Numbering Measures

Numbering measures correctly and consistently is one of the things that each of us can do in advance of rehearsing to make better use of the time together. Being able to locate a starting point quickly and unambiguously will allow us to work more efficiently during the rehearsal, especially when members of the group are working from different editions.

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

• Place a bar number either at the beginning of each line or every ten bars; you don't need to number each bar.
• Count only measures with downbeats. In other words, count only those measures where, if you were counting out loud, you would start with "one". Watch for these situations:
• At the start of a movement, check to see that you have a full bar; i.e., if there is no downbeat (a "pick-up bar"), don't count it.
• If a measure is divided across a double bar, across a repeat, across a change of clef, key, or meter, or from one staff system to the next, be sure not to count it twice. Don't count subdivisions within measures marked by dotted lines.
• If a change of time signature results in a mid-work "pick-up bar", don't count that, either.
• Do count the final downbeat of the piece, even if the measure is incomplete.
• At a repeat with first and second endings, don't count the first ending. In general, count only the last in a set of endings.
• Count trios, codas or variations in continuity with the preceding printed measures, even if they are not played in that sequence; do not restart from “1”. Count tacet parts in trios or variations in accordance with the score.
• Count each movement individually.

Checking Measure Counts
To access a list of all known measure counts, click here. To report new measure number counts, send mail to Eve at this domain.

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

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

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

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

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