Steinberg Nuendo - 10.0 User Manual

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Score Layout and Printing

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Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek

This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images.

The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use.

All product and company names are ™ or ® trademarks of their respective owners. For more information, please visit www.steinberg.net/trademarks.

Nuendo_10.0.0_en-US_2019-04-24

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5 Introduction

5 Platform-Independent Documentation 5 PDF Documents and Online Documentation 6 Conventions 7 Key Commands

8 How the Score Editor works

8 About this chapter 8 Welcome! 8 How the Score Editor operates 8 MIDI notes vs. score notes 9 Display Quantize 12 Entering notes by hand vs. recording notes

13 The basics

13 About this chapter 13 Preparations 13 Opening the Score Editor 14 The project cursor 15 Playing back and recording 15 Page Mode 16 Changing the zoom factor 17 The active staff 17 Making page setup settings 17 Designing your work space 21 About the Score Editor context menus 21 About dialogs in the Score Editor 22 Setting clef, key, and time signature 28 Transposing instruments 29 Printing from the Score Editor 29 Exporting pages as image les 30 Working order 31 Force update

32 Transcribing MIDI recordings

32 About this chapter 32 About transcription 32 Getting the parts ready 33 Preparing parts for score printout 33 Staff settings 34 Situations which require additional techniques 34 Inserting Display Quantize changes 36 The Explode function 37 Using "Scores Notes To MIDI"

38 Entering and editing notes

38 About this chapter 38 Score settings 40 Note values and positions 42 Adding and editing notes 45 Selecting notes 46 Moving notes 49 Duplicating notes

49 Cut, copy, and paste 50 Editing pitches of individual notes 51 Changing the length of notes 53 Splitting a note in two 53 Working with the Display Quantize tool 53 Split (piano) staves 54 Strategies: Multiple staves 55 Inserting and editing clefs, keys, or time

signatures

57 Deleting notes

58 Staff settings

58 About this chapter 58 Staff settings 58 Making settings 59 Working with staff presets 60 Staff names 60 Key and clef 60 Display Quantize and Interpretation Options 64 Display Transpose 65 The Options tab 66 The Polyphonic tab 66 The Tablature tab

68 Polyphonic voicing

68 About this chapter 68 Background: Polyphonic voicing 70 Setting up the voices 72 Strategies: How many voices do I need? 72 Entering notes into voices 73 Checking which voice a note belongs to 73 Moving notes between voices 75 Handling rests 75 Voices and Display Quantize 76 Creating crossed voicings 77 Automatic polyphonic voicing – Merge All

Staves

78 Converting voices to tracks – Extract Voices

79 Additional note and rest formatting

79 About this chapter 79 Background: Note stems 80 Setting stem direction 81 Stem length 82 Accidentals and enharmonic shift 83 Changing the note head shape 84 Other note details 86 Coloring notes 87 Copying settings between notes 88 Handling beaming 94 About tied notes 96 Graphic moving of notes 97 Cue notes

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Table of Contents

98 Grace notes 100 Tuplets

103 Working with symbols

103 About this chapter 103 Background: The different layers 104 The Inspector 107 Important! – Symbols, staves, and voices 108 Adding symbols to the score 118 Selecting symbols 120 Moving and duplicating symbols 123 Changing length, size, and shape 125 Deleting symbols 125 Copy and paste 125 Alignment 126 Symbol details

136 Working with chords

136 About this chapter 136 Inserting chord symbols 139 Global chord settings

140 Working with text

140 About this chapter 140 Adding and editing text symbols 144 Different types of text 150 Text functions

155 Working with layouts

155 About this chapter 155 Background: Layouts 156 Creating a layout 156 Opening a layout 156 Layout operations 157 Using layouts – an example 158 Marker Track to Form

159 Working with MusicXML

159 Introduction 160 Importing and exporting MusicXML les

164 Designing your score: additional techniques

164 About this chapter 164 Layout settings 166 Staff size 167 Hiding/showing objects 169 Coloring notes 169 Multiple rests 170 Editing existing barlines 171 Creating upbeats 172 Setting the number of bars across the page 173 Moving barlines 174 Dragging staves 177 Adding brackets and braces 177 Displaying the Chord Symbols from the Chord

Track

178 Auto Layout 180 Reset Layout 181 Breaking barlines

183 Scoring for drums

183 About this chapter 183 Background: Drum maps in the Score Editor 184 Setting up the drum map 185 Setting up a staff for drum scoring 186 Entering and editing notes 186 Using “Single Line Drum Staff”

187 Creating tablature

187 About this chapter 187 Creating tablature automatically 189 Creating tablature manually 190 Tablature number appearance 190 Editing 190 Note head shape

191 Rhythmic Notation

191 About this Chapter 192 Showing Rhythmic Notation 192 Rhythm Bar Indicators 193 Showing Regular Notation 193 Clearing Bars 194 Showing Repeat Bar Signs 194 Notation Style

195 The score and MIDI playback

195 About this chapter 195 Scores and the Arranger mode 195 Working with mapped dynamics

199 Tips and Tricks

199 Overview 199 Useful editing techniques 202 Frequently asked questions 205 If you wish you had a faster computer

206 Index

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Introduction

The documentation covers the following Steinberg product: Nuendo.

Nuendo is a powerful audio production system that offers a vast range of dedicated functions focused on postproduction, studio production, and live recording. It comes with an extensive set of functions and tools for music notation and score printing.

Platform-Independent Documentation

The documentation applies to the operating systems Windows and macOS.

Features and settings that are specic to one of these platforms are clearly indicated. In all other cases, the descriptions and procedures in the documentation are valid for

Some points to consider:

●

The screenshots are taken from Windows.

●

Some functions that are available on the File menu on Windows can be found in the program name menu on macOS.

Windows and macOS.

PDF Documents and Online Documentation

The documentation consists of several documents. You can read them online or download them from steinberg.help. To visit steinberg.help, do one of the following:

●

Enter www.steinberg.help in the address bar of your web browser.

● In the program, select Help > Nuendo Help.

Operation Manual

The main Nuendo reference documentation, with detailed descriptions of operations, parameters, functions, and techniques.

Score Layout and Printing

Describes the professional music notation, score editing, and printing features included in the Score Editor.

Remote Control Devices

Lists the supported MIDI remote control devices.

Plug-in Reference

Describes the features and parameters of the included VST plug-ins, VST instruments, and MIDI effects.

Steinberg Library Manager

Describes how you can register and manage your VST Sound libraries.

HALion Sonic SE

Describes the features and parameters of the included VST instrument HALion Sonic SE.

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Introduction Conventions

Groove Agent SE

Describes the features and parameters of the included VST instrument Groove Agent SE.

Retrologue

Describes the features and parameters of the included VST instrument Retrologue.

MIDI Devices

Describes how to manage MIDI devices and device panels.

Conventions

In our documentation, we use typographical and markup elements to structure information.

Typographical Elements

The following typographical elements mark the following purposes.

Prerequisite

Requires you to complete an action or to fulll a condition before starting a procedure.

Markup

Procedure

Lists the steps that you must take to achieve a specic result.

Important

Informs you about issues that might affect the system, the connected hardware, or that might bring a risk of data loss.

Note

Informs you about issues that you should consider.

Example

Provides you with an example.

Result

Shows the result of the procedure.

After Completing This Task

Informs you about actions or tasks that you can perform after completing the procedure.

Key Commands

Many of the default key commands, also known as keyboard shortcuts, use modier keys, some of which are different depending on the operating system.

When key commands with modier keys are described in this manual, they are indicated with the Windows modier key rst, followed by the macOS modier key and the key.

EXAMPLE

Ctrl/Cmd-Z means: press Ctrl on Windows or Cmd on macOS, then press Z.

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How the Score Editor works

About this chapter

In this chapter you will learn:

● How the Score Editor and MIDI data relate.

● What Display Quantize is and how it works.

Welcome!

Welcome to scoring in Nuendo! The Score Editor has been created to allow you to get any possible piece of music displayed as a score, complete with all the necessary symbols and formatting. It allows you to extract parts out of a full orchestra score, to add lyrics and comments, create lead sheets, score for drums, create tablature, etc. In other words: just about any type of notation you could ever desire!

There are a few basic principles to how the Score Editor works, which you have to understand to make full use of it.

How the Score Editor operates

The Score Editor does the following:

● Reads the MIDI notes in the MIDI parts.

● Looks at the settings you have made.

● Decides how the MIDI notes are displayed according to the settings.

The Score Editor takes MIDI data and settings as input and produces a score as output.

The Score Editor does all this in realtime. If you change some of the MIDI data (for example by moving or shortening a note) this is immediately reected in the score. If you change some of the settings (for example the time signature or key signature) this is also immediately apparent.

Do not think of the Score Editor as a drawing program, but rather as an “interpreter” of MIDI data.

MIDI notes vs. score notes

MIDI tracks in Nuendo hold MIDI notes and other MIDI data. As you may know, a MIDI note in Nuendo is only dened by its position, length, pitch and velocity. This is not nearly enough information to decide how the note is to be displayed in a score. The program needs to know more: What type of instrument are we talking about, Drums? Piano? What key is the piece in? What is the basic rhythm? How should the notes be grouped under beams? You provide this information by making settings and working with the tools available in the Score Editor.

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How the Score Editor works Display Quantize

An example of the MIDI/score relationship

When Nuendo stores a MIDI note’s position, it makes the measurement in an absolute value, called ticks. There are 480 ticks to a quarter note. Have a look at the example below:

A quarter note at the end of a 4/4 measure

The note is on the fourth beat of the measure. Now, let’s say you change the time signature to 3/4. This shortens the length of a “measure” to only three quarter notes – 1440 ticks. Suddenly our quarter note is in the next measure:

The same note in 3/4

Why? Since you are not changing the MIDI data in the track/part (that would ruin your recording!) by changing the time signature, the note is still at the same absolute position. It is just that now each “measure” is shorter, which effectively moves the note in the score.

