overture 4 manual
TRANSCRIPT
GenieSoft Overture 4 User's Guide
™
Copyright Information
Information in this document is subject to change without notice and does not represent a commitment on the part of GenieSoft, Inc. The software described in this document is furnished under a license agreement or nondisclosure agreement. The software may be used or copied only in accordance of the terms of the agreement. It is against the law to copy this software on any medium except as specifically allowed in the agreement. No part of this document may be reproduced or transmitted in any form or by any means, elec-tronic or mechanical, including photocopying and recording, for any purpose without the express written permission of GenieSoft, Inc. Copyright © 2010 GenieSoft, Inc. All rights reserved. Program by Don Williams VST Instrument Definitions by Joseph Burrell Manual edited by Bart Wijnen, Jim Williams, and JohnD from the GenieSoft.com forum. Program Copyright © 1994-2010 GenieSoft, Inc. All rights reserved. GenieSoft is a registered trademark of GenieSoft, Inc. GenieSoft Overture, GenieSoft Score Writer, and the GenieSoft logo are trademarks of GenieSoft, Inc. Other company and product names are trademarks of their respective owners.
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Table of Contents
Part I Getting Started 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Learning Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Using the User’s Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Overture Manual Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Mouse Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Tear Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Choose vs. Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5PC and Macintosh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Overture Help (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Overture Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Symbol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Numerical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Overture Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Tracks Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Graphic Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Step Input Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Overture Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
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File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11VST (Win32) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
GenieSoft Technical Support Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2 Working with Notes and Symbols . . . . . . . . . . . . . . . . . 13Constructing a Tutorial Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Preparing The Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Entering Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Changing Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Changing Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Adding a Pickup Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Grouping Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Entering Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25Ornaments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Adding Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
3 Creating New Staves and Setting Up Tracks . . . . . . . . 31Adding Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Setting Up Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4 Real Time MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . 37Setting Up MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38Record Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39Transcription Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Linking Staves to MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
5 Step Entry MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . 43Setting Up Step Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
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Chord Name Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
6 Editing MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49MIDI Data Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Tap Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51Editing Notes (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Editing With The Controllers Pane (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Editing Notes (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Editing With The Strip Chart (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
7 Page Layout and Printing . . . . . . . . . . . . . . . . . . . . . . . . 61Setting Up The Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Setting Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Setting Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Pre-Made Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
Part II The Score Window . . . . . . . . . . . . . . . . . . . . . . . . . 67
8 Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Status Bar: Page View and Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Turning Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71Turning to a Specific Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71Turning to a Specific Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71Turning to the First Page and Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72Turning to the Last Page and Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72Selecting a Page View Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Scrolling a Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Arranging Staves and Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Adjusting Vertical Staff Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78Adjusting Horizontal Staff Placement . . . . . . . . . . . . . . . . . . . . . . . . . . .86Placing Systems Side by Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Creating a Default File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Selecting Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Viewing Selected Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89Selection Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
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Selecting a Voice to Enter or Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Editing Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97Editing Stems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99Editing Beams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101Editing Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102Editing Other Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Adjusting Note Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Dragging Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104Nudging Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104Using Beat Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104Changing Bar Widths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106Automatic Justify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Locked Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Cursors in the Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Part III The Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
9 Tool Bar Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Anatomy of the Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114Palette Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114Transcription Quantize Amount Button . . . . . . . . . . . . . . . . . . . . . . . . .118
10 Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Arrow Cursor Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Eraser Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Scale Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Scaling Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122Scaling Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123Scaling Clefs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124Scaling Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Hand Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Zoom Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Scrub Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
11 Notes Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Using the Notes Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
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Mouse Entry Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129Entering Notes in the Clef Above or Below the Track . . . . . . . . . . . . . .130Keyboard and Mouse Entry Method . . . . . . . . . . . . . . . . . . . . . . . . . . . .131Grace Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133Cautionary Accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Changing Existing Note Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Effect of Changing Note Values on MIDI Duration . . . . . . . . . . . . . . . .134
12 Groups Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Using the Groups Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137Editing Ties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Editing Slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Editing Glissandos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Editing Tuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Complex Tuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142The Harp Pedal Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Ottava Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Editing Brackets and Braces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
13 Ornaments Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Using the Ornaments Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Ornamenting Multiple Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149Deleting Ornaments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
Using the Trill Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Inserting a Trill Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150Inserting a Trill Mark with a Trill Section . . . . . . . . . . . . . . . . . . . . . . .150Adding a Trill Section to an Existing Trill Mark . . . . . . . . . . . . . . . . . .151Editing Trills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152Inserting an Accidental into a Trill Mark . . . . . . . . . . . . . . . . . . . . . . . .153Setting Trill Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155About the Set Trill Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
Using the Mordent Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156Setting Mordent/Turn Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157About the Set Mordent/Turn Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .157
Using the Fingering Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
14 Articulations Button . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Articulations Palette Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
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Using the Articulations Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Articulating Multiple Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164Editing Notes with Attached Articulations . . . . . . . . . . . . . . . . . . . . . . .164 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166Editing Articulation Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166Deleting Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166Using the Arpeggio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167Using the Tremolo Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Using the Pause Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
15 Noteheads Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Using the Noteheads Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
16 Tablature Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Using the Tablature Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176Creating Tablature - Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Creating a Tablature Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177Creating Tablature Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
17 Guitar Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
String Bend Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182Barre at Fret Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
18 Drums Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188Using the Drums Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Placing on Multiple Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189Deleting Drum Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Using the Drum Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190Inserting a Drum Rudiment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190Inserting a Drum Articulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
19 Jazz Articulations Button . . . . . . . . . . . . . . . . . . . . . . . 193Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
20 Dynamics Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
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Using Absolute Dynamics Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196Inserting Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196Repositioning Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198Copying Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199Playback of Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Using Crescendos and Decrescendos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200Crescendo Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200Inserting a Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200Editing a Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201Copying a Hairpin To copy the hairpin: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203The Edit Dynamic Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203The Edit Hairpin Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204Playback of Hairpins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
21 Text Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208Using Bar Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Inserting Bar Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209Repositioning, Copying, and Editing Bar Text . . . . . . . . . . . . . . . . . . . .209
Using System Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210Inserting System Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211Repositioning, Copying, and Editing System Text . . . . . . . . . . . . . . . . .211
Using Rehearsal Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212Inserting Rehearsal Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212Repositioning and Editing Rehearsal Marks . . . . . . . . . . . . . . . . . . . . . .213
Using Page Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214Inserting Page Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214Repositioning, Copying, and Editing Page Text . . . . . . . . . . . . . . . . . . .214
Using Lyric Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216Inserting Lyric Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216Adding Additional Lyric Verses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217
Font, Size, and Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217Transparent Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217
22 Expressions Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219Using the Expressions Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220The Edit Expression Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
23 Graphics Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
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Using the Graphics Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226Select Font Symbol Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
24 Clefs Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230Clef Insertion Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230Using the Clefs Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Using the Moveable C-Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232
25 Staves Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233Inserting Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Creating Big Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .237Deleting Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Grouping Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238Editing Staff Grouping Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239Deleting Staff Groupings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241
26 Barlines Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Using the Barlines Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245Using Dotted Barlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246Using Single and Double Measure Repeats . . . . . . . . . . . . . . . . . . . . . .246Using the Close and Open Repeat Tools . . . . . . . . . . . . . . . . . . . . . . . . .247Using the Ending Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Deleting Barlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255Hiding Standard Barlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256
27 Transcription Quantize Amount Button . . . . . . . . . . . . 259Setting a Transcription Quantize Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259Using Transcription Quantization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Transcription Quantization and Auto Transcription . . . . . . . . . . . . . . . .260Transcription Quantization and Manual Transcription . . . . . . . . . . . . . .260Fixing Transcription Quantization Mistakes . . . . . . . . . . . . . . . . . . . . . .262
Part IV Other Overture Windows . . . . . . . . . . . . . . . . . . 265
28 Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
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Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267Moving the Transport Controls from the Tool Bar . . . . . . . . . . . . . . . . .268
Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269Historical Origins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269General Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269Punch Recording in Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Thru Device Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271Thru Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272Count Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273Real Time MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273Setting Metronome and Record Options . . . . . . . . . . . . . . . . . . . . . . . . .274Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277
29 Tracks List Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279Tracks Window Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
About Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280Viewing Voice Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280Setting the Number of Voices for a Track . . . . . . . . . . . . . . . . . . . . . . .281Setting Stem Direction for a Track or Voice . . . . . . . . . . . . . . . . . . . . .282Device Selection for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . .283Setting a Channel for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . .283Bank Selection for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . .283Patch Selection for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . . .284Setting Volume for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . . .285Setting Transposition for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . .285Muting a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286Soloing a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286Rearranging Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286Opening the Setup Track Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . .288
30 Graphic Window (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . 289The Piano Roll View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Selecting and Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290To Select Notes with the Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . .291To Select All Notes of Certain Pitches . . . . . . . . . . . . . . . . . . . . . . . . . .291To Edit a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292To Change Note(s) Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293To Move Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293To Copy Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293To Add a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293To Erase a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294To Erase Several Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
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To Select and Erase Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294To Scrub the Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294Percussion, Drum Notes, and Note Names . . . . . . . . . . . . . . . . . . . . . . .294
The Controller Pane View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295Using the Controllers Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296To Display Different Types of Data . . . . . . . . . . . . . . . . . . . . . . . . . . . .299To Insert a Controller Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299To Draw a Linear Series of Controllers . . . . . . . . . . . . . . . . . . . . . . . . .299To Draw a Series of Controller Value Changes . . . . . . . . . . . . . . . . . . .299To Remove or Erase Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
31 Graphic Window (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . 301Track Select Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302The Piano Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303Cursor Position Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Horizontal Cursor Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304Vertical Cursor Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305
Quantize Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306Zoom Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Zoom In Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308Zoom Out Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309
Zoom To Fit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310MIDI Instrument Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312Mute & Solo Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Common Selection and Editing Techniques . . . . . . . . . . . . . . . . . . . . . .313Marquee Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316I-beam Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318
Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321About the Insert Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .322
The Strip Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326Opening the Strip Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326Strip Chart Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328Controller Type Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329Strip Chart Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .330The Strip Chart Select Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331The Strip Chart Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .332Density Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334The Variable Tool Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335Edit Shapes Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .339
32 Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
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Chord Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344Anatomy of the Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345Entering Chord Names with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346Entering Chord Names with the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . 349Step Entering Chord Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Step Entering Chord Names with the Computer Keyboard . . . . . . . . . .353Guitar Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355Entering Guitar Frames with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356Moving Chord Names/Guitar Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Moving Chord Names Globally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359Moving Chord Names Individually . . . . . . . . . . . . . . . . . . . . . . . . . . . .360
33 Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361Anatomy of the Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363Lyric Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363Lyric Editing Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Using the Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364Adding Lyrics to a Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364Editing Existing Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366Advanced Lyric Entry Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . .367Applying Different Fonts To Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . .370Moving Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370
34 Step Input Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375Anatomy of the Step Input Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Type Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .376Size Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .379Duration Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381Velocity Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .383
Step Entering Notes and Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384Step Entering Notes and Rests with the Computer Keyboard . . . . . . . .384Step Entering Notes and Rests with a MIDI Keyboard . . . . . . . . . . . . .391
Step Entering Slashes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395Step Entering Rhythmic Slashes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397Step Entering Chord Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Step Entering Chord Names with a MIDI Keyboard . . . . . . . . . . . . . . .398
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Part V Menu Reference . . . . . . . . . . . . . . . . . . . . . . . . . . 403
35 File Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405New... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406Open... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Opening a Score Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Closing a Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407Closing a Support Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .408
Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408Save As... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408Revert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409Edit Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Allotment Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .410Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .413Drum Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .426Expression Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433Guitar Frames Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .436Instruments Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .439The Instruments Library Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445Range Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445Transpose Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445Rearranging Instruments in the Library . . . . . . . . . . . . . . . . . . . . . . . . .445The Instruments Library and the Tracks Window . . . . . . . . . . . . . . . . .446Resolving Device Conflicts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .447
Load Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .448Importing MusicXML, Encore and MusicTime Files . . . . . . . . . . . . . . .452
Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453Extract Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
About the Extract Parts Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . .454Automatic Names for Extracted Parts . . . . . . . . . . . . . . . . . . . . . . . . . . .456
Page Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458Print Preview (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
About the Print Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .459List of Recently Opened Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459Exit/Quit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
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36 Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462Redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463Merge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463Paste Special... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Paste and Paste Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .463Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465Find Item... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465Find Next Item.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465Make Invisible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466Make Visible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466Set Color... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466Disable Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466Enable Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467Playback Time... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467Modify Controller... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
37 Score Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469Insert Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Using the Insert Page Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .470Delete Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470Layout Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
About the Layout Page Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . .471Page Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
About the Page Dimensions Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .473Increase Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478Decrease Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481Hide/Show Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
About the Hide/Show Staves Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .485Using the Hide/Show Staves Command . . . . . . . . . . . . . . . . . . . . . . . . .486
Insert Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488Using the Insert Track Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .488
Delete Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489Setup Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
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Track Name Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .491Instrument Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .492Staff Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .500Action Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .502Using the Setup Track Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .502GM Equivalent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511Updating Old Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511Setting Attributes for all Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Respace Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512Respace Staves Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512Recalc Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513Redraw Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514Allotment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Changing the Allotment Table Dialog Box . . . . . . . . . . . . . . . . . . . . . .514Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
About the Articulation Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .516Engraver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518Font Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Placing Mapped Font Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521Clearing Replacement Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521Saving Font Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521Loading Font Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522The Title Page Text Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
38 Measures Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Using the Insert Measure Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . .528Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Using the Delete Measure Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .529Increase Measures on System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530Decrease Measures on System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532Split System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534Set Key Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
About the Set Key Signature Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .535Using the Set Key Signature Command . . . . . . . . . . . . . . . . . . . . . . . . .540
Set Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541About the Set Time Signature Dialog Box . . . . . . . . . . . . . . . . . . . . . . .541Using the Set Time Signature Command . . . . . . . . . . . . . . . . . . . . . . . .549
Set Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
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About the Set Tempo Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .550Using the Set Tempo Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555Editing Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555
Set Codas, Segnos, etc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556About the Set Codas, Segnos, etc. Dialog Box . . . . . . . . . . . . . . . . . . . .556
Set Measure Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559About the Set Measure Numbers Dialog Box . . . . . . . . . . . . . . . . . . . . .560Using the Set Measure Numbers Command . . . . . . . . . . . . . . . . . . . . . .563
Rebar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564Multi Measure Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Using the Multi-Measure Rest Command . . . . . . . . . . . . . . . . . . . . . . .566Fill in Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568Justify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
39 Notes Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
About the Transpose Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .572Using the Transpose Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .574
Modify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575About the Modify Notes Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . .575Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .578
Humanize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578Using the Humanize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .579
Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579About the Quantize Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .580Using the Quantize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .581
Redo Pitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581Add Interval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Beams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .582Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .582Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .583
Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583Based on Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584Break in Middle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584Hide Tuplet Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584Tremolo Beams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584Beaming Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .585
Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588Tie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .588Slur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .589
xvii
xviii
Ottava . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .590Tuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .591Glissando ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592Glissando - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592The Edit Glissando Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .593
Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594Enharmonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594Sharps to Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594Flats to Sharps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595Stem Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595Step Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595Hide Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595Show Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595Set Stem Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .596
Display on Prev Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596Display on Next Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597Move to Prev Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598Move to Next Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599Notate Notes As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Notate Notes as Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .600Notate Notes As Reduced Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .601Notate Notes as Swing Eighths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .602Notate Notes as Trill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .603Notate Notes as Triplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .604Notate Notes as Turn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .604Notate Notes as Cue Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .605Notate Notes as Grace Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .605Notes/Notate Notes as/Single Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . .606Notes/Notate Notes as/Two Tied Notes . . . . . . . . . . . . . . . . . . . . . . . . .606
Transcribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606Notes to Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608Notes to Tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
The Tablature Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .610Editing the Tablature Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .611
Set Guitar Frame Capo... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612Set to Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612Set Playback Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
40 Options Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
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Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616Beat Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .616Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Margin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Symbols in Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Invisibles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Incorrect Rhythms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Range Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617Tracks Transposed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .618Tracks Voice Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619Filled Measure Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619System Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619Chord Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .620Lyric Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .621Slash Note Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .622Dynamic Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .622Time Code Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .623
Auto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624Correct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624Justify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625Transcribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625Wrap Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625
Keyboard Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626What is Keyboard Thru and Why is it Useful? . . . . . . . . . . . . . . . . . . . .626The Solution: Keyboard Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .627
Hold Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Click in Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631Click in Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631Click in Count Off Only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631Metronome Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Play Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633As Recorded . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633In Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633As Written . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .634
Record Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634About the Record Options Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .634Using the Record Options Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .635
MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
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Instruments (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
General Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .641Engraver Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .644Layout Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .644Element Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .646Line Thickness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .646Fonts Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .647Libraries Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .649Playback Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .651Dynamics Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .652Colors Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .653
Save Window Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
41 VST Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655Audio Preferences... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655Instrument Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656Record to File... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657Set Folder... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
42 Windows Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659
Main Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660Standard Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660
Status Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661Window/Cascade (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662Window/Tile Horizontally (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663Window/Tile Vertically (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664Window/Arrange Icons (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664Open Score Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
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Part VI MIDI Facilities . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
43 Instrument Assignments and Definitions (PC) . . . . . . . 667Assigning Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
To Assign Instruments to MIDI Ports and Channels . . . . . . . . . . . . . . .668To Clear Instrument Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .668
Importing Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669To Import Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . .669
Creating Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670To Create a New Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .671To Rename an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672To Delete an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672To Save an Instrument Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672Creating Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672To Manage Name Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672Copying Name Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .673
Assigning the Bank Select Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674To Change the Bank Select Method . . . . . . . . . . . . . . . . . . . . . . . . . . . .674Assigning Patch Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .675To See the Assignment of Patch Name Lists to Banks . . . . . . . . . . . . . .675To Add a Bank or Change the Patch Names for a Bank . . . . . . . . . . . . .675To Remove a Bank or Patch Name List . . . . . . . . . . . . . . . . . . . . . . . .676To Set or Clear the Drum Flag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .676Assigning Note Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .676To See the Assignment of Note Name Lists to Patches . . . . . . . . . . . . .677To Change the Note Names for a Patch . . . . . . . . . . . . . . . . . . . . . . . .677To Remove a Note Name List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .677To Set or Clear the Drum Flag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678Assigning Controller Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678To See the Controller Name List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678To Change the Controller Name List . . . . . . . . . . . . . . . . . . . . . . . . . . .678
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
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Part I
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IntroductionIntr
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Learning OvertureGenieSoft provides a manual and a Quick Reference Card with Overture:
• GenieSoft Overture 4 User’s Guide—contains a series of step-by-step tutorials designed to introduce you to some basic Overture features, plus detailed information about every window and menu item in Overture.
• GenieSoft Overture 4 Quick Reference Card—contains a quick reference for toolbar functions, support windows, keyboard shortcuts, the tool palettes, and menus.
Overture is a very intuitive program but its power, flexibility and sophistication may seem slightly daunting if you try to learn it without reading the manuals. GenieSoft recommends that you work through the tutorials before using the rest of the User’s Guide.
Using the User’s GuideFor a thorough working knowledge of Overture, you can read this manual straight through after completing the tutorials. If your notation needs aren’t fully encompassing, read only those sections in the manual that interest you.
The User’s Guide is broken into six parts:
• Part One: Getting Started. This part introduces fundamental concepts and presents tutorials for getting you up and running quickly.
• Part Two: The Score Window. This part discusses Overture’s Score window and how to use it.
• Part Three: The Tool Bar. This part discusses Overture’s Tool Bar and all its various tools and palettes.
• Part Four: Other Overture Windows. This part discusses each of Overture’s remaining windows.
• Part Five: Menu Reference. This part discusses each Overture menu item.
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• Part Six: MIDI Facilities. This part discusses the use of MIDI instruments with Overture.
Overture Manual ConventionsThis manual uses a number of conventions. Some make it easier to discuss and understand certain on-screen actions. Others make it possible to distinguish between instructions for the Macintosh and instructions for the PC.
Mouse ActionsThis manual uses the following terms to describe various mouse actions:
• Click. When this manual instructs you to click, position the mouse where you’re told and press once on the mouse button, then immediately release it.
• Double-click. When this manual instructs you to double-click, position the mouse where you’re told and rapidly press and release the mouse button twice.
• Press and hold. When the manual instructs you to press and hold, position the mouse where you’re told, press the mouse button and hold it down.
• Release. When a manual instructs you to release, let up on the mouse button (which you were probably holding down because of an earlier press and hold instruction).
• Drag. When this manual instructs you to drag, position the mouse where you’re told, then press the mouse button and hold it down as you move the mouse.
• Move. When this manual instructs you to move the mouse, simply move it to another location on the screen without pressing its button.
Tear OffThis manual uses the term tear off to describe the action of making a button palette into a floating palette. Press and hold on a toolbar button to display its palette. Drag beyond the edges of the palette to tear it off of its place in the toolbar and make it a floating palette. See the descriptions of the toolbar buttons for further information on the palette.
Note:Individual notation needs are as varied as individuals. For this reason, it’s impossible for this manual to cover every possible notation technique in detail. Overture is a very powerful program—generally it allows most any symbol to be selected, moved or modified. If you don’t see a specific notation detail covered in this manual, simply use the general techniques outlined within it and try it for yourself.
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Choose vs. SelectThe words choose and select are often interchangeable in conversational English. In this manual, however, there is a distinct difference between the two terms.
• Select. When this manual tells you to select something, it stays selected. This is the case with most Overture tools and with some menu options.
• Choose. When this manual tells you to choose something, you perform a one-time action. This is the case with most menu commands, you choose a command, and it performs its chosen action only once.
Menu CommandsThis manual uses a form of verbal shorthand to describe the choosing of menu items. For instance, this manual might say:
“Choose Notes>Group>Slur”
What this means in plain English is “choose the Slur command from the Notes menu’s Group submenu.” This is easier to read and decipher than a complete sentence because it displays the menu’s hierarchical structure plainly and simply.
PC and MacintoshSince this book covers both the PC and Macintosh versions of Overture, and the versions are slightly different, we’ve done the following to make it easy for you to find the material you need. Most of it is common to both platforms, so it looks like this.
We distinguish different keystrokes by displaying them slightly shaded and enclosed in brackets. Fo example: Control[Command]. PC users will press the control key and MAC users the command key.
When a section or chapter is relevant for only one platform, its title says (Mac) or (PC) as well.
Where the functionality and discussion are close to identical, we provide a mix of Mac and PC pictures. Where one is a superset of the other, pictures show the more encompassing. Where they differ substantially, we provide pictures of both.
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Overture Help (PC)You have several ways to see on-line Help about a particular topic:
The Help key. Press F1 to get context-sensitive help:
• about a command when a command is highlighted
• about a dialog box and its parts when a dialog box is active
• about a window when a window is active
The Help button. Click the help button in any dialog box to get help about that dialog box.
The Help menu. Choose Help>Contents to see the entire on-line help system. You can navigate it by contents, by topic, and by index.
Overture TermsOverture uses terms common to both standard musical notation and MIDI sequencing. Overture requires this mix of terminology because of its immense power to both notate and play a musical score. You must know these terms before proceeding with the remaining chapters in this manual.
SymbolThis term is applied loosely to any note, rest, beam, tie, ornament, etc. included in a musical score.
StaffA staff is a set of horizontal lines on which symbols are placed to represent music.
Most musical instruments require only a single staff to notate their lines, like this violin solo.
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Harps and most keyboard instruments (such as piano or harpsichord) use two staves (called a grand staff).
Organs often use three staves (adding the third for the bass pedals).
TrackA track is very closely related to a staff. Staves notate the MIDI data contained in tracks. Overture notates each track on a single staff, so any instruments that require multiple staves also require multiple tracks.
VoiceA voice is a single rhythmic line within a track. Some tracks require more than one voice to notate and playback correctly. Specifically:
• If you notate more than one instrument per staff, you’ll need to use multiple voices to distinguish between the multiple instruments.
• If you notate a polyphonic instrument (such as a piano) that plays different rhythmic lines simultaneously, you’ll need to use multiple voices to distinguish between the multiple rhythmic lines.
If you score an instrument such that it plays only a single melodic line, you’ll need to assign only one voice to the staff.
Single Voice
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If you assign two or more instruments to a single staff (or notate a polyphonic instrument playing different rhythmic lines), you’ll need to assign different voices to each instrument or rhythmic line.
Overture allows you to assign up to eight voices to a single track—this supports even the most complicated rhythmic intricacies.
SystemA system is a group of staves, each of which is played at the same time as all the other staves in the system. All staves in a system are joined by a single vertical line connecting their left sides.
ToolTools allow you to perform very specific Overture functions. Different tools allow you to insert notes and other symbols, to group various notes, to add staves, alter noteheads, create lyrics, and to perform many other useful tasks. You use Overture’s tool bar to access individual tools.
Voice 1
Voice 2
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PalettePalettes contain groups of related tools. For instance, the Dynamics palette contains all the individual dynamics tools (such as the Pianissimo Tool, Mezzo-Forte Tool, Forte Tools, etc.).
NumericalNumericals are variables that you can edit on the screen. Numericals usually contain numeric data.
There are a couple ways to edit the value of a numerical:
• Use the mouse as a slider To change a numerical in this way, press and hold the mouse button over the numerical, then drag the mouse in a vertical direction. Pushing the mouse up increases values and pulling the mouse down decreases values
• Type to set values Click the numerical, then type the desired value. The numerical changes to reflect the new value. You will not be allowed to enter invalid values.
Overture WindowsOverture groups related functions together and places them in separate windows. The following sections present a brief overview of each Overture window.
Score WindowThe Score window displays a traditional music score complete with notes, symbols, lyrics, staves, systems, and anything else you want in your printed musical score. Use the Score window to enter, view and modify your musical score. We describe the Score window in Part II, “The Score Window.”
Numericals
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Tool BarThe Tool Bar contains buttons that open all of Overture’s Tool palettes. Use the Tool Bar to select tools for entering and modifying music in the Score window. The Tool Bar is discussed in Part III, “The Tool Bar.”
Transport WindowThe Transport window contains buttons to control MIDI recording and playback, and a pop-up menu to select the MIDI Thru Instrument.
Tracks WindowThe Tracks window defines the characteristics of all the tracks in your Overture score. Use the Tracks window to
• name tracks
• enable tracks
• assign MIDI playback devices, programs, channels and transpositions
• specify the number of voices in a track
• determine default voice stem directions in a track
Graphic WindowThe Graphic window graphically displays the MIDI data in a selected track using a piano roll and strip chart display. Use the Graphic window to edit any MIDI data in any track. Overture applies any changes you make in the Graphic window to the Score window and vice versa.
Chords WindowThe Chords window contains a list of possible chord suffixes (as specified by the user in the Chord Symbol library) as well as root and bass names. Use the Chords window to insert chord names into your score.
Lyrics WindowThe Lyrics window is like a miniature word processor that you use to enter and edit lyrics. Use the Lyrics window to type or modify lyrics and assign them to specific notes in the score.
Step Input WindowUse the Step Input window to enter a score by recording music one step at a time. You can enter notes, chord names, or rhythmic slashes in the Step Input window.
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The Step Input window is particularly convenient if your playing technique is limited, or if you want to enter lead sheet chords and guitar rhythms quickly.
Overture MenusOverture has numerous menus under which it groups related commands and options. The following sections present a brief overview of Overture’s different menus.
FileUse the File menu commands to save, create, open, export, and print the various scores you create with Overture.
EditUse the Edit menu commands to cut/copy/paste symbols, lyrics, MIDI data, or other elements of an Overture score. Edit commands use a Clipboard concept common to most Macintosh and Windows programs. Overture uses both an internal Clipboard and the Macintosh or Windows Clipboard depending on the type of data.
ScoreUse the Score menu commands to perform score-related tasks like staff location and appearance, system groupings, and page setup.
MeasuresUse the Measures menu commands to perform measure-related tasks like inserting and deleting measures, wrapping measures, setting key, meter and tempo, and justifying symbols in a measure.
NotesUse the Notes menu commands to perform many common Overture tasks like modifying notes, transposing, beaming, grouping, and converting between traditional notation and raw MIDI data.
OptionsUse the Options menu to set numerous Overture operating, editing, and display options like auto beaming and positioning, metronome values, and recording choices.
VST (Win32)Use the VST menu commands to open the VST rack and setup the Audio Engine. You must be running Windows 2000 or XP to use VST instruments.
WindowsUse the Windows menu commands to open (or make active) any Overture window.
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HelpUse the Help menu to see help available for Overture.
GenieSoft Technical Support InformationIf you need more information:
• Check the Forum and Support page of our World Wide Web site (www.geniesoft.com) for updated technical information and answers to frequently asked questions.
• Post messages to the Overture user community using one of the GenieSoft forum. For more information about the forum, visit www.geniesoft.com.
You can also get technical support directly from GenieSoft. In order to get technical support, you must register your product on our website. You can get technical support for this product in the following ways:
• E-mail your questions to [email protected]. Be sure to include your serial number in your e-mail.
• Call GenieSoft Technical Support at (843) 856-1088 on weekdays, 11:00AM to 4:00PM, Eastern time. Be sure you have registered at www.geniesoft.com and to have your serial number ready when you call.
Technical support hours, policies, and procedures are subject to change at any time. Check our web site for the latest support information.
Part I: Getting Started
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Working with Notes and SymbolsNote
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In this chapter, you will begin constructing a score for “Amazing Grace” using some of the note and symbol tools available in Overture.
Tool Bar
Score Window
Page View Controls
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Constructing a Tutorial Score
Use this newly created score for this tutorial.
Preparing The ScoreThe first step in constructing the score is setting the key and time signature.
1. Launch Overture and choose File>New if the New Score dialog does not appear automatically.
Overture opens the New Score dialog box.
2. Click on the Single Staff radio button to choose Treble Clef Staff.
Do not choose any other option. You will set these manually in the tutorial.
3. Click on the OK button.
Overture creates a score with a single staff (track).
1. Choose the Arrow Cursor tool from the Tool Bar.
2. Click somewhere in the first measure, so that the insertion point is positioned within that measure.
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3. Choose Measures>Set Key Signature.
The Set Key Signature dialog box opens.
4. Click the up arrow twice to move the key up to D Major, then click the OK button.
Click here twice to move the key to D major
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Since this piece is in 3/4 time, and Overture defaults to 4/4 time, you need to change the time signature.
1. Choose Measures>Set Time Signature.
The Set Time Signature dialog box opens.
2. Click the 3/4 button at the top of the window.
This tells Overture that the score is in 3/4 time.
3. Click OK.
Your score looks like this:
Part I: Getting Started
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Entering NotesNow you’re ready to add some notes. Before each note is added, you have to select a duration for it. There are three ways to select the note duration:
• Press and hold the note palette’s icon in the Tool Bar, choose a note from the pop-up menu, and release the mouse button. The note palette vanishes.
• Tear off the Notes palette by clicking and dragging it intol the score area, then choose a note value from the palette by clicking the appropriate tool.
Chapter 2: Working with Notes and Symbols 17
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• Enter the note duration from the keyboard. This chart shows the relationship between keys and note durations:
Here is the melody that you will write on the score:
Key Function
0 Set value to double whole note/rest
1 Set value to whole note/rest
2 Set value to half note/rest
4 Set value to quarter note/rest
8 Set value to eighth note/rest
6 Set value to sixteenth note/rest
5 Set value to thirty-second note/rest
3 Turn triplets on or off
. Turn the dot on or off
R Change to a rest of the selected size
1. Since the first note in the melody is a half note, type the number 2. The cursor becomes a half note.
If the Notes palette is on the screen, the half note icon highlights. The note icon in the tool bar also changes to a half note.
Note icon
Part I: Getting Started
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Now it’s time to add the notes.
Repeat the steps of selecting the duration and placing notes on the score until your window looks like the melody on page 18.
2. Make sure that the Options>Auto>Justify and Options>Auto>Rests menu items are checked. This ensures that each added note automatically moves to the proper place within the measure and rests are automatically added as you enter notes.Also make sure that the Advance Cursor When Entering Notes item is check in the Preferences dialog. This automatically positions the cursor to the next note position.
1. Position the note cursor in the first measure, on D, then click.
A D appears in the score, and immediately moves to the left end of the measure. (If it doesn’t move, make sure that the Options>Auto Justify menu item is checked.) Also, if Options>Auto>Rests is checked, a quarter note rest will be added to fill the measure.
2. Type 8 to set the duration to eighth notes.
3. Position the cursor on the F space over the quarter note rest position and click.
This inserts an F#, since you are in the key of D.
Notice how Overture automatically adds the eighth note rest if Options>Auto>Rests is checked.
4. Position the cursor on the D line, over the eighth note rest position of the F# you just inserted, and click.
Notice how Overture automatically draws a beam connecting the F# and D.
Position note cursor on D
Chapter 2: Working with Notes and Symbols 19
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Editing NotesOverture has many tools for adjusting score elements. In many instances, it is not necessary to specially select them; you can just move the pointer over the element and the pointer will change shape to let you know that you can now edit the element.
Changing PitchTo change the pitch of a note, move the pointer over it so that it becomes a Drag Cursor, then click.
The note head becomes red, indicating that it is selected for editing.
You can drag the note up and down to change its pitch, or press the up or down arrow keys.
Changing DurationThe eighth note in the last measure should actually be a half note. Here’s how to fix it:
1. Change a G to an A by dragging it up one step.
1. Position the pointer over the erroneous note (so that it becomes a Drag Cursor) and click.
The note head becomes red, indicating that it is selected:
2. Now change the duration by typing the number 2 (for half note).
The note instantly becomes a half note. You may have to adjust any remaing rests.
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Adding a Pickup MeasureIf you know the song “Amazing Grace,” you may have noticed that the initial pickup beat is missing from the score. This section shows you how to add new measures and change their lengths.
Now that you added the measure, you must tell Overture that it is a pickup measure.
1. Choose the Arrow Cursor tool from the Tool Bar.
2. Click in the first measure, making it the active measure.
3. Choose Measures>Insert.
The Insert Measure dialog box opens:
4. In this case, the default values (1 measure before current measure) are correct, so simply click OK.
A blank measure is inserted before the first measure.
1. Click in the first measure to make it the active measure.
Tip:Although this example shows only the effect of editing single notes, Overture lets you select multiple notes and edit them simultaneously. You can select multiple notes by shift-clicking, them or by dragging a rectangle around them. Any edit operations affects all selected notes.
Chapter 2: Working with Notes and Symbols 21
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Now, add the pickup note. Using what you learned in previous sections, place a quarter-note A in the measure.
The score doesn’t look quite right, because the newly-added measure has space for many notes, yet there is only one note in it. To fix this, you need to move the barline to the left, reducing the space used by the measure. Here’s how:
2. Choose Measures>Set Time Signature.
3. Click the Is Pickup check box.
4. Click OK.
1. Make sure that the Arrow Cursor tool is selected.
Click here to indicate that the currently active measure is a pickup measure.
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Notice that the spacing of the other measures on the staff are now too wide.
You can probably fit another measure on the first line, so...
2. Choose Options>Show>Handles.
You’ll notice small boxes appearing to the left of the staff and on top of the barlines. These are called handles.
3. To move the barline, position the pointer over the barline handle and drag it to the left.
Adjust it so that it looks good to you.
4. Choose Options>Show>Handles again to uncheck the option and hide the handles in the score.
1. Click in the first measure to make it the active measure.
2. Choose Measures>Increase Measures on System.
Overture wraps measures to the left, stealing the first measure of the second line and making it the last measure of the first line.
Handles
This barline has been dragged to the left
Notice that there arenow four measureson the top line
Chapter 2: Working with Notes and Symbols 23
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Grouping NotesNow you are going to add a slur to the eighth notes in the second measure. Here’s how:
Entering SymbolsOverture has palettes of ornaments, articulations, noteheads, tablature, dynamics, text and clefs, collectively known as symbols. This section introduces you to the basics of placing and moving symbols on the score.
1. Select the slur tool from the Groups palette.
2. Drag a rectangle around the notes that you want to group.
When you release the mouse button, a slur appears, joining the selected notes.
You can alter the shape of the slur by dragging either the slur or its handles. If you like, try dragging the different handles now to see their effects on the slur.
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DynamicsIn this section, you will add dynamic markings to the score. The first marking is a mezzo-piano symbol at the start of the piece.
Some dynamics symbols, like the crescendo hairpin, are resizable. To see how this works, add a crescendo and diminuendo to the score.
1. Choose the mezzo-piano tool from the Dynamics palette.
You can pull the palette down temporarily from the Tool Bar, or you can tear off the palette for repeated uses.
2. Position the pointer under the first note of the score and click.
A mezzo-piano symbol appears where you click. If you didn’t place it in the proper position, move the pointer over the symbol so that it becomes a drag cursor, and drag the symbol to the right place.
1. Choose the crescendo hairpin from the Dynamics palette.
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Now add a diminuendo in the third measure, using what you learned above. Drag from right to left, using the same open hairpin symbol. When you are done, your score should look like this
OrnamentsYou add ornaments to the score in the same way you add dynamics, except that you can attach ornaments to specific notes. To do so click the note or select a group of notes to ornament. Try adding a fingering mark to the score.
2. Position the pointer at the start of the second measure, press and hold the mouse button, and drag to the right.
As you move the mouse, you should see the crescendo symbol appear and grow.
1. Choose the Finger 5 tool from the Ornaments palette.
Drag to right to create a crescendo
Drag to left to create a diminuendo
Part I: Getting Started
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You don’t have to place ornaments one at a time: you can add the same ornament to many notes at once by dragging over them when the ornament tool is selected.
You can drag an attached ornament wherever you please, but it remains attached to the original note for playback purposes.
Adding VoicesNow it’s time to add a second voice to the score. For an explanation of voices, see “Voice” on page 7.
2. Position the pointer directly on the F# in measure two and click.
The fingering ornament appears.
1. Set the note duration to dotted half notes using the note palette.
Click the half note icon, then the augmentation dot icon to add the dot to the half note.
Position the pointer here...
...and click...
The fingering symbol appears.
Half note Augmentation dot
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2. Select Voice 2 from the voice pop-up menu.
The voice pop-up menu is at the bottom of the score window.
Notice when you select Voice 2 that the notes belonging to Voice 1 dim:
3. Position the cursor at the beginning of the second measure and click F to add an F#.
Don’t worry about the stems—they will automatically be adjusted to the appropriate direction as you enter in a second voice.
4. Add more notes, one per measure: another F#, then a G, then another final F#.
Your display looks like this:
Dimmed notes indicate non-active voice
New note inserted in Voice 2
New notesentered inVoice 2
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5. There’s just one final bit of clean-up to do to complete this section: the fingering mark in measure two may need to be moved.
Using the Arrow Cursor, drag the fingering to the desired location in the score.Your score should look like this when you’re finished:
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Part I: Getting Started
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This chapter teaches you how to create new staves, assign instrument names and set up some features of tracks.
Adding StavesAt the end of the last chapter, the score consisted of two voices in the treble clef. The next task is to add some left-hand accompaniment.
1. To create the bass clef use the Score>Insert Track menu command.
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Now add a brace so the staves appear as conventional left-hand/right-hand piano notation (known as a grand staff.)
2. Click on the popup-menu next to the Single Staff option and choose Bass Clef Staff. Click on the After current track option and then click on OK. The bass clef track appears in the proper position.
1. Select the Group With Brace tool from the Staves palette.
2. Drag a box that spans the two staves.
When you release the button, the brace appears.
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All that remains is to add a barline through the system.
Staves that are played together are known as Systems. Overture has many features that can affect all the staves or measures in a system at once. See Chapter 8 of the User’s Guide for full details.
1. Select the Cross-Staff Barlines tool from the Staves palette.
2. Drag a box around both staves.
A barline appears, connecting the two staves.
Barline
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Setting Up StavesIn this section, you will tell Overture that the staves are piano parts.
1. Click anywhere in the top staff to make it the active one.
2. Choose Score>Setup Track.
The Setup Track dialog box opens:
Shortcut: Double-clicking a staff’s selector handle or the main clef in the first measure also opens this dialog box.
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Using the Setup Track dialog box, you can change many properties of each track including
• which lines of the staff are displayed
• which elements of the staff are displayed
• scale of entire staff
• transposition if different from concert key
3. In the Instrument box is a pop-up menu, Instrument Name. This menu contains a list of common instruments. Use it to choose Piano for the current track.
Notice that the name boxes fill in automatically.
4. Check the Show Main box.
This causes the instrument name to be displayed to the left of the staff.
5. Click OK.
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Part I: Getting Started
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Chapters 4 through 6 discuss Overture’s MIDI functions. If you aren’t using a MIDI device with Overture, feel free to skip ahead to Chapter 7.
Setting Up MIDIBefore you can start recording via MIDI, you must have a MIDI interface connected to your computer and a MIDI keyboard connected to the interface. [You must also enter the layout of your studio into the Audio MIDI Setup application if you are running under OS X].
A detailed explanation of these procedures is beyond the scope of this tutorial, so if you haven’t yet defined a Studio Setup document, you should read the manuals that came with your MIDI keyboard(s) and interface(s).
You won’t be able to proceed with this tutorial until you have done this.
Recording MIDIThere are a few program options to set up before you can start recording. This section discusses these options.
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MetronomeBefore you start playing, you’ll probably want to have some sort of metronome to guide your playing.
1. To configure the metronome sound, choose Options>Metronome>Metronome Sound.
You can set the device, note, velocity and duration for accented and unaccented metronome strikes. If you have a sound module in your MIDI studio with drum kits or percussive sounds, you’ll probably want to use that.
2. Change the Note number until you hear a sound you like.
Each change causes the new note to be played on the instrument, so you can hear how each note sounds as you scroll through the list of values.
3. Click the Test button.
This plays one measure’s worth of metronome sound, so you can hear what the metronome will sound like when you’re actually recording. What you hear has nothing to do with the meter or tempo of your score.
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Record OptionsChoose Options>Record Options. This opens the Record Options dialog box, where you tell Overture what sort of data to record and how to display it once it has been recorded.
Make sure the Auto Transcribe checkbox is selected.
Click OK to dismiss this dialog box.
Transcription QuantizeWhen you enter data from a MIDI keyboard, Overture records it with a high degree of rhythmic sensitivity. Many times you don’t want such an accurate transcription of what you play. For example, perhaps you’re only interested in entering quarter notes. If you don’t play with computer-precision, you could wind up with something like this:
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To solve this problem, you can tell Overture to “round up” anything smaller than a quarter note. You set this with the Transcription Quantize Amount button. At this time, choose quarter note resolution.
Now Overture transcribes whatever you play in as quarter notes or longer.
Linking Staves to MIDI DevicesIn order to have Overture play notes on the proper devices, you need to tell Overture where you want the data sent.
1. Click anywhere in the treble clef, so that it becomes the currently active staff.
2. Choose Windows>Tracks.
Each line in this window represents a staff in the score. If you have a multi-timbral synthesizer (one that plays more than one note at a time), you can play each staff over a different synthesizer sound, if you like. For simplicity’s sake, assign both staves to the same sound.
3. Click in the Device column. A pop-up menu appears listing all of the currently available instruments.
Pick a device and MIDI channel appropriate for your setup.
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RecordingLook at the left hand part for “Amazing Grace”:
You are going to play this into Overture from a MIDI keyboard. While you are playing the new part, you will hear the metronome and the already-entered right-hand part.
4. Click in the Device column for the second line, and pick the same MIDI device and channel.
Overture is now configured to play back the right and left hand parts on the synthesizer channel that you selected.
1. Open the Transport window by choosing Windows>Transport.
RewindButton
Play fromBeginningButton
StopButton
PlayButton
RecordButton
Thru Device
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Notice that as soon as you stop, the score window draws in the newly entered data. Your score should look like the one on page 41. If you made mistakes, you might want to try cleaning them up using the editing techniques introduced earlier in this manual.
To hear what you played, click the Play button or press the spacebar. Overture plays back your notes and continues playing the silent parts afterwards, so click the Stop button or press the Return key to stop playing.
Remember to use transcription quantize; regardless of how the performance sounds (within reason), it should be notated correctly.
2. Using the Thru device pop-up menu, select the same MIDI Instrument that you selected in the previous section.
This sets all notes played on the controller keyboard to echo on the Thru device.
3. Click in the first measure of the bass staff.
Recording begins at the insertion point’s location.
4. Click the record button to begin.
There is a one-measure count in during which the metronome plays but no MIDI data is recorded.
5. Play the part!
6. When you’ve played it, press the return key to stop recording, or click the stop button.
Part I: Getting Started
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This chapter introduces you to Overture’s step entry features. It assumes you have set up your MIDI devices and interfaces properly.Setting Up Step RecordTo open the Step Input window, choose Windows>Step Input.
Type area
Size area
Duration area
Velocity area
Note Size pop-up menu
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In this exercise, you use the Step Entry window to add more notes to the left hand part.
1. Position the insertion point at the beginning of the first full measure of the bass clef.
When you step enter data, it starts at the insertion point.
2. Select the dotted half note symbol from the Note Size pop-up menu.
The counter advances this much time after you enter each note.
3. Select Percent from the Duration pop-up menu.
Notice that the default percentage is 90%. This tells Overture that step-entered notes have a playback duration equal to 90% of a dotted half-note. Playback duration does not affect the way the score is notated; it only affects what you hear when you tell Overture to play the data over MIDI devices.
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Notice that it doesn’t matter how long you pause between notes, how long you hold them down or how hard you play them. Each note is transcribed as exactly one dotted half note into the score.
Note that unlike real-time record, which erases everything in the track (overwriting it with what you play) step entry adds its data to the track. That is, if you put the insertion point where there is already some information and step-enter some notes, they are merged with the existing data.
4. Play the low notes of the left hand part as shown here:
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Chord Name EntryYou can step enter chords and have Overture automatically identify them and place their names in the proper place above the staff.
1. Choose the Chord Entry icon with the Input Select button.
The duration and velocity sections of the Step Entry window disappear.
2. Using the note size pop-up menu, set the duration to dotted half note, if it isn’t already.
You can do this by clicking the note size icon and typing a 2 followed by a period (dot).
3. Click the mouse at the start of the first full measure of the treble staff.
Input Select button
Chord Entry icon
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Using the techniques discussed above, add some more chords.
4. Play a D Major chord (D-F#-A) on your MIDI keyboard.
Overture identifies the chord and places its name above the staff.
5. Press the right-arrow key to skip the next measure.
Notice that the counter in the Step Entry window advances by the currently selected note duration — in this case, one bar.
Note About Inversions:Chords are identified from the lowest note played on the keyboard, so Overture may not properly identify an inversion if the chord root isn’t the lowest note played.
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Part I: Getting Started
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Editing MIDI DataEditi
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There are two facets to every Overture score: what you see and what you hear. So far we’ve been primarily concerned with making a score look good. This chapter is a small detour to the MIDI Data mode and Graphic Window, which can affect not only a score’s appearance, but the way it plays back.
This chapter touches lightly on a few aspects of the Graphic window; for a complete description of all Graphic window elements, see Chapter 30, “Graphic Window (PC)” [Chapter 31, “Graphic Window (Mac)” ]
The Graphics window differs on the two platforms so we provide procedures for the PC below, then procedures for the Mac starting on page 57.
MIDI Data ModeThe MIDI Data mode is a powerful tool for editing MIDI data directly on your score. You can create mathematically precise shapes or draw MIDI events freehand. In this tutorial, we’ll use the MIDI Data mode to create volume. In this mode the Arrow cursor becomes a Pencil for drawing in the data and the Eraser cursor is used to delete existing data.
Choose Choose typeof controllerData Type
Scoreposition
Datavalue
Temporarilyadjust tempos
Zoombuttons
Drag graphMIDI Data areaposition vertically
Note data shownas raw data
Density ofinserted data
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1. Open the MIDI Data mode by choosing the Edit>MIDI Data menu command or by pressing the Tab key. The MIDI Data mode tool strip will appear just below the tool bar and looks like this. Note: When MIDI Data mode is active Tab key toggles between normal score and current data type.
The MIDI Data mode displays a graph above each measure showing the data except when “Normal Score” is chosen for data type. The data values runs vertically.
2. Choose the Controller from first the pop-up menu on the tool strip.
3. Draw any data you like into the MIDI Data area. Hold the shift key down while dragging to draw staright lines. Score symbols such as dynamics that also send this type of data are shown with a handle that can be dragged vertically.
When you release the button, the data area shows the new data you’ve drawn:
Assuming your MIDI device is set up to respond to controller 7, you hear the effects of this data on the track when you play it back.
...and from the scond popup-menu choose the Volume controller
Choose Controller from popup menu
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Tap TempoWhile in the MIDI Data mode youc an record new tempos. To do thi
1. While in MIDI Data mode choose Choose Tempo from first the pop-up menu on the tool strip.
The MIDI Data mode displays a graph above each measure showing the beats based on the current meter and the tempo changes within each measure. The tempo data values runs vertically.
2. Press the Record button on the transposrt or press the Enter[return] key to enable recording. Press the Enter[return] key again or play a note on the MIDI keyboard to start recording tempos. Press the key again (or play a note) to record a tempo for each beat. Overture determines the tempos based on the time between key presses (played notes) for each beat within the current time signature. Press the space bar or Stop button on Transport to stop recording tempos. A dialog will ask you if you wish to keep the recorded tempos. Press the Yes button if you want to save the recorded tempos into the score.
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Editing Notes (PC)
In the Graphic window, the notes you entered appear on a piano-roll display. Each box in the window indicates a note’s start point (by where it is located on the X axis), pitch (by where it is located on the Y axis) and duration (by the length of the graphic box).
Any notes you select in the Graphic window are also automatically selected in the Score window as well. You can select notes by clicking them one at a time, or shift-clicking multiple notes, or dragging a selection box to select many at once.
1. Make sure the insertion point is in the treble staff at the score.
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2. Choose Windows>Graphic to see the MIDI interpretation of “Amazing Grace.”
3. Select the Select tool.
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4. Select a range of notes by dragging a rectangle around them.
The notes turn red:
5. Switch back to the Score window to see that the corresponding notes have been selected.
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Editing With The Controllers Pane (PC)The Controllers pane is a powerful tool for editing MIDI data. You can create curves or straight lines or draw MIDI events freehand. In this tutorial, we’ll use the strip chart to create volume data.
If you aren’t concerned with playback control, you can skip the rest of this chapter.
1. Choose Control from the first popup menu at the top of the Graphic window, then choose Volume from the second popup menu.
2. The Controllers pane displays a graph that runs vertically from 0 to 127.
Choose the pencil tool in the Graphic window’s toolbar.
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Assuming your MIDI device is set up to respond to volume data, you hear the effects of this data on the track when you play it back.
3. Draw any data you like into the Controllers pane.
When you release the button, the Controllers Pane fills in the area under the shape you’ve drawn:
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Editing Notes (Mac)
In the Graphic window, the notes you entered appear on a piano-roll display. Each box in the window indicates a note’s start point (by where it is located on the X axis), pitch (by where it is located on the Y axis) and duration (by the length of the graphic box).
Any notes you select in the Graphic window are also automatically selected in the Score window as well. You can select notes by clicking them one at a time, or shift-clicking multiple notes, or dragging a rectangle to select many at once.
1. Make sure the insertion point is in the treble staff at the score.
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2. Choose Windows>Graphic to see the MIDI interpretation of “Amazing Grace.”
3. Select the Marquee tool.
4. Select a range of notes by dragging a rectangle over them.
The notes become hollow, like this:
5. Switch back to the Score window to see that the corresponding notes have been selected.
Marquee Tool
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Editing With The Strip Chart (Mac)The strip chart is a powerful tool for editing MIDI data. You can create mathematically precise shapes or draw MIDI events freehand. In this tutorial, we’ll use the strip chart to create modulation wheel data.
If you aren’t concerned with playback control, you can skip the rest of this chapter.
1. Open the strip chart by clicking on the Strip Chart button at the bottom of the graphic window and selecting “Modulation Wheel” from the pop up menu.
The strip chart opens at the bottom of the window and looks like this:
2. The strip chart is a graph that runs vertically from 0 to 127.
Choose the pencil tool.
3. Choose the Free tool from the pop-up menu at the bottom of the window.
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Assuming your MIDI device is set up to respond to modulation wheel data, you hear the effects of this data on the track when you play it back.
4. Draw any data you like into the strip chart.
When you release the button, the strip chart fills in the area under the shape you’ve drawn:
Part I: Getting Started
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PrintingThis chapter teaches you how to set margins, spacing, page size and other items associated with printing. It also discusses Overture templates.
Setting Up The PageBefore you can print your score, you need to make sure the page parameters are properly set. This section introduces you to some of the most common issues related to printing.
Setting Margins
1. To see what your page margins look like currently, choose Options>Show>Margin.
A gray line appears around the score, outlining where the margins lie.
Margin
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You can change the margins by adjusting the numbers in the margin boxes.
Setting SizeYou can enter the page width and height in the boxes provided.
You can drag the slider to change the scaling factor for the entire score to allow more staves on a page. For example, if you are printing to a regular sheet of 8.5” x 11” paper, and have set the slider to 50%, a 17” x 22” score is created. This is because a 17” x 22” score printed at 50% is 8.5” x 11”.
Use the portrait or landscape button to allow for horizontal or vertical scores. Use the Page buttons to view different pages in your score.
2. To change the margins, choose Score>Page Dimensions. Page scale slider
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Adding Titles
It’s time to put a title on the score.
1. Choose Score>Title Page.
The Title Page Text dialog box appears.
2. Click the Title tab if necessary and type Amazing Grace on the top title line.
You have a choice of many different text styles, but the defaults are fine for now.
3. Click OK.
Overture displays the title on the first page of the score.
If you want to change the font style of the Title, do the following:
1. Choose Score>Title Page to display the Title Page Text dialog box again.
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2. Click the Font button next to the Title.
Overture opens the Font dialog box.
3. Choose the font, style, and size.
4. Click OK.
Overture closes the Font dialog box.
5. Click OK.
Overture closes the Title Page Text dialog box.
You can now go back and enter Composer’s name, Instructions, Copyright, Headers, and Footers, in the same manner.
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PrintingOnce the page is set up, all you have to do is choose File>Print from the File menu. A standard print dialog box appears. Make sure everything is set properly for your printer and click OK.
TemplatesIf you have a complicated score configuration that you’ll be using more than once, you might want to make a template out of it. A template can store staff configurations, page dimensions, instrument names, clef configurations, fonts for titles and more. To create a template:
Pre-Made TemplatesOverture comes with a number of pre-made templates, covering a wide variety of scoring formats. These reside in the “Overture Templates” folder. Open them up and look at the staff and page settings to get a feel for how some of them were designed. One of the best ways to learn is by example, so don’t be shy!
1. Set up the score elements the way you want them.
2. Save the file in the Templates folder inside the Overture folder.
3. Switch to the Explorer[Finder] and locate the file you’ve just saved. Select its icon so that it becomes highlighted.
4. Choose File>Get Properties[Info]
5. Set the file to be Read Only.
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Part I: Getting Started
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GeneralThe Score window displays one or more pages of a traditional music score complete with staves, notes, symbols, lyrics, chords, text and anything else you want in your printed musical score. Use the Score window to enter, view and modify your musical score.
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Status Bar: Page View and Track ControlsThe bottom of the Score window contains several controls that determine and illustrate which page is displayed and the zoom level at which it’s displayed.
The following describes each of Overture’s page view controls:
• View. Use this pop-up menu to select both the size at which you want to display the score and a page view option. For more information, see “Auto>Zooming” command on page 72 and “Auto>Selecting a Page View Option” command on page 75
• Track control. Use this pop-up menu to change tracks. Overture puts the cursor in the track you select. The track control always shows the track the cursor is in, a convenience if you are not showing names and abbreviations.
• Voice pop-up menu. Use this pop-up menu to select the voice you want to display and edit in the Score window. For more information, see “Auto>Selecting a Voice to Enter or Edit” command on page 96.
• Bar numerical. Use this numerical to quickly move the cursor to a specified bar number. Overture displays the page containing the active measure. For more information, see “Auto>Turning to a Specific Bar” command on page 71.
• Page numerical. Use this numerical to quickly move to a specified page. Overture displays the selected page, but the cursor remains in the currently active measure. For more information, see “Auto>Turning to a Specific Page” command on page 71.
• Previous Page button. Click this button to display the previous page in the score.
• Next Page button. Click this button to display the next page in the score.
• MIDI Activity. Led lights blink when MIDI data is being received and sent.
• CPU Meter. Shows the amount of time the CPU is spending while processing audio data.
Each of the following sections discuss various actions you can perform with the page view and track controls.
Voice pop-up menu Next Page buttonPage numerical
Previous Page buttonBar numericalView
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Turning PagesTo move forward or backward through your score a single page at a time, click the Next Page or Previous Page buttons.
If you have an extended computer keyboard, you can also turn pages by typing Control[Option]-PgUp or Control[Option]-PgDn.
Turning to a Specific PageTo turn to a specific page in your score, use the Page numerical. Simply drag the numerical upward to increase the page number, or drag it downward to decrease the page number. Alternately, you can click the Page numerical, type the desired page number, then hit the Return key.
Turning to a Specific BarTo place the insertion point in any measure in your score (activating that measure), use the bar numerical. Simply drag the numerical upward to increase the bar number, or drag it downward to decrease the bar number. Alternately, you can click the Bar numerical, type the desired bar number, then hit the Return key.
When you turn to a specific bar, Overture automatically positions the cursor in that bar, thus making it the active measure.
Previous Page Button Next Page Button
Page Numerical
Bar Numerical
Terminology Note:When the cursor is in a particular measure, that measure is called the active measure. This manual will often ask you to activate a particular measure. This means to place the cursor in a particular measure either by clicking in it, or by using the bar numerical.
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Turning to the First Page and BarIf you use an extended keyboard, you can quickly turn to the first page in a score by pressing Control[Option]-Home on your computer keyboard. When you press option-Home, Overture moves the cursor to the first bar in the active track and displays the first page in the Score window.
Turning to the Last Page and BarIf you use an extended keyboard, you can quickly turn to the last page in a score by pressing Control[Option]-End on your computer keyboard. Overture moves the cursor to the last bar in the active track and displays the last page in the Score window.
ZoomingYou can zoom in on a score to see tiny details or zoom out to display more of the score. Also, you can size a score to fit completely in the Score window.
1. Click the Zoom Level pop-up menu to see a list of zoom levels.
2. Select the desired zoom level from the pop-up menu.
Overture resizes the score based on your selection.
Important:The Bar numerical always shows the absolute bar number in the score; it does not show custom bar numbers assigned in the Set Numbers dialog box (as discussed in “Auto>Set Measure Numbers” command on page 559). For example, if you set up your score such that the first measure is labeled as Bar #17, the Bar numerical will still show that first measure as Bar #1. However, if your song begins with a pickup measure, Overture numbers it Bar #0.
2. Select a zoom level from the pop-up menu
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The zoom level options are as follows:
• Zoom In. Select this zoom level to zoom in on the score. When you zoom in, Overture displays all notes and symbols larger than actual size, allowing you to see more detail in a single portion of a score. You can choose this command repeatedly to zoom in closer and closer.
• Zoom Out. Select this zoom level to zoom out on the score. When you zoom out, Overture displays all notes and symbols smaller than actual size, allowing you to see more of a score. You can choose this command repeatedly to zoom out further and further.
• Fit in Window. If you select this zoom level, Overture automatically selects a zoom level that displays an entire page within the confines of the Score window.
• Fit Page Width. If you select this zoom level, Overture automatically selects a zoom level that displays an entire page width within the confines of the Score window.
• Fit Page Height. If you select this zoom level, Overture automatically selects a zoom level that displays an entire page height within the confines of the Score window.
• 100%. Select this zoom level to display the score at its normal size.
• 250%, 200, 150%, 125%, 75%, 50%. Select one of these zoom levels to set the zoom level to the indicated percentage.
• X%. Choose this zoom level to open the zoom level dialog box. Use the View at numerical to select a zoom level between 10% and 800%. Click the OK button to apply the chosen zoom level.
Selective Zooming
Overture lets you zoom in on a specific area of the score. To do so:
1. Select the Zoom Cursor in the Tool Bar.
Zoom Cursor
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2. Drag a rectangle around the area you want to zoom in on or just click to zoom in.
Overture zooms the selected area to the largest size that will fit within the Score window.
Drag an area to zoom in on
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Selecting a Page View OptionThe Zoom Level pop-up menu also contains several viewing options so you can define how Overture displays pages in the Score window.
There are three different ways to view pages in the Score window:
• Single Page. If you select this option, Overture displays only one page at a time in the Score window.
Page View Options
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• Horizontal Pages. If you select this option, Overture places your pages side by side horizontally across the Score window.
• Vertical Pages. If you select this option, Overture places your pages top to bottom vertically down the Score window.
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Scrolling a Score WindowThere are a few cases where you want to scroll a Score window:
• If the physical page size of your score is larger than your monitor screen and you wish to view the score at full size (100%), you’ll need to scroll the Score window to see any portions of a page that don’t fit within the window’s confines.
• If you view a score at some magnified level (>100%), you’ll need to scroll the Score window to see the entire page (even if you have a 1- or 2-page monitor).
The most intuitive way to scroll the Score window is to use the standard scroll bars located both to the right and the bottom of the Score window.
You can also scroll a Score window by using the Hand tool (press ‘h’) within the window. This converts the cursor to a hand for dragging the Score window.
Scroll Bars
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Arranging Staves and SystemsOverture allows you to adjust staff spacing and width by dragging staves to place them anywhere on a page. The following sections discuss how to arrange staves and systems in a score.
Adjusting Vertical Staff PlacementYou can adjust the spacing between any two staves or systems and apply that spacing to:
• the selected staff only, or
• all remaining staves on a page, or
• all remaining staves in a score
The following sections outline Overture’s staff spacing techniques.
Adjusting Staff Spacing in a Single SystemTo change the spacing between a staff and the staff above it:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you won’t need to select this option. Handles are always available—they’re just normally invisible. Selecting this option shows you where to click a staff or barline to edit it.
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2. Drag a staff handle up or down to change the spacing between it and the staff (or margin) above it.
All staves below a dragged staff maintain their relative spacing.
Staff Handle
Notice that this staff spacing has changed...
...but that the relative spacing of all remaining staves remains unchanged.
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If you drag the top staff in a system, that system moves closer to or further from the system (or margin) above it, but all other staff and system spacings are unaffected.
...affects staff spacing this way.
Dragging this staff down...
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If you drag a middle staff in some system, it will move closer to or further from the staff immediately above it. All staff and system spacing below the dragged staff is unaffected.
Adjusting Staff Spacing in all Systems on a PageAs you learned in the previous section, you can drag a staff to change the spacing between it and the staff (or margin) above it. If you like, you can have Overture apply the new staff spacing to all remaining systems on a page. To do so:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you won’t need to select this option. Handles are always available—they’re just normally invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Hold down the Alt[Option] key and drag a staff handle up or down to change the spacing between it and the staff (or margin) above it.
By Alt[Option]-dragging, you tell Overture to apply the same spacing to all remaining systems on a page.
...affects staff spacing this way.
Dragging this staff down...
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If you Alt[Option]-drag the top staff in a system, that system moves closer to or further from the system (or margin) above it, and Overture applies the spacing to all remaining systems on the page.
...affects staff spacingthis way.
Option-dragging Alt-dragging this
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If you Alt[Option]-drag any other staff in a system, it moves closer to or further from the staff immediately above it, and Overture applies the spacing to all remaining systems on the page.
Adjusting Staff Spacing in all Systems in a ScoreAs you learned previously, you can drag a staff to change the spacing between it and the staff (or margin) above it. If you like, you can have Overture apply the new staff spacing to all remaining systems in a score. To do so:
Control[Command]-dragging affects system and staff spacing just as Alt[Option]-dragging does. The only difference is that Overture applies any new spacing throughout the remaining score, not just the active page.
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you won’t need to select this option. Handles are always available—they’re just normally invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Hold down the Control[Command] key and drag a staff handle up or down to change the spacing between it and the staff (or margin) above it.
By Control[Command]-dragging, you tell Overture to apply the same spacing to all remaining systems in a score.
Alt[Option]-dragging this staff down...
...affects staff spacing this
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Respacing StavesOverture’s Score>Respace Staves command respaces all the staves on the page according to the Respace Staves dialog box and the Engraver preferences set in the Preferences dialog box. See “Auto>Respace Staves Dialog Box” command on page 512 and “Auto>Engraver Preferences” command on page 644.
For example, assume your score contains the page below, and that you want to re-space the staves according to your Engraver preferences.
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To respace the staves:
1. Choose Score>Respace Staves.
Overture re-spaces the staves according to the Engraver preferences set in the Preferences dialog box.
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Notice the differences between the re-spaced page above and the original page shown on page 84.
Adjusting Horizontal Staff PlacementYou can adjust the width of any system by dragging either of its handles horizontally or by clicking on the staff with the hand tool and dragging horizontally.
For example, assume your score contains the page below, and that you want to indent the top system.
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To indent the top system:
You can also drag a staff’s right selection handle to change a system’s width. Here is what happens when you drag a staff’s right selection handle to the left.
1. In the top system, drag any staff’s left selection handle to the right.
Overture shortens the entire system.
Dragging left staff handle to the right indents the staff
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Placing Systems Side by SideYou can apply a combination of vertical staff positioning and staff width adjustment to place systems side-by-side in a score. To do so:
You may also split a system into two side by side systems using “Auto>Split System” command on page 534.
1. Adjust the width of each system you wish to place side by side.
2. Drag the lower system up until it’s parallel with the system above it.
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Creating a Default FileIf you frequently use particular scoring conventions, you may create a score with the desired characteristics and save it with the name DefaultFile. If you put DefaultFile in the same folder as the Overture application, an untitled copy automatically opens every time you launch Overture by double clicking the Overture application icon. Scoring conventions commonly used in creating the DefaultFile include:
• Staff names and abbreviations
• Staff grouping and spacing
• Measures/System and Systems/Page specifications
• Clef assignments in staff systems
You may save the DefaultFile, including specific parts. For example, a commonly used basic drum track can be saved in the DefaultFile.
Selecting Notation SymbolsYou can select notes and symbols either individually or in groups. The following sections discuss how Overture displays selected symbols and how to select them.
Viewing Selected SymbolsOverture displays most selected notes and rests in red. It displays editing handles on most other types of notation symbols.
Note:Choosing File>New does not automatically load DefaultFile. Choosing File>Open to open DefaultFile opens the actual file for editing, not an untitled copy. Double-clicking the file launches Overture files directly.
Unselected Note Selected Note
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Similarly, when you select a rest, Overture displays it in red:
When you select a note with a beam, Overture displays only the notehead in red. You can select beams separately, so as to edit their position and angle. Editing handles appear on all selected beams. For information about editing beams, see “Auto>Editing Beams” command on page 101.
When you select most other types of symbols, small, rectangular editing handles appear on or around the symbol. These handles allow you to move or reshape the selected symbol.
For more information about editing selected symbols, see “Auto>Editing Notation Symbols” command on page 97.
Selection TechniquesYou may select notes and symbols either individually or in groups. To select notes or symbols in the Score window, Overture must be in Score mode and the Arrow Cursor tool must be active. The following sections discuss numerous selection techniques.
Selecting Individual SymbolsTo select any note or symbol in the Score window:
1. Click the Arrow Cursor button in Overture’s tool bar to select the Arrow Cursor tool.
Unselected Rest Selected Rest
Unselected Notes Selected Notes Selected Beam
Editing Handles
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Alternately, you could select a symbol by dragging a rectangle around it.
Selecting Discontiguous SymbolsTo select discontiguous notes and symbols in the Score window, hold down the Control[Command] key as you click. Specifically:
2. Move the cursor over the symbol you wish to select.
When you position the cursor over a symbol, it changes into a Drag Cursor ( ). The Drag Cursor always appears when you move the Arrow Cursor over an editable portion of a musical symbol.
We discuss this and other Score window cursors in “Auto>Cursors in the Score Window” command on page 109.
3. Click the desired symbol.
Overture highlights it to show that it’s selected.
1. Using the Arrow cursor, move the mouse over the first symbol you wish to select.
The cursor turns into a Drag cursor.
2. Click the symbol to select it.
Overture highlights it to show that it’s selected.
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Alternately, you could select discontiguous symbols by dragging rectangles around the individual notes or symbols as you hold down the Control[Command] key.
Selecting Contiguous SymbolsTo select contiguous notes and symbols in the Score window, use the Shift key. Specifically:
3. Control[Command]-click each additional note or symbol you wish to select.
Overture adds the note or symbol to the selection.
1. Using the Arrow Cursor, move the mouse over the first symbol you wish to select.
The cursor turns into a Drag Cursor.
2. Click the symbol to select it.
Overture highlights it to show that it’s selected.
Control[Command]-click these notes to select them
Click symbol to select it.
Click this note with Arrow Cursor to select it. (The Arrow Cursor becomes a Drag Cursor when you move it over the note.)
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Alternatively, you could select contiguous symbols by dragging a rectangle around all the desired symbols—the selection includes any symbol that the rectangle either touches or encloses.
