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Dunder Mifflin
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Fictional paper company from U.S. TV series The Office
Dunder Mifflin Paper Company, Inc.
Series
The Office (U.S.)
Founded
1949
Location
Headquarters:
New York City
Regional branches:
Utica
Scranton
Akron
Nashua
Buffalo
Rochester
Albany
Stamford
Pittsfield
Camden
Syracuse
Owner
Sabre (seasons 6–9)
David Wallace (season 9)
Key people
Robert Dunder (co-founder)
Robert Mifflin (co-founder)
David Wallace (CFO / CEO / owner)
Jan Levinson (VP, northeast sales)
Ryan Howard (VP, northeast sales)
Charles Miner (VP, northeast sales)
Michael Scott (regional manager)
Robert California (CEO)
Andrew Bernard (regional manager)
Dwight Schrute (regional manager)
Jim Halpert (co-regional manager)
Competitors
Staples Inc.
Office Depot
Prince Paper
Michael Scott Paper Company
Big Red Paper Company
Osprey Paper
Dunder Mifflin Paper Company, Inc. is a fictional paper sales company featured in the American television series The Office. It is analogous to Wernham Hogg in the British original of the series, and Papiers Jennings and Cogirep in the French Canadian and French adaptations respectively. Originally, the company was completely fictitious, but eventually, the brand was used to sell products at Staples and other office supply outlets.[1]
Two websites were created to support the fictional company,[2] one with the image of a public website, and one meant to look like the corporation's intranet.[3] NBC sold branded merchandise at its NBC Universal Store website.[4] Its logo was prominently displayed in several locations in downtown Scranton, Pennsylvania, where the show is set. Scranton has been associated internationally with Dunder Mifflin due to the show's international reach. In a 2008 St. Patrick's Day speech in the suburb of Dickson City, then-Taoiseach, or prime minister of Ireland, Bertie Ahern made a reference to the city's fictional branch office.[5]
Contents
[hide]
1 Overview
1.1 Depiction of corporate culture
2 Locations and sets used
3 Presence in real world
4 Dunder Mifflin appearances
4.1 Video games
5 References
6 External links
Overview[edit]
Dunder Mifflin logo displayed in Scranton's Mall at Steamtown, frequently mentioned on the show.
A fourth-season episode, "Dunder Mifflin Infinity", said the company was founded in 1949 by Robert Dunder and Robert Mifflin, originally to sell brackets for use in construction. The fifth-season episode "Company Picnic" said that the co-founders met on a tour of Dartmouth College. U.S. News and World Report likens it to many real companies in its size range: "It is facing an increasingly competitive marketplace. Like many smaller players, it just can't compete with the low prices charged by big-box rivals like Staples, OfficeMax and Office Depot, and it seems to be constantly bleeding corporate customers that are focused on cutting costs themselves."[6] The show's creators share this assessment—"It's basically a Staples, just not as big", says co-producer Kent Zbornak[7]—as do some of those companies. "Since Dunder Mifflin could be considered among our competitors", says Chuck Rubin, an Office Depot executive, "I think Michael Scott is actually the perfect person to run their Scranton office."[8]
The company was depicted as based in New York City, with branches in smaller Northeastern cities. Episodes are set in the Scranton branch, but other branches have been mentioned and seen. The now-closed Stamford, Connecticut, branch was seen when Jim Halpert (John Krasinski) transferred there during the first half of the third season.[9] Another episode, "Branch Wars", gave viewers a brief glimpse of the Utica branch, one of several purportedly in upstate New York. Zbornak says that city was on the short list for where to base the show, with some of its writers having ties to Central New York, and that they always intended for at least a branch office to be located there, for reasons of phonetics. "Utica was just such a different-sounding name than Scranton," Zbornak says. But also, "we had done a little research and thought our kind of business could survive in Utica."[7]
A Buffalo branch has been mentioned in several episodes,[10] and a Rochester office was also mentioned in the episode titled "Lecture Circuit". The Dunder Mifflin website also lists a Yonkers branch. Albany is yet another mentioned New York location, which in a deleted scene in "Stress Relief" is revealed to have closed. It is also said that there are branches in other states, including: Akron, Ohio; Camden, New Jersey; and Nashua, New Hampshire.[11] In "Company Picnic", it is announced that the Camden and Yonkers branches have closed, and that the Buffalo branch is about to close. In "Boys and Girls", a Pittsfield branch was mentioned, until Jan shut it down when their warehouse workers unionized. The episode "Turf War" focuses on the closing of the Binghamton branch, and how reps from the Syracuse branch are competing with Scranton employees for Binghamton's old clients.
Business writer Megan Barnett has pointed out parallels between Dunder Mifflin and the real-life W.B. Mason paper company, based near Boston, in Brockton, Massachusetts. It is similarly regional in focus, serving corporate customers in New England and the Mid-Atlantic states. Like Dunder Mifflin, its original product line (rubber stamps) was something other than paper, and it faces stiff competition from national and international chains. It, too, has a branch office in Stamford, but Mason's has remained open. In 2009, it had an accounting scandal that resulted in a $545,000 payment to corporate customers, much as Dunder Mifflin had to deal with the arrest of Ryan Howard for fraud the year before.[12]
Depiction of corporate culture[edit]
The company's "clearly dysfunctional" top-down management style is a major source of tension on the show, notes Chicago-based writer Ramsin Canon. Corporate headquarters rejects the television commercial Michael created, as he in turn insisted on his own ideas for the commercial and ignored his employees'. Ryan Howard (B. J. Novak), who began as a temp, becomes Michael's new boss because he has an M.B.A. despite never having sold any paper or paper products. Michael, in turn, treats his own employees the same way.[13] The show's depiction of a dysfunctional corporate culture has led some commentators to liken Dunder Mifflin to the software maker Initech in Mike Judge's cult comedy Office Space[14] and the nameless company in which the Dilbert comic strip is set.[8]
The Pennsylvania Paper & Supply Company tower, seen in The Office's opening credits.