What we are trying to get across here is that the Score Editor is an “interpreter” of the MIDI data. It follows rules that you set up by making settings in dialogs, on menus, etc. And this interpretation is “dynamic”, or in other words, it is constantly updated whenever the data (the MIDI notes) or the rules (the score settings) change.

Display Quantize

Let’s say you used the Project window to record a gure with some staccato eighth notes. When you open the Score Editor, these notes are displayed like this:

This does not look anything like what you intended. Let’s start with the timing – obviously, you were off at a couple of places (the third, fourth and last note all seem to be a 32nd note late). You can solve this by quantizing the not t in the musical context. To resolve this problem the Score Editor employs something called “Display Quantize”.

Display Quantize is a setting which is used to tell the program two things:

● How precise the Score Editor is to be when displaying the note positions.

● The smallest note values (lengths) you want displayed in the score.

In the example above, the Display Quantize value seems to be set to 32nd notes (or a smaller note value).

Let’s say we change the Display Quantize value to sixteenth notes in the example:

With Display Quantize set to sixteenth notes

gure, but this would make the passage sound too “stiff”, and

OK, now the timing looks right, but the notes still do not look like what you intended. Maybe you can understand that from a computer’s point of view, you did play sixteenth notes, which is why there are a lot of pauses. But that’s not how you meant it. You still want the track to play back short notes, because it is a staccato part, but you want something else “displayed”. Try setting the Display Quantize value to eighth notes instead:

With Display Quantize set to eighth notes

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How the Score Editor works Display Quantize

Now we have eighth notes, as we wanted. All we have to do now is to add staccato articulation which can be done with one simple mouse click using the Draw tool or using musical articulations.

How did this work? By setting the Display Quantize value to eighth notes, you give the program two instructions that would sound something like this in English: “Display all notes as if they were on exact eighth note positions, regardless of their actual positions” and “Don’t display any notes smaller than eighth notes, regardless of how short they are”. Please note that we used the word “display”, which leads us to one of the most important messages of this chapter:

IMPORTANT

Setting a Display Quantize value does not alter the MIDI notes of your recording in any way, as regular quantizing does. It only affects how the notes are displayed in the Score Editor (and nowhere else)!

RELATED LINKS

Working with symbols on page 103

Choose your Display Quantize values with care

As explained above, the Display Quantize value for notes puts a restriction on the smallest note value that can be displayed. Let’s see what happens if we set it to quarter notes:

With Display Quantize set to quarter notes

Oops, this doesn’t look too good. Well of course it doesn’t! We have now instructed the program that the “smallest” note that occurs in the piece is a quarter note. We have explicitly told it that there are no eighth notes, no sixteenths, etc. So when the program draws the score on screen (and on paper) it quantizes the display of all our eighth notes to quarter note positions, which makes it look like above. But again, please note that when you hit Play, the passage still plays as it originally did. The Display Quantize setting only affects the score image of the recording.

IMPORTANT

Even if you manually enter notes in the score using perfect note values, it is very important that you have your Display Quantize settings right! These values are not just used for MIDI recordings! If you for example set the Display Quantize value for notes to quarter notes and start clicking in eighth notes, you get eighth notes in the track (as MIDI data), but still only quarter notes in the display!

Using Rests as Display Quantize setting

Above we used Display Quantize for notes. There is a similar Display Quantize setting called “Rests” which is used to set the smallest rest to be displayed. Often, this setting is very effective.

Let’s start with the following note example:

As you see, the rst note appears one sixteenth note late. If we change the Display Quantize value for notes to eighth notes, the score is displayed like this:

With Display Quantize: Notes set to eighth notes

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How the Score Editor works Display Quantize

Unfortunately, this moves the rst note to the same position as the second, since sixteenth note positions are not allowed. We can solve this by inserting extra Display Quantize values within the bar with the Display Quantize tool, but there is a much easier way: Change the Display Quantize value for notes back to sixteenths, but set the value for rests to eighth notes! This tells the program not to display any rests smaller than eighth notes, except when necessary. The result looks like this:

With Display Quantize: Notes set to sixteenth notes, but Rests set to eighth notes.

How did this work? Well, you instructed the program not to display any rests smaller than eighth notes, except when “necessary”. Since the rst note appeared on the second sixteenth note position, it was necessary to put a sixteenth rest at the beginning of the gure. All other rests can be hidden by displaying the notes as eighth notes, and were therefore not “necessary”.

This leads us to the following general guidelines:

●

Set the Notes value according to the “smallest note position” you want to be shown in the score. If you have notes on odd sixteenth note positions, for example, set the Notes to sixteenth notes.

●

Set the Rests value according to the smallest note value (length) you want to be displayed for a single note, positioned on a beat.

Common Display Quantize settings would be to have Notes set to 16 (sixteenth notes) and Rests set to 4 (quarter notes).

RELATED LINKS

Inserting Display Quantize changes on page 34

Handling exceptions

Unfortunately, the guidelines above do not work perfectly in every situation. You may for example have a mix of straight notes and tuplets of different types, or you may want to display equally long notes with different note values depending on the context. There are several methods you can try:

Automatic Display Quantize

If your score contains both straight notes and triplets, you can use Auto Quantize. If this option is activated, Nuendo tries to “understand” whether the notes should be displayed quantized to straight notes or triplets.

RELATED LINKS

If your music contains mixed straight notes and triplets on page 62

Using the Display Quantize tool

With the “Q” tool, you can insert new Display Quantize values anywhere in the score. Inserted Display Quantize values affect the staff from the insertion point onwards.

RELATED LINKS

Inserting Display Quantize changes on page 34

Permanent alteration of MIDI data

As a last resort, you can resize, quantize or move the actual note events. However, this would result in the music not playing back like it originally did. Often it is possible to get the score to look the way you want without altering any MIDI data.

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How the Score Editor works Entering notes by hand vs. recording notes

Entering notes by hand vs. recording notes

Sometimes you enter and edit notes by hand (or rather using the mouse and/or the computer keyboard) and at other times you record them from a MIDI keyboard. Most of the time, you do a combination of both. In real life, even if you have recorded the piece perfectly, you often have to do some permanent editing to your recording before printing.

RELATED LINKS

Transcribing MIDI recordings on page 32 Entering and editing notes on page 38

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The basics

About this chapter

In this chapter you will learn:

● How to open the Score Editor.

● How to switch between Page Mode and Edit Mode.

● How to set up the page size and margins.

● How to hide and show the Symbols Inspector, the toolbar, and the extended toolbar.

● How to set up the ruler.

●

How to set a zoom factor.

●

How to make initial settings for clef, key, and time signature.

●

How to transpose instruments.

●

How to print and export your score.

Preparations

PROCEDURE

1. In the Project window, create a MIDI track for each instrument.

You can prepare a piano (split) staff from a single track, that is, there is no need to create one track for the bass clef and one for the treble clef.

2. Name each track after the instrument.

This name can later be used in the score if you like.

3. Record on the tracks or create empty parts on all tracks.

You can make very long parts that cover the entire project, or you can start out with shorter parts to begin with. If you choose the latter option, you can always go back later and add new parts or copy existing parts.

Opening the Score Editor

Editing one or several parts

To open one or several parts in the Score Editor, select the parts (on the same or on different tracks) and select “Open Score Editor” from the MIDI menu or from the Scores menu. The default key command for this is Ctrl/Cmd-R.

● You can also select the Score Editor as your default editor, allowing you to open it by double-clicking parts.

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The basics The project cursor

This is done with the Default MIDI Editor pop-up menu in the Preferences dialog (Editors page).

Editing whole tracks

When preparing a score for printing, you probably want to open whole MIDI tracks in the Score Editor. To do this, select the tracks in the track list and make sure no parts are selected – then open the Score Editor.

Editing parts on different tracks

If you have selected parts on two or more tracks (or several entire tracks – no parts) and open the Score Editor, you get one staff for each track. However, you can split a staff in two when scoring for piano, for example. Think of the Project window as an overview of your entire score and the tracks as representing one instrument each.

Editing predened combinations of tracks

You can open the Score Editor for a certain combination of tracks that you edited before.

RELATED LINKS

Layout operations on page 156

Displaying single voices or the complete score

If the Double-click on staff ips between full score/part option is activated in the Preferences dialog (Scores–Editing page), double-clicking on the rectangle to the left of a staff switches between display of either the whole score or the current voice.

The project cursor

The project cursor appears as a vertical line across the staff. When you open the Score Editor, the view is automatically scrolled so that the project cursor is visible in the window. This means you do not always see the beginning of the edited part when you rst open the Score Editor.

● Hold down Alt and Shift and click anywhere in the score to move the project cursor there.

This is handy when the project cursor is not visible. This is not possible if Computer Keyboard Input mode is activated.

RELATED LINKS

Entering notes using the computer keyboard on page 42

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The basics Playing back and recording

Playing back and recording

You can play back and record MIDI in the Score Editor using the standard transport commands, just like in the other MIDI editors.

Page Mode

When you are preparing a score for printout, you should set the Score Editor to Page Mode. This is done by selecting Page Mode from the Scores menu. If Page Mode is activated, a checkmark appears next to this menu option.

In Page mode, the window switches to display one page at a time, as it appears on printout.

Page Mode vs. Edit Mode

If Page Mode is not activated, the Score Editor is in Edit Mode. All you can do in Edit Mode, you can also do in Page Mode. But Page Mode offers lots of additional features which are directly related to how the score is displayed and printed.