Selecting All Symbols in a MeasureTo select all symbols in a single measure:
3. Shift-click the space after the last symbol you wish to select.
Overture selects all notes and symbols between the first selection and the point where you shift-clicked.
Using the Arrow Cursor, double click on any blank space in a measure.
Overture selects all the symbols in the measure.
Shift-click here to select allsymbols between here and theselected symbol.
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Selecting All Symbols in Discontiguous MeasuresTo select all symbols in discontiguous measures:
You can also use this technique to select discontiguous measures on different staves.
Selecting All Symbols on an Entire Staff LineTo select all symbols on an entire staff line.
1. Using the Arrow Cursor, double-click any blank area in one of the measures.
Overture selects all the symbols in the measure.
2. Control[Command]-double click a blank area in each additional measure.
Overture adds all symbols in each additional measure to the selection.
Using the Arrow Cursor, double-click any blank area in the first measure of a staff. Shift-double click the last measure on the staff.
Overture selects all the symbols in that staff in that system.
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Selecting Symbols On Different StavesYou can use any of the contiguous or discontiguous selection methods to select notes and symbols that are on different staves. In addition, you can select symbols in contiguous measures and staves by dragging a rectangle around all desired symbols.
Also, you can Control[Command]-click symbols in different staves to select them.
Selecting all Symbols in a TrackYou can select all symbols in a track by double-clicking with the Arrow Cursor in the margin next to the track you want selected.
Drag to select symbolsacross multiple staves.
Double-clickingin the margin...
...selects all
entire track notes in the
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Selecting a Voice to Enter or EditEach Overture staff displays up to eight voices simultaneously (for a definition of voices, see “Auto>Voice” command on page 7). Select a voice using the Voice pop-up menu at the bottom of the Score window. You can select and edit only those symbols that are assigned to the selected voice. To select a voice:
When you select a particular voice, all other voices already in a score are grayed out.
In the example, you can edit only those notes and symbols that are assigned to the selected voice (the black one).
1. Click Voice in the Score Window’s page view controls to open the Voice pop-up menu.
2. From the pop-up menu, select the voice you want to enter or edit.
You may also select the All option to edit all voices simultaneously.
2. Select a voice from thepop-up menu
1. Click here to producethe Voice pop-up menu.
Selected Voice (black)
Disabled Voice (grey)
Note:When you select All, Overture lets you edit all the voices, but automatically puts any new notes in Voice 1.
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Editing Notation Symbols
Editing NotesYou can change a note’s pitch or position by dragging it. Drag a note up or down to change its pitch; drag a note left or right to change its position.
When you position the cursor over a notehead, it changes into a Drag Cursor ( ). The Drag Cursor always appears when you move the Arrow Cursor over an editable portion of a musical symbol.
You can choose whether you want dragged notes to change chromatically (according to the twelve-tone scale) or diatonically (according to the key of the measure). To drag notes diatonically:
To drag notes chromatically:
1. Choose Options>Preferences.
Overture opens the Preferences dialog box.
2. In the Preferences dialog box, select General from the Preference Type pop-up menu.
3. Make sure that Drag Notes Chromatically is not checked.
1. Choose Options>Preferences.
Overture opens the Preferences dialog box.
2. In the Preferences dialog box, select General from the Preference Type pop-up menu.
3. Click the Drag Notes Chromatically check box to check it.
Raise Pitch
Lower Pitch
Move Left Move Right
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You can nudge notes up or down through either the chromatic or diatonic scales. To do so:
You can change a note’s value (such as turning a quarter note into an eighth note) by first selecting it, then typing the key equivalent for a new note value. This is described in detail in “Auto>Changing Existing Note Values” command on page 134.
You can duplicate a note (or most any musical symbol) by Control[Option]-dragging it.
There are two ways to remove notes from a score:
• Select the Eraser tool and click the notes you wish to remove. See “Auto>Eraser Button” command on page 119.
• Using the Arrow Cursor, select those notes you wish to remove (as discussed in “Auto>Selecting Notation Symbols” command on page 89) and type the delete key, or use the Edit>Cut command.
Copying NotesYou can Control[Option]-drag any note to make a copy of it.
If you Control[Option]-drag a note vertically, Overture creates a new note of the same duration and at the same time, but at a new pitch (thus creating a chord).
If you Control[Option]-drag a note horizontally, Overture copies it to a new location.
1. Select the note (or notes) whose pitch you want to change.
2. Press the up arrow key to nudge notes up the scale. Press the down arrow key to nudge notes down the scale.
3. 1. Original Note 2. Control[Option]-drag the note up to a D. Overture creates a chord containing your original note (G) and the new note (D).
Move the Arrow Cursor over the note (it becomes a Drag Cursor)
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If you Alt[Option]-drag any note in a chord horizontally, Overture creates a copy of the entire chord.
You can also copy notes by selecting them and using standard copy and paste commands. For more information, see Chapter , “Edit Menu.”
Editing StemsTo change a stem’s length:
To return a stem to its default length.
1. Move the cursor over the end of a stem.
The cursor changes into a Drag Cursor.
2. Drag the end of the stem up or down to change its length.
1. Select the notes whose stems you wish to reset to their default length.
Control[Option]-drag the noteto the right. Overturecreates a new chord identicalto the one containingthe note you originallydragged.
3. 1. Original Note 2. Move the ArrowCursor over one ofthe notes (it becomesa Drag Cursor)
Drag Cursor
dragging stem up
dragging stem down
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To set a stem’s direction:
To hide a stem:
To show a hidden stem:
2. Choose Notes>Stem>Default Stem Length.
Overture resets the selected stems to their default length.
1. Select the notes whose stem directions you wish to set.
2. Choose either Notes>Stem>Stem Up or Notes>Stem>Stem Down.
Overture makes the selected stems point in the chosen direction.
1. Select the notes whose stems you wish to hide.
2. Choose Notes>Stem>Hide Stem.
Overture hides the selected stem.
This is a particularly useful feature for tablature notation. For more information about tablature notation, see Chapter , “Tablature Button.”
1. Select the notes whose stems you wish to show.
2. Choose Notes>Stem>Show Stem.
Overture shows the stem for the selected note.
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Editing BeamsYou can change a beam’s height or angle simply by dragging it. To change the height of a beam:
To change the angle of a beam:
1. Move the Arrow Cursor over the center of a beam.
The cursor turns into the Drag Cursor.
2. Drag the beam up or down to change its height.
1. Move the Arrow Cursor over either end of the beam.
The cursor turns into the Drag Cursor.
dragging beam center up
dragging beam center down
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There are three ways to remove beams from a score:
• Select the Eraser tool and click the beams you wish to remove. See “Auto>Eraser Button” command on page 119.
• Using the Arrow Cursor, select those beams you wish to remove (as discussed in “Auto>Selecting Notation Symbols” command on page 89) and press the delete key.
• Using the Arrow Cursor, select those beams you wish to remove and use the Notes>Delete>Beams menu command.
You can use one of the Notes>Beam commands to change how notes are beamed, and you can even beam across barlines and across staves. For more information, see “Auto>Beam” command on page 583.
Editing RestsDrag any rest to move it. You can even move rests up and down on a staff—this is particularly useful when you notate more than one voice on a single staff.
2. Drag the end of the beam up or down to change its angle.
dragging beam end up
dragging beam end down
Move Up
Move Down
Move Left Move Right
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You can nudge rests up, down, left or right in small increments. To do so:
There are two ways to remove rests from a score:
• Select the Eraser tool and click the rests you wish to remove. See “Auto>Eraser Button” command on page 119.
• Using the Arrow Cursor, select those rests you wish to remove (as discussed in “Auto>Selecting Notation Symbols” command on page 89) and type the delete key (or choose Edit>Cut or Edit>Clear).
Editing Other Notation SymbolsThere are also techniques for editing slurs, ties, glissandos, trill sections, arpeggios, chord symbols, text, and numerous other musical symbols. We discuss each of these when first introducing the symbols in Part III, “The Tool Bar.”
Adjusting Note SpacingThere are numerous ways to adjust the spacing of notes in the Score window:
• Drag notes (or groups of notes) to change their position relative to other notes.
• Nudge notes (or groups of notes) with the arrow keys to make small changes in their position relative to other notes.
• Display and modify Beat Charts.
• Change the bar width to expand or contract the spacing of notes in a measure.
• Automatically position notes. There are three ways to do this:
•automatically align them with existing Beat Charts upon entry (using the Options>Auto>Justify option).
•automatically calculate new Beat Charts and align existing notes (using the Measures>Justify command).
•automatically adjust measure width and spacing based on the current Allotment Table and on the existing Beat Charts (using the Score>Recalc Layout command).
The following sections detail each of the preceding techniques.
1. Select the rest (or rests) whose position you want to change.
2. Press the up arrow key to nudge rests upward. Press the down arrow key to nudge rests down. Press the left arrow key to nudge rests left, and press the right arrow key to nudge rests to the right.
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Dragging NotesYou can drag a note to change its position relative to other notes.
Also, you can drag any note in a chord to change the horizontal spacing of the entire chord.
You can select and drag notes and chords, as well as dynamics, hairpins, text repeats, and Graphics palette objects as a group.
Nudging NotesYou can nudge notes either left or right in small increments. To do so:
Using Beat ChartsInstead of dragging individual notes to change their relative spacings, you might find it easier to modify the beat spacing. Overture illustrates a measure’s beat spacing in a Beat Chart. Beat Charts appear above a measure and mark each beat in the measure with a small rectangular handle.
1. Select the note (or notes) you want to nudge.
2. Type the left arrow key to nudge the notes to the left. Type the right arrow key to nudge the notes to the right.
Each horizontal nudge moves the symbol approximately a single pixel. Overture prints at a resolution of 1/72 of an inch so, at 100% scaling, you can nudge symbols at a resolution of 1/72 of an inch on the printed page.
Note:You must disable Auto>Justify in the Options Menu or the measure must be locked by Control[Command] clicking on the meausure’s handle to allow notes to be dragged horizontally. If not, they will automatically be repositioned.
Drag a noteto change its spacingrelative to other notes
Before dragging
After dragging
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Use Beat Charts to view the individual beats (or pulses) in a measure and to modify the spacing of those beats. To do so:
Notice that the sixteenth notes in the third beat are now closer together, and that there is now more space between the second and third beats.
To hide a Beat Chart:
1. Using the Arrow Cursor, click anywhere in the desired measure to make it the active measure.
2. Select Options>Show>Beat Chart.
Overture produces a Beat Chart over the active measure.
The upper row of the Beat Chart contains small square handles that represent each beat in the measure. The measure shown above is in 4/4 time, so it contains four handles—one at the start of each beat.
3. Drag one of the beat handles to a new position.
1. Using the Arrow Cursor, click anywhere in the desired measure to activate it.
Beat dragged to the right
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Changing Bar WidthsYou can proportionally compress or expand the spacing between all notes in a measure by changing the width of the bar. To do so:
2. Select Options>Show>Beat Chart.
Overture hides the active measure’s Beat Chart.
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you won’t need to select this option. Handles are always available—they’re just normally invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Drag the desired bar’s handle to the left or right.
The figure shows the middle bar dragged to the left. This results in tighter spacing in the first measure and wider spacing in the second.
Note:Overture actually displays pulses. Measures usually contain the same number of beats as pulses, but you can use the Set Meter dialog box to set a number of pulses that’s different from the number of beats. See “Auto>Set Time Signature” command on page 541 for more details.
Note:Bar widths also change when you use the Measures>Increase Measures on System or Measures>Decrease Measures on System commands since these actions place a different number of bars on a single, fixed width line. For more information about wrapping measures, see “Auto>Increase Measures on System” command on page 530 and “Auto>Decrease Measures on System” command on page 532.
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Automatic JustifyThere are three ways to space notes automatically in a score. The following discusses the differences between these three automatic note spacing algorithms:
• Options>Auto>Justify: When you select this option, Overture automatically spaces any new notes that you enter. Overture spaces notes according to the measure’s existing Beat Chart without changing the width of the measure.
• For more information about Beat Charts, see “Auto>Using Beat Charts” command on page 104. For a detailed discussion of the Options>Auto Justify option, see “Auto>Justify” command on page 624.
• Measures>Justify: When you choose this command, Overture calculates a new Beat Chart based on the note values and the amount of space allocated to them in the current Allotment Table. It then spaces notes accordingly (without changing the width of the measure).
For more information about Beat Charts, see “Auto>Using Beat Charts” command on page 104. For a brief description of Allotment Tables, see “About Allotment Tables” below. For a detailed discussion of the Measures>Justify command, see “Auto>Justify” command on page 568.
Overture spaces notes sothat they line up with thecurrent Beat Chart.
Beat Chart
Beats
Notice that collisions can occur,but the rhythm of the piece isvisually accurate.
Beat Chart
Beats
Overture calculates newBeat Charts based on thenote values and thecurrent Allotment Table
Notice that collisions can occur,but they’re minimized since theBeat Chart changes to take intoaccount the note values and thecurrent Allotment Table.
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• Score>Recalc Layout: When you choose this command, Overture calculates a new width for each measure in the score based on the number of Measures per System you specify in the Source>Layout Page dialog box.
For more information about Beat Charts, see “Auto>Using Beat Charts” command on page 104. For a brief description of Allotment Tables, see “About Allotment Tables” below. For a detailed discussion of the Score>Recalc Layout command, see “Auto>Recalc Layout” command on page 513.
About Allotment TablesAllotment Tables determine the amount of horizontal space occupied by each note on a staff, relative to other note values. For example, it’s generally desirable to have an eighth note occupy more space than a sixteenth note (though not twice as much space)—thus giving some visual feedback as to the rhythm of a piece. You can create and save any number of Allotment Tables. To load an Allotment Table into Overture, simply choose File>Load Library. For more information about creating and editing Allotment Tables, see “Auto>Allotment Table” command on page 410.
Locked Measures When you’ve manually spaced notes in a measure, it is sometimes useful to exclude that measure from being justified or affected by a Score>Recalc Layout command. Overture allows locked measures that maintain their spacing. To lock a measure:
1. Select Options>Show>Handles.
Barline and staff handles appear.
2. Control[Command]-click the barline handle to lock the preceding measure.
The barline handle turns solid, indicating that it is locked. Control[Command]-click the barline handle again to unlock the measure.
Beat Chart
Beats
Overture calculates newmeasure widths and notespacings based on thecurrent Beat Chart andAllotment Table
Notice that collisions disappearsince the measure can widento accommodate all the necessarynotes.
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Cursors in the Score WindowOverture uses a number of different cursors depending on the function you’re about to perform. The following is a list of Overture cursors that appear in the Score window:
There are numerous other cursors associated with Overture’s Graphic window. For more information about these cursors, see Chapter , “Graphic Window (PC)” Chapter , “Graphic Window (Mac).”
Arrow Cursor: The Arrow Cursor is Overture’s basic operating cursor. It may change form when you move it over various tools, symbols, staves, or text. Select the Arrow Cursor by clicking the Arrow Cursor tool in the Tool Bar or by typing the letter c (unless you’re in a text entering mode). For more information, see “Auto>Arrow Cursor Button” command on page 119.
Drag Cursor: The Drag Cursor appears automatically any time you move the Arrow Cursor over any symbol’s edit handle. It indicates that you can edit or drag the symbol.
Eraser Cursor: Use the Eraser Cursor to delete musical symbols by clicking them. Select the Eraser Cursor by clicking the Eraser Cursor tool in the Tool Bar or by typing the letter e (unless you’re in a text entering mode). For more information, see “Auto>Eraser Button” command on page 119.
Scale Cursor: Use the Scale Cursor to resize notes, staves, clefs and dynamics by clicking them. Select the Scale Cursor by clicking the Scale Cursor tool in the Score mode Tool Bar. For more information, see “Auto>Scale Button” command on page 121.
I-beam Cursor: The I-beam Cursor appears over any editable text.
Crosshair Cursor: The Crosshair Cursor appears over the Score window whenever you’ve selected a symbol to insert. There are three types of crosshair cursors:
This crosshair appears when the cursor is directly over a staff and indicates that the action you’re about to perform applies to this staff.
This crosshair appears when the cursor is above a staff. It indicates that the action you’re about to perform applies to the staff immediately below the cursor.
This crosshair appears when the cursor is below a staff. It indicates that the action you’re about to perform applies to the staff immediately above the cursor.
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Part III
The Tool Bar
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Tool Bar OverviewTool
Bar
The tool bar contains many of the tools and palettes you need for entering and editing scores in the Score window. Use the Tool Bar to:
• select cursor tools
• enter notes, rests, ornaments, articulations, and other musical symbols
• enter and place text
• set a transcription quantization level
To open the Tool Bar, choose Windows>Tool Bar.
Staves buttonGroups button
Articulations
TextTablature
Scale Cursor
Arrow Cursorbutton button
Eraser CursorNotes button
OrnamentsNoteheads button
Clefs button
Dynamics buttonBarlines buttonbutton
Transcription
Amount
button
button
Guitar button
Expressionsbutton
GraphicsJazz
button
button
buttonbutton
Hand Cursorbutton
Zoom Cursorbutton
Scrub button
Quantize
button
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Anatomy of the Tool BarThe Tool Bar contains a wealth of buttons and features. We group these into three areas:
• Cursor buttons
• Palette buttons
• Transcription Quantize Amount button
Read the following sections for an overview of each of the three button groups.
Cursor ButtonsUse these Six buttons to change the operational mode of the cursor. Use the Arrow Cursor to select symbols and on the MAC to capture PICT and EPS graphics. Use the Eraser Cursor to delete symbols. Use the Scale Cursor to scale symbols. Use the Hand cursor to drag the entire score around inside the score window. Use the Zoom cursor to Zoom in or Out. Use the Scrub to listen to a passage as you drag the mouse.
See Chapter 10, “Cursor Buttons,” for detailed information about each of these buttons.
Palette ButtonsThe next fifteen Tool Bar buttons are called palette buttons.
Use palette buttons:
• to open pop-up tool menus
• to produce tear-off tool palettes
Scale Cursor buttonEraser Cursor button
Arrow Cursor button
Hand Cursor buttonHand Cursor button
Scrub Cursor button
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Pop-Up Tool MenusTo open a pop-up tool menu:
The icon shown in each palette button changes to show the most recently selected tool.
1. Press and hold the mouse on a palette button.
Overture produces a pop-up menu of related musical tools.
2. While still holding the mouse button, move the cursor over the desired tool (highlighting it), then release the mouse button.
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Floating Tool PalettesYou can create a floating palette by tearing off a menu. To tear off a menu:
Once you tear off a menu, it becomes a floating palette. Palettes float in front of any open windows on your computer screen. Because of this, they never get hidden by any open windows and their tools are always accessible.
To move a floating palette, drag its title bar grab bar.
To select one of the tools in a floating palette, move the cursor over the desired tool and click it.
1. Press and hold the mouse on the desired palette button.
2. Continue to hold down the mouse button and drag the cursor outside the boundary of the original menu.
When you do so, an outline of the menu appears and moves along with the cursor.
3. Release the mouse button.
The menu appears in the position indicated by the outline.
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To change the shape of the palette, drag an edge (on MAC drag bottom right corner).
You can tuck the palette into an edge of the screen or dock it on (press it against) an edge of the Overture window so it becomes a horizontal or vertical toolbar. (PC Only)
vertical toolbar
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To add the palette to the toolbar, drag it to the toolbar area.
To close a floating palette, click its close box or button. If the close box isn’t visible, tear a new copy off the toolbar button. This removes the old copy. Then click the close button of the new copy.
Each Palette button is discussed in its own chapter beginning with Chapter 11, “Notes Button,” and ending with Chapter 26, “Barlines Button.”
Transcription Quantize Amount ButtonUse this button to set Overture’s transcription quantization level. The button always shows the currently selected transcription quantize value.
See Chapter 27, “Transcription Quantize Amount Button,” to learn how to use this button.
horizontal toolbar
Transcription Quantize Amount button
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Arrow Cursor ButtonClick the Arrow Cursor button to select the Arrow Cursor tool. Use the Arrow Cursor ( ) to select or drag musical symbols, staves and text.
Eraser Button
Click the Eraser button to select the Eraser tool. The cursor becomes an eraser ( ) when you move it over the Score window. Use the Eraser tool to delete musical symbols by clicking them.
When you delete a note using the Eraser tool, the note is turned into a rest. If you then delete the rest, the timing for notes later in that measure changes by the amount of time in the deleted rest. You alter note timings when you delete a note in either the Score or Graphic Windows.
Note:You can type the letter c (for “Cursor”) to activate the Arrow Cursor (unless you’re in one of Overture’s text entering modes). If you type the letter c and the Arrow Cursor is already active, Overture selects the last tool you used before selecting the Arrow Cursor tool. This is a great way to toggle between the Arrow Cursor and a specific tool during editing. If you type Esc the cursor will default to the Arrow Cursor.
Shortcut:You can type the letter e (for Eraser) to activate the Eraser tool (unless you’re using one of Overture’s text-entering tools).
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For example, deleting the third quarter note in a measure with four quarter notes converts the third quarter note into a rest. Deleteing the rest moves the last quarter note earlier by one quarter note. The Graphic Window reflects the altered timing immediately after the deletion; the changed timing is not evident in the Score Window until you justify or transcribe the measure. The figure below illustrates the changed timing after retranscribing the measure.
Overture changes note timings after you delete a note except when
• you enter notes with the mouse in the Graphic Window but they have not yet been transcribed
• you record notes in real time but they have not yet been transcribed
• you delete the last note in a measure
In the first two cases, the notes appear in the Score Window as bars. Deleting the middle note has no effect on the timing of the third note because the note timings are raw and have not been transcribed. The third case doesn’t require editing because there are no notes later in the measure to encroach on the time deleted with the note.
See “Hold Timing” on page 630 for avoiding these situations.
When you delete this note...
...the note becomes a rest.
When you delete this rest...
...the quarter note occurring after the deleted note move in time by the amount of time deleted.
After retranscribing the measures looks like this.
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Scale Button
Click the Scale button to select the Scale tool. The cursor becomes a percent sign ( ) when you move it over the Score window. Use the Scale tool to resize notes, staves, clefs and dynamics.
To use the Scale tool:
1. Click the Scale button.
2. In the Score window, select the staff, notes, clef or dynamics you wish to scale.
Overture produces the Set Scale Factor dialog box.
3. Enter the desired scale factor in the dialog box and click the OK button.
Overture scales the selected symbol(s) by the indicated factor.
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Scaling StavesIt is sometimes desirable to create auxiliary staves that are smaller than other staves. Auxiliary staves are often used in chamber music as “cue” lines, showing what all the instruments are playing. Auxiliary staves are also used to notate suggested alternatives, corrections or embellishments to a section of the score. Overture allows you to scale staves from 25% to 250% of their normal size. To do so:
1. Using the Scale tool, click a staff handle.
Staff handles are located at either end of the staff on the middle line.
If you’re not sure where the staff handle is, select Options>Show>Handles to display it.
2. Select a scale factor in the Scale Factor dialog box, then click the OK button.
Overture scales the selected staff (and all musical symbols on that staff) by the indicated factor.
click here with Scale tool
This staff was scaledto 60% of normal size
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Scaling Multiple StavesYou can scale multiple staves by dragging a rectangle around the left edge of the staves you want scaled.
Scaling NotesSometimes alternate passages aren’t notated on a separate staff, but on the same staff as the main score. This is common in popular vocal music when repeated sections have slightly different melody lines. To indicate the alternate passage, use small notes. Overture allows you to scale notes from 25% to 250% of their normal size. To do so:
1. Using the Scale tool, click a note or drag a rectangle around a group of notes.
Overture opens the Set Scale Factor dialog box.
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Overture scales the selected note(s) by the indicated factor.
1. Using the Scale tool,drag a rectangle around theleft edge of each staff youwant scaled.
2. Enter a scale factorin the Scale Factor dialogbox (this example scales
3. Overture scalesall selected staves bythe desired amount.
staves by 75%).
Scaled notesto indicate alternatepassage
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It’s also common to use small notes to indicate rapid note passages or other types of melodic ornamentation.
Scaling ClefsTo scale clefs:
Scaling DynamicsSometimes different voices on a staff have different dynamics levels. You can scale the various dynamic markings to indicate more clearly which dynamics refer to which voice. To do so:
Hand Button
Click the Hand Cursor button to select the Hand Cursor tool. Use the Hand Cursor ( ) to drag the score within the score window. If the hand is over a staff the cursor changes to a drag staff cursor and the staff can be moved horizontally or vertically.
1. Using the Scale tool, click a clef.
You cannot scale the first clef in a score; you can only scale clefs in the middle of a score.
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Overture scales the selected clef by the indicated factor.
1. Using the Scale tool, click a dynamics marking (or draw a rectangle around a group of dynamics).
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Overture scales the selected dynamic(s) by the indicated factor.
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Zoom Button
Click the Zoom Cursor button to select the Zoom Cursor tool. Use the Zoom Cursor ( ) to Zoom in or Out in the score. If you single click, the score will be zoomed in. If you press the Control key, the cursor is used to Zoom Out. If you click and drag a selection rectangle, the score will be zoomed to show just the area within the rectangle.
Scrub Button
Click the Scrub Cursor button to select the Scrub Cursor tool. Use the Scrub Cursor ( ) to audition a passage in a track. Click and drag on a staff to hear the notes play as the mouse moves over the note.
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The Notes button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Notes button to open the Notes pop-up menu. To create a floating palette, tear it off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Notes Button
Notes
Rests
AccidentalsGrace Note
Tuplet
TripleAugmentation Dot
DoubleAugmentation Dot
Augmentation Dot
Shortcut:If you’re not in one of Overture’s text-entering modes and you type the letter p, Overture opens the Notes palette and places it directly underneath your cursor. If the Notes palette is already open, typing p moves the open palette directly under your cursor, no matter where it is on the screen.
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Tool OverviewThe Notes palette above contains the following tools:
• Notes: Select one of these tools to insert a note of that value. The palette contains (from left to right): double whole note, whole note, half note, quarter note, 8th note, 16th note, 32nd note, 64th note, 128th note.
• Rests: Select one of these tools to insert a rest of that value. The palette contains (from left to right): double whole rest, whole rest, half rest, quarter rest, 8th rest, 16th rest, 32nd rest, 64th rest, 128th rest.
• Accidentals: Select one of these tools to insert an accidental. The palette contains (from left to right): sharp, flat, natural, double sharp, double flat, courtesy sharp, courtesy flat, courtesy natural, courtesy double sharp, courtesy double flat.
Control[Command]-click a note with an Accidental tool to apply that accidental to all notes of the same pitch for the remainder of the measure.
• Augmentation Dots: Select one of the three augmentation dot tools to turn the selected note or rest tool into a dotted note or rest.
• Tuplet: Use this tool to turn the selected note or rest tool into a tuplet whose value was last defined in the Tuplets dialog box. The default tuplet value is a triplet. We discuss the Tuplets dialog box in “Tuplet” on page 591.
• Grace Note: Use this tool to insert a grace note into your score. See “Grace Notes” on page 133 for more information.
Control[Command]-click an accidental applies it to all notes of same pitch in the same measure
Clicking an accidental without the Control[Command] key held down applies to that note only.
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Using the Notes PaletteUse the Notes palette to insert notes, rests, or accidentals. You can use the Notes palette with the mouse or with a combination of the mouse and the keyboard.
Mouse Entry MethodTo insert notes, rests or accidentals using only the mouse:
1. Select the voice you’d like to enter from the Voice pop-up voice menu at the bottom of the Score window.
Alternatively, you could type Control[Command]-1 through Control[Command]-8 to select voices 1-8. If you type Control[Command]-0, Overture displays all voices but enters notes only in Voice 1.
2. Select the desired symbol from the Notes palette (or pop-up menu).
Here are three examples: note selection; rest selection; and accidental selection. When you select an accidental, the note remains selected if Attach Note Palette Accidentals is checked in the Preferences dialog. This is used to insert a note with an accidental at the same time.
Selecting a Note Tool
Selecting a Rest Tool
Selecting an Accidental Tool
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Entering Notes in the Clef Above or Below the TrackIt is occasionally useful to enter notes in a different clef without changing the track’s clef. For example, in a grand staff, bass notes that temporarily move into the treble clef register are better represented in the treble clef than by either ledger lines or changing the bass to a treble clef while those notes are active.
Overture provides a method for entering notes that are displayed on another staff:
• Enter all the notes on one track and then select the notes to be displayed on another track.
• Choose the Notes>Display on Prev Staff or Note>Display on Next Staff menu command.
Understanding the distinction between where notes appear and which track owns them is crucial when you edit a track. For example, double-clicking to select all notes in a track’s measure does not select a note that appears in that track but is owned by the track above or below.
3. Move the cursor to where you want to place the symbol.
The cursor becomes a note (with accidental if also selected) when you move it over the Score window. We discuss all the different cursor types in “Cursors in the Score Window” on page 109.
Position notes both vertically and horizontally. If Auto>Justify is checked in the Options menu, then horizontal placement is automatically justified according to the measure’s Beat Chart and the note might not be inserted exactly where you click. Spacing within beats is determined by the current Allotment Table.
Position rests horizontally within the staff. If you have checked Auto>Justify in the Options menu, then Overture automatically justifies horizontal placement according to the measure’s Beat Chart and might not insert the rest exactly where you click. The current Allotment Table determines spacing within beats.
If the cursor is an accidental without a note, position the accidental by clicking on the note to which you wish to apply the accidental.
4. Click the mouse to insert the symbol in the score.
Placing Cursor Placing Cursor Placing Cursorto Insert a C to Insert a rest to Insert an accidental
Inserted Note Inserted AccidentalInserted Rest
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Keyboard and Mouse Entry MethodYou can use keyboard shortcuts to select tools from the Notes palette without using the mouse. The table below shows the relationship between keys and Notes palette values.
To enter notes using a combination of the keyboard and the mouse:
Key Function
0 Select breve note
1 Select whole note
2 Select half note
4 Select quarter note
8 Select eighth note
6 Select sixteenth note
5 Select thirty-second note
3 Toggle triplet on or off
. Toggle augmentation dot on or off
r Toggle between note or rest
s Select accidental sharp tool
f Select accidental flat tool
n Select accidental natural tool
g Toggle grace note on or off
1. Select the voice you’d like to enter from the Voice pop-up voice menu at the bottom of the Score window.
Alternately, you could type Control[Command]-1 through Control[Command]-8 to select voices 1-8, or type Control[Command]-0 to select all voices.
2. Type the number key corresponding to the duration of the note you wish to enter.
For example, to select an eighth note, type 8.
3. Position the cursor in the score and click.
Overture enters the note in your score.
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To enter dotted notes using a combination of the keyboard and the mouse:
To enter rests using a combination of the keyboard and the mouse:
To convert notes to rests:
To enter accidentals using a combination of the keyboard and the mouse:
1. Type the number key corresponding to the duration of the note you wish dotted, then type the period key.
For example, to enter a dotted sixteenth note, type 6, then type..
2. Position the cursor in the score and click.
Overture enters a dotted note in your score.
1. Type the number key corresponding to the duration of the rest you wish to enter.
For example, if you wanted to insert an eighth note rest, type an 8.
2. Type an r to specify that you want to enter a rest of this value.
3. Position the cursor in the score and click.
Overture enters the rest in your score.
You can enter dotted rests by typing the period key as described previously.
1. Select the note you want to convert.
2. Type r.
Overture converts the note to a rest of the same duration.
1. Type the keyboard equivalent for your desired accidental: s to select an accidental sharp, f to select an accidental flat, n to select an accidental natural.
2. Click the note to which you want to assign the accidental.
Overture enters the accidental next to the note. MIDI playback recognizes accidentals and plays them at their proper pitch.
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Grace NotesGrace notes require a special entry method because their notation does not automatically dictate an actual MIDI playback duration. To enter grace notes:
or:
Cautionary AccidentalsNormally, an accidental affects only the pitch to which it’s assigned and only for that measure. Because of this, Overture does not insert accidentals before any other affected pitches in the measure. If, however, you wish to apply cautionary accidentals to other affected notes:
1. From the Notes palette, select the note tool that corresponds to the playback duration of the grace note you wish to enter.
For example, if you want your grace note to play as though it were a 128th note, select the 128th note tool. Obviously, if you select a note of greater duration (like an eighth note or quarter note), the grace note will not actually sound like a grace note in MIDI playback.
2. Click the Grace Note tool to select it (or type g).
3. Move the cursor to the desired position in the score and click.
Overture enters a standard grace note in the score and inserts a MIDI note of the selected value into the track.
1. Select the note to be made into a grace note.
2. Type g.
Overture changes the note to a grace note both in the score and in the MIDI track.
1. Select the desired accidental tool from the Notes palette.
2. Alt[Option]-click the note to which you wish to apply the cautionary accidental.
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Changing Existing Note ValuesYou can change the value of any note in a score by selecting it, then selecting a new note value from the Notes palette. For example, to change a quarter note into an eighth note:
Effect of Changing Note Values on MIDI DurationOverture intelligently decides whether or not to change the MIDI duration of an altered note based on how you entered that note into Overture. Specifically:
• If you recorded the note in real-time or imported it from a MIDI file or Vision file, Overture does not change the MIDI duration of the altered note, thus preserving the feel of the piece.
• If you entered the note in any other way, for example from the Notes palette or using the Step Input window, Overture changes the MIDI duration of the note to 90% of its new notated value.
To adjust the MIDI note duration manually, use either the Graphic window (as discussed in “Common Selection and Editing Techniques” on page 313) or Notes>Modify Notes (as discussed in “Modify” on page 575).
Move the Arrow Cursor over the desired note in the score.
The cursor changes into a Drag Cursor when positioned over a note.
Click the note to select it.
If you want to change more than one note, you can shift-click multiple notes to select them.
Type the keyboard equivalent for the note value to which you wish to change the selected note(s).
In this example, you would type 8 to change the selected note into an eighth note.
Selected quarter note
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The Groups button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Groups button to open the Groups pop-up menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Tool OverviewOverture groups notes differently depending on the type of tool you selected. The following describes each of the tools in the Groups palette:
• Slur. Use this tool to create a slur across a selected group of notes. Using this tool is the same as grouping notes and choosing Notes>Group>Slur.
• Dotted Slur. Use this tool to create a dotted slur across a selected group of notes.
Groups Button
slurstraight
group as
insert wavy
dotted tie
bracket
tie glissando
new tuplet
half pedalsign
harp pedalsign
reapply tuple
braceparenthesized full pedal sign
ottava sign (upone octave)
to groupglissando
dotted slur
ottava sign (downone octave)
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• Tie. Use this tool to tie together any notes of common pitch within a selected group. Using this tool is the same as grouping notes and choosing Notes>Group>Tie. MIDI playback recognizes tied notes and plays them properly.
• Dotted Tie. Use this tool to tie together any notes of common pitch within a selected group. MIDI playback recognizes tied notes and plays them properly.
• Insert Straight Glissando. Use this tool to create a straight line glissando between two adjacent notes. Using this tool is the same as selecting two notes and choosing Notes>Group>Glissando -.
• Insert Wavy Glissando. Use this tool to create a wavy line glissando between two adjacent notes. Using this tool is the same as selecting two notes and choosing Notes>Group>Glissando ~.
• Group as New Tuplet. Use this tool to group selected notes into a tuplet of any kind. This tool produces a Tuplets dialog box in which you define the value, style, and characteristics of the tuplet. We discuss the Tuplets dialog box in “Tuplet” on page 591. Using this tool is the same as grouping notes and choosing Notes>Group>Tuplet.
• Reapply Tuplet to Group. Use this tool to group selected notes into the type of tuplet last defined by the Tuplets dialog box. This tool makes it easy to apply common tuplet values quickly to many groups of notes.
• Half Pedal Sign. Use this tool to instruct the pianist to press the damper pedal down at the beginning of the sign and release it halfway at the half pedal mark (the raised bump). Move the half pedal mark by placing the cursor over the mark (the drag cursor appears), and dragging it to the desired location.
• Ottava va Sign. Use this tool to insert an ottava sign over the selected notes. An 8va ottava sign indicates that notes under the sign are to be played one octave higher than written.
• Ottava vb Sign. Use this tool to insert an ottava sign under the selected notes. An 8vb ottava sign indicates that notes above the sign are to be played one octave lower than written.
• Full Pedal Sign. Use this tool to tell the pianist to press the damper pedal down at the beginning of the sign and release it at the end. Move the pedal mark by putting the cursor over the sign. The drag cursor appears. Drag the sign to the new location.
• Harp Pedal Sign. Use this tool to enter and edit Salzedo Harp pedal positions.
You can also double-click the harp pedal symbol to open the Harp Pedal Settings dialog box. See “The Harp Pedal Settings Dialog Box” on page 144.
• Parenthesized Notes Sign. Use this tool to enclose selected notes and chords in parentheses.
• Bracket Sign. Use this tool to group notes where you have written some information about them.
• Brace Sign. Use this tool to group lyric verses.
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Using the Groups PaletteUse the Groups palette to group notes into slurs, glissandos, tuplets or ties. To use the Groups palette:
1. Select the type of group you want from the Groups palette.
2. Drag a rectangle around the notes you want grouped.
3. Release the mouse button.
Overture groups the notes with the selected musical symbol.
The group symbol has editing handles so you can move or reshape the symbol immediately after inserting it.
4. Click elsewhere in the score or select another tool to hide the editing handles.
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Editing TiesYou can reshape and reposition any tie in a score.
To change the height of a tie symbol’s arc:
To change the position of either endpoint on a tie symbol:
1. Move the Arrow Cursor over the center of a tie.
The cursor changes into a Drag Cursor when positioned properly.
2. Drag the center vertically to change the arc of the tie symbol.
1. Move the Arrow Cursor over either end of a tie.
The cursor changes into a Drag Cursor when positioned properly.
2. Drag the end to change its position in the score.
drag vertically to change the arc of a tie
drag vertically to change distance between thetie symbol and note heads
drag horizontally to lengthen or shorten thetie symbol
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To flip the arc direction of a tie symbol:
To nudge a tie up or down:
Editing SlursYou can reshape and reposition any slur in a score. Each slur has four editing handles that allow you to bend a slur into most any shape. This section discusses how to edit slur symbols in a score.
Slurs have four editing handles: one at each end of the slur and two control points positioned away from the curve.
1. Move the Arrow Cursor over the center of a tie or either of its endpoints.
The cursor changes into a Drag Cursor when positioned properly.
2. Click the tie with the Drag Cursor.
Overture selects the tie and displays its three editing handles.
3. Choose Notes>Flip>Direction.
Overture flips the arc direction of the tie.
4. Reposition the tie mark as desired.
1. Move the Arrow Cursor over a tie.
The cursor changes into a Drag Cursor when positioned properly.
2. Click the tie with the Drag Cursor.
Overture selects the tie and displays its three editing handles.
3. Press an arrow key (left, right, up, or down) to nudge the arc in the indicated direction.
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To change the shape of a slur:
To flip the arc direction of a slur symbol:
1. Move the Arrow Cursor over the arc of a slur.
The cursor changes into a Drag Cursor.
2. Drag the cursor to change the shape of the slur.
You can reposition either endpoint by dragging it.
You can change the slur’s curvature by dragging anywhere else along the arc. Overture reshapes the slur as though you had actually dragged its control point.
You can even create S-shaped slurs by pushing and pulling on the slur and its endpoints.
1. Move the Arrow Cursor over the arc of a slur.
The cursor changes into a Drag Cursor.
1. Drag anywhere along the slur to change its curvature. Overture reshapes the curve as if you had dragged the nearest edit handle.
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Editing GlissandosYou can change the length and slope of any glissando. Editing methods are identical for both the straight glissando and the wavy glissando.
To change the length or angle of a glissando:
To change the vertical or horizontal position of a glissando:
2. Click the slur with the Drag Cursor.
Overture selects the slur and displays its four editing handles.
3. Choose Notes>Flip>Direction.
Overture flips the arc direction of the slur.
1. Move the Arrow Cursor over either end of the glissando.
The cursor changes into a Drag Cursor when positioned properly.
2. Drag the end either vertically or horizontally to change the slope and/or length of the glissando.
1. Move the Arrow Cursor over the center of the glissando.
The cursor changes into a Drag Cursor when positioned properly
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Editing TupletsOverture allows you to insert many different styles of tuplets, but all can be repositioned and reshaped by dragging their editing handles.
Editing handles for straight-line tuplet markers are positioned on the corners and immediately below the number.
Editing handles for curved tuplet symbols are positioned around the curve and are used like slur editing handles.
Complex TupletsOverture has two complex tuplet figures:
• nested tuplets
• mixed duration tuplets.
2. Drag vertically or horizontally to change the position of the glissando.
dragging glissando vertically
dragging glissando horizontally
drag this handle to lengthen/shorten thevertical part of the tuplet beam
drag this handle to change the height, lengthor slope of the tuplet beam
drag this handle to change the position ofthe tuplet number symbol
drag this handle to change the position ofthe tuplet number symbol
drag any of these handles to reshapethe tuplet curve
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Nested TupletsUse nested tuplets to play the triplet figure below.
To create this nested triplet figure:
Mixed Duration Tuplets
You can convert a selection containing different durations into a tuplet.
Overture calculates the resulting durations as if each duration were the only duration being converted. For example:
1. Enter one eighth note, three sixteenth notes and one eighth note.
2. Use the tuplet tool to convert the three sixteenth notes into a three-in-the-time-of-two tuplet figure (conventional triplet).
3. Use the tuplet tool again to convert the eighth notes and the sixteenth note triplet figure into a three-in-the-time-of-two tuplet figure.
The nested tuplet pattern results. The three sixteenth note triplets occupy the same amount of time as one eighth note of the triplet figure because the sixteenth notes were already a triplet when they were nested into the enclosing eighth note triplet figure.
1. Enter one eighth note, two sixteenth notes and one eighth note.
2. Use the tuplet tool to convert the entire four note passage into a three-in-the-time-of-two tuplet figure (conventional triplet).
Overture creates the mixed duration tuplet shown below.
The two sixteenth notes occupy the same amount of time as one eighth note of the triplet figure because they were not triplets prior to their inclusion in the eighth note triplet figure.
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The Harp Pedal Settings Dialog BoxDouble click the harp pedal symbol to open the Harp Pedal Settings dialog box. This dialog box provides an easier environment to manipulate the settings. Changes made to the Harp Pedal Settings dialog box affect only the symbol being edited, not subsequent insertions of harp pedal markings. Individual harp pedal markings can be copied and pasted.
Display Type:
• Graphic. Display pedal settings as graphic. • Letter. Display pitch names for pedals. • Letter-Split. Display pitch names for pedals on two lines. • Change. Display pitch names for pedal changes. Pedal Settings:
• Up. The pitch for that string is flatted. • Middle. The pitch for that string is natural. • Down. The pitch for that string is sharp.
The string pitches are, from left to right: D, C, B, E, F, G, A. The vertical line divides the first three pitches, controlled by the left foot, from the last four, controlled by the right foot.
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Ottava Dialog BoxDouble-click on an ottava sign in the Score window to open the Insert Ottava dialog box.
You can move the Insert Ottava dialog box around the desktop by dragging its title bar.
MIDI playback recognizes ottava markings and transposes notes accordingly.
The left half of the dialog box has three radio buttons where you can select the type of ottava sign you wish to insert:
• 8va. Select this type to insert an ottava sign over the selected notes. An 8va ottava sign indicates that notes under the sign are to be played one octave higher than written.
• 8vb. Select this type to insert an ottava sign under the selected notes. An 8vb ottava sign indicates that notes over the sign are to be played one octave lower than written.
• 15ma. Select this type to insert an ottava sign over the selected notes. A 15ma ottava sign indicates that notes under the sign are to be played two octaves higher than written.
The right half of the dialog box has a series of check boxes and radio buttons that you use to determine the appearance of the inserted ottava sign:
• Courtesies (8va). If an ottava sign extends across more than one line, checking this option causes a “courtesy” mark to be placed in parentheses at the beginning of each additional line.
• va, vb, ma. Checking this option places the va, vb, or ma indications after the transposition number in the inserted ottava sign.
• Brackets. Checking this option places a bracket after the ottava sign that extends all the way to the end of the selected region, where it ends in a downstroke to indicate the end of the passage.
Use brackets when an ottava sign extends over more than one note. If your ottava sign applies to only a single note, do not check the brackets option.
There are two types of brackets: Dashed and Dotted. Select the dashed option if you want your bracket to be a dashed line. Select the dotted option if you want your bracket to be a dotted line.
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Editing Brackets and BracesUse brackets and braces to enclose a group of notes.
To enter and edit a horizontal bracket:
To enter and edit a vertical brace or bracket:
1. Drag over the notes you wish to group and release the mouse.
2. Drag the control points to change the slope and/or length of the bracket.
1. Click on the top note of the group ( or in white space) and release the mouse.
2. Drag the control points to change the slope and/or length of the bracket.
to create
Note:When dragging notes, the bracket end points will move relative to the note’s position.
to create
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The Ornaments button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Ornaments button to open the Ornaments pop-up menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Ornaments Button
Insert Accidental for Trills
Insert Turn
Insert InvertedShort Mordent
Insert ShortMordent
Insert Trill 1Insert Trill 2
Insert Trill Section
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Tool OverviewThe following describes each of the tools in the Ornaments palette:
• Insert Trills. There are six trill tools. Use the trill 1 and trill 2 marks to indicate a trill (some scores use different trill marks to indicate different trill directions or trill intervals). Use the Trill Section tool to insert a scalable trill section. Use the three Trill Accidental tools to indicate accidentals in a trill mark. “Using the Trill Tools” on page 149 discusses all of these tools in detail.
• Insert Mordents. There are three Mordent tools. Although there are sometimes different schools of thought, generally the short mordent indicates that you play the first three notes of a downward trill; the inverted mordent indicates that you play the first three notes of an upward trill; and the inverted long mordent indicates that you play the first five notes of an upward trill. Select the appropriate tool to create the desired mordent.
• Insert Turn. Use this tool to create a turn (similar to the concluding four notes in a trill).
• Insert Fingerings. There are five fingering tools that you can use to indicate which finger should play a particular note.
Using the Ornaments PaletteUse the Ornaments palette to place ornaments over individual notes. To use the Ornaments palette:
1. Select an ornament tool from the Ornaments palette.
2. In the Score window, click the note to which you want to add the ornament.
If you click a note and immediately release the mouse button, Overture places the ornament in its default position.
If you press and hold the mouse on a note, you can manually place the ornament by dragging it before you release the mouse button.
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If you hold down the Alt[Option] key when you click a note, Overture forces the ornament to go above the note. If you hold down the Control[Command] key when you click a note, Overture forces the ornament to go below the note.
Ornamenting Multiple NotesThe ornament tool remains selected after you insert an ornament. This allows you to insert multiple ornaments of a similar type. Additionally, you can apply the same ornament to all the notes in a contiguous group. To do so:
Deleting OrnamentsThere are two ways to delete ornaments:
• Click an ornament with the Eraser Cursor.
• Select notes with ornaments attached to them and choose Notes>Delete>Articulations. For more information, see “Delete” on page 582.
Using the Trill ToolsThe following sections discuss how to use Overture’s Trill tools.
1. Select an ornament tool from the Ornaments palette.
2. Drag a rectangle around all the notes you wish to ornament.
Overture automatically places the ornament on all selected notes.
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Inserting a Trill MarkTo insert a trill over a note:
You can force a trill mark to go above a note by holding down the Alt[Option] key when you insert it. You can force a trill mark to go below a note by holding down the command key when you insert it.
Inserting a Trill Mark with a Trill SectionMany scores contain the “tr” mark along with a trill section. To insert a tr mark with a trill section:
1. Select one of the two Trill tools from the Ornaments palette.
2. Move the cursor over the desired note.
3. Click the note.
Overture places the selected trill symbol over the note.
1. Select one of the two Trill tools from the Ornaments palette.
2. Move the cursor over the desired note.
3. Press and hold the mouse.
The tr mark appears over the note.
MIDI Note:Trill marks affect MIDI playback. Double click on the inserted trill to change its settings box.
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Adding a Trill Section to an Existing Trill MarkOverture lets you add a trill section to an existing tr mark. To do so:
4. While still holding the mouse button, drag the mouse to the right.
Overture begins creating a trill section immediately following the tr mark.
5. Release the mouse button when the trill section is the desired length.
Overture inserts the tr mark along with a trill section.
1. Select the Trill Section tool from the Ornaments palette.
2. Move the cursor over the note to which you wish to add the trill section.
3. Press and hold the mouse button.
The trill section appears at its automatic placement position.
4. While still holding the mouse button, drag the mouse to the right or left to lengthen or shorten the trill section.
5. Release the mouse.
Overture inserts the trill section.
Trill section dragged tothe right to lengthen it
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Editing TrillsYou can reposition any trill mark by dragging it.
To move a tr mark:
If you want to move a trill section up or down without moving the tr mark:
1. Select the Arrow Cursor.
2. Move the mouse over a “tr” mark in your Score window.
The cursor changes into a Drag Cursor when positioned properly.
3. Drag the mark to reposition it.
If you move a tr mark with a trill section beside it, your edits affect both the tr and the trill section. Specifically, if you move the tr mark vertically, the trill section also moves vertically. If you move the tr mark horizontally, the length of the trill section changes.
1. Select the Arrow Cursor.
2. Move the mouse over the center of a trill section.
The cursor changes into a Drag Cursor when positioned properly.
3. Drag up or down to reposition the trill.
Trill section dragged up
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If you want to change the length of a trill section without moving the tr mark:
Inserting an Accidental into a Trill MarkSome trills require accidental signs. These should appear between the tr and the trill section.
To insert an accidental in the trill marking:
1. Move the Arrow Cursor over either the right or left end of a trill section.
The cursor changes into a Drag Cursor when positioned properly.
2. Drag horizontally to change the length of the trill section.
1. Select the desired Accidental tool from the Ornaments palette.
2. Move the cursor over the note to which you wish to add the accidental mark.
3. Press and hold the mouse button.
You’ll see an accidental mark appear over the note.
Right end of trill sectiondragged to the right, lengtheningthe existing trill section.
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Tweaking the AppearanceIf you like, you can create a gap between the tr and the trill section, then move the accidental mark into the gap. To do so:
4. While still holding the mouse button, drag the mouse to position the accidental between the tr and the trill section.
5. Release the mouse.
Overture inserts the accidental for the trill mark.
1. Select the Arrow Cursor and move it over the left end of the trill section.
The cursor becomes a Drag Cursor.
2. Drag the left end of the trill section to the right.
This produces a bigger gap between the tr and the trill section.
3. Drag the accidental mark into the gap.
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Setting Trill PlaybackDouble click on a trill to open the Set Trill dialog box.
About the Set Trill Dialog BoxUse the Set Trill dialog box to define how the trill is to affect playback.
Interval Section Use this section to set the interval to Diatonic, Half Step, or Whole Step. If you wish to have the second note played first, set the Auxiliary First check box.
Rate Section Use this section to choose the rate the trill is played.• Don’t Trill - Use this to disable playing the trill.
• 1/8 - 1/64 Use this to set the duration of each note in the trill.
• Clocks - Use this to set of the actual number of clocks for each note.
• Acceleration - Use this to create a trill that accelerates.
Send OptionsUse the Send Options portion of the Articulation dialog box to send controller data and key switches to the output device, or even change to another voice within the track.
Send Key Switch
Switch to a another voice
Send Controller Data
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• You can send key switch data to VST players to switch instruments or modes.
• You can send controller data to changes MIDI settings or access effects in VST instruments.
• You can tell Overture to use the playback charactersitics of another voice within the Tracks Window. This is useful for sample libraries that do not use keyswitches.
Change All OptionsCheck these boxes to apply these settings to all of the articulations.
Using the Mordent ToolsTo insert a mordent into a score:
You can force a mordent to go above a note by holding down the Alt[Option] key when you insert it. You can force a mordent to go below a note by holding down the Control[Command] key when you insert it.
1. Select the desired Mordent tool from the Ornaments palette.
2. In the Score window, click the note to which you want to add the mordent marking.
If you click a note and immediately release the mouse button, Overture places the mordent in its default position.
If you press and hold the mouse on a note, you can drag the mordent to position it manually.
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Setting Mordent/Turn PlaybackDouble click on a mordent or turn to open the Set Mordent/Turn dialog box.
About the Set Mordent/Turn Dialog BoxUse the Set Mordent/Turn dialog box to define how the mordent or turn is to affect playback.
Playback Section Use this to set the pattern of notes to be played. If you want the mordent/turn to play, set the Play check box. If you wish to have the second note played first, set the Lower Mordent/Turn check box.
Send OptionsUse the Send Options portion of the Articulation dialog box to send controller data and key switches to the output device, or even change to another voice within the track.
• You can send key switch data to VST players to switch instruments or modes.
• You can send controller data to changes MIDI settings or access effects in VST instruments.
• You can tell Overture to use the playback charactersitics of another voice within the Tracks Window. This is useful for sample libraries that do not use keyswitches.
Change All OptionsCheck these boxes to apply these settings to all of the articulations.
Send Key Switch
Switch to a another voice
Send Controller Data
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Using the Fingering ToolsTo insert a finger marking into a score:
You can force a finger mark to go above a note by holding down the Alt[Option] key when you insert it. You can force a finger mark to go below a note by holding down the Control[Command]l key when you insert it.
1. Select the desired Finger tool from the Ornaments palette.
2. In the Score window, click the note to which you want to add the finger marking.
If you click a notehead and immediately release the mouse button, Overture places the fingering in its default position.
If you press and hold the mouse on a note, you can drag the finger mark to position it manually.
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The Articulations button always contains the icon of the most recently selected tool.
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Press and hold the mouse on the Articulations button to open the pop-up Articulations menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Staccatissimo
Inverted Sforzando
Arpeggio
Tremolo 3
Pause
Grand Pause
Sforzando
Tenuto
Sforzando with Staccato
Down Bow
Inv. Fermata
Inverted Sforzando with Staccato
Staccato
Up Bow
Fermata
Down Petal
Marcato Marcato w/ Staccato
Natural Harmonic Artificial Harmonic
Inv. Up Bow
Tremolo 2
Tremolo 4
Inv. Down Bow
Plus
Tremolo 1
Toe Pedal
Heel Pedal Toe-to-Heel
Heel-to-Toe
Heavy Attack/Full Duration
Heavier Attack/Full Duration
Up Petal
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Articulations Palette ToolsThe Articulations palette contains the following tools:
• Tenuto. Use this symbol to indicate a pressure accent.
• Staccato. Use this symbol to indicate a short, light accent.
• Staccatissimo. Use this symbol for exaggerated staccato. This marking indicates a stronger effect than simple staccato, though is still a light accent.
• Marcato. Use this symbol for moderate accents. This is stronger than a Staccatissimo.
• Marcato with staccato. Use this symbol for short, moderate accents.
• Sforzando. Use this symbol for heavy accents. This is stronger than a Marcato.
• Inverted Sforzando. This symbol has the same effect as the Sforzando, but is used below notes.
• Sforzando with staccato. Use this symbol for very strong, short, percussive accents (hammered). This is stronger than a Sforzando.
• Inverted Sforzando with staccato. This symbol has the same effect as the Sforzando w/staccato, but is used below notes.
• Heavy Attack/Full Duration. Use this symbol for very strong, full duration accents. This is stronger than Sforzando w/staccato.
• Heavier Attack/Full Duration. Use this symbol for excessively strong, full duration accents. This is the strongest accent.
• Down Bow. Use this symbol in string notation to indicate down bows.
• Inverted Down Bow. This symbol has the same effect as the Down Bow, but is used below notes.
• Up Bow. Use this symbol in string notation to indicate up bows.
• Inverted Up Bow. This symbol has the same effect as the Up Bow, but is used below notes.
• Natural Harmonic. Use this symbol to indicate that the note is to be played as a natural harmonic.
• Artificial Harmonic. Use this symbol to indicate that the note is to be played as an artificial harmonic. For example, use this symbol to indicate changing nut position with the first finger while holding harmonic with the fourth finger.
• Plus. Use this symbol with different instruments to indicate different articulation effects. For example, use this symbol with woodwinds to indicate notes are to be played with a key click; use it with brass to indicate hand stopping; use it with strings to indicate pizzicato notes played with the left hand; or use it in jazz scores to indicate a du.
• Tremolo 1. If indicating a measured tremolo, place this symbol on a note to indicate an eighth note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a very fast passage.
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• Tremolo 2. If indicating a measured tremolo, place this symbol on a note to indicate a sixteenth note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a fast passage.
• Tremolo 3. If indicating a measured tremolo, place this symbol on a note to indicate a thirty-second note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a moderate tempo passage.
• Tremolo 4. If indicating a measured tremolo, place this symbol on a note to indicate a sixty-fourth note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a slow passage.
• Down Pedal. Use this symbol in piano notation to mark the depression of the damper pedal. MIDI controller for sustain on will be sent.
• Up Pedal. Use this symbol in piano notation to mark the release of the damper pedal. MIDI controller for sustain off will be sent.
• Toe Pedal. Use this symbol in organ notation to indicate use of the toe.
• Heel Pedal. Use this symbol in organ notation to indicate use of the heel.
• Toe-to-Heel. Use this symbol in organ notation to indicate switching from toe to heel.
• Heel-to-Toe. Use this symbol in organ notation to indicate switching from heel to toe.
• Pause (Comma). Use this symbol to indicate a very brief pause (such as the length of a breath).
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• Grand Pause (Caesura). Use this symbol to indicate a pause at the end of a long phrase or section. This marking indicates a longer pause than a comma. Convention dictates that you always place a pause through the top space of a staff.
• Fermata. Use this symbol to indicate a long held note or a long pause.
• Inverted Fermata. This symbol has the same effect as a Fermata, but is used below notes.
• Arpeggio. Use this symbol next to a chord to indicate an arpeggio.
Using the Articulations PaletteUse the Articulations palette to place articulations (such as staccato, bowing, and pedal marks) into your score. To use the Articulations palette:
If you hold down the Alt[Options] key when you click a note, Overture forces the articulation to go above the note. If you hold down the Control[Command] key when you click a note, Overture forces the articulation to go below the note.
1. Select an articulation tool from the Articulations palette.
2. In the Score window, click the note to which you want to add the articulation.
If you click a note and immediately release the mouse button, Overture places the ornament in its default position.
If you press and hold the mouse on a note, you can manually place the ornament by dragging it before you release the mouse button.
MIDI Note:Any of the symbols inserted with the articulation tools can affect MIDI playback. To set the playback double click on the symbol. The default playback settings are found in the ‘Score>Articulations” on page 516 menu.
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Articulating Multiple NotesThe articulation tool remains selected after you insert an articulation. This allows you to insert multiple articulations of a similar type. Additionally, you can apply the same articulation to all the notes in a contiguous group. To do so:
You can also apply an articulation to any set of selected notes. To do so:
Editing Notes with Attached ArticulationsIn most instances, if you edit a note or stem direction, Overture automatically repositions any attached articulations based on the note’s new position and stem direction.
For example, assume you had the music shown below, and you wanted to flip the stem direction of the first two notes.
1. Select an articulation tool from the Articulations palette.
2. Drag a rectangle around all the notes you wish to articulate.
Overture automatically places the articulation on all selected notes.
1. Select the notes you want to modify.
2. Tear off the palette.
This is very important. The feature only works when the palette has been torn off.
3. Control[Command]-click on the desired tool.
All selected notes change immediately to reflect the tool used.
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1. Select the notes.
2. Choose Notes>Stem>Stem Down.
Notice that Overture not only flips the stem direction, but moves the staccato articulations to the correct side of the note head.
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Editing Articulation PlaybackDouble click any articulation to display its Articulation Playback dialog.
Please read the section on ‘Score>Articulations” on page 516 to learn about the settings.
Deleting ArticulationsThere are two ways to delete articulations:
• Click an articulation with the Eraser Cursor.
• Select notes with articulations attached to them and choose Notes>Delete>Articulations. For more information, see ‘Score>Delete” on page 582.
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Using the Arpeggio ToolTo insert an arpeggio:
If you add notes to or delete notes from an arpeggiated chord, Overture automatically resizes the arpeggio to span the entire length of the chord.
Using the Tremolo ToolsThe tremolo tools contained in the Articulations palette are for bowed (or single note) tremolos. If you want to create tremolos between notes of different pitch, you’ll need to use tremolo beams. We discuss these in ‘Score>Tremolo Beams” on page 584.
1. Select the arpeggio tool from the Articulations palette.
The cursor becomes a crosshair when you move it over the Score window.
2. Click any note in a chord.
Overture places an arpeggio mark to the left of the chord that spans the entire length of the chord.
3. If you need to move the arpeggio symbol, drag the top of it to a new location.
Overture repositions the arpeggio wherever you release the mouse button.
4. If you need to resize an arpeggio, drag the bottom of it to the desired length.
Overture lengthens or shortens the wavy arpeggio line when you release the mouse button.
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To create a single note tremolo:
MIDI playback is affected by tremolo symbols. Single slashes result in 8th note tremolos. Double slashes result in 16th note tremolos; triple slashes in 32nd note tremolos, and quadruple slashes in 64th note
1. Select the desired tremolo tool from the Articulations palette.
Overture offers four different tremolo tools. We discuss these four tools in ‘Score>Articulations Palette Tools” on page 161.
2. In the Score window, click the note to which you want to add the tremolo.
If you click a note and immediately release the mouse button, Overture places the tremolo in its default position.
If you press and hold the mouse on a note, you can manually place the tremolo by dragging it before you release the mouse button.
You can add tremolos to a contiguous group of notes by dragging a rectangle around them.
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tremolos. You can change the default playback of the tremolo by double clicking on the tremolo and using the Articulations Playback Dialog. For more information see ‘Score>Articulations” on page 516.
Using the Pause ToolsPut pause marks, unlike other symbols in the articulations palette, not directly above or below a note, but in the space where the pause is to occur. To put either a pause or a grand pause into a score:
1. From the Articulations palette, select either Pause tool.
2. In the Score window, press and hold the mouse on the note you want to pause after.
Overture, by default, shows the pause over the note.
3. While still holding down the mouse button, drag the pause to the right to position it in the score.
Commas go above the staff to the right of the note. Grand pauses go through the top space of the staff to the right of the note.
4. Release the mouse button to complete the insertion.
NOTATION MIDI PLAYBACK
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5. Double click on the pause to set its playback.
Set pause to 1/2 second
Play 3 clocks after itslogical time in the bar
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The Noteheads button always contains the icon of the most recently selected tool.Press and hold the mouse on the Noteheads button to open the pop-up Noteheads menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
Noteheads Button
Open FaClosed Fa
Open DoClosed Do
Open ReClosed Re
Open MiClosed Mi
Open SolClosed Sol
Open LaClosed La
Open TiClosed Ti
Open SlashClosed Slash
Open RhythmClosed Rhythm
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Tool OverviewThe following describes each of the tools in the Noteheads palette:
• Standard Head. This is a standard note head. Use this tool if you want to convert a shaped head back into a standard head.
• Invisible Head. Use this tool to make noteheads invisible. The stem and flags remain; only the notehead disappears.
• Rhythmic Slash Head. Use this head to notate guitar or other strummed instrument parts. Generally, this head is used to indicate strumming with a specific rhythm. This head usually has a stem, but no pitch indication.
• Percussion Head. Use this head to notate percussion parts.
• Open & Closed Rhythm Heads. Use these heads to notate rhythm parts. Open rhythm heads represent whole notes and half notes; closed rhythm heads represent quarter notes and smaller.
• Open & Closed Slash Heads. Use these heads to notate guitar or other strummed instrument parts. Generally, these heads are placed without stems or pitch, in the center of a staff. The open slash head represents whole notes and half notes; the closed slash head represents quarter notes and smaller.
• Picture Music Heads (Do, Re, Mi, Fa, Sol, La, Ti). Use these shaped notes to indicate pitch. Open symbols represent whole notes and half notes; black symbols represent quarter notes and smaller. This notation system is most commonly used in gospel music.
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Using the Noteheads PaletteTo change the shape of a notehead:
1. Select a notehead tool from the Noteheads palette.
2. Position the cursor over the note whose head you wish to change.
The cursor becomes a crosshair when you move it over the Score window.
3. Click the desired note.
Overture automatically changes the notehead.
Click here to change notehead
Notehead changes to selected shape
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There are actually two fa heads although only one appears in the Noteheads palette. Notation uses different fa heads depending on whether the stem points up or down. Overture automatically uses the correct fa head depending on stem direction.
To change the shape of multiple notes:
1. Select the notes you want to modify.
2. Tear off the palette.
This is very important. The feature only works when the palette has been torn off.
3. Control[Command]-click on the desired tool.
All selected notes change immediately to reflect the tool used.
fa head with upward stem
fa head with downward stem
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The Tablature button always shows the number of the most recently selected fret.
Press and hold the mouse on the Tablature button to open the pop-up Tablature menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
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Tool OverviewEach tool in the Tablature palette corresponds to a guitar fret number, where 0 is an open string, 1 is the first fret, 2 is the second fret, etc.
Using the Tablature PaletteUse the Tablature palette to replace standard noteheads with fret numbers on a tablature staff. Click one of the numbers in the Tablature palette and then click on the note head. Overture replaces the standard notehead with the fret number.
To replace the multiple selected notes with fret numbers:
Creating Tablature - ManuallyAssume you want to notate the following score in tablature notation.
The next few sections outline a step-by-step procedure for creating tablature notation for the figure above.
1. Select the notes you want to modify.
2. Tear off the palette.
This is very important. The feature only works when the palette has been torn off.
3. Control[Command]-click on the desired tool.
All selected notes change immediately to reflect the tool used.
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Creating a Tablature StaffYou must first create a tablature staff. To do so:
1. Click on the staff where you want the Tablature staff to follow and then choose the Score> Insert Track menu command.
2. Click on the Tablature radio button. Click on the After current track radio button if you want the tablature staff to appear below the current staff.
Tablature Staff
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Each line in a tablature staff represents a guitar string. The lowest line represents the low E-string, the next line up represents the A-string, and so on.
Alternatively, if your score contains an unused staff, you can click within it to select it, choose Score>Setup Track, then use the Setup Track dialog box to select an Instrument Name of Tablature. See “Setup Track” on page 490.
Also, you can create tablature staves for instruments such as four-string and five-string bass guitars by designing custom staves (as discussed in “Staff Display Options” on page 500).
3. Choose OK.
Overture inserts a new tablature staff.
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Creating Tablature NotationNow that your score contains a tablature staff, you can begin filling it with notation.
1. Using the Notes palette, enter all the notes onto the tablature staff using the correct durations. When you click on the guitar string, a note will be entered with with no stem and a ‘0’ for the note head indicating an open string. Continue to hold the mouse button down and drag up to increase the number until you reach the desired fret number. To enter a rest, choose the desired rest duration and click on the staff. The rest will automatically be hidden.
Remember to place notes on the line that represents the guitar string on which you want the note played.
2. If you want to show note stems and beams, select the notes and choose Notes>Stem>Show Stem. Then select the notes and choose Notes>Beam.
Overture shows the stems, flags, and beams.
3. You can also change a fret number by selecting a fret number from the Tablature palette, and then clicking the notes you wish to change.
Overture replaces standard noteheads with the fret number you select.
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See also “Notes to Tablature” on page 609.
Note:MIDI playback does not play tablature staves, nor do MIDI transpose commands change their pitch. If you want MIDI playback of a tablature staff, you must create an additional staff that contains traditional notation. If desired, you can then hide the traditionally notated staff in your printed score by using the Score>Hide/Show Staves command as discussed in “Hide/Show Staves” on page 485.
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The Guitar button always contains the icon of the most recently selected tool.Press and hold the mouse on
the Tablature button to open the pop-up Guitar menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
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Tool OverviewThe Guitar palette contains symbols to accurately notate guitar music. The finger markings and string numbers suggest the finger or string used to play the notes to which they are applied. The vibrato marking pops up to allow selection of symbols to denote other effects related to vibrato. You must tear the palette off to see the pop-up menu
String Bend MarkingsYou can enter string bend markings into the score without needing to associate them with a note. Each bend marking includes a bend range number signifying the number of half steps the note is bent. Alt[Command]-drag the number to alter it within the allowable bend range of -3 to 3 steps. The default bend is 1/2 step and the resolution is within 1/4 steps.
vibrato (or other effects)
finger markings
string numbers
bend up/release
bend up
bend up/release over
pop-up menucontinue untilbarre at fret number
tremolo
pre-bend, release over time
pre-bend, release
pre-bend
bend range set at 1/2 step...