Dunder Mifflin is also depicted as struggling to accommodate the demands of a diverse workforce. Episodes have focused on sensitivity training sessions and other informal efforts.[15] Sexual harassment has occurred often enough, however, that it has lent its name to an episode. Employment lawyer Julie Elgar started a blog analyzing each episode for plot developments likely to be actionable if they occurred in real life and estimating the legal bill and/or possible verdict the company would incur should a suit be filed—as Michael's former supervisor, Jan Levinson (Melora Hardin) did in one episode, alleging wrongful termination.[16] Greg Daniels, the show's creator, said many episode plotlines are in fact based on anecdotes recounted during the sensitivity training he and the other members of the show's cast and crew are required to take annually as employees of NBC, a General Electric subsidiary.[8] The episode "Boys and Girls" showed that the company strongly resisted unionization efforts by its employees, to the point of closing down a branch, as many real companies do or threaten to do in the same situation.[17]
Locations and sets used[edit]
The office and warehouse of the Scranton branch office were sets on the production company's office in Van Nuys, California, although a real office was used in the show's first season. For episodes in season two and beyond, scenes set in the parking lot made use of the exterior of the production company's office building. Since the stage set had no windows, writer Jennifer Celotta's office was dressed to look like Michael Scott's when the script called for him or someone else to look out the window into the parking lot.[18] In the second and subsequent seasons, the office interiors and exteriors are at a different location in Van Nuys.[19]
Annual reports and paper on seats of "uncommon stockholders" at 2007 The Office convention.
Some viewers have presumed that the Pennsylvania Paper & Supply Company's tower, a downtown Scranton landmark which appears in video footage shot by cast member John Krasinski for the show's opening credits,[20] is the Dunder Mifflin office.[21] The real company, which also sells paper and office supplies, has welcomed the exposure (and increase in business) and has a ground-floor showroom where it sells both its products and T-shirts with the tower. It plans to add a Dunder Mifflin logo to the circular insets near the top of the tower.[22] Mifflin Avenue ends adjacent to the Penn Paper & Supply building.
Presence in real world[edit]
The success of the show has led to the sale of actual products with the Dunder Mifflin logo as souvenirs. NBC sells branded T-shirts, mugs, calendars and other items at its website,[4] as well as in the NBC store located in New York City. In 2006, the website 80stees.com ranked Dunder Mifflin second only to Duff Beer from The Simpsons as the best fictional brand.[23]
At the first annual The Office convention in Scranton in 2007, fans who had paid for reserved seating at an "uncommon stockholders meeting"[24] in the Mall at Steamtown received an annual report and complimentary ream of paper. A nearby elevator shaft is also decorated with the company logo. While the Scranton branch's address, 1725 Slough Avenue, does not actually exist (the street name was invented as a tribute to the original British version of the show, set in Slough, near London), the company logo can be seen two places in the city's downtown section outside the mall: on one of the pedestrian overpasses along Lackawanna Avenue, and a lamppost banner in front of City Hall.
In November 2011, Staples Inc. announced that they are selling their own product of manufactured paper under the "Dunder Mifflin" name, under license from NBC's parent company, Comcast.[25] The Dunder Mifflin products are produced and sold by Quill.com, a wholly owned subsidiary of Staples. The brand expanded its paper product line beyond manufactured paper in November 2012.[26]
As of July 2018, Quill.com no longer carries the products, listing them as having gone on “permanent vacation.“
Dunder Mifflin appearances[edit]
Video games[edit]
In Randal's Monday, a Dunder Mifflin Warehouse 42 sign is visible in a city scene.[27]
References[edit]
Jump up ^ Luckerson, Victor (16 May 2013). "After The Office, Dunder Mifflin Will Live On in Every Office". TIME Online. Retrieved 16 March 2018.
Jump up ^ "Dunder Mifflin Paper". Retrieved June 4, 2008.
Jump up ^ "Dunder Mifflin Infinity". Retrieved June 4, 2008.
^ Jump up to: a b "NBC's The Office: DVDs, T-shirts, books, mugs and caps". NBC Universal. Retrieved April 2, 2008.
Jump up ^ Falchek, David (March 17, 2008). "Prime minister of Ireland attends Lackawanna event". Republican & Herald. Times-Shamrock Communications. Retrieved April 3, 2008. He identified Scranton as the birthplace of senators Robert Casey Jr. and Joseph Biden and the branch office of Dunder Mifflin, a reference to the NBC sitcom based in the city.
Jump up ^ Palmer, Kimberly (March 13, 2008). "Career Lessons From NBC's The Office". U.S. News and World Report. Archived from the original on April 5, 2008. Retrieved April 3, 2008.
^ Jump up to: a b Cooper, Elizabeth (October 3, 2007). "'The Office' in a Utica state of mind". Observer-Dispatch. GateHouse Media. Retrieved May 14, 2008. [dead link]
^ Jump up to: a b c Jones, Del (September 26, 2007). "Taking 'Office' lessons from the world's greatest (inept) boss". USA Today. Gannett. Retrieved May 8, 2008.
Jump up ^ Ryan, Maureen (November 14, 2006). "'The Office' merger goes as badly as possible, in a good way". The Watcher. Chicago Tribune. Retrieved May 14, 2008. A crushed Jim took a job at the Stamford branch of Dunder Mifflin, and fans of "The Office", most of whom appear to have spent their summer composing YouTube tributes to the would-be couple, have had to wait patiently for the two to be reunited, even as work buddies ... Thanks to cost-cutting, Dunder Mifflin’s Stamford and Scranton branches are merged in Thursday’s episode, with comically disastrous results.
Jump up ^ Valenzuela, Dave (November 9, 2007). "Dunder Mifflin: Buffalo Branch!". The Buffalo News. Berkshire Hathaway. Archived from the original on November 19, 2007. Retrieved May 14, 2008. So during the opening minutes of last night's episode of "The Office" on NBC we had confirmed that Dunder Mifflin has a BUFFALO branch. How cool is that?
Jump up ^ "About Us". Dunder Mifflin. Retrieved April 4, 2008.
Jump up ^ Barnett, Megan (October 20, 2009). "As Seen On TV: Dunder Mifflin / WB Mason". Minyanville. MSN. Retrieved October 20, 2009.