IMPORTANT

This section of the manual assumes you are in Page Mode. It is mentioned explicitly if something in this text

specically relates to Edit Mode.

Changing the Background in Page Mode

In Page Mode, you can specify different background textures for the score by selecting an option from the Background Texture pop-up menu on the toolbar.

NOTE

The background texture only affects the display and is not used for printing.

Using the scrollbars in Page Mode

In Page Mode, the scrollbars are used to scroll the image of the page inside the window.

Moving between pages in Page Mode

If your score takes up more than one page, you use the page number indicator in the lower right corner to move to another page in your score. The number can be adjusted using the standard editing techniques.

The page number indicator – adjust it to move to another page.

Also, if Auto-Scroll is activated on the toolbar, the score display follows the project cursor position. This way you can scroll the score by using fast forward or rewind.

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The basics Changing the zoom factor

Editing individual parts in Page Mode

When you view a single part in Page Mode, the bars before and after the part is normally shown as empty measures in the Score Editor. This is to preserve the layout of the track, that is, the spacing between staves and barlines, number of bars per staff, etc.

If you want to view and print a single part, without any surrounding empty bars, activate the “Unlock Layout when editing single parts” option in the Preferences dialog (Scores–Editing page). Note, however, that if you adjust the layout when editing the part in this mode, this erases the layout for the whole track!

Changing the zoom factor

There are two ways to change the zoom in Page Mode: by setting a zoom factor on the zoom pop-up menu or by using the Zoom tool.

Using the Zoom pop-up menu

Above the vertical scrollbar to the right you can nd a pop-up menu allowing you to set the zoom factor.

By zooming in you can make detailed adjustments to symbols, etc. By zooming out you get a better overview.

● If you select “Fit Page”, the zoom factor is adjusted according to the window size so that the whole page becomes visible.

● If you select “Fit Width”, the zoom factor is adjusted according to the window width so that the full width of the page becomes visible.

NOTE

This pop-up menu can also be opened by right-clicking in the ruler.

Using the Zoom tool

The Zoom tool in the Score Editor works much like in the Project window:

Click once with the Zoom tool to zoom in one step.

●

Hold down Alt and click once with the Zoom tool to zoom out one step.

●

Drag a rectangle with the Zoom tool to set a custom zoom factor.

●

The section encompassed by the rectangle is zoomed to ll the window.

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The basics The active staff

● Hold down a modier key and right-click with the Zoom tool to open the Zoom context menu, and select the desired Zoom setting.

Using the Mouse wheel

You can also zoom by holding down Ctrl/Cmd and moving the mouse wheel. The mouse position is kept (if possible) when zooming in or out.

The active staff

Only one staff at a time can be active, and it is indicated by a rectangle to the left of the clef symbol.

This staff is active.

NOTE

To make a staff active, click anywhere on it. By default, you can also use the Up Arrow and

Down Arrow keys to step between staves.

Making page setup settings

Before preparing the score for printout, you have to make some page settings for your project. This does not have to be the rst thing you do, but it is a good working habit, because it also affects the on-screen display of the score.

PROCEDURE

1. On the File menu, select Page Setup.

The Page Setup dialog appears. This is the regular operation system Page Setup dialog, described in detail in your system’s documentation. The only things that Nuendo adds to this are the margin settings.

2. Select the preferred printer, paper size, orientation, etc.

3. If you need to, change the margins by setting the left, right, top and bottom settings.

To make the settings permanent, save the project.

If you want new projects to always start with certain page setup settings, you can create project templates.

Designing your work space

You can design your work space according to your needs by showing/hiding different areas using the Window Layout function and by showing/hiding different options of these areas using the

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The basics Designing your work space

Setup options dialogs. Which areas and options to show or hide depends on what kind of project you are working on, how large your monitor is, and so on.

Window layout

1 Status line

2 Info line

3 Extended toolbar

4 Filter bar

5 Symbols Inspector

Conguring the window layout

PROCEDURE

1. On the toolbar, click the “Set up Window Layout” button.

2. Activate the desired options.

The status line

The status line features the Mouse Time and the Mouse Note Position displays as well as the Current Chord Display, which helps you identify chords in the Score Editor note display. It can be hidden/displayed using the “Status Line” option in the “Set up Window Layout” pane.

The status line has its own Setup dialog where you can specify exactly which properties you want to see.

● Right-click on the status line and select “Setup…” from the context menu.

In the dialog that appears you can congure where the separate items will be placed and save/recall different setup congurations.

The info line

The info line displays information about the selected note. It can be shown and hidden using the “Info Line” option in the “Set up Window Layout” pane.

The info line has its own setup dialog where you can specify exactly which properties are shown.

● Right-click on the info line and select “Setup…” from the context menu.

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The basics Designing your work space

In the dialog that appears you can congure where the separate items will be placed and save/recall different setup congurations.

The extended toolbar

The extended toolbar contains additional tools for your score. It can be hidden/displayed using the Tools option in the “Set up Window Layout” pane.

The lter bar

This area contains checkboxes determining which indicators, handles, and other non-printed elements are shown in the score. It can be hidden/displayed using the Filters option in the “Set up Window Layout” pane.

Showing and hiding elements

Some of the elements in the score are not printed, but rather serve as indicators for layout changes, handles, etc. These elements can be hidden or shown in any combination by using the Filters options.

The following options are available:

Bar Handles

Displays the bar handles, used for copying bars.

Hidden Notes

Displays any notes you might have hidden.

Hide

Displays markers in the score for each hidden element (except notes).

Quantize

Displays markers in the score where you have made Display Quantize “exceptions”.

Layout Tool

Displays markers in the score where you have made adjustments with the Layout tool.

Grouping

Displays markers in the score where you have made beam groupings.

Cutag

Displays markers in the score where you have inserted cutag events.

Split Rests

Displays markers in the score wherever you have split multiple rests.

Stems/Beams

Displays markers in the score where you have made any stem or beam adjustments.

RELATED LINKS

Moving and duplicating with the bar handles on page 122 Hiding/showing objects on page 167 Inserting Display Quantize changes on page 34 Graphic moving of notes on page 96 Grouping on page 88 The Cut Notes tool on page 95 Splitting multi-rests on page 169

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The basics Designing your work space

Setting stem direction on page 80 Manual adjustment of beams on page 94

The Symbols Inspector

This area allows you to add symbols to the score. It can be hidden/displayed using the Symbols option in the “Set up Window Layout” pane.

The symbol sections can also be opened as free-oating palettes by opening them, right-clicking any of the buttons and selecting “Open as Palette” from the context menu. This way you can move symbol palettes around on the screen by clicking and dragging their title bars. Rightclicking on a symbol palette brings up a pop-up menu:

● Select “Toggle” to switch between a vertical or horizontal view of the palette.

● Select one of the options on the pop-up menu to bring up the corresponding palette instead of the current palette.

● Hold down Ctrl/Cmd and select a palette from the pop-up menu to open the selected palette in a new window (without closing the existing one).

● Click the close button to close a symbol palette.

In the Symbols Inspector setup dialog you can specify exactly which symbol sections are shown.

RELATED LINKS

The Symbols Inspector Setup dialog on page 105 Working with symbols on page 103

The Inspector

The Score Editor Inspector provides settings for working with MIDI tracks. It also features the Quick Staff Setup section that allows you quick access to score specic settings.

This section combines the basic settings for Display Quantize, staff mode, as well as staff presets for quick access.

NOTE

For a description of the MIDI track Inspector, refer to the Operation Manual.

RELATED LINKS

Display Quantize values on page 61 Setting up the voices on page 70 About the polyphonic presets on page 71

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The basics About the Score Editor context menus

The ruler

In the Score Editor there are no meter/time position rulers as in the other editors. Instead, there are horizontal and vertical “graphic rulers” in Page Mode. These help you to position symbols and graphical objects in the score.

● To specify which units to show on the rulers, open the Zoom pop-up menu and select one of the options.

You can choose between points, inches, and centimeters.

● To hide the rulers, select “Off” from the pop-up menu.

The Position Info window

To help you when positioning objects in the score, the Page Mode has a special Position Info window, in which you can view and adjust object positions numerically, in the unit selected for the ruler. To display the Position Info window, click in the ruler.

About the Score Editor context menus

Many functions and settings of the Score Editor can be accessed via context menus, opened by right-clicking on certain elements of the score. For example, if you choose a note, the note context menu opens, listing note-related functions.

If you open the context menu on an empty area of the score, it lists all available tools (allowing you to quickly switch between tools) and it contains many functions of the main menus.

About dialogs in the Score Editor

There are two types of dialogs available in the Score Editor:

Non-modal dialogs can remain open while you continue working in the score.

●

In a non-modal dialog, clicking the Apply button applies the settings in the dialog to the selected objects in the score. This means you can select different elements in the score and change their settings, without having to close the dialog in between.

The dialog is closed by clicking the standard close button in the window title bar. The Score Settings dialog is an example for a non-modal dialog.

Regular dialogs have an OK button instead of an Apply button.

●

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The basics Setting clef, key, and time signature

Clicking OK applies the settings you have made and closes the dialog. You cannot continue working in the score (or select other objects) until you close the dialog.

NOTE

If the “Apply closes Property Windows” option is activated in the Preferences dialog (Scores– Editing page), clicking the Apply button in a non-modal dialog closes the dialog. In other words, this makes a non-modal dialog work a bit more like a regular dialog.

Setting clef, key, and time signature

When preparing to enter notes into a score, you probably want to start out by setting the desired clef, key, and time signature for the staff. The text below assumes you are working on one track only. If you have multiple staves, you either make this setting independently for each staff or for all staves at once.

Normally, all these symbols appear at the beginning of each staff. However, you can control this by using the Real Book option and by hiding objects.

