
a drum, particularly tympani
podium or other risers, often accompanied by height
indication
 • upright bass stool
curtain
------------- proscenium (“in front of the scenery”)
audience chair

or C: center stage
U: upstage
D: downstage
DR or
DSR/DL or downstage right/left
DSL:
UR or USR/UL
upstage right/left
or USL:
DCR/DCL: downstage, in the middle between center and right/left
UCR/UCL: upstage, in the middle between center and right/left
front of house (the audience, or where a sound
FOH:
engineer is sited in the audience)

Figure 1.1 shows a setup for a duet, where each player has one chair and two
music stands. Their chairs are oriented so that they are facing diagonally, thus
allowing good eye contact with each other, but also good interaction with the
audience.

FIG. 1.1. Stage Plot for Duet

 Figure 1.2 is for a quintet. Note that the pianist has both a piano bench and an
extra chair, likely for a page-turner, who sits upstage and is thus fairly obscured
from the audience’s view. An upright bass player has a stool between the piano
and drums. The drums are on a 4-inch riser. In this case, it is understood that the
drummer will set up his instruments—often the case for a drum set, so it is not
necessary to indicate every detail. Farthest downstage, two other musicians sit
facing each other. The cross on the floor helps the stage crew center the setup
symmetrically.

FIG. 1.2. Quintet

Figure 1.3 shows a setup diagram for an orchestra on a film scoring stage.
This diagram uses the symbol [M] for a monitor, and it has a key in the lower
right-hand corner, clarifying some details (including totals of chairs and stands).
Instrument section names help clarify the complexity—particularly useful when
an orchestra librarian uses the diagram and needs to know what parts go on what
music stands. Note that in string sections, players often share stands. Also notice
that everyone is angled to be able to see the conductor.
FIG. 1.3. Film Scoring Sound Stage
Concert Hall Layout
Here’s a general layout of a concert hall, with common abbreviations. The
stage is for the performers; the house is for the audience. The backstage area is
invisible to the audience. The wings are part of the backstage area immediately
off the stage, where performers “wait in the wings” to go on, hidden from the
audience’s view. This diagram shows one row of audience chairs. The green
room is a longer-term holding/preparation/lounge area for performers waiting to
go onstage. Some theaters have multiple green rooms; some have just one small
private one for a small number of performers; some have enormous green rooms,
theoretically sufficient to keep an entire waiting orchestra out of trouble. (Good
luck with that.) The prop room is a live storage/ staging area for props, large
instruments, scenery, or other equipment that comes on and off stage during a
performance. Up above a theater’s stage, not shown on this diagram, might be a
fly gallery, where scenery can be manipulated via ropes and pulleys, and various
catwalks, generally used for hanging/accessing lighting and sound equipment.
There might also be dressing rooms, costume rooms, and so on.

FIG. 1.4. Concert Hall Layout

2. SOUND PLOT AND INPUT LIST
Similar to a stage plot is a sound plot, sometimes called an “audio plot” or
“live sound diagram.” These diagrams indicate microphones and sometimes
other audio gear, such as monitors and on-stage amplifiers. Numerals indicate
the mic’s channel through the mixing board, sometimes with arrows to indicate
the directions in which they point. The accompanying microphone input list
provides more detailed information regarding the specific microphone types, and
may also specify preamps (more common in recording), pickup patterns, and
other details.
Figure 2 is a sound plot for the quintet shown in figure 1.2. The piano has an
indication “medium stick,” indicating how high the piano’s lid should be open.
Besides the mics for the musicians, an additional lavaliere (lav) mic is indicated
downstage left for an announcer. There are four monitor speakers, labeled M1 to
M4. This diagram uses “DSC” as the stage direction orientation label: downstage
center.

FIG. 2. Sound Plot with Input List

3. PERFORMANCE RUN SHEET
A performance run sheet (or “shift plot” or “cue sheet”) is used by a stage
manager to track all setup, scene, sound, and lighting changes that occur during
the performance. Though these are also sometimes called “cue sheets,” that’s
potentially confusing, because in the film/TV industry, “music cue sheets” (see
form 25) refers to forms required by the performance rights organizations to help
route broadcast royalties.
Each line of a run sheet is a cue—a component of the performance, or an
order barked regarding that component. The cue might be a performance, an
announcement, a video being shown, an intermission—any component.
Indications are provided regarding lighting, stage setup, and so on. In figure 3, a
run sheet shows the first half of a concert. Estimated Timing helps the stage
manager keep the schedule on track and gives the audio engineer insight into
what to expect. The Description column indicates what the audience perceives.
Cue indicates a direction that the stage manager gives to someone, such as
informing the sound engineer that a mic should go live. Move describes
performer location changes onstage. Notes is for stage crew directions, and also
who should be ready and “standing by,” waiting in the wings to go on.
Some common terms:

Strike: Remove from the stage, or more extremely, to completely

disassemble a set.
Kill: Turn something off (or remove from the stage, like “strike”).
Up: Lights go on.
Place or
Put something somewhere.
Set:
“Places” Call for performers to take position onstage before the
(shouted): audience sees them.
X: Symbol indicating the performer moves or crosses the stage.
Temporary mark on the floor (often gaffer’s tape) where
Spike:
something goes.
Move it back neatly where it is supposed to go (after
Reset:
performer might have moved it).
Check: Confirm that something has happened.
SM: Stage manager.
CREW: Stage crew. Individual names are assigned to each task.
Some run sheets have a column for each member of the
crew, showing exactly who does what. This clarifies
complex maneuvers and facilitates last-minute crew
personnel changes.
FIG. 3. Run Sheet for Performance (First Half)
4. SET LIST
A set list indicates the songs and their order during a set—an uninterrupted
sequence of songs performed at a concert or gig. It’s useful for the band, for the
client, for the audience, and also, for administrative purposes after the event.
Posted backstage, performers who don’t play every piece can gauge whether
there’s time to hit the restroom, get some fresh air, and/or tune before they go
onstage, or whether they must prioritize.
While most programs (i.e., the list of all songs performed) are decided in
advance of the event (perhaps listed on a printed “program” for the audience),
some set lists are decided on the fly, without being announced first. For
particularly seasoned artists who are comfortable deciding what to play
spontaneously, an ad hoc set list might be scrawled and distributed informally,
right before the curtain goes up, or even recorded while the concert is underway.
Either way, the list of what is performed must be documented and ultimately
provided to the performance rights organizations, so that compensation can be
administered to the music’s copyright holders (see “Music Cue Sheet,” form 25).
Besides the song title, a set list shared among musicians might also indicate
the key, duration, and other notes about the arrangement. The set list in figure 4
shows two sets for a concert. One planned encore, “Immortality,” is listed under
the line of the second set.

FIG. 4. Set List. Courtesy of Fantasy Monologue.

5. SONG ORDER WORKSHEET
A song order worksheet helps chart out the essential information about songs,
in preparation for a set list or album. This one includes philosophical guidelines
about how to choose the song order.

FIG. 5. Song Order Worksheet

6. PERFORMER BREAKDOWN
A performer breakdown chart shows who is participating in a given piece of
music. Performers reference it to see when they should be onstage, stage
managers to confirm that the performers are ready, producers to schedule
recording sessions efficiently, and it is also used by others. This version of the
chart also shows instrument changes (for Wendy’s two guitars).

FIG. 6. Performer Breakdown

7. PERFORMANCE REPORT
A performance report is usually generated by a stage manager or producer
while a performance progresses, and used to track what transpires. The major
sections are for timing notes and for tracking issues that will require discussion,
repair/ maintenance, procedure changes, performance issues, and so on.
Variations of this form are used for rehearsals, usually with more feedback about
the music (with piece by piece breakdowns) and less about tech (i.e., sound and
lighting).
FIG. 7. Performance Report
PART II
In the Studio
Forms in the recording studio help track the many hardware, software, and
media assets involved in a music project. They are often generated by audio
engineers and producers.
8. MIC ASSIGNMENT CHART
A microphone assignment chart (or “setup sheet,” and similar to an “input list”)
lists the microphones, preamplifiers, and other information about how a track
was recorded. Precisely documenting how the recording was made makes it
easier to achieve consistency when you modify tracks, record overdub
corrections, or create alternate versions, such as radio mixes or alternate lyric
versions, long after the songs were originally recorded.
FIG. 8. Mic Assignment Chart
9. RECALL SHEET
A recall sheet is a diagram of the settings on an individual piece of analog gear.
The goal here is to document the settings used in a given recording. It shows
every knob and switch that might get set during a session. In digital gear or plug-
ins, this information is often savable with the project. You might also save a
reusable “snapshot,” “template,” or “preset” of settings that can be transported
into other projects. For analog gear, though, it is handy to make up a document
for each piece of equipment, and then customize it to your specific session.
Here’s a recall sheet for a Big Muff Pi, the classic guitar effects pedal with
three controls: volume, tone, and sustain. At the top of the form, you indicate
where these settings were used. Then in the diagram, a circle with ticks
represents each Big Muff knob. Lines are then drawn in to document how each
knob was set. For a simple gadget like the Big Muff, it’s easy enough to just
scribble out a diagram like this on the fly. For gear with more controls, though, it
becomes a more important time-saver to draw up a blank recall sheet in advance
so that during the session, you only have to draw in the settings. (Alternatively,
snap a photo with your phone, and then include that photo on a form with the
other information.)