...then Alt[Command]-dragged to 1 1/4 steps
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When you enter a bend marking, dragging to the right extends the area in which the marking pertains. Select a bend marking by dragging a rectangle around it with the arrow cursor, or position the cursor over the marking until you see the drag cursor.
Edit the shape of the bend by dragging the edit handles. You can move selected bend markings using the arrow keys. Position the mouse over the left end of the bend until you see the drag cursor and Alt[Command]-drag to move the bend marking. You can move the bend range number independently of the bend marking by positioning the cursor over the number until you see the drag cursor and dragging the number.
To summarize the bend markings:
• Pre-bend. Bend the string prior to sounding the note.
• Pre-bend, release. Bend the string prior to sounding the note, then release it to its normal pitch during the note’s duration.
• Pre-bend, release over time. Bend the string prior to sounding the note, then release it to its normal pitch during the time contained within the dotted marking.
• Bend up. Bend the string up after sounding the note.
• Bend up/release. Bend the string up and then release it during the note.
• Bend up/release over time. Bend the string up and then release it during the time contained within the dotted marking.
Barre at Fret NumberEnter the barre at fret number symbol by selecting it in the Guitar palette and clicking in the Score Window.
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Double-clicking the barre at fret number symbol in the Score Window (not in the Guitar palette) opens the Barre Settings dialog box.
Use the Barre Settings dialog box to create bar at fret number symbols similar to the one shown below
The Barre Settings dialog box has numerous elements, as follows:
TypeThese radio buttons represent different conventions for showing barre and fret positions. The three barre settings options in the Type section represent different notation conventions. Showing the B, C, or no letter differentiates the options in the Type section; the 1/2 is an example of the Amount (number of strings barred), and II is an example of the fret number referenced. You can edit the actual barre Amount and fret numbers in the Score Window, as described below.
ShowBarre markings that are extended over time appear with a line that can be Solid, Dashed, or Dotted.
Selecting the Brackets option ends the line with a downward pointing bracket. Alt[Command]-dragging the bracket end in the Score Window toggles Brackets on and off. If you deselect Brackets, the line still appears with its selected attribute but with no ending bracket.
AmountThe barre symbol can reference the following groups of strings:
• All. Barre all strings. No marking is shown to denote this option.
• 1/6. Barre the highest string.
Fret Number Dashed Line
Bracket
Type
Amount
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• 1/3. Barre the 2 highest strings; same as 2/6.
• 1/2. Barre the 3 highest strings; same as 3/6.
• 2/3. Barre the 4 highest strings; same as 4/6
• 5/6. Barre all strings except the lowest string.
Changing the Fret or AmountAlt[Command]-dragging the barre at fret mark horizontally changes the fret. It does not change the Amount setting.
Alt[Command]-dragging the barre at fret mark vertically changes the Amount setting. It does not change the fret number.
The direction first Alt[Command]-dragged constrains which function you are editing. This eliminates inadvertent changes to either setting. For example, Alt[Command]-dragging first in a vertical direction changes only the Amount setting, even if you also drag horizontally.
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The Drums button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Drums button to open the Drums pop-up menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Drums Button
Up Stroke ArrowRight Sticking
RudimentGhost Note Circle
Left Sticking Down Stroke Arrow
Plus
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Tool OverviewThe following describes each of the tools in the Drums palette:
• Rudiment. Use this tool to attach a rudiment to the note.
• Ghost Note. Use this tool to indicate that the note is a ghost note.
• Circle. Use this tool to place a circle on the head side of the note.
• Plus. Use this tool too place a plus on the head side of the note.
• Left Sticking. Use this tool to indicate to use the left hand for the stroke.
• Right Sticking. Use this tool to indicate to use the right hand for the stroke.
• Up Stroke Arrow. Use this tool to indicate to use an up stroke.
• Down Stroke Arrow. Use this tool to indicate to use a down stroke.
Using the Drums PaletteUse the Drums palette to attach drum rudiments and articulations to individual notes. To use the Drums palette:
1. Select an drum tool from the Drums palette.
2. In the Score window, click the note to which you want to add the drum rudiment or articulation.
If you click a note and immediately release the mouse button, Overture places the drum rudiment or articulation in its default position.
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Placing on Multiple NotesThe drum tool remains selected after you insert a rudiment or articulation. This allows you to insert multiple rudiments or articulations of a similar type. Additionally, you can apply the same drum rudiment or articulation to all the notes in a contiguous group. To do so:
Deleting Drum RudimentsThere are two ways to delete rudiments:
• Click an rudiment or articulation with the Eraser Cursor.
• Select notes with articulations attached to them and choose Notes>Delete>Articulations. For more information, see “Delete” on page 582.
1. Select an drum tool from the Drums palette.
2. Drag a rectangle around all the notes you wish to place the drum rudiment or articulation on.
Overture automatically places the drum rudiment or articulation on all selected notes.
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Using the Drum ToolsThe following sections discuss how to use Overture’s Drum tools.
Inserting a Drum RudimentTo attach a drum rudiment to a note:
1. Select the drum rudiment tool from the Drums palette.
2. Move the cursor over the desired note.
3. Click the note.
Overture attaches the selected rudiment to the note.
4. To change the number of strokes for the rudiment, click and hold on the rudiment tool to open the popup menu and choose the number of strokes.
5. Move the cursor over the desired note.
6. Click the note.
Overture attaches the selected rudiment to the note.
MIDI Note:Drum rudiments affect MIDI playback and are played as grace notes.
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Inserting a Drum ArticulationTo attach a drum articulation to a note:
You can insert the opposite sticking without changing tools by holding down the Alt[Option] key when you insert it.
1. Select the desired drum articulation tool from the Drums palette.
2. In the Score window, click the note to which you want to add the drum articulation marking.
If you click a note and immediately release the mouse button, Overture places the drum articulation in its default position.
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The Jazz Articulations Palette always contains the icon of the most recently selected tool.
Press and hold the mouse on the Jazz Articulations button to open the pop-up Jazz Articulations menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
When the palette is floating, a menu pops up for these articulations, allowing you to change the texture of the line
rip, wah wah
spill, stab, fall off
bendwow wow, shake, grow, lip trill, wide lip trill
plop
smear
doit
flip
fall offslide, pick scrape, gliss down
lift slide, pick scrape, gliss up
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Tool OverviewThe Jazz Articulations palette contains symbols commonly used for jazz notation. You can drag some of them to encompass more than one note; you can reposition all. The pop-up menu contains line textures and shapes to designate different intensities you can associate with their articulations.
Most of the signs have more than one name and meaning. Consult a jazz notation text to learn more about the terminology and use of jazz articulations. Here is a brief summary of terms:
• Lift. Enter note via chromatic or diatonic scale beginning about a third below
• Slide. Slide up to a note
• Rip. Same as lift
• Fall off. Opposite of lift
• Flip. Sound note, raise pitch and drop into following note
• Smear. Slide into note from below; reach correct pitch before the next note
• Bend. Waver rapidly on indefinite pitches
• Doit. Sound note then gliss upwards from 1 to 5 steps
• Plop. Slide rapidly down diatonic scale before sounding the note
• Shake. Vary the tone upwards, much as you do for a trill. Sustain note with vibrato, tremolo, or feedback effect.
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The Dynamics button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Dynamics button to open the pop-up Dynamics menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
Dynamics Button
mezzo-piano
pianississimo
forte fortissimo
forzando
pianopianissimo
sforzando
mezzo-forte
fortississimo
double hairpinhairpin
fortissississimo
sforzato forte piano
decrescendo textcrescendo text
pianissississimo
sforzando piano sforzando piano
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Tool OverviewThe Dynamics palette contains two types of dynamics tools:
• Absolute Dynamics tools. use these tools to mark absolute levels of the dynamic scale (such as pp, mf, ff).
• Hairpin tools. use these tools to mark gradual changes in the levels of the dynamic scale (the hairpin crescendo and hairpin decrescendo).
Using Absolute Dynamics ToolsThe following sections discuss how to insert, copy, and edit dynamic markings and how to define the playback of the markings.
Inserting Dynamic MarkingsTo insert an absolute dynamic marking:
1. Select the desired absolute dynamics tool from the Dynamics palette.
The cursor becomes a crosshair pointer when you move it over the Score window.
2. Position the cursor at the point where you wish to insert the dynamic marking and click.
Overture places the selected dynamic marking at that horizontal point and at the Dynamics baseline (see “Dynamic Positions”).
Select a tool... ... then position the cursor
Inserted dynamic marking
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To insert a dynamic mark into all displayed staves in a system:
To insert a dynamic mark into all displayed staves in a system as long as they have notes in that measure:
1. Select the desired absolute dynamics tool from the Dynamics palette.
2. Control[Command]-click the score.
Overture adds the selected dynamic mark to all displayed staves in the system.
1. Select the desired absolute dynamics tool from the Dynamics palette.
Control[Command]-click here...
...to add a dynamic markto all staves in thesystem
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Repositioning Dynamic MarkingsTo reposition a dynamics mark:
You can select dynamics, as well as text, hairpins, repeats, chords, and Graphics palette objects, as a group and then drag them all to a new position.
You can drag dynamics anywhere, but they retain their track assignments. To change the track assignments, delete and reinsert them.
2. Alt[Option]-click the score.
Overture adds the selected dynamic mark to all displayed staves in the system as long as that measure has notes in it.
1. Click the Arrow Cursor button to select the Arrow Cursor (or type C on the keyboard).
2. Drag the desired symbol to its new location.
Control[Command]-click to select more than one dynamic mark.
Shift-drag dymanics to constrain movement to the horizontal or vertical direction (whichever way you first move the mouse when beginning to drag).
Alt[Option]-click here...
...to add dynamic mark to all staves in the system if the measure has notes in it
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Copying Dynamic MarkingsTo copy a dynamics mark:
Playback of Dynamic MarkingsYou can use dynamic markings to affect MIDI playback. To do so:
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the keyboard).
2. Control[Option]-drag to copy individual dynamics to another place.
Control[Command]-click to select more than one dynamic mark on the same track.
Shift-Control[Option]-drag to copy the dynamic and constrain movement to the horizontal or vertical direction first dragged.
1. Choose Options>Preferences.
Overture opens the Preferences dialog box.
2. Click the Dynamics tab.
The Dynamics tab moves to the front.
3. Set the default values for each dynamic marking.
4. Click OK.
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Using Crescendos and DecrescendosThe following sections discuss how to insert and copy crescendo and decrescendo marks and how to edit their appearance.
Crescendo TextYou can display crescendo and decrescendo signs as words instead of as symbols. Choose the appropriate expression from the Expressions palette or the Dynamics palette
Inserting a HairpinTo insert a hairpin crescendo or decrescendo:
1. Select the hairpin tool from the Dynamics palette.
The cursor becomes a crosshair pointer when you move it over the Score window.
2. Move the cursor to where you want the hairpin to start, then press and hold the mouse.
3. Drag the mouse left to right to the point where you want the hairpin to end, then release the mouse.
Overture creates a crescendo.
OR3. Drag the mouse from right to left.
Overture creates a decrescendo.
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To insert a crescendo followed by a decrescendo:
To insert a decrescendo followed by a crescendo:
Editing a HairpinTo move or reposition the hairpin:
1. Select the double hairpin tool.
The cursor becomes a crosshair pointer when you move it over the Score window.
2. Move the cursor to where you want the symbol to start.
3. Drag from left to right.
Overture creates a crescendo followed by a decrescendo.
1. Select the double hairpin tool.
The cursor becomes a crosshair pointer when you move it over the Score window.
2. Move the cursor to where you want the symbol to end.
3. Drag from right to left.
Overture creates a decrescendo followed by a crescendo.
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the keyboard).
2. Move the mouse into the open end of the hairpin.
The cursor becomes a Drag Cursor.
3. Click to select the hairpin.
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You can select hairpins, as well as dynamics and rehearsal notes and drag them as a group.
You can drag hairpins anywhere, but they keep their track assignments. To change track assignment, delete and reinsert them.
4. Drag the handle at the closed end of the hairpin to change the slope of the hairpin.
5. Drag either open ended hairpin handle to open or close the opening of the hairpin.
Alt[Command]-drag either of the open ended hairpin handles to move just that stem of the hairpin.
6. Drag anywhere within the open part of the hairpin to reposition it in the score.
Drag this point up/down to change the hairpin’s slope.
Drag it left/right to change the hairpin’s length.
or...
Alt[Command]-drag
Drag a point to open the hairpin
hairpin stems
or...a handle to move just one
Drag within the open partto move the entire hairpin
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Copying a Hairpin To copy the hairpin:
The Edit Dynamic Dialog BoxDouble-click a dynamic in the Score Window to open the Edit Dynamic dialog box.
In the Edit Dynamic dialog box, press and hold the mouse on the Dynamic field to open a pop-up menu showing all the dynamics settings. Set the Value field to the desired setting. Set the type of playback to Velocity or Controller. For Controller, choose the Controller Type in the popup menu. Set the Use Voice to switch to another voice (channel). Select the Play option to use the selected setting during playback. Select on all voices to have the dynamics playback on all voices. This is useful for Piano Tracks, where the dynamic is between the two staves and applies to both staves. Select the Change all of this type option to change other dynamics of the selected type to the selected settings.
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the keyboard).
2. Move the mouse into the open end of the hairpin.
The cursor becomes a Drag Cursor.
3. Click to select the hairpin.
4. Control[Option]-drag anywhere within the open part of the hairpin to copy it to the place you want.
Shift-Control[Option]-drag to copy the hairpin and constrain movement to the horizontal or vertical direction first dragged.
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The Edit Hairpin Dialog BoxDouble-click a hairpin in the Score Window to open the Edit Hairpin dialog box.
Set the type of playback to Velocity or Controller. Set the Value fields to start, middle, and ending values to be used during playback. Optionally choose a Dynamic to be displayed at the start or end of the hairpin. Select the Play option to use the settings during playback. Select the Change all of this type option to change other hairpins of the selected type to the selected Values setting. Overture plays hairpins by sending the MIDI controller data or by changing the note velocities over the duration of the hairpin.
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Playback of HairpinsDouble-click a hairpin in the Score Window to open the Edit Hairpin dialog box. Enter the values to be played and select the type of playback. Overture plays hairpins by sending MIDI volume or by changing note velocities over the duration of the hairpin. In the example below using the values of 50, 60, 70, 80, 90, 100, and 110, if Controller>Volume is selected, the following MIDI volume values will be sent at the shown measure positions. If Velocity is selected, each note will be played with the velocity shown.
If the type is Velocity, Overture changes the velocity of the notes covered by the range of the hairpin. If the type is Controller, Overture plays the hairpin by sending these values for the specified controller over the range of the hairpin. Overture interpolates values between the specified values to give a smooth transition.
MIDI Volume
Note Velocity50 70 90 110100
50 70 90 11060 80 100
Note: If you choose Score>MIDI Data Mode and the type is Controller, the hairpin values are shown as straight lines with control points. To change a value, drag the value’s control point vertically.
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The Text button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Text button to open the pop-up Text menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
The Text Style toolbar becomes available whenever you’ve selected one of the Text tools. Use this standard toolbar to assign a font to the selected text and to define its size and style.
See “Title Page” on page 522 of your Overture User’s Guide for a more automated way to put various kinds of text on your score.
Text Button
Insert Bar Text
Insert Rehearsal Mark
Insert System Text
Insert Page Text
Insert Lyric Text
Font Style Font Alignment Transparent &Opaque ButtonButtonsButtons
Font and SizePopup Menus
Verse PopupMenu
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Tool OverviewThe following describes each of the tools in the Text palette:
• Insert Bar Text. This tool inserts text anchored to a specific measure on a specific staff.
• Insert System Text. This tool inserts text anchored to the top of a system and to a specific measure. If you re-arrange a system, the text always stays at the top of the system.
• Insert Rehearsal Mark. This tool inserts rehearsal marks in your score. Rehearsal marks are enclosed in boxes and are anchored to a specific measure and a relative staff location.
• Insert Page Text. This tool inserts text anchored to a specific page. This is useful for titles, headers and footers.
• Insert Lyric Text. This tool inserts lyrics anchored to notes. Lyrics move with the notes they are attached when the measure is being justified or you drag a note horizontally.
Using Bar TextUse bar text for written instructions that apply only to a particular measure and staff. Overture attaches bar text to both a specific measure and a specific staff as illustrated below:
• Bar Text and Measure Example If you create bar text above the second measure and then insert a new measure before it, the text now appears above the third measure since it stays attached to its original measure.
• Bar Text and Staff Example If you create bar text on the third staff and then insert two staves above it, the text now appears on the fifth staff since it stays attached to its original measure.
Original Line
Same Line afterinserting a newsecond measure
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Inserting Bar TextTo insert bar text:
Repositioning, Copying, and Editing Bar TextTo reposition bar text:
1. Select the Bar Text tool from the Text Palette.
2. In the Score window, drag a rectangle where you want to position the bar text.
Overture creates an empty text box in your Score window.
3. Type the desired information into the text box.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
1. Move the Arrow Cursor over the bar text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Drag the bar text to a new location.
This repositions the text and attaches it to the new measure.
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To copy bar text:
To edit bar text:
Using System TextUse system text for written instructions that apply to all staves in a system. Overture attaches system text to a specific measure and to the top staff as illustrated below:
• System Text and Measure Example If system text is above the ninth measure and you insert eight measures at the beginning of the score, the system text now appears above the 17th measure since it stays attached to its original measure.
• System Text and Staff Example If you enter system text above the first staff, then add a staff above that, the system text moves to the topmost staff since system text always appears on the upper staff. No matter where you insert system text, it always appears on the top staff.
1. Move the Arrow Cursor over the bar text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Control[Option]-drag to move a copy of the bar text to a new place.
Shift-Control[Option]-drag to copy the bar text and constrain movement of the horizontal or vertical direction first dragged.
1. Move the Arrow Cursor over the bar text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the bar text.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
Note:If you extract parts from a score that contains system text, each and every extracted part displays the text, since system text applies to all instruments in a system. For more information about extracting parts, see “Extract Parts” on page 453.
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Inserting System TextTo insert system text:
Repositioning, Copying, and Editing System TextTo reposition system text:
You can select and drag text, as well as dynamics, hairpins, repeats, chords, and Graphics palette objects, as a group.
To copy system text:
1. Select the System Text tool from the Text Palette.
2. In the Score window, drag a rectangle where you want to position the system text.
Overture creates an empty text box in your Score window.
3. Type the desired information into the text box at the cursor.
To resize the text box, drag its lower right corner. To reposition it, drag its upper left corner.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
1. Move the Arrow Cursor over the system text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Drag the text to a new location.
This repositions the text and attaches it to the new measure.
1. Move the Arrow Cursor over the system text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
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To edit system text:
Using Rehearsal MarksUse rehearsal marks to mark a score in various places (such as at certain tempo, key or meter changes, or at the entrance of prominent solo instruments). Overture attaches rehearsal marks to a specific measure and a relative staff as illustrated below:
• Rehearsal Mark and Measure Example If a rehearsal mark is above the ninth measure and you insert eight measures at the beginning of the score, the rehearsal mark now appears above the seventeenth measure (since it stays attached to its original measure).
• Rehearsal Mark and Staff Example If you enter a rehearsal mark above the first staff, then add three more staves above it, the rehearsal mark appears on the topmost staff (since it maintains its relative staff position).
Inserting Rehearsal MarksTo insert rehearsal marks:
2. Control[Option]-drag to move a copy of the text to a new place.
Shift-Control[Option]-drag to copy text and constrain movement to the horizontal or vertical direction first dragged.
1. Move the Arrow Cursor over the system text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the text.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
1. Select the Rehearsal Mark tool from the Text Palette.
2. In the Score window, drag a rectangle where you want to position the rehearsal mark.
Overture creates an empty text box in your Score window.
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Repositioning and Editing Rehearsal MarksTo reposition a rehearsal mark:
You can drag a rehearsal mark anywhere, but it keeps its track assignment. To change its track assignment, delete it and reinsert it.
To edit a rehearsal mark:
3. Type your rehearsal mark into the text box.
Generally, rehearsal marks consist of a single number or letter.
To resize the text box, drag its lower right handle. To reposition it, drag its upper left handle.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
Overture creates a rehearsal mark, which consists of a rectangular box surrounding the text you entered.
1. Move the Arrow Cursor over the rehearsal mark.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Drag the rehearsal mark to a new location.
This repositions the text and attaches it to the new measure.
1. Move the Arrow Cursor over the rehearsal mark.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the rehearsal mark.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
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Using Page TextUse the Title Page dialog box to insert titles, instructions, composer credits, copyright notices, headers, and footers. See “Title Page” on page 522 for a detailed description of how to use the Title Page dialog box.
Use Page text to insert any addtional text to be displayed on the page. You can position Page Text anywhere on the page.
Inserting Page TextTo insert page text:
Repositioning, Copying, and Editing Page TextTo reposition page text:
You can select and drag text, as well as dynamics, hairpins, repeats, chords, and Graphics palette objects as a group.
1. Select the Page Text tool from the Text Palette.
2. In the Score Window, drag a rectangle where you want to position the Page Text.
3. Select the type of Page Text you want, as well as specific pagination options.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus.
5. To complete the insertion, select a different tool or click outside the text box.
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor unless one of the text tools is selected, in which case, the cursor becomes an I-beam.
2. Drag the text to a new location.
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To copy page text:
To edit page text:
To edit page text characteristics by reopening the Page Text dialog box:
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor unless one of the text tools is selected, in which case, the cursor becomes an I-beam.
2. Option-drag to move a copy of the text to a new place.
Shift-option-drag to copy page text and constrain movement to the horizontal or vertical direction first dragged.
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the text.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Option-double-click the text.
Overture opens the Page Text dialog Box.
3. Configure the Page Text dialog box as desired and click the OK button.
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Using Lyric TextUse lyric text for attaching words or syllables to notes. Overture attaches lyric text to a specific note and a specific voice as illustrated below: When you select the Lyric Tool, the Text Style ToolBar will open. This is where you choose the font and verse for inserted lyrics. Lyrics are best added after the other symbols have been added and spacing and alignment for each system has been performed. This is not essential but can eliminate extra editing when the measure spacing changes due to changes in the measure.
Inserting Lyric TextTo insert lyric text:
1. Select the Lyric Text tool from the Text Palette.
2. Click below the note to receive the first lyric. A blinking cursor will appear under the note you clicked. If the blinking cursor is to close to the note head, drag the lyric position indicator at the left edge of the staff. While dragging the indicator a horizontal dotted line will appear for reference After adjusting the lyric position indicator you will need to click again near the starting note for your lyrics.
Overture places a blinking cursor below the note.
3. Type the desired lyric text.
Type spaces to separate words and hyphens to separate syllables.
4. To assign a font, drag across the lyric with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus on the Text Style Toolbar.
5. To complete the insertion, select a different tool or click outside the staff where there are no notes.
Lyric Position IndicatorBlinking Cursor
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Adding Additional Lyric VersesTo add another verse:
Font, Size, and StyleThe Font, Size, and Style menus become available whenever you’ve selected one of the Text tools. Use the Text tool bar to assign a font to the selected text, and to define its size and style.
Transparent TextText entered with any text tool can be either transparent or opaque. You can select which style you prefer by choosing either Style>Transparent or Style>Opaque. The differences between the two text styles are outlined as follows:
• Transparent Text: Select this style if you want staves and musical symbols to be visible behind the text.
• Opaque Text: Select this style if you want the text to completely cover the staves and musical symbols behind it.
1. Click outside the staff where there are no other notes.
2. Change the Verse on the Text Style Bar to Verse 2. Click below the note to receive the next verse. A blinking cursor will appear under the note below the first verse.
3. Type the desired lyric text as before.
4. To complete the insertion, select a different tool or click outside the staff where there are no notes.
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The Expressions button always contains the icon for the Expression tool.
Press and hold the mouse on the Expressions button to open the pop-up Expressions menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
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Using the Expressions PaletteThe Expressions button contains a palette of commonly used musical terms. You can enter expressions anywhere in the Score Window and do not need to apply them to notes as you do other palette tools. Expressions are, however, owned by the track in which you enter them. Moving an expression to another track changes its ownership. When you finish moving or entering an expression, the track indicator (see “Status Bar: Page View and Track Controls” on page 70) shows the track that owns the expression.
You can create additional Expressions libraries or edit the existing library. Store additional Expressions Libraries in the Libraries folder, located in the folder that contains Overture. Specify the library to load when launching Overture in Libraries Preferences. Load another library during an Overture session by choosing File>Load Library.
You can play expressions by assigning them a controller and value, tempo, or patch.
Click the up scroll arrow to scroll up through the list of expressions
Click the down scroll arrow to down through the list of expressions
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The Edit Expression Dialog BoxDouble-click an expression in the Score Window to open the Edit Expression dialog box shown below. You can edit expressions here for changes that are not general enough to make in the library.
AppearanceThe options in the top half of the dialog box determine how the expression appears. Set the Font, Size, and Style attributes in the same manner as in other Overture dialog boxes. Select text style attributes by using the Style pop-up menus. You can change the text for that expression in the Edit Expression dialog box without affecting future uses of that expression from the palette. You can use this technique to create an expression that doesn’t exist in the library by changing the text to the new expression. You can permanently alter the text for that expression in the Expression Library by choosing File>Edit Library>Expressions and changing the text in the library. You can also insert to add expressions or delete expressions from the library.
Select Extract On All Tracks to include that expression with any extracted track. Select Print Text to print the expression when that track is selected for printing.
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Some expressions span several notes. A line shows the time in which the expression is active. Use the Line Type option to configure how the line appears. The End Cap option determines how the line terminates. The various options are illustrated in the figure below.
Click an expression to select it and shows its handles. Drag the handle at the end of the line to change its length.
Double-clicking the expression in the palette that has been torn off, opens a similar dialog box without the Print Text, Line Type, and End Cap options. Those options are specific to either the track in which you enter the expression or the type of line present in the expression; you don’t know either attribute until you actually enter the expression in the Score Window.
PlaybackYou can play expressions in Overture by assigning them an appropriate tempo, patch, program change, controller and value, key switch, or use the expression to switch playback voice. For example, if an expression denotes a staccato sound for a guitar, changing the patch to a muted guitar sound might sound better than creating short note durations. Note: You can’t realistically play all expressions you specify.
If you double-click an expression in the Expressions palette, the Patch section contains program change numbers instead of patch names because Overture doesn’t know which track will eventually contain the expression and to which device the track will be assigned.
The following describes each of the Playback Options:
• None. Choose this option if you do not want this expression to affect playback.
• Tempo. Choose this option if you want the expression to change the tempo across a range of measures. Once the expression is entered you can drag its extension line to the exact position in a measure, where the tempo range ends.
• Patch. Choose this option if you want the expression to send MIDI data that changes the sound in a track.
• Playback Voice. Choose this option if you want the expression to force a track to use the playback setting for a different voice. Ex. If voice 1 (in Track’s List window) is a normal violin sound on channel 1 and voice 2 is a pizzicato sound on channel 2, an expression entered on voice 1 could force all notes in voice 1 to start play using voice 2 settings. In other words, send all voice 1 notes out on channel 2 instead of channel 1. Another expression later on, could force all notes to be played using the original settings for voice 1.
Solid line, no end cap
Dashed line, end cap up
Dotted line, end cap down
Dashed line, end cap up and down
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• Key Switch. Choose this option if you want the expression to send a key switch. Key switches are used by sample libraries to switch styles within a sample. The popup menu only shows the valid key switches for this track and voice. If you wish to see all possible key switches, check the appropriate setting in the Preferences dialog.
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The Graphics button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Dynamics button to open the pop-up Dynamics menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
Graphics Button
rounded rectangle
line
symbol tool
line beginning and ending attributes
line thickness
rectangle
oval
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solid, dashed, or dotted
opaque or transparent
wedge
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Using the Graphics PaletteThe Graphics palette provides standard drawing tools. You can put the shapes anywhere in the Score Window. Although this does not connect them to notes, it connects them to a track. The track containing the cursor when you finish drawing or moving a graphic owns that graphic. The track indicator also shows the track that owns the graphic. See “Status Bar: Page View and Track Controls” on page 70.
Overture extracts graphics only with the track that owns them.
The solid, dashed, dotted, and thickness attributes affect lines (straight and curved), and borders for the rectangles and oval. Shift-dragging to create a rectangle (rounded or regular) or oval constrains the shape to a square or circle, respectively.
You can do the following to selected objects:
• Alt[Command]-drag to move the object(s)
• Select and drag graphics objects as a group, together with dynamics, hairpins, text, repeats, and chords
• Resize by dragging the handles
• Reassign line, border, thickness, or opaque/transparent attributes
• Right[Control] click and Choose Set Symbol Color, Playback, etc. to modify the symbol.
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Select Font Symbol Dialog BoxThe symbol tool opens the complete character set for a selected font, allowing you to see all non-alphanumeric characters and symbols easily. Clicking in the Score Window with the symbol tool selected opens the Select Character dialog box. You can alter the Style, Font and Size attributes before you enter the character.
• Double-clicking a character previously entered in the Score Window opens the Edit Playback dialog box.
• Clicking a symbol onto a note or rest attaches the symbol to that note or rest.
• Clicking a symbol onto blank space attaches the symbol to the measure where you put the symbol.
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The Clefs button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Clefs Button to open the pop-up Clefs menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
Clefs Button
Insert Bass Clef
Insert 8va Bassa ClefInsert Percussion Clef 1
Insert Treble Clef
Insert Modern Tenor Clef
Insert Moveable C-Clef
Insert Percussion Clef 2
Insert Modern Piccolo Clef
Insert Modern Baritone Clef
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Tool OverviewThe following describes each of the tools in the Clefs palette.
• Insert Treble Clef. Select this tool to insert a treble clef at the insertion point.
• Insert Bass Clef. Select this tool to insert a bass clef at the insertion point.
• Insert Moveable C-Clef. Select this tool to insert a C-clef at the insertion point. It defaults to an alto clef (center line), though you can drag it up or down to create a tenor clef, mezzo-soprano clef, or soprano clef.
• Insert Percussion Clefs 1 & 2. Select either tool to insert a percussion clef at the insertion point. Percussion clefs are used for notating instruments of indefinite pitch (such as drums).
• Insert Modern Tenor Clef. Select this tool to insert a modern tenor clef at the insertion point. Notes following a modern tenor clef sound one octave lower than written. This is particularly useful for the tenor voice.
• Insert 8va Bassa Clef. Select this tool to insert an 8va bassa clef at the insertion point. Notes following an 8va bassa clef sound one octave lower than written. This is particularly useful for such transposing instruments as contrabassoon and double bass.
• Insert Modern Baritone Clef. Select this tool to insert a modern baritone clef at the insertion point. Notes following a modern baritone clef sound one octave higher than written. This is particularly useful for high bass parts that normally would not move to another clef (such as bass voice, baritone voice, and tuba).
• Insert Modern Piccolo Clef. Select this tool to insert a modern piccolo clef at the insertion point. Notes following a modern piccolo clef sound one octave higher than written. This is particularly useful for such high transposing instruments as piccolo and xylophone.
Clef Insertion RulesWhen inserting clefs into a score you need to be aware of the following facts and conventions:
• You cannot replace one type of clef with another by simply selecting a new clef and clicking the old clef. Rather, you must click the old clef with the Eraser cursor, then enter a new clef in its place.
• Exception: You can change the very first clef in the very first measure by clicking it with any clef tool.
• When a clef change is to occur at the beginning of a measure, you must insert the clef at the end of the preceding measure, before the barline.
• Exception: You can insert a clef change at the beginning of the very first measure because there is no measure prior to it.
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• Clefs shown to the left of each staff are not clef changes—they are merely courtesy clefs that illustrate the clef last used in the previous measure. You cannot click these clefs to change them. Rather, you must insert a clef change at the end of the preceding measure (as mentioned above).
• Exception: You can change the very first clef in the very first measure by clicking it with any clef tool.
• You can insert new clefs in the middle of measures as well as at the ends.
• When you insert a new clef, Overture uses it to define the pitch of all notes on that staff until it comes across another inserted clef.
• When you insert a new clef, Overture always shifts the vertical positions of the notes that follow, so that they maintain their correct pitches.
Using the Clefs PaletteUse the Clefs palette to insert clefs onto staves. To use the Clefs palette:
1. Select the type of clef you want from the Clefs palette.
2. In the Score window, click where you desire the new clef.
Overture inserts the clef and automatically shifts the vertical position of any notes that follow it.
Click here...
...to insert the selected clef here.
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Using the Moveable C-ClefOverture lets you insert a moveable C-clef that you can drag up or down on the staff. To use the moveable C-clef:
1. In the Clefs palette, click the moveable C-clef tool to select it.
2. In the Score window, press and hold the mouse at the desired point.
The C-clef will appear.
3. While still holding the mouse button, drag the mouse up or down to change the position of middle C.
4. Release the mouse when the moveable C-clef is in the desired position.
Overture automatically shifts the vertical position of any notes that follow the inserted clef.
Original score
Score afterinserting analto C-clef
C
C
C
C
Soprano clef (rarely used in modern music)
Mezzo-soprano clef (rarely used in modern music)
Alto clef (commonly used for viola and alto voice)
Tenor clef
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The Staves button always contains the icon of the most recently selected tool.
Press and hold the mouse on the Staves button to open the pop-up Staves menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right corner].
Tool OverviewThe following describes each of the tools in the Staves palette:
• Insert Bass Staff. Select this tool to add a single bass staff to your score.
• Insert Treble Staff. Select this tool to add a single treble staff to your score.
• Insert Tenor Staff. Select this tool to add a single tenor staff to your score.
Staves Button
Insert Bass Staff
Cross-Staff Barlines
Insert Treble Staff
Insert Piano & Melody StaffGroup as System Group With Brace
Group With Bracket
Insert Piano Staff
Insert Tablature
Insert PercussiveStaff
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• Insert Alto Staff. Select this tool to add a single alto staff to your score.
• Insert Tablature Staff. Select this tool to add a single, six-string tablature staff to your score.
• Insert Percussive Staff. Select this tool to add a single percussive staff to your score.
• Insert Piano & Melody Staff. Select this tool to add three staves to your score. The top staff is a treble staff for a melody line. The bottom two staves (one treble and one bass) are braced for piano accompaniment.
• Insert Piano Staff. Select this tool to add a piano staff (two braced staves—a treble and a bass) to your score.
• Group With Bracket. Select the bracket ([) to connect independent staves into a loose grouping (for example, bracketing the four staves of a string quartet).
• Group As System. Select the system line (|) to connect all the staves in a system.
• Cross-Staff Barline. Select this tool to connect barlines between staves.
• Group With Brace. Select the brace ({) to connect the different staves representing a single musical instrument (like the two staves of a piano score).
Inserting StavesUse the Staves palette to create and insert new staves. To do so:
1. From the Staves palette, select the tool for the type of staff you wish to insert.
2. In the Score window, either click the top part or an existing staff to add the selected staff(s) above it or click the lower part of an existing staff to add the selected staff(s) below it.
click in this range to insert theselected clef(s) above this staff
click in this range to insert theselected clef(s) below this staff
click in this range to insert theselected clef(s) above this staff
Cursor in this rangepoints up to showwhere staff will beinserted
Cursor in this rangepoints down to showwhere staff will beinserted
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For example, to create a piano staff below an existing staff, select the Piano Staff tool and click just below the existing staff.
1. Click here with Piano Staff tool.
2. Overture adds a piano staffdirectly below the existing stafffor all remaining systems
Important:
When you add a staff to a system, Overture adds the staff to all systems, but automatically hides it in all systems above the current system. This lets you create staves in the middle of the score without having to hide them manually (as discussed in “Hide/Show Staves” on page 485).
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1. Click here with the Treble Stafftool to insert a new treble staff
2. Overture creates the new staffand shows it beginning with thecurrent system and continuingto the end of the score.
3. Notice that Overture automaticallyhides the new staff in the firsttwo systems.
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Creating Big SystemsIf you add so many staves to a system that Overture can no longer fit the requested number of systems on the current page, then Overture automatically changes the number of systems on each page to fit the new number of staves.
For example:
1. Assume you start with the score.
2. Add a staff above the top staff in the top system.
Overture changes the number of systems on a page by wrapping systems to a new page.
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Deleting StavesTo remove a staff from a score:
Grouping StavesUse the Staves palette to create new staff groupings. To do so:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you won’t need to select this option. Handles are always available—they’re just normally invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Using the Eraser Cursor, click the editing handle of the staff you want deleted.
1. From the Staves palette, select the tool for the staff grouping you wish to create.
1. Click a staff’s edit handlewith the Eraser Cursor
2. Overture deletes the staff
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Editing Staff Grouping SymbolsYou can move a single brace, bracket, or system grouping symbol by dragging it with the Arrow Cursor.
2. In the Score window, drag a rectangle around those staves you want grouped.
1. Drag a rectangle aroundthose staves you want grouped.
2. Overture applies the groupingacross the selected staves.
Drag here... ... and Overturerepositions onlythat group symbol
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You can move all related braces, brackets, and system grouping symbols for the entire score by Control[Command]-dragging them with the Arrow Cursor.
Drag here...... and Overturerepositions everyrelated groupsymbol in the score
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Deleting Staff GroupingsTo remove any staff grouping, click it with the Eraser Cursor.
Click here with
... and Overture deletesthat staff grouping(a cross-staff barline
the Eraser Cursor...
in this example)
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The Barlines button always contains the icon of the most recently selected tool.Press and hold the mouse on the Barlines button to open the pop-up Barlines menu. To create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right corner].
Barlines Button
Insert Double Barline Insert Close Repeat
Insert Fine
Insert Dotted Barline
Insert Standard Barline
Insert Open Repeat
Insert Single Measure Repeat
Insert Double Measure Repeat
Insert Final Ending
Insert First Endings
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Tool OverviewThe following describes each of the tools in the Barlines palette.
• Insert Standard Barline. Select this tool and click a barline in your score to insert a standard barline. Use the standard barline to separate the music into measures.
• Insert Double Barline. Select this tool and click a barline in your score to insert a double barline. Use a double barline to partition separate sections of music.
• Insert Close Repeat. Select this tool and click a barline in your score to insert a close repeat. Use a close repeat to indicate the end of a repeating section of music. The close repeat affects MIDI playback only if you check Options>Play Style>Repeats (as discussed in “Repeats” on page 634). If you check the Repeats option and Overture encounters a close repeat, it searches backward through the score for an open repeat that doesn’t have a matching close repeat. It then repeats that section once. If it doesn’t find an un-mirrored open repeat, it repeats from the top of the score. For more information, see “Using the Close and Open Repeat Tools” on page 247.
• Insert Open Repeat. Select this tool and click a barline in your score to insert an open repeat. Use an open repeat to indicate the beginning of a repeating section of music. The open repeat affects MIDI playback as discussed in the previous paragraph (but only if you check Options>Play Style>Repeats).
• Insert Dotted Barline. Select this tool and click in your score to insert a dotted barline. Dotted barlines are commonly used to subdivide measures of complex rhythm.
• Insert Fine. Select this tool and click a barline in your score to insert a Fine. Use a Fine to indicate the end of a composition or of a movement within it.
• Insert Single Measure Repeat. Select this tool and click in your score to insert a single measure repeat symbol. This symbol means that you’re to repeat the preceding measure in its entirety. This symbol affects MIDI playback.
• Insert Double Measure Repeat. Select this tool and click in your score to insert a double measure repeat symbol. This symbol means that you’re to repeat the preceding two measures in their entirety. This symbol affects MIDI playback.
• Insert First Endings. Select this tool and drag across your score to insert a first ending. Overture automatically names the first ending and inserts a close repeat at the end of it. Use first endings for any ending in your score except for the final ending. MIDI playback recognizes first endings in your score only if you check Options>Play Style>Repeats. For more information, see “Using the Ending Tools” on page 249.
• Insert Final Ending. Select this tool and drag across your score to insert a final ending. MIDI playback recognizes final endings in your score only if you check Options>Play Style>Repeats. For more information, see “Using the Ending Tools” on page 249.
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Using the Barlines PaletteTo change one barline type into another:
1. Select the desired barline tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor close to the barline you wish to change.
Overture changes the existing barline into the type selected in the Barlines palette. Overture always changes the barline closest to where you click.
Click within this area...
...to change this barline.Click within this area...
...to change this barline.
Expert Tip:You cannot change an existing barline into a dotted barline. Dotted barlines are used within existing measures to subdivide complex rhythms. See “Using Dotted Barlines” below for more information.
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Using Dotted BarlinesSome modern music uses dotted barlines to subdivide irregular meters into useful patterns. These patterns tell the performer which notes or beats to accent. Here is an example of a 7/8 measure subdivided into a 2+2+3 pattern using dotted barlines.
To insert dotted barlines into an Overture score:
Using Single and Double Measure RepeatsOverture supports both single and double measure repeats:
• Use this symbol to indicate the performer is to repeat the entire previous measure.
• Use this symbol to indicate the performer is to repeat the entire previous two measures. This symbol sometimes indicates the repetition of mixed value beats within a measure.
To insert a single or double measure repeat sign:
1. Select the Dotted Barline tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor where you want to insert a dotted barline.
Overture inserts a dotted barline.
3. To reposition the barline, simply click its handle (at the top of the barline) and drag it where you want it.
If you have trouble finding the barline handle, select Options>Show>Handles. This shows all barline handles.
1. Select either the Single or Double Measure Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor where you want to insert the repeat.
Overture inserts the selected repeat.
3. To reposition a repeat, select the Arrow Cursor and drag the symbol to the desired position.
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Using the Close and Open Repeat ToolsOverture’s MIDI playback recognizes open and closed repeat signs and plays them correctly. Specifically, when Overture encounters a close repeat it searches backward through the score for an open repeat that doesn’t have a matching close repeat. It then repeats that section once. If Overture doesn’t find any un-mirrored open repeats, playback jumps all the way back to the beginning of the score.
The following examples illustrate how to use repeats and how Overture plays them back.
Single RepeatsTo insert and playback a single repeat:
Nested RepeatsTo insert and playback nested repeats:
1. Select the Close Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click anywhere in the measure to the left of the barline you wish to change.
Overture changes the existing barline into a Close Repeat.
3. Make sure Options>Play Style>Repeats is checked.
If you don’t check this option, MIDI playback ignores all repeats in an Overture score.
4. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat sign after measure 2 and causes MIDI playback to jump back to measure 1.
Specifically, Overture plays the measures in the following order:
1->2->1->2->3->4-> etc...
1. Select the Close Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
Click anywhere in this measure...
...to insert aClose Repeathere.
Expert Tip:Double click on a repeat to add winged repeats. See section below on winged repeats.
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Winged RepeatsTo insert winged repeats:
2. Click anywhere in the measure to the left of the barline you wish to change.
Overture changes the existing barline into a Close Repeat.
3. Select the Open Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
4. Click anywhere in the measure to the right of the barline you wish to change.
Overture changes the existing barline into an Open Repeat.
5. Make sure Options>Play Style>Repeats is checked.
If you don’t check this option, MIDI playback ignores all repeats in an Overture score.
6. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat sign after measure 3 and causes MIDI playback to jump back to measure 2.
Specifically, Overture plays the measures in the following order:
1->2->3->2->3->4->...
1. Insert your repeats as shown above.
Click anywhere in this measure...
...to insert aClose Repeat here.
Click anywhere in this measure...
...to insert anOpen Repeat here.
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Using the Ending ToolsOverture’s MIDI playback recognizes endings and plays them correctly. Overture supports two types of endings:
• First Endings: Use this for the first ending in a song and for any endings other than the song’s final ending.
• Final Ending: Use this to notate the final ending in a song.
2. Double click on the repeat that you wish to make a winged repeat.
Overture opens the Repeat Setting Dialog.
3. Check the Winged repeat box and choose OK.
Overture adds a wing to the repeat.
Double click on the repeat
Winged Repeat
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To create an ending, select one of the ending tools and drag across the Score window beginning at the first measure in the ending and stopping at the end of the last measure in the ending. You can drag endings across systems if necessary.
You can place any text you want in an ending. To do so, double-click the upper right corner of an ending to open the Set Ending dialog box.
Use the Set Ending dialog box to put text into an ending. Generally, endings contain only numbers to identify them, but Overture lets you type any text you want into an ending. You may find it fastest to use the numbered checkboxes to name endings. For example, if you want the same ending for 1, 3, and 5, simply check the 1, 3, and 5 checkboxes—Overture automatically puts the numbers into the Set Ending dialog box’s Text field.
You can also define the ending’s font. Click the font button to open the Font dialog box, which is discussed in “Font Button” on page 563.
Drag from here...
...to here...... and notice that Overture automatically wraps endings across staves
Double-click here...
...to open theSet Endingdialog box
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Read the next three sections to learn how to create first endings, middle endings and final endings using the ending tools and the Set Ending dialog box.
First EndingsTo create a first ending:
1. Select the First Ending tool from the Barlines palette.
2. Move the cursor over the Score window.
The cursor becomes a crosshair pointer.
3. Press and hold the mouse at the left edge of the first measure in the ending and drag to the end of the last measure in the ending.
Overture inserts a first ending, names it 1 and inserts a Close Repeat sign in the final measure of the ending.Drag from here... ...to here
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Middle EndingsMiddle endings are identical to first endings, except they’re notated with an ending number other than 1. To create a middle ending:
4. Make sure Options>Play Style>Repeats is checked.
If you don’t check this option, MIDI playback ignores all repeats in an Overture score.
5. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat sign after measure 2, causing MIDI playback to jump back to measure 1. After re-playing measure 1, playback jumps to measure 3.
Specifically, Overture plays the measures in the following order:
1->2->1->3->4->5->...
1. Select the First Ending tool from the Barlines palette.
2. Move the cursor over the Score window.
The cursor becomes a crosshair pointer.
3. Press and hold the mouse at the left edge of the first measure in the ending and drag to the end of the last measure in the ending.
Overture inserts an ending, gives it the default name of 1 and inserts a Close Repeat sign in the final measure of the ending.
Drag from here... ...to here
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4. Using the Arrow Cursor tool, double-click the upper-right corner of the ending.
Overture opens the Set Ending dialog box.
5. Since this is the second ending in the score, check the 2 checkbox and uncheck the 1 checkbox.
The Text area shows the exact text that will appear in the ending.
6. Click the OK button.
Overture changes the ending number to 2.
7. Make sure Options>Play Style>Repeats is checked.
If you don’t check this option, MIDI playback ignores all repeats in an Overture score.
8. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat signs after measure 1 and measure 2. Specifically, Overture plays the measures in the following order:
1->2->1->3->1->4->5...
Double-click here...
...to open theSet Endingdialog box
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Final EndingsTo insert a final ending:
1. Select the Final Ending tool from the Barlines palette.
2. Move the cursor over the Score window.
The cursor becomes a crosshair pointer.
3. Press and hold the mouse at the left edge of the first measure in the ending and drag to the end of the last measure in the ending.
Overture inserts a final ending and gives it the default name of 2.
Since this is actually the third ending, you’ll need to change its number from 2 to 3. To do so:
4. Double-click the upper-right corner of the ending.
Overture opens the Set Ending dialog box.
5. Check the 3 checkbox and uncheck the 2 checkbox.
Drag from here... ...to here
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Deleting BarlinesYou can delete dotted barlines by clicking their edit handles with the Eraser Cursor. Similarly, you can convert any type of barline (except dotted) into a standard barline by clicking its edit handle with the Eraser Cursor.
The Barline edit handle is located at the top of the barline, where the barline crosses the top line in the staff.
Edit handles are always available, but normally hidden unless you select Options>Show>Handles. The edit handle does not have to be visible in order for you to click it. For more information about editing and moving barlines, see “Changing Bar Widths” on page 106.
6. Click the OK button.
Overture changes the ending number to 3.
7. Make sure Options>Play Style>Repeats is checked.
If you don’t check this option, MIDI playback ignores all repeats in an Overture score.
8. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat signs after measure 1 and measure 2. Specifically, Overture plays the measures in the following order:
1->2->1->3->1->4->5->6
Barline Edit Handle.
Click with Eraser cursor tochange this repeat barlineback into a standard barline
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Hiding Standard BarlinesYou can hide standard barlines by clicking their edit handles with the Eraser Cursor.
If you choose Options>Show>Invisibles, Overture displays the hidden barlines in grey (though they still are invisible when printing).
To make a hidden barline visible again:
1. Select the Standard Barline tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor close to the barline you wish to change.
Overture changes the hidden barline into a standard visible barline.
Barline Edit Handles(click with Erasercursor to hidestandard barlines)
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Use this button to set Overture’s transcription quantization level. The button always shows the currently selected transcription quantize value.
Setting a Transcription Quantize AmountWhenever Overture converts raw MIDI data into standard music notation, it does so using the value displayed in the Transcription Quantize Amount button. Therefore, whenever you transcribe raw MIDI data into notation, you generally select a transcription quantize value that corresponds to the smallest note value you plan to transcribe. For example, if the smallest note you’ll transcribe is an eighth note, set a transcription quantize amount equal to an eighth note—this keeps Overture from misinterpreting any sloppy playing. Of course, there are exceptions to this rule and they’re discussed in “Transcription Quantization and Manual Transcription” on page 260.
Overture interprets triplets of any value equal to or greater than the selected quantize amount. For example, if you select a sixteenth note quantize value, Overture recognizes and transcribes not only sixteenth note triplets but also eighth and quarter note triplets.
Transcription Quantize Amount button
Note:This button does not quantize the actual MIDI data—rather it quantizes the transcribed notation of the MIDI data. MIDI data is unaffected by this button.
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To select a transcription quantization value:
Using Transcription QuantizationWhenever you convert raw MIDI data into standard music notation, Overture quantizes the transcription to the value set by the Transcription Quantize Amount button. The following sections show some examples using different transcription processes.
Transcription Quantization and Auto TranscriptionIf your scores are rather simple, you may find it adequate to use Overture’s auto transcription feature. This feature (which you can enable either in the Record Options dialog box, or by checking Options>Auto Transcribe) automatically transcribes all recorded MIDI data into standard notation using the value shown in the Transcription Quantize button. The advantage of auto transcription is that it saves you the additional step of manually converting MIDI data into standard music notation. The disadvantage is that it doesn’t let you selectively transcribe raw MIDI data using different transcription quantize values. The Auto Transcribe option is discussed in “Record Options” on page 634.
Transcription Quantization and Manual TranscriptionIf your score is rather complex, you may want to transcribe MIDI data manually. The advantage of manual transcription is that it lets you selectively choose a transcription quantize amount and voice for any note or group of notes. For example, if your score contains a few measures of eighth notes, then a few
1. Press and hold the Transcription Quantize Amount button.
Overture opens a pop-up menu of quantize values.
2. While still holding the mouse button, drag the cursor over the desired quantize level (highlighting it), then release the mouse button.
Overture sets the transcribe quantization to the selected level and displays your selection as the button’s icon.
Important:Overture’s smallest transcription quantize amount is the straight (non-tuplet) value of the selected quantize note. Therefore, it is necessary to select a smaller quantize amount when transcribing tuplets. For example, if you select a transcription quantize amount of a sixteenth note, the smallest triplet note value Overture transcribes correctly is an eighth note triplet.
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measures of sixteenth note triplets, you would find it easiest to transcribe the eighth notes using the eighth note transcription quantize amount, then transcribe the sixteenth note triplet section using a sixteenth note triplet transcription quantize amount.
Follow through this example to see how to record and manually transcribe raw MIDI data:
1. Choose Options>Record Options.
Overture opens the Record Options dialog box.
2. Make sure the Auto Transcribe option is unchecked, then click the OK button.
Alternatively, you could simply uncheck the Options>Auto Transcribe option.
3. Type the enter key on number pad key to begin recording.
4. Play some music on your MIDI controller.
5. Type the space or enter key on number pad key to stop recording.
Overture displays the recorded music as raw MIDI data.
6. Select the raw MIDI data you want to transcribe.
You select raw MIDI data exactly as you select standard music notation symbols.
7. Select a note value from the Transcription Quantize Amount pop-up menu.
8. Choose Notes>Transcribe.
Overture transcribes the highlighted MIDI data into standard music notation using the selected transcription quantize amount. See “Transcribe” on page 606 for more information about the Transcribe command.
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Fixing Transcription Quantization MistakesIf you find a transcription quantization error in your score, you can fix it using the Notes>Transcribe command.
For example, assume your score contains the transcription quantization error below.
To correct this transcription quantization error:
1. Select the incorrectly transcribed notes.
2. Press and hold the mouse on the Transcription Quantize Amount button.
Overture opens a pop-up menu of transcription quantization amounts.
3. Select the sixteenth note from the pop-up menu.
Assume you wanted this...
...but because the Transcription Quantize Amountwas set to eighth notes, you got this...
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4. Choose Notes>Transcribe.
Overture converts the notes into raw MIDI data (as though you chose the Notes to Raw command), then transcribes them back into standard music notation using a sixteenth note transcription quantize amount.
Notes re-transcribedusing sixteenth notetranscription quantization
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The Transport window contains buttons to control MIDI recording and playback, and a pop-up menu to select the MIDI Thru Instrument.
To open the Transport window, choose Windows>Transport.
Transport ControlsThe five buttons to the left of the Transport window are Overture’s Transport Controls.
Use these buttons when you want to play a score using MIDI sound modules, or when you want to record MIDI data in real-time.
Thru Device
Record buttonStop button
Play from Beginningbutton
Play from Measurebutton
Punch In button
Punch Out button
Punch In Point Bar-Beat-Unit
Punch Out Point Bar-Beat-Unit
Thru Patch
Countoff Bars
Punch Record button
Rewind button
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The table below shows the function of each Transport Control button as well as its key equivalent. Typing a key equivalent has the same effect as clicking the respective button.
Moving the Transport Controls from the Tool BarTo remove the transport controls from the tool bar, click in the drag area and move them out of the tool bar. They expand into the transport window.
To put the transport controls in the tool bar, drag the palette by its title area to the tool bar.
The window shrinks to its four controls and appears in the tool bar. You can put it below the buttons or to the right of them.
Button Key Equivalent Function
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Rewind cursor to beginning of score.
ctrl[cmd]+space
MIDI playback from the beginning of the score.
return or space while playing
Stops either MIDI recording or MIDI playback.
space
MIDI playback from the insertion point (the blinking cursor)
enter
Real-time MIDI recording from the beginning of the active measure.
Transport Drag Area
Expanded Transport Controls
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Punch Recording
Historical OriginsThe technique of Punch recording originated from tape recording studios. Recording engineers discovered that they could improve sections or fix mistakes in a recorded track without re-recording the entire track. They could correct only the area in which the mistake occurred. Punch recording saved time and conserved the creativity of the musicians by retaining most of an acceptable (or even inspiring) performance. It didn’t require the musician to start from the beginning each time he or she made a small mistake.
General ProcedurePunch recording begins by rewinding the tape to the beginning of the section that needs modification. When the tape starts playing, the musician begins playing as if he or she were recording, in order to get into the flow of the music. Recording does not actually begin, however, until the engineer punches in to activate recording. The musician continues playing, blissfully unaware of the mechanics of the process until the tape arrives at the end of the section being replaced. The engineer then punches out to stop recording.
Punch Recording in OverturePunch recording is a standard feature in professional MIDI sequencers, and is now available in Overture.
You enable punch recording by first defining a punch region bounded by Punch In and Punch Out points and then pressing the Punch Record button in the Transport Window. With the cursor located prior to the Punch In point, press the Record button in the normal manner. Overture begins playback the number of Countoff Bars (see page 273) prior to the Punch In point but begins recording at the Punch In point. Overture stops recording at the Punch Out point.
Punch recording lets you improve sections or fix mistakes without either over-writing music outside the Punch Region or interrupting your performance to punch in and out at the correct times.
In the following sections we discuss three useful methods for setting punch points.
• Using the cursor to locate Punch points
• Setting Punch points manually
• Locating Punch points by playing the score
Whichever method you use, Overture enables Punch recording only when you highlight the Punch Record button.
Important:In previous versions of Overture, the [ and ] keys reversed and advanced through the chords in the Chord Input Window. With the addition of Punch recording to Overture the [ and ] keys now set the Punch In and Punch Out points, respectively, to the current cursor location.
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To Locate the Punch Points Using the CursorThe first method uses the location of the cursor in either the Score or Graphic Windows to derive and set the punch points.
To Set the Punch Points ManuallyThe second method operates directly on the Bar, Beat, and Units numericals in the Transport Window, assuming the user knows the precise settings for the Punch points.
1. In either the Score or Graphic Window, identify the Punch In point by putting the cursor at the desired place.
2. Press the Punch In button.
Alternatively, press the [ key. The Bar, Beat and Units numericals reflect the location of the cursor.
3. In either the Score or Graphic Window, locate the Punch Out point by placing the cursor at the desired location.
4. Press the Punch Out button on the Transport Window.
Alternatively, press the ] key. The Bar, Beat and Units numericals reflect the location of the cursor.
5. Press the Punch Record button to enable Punch recording.
The button highlights when you enable Punch Record.
1. Set the Punch In point by clicking in the top row of the Bar, Beat and Units numericals.
Type a number or use the mouse to set each numerical field.
2. Set the Punch Out location by operating on the lower row of the Bar, Beat, and Units numericals.
Punch In button
Punch Out button Punch Record button (enabled)
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To Locate the Punch Points during PlaybackYou can easily locate and set punch points using the playback controls in the Transport Window.
You can also combine the methods described above to set the Punch points. For example, if playback stops at a location that is close to, but not at, the desired Punch In point, either adjust the Punch In numerical fields directly, or click the cursor at the precise Punch In point.
Thru Device ButtonUse this button to set Overture’s Thru Device. The button always shows the name of the currently selected Device.
If Options>Keyboard Thru is checked (as discussed in “Keyboard Thru” on page 626), MIDI data received by Overture gets sent to the device displayed in the Thru Device button. Overture watches for
3. Enable Punch recording by pressing the Punch Record button.
The button highlights when you enable Punch Record.
1. Place the cursor before the desired Punch In point.
2. Press the Play button on the Transport Window to begin playback.
3. Press the Stop button in the Transport Window when playback reaches the Punch In point.
Pressing the Play button again also stops playback.
4. Press the Punch In button.
The Bar, Beat, and Units numericals reflect the location of the cursor.
5. Press the Play button to resume playback.
6. When the Punch Out point is reached, press the Stop button.
The cursor is at the Punch Out point.
7. Press the Punch Out button to set the Punch Out point.
8. Enable Punch recording by pressing the Punch Record button.
Thru Device button
Thru Patch button
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MIDI input from any device that you select as an Input Device (as discussed in “MIDI Devices” on page 637) and passes the MIDI data out to the device that you select as a Thru Device.
This feature allows your master MIDI keyboard to play any device in your studio.
To select a Thru Device:
If you check the MIDI Through Follows Tracks option in the Preferences dialog box (as discussed in “MIDI Through Follows Tracks” on page 651), and you select a different track or voice in the Score window, Overture automatically changes the Thru Device to the device assigned in the Tracks window. See Chapter 29, “Tracks List Window.”
Thru PatchYou need to understand Keyboard Thru to use Thru Patch correctly. See “Keyboard Thru” on page 626.
The Thru Patch pop-up menu selects a patch on the Thru Device.
This feature lets the MIDI controller play different patches and devices thru the computer without permanently changing the track’s patch setting. For example, if you’ve already assigned an instrument that has the correct device and patch settings to the current track and you want to search for a sound to use for a new track, you can experiment using the Thru pop-up menus without over-writing the patch or device settings for the current track.
You can put changes made using the Thru Patch and Thru Device pop-up menus permanently into the track by holding down the Control[Command]-key when choosing a new patch and/or device.
1. Press and hold the mouse on the Thru Device button.
Overture opens a pop-up menu of all the devices in your current studio setup.
2. Release the mouse over the device you wish to use as a Thru Device.
Overture selects the device as the Thru Device and displays its name in the Thru Device button.
Expert Tip:You must select Options>Keyboard Thru to transmit the changes made in the Thru pop-up menus to the MIDI device. You must turn Local Control Off on the MIDI controller (if it generates sound) to use Keyboard Thru correctly.
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Count OffCount Off allows the musician to begin recording at the correct tempo by previewing the metronome before recording begins. Overture supports a maximum of 8 count off bars. After you click the Record button, the metronome ticks the specified number of count off bars at the current tempo before beginning recording. To set the number of count off bars, set the Count Off field to a number between 0 (no count off) and 8. See page 630 for a complete discussion of the metronome.
Real Time MIDI RecordingUsing a MIDI controller, you can record MIDI data directly into Overture. The following sections discuss the process.
Basic SetupBefore you record your first track, you need to make sure that your hardware is connected and that all the software is configured properly. To do so:
1. Make sure you have a MIDI controller and sound source connected to a MIDI interface, and that the interface is connected to your computer properly. [On the Mac: Make sure your Audio MIDI Setup document is properly configured.]
2. Choose Options>MIDI Devices.
Overture opens the MIDI Devices dialog box.
3. Select your MIDI controller as an input port in the MIDI Devices dialog box.
4. Click OK.
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Setting Metronome and Record OptionsNext, you must make decisions concerning metronome use, voice assignments, and other recording options. To do so:
1. From the Options>Metronome submenu, select if and when you want the metronome to click.
If you select Click in Record, Overture’s metronome clicks for the number of countoff bars and throughout the entire recording. If you select Click in Countoff Only, Overture’s metronome clicks only during the count off measure. If you don’t select either option, Overture does not play a one-bar countoff before recording and the metronome will not click at all while Overture records.
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2. If you decide to use the metronome, choose Options>Metronome>Metronome Sound.
Overture opens the Metronome dialog box.
3. Use the Metronome dialog box to assign a click sound to the metronome.
To learn more about the metronome and its related options, see “Metronome” on page 630.
4. Decide whether you want the recorded music to be auto beamed, auto positioned, or auto transcribed by checking the appropriate options in the Options menu.
We discuss each of these options in detail in Chapter 40, “Options Menu.”
5. If you decide you want Overture to automatically transcribe the music, select a transcription quantize value with the Tool Bar’s Transcription Quantize Amount button.
For details, see Chapter 27, “Transcription Quantize Amount Button.”
6. Decide whether or not to check the Options>Keyboard Thru option.
This feature allows you to play a master MIDI controller and hear the output from any sound module in your studio. Generally, you should select this option if your MIDI controller and sound module are separate instruments (or you use a multitimbral keyboard synth with its Local Control turned off). You should uncheck this option if you’re using a single keyboard synthesizer and its Local Control is turned on. For more information, see “Keyboard Thru” on page 626.
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7. Using the pop-up menu at the bottom of the Score window, select a Voice to record.
8. Choose Options>Record Options.
Overture opens the Record Options dialog box.
9. Select the desired record options, then click the OK button.
We discuss the Record Options dialog box in “Record Options” on page 634.
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RecordingYou’re ready to start recording tracks. To do so:
1. Using the Transport Window’s Thru Instrument button, select the MIDI device on which you wish to record.
2. In the Score window, click the measure and staff at which you want recording to begin.
3. In the Transport window, click the Record button, or press the number pad Enter key.
If you checked either the Click in Record or Click in Countoff Only options in the Options>Metronome submenu, Overture counts off the number of selected measures, then begins to record. If you didn’t check any count off options, Overture begins to record immediately.
4. Play your MIDI controller.
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5. When you’re finished recording, click the Stop button in the Transport window, or type the space bar or number pad Enter key.
Overture records the MIDI data and transcribes it in the Score window. If you selected Options>Auto Transcribe, Overture automatically transcribes the music using the transcription quantize amount set with the Tool Bar’s Transcription Quantize Amount button.
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The Tracks window defines the characteristics of all the tracks in your Overture score.
To open the Tracks window, choose Windows>Tracks.
Track name
k triangle to
Click to mute
Click to solo
Specify the MIDIchannel Select a patch
Set a volume levelwith this numerical
Click to set a stemdirection for each voice
Select number ofvoices per trackwith this numerical
w/hide all voices
Double-click hereto open the TrackSetup dialog box
Drag here tore-order Tracks
Specify output devicefor playing the track
Specify the set of patchnames for the track
Set a transpositionlevel (in semi-tones)with this numerical
Set a stereo distributionwith this numerical Select a bank
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Tracks Window OverviewThe Tracks window is organized as a grid. Each row represents a different track (or voice), and each column edits a different parameter for that track (or voice). Use the tracks window to:
• enable tracks
• arrange tracks
• assign MIDI playback devices, programs, volume, pan, channels and transposition values to tracks
• specify the number of voices in a track
• determine voice stem directions in a track
See “The Instruments Library and the Tracks Window” on page 446 for a way to automate some of these tasks.
About VoicesEach Overture track may contain as many as eight separate voices. A voice is defined as a single rhythmic line within a track. Some tracks require more than one voice to notate and playback correctly. Specifically:
• If you notate more than one instrument per staff, you’ll need to use multiple voices to distinguish between the multiple instruments.
• If you notate a polyphonic instrument (such as a piano) that plays different rhythmic lines simultaneously, you’ll need to use multiple voices to distinguish between the multiple rhythmic lines.
See “Voice” on page 7 for more information about voices and how to use them.
Viewing Voice AssignmentsYou can view all the voice assignments in a track by clicking the small right-pointing triangle to the right of the track number. This causes Overture to display all the voice assignments for that track. It also rotates the small triangle to point downward. You can click the downward-pointing triangle to hide the voice assignments for a track.
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Setting the Number of Voices for a TrackUse the Voices column numerical to set the number of voices used by each track.
If a track uses only one voice, set the numerical to 1. If a track uses three voices, set the numerical to 3. You can assign up to eight voices per track. When you look at a track’s voice assignments, you’ll see only as many voices as are defined in the Voices column.
Click the little triangle to viewall the voice assignmentsfor that track.
Click here to hide allthe voice assignmentsfor that track.
This numerical determines thenumber of voice assignmentsthat appear for a track.
Use this numerical to set thenumber of voices used by each track
Note:If you assign an Instrument name in the Setup Track dialog box, Overture automatically assigns a default number of voices to that track corresponding to the type of instrument selected. You can override this default by using the Voices numerical. We discuss the Setup Track dialog box in “Setup Track” on page 490.
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Setting Stem Direction for a Track or VoiceUse the Stem column to set a stem direction for each track or voice.
There are three possible stem directions:
• Auto Stem: Overture determines stem direction based on staff position. Stems point down for any notes below the middle line and point up for any notes on or above the middle line.
• Up Stem: Overture makes all stems point up regardless of staff position.
• Down Stem: Overture makes all stems point down regardless of staff position.
To switch between them, simply click the icon in the Stem column until it shows the desired stem direction.
In general, you’ll use the Auto Stem direction for either single-voice tracks or for multi-voice tracks that notate multitimbral instruments, that is, instruments that make more than one sound at a time. For tracks notating two or more instruments, you’ll probably want to define a stem direction for each voice so as to distinguish which instrument plays which voice.
Use this numerical to set thestem direction used by each track
Auto StemOverture determines stem direction
based on staff position
Up StemOverture makes all stems point up
regardless of staff position
Down StemOverture makes all stems point down
regardless of staff position
(click) (click)
(click)
Important:Setting a direction in the stem column does not change the stem directions of any existing notes in a track. Rather, it sets the direction for any newly entered notes. If you want to change stem direction of existing notes, use the Notes>Stem>Stem Up or Notes>Stem>Stem Down commands as discussed in “Stem” on page 595.
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Device Selection for a Track or VoiceYou can assign a different MIDI device to play each separate track. To do so, press and hold the mouse in the Device column and select a new device from the pop-up menu. This pop-up menu lists every device defined by your current MIDI Setup.
If you check the MIDI Through Follows Tracks option in the Preferences dialog box (as discussed in “MIDI Through Follows Tracks” on page 651), and you select a different track or voice in the Score window, Overture automatically changes the Thru Instrument to the device assigned in this column.
Setting a Channel for a Track or VoiceMIDI transmits information on 16 channels, 1 through 16. On playback, the channel number directs the MIDI information to a particular piece of equipment. Specify a number by pressing and holding on the space, then selecting a number from the pop-up menu.
Bank Selection for a Track or VoiceChoose a bank containing the patches you need for this track. Specify a bank by pressing and holding on the space, then selecting a number from the pop-up menu.