IMPORTANT

In the Score Settings dialog on the Project–Notation Style subpage (Keys category) you can nd the “Key Changes for the entire Project” option. If this option is activated, all changes made to the key always affect every staff in the project, that is, it is not possible to dene different keys for different staves.

RELATED LINKS

Staff settings on page 58 Real Book on page 166 Hiding/showing objects on page 167

Using the Symbols Inspector to set the initial clef, key, and time signature

PROCEDURE

1. Click the “Set up Window Layout” button on the toolbar and activate the Symbols option.

The Symbols Inspector is displayed.

2. Open the Clefs section of the Inspector and click on the symbol for the clef that you want to use in your score.

3. Click anywhere in the rst bar of the staff to set the clef for this track.

4. Open the Keys section and click on the symbol for the key that you want to use.

5. Click anywhere in the rst bar of the staff to set the key for the track.

6. Open the Time Signature section of the Inspector and click on the symbol for the time

signature value that you want to use.

If you cannot nd the desired time signature, you can use the Edit Time Signature dialog.

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The basics Setting clef, key, and time signature

RESULT

The settings you have made so far are valid for the entire track.

Editing the time signature

PROCEDURE

1. Double-click on the time signature symbol at the beginning of the staff.

A dialog opens.

2. If the project is in 4/4 or 2/2, you can select common time/cut time directly by clicking one of the two symbols on the right.

This sets the time signature to 4/4 or 2/2, respectively and also inserts a common/cut time symbol on the staff.

3. If the project is in any other time, set the numerator and denominator above and below the line, respectively.

The numerator can consist of several numbers for composite time signatures. However, if the project is in a simple time signature you only need to ll in the rst number above the line. The more advanced options are described below.

4. Click OK or press Return.

IMPORTANT

All tracks share the time signature! In other words, when you set the time signature, you do this for all tracks in the project.

If you need to enter half a bar somewhere, you must make a time signature change from 4/4 to 2/4 and back again, for example.

RELATED LINKS

By using the Pickup Bar feature on page 171 Inserting and editing clefs, keys, or time signatures on page 55

Composite time signatures and the For Grouping Only option

For composite signatures, the numerator can be made up of up to 4 groups. For example, “4+4+3+/” on the upper line and 8 on the lower means the time signature is 11/8.

The reason for dividing the numerator into several numbers is to get beaming and tied notes displayed correctly automatically. This does not affect the metronome or anything else, only beams and ties.

If “For Grouping Only” is not activated, the numerator shows all the numbers entered. If it is activated, it shows the sum of the numbers entered, as for “simple” time signatures.

“For Grouping Only” off and on

Note that Nuendo tries to preserve the denominator when you insert a composite signature with “For Grouping Only” activated. This means that if you have a 4/4 time signature, and change it to

Page 24

The basics Setting clef, key, and time signature

a composite value (3+3+2 eighths for example), the time signature still is displayed as 4/4 instead of 8/8.

RELATED LINKS

Handling beaming on page 88

Setting the time signature on the Transport panel

You can also set the time signature directly on the Transport panel. Please note that you cannot create composite time signatures from the Transport panel.

Setting the time signature using the signature track/Tempo Track Editor

You can also add, edit, and delete time signatures using the signature track or the Tempo Track Editor.

Please note the following:

●

The score always shows the time signature events set in the signature track/Tempo Track Editor, regardless of whether or not the Tempo button is activated. Likewise, any time signatures you create in the Score Editor are shown in the signature track/Tempo Track Editor.

● You cannot create composite time signatures using the signature track/Tempo Track Editor.

Editing the clef

On the clef context menu

When you right-click on a clef symbol, a context menu with a list of all available clefs opens. This menu also contains the following options:

● Display Clef Changes as Small Symbols

If you activate this option and insert a clef change in the score, the clef is displayed with a smaller symbol.

● Warnings for new Clefs at Line Breaks

If you activate this option and insert a new clef at a line break, the Clef change symbol is inserted in the last bar before the staff break. If this option is deactivated, the symbol is inserted in the rst bar of the next staff line.

● Hide

If you select this function, the clef is hidden.

Properties

●

If you select this function, the Edit Clef dialog opens.

In the Edit Clef dialog

PROCEDURE

1. Double-click on the current clef.

A dialog appears.

Page 25

The basics Setting clef, key, and time signature

2. Use the scrollbar to select a clef.

IMPORTANT

This does not work if Auto Clef is activated on the Staff page of the Score Settings dialog.

3. Repeat the steps above for all staves in the system.

On the Staff page of the Score Settings dialog

PROCEDURE

1. Click on a staff to make it the active staff.

2. On the Scores menu, select “Settings…” to open the Score Settings dialog. Select the Staff

page at the top to open the Main tab, showing the current settings for the active staff.

You can also double-click to the left of a staff to make it active and bring up the Score Settings dialog in one go. If this does not work, the “Double-click on staff score/part” option in the Preferences dialog (Scores–Editing page) may be activated.

ips between full

3. In the Clef/Key section, use the scrollbar on the left to select one of the available clefs.

4. Click Apply.

RELATED LINKS

Displaying single voices or the complete score on page 14 Inserting and editing clefs, keys, or time signatures on page 55

In a split system

If you have a split system you can set different clefs for the upper and lower staff.

NOTE

You can select another staff in the score and make settings for it without having to close the Score Settings dialog rst.

Page 26

The basics Setting clef, key, and time signature

PROCEDURE

1. Open the Score Settings dialog on the Staff page.

2. Select a clef for the upper staff.

3. Activate the “Lower Staff” checkbox.

4. Set a clef for the lower staff.

RELATED LINKS

Split (piano) staves on page 53 Strategies: How many voices do I need? on page 72

Using Auto Clef

On the Staff page of the Score Settings dialog you also nd the Auto Clef option. If this option is activated, the program automatically selects a treble clef or a bass clef for the staff, depending on the range of the notes in the part.

Editing the key

IMPORTANT

In the Score Settings dialog on the Project–Notation Style subpage (Keys category), you can nd the “Key Changes for the entire Project” option. If this option is activated, all changes made to the key always affect every staff in the project. You cannot dene different keys for different staves other than the relative display transpose settings for instruments made on the Staff page. Furthermore, on the Staff page, you can set any staff to not show key signatures.

Therefore, when you want to edit the key, decide if you want the key change to apply to the entire project, or if you want to use different keys on different staves:

● If the key set at the beginning of the track is to be used on all staves, and if any subsequent key changes are also valid for all staves, then leave the “Key Changes for the entire Project” option activated.

● If you want to use different keys on different staves, make sure that the “Key Changes for the entire Project” option is deactivated.

On the key context menu

When you right-click on a key symbol, a context menu with a list of all available keys opens. This menu also contains the following options:

Key Changes for the entire Project

●

If this option is activated, all changes made to the key always affects the entire project, so that it is not possible to dene different keys for different staves.

Hide

●

If you select this, the key is hidden.

Properties

●

If you select this, the Edit Key dialog opens.

Page 27

The basics Setting clef, key, and time signature

In the Edit Key dialog

If the current key is anything but C major/A minor (no accidentals), you can set the key directly in the score:

PROCEDURE

1. Double-click on the accidentals at the beginning of a staff.

The “Edit Key” dialog opens.

2. Use the scrollbar to select a key and click OK.

RELATED LINKS

Transposing instruments on page 28

On the Staff page of the Score Settings dialog

PROCEDURE

1. Make the desired staff active, open the Score Settings dialog and select the Staff page.

The Clef/Key section on the Staff page

2. Use the right scrollbar in the Clef/Key section to select the desired key.

3. Click Apply.

NOTE

You can select other staves in the score and make settings for these, without having to close the Score Settings dialog.

Setting the key for a split system

If you have a split system with two staves you can set different keys for the upper and lower staff.

PROCEDURE

1. Click in the system to make one of its staves the active staff.

2. Open the Score Settings dialog on the Staff page.

3. Set a key for the upper staff.

This automatically sets the lower staff to the same key.

4. If you need to set a different key for the lower staff, activate the “Lower Staff” checkbox and set a key for this.

RELATED LINKS

Split (piano) staves on page 53 Strategies: How many voices do I need? on page 72

Page 28

The basics Transposing instruments

Setting a local key

You can also set a different key for the selected staff only. This is useful for instruments like oboe and English horn that change display transpose and therefore also the key.

PROCEDURE

1. Make the desired staff active, open the Score Settings dialog and select the Staff page.

2. Activate the “Local Keys” option on the Main subpage in the Clef/Key section.

NOTE

This option is only available if “Key Changes for entire Project” is activated in the Score Settings dialog, on the Project–Notation Style subpage (Keys category).

3. Use the scrollbar to the right to set the desired key.

4. Click Apply to set the selected key for the staff.

Transposing instruments

Scores for some instruments, for example a lot of brass instruments, are written transposed. Therefore, the Score Editor provides a Display Transpose function. With this function notes are transposed in the score without affecting the way they are played back. This allows you to record and play back a multi-staff arrangement, and still score each instrument according to its own transposition.

Setting Display Transpose

PROCEDURE

1. Make the desired staff active, open the Score Settings dialog and select the Staff page.

2. In the Display Transpose section, select your instrument from the Transpose pop-up menu

or adjust the value directly in the Semitones eld.

Transpose pop-up menu

3. Click Apply.

IMPORTANT

Display Transpose does not affect MIDI playback!

Display Transpose in the Edit Key dialog

If you want to change the Display Transpose setting in the middle of the score, you can do this by inserting a key change. In the Edit Key dialog, which is opened by double-clicking a key symbol, you can nd a Transpose eld, in which you can enter a transposition value in semitones. This is useful if you are for example writing a saxophone part and want the player to switch from alto to tenor saxophone.