FIG. 9. Recall Sheet for a Big Muff π .

10. SIGNAL FLOW/GAIN STAGE DIAGRAM
A signal flow diagram is a simplified view of a recording setup, showing every
device being used and arrows indicating the direction of signal flow. This type of
“block diagram” is somewhere between an audio plot (showing physical stage
setup) and an audio schematic (showing just the technology). So, the flow might
start with an electric guitar, go through a series of effects pedals, then out of an
amplifier, into a microphone, through a preamplifier, into a recording console,
out to an outboard compressor, back to the console, through a reverb plug-in,
and then out of the speakers. By charting it all out, an engineer can see all the
factors that go into affecting the sound. This is helpful for troubleshooting issues
such as no sound, signal distortion, unwanted sound modifiers, and so on.
In figure 10, we can see that there are two signal chains for the guitar: one
through an amp and microphone, and the other through a DI box. We can also
see that there are two reverb (“verb”) modification points. By methodically
mapping out what’s modifying the sound, an engineer can gain greater control
over the sound. In this case, for example, if there’s too much reverb, the engineer
can see that the guitarist is adding additional ’verb to the mix via the pedal. That
might not be obvious to an engineer just eyeballing the situation through the
control room window.
A simplified type of signal flow diagram is the gain stage diagram. These
only indicate the points where “gain” (volume level) can be affected throughout
the signal chain. Gain is controllable by many different devices: instruments,
effects, preamplifiers, software plug-ins, and multiple locations within a console
or DAW. So, a direct injection box might be included in a signal flow diagram
but not a gain stage diagram, as DI boxes don’t usually have gain controls. The
diagram might begin/end with a microphone or other device that doesn’t have a
gain stage, just as a starting/ending point of the flow.
Traditionally, signal flow diagrams are read from left to right, top to bottom,
with arrows indicating the direction of signal flow. Not all diagrams follow these
standards, though, particularly when they reflect the physical layout of gear in a
room. Items might be represented by pictures instead of simple rectangles; these
make the diagram friendlier, and perhaps, easier to interpret at a glance, but they
are not necessary and require extra preparation time that might not be warranted.
Circles sometimes indicate the start and end points of the chain. “In” means
towards the device receiving a signal (such as a console); “out” means away
from it.
 Audio Schematics

Many of these conventions come from audio schematics, a more

technical type of diagram used by electrical engineers, often
featured in audio equipment manuals to show the inner workings
of a device. Those have many more specific symbols, such as
for resistors, capacitors, power sources, and so on—fascinating
to be sure, but beyond our current scope. There is a kinship
between the two diagramming styles, though.

Here, is a signal flow diagram set up to A/B a guitar track with and without
the console’s reverb.

FIG. 10. Signal Flow Diagram

11. GEAR MAINTENANCE SCHEDULE
Some equipment and facilities require regular attention. Pianos need to be tuned,
guitar strings need to be swapped out, batteries need to be changed. This chart
will help you track and predict these necessities, which can help you keep up
with the maintenance and avoid emergencies. Use it in conjunction with a
calendar, ideally with automated reminders set well in advance of a needed
repair. Some complicated gear or facilities might warrant an individual checklist
of multiple things to do (such as the Stage Cleanup Checklist in form 12), but
you might list the item once on this form and mention an attachment (such as
with “Stage” in this form). When you do the service, check the Interval and reset
the Next Service date.

FIG. 11. Gear Maintenance Schedule

12. MAINTENANCE CHECKLIST
A maintenance checklist is helpful when an item or a room requires multiple
actions. If you are trying to buckle down and make sure tasks get completed, you
can require the person charged with completing this list to date and sign the
form. That can make them take each item more seriously.

FIG. 12. Stage Cleanup Checklist

13. ARTIST ARCHIVE INDEX
An artist archive index lists all assets related to a given artist or client. Sheets
like this are maintained by individual artists, recording studios, organizations
that organize the works of artists, and others who are trying to track a large
amount of materials. Various code numbers uniquely identify each asset and are
cross-referenced to additional pages and objects with more information. In figure
13, the “Cat. #” identifies the project, the “DAT #” identifies the storage unit,
and the “ID #” identifies a component within the storage unit. These code
numbers will also appear on labels for the master itself, additional sheets of
information that relate to the master, and anywhere else that the object is
referenced. Like many of the forms here, this format can be useful as a screen of
a database.

FIG. 13. Artist Archive Index for Composer/Conductor Lazar Weiner. Courtesy
of Jonathan Wyner.
14. SONG DATA SHEET
A song data sheet organizes the information associated with an individual track
(song, composition, piece, etc.). It is sometimes formatted as part of the audio
archive reel sheet (see figure 15), breaking down the project component by
component (in a long, horizontal chart). This information can be used for
informing album credits and for embedding into each digital file as metadata.

FIG. 14. Song Data Sheet

15. PROJECT ASSETS SUMMARY
The project assets summary is an index into the different media assets involved
in a recording project. They are particularly useful as a form within databases for
tracking all projects at a mastering house or record label. The Archive ID is an
internal reference code used by the archivist to uniquely identify each reel, hard
drive, or other asset, which is cross-referenced and further described in the
archive reel sheet (see figure 15).

FIG. 15. Project Assets Summary

16. AUDIO ARCHIVE REEL SHEET
Archive reel sheets reveal what’s in a single audio session archive object (tape,
disc, hard drive, etc., any of which can replace “reel” in your form title). While
the reel sheet might be used as a label affixed to the specific tape reel or drive
(see “Media Label,” form 17), it can be a little big and detailed for that, and is
instead commonly a file or piece of paper enclosed inside, or a view of a
database. One goal of this form is to help identify the tools required to access the
archive before an archeology-minded engineer actually pulls the archive from
the box/shelf/drive and sticks it into a machine.

Common abbreviations:

M: Master (sometimes called a “premaster”); the version used for

replicating the final recording.

S: Safety. Note that sometimes, safety copies are mono recordings

made as copies of the master.

A Alternate mixes/takes. Not used for the ultimate release copy, but
or good enough to be considered and not thrown away. (This can be
Alt: gold, in an archive of a famous recording.)

H: Hold. Not selected for immediate use, but someone thought there
was something interesting in it—like an alternate solo, or an
extended arrangement, or a tune that was dropped from the final
set—and decided to keep it, just in case. Also a potential source of
gold.
FIG. 16. Archive Reel Sheet
17. MASTER ARCHIVE CUE SHEET
A master archive cue sheet is a type of media label/reel sheet used by a
mastering engineer to indicate what’s on a master archive, this time breaking
down what’s on the archive song by song/cue by cue. In addition to the audio,
these archives include metadata about each piece. The sheet shown in figure 16
is for a videotape archive, as the media type.

Common terms and abbreviations:

Source Media: Format that the project arrived on—e.g., this mix
arrived at the mastering studio on a DAT.
Archive Format of the archive media. The master stored in this
Media: box is on a 3M Aud-60 videotape.
SMPTE Time The track where the SMPTE time code is written
Code: (hours, minutes, seconds, frames).
PQ Subcodes: The track where session metadata is stored.
Actual/Access: Locations within tracks for metadata.
Individual: Cue duration.
Begin/End: Time where the cue starts or stops.
FIG. 17. Master Archive Cue Sheet
18. TAKE SHEET
A take sheet identifies and describes the recorded passes during a recording. In
the days of audiotape, take sheets were indispensable—the way to see what was
on a tape without actually listening to it. In digital systems, they remain helpful,
though it is possible to do a lot of the documentation “in the box” (within the
software). However, some engineers still maintain charts like this in order to
document what’s on a given take. For nostalgia’s sake, this take sheet includes a
“reel” column, which is used to reference which tape reel we’re documenting.
That could alternatively reference a hard drive, or just be left out. For Start and
End, indicate the SMPTE stamp (or round to seconds). In a DAW, time stamps
can be left out for complete takes, but can be helpful when referencing part of a
take that might get comped into a track. Only one take should be marked
“selected” (circled).