Press and hold the mouse here......to open a Device selection pop-up menu
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Patch Selection for a Track or VoicePick a patch from the pop-up menu.
When Overture plays a track, it sends the patch message to your MIDI device. If you don’t want Overture to change your MIDI device’s internal program, set the patch to None.
You can also use Overture’s Graphic window to insert MIDI patch information into a score. For more information about how to insert this and other types of MIDI data, see “Using the Controllers Pane” on page 296 [“The Strip Chart” on page 326 on the MAC].
Press and hold the mouse here......to open a patch selection pop-up menu
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Setting Volume for a Track or VoiceYou can assign a default MIDI volume level to each track (or voice) by entering it in the Vol column.
When Overture plays a track, it sends the MIDI volume message to your MIDI device. If you don’t want Overture to set your MIDI device’s volume, set the numerical to -.
You can also use Overture’s Graphic window to insert MIDI volume changes into a score. For more information about how to insert this and other types of MIDI data, see “Using the Controllers Pane” on page 296 [“The Strip Chart” on page 326 on the MAC].
Setting Pan for a Track or Voice
Press and hold on the space to open a pop-up menu of possible choices. Select a number between -64 and +63 to specify a default left-right balance for the track or voice. 0 balances both sides equally.
Setting Transposition for a Track or VoiceYou can assign a default MIDI transposition value (in semitones) to each track (or voice) by entering it in the Pitch column.
This is the same as the Transpose:Playback Numerical in the Setup Track dialog box. It does not affect the staff; it affects playback only.
When Overture plays a track, it transposes the MIDI data before sending it to your MIDI device. If you don’t want Overture to transpose a track’s MIDI data, set the numerical to 0.
Use this numerical to set a defaultMIDI volume level for a track or voice
Use this numerical to set a defaultMIDI transposition amount for a track or voice
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Muting a TrackYou can mute the playback of any one or more tracks by clicking in the corresponding Mute column.
All muted tracks are indicated by the letter M. To unmute a track, simply click the M in the Mute column. You can also mute individual voices.
Soloing a TrackYou can solo the playback of any one or more tracks by clicking in the corresponding Solo column.
All soloed tracks are indicated by the letter S. To un-solo a track, click the S in the Solo column. You can also solo individual voices.
Rearranging TracksYou can change the order of tracks by dragging them to new locations. When you change track order in the Tracks window, the staves also change order in the Score window.
Click here to either mute orunmute a track
Note:Overture ignores muted tracks when exporting to a MIDI file. Therefore, if you want to export an Overture file but don’t want all the tracks included in the exported file, mute those tracks in this window. For more information, see “Export” on page 453.
Click here to either solo orun-solo a track
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To change track order:
1. Press and hold the mouse over the far left of the track you wish to move.
Make sure the cursor is in the far left column, underneath the up/down arrow indicator ( ).
2. Drag the track to the desired location.
A outline of the track shows where you’re moving it.
3. Release the mouse button when the track is in the desired location.
Overture moves the track in the Tracks window and the corresponding staff in the Score window.
Outline indicatesTrack being moved
Repositioned Track
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Opening the Setup Track Dialog BoxYou can open the Setup Track dialog box for any track by double-clicking in the far left column, underneath the up/down arrow indicator ( ).
This is the same as clicking a staff selection handle in the Score window and choosing Score>Setup Track. To learn about the Setup Track dialog box, see “Setup Track” on page 490.
Double-click here...
...to open the Setup Trackdialog box for the Track
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Overture lets you edit the events in your songs in dozens of different ways. The Graphic Window lets you add and edit notes, controllers, and automation data interactively, using a graphic display. Overture’s many editing commands can improve the quality of recorded performances, filter out certain types of events, and modify the tempos and dynamics of your songs.
The Graphic window displays all notes and other events from a single track in a grid format that looks much like a player piano roll. Notes display as horizontal bars, and drum notes as diamonds. Pitch runs from bottom to top, with the left vertical margin indicating the pitches as piano keys or note names. Time runs left to right with vertical measure and beat boundaries. The Graphic window facilitates adding, editing, and deleting notes.
The Graphic window has two main panes: the Piano Roll view pane and the Controllers pane. When you first open a Graphic Window, the Piano Roll pane is at the top and the Controllers pane is at the bottom. Drag the gray splitter bar up or down to display more or less of each pane.
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To open the Graphic window, choose Window>Graphics Window.
Zoom tools let you change the vertical and horizontal scale of the view. Hold the Shift key and click the zoom tool to jump to the largest or smallest scale.
The Snap Grid button snaps note start times and durations to the snap grid resolution. You can set the resolution to any note length in the Snap Grid pop-up menu.
Selecting and Editing NotesTo select notes in the Graphics window:
• Use the Select tool to select notes
Or
The Piano Roll ViewThe Piano Roll is so named because it resembles the old rolls of paper used by player pianos. The Piano Roll consists of a grid—the vertical lines represent bar lines and the horizontal lines indicate pitch. Notes are represented on the Piano Roll as black, rectangular blocks. The length of the block represents the duration of the note.
Controllers menu Snap Grid button Tracks menu
Note pane
Splitter bar
Controllers pane
Snap Grid menu
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• Click or drag the piano keys to select all notes of the given pitch(es)
Shift-click to add notes to the selection and Control-click to toggle between adding to or removing from the selection.
You can add notes to your score by clicking in the Note pane with the draw tool . Overture remembers the velocity, duration, and channel of the note that you most recently moved, edited, or deleted, and uses these same characteristics for new notes automatically. You can edit notes freely, using the mouse to change the start time, pitch, or duration. You can move and copy notes anywhere in the track.
You can scrub the current track. The Scrub tool lets you drag a vertical bar over the view so that you can hear the notes in the track. You can scrub forward or backward at any speed. Scrubbing can be handy when you want to locate a bad note or listen to the effects of changes you have made without playing back at normal speed.
To Select Notes with the Selection Tool
To Select All Notes of Certain Pitches
1. Click to select the Arrow cursor.
2. Select notes as shown in the table:
To do this Do this
Select a single note Click on the note
Select several notes at once Drag a rectangle around the notes you want to select
Add to the selection Hold the Shift key while selecting notes
Toggle the selection Hold the Control key while selecting notes
Selected notes are highlighted in the Note Pane view, and the time selection is set to the range of note start times.
Click the piano keys or note names on the left side of the Note pane as shown in the table:
To do this Do this
Select all notes of a single pitch Click on the piano key or note name
Select all notes of several pitches Drag across the keys or note names
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To Edit a Note
Add to the selection Hold the Shift key while clicking on a piano key or note name
Toggle the selection Hold the Control key while clicking on a piano key or note name
1. Click to choose the Draw tool.
2. Edit notes as described in the table:
To do this Do this
Change the start time Drag the left edge of the note in either direction. The note duration stays the same, but the start time is shifted.
Change the pitch Drag the middle of the note up or down.
Change the duration Drag the right edge of the note in either direction.
If the snap grid is enabled, the start time of each note is restricted to points on the snap grid, and the length of each note is restricted to multiples of the snap grid. For example, if the snap grid is set to quarter-note resolution, you can move notes only to quarter-note boundaries, and you can increase or decrease the duration only by quarter notes.
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To Change Note(s) Velocity
To Move Notes
To Copy Notes
To Add a Note
1. Display the Controller’s pane.
2. Select Velocity in the popup menu.
3. Click or type d to choose the Draw tool.
4. Draw a line or curve representing the velocity of the note(s) value you want.
1. Click or type s to choose the Select tool.
2. Select one or more notes.
3. Drag the selected notes to a new location.
Overture moves the selected notes.
1. Click or type s to choose the Select tool.
2. Select one or more notes.
3. Press and hold the Control key.
4. Drag the selected notes to a new location.
Overture copies the selected notes.
1. Click or type d to choose the Draw tool.
2. Press and hold the left mouse button in the Notes pane. Overture adds a new note with the duration and velocity of the last note you edited.
3. Drag the note to the desired location.
4. Release the mouse button.
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To Erase a Note
To Erase Several Notes
To Select and Erase Notes
To Scrub the Song
Percussion, Drum Notes, and Note NamesIf you are editing a track that is routed to a percussion instrument, the Graphics window automatically configures itself in drum mode. In drum mode, the names of the various percussion instruments replace the piano keys. This means it is easy to change percussion notes from one instrument to another or to select and edit the notes played by a single percussion instrument.
To display drum note names:
1. Click or type e to choose the Erase tool.
2. Click on any note to delete it.
1. Click or press e to choose the Erase tool.
2. Drag the cursor across notes to delete them.
3. Release the mouse button when you are done.
1. Click or press s to choose the Select tool.
2. Select one or more notes.
3. Press the Delete key to delete the notes.
1. Click or press b to choose the Scrub tool.
2. Press and hold the left mouse button in the Notes pane. Overture displays a vertical line and plays any notes that are underneath the line.
3. Drag the line to the left or right, at any desired speed.
1. Set the track to a percussion definition.
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The Controller Pane ViewThe Controllers pane, the lower half of the Graphics window, lets you edit MIDI, controller, velocity, and pitch wheel data.
MIDI hardware and software use controllers, special types of events, to control the details of how MIDI music is played. They use automation data to adjust volume, pan, and other parameters of MIDI and audio tracks on the fly while playback is in progress.
Overture lets you enter or edit controller and automation data using the Controllers pane in the Graphic window.
ControllersControllers are the pedals, knobs, and wheels on your electronic instrument that you use to change the sound while you're playing. For example, a sustain pedal and a modulation wheel are two controllers commonly found on keyboards.
Controllers let you control the detail and character of your music. Say you’re playing a guitar sound on your synthesizer, but it sounds lifeless and dull. That’s partly because a guitar player doesn’t just play notes one after another — he often bends or slides on the strings to put emotion into his playing. You can use controllers in the same way, creating bends, volume swells, and other effects that make sounds more realistic and more fun to listen to.
Your computer can work the controllers on your electronic instrument by sending MIDI Controller messages. The MIDI specification allows for 128 different types of controllers, many of which have standard usages. For example, controller 7 is normally used for volume events, and controller 10 is normally used for pan. Every controller can take on a value ranging from 0 to 127.
The Graphic window toolbar contains two drop-down lists, Data type and Controller, that let you choose the controller or data you want to see and edit. The contents of these lists depend on the port and channel settings and on the instrument assigned to that port and channel. Different instruments use controllers in different ways. Overture lets you use instrument definitions to define the names that go with each controller number. For more information on instrument definitions, see Chapter 43, “Instrument Assignments and Definitions (PC).”
2. Assign an instrument with defined note names.
Note:Overture has automatic searchback for all continuous controller data to ensure that the correct controller values are in effect regardless of where you start playback. Suppose you start playback halfway through a song. Overture searches back from that point to find any earlier controller values that should still apply.
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Velocity, Pitch Wheel, and AftertouchOverture lets you display and edit several other types of data the same way you do controller data. These data depend on your port and channel settings and on the instruments assigned to them. They may include, for example:
• Velocity. MIDI note velocities
• Wheel. MIDI pitch wheel or pitch-bend messages
• ChanAft. MIDI channel aftertouch (ChanAft) values
• Control. MIDI Controller values
• Tempo. Song tempos
Note velocity is an attribute of each note and not a completely separate event. You cannot add or remove velocity events in the Controllers pane, but you can use the draw and straight line tools to adjust the velocity values for existing notes. You can also edit velocities with the Notes>Modify Notes command. To use this command, see “Modify” on page 575.
Using the Controllers PaneThe Controllers pane is the most powerful and flexible way to edit data. The Controllers pane is the lower half of the Graphic window. To display the Controller pane, drag the splitter bar at the bottom of the Graphic window up.
Tools for editing controllers
Choose the type of data to edit
Pick the controller to change
Choose the track
Controllers paneSplitter bar
Snap Grid button
Snap Grid menu
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The Controllers pane looks like a graph; the horizontal axis represents time, and the vertical axis represents the event values. Each event appears as a single vertical line, and the height of this line shows the value of the event. The Controllers pane shows events for a single track. You can only see one type of controller at a time. You can zoom in and out on the Controllers pane using the zoom and unzoom buttons in the scrollbar. To zoom all the way in or out in a single step, hold the Shift key while you click on the tool.
Selection methods in the Controllers pane are similar to those in other views. Here is a summary:
• Click a controller value to select it
• Shift-click to add other controller values to the selection
• Ctrl-click to toggle the selection state of a controller
• Drag a rectangle around several controller values to select them
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The Controllers pane has the same tools you use to edit notes; use them to add or modify controller events:
When you use the Draw tool, the speed with which you drag the mouse determines the density of controller events. To insert a larger number of controller events with relatively small changes in value, move the mouse slowly. To insert a smaller number of controller events with relatively large changes in value, drag the mouse quickly.
Creating a change that sounds smooth does not always require making the value change by one on each unit. Bigger jumps may sound very gradual if the tempo is fast. Also, many devices round off the controller values. For example, many instruments respond to volume controller values of 100 and 101 with exactly the same loudness. Using too high a density of controller events can backfire by making the computer work so hard during playback that it is unable to keep up. This will usually cause hiccups or poor timing during playback.
Tool... Name... What it’s for...
Select Select controller events, so you can delete them
Line Draw a straight line indicating a steady increase or decrease in controller value
Draw Draw a custom curve indicating changes in controller value
Erase Erase controller changes already in place
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To Display Different Types of Data
To Insert a Controller Value
To Draw a Linear Series of Controllers
To Draw a Series of Controller Value Changes
1. Select the track whose controller data you want to see by clicking the track number in the Track view.
2. Choose Window>Graphic Window to display the Graphic window.
3. Choose the data you want to see. For controllers also choose the controller number.
Overture displays the data in the controllers pane.
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool or the tool.
3. Click in the Controllers pane view at any desired time point and value.
Overture adds a controller at the indicated point.
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool.
3. Drag a line in the Controllers pane from the starting time and value to the ending time and value.
Overture adds a series of controllers and erases any existing controller values in the same time interval.
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool.
3. Drag the cursor across the Controllers pane, adjusting the value as you move left to right.
Overture adds a series of controllers and erases any existing controller values in the same time interval.
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To Remove or Erase Controllers
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool.
3. Drag the mouse over the desired region to highlight the region you want to erase.
4. Release the mouse button when you have highlighted the desired region.
Overture deletes all controllers of the selected type. You cannot delete velocity events in the Controllers pane. You must delete the notes that have those velocities.
Tip:When using the tool, you can press and hold the Shift key to draw a straight line.
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Although Overture is not a stand-alone sequencing program, it does offer many powerful MIDI data editing tools. Among these is the Graphic window, which graphically displays a track’s MIDI data using a piano roll and strip chart display. Use the Graphic window to edit any MIDI data in any track. Overture automatically applies any changes you make in the Graphic window to the Score window and vice versa.
To open the Graphic window, choose Windows>Graphic.
Piano Roll
Zoom To FitButton
PencilTool
SelectionTools
Quantize Cursor Buttons
MIDI Instrument
Track Select
Cursor PositionDisplay
Ruler(displaysbar & beat)
Notes (displayedin raw MIDI form)
Zoom Buttons
Mute and SoloButtons
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Track Select ButtonUse this button to select which track Overture displays in the Graphic window. The button always shows the name of the currently displayed track (as does the window’s title bar).
To change the track whose MIDI data is displayed in the Graphic window, select a different track from the Track Select pop-up menu. Specifically:
1. Press and hold the mouse button on the Track Select pop-up menu.
Overture displays a list of all tracks in the active score.
2. While still holding the mouse button, move the cursor over the track you wish to view.
Overture highlights the track.
3. Release the mouse button.
The graphic window now shows the MIDI data contained in the selected track.
Track Selectpop-up Menu
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The Piano RollThe Piano Roll is so named because it resembles the old rolls of paper used by player pianos.
The Piano Roll consists of a grid—the vertical lines represent bar lines and the horizontal lines indicate pitch. Notes are represented on the Piano Roll as black, rectangular blocks. The length of the block represents the duration of the note.
For example, the Piano Roll below contains two notes:
• The first is a C3 (indicated by its vertical position), and it occurs on the second beat of the first bar (indicated by its horizontal position) and lasts for two beats (indicated by its length). The second is a G3, and it occurs on the third beat of the second bar and lasts for one beat.
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The two measures shown above translate into the standard music notation below.
Cursor Position DisplayThe Cursor Position display shows both the horizontal and vertical position of the cursor in the Piano Roll.
Horizontal Cursor PositionThe horizontal position of the cursor is displayed in Bars • Beats • Clocks.
Overture indicates the horizontal cursor position with three numbers:
• The bar number displays the measure number containing the cursor.
• The beat number displays how many beats the cursor is into the measure.
Cursor
This shows the horizontalposition of the cursor inBars • Beats • Clocks
This shows the verticalposition of the cursorby note name
Bar numberBeat numberClock number
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• The clock number displays how many clocks the insertion point is into the beat. Overture records and plays notes with a resolution of 480 clocks per quarter note, so an eighth note equals 240 clocks; a sixteenth note 120 clocks, and so on.
The cursor position above indicates that the cursor is at 2 • 4 • 240. This means the cursor is in the second measure and midway through the fourth beat.
Vertical Cursor PositionThe vertical position of the cursor is displayed as a note name. The MIDI standard supports 128 notes ranging from C-2 to G8 with Middle C = C3.
Cursor
Cursor
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Quantize Cursor ButtonsUse the Quantize Cursor buttons to limit cursor movements to exact beat values. This is particularly useful for selecting a range of notes based on exact beat values or for moving notes in exact beat increments.
Cursor Quantize On/OffCursor Quantize Value
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There are two Quantize Cursor buttons:
• Cursor Quantize On/Off: Click this button to turn cursor quantization on and off. Cursor Quantization is ON when the button is highlighted.
• Cursor Quantize Value: Press and hold this button to select the cursor quantization value. This button always displays the active cursor quantization value.
The following discussion tells why you may wish to turn off cursor quantization:
• When cursor quantization is off, the cursor moves at its maximum resolution of 1/480th of a quarter note. Turning cursor quantization off allows you to move notes with maximum accuracy, slightly adjusting their timing and, therefore, their feel. Turning off cursor quantization also lets you select precise, non-quantized editing regions (such as 1•1•225 to 1•3•390).
• When cursor quantization is on, the cursor moves across the Piano Roll in discrete increments equal to the Cursor Quantize value. For example, if the cursor is quantized to quarter notes, selections will only begin or end upon times like 1•1•0, 1•2•0, 4•3•0, or any others with a clock value equal to zero. Similarly, if the cursor is quantized to eighth notes, selections will only begin or end upon times like 1•2•240, 1•4•0, 5•1•240, or any others with a clock value equal to either zero or 240. If you’re not sure what these numbers mean, please read “Horizontal Cursor Position” on page 304.
Cursor Quantization ON Cursor Quantization OFF
1. Press and hold to opena quantization valuepop-up menu.
2. Select a quantizationvalue from the pop-upmenu.
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Zoom ButtonsUse the Zoom buttons to either zoom in for a detailed look at a narrow region of data or to zoom out for an overview of many measures worth of data. The zoom buttons affect only the horizontal display—the vertical display is unaffected.
There are two Zoom buttons. These are discussed in the following two sections.
Zoom In ButtonClick this button to zoom in on the MIDI data displayed in the Piano Roll. You can click the button numerous times to zoom closer and closer to specific areas of the Piano Roll.
Using this button is like using a zoom lens on a camera—you have a narrower field of view, but you see more details within that field of view. Look at the figure below. The top illustration shows the original Piano Roll—notice that it displays five full measures. The bottom illustration shows the Piano Roll after
Zoom In button
Zoom Out button
Note:Overture only zooms horizontally; showing more measures as you zoom out or fewer measures as you zoom in. You cannot change the Graphic window’s vertical scaling—if you need to see notes that are outside the pitch range of the window, either use the scroll bar or resize the window.
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oll in” gle
zooming in. Notice that you can now see only one measure, but that you can see much more detail about the notes within that measure.
Zoom Out ButtonClick this button to zoom out from the MIDI data displayed in the Piano Roll. You can click the button numerous times to display more and more measures in the Piano Roll.
Using this button is like using a wide angle lens on a camera—you have a wider field of view, but the objects within that field are less detailed. In the figure above the bottom illustration shows the original Piano Roll—notice that it displays only a single measure. The top illustration shows the Piano Roll after zooming out. Notice that you can see more measures, but that you see less detail about the individual notes within the measures.
MeasuresBeats This Piano Roll is “zoomed out” to show five measures.
This Piano Ris “zoomed to only a sinmeasure
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Zoom To Fit ButtonClick this button to fit the current selection width into the Graphic window. Option-click this button to fit the entire track into the Graphic window.
For example, assume you have the track below and you want to display only the data in measures 6 and 7.
To do so:
1. Click the I-beam button to select it.
Zoom To Fit button
Note:Overture only zooms horizontally (the time axis). You cannot change the Graphic Window’s vertical scaling—if you need to see a greater pitch range of notes, resize the window using its grow box.
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2. Drag across measures 6 and 7.
Overture highlights all the data in measures 6 and 7.
3. Click the Zoom to Fit button.
Overture automatically zooms in to show the two selected measures.
Drag across ruler with I-beam cursor to select a region of measures
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MIDI Instrument ButtonUse this button to select the MIDI device that Overture uses to play the currently displayed track. The button always shows the name of the currently selected device.
By default, this button displays the MIDI device assigned to the corresponding track in the Tracks window (as discussed in “Device Selection for a Track or Voice” on page 283). Selecting a new device from the Graphic window’s MIDI Instrument pop-up menu automatically updates the Tracks window.
To use the MIDI Instrument pop-up menu:
Mute & Solo ButtonsUse these buttons to either mute or solo the track currently displayed in the Graphic window.
These buttons have the same effect as checking the corresponding column in the Tracks window (as discussed in “Muting a Track” on page 286 and “Soloing a Track” on page 286).
When you mute a track, it’s ignored during MIDI playback. When you solo a track, only it and any other soloed tracks play during MIDI playback.
1. Press and hold the mouse on the MIDI Instrument button.
Overture opens a pop-up menu of all the devices in your current Studio Setup document.
2. Release the mouse over the device you wish to use as a MIDI Instrument.
Overture selects the device as the MIDI playback Instrument for the indicated track, displays its name in the MIDI Instrument button, and updates the assignment in the Tracks window.
MIDI Device button
Mute & Solo buttons
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Selection ToolsThere are two different selection tools:
• Marquee tool—use this tool to drag a rectangle around those notes you wish to select.
• I-beam tool—use this tool to select all notes in either a time range or a pitch range.
The following section discusses common note selection techniques (regardless of which selection button you click). The sections following that discuss each of the two selection tools in detail.
Common Selection and Editing TechniquesSelecting and editing individual notes is the same regardless of which selection mode you choose.
When you move the cursor over the left portion of a note in the Piano Roll, the cursor turns into a Move cursor ( ). Drag the note to the left or right to change its beginning point.
Option-drag the note to copy it.
Move Cursor
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When you move the cursor over the middle portion of a note in the Piano Roll, the cursor turns into a Transpose cursor ( ). Drag the note up or down to change its pitch. Notes dragged in the Graphic window always change chromatically.
When you select more than one note (see below) and option-drag a note in the selection vertically, Overture transposes the entire selection.
When you move the cursor over the right portion of a note in the Piano Roll, the cursor turns into a Duration cursor (+<>). Drag the end of the note left or right to change its duration.
To select a note, click it (it doesn’t matter which cursor appears when you move it over the note). To select more than one note, hold down the shift-key as you click each additional note. Selected notes appear hollow rather than solid.
Any notes you select in the Graphic window are automatically selected in the Score window. Similarly, any notes you select in the Score window are automatically selected in the Graphic window.
Transpose Cursor
DurationCursor
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Selecting Notes Within a Pitch RangeTo select all notes within a specified pitch range:
Selecting all Notes of a Single PitchTo select all notes of a single pitch:
1. Move the cursor into the Piano Roll’s left margin.
The cursor becomes a sideways I-beam ( ) regardless of which selection tool is enabled.
2. Press and hold the mouse at one end of the desired pitch range and drag to the other end.
3. Release the mouse button.
Overture selects all notes that fall within the selected pitch range.
1. Move the cursor into the Piano Roll’s left margin.
The cursor becomes a sideways I-beam ( ) regardless of which selection tool is enabled.
Drag the cursor in the margin to select a range of notes
Selected notes within the specified pitch range
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Marquee ToolClick the Marquee tool to select it.
When you select the Marquee tool, Overture’s cursor turns into a cross-hair when you move it over the Piano Roll.
2. Click the desired pitch.
Overture automatically selects all notes of that pitch.
Click a note inthe left marginto selectall notes of thatpitch in the track
Marquee tool
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Use the Marquee tool to select notes in a rectangular area. To do so:
1. With the Marquee tool selected, press and hold the mouse at one corner of the desired rectangular selection.
2. While still holding the mouse button, drag diagonally to the opposite corner.
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Zooming with the Marquee ToolIf you hold down the option key while dragging with the Marquee tool, Overture automatically zooms the Graphic window in on the selection.
I-beam ToolClick the I-beam tool to select it.
When you select the I-beam tool, Overture’s cursor turns into an I-beam when you move it over the Piano Roll.
Use the I-beam tool to select:
• all notes within a region of time
• all MIDI data within a region of time
The following sections discuss each I-beam selection technique.
3. Release the mouse button.
Overture selects all notes that begin within the rectangle.
Overture selects all
within the rectangle
This note is notselected since itdoesn’t beginwithin the rectangle
notes that begin
I-beam button
Note:Do not confuse this I-beam tool with the Select tool in the Strip Chart. We discuss the Strip Chart’s Select tool in “The Strip Chart Select Tool” on page 331.
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Selecting Notes in a Time RegionTo select all notes within a region of time:
1. With the I-beam tool selected, press and hold the mouse at the desired start time anywhere within the Piano Roll.
2. While still holding the mouse button, drag to the desired end time.
I-beam Cursor(vertical placementis unimportant)
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Selecting All MIDI Data in a Time RegionTo select all MIDI data (including notes, pitch bend, continuous controls, and the like) within a region of time, drag the I-beam cursor across the top of the Piano Roll.
3. Release the mouse button.
Overture selects all notes that begin within the time range.
Overture selects allthe notes that beginwithin the selectedtime range
Dragging in this areaselects ALL typesof MIDI data (notjust notes)
Note:You can use the Strip Chart to view and edit all the various types of non-note MIDI data. The Strip Chart is located just below the Piano Roll in the Graphic window. To learn to use the Strip Chart, see “The Strip Chart” on page 326.
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Pencil ToolClick the Pencil tool to select it. Use the Pencil tool to insert notes into the Piano Roll.
Where you click in the Piano Roll determines the start time and pitch of any notes entered with the Pencil tool. The Insert window (see below) determines the duration and velocity of inserted notes.
To insert notes with the Pencil tool:
1. Double-click the Pencil tool.
Overture opens the Insert window.
2. Set the note size, duration and velocity of the note you wish to enter.
We discuss this Insert window in detail in “About the Insert Window” below.
Pencil button
Note:Do not confuse this Pencil tool with the Pencil tool in the Strip Chart. We discuss the Strip Chart’s Pencil tool in “The Strip Chart Pencil Tool” on page 332.
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About the Insert WindowThe Insert window has three elements:
• Size parameters
• Duration parameters
• Velocity numerical
We discuss these in the following sections.
Size ParametersUse this portion of the window to set the size of the note you wish to insert. Select a note size from the pop-up menu or set the size (in clocks) using the Clocks numerical.
If you wish to insert a tuplet, check the Tuplet option and use the numericals to set the “X in the time of Y” value of the tuplet.
3. Move the cursor into the Piano Roll.
The cursor turns into a note.
4. Move the cursor to the desired pitch and start time of the note you wish to insert.
You may find it helpful to use the Cursor Position Display (as discussed in “Cursor Position Display” on page 304) or to use a quantized cursor (as discussed in “Quantize Cursor Buttons” on page 306).
Note:You can select individual notes when the Pencil tool is active. Move the cursor over a note and one of the Move, Transpose, or Duration cursors appears, depending on where you position the cursor. For more information about selecting notes this way, see “Common Selection and Editing Techniques” on page 313.
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For example, to insert eighth note triplets, first select an eighth note from the Size pop-up menu, check the Tuplet check box, then specify “3 in the time of 2.”
Duration ParametersUse this portion of the window to set the actual length of the note you will enter.
A note’s duration is different from its size. The duration is the actual length of the note, and the size is the amount of time the counter will advance. The space between notes is called the gap.
You can specify a Duration either as a Percent of note size or as a Constant Gap by selecting it from the Duration pop-up menu.
Size
Gap
Duration
Size arrow demonstrates size (as opposed to duration) of note below.
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If you select Percent from the Duration pop-up menu, the Insert window shows a numerical with which you set a percentage of note size. For example, if you have a note size of a sixteenth note (120 clocks), and you set the duration to 90%, Overture will insert a note with a length of 108 clocks (90% of 120).
If you select Constant Gap from the Duration pop-up menu, this window shows a Gap size pop-up menu and a Gap size numerical (in clocks).
Duration parameters inPercent Mode
Duration parameters inConstant Gap Mode
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In Constant Gap mode, use the Duration parameters (either the Gap Size pop-up menu or Clocks numerical) to set an equal space between all notes entered by the Pencil tool (regardless of note size).
Velocity NumericalUse this numerical to set the key velocity of the inserted note. MIDI velocity values can be between 1 (softest) and 127 (loudest).
Constant Gaps
Velocity numerical
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The Strip ChartThe Strip Chart is a powerful portion of the Graphic window. You use it to view and edit graphically MIDI data that you can’t otherwise see. Use the Strip Chart to display and edit graphically such track properties as:
• key velocity
• note duration
• pitch bend
• modulation wheel, volume or other continuous controller event
• program changes
• sustain pedal
• aftertouch
• tempo, and more
Opening the Strip ChartWhen you first open a Graphic window, the Strip Chart is hidden. There are two ways to open a Strip Chart:
• Click the Strip Chart toggle at the bottom of the window—the Strip Chart opens showing the data type last displayed in the Strip Chart.
Or...
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• Choose an event type from the Strip Chart pop-up menu—a Strip Chart opens showing the selected data type.
The Strip Chart displays each MIDI event as a rectangle. The height of the rectangle determines the value of the MIDI event; the left edge of the rectangle determines the start time of the event; and the width of the rectangle determines the duration of the MIDI event.
Your Strip Chart may look different from the one above since not all Strip Chart elements are applicable to all data types. The following sections discuss how to use the Strip Chart and its various elements.
Press and hold to openpop-up menu of alltypes of Strip Chart events
Select Tool
Pencil Tool
Variable ToolEdit Shapespop-up
Strip Chartpop-up Controller Type
pop-up
Density SettingStrip ChartToggle
Strip Chart
pop-up
MIDI DataEvents
menumenu menu
menu
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Strip Chart Pop-up MenuThe Strip Chart can display many different types of events. Use the Strip Chart pop-up menu to select the event type displayed in the Strip Chart.
Note:The text displayed in the Strip Chart pop-up menu indicates the type of data currently displayed in the Strip Chart. The pop-up reads “Strip Chart” only if no Strip Chart is present.
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To select an event type:
The Strip Chart displays information for only one track. Inserting events in the Strip Chart places the events in the displayed track.
If you choose No Strip Chart from the pop-up menu, Overture hides the Strip Chart in the Graphic window, giving more room to the Piano Roll display.
Controller Type Pop-up MenuIf you select a controller event from the Strip Chart pop-up menu, Overture displays a second pop-up menu that you use to select the type of controller you want to display.
1. Move the cursor over the Strip Chart pop-up menu at the top of the Graphic window.
2. Press and hold the mouse to open a pop-up menu.
3. From the pop-up menu, choose the type of MIDI data you want to display.
The Strip Chart changes (or opens) to display data of the selected type. The Strip Chart is blank if no data exists.
Controller TypePop-up Menu
Strip ChartPop-up Menu
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The Strip Chart pop-up menu lets you select some of the more popular controller events directly. You can, however, use the Controller Type pop-up menu to view any MIDI controller.
Strip Chart ToggleClick the Strip Chart Toggle to either show or hide the Strip Chart. If the Strip Chart is open, clicking the toggle will hide it. If the Strip Chart is hidden, clicking the toggle opens it to display the most recently selected data.
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The Strip Chart Select ToolUse this tool to select a range of data only within the Strip Chart.
To use the Strip Chart Select tool:
1. Click the Strip Chart Select tool.
Overture disables the Edit Shapes pop-up (discussed in “Edit Shapes Pop-up Menu” on page 339), since it has no effect on the use of this tool.
2. Move the cursor into the Strip Chart.
The Cursor becomes an I-beam.
Note:Do not confuse the Strip Chart Select tool with the Graphic window’s I-beam tool. We discuss the Graphic window’s I-beam button in “I-beam Tool” on page 318.
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You can also select a range of Strip Chart values by dragging the I-beam cursor vertically in the Strip Chart’s left margin.
The Strip Chart Pencil ToolUse the Strip Chart Pencil tool to draw new data values in the strip chart. The Pencil tool works in conjunction with the Edit Shapes pop-up menu (discussed in “Edit Shapes Pop-up Menu” on page 339).
3. Drag the cursor horizontally to select all Strip Chart events in a time range.
Notice that only Strip Chart events are selected. The Select tool does not select MIDI notes in the Piano Roll.
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To use the Strip Chart Pencil tool:
When you use the Pencil tool to edit any continuous event (except Tempo, which is generated every eighth note), you must also set a density value (as discussed in the following section).
1. Click the Strip Chart Pencil tool.
2. Select a shape from the Edit Shapes pop-up menu.
We discuss this pop-up menu in detail in “Edit Shapes Pop-up Menu” on page 339. This example assumes you’ve selected the Straight shape ( ).
3. Move the cursor into the Strip Chart.
The cursor becomes a pencil.
4. Drag the pencil to draw a line of the selected shape.
In this example, the pencil draws a straight line because the Straight shape is selected. You can select other shapes.
5. Release the mouse.
Overture sets the Strip Chart data to the values drawn by the mouse.
Note:Do not confuse the Strip Chart’s Pencil tool with the Graphic window’s Pencil tool. We discuss the Graphic window’s Pencil tool in “Pencil Tool” on page 321.
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Holding down the command key when you enter controller values using the Strip Chart Pencil Tool causes a pop-up menu to appear. Selecting among all valid values gives you greater precision in entering that controller’s data. This feature is not active for Channel or Polyphonic Aftertouch.
Using the pencil tool with Patches selected in the Strip Chart works the same as using the Patch pop-up menu in the Tracks Window.
Density SettingWhen the Strip Chart displays continuous data (such as pitch bend or volume) and you select either the Pencil tool or the Thin tool, the Density setting appears below the Strip Chart.
Drawing in a Strip Chart with a low Density setting inserts very few continuous events. Drawing in a Strip Chart with a high Density setting inserts numerous continuous events. Generally, it’s best to keep the Density setting as low as possible without hearing individual steps in your continuous data.
MIDI is capable of communicating about one thousand events per second. If you drew a pitch bend line from 0 to +1000 over the course of 1 second, MIDI would be so busy transmitting pitch bend events that
Density setting
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it wouldn’t have time to do anything else. The Density setting gives you the option to choose what percentage of MIDI capacity you want occupied by the continuous events you insert.
For example, if you are drawing pitch bend for a patch whose pitch bend range is one whole step, you will probably find that a density of 1% gives satisfactory results. If you’re pitch bending across 2-3 octaves, you may want to increase density to 20%. Use your ears to set the lowest possible density value without hearing individual steps.
The Variable Tool Pop-up MenuPress and hold the Variable Tool pop-up menu to display all the possible variable tools. Use a Variable tool to apply a modification algorithm to the Strip Chart data. The Variable tools work in conjunction with the Edit Shapes pop-up menu (discussed in “Edit Shapes Pop-up Menu” on page 339).
The following sections discuss each of the Variable tools.
ScaleUse the Scale tool to scale Strip Chart data to between 25% and 400% of its present value. The Strip Chart’s left margin shows the scaling factor. Overture multiplies the value of each MIDI event by the scaling factor shown.
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Look at the example shown in the following figure. If a series of notes each has a Key Velocity of 90 and you use the Scale tool to draw a straight line at 50%, then each of the notes gets scaled to a value of 45 (50% of 90).
Add AmountUse the Add Amount tool to add to or subtract from the present Strip Chart data value.
1. Draw straight line at50% with Scale Tool
2. Overture scales allintersected data by 50%
Note:Overture respects the limits of each type of Controller to avoid creating invalid MIDI data.
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Look at the example below. If a series of notes each has a Key Velocity of 90 and you use the Add Amount tool to draw a straight line at -20, then each of the notes gets set to a value of 70 (20 subtracted from 90).
Maximum Limit/Minimum LimitUse either the Maximum Limit or the Minimum Limit tool to restrict the range of values in the Strip Chart.
If you use the Maximum Limit tool to draw a straight line at a Key Velocity of 80, then Overture sets each note over the limit to 80, but does not change the value of any notes less than 80.
1. Draw straight line at -20with the Add Amount Tool
2. Overture subtracts 20from all intersected data
1. Draw straight line at 80with the Max Limit Tool
2. Overture sets any valuesoriginally over 80 to exactly 80.It doesn’t disturb any valuesless than 80.
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LegatoUse the Legato tool to change note durations so that they extend a certain percentage of the way to the next note. If you set the Legato tool to 100%, each note will extend exactly to the start of the following note. Chords are treated as a single note.
Legato is grayed out when the Strip Chart displays anything other than note duration.
ThinUse the Thin tool to decrease the amount of controller data in a track. This saves memory and frees up the MIDI data stream for other types of MIDI events.
For example, if you have a track with dense MIDI volume data, you can thin it as follows:
You can also thicken data by setting the Density setting to a value greater than the current density of the events.
1. Make sure the Strip Chart shows the data you want to thin.
2. Select the Thin tool from the Variable pop-up menu.
3. Set the Density setting to a small amount.
This example uses a density setting of 0.3%.
4. Drag across the controller data you wish to thin.
Overture automatically thins the controller data down to the indicated Density setting.
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Edit Shapes Pop-up MenuPress and hold the Edit Shapes pop-up menu to display all the possible edit shapes.
Use the Edit Shapes pop-up menu to tell Overture how to draw data in the Strip Chart. The following sections discuss each of the Edit Shapes tools.
StraightWhen you select the Straight shape, you can drag a line in any direction and make linear changes to Strip Chart events.
FreeWhen you select the Free shape, you can drag a freehand line through the Strip Chart. This is especially useful when using the Pencil, Minimum Amount, and Maximum Amount tools.
ParabolaWhen you select the Parabola shape, you can draw a parabola that gets steeper at the end. You can also use the parabola to draw a curve in the opposite direction, giving you a curve that’s steeper at the beginning.
Click here...
...to open the Edit Shapespop-up menu.
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The direction and amount that you drag define the shape and size of the parabola.
Using the parabola is especially useful in defining natural sounding fades:
FlatUse the Flat shape to draw straight, horizontal lines. All selected data will either become the same value, or be added to or scaled by the same amount. This is especially useful with the Percent tool to scale everything by the same amount.
RandomUse the Random shape to randomize data within a rectangle that you draw in the Strip Chart. To use the Random shape:
1. Select Volume from the Strip Chart pop-up.
2. Select the Pencil tool.
3. Choose the Parabola shape from the Edit Shapes pop-up.
4. Drag a parabola from the top of the Strip Chart to the bottom, starting at the time you wish to begin fading, and stopping at the time your track ends.
1. Select the Random shape from the Edit Shapes pop-up.
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When the Variable pop-up is set to Add Amount, Overture adds a random amount between the values you outline. When it is set to Scale, Overture chooses random values to scale the selection up and down.
2. In the Strip Chart, drag a rectangular box around the events you wish to randomize.
Overture randomly chooses values within the limits of that box and applies the changes to the selected events.
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Use the Chords window to put chord names and guitar frames in the Score window. To open the Chords window, choose Windows>Chords.
Root button
Bass button
Symbol list
Toggle to Guitar Frames
Place Bass NoteBelow Chord Chord Name
Display
Note:The Chords window cannot be open at the same time as the Lyrics window. If the Lyrics window is open when you choose Windows>Chords, the Lyrics window closes automatically.
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Chord TerminologyIt’s important to understand the different terminology associated with naming chords. Specifically:
• Chord. This is the actual notation of multiple notes as shown on the staff in a score.
• Chord Name. This is the alphanumeric name of the chord as written above a staff to indicate which chord to play.
• Chord Root. This is the fundamental note of the chord, or its root position.
• Chord Bass. This is an additional pitch added to a chord name that indicates a note other than the root is the lowest pitch in the actual chord.
• Chord Suffix. This is the portion of the chord name that describes the actual pattern of notes that make up the chord, without regard for the root or alternate bass. Examples of suffixes are “mi7” or “sus4”.
• Chord Symbol. In standard music notation, this term is synonymous with “chord name” but in Overture it describes a generic suffix/root/bass pattern as defined in the Chord Symbol library (discussed in “Chord Symbols” on page 413). For example, “CMa7/G” is a different chord name than “EMa7/B”, but they’re based upon the same chord symbol since both use the identical pattern of notes.
Chord
Chord Name Suffix (mi7)
Root (C) Bass (G)
The entire pattern ofnotes specified hereis a chord symbol
(uses the actualroot and alternatebass)
(using a genericroot and alternatebass)
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Anatomy of the Chords WindowThe Chords window contains five separate areas. These are:
• Root button. Click the root button to set the root of a chord name.
• Bass button. Click the bass button to set the bass of a chord name. Bass notes (and their corresponding sharp or flat) are displayed when they differ from the root name.
• Symbol list. Overture gets this list of symbols from the current Chord Symbol library (as discussed in “Chord Symbols” on page 413). Click one of the symbols to select it. If a symbol isn’t visible, use the scroll bars to scroll the list.
• Guitar Frames and Bass on Bottom. Click the Guitar Frames button to toggle between guitar frames and chord names. Click the Bass on Bottom to plass bass notes below the chord name.
Click to select root name
Click a symbolto select it
Scroll to see moresymbols
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• Chord Name display. This area shows a preview of the chord name exactly as it appears when you insert it into the Score window.
You can use the Chords window to enter chords names in a score using one of the following techniques:
• Entering chord names with the mouse. Create chord names by clicking a symbol, root and alternate bass in the Chords window, then click the Score window to insert the chord name.
• Entering chord names with the computer keyboard. Create chord names by using the computer keyboard to select a symbol, root and alternate bass, then click the Score window to insert the chord name.
• Step-entering chord names with the computer keyboard. Create chord names using either mouse or keyboard selection of symbol, root and alternate bass, then step-enter the chord name into the Score window.
Overture provides a fourth method for entering chord names, step-entering them with a MIDI keyboard. This method does not use the Chords window. We discuss it in “Step Entering Chord Names with a MIDI Keyboard” on page 398).
Each of the three chord name entry methods that use the Chords window are discussed in the following sections.
Entering Chord Names with the MouseFollow through this example to learn how to enter chord names using only the mouse.
Assume you want to enter the following chord names:
• 1st measure: Dmi7
• 2nd measure: G7
• 3rd measure: Ami7/F
To enter these chord names using only the mouse:
1. Make sure the Step Entry window is closed.
2. Choose Windows>Chords.
Overture opens the Chords window.
Chord Name display
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3. Click the Root popup menu and choose “D”.
Since your first chord is a Dmi7, clicking “D” sets the root of the chord.
4. Click “mi7” in the Chords window’s scrolling symbol list.
Since your first chord is a Dmi7, selecting “mi7” sets the correct chord symbol. Overture gets the root of the chord (in this case, a “D”) from the Root popup menu.
NOTE: Because Overture gets the chord symbols for this window from the Chord Symbol library, your chord symbol list may look different from the one shown in this example if you’re using a different Chord Symbol library. Chord Symbol libraries are discussed in “Chord Symbols” on page 413.
5. Move the cursor into the Score window at exactly the spot you wish to insert the chord name.
The cursor becomes a crosshair pointer, pointing at the staff where you want to attach the chord name.
Click here... ...to set the root
Click here... ...to select the symbol
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6. Click the mouse.
Overture inserts the chord name into the score.
7. Continue entering chord names using only the mouse.
To enter the G7 chord name, set the dialog box as shown below, then click the score in the desired location.
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Entering Chord Names with the KeyboardYou can assemble chord names in the Chords window using only the computer keyboard. The table below shows all the key equivalents necessary to create chord names in the Chords window.
8. To enter the Ami7/F chord name, set the dialog box as shown below, then click the score in the desired location.
Click here toadd a bass noteto the chord
Note:If, while the Chords window is open, you select a tool from the Tool Bar, then that tool becomes active and chord insertion is disabled. To continue inserting chords, click in the Chords Window’s symbol list.
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Assume, as in the previous section, that you want to enter the following chord names:
• 1st measure: Dmi7
• 2nd measure: G7
• 3rd measure: Ami7/F
To enter these chord names using the computer keyboard:
Key Action Key Action
a Sets root to A Shift-a Turns added A bass on/off
b Sets root to B Shift-b Turns added B bass on/off
c Sets root to C Shift-c Turns added C bass on/off
d Sets root to D Shift-d Turns added D bass on/off
e Sets root to E Shift-e Turns added E bass on/off
f Sets root to F Shift-f Turns added F bass on/off
g Sets root to G Shift-g Turns added G bass on/off
s Sets root to one half step higher Shift-s Sets root to one half step higher
w Sets root to one half step lower Shift-w Sets bass to one half step lower
# Sets the last selected root or bass to one half step higher
[ or left arrow Selects previous chord symbol ] or right arrow Selects next chord symbol
1. Make sure the Step Entry window is closed.
2. Choose Windows>Chords.
Overture opens the Chords window.
3. Type d to select a root of D.
4. Type either [ or ] or repeatedly until Overture highlights the mi7 chord symbol.
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5. Move the cursor into the Score window at exactly the spot where you want to insert the chord name.
The cursor becomes a crosshair pointer, pointing at the staff to which Overture will attach the chord name.
6. Click the mouse.
Overture inserts the chord name into the score.
7. Select a G7 chord name by typing a g, then typing [ one time to step backwards to the previous chord symbol in the list.
Because Overture gets the chord symbols for this window from the Chord Symbol library, your chord symbol list may look different than the one shown in this example if you’re using a different Chord Symbol library. We discuss Chord Symbol libraries in “Chord Symbols” on page 413.
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8. Click the score in the desired location.
9. Select an Ami7/F chord name by typing an a to set the root, then typing shift-f to add an F bass, then typing ] one time to step to forward to the next chord symbol in the list.
Because Overture gets the symbols for this window from the Chord Symbol library, your chord symbol list may look different from the one shown in this example.
10. Click the score in the desired location.
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Step Entering Chord NamesYou can step-enter chord names from either the computer keyboard or from a MIDI Keyboard. The following section shows how to step enter chord names using the computer keyboard. To learn how to step enter chord names with a MIDI keyboard, see “Step Entering Chord Names with a MIDI Keyboard” on page 398.
Step Entering Chord Names with the Computer KeyboardFollow through this example to learn how to step enter chord names without using a MIDI keyboard.
Assume, as in the previous sections, that you want to enter the following chord names:
• 1st measure: Dmi7
• 2nd measure: G7
• 3rd measure: Ami7/F
To enter these chord names using the computer keyboard:
1. Choose Windows>Step Input.
Overture opens the Step Input window.
Note:If, while the Chords window is open, you select a tool from the Tool Bar, then that tool becomes active and chord insertion is disabled. To continue inserting chords, click in the Chords Window’s symbol list.
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2. Press and hold the mouse on the Input Select button, then select the chord name icon from the pop-up menu.
We discuss this and all other elements of the Step Input window in Chapter 34, “Step Input Window.”
3. In the Score window, click in the measure where you want to begin step-entering chord names.
4. Select a step size of a whole note from the Note Size pop-up menu.
Alternatively, you can type a 1 on the computer keyboard to set the step size to a whole note. See the table on page 380 to see how number keys correspond to step durations.
5. Choose Windows>Chords.
Overture opens the Chords window.
6. Using either the mouse or the computer keyboard, select a Dmi7 chord name.
7. Type return.
Overture enters the Dmi7 chord name and advances the cursor one measure (since the step size is a whole note and this example is in 4/4 time).
Input Select button
Chord Name icon
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Guitar FramesTo enter Guitar Frames click on the Guitar Frames check box. in the Chords Window.
8. Select a G7 chord name and type return.
Overture enters the G7 chord name and advances the cursor one more measure.
9. Select an Ami7/F chord name and type return.
Overture enters the Ami7/F chord name and advances the cursor one more measure.
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The symbols view now displays guitar frames from the current Guitar Frames library plus several additional buttons.
• Suffix button. Click the suffix button to choose the desired frame suffix. This is the same list of suffix names found in the Guitar Frames library.
• Tuning button. Click the tuning button to choose the Guitar tuning. This is the same list of tunings found in the Guitar Frames library.
• Text Only check box. Click the text only box if you want to display only the guitar frame name.
Entering Guitar Frames with the MouseFollow through this example to learn how to enter guitar frames using the mouse.
Assume you want to enter the following guitar frames:
• 1st measure: Dmi7
• 2nd measure: G7
• 3rd measure: Ami7/F
1. Switch to Guitar Frames view if needed..
2. Type d to select a root of D or click on the root button and choose D.
3. Type m then 7 to choose minor 7 or by clicking on the suffix button and choosing minor 7.
4. Type either [ or ] or the left and right arrow keys repeatedly until Overture highlights the desired frame in the symbol list.
5. Move the cursor into the Score window at exactly the spot where you want to insert the guitar frame.
The cursor becomes a crosshair pointer, pointing at the staff to which Overture will attach the guitar frame.
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6. Click the mouse.
Overture inserts the guitar frame into the score.
7. Select a G7 guitar frame by typing g then 7 or choose them by clicking on the root button and the suffix button.
8. Click the mouse.
Overture inserts the guitar frame into the score.
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The table below shows additional key equivalents for selecting guitar frames view in the Chords window.
9. Select a Am7/F guitar frame by typing a, m, 7, then shift-f or by using the root, suffix, and bass buttons.
10. Click the mouse.
Overture inserts the guitar frame into the score.
Key Actionm Selects minor suffix
6 Selects 6 suffix
7 Selects 7 suffix
9 Selects 9 suffix
+ Selects next item in last button
- Selects previous item in last button
Tab Displays popup of all suffixes
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Moving Chord Names/Guitar FramesYou can move chord names and guitar frames either individually or globally by staff (or multiple staves). The use of Chord Names will also apply to Guitar frames for the following section.
Moving Chord Names GloballyWhen you select Options>Show>Chord Positions, the Score window displays a small triangle to the left of the chords on each system—this is called the Chord Position Indicator.
Drag any position indicator up or down to change the vertical position of all chord names for that system.
Alt[Option]-drag a position indicator up or down to change the vertical position of all chord names for all remaining systems on that page.
Chord PositionIndicators showvertical positionof chord nameson a staff.
1. Drag a position indicator down... 2. Notice that chord names move onlyfor the system whose indicator you dragged.
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Control[Command]-drag a position indicator up or down to change the vertical position of all chord names for every remaining system in the score.
Shift-click the indicator to reset all chord names to the baseline position. The shift-click also works in combination with the Alt[Option] and Control[Command] keystrokes.
Moving Chord Names IndividuallyOnce you’ve placed chord names in a score, you can modify their automatic placement by dragging any chord name to a new location.
To constrain movement to vertical or horizontal while dragging a chord name, shift-drag it. Overture constrains the movement to the direction you moved the mouse when you began shift-dragging. That is, if you begin to drag horizontally, the chord name moves only in the horizontal direction. If you begin to drag vertically, the chord name moves only in the vertical direction.
1. Alt[Option]-drag a position indicator down... 2. Notice that chord names move for all remaining systems on the page.
Drag a chord name to move i(the cursor becomes aDrag cursor).
Original Chord Nameplacement
New Chord Nameplacement afterdragging it down.
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Use the Lyrics window to add or change lyrics and assign them to specific notes.
To open the Lyrics window, choose Window>Lyrics.
Lyric Locator
Lyric EditingArea
Note:The Lyrics window cannot be open at the same time as the Chords window. Opening the Chords window will close the Lyrics window automatically.
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Anatomy of the Lyrics WindowThe Lyrics window is split into four areas:
• Buttons. The right side of the window has buttons for inserting and deleting lyrics in the Lyrics window, and putting them in the score. The botton of the window has buttons for inserting non-breaking spaces and non-breaking dashes.
• Font characteristics. Use the top area of the window to specify the look of the lyrics.
• Lyric Locator. Use this middle area to load and assign where lyrics are placed in the score.
• Lyric editing area. The bottom area of the window functions as a standard text editing area. It has its own scroll bar so you can move through long lyrics.
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A lyric phrase is any body of text displayed in the Lyric editing area. You can assign the individual words and syllables to notes in a score. You assign each lyric to a specific voice beginning on a specific measure and, if necessary, on a particular verse.
The following sections discuss each of the main areas of the Lyrics window.
ButtonsUse the buttons to add and delete lyrics and to apply lyric changes to a score. There are four buttons. They are:
• Apply. Click this button to apply any lyric changes to the score. When you click this button, Overture reflows the lyric, beginning in the specified measure on the designated verse and voice.
• Delete. Click this button to delete the selected lyric. All lyrics from the specified measure to the first non-normal barline on the designated verse and voice are deleted.
• Insert Non-Breaking Space. Click this button to assign multiple words to a single note.
• Insert Non-Breaking Dash. Click this button to assign multiple syllables to a single note.
Lyric LocatorUse the Lyric Locator to assign where lyrics are placed in the score.
There are numerous elements in the Lyric List. They are:
• Include Verse Number. Use this box to include the verse number to the left of the first word in the lyric line.
• Track box. Use this box to assign each lyric to a specific track.
• Measure box. Use this box to assign a starting measure for each lyric. Overture automatically flows lyrics beginning on the first note in the starting measure.
• Voice box. Use this box to assign each lyric to a specific voice. Overture supports 8 voices.
• Verse box. Use this box to assign each lyric to a specific verse. Overture supports 8 verses.
• Load button. Use this button to load the lyrics starting at track and measure on the designated verse and voice.
Note:Lyric phrases are determined by using any barline other than a normal barline. When you open the Lyrics window Overture includes all lyrics from the current measure to a the first non-normal barline or the end of the score. If you change the locator fields and press the Load button, all lyrics from the measure indicated in the Locator section to the first measure with a non-normal barline are loaded into the editing area. You can override this rule by checking the EOS check box. This tells Overture to ignore barlines and load the lyrics from the current measure through the end of the score.
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• EOS check box. Use this button to tell Overture to ignore barlines and load the lyrics from the current measure through the end of the score.
Lyric Editing AreaThe lyric editing area functions as a standard text editing area. Type in this area to enter lyrics. Drag across lyrics to select them. Double-click words to select them. Generally, most common word-processor editing rules apply to the lyric editing area. This area has its own scroll bar so you can scroll through long lyrics.
Using the Lyrics WindowPerhaps the easiest way to learn about lyric entry is to follow some examples. The following sections take you step by step through the process of creating and editing lyrics in Overture.
Adding Lyrics to a ScoreTo add a lyric to a score:
1. Choose Window>Lyrics.
Overture opens the Lyrics window.
2. In the Locator area, type the number of the track, measure, voice, and verse to which you want to assign the Lyric.
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3. Type the lyric in the Lyric editing area.
For now, type only single syllable words. If your lyric extends beyond the width of the window (or if you prefer to view your lyrics as poetic verse), you can press the return key at the end of each line. Overture treats returns exactly like spaces.
4. Click the Apply button.
Overture assigns each word to an individual note automatically.
Overture assigns each wordto an individual note.
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Editing Existing LyricsTo edit an existing lyric phrase:
1. Click on the measure that contains the lyric to be edited.
2. Choose Window>Lyrics.
The location fields will be filled appropriately and the edit area will be filled with the lyric line text. You can change these fields and press the Load button to edit another phrase.
3. Type the changes in the Lyric editing area.
For now, type only single syllable words. If your lyric extends beyond the width of the window (or if you prefer to view your lyrics as poetic verse), you can press the return key at the end of each line. Overture treats returns exactly like spaces.
4. Click the Apply button.
Overture assigns each word to an individual note automatically.
Overture assignseach word toan individual note
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Advanced Lyric Entry TechniquesIn the previous sections, you created lyrics that contained only single syllable words, with each word assigned to its own note. In the following sections, you learn to create more advanced lyrics.
Entering Multi-syllable WordsYou can type words with multiple syllables and have each syllable automatically assigned to a note. To do so, simply separate each syllable with either a dash or a space. In the score, dashes are centered between syllables. When a word crosses a barline, the dash is centered under the barline.
Type a dash between syllablesto spread a word over morethan one note.
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Entering Multi-note Syllables (Melisma)To extend a syllable across more than one note, type an underline character. Each underline extends the syllable for one note.
Entering Multiple Words or Syllables on a Single NoteTo assign multiple words to a single note, click in the lyric line to position the blinking cursor and press the Insert Non-Breaking Space button. To assign multiple syllables to a single note, press Insert Non-Breaking Dash button.
There are four underlines toextend the word my acrossfour additional notes. Thisis called a melisma.
Entered a non-breaking spaceto center both words undera single note.
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Starting a Lyric in the Middle of a MeasureOverture automatically flows lyrics beginning with the first note in the designated measure. If you want lyrics to begin on a note other than the first note in the measure, begin the lyric with a space for each note you wish to skip.
Entering Additional VersesPopular vocal music often contains multiple verses, with each verse’s text shown immediately below the previous verse. To add a verse to an existing score:
1. In the Lyrics window, set the location fields to the beginning of the lyric phrase.
2. Since this is the second verse, enter 2 in the Verse field.
3. In the Lyric editing area, type the desired text.
To start flowing lyrics from the middle of a measure, type a leading space for each note you wish to skip. In this example, type four spaces.
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Applying Different Fonts To LyricsYou can apply any font, size, or style to any syllable or word in a lyric. To change the font, size, or style of any text in a Lyrics window:
Moving LyricsYou can move lyrics either individually or by line (verse).
4. Click the Apply button.
The second verse is created below the first verse.
1. Drag across any syllable or word, word or group of words in the Lyrics window.
2. Select the font you want from the Font drop-down list.
3. Select the font size you want from the Size drop-down list.
4. Select the font style you want from the Style drop-down list.
5. Click the Apply button.
Overture applies the font changes to your score.
Second verse flows below thefirst verse automatically
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Moving Entire Lyric LinesWhen you select the Options>Show>Lyric Positions option, Overture places a small triangle to the left of each verse in the Score window—these are the lyric position indicators. If there is one verse assigned to a staff, there’s one lyric position indicator. If there are three verses, there are three position indicators.
Drag any position indicator up or down to change the vertical position of all remaining verses for that staff in that system.
Lyric position indicatorsshow each verse assignedto a staff.
1. Drag the Verse 2 indicator down... 2. Notice that Verse 2 and Verse 3 movedown by the amount you drag(for one staff only).
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Alt[Option]-drag a position indicator up or down to apply the vertical change to the same verse in every remaining system on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to the same verse in every remaining system in the score.
Shift-click the indicator to reset all lyrics to the baseline position. The shift-click also works with the Alt[Option] and Control[Command] keystrokes.
Moving Lyrics IndividuallyOnce you’ve assigned lyrics to notes in a score, you can modify their automatic placement by dragging any word (or syllable) in a score to a new location.
1. Alt-drag the Verse 2 indicator down... 2. Notice that Verse 2 and Verse 3 movedown by the amount you dragfor all remaining systems on the page.
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You can constrain word movement to either the horizontal or vertical direction by holding down the shift key before dragging a word.
Original Lyric Line
Drag a word to move it(the cursor becomes aDrag Cursor).
Modified lyric aftermanually draggingthe word "this".
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Use the Step Input window to enter a score by recording MIDI data one step at a time. You can enter notes, chords, or rhythmic slashes in the Step Input window.
To open the Step Input window, choose Windows>Step Input.
Anatomy of the Step Input WindowThe Step Input window contains four different areas, though not all areas are available at all times. These areas are:
• Type area. Use this top portion of the window to define the type of symbol you want to input and any related options. This area also contains a counter, showing exact metrical location and pitch.
• Size area. Use this portion of the window to set the amount of time the counter advances each time you play a note. Size appears as both an actual note value and as a number of clocks (480 clocks = one quarter note).
Duration area
Velocity area
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• Duration area. Use this portion of the window to set the actual duration of the MIDI note you enter. This area is not available if you’re entering chord names.
• Velocity area. Use this portion of the window to set the actual velocity of the MIDI note you will enter. This area is not available if you’re entering chord names.
The following sections discuss each area in detail.
Type AreaUse this area to define the type of symbol you want to input, to set options related to that symbol, and to view pitch and meter placement of any step-entered data.
The Type area contains four elements:
• Input Select button
• Options pop-up menu
• Counter
• Pitch indicator
We discuss each element in one of the following sections.
Input Select buttonPress and hold the mouse on this button to open the Input Select pop-up menu.
Optionspop-up menu Counter
PitchIndicator
Input Selectbutton
Input Select button
Input Select pop-up menu
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Select the type of symbol you want to step-enter from the Input Select pop-up menu. Overture lets you step-enter five types of music symbols: notes, rests, slashes, rhythmic slashes, and chord names.
Options pop-up menuMove the cursor over the Options button, then press and hold the mouse to open the Options pop-up menu.
Use the pop-up Options menu to select various step-entry notation options:
• Force Stems Up. When you select this option, Overture makes the stems of any step-entered notes point upward, regardless of staff position. Select this option to enable it (put a check beside it); select it again to disable it.
• Force Stems Down. When you select this option, Overture makes the stems of any step-entered notes point downward, regardless of staff position. Select this option to enable it (put a check beside it); select it again to disable it.
• Force Accidentals to Sharps. When you select this option, Overture notates any accidentals as sharps, regardless of the key. Select this option to enable it (put a check beside it); select it again to disable it.
Note Entry mode
Rest Entry mode
Slash Entry mode
Rhythmic Slash Entry mode
Chord Name Entry mode
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• Force Accidentals to Flats. When you select this option, Overture notates any accidentals as flats, regardless of the key. Select this option to enable it (put a check beside it); select it again to disable it.
• Tie Previous Two Notes. This is actually a command, not an option. When you choose this command, Overture automatically ties together the two notes immediately to the left of the input point. This command allows you to step-enter tied notes easily.
• Duplicate Previous. This command is enabled only when you are step-entering slashes. Use it to copy the previous measure’s slash pattern into the active measure.
• Duplicate Previous to End. This command is enabled only when you are step-entering slashes. Use it to copy the previous measure’s slash pattern into all remaining measures in the score.
CounterThe Counter displays (in bars, beats and clocks) the location of the step you’re about to enter.
The bar number displays the measure number containing the insertion point. The beat number displays how many beats the insertion point is into the measure. The clock number displays how many clocks the insertion point is into the beat. Overture records and plays notes with a resolution of 480 clocks per quarter note, so an eighth note would equal 240 clocks; a sixteenth note would equal 120 clocks, and so on.
The counter display shown above indicates that the cursor is at 8 • 2 • 240. This means the insertion point is in the eighth measure and midway through the second beat.
Bar numberBeat numberUnit number
8 • 1 • 0
8 • 1 • 240
8 • 2 • 0
8 • 2 • 240 (insertion point)
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Pitch IndicatorThe Pitch Indicator displays, as a MIDI note number, the pitch of the note you’re about to enter. MIDI supports 128 notes ranging from C2 to G8 with Middle C = C4.
Size AreaThis area sets the amount of time the counter advances each time you play a note. Overture displays the step size as both a note value and as an exact number of clocks (480 clocks = one quarter note).
There are several ways to set the size:
• Method 1: Select a size from the Note Size pop-up menu.
• Method 2: Use the clocks numerical to enter a new step size.
Pitch Indicator
Press and hold the Note Sizebutton...
...then select a note sizefrom the pop-up menu
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If you enter a value in the clocks field that is not an equal subdivision of the beat, the Note Size button shows a “<” or “>” symbol along with the current note size.
• Method 3: Use the computer keyboard to set step size.
As shown in the table below, you can type keys on your computer keyboard to set the step size.
Tuplet CheckboxYou can also define the size as a tuplet by clicking the Tuplet checkbox. This lets you create complex timing divisions, like five notes in the space of one quarter note.
Use the mouse or keyboard to set tuplet fields. Overture automatically calculates the clocks and updates the note size pop-up.
Key Function
1 Set value to whole note/rest
2 Set value to half note/rest
4 Set value to quarter note/rest
8 Set value to eighth note/rest
6 Set value to sixteenth note/rest
5 Set value to thirty-second note/rest
3 Turn triplets on or off
. Turn the dot on or off
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Duration AreaThe duration is the length of the note you step enter.
The duration is different from the size; the duration is the length of the note, and the size is the amount of time the counter advances each step. The space between notes is called the gap.
Duration + Gap = Size. These are MIDI notes as shown in the Graphic window. See Chapter 31, “Graphic Window (Mac)” for more information.
You can select one of three possible duration modes, which you select from the Duration Mode pop-up menu.
Note:The Duration area is not available when you step-enter chord names.
Size
Gap
Duration
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These duration modes are:
• Constant. Select this duration mode to create notes of identical duration, regardless of the step size.
Set the constant duration amount by selecting a value from the Note Size pop-up menu or changing the value in the clocks field. Changing either of these values updates the other one.
• Constant Gap. Select this duration mode to create a uniform amount of space between all step-entered notes, regardless of the step size.
Set the constant gap amount by selecting a value from the Gap Size pop-up menu, or change the value in the Units field. Changing either of these values updates the other one.
Constant Durations
Clocks field
Note Sizepop-up menu
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• Percent. Select this duration mode to have Overture calculate a note duration as a percentage of the step size.
Notice that each note’s duration is 90% of the step size.
Set the percentage by entering it in the Percentage Amount field, which appears below the Duration Mode pop-up menu when you select Percent mode.
Velocity AreaVelocity is the parameter that defines how hard you struck a note.
is 90% of 90%
Percentage Amountcalculated duration
Step Size numerical used by
field
Overture to calculate a duration
Note:The Velocity area is not available when you step-enter chord names.
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You can select one of two possible velocity modes from the Velocity Mode pop-up menu.
These velocity modes are:
• Constant. Select this velocity mode to insert notes of a set velocity, regardless of the actual velocity you play.
Set the desired constant velocity value by entering it into the Constant Velocity field.
• As Played. Select this velocity mode to insert notes at exactly the velocity you play them.
Step Entering Notes and RestsYou can step-enter notes and rests from either the computer keyboard or a MIDI keyboard.
Step Entering Notes and Rests with the Computer KeyboardYou can step-enter notes and rests using only the computer keyboard. To do so:
1. Choose Windows>Step Input.
Overture opens the Step Input window.
Constant Velocity field
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2. Press and hold the mouse on the Input Select button, then select the note icon from the pop-up menu.
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click where you’d like to begin entering music.
5. If desired, select a stem direction and accidental naming scheme from the pop-up Options menu.
You need to do this only if you want to override Overture’s default stem direction and accidental naming algorithms.
Input Select button
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6. On the computer keyboard, type a number to set the step size of the note you wish to enter.
See the table on page 380 to see how computer number keys correspond to note (or rest) durations.
Alternatively, you can select a size from the Note Size pop-up menu, but you’ll probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size button changes to show the value of the note you’re about to enter.
7. On the computer keyboard, type the letter of the scale tone you wish to enter (c, d, e, f, g, a, b). Type lower case o to raise an octave and shift-o to lower it an octave.
Notice that when you type a letter, the Pitch Indicator changes to show the pitch of the note you’re about to enter.
8. Enter the desired Duration parameters.
We discuss duration parameters in “Duration Area” on page 381.
9. Enter the desired Velocity parameters.
We discuss velocity parameters in “Velocity Area” on page 383.
Type 8, and the Note Value Selectorchanges to show an eighth note
Type 4 and then a dot, and the Note ValueSelector changes to show a dotted quarter note
Type f and the Pitch Indicatorchanges to show an F note
Type a and the Pitch Indicatorchanges to show an A note
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Step-Entering RestsYou can step-enter rests as well as notes from the computer keyboard. To do so:
Pressing space inserts rests without actually toggling the Step Input window to Rest Entry mode. This allows you to step-enter the occasional rest quickly while performing the more common task of step-entering notes. If you actually wish to enter Rest Entry mode, select the rest icon from the Input Select pop-up menu.