NOTE

Note that you enter an absolute Display Transpose value that is used from this point on. In other words, this setting is not relative to any Display Transpose settings you made on the Staff page of the Score Settings dialog.

Page 29

The basics Printing from the Score Editor

RELATED LINKS

Inserting and editing clefs, keys, or time signatures on page 55

Disabling Display Transpose

You can also disable Display Transpose by deactivating the “Display Transpose” button on the Score Editor toolbar. This can be useful if you work with transposing instruments and want to show the concert key and not the scored key.

Printing from the Score Editor

When you have made all necessary changes to the score display and you are satised with the result, you can print your score.

PROCEDURE

1. On the Scores menu, activate “Page Mode”.

Printing is only possible from within Page Mode.

2. Select Page Setup from the File menu and make sure all your printer settings are correct. Close the dialog.

IMPORTANT

If you change your setting for paper size, scale, and margins now, the score may change its look.

3. Select Print from the File menu.

4. A standard print dialog appears. Fill out the options as desired.

5. Click Print.

Exporting pages as image les

You can export a section of a page or a complete page in various le formats. This allows you to import your scores into desktop publishing and drawing applications.

Selecting a section of a page for exporting

If you only want to export a part of a certain page, proceed as follows:

PROCEDURE

1. Make sure that you are in Page Mode.

2. Select the Export tool (“Select Export Range”).

The pointer turns into a cross-hair cursor.

3. Drag over the section of the score you want to include.

The area is indicated by a rectangle.

You can adjust the size of the rectangle by clicking and dragging its handles with the

●

Object Selection tool.

You can move the rectangle to another position in the score by clicking and

●

dragging.

To export the selected range, you have two possibilities:

Page 30

The basics Working order

Exporting

● Double-click inside the rectangle while it is selected.

This opens the Export Scores dialog, where you can make settings for the le to be created.

Use the Export Scores function.

●

To export the score, proceed as follows:

PROCEDURE

1. Make sure that you are in Page Mode.

2. Select the page that you want to export.

3. Open the File menu, open the Export submenu and select “Export Scores…”.

The Export Scores dialog appears.

4. Select a picture format.

5. Specify a resolution for the le.

This determines the accuracy with which the image is created. 300 dpi, for example, is the resolution many laser printers use for printing. If the image le is only displayed on screen in other programs, select 72 or 96 (depending on screen resolution) and it has the same size as it had in Nuendo.

6. Specify name and location for the le and click Save.

The page of the score is exported and saved as a le. It can now be imported into any program supporting the selected

le format.

Working order

When you prepare a score, we suggest you do things in the following order, since this minimizes the time needed if you make a mistake somewhere and need to redo a step.

● Preferably work on copies of recorded tracks.

If the parts are fairly complex you might have to change them permanently, after which they do not play back as they originally did.

● If memory is an issue, break the score up into segments.

You might for example use the Split Loop function from the Functions submenu on the Edit menu to split the parts across all tracks.

● Arrange the tracks in the Project window in the order you want them displayed in the score.

You cannot rearrange the order of systems in the Score Editor. However, you can go back and change the order in the Project window at any time.

When opening the Score Editor, begin with the adjustments described above.

●

You should always begin by setting page margins, etc.

If you have recorded music into tracks already, try adjusting the graphic display of the

● score as much as possible without permanently editing the notes.

Use the Score Settings, Display Quantize, Grouping, etc.

If the tracks are empty, make basic staff settings, enter the notes and then make detailed

● adjustments, add Display Quantize, etc.

If needed, use polyphonic voicing to resolve overlapping notes, create piano systems,

● handle crossing voices, etc.

When all this is done, decide if you need to perform “destructive” editing.

●

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The basics Force update

● Hide unwanted objects and add note-dependent and note-related symbols.

● Work through the score and adjust the number of bars across the page.

● Adjust the vertical spacing between staves and grand staves.

● Add layout symbols like endings, page text, etc.

●

Force update

If for some reason the screen is not redrawn properly (as a result of the computer’s recalculation of the appearance of the page), you can select “Force Update” from the Functions submenu on the Scores menu or click the Force Update button on the extended toolbar. This forces a redraw of the whole page.

You might for example have to permanently alter the length or position of some of the recorded notes.

This includes accents, dynamic symbols, crescendo, slurs, lyrics, “graphic rests”, etc.

The last two steps can be performed automatically by the program using the Auto Layout features.

Print or export the score.

Go back and create alternative layouts to extract voices, for example.

Page 32

Transcribing MIDI recordings

About this chapter

In this chapter you will learn:

● How to prepare your parts for score printouts.

● How to use the Display Quantize tool to handle “exceptions” in the score.

● How to resolve parts that contain mixed notes and triplets.

About transcription

This chapter assumes you have a MIDI recording that you want to transform into a printable score. However, if the parts are fairly complicated, you probably need to perform some manual editing of the notes.

IMPORTANT

Before starting, make sure that you understand the basic principles behind the score notes/MIDI notes relationship and also what Display Quantize is.

RELATED LINKS

Entering and editing notes on page 38 How the Score Editor works on page 8

Getting the parts ready

PROCEDURE

1. Record the music.

You must denitely play in time with the click.

2. Play back to check that the music was recorded as intended.

If not, you might need to re-record or perform some editing.

3. Decide how much permanent alteration to the recording you can accept to make the score look good.

If the answer is “none”, you should prepare your score from a copy of the track. See the section below.

4. Select all parts (on all tracks) that you want to work on.

5. Open the Score Editor.

6. Activate Page Mode.

Page 33

Transcribing MIDI recordings Preparing parts for score printout

Preparing parts for score printout

Below follow a few tips to note when preparing a score for printout:

● If a part is complex, you may have to do some manual editing of notes, like moving them or changing their lengths. This means that the recording does not play back exactly as it originally did. If this is a problem, we suggest you work on a copy of the recording. Use the Duplicate Track function on the Project menu to create a version of the track for scoring. Rename the track and mute the original track while you are preparing the score. You can of course also work on a copy of the entire project

● For reasons described in the previous chapter, quantizing the track might be a good idea. This reduces the amount of detailed adjustments needed in the Score Editor.

●

If you need to quantize, always play back your tracks afterwards to make sure timing was not disrupted due to inappropriate quantize settings. You might have to quantize some sections with one value and others with another.

●

If the project contains many repetitions, it might be quicker to record just one instance of each to start with. If you then nish the score work on each section, you can assemble the entire project by working with parts in the Project window. This might save you some time since the detailed adjustments to each section have to be performed only once.

●

A similar approach can also be used when you create sections where several instruments play the same rhythm, a horn section for example. Record the rst instrument and make adjustments so that it looks like it should in the Score Editor. Then copy the part to the other tracks, and change the pitches of the notes using MIDI input. Finally, go through the copied parts and make be a very fast way to create polyphonic parts with complicated rhythms.

● There also may be situations when the quickest way to record a part for several instruments is simply to record it in one go, by playing the chords on your MIDI instrument. If you later want to split the recording into separate tracks or polyphonic voices, you can use the Explode function.

ne adjustments, change display transpose settings, etc. This can

le.

RELATED LINKS

Entering and editing notes on page 38 The Explode function on page 36

Staff settings

The rst thing to do after opening the Score Editor is to make initial staff settings. This is done in the Score Settings dialog, on the Staff page.

There are three ways to open the Score Settings dialog:

● Make the staff active, open the Scores menu and select “Settings…”.

Double-click on the rectangle to the left of the staff.

●

If this does not work, the “Double-click on staff ips between full score/part” option may be activated in the Preferences dialog (Scores–Editing page).

Make the staff active and click the “i” button on the extended toolbar.

●

For this to work, make sure no notes or symbols are selected – otherwise, clicking the “i” button may open a dialog with settings for the selected object instead.

Click the Staff button to open the Staff page of the Score Settings dialog. The Staff page shows the current settings for the staff on four tabs.

RELATED LINKS

Displaying single voices or the complete score on page 14 Staff settings on page 58

Page 34

Transcribing MIDI recordings Situations which require additional techniques

Situations which require additional techniques

The notes may not always appear in the score as you expect them to, initially. This is because there are a number of situations which require special techniques and settings.

Below you can nd a list of some of these and where to nd more information about handling them:

● Notes at the same position are considered to be part of a chord. To get independent voicing notes with different stem directions, such as for vocal material, you need to use the polyphonic voicing feature.

Without and with polyphonic voicing

●

If two notes beginning at the same position have different lengths, the longer one is displayed as a number of tied notes. To avoid this, you can either use the No Overlap feature or polyphonic voicing.

●

One note is often displayed as two notes with a tie. Please note that this is merely the way the program displays this note; only a single note is “stored”.

This single note in the Key Editor is displayed as two tied notes in the Score Editor.

● Normally the program adds ties where necessary (if a note stretches over a beat), but not always. For a “modern” notation of syncopated notes (fewer ties) use the Syncopation feature.

The same note, without and with syncopation

● If you nd that you want a long note to be displayed as two or more tied notes, you can achieve this with the Cut Notes tool.

● If two notes on the same position are too close to each other or if you want their order in the part reversed, you can do this without affecting playback.

● If a note has the wrong accidental, this can be changed.

● Stem direction and length are automatic, but you can change them manually if you want.

● If you are scoring for piano, for example, and you need a split staff, there are special techniques for this.