Jump up ^ Canon, Ramsin (April 21, 2008). "Marx & Michael Scott". Gapers Block. Retrieved May 10, 2008. The power relationship is much more emotionally involving. Consider the episode ("Local Ad") where Michael tries to produce an advertisement for Dunder-Mifflin using all the talents of his branch, only to be coldly ignored, to such an extent that we do not even see his effort get rejected. The ad they produce is actually pretty good — really stupid, obviously, because the guy never realizes what he's saying — but the concept is good. If "Corporate" had supported their efforts, they could in fact have created something effective and earned the goodwill of employees who had cooperated. But power is the only commodity that matters in the corporate hierarchy, more so even than profit. First these little guys in Scranton start thinking for themselves, then what? So you do not get the wrong idea, though, the writers go a step further — Michael in turn suppresses the creativity of his employees, imposing his (naturally moronic) ideas on them. Bosses are bosses ... It is not coincidental that the man who imposes all this on Scott is former temp Ryan Howard, who gets his MBA and leapfrogs everybody to become his boss's boss, despite having never sold a single sheet of paper.
Jump up ^ Humphrey, Mark (November 27, 2006). "Dunder-Mifflin provides my ideal 'Office' setting". Daily Bruin. ASUCLA Student Media. Archived from the original on May 9, 2008. Retrieved May 14, 2008. Sure, I loved Office Space, but that was different. In that movie, Initech didn’t look like a fun place to work. Far from it. Who would want to work for Bill Lumbergh? It had been fun to mess with him, I guess, but his responses are so one-note and monotone that it’d get old after a few weeks. No, the difference is that I would love working at Dunder-Mifflin, simply because every single person in the office would provide me with hours of entertainment.
Jump up ^ Bolonik, Kera (February 9, 2006). "Defending NBC's The Office: A British Import The Network Didn't Mangle". Slate. Washington Post Company. Retrieved May 14, 2008. Michael shares his British mate's arrogance, self-absorption, and cluelessness, but he possesses his own brand of vanity, as well as a wonderful tendency to be sinister toward his colleagues. The latter is apparent as early as the second episode, "Diversity Day", in which Dunder-Mifflin employees are subjected to two excruciating cultural awareness seminars after Michael performs a Chris Rock routine on '"the two different kinds of black people". The second of the two seminars is an impromptu forum run by the clueless perp himself.
Jump up ^ Elgar, Julie; Troy Foster. "That's What She Said". HR Hero. Retrieved February 3, 2014.
Jump up ^ "Unionbusting at "The Office"?". American Rights At Work. Archived from the original on December 13, 2007. Retrieved January 30, 2007.
Jump up ^ McAuliffe, Josh (April 5, 2007). "A day at 'The Office'". The Times-Tribune. Times-Shamrock Communications. Archived from the original on February 1, 2009. Retrieved October 31, 2008. On the second floor of the building adjacent to the set is the writers' room. Below it is the Dunder-Mifflin warehouse. In one of the writer's offices, the show shoots any scene in which Michael looks out his office window down at the Dunder-Mifflin parking lot
Jump up ^ "The Dundies" [Commentary track], The Office Season Two (US/NBC Version) [DVD], 2006, Los Angeles, CA: Universal.
Jump up ^ Marchese, John (October 21, 2007). "Scranton Embraces the 'Office' Infamy". The New York Times. Retrieved April 2, 2008.
Jump up ^ Wildermuth, Renate (October 7, 2007). "'Office' Visit". Times-Union. Hearst Corporation. Archived from the original on April 11, 2008. Retrieved April 8, 2008. The paper company in Scranton most viewers associate with the show would be Pennsylvania Paper and Supply. Its 225,000-square-foot (20,900 m2) headquarters with landmark tower is featured in the opening credits.
Jump up ^ Sagers, Aaron (October 27, 2007). "Pennsylvania city relishes attention from hit TV series". The Morning Call. Tribune Company. Retrieved April 7, 2008. The tower looks exactly the same as it does on TV, although company President Douglas Fink says there are plans to add a Dunder Mifflin logo to one of the tower's black circular insets ... Fink adds that the attention from the show has led to a greater awareness of his business.
Jump up ^ Walker, Rob (November 18, 2007). "False Endorsement". The New York Times Magazine. The New York Times Company. Retrieved April 2, 2008. Fictional-brand fandom has real precedence. Last year the online store 80sTees.com named Duff beer, from 'The Simpsons,' the No. 1 fake brand — beating out T-shirts for Dunder Mifflin, the paper company on 'The Office.'
Jump up ^ "Loyal Customers? Dunder Mifflin's Got 'Em". portfolio.com. Condé Nast. October 31, 2007. Retrieved May 18, 2008.
Jump up ^ "Partnership with NBCUniversal brings “The Office” to Workplaces Nationwide" Quill.com (November 28, 2011)
Jump up ^ "Expanding Line of Dunder Mifflin Products Shows Success in Reverse Product Placement" New York Times (November 23, 2012)
Jump up ^ [1] Randal's Monday gameplay trailer
External links[edit]
Official Website
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Sheet music
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Sheet music (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010) (Learn how and when to remove this template message)
Sheet music is a written, notated representation of musical melodies, rhythms and lyrics (if lyrics are present). This is a homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled "Adeste Fideles", in standard two-staff format (bass staff and treble staff) for mixed voices. Play (help·info)
A Tibetan musical score from the 19th century.
Sheet music is a handwritten or printed form of music notation that uses modern musical symbols to indicate the pitches (melodies), rhythms or chords of a song or instrumental musical piece. Like its analogs – printed books or pamphlets in English, Arabic or other languages – the medium of sheet music typically is paper (or, in earlier centuries, papyrus or parchment), although the access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instruments.
Use of the term "sheet" is intended to differentiate written or printed forms of music from sound recordings (on vinyl record, cassette, CD), radio or TV broadcasts or recorded live performances, which may capture film or video footage of the performance as well as the audio component. In everyday use, "sheet music" (or simply "music") can refer to the print publication of commercial sheet music in conjunction with the release of a new film, TV show, record album, or other special or popular event which involves music. The first printed sheet music made with a printing press was made in 1473.
Sheet music is the basic form in which Western classical music is notated so that it can be learned and performed by solo singers or instrumentalists or musical ensembles. Many forms of traditional and popular Western music are commonly learned by singers and musicians "by ear", rather than by using sheet music (although in many cases, traditional and pop music may also be available in sheet music form).
