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Double bars

Forgive my stupid question, but what is the purpose of a double bar vs. a single bar line?  I'm talking about when NW puts a double bar in the middle of a staff (Insert | Bar Line (Decorated) | Double).  And why does noteworthy call that a double bar line when all my Google searches indicate a double bar line is at the end of the staff and indicates the end of the song?  What am I missing?

Thanks,
Kevin

Re: Double bars

Reply #1 –
A double barline is used before a key change, or it may be used to "section off" different parts of a piece of music.
I have seen jazz charts which have a double barline at every rehearsal mark - don't do that, though.
It lessens the effectiveness of the double barline.

Re: Double bars

Reply #2 –
The double line is also used with a time signature change as well as Kevin's key signature change.

I don't know if I've ever seen a single bar line at a point where there's a rehearsal letter, but I haven't worked with a lot of hand written jazz charts.  Is it common to have rehearsal letters within each section of a piece if the sections are 8 or 12 bars only?  Seems like it would be a bit much.

Re: Double bars

Reply #3 –
Might I suggest an analogy between double barlines and paragraphs.  The double barline marks out the logical divisions in the musical ideas as paragraphs mark out logical divisions in the text.

Just as you CAN write text without paragraphs, you CAN write music without double barlines.  However, it is much easier to follow if you use paragraphs/double barlines.

One example of why double barlines are useful: if I get lost (as I often do) while sightreading in the orchestra, I can frequently hear where the music is "punctuated" (even if there is no key change) and get back into it again at the next double bar line.

In my experience of orchestral works, rehearsal marks are often placed at double barlines but also elsewhere.  Even so, they are often too widely spaced to avoid marathon counting sessions - "can we take it 57 bars before F please".

Stephen

Re: Double bars

Reply #4 –
...a double barline at every rehearsal mark...
What I meant was having a double barline every 8 or 12 bars.  They are "wasted" like this.  You could have a 4-bar intro, a double barline, a number 5 (rehearsal mark), 13, 21, 29, and then a double barline at 37.  Now you have your 32-bar phrase marked off by double barlines without excessive use.

Re: Double bars

Reply #5 –
Every commercial arrangement I have played and every arrangement I have copied over a 50 year career as a professional musician and  copyist has had double bars and rehearsal marks at either 8, 12 or 16 measures.
I do the same with the arrangements I write.

I have never seen a rehearsal mark without a double barline.
I don't feel they are wasted in this way.

Rehearsal marks placed so are essential to my way of thinking.
Big bands, unlike concert orchestras, have an enormous turnover of players, depending on availability.
Whilst the majority of players I have worked with have been very good sight readers, the volume of numbers rehearsed in a practice session is always high and it's better to err on the side of too many rather than too few rehearsal marks.

Barry Graham
Top Brass Events Band
Melbourne, Australia
http://www.topbrass.com.au

Re: Double bars

Reply #6 –
...it's better to err on the side of too many rather than too few rehearsal marks.
With this point I agree.  The more rehearsal marks the better.  The issue is too many double barlines.  In my 64-year career, I have run across only a handful of jazz band charts and zero orchestral, symphonic band, wind ensemble, brass band, brass quintet, string quartet, choral ensembles, and what-have-you that employ this practice.

Re: Double bars

Reply #7 –
"64 year career"
Wow - you are even more ancient than me.
So you would also remember the old commercial charts of Ned Washington, Mack Brown, Jerry Gray, Jimmy Lally and later Art Dedrick, Glen Osser and Sammy Nestico.
I started playing with big bands back in 1954 and now at 64 years I'm still going but I write my own charts now.
How about you Kevin - do we have anything we can trade?

Barry Graham
Top Brass Events Band
Melbourne, Australia
http://www.topbrass.com.au

Re: Double bars

Reply #8 –
Well, I don't know Ned Washington or Mack Brown, but I do know the others.  I've even played with a couple of them - and Jimmy Lally still owes me a beer!  I don't play much anymore - the old embouchure ain't what it used to be.
As for trades, I don't have much right now, but someone told me you were looking for Summertime a couple summers ago.  Did you ever get a good arrangement?  I have a fantastic one by Richard Fote (I think I owe him a beer...).  I can send that if you still need it.

Re: Double bars

Reply #9 –
Thanks Kevin,

I'd be delighted if you could send me that arrangement.
My email is btgraham(AT)tpg(DOT)com(DOT)au

Thanks again

Barry

Re: Double bars

Reply #10 –
Barry,

Sorry this is taking so long, but my server has been down for over a week.  I had to go to my local library to get to the forum.  I will ask some friends if I may email you the file from one of their systems.

Re: Double bars

Reply #11 –
Kevin,

That's OK.
I'm suffering a similar problem at the moment - system went down big time so I'm offline for a few days.
Using a neighbours system at the moment.

Barry

Re: Double bars

Reply #12 –
Just sent it a few minutes ago using another Kevin's system.
Thanks for your patience.
 

Re: Double bars

Reply #13 –
Thanks Kevin,

I'm back online after a reinstall.
I'm using Cakewalk to strip the tempo changes and compact the drum part.
While I'm at it I'll add some velocity variations and convert the Volume controllers to Expression before importing into my notator.

Thanks again for the file.

Barry