RELATED LINKS

Polyphonic voicing on page 199 No Overlap on page 63 Syncopation on page 62 The Cut Notes tool on page 95 Graphic moving of notes on page 96 Accidentals and enharmonic shift on page 82 Background: Note stems on page 79 Split (piano) staves on page 53

Inserting Display Quantize changes

Some situations may require different staff settings on different sections of the track. The staff settings are valid for the entire track, but you can insert changes wherever you like:

Page 35

Transcribing MIDI recordings Inserting Display Quantize changes

PROCEDURE

1. Select the Display Quantize tool on the toolbar or the context menu.

The Display Quantize dialog opens.

Select the Display Quantize tool to open the Display Quantize dialog.

2. Activate the ags you need and set the quantize values as desired.

3. If you want to restore the settings to the ones used in the Score Settings dialog (Staff

page), click the “Restore To Staff” button.

4. Move the mouse over the staff where you want to insert a new Display Quantize value.

Use the Mouse Time Position display in the status line to nd the exact location. The vertical position is of no relevance as long as you click somewhere in the staff.

5. Click the mouse button to insert a Display Quantize event.

RESULT

The new quantize settings are now inserted into the staff at the position where you clicked. The settings are valid until a new change is inserted. Display Quantize events is always inserted for all voices.

If you are using polyphonic voices, you can insert a Display Quantize event for all voices by pressing Alt and clicking with the tool.

If the “Display Quantize Tool affects all Voices” option is activated in the Score Settings dialog on the Project page (Notation Style subpage, in the Miscellaneous category), Display Quantize events is always inserted for all voices.

RELATED LINKS

Display Quantize and Interpretation Options on page 60 The status line on page 18 Polyphonic voicing on page 199

Viewing and Editing Display Quantize Changes

If you activate the “Quantize” checkbox on the lter bar, a marker is shown under the staff for each Display Quantize setting you have entered with the tool.

This allows you to edit your settings in the following ways:

To edit a Display Quantize change event, double-click on its marker.

●

This opens the Display Quantize dialog again – adjust the settings and click Apply.

If the Display Quantize dialog is already open, you can select any Display Quantize change

● event, adjust its settings in the dialog and click Apply.

To remove a Display Quantize change, either click its marker to select it and press

●

Backspace or Delete, or click on it with the Erase tool.

Page 36

Transcribing MIDI recordings The Explode function

RELATED LINKS

Showing and hiding elements on page 19

Adding Display Quantize changes

Very often, the score is ne except for a few bars somewhere. To remedy the problem, insert two Display Quantize changes with the tool (one at the beginning of the section, one after it to restore to the current staff settings).

If you have mixed triplets and straight notes, it can be tempting to insert many Display Quantize changes. Before you do so, try the Auto Quantize options and their additional settings.

RELATED LINKS

If your music contains mixed straight notes and triplets on page 62

The Explode function

This function allows you to “split” the notes on a staff into separate tracks. It is also possible to use this function to convert a polyphonic staff into polyphonic voices.

IMPORTANT

Create a copy of the original track rst, because it will be changed by the operation.

PROCEDURE

1. Open the Scores menu, open the Functions submenu and select “Explode”.

The Explode dialog opens.

2. Make sure that “To New tracks” is selected at the top of the dialog.

3. Enter the desired number of new tracks.

Note that this is the number of new tracks to be created! For example, if you have a threepart polyphonic section and want to split this into three separate tracks, you must specify 2 new tracks, since the original track holds one of the parts.

4. Use the options in the bottom section to set up the criteria for the split.

Choose from the following options:

Option

Description

Split Note Use this to move all notes below a certain

pitch to another track. When this is selected, it is pointless to specify more than 1 new track.

Page 37

Transcribing MIDI recordings Using "Scores Notes To MIDI"

Option Description

Lines To tracks Use this when you want all musical “lines”

to be put on one track each. The notes with the highest pitch remains on the original track, the notes with the second highest pitch are put on the on.

rst new track, and so

Bass To Lowest Voice

5. Click OK.

RESULT

A number of new tracks are now added to the score and the Project window.

RELATED LINKS

Automatically – the Explode function on page 74

Using "Scores Notes To MIDI"

For very complicated scores, there may be situations where you have tweaked the parameters for Display Quantize and Interpretation as best you can, and you still cannot get the score exactly as you want it. Perhaps one setting works ne in one section of the track and another is needed for another section.

In such a case, “Scores Notes To MIDI” helps you out. It changes the lengths and position of some or all the MIDI notes in the edited parts so that they have exactly the values shown on screen.

PROCEDURE

1. For safety, go back to the Project window and make a copy of the track.

2. Open the parts again in the Score Editor.

If you only want some sections of your score to be “converted”, make sure to only open those parts.

3. Make sure that the notes you want to affect are not hidden.

4. Select “Scores Notes To MIDI” from the Functions submenu on the Scores menu.

The notes are now “converted”.

5. Make whatever adjustments are needed to make the score read as intended.

If this option is activated, the lowest notes always end up on the lowest track.

RESULT

Now that the notes have the exact lengths and positions that were previously only displayed, you can probably deactivate many of the options on the Staff page of the Score Settings dialog and delete Display Quantize settings, etc.

If you nd the operation did not give you the result you were after, you can undo your settings or go back to the original track, make a copy of that, and start over.

RELATED LINKS

Hiding/showing objects on page 167

Page 38

Entering and editing notes

About this chapter

In this chapter you will learn:

● How to make various settings for how notes are displayed.

● How to enter notes.

● How to use tools and settings to make the score as legible as possible.

● How to set up a split (piano) staff.

● How to work with multiple staves.

Score settings

Before you start entering notes, you need to make some initial staff settings.

There are three ways to open the Score Settings dialog:

●

Make the staff active, open the Scores menu and select “Settings…”.

●

Double-click on the rectangle to the left of the staff.

If this does not work, the “Double-click on staff ips between full score/part” option may be activated in the Preferences dialog (Scores–Editing page).

● Make the staff active and click the “i” button on the extended toolbar.

For this to work, make sure no notes or symbols are selected – otherwise, clicking the “i” button may open a dialog with settings for the selected object instead.

The Score Settings dialog shows the current settings for the active staff.

RELATED LINKS

The basics on page 13 How the Score Editor works on page 8 Displaying single voices or the complete score on page 14 Staff settings on page 58

Applying settings and selecting other staves

To make settings for another staff, simply make it active in the score (by clicking anywhere in the staff or by using the Up Arrow/Down Arrow keys).

NOTE

Always click Apply before making another staff active – otherwise your settings are lost!

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Entering and editing notes Score settings

Staff presets

When you want to reuse settings made for one track in other tracks, you can save some time by creating a staff preset.

NOTE

There are a number of staff presets available, set up to suit various instruments, etc. These are accessed via the Presets pop-up menu on the Staff page of the Score Settings dialog, or from the Staff context menu, opened by right-clicking on the rectangle to the left of the staff. Use them as they are, or as starting points for your own settings.

RELATED LINKS

Working with staff presets on page 59

Suggested initial settings

When you start out entering notes, your staff settings should make your score display the notes as entered. We suggest the following:

Option Suggested setting

Display Quantize: Notes 64

Display Quantize: Rests 64

Auto Quantize Activated

Syncopation Off

Consolidate Rests Off

Clean Lengths Off

No Overlap Off

Shue Off

Key As required

Clef As required

Auto Clef Activate this if you want the program to select

a treble or bass clef automatically.

Display Transpose value 0

Options tab settings As is

Polyphonic tab settings Staff Mode: Single

Tablature tab settings Tablature Mode deactivated

Page 40

Entering and editing notes Note values and positions

NOTE

It is very important that you understand how the Display Quantize values for notes and rests interact with the score. If you select too large a notes/rests value, the notes you “click in” may not appear as intended.

RELATED LINKS

Split (piano) staves on page 53 How the Score Editor works on page 8 Display Quantize and Interpretation Options on page 60

Note values and positions

Two of the most important settings for entering notes are the length of the note (the note value) and the minimum spacing between notes (the Quantize value).

Selecting a note value for input

You can choose the length for entering notes as follows:

● By clicking the note symbols on the extended toolbar.

You can select any note value from 1/1 to 1/64 and activate/deactivate the dotted and triplet options by clicking the two buttons to the right.

The selected note value is displayed in the Length Quantize eld on the toolbar and also reected by the cursor shape of the Insert Note tool.

● By selecting an option from the Length Quantize pop-up menu on the toolbar.

● By assigning key commands to the different length values.

This is done in the Key Commands dialog (in the category “Set Insert Length”).

About unusual note values

Not all note values can be selected directly, for example double dotted notes. Such notes are created by changing the length of the note after you have entered it, by gluing notes together or by using the Display Length feature.

RELATED LINKS

Changing the length of notes on page 51 Lengthening a note by gluing two notes together on page 52

Selecting a Quantize value

When you move the mouse pointer over the score the Mouse Time Position display in the status line tracks your movement and shows the current position in bars, beats, sixteenth notes, and ticks.

Positioning on screen is controlled by the current Quantize value. If you set this to 1/8, for example, you can only insert and move notes to eighth note positions, at quarter notes, at half

Page 41

Entering and editing notes Note values and positions

bars or at bar positions. It is a good strategy to set the Quantize value to the smallest note value in the project. This does not stop you from inputting notes at “coarser” positions. However, if you set the Quantize value to too small a note value, it is easier to make mistakes.

With the Quantize value set to 1/8, you can only input notes at eighth note positions:

The Quantize value is set on the toolbar on the “Quantize Presets” pop-up menu:

● You can also assign key commands to the different Quantize values.

This is done in the Key Commands dialog (in the category “MIDI Quantize”).

● Just like in the other MIDI editors, you can use the Quantize Panel to create other Quantize values, irregular grids, etc.

However, this is not often used when inputting score notes.

The mouse position info

While you often use the graphical position in the actual score to determine where the notes go, there are instances when you want to verify the position numerically using the mouse position info displayed in the status line.