Some common symbols used in take sheets:

C
or Complete take (they made it from beginning to end).
CT:
IC
or Incomplete take; only part of the song is recorded.
IT:
Selected take; it’s been decided that you’ll use it.
FS: False Start; they began the tune, but it immediately fell apart. Then
they started again, playing through, without setting up a new take.
X: All Bad; unusable.
H: Hold. This can mean a variety of things: keep this track and don’t
change it, as we might want it for later; don’t bounce this because
quality is essential (usually for lead vocals); or reserve this empty
track for later use.
FIG. 18. Take Sheet
19. LYRIC TAKE SHEET
A lyric take sheet (or just “lyric sheet”) helps you identify the best performance
of each line, so that the engineer can comp together (create a composite track
from) the best ones into a single ideal track. The lyric sheet is a chart of the
lyrics, phrase by phrase, with columns indicating each performance. Common
symbols used are + (good) and–(bad), with a circle around the take selected for
use. Song sections are indicated by indentation level, rather than text labels for
“verse,” “chorus,” “bridge,” etc.
When comping together tracks, it’s easiest for the engineer to keep phrases
intact, when possible, rather than replacing individual words, so the lyrics are
divided into phrases on this form to support that.
In the header row, a circled take number indicates the best one. An X through
it means that there was nothing usable in it. In this lyric sheet, there were two
complete takes, and take 2 was better than take 1. Take 3 was a botch job. Takes
4 and 5 were partial takes, just going over some of the rough areas in hopes of
getting a better performance. Note that there was a running start before the
needed takes, so that the vocalist could start singing before each critical spot was
cued up.
FIG. 19. Lyric Sheet. Courtesy of Fantasy Monologue.
20. CD MASTER CHECKLIST
This CD master checklist is a quality control device we use at Berklee Press.
Most of our products include audio recordings, and this checklist evolved over
the years to help us confirm that all is well before the master goes to replication.
As you can see, it includes considerations that the mastering engineer should
catch (such as pops and skips) and also information that relates to our books,
which they’d be likely to miss. Whatever product you create, a checklist like this
can help you confirm that certain common errors or flaws are contained. We
maintain similar checklists for many other dimensions of our work. If you want
to buckle down on recurring problems, you can instruct whoever uses the
checklist to actually check each box and then sign the sheet. That makes people
more careful.
FIG. 20. CD Master Checklist
21. MEDIA LABEL
A media label is the sticker used on a CD, audiotape, videotape, DAT, floppy
disk, hard drive, or other form of media. While some of the information on the
reel label or cue sheet could be included here, it is also common to keep these
labels concise and then reference the other pages via catalog numbers. Figure 17
is a concise form of label, with just the most essential info. The archive date is
important because it can help reveal which is the most up-to-date archive of a
project, if there are multiple likely candidates. The Catalog Number serves as a
cross-reference to additional information, whether in a database or an
accompanying sheet. The example catalog number here is derived from the artist
name, the year, and a sequential number for that year. This project is the studio’s
first one in 2013 by the artist Another Johnny.

FIG. 21. Media Label

PART III
On the Silver Screen
These forms relate to the worlds of film and television music, where hundreds of
people might be involved in a project: performers, composers, orchestrators,
arrangers, directors, producers, copyright administrators, and so on. Many are
non-musicians, and the forms help bridge the communication gaps between
them.
Common terms and abbreviations:

S: Source cue (such as a song playing on a radio)

SFX: Sound Effects

DX: Dialogue

FX: Foley (acted out sound effects)

MX: Music

Temp: Temporary track. This is “placeholder music” used to show the

type of cue desired, with the understanding that it will be
replaced with original music. Here, they used three soundtracks
from other films as temp tracks, abbreviated on the following
few forms: “TRY” for the soundtrack to Troy, “DVC” for The
DaVinci Code, and “MI3” for Mission Impossible 3.

The examples in this section are all drawn from The Repatriation of Henry
Chin (Courtesy of Isaac Ho).
22. SPOTTING SHEET/NOTES
A spotting sheet lists “spotting notes,” indicating where music cues are needed
in a film or television soundtrack. Generally, the music editor, composer,
director, and other key participants go through a cut of the picture together and
identify places where music is needed and discuss what it should sound like.
There are many variations of this form, with variances regarding what additional
information will be included. Most essential are the cue number, start time, and
description of what music is needed. They may be entered into a database, rather
than existing only on paper, as the information can then be easily sorted and
adapted for other purposes.
In film, cues are traditionally numbered in a form such as “1M1,” which refers
to the reel number (or hard drive number, but we’ll use “reel” for convenience),
M for music, and a sequential number within the reel. So, 4M3 is the third music
cue on reel number 4. For a television show, the first number might be an
episode, rather than a reel. And some films might use act or scene numbers,
rather than reel numbers, particularly when they are shot digitally.
Figure 22.1 is a common horizontal form, giving more space to the notes and
comments, and isolating the temp track in its own field.
FIG. 22.1. Spotting Notes: Horizontal Format
Here are the cues in a single table, which facilitates fitting more cues on a
page, though usually with less information about each cue. The format of
spotting notes will vary.
FIG. 22.2. Spotting Note: Single Table
23. TIMING NOTES
Once the spotting sheet exists, a number of other useful forms can be created
based on it. One is the timing notes, which lists and sequences every single audio
cue in the film, to the minutest detail. These are generated by music editors and
are used to synchronize and coordinate all the project’s audio cues. Another
important form derived from spotting notes is the music cue sheet (see figure
25). “Begin” here refers to where the temp track starts.

FIG. 23. Timing Notes

24. MASTER CUE SHEET/INSTRUMENTATION
BREAKDOWN
The master cue sheet/instrumentation breakdown is another descendant of the
spotting notes. It is a concise listing of each musical element, with indications
regarding required instrumentation. It can then be used to calculate costs and
scheduling considerations for the required recording session. This example is for
a film scored by a rhythm section and string orchestra, but it typically includes a
complete orchestra. The numbers in the columns indicate how many of each
instrumentalist is needed.

FIG. 24. Master Cue Sheet

25. MUSIC CUE SHEET
A music cue sheet lists all the music used in an audio/visual piece: a film,
television show, commercial, and so on. (For the type of cue sheets used by
stage managers, see form 3.) It is prepared by someone in a production
company’s music department, such as a music editor at a film studio. This form
is another descendent of the spotting notes.
Music cue sheets are circulated to everyone with a stake in the music’s
ownership, before ultimately being provided to the appropriate performance
rights agencies (PROs), who then disburse performance royalties to the
copyright owners. Production rights agencies offer templates for cue sheets on
their websites; the required information is essentially the same between them. It
is sometimes possible to submit these to the PROs online, rather than use the
paper form, but compiling the information in a sharable/paper form is helpful for
communication, verification, and documentation purposes.
There are two types of information on a cue sheet: info about the main work
where the music is used, and info about the music’s legal status—specifically,
who owns the copyright (writers, lyricists, and publishers).
Figure 25 shows a few lines from a cue sheet for a television program. Notice
that the song “Debrief” has two songwriters who split the writers’ share 50/50.

Common Abbreviations:

BI: Background Instrumental

BV: Background Vocal
ET: End Title (Closing/Credits)
L: Logo
MT: Main Title (Opening)
P: Publisher
T: Theme
VI: Visual Instrumental
VV: Visual Vocal
W: Writer
FIG. 25. Music Cue Sheet
PART IV
On the Road
Musicians on tour have to track and negotiate issues related to travel, as well as
conduct their business outside of an organized office environment. These details
will generally be prepared in advance of a tour, and sometimes updated during it.
Travel is often a complex undertaking, and forms like the ones in this section
can greatly reduce risk of on-the-road mishaps. These forms are often created
and maintained by a band manager.
26. ASSETS INVENTORY
An assets inventory is a detailed checklist that is particularly useful on tour, but
also for recording studios, concert halls, and music organizations generally that
stock a lot of gear. It lists all physical assets for insurance purposes, as well as
serving as a checklist of items to bring on tour or have on hand. Databases with
all this information can be the best way to maintain this information, as it can
become quite extensive, particularly for school music programs, orchestras,
music stores, and others. Photos of each item can help identify and recover them
in the case of theft.

