Others say...

"Important Skill Whether Using Pencil, Ink or Mouse"
In this age of notation software, MIDI event views and direct wave editing, it's reasonable to ask: Is writing music manuscript by hand an archaic, dying art? I like to think not, though I have no illusions about the generation raised with electronic memo pads in their back pockets where I once carried a small spiral one.

Call me old-fashioned but the image of someone whipping out a piece of manuscript at a rehearsal or in between sets and suddenly scribbling down an idea for a harmony part or an extended jam interlude is just too familiar. When I'm writing something, with or without an instrument in hand, I find the less I have to "operate" as in clicking mouse buttons or touch pens the less distracted I am. Call it left brain intruding on right brain or whatever, we all have to find our own working
path.

Mark McGrain's "Music Notation" was written before such electronic possibilities became widespread, when communicating written musical ideas accurately and efficiently demanded correct and legible notation skills. I'd argue it's still a valuable skill to have and this book lays out the principles
in a thorough, progressive way, requiring little more than manuscript paper, pencil and straightedge.

Unlike that other notation classic "The Art of Music Copying" by Clinton Roemer, McGrain's book is geared not towards teaching you to be a professional "ink" music copyist for which, frankly, job opportunities are likely non-existent. Rather McGrain views notation skills as a valuable part of musicianship, whether in the context of studying, performing, arranging or composing.

Being a Berklee book, it's geared towards jazz instrumentation. I'd recommend Gardner Read if you're searching for a classical text, particularly 20th century techniques.

McGrain begins with rhythmic subdivisions and pitch notation within what he calls the notational grid. He combines micro-detail (how to draw note ovals and stems) with the larger
context of spacing and beaming notes in bars to achieve a uniform appearance across the score page. Articulation
and phrasing markings, tempo, divisi parts, everything you might encounter on a jazz orchestral (and frankly, quite a lot of classical scores) is not just covered, but explained.

And that's a key part of the justification here: notation software often provides you with a "how to" but often
neglects the "why to", many times forcing you into a particular formating that's counter intuitive to the way you conceptualize the music. Yes, you can often jump through hoops to get the
notes precisely the way you want them, but without the knowledge of why particular conventions are used, it's easy to blindly (blandly?) accept an often compromised solution.

Years ago there was an exhibit called "Settling New Scores" in New York at the Frick Library.
It included a gallery of music manuscripts from a variety of 20th century composers. The sheer beauty, variety, and personality that came through those pages was as impressive as any "visual art" show I'd been to. Sure, music will always be first and foremost about the ear; but as they say on the Food Network, "Presentation counts".


"Excellent book, excellent teacher"
Well, giving the book a negative review due to dislike for the teacher seems rather immature. For my part, I had the book long before I had taken a class with Mark, and found him to be a friendly, down-to-earth guy. That said, I had already found this book to be the absolute reference for all things notation. It's got a wealth of information, and is easily understood and useful for years to come.

"clear, concise, detailed"
I was first introduced to this well laid out text as a student at Berklee. I found the step by step guidelines to be very helpful. Mark guides the reader through the process of drawing each notation symbol with a no-nonsense easy to follow approach. Each chapter concludes with a comprehensive exercise sheet. I continue to use the book as a reference text everyday.

"rotten book rotten personality"
i was a student of marks at berklee and he was very hostile, pedantic and negative. unfortunately the excellent information in this book is often obsucured by that same hostile, arrogant spirit which he so readily and eagerly shared with his students.