The Mouse Note Position display shows the pitch according to the vertical position of the pointer in a staff. The Mouse Time Position display shows the “musical position” in bars, beats, sixteenth notes, and ticks:

● The relation between beats and bars depends on the time signature: In 4/4 there are 4 beats to a bar. In 8/8 there are eight, in 6/8 there are six, etc.

● The third number is the sixteenth note within the beat. Again, the time signature determines the number of sixteenth notes to each beat. In a quarter note based time signature (4/4, 2/4, etc.) there are four sixteenth notes to each beat, in an eighth note based time signature (3/8, 4/8, etc.), there are two sixteenth notes, etc.

● The last value is in ticks, with 480 ticks per quarter note (and thus 120 ticks per sixteenth note).

The gures below show some note positions and their corresponding position values:

Eighth note positions

2/2

4/4 1.1.1.0 1.1.3.0 1.2.1.0 1.2.3.0 1.1.3.0 1.3.3.0 1.4.1.0 1.4.3.0

8/8 1.1.1.0 1.2.1.0 1.3.1.0 1.4.1.0 1.5.1.0 1.6.1.0 1.7.1.0 1.8.1.0

1.1.1.0 1.1.3.0 1.1.5.0 1.1.7.0 1.2.1.0 1.2.3.0 1.2.5.0 1.2.7.0

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Entering and editing notes Adding and editing notes

Eighth note triplet positions

2/2 1.1.1.0 1.1.2.40 1.1.3.80 1.1.5.0 1.1.6.40 1.1.7.80

4/4 1.1.1.0 1.1.2.40 1.1.3.80 1.2.1.0 1.2.2.40 1.2.3.80

8/8 1.1.1.0 1.1.2.40 1.2.1.80 1.3.1.0 1.3.2.40 1.4.1.80

Sixteenth note positions

2/2 1.1.1.0 1.1.2.0 1.1.3.0 1.1.4.0 1.1.5.0 1.1.6.0 1.1.7.0 1.1.8.0

4/4 1.1.1.0 1.1.2.0 1.1.3.0 1.1.4.0 1.2.1.0 1.2.2.0 1.2.3.0 1.2.4.0

8/8 1.1.1.0 1.1.2.0 1.2.1.0 1.2.2.0 1.3.1.0 1.3.2.0 1.4.1.0 1.4.2.0

Adding and editing notes

Entering notes using the computer keyboard

A quick and easy way to enter notes, without having to decide on the pitch, position and note value rst is using the computer keyboard. To enter a note, proceed as follows:

PROCEDURE

1. On the toolbar, activate the “Computer Keyboard Input” button.

Now you can enter notes using the computer keyboard.

2. Hold down Alt.

NOTE

If the “Computer Keyboard Note Entry: Require ALT-Key” option is deactivated in the Preferences dialog (Scores–Editing page), you can insert notes without holding down Alt.

A note with the note value specied on the extended toolbar appears. By default, the insert position is the rst position of the bar and the pitch is C3.

To change the pitch, press the key that corresponds to the note on your computer

●

keyboard (c, d, e, f, etc.). If “Computer Keyboard Note Entry: Use On-Screen Keyboard Keys” option is activated in the Preferences dialog (Scores–Editing page), you can press the key that corresponds to the note on the on-screen keyboard (qwerty) instead.

To transpose the note in semitone steps, use the Up Arrow and Down Arrow keys.

●

To transpose the note in octave steps, use the Page Up/Page Down keys.

●

To change the insert position of the note, use the Left Arrow and Right Arrow keys.

●

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Entering and editing notes Adding and editing notes

Note that for position changes, the Quantize value is taken into account.

● To change the length of the note, hold down Shift and use the Left Arrow and

Right Arrow keys.

This changes the note value step by step, passing from one Quantize value to the next.

NOTE

If the “Computer Keyboard Note Entry: Legato” option is activated in the Preferences dialog (Scores–Editing page), the length of the previous note is changed on inserting notes.

3. Insert the note with the computer keyboard.

The note with the specied pitch and note value is inserted at the selected position and the insert position for the next note changes according to the Quantize value. If you press

Shift-Return, the insert position does not change, allowing you to enter chords.

Entering notes with the mouse

To add a note to the score using the mouse, proceed as follows:

PROCEDURE

1. Make the staff active.

Notes are always inserted on the active staff.

2. Select the desired note value.

3. If you select the note value by clicking on a symbol on the extended toolbar, the Insert

Note tool is automatically selected – otherwise select the Insert Note tool on the toolbar or context menu.

4. Select a Quantize value.

The Quantize value determines the spacing between notes. If you set Quantize to 1/1 you only can add notes at downbeats. If you set Quantize to 1/8, you can add notes at eighth note positions, etc.

5. Click in the staff and keep the mouse button pressed.

The Insert Note tool changes into a note symbol (showing the note exactly as it would be inserted in the score).

6. Move the mouse horizontally to nd the correct position.

7. Move the mouse vertically to nd the correct pitch.

Accidentals are shown beside the note to indicate the current pitch.

NOTE

If the “Show Note Info by the Mouse” option is activated in the Preferences dialog (Scores– Editing page), the position and pitch of the note is also shown in a “tooltip” next to the pointer while you are dragging. If you nd that screen redraws are too sluggish, you may want to deactivate this option.

8. Release the mouse button.

The note appears in the score.

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Entering and editing notes Adding and editing notes

IMPORTANT

If you activate the “Animate Note Cursor” option in the Preferences dialog (Scores–Editing page), you do not need to keep the mouse button pressed to see the note as it would be inserted in the score.

RELATED LINKS

The active staff on page 17 Selecting a note value for input on page 40

Adding more notes

PROCEDURE

1. If you want the next note to have a different length value, select the corresponding note symbol.

2. If you need ner positioning, or if the current value is too ne, change the Quantize value.

3. Move the mouse to the desired position, and click.

Notes input at the same position are automatically interpreted as chords.

About the interpretation

The notes may not always appear in the score as you initially expect them to. This is because there are a number of situations that require special techniques and settings. Below you can nd a list of some of these and where to nd more information about handling them:

● Notes at the same position are considered parts of a chord. To get independent voicing (for example notes with different stem directions), such as for vocal material, you need to use polyphonic voicing.

Without and with polyphonic voicing

● If two notes beginning at the same position have different lengths, the longer is displayed as a number of tied notes. To avoid this, you can either use the “No Overlap” feature or polyphonic voicing.

● One note is often displayed as two notes with a tie. This is only how the program displays the note, there is still only a single note “stored”.

This single note in the Key Editor is displayed as two tied notes in the Score Editor.

Generally the program adds ties where necessary (if a note stretches over a beat), but not

● always. For more “modern” notation of syncopated notes (fewer ties), you need to use the syncopation feature.

The same note, without and with Syncopation

If you want a long note to be displayed as two (or more) tied notes, you can use the Cut

● Notes tool for this.

If a note has the wrong accidental, this can be changed.

●

Page 45

Entering and editing notes Selecting notes

● If two notes on the same position are too close to each other or if you want their “graphical order” in the score reversed, you can do this without affecting playback.

● Stem direction and length is normally automatic, but you can set it yourself.

If you are scoring for piano and therefore (or for other reasons) need a split staff, there are

● special techniques for this.

RELATED LINKS

No Overlap on page 63 Syncopation on page 62 Accidentals and enharmonic shift on page 82 Graphic moving of notes on page 96 Background: Note stems on page 79 Split (piano) staves on page 53 Polyphonic voicing on page 68

Selecting notes

In the operations described in the rest of this chapter, you often work on selected notes. The text below describes how to select notes:

By clicking

To select a note, click on the note head with the Object Selection tool. The note head gets colored to indicate that it is selected.

● To select more notes, hold down Shift and click on them.

● To deselect notes, hold down Shift and click on them again.

● If you hold down Shift and double-click on a note, this note and all the following notes in the same staff are selected.

Using a selection rectangle

PROCEDURE

1. Click in an empty area in the score with the Object Selection tool and keep the mouse button pressed.

2. Drag the mouse pointer to create a selection rectangle.

You can drag to select notes on several voices or staves.

3. Release the mouse button.

All notes with note heads inside the rectangle are selected.

Page 46

Entering and editing notes Moving notes

If you want to deselect one or more of the notes, hold down Shift and click on them.

Using the keyboard

By default, you can step through (and select) the notes in the staff using the Left Arrow and

Right Arrow keys. If you press Shift, you can select a series of notes as you step through them.

● If you are working with polyphonic voices, you step through the notes on the current track, that is, in a split system, you step through the staves.

If you want to use other keys for selecting notes, you can customize the settings in the Key

● Commands dialog (in the Navigate category).

Selecting tied notes

Longer notes are often displayed in the score as one note with a tie. If you intend to select the entire note, you must select the rst note, not the tied note.

IMPORTANT

There is a setting for this in the Preferences dialog (Scores–Editing page): If you activate “Tied Notes selected as Single Units”, the whole note is selected, even if you click on one of the tied notes.

Deselecting everything

To deselect everything, simply click in an empty area of the score with the Object Selection tool.

Moving notes

In the following, you can nd descriptions of the various methods to move notes, as well as related features.

Moving by dragging

PROCEDURE

1. Set the Quantize value.

The Quantize value restricts your movement in time. You cannot place notes on positions smaller than the Quantize value.

2. Select the notes you want to move.

You can select notes across several staves.

3. Click one of the selected notes and drag it to a new position.

The horizontal movement of the note is “magnetically attracted” to the current Quantize value. The Mouse Time Position and Mouse Note Position displays in the status line show the new position and pitch for the dragged note.

NOTE

4. Release the mouse button.

The notes appear at their new position.