FIG. 26. Assets Inventory

27. TOUR ITINERARY
A tour itinerary summarizes all the information tour participants need to know
for their tour: where to be, when to be there, how to prepare, what to expect.
Sending this information via email keeps it accessible from everyone’s
smartphone.
FIG. 27. Tour Itinerary
28. TOUR CHECKLIST
Loading gear into cars is an obnoxious dimension of the musician’s lifestyle. But
it is even more obnoxious to arrive at a gig having forgotten something
important. Sure, you’re likely to remember your guitar, but if you forget to bring
a cable, your guitar becomes useless. And what about backup batteries for your
effects pedals? What about the W-9 form? What about your EpiPen? Checklists
can help you remember the stupid stuff. You might have a page or two for each
band member, and each dimension of stuff you want to remember. This sample
gives a format for a checklist and some ideas for what dimensions of items you
might want to track.
FIG. 28. Tour Checklist
29. TRAVEL INSTRUCTIONS
Circulating travel tips/directions to everyone traveling under your charge can
reduce confusion, catastrophes, and risk. Particularly with complex situations,
such as transporting a children’s orchestra internationally, such lists can be
invaluable—like this set based on one from From the Top, an organization that
frequently transports first-time world travelers. Of course, you should customize
the advice to each trip’s specific circumstances.
FIG. 29. Travel Instructions
30. EMERGENCY CONTACT LIST/MEDICAL INFO SHEET
Whoever is in charge of the tour (band manager and/or leader) should keep a list
of emergency contact information for everyone involved. There might be legal
considerations regarding the privacy of this information, so don’t make this
information public. But get what information you can.
FIG. 30. Emergency Contact List/Medical Info Sheet
31. MERCHANDISE SALES REGISTER
When you sell merch at gigs, a sales register logs information about your
merchandise sales transactions. This helps you track what kinds of merch sells
well in different locations, know how much merch you have left (and if you need
to order more), and inform whether you are actually selling merch or if it is
walking away on its own accord. It’s also important for tax purposes. Ideally,
you’ll have a higher tech system take care of all this, like an app, spreadsheet, or
actual cash register/POS (point of sale) system. But sometimes, you need to
track it manually, with pen and paper, and a form like this can facilitate your
calculating and tracking the essential information. Here’s a simple sales register,
ready to log whatever you want to sell.

FIG. 31.1. Simple Sales Register

You can minimize the amount of required writing by using a more detailed
register. This works best if you only have a few items to sell, as it can get
cumbersome otherwise, but in certain circumstances, it is the quickest way to
record a transaction. In figure 31.2, the “Seller” is the person working the table.
The “Comment” column is used to explain discounted sales or giveaways (which
are tax write-offs), or perhaps customer questions. The “Start” row is the number
of existing inventory before that day’s sales began (with the total amount being
the money in the cash box to be used for making change). The “Total Sales” row
summarizes the transactions, and the End row is the end of night existing
inventory, which can get moved to the “Start” row the next night. The form gets
reconciled before selling starts the next day (physical inventory gets counted),
and the person who reconciles it signs and dates the bottom. This way, you can
reconcile the till and hopefully solve problems (like too many freebies to girls
with cute puppies) before they get out of hand.
This register factors in taxes. (Stop sniggering.) Alternatively, you could fold
taxes into the item price and deduct it later, to simplify making change. Just be
sure that if the venue takes a cut of merch sales, their share is calculated on the
pre-tax price.
FIG. 31.2. Detailed Sales Register
32. VENUE LIST
A venue list helps the band manager to track critical information about different
gig venues.

FIG. 32. Venue List

33. VENUE SUMMARY SHEET
A venue summary sheet tracks all essential information about a venue for the
artist’s reference, rather than as an agreement with a venue (see “Booking
Sheet,” form 65). Before the gig, it serves as a checklist of information you want
to gather. Afterwards, it is a reference point and summary, to jog your memory
about the details and possibly inform whether you want to play there again. Take
some photos of every venue you play—the performance space, the backstage
areas, and the people who work there—to help you remember the details.
FIG. 33. Venue Summary Sheet
34. BOOKING REQUEST FORM
A booking request form (or “offer form”) is generally used by artist management
companies working with established acts. These forms often appear on websites.
They field prospective client queries to see if the artist wants to do the gig. The
prospective client fills in the information. The management company might
consult with the artist and then get back to the client to negotiate an actual
contract. So, this form is non-binding, intended as an initial communication in
advance of a formal agreement, unlike a “Booking Sheet” (see form 65).
FIG. 34. Booking Request Form
PART V
PR and Marketing
Musicians are increasingly doing their own promotional activities. These are
some of the standard marketing forms for getting the word out about your
performances, new recordings, and other newsworthy activities.
35. ONE-SHEET
A one-sheet is a single-page flyer sent around to raise awareness of a new
product, such as an album or a concert. It is like a cross between a press release
and an advertisement: more graphical than a press release, more informative than
an ad—bigger than a business card, smaller than a press kit. Think of it as a
quick “elevator pitch” to spark interest from a radio DJ, club booker, music
writer, or other press/media contact, who will expect that it be accompanied by a
recording. A stack of one-sheets can be available at trade shows or concerts.
Figure 35 is a one-sheet for the band Altered Five. Its intent is to create
awareness for a new album release. Typical sections are a summary of the news
to be shared, the artist’s history, some talking points, a track listing, contact
information, graphics of the band and latest product, and a link to the website,
where more detailed information can be found
FIG. 35. One-Sheet for a Record Release. Courtesy of Altered Five.
36. POSTCARD
One-sheets can also take the form of postcards. Below is a postcard used in a
marketing campaign for my book Project Management for Musicians. It’s a
cheap way to get a direct connection to your intended fans. For direct mail
campaigns like this, it is more effective if you tell the recipient exactly what to
do and clarify how it will make their life better, rather than just shouting that
something exists. In this case, we offered a free product to teachers who might
use it as a textbook.

FIG. 36. Postcard for Product Release (Front and Back). The front is formatted
to add a mailing address and postage.
37. PRESS RELEASE
A press release is a communication that informs media outlets of news that they
might be interested in publishing. Sometimes, recipients will use the press
release as an information point, and then will contact an artist to do an in-depth
interview that will result in an original piece. Other times, the publication will
simply run the press release in its original form, or to varying degrees of
modification.
Press releases follow a fairly standard format. They begin with a line saying
when the information can be made public. (Usually, these are marked “For
immediate release” in our industry, but you might have reason to request a
delay.) There is then a headline designed to grab the reader’s attention. The body
of the release presents all the details, generally in order of most topical to more
general information. It ends with contact information regarding whom to contact
for further information. Ending it with ### is an old newspaper convention that
indicates the end of an article. Include it to show that you are a hardboiled
writer.
The following press release template is by Susan Lindsay, half of the Celtic
duo “The Lindsays.” She customizes it for each gig.

FIG. 37. Press Release Template. Courtesy of Susan Lindsay.

38. REPERTOIRE LIST
A repertoire list (or song list, or playlist) is a more-or-less complete itemization
of music that an artist is ready to perform. This kind of list is common among
GB (general business) bands and is used to help clients choose what music will
be performed at an event (and perhaps, to show off an artist’s capabilities). A
wedding band, for instance, might have a repertoire list posted on their website
as a marketing tool. This is generally for the client’s benefit, rather than the
performers’ use. A set list is then derived from the complete repertoire list,
which might be hundreds of songs long. Repertoire lists typically include the
song title and the original artist most commonly associated with each song (or
the version that the artist’s rendition most closely resembles). Songs are often
categorized by theme and sorted alphabetically by title, as clients are likely to
know the song’s title first and the songwriter or artist second. On a website,
linking to lyrics is helpful, particularly for selections used ceremoniously. Songs
like Willie Nelson’s “Always on My Mind” are somehow popular first dance
songs at weddings, even though the lyrics mourn the end of a relationship. The
dark side of a great title….
FIG. 38. Repertoire List
39. MARKETING CAMPAIGN TIMELINE
Marketing campaigns for album releases, tours, and other important events are
precisely timed. Typically, a marketing campaign manager will draw up a
timeline showing the milestones for the campaign. The relative timing tends to
be fairly consistent between projects, so if you do multiple similar campaigns,
the timeline can be somewhat reusable.
The version in figure 39.1 is a variation of a Gantt chart—a two-dimensional
timeline with bars under a line of dates that show the durations of each task or
phase of a project, such as an album release campaign. This style of chart lets
you see concurrent activities. At the top is a timeline of dates and major project
milestones, with the most significant one (the album launch) emphasized. Below
the timeline are two sections: one showing data for the product release schedule,
and the other showing when various marketing activities will hit. The product
release schedule features bars indicating the duration when each element will be
available. Below, the marketing schedule is organized as a series of events
connected back up to the timeline—instances in time when they are due or go
live, rather than as a number of continuous episodes. At the bottom of the chart,
the general phases of the campaign’s lifecycle are indicated, as guiding
principles for future development.
FIG. 39.1. Gantt-Style Marketing Timeline. This example was developed in
collaboration with Mike King. Mike discusses the theory behind this marketing
process in his excellent Berklee Online course, Music Business Trends and
Strategies (http://online.berklee.edu).
Figure 39.2 is another style of marketing timeline. This type focuses more on
tracking progress and delegating tasks (to whomever is “Responsible” for their
completion).
FIG. 39.2. Task Status–Oriented Marketing Campaign Timeline
PART VI
At the Office
The forms in this section will help you gain control of your finances. They are
standardized accounting documents, but customized for likely scenarios in the
music industry.
40. PROFIT/LOSS FORM
A P/L (profit/loss) form is a financial document that shows all sources of income
and expense, totaled up at the bottom to reveal the actual profit. The “Gig P/L
Form” below shows that the best-paid person in this scenario is the booking
agent. The gear rental agency is also doing well on this gig.