"Score" is a common alternative (and more generic) term for sheet music, and there are several types of scores, as discussed below. The term "score" can also refer to theatre music, orchestral music or songs written for a play, musical, opera or ballet, or to music or songs written for a television programme or film; for the last of these, see Film score.
Contents
[hide]
1 Elements
1.1 Title and credit
1.2 Musical notation
2 Purpose and use
3 Types
3.1 Full scores, variants and condensations
3.2 Vocal scores
3.3 Other types
3.4 Popular music
4 History
4.1 Precursors to sheet music
4.1.1 Cuneiform tablets
4.2 Ancient Greek notation
4.3 Western manuscript notation
4.4 Printing
4.4.1 15th century
4.4.2 16th century
4.4.3 19th century
5 20th century and early 21st century
6 See also
7 References
8 External links
8.1 Archives of scanned works
8.2 Archives of works in other formats
Elements[edit]
"Queen of my Heart", the hit song of Dorothy, was very popular as a parlour ballad.
Title and credit[edit]
Sheet music from the 20th and 21st century typically indicates the title of the song or composition on a title page or cover, or on the top of the first page, if there is no title page or cover. If the song or piece is from a movie, Broadway musical, or opera, the title of the main work from which the song/piece is taken may be indicated. If the songwriter or composer is known, her or his name is typically indicated along with the title. The sheet music may also indicate the name of the lyric-writer, if the lyrics are by a person other than one of the songwriters or composers and the name of the arranger, if the song or piece has been arranged for the publication. No songwriter or composer name may be indicated for old folk music, traditional songs in genres such as blues and bluegrass, and very old traditional hymns and spirituals, because for this music, the authors are often unknown; in such cases, the word "Traditional" is often placed where the composer's name would ordinarily go. Black market sheet music, such as illegal jazz fake books may or may not indicate the songwriter or composer.
Musical notation[edit]
The type of musical notation varies a great deal by genre or style of music. In most classical music, the melody and accompaniment parts (if present) are notated on the lines of a staff using round note heads. In classical sheet music, the staff always contains a clef, often a bass clef or treble clef, a key signature indicating the key, and the time signature, which typically has two numbers, the top number indicating how many beats are in a bar and the bottom number indicating the unit which the bars are composed of (e.g., 4/4 indicates that there are four beats per bar and that the quarter note is the unit that the bar is made up from). Most songs and pieces from the Classical period (ca. 1750) and later eras indicate the tempo using an Italian expression such as Allegro (fast) or Grave (slow) and the dynamics (loudness or softness) using an expression such as "forte" (loud) or "pianissimo" (very quiet). The lyrics, if present, are written near the melody notes.
However, music from the Baroque music era (ca. 1600-1750) or earlier eras may have neither a tempo marking nor a dynamic indication. The singers and musicians of that era were expected to know what tempo and loudness to play or sing a given song or piece due to their musical experience and knowledge. In the contemporary classical music era (20th and 21st century), and in some cases before (such as the Romantic period in German-speaking regions), composers often used their native language for tempo indications, rather than Italian (e.g., "fast" or "schnell") or added metronome markings (e.g., quarter note = 100 beats per minute). These conventions of classical music notation, and in particular the use of English tempo instructions, are also used for sheet music versions of 20th and 21st century popular music songs. Popular music songs often indicate both the tempo and genre: "slow blues" or "uptempo rock". Pop songs often contain chord names above the staff using letter names (e.g., C Maj, F Maj, G7, etc.), so that an acoustic guitarist or piano player can improvise a chordal accompaniment.
In other styles of music, different musical notation methods may be used. In jazz, while most professional performers can read "classical"-style notation, many jazz tunes are notated using chord charts, which indicate the chord progression of a song (e.g., C, A7, d minor, G7, etc.) and its form. Members of a jazz rhythm section (a piano player, jazz guitarist and bassist) use the chord chart to guide their improvised accompaniment parts; the "lead instruments" in a jazz group, such as a saxophone player or trumpeter, use the chord changes to guide their solo improvisation. Like popular music songs, jazz tunes often indicate both the tempo and genre: "slow blues" or "fast bop".
Professional country music session musicians typically use music notated in the Nashville Number System, which indicates the chord progression using numbers (this enables bandleaders to change the key at a moment's notice). Chord charts using letter names, numbers, or Roman numerals (e.g., I-IV-V) are also widely used for notating music by blues, R&B, rock music and heavy metal musicians. Some chord charts do not provide any rhythmic information, but others use slashes to indicate beats of a bar and rhythm notation to indicate syncopated "hits" that the songwriter wants all of the band to play together. Many guitar players and electric bass players learn songs and note tunes using tablature, which is a graphic representation of which frets and strings the performer should play. "Tab" is widely used rock music and heavy metal guitarists. Singers in many popular music styles learn a song using only a lyrics sheet, learning the melody "by ear" from the recording.
Purpose and use[edit]
Sheet music can be used as a record of, a guide to, or a means to perform, a song or piece of music. Sheet music enables instrumental performers who are able to read music notation (a pianist, orchestral instrument players, a jazz band, etc.) or singers to perform a song or piece. In classical music, authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores.
Comprehending sheet music requires a special form of literacy: the ability to read music notation. An ability to read or write music is not a requirement to compose music. There have been a number of composers and songwriters who have been capable of producing music without the capacity themselves to read or write in musical notation, as long as an amanuensis of some sort is available to write down the melodies they think of. Examples include the blind 18th-century composer John Stanley and the 20th-century songwriters Lionel Bart, Irving Berlin and Paul McCartney. As well, in traditional music styles such as the blues and folk music, there are many prolific songwriters who could not read music, and instead played and sang music "by ear".
The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music, jazz and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece or hear it played or sung. Skilled composers and conductors have this ability, with Beethoven being a noted historical example.
Classical musicians playing orchestral works, chamber music, sonatas and singing choral works ordinarily have the sheet music in front of them on a music stand when performing (or held in front of them in a music folder, in the case of a choir), with the exception of solo instrumental performances of solo pieces or concertos or solo vocal pieces (art song, opera arias, etc.), where memorization is expected. In jazz, which is mostly improvised, sheet music – called a lead sheet in this context – is used to give basic indications of melodies, chord changes, and arrangements. Even when a jazz band has a lead sheet, chord chart or arranged music, many elements of a performance are improvised.