When in Rest Entry mode, select rest values from the Note Size pop-up menu. To insert a rest into the score, press either return or space on your computer keyboard.
You can toggle back and forth between Rest Entry mode and Note Entry mode by typing either r or = on your computer keyboard.
10. Press the Enter[return] key.
Overture enters the note as specified and moves the cursor to the next step.
1. On the computer keyboard, type a number to set the step size of the rest you wish to enter.
See the table on page 380 to see how computer number keys correspond to note (or rest) durations.
2. If desired, select the voice you’d like to enter from the Voice pop-up menu at the bottom of the Score window.
Alternatively, you could type Control[Command]-1 through Control[Command]-8 to select voices 1-8, or type Control[Command]-0 to select all voices.
3. On the keyboard, press space to insert a rest of the selected duration.
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Shifting Step-Entry OctavesWhen you enter notes with the computer keyboard, the seven scale tone keys (c, d, e, f, g, a, b) all enter notes in the octave beginning with middle C. If you want to enter notes in a higher or lower octave range, you need to shift the step-entry octave. To do so:
For example, assume you enter the following notes:
Next, if you want to enter an eighth note at high C, you have to shift octaves. Type 8, then c, then o, then press return:
Any note you enter next is placed in the octave beginning with high C. So, if you type 8, g, then press return, you’ll enter an eighth note at high G.
1. Type a lower case o to raise the step-entry range one octave. Type an upper case O to lower the step-entry range one octave.
This change affects the current step and all steps after it.
Notice that when you change the octave range, the Pitch Indicator changes to show the octave of the note you’re about to enter.
If the original octave was 3 and you typea small o, the Pitch Indicator changes toshow that the octave is raised to 4.
If the original octave was 3 and you typea capital O, the Pitch Indicator changes toshow that the octave is lowered to 2.
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If, after entering high C, you really want to enter the G above middle C, type 8, g, O, then press return. The capital O lowers the pitch of the entered note back to the octave beginning with middle C.
Step Entering AccidentalsStep entry always enters notes using the actual pitch displayed. For example, if your song is in F major and you type a b, Overture actually enters a b natural. If you need to enter an accidental, use the up and down arrow keys to raise and lower pitch in half-step increments before entering the pitch.
Step Entering ChordsTo step-enter chords using the computer keyboard:
Step Entering Tied NotesTo step-enter tied notes using the computer keyboard:
1. After typing the letter of the scale tone you wish to enter, press up arrow to raise its pitch a half step, or press down arrow to lower its pitch a half step.
You can step up and down through all note values using the up arrow and down arrow keys.
1. Type the first note in the chord.
2. Press the Enter on the number pad.
Pressing Enter on the number pad enters the note into Overture but does not advance the cursor to the next step.
3. Type the next note in the chord, then press Enter on the number pad.
Overture enters the second note at the same cursor location as the first.
4. Continue entering notes in your chord.
5. After entering the last note in your chord, press Enter[return] to advance the cursor to the next step.
1. Enter the first note using previously discussed techniques.
2. Enter the second note using previously discussed techniques.
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Auto-Tied NotesOverture automatically splits any step-entered note across a barline.
For example, assume you’ve step-entered the music below, and you now want to enter a quarter note.
There is only room in the measure for an eighth note, so when you step-enter a quarter note, Overture automatically creates two eighth notes tied across the barline below.
Stepping Through a ScoreTo step backward through a score and erase the most recently entered note or rest:
• Press delete to back up one step and erase it. The cursor moves one step to the left and Overture erases the note or rest associated with that step. Each time you press delete Overture backspaces and erases the previous step.
To start step recording in the middle of a measure (to enter a different voice, for example), or to skip a few steps without entering any actual music:
3. Type ;.
Alternatively, you can select Tie Previous Two Notes from the Tool Bar’s pop-up Options menu.
Overture ties together the two notes immediately to the left of the insertion point.
1. Press right arrow to step forward through the score.
Overture steps forward by the amount indicated by the Note Value selector in the tool bar. It does not enter any notes or rests.
2. Press left arrow to step backward through the score.
Overture steps backward by the amount indicated by the Note Value selector in the tool bar. It does not erase any notes or rests.
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Synopsis of Step-Entry Key ModifiersThe following table shows a synopsis of all the key modifiers discussed in the previous sections.
Step Entering Notes and Rests with a MIDI KeyboardTo step enter a score using a MIDI controller:
Key Function
right arrow Step forward through a score without entering notes
left arrow Step backward through a score without deleting notes
delete Step backward through a score, deleting each step
up arrow Raise current pitch 1/2 step
down arrow Lower current pitch 1/2 step
o Raise current and future pitch range one octave
O Lower current and future pitch range one octave
Enter[return] Enter a note or rest, then step forward
Enter on number pad Enter a note or rest, but don’t step forward (use for step-entering chords)
; Tie together the two previous notes
R or = Toggle between Note Entry mode and Rest Entry mode
space Insert a rest while in Note Entry mode
1. Choose Windows>Step Input.
Overture opens the Step Input window.
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2. Press and hold the mouse on the Input Select button, then select the note icon from the pop-up menu.
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click in the measure where you want to begin entering music.
5. If desired, select a stem direction and accidental naming scheme from the pop-up Options menu.
You need to do this only if you want to override Overture’s default stem direction and accidental naming algorithms.
6. On the computer keyboard, type a number to set the step size of the note you wish to enter.
See the table on page 380 to see how computer number keys correspond to note (or rest) durations.
Alternatively, you could select a size from the Note Size pop-up menu—however, you’ll probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size pop-up menu changes to show the value of the note you’re about to enter.
7. Enter the desired Duration parameters.
We discuss duration parameters in “Duration Area” on page 381.
8. Enter the desired Velocity parameters.
We discuss velocity parameters in “Velocity Area” on page 383.
Input Select button
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You can enter a rest by pressing a space or you can type r or = to toggle to Rest Entry mode, then play any note on your MIDI keyboard. As with step entry of notes from the keyboard, you can delete the previous step by pressing delete and you can move forward or backward through a score by pressing right arrow or left arrow. For more information, see “Stepping Through a Score” on page 390. Also, you can enter tied notes as discussed in “Step Entering Tied Notes” on page 389.
9. On your MIDI keyboard, play the note (or chord) you wish to enter.
Overture enters the note and moves the cursor to the next step.
Using a MIDI keyboard, you can step record single notes or entire chords.
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Entering RestsYou can use a MIDI keyboard to enter rests. To do so:
Alternatively, you can simply press space on your keyboard to enter a rest without toggling to Rest Entry mode.
1. Type a number to set the duration of the rest you wish to enter.
2. Type either an r (for rest) or =.
This is the same as selecting the rest icon from the Input Select pop-up menu. Notice that when you type r or =, the Input Select button changes to show that you’re about to enter a rest.
3. On your MIDI keyboard, play any note to insert the rest.
Overture enters the rest and moves the cursor to the next step.
Input Select button show a rest iconwhen you step-enter rests
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Step Entering SlashesLead sheets for guitarists generally contain chord names and a series of slashes to indicate that the performer is to strum the chords. This section discusses how to use Overture’s Step Input window to enter strum slashes into a score quickly. See “Step Entering Chord Names” on page 398 to learn how to step-enter chord names).
1. Choose Windows>Step Input.
Overture opens the Step Input window.
2. Press and hold the mouse on the Input Select button, then select the slash icon from the pop-up menu.
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click the measure where you want to begin entering slashes.
5. On the computer keyboard, type a number to set the Step Size of the slash you wish to enter.
See the table on page 380 to see how number keys correspond to step sizes. Generally, you use one slash per quarter note.
Alternatively, you can select a note value from the Note Size pop-up menu. You’ll probably find it quicker to use the keyboard equivalents.
Notice that when you type a number, the Note Size button changes to show the value of the slash you’re about to enter.
Input Select button
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The position at which the slash note is displayed is independent from the played pitch (or pitches if a chord has been entered). Slash symbols may be transposed, affecting the played pitch, without changing the displayed position.
You can enter a rest by pressing a space, or you can type r or = to toggle to Rest Entry mode, then play any note on your MIDI keyboard. As with step entry of notes, you can delete the previous step by pressing delete and you can move forward or backward through a score by pressing right arrow or left arrow. For more information, see “Stepping Through a Score” on page 390.
6. On your MIDI keyboard, play any note to enter a slash.
Overture enters the slash and moves the cursor to the next step. Slashes do not have stems because they do not actually indicate any rhythm. They also do not indicate pitch. The played pitches may be different from what the score shows.
Note:You can step enter slashes using only the computer keyboard. The technique is identical to that used for entering notes and rests from the keyboard. For more information, see “Step Entering Notes and Rests with the Computer Keyboard” on page 384.
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Step Entering Rhythmic SlashesSometimes, it’s desirable to indicate the actual strumming pattern on a lead sheet. You do this by entering rhythmic slashes. Rhythmic slashes (unlike regular slashes) have stems, flags and beams to indicate rhythm. Like regular slashes, rhythmic slashes do not indicate pitch—the played pitches may be different from what the score shows.
This section discusses how to use Overture’s Step Entry mode to enter rhythmic slashes in a score quickly. See “Step Entering Chord Names” on page 398 to learn how to step-enter chord names.
1. Choose Windows>Step Input.
Overture opens the Step Input window.
2. Press and hold the mouse on the Input Select button, then select the rhythmic slash icon from the pop-up menu.
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click in the measure where you want to begin entering rhythmic slashes.
5. On the computer keyboard, type a number to set the step size of the slash you wish to enter.
See the table on page 380 to see how number keys correspond to step sizes.
Alternatively, select a note value from the Note Size pop-up menu, but you’ll probably find it quicker to use the keyboard equivalents.
Notice that when you type a number, the Note Size button changes to show the value of the slash you’re about to enter.
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You can enter a rest by typing a space, or you can type r or = to toggle to Rest Entry mode, then play any note on your MIDI keyboard. As with step entry of notes, you can delete the previous step by pressing delete and you can move forward or backward through a score by pressing right arrow or left arrow. For more information, see “Stepping Through a Score” on page 390.
Step Entering Chord NamesYou can step-enter chord names from either the computer keyboard or from a MIDI Keyboard. The following section shows how to step enter chord names using a MIDI keyboard. To learn how to step enter chord names with the computer keyboard, see “Step Entering Chord Names with the Computer Keyboard” on page 353.
Step Entering Chord Names with a MIDI Keyboard
6. On your MIDI keyboard, play any note to enter a rhythmic slash.
Overture enters the rhythmic slash and moves the cursor to the next step.
1. Choose Windows>Step Input.
Overture opens the Step Input window.
Note:You can step enter rhythmic slashes using only the computer keyboard. The technique is identical to that used for entering notes and rests from the keyboard. For more information, see “Step Entering Notes and Rests with the Computer Keyboard” on page 384.
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As with step-entry of notes, you can delete the previous step by pressing delete and you can move forward or backward through a score by pressing right arrow or left arrow. For more information, see “Stepping Through a Score” on page 390.
2. Press and hold the mouse on the Input Select button, then select the chord name icon from the pop-up menu.
3. In the Score window, click in the measure where you want to begin step-entering chord names.
4. On the computer keyboard, type a number to set the step size you wish to enter.
See the table on page 380 to see how number keys correspond to step durations.
Alternatively, select a note value from the Note Size pop-up menu, but you’ll probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size button changes to show the value of the chord you’re about to enter.
5. On your MIDI keyboard, play the chord you wish to notate.
Overture searches the current Chord Symbol library for a matching chord. If it finds a matching chord, it enters the chord name above the staff and moves the cursor to the next step.
Overture alerts you if it doesn’t find a matching chord in your chord library and gives you the option of opening the current chord library to add the chord.
For more information about how Overture recognizes chords, see “About Chord Recognition” below. For more information about Chord Symbol libraries, see “Chord Symbols” on page 413.
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About Chord RecognitionFollow through these steps to learn how Overture names chords:
1. If you want to enter a chord name without an alternate bass note, play the chord such that its root is the lowest note.
For example, if you play F-A-C, Overture assumes F is the root, then searches the Chord Symbol library and matches the note pattern with a major chord. Overture then enters a chord name of F.
2. If you want to enter a chord name with an alternate bass note, play the chord so that the bass note is the lowest note and the root is the second lowest note.
For example, if you play E-F-A-C, Overture assumes E is the root, then searches the Chord Symbol library for that four-note pattern. When it doesn’t find a match, it assumes that E is an alternate bass and that F is the root. It then searches the Chord Symbol library for the remaining three-note pattern. It matches the major chord. Overture then enters a chord name of F/E.
1. Play this chord.
2. Overture assumes E is desired root (since it’s the lowest note).
3. Overture searches the ChordSymbol library for this chord pattern.(This is the pattern of the chordnaturalized to C.)
4. When Overture doesn’t find a match, it assumes that E mustbe an alternate bass. It then drops it from the chord and assumesthe next highest note (F) is the root.
5. Overture searches the ChordSymbol library for this chord pattern.(This is the pattern of the chordnaturalized to C.)
6. Overture finds a match (a major chord) and names your chord F/E.
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The figure below illustrates how Overture interprets chords played on a MIDI controller.
Chord recognition always references the current Chord Symbol library. For more information about Chord Symbol libraries, see “Chord Symbols” on page 413.
3. If you want to enter a chord name with an alternate bass note that’s the same as a note in the chord, use the note twice in your chord.
For example, if you wanted to notate Fmaj7 with an E bass, simply play E-F-A-C-E. Overture recognizes the F-A-C-E as an Fmaj7 and adds the first E as an alternate bass.
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Use the File menu commands to save, create, open, import, export, and print Overture files, MIDI files and support libraries. The following sections discuss each command in detail.
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New...Choose this command to open a new, untitled Overture score.
When you choose the new command, a New Score dialog box appears. Use the dialog to enter your new score attributes.
There are three areas in the New Score dialog box. These are described below:
• Score Type. Use this area to choose the type of instruments/tracks for your score. You may choose a single instrument from the Instruments Library, or Piano, or Piano and Voice, or Guitar and Tablature, or a template from the Templates folder.
• Title Page. Use this area to enter title page text. You may add more text, footers, and headers later by choosing Score>Title Page. See “Title Page” on page 522 for more information
• First Measure. Use this area to enter the score’s initial settings such as Time Signature, Key Signature, etc..
To use the Jazz Font (if installed on your computer) for the default music font, check box labeled “Jazz Font” at the bottom of the dialog.
To prevent this dialog from appearing at startup, disable the check box labeled “Open this dialog at startup” at the bottom of the dialog.
Note:If you save a score named DefaultFile in the Overture folder, Overture will open this file at startup and skip the New Score Dialog. Also, you can have as many open Overture scores as memory allows. To switch between open Overture scores, select the appropriate score from the Windows menu.
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Open...Use this command to open a saved Overture score. When you choose the Open command, a standard Open dialog box appears. Use the Open dialog box to navigate through your various volumes and folders to locate the desired file. Click the file to select it, then click the Open button. The Open dialog box disappears and the selected Overture score opens.
You can have as many open Overture scores as memory allows. To switch between open Overture scores, select the appropriate score from the Windows menu.
Opening a Score TemplateOverture ships with numerous score templates saved as Read Only files. A score template contains staff and page setups for particular types of music and are stored in the Templates folder within the Overture folder. Alternatively, you can open a score template by double-clicking its icon in the finder.
CloseUse this command to close the active Score window. Choosing the Close command is the same as clicking the active window’s Close box.
Closing a Score WindowIf a Score window is active when you choose the Close command, that Overture file closes. If there are any open support windows, they remain open. If you have made any unsaved changes to an Overture score, Overture asks you if you want to save the changes before closing the score.
The contents of any open support windows depend on whether or not there are any other open Overture scores:
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• If, when you close a Score window, you have no other open Score windows, the open support windows will go blank. This is because all data is removed from a support window when you close a Score window. The support windows stay open for use with other Overture scores.
• If, when you close a Score window, you have other open Score windows, the open support windows fill with data from the frontmost Score window.
Closing a Support WindowTo close a support window click on the window’s Close box.
SaveUse this command to save the active Overture score in the same folder you last saved it in. This command always saves Overture scores in the Overture file format. If you want to save a score using a different format, use the Export command. If you choose the Save command for a score that has never before been saved, Overture prompts you to name and file the score using the standard Save As dialog box. We discuss the Save As dialog box below.
Save As...Choose this command to either save an existing score under a new name, or save a new score. When you choose the Save As command, Overture produces a standard Save As dialog box.
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Type the desired name into the text field and use the pop-up menu and scroll list to select a storage location. Click the Save button to save the file.
RevertChoose this command to cancel any changes you have made to the active Overture score since the last time you saved it and open the most recently saved version.
Edit LibraryChoose File>Edit Library to produce a submenu of library types.
From the submenu, choose the type of library you wish to edit. Overture contains five types of libraries:
• Allotment Table. Overture uses the Allotment Table to determine the default horizontal spacing of notes on a staff. Choosing this submenu opens the current Allotment Table for editing.
• Chord Symbols. Overture uses the Chord Symbol library to name chords using the Chords window, or to recognize chords played on a MIDI keyboard. Choosing this submenu opens the current Chord Symbol library for editing.
• Drum Map. Overture uses the Drum Map to assign names, noteheads and staff positions to MIDI notes. Choosing this submenu opens the current Drum Map for editing.
• Expressions. Overture uses the Expressions library to organize sets of expressions, their appearance in the Score window, and their sound during playback. Choosing this submenu command opens the current Expressions library for editing.
Note:Overture scores are cross-platform compatible between the PC and Macintosh. To open a score on the other platform, just save the score on a disk and open it with Overture on the other platform.
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• Guitar Frames. Overture uses the Guitar Frames library to create and organize sets of guitar frames. Choosing this submenu command opens the current Guitar Frames library for editing.
• Instruments. Overture uses the Instrument Library to define instruments, including the following track attributes: name, abbreviation, clef, device, patch, output transposition, pitch, range, transposed clef, transposed steps, and number of voices. Choosing this submenu command opens the current Instruments library for editing.
The following sections discuss editing each library type in detail.
Allotment TableChoose this command to modify Allotment Tables and create new ones. When you choose File>Edit Library>Allotment Table, Overture opens the Allotment Table dialog box.
You can move the Allotment Table dialog box around the desktop by dragging its title bar. The dialog box displays the name of the active Allotment Table just underneath the title bar.
About the Allotment Table Dialog BoxThe Allotment Table dialog box contains a simple editing grid with basic note values displayed in columns and various durations displayed in rows. Each cell in the table contains a numerical that represents the number of spaces assigned to each type of note. A space is equal to the distance between two staff lines. If you decrease the number of spaces assigned to a particular type of note, that note appears closer to other notes. If you increase the number of spaces assigned to a particular note, that note appears farther from other notes.
The Allotment Table dialog box also contains three buttons. These are:
• Save As button. Click this button to save the edited Allotment Table to disk. When you click this button, Overture opens a standard Save As dialog box. Use the dialog box to name the new Allotment Table and to tell Overture where to save it.
• Cancel button. Click this button to close the Allotment Table dialog box and restore the Allotment Table to its original state. Clicking this button does not save or apply any of your changes to the current Allotment Table.
• OK button. Click this button to activate your changes. When you click this button, Overture uses the modified Allotment Table. Clicking the OK button does not save the new Allotment Table to disk—
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it only affects the Allotment Table that’s loaded into RAM. If, when you quit the program, your Allotment Table has unsaved changes, Overture performs one of two actions:
• If the Auto Save Changed Libraries option is checked in the Preferences dialog, Overture automatically saves the changes to disk upon quitting the program.
• If the Auto Save Changed Libraries option is not checked in the Preferences dialog, Overture asks if you want to save the changes to disk before quitting the program.
Overture uses the current Allotment Table in a number of ways:
• It automatically positions any notes entered either by MIDI input or by importing MIDI files according to the Beat Chart derived from the current Allotment Table.
• If you check Options>Auto Position, it places any notes entered by mouse according to the Beat Chart derived from the current Allotment Table.
• If you choose Measures>Justify, it aligns any notes in the active measure according to the Beat Chart derived from the current Allotment Table.
Using the Allotment Table Dialog BoxAssume, for this example, that you want to create an Allotment Table that minimizes the spacing differences between eighth notes, sixteenth notes and thirty second notes. To do so, change the Allotment Table so that eighth notes are given less space and thirty second notes are given more.
To create this Allotment Table:
1. Choose File>Edit Library>Allotment Table.
Overture opens the Allotment Table dialog box. This dialog box shows all the assignments for the current Allotment Table. If you want to edit a different Allotment Table, choose File>Load Library and select a different Allotment Table. See “Load Library” on page 448 for more information.
2. Use the numericals in the eighth note column to decrease the number of spaces allotted to all versions of eighth notes.
In this example, decrease the normal eighth note spacing to 1.7; the dotted eighth note spacing to 2.8; and the triplet eighth note spacing to 1.6.
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You’ve now created a new Allotment Table that minimizes the spacing differences between eighth, sixteenth, and thirty-second notes. When you justify a measure, Overture spaces notes using the Beat Chart derived from the new Allotment Table. The figure below shows the difference between note spacings for the two Allotment Tables discussed in the previous example.
There is now less of a space difference between eighth notes and sixteenth notes in the bottom music sample than in the top.
3. Use the numericals in the thirty-second note column to increase the number of spaces allotted to all versions of thirty-second notes.
In this example, increase the normal thirty-second note spacing to 1.4; the dotted thirty-second note spacing to 1.6; and the triplet thirty-second note spacing to 1.3.
Notice the differences between the two tables above.
4. Click the Save As button.
Overture opens a standard Save As dialog box.
5. Name and save your new Allotment Table in the Libraries folder.
Note spacing using defaultAllotment Table.
Note spacing using modifiedAllotment Table.
Spacing betweeneighth notes is slightly tighter here.
Spacing betweensixteenth notes is slightly wider here.
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Chord SymbolsChoose this command to modify the current Chord library or to create new Chord libraries. When you choose this command, Overture opens the Chord Library dialog box for the current library.
You can move the Chord Library dialog box around the desktop by dragging its title bar.
The dialog box displays the name of the active Chord library just underneath the title bar.
The Chord Library dialog box consists of four separate areas. We describe these areas beginning with “Suffix Element Area” on page 415.
About Chord LibrariesYou can create and store as many Chord libraries as you wish, but Overture can only refer to one Chord library at a time. That one library is called the current Chord library, and you define it in the Preferences
Suffix Element Area
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ActiveChord Symbol Library
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dialog box. You can load a different Chord library by choosing File>Load Library (see “Load Library” on page 448 for more information).
Why Chord Libraries ExistOverture uses the current Chord library to name chord suffixes in the Score window. There are two ways that Overture uses this library:
• Chords window: All suffixes stored in this library appear in the Chords window. For more information about the Chords Window, see Chapter 31, “Chords Window.”
• MIDI Chord Entry: Overture uses this library when you enter chords in step-entry mode using a MIDI keyboard. Overture searches the library for a matching note pattern and, if it finds one, enters a chord of the appropriate root in the Score window. For more information about step-entering chords with MIDI input, see “Step Entering Chord Names with a MIDI Keyboard” on page 398.
What Chord Libraries ContainChord libraries contain only chord suffixes and the note patterns assigned to them—they do not store information about the actual roots. Therefore, the bottom of the Chord Library dialog box displays any chord you add to the library as having a root of C (regardless of the root you used to enter and edit the chord). For example, the library might store the pattern first + minor third + fifth with the suffix min. For simplicity, the Chord Library dialog box displays this suffix as C min and shows that it contains the notes C, Eb, and G.
When you enter a chord name into the Score window, Overture gets the suffix information from the current Chord library. It gets the root either from the Root buttons in the Chords window or by analyzing the pattern played on a MIDI keyboard (as discussed in “About Chord Recognition” on page 400).
For example, if you want to enter an F mi chord name into the score window, either:
• Use the Chords window to select a C mi symbol. Then click the F root button. Then click the Score window to insert the chord name (as described in “Chords Window” on page 343).
Or
• Step-enter an F mi chord from a MIDI keyboard. Overture recognizes the minor chord pattern from the Chord library and applies the correct root name, F, by analyzing the MIDI input (as described in “Step Entering Chord Names with a MIDI Keyboard” on page 398).
The Chord library also contains information about the fonts, sizes, and styles used by chord names in an Overture score. When you change the Chord library that an Overture score references, the appearance of any existing chords in the score changes to that defined by the new library.
About the Chord Library Dialog BoxThe Chord Library dialog box consists of four separate areas:
• Suffix element area
• Chord suffix editing
• Symbol viewing area
• File buttons
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Suffix Element AreaThis area of the Chord Library dialog box contains all the elements you can use to name a chord suffix.
Place chord suffix elements in the Chord Suffix editing area (described below) either by double-clicking elements or by dragging them into the Chord Suffix display.
Some elements (such as majors, minors, diminished, and augmented chords) have numerous acceptable spellings. To open a pop-up menu of alternate spellings for a suffix element, Alt[Option]-click the element. The alternate spelling you select applies every time you use that element in the future.
[To create a symbol not in the Suffix element area, scroll to the end of the list and double-click on the ?. Overture opens the standard Choose Symbol dialog box. Choose the font and symbol you want.]
To learn how the Suffix element area works in conjunction with other elements in the Chord Library dialog box, see “Editing Chord Symbol Libraries” on page 420.
Alt[Option]-click toopen pop-up menuof spelling alternatives
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Chord Suffix Editing AreaUse the Chord Library dialog box to assemble and edit chord suffixes. It contains the following elements:
The Chord Suffix Editing Area consists of the following elements:
• Chord Suffix display. Use this to edit a chord suffix. You can click any suffix element to select it and you can drag any suffix element to reposition it. You can nudge a symbol using the arrow keys and, if you Alt[Option]-nudge, all elements after the nudged element move the same amount.
• Show Axis checkbox. Check this to show the vertical and horizontal axis lines in the Chord Suffix display. Uncheck this box to hide the axis lines.
• Font button. Click this to set the font used for the currently selected suffix element(s). Clicking this button opens the font dialog box discussed in “Font Button” on page 563. This is different from both the Root Font and the Accidental Font buttons in the Symbol viewing area—Overture allows roots, suffixes, and accidentals all to have completely different fonts. Clicking the Replace button saves this font together with the chord suffix If you Control[Option]-click the Font button, Overture changes the font for all suffixes in the library, not just the selected suffix.
• Insert button. Click this to insert the suffix shown in the Chord Suffix display into the Symbol viewing area (discussed in “Symbol Viewing Area” below) and into the Chord library itself. Overture inserts the suffix immediately to the left of the highlighted suffix in the library.
• Replace button. Click this to replace the highlighted suffix in the Symbol Viewing Area (discussed in “Symbol Viewing Area” below) with the suffix shown in the Chord Suffix display.
• Root display. This shows the root of the chord that you select or play. If you play a chord on a MIDI keyboard, the Root display shows the root of the chord you played. If you select a chord suffix from the Symbol Viewing Area (as discussed in the following section), the Root display shows C, since all symbols stored in the Chord Symbol library are displayed with a root of C.
• Trash. You can remove suffix elements from the Chord Suffix Editing Area by dragging them to the trash. Similarly, you can remove chord symbols from the Symbol viewing area by dragging them into the trash. We describe the Symbol viewing area in “Symbol Viewing Area” below.
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To learn how the Chord Suffix editing area works in conjunction with other elements in the Chord Library dialog box, see “Editing Chord Symbol Libraries” on page 420.
Symbol Viewing AreaThis area shows all the suffixes in the current Chord library along with a keyboard representation of the actual notes in each chord symbol (generally based on a root of C).
This area consists of numerous elements. Specifically:
• Miniature Keyboard display. Use this to enter or view the notes in a chord symbol. All displayed chord symbols are based on the root selected in the Root pop-up menu. There are two ways to enter the notes in contained in a chord symbol:
• Manually. On the miniature keyboard, click each key that makes up the chord. If you enter a chord using a root other than C, Overture automatically transposes it to the root of C when you add it to the Chord library.
• From a MIDI Controller. Play a chord on a MIDI controller. Overture automatically enters the notes on the miniature keyboard display and selects the Root based on the lowest note played. You can change this root if you want the chord named some other way, for example with an added bass note as discussed in “Example 2: Creating a Chord Symbol with an Alternate Bass” on page 422.
The C with the box around it indicates middle C on the miniature keyboard.
Overture uses the notes shown in the miniature keyboard display to recognize chords that you play on a MIDI keyboard. For more information, see “Step Entering Chord Names with a MIDI Keyboard” on page 398.
Miniature Keyboard Display
Scrolling Symbol LibraryUpper Root pop-up menu
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.
• Symbol Library. Use this scrolling display to select a chord symbol. When you select a symbol, the miniature keyboard displays the notes in the chord. Clicking the Replace button in the Chord Suffix editing area replaces the selected chord symbol with whatever is in the Chord Suffix display (and normalizes it to the root of C). Clicking the Insert button in the Chord Suffix editing area inserts whatever is in the Chord Suffix display between the selected chord symbol and the symbol immediately to its left. The Chord Library can contain an unlimited number of chord symbols. You can delete chord symbols by dragging them to the trash icon in this dialog box.
• Root Font button. Click this button to set the font for the chord symbol’s root. Clicking this button opens the Font dialog box discussed in “Font Button” on page 563. This is different from both the Font button in the Chord Suffix Editing Area and the Accidental Font button—Overture allows roots, suffixes, and accidentals all to have completely different fonts.
• Accidental Font button. Click this button to set the font for any accidental that appears in a chord symbol. Clicking this button opens the Font dialog box discussed in “Font Button” on page 563. This is different from both the Font button in the Chord Suffix editing area and the Root Font button—Overture allows roots, suffixes, and accidentals all to have completely different fonts.
To delete a chordsymbol from here...
... drag it here
14 pt. Times Bold as set by Root Font button 9 pt. Helvetica Plain as set by Root Font button
16 pt. Aloisen Plain as set by Accidental Font button
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• Upper Root pop-up menu. Use this pop-up menu to change the note that Overture defines as the root of a chord that you play into the library. Normally you won’t need to change the root, but if you want to add a chord symbol with an alternate bass to the library, you’ll need to use this pop-up menu as discussed in “Example 2: Creating a Chord Symbol with an Alternate Bass” on page 422.
To learn how the Symbol viewing area works in conjunction with other elements in the Chord library dialog box, see “Editing Chord Symbol Libraries” on page 420 below.
File ButtonsThis area contains the following buttons:
• Clear All button. Click this button to clear all chord symbols from the existing library. Use this when you want to create a Chord Symbol library from scratch. Generally, you’ll find it easier to modify an existing library than to create a new one.
• Save button. Click this button to save changes to the file immediately. This lets you:
• Know the state of your libraries as you edit them without having to remember at the end of the Overture session which changes you’d like to keep.
• Save the changes to the file but press Cancel to restore your working copy to the state it was in before the current editing.
• Press the OK button without pressing Save to use the current state of the library for the duration of the Overture session without saving the changes to the file. This button does not save changes to the chord suffix or its font. Use the Replace button to save these elements.
• Save As button. Click this button to save the edited Chord library to disk. When you click this button, Overture opens a standard Save As dialog box. Use the dialog box to name the new library and to tell Overture where to save it. This button does not save changes to the chord suffix or its font. Use the Replace button to save these elements.
• Cancel button. Click this button to close the Chord library dialog box and restore the Chord Library to its original state. Clicking this button does not save or apply any of your changes to the current Chord library.
• OK button. Click this button to activate your changes. When you click this button, Overture uses the modified Chord library. Clicking the OK button does not save the new Chord library to disk—it only affects the Chord library that’s loaded into RAM. If, when you quit the program, your Chord library has unsaved changes, Overture performs one of two actions:
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• If the Auto Save Changed Libraries option is checked in the Preferences dialog box, Overture automatically saves the changes to disk upon quitting the program.
• If the Auto Save Changed Libraries option is not checked in the Preferences dialog box, Overture asks if you want to save the changes to disk before quitting the program.
This button does not save changes to the chord suffix or its font. Use the Replace button to save these elements.
Editing Chord Symbol LibrariesFollow through the next couple of examples to learn how to edit a Chord library. Refer to the earlier discussions of the Chord Library dialog box individual elements for more information.
Example 1: Simple Chord InsertionAssume, for this example, that you want to add a major triad with an added ninth to your Chord Library. To do so:
1. Choose File>Edit Library>Chord Symbol.
Overture opens the current Chord library.
2. Click a blank symbol box in the scrolling symbol library.
You may have to scroll to the end of the list. This example shows a Chord Symbol library that has been emptied using the Clear All button (as discussed in “File Buttons” on page 419).
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3. Since a major triad with an added ninth is written as X(add 9), you need to create this suffix in the Chord Suffix Editing area. First, double click the ( element in the Suffix Elements area.
This inserts the left parenthesis in the Chord Suffix display.
4. In the Suffix Elements area, double-click the add element to insert it in the Chord Suffix display, then double-click the 9 to insert it.
Alternatively, drag the symbol over to the Chord Suffix display.
5. Finally, double-click the ) to insert it in the Chord Suffix display.
6. On your MIDI controller, play a C(add 9) chord.
Overture automatically enters the notes into the miniature keyboard display.
If you don’t have a MIDI controller connected to your computer click each key in the C(add 9) chord using the miniature keyboard display.
Double-click an element here... ...to insert it over here.
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Example 2: Creating a Chord Symbol with an Alternate BassAssume, for this example, that you want to create a minor triad chord symbol with an alternate bass note a half step below the root. To do so:
7. Click the Replace button in the Chord Suffix editing area to save the change to the chord suffix.
Overture replaces the empty chord symbol with a C(add 9) chord symbol.
1. Choose File>Edit Library>Chord Symbol.
Overture opens the current Chord library.
2. Click a blank suffix box in the scrolling symbol library.
You may have to scroll to the end of the list.
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3. To create the suffix, first double-click the min element in the Suffix Elements area.
This inserts the min suffix in the Chord Suffix display.
4. On your MIDI controller, play a D minor chord with a C# in the bass.
Overture automatically enters the notes into the miniature keyboard display and shows the upper root as “C#”.
If you don’t have a MIDI controller connected to your computer click each key in the chord using the miniature keyboard display.
Double-click an element here... ...to insert it here.
Notes shown here
Root shown as C# sincethat’s the lowest notein chord
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5. Since C# is actually the alternate bass and D is the upper root, press the mouse on the Upper Root pop-up menu and select an upper root of D.
Overture changes the upper root from C# to D and changes the chord symbol to Dmi/C#.
D now appears as the upper root
C# now appears as analternate bass note
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6. Click the Replace button in the Chord Suffix Editing Area to save the change to the chord suffix.
Overture replaces the empty chord symbol with the newly created symbol, transposing it so that the lowest note in the chord is a C.
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Drum MapChoose this command to modify Drum Maps and create new ones. When you choose File>Edit Library>Drum Map, Overture opens the Drum Map dialog box.
You can move the Drum Map dialog box around the desktop by dragging its title bar.
The dialog box displays the name of the active Drum Map library just underneath the title bar.
You can create and store as many Drum Map libraries as you wish, but Overture can only refer to one Drum Map at a time. That one map is called the current Drum Map and is defined in the Preferences dialog box. You can load a different Drum Map by choosing File>Load Library (see “Load Library” on page 448 for more information).
About the Drum Map Dialog BoxThe Drum Map dialog box contains a simple scrolling chart. The chart has 128 rows (one for each MIDI note) and it has columns for editing each note’s head, staff position and name. Obviously, you most commonly use Drum Maps to assign drum names to MIDI notes, but you can also create Drum Maps to use with sound effects, foley work, and the like.
Tracks use Drum Maps to create percussion notation. To learn to use Drum Maps in a track, see “Percussive Tracks” on page 497.
Library
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There are four columns in the Drum Map dialog box. These are:
• Pitch. This column shows each of the 128 MIDI pitches to which you assign a name, head and staff position. Click those pitches you want included in a default percussive track and Overture places a small triangle next to them. Since a percussive track can record, play and notate up to sixteen different drums, you can select up to sixteen pitches to include in the default percussive track. For more information about percussive tracks, see “Percussive Tracks” on page 497.
• Head. Press and hold the note icon to open a pop-up menu. From the menu, select the notehead you want to use for the MIDI note.
Checked pitches appearby default in a percussivetrack’s Track Setup dialogbox.
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• Position. Press and hold the small staff icon to open a larger, editable staff. Drag the cursor up and down to change the staff position on which Overture displays the MIDI note.
• Name. Use this column to type the name of the sound that’s assigned to each MIDI note.
The Drum Map dialog box also contains four buttons. These are:
• Save button. Click this button to save changes to the file immediately. This lets you
• know the state of your libraries as you edit them without having to remember at the end of the Overture session which changes you’d like to keep
• save the changes to the file but press Cancel to restore your working copy to the state it was in before the current editing
• press the OK button without pressing Save to use the current state of the library for the duration of the Overture session without saving the changes to the file
• Save As button. Click this button to save the edited Drum Map to disk. When you click this button, Overture opens a standard Save As dialog box. Use the dialog box to name the new Drum Map and to tell Overture where to save it.
• Cancel button. Click this button to close the Drum Map dialog box and restore the Drum Map to its original state. Clicking this button does not save or apply any of your changes to the current Drum Map.
1. Move the mouse overa note’s Position indicator.
2. Press and hold the mouse toopen a larger, editable staff.
3. Drag the cursor up anddown to change the staffposition on which Overture
4. Release the mouse whenyou’re satisfied with the
displays the note.
note’s staff position.
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• OK button. Click this button to activate your changes. When you click this button, Overture uses the modified Drum Map. Clicking the OK button does not save the new Drum Map to disk—it only affects the Drum Map that’s loaded into RAM. If, when you quit the program, your Drum Map has unsaved changes, Overture does one of two things:
• If the Auto Save Changed Libraries option is checked in the Preferences dialog, Overture automatically saves the changes to disk upon quitting the program.
• If the Auto Save Changed Libraries option is not checked in the Preferences dialog, Overture asks if you want to save the changes to disk before quitting the program.
Using the Drum Map Dialog BoxAssume, for this example, that your drum machine plays a kick drum on C1, a snare on D1, and low, mid and high toms on G1, A1, and C2 respectively. Also, assume you want Overture to display all drum notes with an X head and that you want the kick drum assigned to the lowest space, the snare in the next space up, the low tom in the space above that, the mid tom in the top space, and the high tom in the space above the top line.
To create this Drum Map:
1. Choose File>Edit Library>Drum Map.
Overture opens the Drum Map dialog box. This dialog box shows all the assignments for the current Drum Map. If you want to edit a different Drum Map, choose File>Load Library and select a different Drum Map (see “Load Library” on page 448 for more information).
2. Use the scroll bar to find MIDI note C1.
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3. Press and hold the note in the Head column next to C1 and select the X head from the pop-up menu.
This assigns the X head to C1.
4. In the Position column, drag the C1 note’s staff position to the lowest space.
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5. In the Name column, type Kick Drum.
Overture assigns the name Kick Drum to MIDI note C1.
6. Assign MIDI note D1 to the snare as shown below.
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You’ve now created a simple Drum Map containing a kick, snare and three toms. To see how to use a Drum Map in a score, see “Percussive Tracks” on page 497.
7. Assign the three toms as shown in the Drum Map dialog box below.
8. Click the Save As button.
Overture opens a standard Save As dialog box.
9. Name and save your new Drum Map.
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Expression LibraryChoose File>Edit Library>Expressions to change the expressions that appear on the Expressions palette (see Chapter 21, “Expressions Button,” on page 237) and create new ones. Overture opens the Expression library dialog box.
The Expression library lets you specify and store information about expressions. The definition of each expression includes name, font, size, style, and playback information.
Using the Expression Library Dialog BoxThis section discusses how to edit, save, and name the currently loaded Expression library.
The Expression library dialog box lists all the expressions in the currently loaded Expression library. Columns in the dialog box allow you to manipulate the expressions in the Expression palette and change their information:
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• . Click to select an expression. Press and drag to move an expression up or down the list of expressions. Expressions appear on the palette in the order you specify by moving them in this column.
• Ex. (Extract). Click to put a bullet in the column or to remove it. Putting a bullet in the column tells Overture to extract this expression in all parts when you extract parts. See “Extract Parts” on page 516.
• Name. Click and type to change the name of an expression. The new name appears on the palette, where you can choose it and put it on the score.
• Font. Press and drag to choose a font from the pop-up menu. The expression appears in the score in the font you specify.
• Size. Click and type to change the font size. The expression appears in the score in the size you specify.
• Style. Click and choose the style characteristics you want. Choose multiple times to specify multiple characteristics. Your choices are Normal, Bold, Italic, and Underline. The expression appears in the score with the style characteristics you specify.
• Playback. Click to display the Expression Playback dialog box for an expression. This dialog box lets you specify options for MIDI playback of the expression in your score. See “Expression Playback dialog box” below. Buttons in the Expression Library dialog box let you manipulate the Expressions palette further.
• Insert. Select a row and press the Insert button to add an empty row above the selected row. You can fill in the row with a new expression. This adds the new expression to the palette after you click OK.
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• Delete. Select a row and press the Delete button to delete the selected row. This removes the selected expression from the Expressions palette after you click OK.
• Save. Click this button to save the changes you have made as part of the current Expressions library.
• Save As. Click this button to save the current Expressions library with a new name (creating a new Expressions library) or to another place. The Save As dialog box appears. Specify the new name and location and click Save.
Expression Playback Dialog BoxThe Expression Playback dialog box lets you tell Overture how you want MIDI playback of the specified expression to sound. In the Expression Library dialog box (see “Using the Expression Library Dialog Box” above) click the Playback column for the expression you want to specify. The Expression Playback dialog box opens.
Choose one of these options:
• None. Click to tell Overture not to provide MIDI playback for this expression.
• Tempo. Click the radio button to specify a tempo. Click and type a number to specify the tempo you want.
• Patch. Click the radio button to specify a patch for MIDI playback. Press and hold to display the Patch pop-up menu. Drag and release to choose a patch. The patch name or number appears on the menu button.
• Controller. Click the radio button to specify a controller for MIDI playback. Press and hold to display the Controller pop-up menu. Drag and release to choose a controller. The controller name or number appears on the menu button. Type a value for the controller in the Value box.
• Use Voice: Choose the voice (channel) to to send MIDI data out for this expression.
• Also Send: Check this box and choose a value if you want to send a key switch.
Click OK to apply your choices for playback to the selected expression.
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Guitar Frames LibraryChoose this command to modify the current Guitar Frames library or to create new Guitar Frames libraries. When you choose this command, Overture opens the Guitar Frames Library dialog box for the current library
About Guitar Frames LibrariesYou can create and store as many guitar frames libraries as you wish, but Overture can only refer to one Guitar Frames library at a time. That one library is called the current Guitar Frames library, and you define it in the Preferences dialog box. You can load a different Guitar Frames library by choosing File>Load Library (see “Load Library” on page 448 for more information).
What Guitar Frames Libraries ContainGuitar Frames libraries contain the root, bass, suffix, and tuning for each frame, and the fingering pattern assigned to them.
When you enter a guitar frame into the Score window, Overture gets the frame information from the current Guitar Frames library. You choose the root, bass, suffix, and tuning in the Chords window.
For example, if you want to enter an Fmi guitar frame into the score window:
• Open the Chord window and switch to Guitar Frames (if needed) using the check box. Choose F from the root menu and minor from the Suffix menu. Click on the desired fingering and then click the Score window to insert the guitar frame (as described in Chapter 31, “Chords Window”).
Frame Viewing Area
Buttons Area
Frame Editing Area
Chord Type Area
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The Guitar Frames library also contains information about the fonts, sizes, and styles used by guitar frames in an Overture score. When you change the Guitar Frames library that an Overture score references, the appearance of any existing guitar frames in the score may change to that defined by the new library.
About the Guitar Frames Library Dialog BoxThe Guitar Frames Library dialog box consists of five separate areas:
• Chord Type area
• Default Suffix Spellings area
• Frame Editing area
• Frame Viewing area
• Buttons area
Chord Type AreaUse this area to choose the type of guitar frame you wish to edit.
To place guitar frame in the Frame Editing Area (described below), set the Root, Suffix, Bass, and Tuning menus to the desired chord. This displays the different fingerings for this chord. Now click on a fingering to place it into the Frame Viewing Area.
Default Suffix Spelling AreaUse this area to set default spellings for suffix names. To change a spelling click on the menu button and choose a different spelling.
Frame Editing AreaUse this area to edit the guitar frame.
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The enter a dot on a string, click on the string and fret. Click above the frets to place a symbol for open or muted string. Multiple clicks toggle between open, muted, and no symbol.
Shift click two dots to enter a barre between them.
To change starting fret, use the Fret popup menu.
Type the suffix name in the given area. You may type anything you wish for a name. Overture displays non-alpha numeric characters as a superscript. For Example: A C9 chord will have the 9 displayed in a slightly smaller font and raised.
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When you are finished editing the fingering, choose the Replace button to replace an existing chord or the Insert button to insert a new fingering. You can reposition the frames by dragging them to a new position.
Frame Viewing AreaUse this area to choose the guitar frame to edit.
Click on the fingering you wish to edit. The current frame being editited will be shown in red. You may also reposition the frames by clicking and dragging them to a new position. To delete a frame, drag it to the Trash Can.
Buttons Area
Use this area to set change the spellings for suffix names. To change a spelling click on the menu button and choose a different spelling.
• Font button. Click this button to choose the default font for the suffix names.
• Insert button. Click this button to insert the frame in the edit area into the viewing area and into the current Guitar Frames library.
• Replace button. Click this button to replace the hilited frame in the viewing area with the frame in the editing area.
• Save button. Click this button to saves changes to the file immediately.
• Save As button. Click this button to save the edited library to disk under a different name. Overture opens the standard Save As dialog to allow you to specify a different name.
• OK button. Click this button to activate your changes. This does not save them to disk - it only affects the current Guitar Frames library.
• Cancel button. Click this button to restore the library to its original state.
Instruments LibraryChoose File>Edit Library>Instruments Library to change instruments and create new ones. Overture opens the Instruments library dialog box.
Note:You can copy the current frame by typing Control[Command]-c and then paste it into the Frame Editing Area by typing Control[Command]-p.
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The Instruments library lets you specify and store important information about instruments. Each instrument’s definition includes: name, abbreviation, clef, device, patch, output transposition, pitch range, transposed clef, transposed steps, and number of voices.
Assigning an instrument to a track automatically enters the instrument’s information into the track. There is, however, no dynamic link between a track that has been assigned an instrument and the Instrument library that contains that instrument. Editing an instrument in the Instruments library has no effect on tracks that have already been assigned that instrument. Once the track has been assigned an instrument, the instrument’s attributes belong to that track. The track’s attributes are still editable in the Setup Track dialog box, the Tracks Window, or the Score Window.
Assigning instruments to tracks is a much faster, more efficient way to use Overture than individually entering each attribute. We recommend using the Instruments library as much as possible to configure instruments; override the assignments in the track only when necessary.
Orchestral and GM InstrumentsGenieSoft provides two libraries: Orchestral Instruments and GM Instruments. Both libraries reside in the Libraries folder located in the same folder as the Overture application.
Orchestral Instruments contains a list of the most commonly used orchestral instruments and loads as the default Instruments library when you first launch Overture. Although the name, abbreviation, clef, pitch range, number of voices, and transposed steps attributes of each instrument are accurately defined, you need to select the devices and patches to use for your MIDI setup.
GM Instruments contains a complete list of General MIDI instruments. Since these instruments are designed to work with General MIDI devices, the patches are accurately specified. You need to select the device they’ll play through in your MIDI setup, however.
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You can specify the Instruments library to load when starting Overture by selecting the desired library from the Instruments pop-up menu in Libraries Preferences. The Instruments pop-up menu contains all Instruments libraries in the Libraries folder. This menu defaults to Orchestral Instruments until you select another library.
Editing the Instruments LibraryThis section discusses how to edit, save, and name the currently loaded Instruments library.
It’s a good idea to make copies of the GM and Orchestral Instruments libraries. Making backups prevents any mistakes from overwriting these important starting libraries.
You can derive your own libraries from those GenieSoft provides or create your own from blank entries. Although GM Instruments is intended for General MIDI devices, you can select patches different from those predefined, or devices that don’t conform to General MIDI. You can add non-orchestral instruments to Orchestral Instruments.
Since most composers use a smaller set of instruments than are contained in the libraries we provide, it is not necessary to define all instruments in the library. You can either delete instruments you don’t need or just define the instruments you’d like to use and ignore the others. Once they have defined the relevant instruments, most composers do not need to make frequent changes to the Instruments library.
To begin editing the currently loaded Instruments library, choose File>Edit Library>Instruments. This opens either:
• the Instruments library that was loaded when Overture started; Or
• the Instruments library that was last loaded by choosing File>Load Library. Choosing File>Load Library is the only way to edit and use a library different from the currently loaded library.
The OK and Cancel ButtonsAfter you edit the library and press the OK button, Overture uses any changes made to that library until you:
• edit the library again (and press OK)
• load a different library
• quit and re-start the program
Pressing the OK button after editing the library saves those changes while you use that library (think of it as a working copy) without saving them permanently in the library file. This allows you to experiment with different settings without committing them to the file.
If you select the Auto Save Libraries option in Libraries Preferences, however, Overture saves the changes in the current library file every time you click the OK button. This is a shortcut method for those users who prefer to keep the working copy and the library file in sync with each other without the extra
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step of clicking the Save button. If you press Cancel instead of OK, Overture saves changes to neither the working library nor the library file.
SavePressing the Save button saves any changes you make in the current library to the current library’s file name. Pressing the Save button permanently changes the library file but doesn’t save the changes to the working library until you press the OK button.
Save AsPressing Save As opens the standard Save As dialog box. Locate the Libraries folder (in the folder that contains Overture) and assign the library a new name. The name appears in the upper left of the library window. If you’d like to use the current changes to this library, press OK. If you are merely making a copy of the library under a different name and would like to return to the previous library’s state before editing, press Cancel.
It’s important to understand that using Save As does not load that library file as the current Instruments library. The next time you choose File>Edit Library>Instruments, you’ll be editing the currently loaded library, not the file you named when you used the Save As button. The only way to change the Instruments library while Overture is running is by choosing File>Load Library to load a different library.
Note:You can edit the library, press Save to store the changes in the library file, and then press Cancel to avoid working with the changes.
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Insert and DeleteYou enable the Insert and Delete buttons only when you select an instrument by clicking in the column with the arrows at the far left of the library.
Pressing Insert copies the selected instrument’s attributes to a new, un-named entry above the selected instrument. It’s helpful to select an instrument whose attributes are similar to the instrument you’d like to create. Then you can edit those fields in the new instrument that differ from those in the original instrument.
Pressing Delete removes the selected instrument from the library.
ClearPressing the Clear button creates a new library with unspecified fields. This is the easiest way to create a new library from scratch.
The Instruments Library AttributesThis section discusses each instrument attribute in the Instruments library.
Instrument Section
Name and AbbreviationYou can name and abbreviate each instrument. Selecting Show Name in the Setup Track dialog box displays the instrument’s name in the left margin of the first system in the Score Window. Selecting Show
Click in this column to select an instrument Selected instrument
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Abbreviation in the Setup Track dialog box displays the instrument’s abbreviation in the left margin for systems subsequent to the first system in the Score Window.
GM #When you open an Overture file in a MIDI setup different from the one used to create the file, the devices assigned to tracks may differ. This commonly occurs when you exchange Overture files with a friend or co-composer. Overture uses the number specified in the GM # field of the Instruments library in which the file was created to search the Instruments library in the new environment for an instrument that uses the same GM #. If it finds a match, Overture uses the device and patch from that instrument if the current MIDI Setup knows that device. The GM# links MIDI devices in different setups; it is not the actual patch used for the track.
If Overture doesn’t find a match, it uses the device you select in the General Preferences option Remap Unknown Devices To. You still need to specify the patch for that track for the new device to play the correct sound. If you don’t select Remap Unknown Devices To, Overture warns you that it will not remap the device(s) and that any tracks using them will not play. Use the Tracks Window to specify devices and patches for these tracks.
ClefTracks you assign to this instrument use the clef you select.
Drum SectionWhen first launched, Overture automatically loads a default General MIDI Drum Map. See “Drum Map” on page 426 for more information on Drum Map libraries.
GenieSoft would like to thank Dr. Norman Weinberg for giving us a standard. His article “Guidelines for Drumset Notation” in Percussive Notes, June 1994 was very useful. We have made our best effort to match the notehead and staff positions of the various drum notes to his suggestions. Because of the vast numbers of drums, we occasionally had to make slightly different choices.
Drum Maps specify names and clef positions for drum notes. You can store multiple Drums Maps in the Libraries folder but only one Drum Map is active at a time. Select a different Drum Map by choosing File>Load Library and select the new Drum Map from the standard File dialog box that appears. There are sixteen pitches in each Drum map, each of which is assigned a position on the percussive clef.
MapClick the Map column to open the current Drum Map. Clicking OK saves the changes made to that Drum Map, not to the currently active Drum Map’s file. A dot to the left of the Map field (in the Dot field) shows that the pitches for tracks using that instrument are designated by the notes and clef positions you specify in that instrument’s Drum Map. You can edit a different Drum Map for each instrument but each instrument begins with the current Drum Map.
Click the dot in the Dot field to remove the dot and use conventional note pitches instead of the Drum Map. Click the Dot field when there is no dot to activate the current Drum Map for that instrument.
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Output SectionDevice/PatchSet the device and patch for the instrument with the Device and Patch pop-up menus. Alt[Option]-clicking to select a device sets all instruments in the library below that device to the selected device. Option-clicking to select a patch opens the OMS Names Browser.
Think carefully about how you allocate the devices in your MIDI setup to instruments. Consider how many MIDI channels, notes, and multi-timbral parts each device can play before assigning the same device to instruments that play simultaneously. Sometimes you may have to use a device that doesn’t have the best sounding patch in order to play all the tracks with the correct instrumentation. See “Resolving Device Conflicts” on page 502 for a detailed discussion about assigning devices in the Instruments library.
TransSet the output transposition in the Trans numerical field. This field affects playback only, not the appearance of notes in the Graphic or Score Windows.
Range SectionLow and HighThe Low and High fields specify the lowest and highest notes, respectively, in the instrument’s pitch range.
VoicesThe Voices field specifies the number of voices the instrument is capable of generating. For example, an alto sax generates only a single voice but a guitar can generate up to four voices.
Transpose SectionClefThe Clef field shows the clef displayed in the track if you select Options>Show>Tracks Transposed.
StepsThe Steps field shows the instrument’s transposition. You can edit this field, but each transposing instrument in Overture’s libraries already has the correct transposition.
This is different from the Output Trans field that transposes the output for playback only.
Rearranging Instruments in the LibraryYou can move the instruments around the library by dragging in the far left field with the up and down arrows at the top of the column. Since the instruments in GM and Orchestral Instruments libraries are ordered alphabetically, you may want to group instruments in other ways. For example, see “Resolving Device Conflicts” on page 502 to learn how grouping instruments by device lets you assign devices to groups of instruments in one step.
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The Instruments Library and the Tracks Window
Although you can explicitly set the Track, Voices, Device, Patch, and Trans fields, it is easier to set them automatically by selecting an instrument that encapsulates these attributes. Control[Command]-clicking the Device field opens a pop-up menu with the instruments in the current Instruments library. The normal pop-up menu displays the devices known to the current MIDI setup. When you select an instrument, Overture assigns all the instrument’s attributes to the track. This includes the attributes displayed in the Setup Track dialog box but not in the Tracks window, namely clef, pitch, range, steps transposed, and GM#.
Note:The instrument’s name appears in the Track field. The Trans field of the Tracks window displays the Output Trans attribute from the instrument, not the Steps attribute from the Transpose section.
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Resolving Device ConflictsTo use the Device field to select instruments you must completely define the instruments in the Instruments library. This is not hard. If you are using the Orchestral or GM Instruments libraries, you must systematically configure only the Device and Patch fields in order to view and play tracks correctly.
Give careful thought to which devices have the best patches to play specific sounds. It’s also important to think about which instruments you most commonly use in a particular type of composition. For example, if a piece uses horns, piano, drums, bass, and guitar all mapped to a single device, you may run out of MIDI channels, multi-timbral parts, or notes on that device. Overture and the Instrument Definitions Manager cannot help you in resolving these issues.
As you select patches and devices for the many instruments in the library, it is difficult to anticipate how and when those instruments will be used. For example, consider the following situation:
Both tracks request different patches on the same device. Overture resolves the conflict by assigning the next available MIDI channel to the second of the two tracks. For example, if the Proteus/2 from the previous example were enabled to receive on channels 1-8, Overture would assign Proteus/2-2 for track 2.
This automatic device mapping brings up another interesting possibility: since Overture solves device conflicts, why go to the trouble of specifying the precise MIDI channel for each device for every instrument?
The answer is that you don’t have to specify the precise MIDI channel. You can simply select the device’s first enabled channel for an instrument. As long as you don’t assign a single device for too many instruments that play simultaneously, you really don’t have to worry about which MIDI channels Overture uses, as long as the correct patch plays on the selected device.
This automatic device mapping has an interesting implication for grouping instruments in the library. If you group instruments in your library based on the device they play through, rather than alphabetically, you can Alt[Option]-click the Devices pop-up menu when selecting the device for the first instrument in the group to assign that device to all instruments below that instrument.
By starting at the top of the library and moving down, you can assign the first channel of the device for that group to the first instrument in the group. Then move on to the first instrument of the next group and perform the same operation. Each succeeding assignment overrides the preceding assignment for the instruments below the instrument you Alt[Option]-click. Overture then assigns specific MIDI channels for the devices as the instruments are used in tracks.
If you assign Proteus/2-1 and Oboe as the device and patch to an oboe instrument
and you assign Proteus/2-1 and Harp as the device and patch to a harp instrument
then what happens if you assign the harp and oboe to tracks that play simultaneously?
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This technique can significantly speed up and simplify the task of assigning devices. When you’re done assigning devices, you can then re-group the instruments in the library alphabetically or in any other way that makes sense.
Load LibraryChoose this command to load any of Overture’s six library types from disk into Overture’s local memory. We discuss Overture’s library types in “Edit Library” on page 466.
When you choose File>Load Library, Overture opens a standard Open dialog box. Use the dialog box to find the library you wish to open. When you load a library into Overture, it replaces the library previously in use.
You can edit any loaded library by choosing its type from the File>Edit Library submenu.
When Overture launches, it automatically loads the Chord library, Drum Map, Allotment Table, Expressions library, Instruments, and Guitar library selected in the Preferences dialog box. For more information, see “Preferences” on page 704.
ImportChoose this command to import either a standard MIDI file, MusicXML file, Encore™. or MusicTime™ file, and convert it into standard music notation.
Importing FilesTo import a files into Overture:
1. Choose File>Import.
A standard Open dialog box appears.
2. Navigate to where you store your files.
3. For MIDI files an Import dialog box appears. Enable those tracks you wish to import and select the desired voicing, split, quantization and transcription options for each track.
Note:Selecting an instrument from the Setup Track dialog box does not enter the device and patch into the Track List. See “Instrument Pop-up Menu” on page 556 to learn why this is the case.
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About the Import MIDI File Dialog BoxThis section discusses the Import MIDI File dialog box.
There are numerous elements in the Import MIDI File dialog box. These are described below:
• File Name. This area of the dialog box displays the name of the MIDI file you’re importing into Overture.
• Transcribing Status. Once you click the OK button, this reporting box displays the import status on a measure-by-measure, track-by-track basis.
4. Click the OK button.
Overture creates a new Score window. Its staves show either standard music notation or raw MIDI data (MIDI files only) depending on the transcription option you selected in the Import MIDI File dialog box.
File Name
Track Name
Voices Split Point
TranscriptionQuantization
Transcribe Mode
Track Selector
Score Options
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• Track Selector. Use this column to select those tracks you want to import. Overture imports all tracks marked with a small triangle. Click a selector dot to turn it into a triangle (enabling it for importing). Click a selector triangle to turn it into a dot (disabling it for importing).
• Track Name. This column shows the name of each track in the selected MIDI file.
• Voices. Use this column to tell Overture whether you want the corresponding track imported as a single voice or a multiple-voice track. For a definition of voices, see “Voice” on page 8. Simply click the word Single or Multiple to switch between the two choices.
• Clef. Use this column to assign the type of clef you want for the imported track. Change the clef type by clicking the Clef field. Each click changes the type between treble, bass, alto, tenor, and perc. Percussive Tracks. Tracks imported with the perc. (percussive) clef type display with respect to the current drum map. Overture plays the imported pitches, but displays them on the percussive clef in the positions you have specified in the drum map.
• Split Point. Use this numerical if you want Overture to split a track into two separate tracks. Press and hold the mouse in this column and drag it up to set a split point. Overture imports split tracks as two tracks—it places any notes equal to or higher than the split point in one track and notes below the split point in another. If you select None, Overture imports the track as is. Split points are particularly useful for importing piano parts that were recorded on one track, but that you want notated on two staves.
• Transcription Quantization. Use this column to set the quantization level for each imported track. Press and hold the note, then choose a new note from the pop-up menu.
Overture’s smallest transcription quantize amount is the triplet value of the selected note. For example, if you select a transcription quantize amount of an eighth note, the smallest note value Overture transcribes correctly is an eighth note triplet.
• Transcribe Mode. Use this column to tell Overture whether you want the corresponding track transcribed directly (Auto), or if you want the track transcribed as raw MIDI data (Manual). Click the word Auto or Manual to switch between the two choices.
Track disabled for import
Track enabled for import
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• Map Channels to Staves. If a single track has multiple channels, use this box to tell Overture to display each channel on a separate staff.
• Score Order. Use this options to reorder the tracks to match the standard order of classical instruments.
• Optimize Staves. Use this option to suppress the display of staves containing no track data.
• Use Jazz Font. Use this option to have Overture use the Jazz Font for musical symbols. This requires that the Jazz Font be installed.
Overture justifies all measures and recalculates the score for each imported track. It uses information about the highest and lowest note in each staff to adjust the space between staves accurately.
Abbreviations for Imported TracksIf the track name in an imported Standard MIDI File is the same as an Overture instrument name, and you have specified an abbreviation for this instrument name, Overture automatically uses the appropriate abbreviation.
For example:
Remap Unknown DevicesImporting a standard MIDI file created with different MIDI devices from those in the current MIDI Setup requires that you map the previous devices to the current devices. You can do this manually using the Patch and Device fields in the Tracks Window.
The Remap Unknown Devices To field in the General Preferences dialog box assists the remapping process by assigning unknown devices to successive, valid channels on the selected device. Choose Options>Preferences. The General Preferences dialog box opens. When you select the Remap Unknown Devices To checkbox and select a device from its pop-up menu, Overture uses available channels for that device (as determined from your MIDI setup) to remap unknown devices during import.
MarkersSequencers or notation tools often use markers to designate important events. These may include cues in film or video scores or the verse, chorus, and bridge sections in a song. Overture imports markers from standard MIDI files and puts them above the top staff as system text.
If you import a track named Flute to a track in Overture,
and there already exists an Overture track named Flute with abbreviation Fl.,
then Overture automatically uses Fl. as the abbreviation for the imported track. If Overture doesn’t recognize the name of the track, it uses the imported track’s full name instead of an abbreviation.
Default SuffixSpellings Area
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Apply Import Options to All TracksAlt[Option]-clicking a track’s import options fields (Clef, Voices, Split, Quantize, and Transcribe) applies that setting to the current track and all subsequent tracks.
Importing MusicXML, Encore and MusicTime FilesTo import an MusicXML, Encore or MusicTime file into Overture:
1. Choose File>Import.
A standard Open dialog box appears.
2. Navigate to where you store MusicXML, Encore or MusicTime files.
3. Click the OK button.
Overture creates a new Score window with the converted score.
Note:Not all of the notation will be imported. Overture imports the basic page layout, most MIDI information, and essential notation elements. You may need to adjust the page layout and some element positions. GenieSoft will continue to improve Overture’s import capabilities, so check the website for updates.
.
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ExportChoose this command to export data in the active Overture score to a multitrack (format 1) MIDI file. When you choose File>Export, Overture opens a standard Save As dialog box. Use the dialog box to tell Overture what to name the resulting MIDI file and where you want it saved.
If your score contains tracks that you don’t want included in the exported MIDI file, disable them by muting them in the Tracks window. For more information, see “Muting a Track” on page 286.
Extract PartsChoose this command when you want to create separate instrument parts from a complete score. When you choose the Extract Parts command, Overture produces the Extract Parts dialog box.
Track Selector
Track Name
Left edge barlinecheck box
Parts
Split Field
Multi-bar restscheck box
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About the Extract Parts Dialog BoxThere are four different areas in the Extract Parts dialog box.
• Track Selector. Use this column to select those tracks you want extracted. Overture extracts all tracks that are marked with a small filled triangle. Click a selector triangle to turn it into a filled triangle (enabling it for part extraction). Shift-click to make multiple selections.
• Parts. The dotted lines between tracks indicate part divisions. The number of tracks between dotted lines indicates the number of staves (tracks) that Overture extracts into a single part. For example, if there are two tracks between dotted lines (as with the two Piano tracks), then the extracted part will contain two staves (one for each track).
• Split Field. Use this column to control the number of voices extracted into each part. The possible values for the Split field are:
—. all voices go into one part
1. splits each voice into a separate part
2. splits two voices into a part
3. splits three voices into a part
4. splits four voices into a part
Part extraction for multiple splits (options 2-4 above) proceeds in order of the voices in the track. For example, a four voice track with the Split value set at 2, extracts voices one and two into one part and voices three and four into another.
• Track Name. Use this column to rename tracks, or to drag them around to change their order or part assignment. For example, assume the vocalist in your band is also the bass player and you want to extract her parts into a single score. As shown in the figure below, you select the two tracks to extract, then drag
Track disabled for extraction
Track enabled for extraction
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the name of the bass track on top of and the vocal track. This puts the two tracks together in a single part.
If you Alt[Option]-click a track name, Overture automatically groups it with the track immediately below it.
• Left Edge Barline Check Box. Check this box to have Overture display the barline at the left edge of each system. Single instrument parts usually do not display the barline at the left edge of the system.
• Multi-Bar Rests Check Box. Check this box to have Overture create multi-bar rests. Extracted parts use multi-bar rests to indicate many consecutive blank measures as a single bar. Use the Minimum field to set the minimum number of consecutive empty bars required before Overture notates them as a single multi-bar rest. Use the Maximum field to set the maximum number of consecutive empty bars that Overture notates as a single multi-bar rest. Overture recognizes rehearsal marks and double barlines, and never creates a multi-bar rest that spans such symbols.
• Reduction. Use this to scale the size of the individual extracted parts. Using the Extract Parts Command
1. Click the name of the track youwant to move.
2. Drag an outline of the track tothe desired destination.
3. Release the mouse.The bass track now shares a part withthe vocal track.
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To extract individual parts from an Overture score:
Automatic Names for Extracted PartsOverture uses the file and track names to name extracted parts automatically. Overture uses each file name while that piece is open. This is just a default name, and you can assign your own name and locate a folder in the standard File dialog box that appears.
For example:
1. Choose File>Extract Parts.
The Extract Parts dialog box appears. (See the previous section.)
2. Click the selector dots of those tracks you wish to export.
3. Drag track names into the desired part groupings.
4. Check the appropriate check boxes and click the OK button.
Overture saves each extracted part as its own Overture file.
If a file is named Counterpoint,
and the selected track is named piano and contains 4 voices,
and the track is extracted with the Split field value set to 2,
then Overture creates two parts with two voices each with the following names: Counterpoint-piano 1&2 and Counterpoint-piano 3&4.
Note:Extracted parts derive their page layout from the Engraver Preferences dialog box, not from the Layout Page dialog box settings.
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Page SetupChoose this command to define various printing options such as paper size, orientation, scaling and text effects. When you choose the Page Setup command, Overture produces the Page Setup dialog box for your printer. The look and format of the dialog box depends on your printer and platform. See your printer manual for specific information about its page setup options.
Save
There are several areas in the Print Setup dialog box. These are described below:
• Name Area. Use this popup menu to choose your printer.