FIG. 40. Gig Profit/Loss Form

41. TOUR BUDGET
A tour budget is another view of a P/L form. This one breaks down the expense
for each stop on the tour, also factoring in lump sums before the gig started.
FIG. 41. Tour Budget
42. BUDGET-TO-ACTUAL RECONCILIATION
A budget-to-actual reconciliation report tracks how well you are doing at
estimating your expenses. The budgeted amount is what you anticipated the
amount would be before any money changed hands. You can see, this budget
was “balanced,” which means that the income and expenses worked out to the
same amount. The actual amount is what the final number is. By calculating the
difference between your dreams and reality, you can figure out the Variance
column to see how realistic your expectations were.
Below, the predicted income turned out to be conservative (bringing in 25
percent more than anticipated), and the artists kept close control over expenses
as well, saving 10 percent from what they anticipated. The reduced expenses get
added to the increased profit for a total of 35 percent more overall income than
anticipated. This band was hoping to break even, and they turned a profit. I hope
that happens to you too!

FIG. 42. Budget-to-Actual Reconciliation

43. INVOICE
When a professional service is completed and approved, the provider should
immediately give the client an invoice. Invoices serve two main purposes. First,
they notify a client that a payment is due. Second, they provide a record of the
transaction, which is useful if you get audited, among other things. You can turn
an invoice into a receipt by marking it “paid.”
The invoice should indicate the client’s name, project name, work description,
and what the payment terms of the invoice are, such as “Payable within 30 days”
or “Payable upon receipt.” If there are code numbers to help identify clients,
projects, or transactions, those can be helpful as well. Include contact
information for the client and the service provider.
FIG. 43. Invoice
PART VII
Music Project Management
Project management is the technique of deliberately and strategically getting
things done. Most industries, from automobile manufacturing to software
development to the military, have their own specific systems, and the music
industry benefits from careful approaches to work as much as anyone does.
Roughly, you can divide project management tools into two broad categories:
imagining the work and making sure it gets done. Get it right, and project
management is your ticket to making dreams come true. My book Project
Management for Musicians (Berklee Press, 2013) covers these tools and many
others in greater detail.
44. DESIGN SPECIFICATION
A design specification (or design spec) is a written clarification given to a
graphic designer hired to create a poster, album cover, t-shirt, or other
commissioned art. It articulates the required conceptual goals and technical
parameters of what is to be created. Ideally, it is preceded by a real-time
conversation about the work needed. It also is generally preceded by a
conversation about the artist’s compensation.
Design specs are often accompanied by documents or links to completed art,
either as examples of well-executed pieces to be emulated or horrific ones to be
avoided. For Project Management for Musicians, as a starting point, we
suggested to designer Jamie de Rooij that he look at a marketing piece for an ad
campaign for the book’s companion online course, shown in figure 44.1.a.
Ultimately, he went another route (similarly, avoiding the admittedly
overwrought/ complex suggestion about an old concert poster design), and came
up with the design in figure 44.1.b, which worked really well. (See a color
version at www.projectmanagementformusicians.com.) Jamie’s design combines
a variety of elements suggested in the design spec: an audio level meter, a piano
keyboard, and if you track down the color version, you’ll see a rainbow color
scheme against the black, to combine the ideas of technology, music, and vision.
FIG. 44.1. (a) Model Art for Online Course (b) Finished Book Cover
FIG. 44.2. Design Spec for Project Management for Musicians Book Cover
45. PROJECT SCOPE STATEMENT
A project scope statement is a document in which you store your current
decisions regarding the essential parameters of your project—what you are doing
and why. It begins life as a project planning document and then gets updated
throughout the project’s lifecycle as the project evolves. So, if you decide to do a
cover song, as well as your four originals on your EP, it gets marked on the
scope statement and then circulated to everyone who needs to know about that
change. In this way, everyone knows exactly what the project is. When you say
that you are on the same page, this is the page you are on. The scope statement
tends to inform many other types of documents: business plans, contracts,
budgets, and others. It is most useful if it is short and nimble and easily updated.
Two to four pages long is about right. More than that, and it becomes a beast that
nobody wants to deal with, rather than a helpful and informative living
document. Keep it lean and mean.
Adapt this Project Scope Statement template to your project’s specific needs
and culture. Some options are included in the header names; choose the one that
best suits your team.
FIG. 45. Project Scope Statement. A free, downloadable Word template of this
document (and others) can be found at
www.projectmanagementformusicians.com.
46. WORK BREAKDOWN STRUCTURE
A work breakdown structure (WBS) is a chart showing exactly what work is
required of a project. Each node (rectangle) is a deliverable—a component of the
project that someone needs to make happen, which gets broken down and
described in more detail with each generation of the tree. Ideally, the first three
rows will describe 100 percent of the work. You can continue breaking it down,
until it is a manageable chunk of work. (Some say the lowest level “work
packet” should require eight to eighty hours of work.) At that point, instead of
nouns, you can start thinking about verbs and start generating lists of the actions
required to actually deliver that project component.
A WBS is a very intuitive way to view work and wrap your mind around what
needs to be done. If you are doing a back-of-the-envelope plan about how a
project will go, this is likely what you should draw on the back of your envelope.
A common next step is to then add required time, money, or other resources to
each node. Eventually, it becomes easier to switch from the graphical chart form
to the more adaptable text form of the chart, which can then be turned into a
chart with many more possibilities.
Here’s a WBS for an album. You can see that not all nodes are fully
“elaborated” by being broken down fully. Commonly, you only go into detail on
what you currently want to control, particularly if the project is unstable and
likely to change.
FIG. 46.1. Work Breakdown Structure for an Album
Here’s the WBS in text form, focusing on the packaging portion of it. Not as
intuitive to look at, but a bit more adaptable to other kinds of documents.

FIG. 46.2. WBS for an Album: Text Form

47. TASK LIST
When it is time to actually do the work, each deliverable/component gets broken
down into a task list (or action list), which is the real step-by-step nitty-gritty of
what needs to happen, with additional information about each task as needed. An
action list for the “Songwriting” component of this project, for example, might
look like figure 47. This is a good format for getting progress reports from your
staff, as well.

FIG. 47. Task List for Deliverable 1.1.1. Songwriting

48. PROJECT LIST
A project list (or project index or portfolio overview) is a master index of all of
your work. When I teach project management, one of my early class exercises is
to have students list all of the projects that they feel they are currently working
on, or intending to work on—every single one, whether for work or for play.
They can be confronted with a list that is hundreds of projects long, which they
realize is actually an impossibility. So, the next step for them is to prioritize their
projects and decide what they will actually try to accomplish, based on the laws
of reality and physics. It can be liberating or disheartening, but it is important to
approach your work from a realistic perspective.
This is the second document I look at every morning, after my calendar. It
reveals what I should be doing with my day. Because I manage about forty
similar book projects simultaneously, my actual project list is a bit more
elaborate than this, with columns serving as status indicators for various
components of the project, so I can see at a glance what needs to happen next.
The “w” in the priority column indicates that I’m waiting for someone to do
something before any further progress can be made.

FIG. 48. Project List

49. PUNCH LIST
A punch list is a checklist of errata, created at the end of a project—minor
outstanding details that need to be addressed so that the project can conclude and
everyone can get on with their lives. It can be a way of clarifying the final scope
of work, so that the end game of the project doesn’t go on forever. At some
point, particularly when someone is asking for many generations of final
changes, it makes sense to circulate (and possibly have all parties sign) a punch
list. Once the items on that final list are done, then the project is over and
whoever is on the hook for that component of the work can get paid. Figure 49 is
a punch list for a few items outstanding in a mixing session. An engineer might
create a list like this to clarify the final steps. Once it is completed and approved,
the issue is settled.
It is called a “punch list” because it originated with carpenters, who would
walk through a building with such a list and punch a hole next to each item with
a nail, to show that it was addressed.