Handwritten or printed music is less important in other traditions of musical practice, however, such as traditional music and folk music, in which singers and instrumentalists typically learn songs "by ear" or from having a song or tune taught to them by another person. Although much popular music is published in notation of some sort, it is quite common for people to learn a song by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral – and aural – tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-Western cultures developed their own forms of musical notation and sheet music as well.
Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer "writes" the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions to render Western and non-Western music in readable form for study, analysis and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, 1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail.
Types[edit]
Modern sheet music may come in different formats. If a piece is composed for just one instrument or voice (such as a piece for a solo instrument or for a cappella solo voice), the whole work may be written or printed as one piece of sheet music. If an instrumental piece is intended to be performed by more than one person, each performer will usually have a separate piece of sheet music, called a part, to play from. This is especially the case in the publication of works requiring more than four or so performers, though invariably a full score is published as well. The sung parts in a vocal work are not usually issued separately today, although this was historically the case, especially before music printing made sheet music widely available.
Sheet music can be issued as individual pieces or works (for example, a popular song or a Beethoven sonata), in collections (for example works by one or several composers), as pieces performed by a given artist, etc.
When the separate instrumental and vocal parts of a musical work are printed together, the resulting sheet music is called a score. Conventionally, a score consists of musical notation with each instrumental or vocal part in vertical alignment (meaning that concurrent events in the notation for each part are orthographically arranged). The term score has also been used to refer to sheet music written for only one performer. The distinction between score and part applies when there is more than one part needed for performance.
Scores come in various formats.
A conductor's score
Full scores, variants and condensations [edit]
A full score is a large book showing the music of all instruments or voices in a composition lined up in a fixed order. It is large enough for a conductor to be able to read while directing orchestra or opera rehearsals and performances. In addition to their practical use for conductors leading ensembles, full scores are also used by musicologists, music theorists, composers and music students who are studying a given work.
A miniature score is like a full score but much reduced in size. It is too small for use in a performance by a conductor, but handy for studying a piece of music, whether it be for a large ensemble or a solo performer. A miniature score may contain some introductory remarks.
A study score is sometimes the same size as, and often indistinguishable from, a miniature score, except in name. Some study scores are octavo size and are thus somewhere between full and miniature score sizes. A study score, especially when part of an anthology for academic study, may include extra comments about the music and markings for learning purposes.
A piano score (or piano reduction) is a more or less literal transcription for piano of a piece intended for many performing parts, especially orchestral works; this can include purely instrumental sections within large vocal works (see vocal score immediately below). Such arrangements are made for either piano solo (two hands) or piano duet (one or two pianos, four hands). Extra small staves are sometimes added at certain points in piano scores for two hands to make the presentation more complete, though it is usually impractical or impossible to include them while playing. As with vocal score (immediately below), it takes considerable skill to reduce an orchestral score to such smaller forms because the reduction needs to be not only playable on the keyboard but also thorough enough in its presentation of the intended harmonies, textures, figurations, etc. Sometimes markings are included to show which instruments are playing at given points. While piano scores are usually not meant for performance outside of study and pleasure (Liszt's concert transcriptions of Beethoven's symphonies being one group of notable exceptions), ballets get the most practical benefit from piano scores because with one or two pianists they allow the ballet to do many rehearsals at a much lower cost, before an orchestra has to be hired for the final rehearsals. Piano scores can also be used to train beginning conductors, who can conduct a pianist playing a piano reduction of a symphony; this is much less costly than conducting a full orchestra. Piano scores of operas do not include separate staves for the vocal parts, but they may add the sung text and stage directions above the music.
Excerpt of a piano-vocal score (from the opera William Ratcliff, by César Cui). Play (help·info)
Vocal scores[edit]
A vocal score (or, more properly, piano-vocal score) is a reduction of the full score of a vocal work (e.g., opera, musical, oratorio, cantata, etc.) to show the vocal parts (solo and choral) on their staves and the orchestral parts in a piano reduction (usually for two hands) underneath the vocal parts; the purely orchestral sections of the score are also reduced for piano. If a portion of the work is a cappella, a piano reduction of the vocal parts is often added to aid in rehearsal (this often is the case with a cappella religious sheet music). Piano-vocal scores serve as a convenient way for vocal soloists and choristers to learn the music and rehearse separately from the orchestra. The vocal score of a musical typically does not include the spoken dialogue, except for cues. Piano-vocal scores are used to provide piano accompaniment for the performance of operas, musicals and oratorios by amateur groups and some small-scale professional groups. This may be done by a single piano player or by two piano players. With some 2000s-era musicals, keyboardists may play synthesizers instead of piano.
The related but less common choral score contains the choral parts with no accompaniment.
The comparable organ score exists as well, usually in association with church music for voices and orchestra, such as arrangements (by later hands) of Handel's Messiah. It is like the piano-vocal score in that it includes staves for the vocal parts and reduces the orchestral parts to be performed by one person. Unlike the vocal score, the organ score is sometimes intended by the arranger to substitute for the orchestra in performance if necessary.
A collection of songs from a given musical is usually printed under the label vocal selections. This is different from the vocal score from the same show in that it does not present the complete music, and the piano accompaniment is usually simplified and includes the melody line.
Other types[edit]
A short score is a reduction of a work for many instruments to just a few staves. Rather than composing directly in full score, many composers work out some type of short score while they are composing and later expand the complete orchestration. (An opera, for instance, may be written first in a short score, then in full score, then reduced to a vocal score for rehearsal.) Short scores are often not published; they may be more common for some performance venues (e.g., band) than in others.
An open score is a score of a polyphonic piece showing each voice on a separate staff. In Renaissance or Baroque keyboard pieces, open scores of four staves were sometimes used instead of the more modern convention of one staff per hand.[1] It is also sometimes synonymous with full score (which may have more than one part per staff).
Scores from the Baroque period (1600-1750) are very often in the form of a bass line in the bass clef and the melodies played by instrument or sung on an upper stave (or staves) in the treble clef. The bass line typically had figures written above the bass notes indicating which intervals above the bass (e.g., chords) should be played, an approach called figured bass. The figures indicate which intervals the harpsichordist, pipe organist or lute player should play above each bass note.
