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Part-writing is an extremely skilled occupation. It requires a lot of time and patience. If you do not allow this time and patience the likelihood is that your parts will be faulty, illegible, impractical or both and will cause you significant difficulties and embarrassments during a rehearsal.
A lot of people when they first start composing (including myself when I started) think that the part-writing is the 'easy' part. You don't have to think about what you're writing after all, you're just copying out. This is incorrect. A single part of even a relatively short piece can quite easily take one day to complete satisfactorily. Multiply that by the number of parts you have and you may have a reasonably idea of the time you require.
Choose one (or more) systems of coordinating parts. The common methods are:
Each of these methods has some advantages and some disadvantages. Bar numbers are logical and precise, although there's a risk of getting them wrong. In rehearsal it may also take time for everyone to locate a particular point, whereas if that point is already identified by a rehearsal number or letter, it's easy to find.
Using number or letters at significant points allows instrumentalists playing to more intuitively know where they are, but it may mean more work for the instrumentalist in counting through long and varied numbers of rests.
My own practice is to include bar numbers at the beginning of each line of a part as well as rehearsal numbers at significant moments. Remember that 'significant moments' usually means at moments of significant articulation. You should include a rehearsal mark at least every ten or fifteen bars, whatever.
All instrumentalists need time to turn a page. They cannot turn a page and play at the same time. Those playing larger instruments may need a significantly longer time to turn a page.
Page turns become considerably more of a problem if your intention is simply to photocopy the score. Clearly, this will mean an increased number of page turns, and it is unlikely that your score will automatically make itself convenient for this. Even if all instrumentalists do pause together for long enough to make a turn, the sound of them doing this can become significant. Each page turn, especially if the parts are quickly made, increases the risk that a performer will accidentally drop their part, (or a part of their part!)
A very significant number of problems occur when parts fall off stands, will not sit on them properly, flop over, and generally fall apart. A4 paper is usually a little too big to sit on a music stands without flopping over, if it doesn't have sufficient support. Light parts which comprise only one or two sheets are vulnerable to gusts of wind, other performers knocking them, etc. Test your parts out first. Be prepared to come along with card and/or pegs to hold the music to the stand.
While these may seem to be a gift from heaven, they can prove the opposite. Try printing out one part first and find out what the problems are - is the formatting correct? What about page turns? Are dynamics and articulation complete and correctly formatted? Are the fonts working correctly? Has your printer sufficient ink to print all these parts out?
A significant number of times, composers who think that their parts are going to be fine, leave printing until the last minute only to discover countless difficulties and faults.
There's a very basic rule here. When an instrument in a certain key plays a C, the pitch that comes out will be the pitch of their transposition. The only thing that will vary will be the octave transposition. So, for example, when a trumpet in B flat plays a C, the tone that comes out will be a B flat. In this case, it's the B flat below it. If a French Horn (in F) plays a C, the tone that comes out will be pitched F, (in this case, the F one fifth below the notated note.