FIG. 49. Punch List for Mix Session

50. PROPOSAL SUMMARY
A proposal summary (or project charter) is an internal document at a record
label, publishing house, investment company, etc., that organizes the essential
information about a project in a standardized format. It is optimized for the
review team’s needs rather than the project proposer’s guess at what the
reviewers want to see. When a proposal is strong enough to warrant serious
consideration, the acquisitions director/editor (or project manager) prepares a
summary based on the proposer’s submission, and updates it throughout the
approval process in accordance with any decisions made about it. The person
who proposed the project might not ever actually see this form.
We use the following form internally at Berklee Press to circulate and review
book proposals. Different people throughout the approval process look for
different elements of the proposal. Some are concerned with the genre, physical
“trim” (page) size, and page count; others with the title; and others with the
chapter outline’s pedagogical approach. There are frequently attachments, such
as the prospective author’s original proposal, sample chapters, and so on.
Reviewers who want to dig deeper can do so.
When projects are approved, this document is modified to become “exhibit A”
of the author’s contract, and then after signing, into a project scope statement.
Here’s the project proposal summary (excerpted) used for this very book.
FIG. 50. Proposal Summary
51. JOB ASSIGNMENT MATRIX
A job assignment matrix is used to delegate tasks to a team of people. One like
this was used in the concert halls office to organize ushers, assigning them
stations and responsibilities during a concert.

Usher Stations

FIG. 51. Usher Station Chart

52. RISK MITIGATION CHART
Risk management is the process of imagining and preparing for catastrophe (or
perhaps, just inconvenience). The chart below helps articulate your planned
reaction to potential hazards that might threaten a project. Each task/hazard is
assigned an “owner” who is responsible for the mitigation strategies, which help
prevent the hazard from occurring, and also the contingency, which is the
reaction to the hazard if the unfortunate circumstance should come to pass. The
Notes column can be used to fill in details as the project advances.

FIG. 52.1. Risk Mitigation Chart for Performance

Risk Assessment Matrix
The risk assessment matrix is used to populate the Level column of the risk
mitigation chart. To rate each risk in greater granularity and rank each in order
of priority, numbers can be assigned to the Impact and Likelihood parameters,
which get multiplied together. That number can be used to prioritize the most
significant risks so that strategies are developed for what is most important. This
chart is based on the CRM approach, developed by the U.S. Army. They found
that four categories of risk were easier to work with than a numeric rating
system.
FIG. 52.2. Risk Assessment Matrix
53. TELEPHONE TREE
A telephone tree (or emergency phone tree) is a plan for contacting a large group
of people by phone. It is useful when word needs to get out quickly to a group of
people that there has been a change in plans, like a concert has been cancelled
due to bad weather. It is also useful for general outreach, like fundraising or
organizing flash mobs. The alternative to a phone tree is that one person contacts
a large number of people; a phone tree instead spreads the work around, and
because calls can happen simultaneously, it is theoretically faster. Every caller
gets a copy of the tree.
There are various ways to set up a phone tree. A simple way is a pyramid,
where each person calls the two people below his or her name. This is a very
democratic approach. For a larger group, such as attendees of a concert, a system
can be set up where a team of callers each has a list of, say, ten or twenty people
(non-callers) to contact, plus responsibility for contacting another caller, who
also has a list.
If someone can’t reach one of the people, they must take responsibility for the
two people under that person’s name, and when they finally reach the missing
person, they can guilt trip him or her about having done their job for them. So, in
this example, if Cricket can’t get a hold of Barney, she has to then call Goliath
and P.B., and Barney would owe her big time. The call is only considered
complete if the recipient acknowledges the connection and confirms that he or
she is able to continue the chain. Leaving a voice mail message doesn’t count as
a completed call. Without a confirmation, the caller must take responsibility for
the intended recipient’s calls.
Ideally, when you create a phone tree, include everyone’s phone number—or
several phone numbers, on the tree itself. Phone numbers are left out of this
example. I mean, let’s face it, some of the people referenced below actually walk
on four legs. They are more likely to have dog beds or barn stall numbers than
cell phones.
FIG. 53. Telephone Tree
54. MEETING AGENDA
An agenda is a schedule of what is to be covered during a meeting. By planning
the meeting and scripting it out in advance, whoever is running the meeting can
prioritize the business to be discussed, possibly as a result of conversation with
others. Distributing it in advance lets the participants know what to cover and
when important decisions will be made. It also gives them an opportunity to
provide information to the leader or the group in advance of the meeting, if they
want to weigh in. Agendas make meetings run more smoothly and yield more
productive results. Note: Meetings of public boards, such as school committees,
might legally be required to publicly post an agenda several days in advance of
the meeting. Check your local open meetings law for details.

FIG. 54. Agenda

55. MEETING MINUTES
Meeting minutes are a record of important decisions made at the meeting.
Sometimes, they continue to be important for years after the meeting occurred.
Some people like to take detailed notes of what transpired during the course of
the meeting. The critical information, though, is what general topics were
discussed, what decisions were made, and who agreed to take responsibility for
completing a task. It is also important to indicate who was present. The agenda
often makes a good starting point for the minutes. As with agendas, specific laws
might apply to minutes for public boards. Check your local open meetings law
for details.
FIG. 55. Minutes
56. FAQ
A frequently asked questions list (FAQ) is a system of common questions and
answers. A clear, on-target FAQ can be a useful way to reduce confusion and
risk, communicate procedures, and help everything run more efficiently. They
are also a way to encourage institutional memory and make the results of
extensive problem-solving efforts durable, permanently implementing them as
part of operations. FAQs serve as catchalls for questions that might otherwise be
difficult to organize. They might start out as a simple posted list. Sometimes,
they evolve to become rules and procedures handbooks.
If the document can fit on one page, the questions and answers are featured
together, simply. If it is longer, the standard format for an extended FAQ is to
have the questions organized by category at the beginning, with a numeric
coding system. Below that, all the questions are presented again with their
answers, using the same numeric codes. This format is particularly well suited to
Web pages, as the links make jumping from the questions to the answer very
easy.
Here’s a sample extended FAQ for concert hall operations. Just the first two
categories of questions are answered here, so that you can see the numbering
system at work.

Concert Hall FAQ

FIG. 56. Concert Hall FAQ
PART VIII
On Campus/At the Audition
These forms are common in music schools, lessons, and anywhere auditions are
held.
57. CLASS TIMELINE AND LESSON PLAN
A class timeline lists the elements a teacher plans to cover or do during a lecture
or period, with estimated timings for each component. It is handy to keep this
visible while presenting.

FIG. 57.1. Class Timeline

A lesson plan is a teacher’s map for what/how to present, with reminders of

the lesson objectives, materials needed, timing, overarching pedagogical
purpose, and everything else to remember about the lesson. When a course is
being developed, a formal plan for each lesson might be required by the school
administration.
FIG. 57.2. Lesson Plan
58. GRADE BOOK
A grade book tracks a group of students’ progress throughout a semester. This
one tracks scores on assignment (A) and class participation (P), as well as a final
project for each student; it should be customized to track whatever is due and
whatever criteria are assessed to arrive at a final grade. The “Average” column
can be kept up to date throughout the semester. This grade book is kept short, for
illustration purposes, but grade books are generally oriented horizontally on a
page (or two) so as to fit more detail.
Numeric scoring, as opposed to letter grades, facilitates averaging, as does
using a spreadsheet program (or dedicated grade book software) to perform
calculations.
The Class Average line at the bottom helps uncover systemic problems. If
class after class consistently scores low on an assignment, the teacher knows to
look at the teaching approach or the assessment, and consider their efficacy or
how well they match.

FIG. 58. Grade Book. A = Assignment, P = Participation.

59. PRACTICE LOG
A practice log charts the time spent at different dimensions of practice. Some
students will tend to over-practice within their comfort zone, so explicitly
parsing it out like this can encourage more comprehensive learning to occur.
Calculating weekly totals gives the student flexibility to focus more on certain
dimensions on any given day, rather than forcing just a brief period on every
topic every day. They can thus strive to cover all aspects of practice every week.
Timing goals (after the slash) can be pre-entered in the Total columns. Below,
additional emphasis is prescribed for practicing improvisation (four hours
indicated in the bottom Total field, compared to two hours for other dimensions).
Sunday has yet to be entered. By keeping a running total, Lillian can tell that
she’s generally exceeding her goals, but that she is also coming up short for Ear
Training, so she might focus there, to catch up.

FIG. 59. Practice Log

60. AUDITION RATING SHEET
An audition rating sheet is used to boil down the essential elements of an
individual’s audition to the most essential criteria. This sheet allows the judge to
score each criteria and rate each on a weighted scale, if desired. Using this sheet,
you then add the scores together to get a final rating. In addition to the usual
hard skills, this audition sheet includes x-factor—that certain “something” that
isn’t covered by the scripted criteria. By systematizing this as a real-world
contributing factor, you can make sure it commands an appropriate space in the
decision-making process.