Popular music[edit]
This shows what the first two bars of a song would look like on a lead sheet.
A lead sheet specifies only the melody, lyrics and harmony, using one staff with chord symbols placed above and lyrics below. It is commonly used in popular music and in jazz to capture the essential elements of song without specifying the details of how the song should be arranged or performed.
A chord chart, of the type which indicates the rhythm that the "comping" musicians (piano, bass, drums) should play as they accompany the song.
A chord chart or "chart" contains little or no melodic information at all but provides detailed harmonic information. Some chord charts also indicate the rhythm that should be played, particularly if there is a syncopated series of "hits" that the arranger wants all of the rhythm section to perform. Otherwise, chord charts either leave the rhythm blank or indicate slashes for each beat. This is the most common kind of written music used by professional session musicians playing jazz or other forms of popular music and is intended for the rhythm section (usually containing piano, guitar, bass and drums) to improvise their accompaniment and for any improvising soloists (e.g., saxophone players or trumpet players) to use as a reference point for their extemporized lines.
A C scale in regular notation (above) and in tabulature notation for guitar (below).
A fake book is a collection of jazz songs and tunes with just the basic elements of the music provided. There are two types of fake books: collections of lead sheets, which include the melody, chords, and lyrics (if present); and collections of songs and tunes with only the chords. Fake books that contain only the chords are used by rhythm section performers (notably chord-playing musicians such as electric guitarists and piano players and the bassist) to help guide their improvisation of accompaniment parts for the song. Fake books with only the chords can also be used by "lead instruments" (e.g., saxophone or trumpet) as a guide to their improvised solo performances. Since the melody is not included in chord-only fake books, lead instrument players are expected to know the melody.
A tablature is a special type of musical score – most typically for a solo instrument – which shows where to play the pitches on the given instrument rather than which pitches to produce, with rhythm indicated as well. Tabulature or tab is widely used in the 2000s for guitar and electric bass songs and pieces in popular music genres such as rock music and heavy metal music. This type of notation was first used in the late Middle Ages, and it has been used for keyboard (e.g., pipe organ) and for fretted string instruments (lute, guitar).
History[edit]
Precursors to sheet music[edit]
Cuneiform tablets[edit]
Musical notation was developed before parchment or paper were used for writing. The earliest form of musical notation can be found in a cuneiform tablet that was created at Nippur, in Sumer (today's Iraq), in about 2,000 BC. The tablet represents fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was written using a diatonic scale.[2] A tablet from about 1,250 BC shows a more developed form of notation.[3] Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets.[4] Although they are fragmentary, these tablets represent the earliest notated melodies found anywhere in the world.[4]
A photograph of the original stone at Delphi containing the second of the two Delphic Hymns to Apollo. The music notation is the line of occasional symbols above the main, uninterrupted line of Greek lettering.
Ancient Greek notation[edit]
Ancient Greek musical notation was in use from at least the 6th century BC until approximately the 4th century AD; several complete compositions and fragments of compositions using this notation survive. The notation consists of symbols placed above text syllables. An example of a complete composition is the Seikilos epitaph, which has been variously dated between the 2nd century BC to the 1st century AD.
In Ancient Greek music, three hymns by Mesomedes of Crete exist in manuscript. One of the oldest known examples of music notation is a papyrus fragment of the Hellenic era play Orestes (408 BC) has been found, which contains musical notation for a choral ode. Ancient Greek notation appears to have fallen out of use around the time of the Decline of the Roman Empire.
Western manuscript notation[edit]
Before the 15th century, Western music was written by hand and preserved in manuscripts, usually bound in large volumes. The best-known examples of Middle Ages music notation are medieval manuscripts of monophonic chant. Chant notation indicated the notes of the chant melody, but without any indication of the rhythm. In the case of medieval polyphony, such as the motet, the parts were written in separate portions of facing pages. This process was aided by the advent of mensural notation, which also indicated the rhythm and was paralleled by the medieval practice of composing parts of polyphony sequentially, rather than simultaneously (as in later times). Manuscripts showing parts together in score format were rare, and limited mostly to organum, especially that of the Notre Dame school. During the Middle Ages, if an Abbess wanted to have a copy of an existing composition, such as a composition owned by an Abbess in another town, she would have to hire a copyist to do the task by hand, which would be a lengthy process and one that could lead to transcription errors.
Even after the advent of music printing in the mid-1400s, much music continued to exist solely in composers' hand-written manuscripts well into the 18th century.
Printing[edit]
See also: History of music publishing and Music engraving
15th century[edit]
There were several difficulties in translating the new printing press technology to music. In the first printed book to include music, the Mainz Psalter (1457), the music notation (both staff lines and notes) was added in by hand. This is similar to the room left in other incunabulae for capitals. The psalter was printed in Mainz, Germany by Johann Fust and Peter Schöffer, and one now resides in Windsor Castle and another at the British Library. Later, staff lines were printed, but scribes still added in the rest of the music by hand. The greatest difficulty in using movable type to print music is that all the elements must line up – the note head must be properly aligned with the staff, or else it means something other than it should. In vocal music, text must be aligned with the proper notes (although at this time, even in manuscripts, this was not a high priority).
Music engraving is the art of drawing music notation at high quality for the purpose of mechanical reproduction. The first machine-printed music appeared around 1473, approximately 20 years after Gutenberg introduced the printing press. In 1501, Ottaviano Petrucci published Harmonice Musices Odhecaton A, which contained 96 pieces of printed music. Petrucci's printing method produced clean, readable, elegant music, but it was a long, difficult process that required three separate passes through the printing press. Petrucci later developed a process which required only two passes through the press, but was still taxing since each pass required very precise alignment for the result to be legible (i.e., so that the note heads would be correctly lined up with the staff lines). This was the first well distributed printed polyphonic music. Petrucci also printed the first tablature with movable type. Tabulature is a form of music notation which indicates where on an instrument the player should play the notes, rather than indicating the notes. Single impression printing, in which the staff lines and notes could be printed in one pass, first appeared in London around 1520. Pierre Attaingnant brought the technique into wide use in 1528, and it remained little changed for 200 years.