• Paper Area. Choose the paper size that is is your printer.
• Orientation Area. Choose Portrait or Landscape.
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PrintChoose this command to print all or part of the active Overture score. When you choose the Print command, Overture produces the Print dialog box. The actual appearance of the dialog box depends on your printer and platform. See your printer manual for specific information about its print options.
There are several areas in the Print dialog box. These are described below:
• Name Area. Use this popup menu to choose your printer.
• Range Area. Choose the number of score pages to print.
• Copies Area. Choose the number of copies to print.
• Format Area. Choose how you want to print your score.
Normal - Prints one music page on one sheet of paper. Use the Odd pages Check Box to print only odd pages. Use the Even pages Check Box to print only even pages.
Booklet - Prints two pages of music side-by-side. Each music page is scaled to fit two pages on one sheet of paper and the page order is changed to produce a booklet when the printed sheets are folded in half. Use the Start on Inside Check Box if you want the top of the booklet to be blank.
2-Up - Prints two pages of music side-by-side. Each music page is scaled to fit two pages on one sheet of paper.
Manual Duplex Printing - Check this if you want to print on both sides on the paper and your printer does not offer this option. After the top of each sheet is printed, you’ll be prompted to flip the sheet of paper over to print on the other side.
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Print Preview (PC)Use this command to see what your score will look like when you print it. When you choose this command, Overture displays the print preview of your score.
About the Print PreviewThe Print preview has buttons to help you inspect your score:
• Print. Sends your score to the printer when you are satisfied with it.
• Next Page. Displays the next page of your score.
• Prev Page. Displays the previous page of your score.
• Two Pages. Displays your score two pages at a time.
• Zoom In. Magnifies your score
• Zoom Out. Shrinks your score
• Close. Closes the print preview and returns you to the score window.
List of Recently Opened FilesThis list of up to four files near the bottom of the File menu displays files you have opened recently. This is a convenience for files you open often.
Choose the file you want from the list.
Exit/QuitChoose this command to exit the Overture application. If any scores contain unsaved changes, Overture prompts you to save those changes before quitting.
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Use the Edit menu commands to cut, copy, and paste symbols, lyrics, MIDI data, or other elements of an Overture score.
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UndoChoose this command to undo your most recent action. You can undo most Overture commands. The Undo command usually describes the reversible action, as in Undo Insertion or Undo Deletion. The Undo command allows you to examine the results of an action without committing to it.
RedoChoose the Redo command to make the score appear as it did before you chose Undo. Use the Undo and Redo commands to toggle between the before and after versions of your most recent action. You can sequentially undo and redo your last sixteen actions since you started the current Overture session.
CutChoose this command to delete the current selection and copy it to the Clipboard. The cut selection remains on the Clipboard until you cut or copy some other selection to the Clipboard.
CopyChoose this command to copy the current selection to the Clipboard. Unlike the Cut command, choosing Copy keeps the current selection in the Overture score. The copied selection remains on the Clipboard until you cut or copy some other selection to the Clipboard.
PasteChoose this command to copy the contents of the Clipboard to the insertion point in the current score. Since the Paste command puts a copy of the Clipboard’s contents into a score, you may use the Paste command repeatedly to insert multiple copies.
When you choose Edit>Paste in the Score window, Overture pastes all note and note-related events from the Clipboard into the score, replacing the events currently in that time range. It does not paste some symbols like meters, beat charts, or tempo changes. This is so you can copy and paste notes between different sections of a score without disturbing the rhythmic flow of the composition. If you do want to paste any of the above-mentioned attributes, use the Paste Special command (discussed in “Paste Special” on page 467).
[Mac:If the Clipboard contains a PICT file and you paste it into a score, Overture attaches the PICT to the active measure and puts a white background behind it (obscuring any other symbols in that region of the score).]
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If the Clipboard contains text, you can paste that text into the Lyrics window or into any text area in Overture.
ClearChoose this command to delete the current selection from the Overture score. The contents of the Clipboard are not altered since the Clear command does not place a copy of the selection on the Clipboard.
MergeThis command merges the symbols on the clipboard with the symbols already in the score. It does not replace the symbols like the Paste command.
[Mac:If you merge a PICT file into score, Overture attaches the PICT to the active measure and puts a transparent background behind it (so you can still see any other symbols in that region of the score).]
Paste Special...Choose this command to perform a more complete and user-definable paste operation than is possible using simply the Paste command. Overture’s Paste command does not copy all symbols from the Clipboard into the score. Overture’s Paste Special command pastes all gives you the option of pasting meters, beat charts, tempo changes, lyrics, chord names, or measure text.
Paste and Paste SpecialThe following example shows the difference between the Paste and Paste Special commands:
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Assume you have the score below, and that you want to copy notes from the first measure and paste them into the third.
To maintain the tempo pattern you’d already established in the second measure:
To have measure 3 change tempo so that it matches the tempo in the first measure:
1. Copy the selected notes and symbols from the first measure.
2. Using the Arrow Cursor, click in measure 3.
3. Choose Edit>Paste.
Overture pastes all notes and symbols from the first measure into the third (as shown in the following figure). Notice that measure 3 maintains the tempo set in measure 2.
1. Copy the selected notes and symbols from the first measure.
2. Using the Arrow Cursor, click in measure 3.
3. Choose Edit>Paste Special.
Overture opens the Paste Special dialog box.
4. Check the Notes and Tempo Changes options, then click the OK button.
Overture pastes all notes and symbols from the first measure into the third. In addition, it also pastes the tempo from the original measure into measure #3.
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SelectChoose this command to select musical symbols in the active score.
• All: Choose this command to select all musical symbols in the active score.
• Current Track: Choose this command to select all musical symbols in the active track.
• By Filter: Choose this command to select or deselect specific music symbols in the score. If you have a range selected, the filter will use the selected range to find items, otherwise the entire score will be used. Use the Note Filter to choose notes by MIDI and graphical parameters. Use the Data filter to choose notes and other symbols by MIDI parameters. For example, in the dialog below every quarter note on the second and fourth beat with a velocity of 80 or greater will be selected.
• None: Choose this command to deselect all items in the score.
Find Item...Choose this command to find musical symbols and MIDI data in the active score.
Find Next Item..Choose this command to find the next occurrence of musical symbols or MIDI data selected in the Find Dialog in the active score.
Articulations describing notes
Starting position and pattern in bar.
MIDI parameters describing the notes.
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Make InvisibleChoose this command to hide all currently selected symbols. This command is useful for a number of functions, including:
• Voices: You can hide rests that you might not want to appear as part of a multi-voice staff.
• Trills: If you want the trill to playback as intended, you enter all the MIDI notes. You do not, however, want to notate all the notes in the trill—only one of the notes. Use the Make Invisible command to hide all the other trill notes in your score. Overture can also perform this function automatically by choosing Notes>Notate Notes as>Trill. For more information, see “Notate Notes as Trill” on page 602.
• Turns: If you want a turn to playback as intended, you enter all the MIDI notes. You do not, however, want to notate all the notes in the turn—only one of the notes. Use the Make Invisible command to hide all the other turn notes in your score. You can also cause Overture to perform this function automatically by choosing Notes>Notate Notes as>Turn. For more information, see “Notate Notes as Turn” on page 604.
You can view all the invisible symbols in your score by checking the Options>Show>Invisibles option (discussed in “Invisibles” on page 615). Also, any invisible symbols can be made visible by selecting the desired symbols and choosing Edit>Make Visible.
Editing operations affect invisible notation symbols exactly as they do visible symbols. For example, when you drag to select multiple symbols (or use double-click or shift-click selection methods), Overtures selects all invisible symbols as well as all visible ones. Copy, cut, paste, and edit invisible symbols exactly as if they were visible.
Make VisibleChoose this command to make visible all currently selected invisible symbols. For more information, see the previous section.
Set Color...Choose this command to set the color for all currently selected symbols.
Disable PlaybackChoose this command to disable playback on all currently selected symbols. To enable playback, select the symbol and choose the Enable Playback command.
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Enable PlaybackChoose this command to enable playback on all currently selected symbols. To disable playback, select the symbol and choose the Disable Playback command.
Playback Time...Choose this command to offset the time a symbol plays within a measure. This command is also used to create rolled chords.
MIDI DataChoose this command to enable the MIDI Data mode. This allows you to edit MIDI Data directly on the active score. For more information see the tutorial on “Editing MIDI Data.” in Chapter 6.
Modify Controller...Choose this command to reassign one controller to another or to change any controller’s value.
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Use the Score menu commands for such score-related tasks as specifying staff location and appearance; grouping systems; and setting up pages. The following sections discuss each command in detail.
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Insert PageChoose this command to add one or more pages to the current Overture score. When you choose Score>Insert Page, Overture opens the Insert Page dialog box.
You can move the Insert Page dialog box around the desktop by dragging its title bar.
Using the Insert Page Dialog BoxChoose whether you want to add pages before or after the current page, and enter the number of pages you want added to the score. Click the OK button to add the pages. Click Cancel if you decide not to add any pages to your Overture score. Inserted pages use the Page Layout assigned to the current page. For more information about page layout, see “Layout Page” on page 471.
Delete PageChoose this command to delete one or more pages from the current Overture score. When you choose the Delete Page command, Overture displays the Delete Page dialog box.
You can move the Delete Page dialog box around the desktop by dragging its title bar.
Enter the number of pages you want to delete, then click the OK button. Overture deletes pages beginning with the current page.
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Layout PageChoose this command to specify the default number of measures in a system and the default number of systems on a page. When you choose the Score>Layout Page command, Overture displays the Layout Page dialog box.
You can move the Layout Page dialog box around the desktop by dragging its title bar.
About the Layout Page Dialog BoxThere are numerous elements in the Layout Page dialog box.
• Systems per Page. Use this numerical to enter the number of systems you want displayed on the current page. If you add staves to systems such that the requested number of systems no longer fits within the current page, Overture automatically increases the length of the page by adding tiles, if Auto>Wrap Measures is not check. Overture automatically tiles printed pages (as discussed in “Metric Measurements” on page 473). If you don’t want to have your pages tiled, decrease the value of the Systems per Page numerical to prevent staves from extending beyond the bottom of the page. If Auto>Wrap Measures if checked, the systems that would extend be below the bottom of the page are wrapped to the next page. For more information, see “Creating Big Systems” on page 237.
• Measures per System. Use this numerical to enter the default number of measures you want in each system on the current page.
• All Remaining Pages. If you check this option, Overture applies the Systems per Page and Measures per System choices to every remaining page in your score. It also generates new measures to fit existing pages. If you leave this option unchecked, Overture applies your choices only to the current page and does not change the number of measures in the score.
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Page DimensionsChoose this command to specify page and margin sizes for the current Overture score. When you choose Score>Page Dimensions, Overture opens the Page Dimensions dialog box.
You can move the Page Dimensions dialog box around the desktop by dragging its title bar.
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About the Page Dimensions Dialog BoxThere are numerous elements in the Page Dimensions dialog box. These are described in the following sections.
Metric MeasurementsYou can specify either inches or centimeters for measurement units. Click the Inches or Centimeters radio button to set the type of units to display.
Page Size Controls Use the page size controls to set the width and height of a page (up to a maximum of 34” x 44”).
Printer Paper Size Use this button to set the dimensions to the size of the paper in your printer. The dimensions are determined by the Page Size setting found in the Page Setup dialog.
Score Size Slider Use the Score Size slider to increase or decrease the amount of music that fits on your paper. If you check the Recalculate Layout check box and then change the score size, the score layout will be reflowed to fill the new score size.
Margin ControlsUse the margin numericals to set all four margins on a page.
Drag score size slider to allow
Type new page dimensions here.
more or less music on a page.
Type new margins here.
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The Use Tiles OptionChoose the Use Tiles option when you want Overture to print pages larger than the physical dimensions of the paper in your printer. Do this by printing individual tiles that you can tape together to create a larger page. This is like the way billboards and other large banners are produced.
The easiest way to understand the Use Tiles option is by example. Assume that your printer is loaded with 8.5” x 11” paper (the physical page) and that you want to create actual score pages that are 16” x 20” (the virtual page). To do so:
1. Choose Score>Page Dimensions.
Overture opens the Page Dimensions dialog box.
2. Using the Page Size numericals, enter a page width of 16” and a page height of 20”.
Caution:Set margin sizes appropriate for your printer. If you set margins narrower than your printer’s minimum printable margin, some portions of music will be clipped.
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3. Check the Use Tiles option and click the OK button.
Overture’s Score window contains the entire 16” x 20” virtual page (you’ll have to zoom out to see all of it). The score has dotted lines to illustrate exactly what prints on each physical page.
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4. Choose File>Print.
Overture opens the Print dialog box (your print dialog box may look different from this one).
In this dialog box, you tell the printer how many virtual pages to print, not how many physical pages. Therefore, to print the first page of a 16” x 20” tiled score, tell the dialog box to print from page 1 to page 1. Because of the tiling option, the printer knows that it must produce four physical pages to make one virtual page.
5. Click the Print button.
Overture prints four 8.5” x 11” physical pages that you can tape together to create a single virtual page.
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When Overture prints tiled pages, it prints them left to right, then top to bottom. So, in the previous example, Overture first prints the upper left corner, then the upper right corner, then the lower left corner and finally the lower right corner.
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Using the Score Size SliderAssume, for example, that you want more staves on a page and that the slider is set to 100%. Move the slider to 50%. When you release the mouse, the score will be scaled to 50% and the new size will be displayed in the Score Area. Assuming you have set the Page size to 8.5”x11” and a scaling of 50%, Overture creates a 17” x 22” score. This is because a 17” x 22” score scaled at 50% is 8.5” x 11”. A printed page looks like this:
When you use the score size slider the printed output will fill a piece of paper no matter what the scaling. Since using this slider changes the size of the printing area on a page, you generally want to choose Score>Layout Page and change the number of measures in a system and number of systems on a page.
Increase SystemsChoose this command to move a system from the top of the following page to the bottom of the current page, thereby increasing the number of systems on the current page. Overture does not change the default number of systems for any remaining pages, so systems continue to wrap throughout the score (that is, the
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top system on each page moves to the bottom of the preceding page). If the final page in the score contains more than one system, Overture simply decreases the number of systems on that final page. If the final page in the score contains only one system, Overture moves it to the bottom of the previous page and deletes the blank page from your score.
For example, assume your score has three pages with four systems on each of the first two pages and two systems on the third page.
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Assume that you want to modify your score so that all ten systems fit on two pages. To do so:
1. Click in any measure on the first page to make Page 1 the active page.
2. Choose Score>Increase Systems.
Overture adds a system to the bottom of the first page by taking it from the top of the second page. The top system on the third page wraps to the bottom of the second page. This is because Overture maintains the default number of staves per page (as set in the Page Layout dialog box) for all pages except the last page.
3. Click in any measure on the second page to make Page 2 the active page.
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Decrease SystemsChoose this command to move a system from the bottom of the current page to the top of the following page, thereby decreasing the number of systems on the current page. Overture does not change the default number of systems for any remaining pages, so systems continue to wrap throughout the score (that is, the bottom system on each page moves to the top of the following page).
If the final page in the score contains fewer systems than the default Systems per Page value (as set in the Layout Page dialog box), Overture increases the number of systems on that final page. If the final page in the score contains the same number of systems as specified in the Layout Page dialog box, Overture adds a new page containing a single system.
4. Choose Score>Increase Systems.
Overture adds a system to the bottom of the second page by taking it from the top of the third page. Since the third page no longer contains any systems, Overture drops it from the score.
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For example, assume your score has two pages with six systems on each page.
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Assume that you want to modify your score so that it contains three pages, with five systems on the first page; five systems on the second; and two systems on the third. To do so:
1. Click in any measure on the first page to make the first page the active page.
2. Choose Score>Decrease Systems.
Overture takes a system from the bottom of the first page and moves it to the top of the second page. It then shifts all the remaining systems down the page and takes the bottom system from the second page and moves it to the top of a third page. This is because Overture maintains the default number of staves for the second page.
3. Click in any measure on the second page to make Page 2 the active page.
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4. Choose Score>Decrease Systems.
Overture takes yet another system from the bottom of the second page and moves it to the top of the third page and then shifts the other systems down the page.
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Hide/Show StavesChoose this command to select which staves are visible in the current system. The current system is the system that contains the insertion point. When you choose Score>Hide/Show Staves, Overture opens the Hide/Show Staves dialog box.
You can move the Hide/Show Staves dialog box around the desktop by dragging its title bar.
About the Hide/Show Staves Dialog BoxThe Hide/Show Staves dialog box selects which tracks to display in the current system. Visible tracks are marked with a bullet; hidden tracks are not bulleted. Click the Show column next to the desired track to toggle between visible and hidden.
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Using the Hide/Show Staves CommandIt’s common to hide staves when a particular instrument doesn’t play for an extended time. For example, you may have a vocal/piano score, but the singer doesn’t perform for the first eight measures. Rather than show eight measures of rests, you can hide the singer’s staff for the first eight measures. To do so:
1. Set up your score so that it contains four measures in each of the first two systems.
You can do this using the Measures>Increase Measures on System or Measures>Decrease Measures on System commands or by changing the Measures per System numerical in the Page Layout dialog box.
2. Click anywhere in the top system to make it the active system.
3. Choose Score>Hide/Show Staves.
Overture opens the Hide/Show Staves dialog box.
4. Click the Show column next to the Vocal track to uncheck it.
Since the top staff ineach of these two systemscontains no music, youmay wish to hide theempty staves.
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You can tell Overture to perform part of this procedure automatically. Click the Auto Hide checkbox. Overture automatically hides systems starting at the cursor and continuing for as many systems as you specify in the Apply to x systems box. It does this even though you have the staves marked Show, for any tracks with no data in them.
5. At the bottom of the dialog box, type the number 2 in the Apply to x systems field.
This means you hide this staff in both the active system and the system below it.
6. Click the OK button.
Overture hides the vocal staff from the first two systems.
Overture hides the vocal staves.You can manually adjust staffspacings to compensate forthe extra space or increasethe number of systems onthe page.
Note:Choosing Measures>Justify has no effect on hidden staves.
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Insert TrackChoose this command to insert a new track into the score. When you choose the Insert command, Overture opens the Insert Track dialog box.
Using the Insert Track Dialog BoxTo insert one or more tracks measures into your score:
1. Click on the track where you want to insert the new track.
2. Choose Score>Insert Track.
Overture opens the Insert Track dialog box.
Click to make thisthe active track
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Delete TrackChoose this command to delete the current track beginning with the active track (the track that contains the insertion point).
3. Choose the type of track (instrument) you wish to insert.
In this example we choose to insert a single track. If you choose Piano, Overture will insert a Grand Staff and if you choose Tablature, Oveture will insert a Tablature Track.
4. Click either the Before current track or After current track radio buttons.
If you select Before current track, Overture places the new track immediately before the active track (the track that contains the insertion point).
If you select After current track, Overture places the new track number immediately after the active track.
5. Click the OK button.
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Setup TrackChoose this command to set various options for the staff that contains the active measure. When you choose Score>Setup Track, Overture produces the Setup Track dialog box.
You can also open the Setup Track dialog box by double-clicking either the clef at the beginning of any staff system or the staff selector handle. You don’t actually see the handle unless you select Options>Show>Handles. You can double-click in the location of the handle whether it’s visible or not.
You can move the Setup Track dialog box around the desktop by dragging its title bar.
The Setup Track dialog box has four main editing areas. We discuss these in the following sections.
Track NameInstrument Options
Staff Display
Action Buttons
Options
Options
Double-click to open theSetup Track dialog box.
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Track Name OptionsUse this portion of the dialog box to name tracks, assign a font to the track names, and select whether or not to display track names in the score.
There are numerous elements in the Track Name Options portion of the Setup Track dialog box. These are:
• Main field. Type the full name of the track in this field. If you check the Show Main option, this name appears next to the first staff. Using a comma (,) forces a carriage return in the track name—this is particularly useful for long track names.
If you select something from the Instrument Name pop-up menu (as discussed in “Instrument Options” on page 492), Overture automatically fills this field with the name of the selected Instrument. Typing a new name replaces the old one.
• Abbreviated field. Type the abbreviated name of the track in this field. If you check Show Abbreviation, this text appears next to all staves after the first. If you select something from the Instrument Name pop-up menu (as discussed in “Instrument Options” below), Overture automatically fills this field with the abbreviated name of the selected Instrument. Typing a new abbreviation replaces the old one.
• Show Main option. If you check this option, Overture shows the name of the selected track in the score. All displayed track names center around the widest name in a system. If you hold down the Alt[Option] key when you check Show Main, Overture automatically shows the names of all tracks in the score (not just the selected track). Similarly, if you hold down the Alt[Option] key when you uncheck Show Main, Overture automatically hides the names of all tracks.
ChorusAnalogSynth
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• Show Abbreviation. If you check this option, Overture shows the abbreviation of the selected track in the score.
• Font button. Click this button to open the Font Select dialog box. Use the dialog box to select the font with which to display track names in the score. For more information, see “Font Button” on page 563.
Instrument OptionsUse this portion of the dialog box to assign a particular type of notation to a track.
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Instrument Pop-up MenuThe appearance of the Instrument options section changes depending on the instrument you select from the Instrument Name pop-up menu. To select an Instrument Name:
1. Press and hold the mouse on the Instrument Name pop-up menu.
Overture opens a menu of the instruments in the current Instruments library.
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The Instruments listed are of three types:
• Normal. These are instruments that Overture notates using standard music notation, for example, Cello, Guitar, Soprano, and Trumpet in Bb. For more information, see “Normal Tracks” below.
• Percussive. These are instruments that Overture notates using percussion notation, for example, non-pitched instruments like Bass Drum, Drums, and Percussion. For more information, see “Percussive Tracks” on page 497.
• Tablature. These are instruments that Overture notates using tablature notation. Select this type of instrument by selecting Tablature from the Instrument Name pop-up menu. For more information, see “Tablature Tracks” on page 499.
2. Move the cursor over the desired instrument and release the mouse button.
Overture sets the track to the selected Instrument. When you select an instrument, Overture puts its pitch range, transposition, and clef into the appropriate Setup Track dialog box fields. You can still edit all the fields in the dialog box after selecting an instrument but this is usually not necessary.
See “Drum Map” on page 426 for a full discussion of the Instruments Library.
Normally, we recommend using the Tracks Window (see page 446) to assign instruments to tracks. The Instrument pop-up menu allows the entry of all instrument attributes into the track except the device and patch. This behavior lets imported tracks that already have the correct device and patch acquire the other instrument attributes without overwriting the device and patch.
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Normal TracksIf you select an Instrument of normal type, Overture’s Instrument options look like these.
There are numerous elements in the Instrument Options section of the Track Setup Dialog Box. These are:
• Instrument Name pop-up menu. Use this pop-up menu to select an Instrument Name for the track from the Instruments library. When you select an Instrument Name from this pop-up menu, Overture automatically fills in the Range, Transpose, and Playback numericals, selects a Starting Clef and Transposed Clef, and supplies Main and Abbreviated track names to the Track Name options in the dialog box.
• GM Equivalent pop-up menu. The appropriate patch appears here when you select an instrument name. If you need to, change the patch here.
• Range numericals. Use these numericals to set the range of the Instrument notated by the track. The left numerical sets the lowest note in the range. The right numerical sets the highest note in the range. You can search your score for notes that are out of an instrument’s specified range by choosing Options>Show>Range Errors (as discussed in “Range Errors” on page 617).
• Transpose numerical. If you’re notating a transposed instrument (such as many trumpets, clarinets, english horns, and so on) and you want Overture to transpose an extracted part into the correct key, use this numerical to set the transposition amount. This numerical does affect MIDI playback pitch—it’s used strictly to transpose a track when you extract it. To display the transposition in the current score, choose Options>Show>Tracks Transposed. For example, if the extracted track is to be played by a Bb trumpet, set the numerical to 2. Since a Bb trumpet sounds a major second lower than written, a value of +2 indicates that the extracted trumpet part needs to be transposed two half-steps higher than in the conductor’s score.
Instrument Namepop-up menu
Range numericals
Transpose numerical
Playback numerical
Starting Clefpop-up menu Transposed Clef
pop-up menu
GM Equivalentpop-up menu
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Overture sets this numerical automatically when you select an Instrument Name from the Instrument Name pop-up menu. For more information about extracting parts, see “Extract Parts” on page 453. For an example of how to set up and use a transposing track, see “Transposing Instrument Track Example” on page 503.
• Playback numerical. Use this numerical to set the playback offset for instruments that sound differently from how they are written. This does not affect the extracted part. For example, if you’re notating a Guitar, set the Playback numerical to -12. Guitar parts are written an octave above where they actual sound.. Overture sets this numerical automatically when you select an Instrument Name from the Instrument Name pop-up menu. For more information about extracting parts, see “Extract Parts” on page 453. For an example of how to set up and use a transposing track, see “Transposing Instrument Track Example” on page 503.
• Starting Clef pop-up menu. Use this pop-up menu to select which clef Overture uses to notate the track in the current score. Overture sets this numerical automatically when you select an Instrument Name from the Instrument Name pop-up menu.
• Transposed Clef pop-up menu. Use this pop-up menu to select which clef Overture is to use to notate the track in a transposed extracted score. This pop-up menu has no effect on the current score, only on the score containing the extracted part. Overture sets this numerical automatically when you select an Instrument Name from the Instrument Name pop-up menu. For an example of how to set up and use a transposing track, see “Transposing Instrument Track Example” on page 503.
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Percussive TracksIf you select one of the percussive Instrument types, Overture’s Instrument options look like these.
You must understand Drum Maps in order to understand percussive tracks. Percussive tracks refer to the current Drum Map for pitch names, default noteheads and default staff positions. To learn about Drum Maps, see “Allotment Table” on page 410.
The percussive track options are arranged in a grid. There are sixteen rows in the grid. Each row corresponds to a single percussion instrument (called a part). If you need to notate more than sixteen drum parts, you’ll need to use more than one percussive track.
There are five columns in the grid.
• Pitch/Name pop-up menu. Press and hold the Pitch/Name cell to open a pop-up menu. From the menu, select the Pitch (or pitch name) to be played by the corresponding part. The pop-up menu displays all the MIDI notes as defined by your current Drum Map. If you want the menu to display only those pitches to which you’ve assigned names, hold down the Alt[Option] key when you click the Pitch/Name cell. When you select a new Pitch/Name, Overture automatically changes the corresponding Head and Position to match those assigned to that pitch in your current Drum Map. You can also select a different pitch by dragging across it, then playing a note on your MIDI controller.
• Head pop-up menu. This column displays the notehead with which Overture notates the corresponding drum. When you select a different drum in the Pitch/Name column, Overture automatically changes the head to match the one assigned to that pitch in your current Drum Map. You can use this column to override your Drum Map’s default head by pressing and holding the notehead icon and selecting a new head from the pop-up menu. When you override a Drum Map’s
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notehead assignment, you do not change the Drum Map, only the percussive track. This allows you to create numerous percussive tracks that reference the same Drum Map, but that use different noteheads.
• Position popup menu. This column displays the staff position on which Overture notates the corresponding drum. See “About the Drum Map Dialog Box” on page 426 to learn about position numbers. When you select a different drum in the Pitch/Name column, Overture automatically changes the position to match the one assigned to that pitch in your current Drum Map. You can use this column to override your Drum Map’s default position by entering a different position. When you override a Drum Map’s position assignment, you do not change the Drum Map; only the percussive track. This allows you to create numerous percussive tracks that reference the same Drum Map, but that use different positions.
• Voice popup menu. This column displays the default voice on which Overture notates the corresponding drum. For example, you may want to put the bass drum on a different voice from the snare.
Once you’ve assigned parts in a percussive track, Overture uses your assignments to record, notate, and play drum parts. When you record into a percussive track, Overture automatically maps each part’s MIDI note to the selected staff position and assigns the selected notehead. When you play a percussive track, Overture automatically maps the displayed notes to their correct MIDI pitch so that it plays the correct drum sounds.
For an example of how to set up and use a percussive track, see “Percussive Track Example” on page 505.
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Tablature TracksIf you select Tablature from the Instrument Name pop-up menu, Overture automatically creates a six-line staff with a TAB clef. Additional Tablature track options are the same as those of a normal track. See “Normal Tracks” on page 495.
Use tablature notation to indicate guitar music by string and fret number, rather than with a traditional musical staff. For information about setting up and using a Tablature track, see Chapter 16, “Tablature Button.”
Instrument Namepop-up menu
Range numericals
Transpose numerical
Playback numerical
Starting Clefpop-up menu Transposed Clef
pop-up menu
GM Equivalentpop-up menu
Note:MIDI playback does not play tablature tracks, nor do MIDI transpose commands change their pitch. If you want MIDI playback of a tablature track, you must create an additional staff that contains traditional notation. If desired, you can then hide the traditionally notated staff in your printed score by using the Score>Hide/Show Staves command as discussed in “Hide/Show Staves” on page 485.
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Staff Display OptionsUse this portion of the Setup Track dialog box to define the appearance of the staff used to notate the track.
The Staff Display options are:
• Scale numerical. Use this numerical to set the scale of the selected staff. Unlike the Scale tool, which scales a single staff in a single system, the Scale numerical scales every occurrence of this staff in every system. If you hold down the Alt[Option] key while setting this numerical, Overture sets the scaling of every staff in every system to the new value.
• Show Clef option. Select this option if you want Overture to display a clef on the staff. You normally leave this option checked unless you’re notating some types of non-pitched instruments or a strum pattern on a lead sheet.
• Show Barlines option. Select this option if you want Overture to display barlines. You normally leave this option checked unless you’re notating music with no set meter or a strum pattern on a lead sheet.
• Show Ledger Lines option. Select this option if you want Overture to display any needed ledger lines above or below the selected staff.
• Show Key Signature option. Select this option if you want Overture to display the key signature of the selected staff. You normally leave this option checked unless you’re notating a non-pitched instrument, tablature notation, or a strum pattern on a lead sheet.
• Show Time Signature option. Select this option if you want Overture to display the time signature of the selected staff. You normally leave this option checked unless you’re notating music with no set meter, or unless you’re notating a tablature staff or a strum pattern on a lead sheet.
• Filled Rests option. Use this option in conjunction with the Options>Show>Filled Measure Rests command. Select this option if you want Overture to fill empty measures in the current track with whole measure rests. Deselect this option if you want Overture to leave empty measures in the current track.
Staff Design Area
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• Flat Beams option. Select this option to display subsequent beams as flat rather than slanted. You may want to do this if slanted beams look jagged on your monitor. You can change the angle of a beam by dragging its ends. Selecting Flat Beams affects the beams entered subsequently and does not replace slanted beams previously entered in the track. In order to turn previously entered slanted beams in a track into flat beams:
• Staff Clefs option. Select this option to display clefs after the first clef in the track. You usually hide clefs when creating charts for a single instrument that doesn’t require restatement of the clef. Be careful when hiding clefs because it’s easy to get confused when multiple staves are displayed. If you insert a clef after the beginning of the piece, Overture displays the first new clef but none thereafter.
• Key Signatures option. Select this option if you want Overture to display the current key signature at the beginning of each staff.
• Staff Design area. Use this area to design a custom line arrangement for any staff. Traditional staves use five lines, but some instruments (particularly percussion) use staves with a different number of lines. Click the small squares to the right of the Staff Design area to show or hide any of up to sixteen staff lines. You can even create staves with no lines (these are particularly useful for
1. Select the Flat Beams option in the Setup Track dialog box for the track whose beams you’d like to flatten.
2. Select the notes that you’d like to convert to flat beams.
Choose Edit>Select All to select all displayed notes in all tracks or double click to the left of a staff to select all notes in that track or double-click in a measure to select all notes in that measure or drag around the individual notes.
3. Choose Notes>Beam>Based on Meter.
The beaming rules specified in the Set Meter dialog box create groups with flat beams for all selected notes. These same rules create beams if you select Options>Auto Beam. Be careful, because this will override any manual beaming you’ve performed on selected notes.
Note:Percussion tracks default to flat beams. For example, selecting drums from the Instrument pop-up menu in the Setup Track dialog box automatically uses the percussion clef and selects the Flat Beams option.
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indicating strum patterns in a lead sheet as shown in the following figure). The small arrow to the left of the Staff Design area indicates where the middle line is in a standard five line staff.
The following example shows three staves. The top staff hides the meter, key signature, barlines, clef, and all lines—it’s used for notating a strum pattern. The second staff contains standard music notation and shows the meter, key signature, barlines, clef, and 5 lines. The bottom staff is a tablature staff, so it has 6-lines. As you can see, Overture covers a wide range of notation needs.
Action ButtonsUse this portion of the dialog box to step through staves in a system; cancel your changes; or apply your changes to the selected staff.
The action buttons are:
• Previous button. Click this button to apply the changes to the selected track, then step up to display the attributes of the track immediately above it.
• Next button. Click this button to apply the changes to the selected track, then step down to display the attributes of the track immediately below it.
• Cancel button. Click this button to close the Setup Track dialog box without applying any of the changes to the selected track.
• OK button. Click this button to apply the changes to the selected track and close the Setup Track dialog box.
Using the Setup Track Dialog BoxThe following examples illustrate some common ways to use the Setup Track Dialog box.
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Transposing Instrument Track ExampleAssume that you’re writing an orchestral score. Most orchestras contain many transposing instruments (such as english horns, trumpets, clarinets, etc.) that play a different pitch from the written one. You want your master score to show the actual pitch of the instruments (since MIDI playback will be correct), and the individual instrumentalist’s parts to be written as played.
For the sake of example, assume you’re writing a score for piano and Bb trumpet.
You’ve written both instruments to show their actual pitch, but you want some provision for Overture to transpose the Bb trumpet part automatically when you extract it. To do so:
1. Double-click the clef or selector handle of the staff you wish to use as the Bb trumpet track.
Overture opens the Setup Track dialog box for that staff.
Alternatively, click anywhere in the desired staff and choose Score>Setup Track.
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Overture changes neither the existing score nor its MIDI playback pitch. In fact, you won’t see any change at all until you extract the trumpet part. To do so:
2. Select Trumpet in Bb from the Instrument Name pop-up menu.
Overture displays normal track options and automatically assigns default values based on your Instrument Name selection.
3. Make sure the Transpose numerical is set to 2.
This indicates that, if you extract this track, Overture will transpose it up two half-steps (since it’s a Bb trumpet).
4. Verify that the range and clef are correct.
5. Click the OK button.
1. Choose File>Extract Parts.
Overture opens the Extract Parts dialog box.
2. Click the “Bb Trumpet” track’s selector triangle.
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Percussive Track ExampleAssume, for example, that your drum module assigns C2 to a Bass drum and D2 to an Acoustic snare, and that you want to create a bass/snare track that notates the bass drum with a triangle head in the lowest space and the snare drum with an X head in the space above it.
To do this:
3. Click the OK button.
Overture saves the extracted part in a file named “<Title> Parts” (where <Title> is the name of the Overture file from which the parts are extracted) and places it in the same folder as the application.
4. Open the extracted part.
The part is transposed such that, when the instrumentalist performs this written score, he or she actually plays the pitches shown in the figure on page 503.
1. Double-click the clef or selector handle of the staff you wish to use as a percussive track.
Overture opens the Setup Track dialog box for that staff.
Alternatively, click anywhere in the desired staff and choose Score>Setup Track.
Note:General MIDI percussion tracks default to channel 10 for playback. If you change an existing track to a percussion track and plan on using General MIDI drums, you may need to set the track’s channel to 10 using the Tracks Window.
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2. Select a percussive Instrument (such as Drums or Percussion) from the Instrument Names pop-up menu. Overture displays the percussive track options. Overture automatically assigns each drum part to the default pitches selected in your current Drum Map.
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Since Overture’s default drum map assigns different names to the two parts, you need to change them now.
3. In the top row (Part 1), select a bass drum sound on pitch C2 from the Pitch/Name pop-up menu if it is not currently selected and in the second row (Part 2), select a snare drum on pitch D2 if it is not currently selected.
NOTE: Your Drum Map may contain different drum names from the ones in this example.
Overture automatically fills in the Head and Position fields with the selections from the current Drum Map.
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Notice that the noteheads and default positions are wrong for the bass drum and snare drum. You need to change these in the Setup Track dialog box. To do so:
4. In the top row, press and hold the mouse on the note head and select the triangle head from the Head pop-up menu and in the second row, press and hold the mouse on the X head and select the triangle head .
This sets the kick and snare drum’s notehead to a triangle and X.
5. In the first row, drag the Position indicator to the bottom space.
6. In the second row, drag the Position indicator to the second space from the bottom.
This sets the staff position of the snare to the second space from the bottom.
7. Click the OK button.
Overture makes the selected staff a percussive track and changes its clef to a neutral clef.
Triangle and X noteheadselected
New Position assignment
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Now, if you record (or import) a percussive track containing MIDI notes C1 and D1, Overture automatically notates those pitches using the noteheads and positions selected in the percussive track options. Therefore, if you record this:
Overture notates this:
Modifying a Percussive TrackAssume you’ve created the following percussion track via MIDI entry and would like to add two more notes from the Notes palette.
To do so:
1. Select the Eighth Note tool from the Notes palette.
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2. Move the cursor over the Score window and click the Hi Hat line to insert a new note. Click again to insert the second note.
Overture assigns the new notes standard heads and standard MIDI note numbers (meaning they won’t play using the expected MIDI sound).
3. In the Graphic window, drag the notes you just entered to the desired pitch.
Overture automatically assigns the correct notehead to the new notes, and they play the correct sound on your drum module.
New notes inserted viathe Notes palette.The heads and pitchesare standard—they do notconform to the PercussiveTrack map.
New notes after draggingthem to the correct MIDI playback pitches.
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GM EquivalentWhen you select an instrument from the Instruments pop-up menu in the Setup Track dialog box, the GM # (if there is one) for that instrument appears in the GM Equivalent pop-up menu. You can override the GM # by selecting a new GM Equivalent patch but this is not recommended; it’s much easier to use the Instruments library (page 426) to define as many aspects of your instruments as possible.
Specifying a GM Equivalent patch for a track allows it to play correctly in a MIDI setup that doesn’t include that track’s device. This commonly occurs when Overture files are exchanged between composers in different environments. For example, a track created on a Proteus/1 would automatically play correctly on a Kurzweil K2000 using a different Instruments library if the libraries from both environments correctly used GM Equivalent fields.
The track’s GM Equivalent patch lets Overture search the Instruments library in the new environment for an instrument that uses the same GM #. If it finds a match, Overture uses the device and patch from that instrument if that device is known in the current setup. It’s important to realize that the GM# links MIDI devices in different setups. It is not the actual patch used for the track.
If Overture doesn’t find a match, it uses the device you select in the pop-up menu of the General Preferences option Remap Unknown Devices To if you select that option. The patch for that track still needs to be specified so the new device can play the correct sound. If you don’t select Remap Unknown Devices To, tracks using them will not play. Use the Tracks Window to specify devices and patches for these tracks.
Updating Old FilesThe easiest way to update old Overture files is to define the Instruments library that best suits your needs and assign instruments to your tracks. See “The Instruments Library and the Tracks Window” on page 446 to learn how to do this. This makes the process of updating your files much easier. It also enables you to take advantage of the Instruments library for your future compositions.
Setting Attributes for all TracksHolding down the Alt[Option] key while setting any of the following attributes in the Name and Staff sections of the Setup Track dialog box assigns that attribute to all tracks:
• Show Name and Show Abbreviation options in the Name section
• all checkbox options in the Staff section
• dragging the % Scale numerical field in the Staff section. Since the character set changes when you hold down the Alt[Option] key, you can’t type a new number in the field.
Note:GM stands for General MIDI. The GM # and GM Equivalent describe the same attribute. To save space, the Instruments library refers to GM #, while the Setup Track dialog box refers to GM Equivalent.
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Respace StavesChoose Score>Respace Staves to respace all staves according to your choices in the Respace Staves dialog box and the preferences in the Preferences dialog box. For an example of how to use this command, see “Respacing Staves” on page 84. For more information about Engraver preferences, see “Engraver Preferences” on page 644.
Respace Staves Dialog BoxThe Respace Staves dialog box works in conjunction with the Engraver Preferences to provide more flexibility in page layout.
The spaces between staves, spaces between systems, and spaces between groups fields are identical to the first three Engraver Preferences fields. These fields acquire their initial values from the Engraver Preferences when Overture is launched and when a new document is opened. Otherwise, they selectively override the Engraver Preferences.
• Avoid collisions. Selecting this option insures that notes on neighboring staves do not collide with each other. Overture does this by overriding the staff, system and group spacing when necessary.
• Fill to bottom of page. Selecting this option uses the available space on a partially full page to space the staves evenly. Overture does this by overriding the staff, system and group spacing.
• All remaining pages. Selecting this option applies the specifications set in the Respace Staves dialog box to the current page and all remaining pages. Deselecting this option applies the specifications to the current page.
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Recalc LayoutWhen you choose Score>Recalc Layout, Overture calculates a new width for each measure in the score based on the number of measures per system you specify in the Score>Layout Page dialog box.
Recalculating a layout causes some measure widths to expand and others to contract. This has the effect of changing the number of measures in many of the systems and even changing the number of systems and pages in a score. This greatly improves legibility since it eliminates the collision of note heads, but it can play havoc with a carefully tweaked score. For this reason, you should recalculate a score before you fine tune it.
To recalculate measure layout and note spacing in a score:
Compare the measures shown in the two figures above. Notice the modified widths and subsequent increase in note spacing. Notice also that the proportional spacing of beats is the same for both figures.
To protect a measure from the Save>Recalc Layout command, see “Locked Measures” on page 108.
Overture can automatically space notes using either Options>Auto>Justify, Measures>Justify, or Score>Recalc Layout. All three of these commands affect note spacing differently. To learn the differences between them, see “Automatic Justify” on page 107.
1. Look at the sample score shown below.
2. Choose Score>Recalc Layout.
Overture calculates new measure widths for all measures in the score based on the number of measures per system you specify in the Score>Layout Page dialog box.
Beat Chart
Beats
Beat Chart
Beats
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Redraw PageThis command would not be needed in a perfect world, but then this is software. Consequently, you may sometimes perform an edit in the Score window and be left with traces of some undesirable gobbledygook in the on-screen display of the score. This gobbledygook (not its technical name) results from Overture’s failing to update a score element correctly. When you choose the Score>Redraw Page command, Overture quickly redraws the entire page, cleaning up any undesirable remnants of an edit operation.
AllotmentThis command displays the Allotment table exactly as File>Edit Library>Allotment Table does. Choose this command either to edit the Allotment table for the current score or to create a new one. See “Allotment Table” on page 410.
Changing the Allotment Table Dialog BoxAssume, for this example, that you want to change an Allotment Table to minimize the spacing differences between eighth notes, sixteenth notes and thirty second notes. To do so, you need to change the Allotment Table so that eighth notes get less space and thirty second notes get more.
To change the Allotment Table:
1. Choose File>Edit Library>Allotment Table.
Overture opens the Allotment Table dialog box. This dialog box shows all the assignments for the current Allotment Table. If you want to edit a different Allotment Table, choose File>Load Library and select a different Allotment Table (see “Instruments Library” on page 439 for more information).
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You’ve now changed the Allotment Table to minimize the spacing differences between eighth, sixteenth, and thirty-second notes. When you justify a measure, Overture spaces notes using the Beat Chart derived from the new Allotment Table.
2. Use the numericals in the eighth note column to decrease the number of spaces allotted to all versions of eighth notes.
In this example, decrease the normal eighth note spacing to 3.0; the dotted eighth note spacing to 3.4; and the triplet eighth note spacing to 2.8.
3. Use the numericals in the thirty second note column to increase the number of spaces allotted to all versions of thirty second notes.
In this example, decrease the normal thirty-second note spacing to 2.0; the dotted thirty-second note spacing to 2.5; and the triplet thirty-second note spacing to 2.2.
4. Click the Save button.
Overture saves the changed Allotment Table.
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ArticulationsThis command displays the Articulation Playback settings for the active score.
You can open the Articulation dialog box for individual articulations by double-clicking on them.
About the Articulation Dialog BoxUse the Articulation dialog box to define how articulations affect playback. When you choose this Dialog from the Score Menu, all settings are saved with the score. Any new articulations you enter will use these for its playback data.
Track Option Use this popup menu to choose which track’s articulations you wish to edit.
Articulation Option Use this section to choose which articulation you wish to edit.• Normal - Use this to select the set of standard articulations
• Jazz - Use this to select the set of jazz articulations.
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Playback OptionsUse the Playback Options portion to affect note data and playback timing.
• You can use the attack and duration settings to create rolled chords.
• Use the velocity settings to create dynamic changes.
• Use the pause setting for Fermats.
• Use the tremolo settings for creating measures and un-measured tremolos.
Send OptionsUse the Send Options portion of the Articulation dialog box to send controller data, program changes, and key switches, to the output device, or even change to another voice within the track.
• You can tell Overture to use the playback charactersitics of another voice within the Tracks Window. This is useful for sample libraries that do not use keyswitches.
• You can send key switch data to MIDI or VST devices to switch instruments or modes.
• You can send key program changes to MIDI or VST devices to switch instruments or modes.
• You can send controller data to changes MIDI settings or access effects in MIDI or VST devices or VST instruments.
The possibilities are limitless with theses commands
Change start and stoptimes settings
Change velocityvalue settings
Pause score settings(Fermatas)Tremolo repetitions
Send Key Switch
Send Program Change
Switch to a another voice
Send Controller Data
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Engraver
This command displays the Engraver dialog box just as Options>Preferences>Engraver does. Choose this command to edit default layout spacing, element spacing, and line thickness in the score. See “Engraver Preferences” on page 644.
Note:The settings in this dialog only affect the current score. The settings in the Options>Preferences>Engraver dialog are used for defaults in new scores.
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Font MapChoose this command to map one music font to another. You can substitute individual symbols or the entire set of symbols in the font. The command displays the Music Font Map dialog box.
You can move the Music Font Map dialog box around the desktop by dragging its title bar.
The following section describes the elements of the Music Font Map dialog box and how they work together.
You can use the mapping feature two ways:
• To replace every symbol in one set with the corresponding symbol in another.
• To align substituted symbols properly with the rest of your work.
To replace chosen symbols in your score with symbols from another music font:
1. Choose Score>Font Map.
Overture displays the Music Font Map dialog box.
offsetsadjustment box
mapping box
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2. In the original symbol set, double-click a symbol you want to replace. If you hold the Control[Command] key down when you double click, the font will default to Overture’ Aloisen Music Font.
Overture displays the Font Symbol dialog box with the corresponding symbol highlighted.
3. If you want the replacement symbol to be other than the highlighted one, select the one you want.
It highlights.
4. Click OK.
Overture closes the Font Symbol dialog box and displays the replacement symbol in the box above the symbol to be replaced.
5. Repeat steps 2 to 4 as many times as you need.
You can use a variety of replacement fonts, if you want, and you are not limited to symbols whose numbers match exactly.
6. When you are finished, click OK in the Music Font Map dialog box.
Overture closes the box and displays your score with all substitutions as you specified them.
Font Name pop-up menu Symbol set
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Placing Mapped Font SymbolsThe Music Font Map dialog box has a placement feature to help you get precise spacing for substituted symbols.
To place a mapped font symbol precisely:
Clearing Replacement SymbolsTo cause your score to revert to its last saved symbol set:
Saving Font MappingsYou save your font mappings as a library. To do so, in the Music Font Map dialog box, click Save. If you are saving this font mapping for the first time, Overture displays a normal Save As dialog box. Choose a name and click OK. Overture saves to the libraries folder unless you specify otherwise.
Overture saves your font map automatically when you save your score. If you haven't saved it previously, Overture requests a name as above.
1. Choose Score>Font Map.
Overture displays the Music Font Map dialog box.
2. In the new symbol set, click a symbol you want to place precisely.
Overture highlights the symbol and puts an enlarged copy of it into the adjustment box. A gray copy of the replaced symbol lets you place the new symbol as you want it with respect to the old symbol.
3. Adjust placement either by pressing and dragging the symbol in the adjustment box or by changing the numbers in the Offset boxes.
Changes you make in either place affect both, so you can use both methods freely until you have placed the symbol as you want.
1. Choose Score>Font Map.
Overture displays the Music Font Map dialog box.
2. Click Clear All.
The font mappings disappear. This command has no Undo, so use it with care.
3. Click OK.
Your score reverts to its previous symbol set.
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Loading Font MapsOnce you have created and saved a font map, you can reload it from the libraries folder. To do so, in the Music Font Map dialog box, click Load. Overture displays a browser. Locate the font map you want. Click Open. Overture loads the font map library you specify.
Title PageChoose this command to specify all the text for your score. You can put a title, instructions, composer, copyright notice, headers, and footers on your score. When you choose Score>Title Page, Overture displays the Title Page Text dialog box.
You can move the Title page Text dialog box around the desktop by dragging its title bar.
The Title Page Text Dialog BoxThe Title Page Text dialog box has a tab for each of the kinds of text you can put on.
• Title. Use this tab to specify title text.
• Instructions. Use this tab to specify instructions.
• Composer. Use this tab to give the composer’s name.
• Copyright. Use this tab to copyright your work.
• Header. Use this tab if you want headers on your pages.
• Footer. Use this tab if you want footers on your pages.
All the tabs make use of the standard Font dialog box, where you can choose the font, style, and size for each line of each kind of text you put on your score.
Title tab
Other tabs (see subsequent sections)
Lines for titleFont choices for each line of the title
Text offsets Check Box to display text on all pages
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The Title TabThe Title tab provides you with four lines for title text, which appears at the top center of the title page. You can specify font characteristics and a vertical and horizontal offset for the title.
The Instructions Tab
The Instructions tab also provides four lines where you can give whatever instructions you want (including tempo markings like vivace, for example. Instructions appear above and to the left of the first system, lined up with the left margin of the page’s systems (ignoring the first system, which you may have placed differently). You can specify font characteristics and a vertical and horizontal offset for the instructions.
The Composer Tab
The Composer tab provides you with four lines for composer information, which appears at the top right of the title page, right justified to the right margin of the page’s systems. You can specify font characteristics and a vertical and horizontal offset for the composer information.
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The Copyright Tab
The Copyright tab provides you with four lines for copyright information, which appears at the center bottom of the title page. You can specify font characteristics and a vertical and horizontal offset for the copyright information.
To put in a copyright symbol ©: On the PC be sure the Num Lock key is on, then hold down Alt while typing 0169. On the Mac type option g.
To put in a registered sign ®: On the PC be sure the Num Lock key is on, then hold down Alt while typing 0174. On the Mac type option r.
The Header and Footer Tabs
These tabs supply a line for each header or footer. Click the radio button for Header 1/2 or Footer 1/2 to put in and display the information for that header or footer.
Header 1 appears above the title, at the left margin. Header 2 appears above the title, at the right margin. Footers appear below the music at the left and right margin. You can line each one up left, center, or right. Further, you can specify that they reverse positions. You might want that feature if your score is going to
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be bound so that two pages appear side by side, as they do in a book. This lets you display headers and footers symmetrically.
Use the Starting Page field to specify that headers or footers start, not on the first page, but on some other page, usually the second. This is conventional in books, for example. Use the Page Offset field, then, to specify how many pages to add or subtract to make pagination as you want it.
You can specify font characteristics for each header and footer.
Use the codes as header or footer text to specify automatic page headers or footers. Overture supplies the correct text in the header or footer you specify.
Time Code
This command displays the Time Code dialog box. Choose this command to show the SMPTE Time Code for each measure on the display.
Where to display
Display using
time code on score
this format
Offset start timeby this amount
Choose the fontto display time code
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Use the Measures menu commands to perform measure-related tasks like inserting and deleting measures; wrapping measures; setting key, meter and tempo; and justifying symbols in a measure.
Most of these commands are not available until you actually activate a measure. To activate a measure, click any blank area in the measure.
The following sections discuss each Measures menu command in detail.
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InsertChoose this command to insert one or more blank measures into the score. When you choose the Insert command, Overture opens the Insert Measure dialog box.
You can move the Insert Measure dialog box around the desktop by dragging its title bar.
Using the Insert Measure Dialog BoxTo insert one or more blank measures into your score:
1. Decide where you want to insert the blank measures, then click in the measure that either immediately precedes or follows that location.
2. Choose Measures>Insert.
Overture opens the Insert Measure dialog box.
3. Use the numerical to enter the number of blank measures you wish to insert.
In this example we choose to insert one measure.
4. Click either the Before current measure or After current measure radio buttons.
If you select Before current measure, Overture places the requested number of blank measures immediately before the active measure (the measure that contains the insertion point).
If you select After current measure, Overture places the requested number of blank measures immediately after the active measure.
Click to make thisthe active measure
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DeleteChoose this command to delete one or more contiguous measures beginning with the active measure. The active measure is the measure that contains the insertion point. When you choose the Delete command, Overture opens the Delete Measure dialog box.
You can move the Delete Measure dialog box around the desktop by dragging its title bar.
Using the Delete Measure Dialog BoxTo delete one or more contiguous measures from your score:
5. Click the OK button.
Overture inserts the requested number of blank measures in the requested position. The inserted measures retain the tempo, meter, and key signature of the measure immediately preceding them.
1. Click in the first measure you wish to delete.
In this example, we insert the measure beforethe activated measure. It retains the characteristicsof the preceding measure.
Click to make thisthe active measure
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Increase Measures on SystemChoose this command to increase the number of measures on the active system. The active system is the system that contains the insertion point.
Choosing Measures>Increase Measures on System moves a measure from the left of the following system to the right of the active system, thereby increasing the number of measures in the active system. Overture does not change the default number of measures for any remaining systems, so measures continue to wrap throughout the score (that is, the left measure in each system moves to the right of the preceding system).
If the final system in the score contains more than one measure, Overture simply decreases the number of measures in that final system. If the final system in the score contains only one measure, Overture moves it to the right of the previous system and deletes the final system from your score.
Overture wraps all slurs, ties, beams, etc. as required.
2. Choose Measures>Delete.
Overture opens the Insert Measure dialog box.
3. Use the numerical to enter the number of measures you wish to delete.
In this example, we choose to delete one measure.
4. Click the OK button.
Overture deletes the requested number of measures beginning with the active measure.
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For example, assume that your score contains nine measures arranged into three systems as shown in the following figure, and that you want to change it so that the top system contains four measures.
1. Using the Arrow Cursor, click any blank spot in the top system to make it the active system.
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Decrease Measures on SystemChoose this command to decrease the number of measures on the active system. The active system is the one that contains the insertion point.
Choosing Measures>Decrease Measures on System moves a measure from the right of the active system to the left of the following system, thereby decreasing the number of measures in the active system. Overture does not change the default number of measures for any remaining systems, so measures continue to wrap throughout the score (that is, the right measure in each system moves to the left of the following system).
If the final system in the score contains fewer measures than the default Measures per System value (as set in the Layout Page dialog box), Overture simply increases the number of measures in that final system. If the final system in the score contains the same number of measures as are specified in the Layout Page dialog box, Overture adds a new system containing a single measure.
2. Choose Measures>Increase Measures on System.
All measures after the active system wrap to the left. Compare the figure below with the one above.
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Overture wraps all slurs, ties, beams, etc. as required.
For example, assume that your score contains eight measures arranged into three systems, and that you want to change it so that the top system contains only two measures.
1. Using the Arrow Cursor, click any blank spot in the top system to make it the active system.
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Split SystemChoose this command to break a system at the current measure.
2. Choose Measures>Decrease Measures on System.
All measures after the active measure wrap to the right. Compare the figure below with the one above.
Before Split System Command
After Split System Command
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Set Key SignatureChoose this command to specify a key signature for the active measure (and all measures up to the next key change). The active measure is the one that contains the insertion point. When you choose Measures>Set Key Signature, Overture opens the Set Key Signature dialog box.
You can move the Set Key Signature dialog box around the desktop by dragging its title bar.
About the Set Key Signature Dialog BoxThere are numerous elements in the Set Key Signature dialog box. We describe these in the following sections.
Region OptionsUse the Region Options portion of the Set Key Signature dialog box to define the measure range covered by the new key signature. Press the End of Score button to set the through field to the last measure.
Key Setting
All Staves Option
Transpose Options
System BreakWarning Option
Previous Key CancellationSelection Area
Region Area
Ending measureStarting Measure
End of Score button
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Key SettingsUse this scroll bar to set the measure’s key signature. Scroll up to add more sharps to the key; scroll down to add more flats to the key.
You can also use the scroll up and down arrows to change the key signature in the Set Key Signature dialog box:
• The up arrow moves towards fewer flats and more sharps.
• The down arrow moves towards fewer sharps and more flats.
All Staves OptionCheck this option to apply the key change to all staves in the system. If you don’t check this option, Overture applies the key change to only the selected staff—other staves remain in their original keys.
Transpose OptionsCheck the Transpose option if you want Overture to transpose any music affected by the new key signature automatically.
Original measure
Same measure afterinserting a key changeand transposing upthe existing music
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If you don’t check the Transpose option, Overture keeps the pitch of the music the same and re-spells the notes as required by the new key signature.
If you check the Transpose option, use the Up and Down radio buttons to tell Overture whether to transpose notes up or down in pitch.
If you transpose a staff that contains chord names, Overture automatically transposes them, as well.
Previous Key Cancellation SelectionUse this set of radio buttons to tell Overture how you want it to display key cancellations.
If you click the None button, Overture changes keys without showing any cancellations from the previous key.
Original measure
Same measure afterinserting a key changewithout transposingthe existing music
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If you click the All button, Overture changes keys and shows all cancellations from the previous key.
If you click the Only Changed button, Overture changes keys and shows only those cancellations that are different from the previous key.
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If you select either the All or Only Changed options, you can decide whether or not you want the cancellation placed before or after the barline.
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System Break Warning OptionCheck this option if you want Overture to provide a courtesy key change warning automatically at the end of the previous system if the key change occurs at a system break.
Just Courtesy at End of BarCheck this option if you want Overture to provide a courtesy key signature at the end of the bar. This does not affect any note transposition.
ColorClick on the color box to choose the color for this key signature.
Using the Set Key Signature CommandTo insert a key signature into an Overture score:
1. Using the Arrow Cursor, click in a measure to make it the active measure.
2. Choose Measures>Set Key Signature.
Overture opens the Set Key Signature dialog box.
3. Define the desired key signature, then click the OK button.
Overture applies the key signature to the active measure and all remaining measures up to the next key signature change.
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Set Time SignatureChoose this command to specify a meter for the active measure and all measures up to the next meter change. The active measure is the one that contains the insertion point. When you choose Measures>Set Time Signature, Overture opens the Set Time Signature dialog box.
You can move the Set Time Signature dialog box around the desktop by dragging its title bar.
About the Set Time Signature Dialog BoxThere are numerous elements in the Set Time Signature dialog box. These are described in the following sections:
Region OptionsUse the Region Options portion of the Set Time Signature dialog box to define the measure range covered by the new time signature. Press the End of Score button to set the through field to the last measure.
Quick MeterMain Meter
Composite Meter
Beam Pattern Options
Select Buttons
Options
Options
Alternate Font andHollywood Lines
Ending measureStarting Measure
End of Score button
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Quick Meter Select ButtonsClick one of these buttons to set the measure quickly to one of these common meters.
When you click a Meter Select button, Overture automatically selects a default number of pulses and a beaming pattern.
Main Meter OptionsUse the Main Meter options to:
• set a time signature for the measure
• determine how Overture displays the time signature
• select the number of pulses in the measure.
Check the Show option if you want Overture to show the inserted time signature. Generally, you want Overture to show the time signature unless you’ve created a composite meter and are showing it instead of the main meter.
Check the Parentheses option if you want Overture to place the time signature in parentheses.
Use the time signature’s Numerator numerical to set the number of beats per measure.
Use the time signature’s Denominator numerical to set the note value that receives one beat.
Use the Pulses numerical to set the number of pulses in a meter. The pulses numerical determines how many pulses (beats) Overture’s beat chart displays (see “Using Beat Charts” on page 104). It also affects the number of clicks the metronome plays and the beaming pattern used by the measure.
Show option
Parentheses option
Denominator numerical
Numeratornumerical
Pulsesnumerical
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Pulses are different from beats because pulses dictate the feel of a measure. For example, you can play a 6/8 measure as though it were three groups of eighth note pairs. The three groups make the measure feel as if it has three pulses.
You can play that same 6/8 measure as though it were two groups of three eighth notes. The two groups make the measure feel as if it has two pulses.
Obviously, pulses are closely related to the measure’s beaming pattern (as discussed in “Beam Pattern Options” on page 544).
Composite Meter OptionsUse composite meters to subdivide the measure’s main meter into separate, smaller metrical groups.
Check the Show option if you want Overture to show the specified composite time signature. Often, you’ll want to hide the main time signature when showing a composite time signature. Do this by unchecking the Main Meter Show option.
Check the Parentheses option if you want Overture to place the composite time signature in parentheses. Use parentheses if you’re also going to show the main time signature.
Pulses
Beat Chart
Beat Chart
Pulses
Show option
Parentheses option
Composite NumeratornumericalsComposite Denominatornumericals
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Overture lets you create composite meters of up to three groups. Use the Composite Numerator and Composite Denominator numericals to define each of the composite groupings.
For example, if you create a 4/4 score, but want each measure performed in an unorthodox manner (such as 3/8 + 2/8 + 3/8), you can create a composite meter.
You need a special beaming pattern to convey the rhythmic feel of the composite meter. We discuss beaming patterns in the following section.
Beam Pattern OptionsBeams create a visual representation of a measure’s meter and its internal rhythmic divisions. Use the Set Time Signature dialog box’s Beam Pattern options to define how you want Overture to beam notes.
Use the four Primary beam group numericals to set the pattern in which notes are beamed. For example, in a 4/4 measure, a pattern of 4+4 automatically beams together the first four eighth notes, then the last four eighth notes.
Primary Beam Group numericals
Secondaries option
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As another example, in a 4/4 measure, a pattern of 3+2+3 automatically beams together the first three eighth notes, then the middle two, then the last three eighth notes.
You don’t have to enter every element of a steady beaming pattern. For example, to enter a beaming pattern of 2+2+2+2, you only have to enter the first 2.
Secondary beams are the additional beams used to indicate 16th notes, 32nd notes, and so on.
Check the Secondaries option if you want secondary beams to break at a specified number of notes, thus giving a more accurate picture of the internal rhythm of a measure.
Primary Beam
Secondary Beam
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Below, the measure on the left shows a string of sixteenth notes with unbroken secondary beams. The measure on the right shows the same string of sixteenth notes with the Secondaries option checked and set for 2—the sixteenth note beams break into two-note groups.
The Show Before System Break OptionCheck this option if you want Overture to provide a courtesy meter change warning automatically at the end of the previous system if the meter change occurs at a system break.
The figure below illustrates the difference between enabling and disabling this option. When the option is disabled (top example), the top system gives no warning of the impending change in meter. In the bottom example, it does.
No break in secondaries Break in secondaries
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The Is Pickup OptionCheck this option if you want Overture to recognize the active measure as a pickup measure.
When you define a measure as a pickup measure, the following things occur:
• Overture right-justifies the notes in the measure.
• When Overture plays a pickup measure, it plays the measure exactly as written.
For example, if you created a pickup measure in 4/4 time that had only two quarter notes, Overture would play the two quarter notes, then play the next measure immediately without waiting two additional beats.
Important:Unlike other elements in the Set Time Signature dialog box, the Is Pickup option applies only to the active measure. This way you can define one measure as a pickup measure without defining the following measure as standard.
The score above does notcontain a pickup measure. It playsback as shown below.
The score shown above containsa pickup measure. It plays backas shown below.
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• Overture ignores pickup measures when numbering measures in a score. To learn about measure numbers, see “Set Measure Numbers” on page 559.
• Overture ignores pickup measures when searching for incorrect rhythms. To learn how to search an Overture score for incorrect rhythms, see “Incorrect Rhythms” on page 617.
The Alternate Font Option and ButtonCheck this option to enable the display of the score's meters in a different font, size, or style. Use the Alternate Font button to to open a Font dialog box where the changes can be made.
To change the default Alternate Meter Font for new scores, use the Meter’s font button in the Font’s tab of the Preferences dialog. See “Fonts Preferences” on page 647.
The Draw Hollywood Lines Option and Settings ButtonCheck this option to enable the display of vertical lines that replace multiple meters in the conductor's score. This is often seen in film scoring. The example below demonstrates Hollywood lines along with larger meter display from the Alternate Font option.
The Settings button opens the Hollywood Lines dialog box which provides options for choosing which staves the lines should pass through, line thickness, location of endpoints, and vertical placement of upper and lower meter characters.
Note:Rebarring scores destroys pickup measures. To learn about rebarring a score, see “Rebar” on page 564.
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The line thickness can be change directly on the score by shift-dragging the bottom of the line horizontally. The line’s X and Y offset can be changed by dragging the line’s bottom endpoint. Each character’s offset can be changed by dragging the character vertically. If you hold down the Ctrl[Command] key while dragging on the score, the changes will be applied to all meters in the score.
Using the Set Time Signature CommandTo insert a meter change into an Overture score:
1. Using the Arrow Cursor, click within a measure to make it the active measure.
2. Choose Measures>Set Time Signature.
Overture opens the Set Time Signature dialog box.
3. Use the dialog box (discussed earlier) to define the meter and its beaming options, then click the OK button.
Overture applies the new meter to the active measure and all remaining measures up to the next meter change.
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Set TempoChoose this command to specify a tempo for the active measure and all measures up to the next tempo change. The active measure is the one that contains the insertion point. When you choose Measures>Set Tempo, Overture opens the Set Tempo dialog box.
You can also open the Set Tempo dialog box by double-clicking on a tempo marking.
You can move the Set Tempo dialog box around the desktop by dragging its title bar.
About the Set Tempo Dialog BoxUse the Set Tempo dialog box to define
• the number of beats per minute for your new tempo.
• the note value of the beat.
You can also use the dialog box to apply the tempo to MIDI playback and to show the tempo in your score, either as a metronome value or as a text description.
There are numerous elements in the Set Tempo dialog box. These are described in the following sections.
Text Font Button
Show OptionsPlayback Options
Metronome Font Button
Region Options
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Region OptionsUse the Region Options portion of the Set Tempo dialog box to define the measure range covered by the tempo. Press the End of Score button to set the through field to the last measure.
Playback OptionsUse the Playback Options portion of the Set Tempo dialog box to define a tempo.
Use the Beats Per Minute numerical to enter the number of beats you want in a minute.
Click one of the Beat Value Select buttons to define the value of a beat. For example, 100 quarter-note beats per minute is twice the tempo of 100 eighth-note beats per minute.
Show OptionsUse the Show Options portion of the Set Tempo dialog box to determine if you want Overture to display the tempo and, if so, how you want it displayed.
Check the Show Metronome option if you want to display the tempo in your score.
Check the desired option for displaying the number as a decimal or whole number.
Check the Parentheses option if you checked Metronome and you want to display the metronome marking in parentheses.
Ending measureStarting Measure
End of Score button
Beats Per MinuteNumerical
Beat ValueSelect Buttons
Show Option
Show Metronome Option
Show Text Option
Tempo Text Field
Parentheses Option
Note Duration OptionNumber Style Option
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Check the numerical radio button if you checked Metronome and you want to display the tempo as an actual number of beats per minute.
Check the note options radio button if you checked Metronome and you want to change the time signature but keep the pulse constant and represent it by a different note duration. For example, if the meter changes from 2/4 to 6/8, you can represent the change as quarter note=dotted quarter.
Check the Show Text option if you checked Show and you want Overture to display the tempo as user-specified text.
If you selected the Show Text option, use the Tempo Text Field to enter the text you want displayed in your score.
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The following figure illustrates some differences between the Show Metronome and Show Text options.
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You can show metronome and text values simultaneously. This is particularly convenient if you want to show tempo markings made up of both text and metronome values. For example, assume you configure the Set Tempo dialog box like this.
You can drag either type of tempo marking independently of the other. In the figure below, the metronome marking was dragged to the right to make space for it in the Text area.
Font ButtonsThere are two font buttons:
• Text Font button: Use this button to open a dialog box in which you select the font that Overture uses to display the desired Tempo Text in the score.
• Metronome Font button: Use this button to open a dialog box in which you select the font that Overture uses to display metronome (beats per minute) markings in the score.