FIG. 60. Audition Rating Sheet

61. AUDITION SUMMARY MATRIX
An audition summary matrix can help you compress a tremendous amount of
data (such as from audition rating sheets, form 60) into a matrix that you can
scan at a glance. The goal here is to summarize the candidates in relationship to
each other while their relative audition performances are still fresh in the jury’s
minds. Then, you can quickly narrow down the field of candidates. The columns
for yes/no/maybe can help you overrule the average score. Sometimes, the
prescribed method just doesn’t cover what’s needed.
When it’s done, see what the data reveals. If you feel like you’ve got a lot of
qualified candidates, the break point of where to invite people for further
audition rounds could become evident, based on their exact overall score.
Essentially, you want to determine how much time you need for the next
round of auditions, decide what else you need to test for, and then make some
decisions.

FIG. 61. Audition Summary Matrix

PART IX
Agreements
Agreements, whether letters of agreement or formal contracts, help clarify how
your business will be conducted. Best practice is to get a music lawyer to draft
these for you, rather than to use free forms from a book or from the Internet. The
samples included here are intended as illustrations only, and not recommended
as replacements for language that should really be crafted to your specific
situation. However, these models will hopefully shed some light on a few of the
common agreements you are likely to need or come across.
Again, don’t let these or any samples rule your reality. Customize them to
your specific situation—ideally, with the help of a competent music attorney. Be
safe!
62. CO-SONGWRITER SPLIT SHEET
A split sheet is a simple agreement between songwriters that clarifies the
percentage each owns of the writer’s share of the copyright. The terms should be
discussed in advance of a co-writing session, and the sheet(s) should be signed at
the writing session, one for each song. Generally, songwriters tend to split
copyrights evenly, no matter what each person contributed, but that’s more
custom than legal guideline, and bands have broken up over how much each
person should own.
While songwriter egos can be complex, the split sheet itself is a simple affair
—just essential names, song information, the PRO (performance rights
organization) associated with each writer, and places to sign. Split sheets serve
as important legal points of reference, though. While the important dimension of
these agreements is the copyright ownership, they might also specify terms for
how the songwriters will pay for song demos.
This is a sample split sheet. When there are likely to be large sums of money
at stake, a more extended formal contract might be drafted by lawyers.

FIG. 62. Split Sheet

63. WORK-FOR-HIRE RELEASE
A work for hire is a type of compensation model in which someone receives a
one-time payment for their efforts, as opposed to receiving ongoing royalties.
Whoever creates the work for hire typically doesn’t have any copyright
ownership of the ultimate product. These release agreements are commonly used
when hiring musicians to play on recordings. It clarifies that the person being
hired relinquishes all claims on what they are helping to create, and that after the
initial payment, no further compensation will be provided.
FIG. 63. Work-for-Hire Release. Courtesy of Debbie and Friends.
64. ANTIPIRACY CEASE AND DESIST LETTER
When you discover your songs, artwork, photos, lyrics, or other intellectual
property available for free on someone else’s website, the first step is to send
them a cease and desist letter. To cease means that they must stop. To desist
means that they can’t do it again in the future. If this doesn’t work, the next step
is a stronger letter from a lawyer, and the next step after that is having them
arrested.
Piracy is often conducted by unscrupulous villains who are trying to gain
income through the reselling of stolen property (e.g., your songs). Sometimes,
though, piracy is the work of ardent fans who are simply clueless that they are
doing something illegal. So, the language and approach can be tempered here.
You want to be clear that you mean business, but there are ways of presenting
your case that are a little less intimidating than the following sample letter. It’s
important to be clear, though, regarding what the violation is and what you
expect the recipient to do about it.
FIG. 64. Cease and Desist Letter
65. BOOKING SHEET
A gig booking sheet is a simple short-form performance agreement, usually used
when the money involved is relatively low. More than a couple thousand dollars,
and you’ll want a more substantial contract, often called a “performance
agreement.” Performance agreements are generally more formal contracts, and
are often complex affairs. If the scope of the performance warrants it, a lawyer
should draw one up.
Booking sheets are quick, easy, standard agreements that cover the essential
details. For a simple one-time gig, when the resources are relatively low and the
compensation is smaller than what a lawyer would cost to produce a formal
contract, these short forms usually suffice.
FIG. 65. Booking Sheet
66. PHOTOGRAPH RELEASE
A photograph release (or model release) is an agreement granting someone the
right to publish a person’s image in a commercial venue, such as on an album,
website, poster, and so on. The first amendment grants Americans the right to
privacy, and the photo release form clarifies that the subject of the photograph
gives permission for the usage intended. It must clarify the financial terms of this
agreement (even if no money changes hands). If you are in the business of
creating products that include photos, getting these releases as soon as someone
is photographed is an important step. Many photographers keep blank forms like
this onhand so that they can immediately secure a release upon taking someone’s
photo (such as a fan dancing in a club). Without the release, the photo will
probably be commercially unusable.
Similar to the photo release is a general-purpose artwork release. If someone
provides cover art for your album, they own the copyright to that art and can lay
claim to a percentage of your profits, unless you work out another agreement. It
is important to clarify any such usage terms before going to press.
FIG. 66. Photograph Release
PART X
Notation
Music notation takes many forms. What you will need depends on context, and
sometimes culture. Here are a number of ways that the same music might be
notated.
67. FULL SCORE
A full score includes full, formal notation of every part. When it’s used,
musicians are expected to play every note, duration, articulation, tempo marking,
and so forth, precisely as written. The full score is generally used by conductors
and others studying the music in its entirety, and is most common in classical
music, large ensemble, film scoring, and other relatively prescriptive contexts
where every note is written out.
FIG. 67. Full Score
68. PART
A part excerpts the notation for a single instrument from a full score. It is used
only by a specific type of instrumentalist. Here’s a piano part extracted from the
full score of “No Time.”
FIG. 68. Piano Part
69. PIANO/VOCAL SCORE
A piano/vocal score includes the vocal part and a piano accompaniment. They
are sometimes distillations of larger arrangements, used for rehearsal purposes,
with all instruments compressed into the piano part. Alternatively, they might be
simple stand-alone arrangements. A variation of this format (common in some
folk and liturgical music contexts) is to have just two piano staves, with the
lyrics between them. While two staves take up less space on a page than three
staves, this type of format tends to be more confusing, regarding which notes the
voice should sing. (The assumption is that the vocalist sings the highest note of
the voicing, which adds a creative constraint, so my own preference is for the
format shown in figure 69.)

FIG. 69. Piano/Vocal Score

70. GUITAR TABLATURE
Tablature (or “tab” or “tabs”) is notation used by fretted string instruments, such
as guitar, electric bass, banjo, and others. It is particularly useful as a
pedagogical tool for beginning players, though many players of all levels
appreciate tab. Each line represents a string, and the numbers indicate what fret
on that string is played. Tablature typically doesn’t include rhythm; the
expectation is that the performer knows the music and can figure out the rhythm
by ear. A tablature staff might be paired with a traditional notation staff, as in
figure 70. Both are read by the same, single player, who can choose whichever
notation style he or she prefers. (Many guitar teachers wish that their students
would learn traditional notation, while many beginning guitar students find it
easiest to read tab.)
The music in figure 70 is a bit different than the full score’s guitar part. It is an
arrangement of “No Time” for solo guitar. (Arrangements are specific settings of
music, generally derived from an original version.)

FIG. 70. Guitar Traditional Notation and Tablature

71. DRUM CHART AND KEY
Drum set notation (or a “drum chart”) is different from notation for other
instruments in that positions on the staff indicate different instruments, rather
than different pitches. There are a number of competing conventions for what
these positions mean. The Percussive Arts Society has codified a system that has
received fairly wide acceptance among drummers, but there remain
variations.Essentially, though, regular noteheads indicate drums and X
noteheads indicate cymbals. Other shapes are sometimes used to indicate
percussion instruments (e.g., cowbell) or special techniques (e.g., rim clicks).
Stems pointing up indicate instruments played with the hands (e.g., snare drum);
stems pointing down indicate instruments played with the feet (e.g., kick drum).
Because drum strikes typically don’t have critical duration, only attacks are
usually indicated.Below, for example, the bass drum hit is notated as a dotted
half note, rather than (for instance) an eighth note followed by a series of rests.
Using long durations such as this greatly declutters the page.

FIG. 71.1. Drum Notation

Drum Key
Drum set notation isn’t universally standardized, so it is common to find a
drum key at the beginning of a score or a book of drum notation. The key
indicates exactly what conventions are being used regarding what notation
character references what instrument.