Frontispiece to Petrucci's Odhecaton
A common format for issuing multi-part, polyphonic music during the Renaissance was part-books. In this format, each voice-part for a collection of five-part madrigals, for instance, would be printed separately in its own book, such that all five part-books would be needed to perform the music. (The same part books could be used by singers or instrumentalists.) Scores for multi-part music were rarely printed in the Renaissance, although the use of score format as a means to compose parts simultaneously (rather than successively, as in the late Middle Ages) is credited to Josquin des Prez.
The effect of printed music was similar to the effect of the printed word, in that information spread faster, more efficiently, at a lower cost and to more people than it could through laboriously hand-copied manuscripts. It had the additional effect of encouraging amateur musicians of sufficient means, who could now afford sheet music, to perform. This in many ways affected the entire music industry. Composers could now write more music for amateur performers, knowing that it could be distributed and sold to the middle class.
This meant that composers did not have to depend solely on the patronage of wealthy aristocrats. Professional players could have more music at their disposal and they could access music from different countries. It increased the number of amateurs, from whom professional players could then earn money by teaching them. Nevertheless, in the early years, the cost of printed music limited its distribution. Another factor that limited the impact of printed music was that in many places, the right to print music was granted by the monarch, and only those with a special dispensation were allowed to do so, giving them a monopoly. This was often an honour (and economic boon) granted to favoured court musicians or composers.
16th century[edit]
Mechanical plate engraving was developed in the late sixteenth century.[5] Although plate engraving had been used since the early fifteenth century for creating visual art and maps, it was not applied to music until 1581.[5] In this method, a mirror image of a complete page of music was engraved onto a metal plate. Ink was then applied to the grooves, and the music print was transferred onto paper. Metal plates could be stored and reused, which made this method an attractive option for music engravers. Copper was the initial metal of choice for early plates, but by the eighteenth century pewter became the standard material due to its malleability and lower cost.[6]
Plate engraving was the methodology of choice for music printing until the late nineteenth century, at which point its decline was hastened by the development of photographic technology.[5] Nevertheless, the technique has survived to the present day, and is still occasionally used by select publishers such as G. Henle Verlag in Germany.[7]
As musical composition increased in complexity, so too did the technology required to produce accurate musical scores. Unlike literary printing, which mainly contains printed words, music engraving communicates several different types of information simultaneously. To be clear to musicians, it is imperative that engraving techniques allow absolute precision. Notes of chords, dynamic markings, and other notation line up with vertical accuracy. If text is included, each syllable matches vertically with its assigned melody. Horizontally, subdivisions of beats are marked not only by their flags and beams, but also by the relative space between them on the page.[5] The logistics of creating such precise copies posed several problems for early music engravers, and have resulted in the development of several music engraving technologies.
19th century[edit]
Buildings of New York City's Tin Pan Alley music publishing district in 1910.[8]
In the 19th century the music industry was dominated by sheet music publishers. In the United States, the sheet music industry rose in tandem with blackface minstrelsy. The group of New York City-based music publishers, songwriters and composers dominating the industry was known as "Tin Pan Alley". In the mid-19th century, copyright control of melodies was not as strict, and publishers would often print their own versions of the songs popular at the time. With stronger copyright protection laws late in the century, songwriters, composers, lyricists, and publishers started working together for their mutual financial benefit. New York City publishers concentrated on vocal music. The biggest music houses established themselves in New York City, but small local publishers – often connected with commercial printers or music stores – continued to flourish throughout the country. An extraordinary number of East European immigrants became the music publishers and songwriters on Tin Pan Alley-the most famous being Irving Berlin. Songwriters who became established producers of successful songs were hired to be on the staff of the music houses.
The late 19th century saw a massive explosion of parlor music, with ownership of, and skill at playing the piano becoming de rigueur for the middle-class family. In the late 19th century, if a middle-class family wanted to hear a popular new song or piece, they would buy the sheet music and then perform the song or piece in an amateur fashion in their home. But in the early 20th century the phonograph and recorded music grew greatly in importance. This, joined by the growth in popularity of radio broadcasting from the 1920s on, lessened the importance of the sheet music publishers. The record industry eventually replaced the sheet music publishers as the music industry's largest force.
20th century and early 21st century[edit]
A bound hymnal containing hymns for members of a church congregation to sing during services.
The screenshot from a 2000s-era scorewriter program. While the first scorewriter programs from the 1980s had poor-quality notation, 2016-era scorewriters provide professional-looking music notation.
In the late 20th and into the 21st century, significant interest has developed in representing sheet music in a computer-readable format (see music notation software), as well as downloadable files. Music OCR, software to "read" scanned sheet music so that the results can be manipulated, has been available since 1991. In 1998, virtual sheet music evolved further into what was to be termed digital sheet music, which for the first time allowed publishers to make copyright sheet music available for purchase online. Unlike their hard copy counterparts, these files allowed for manipulation such as instrument changes, transposition and MIDI (Musical Instrument Digital Interface) playback. The popularity of this instant delivery system among musicians appears to be acting as a catalyst of new growth for the industry well into the foreseeable future.
An early computer notation program available for home computers was Music Construction Set, developed in 1984 and released for several different platforms. Introducing concepts largely unknown to the home user of the time, it allowed manipulation of notes and symbols with a pointing device such as a mouse; the user would "grab" a note or symbol from a palette and "drop" it onto the staff in the correct location. The program allowed playback of the produced music through various early sound cards, and could print the musical score on a graphics printer.
Many software products for modern digital audio workstation and scorewriters for general personal computers support generation of sheet music from MIDI files, by a performer playing the notes on a MIDI-equipped keyboard or other MIDI controller or by manual entry using a mouse or other computer device.
In 1999, Harry Connick, Jr. invented a system and method for coordinating music display among players in an orchestra.[9] Connick's invention is a device with a computer screen which is used to show the sheet music for the musicians in an orchestra instead of the more commonly used paper. Connick uses this system when touring with his big band, for instance.[10] In the classical music world, some string quartet groups use computer screen-based parts. There are several advantages to computer-based parts. Since the score is on a computer screen, the user can adjust the contrast, brightness and even the size of the notes, to make reading easier. As well, some systems will do "page turns" using a foot pedal, which means that the performer does not have to miss playing music during a page turn, as often occurs with paper parts.