For a detailed discussion of the Select Font dialog box, see “Font Button” on page 563.
Drag Metronome markinginto space left in Text marking
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Using the Set Tempo CommandTo set a tempo change into an Overture score:
Editing TempoTo reposition any tempo mark in the Score window:
To copy a tempo mark in the Score window:
To open the Set Tempo dialog box and change an existing tempo:
1. Using the Arrow Cursor, click within a measure to make it the active measure.
2. Choose Measures>Set Tempo.
Overture opens the Set Tempo dialog box.
3. Enter a tempo and select viewing options, then click the OK button.
Overture applies the tempo to the active measure and all remaining measures up to the next tempo change.
1. Move the Arrow Cursor over the tempo mark you wish to move.
The cursor changes to a Drag Cursor.
2. Drag the tempo mark to the desired position.
Moving tempo marks affects where the tempo change begins.
1. Move the Arrow Cursor over the tempo mark you wish to move.
The cursor changes to a Drag Cursor.
2. Control[Option]-drag to move a copy of the tempo mark to a new place.
Shift-Control[Option]-drag to copy a tempo mark and constrain movement to the horizontal or vertical direction first dragged.
1. Click in the desired measure and choose Measures>Set Tempo.
Alternatively, if the tempo appears in the score, you can double-click the tempo mark to open the Set Tempo dialog box.
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Set Codas, Segnos, etc.Choose this command to attach repeat and jumper text to a measure. When you choose Measures>Set Codas, Segnos, etc., Overture opens the Set Codas, Segnos, etc. dialog box.
You can move the Set Codas, Segnos, etc. dialog box around the desktop by dragging its title bar.
About the Set Codas, Segnos, etc. Dialog BoxThere are two areas in the Set Codas, Segnos, etc. dialog box:
• Repeat Type. Use this area to select among the most commonly used repeats.
• Repeat Text. Use this area to modify the text used by one of the selected Repeat Types.
We describe each of these areas in the following sections.
Repeat TypeOverture offers eight default repeat notation options.
When you select one of these options, Overture enters default text into the Text area (described in “Text Editing” on page 558). The following list describes each Type option:
Repeat Type
Repeat Text
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• . Use this notation in conjunction with either the D.S. al Coda or D.S. al Fine options. Overture places this symbol at the beginning of the active measure. When the performer sees a D.S. symbol in a score, he or she knows to jump to the measure containing this symbol. This symbol is called a Segno becaused it is used with the Dal Segno (abbreviated D.S.)
• To Coda . Use this notation in conjunction with either the D.S. al Coda or D.C. al Coda option. Overture places this symbol at the end of the active measure. When the performer sees this symbol, he or she knows to jump immediately to the Coda section.
• Coda. Use this notation in conjunction with the To Coda symbol. Overture places the Coda symbol at the beginning of the active measure. When the performer sees a To Coda symbol in the score, he or she knows to jump to the beginning of the measure containing the Coda symbol.
• Fine. Use this notation in conjunction with either the D.C. al Fine or D.S. al Fine options. Overture places the Fine symbol at the end of the active measure. The Fine indicates that this measure is the final measure in the score.
• D.C. al Coda. Use this notation to indicate that, when the performer finishes the measure, he or she should jump back to the top of the piece and play to the To Coda sign; at which point, he or she needs to jump to the Coda section (indicated by the Coda notation).
• D.C. al Fine. Use this notation to indicate that, when the performer finishes the measure, he or she is to jump back to the top of the piece and play to the Fine sign.
• D.S. al Coda. Use this notation to indicate that, when the performer finishes the measure, he or she should jump back to the measure containing the segno, then play through to the To Coda sign; at which point he or she should jump to the Coda section (indicated by the Coda notation).
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• D.S. al Fine. Use this notation to indicate that, when the performer finishes the measure, he or she should jump back to the top of the measure containing the segno, then play to the Fine sign.
Text EditingWhen you select one of the eight default Type notations, Overture automatically fills the Text area with default text. This is the text that appears above the top staff of the active measure when you click the dialog box’s OK button.
Overture attaches any text from this area to the active measure. Additionally, Overture allows you to enter either a Segno symbol or a Coda symbol by typing #1 or #2, respectively.
For example:
Click the Font button to open the Font dialog box. Use the Font dialog box to select the font used to display repeat text. For more information about the Font dialog box, see “Font Buttons” on page 554.
MIDI Note:If the Options>Play Style>Repeats option is checked, Overture recognizes and plays all default repeat markings discussed above. You must enter all the necessary repeat markings in all the required measures, just as you would for live performers.
Text box says “D.S. #1 al Coda #2” Text box says “D.S. al Coda”
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Set Measure NumbersChoose this command to specify a measure numbering and display format beginning with the active measure in the current staff and continuing to the next numbering change. The active measure is the one that contains the insertion point. When you choose the Set Measure Numbers command, Overture produces the Set Measure Numbers dialog box.
You can move the Set Measure Numbers dialog box around the desktop by dragging its title bar.
Font Button
Position Setting
Starting MeasureNumerical
Interval Options
Text Options
Character Options
Color Button
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About the Set Measure Numbers Dialog BoxThere are numerous elements in the Set Measure Numbers dialog box. We describe these in the following sections.
Starting Measure NumericalUse the Starting Measure numerical to enter the measure number of the active measure. This is useful if, for example, the current Overture score is a continuation of a different score and does not start with measure 1.
Position SettingUse the Position Setting to position measure numbers. Overture places all measure numbers in the same relative position in the score (later, you can drag individual measure numbers to change their positions). Use the two gray lines for reference. Drag the small number 1 to show Overture where you want it to place all measure numbers.
Note:Overture doesn’t include pickup measures in the measure numbering sequence. For more information about pickup measures, see “The Is Pickup Option” on page 547.
Drag to show Overturewhere to position allmeasure numbers
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Overture allows enclosures around measure numbers. Select the Enclosure option in the Set Measure Number dialog box to enable the enclosure option.
Interval OptionsUse this set of radio buttons to tell Overture how frequently you want measure numbers to appear throughout your score.
If you click the Page button, Overture places measure numbers over the first measure at the top of the first system on each page.
If you click the System button, Overture places measure numbers over the first measure at the top of each system.
If you click the n Measures button, Overture places measure numbers at the interval you specify. Use the corresponding numerical to specify the desired interval between measure numbers.
If you click the None button, Overture puts no measure numbers into a score. Select this option to stop displaying measure numbers (or to hide them for a while).
Enclosure option encloses measure numbers
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Text OptionsUse the Text Options portion of the Set Measure Numbers dialog box to place measure numbers and to enter an optional prefix.
Use the Prefix numerical to enter up to two characters to use as a prefix for the active measure.
Select one of the Justify options to tell Overture whether you want to place measure numbers to the Left, Center or Right of the Position Setting.
Character OptionsUse this portion of the Set Measure Numbers dialog box if you want Overture to number measures with letters rather than numbers.
Check the Starts with option if you want Overture to indicate measures with letters rather than numbers. Use the text entry field to type the letter you want applied to the active measure.
If you click the AA, BB, CC button, Overture follows measure Z with measure AA, then measure BB, etc.
LeftCenter Right
If this is the Position setting...
...these are its three placement options.
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If you click the AA, AB, AC button, Overture follows measure Z with measure AA, then measure AB, etc.
Font ButtonClick this button to open the Font dialog box. Use the dialog box to select the font that Overture uses to display measure numbers.
There are numerous elements in the Font dialog box:
• Font List. Click here to select a font from the list.
• Font Style List. Click here to select the font style from the list.
• Font Size List. Click here to select a font size from the list.
• Font Size Field. Use this numerical to enter a font size not included in the Font Size Pop-Up Menu.
• Font Preview Area.View your font selections in this area.
Using the Set Measure Numbers CommandTo create a measure numbering format:
1. Using the Arrow Cursor, click a measure to make it the active measure.
2. Choose Measures>Set Measure Numbers.
Overture opens the Set Measure Numbers dialog box.
Font List
Font Style List
Font Size Field
Font Preview Area
Font Size List
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RebarChoose this command to rebar the score beginning with the active measure and continuing to the end of the score. Use the Rebar command to assure that your score contains the correct number of beats in every measure.
This command is particularly useful if:
• you inserted or deleted a note or rest
• changed meters after entering notes
When you choose the Rebar command, Overture analyzes the active measure and, if necessary, moves the barline so that the measure contains the correct number of beats as defined by its meter. It then analyzes each of the following measures until the end of the score. Any leftover beats are, therefore, confined to the final measure in the score.
If, for example, the first measure has too few notes or rests, Overture moves the necessary number of beats from the beginning of the second measure to the end of the first measure. On the other hand, if the first measure has too many notes or rests, Overture moves the necessary number of beats from the end of the first measure to the beginning of the second measure.
Overture always divides any notes or rests as required. For instance, if a measure is short an eighth note, and the first note in the next measure is a quarter note, Overture splits the quarter note into two tied eighth notes; the first eighth note appears at the end of the first measure, and the second eighth note appears at the beginning of the second measure.
3. Specify a measure numbering format, then click the OK button.
Overture numbers measures as requested, beginning with the active measure and continuing until it sees a measure requesting a different numbering format.
Note:The Rebar command does not affect MIDI playback, but the Graphic window updates to show the new position of bar lines.
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Multi Measure RestChoose this command to group a specified number of empty measures into a single measure with multi-measure rest notation. When you choose the Multi Measure Rest command, Overture opens the Set Multi-Measure Rest dialog box.
You can move the Set Multi-Measure Rest dialog box around the desktop by dragging its title bar.
There are numerous elements in the Set Multi-Measure Rest dialog box:
• Number. Select where you want the number to be displayed.
• Style. Select the style of the multi-measure rest.
• End Cap. Select the type of end cap for the solid line.
• Combine Numerical. Use this numerical to enter the number of measures you wish to group into a multi measure rest.
• Fill Numerical. Use this numerical to enter the percentage of the measure’s width you wish the solid line to fill.
• Font Button. Click this button to open the Font dialog box. Use the dialog box to select the font that Overture uses to display multi-measure rest numbers.
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Using the Multi-Measure Rest CommandTo create a multi-measure rest:
To expand a multi-measure rest:
1. Using the Arrow Cursor, click the first measure you wish to group into a multi measure rest.
2. Choose Measures>Multi Measure Rest.
Overture open the Set Multi-measure Rest dialog box.
3. In the dialog box, enter the number of measures you want to group into a multi-measure rest (including the active measure).
In the example below, you want the multi-measure rest to be four bars long (the current measure plus the three measures following it).
4. Click the OK button.
Overture creates a multi-measure rest of the specified length.
1. Click the multi-measure rest you wish to expand.
Click to activate measure
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To display the range of measures in a multi-measure rest, check Show Range.
To display the number of measures in a multi-measure rest below rather than above the staff, check Below Staff.
To switch from a normal to a jazz style of rest, click the Jazz radio button.
To change the style of end caps on the rest, click the radio button for Thin, Thick, or None.
To adjust the length of the rest, drag an end cap horizontally.
2. Choose Measures>Multi Measure Rest.
Overture open the Set Multi-measure Rest dialog box.
3. In the dialog box, enter the number 1 then click the OK button.
Overture expands the multi-measure rest to show all measures in the score.
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Fill in RestsWhen you choose this command, Overture fills in any missing beats in the active measure with rests. The active measure is the one that contains the insertion point.
For example, assume you had the music example shown in the following figure, and that you wanted to fill in the rest of the measure with rests.
To do so:
This is also a quick way to insert rests into any blank measures.
JustifyWhen you choose this command, Overture calculates a new Beat Chart based on the note values contained in the measure(s) and on the spacings assigned to them by the current Allotment Table.
Justifying a measure causes the notes within it to change their relative spacings by calculating a new Beat Chart (based on the current Allotment Table). This greatly improves legibility, though some collision of note heads may still occur depending on the settings in the Allotment Table.
1. Click in the measure to make it the active measure.
2. Choose Measures>Fill in Rests.
Overture fills in the measure with the necessary rests.
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To justify notes in a measure:
Compare the two Beat Charts above. Notice the modified spacing of the beats and the consequent change in note spacing.
To protect a measure from the Measures>Justify command, see “Locked Measures” on page 108.
If you need to brush up on your knowledge of Beat Charts, see “Using Beat Charts” on page 104. For a detailed discussion about Allotment Tables, see “Allotment Table” on page 410.
1. Find the measure(s) you wish to justify.
The example below contains auto-positioned notes (that is, they align with the existing Beat Charts) that have not yet been justified.
2. Activate the measure you wish to justify by clicking a blank space within it.
If you wish to justify many measures simultaneously, simply Ctrl[Command] double click in each measure you wish to select or shift double click to select a range of measures —all selected measures are affected by the Justify command.
3. Choose Measure>Justify.
Overture calculates new Beat Charts based on the note values and the spacing assigned to them by the current Allotment Table.
Beat Chart
Beats
Beat Chart
Beats
Important:Overture can automatically space notes using either Options>Auto>Justify, Measures>Justify, or Score>Recalc Layout. All three of these commands affect note spacing differently. To learn the differences between them, see “Automatic Justify” on page 107.
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Use the Notes menu commands to perform many common Overture tasks like modifying notes, transposing, beaming, grouping, and converting between traditional notation and raw MIDI data. You must select notes to activate most of the notes commands. The following sections discuss each command in detail.
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TransposeChoose this command to transpose a selection of notes. When you choose the Transpose command, Overture opens the Transpose dialog box.
You can move the Transpose dialog box around the desktop by dragging its title bar.
About the Transpose Dialog BoxThe left half of the dialog box has two radio buttons to select the type of transposition:
• Chromatic. Transposes selected notes up/down the selected interval without respect to the current key signature.
• Diatonic. Transposes selected notes up/down the selected interval based on the current key signature.
The right half of the dialog box has two radio buttons to select transposition direction.
• Up. Transpose the selected notes up in pitch.
• Down. Transpose the selected notes down in pitch.
Note:The Transpose command does not transpose staves that notate tablature or percussive tracks.
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The contents of the Interval pop-up menu change to reflect the Type setting. Although the new dialog box below has the Type set to Chromatic, we show both the Chromatic and Diatonic Interval pop-up menus.
For example:
If A and C are the selected notes,
and the key signature is F major,
and the Direction is Up,
Interval menu for Diatonic transposition
Interval menu for Chromatic transposition
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Using the Transpose CommandTo transpose a selection of notes in your score:
and the selected diatonic Interval is Third,
then The resulting transposition raises both the A and C two scale steps up in F major but different absolute intervals. Overture transposes the A a minor third to C and the C a major third to E.
1. Select the notes you wish to transpose.
We discuss note selection techniques in “Selecting Notation Symbols” on page 89.
2. Choose Notes>Transpose.
The Transpose dialog box appears.
3. Click the radio button next to the type of transposition you desire.
4. Click the radio button next to the direction you want to transpose.
5. Choose the interval by which you want to transpose the selection.
6. Click the OK button.
Overture transposes your selected notes.
If you perform a chromatic transposition, Overture automatically spells all notes and accidentals correctly with respect to the key signature.
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ModifyChoose this command to alter various MIDI playback attributes of the selected notes. When you choose the Notes>Modify command, Overture produces the Modify Notes dialog box.
You can move the Modify Notes dialog box around the desktop by dragging its title bar.
About the Modify Notes Dialog BoxThe Modify Notes dialog box contains three parameters:
• the Operation pop-up menu
• the Note Property pop-up menu
• the Value Setting
We explain each of these parameters in the following three sections.
The Modify Notes dialog box always reads like a sentence. For instance, the dialog box shown above reads “Set duration to 240 units.”
Operation Note property Value setting
Note:This command affects only the MIDI playback of notes, not their appearance in the score.
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Note Property Pop-Up MenuUse the Note Property pop-up menu to select which note property you want to modify. Click the current note property and select a new one from the pop-up menu.
The following note properties are available in the Modify Notes dialog box:
• Duration. Selecting this causes the Modify Notes command to change the durations of selected notes an amount determined by the Operation pop-up menu and the Value setting.
• Key Velocity. Selecting this causes the Modify Notes command to change the key velocities of selected notes an amount determined by the Operation pop-up menu and the Value setting.
• Release Velocity. Selecting this causes the Modify Notes command to change the release velocities of selected notes an amount determined by the Operation pop-up menu and the Value setting.
Operation Pop-Up MenuUse the Operation pop-up menu to select how you want to modify a note property. Click the current operation and select a new operation from the pop-up menu.
The following operations are available in the Modify Notes dialog box:
• Set. Select this operation to set the note property of all selected notes to the exact value indicated in the Value Setting. For example, if the note property is Key Velocity and the Value Setting is 64, then selecting Set changes all selected note velocities to 64.
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• Scale. Select this operation to multiply the note property of all selected notes by the percentage shown in the Value setting. The Value setting ranges from 0%-999% when you select this operation. Velocities are always limited to a range of 1 to 127. For example, if the note property is Duration and the Value setting is 50%, then selecting Scale changes all selected note durations to half their current value.
• Add Amount. Select this operation to add or subtract the Value setting from the note property of the selected notes. The Value setting ranges from -127 to 127 when you select this operation. For example, if the note property is Key Velocity and the Value setting is +10, then selecting Add Amount increases the velocity of all selected notes by a value of 10. To set whether you want to add or subtract the indicated amount, click to toggle + and -.
• Max Limit. Select this operation to restrict the note property of all selected notes to the maximum limit indicated in the Value setting. Overture lowers any note properties with values above the specified limit to the limit and leaves unchanged any note properties with values below the specified limit. For example, if the note property is Key Velocity and the Value setting is 100, then selecting Max Limit limits the maximum velocity of any selected note to a value of 100. Overture sets any notes with original velocities greater than 100 to a value of 100, and leaves unchanged notes with original velocities less than 100.
• Min Limit. Select this operation to restrict the note property of all selected notes to the minimum limit indicated in the Value setting. Overture raises any note properties with values below the specified limit to the limit and leaves unchanged any note properties with values above the specified limit. For example, if the note property is Key Velocity and the Value Setting is 50, then selecting Min Limit limits the minimum velocity of any selected note to a value of 50. Overture sets any notes with original velocities less than 50 to a value of 50 and leaves unchanged any notes with original velocities greater than 50.
• Legato. This operation works only when you set the note property to Duration. Select this operation to set the duration of each selected note so that it extends a certain percentage of the way to the next note. Use the Value setting to set the percentage. For example, if the note property is Duration and the Value setting is 50%, selecting Legato changes all selected note durations to half their natural values. Quarter notes have the duration of eighth notes (240 units), eighth notes have the duration of sixteenth notes (120 units), and so on.
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Value SettingUse the Value setting in the Modify Notes dialog box to define how much the selected operation acts upon the note property.
The Value setting changes depending on which operation and which note property you’ve selected. See “Operation Pop-Up Menu” on page 576 for more information about how various operations and note properties affect the Value setting.
Using the Modify CommandTo modify the MIDI playback of selected notes in your score:
HumanizeChoose this command to humanize selected notes, that is, to alter their start times, durations and velocities to give a human playback feel. When you choose the Humanize command, Overture produces the Humanize dialog box.
1. Select the notes you wish to modify.
We discuss note selection techniques in “Selecting Notation Symbols” on page 89.
2. Choose Notes>Modify Notes.
The Modify Notes dialog box appears.
3. Select the desired note property from the Note Property pop-up menu.
4. Select the desired operation from the Operation pop-up menu.
5. Use the Value setting numerical to set the desired value for the selected operation.
6. Click the OK button.
Overture modifies the MIDI note data of the selected notes.
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Using the Humanize CommandTo humanize selected notes:
This command affects the velocities, start and end times of notes only, not the notated note value. To change note value, see “Transcribe” on page 606.
QuantizeChoose this command to quantize selected notes, that is, to round off their start times and durations to even beats so they can display reasonably on a staff or play back with precision, rather than with irregularities, the way humans play them. When you choose the Quantize command, Overture produces the Quantize dialog box.
1. Using the Arrow cursor, click the first note in the passage to select it (highlighting it).
2. Shift-click the final note in the passage to select it (highlighting all the notes between).
3. Choose Notes>Humanize.
The Humanize dialog box appears.
4. Set the maximun amount to adjust each parameter.
5. Click the OK button.
Overture humanizes the selected notes in your score.
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About the Quantize Dialog BoxResolutionIn this section of the Quantize dialog box specify the granularity of the quantization. You can use any value from a half note down to a thirty-second note triplet. Select a resolution that matches the smallest note in the region you are quantizing. If you are quantizing a run of sixteenth notes, use a sixteenth note as the resolution.
ChangeIn this section of the Quantize dialog box, choose to move the start times of notes, their durations, or both.
OptionsIn this section specify how, exactly, you want the selected notes quantized, in several dimensions.
Strength. The human ear is tuned to the slight imperfections we hear from most musicians. If you quantize a song so that all notes are perfectly in position, it may end up sounding mechanical or rigid. To avoid this, Overture lets you adjust the strength of the adjustment. A strength of 100 percent indicates that all notes are moved so that they are in perfect time, while a strength of 50 percent means that all notes are moved half-way towards the desired position. This lets you tighten up the timing as much as you want, without going too far.
Swing. Many songs do not have notes positioned perfectly evenly. For example, songs with a swing feel, though they may be written all using eighth notes, are often played more like eighth note triplets, with the first note extended and the second one shortened. The swing option lets you distort the timing so each pair of notes is spaced unevenly, giving the quantized material a swing feel.
A swing value of 50 percent (the default) means that the timing is even. A value of 66 percent means that the time between the first and second evenly spaced notes is twice as long as the time between the second and third. The figure below illustrates the effect of the swing setting on the timing.
Window. When you quantize some portion of a song, notes that are very far from the specified timing should probably not be moved at all. The window, or sensitivity setting, lets you choose how close to the resolution a note must be for quantize to move it.
Swing = 50%
Swing = 66%
Swing = 33%
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A window of 100 percent includes all notes, and guarantees that all notes will shift to lie exactly on the resolution timing. The window extends half the resolution distance before and after the quantization point. A window of 50 percent extends only a quarter of the way toward the adjacent quantization points.
Offset. Normally, the resolution grid is aligned evenly with the start of measures and beats. As an option, you can shift the grid earlier or later by any number of clock ticks. If the resolution is a quarter note, and you’ve set the offset to +3 ticks, then a note that is originally near the beat would be moved three ticks beyond the beat boundary.
Using the Quantize CommandTo quantize selected notes:
This command affects start and end times of notes only, not the notated note value. To change note value, see “Transcribe” on page 606.
Redo PitchesSelect this command to replace notes with pitches played from a MIDI keyboard. The selected note will be replaced with the pitches played on a MIDI keyboard and the note’s duration will be preserved. The next note will then be selected and will be replaced with any notes from the MIDI keyboard, and so on. When you are done, select this command to disable Redo Pitches.
1. Using the Arrow cursor, click the first note in the passage to select it (highlighting it).
2. Shift-click the final note in the passage to select it (highlighting all the notes between).
3. Choose Notes>Quantize.
The Quantize dialog box appears.
4. Click the radio button next to the resolution note size you need.
5. Click one or both check boxes to specify whether you want to quantize start times, note durations, or both.
6. Specify percentages for the options Strength, Swing, and Window, and ticks for the Offset option.
7. Click the OK button.
Overture quantizes the selected notes in your score.
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Add IntervalChoose this command to add an interval to the selected notes. Any interval from a second to a ninth can be added above or below the selected note(s).
DeleteChoose the Delete command to produce a submenu of delete options.
From the Delete submenu, choose the type of note-related symbol you want deleted from the selected notes. Each delete option is discussed in the following sections.
BeamsChoose this command to remove the beams from all selected notes. For example:
ArticulationsChoose this command to remove all articulations and ornaments from the selected notes. For example:
1. Select some beamed notes.
2. Choose Notes>Delete>Beams. Overture deletes all beams attached to any of the selected notes.
1. Select some notes with attached articulations and ornaments.
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Duplicate NotesChoose this command to remove duplicate notes from all selected notes. For example:
BeamChoose the Beam command to produce a submenu of beaming options.
To beam notes:
2. Choose Notes>Delete>Articulations. Overture deletes all articulations and ornaments attached to the selected notes.
1. Select some duplicate notes.
2. Choose Notes>Delete>Duplicate Notes. Overture deletes all selected notes that have the same pitch and start times.
1. In the Score window, select the notes you want beamed.
2. Choose a beaming option from the Beam submenu.
Overture beams the selected notes according to one of the options. We discuss beaming options below.
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Based on MeterChoose this command to beam the selected notes and group them based on the meter of the measure(s). Define beam groupings in the Set Time Signature dialog box (accessed by choosing Measures>Set Time Signature). See “Set Time Signature” on page 541 for more information about the Set Time Signature dialog box.
ManuallyChoose this command or press Control[Command]-shift-b to beam all selected notes as a single group regardless of the meter of the measure(s). This command beams over any selected rests and across barlines if requested. See “Cross-Bar Beaming” on page 586 for more information. This command overrides previous beam commands, including the Options>Auto Beam toggle.
Break in MiddleChoose this command to break the beam in the middle. Only the first and last notes will show with a partial beam on each side. This is used to create glissandos in harp notation.
Hide Tuplet NumberChoose this command to hide the tuplet number that automatically appears above or below beams that contain a tuplet group.
Tremolo BeamsChoose one of the tremolo beam commands to place a tremolo beam across the grouped notes. Tremolo beams connect only two notes.
• Tremolo 8ths. Choose this command to create an eighth note tremolo beam.
• Tremolo 16ths. Choose this command to create a sixteenth note tremolo beam.
• Tremolo 32nds. Choose this command to create a thirty-second note tremolo beam.
• Tremolo 64ths. Choose this command to create a sixty-fourth note tremolo beam.
Note:You can beam notes that are on different staves and you can also beam across barlines. See “Beaming Examples” on page 585 for more information.
Normal Beam
Beam broken in middle
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By default, Overture makes primary beams span the distance between notes less than a quarter note; it indents secondary beams.
If you create a tremolo beam between quarter notes or larger, Overture automatically indents the primary beam.
To change the indentation of a secondary beam, drag it with the Arrow Cursor.
To create an indentation for the primary beam, Control[Command]-drag it with the Arrow Cursor.
Beaming ExamplesThe following are specific examples of some common beaming techniques.
Cross-Staff BeamingThis example shows how to beam across staves:
1. Enter notes onto a single staff.
2. Select those notes you want displayed on a different staff.
Primary Beam
Secondary Beam
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If you wanted to beam to a lower staff, you would choose Notes>Display on Next Staff. Notes that are part of a cross-staff beam can be up to two staves above or below the current staff.
Cross-Bar BeamingThis example shows how to beam across bars:
Beams that cross barlines wrap to the next system if necessary. Also, Overture can notate simultaneous cross-bar and cross-staff beams. Simply combine the two techniques.
3. Choose Notes>Display on Prev Staff.
1. Enter notes into your score.
2. Select the notes you wish to beam.
3. Choose Notes>Beam>Over Rests & Barlines.
MIDI Note:The Display on Prev Staff and Display on Next Staff commands do not actually move MIDI data from one track to another; they only change which staff displays the notes.
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Feathered BeamsCreate feathered beams by Control[Command]-dragging the end of a beam.
Creating Groups of Beamed Notes in TupletsWhen creating a tuplet out of existing notes like 16th notes, you now have more control over how those notes will display their secondary beams (the 16th or smaller beams). By breaking the secondary beams in different places, you can imply a rhythmic or metric grouping within these notes.
For example, when creating a tuplet from six 16th notes you want to be played in the space of one quarter note, you can either tell Overture to group them as one sextuplet, or as two triplets. Either way, the notes will share a primary beam, as expected.
To create a sextuplet from six 16th notes, do either of the following:
• Select the notes, choose Notes>Group>Tuplet, and enter 6 over 4
• Select the notes using the Tuplet tool, and enter 6 over 4
To create two groups of triplet 16th notes displayed under one "3" bracket, do either of the following:
• Select the notes, choose Notes>Group>Tuplet, and enter 3 over 2
• Select the notes using the Tuplet tool, and enter 3 over 2
To create two groups of triplet 16th notes displayed with one primary beam but two "3" symbols, one above each group, perform one of the two steps above, and then do the following:
• Select the Eraser, and click on the bracket surrounding all six notes (this only removes the bracket, and does not change the notes from triplets to regular notes)
• Select the notes, and use the Notes>Beam>Based on Meter command
Controlling Secondary Beaming Groups in TupletsOverture allows you to change the beam grouping of smaller notes, like 16th notes, after you change those notes into tuplets. For example, this allows you to select the beam on six 16th notes, and break the secondary beam into 2 groups of 3, or 1 group of 6.
To change the grouping of a group of six 16th notes in a tuplet, do any of the following:
• Create a tuplet from 16th notes grouped as 6 over 4
• Select the beam using the Selection (arrow) tool; be sure to click the beam rather than the bracket or slur (if any)
2. hold down the Control[Command]key and drag the beam
1. move the cursor over the endof a beam
to create a feathered beam
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• Type the 1 key to beam all the notes as one group of 6 notes
• Type the 2 key to beam the notes in two groups of 3 notes
GroupChoose the Group command to produce a submenu of grouping options.
Overture groups the selected notes according to one of the options in the Group submenu.
TieChoose this command to tie together any notes of the same pitch within the selected group. To create a tie in your score:
If you draw a rectangle around a contiguous group of notes, then choose the Tie command, Overture ties together any notes of the same pitch within the selected group.
You can select a single note and attach a tie mark to it—this lets you create a note that’s tied to a different place in the score (such as an ending, coda, etc.).
1. Control[Command]-click each note you want to tie together.
2. Choose Notes>Group>Tie.
Overture ties the selected notes together.
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Using the Tie command is the same as selecting the Tie tool from the Groups palette and grouping notes in the Score window (see Chapter 12, “Groups Button”).
SlurChoose this command to create a slur across all notes in the selected group. To create a slur in your score:
If you wrap measures containing slurs (as discussed in “Increase Measures on System” on page 530 and “Decrease Measures on System” on page 532), Overture keeps all slurs over all notes even if you wrap a measure onto another system (as shown below).
1. Select the notes you want slurred.
2. Choose Notes>Group>Slur.
Overture creates a slur between the notes—even if they’re on different systems.
MIDI Note:MIDI playback recognizes tie markings. For instance, if you tie two quarter notes together, then your MIDI module plays the tie as though it were a half note.
This slur...
...automaticallywraps when youchange Overture’smeasure layout
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Using the Slur command is the same as selecting the Slur tool from the Groups palette and grouping notes in the Score window (see Chapter 12, “Groups Button”).
OttavaChoose this command to insert an ottava mark to indicate that the selected notes should be played an octave higher or lower than written.
To place an ottava mark in your score:
You can remove an ottava mark by clicking it with the Eraser cursor. MIDI playback recognizes the removal of ottavas and shifts playback pitch accordingly.
See “Ottava Dialog Box” on page 145 for a detailed description of Ottava options.
1. Using the Arrow Cursor, click the first note in the passage to select it (highlighting it).
2. Shift-click the final note in the passage to select it (highlighting all the notes between).
3. Choose Notes>Group>Ottava.
The Insert Ottava dialog box appears.
4. Click the radio button next to the type of ottava sign you need.
5. Use the check boxes in the right half of the dialog box to determine how you would like the ottava sign to appear.
6. Click the OK button.
Overture inserts the ottava into your score.
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TupletChoose this command to group the selected notes into tuplets. When you choose the Tuplet command, Overture produces the Tuplets dialog box.
About the Tuplets Dialog BoxThe Tuplets dialog box contains three separate areas:
• Tuplet Value. Set the tuplet value using the top two fields; the first field sets the number of notes and the second field sets the duration of the tuplet. For example, to group three notes into a triplet that would play in the time of two eighth notes, you would set the Tuplet value to 3/2 (three notes in the time of two).
• Tuplet Style. Click one of the illustrated styles to notate your tuplet in that style.
• Tuplet Options. There are two check boxes for two separate options. Check the Show 2nd Number check box if you want the second number (the “in the time of” number) to appear in the score. Check the Change playback durations check box if you want to change the actual MIDI playback times of the notes you grouped into a tuplet.
Using the Tuplet CommandTo create tuplets with the Tuplet command:
1. Select those notes you want grouped into a tuplet.
Tuplet Value
Tuplet Style
Tuplet Options
Note:Overture remembers the most recent parameters set in the Tuplets dialog box and opens with these settings the next time you choose the command.
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Glissando ~Choose this command to connect the selected notes with a wavy glissando. Generally, glissandos connect two neighboring notes (the highest and lowest in the glissando). If you select more than two notes, Overture creates a glissando between the first and last notes in the selection.
You can modify the angle and length of any glissando by clicking and dragging either end. You can modify the vertical or horizontal position of any glissando by clicking and dragging its middle.
Glissando -Choose this command to connect the selected notes with a straight line glissando. Generally, glissandos connect two neighboring notes (the highest and lowest in the glissando). If you select more than two notes, Overture creates a glissando between the first and last notes in the selection.
You can modify the angle and length of any glissando by clicking and dragging either end. You can modify the vertical or horizontal position of any glissando by clicking and dragging its middle.
2. Choose Notes>Group>Tuplet.
Overture produces the Tuplets dialog box.
3. Enter the desired tuplet value.
4. Click the desired tuplet style.
5. Check the desired tuplet options.
6. Click the OK button.
Overture groups the selected notes into a tuplet of the specified value using the notation and playback options selected in the Tuplets dialog box.
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The Edit Glissando Dialog BoxDouble-click a Glissando in the Score Window to open the Edit Glissando dialog box.
Set the Appearance fields to the desired setting. Use the Display Text Check Box to display text along the Glissando. Set the type of playback to Diatonic, Chromatic, White Keys, or Last Harp Setting. For Last Harp Setting, the notes will be determined by the previous Harp Pedal setting found in the score. Select the Play option to use the Playback setting during playback.
FlipChoose the Flip command to produce a submenu of flip options.
Overture changes the selected notes according to the command you choose in the Flip submenu.
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DirectionChoose this command to flip the direction of most any selected symbol. If, for instance, you select a slur and choose Notes>Flip>Direction, Overture inverts the slur as shown below.
EnharmonicChoose this command to change the spelling of a note to its enharmonic. For example, if you select an F#, then apply the Enharmonic command, Overture changes the note to a Gb.
Sharps to FlatsChoose this command to flip a note from its sharped version to its flatted version. For example, if you select a G#, this command changes it to an Ab.
Flats to SharpsChoose this command to flip a note from its flatted version to its sharped version. For example, if you select Bb, this command changes it to an A#.
ArticulationsChoose this command to move all articulations to the opposite side of the note.
Original Slur
Slur after choosingNotes>Flip>Direction
Note:Notes>Flip>Direction does not flip articulations or ornaments to the other side of the note. If you wish to move one of these symbols, drag it with the Arrow Cursor or use the Notes>Flip>Articulations command.
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StemChoose the Stem command to produce a submenu of stemming options.
Overture stems the selected notes according to one of the options in the Stem submenu.
Stem UpChoose this command to make the stems of all selected notes point up.
Step DownChoose this command to make the stems of all selected notes point down.
Hide StemChoose this command to hide the stems of all selected notes.
This is useful when you want to create a tablature staff that shows only frets and strings, but no stems. Tablature staves are normally used in conjunction with a standard notation staff.
Show StemChoose this command to show the stems of any selected notes.
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Set Stem Height
Choose this command to set the stem height to your own specifications. Choosing this item opens the Stem Height dialog box. Set the numerical field to your stem height or to the default height indicated in parenthesis.
Display on Prev StaffChoose this command to display the selected notes on the staff above their current one.
2. Choose Notes>Display on Prev Staffand Overture moves the selected noteto the next higher staff (displaying itin the proper key).
1. Select the note you wantdisplayed on the previous staff.
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Use this command for cross-staff beaming. See “Cross-Staff Beaming” on page 585 for more information.
Display on Next StaffChoose this command to display the selected notes on the staff below their current one.
Use this command for cross-staff beaming. See “Cross-Staff Beaming” on page 585 for more information.
MIDI Note:The Display on Prev Staff command does not actually move MIDI data from one track to another—it only changes which staff displays the notes. If you wish to move MIDI data to the previous track, use the Move to Prev Track command (discussed in “Move to Prev Track” on page 598).
1. Select the note you wantdisplayed on the next staff.
2. Choose Notes>Display on Next Staffand Overture moves the selected noteto the next lower staff (displaying itin the proper key).
MIDI Note:The Display on Next Staff command does not actually move MIDI data from one track to another—it only changes which staff displays the notes. If you wish to move MIDI data to the next track, use the Move to Next Track command (discussed in “Move to Next Track” on page 599).
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Move to Prev TrackChoose this command to move the MIDI data that’s notated by the selected notes to the track notated immediately above.
When you choose this command, Overture actually moves the selected notes to the previous track, converts them to raw MIDI data, then transcribes them again. This may cause some formatting like beam adjustments, to be lost.
Use this command to correct split-point transcription errors, for example, when Overture notates a note played by the right hand as belonging to the left hand.
1. Select the note you want tomove to the previous track.
2. Choose Notes>Move to Prev Track.Overture moves the selectednote(s) to the previous track.
Note:The Move to Prev Track command actually moves MIDI data from one track to another. If you wish onlyto notate the selected notes on the previous staff (as for cross-staff beaming), use the Display on Prev Staff command (discussed in “Display on Prev Staff” on page 596).
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Move to Next TrackChoose this command to move the MIDI data that’s notated by the selected notes to the track notated immediately below.
When you choose this command, Overture actually moves the selected notes to the next track, converts them to raw MIDI data, then transcribes them again. This may cause some formatting like beam adjustments, to be lost.
Use this command to correct split-point transcription errors, for example, when Overture notates a note played by the left hand as belonging to the right hand.
1. Select the note you want tomove to the next track.
2. Choose Notes>Move to Next Track.Overture moves the selectednote(s) to the next track.
Note:The Move to Next Track command actually moves MIDI data from one track to another. If you wish only to notate the selected notes on the next staff (as for cross-staff beaming), use the Display on Next Staff command (discussed in “Display on Next Staff” on page 597).
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Notate Notes AsChoose the Notate Notes As command to produce a submenu of choices.
Each choice alters the way notes are displayed in a score. This command is particularly useful for altering the appearance of scores that you’ve entered either by MIDI recording or by importing MIDI files. The following sections detail each of the notation choices.
Notate Notes as ArpeggioChoose this command to notate the selected notes as an arpeggiated chord. The following example illustrates how and why to use the Notate Notes as Arpeggio command.
Assume, when you recorded a song, that you played a measure containing an arpeggiated C major chord. But, when you transcribed the song, the chord came out like this:
To change the score so that it notates an arpeggiated chord:
1. Select the four thirty-second notes and the tied eighth note.
These are the notes you want displayed as an arpeggiated chord.
You’d like to notate thesenotes properly.
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Notate Notes As Reduced RestsChoose this command to notate the selected note/rest combinations as staccato notes. The following example illustrates how and why to use the Notate Notes As Reduced Rests command.
Assume, when you recorded a song, that you played a short staccato passage. But, when you transcribed the song, the passage came out like this:
To change the score so that it notates properly:
2. Choose Notes>Notate Notes As>Arpeggio.
Overture groups the selected notes as an arpeggiated chord and sets the duration of the chord to the total duration of all the individual notes.
1. Select the series of notes and rests you want to re-notate.
2. Choose Notes>Notate Notes As>Reduced Rests.
Notice that each note/rest combination is now notated as a single staccato note with a duration equal to the old note/rest combination.
MIDI Note:This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
You’d like to notate thesenotes properly.
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You can add the staccato markings of your choice using the symbols on the Articulations palette. See “Articulations Palette Tools” on page 161.
Notate Notes as Swing EighthsChoose this command to notate a selected pattern of dotted eighth and sixteenth notes as straight eighth notes. The following example illustrates how and why to use the Notate Notes as Swing Eighths command.
Assume, when you recorded a song, that you played it using a swing feel. As a result, when you transcribed the song, eighth note passages came out like this:
To change the score so that it notates the eighth notes correctly:
1. Select the series of dotted eighth and sixteenth notes you want to re-notate as swing eighth notes.
2. Choose Notes>Notate Notes as>Swing Eighths.
Overture notates the selected notes as straight eighth notes. If you wish, you can add an instruction to your score to play the selected passage in swing time.
MIDI Note:This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
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Notate Notes as TrillChoose this command to notate the selected notes as a single trilled note. The following example illustrates how and why to use the Notate Notes as Trill command.
Assume, when you recorded a song, that you trilled a note. As a result, when you transcribed the song, the trill came out like this:
To change the score so that it notates the trill correctly:
1. Select all the notes of the trill.
2. Choose Notes>Notate Notes as>Trill.
Overture notates the selected notes as a single trilled note.
MIDI Note:This command changes only the notation of the selected passage; it does not affect the actual MIDI data, nor does it affect playback unless you select Play Style>As Written or Play Style>In Swing. See “Play Style” on page 633 for more information about Play Styles.
You’d like to notate thesenotes as a trill.
MIDI Note:This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
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Notate Notes as TripletChoose this command to notate the selected notes as a triplet. The following example illustrates how and why to use the Notate Notes as Triplet command.
Assume, when you recorded a song, that you played a triplet. But, when you transcribed the song, Overture did not notate the triplet correctly (for example, it notated it as an eighth note and two sixteenth notes.
To change the score so that it notates the triplet correctly:
Notate Notes as TurnChoose this command to notate the selected notes as a turn. The following example illustrates how and why to use the Notate Notes as Turn command.
1. Select all the notes that comprise the tuplet.
2. Choose Notes>Notate Notes as>Triplet.
Overture notates the selected notes as a triplet.
You’d like to notate thesenotes as a triplet.
MIDI Note:This command changes only the notation of the selected passage; it does not affect the actual MIDI data, nor does it affect playback unless you select Play Style>As Written. See “Play Style” on page 633 for more information about Play Styles.
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Assume, when you recorded a song, that you turned a note. As a result, when you transcribed the song, it came out like this:
To change the score so that it notates the turn correctly:
Notate Notes as Cue NotesChoose this command to notate the selected notes as a cue note. The selected notes instantly become smaller cue notes. Cue notes do not play back.
Notate Notes as Grace NotesChoose this command to notate the selected notes as a grace note. The selected notes instantly become smaller notes.
1. Select all the notes that comprise the turn.
2. Choose Notes>Notate Notes as>Turn.
Overture notates the selected notes as a single turned note.
You’d like to notate thesenotes as a turn.
MIDI Note:This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
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Notes/Notate Notes as/Single NoteChoose this command to convert two tied notes to a single note.
Notes/Notate Notes as/Two Tied NotesChoose this command to convert a single note to two tied notes.
TranscribeChoose this command to convert the selected raw MIDI data from the Graphic Window or a recording session into standard music notation. Choose this command also to convert existing notation to a different appearance after changing the quantization value. Raw data appears in the Score window as long rectangles. Their vertical position indicates their pitch, and their length indicates their duration.
To convert raw MIDI data into standard music notation:
1. Select the desired section of raw notes.
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This process of converting raw MIDI data into standard music notation happens automatically if you check the Auto Transcribe option in the Record Options dialog box. (Open this by choosing Options>Record Options.) While auto transcription may be suitable for simple scores, there are a couple of reasons you may opt to transcribe raw MIDI data into standard notation manually:
• You want to assign different notes to different voices manually. If you select raw MIDI notes individually in the Score window, assign them to a voice, then manually transcribe them (using the Notes>Transcribe command), you can fine-tune any complicated voicings in your score.
• You want to apply different transcription quantization values to different passages. You can select raw MIDI notes individually in the Score window, select a transcription quantize amount for just that passage, then manually transcribe the MIDI data into standard music notation using the Notes>Transcribe command. This eliminates any transcription quantization errors that may occur from applying a common transcription quantization amount to an entire score. For a detailed example of this process, see “Transcription Quantization and Manual Transcription” on page 260. For more information about auto transcription, see “Record Options” on page 634.
2. Choose Notes>Transcribe.
Overture converts the raw MIDI data into standard music notation.
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Notes to RawChoose this command to convert the selected standard notation into raw MIDI data. There are two reasons for converting standard notation back into raw MIDI data:
• It lets you reassign notes to different voices. If you don’t like the way Overture voiced a certain passage, you can select it, choose Notes>Notes to Raw, then selectively transcribe various notes back into standard notation one voice at a time (using the Notes>Transcribe command).
• It lets you apply different transcription quantization values to selected passages. If Overture transcribes a particular passage incorrectly, select it, choose Notes>Notes to Raw, set a new transcription quantize amount, then transcribe the raw MIDI data back into standard music notation using the Notes>Transcribe command. It is easier, however, to use the Notes>Transcribe command directly on the incorrect passage. For a detailed example of this process, see “Fixing Transcription Quantization Mistakes” on page 262.
Raw MIDI data appears in the Score window as long rectangles; their vertical position indicates their pitch, and their length indicates their duration.
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Notes to TablatureChoose Notes>Notes to Tablature to transcribe selected notes to a tablature staff automatically. There can be as many as eight lines in the tablature staff. If you insert the tablature staff below a bass clef, it automatically contains four lines to accommodate bass tablature. If you insert the tablature staff below a treble clef, it automatically contains six lines to accommodate guitar tablature. You can override the number of lines by configuring the clef in the staff display in the Setup Track dialog box.
Notes to Tablature is enabled only when there is a tablature staff directly beneath the staff containing selected notes. Create a tablature staff by:
• using the Setup Track dialog box to select the tablature clef. This converts the current staff to a tablature staff. Or
• inserting a new staff with the Staff tool’s tablature option.
Click the rectangles to enable or disable staff lines. In general, use four for bass and six for guitar.
Tablature Staff option
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The Tablature Settings Dialog BoxChoosing Notes>Notes to Tablature opens the Tablature Settings dialog box.
The Tablature Setting dialog box has several elements:
• Tuning Parameters. You can assign a pitch to each of the tablature staff lines. You usually assign the strings to standard guitar or bass tunings if you insert the tablature staff below a treble or bass clef, respectively. If there are more than six lines in the tablature staff, however, the Tuning section displays a maximum of eight strings. You can set each string’s tuning field to any valid MIDI note (C2 to G8), using the mouse or typing the note and octave (i.e. B3).
• Fret Position parameters. Assign the Fret Position by selecting the Floating or Fixed options. Both options attempt to create tablature in the lowest possible fret position:
- Floating. Overture analyzes each measure in the selection and attempts to create tablature that stays within the number set in the Finger Span field for each measure.
- Fixed. Overture attempts to create tablature at the fret position entered in the numerical field. If that fails, Overture attempts to stay within the number set in the Finger Span field.
Assign the fret position relative to a capo position by setting the Capo on Fret numerical field to a number between 1 and 31. For example, if you set the Capo on Fret field to 4, and the tablature number for a note is 5, the actual fret number is 9: 5 frets above the capo position. Set this field to 0 if you’re not referencing a capo position.
Note:Overture manually displays tablature staves at 125% scale to increase the legibility of the small tab notes.You can change this in the Setup Track dialog box.
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• Glissandos, Slurs, and Ties option. Selecting Glissandos, Slurs, and Ties shows these markings on the tablature staff.
Editing the Tablature StaffYou can edit Tablature notes as follows:
• Drag a tablature marking to a new string. Overture automatically constrains which strings can accommodate a tablature marking. The tablature marking adopts the appropriate fret number to designate the correct pitch using the specified string tuning.
• Ctrl[Command]-drag a number to change the fret it references. Be careful when using this feature because Overture doesn’t prevent you from referencing the wrong note.
• Copy, paste, and delete tablature entries.
• Show the duration of the tablature note by selecting a note and choosing Notes>Stem>Show Stem.
Tie
Slur
Note:Since tab notes have durations derived from their source notes in the staff above, deleting the second of two tied notes creates problems if you justify that measure. If you don’t want to see the second note, make it invisible
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Set Guitar Frame Capo...Choose this command to set the capo position for Chords and Guitar Frames.
Set to VoiceChoose the Set to Voice command to produce a submenu of Voice selections.
Before Set Guitar Frame Capo After Set Guitar Frame Capo(On 3rd Fret and showing
original suffix above frame)
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Overture sets the voice to the one you select in the Set to Voice submenu. We describe Overture voices in “Voice” on page 7.
Set Playback VoiceChoose the Set Playback Voice command to produce a submenu of Playback Voice selections. Choosing a playback voice tells Overture to play these notes using the settings set in the Tracks’ Window for this voice. This is useful for instruments that switch to different playing styles within a passage.
For example let’s say we have a violin passage where the first four notes are played legato and the next four notes are played stacatto.
Overture will play the first four notes using the legato violin intrument and the play the second four notes using the stacatto violin instrument.
1. In the Track’s Window set this Track’s voice one set to a legato violin instrument and voice two to a stacatto violin by specifying different channels (and program changes if needed).
2. Enter all eight notes in voice one.
3. Select the second four notes and choose Set Playback Voice>Voice 2.
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Use the Options menu to set such Overture operating, editing, and display options as auto beaming and positioning, metronome values, recording choices, and mode selection. The following sections discuss each option and command in detail.
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ShowPress and hold the mouse on the Show command to produce a submenu of show options.
For the most part, the Show submenu contains various visual editing aids. The following sections discuss each submenu item in detail.
Beat ChartSelect this option to show the beat chart for the active measure (the one containing the insertion point). Beat charts appear above the top staff in a system and illustrate graphically the location of each beat. You can change the spacing of notes by clicking and dragging the little square beat handles to new locations. See ‘Score>Using Beat Charts” on page 104 for more information.
If you select this option when the active measure already shows a beat chart, Overture hides the chart.
You can activate and de-activate beat charts for the current staff by holding down the shift key either when selecting Options>Show>Beat Charts or when using the keyboard equivalent Alt[Command] /).
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HandlesSelect this option to show each barline and staff handle. You may toggle this option on and off by selecting it repeatedly. When the option is checked, Overture displays handles. When the option is not checked, Overture does not display handles.
MarginSelect this option to show the page margin. You may toggle this option on and off by selecting it repeatedly. When the option is checked, Overture displays page margins. When the option is not checked, Overture does not display page margins. To set page margins, use the Page Layout dialog box as discussed in ‘Score>About the Layout Page Dialog Box” on page 471.
RulerChoose this command to display horizontal and vertical rulers on the score. Use them to align staves, text, and other symbols precisely. Click in the top left corner of the rulers to switch between inches and centimeters.
GridChoose this command to display a grid on the score. This is useful for aligning symbols.
Symbols in ColorChoose this command to display symbols using their assigned color.
InvisiblesSelect this option to show any currently invisible music symbols. You may toggle this option on and off by selecting it repeatedly. When you check the option, Overture’s Score window shows (in grey) any invisible symbols. When the option is unchecked, Overture hides all invisible notation.
Incorrect RhythmsWhen you choose this command, Overture searches your score (beginning with the active measure) for measures containing either too many beats or not enough beats. If Overture finds an incorrect rhythm, it beeps and places the insertion point in the offending measure. You may then either correct the measure, or activate the next measure and continue searching through your score for other incorrect rhythms.
Range ErrorsWhen you choose this command, Overture searches your score (beginning with the active measure) for any pitches outside specified instrument ranges. If Overture finds a range error, it beeps and places the insertion point in the offending measure. You may then either correct the error, or activate the next measure and continue searching your score for other range errors.
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Overture gets its instrument range information from the Setup Track dialog box. For more information about selecting Instruments and setting their ranges, see ‘Score>Normal Tracks” on page 495.
Tracks TransposedWhen you select this option, Overture displays any transposing tracks (as set in the Setup Track dialog box) in their transposed keys.
Assume, for example, that you created the conductor’s score shown below, and that the top staff notates a transposing instrument (in this case, an A Trumpet).
When you chooseShow>Options>Range Errors,Overture beeps and positions theinsertion point in Measure #2, becauseit contains a “D5”, which is outside the specifiedInstrument range specified in the Setup Trackdialog box.
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If you select the Options>Show>Tracks Transposed option, Overture shows the trumpet track transposed into the proper notation key for the trumpet player.
Tracks Voice NamesWhen you select this option, Overture displays the assigned voice names along with the track name to the left of each system.
Filled Measure RestsChoosing this option tells Overture to put a whole measure rest in every empty measure.
System SeparationsWhen you select this option, Overture puts a double-slash mark between one system and the next at the left side of the score. It doesn’t put a mark between systems if there is only one system displayed. If you select the command again, Overture will place another separation mark on the right side of the score. If
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you select this option a third time, Overture removes the separation marks from the score.
Chord PositionsWhen you select this option, Overture displays Chord position indicators in the Score window. You may toggle this option on and off by selecting it repeatedly. When you check the option, Overture’s Score window shows a small triangle to the left of the chord names that appear above a score. When the option is unchecked, Overture hides the Chord position indicators.
Drag a position indicator to adjust the vertical position of an entire line (or lines) of chords.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system on that page.
Chord Position Indicatorsshow vertical position ofchord names on a staff.
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Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system in the score.
Shift-click the indicator to reset all chord positions to the baseline position. The shift-click also works with the Alt[Option] and Control[Command] keystrokes.
For more information, see ‘Score>Moving Chord Names Globally” on page 359.
Lyric PositionsWhen you choose this option, Overture displays Lyric position indicators in the Score window. You may toggle this option on and off by selecting it repeatedly. When you check the option, Overture’s Score window shows a small triangle to the left of each verse in the Score window. When you uncheck the option, Overture hides the Lyric position indicators.
Drag a position indicator to adjust the vertical position of the entire verse.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system in the score.
Note:Overture cannot display Chord position indicators and Lyric position indicators at the same time.
Lyric position indicatorsshow each verse assignedto a staff.
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Shift-click the indicator to reset all lyric positions to the baseline position. The shift-click also works with the Alt[Option] and Control[Command] keystrokes.
For more information, see ‘Score>Moving Entire Lyric Lines” on page 371.
Slash Note PositionsChecking this option displays slash note position indicators as small triangles to the left of each staff. Drag a position indicator to adjust the vertical position of slash notes on a staff.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system in the score.
Shift-click the indicator to reset all slash note positions to the baseline position. The shift-click also works with the Alt[Option] and Control[Command] keystrokes.
The position of slash notes on a staff is independent of played pitch (or pitches, if you have entered a chord). You can transpose slash symbols, affecting the played pitch, without changing their position on a staff.
Dynamic PositionsChecking this option displays baseline position indicators for dynamics as small triangles to the left of each staff. Drag a position indicator to adjust the vertical position of dynamics on a staff. When you insert a dynamic, its baseline will be at this position.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system in the score.
Note:Overture cannot display Lyric position indicators and Chord position indicators at the same time.
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Shift-click the indicator to reset all dynamic positions to the baseline position. The shift-click also works with the Alt[Option] and Control[Command] keystrokes.
Time Code PositionsChecking this option displays Time Code position indicators as small triangles to the left of each staff. Drag a position indicator to adjust the vertical position of where Time Code is displayed on a staff.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system in the score.
Shift-click the indicator to reset all Time Code positions to the baseline position. The shift-click also works with the Alt[Option] and Control[Command] keystrokes.
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Auto
BeamSelect this option to beam all notes automatically upon transcription. You may toggle this option on and off by selecting it repeatedly. When you check the option, Overture automatically beams notes as they’re transcribed, using the beaming pattern for the current measure (as set in the Set Meter dialog box and discussed in ‘Score>Set Time Signature” on page 541). When you uncheck the option, Overture does not beam notes upon transcription.
CorrectSelect this option if you wish Overture to warn you when you have entered too many notes in a measure or notes that are out of the instrument’s playable range. The range can be set in the Setup Track dialog.
JustifyWhen you select this option, Overture automatically spaces any new notes that you enter. When you check the option, Overture spaces notes according to the measure’s existing Beat Chart, changes the width of the measure if needed, and respaces the measures along the current system. When you uncheck the option, Overture displays notes exactly where you enter them. You may toggle this option on and off by selecting it repeatedly.
For example, the top example below shows some notes entered with the Auto Justify option disabled (unchecked) and the bottom example shows notes entered with the Auto Position option enabled (checked).
Auto PositionDisabled
Auto PositionEnabled
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Notes in the bottom example align with the beat chart and give a visual representation of the rhythm of the piece. Notes in the top example provide no visual clue of the music’s rhythm, since they appeared wherever you clicked in the score.
If you need to brush up on your knowledge of beat charts, see ‘Score>Using Beat Charts” on page 104. You’ll find a detailed discussion about allotment tables in ‘Score>Allotment Table” on page 410.
RestsSelect this option to enable Overture’s automatic fill in rests feature. As you enter notes, Overture will fill in the remaining rests to fill the empty time in the measure. You can replace a rest with a note by clicking a note at the same horizontal position as the rests.
TranscribeSelect this option to enable Overture’s automatic transcription feature. You may toggle this option on and off by selecting it repeatedly. When you check Auto Transcribe, Overture automatically transcribes any recorded MIDI data into standard music notation. When you uncheck the option, Overture displays real-time MIDI recordings as raw MIDI data, which you can selectively and manually transcribe using the Notes>Transcribe command.
This menu option duplicates the Auto Transcribe checkbox in the Record Options dialog box. For more information about auto transcription, see ‘Score>Using the Auto Transcribe Option” on page 636.
Wrap MeasuresSelect this option when you want Overture to wrap measures to the next system or page when entering new data. Overture will wrap the measure to the previous system when deleteing data if necessay.
MIDI Note:Overture automatically positions any notes entered by MIDI input or by importing MIDI files regardless of the status of this option.
Note:Overture can automatically space notes using either Options>Auto Justify, Measures>Justify, or Score>Recalc Layout. All three of these commands affect note spacing differently. To learn the differences between them, see ‘Score>Automatic Justify” on page 107.
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Keyboard ThruSelect this option to enable Overture’s Keyboard Thru feature. You may toggle this option on and off by selecting it repeatedly. When you check Keyboard Thru, Overture passes any received MIDI data through to the selected Thru Instrument. Overture watches for MIDI input from any device that you select as an Input Device (as discussed in ‘Score>MIDI Devices” on page 637) and passes the MIDI data out to the device that you select as a Thru Device (from the Thru Device button in the Transport window, as discussed in ‘Score>Thru Device Button” on page 271).
What is Keyboard Thru and Why is it Useful?The most common setup for a MIDI computer system uses a single MIDI keyboard connected to a computer by a MIDI interface.
When you play the keyboard, its internal hardware produces sound. MIDI information travels from the keyboard’s MIDI OUT. This path allows communication from the keyboard to the computer.
When MIDI information goes from the computer through the MIDI interface into the keyboard’s MIDI IN, the synthesizer produces sound. This path allows communication from the computer to the keyboard.
This simple arrangement, allowing both the musician and the computer to play the keyboard, is not possible for MIDI instruments that don’t produce their own onboard sound, like wind, guitar, drum pad, and keyboard controllers.
MIDI Keyboard
In OutOutInComputer
MIDI Interface
MIDI
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If you connect such a controller to a sound module, and the sound module through the MIDI interface to the computer, then the undesirable condition illustrated below occurs. No connection is possible for the computer to the sound module.
When the controller plays, MIDI information goes to the sound module’s MIDI IN causing the module to create sound. The sound module also routes MIDI information received at its MIDI IN back out its MIDI Thru to the MIDI interface and computer. This path allows communication from the MIDI controller to the computer.
The computer can not, however, play MIDI information back to the sound module because the module’s MIDI IN connection is already in use by the MIDI controller.
The Solution: Keyboard ThruThis problem is solved when you select Options>Keyboard Thru. The figure below illustrates the correct configuration of devices.
The controller connects directly to the computer through the MIDI interface. MIDI information travels to the computer but creates no sound yet. Overture receives the incoming MIDI information but routes it immediately back to the sound module’s MIDI IN through the MIDI interface. The controller plays the sound module through the software despite the lack of a direct connection between them. During
???
Sound Module
MIDI Thru
MIDI In
MIDI In
MIDI Out
MIDI Out
ComputerMIDI Interface
MIDI Controller
Sound Module
MIDI Thru
MIDI Out
MIDI Out
MIDI In
MIDI InComputer
MIDI Interface
MIDI Controller
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playback, Overture sends MIDI information through the MIDI interface to the sound module’s MIDI IN, causing it to produce sound.
The Keyboard Thru command lets you to play a master MIDI keyboard, assign a patch, and hear the output from any sound module in your studio.
For example, assume you have a K2000 keyboard with local control turned off and you want to play it into Overture while you hear the notes sound on a Proteus/2 set to MIDI channel #1 with a sound. To do so.
1. Select Options>Keyboard Thru to check it.
Do not select the option if it is already checked—that would disable it.
2. Move the mouse over the Thru Instrument button in the Transport window.
3. Press and hold the mouse to open a pop-up menu of MIDI devices.
Overture displays the MIDI devices defined by your current setup.
Expert Tip:The preceding discussion intentionally omits more complicated MIDI interfaces and configurations to illustrate the concept of Keyboard Thru simply.
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4. Release the mouse over the Proteus/2-1 device.
Overture selects the Proteus/2, MIDI channel #1 as your Thru Instrument and displays its name in the Thru Device button. For more information about the Thru Device button, see ‘Score>Thru Device Button” on page 271.
5. Select Options>MIDI Devices.
Overture opens the Select MIDI Devices box.
6. Make sure the K2000 is enabled as an Input Device.
For more information about enabling input devices, see ‘Score>MIDI Devices” on page 637.
7. Play your K2000.
You hear the sound assigned to the Proteus/2, channel #1 since you’ve now told Overture to send MIDI data from your K2000 to the Proteus/2.
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Hold TimingSelect this option to hold note timings constant in situations where they would otherwise alter. The figure below displays normal note deletion. The bottom measure shows that Overture inserts the rest in the place of the deleted note rather than moving the last two notes earlier.
If you delete the rest with Options>Hold Timing selected, the timing of the third and fourth notes will remain the same, even though the rest has been removed. Use the Hold Timing command to add notes to a measure without affecting the timing of pre-existing notes and to maintain the timing of the measure during the editing process.
See ‘Score>Eraser Button” on page 119 for a description of Overture’s behavior when you don’t use the Hold Timing command.
MetronomeChoose the Metronome command to produce a submenu of metronome options.
When this note is deleted...
...the quarter notes occurring after the deleted note don’t move.
Note: The results are unpredictable when transcribing measures that have too many notes.
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You can toggle each of the first three options on (checked) or off (un-checked). The fourth option opens the Metronome dialog box.
Click in RecordSelect this option if you want Overture’s metronome to click while you record into Overture. You may toggle this option on and off by repeatedly choosing it. When the option is checked, Overture’s metronome plays during recording. When the option is not checked, Overture’s metronome does not play during recording.
Click in PlaySelect this option if you want Overture’s metronome to click whenever Overture plays. You may toggle this option on and off by choosing it repeatedly. When you check the option, Overture’s metronome plays during playback. When you uncheck the option, Overture’s metronome does not play during playback.
Click in Count Off OnlySelect this option if you want Overture’s metronome to click only during a count off, but not during recording. You may toggle this option on and off by choosing it repeatedly.
Metronome SoundChoose this command to specify the sound used by Overture’s metronome. When you choose the Metronome Sound command, Overture produces the Metronome dialog box.
Beat Areas
Note Selection
Velocity Numerical
Test Button
Duration Numerical
Device Selection Channel Selection
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Overture’s metronome click uses the MIDI device and note parameters you specify in the Metronome submenu.
About the Metronome Dialog BoxThere are numerous elements in the Metronome dialog box. These are described, below:
• Beat Areas. You can set different MIDI note values for different beats. Specifically, you can set a MIDI note value for the Accented beat (the first beat in a measure), and a different MIDI note value for the Unaccented beat (the remaining beats in a measure).
• Device Selection. Use this pop-up menu to choose which MIDI device (as defined by your current setup) to use for the metronome sound.
• Channel Selection. Use this pop-up menu to choose which MIDI device channel to use for the metronome sound.
• Note Selection. Use this numerical to choose a MIDI note for both accented and unaccented beats. You can also enter a value by clicking the down-pointing triangle and choosing a note from the pop-up menu, or by playing the desired note on a MIDI controller.
• Velocity Numerical. Use this numerical to set the MIDI velocity value for both accented and unaccented beats. You can also enter a value by playing a note with the desired velocity on a MIDI controller.
• Duration Numerical. Use this numerical to set the MIDI duration for both accented and unaccented beats.
• Test Button. Click this button to hear a preview of your Metronome sound settings. The tempo and meter of the test metronome are unrelated to the tempo and meter in your score. This button provides only a preview of the metronome’s sound.
Using the Metronome Sound CommandTo set Overture’s metronome sound:
1. Choose Options>Metronome>Metronome Sound.
Overture produces the Metronome dialog box.
2. Configure the dialog box to your specifications.
3. To test the metronome sound, click the Test button.
Overture accents the first metronome click in a measure. The note duration affects the test metronome’s tempo. The test metronome always allows enough time between notes for you to hear the entire selected duration.
4. When you’re satisfied with your metronome sound, click the OK button.
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Play StyleChoose the Play Style command to produce a submenu of MIDI playback options.
Active play styles have a check mark to the left of their names. The following sections describe each play style in detail.
As RecordedSelect this option if you want Overture to play back your score exactly as recorded. When you select As Recorded, Overture plays back any timing nuances exactly as you recorded them. It also faithfully plays any changes you may have made to MIDI data either in the Modify Notes dialog box (as discussed in ‘Score>Modify” on page 575), or in the Graphic window.
In SwingSelect this option if you want Overture to play back your score in swing time. Overture uses a 63% swing value when you choose this play style.
This means the first half of the beat plays for 63% of the time occupied by the beat, while the second half plays for only 37% of the beat. For example, if you select the In Swing option and a measure starts with two eighth notes, the first eighth note will play longer than the second eighth note.
As WrittenSelect this option if you want Overture to play back your score exactly as written. When you select As Written, Overture ignores any timing nuances you may have recorded or edited. Basically Overture plays the start of each note at the exact time as shown on the score.
Music written like this... ...plays like this whenOptions>Play Styles>In Swingis checked.
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RepeatsSelect this option if you want Overture to play back any and all repeats in your score. When you select Repeats, Overture plays all repeats it sees in your score, including standard repeat barlines, endings, and jumps (like D.S. al Coda, or D.C. al Fine). If you do not select this option, Overture’s MIDI playback ignores all repeats in a score.
Record OptionsChoose this command to specify various recording options. When you choose Record Options, Overture produces the Record Options dialog box.
About the Record Options Dialog BoxThere are numerous elements in the Record Options dialog box, as follows.
• Split Point is checkbox and value field. Check this option if you want Overture to automatically split incoming MIDI data into two tracks and notate it on a grand staff. Use the note value field to define the split point. For more information, see ‘Score>Using the Split Point Option” on page 635.
• Auto Transcribe checkbox. Check this option if you want Overture to automatically transcribe incoming MIDI data into standard notation. When this box is un-checked, Overture displays raw MIDI data in the score window. This checkbox duplicates the Options>Auto>Transcribe option. For more information, see ‘Score>Using the Auto Transcribe Option” on page 636.
• One voice per staff checkbox. You can enable this option only if the Auto Transcribe option is checked. Check this option if you want Overture to interpret incoming MIDI data as a single voice
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per staff. Un-check this option if you want Overture to interpret incoming MIDI data as multiple voices per staff. For more information, see ‘Score>Using the One Voice Per Staff Option” on page 636.
• Tuplets. Use this check box to determine if tuplets are to be recorded.
• Staccato/Tenuto. Use these checkboxes if you want Overture to automatically place a staccato/tenuto articulation on notes that are rounded to the nearest quantize value and the duration meets the set percentage values.
• Record Filters. Use the radio buttons and checkboxes to determine which types of MIDI data you want Overture to record and which types you want it to ignore.
Using the Record Options Dialog BoxThe Record Options dialog box lets you specify how you want Overture to interpret and assign the MIDI data it records. To define the recording options:
Using the Split Point OptionCheck the Split point is checkbox if you want Overture to split incoming MIDI data between two tracks automatically. Use the corresponding numerical to define the MIDI note value of the split point (C4=middle C). This option is particularly useful for correctly notating two-handed piano parts on a grand staff.
To use this option, your score must contain two adjacent staves; the top staff with a treble clef and the bottom staff with a bass clef. Overture always assigns the MIDI note value in the split point numerical to the treble staff. When you record, you can activate a measure in either the treble staff or the bass staff; Overture correctly divides the notes between the two staves.