FIG. 71.2. Drum Set Key

72. LEAD SHEET
Lead sheet notation, in its purest form, includes only the melody (“lead” line)
and chord symbols. Sometimes, you will also see cue notes, lyrics, rhythmic hits,
and other embellishments.
Lead sheets (or “charts” or “changes”) are most commonly used in jazz
contexts. The notational opposite of a full score, the expectation here is that the
performers will use the chart to craft their own individual parts for the tune,
embellishing what is written, and developing something appropriate to their
specific instruments. Every player in the band will use the same lead sheet
(though a horn player might get a transposed version), but interpret the notation
differently, possibly guided by the leader. A bass player, for example, will
primarily look at the chord symbols (also called “changes”) and craft a bass line
that supports the harmonic structure. A drummer will focus on the style direction
and the song form, and prepare a part that helps organize the structure. A rhythm
guitarist or keyboard player would use the chord symbols to create an
accompanying part (“comping”) that fills in the harmonic landscape, possibly
even embellishing the chord by adding “tensions” beyond what the chord
symbol indicates. Collections of lead sheets are often called “fake books.” In
other words, a musician skilled at interpreting lead sheets can “fake” their way
through playing a tune by the charts contained therein, even if they never heard
the tune before.
Playing from a lead sheet probably won’t result in a performance much like
that achieved by the full score, but hopefully, it will have a more vibrant
independent spirit. This flexibility is often puzzling to musicians who have been
trained classically. But we have to get over it, somehow. Note the rhythm slashes
(/ / /) in the intro; there is no melody there, just chord changes, for the groove.
FIG. 72. Lead Sheet “No Time” Excerpt (with Lyrics)
73. CHORD CHART
A chord chart is like a lead sheet without the melody. Chord charts are used by
rhythm section players to develop the groove accompaniment. Here is a chord
chart for “No Time” (excerpt), showing just the intro and the first eight bars. The
slashes in each measure indicate the beats. If we were in 4/4 time, we’d have
four slashes per measure. Sometimes, the chords are written on blank paper, with
no notation.

FIG. 73. Chord Chart “No Time” Excerpt

74. NASHVILLE CHORD CHART
The Nashville numbering system is attributed to Neil Matthews Jr. of the
Jordanaires, who were best known as the backup singers for Elvis Presley, but
who also worked with thousands of other artists. It is a style of chord chart, but
instead of indicating specific chords, it presents chord functions as numerals,
based on the scale (in C major, 1 for C, 2 for D, 3 for E, etc.). This facilitates
transposition—common practice for session musicians who frequently adapt
song keys for specific singers. A line under multiple chords indicates that they
share a measure, and rhythm notation helps reveal irregular harmonic rhythms.
Chord qualities beyond triads are indicated with superscripts (1Maj7), or to clarify
nondiatonic harmonies. You might see other symbols, such as a diamond shape
to indicate “let it ring,” a caret for “choke it short,” slash marks (/) for chord
repetitions, and others. There are many variations, with additional symbols and
nuances. Essentially, though, it’s a system that uses numerals instead of chord
names.
Here is the Nashville-style chart for “No Time.” The original jazz harmonies
are a little complex for Nashville notation and would have required some finicky
superscripts that would have revealed me to be the Yankee that I am, so I
simplified it in order to give a more idiomatic example. For country or rock
harmonies, which tend to be triadic, Nashville notation comes into its own, with
simple numerals summarizing the score. It is designed to be very quick,
convenient notation in a recording studio. While much detail is avoided, it
provides “just enough” information to give a seasoned Nashville session
musician, so that they can bang that sucker out.
This chart begins with a key and time signature: a jazz waltz in C. Thus, 1
means that the first chord here is C major, 5 means G major, 6 means A minor,
and so on. If that proved too low/high for the singer and he or she decided to
transpose it to, say, D major, then only one character on the chart would change
(the C changing to D). Song sections, such as “intro” and “head” (once through
the form) are indicated in boxes. Repeated sections don’t require a restatement
of the chords.
A barbeque sauce stain would make this chart more authentic. Maybe we’ll
add that to the upcoming scratch-’n’-sniff edition of this book.
FIG. 74. Nashville Chord Chart for “No Time”
75. ARRANGEMENT SUMMARY SHEET
Accompanying a lead sheet or a set list might be a shorthand summary version
of the arrangement to be performed. Whereas a set list is generally distributed to
fans or to the stage manager, only performers are likely to see an arrangement
summary. Song sections (verses, choruses, bridges, etc.) might be numbered, and
solos indicated. The arrangement summary might be written at the bottom of a
lead sheet, rather than on a separate page.
Figure 75 shows two levels of detail. For a blues, what’s important is the
number of measures in the form, and how many times the form is played.
When everyone knows the tune, that is clear enough. For more complex
forms, song sections and measure counts can be provided. The first verse of
“Closet Demon,” for example, is eight measures long. To confuse matters, the
word “chorus” is used to mean “once through the form” for “Someone Else’s
Blues” (jazz style) and as a specific type of song component in “Closet Demon”
(rock style).

Some common abbreviations:

H: Head
V: Verse
C: Chorus
B: Bridge
S: Solo
Gtr.: Guitar (and many other instrument abbreviations)
Intro: Introduction
Out: Out Chorus (i.e., written melody at the end)
End: Ending/Coda
FIG. 75. Arrangement Summary
AFTERWORD. TIPS FOR CREATING FORMS
Hopefully, this collection of forms gives you some ideas for how to organize
your work in the music industry. Again, they are designed to be customized to
your own circumstances, rather than used verbatim.
If you see a cryptic form out there in the field, see if you can find someone to
interpret it for you. Send it to me, if you like (at jfeist@berklee.edu). I live for
this stuff, especially when it helps forge order out of chaos. Which begs the
question, what’s the difference between a good, helpful form and a torturous
implement of inane bureaucracy?
Forms are communication tools, and the best forms serve a community of
folks: those gathering the information, filling in the information, and interpreting
the information. Bad forms commonly only represent the perspective of their
creators—and sometimes, not even them. A classic mistake is to have fields so
small, it is impossible for anyone to legibly fill in the required information. The
form must serve the person filling it out, as well as the person reading it and
creating it—even if all three roles are played by you. Thinking it through this
carefully, from a general usability and communication perspective, is often half
the journey towards getting it right.
Here are a few tips for creating useful, lovable forms.

1. Keep it clear and concise. Use standard formats, symbols, and

terminologies; see if a standard exists before inventing your own. If anyone
is likely to read the form who is not familiar with its conventions, include a
legend of symbols, or even an attached explanation sheet. Don’t set the font
size so small that nobody can read it; smaller than 8 points, and you’re
looking for trouble. Use as little text as possible, and omit unnecessary
punctuation (such as colons in headers). Be ruthless in cutting out anything
unnecessary. If possible, engage a graphic designer to fine-tune the layout
and help clarify the form’s organization. (Junking up the form with
nonessential graphics is counterproductive, though, no matter how zippy
they look.)
2. Encourage good data input. Give enough space to handwrite information if
typing it isn’t possible. Make text labels as concise and understandable as
you can. Using check boxes and radio buttons instead of open fields can
speed up the user’s data entry time and avoid confusion in their reply due to
illegible handwriting or typos. Invite your form’s user(s) to attach sheets of
more information, if their answers could exceed the prescribed space
 available.
3. Encourage completeness while avoiding excess. Consider whether every
data point is truly relevant/necessary/actionable. If not, take it off the form.
If you are unlikely to actually use someone’s fax number, don’t request it.
People lose steam when filling out information, and the quality of their
input can decline as they grow fed up with a lengthy process. Just ask for
what’s critical.
4. Test it before it goes live. Ask someone to fill it out, and then evaluate how
well their work suits your needs. If what they produce is difficult to read or
is incomplete, make some adjustments.
5. Simplify the user’s experience. Avoid having them go on wild goose chases
or having to struggle with awkwardness. A common example is on
computerized data entry fields where you have to choose your country by
scrolling down a loooong list of every country on earth before arriving at
“United States,” all the way at the end of the alphabet. If nearly everyone
who fills out the form is from the same country, you can save your
population of form users a lot of collective mousing around by making that
country the default. For collections of fields like components of a mailing
address (City, State, Zip), set the related fields together, such as on a
horizontal line, logically grouped, to match how people intuitively organize
the information. And if a form is likely to be referenced by a certain name
or title or code number, set that right at the top, large and unobscured, so
that it is easily spotted right away. Don’t surround it with junk.

I really hope that these samples and explanations make your life and work
easier and help facilitate your music-making process.
And thank you for participating in the music industry. It’s not always easy,
but we really need you here.
ABOUT THE AUTHOR

Jonathan Feist has worked in many dimensions of the music industry, from
stage manager to songwriter, producer to performer, engraver to educator. He is
editor in chief of Berklee Press, the book/instructional video publishing division
of Berklee College of Music (in partnership with Hal Leonard Corp.), where
since 1998 he has helped bring hundreds of pedagogical music products to a
worldwide audience. Jonathan is author of the book Project Management for
Musicians and two Berklee Online courses: Project Management for Musicians
and Music Notation Using Finale. He holds a bachelor’s and master’s degree in
composition from New England Conservatory of Music.