Of special practical interest for the general public is the Mutopia project, an effort to create a library of public domain sheet music, comparable to Project Gutenberg's library of public domain books. The International Music Score Library Project (IMSLP) is also attempting to create a virtual library containing all public domain musical scores, as well as scores from composers who are willing to share their music with the world free of charge. Some scorewriter computer programs have a feature that is very useful for composers and arrangers: the ability to "play back" the notated music using synthesizer sounds or virtual instruments. Due to the high cost of hiring a full symphony orchestra to play a new composition, before the development of these computer programs, many composers and arrangers were only able to hear their orchestral works by arranging them for piano, organ or string quartet. While a scorewiter program's playback will not contain the nuances of a professional orchestra recording, it still conveys a sense of the tone colors created by the piece, and of the interplay of the different parts.
See also[edit]
Eye movement in music reading
List of Online Digital Musical Document Libraries
Manuscript paper
Musical notation
Music stand, a device that holds sheet music in position
Scorewriter – music notation software
Shorthand for orchestra instrumentation
References[edit]
Jump up ^ Lalage Cochrane. "Open score". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Kilmer, Anne D. (1986). "Old Babylonian Musical Instructions Relating to Hymnody". Journal of Cuneiform Studies. The American Schools of Oriental Research. 38 (1): 94–98. doi:10.2307/1359953.
Jump up ^ Kilmer, Anne D. (21 April 1965). Güterbock, Hans G.; Jacobsen, Thorkild, eds. "The Strings of Musical Instruments: their Names, Numbers, and Significance" (PDF). Assyriological Studies. Chicago: University of Chicago Press. 16: 261–268.
^ Jump up to: a b West, M.L. (1994). "The Babylonian Musical Notation and the Hurrian Melodic Texts". Music & Letters. Oxford University Press. 75 (2): 161–179. doi:10.1093/ml/75.2.161.
^ Jump up to: a b c d King, A. Hyatt (1968). Four Hundred Years of Music Printing. London: Trustees of the British Museum.
Jump up ^ Wolfe, Richard J. (1980). Early American Music Engraving and Printing. Urbana, IL: University of Illinois Press.
Jump up ^ "Music Engraving". G. Henle Publishers. Retrieved November 3, 2014.
Jump up ^ The Parlor Songs Academy, In Search of Tin Pan Alley. http://parlorsongs.com/insearch/tinpanalley/tinpanalley.php
Jump up ^ U.S. Patent 6,348,648
Jump up ^ "Harry Connick Jr. Uses Macs at Heart of New Music Patent". The Mac Observer. 2002-03-07. Retrieved 2011-11-15.
External links[edit]
Wikimedia Commons has media related to Sheet music.
Wikisource has original text related to this article:
Sheet music
Archives of scanned works[edit]
International Music Score Library Project (Wikipedia article) – A public domain sheet music library featuring original scores scanned to PDF.
Sheet Music Consortium – Metasearch using OAI-PMH.
Music for the Nation – American sheet music archive.
Historic American Sheet Music – Duke University Libraries Digital Collections Digital images of 3042 pieces of sheet music published in the United States between 1850 and 1920.
Lester S. Levy Collection of Sheet Music – sheet music project of The Sheridan Libraries of The Johns Hopkins University.
University of Washington Libraries Digital Collections – Pacific Northwest Sheet Music Collection This collection contains historical sheet music from and about Washington State, the Pacific Northwest and the University of Washington.
The European Library – digital images of the most important pieces of sheet music published in Europe, free access. (from 31 December 2016 services will no longer be available)
National Library of Australia – Australian sheet music archive.
IN Harmony: Sheet Music from Indiana - sheet music from the Indiana University Lilly Library, the Indiana State Library, the Indiana State Museum, and the Indiana Historical Society.
University of Virginia – 18th-, 19th-, and early 20th-century American and European Sheet music from the University of Virginia Library.
Archives of works in other formats[edit]
Choral Public Domain Library (ChoralWiki) – free sheet music archive with emphasis on choral music; contains works in PDF and also other formats.
Mutopia project – free sheet music archive in which all pieces have been newly typeset with GNU LilyPond as PDF and PostScript.
Project Gutenberg – sheet music section of Project Gutenberg containing works in Finale or MusicXML format.
Three examples of sheet music as interactive hypermedia at the BinAural Collaborative Hypertext.
Werner Icking Music Archive – free sheet music archive ; contains works in PDF and also other formats (MIDI files).
Open Music Score – Free public domain sheet music in MusicXML format.
TabCrawler - Extensive archive of sheet music published for educational use in ASCII and PDF.
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Standing rib roast
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2013) (Learn how and when to remove this template message)
Standing rib roast
Beef Cuts
Alternative names
prime rib, beef rib roast
Type
Rib cut of beef
Part of a series on
Steak
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A standing rib roast, also known as prime rib, is a cut of beef from the primal rib, one of the nine primal cuts of beef. While the entire rib section comprises ribs six through 12, a standing rib roast may contain anywhere from two to seven ribs.
It is most often roasted "standing" on the rib bones so that the meat does not touch the pan. An alternative cut removes the top end of the ribs for easier carving.
Rib eye steaks are cut from a standing rib, boned with most of the fat and lesser muscles removed.
While often referred to as "prime rib", the USDA does not require the cut to be derived from USDA Prime grade beef.[1]
Contents
[hide]
1 Characteristics
2 See also
3 References
4 External links
Characteristics[edit]
A USDA Choice two-bone standing rib roast
A slice of standing rib roast will include portions of the so-called "eye" of the rib, as well as the outer, fat-marbled muscle (spinalis dorsi) known as the "lip" or "cap". The traditional preparation for a standing rib roast is to rub the outside of the roast with salt and seasonings and slow-roast with dry heat. It also may be grilled.
A slice of prime rib from a standing rib roast, topped (on the right side) with mushrooms
A raw ribeye steak placed on a grill
See also[edit]
List of steak dishes
Food portal
References[edit]
Jump up ^ USDA The Food Standards and Labeling Policy Book pg. 154
External links[edit]
The Meat Buyer's Guide, North American Meat Processors Association.
Cooking For Engineers: Prime Rib
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This page was last edited on 20 December 2017, at 21:19.
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