1. Choose Options>Record Options.
Overture displays the Record Options dialog box.
2. Decide whether you want to check the Split point is, Auto Transcribe, Tuplets, Staccato/Tenuto on notes, and One voice per staff options.
Each of these options is described in detail, below.
3. Select the desired Record filters.
The Record filters are discussed in ‘Score>Using the Record Filters” on page 637.
4. Click the OK button.
Whenever you perform real-time recording, Overture interprets the incoming MIDI data using the attributes of the Record Options dialog box.
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Using the Auto Transcribe OptionCheck the Auto Transcribe checkbox if you want Overture to transcribe any recorded MIDI data automatically. Uncheck the box if you want Overture to display recorded MIDI data as raw data in the Score window.
If you select the Auto Transcribe option, you also have the choice of transcribing the recorded MIDI data as single or multiple voices (see “Using the One Voice Per Staff Option” below).
Generally, automatic transcription is useful for most simple recordings. You may find it beneficial to turn off auto transcription if you’re recording rather complicated tracks with multiple voices. When auto transcription is off, Overture displays the recorded data as raw MIDI data in the Score window. You can edit and selectively transcribe sections of raw MIDI data as discussed in ‘Score>Transcribe” on page 606.
Overture notates all auto transcribed data in the Score window using the transcription quantization value shown in the Tool Bar. For more information about setting a transcription quantization value, see Chapter 27, “Transcription Quantize Amount Button.”
Using the One Voice Per Staff OptionYou can enable this option only if you check the Auto Transcribe option first. Check One voice per staff whenever you record a track that requires only a single voice per staff. This keeps Overture from interpreting any sloppy playing as multiple voices. If you want to record a track with multiple voices, then leave the option unchecked. Look at the following example to see the effect of this option.
Assume, for example, that you physically play and record the passage below. If you don’t check One voice per staff, then Overture transcribes the music exactly as shown below.
If, however, you play the passage, but you check One voice per staff, Overture transcribes your input as a single voice and notates it as shown below.
Using the Tuplets Option
You can enable this option only if you check the Auto Transcribe option first. Check Tuplets to allow notes to transcribe to the nearest tuplet based on the current transcription quantize amount. See
Voice 1
Voice 2
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‘Score>Setting a Transcription Quantize Amount” on page 259
Using the Stacatto/Tenuto On Notes Option
You can enable this option only if you check the Auto Transcribe option first. Check Using the Stacatto/Tenuto On Notes Option to automatically add stacatto/tenuto marks to transcribed notes whose durations are below/above to given ranges. You can adjust the ranges by changing the percentage numericals
Using the Record FiltersUse the three radio buttons to tell Overture whether you want to record all events, only the events selected in this dialog box, or all events except those not selected in this dialog box.
Unless you choose All, you need to check the selected event types at the bottom of the dialog box. In the example shown, Overture records all MIDI data except Poly Aftertouch, Old DX7 Aftertouch, and Portamento Pedal.
MIDI DevicesWhen you start Overture for the first time, it checks your computer to find all the MIDI input and output devices you have installed (such as sound cards and MIDI interfaces). However, sometimes you need to tell Overture exactly which devices you want it to use. If you’re not getting sound from your sound card or MIDI keyboard, or if you just want to change the MIDI devices that you are using, follow the steps in this section.
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Use this command to open the MIDI Devices dialog box in which you select the MIDI In and MIDI Out devices for Overture. Each item in the list is a MIDI In or MIDI Out port.
• Input Ports. The left window shows devices on MIDI Input Ports. Make sure that all devices in this window are highlighted. If a device isn’t highlighted, click on it once to select it for MIDI Input.
• Output Ports. The right window shows devices on MIDI Output Ports. Overture numbers its MIDI Output Ports by the order of the devices in this window. The device on top is on Port 1, the one below it is on Port 2, and so on.
Highlight each device in the Output Ports window and click Move Selected Devices to Top to change its order. Then highlight all the devices that appear in the window to select them for output.
• MIDI Thru Enabled. Check this box if you want the input from your inoput device to be sent to the output device of the current track.
Device selectedfor MIDI input
Device selectedfor MIDI output
Click here to change the order of MIDI devices
Click to test your output devices
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Instruments (PC)Use this command to assign a MIDI instrument definition to each available MIDI port and channel. The assignments you make determine the MIDI bank names, patch names, note names, and controller names for Overture. For a detailed description of this command, see Chapter 43, “Instrument Assignments and Definitions (PC).”
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PreferencesChoose this command to select, set or view numerous Overture preferences. When you choose Options>Preferences, Overture opens the Preferences dialog box.
The top of the Preferences dialog box displays tabs for each of the Preference types. This menu contains different types of preferences:
• General
• Engraver
• Fonts
• Libraries
• Playback
• Dynamics
• Colors
When you select one of the Preference tabs, the dialog box displays the selected type. The following sections describe each preference and option in detail.
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General PreferencesTo view the general preferences, select General from the Preference tabs.
Use the check boxes to enable (check) or disable (uncheck) various general options. The following sections discuss these options.
Default Document FolderUse this option to set the default location where your scores are stored. When you choose Open or Save from the File menu, this file location will be set as the default in the dialog. If this is left blank, the last location is used.
Drag Notes ChromaticallyUse this option to determine whether Overture changes notes chromatically or diatonically when you drag them in the Score window.
• Checked. When you drag a note vertically in the Score window, its pitch changes chromatically (according to the twelve-tone scale).
• Unchecked. When you drag a note vertically in the Score window, its pitch changes diatonically (according to the key of the measure).
For more information, see ‘Score>Editing Notes” on page 97.
Remap Unknown DevicesUse this option to tell Overture whether or not to remap unknown MIDI devices to a device contained in your current setup.
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• Checked. Overture automatically remaps any unknown devices to the device specified in the corresponding pop-up menu. For example, if someone gives you an Overture file that references devices that aren’t in your current setup, Overture automatically remaps each of those devices to the device shown in the pop-up menu. Overture plays all remapped tracks using the selected device and MIDI channel. If you wish, you can open the Tracks window and reassign each remapped device to a new device.
• Unchecked. Overture does not remap unknown devices. For example, if someone gives you an Overture file that references devices that aren’t in your current setup, Overture will not remap the devices and any tracks using these devices will not play correctly. If you wish, you can open the Tracks window and assign a device to each unassigned track.
Skip Tied Notes in LyricsUse this option to specify that lyrics should treat tied notes as a single entity by placing only one word under the first of the tied notes.
Add Double Bar at Key ChangeUse this option to insert double bar lines automatically before key changes.
Advance Cursor When Entering NotesUse this option if you want the mouse cursor to automatically move to the next note position after entering a note with the mouse.
AttachNote Palette AccidentalsUse this option if you want the note cursor to have an accidental attached when you choose an accidental from the Notes palette. Use this to enter a note with an accidental with one click. If you do not choose this option, the cursor will become an accidental and you’ll have to click on the note to add the accidental.
Use Control[Command] click to Select Entire MeasureUse this option if you want to select entire measures by clicking on them.
Show Raw Data as Note HeadsUse this option if you want to display raw data in the Score Window as note heads instead of horizontal bars.
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Transparent Tablature Numbers
Use this option if you want the staff lines to show through tablature numbers.
Don’t Draw Rehearsal Mark Enclosures
Use this option if you want the rehearsal marks to be drawn without its surround box.
Show All Names in Controller and Key Switch Popup Menus
Use this option if you want all names to be shown in the popup menus when choosing controllers and key switches. If this option is unchecked only the appropriate names will be shown for the current track and voice.
Backup Score Every [1] Minutes
Use this option if you want to backup your score at a set interval. You score will be saved in the Auto Save folder within the Overture folder.
Middle C isUse this option to establish how Overture names middle C.
• C3. Overture displays Middle C (MIDI note #60) as C3—a convention adopted by Yamaha and some other manufacturers.
• C4. Overture displays Middle C (MIDI note #60) as C4—the standard MIDI convention.
• C5. Overture displays Middle C (MIDI note #60) as C5—a convention adopted by some other manufacturers..
Note NamesUse this option to specify a convention for displaying note names throughout the score:
• Standard. Uses the normal display technique with respect to note names. Overture identifies pitches by the note name and octave (C#3).
• B = H. Overture identifies pitch B as H and the pitch Bb as B. It identifies other pitches normally. This convention is prevalent in Germany and other parts of Europe.
• Solfege. Overture identifies pitches based on the Do, Re, Mi, Fa, So, La, Ti, Do convention for the C major scale. The pitch description includes the octave number and Overture identifies chromatic pitches as sharp or flat from the C major scale intervals. For example, F#4 is identified as Fa#4.
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Engraver PreferencesTo view the engraver preferences, select Engraver from the Preference tabs. Overture places a copy of these settings in each new score it creates. A copy of the settings is saved with the score. To edit the engraver settings for individual scores choose ‘‘Score>Engraver” on page 518
The Engraver dialog box displays three sets of options:
• Layout Spacing
• Element Spacing
• Line Thickness
Layout SpacingWhen you create a new Overture file, the Spacing numericals (as shown in the figure) define the default spacing between staves, systems, and groups. Spaces are measured as a number of ledger lines. For example, if you ask for 5 spaces between staves, Overture will space staves exactly 5 ledger lines apart. Also, when you choose ‘Score>Respace Staves” on page 512, Overture respaces staves on the current page according to these numericals (for more information, see ‘Score>Respacing Staves” on page 84).
There are three spacing numericals:
• spaces between staves. Use this numerical to set the default spacing (in ledger lines) between each staff.
• spaces between systems. Use this numerical to set the default spacing (in ledger lines) between each system
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• spaces between groups. Use this numerical to set the default spacing (in ledger lines) between an instrument group and the other staves in a system
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In addition to the three spacing numericals, the engraver preferences include two page layout numericals. When you create a new Overture file, these numericals define the default number of measures in a system and the default number of systems per page.
Element SpacingThe Element Spacing numericals define default spacing for bar lines, clefs, key signatures, time signatures and accidentals. A space is the distance between two ledger lines.
There are eight Element Spacing numericals:
• Bar line to clef. Use this to set the default spacing (in quarter spaces) between the initial bar line in the score and the clef sign.
• Bar line to character. Use this to set the default spacing (in quarter spaces) between each bar line in the score and the first character in the following measure.
• Clef to note. Use this to set the default spacing (in quarter spaces) between the clef sign and any note immediately following.
• Clef to other. Use this to set the default spacing (in quarter spaces) between the clef sign and any other symbol immediately following.
• Key to other. Use this to set the default spacing (in quarter spaces) between the key signature and any symbol immediately following.
• Meter to other. Use this to set the default spacing (in quarter spaces) between the time signature and any symbol immediately following.
• Space at End of Bar. Use this to set the default spacing (in quarter spaces) between the the last note/rest and the barline immediately following.
• Accidental to Note. Use this to set the default spacing (in quarter spaces) between and accidental and the note immediately following.
Line ThicknessThe Line Thickness numericals define default thickness in quarters of a point (where a point is approximately 1/72 of an inch) for bar lines, beams, staff lines, stems, ties, slurs, and the distance between beams.
There are seven Line Thickness numericals:
• Bar lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the bar lines.
• Beam lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the beams.
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• Staff lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the staff lines.
• Stem lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the note stems.
• Beam gap. Use this to set the default distance (in units of 1/288 of an inch) between note beams in all notes with multiple beams.
• Slur Thickness. Use this to set the default thickness (in units of 1/288 of an inch) at the middle of the slur.
• Tie Thickness. Use this to set the default distance (in units of 1/288 of an inch) at the middle of the tie.
Fonts PreferencesTo view the font preferences, select Fonts from the Preference tabs.
When you create a new Overture document, it automatically uses the default fonts specified in this dialog box. There are numerous types of text elements, each of which can have its own default font. Specifically, you can assign default fonts to:
• Bar numbers
• Endings
• Tempo
• Tablature
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• Track Names
• Meter Font. Activate this by checking the Alternate Font option in the Set Tempo dialog box. See ‘Score>The Alternate Font Option and Button” on page 548.
• Measure (Bar) Text
• Page Text
• Rehearsal Marks
• System Text
• Lyrics
• Multi-measure rest. See page 565 to learn how to combine multiple measures of rests into a single multi-bar rest.
About the Font Dialog BoxTo change the default font assigned to one of the previous elements:
1. Click the Select button next to the element.
Overture opens a Font dialog box.
2. Use the dialog box to select the desired default font, size, and style.
3. Click the OK button.
The next time you create a new Overture score, the specified element uses this font as the default.
Font Style
Font Size Field
Font Preview Area
Options
Font Menu
Font Size List
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There are numerous elements in the Font dialog box:
• Font Pop-Up Menu. Select a new font from the pop-up menu.
• Font Size Pop-Up Menu or List. Select a new size from the pop-up menu.
• Font Size Field. Type a font size not included in the Font Size Pop-Up Menu or List.
• Font Style Options. Check those style options you want applied to the font.
• Font Preview Area. View the effects of your font selections in this area.
Libraries PreferencesTo view the library preferences, select Libraries from the Preference tabs.
When Overture launches, it automatically loads the Allotment Table, Chord Symbol Library, Drum Map, Expressions Library, Instruments Library, and Guitar Frames Library specified in this dialog box.
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To select a new default Library, press and hold the mouse on the corresponding Library name and select a new Library from the pop-up menu.
Use the Auto Save Changed Libraries checkbox to tell Overture whether or not to save automatically any changes you may have made to any of the library types. You can either choose to check or to uncheck this option:
• Checked. If you change any of the five library types without saving them to disk and you quit Overture, all changes are saved automatically without any warnings or dialog boxes.
• Unchecked. If you change any of the five library types without saving them to disk and you quit Overture, the libraries will not be saved.
Note:The pop-up menu shows only those Libraries stored in the Libraries folder. That folder must be in the same folder as the Overture application.
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Playback PreferencesTo view the playback preferences, select Playback from the Preference tabs.
Use the check boxes to enable (check) or disabled (uncheck) various playback options. These playback options are discussed in the following sections.
MIDI Through Follows TracksUse this option to determine whether or not Overture will automatically change the Thru Instrument when you select different staves in the Score window. You can choose to either check or uncheck this option:
• Checked. Whenever you click in a staff, Overture automatically changes the Thru Instrument to match the Device selected in the Tracks window.
• Unchecked. Overture does not automatically change the Thru Instrument when you click in different staves—it stays set to the Instrument last selected from the Thru Instrument pop-up menu.
Play Notes While Inserting/DraggingUse this option to determine whether or not Overture sends MIDI data when inserting or dragging notes. You can choose to either check or uncheck this option:
• Checked. When you insert a note or drag it in a score, Overture sends MIDI data to the track’s output device—this gives you audible feedback of the note’s pitch.
• Unchecked. Overture does not play a note when you insert it or drag it in the Score window, therefore you receive no audible feedback of the note’s pitch.
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Play Entire Chord While Dragging NotesUse this option to tell Overture whether or not to play all the notes in a chord or just the note the cursor is on while dragging a chord. You can choose to either check or uncheck this option:
• Checked. When you drag a chord, Overture sends the MIDI data for all notes in the chord to the track’s output device.
• Unchecked. When you drag a chord, Overture sends the MIDI data for just the note the cursor is pointing to.
Send Sync OnUse this option to specify the device that Overture sends MIDI Start, MIDI Clock, MIDI Continue, and MIDI Stop, during playback.
Use Audio EngineUse this option if you plan on using VST Instruments. You’ll need to restart Overture after enabling this setting. Be sure to use the VST>Set Folder... menu command to tell Overture where your VST instruments are stored on your hard drive.
Dynamics PreferencesUse the sixteen numericals to specify playback levels for dynamic markings. Each numerical specifies a MIDI volume level. For more information about Dynamics, see Chapter 20, “Dynamics Button.”
Dynamic Markings (pppp-sfp)Use these numericals to set their default values for volume.
MIDI Volume Numericals
Use in Playback Option
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Use Controller NumberUse this option to set the default controller number for volume. When entering dynamics and hairpins this number will be used as the controller for volume.
Colors PreferencesUse the radio buttons and popup menus to set default colors for various items in the score.
Save Window PositionsChoose this command to save the palette and and support window positions. The next time you open Overture, the palette and support windows will be opened to the saved state.
MIDI Volume Numericals
Use in Playback Option
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Use the VST menu commands to load and display VST instruments. The following sections discuss each option and command in detail.
Audio Preferences...Choose this command to set the audio driver, sample rate, and buffer size for audio playback.
About the Audio Preferences Dialog BoxThere are several elements in the Audio Preferences dialog box. These are described, below:
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• Sample Rate. Use this pop-up menu to choose the sample rate. The sample rate determines the quality of your sound and recordings. A higher sample rate produces higher quality sound but requires more disk space and CPU usage. You may have to experiment to find the setting that works best with your setup. The options are: 44.100 khz - The standard sample rate used on most audio CDs. 48.000 khz - A common sample rate, sometimes used on DAT recorders. 96.000 khz - A very high sample rate used for professional audio recordings. Note: Not all sound cards support all these sample rates.
• Buffer Size. Use this pop-up menu to choose the buffer size. The buffer size also determines the quality of your sound and recordings. A lower number gives better sound but requires more CPU usage.
• Audio Driver. Use this pop-up menu to choose which Audio driver to use for your sound card. If your audio sound card has a dedicated ASIO driver, you should use this driver and not the Multimedia or DirectX(PC only) drivers .
• 16 Bit and 24 Bit. Set the bit depth for recorded wave files.
Instrument RackSelect this option to open the VST window. This window allows you to load VST instruments and effects and adjust the output volume.
About the Instrument RackThere are numerous elements in the Instrument Rack window. These are described below:
• Open and Save Buttons. Use the Save button to save the state of all the instruments and effects in the rack to a file. Use Open button to load the rack with contents of a saved file.
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• Status Areas. These areas show the current CPU usage, and disk and file size when recording.
• Mute. Click on the Mute cell to disable/enable playback for a VST instrument.
• Instrument Popup. Use this pop-up menu to choose a VST instrument to load into the rack or to remove an existing instrument.
• Instrument Preset. Use this pop-up menu to choose the preset to be used by the VST instrument. This is only available if the instrument has presets.
• Pre Gain Slider. Use this slider to set the gain(volume) to be sent into the effects rack. Note: The output from all instruments is sent to this slider
• Effects Popup. Use this pop-up menu to choose a VST effect to load into the rack or to remove an existing effect.
• Effects Preset. Use this pop-up menu to choose the preset to be used by the VST effect. This is only available if the effect has presets.
• Master Gain Slider. Use this slider to set the gain(volume) to be sent from the output of the effects rack to the audio card. Note: The output from all effects is sent to this slider.
Record to File...Select this option to set the filename for recording and to start the record process. Recording starts when you press the Space bar or Play button on the Transport. Recording stops when you press the Space bar again or the Stop button on the Transport.
Set Folder...Select this option to tell Overture where to locate VST plugins. If you change this folder, you will have to exit Overture and load it again. Overture looks in this folder to determine which plugins to use.
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Use the Windows menu commands to open (or make active) any Overture window, and to control the display format of the Score window. A check mark to the left of their names indicates open windows. The following sections discuss each command in detail.
Tool BarChoose this command to produce a submenu of Toolbar windows.
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Main Tool BarChecking this command displays all of Overture’s notation and other tools. To learn more about the Main Tool Bar, see Chapter 8, “Part III The Tool Bar”
Standard Tool BarChecking this command displays the standard Windows tool bar, giving you easy access to the following commands: New, Open, Save, Cut, Copy, Paste, Print.
TransportChoose this command to open the Transport window. A check mark to the left of the command indicates an open Transport window. The Transport window (as discussed in Chapter 28, “Transport Window”) contains buttons to control MIDI recording and playback and a pop-up menu to select the MIDI Thru Instrument.
Status BarChoose this command to display or hide the Status Bar, the bar at the bottom of the Overture window. See “Status Bar: Page View and Track Controls” on page 70.
TracksChoose this command to open the Tracks window. A check mark to the left of the command indicates an open Tracks window. The Tracks window (as discussed in Chapter 29, “Tracks List Window”) defines the characteristics of all the tracks in your score.
GraphicChoose this command to open the Graphic window. A check mark to the left of the command indicates an open Graphic window. The Graphic window (as discussed in Chapter 30, “Graphic Window (PC)”) graphically displays the MIDI data in a selected track using piano roll and strip chart displays. You can use this window to edit any MIDI data in any track. Overture applies any changes you make in the Graphic window to the Score window and the reverse.
ChordsChoose this command to open the Chords window. A check mark to the left of the command indicates an open Chords window. Use the Chords window (as discussed in Chapter 32, “Chords Window”) to enter chord names into a score.
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LyricsChoose this command to open the Lyrics window. A check mark to the left of the command indicates an open Lyrics window. Use the Lyrics window (as discussed in Chapter 33, “Lyrics Window”) to type or modify lyrics and assign them to specific notes.
Step InputChoose this command to open the Step Input window. A check mark to the left of the command indicates an open Step Input window. Use the Step Input window to enter a score by recording MIDI data one step at a time. You can enter notes, chords, or rhythmic slashes in the Step Input window.
The Step Input window is particularly convenient if your playing technique is rather poor, or if you want to quickly enter lead sheet chords and guitar rhythms. For more information about the Step Input window, see Chapter 34, “Step Input Window.”
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Window/Cascade (PC)Choose this command to line up all the open scores so their titles are visible and each upper left corner is to the right and below the one behind it.
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Window/Tile Horizontally (PC)Choose this command to line up all the open scores so each is the full width of the window and all are spaced evenly the length of the window.
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Window/Tile Vertically (PC)Choose this command to line up all the open scores so each is the full length of the window and all are spaced evenly the width of the window.
Window/Arrange Icons (PC)Choose this command to line up icons of scores.
Open Score WindowsThe Windows menu displays the names of all open Score windows at the bottom of the menu. Select a Score to make it the active window. The active window always has a check to the left of its name.
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Definitions (PC)Assigning Instruments
Use the Options>Instruments command to assign a MIDI instrument definition to each available MIDI port and channel. The assignments you make determine the MIDI bank names, patch names, note names, and controller names that you see.
Suppose that you have a Roland GS-compatible synthesizer attached to MIDI port 1. By assigning all sixteen channels of MIDI port 1 to the Roland GS instrument definition, you ensure that the bank, patch, note, and controller name lists you see displayed in Overture are the ones that match your synthesizer.
Often, you want to assign a different instrument to channel 10, which is usually used for percussion. For example, you might assign the Roland GS instrument definition to channels 1 through 9 and 11 through 16, but you would most likely want to assign the Roland GS Drumsets instrument definition to channel 10. If you have several MIDI ports, with a different instrument attached to each one, you would normally assign a different instrument to each MIDI port.
For convenience, you can assign a block of channels to one instrument and then change the assignment of one or more of those channels without changing the others. For example, you can highlight all 16 channels of the first MIDI port and assign them to the Roland GS instrument definition. Then, you can highlight channel 10 of the first MIDI port and assign it to the Roland GS Drumset instrument definition. Channels 1 through 9 and 11 through 16 on the first MIDI port will stay assigned to Roland GS.
You might also want to split channels to different instruments if you have several instruments attached to a single MIDI port. For example, you might have a Roland synth receiving on MIDI channels 1 through 9, a Roland drum machine receiving on channel 10, and a basic GM-compatible synth receiving on channels 11 through 16. In this case, you’d use three different instrument definitions for your one and only MIDI port.
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To Assign Instruments to MIDI Ports and Channels
To Clear Instrument Assignments
1. Choose Options>Instruments to display the Assign Instruments dialog box.
2. Select one or more MIDI ports and channels from the Port/Channel list (use Shift-click and control-click to select multiple ports and channels).
3. Choose the instrument to which the selected ports and channels should be assigned from the Uses Instrument list. A black line connects the two lists.
4. To save these changes permanently, check the Save Changes for Next Session box.
5. Click OK when you are done.
From now on, Overture uses the bank, patch, controller, and note names from the assigned instrument.
1. Choose Options>Instruments to display the Assign Instruments dialog box.
2. Select the MIDI ports and channels whose assignments you want to remove from the Port/Channel list.
3. Choose <default> from the Uses Instrument list. A black line connects the two lists.
4. Click OK when you are done.
From now on, Overture uses the default bank, patch, controller, and note names.
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Importing Instrument DefinitionsA few common instrument definitions are already set up for you and ready to use. Overture also includes several hundred additional instrument definitions that you can import.
These instrument definitions are stored in files, organized largely by manufacturer. For example, all the instrument definitions for Roland gear are stored in the Roland.ins file; all the instrument definitions for Yamaha gear are stored in the Yamaha.ins file. The file Misc.ins contains miscellaneous instrument definitions. If you don’t see a file for the manufacturer of your instrument, look in this file to see if it contains the instrument you are looking for.
When you import an instrument definition, Overture adds it to the master instrument definition file Master.ins. The contents of this file determines the list of instruments that appear in the Assign Instruments dialog box.
To Import Instrument Definitions
1. Choose Options>Instruments to display the Assign Instruments dialog box.
2. Click Define to display the Define Instruments and Names dialog box.
3. Click Import to display the Import Instrument Definitions dialog box.
4. Choose the file that contains instrument definitions for your manufacturer, and click Open. Overture displays a list of all the instrument definitions in the file.
5. Choose one or more instruments from the list, and click OK.
6. Click Close to close the Define Instruments and Names dialog box.
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Creating Instrument Definitions Overture lets you create and edit instrument definitions. To create an instrument definition, you must answer these types of questions:
• What are the names of the patches in each bank?
• Which note names should be used for each patch?
• What are the names of the MIDI Controllers for this instrument?
• Which RPN and NRPNs are available on the instrument?
• Which Bank Select method does the instrument use?
To collect this information, you need the MIDI documentation for your instrument.
You define instruments in the Define Instruments and Names dialog box.
The Define Instruments and Names dialog box contains two trees:
• The Instruments tree lists all defined instruments and their characteristics
• The Names tree shows all the resources you use to define an instrument
The instrument definitions you import appear in the Uses Instrument list in the Assign Instruments dialog box.
The Instruments tree The Names tree
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You expand or collapse the folders and lists in each tree by clicking on the + or – key shown to the left of each item. You can also right-click an item and choose Expand or Collapse from the menu, or double-click an item to expand or collapse it.
To define an instrument, you drag resources from the Names tree to the appropriate branches on the Instruments tree. Each resource is color-coded—for example, you can only drag a Names list to an Instrument tree branch of the same color.
Here’s a general outline of the steps you must follow:
• Create a new instrument
• Create any new name lists that are required for the instrument
• Drag name lists and other resources to each instrument
• Save the instrument definition
There are six components to an instrument definition:
• Method for bank selection
• Patch names, such as Piano and Bass
• Note names, which are most frequently used to name drum notes, such as kick or snare
• Controller names, like volume and pan
• Names for Registered Parameter Numbers (RPNs)
• Names for Non-Registered Parameter Numbers (NRPNs)
The instrument definitions organize all names (patches, notes, controllers, RPNs, and NRPNs) into lists. You may be able to define a new instrument using existing name lists. For example, two models of synthesizers made by a particular manufacturer may have identical patch name lists but use different NRPNs. In this case, you can use the same patch lists for both instruments, but you need to use a different NRPN list (or perhaps create a new NRPN list) for the second synth.
If you want your changes to be remembered the next time you run , check the Save Changes For Next Session option in the Assign Instruments dialog box before clicking OK. Otherwise, to make only temporary changes, remove the check from that option.
To Create a New Instrument
1. Right-click the word Instruments at the top of the Instrument tree, and choose Add Instrument from the menu.
2. Type a name for the new instrument and press Enter.
The new instrument gets default settings for all of its characteristics
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To Rename an Instrument
To Delete an Instrument
To Save an Instrument Definition.
Creating ListsYou can create and edit the various lists that make up each instrument definition. Patch name, note name, and controller name lists can contain up to 128 entries, numbered 0 through 127. RPN and NRPN name lists can contain up to 16,384 entries, numbered 0 through 16,383.
To Manage Name Lists
1. Right-click an Instrument name and choose Edit from the menu.
2. Type the new name and press Enter.
1. Right-click an Instrument name and choose Delete from the menu.
2. Confirm that you want to delete the instrument.
1. Click Close to close the Define Instruments and Names dialog box.
2. Click OK.
Overture saves the instrument definition in the MASTER.INS file
1. To create, edit, or work with name lists, follow the directions in the table:
To do this Do this
Create a new name list Highlight a name list and press the Ins (Insert) key; highlight the folder and press Shift-Insert; or right-click any folder or name list and choose Add Names List from the menu. Then enter the name of the list.
Part VI: MIDI Facilities
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Copying Name Lists You can easily create new lists that are similar to other lists. For example, suppose you want to create a new patch name list called NewList that is almost identical to the General MIDI patch list, but with one or two small changes. Here’s how you proceed:
• Create a new patch name list called NewList.
• Drag the new list branch onto the General MIDI branch. Overture asks if you want to base NewList on the General MIDI list.
• Click OK. Overture lists NewList under the General MIDI branch. Any patch names that exist in the General MIDI list apply to NewList, too.
• Add new patch names to NewList. These names override those in the list on which NewList is based.
If you change your mind about NewList and want to make it a stand-alone, separate list, drag it to the Patch Names root folder.
Delete a name list Highlight the names list and press the Delete key; or right-click the name list and choose Delete from the menu. A warning appears if the list is used by any instrument definition. If you delete the list anyway, the instrument definition changes automatically.
Add the next item in a name list Highlight a name and press the Insert key, or right-click a name and choose Add Name from the menu. Then enter the name.
Add a name anywhere in a list Highlight the name of a list and press Shift-Insert, or right-click the name of a list and choose Add Name from the menu. Then enter the name.
Delete names from a list Highlight the Names List or Name, and press Delete. You can also right-click, then choose Delete.
Edit a name in a list Highlight the name or name list and press F2, or right-click and choose Edit from the menu. Then enter the new name.
Chapter 43: Instrument Assignments and Definitions (PC) 673
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Assigning the Bank Select MethodYour synthesizer uses one of four bank select methods to switch back and forth between banks of sounds. To find the method used for your instrument, check the instrument’s user’s guide or the manufacturer’s web site. The four methods are as follows:
The bank select method you choose affects the bank numbers that you assign to each patch list, as described in the following section. Here’s how you compute the bank numbers:
Here is an example of the Normal bank select method. According to the documentation for the Roland JV-1080 synthesizer, the PR-A Bank has a Controller 0 value of 81 and a Controller 32 value of 0. You compute the bank number that you enter in the instrument definition as follows: (81 x 128) + 0 = 10,368.
To Change the Bank Select Method
Method Used for
Normal Instruments that respond to Controller 0 or Controller 32 bank select mes-sages
Controller 0 only Instruments that only respond to Controller 0 bank select messages
Controller 32 only Instruments that only respond to Controller 32 bank select messages
Patch 100..127 Instruments that let you change banks by sending patch changes between 100 and 127
Bank select method To compute the bank number
Normal Take the value of Controller 0, multiply it by 128, and add the value of Controller 32 to derive the bank number. A synthesizer manufacturer may refer to Controller 0 as the MSB (Most Significant Byte) and to Con-troller 32 as the LSB (Least Significant Byte).
Controller 0 only The value of Controller 0 is the bank number.
Controller 32 only The value of Controller 32 is the bank number.
Patch 100..127 Take the patch number and subtract 100 to derive the bank number.
1. Highlight and expand the instrument in the Instrument tree.
2. Expand the Bank Select Method branch in the Names tree.
Part VI: MIDI Facilities
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Assigning Patch NamesA MIDI instrument can have up to 16,384 banks of 128 patches each. Patches can have names, like Piano for patch number 0, Bass for patch number 1, and so on. Normally, each bank contains a different set of patches, so each bank needs a separate patch name list. Most synthesizers start with a patch number of 0.
You can assign a patch name list to each bank. You can also assign a default patch name list to the instrument, which is used for all banks for which you haven’t assigned a specific list. The previous section describes how to compute the bank numbers to which each patch name list is assigned.
You can also assign each bank a special Drum flag, which indicates that all patches in that bank contain drum sounds. If you set this flag, the Graphic window displays drum notes as diamonds, and the Score will use percussion notation.
To See the Assignment of Patch Name Lists to Banks
To Add a Bank or Change the Patch Names for a Bank
3. Drag the desired bank select method from the Names tree to the Instrument tree.
1. Expand the instrument definition by clicking the + sign next to the instrument name.
2. Expand the Patch Names for Banks folder by clicking the + sign. The list expands to show the bank numbers and the patch name list that is assigned to each bank.
1. Drag a patch name list from the Names tree to the Patch Names for Banks folder.
2. Enter a bank number, or enter –1 to indicate that this list of patch names should be used as the default.
Overture displays the updated banks and patch name lists. If necessary, Overture adds a new bank to the instrument definition.
Instrument name
There are three defined banks
The * indicates that this patch list is the default
This is the name of a patch name list
Chapter 43: Instrument Assignments and Definitions (PC) 675
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To Remove a Bank or Patch Name List
To Set or Clear the Drum Flag
Assigning Note Names Each patch may have a list of up to 128 names for notes. Usually, note names are labels for percussion instruments. For example, the pitch C3 may really be Kick Drum, and D3 may be Snare. Because a drum machine may provide different drum kits for each patch, Overture lets you specify a different list of note names for each patch. The Graphic window shows you these note names.
You can assign a note name list to each patch. You can also assign a default note name list to the instrument, which is used for all patches for which you haven’t assigned a specific note name list.
You can assign each patch a special Drum flag, which indicates that this patch contains drum sounds. If you set this flag, the Graphic window displays drum notes as diamonds, and the Score uses percussion notation.
Overture provides several standard note name lists:
1. Highlight the bank and patch names list in the Instrument tree.
2. Press the Del key, or right-click on the bank name and choose Delete from the menu.
1. Right-click on the bank in the Instrument tree, and choose Drums from the menu.
Note name list… Contents…
0..127 The numbers 0 through 127
Diatonic The default MIDI note names (like C4, E5, and so on)
General MIDI Drums The default instrument names for the General MIDI drum patch
Part VI: MIDI Facilities
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To See the Assignment of Note Name Lists to Patches
To Change the Note Names for a Patch
To Remove a Note Name List
1. Expand the instrument definition by clicking the + sign next to the instrument name.
2. Expand the Patch Names for Banks folder by clicking the + sign.
3. Continue expanding the tree by clicking the + sign, until the tree is fully expanded.
1. Drag a note name list from the Names tree onto the Note Names for Patches folder.
2. Enter a patch number, or enter –1 to indicate that Overture should use this list of note names as the default.
Overture displays the updated patch and note name lists. If necessary, Overture adds a new patch to the instrument definition.
1. Highlight the patch in the Instrument tree.
2. Press the Delete key, or right-click the note name list and choose Delete from the menu.
Instrument name
Note name lists are defined for three different patches
The * indicates that this note name list is
the defaultThis is the name of
a note name list
Bank
Chapter 43: Instrument Assignments and Definitions (PC) 677
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To Set or Clear the Drum Flag
Assigning Controller NamesOverture lets each instrument have its own list of controller names. There is always exactly one list per instrument.
To See the Controller Name List
To Change the Controller Name List
• Right-click on the patch in the Instrument tree, and choose Drums from the menu.
• Expand the instrument definition by clicking the + sign next to the instrument name.
1. In the Names tree, expand the branch containing the Controller name list.
2. Drag the desired name list from the Names tree onto the corresponding branch of the Instrument tree.
Overuture displays the updated Controller name list.
Instrument name
Controller name list
Part VI: MIDI Facilities
I
Inde
x
Index
AAccidental
extending to end of measure 128Accidentals
cautionary 133mouse entry 130step-entering 389tools 128
Aftertouchdata display 296 to 299
Allotment Table dialog box 410Allotment Tables
auto saving changes 650editing 411, 514how used by Overture 411opening 410overview 108selecting default 649
Alto Staff tool 234Arpeggio
inserting 167notating transcribed notes 600tool 163
Arrow Cursor 119, 124, 125Articulations
articulating multiple notes 164deleting 166deleting w/Delete command 582inserting 163Jazz 194smart editing 164
Articulations button 159Articulations palette 160
articulating multiple notes 164basic techniques 163tool overview 161
As Recorded command 633
As Written command 633Audio preferences 655Augmentation dots
tools 128Auto Beam command 624Auto Correct command 624Auto Justify command 624Auto Measures command 625Auto Rests command 625Auto Save Changed Libraries option 650Auto Save Libraries
effect on Instruments library 441Auto Transcribe checkbox 636Auto Transcribe command 625
BBanks
assigning 674 to 675assigning patch names to 675 to 676
Bar numerical 71Bar Text
copying 210editing 210inserting 209, 216, 217repositioning 209using 208, 216
Bar Text tool 208Bar width
changing 106Baritone Clef tool
modern 230Barline
Close Repeat tool 244deleting 255Dotted 244Double Barline tool 244
680
Fine tool 244hiding 256invisible 256Open Repeat tool 244Standard Barline tool 244using dotted barlines 246
Barlines button 243Barlines palette 243
basic techniques 245tool overview 244
Barre Settings dialog box 184Based on Meter command 584Bass Clef tool 230
8va Bossa 230Bass on Bottom 345Bass Staff tool 233Beam command 583Beams
automatic beaming 624Based on Meter command 584Break in Middle command 584changing angle 101Controlling Secondary Beaming Groups in
Tuplets 587Creating Groups of Beamed Notes in
Tuplets 587Cross-Bar 586Cross-Staff 585deleting w/Delete command 582, 583editing 101feathered 587Hide Tuplet Number 584Over Rests & Barlines command 584Primary patterns 544removing 102Secondary patterns 545setting patterns 544Tremolo commands 584
Beat Chartsand the Justify command 568hiding 105showing 104, 616
Booklet 458Bow marks
deleting 166inserting 163tools 161
Brace tool 234Bracket tool 234
CCautionary accidentals 133C-Clef
moving 232tool 230
Channelassigning instruments to 667 to 678
Chord Namesdefinition 344editing Suffix library 420entering w/Mac keyboard 349entering w/mouse 346step-entering w/Mac keyboard 353, 355step-entering w/MIDI keyboard 398
Chord Positions command 359, 620Chord Symbol library 413, 436
auto saving changes 650contents 414, 436creating chord names w/added bass 422selecting default 649uses 413, 436
Chord Symbol Library dialog box 413, 436miniature keyboard 417Scrolling library 417Show Axis checkbox 416Suffix Elements 415, 437, 439
Chordscopying by option-dragging 99definition 344entering chord names w/Mac keyboard 349entering chord names w/mouse 346MIDI recognition 400step entering 389step-entering chord names w/Mac
keyboard 353, 355step-entering chord names w/MIDI
keyboard 398Chords window 343
Bass buttons 345, 356Chord Name display 346key equivalents 349, 358Root buttons 345, 356Suffix list 345
Chromatic dragging of notes 97Clear command 463Clefs
8va Bossa Clef tool 230Bass Clef tool 230insertion rules 230Modern Baritone Clef tool 230Modern Piccolo Clef tool 230Modern Treble Clef tool 230
Inde
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Moveable C-Clef tool 230moving a C-Clef 232Neutral Clef tools 230scaling with Scale tool 124Treble Clef tool 230
Clefs button 229Clefs palette 229
basic techniques 231tool overview 230
Close command 407Coda 557Composite meters 543Controllers 295 to 300
adding series of 299assigning, to instruments 678data display 299deleting 300inserting values 299pane 296 to 300
Copy command 462Copy notes by option-dragging 98Count Off 273Crescendo 200
creating 200editing 201, 203tool 196
Cross-Bar beam 586Crosshair cursor 109cross-platform compatible 409Cross-Staff Barline tool 234Cross-Staff beam 585Cursor
Arrow 119, 124, 125Crosshair 109Drag 109Eraser 119Hand 77I-Beam 109locating in Graphic window 304locating with Bar•Beat•Unit display 304pitch in Graphic window 305quantizing in Graphic window 306Scale 121types in Score window 109
Cursor Position displayBar•Beat•Unit meanings 304
Cut command 462
DD.C. al Coda 557
D.C. al Fine 557D.S. al Coda 557D.S. al Fine 558Decrease Systems command 481Decrescendo 200
creating 200editing 201, 203tool 196
DefaultFile 89Delete command 489, 529, 582Delete Measure dialog box 529Delete Page command 470Delete Page dialog box 470Delete Track 489Diatonic dragging of notes 97Direction command 594Display on Next Staff command 597Display on Prev Staff command 596Documentation
conventions 4reference manual 3
Dotted Barline tool 244Dotted barlines
using 246Drag cursor 109Drag Notes Chromatically option 641Draw Hollywood Lines 548Drawing MIDI controller data 339Drum Map
auto saving changes 650creating 429editing 429Instruments library 444note names 431notehead assignments 430opening 426selecting default 649staff position assignments 430
Drum Map dialog box 426Head column 427Name column 428Pitch column 427Position column 428
Drum tracks 497Drums Button 187Drums Palette 188
articulation 191rudiment 190tool overview 188
Duplicate Previous option 378Duplicate Previous to End option 378
Index 681
682
Dynamicsdefault volume controller 653Edit Dynamic dialog box 203, 204, 205, 593editing position 198inserting 196MIDI playback 199scaling with Scale tool 124tools 196
Dynamics button 195Dynamics palette 195
crescendo 200decrescendo 200tool overview 196
EEdit Dynamic dialog box 203, 204, 205, 593Edit Expression dialog box 221
Appearance section 221Playback section 222
Edit Library command 409Edit menu
Clear command 463Copy command 462Cut command 462Make Invisible command 466Make Visible command 466, 467Merge command 463Paste command 462Paste Special command 463Select All command 465Undo command 462
Editingadding to MIDI data value (Graphic
window) 336adding to MIDI data value (Modify Notes
dialog) 577Allotment Tables 411, 514bar text 209barlines 245beams 101Beat Charts 104C-clefs 232chord names 420Chord Symbol Library 420clefs 231Drum Maps 429dynamic positions 198glissandos 141, 146hairpins (crescendos) 201, 203hearing notes when dragging 651limiting MIDI data value (Graphic
window) 337
limiting MIDI data value (Modify Notes dialog) 577
MIDI data in Modify Notes dialog 575MIDI note duration in Graphic window 314MIDI note pitch in Graphic window 314MIDI playback duration (Graphic
window) 338MIDI playback duration (Modify Notes
dialog) 576notes (pitch or position) 97page text 214rehearsal marks 213rests 102scaling MIDI data (Graphic window) 335scaling MIDI data (Modify Notes dialog) 577slurs 139staves 234stems 99symbols (general) 97system text 211tempo 555thinning MIDI data 338ties 138tremolo beams 585trills 152tuplets 142velocity (Modify Notes dialog) 576
Encore 448Endings
Final Endings tool 244First Endings tool 244Set Ending dialog box 250using the Ending tools 249
Engraver preferences 644Enharmonic command 594Entering Guitar Frames with the Mouse 356Entering notes. See Notes (entering)Eraser cursor 119Events
selecting controller 298Export command 453Expressions
Edit Expression dialog box 221palette 220
Expressions button 219Expressions palette 219Extract Parts
by voice 454naming 456
Extract Parts command 453Extract Parts dialog box 454
Split field 454
Inde
x
FFeathered beam 587Fermata
deleting 166inserting 163tools 163
File menuClose command 407Edit Library command 409Export command 453Extract Parts command 453Load Library command 448New command 406Open command 407Page Setup command 457Print command 458Quit command 459Revert command 409Save As command 408Save command 408
Filesinstrument definitions 669
Fill in Rests command 568Fine
ending playback at 557tool 244
Fingeringsdeleting 149entering w/Fingering tools 148tools 148
Fit in Window zoom level 73Flip command 593Flip Direction command 594Flip Enharmonic command 594Font
Chord Suffix elements 416Chord Symbol accidentals 418Chord Symbol roots 418codas, segnos, etc. 558endings 250Measure numbers 563preferences 647selecting default fonts 647Tempo markings 554Track names 492
Font menu 217Force Accidentals to Flats option 378Force Accidentals to Sharps option 377Force Stems Down option 377Force Stems Up option 377Fret
tools 176
GGeneral preferences 641Glissando commands 592Glissandos
creating w/Glissando tool 137editing 141, 146straight tool 136wavy tool 136
Gospel notation tools 172Grace note
entering 133tool 128
Graphic 289Graphic window 301
Cursor Position display 304I-Beam tool 313inserting notes 321Marquee tool 313MIDI Instrument button 312Mute button 312Pencil tool 321Piano Roll (MAC) 303Piano Roll (PC) 290Solo button 312viewing cursor pitch 305viewing different tracks 302Zoom to Fit button 310
Graphics button 225Graphics palette 225Group
Glissando - command 592Glissando ~ command 592Slur command 589Tie command 588
Group command 588Groups button 135Groups palette 135
basic techniques 137Harp Pedal Setting dialog box 144Harp pedal symbol 136mixed duration tuplets 143nested tuplets 142tool overview 135tuplets 142
Guitar 345Tablature 609
Guitar button 181Guitar Frames 355Guitar palette
Index 683
684
barre at fret number marking 184Barre Settings dialog box 184String bend 182
HHairpin
creating 200default volume controller 653editing 201, 203playback 205tools 196
Hand cursor 77Handles 617Harmonics
deleting 166inserting 163tools 161
Harp Pedal Settings dialog box 144Harp pedal symbol 136Hide Stem command 595Hide/Show Staves command 485Hold Timing 119Hollywood Lines 548Horizontal Pages view option 76
II-Beam cursor 109Import File dialog box 449, 457Importing
abbreviations for track names 451clef 452Encore and MusicTime Files 452markers 451MIDI files 448, 452Optimize Staves 451percussive clef 450, 452Remap Unknown Devices 451templates 450
in real-time 273In Swing command 633Incorrect Rhythms command 617Increase System command 478Insert command 488, 528Insert Measure dialog box 488, 528Insert Ottava dialog box 145Insert Page command 470Insert Page dialog box 470Insert Track 488Insert window 321
Duration parameters 323Size parameters 322Velocity numerical 325
Instrumentassigning type to Track 492finding range errors 617naming 495range setting 495selecting for tracks (Graphic window) 312selecting for tracks (Tracks window) 283setting MIDI Thru Instrument 271showing name in score 491transposing 503
Instrument definitionscreating 670 to 678files 669importing 669name lists 672 to 673saving 672
Instrumentsassigning, to ports 667 to 678bank assignments 674 to 675defining 670 to 678deleting 672patch names for 675 to 676
Instruments library 440abbreviation 443Clear instruments 443Delete instrument 443Device 445Drum Map 444editing 441General MIDI equivalent 444GM Instruments 440High field 445Insert instrument 443Low field 445name 443Orchestral Instruments 440Patch 445re-arranging instruments 445Resolving device conflicts 447Saving and naming 442Transpose 445Voices field 445
Invisible noteheads 172Invisible symbols 466
JJazz Articulations palette 194Justify
locking measures 108
Inde
x
Justify command 568
KKey signature
cancelling previous keys 537setting 535
Keyboardcontrollers 295
Keyboard Thru command 626
LLayout Page command 471Layout Page dialog box 471Library
Allotment Table 410auto saving changes 650Chord Symbols 413, 436Drum Map 426loading 448selecting default libraries 649
Library preferences 649Load Library command 448Loading VST instruments 655Locking Measures 108Lyric Positions command 371, 621Lyrics
adding more lyrics to a score 366adding verses 369changing fonts 370creating the first lyric 364flowing from middle of measure 369melisma 368moving 370multi-note syllables 368multi-syllable words 367multi-words on a single note 363, 368
Lyrics windowButton bar 363Lyric Editing area 364Lyric List 362, 363Measure column 363Name column 363, 364using 364Verse column 363Voice column 363
MMake Invisible command 466
Make Visible command 466, 467Manual
conventions 4reference manual 3
Manual Duplex Printing 458Marcato
deleting 166inserting 163tools 161
Marginsetting 473showing 617
Markers 451Measure
activating first in track 72activating last in track 72automatic width adjustment 513decreasing number in system 532, 534default number per System 471, 646deleting 489, 529filling with rests 568increasing number in system 530inserting 488, 528justifying 568key signature 535meter 541multi-measure rests 565numbering 559rebarring 564tempo 550
Measure numbers 559enclosures 561measure interval 561positioning 560Set Measure Number dialog box 561text of 562
MeasuresLocking 108
Measures menuDelete command 489, 529Fill in Rests command 568Insert command 488, 528Justify command 568Multi Measure Rest command 565Rebar command 564Set Key command 535Set Meter command 541Set Numbers command 559Set Repeats command 556Set Tempo command 550Wrap Left command 530Wrap Right command 532, 534
Melisma 368
Index 685
686
MenuEdit 461File 405Font 217Measures 527Notes 571Options 615overview 11Score 469Size 217Style 217Windows 659
MenusOptions 119
Merge command 463Meter
beam patterns 544composite meters 543finding incorrect rhythms 617setting 541setting number of pulses 542showing before system breaks 546
Metric measurement units 473Metronome command 630
Click in Countoff Only 631Click in Play 631Click in Record 631Metronome Sound 631
Metronome Sound dialog box 631Middle C
Middle C is C4 option 643naming 643
MIDIadding to data value (Graphic window) 336adding to data value (Modify Notes
dialog) 577chord recognition 400controller data display 329creating Legato playback (Graphic
window) 338creating Legato playback (Modify Notes
dialog) 577display/edit non-note data 326drawing controller data 339key aftertouch 296limiting data value (Graphic window) 337limiting data value (Modify Notes dialog) 577modifying notes 575muting a track (Graphic window) 312muting a track (Tracks window) 286note velocities 296Piano Roll display (MAC) 303Piano Roll display (PC) 290
pitch wheel 296pitch-bend 296Play buttons 268randomizing MIDI values 340Record button 268recording in real-time 273remapping unknown devices 641scaling data (Graphic window) 335scaling data (Modify Notes dialog) 577selecting notes w/I-Beam tool 318selecting notes w/Marquee tool 316selecting playback device for tracks (Graphic
window) 312selecting playback device for tracks (Tracks
window) 283soloing a track (Graphic window) 312soloing a track (Tracks window) 286step entering notes 391Stop button 268tempo 516, 517, 535, 541, 551thinning data 338Thru Instrument 271thruing 626transcription of MIDI data 606transposition defaults 285volume level defaults 285
MIDI fileimporting 448, 452
MIDI Through Follows Tracks option 651Mixed Duration Tuplets 143Modify Notes command 575Modify Notes dialog box 575Mordents
creating 148deleting 149insertion tutorial 156playback 157Set Mordent/Turn dialog box 157tools 148
Move to Next Track command 599Move to Prev Track command 598Multi Measure Rest command 565Multi Measure Rest dialog box 565Multi-Bar Rests checkbox 455Music
adding character to 295MusicTime 448
NNested Tuplets 142Neutral Clef tools 230
Inde
x
New command 406New Score dialog 406Next page button 71Normal 458Notate Notes As command 600
Arpeggio 600Staccato 601Swing Eights 602Trill 603Triplet 604Turn 604, 605
Note names 643drum mode 294of patches 676 to 678
Note velocitydisplaying 296
Noteheadschanging types 173invisible 172percussive 172picture music 172rhythmic 172rhythmic slash 172slashes 172standard 172
Noteheads button 171Noteheads palette 171
basic techniques 173tool overview 172
Notesadjusting spacing 103and Allotment Tables 108auto positioning 107changing properties of 293changing value 98, 134chromatic vs. diatonic dragging 641converting to raw MIDI data 608copying by option-dragging 98deleting 119displaying on other staves 596, 597dragging to change spacing 104drum mode 294duplicating 98editing 292editing (pitch or position) 97entering 129 to 133, 384 to 394erasing 294hearing while editing 651Hold Timing 119inserting in Graphic window 321justifying 107Mac keyboard & mouse entry w/palette 131
mouse entry w/palette 129moving 293moving chromatically 97moving diatonically 97moving to other tracks 598, 599nudging to change pitch 98nudging to change spacing 104recalculating layout 108removing 98scaling with Scale tool 123selecting 291selecting and editing 290 to 294spacing and bar width 106spacing automatically 107, 624spacing with Beat Charts 104step entering w/Mac keyboard 384step entering w/MIDI keyboard 391timing 119tools 128transcribing automatically 625, 636with attached articulations 164
Notes button 127Notes Menu
Notes to Tablature 609Stem Height 596Tablature Settings dialog box 610
Notes menuBeam command 583Delete command 582Display on Next Staff command 597Display on Prev Staff command 596Flip command 593Group command 588Modify Notes command 575Move to Next Track command 599Move to Prev Track command 598Notate Notes As command 600Notes to Raw command 608Raw to Notes command 606Set to Voice command 612, 613Stem command 595Transpose command 572
Notes palette 127keyboard equivalents 131tool overview 128
Notes to Raw command 608Notes to Tablature 609Numerical
definition 9editing 9
Index 687
688
OOctaves
shifting in step-entry 388Opaque text 217Open command 407Optimize Staves
when importing 451Options Menu
Hold Timing 119Options menu
Auto Beam command 624Auto Correct command 624Auto Justify command 624Auto Rests command 625Auto Transcribe command 625Auto Wrap Measures command 625Instruments command 639Keyboard Thru command 626Metronome command 630Play Style command 633Preferences command 640, 653Record Options command 634Show Chord Positions 359Show command 616Show Lyric Positions 371
Ornamentsdeleting 149deleting w/Delete command 582inserting 148ornamenting multiple notes 149
Ornaments button 147Ornaments palette 147
basic techniques 148tool overview 148
Over Rests & Barlines command 584
PPage
deleting 470dimensioning 472inserting 470layout 471turning 71turning to first 72turning to last 72
Page Dimensions command 472Page Dimensions dialog box 473
Use Tiles checkbox 474Page numerical 71Page Setup command 457
Page Textcopying 215editing 215inserting 214repositioning 214using 214
Page Text tool 208Page View options
Horizontal Pages 76Single Page 75Vertical Pages 76
Palette buttonsoverview 114pop-up menus 115
PalettesArticulations 160Barlines 243Clefs 229definition 9Dynamics 195Expressions 219, 220Graphics 225Groups 135horizontal vs. vertical 116Jazz Articulations 194Noteheads 171Notes 127Ornaments 147Staves 233Tablature 175tearing off 116Text 207
Partextracted clef setting 496extracted pitch setting 496extracting 453
Partsextracting by voice 454
Paste command 462Paste Special command 463Paste vs. Paste Special 463Patch
assigning note names to 676 to 678names 675 to 676
Pauseinserting 169tools 162
Pedal markdeleting 166inserting 163tools 162
Percent zoom level 73
Inde
x
Percussiondrum mode 294noteheads 172
Percussive Staff tool 234Percussive tracks 497Piano Roll (MAC)
editing notes in 313 to 325overview 303
Piano Roll (PC)editing notes in 290 to 295overview 290
Piano Staff tool 234Piano/Melody Staff tool 234Piccolo Clef tool
modern 230Pickups 547Picture music tools 172Pitch
selecting 291Pitch wheel 296Play button 268Play Entire Chord While Dragging option 652Play from Beginning button 268Play Notes While Inserting/Dragging option 651Play Style command 633
As Recorded 633As Written 633in Swing 633Repeats 634
Playbackdisable symbol playback 466enable symbol playback 466, 467
Playback preferences 651Plus
deleting 166inserting 163tool 161
Portsassigning instruments to 668
Preferencesengraver 644font 647general 641library 649playback 651types 640
Preferences command 640, 653Preferences dialog box 640, 653Previous page button 71Primary beams 544Print
2-Up 458order of tiled pages 477page dimensioning 472page layout 471
Print command 458Pulses 542Punch points 269
manually setting 270setting by playing 271using the cursor 270
Punch Recording 269Historical origins 269setting Punch points 269
QQuantize
cursor movements in Graphic window 306transcription 259transcription of imported seq files 450
Quantize Cursor On/Off button 307Quantize Cursor Value button 307Quit command 459
RRange Errors command 617Raw to Notes command 606Real time recording 273Rebar command 564Recalc Layout command 513Record button 268Record filters 637Record Options command 634Recording 273
by "drawing" notes in Graphic window 321by entering notes with a mouse 129by entering notes with the mouse & Mac
keyboard 131Count Off 273Punch recording 269step recording 375
Recording audio 656Redraw Page command 514Rehearsal Mark tool 208Rehearsal Marks
editing 213inserting 212repositioning 213using 212
Remap Unknow Devices option 641
Index 689
690
Remap Unknown Devices 444, 451, 511Repeat
Double Measure Repeat tool 244Single Measure Repeat tool 244tools 244using open & close repeats 247using Sngl & Dbl Repeats 246
Repeats command 634Respace Staves command 84, 512Respace Staves dialog box 512
All remaining pages 512Avoid collisions 512Fill to bottom of page 512
Restsediting 102filling measure with 568mouse entry 130multi-measure 565nudging 103removing 103step entering w/Mac keyboard 387step entering w/MIDI keyboard 391tools 128
Revert command 409Rhythm noteheads 172Roland gear 669RPNs (Registered Parameter Numbers)
data display 299
SSave As command 408Save command 408Scale cursor 121Score menu
Decrease Systems command 481Delete Page command 470Hide/Show Staves command 485Increase System command 478Insert Page command 470Layout Page command 471Page Dimensions command 472Recalc Layout command 513Redraw Page command 514Respace Staves command 512Setup Track command 490
Score windowBar numerical 71cursors 109overview 69Page numerical 71page view controls 70
redrawing 514scrolling 77selecting between 664turning pages 71Zoom Level pop-up menu 72
Scrub tool 294locating bad note with 291
Secondary beams 545Segno 557Select All command 465Selecting
all MIDI data (including non-note) in a time range 320
all symbols in discontiguous measures 94all symbols in measure 93all symbols in staff 94contiguous symbols 92discontiguous symbols 91MIDI notes w/I-Beam tool 318MIDI notes w/Marquee tool 316notation symbols 89notes in a pitch range (Graphic window) 315notes in a time range (Graphic window) 319notes of the same pitch (Graphic window) 315symbols in entire track 95symbols on different staves 95voice 96
Set Ending dialog box 250Set Key command 535Set Key dialog box
arrow keys 536Set Measure Number dialog box 561Set Meter command 541Set Mordent/Turn dialog box 157Set Numbers command 559Set Repeats command 556Set Tempo command 550Set Tempo dialog box 516, 550Set to Voice command 612, 613Set Trill dialog box 155Setting the VST Folder 657Setup Track command 490Setup Track dialog box 490
C3 Offset numerical 496Instrument options 492naming tracks 491opening from Tracks window 288option key to set attributes 511Show Abbreviation 443Show Name 443Staff options 500Starting Clef menu 496
Inde
x
Transposed Clef pop-up 496Sforzando
deleting 166inserting 163tools 161
Show Axis checkbox 416Show Chord Positions command 359Show command 616
Beat Chart 616Chord Positions 359, 620Handles 617Incorrect Rhythms 617Invisibles 617Lyric Positions 371, 621Margin 617Range Errors 617Tracks Transposed 618, 619
Show Lyric Positions command 371Show Stem command 595Single Page view option 75Size menu 217Slash
open & closed 172rhythmic 172step entering 395step entering rhythmic slash 397
Slur command 589Slur tools 135Slurs
creating w/Slur tool 137editing 139flipping 140
Space between staves numerical 644Space between systems numerical 644, 645Staccatissimo
deleting 166inserting 163tool 161
Staccatodeleting 166inserting 163notating transcribed notes 601tool 161
Staffadding to a score 234Alto Staff tool 234arranging 78Bass Staff tool 233Brace tool 234Bracket tool 234choosing what to show 500Cross-Staff Barline tool 234
default spacing 644definition 6grouping 238hiding 485indenting 87moving horizontally 86moving vertically 78Percussive Staff tool 234Piano Staff tool 234Piano/Melody Staff tool 234placing side-by-side 88removing from a score 238respacing 84, 512scaling throughout score 500scaling with Scale tool 122setting number of lines 500showing 485space between staves 644space between systems 644, 645System tool 234Tablature Staff tool 234Tenor Staff tool 233Treble Staff tool 233
Stationery pads 407Staves button 233Staves palette 233
basic techniques 234tool overview 233
Stem command 595Stem Down command 595Stem Height dialog box 596Stem Up command 595Stems
assigning direction to voices 282changing direction 100, 595changing length 99editing 99hiding 100, 595setting height 596showing 100, 595
Step EnteringAccidentals 389Chord Names w/Mac keyboard 353, 355Chord Names w/MIDI keyboard 398Chords 389notes & rests w/Mac keyboard 384notes & rests w/MIDI keyboard 391rhythmic slashes 397slashes 395stepping through a score 390Tied Notes 389
Step Input DurationConstant 382
Index 691
692
Constant Gap 382Percent 383
Step Input optionsDuplicate Previous 378Duplicate Previous to End 378Force Accidentals to Flats 378Force Accidentals to Sharps 377Force Stems Down 377Force Stems Up 377Tie Previous Two Notes 378
Step Input VelocityAs Played 384Constant 384
Step Input window 375Counter 378Duration area 381Input Select button 376key equivalents 391Note Size 379Note Size key equivalents 380Options menu 377Pitch Indicator 379Tuplet checkbox 380Type area 376Velocity area 383
Stop button 268Strip Chart
Add Amount tool 336density setting 334drawing data 332drawing shapes 339Flat line drawing tool 340Freehand drawing tool 339hiding/showing 330I-Beam tool 331Legato tool 338Maximum Limit tool 337Minimum Limit tool 337opening 326overview 326Parabola drawing tool 339Pencil tool 332Randomize tool 340Scale tool 335selecting controller data 329selecting data 331selecting data to view 328Straight line drawing tool 339Thin tool 338variable tool 335
Strip Chart Pencil Tool 334Style menu 217Suffix button 356
Swing Timenotating transcribed notes 602playing in swing time 633
Symboldefinition 6duplicating 98editing 97selecting 89selecting all in discontiguous measures 94selecting all in measure 93selecting all in staff 94selecting contiguous 92selecting discontiguous 91selecting entire track 95selecting on different staves 95
Systemarranging 78default number on page 471, 646definition 8putting fewer on a page 481putting more on a page 478
System Textcopying 211editing 212inserting 211repositioning 211using 210
System Text tool 208System tool 234
TTablature
dialog box 610notating 176tools 176tracks 499
Tablature button 175Tablature palette 175
basic techniques 176tool overview 176
Tablature Settings dialog box 610Capo on Fret 610Fret Position 610Glissandos, Slurs, Ties option 611Tuning 610
Tablature Staff tool 234Technical support 12Templates 407Tempo
display options 155, 157, 517, 551editing 555
Inde
x
MIDI playback 516, 517, 535, 541, 551setting 550
Tenor Staff tool 233Tenuto
deleting 166inserting 163tool 161
TextBar Text tool 208opaque 217Page Text tool 208Rehearsal Mark tool 208System Text tool 208transparent 217using bar text 208, 216using page text 214using rehearsal marks 212using system text 210
Text button 207Text Only check box 356Text palette 207
tool overview 208The 289, 290Thru Instrument 271Tie
auto-ties over barlines 390creating w/Tie tool 137editing 138flipping 139step-entering 389tools 136
Tie command 588Tie Previous Two Notes option 378To 290To Coda 557Tool
8va Bossa Clef 230accidentals 128Alto Staff 234Arpeggio 163augmentation dots 128Bass Clef 230Bass Staff 233Bow marks 161Brace 234Bracket 234Close Repeat 244Cross-Staff Barline 234definition 8Dotted Barline 244Double Barline 244Double Measure Repeat 244
dynamics 196Eraser 119Fermata 163Final Endings 244Fine 244fingerings 148First Endings 244frets 176Grace Note 128Hairpins 196Harmonics 161invisible notehead 172Marcato 161Modern Baritone Clef 230Modern Piccolo Clef 230Modern Treble Clef 230mordents 148Moveable C-Clef 230Neutral Clefs 230notes 128Open Repeat 244Pause 162Pedal mark 162percussive notehead 172Percussive Staff 234Piano Staff 234Piano/Melody Staff 234picture noteheads 172Plus 161rests 128rhythm noteheads 172rhythmic slash head 172Scale 121Sforzando 161Single Measure Repeat 244Slash noteheads 172Slur 135Staccatissimo 161Staccato 161Standard Barline 244Standard Notehead 172Straight glissando 136System 234Tablature 176Tablature Staff 234Tenor Staff 233Tenuto 161Text 208Tie 136Treble Clef 230Treble Staff 233Tremolo 161trills 148Tuplet (new) 136
Index 693
694
Tuplet (reapply) 136tuplets 128Turn 148Wavy glissando 136
Tool BarArrow cursor button 119, 124, 125Articulations button 159Barlines button 243Clefs button 229Dynamics button 195Eraser button 119Expressions button 219Expressions palette 220Graphics button 225Groups button 135Guitar button 181Jazz Articulations palette 194Noteheads button 171Notes button 127Ornaments button 147overview 113palette button overview 114pop-up menus 115Scale button 121Staves button 233Tablature button 175Text button 207Transcription Quantize Amount button 259
Tracksabbreviated names 491abbreviation 443definition 7displaying MIDI data in Piano Roll 290displaying MIDI data in Piano Roll
(MAC) 303drum 497MIDI playback devices (Graphic window) 312MIDI playback devices (Tracks window) 283MIDI volume defaults 285moving notes between 598, 599muting (Graphic window) 312muting (Tracks window) 286name 443naming 491percussive 497rearranging 286selecting all notes 95setting number of voices 281setup dialog box 490showing name in score 491showing transposed tracks 618, 619soloing (Graphic window) 312soloing (Tracks window) 286
Tablature 499transposing 285viewing in Graphic window 302
Tracks window 279Device column 283Mute column 286overview 280rearranging tracks 286Solo column 286Stem column 282Transpose column 285Voices column 280Volume column 285
Transcriptioncorrecting for swing time notation errors 602fixing quantize mistakes 262notating arpeggios 600notating staccato notes 601notating trills 603notating triplets 604notating turns 604, 605quantizing 259
Transcription Quantize Amount button 259Transparent text 217Transport controls 267Transport window 267Transpose command 572Transpose dialog box 572Transposing
in Graphic window 314to match new key signature 536with Transpose command 572
Treble Clef tool 230modern 230
Treble Staff tool 233Tremolo
beams 584inserting bowed tremolos 167modifying beams 585tools 161
Trillsadding a trill section 150adding accidentals 153adding mark to score 150deleting 149editing 152making invisible 466notating transcribed notes 603playback 155Set Trill dialog box 155tools 148
Tuning button 356
Inde
x
Tupletscomplex 142correcting transcription errors 604creating with Tuplet tool 137editing 142hiding number over beam 584in Step Input 380mixed duration 143tool (new) 136tool (reapply) 136tools 128
Tuplets dialog box 591Turn
creating 148deleting 149making invisible 466notating transcribed notes 604, 605playback 157Set Mordent/Turn dialog box 157tool 148
UUndo command 462Use 659Use Tiles checkbox 474
VVelocity
data display 296Verse
creating additional verses 369Vertical Pages view option 76Voice
active 96assigning in tracks 280definition 7inactive 96making invisible 465, 466pop-up menu 96selecting 96, 612, 613setting number per track 281setting stem direction 282
Volume Controller Number 653VST Menu 655
Audio Preferences 655Instrument Rack 655Record to File 656Set Folder 657
WWindow
Chords 343Graphic 301Insert 321overview of types 9Score 69Step Input 375Tool Bar 113Tracks 279Transport 267
Windows menuactive Score windows 664Arrange Icons command 664Cascade command 662Chords command 660Graphic command 660Lyrics command 661Open Score windows 664Step Input command 661Tile Horizontally command 663Tile Vertically command 664Tool Bar command 659Tracks command 660Transport command 660
Wrap Left command 530Wrap Right command 532, 534
XX% Zoom Level 73
YYamaha gear 669
ZZoom In button 308Zoom In command 73Zoom Level
100% 73Fit in Window 73Percentage 73X% 73Zoom In 73Zoom Out 73
Zoom Level pop-up menu 72Zoom Out button 309Zoom Out command 73Zooming
Index 695
Inde
x
in Graphic window 308in Score window 72selected area in Score window 73to fit in Graphic window 310
Index 696
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