Page 47

Entering and editing notes Moving notes

● If you press Ctrl/Cmd and drag, movement is restricted to vertical or horizontal

(depending on the direction in which you drag).

● If you move notes vertically and the “Keep moved Notes within Key” option is

activated in the Preferences dialog (Scores–Editing page), the notes are transposed within the current key only.

RELATED LINKS

Selecting a Quantize value on page 40

Moving by using key commands

Instead of dragging the note with the mouse, you can assign key commands for this:

●

The corresponding commands can be found in the Nudge category in the Key Commands dialog.

●

When moving notes to the left or right using key commands, the notes are moved in steps according to the Quantize value.

The keys assigned for up/down nudging transpose notes in semitone steps.

Moving across staves – the Lock button

If you are editing several tracks, you may want to move notes from one staff to another.

PROCEDURE

1. Make the desired Quantize settings and select the notes.

Make sure to only select notes on the same staff.

2. Make sure that the “L” (Lock) button on the extended toolbar is deactivated .

If this button is activated, you cannot move notes and other objects from one staff to another, which is handy if you need to transpose a note very high or low, for example.

3. Click on one of the notes and drag them to the new system.

The active staff rectangle indicates on which staff the dragged notes appears.

The Snap mode

The notes you move (or copy) snap to positions dened by the note length and Quantize values. Using the Snap Type pop-up menu on the Score Editor toolbar you can select the Snap mode used when moving or copying notes:

● When using the “Grid” mode, notes you move (or copy) always snap to exact grid positions.

● When using the “Grid Relative” mode, a note with a certain position relative to a grid line always maintains that relative position to the grid when moved (or copied).

Acoustic Feedback

To hear the pitch of the note while moving, activate the speaker icon (Acoustic Feedback) on the toolbar.

Page 48

Entering and editing notes Moving notes

About the lock layers

When you are moving and editing notes in the score, you might accidentally move other objects nearby. To avoid this, assign different types of objects to different “lock layers” (up to three) and instruct Nuendo to “lock” one or two of these layers, making them unmovable.

There are two ways to set up which type of object should belong to which lock layer:

● Open the Preferences dialog from the File menu and select the Scores–Note Layer page.

This page lets you adjust the layer setting for each object type.

● Right-click one of the layer buttons, (1-2-3), on the extended toolbar to bring up a pop-up menu, showing which object types are associated with that layer.

A checkmark for an object type means it belongs to that layer. If no checkmark is shown, you can select the object type on the menu to move it to that layer.

To lock a layer, click the corresponding layer button, so that it is disabled and not highlighted. You can only select or move objects whose Layer button is activated.

NOTE

There are also “L” and “P” layer buttons, for the layout and project layer. Clicking these buttons allows you to lock the layout and project layers.

RELATED LINKS

Using the lock layers on page 118 Background: The different layers on page 103

Displaying layers

To see which score objects you assigned to which layer, you can activate and deactivate the Layer buttons on the extended toolbar.

● To display all the score objects that you assigned to the different note layers, activate layers 1, 2, or 3.

● To display all the score objects that are associated with the layout layer, activate the Layout Layer (L) button.

● To display all the score objects that are associated with the project layer, activate the Project Layer (P) button.

● To get an overview of all layers, activate the Colorize Layer (A) button. This deactivates all other layer buttons and displays the score objects in different colors, where each color stands for a specic type of layer.

Page 49

Entering and editing notes Duplicating notes

Duplicating notes

To duplicate notes in the score, proceed as follows:

PROCEDURE

1. Set the Quantize value and select the desired notes.

You can duplicate any block of notes, even on several systems at the same time. The Snap mode applies.

2. Press Alt and drag the duplicate notes to their new position.

● If you want to restrict movements to one direction, press Ctrl/Cmd.

This works just as for moving.

●

If you want to restrict the pitch to inside the current key only, make sure that the “Keep moved Notes within Key” option is activated in the Preferences dialog (Scores– Editing page).

3. Release the mouse button to insert the notes.

Alt is the default modier key for copying/duplicating. If you like, you can change this in

the Preferences dialog (Editing–Tool Modiers page).

The entry for this is found in the Drag & Drop category (“Copy”).

NOTE

You can also move or copy whole bars by dragging the bar handles.

RELATED LINKS

The Snap mode on page 47 Moving and duplicating with the bar handles on page 122

Cut, copy, and paste

● To cut notes, select them and choose Cut from the Edit menu (or use a key command, by default Ctrl/Cmd-X).

The notes are now removed from the score and put on the clipboard.

● To copy notes, select them and choose Copy from the Edit menu (or use a key command, by default Ctrl/Cmd-C).

A copy of the notes is made, and put on the clipboard. The original notes remain where they were.

IMPORTANT

The clipboard can only hold one set of notes. If you cut or copy and then cut or copy again, the notes copied to the clipboard rst are lost.

Inserting notes from the clip board to the score

Notes that you have put on the clipboard by cutting or copying can be inserted into the score again as follows:

PROCEDURE

1. Activate the desired staff.

2. Move the project cursor to the position where you want the rst note to appear.

This is done by holding down Alt and Shift and clicking at the desired position in the score.

Page 50

Entering and editing notes Editing pitches of individual notes

3. Select Paste from the Edit menu (or use a key command, by default Ctrl/Cmd-V).

The notes are pasted in, beginning at the project cursor. If the cut or copied notes come from different staves, they are also inserted on different staves. Otherwise, the notes are inserted on the active staff. They keep the pitch and relative positions they had when you cut or copied them.

Editing pitches of individual notes

By dragging

The simplest way to edit the pitch of a note is to drag it up or down. Remember to hold down

Ctrl/Cmd to avoid moving the note sideways as well.

●

If the “Keep moved Notes within Key” option is activated in the Preferences dialog (Scores– Editing page), notes are transposed within the current key only.

●

To avoid accidentally moving the note into another staff, activate the Lock button.

●

When you drag the mouse up and down before releasing the button, accidentals are shown beside the note to indicate the current pitch.

This helps you verify the vertical position for the note.

RELATED LINKS

Moving across staves – the Lock button on page 47

Using the Transpose Palette

The Transpose Palette on the toolbar contains buttons for transposing the selected notes up or down in steps of one semitone or one octave.

● To show the Transpose Palette, right-click the toolbar and activate “Transpose Palette” on the context menu.

Using key commands

Instead of transposing the note with the mouse, you can assign key commands for this.

● The commands for which you can assign key commands are found in the Nudge category in the Key Commands dialog.

Transpose commands are, for example, “Up” (transpose one semitone up) and “Down” (transpose one semitone down).

Using the info line

You can use the info line to change the pitches (and other properties) of one or several notes numerically.

If you have several notes selected and change the pitch on the info line, the changes are

● relative.

That is, all selected notes are transposed by an equal amount.

If you have several notes selected, hold down Ctrl/Cmd and change the pitch on the info

● line, the changes are absolute.

That is, all selected notes are set to the same pitch.

Page 51

Entering and editing notes Changing the length of notes

Via MIDI

PROCEDURE

1. On the toolbar, activate the MIDI Input button and the Record Pitch button to the right.

If you also want to change the note-on and/or note-off velocity of the notes via MIDI, this can be done by also activating the corresponding velocity buttons. To edit notes via MIDI (pitches only), set up the buttons like this.

2. Select the rst note that you want to edit.

3. Press a key on your MIDI keyboard.

The note takes on the pitch of the key you pressed. The program then selects the next note.

4. To change the pitch of the next selected note, simply press the desired key.

You can change note pitches by simply pressing the relevant keys. You can also use key commands (by default the Left Arrow and Right Arrow key) to pass from one note to the other. For example, if you make a mistake, you can step back to the previous note by pressing the Left Arrow key.

Changing the length of notes

When it comes to note lengths, the Score Editor is special in that it does not necessarily display the notes with their actual length. Depending on the situation, you may want to change the “physical length” of the notes or the “display length”.

Changing the “physical” length

This changes the actual length of the notes. The change is audible when you play back the music.

IMPORTANT

Remember that the appearance of notes and rests in the score is determined by the Display Quantize settings on the Staff page of the Score Settings dialog. Depending on the Notes and Rests values, notes may be displayed as if they were longer than they really are.

RELATED LINKS

Display Quantize on page 9

By using the extended toolbar

Using the extended toolbar is another quick way to set a number of notes to the same length:

PROCEDURE

1. Select the notes that you want to change.

2. Hold down Ctrl/Cmd and click on one of the note icons on the extended toolbar.

All the selected notes now get the note value on which you clicked.

By using the info line

You can also edit length values numerically on the info line. The same rules apply as when changing the pitch of notes.

Page 52

Entering and editing notes Changing the length of notes

Lengthening a note by gluing two notes together

You can create unusual note length values by gluing notes of the same pitch together.

PROCEDURE

1. Insert the notes that you want to glue together (if they do not already exist).

2. Select the Glue tool on the toolbar or context menu.

3. Click on the rst note.

This note is now tied to the rst following note with the same pitch.

IMPORTANT

Make sure that you have Display Quantize values for notes and rests that allow you to display notes of the created note value.

4. If you want to glue more notes, click again.

By gluing together a quarter note, an eighth note and a sixteenth note, you get a double dotted quarter note.

Changing the display length

If you want to change the displayed length of notes without affecting how they play back, the rst thing to try is to adjust Display Quantize, either for the whole staff or for a separate section, using the Display Quantize tool.

But you can also make display length adjustments to individual notes in the Set Note Info dialog:

PROCEDURE

1. Double-click on the note.

The Set Note Info dialog opens.

2. Locate the “Length” setting.

By default, this is set to “Auto”, which means that the note is displayed according to its actual length (and the Display Quantize settings).

3. Double-click in the value eld and enter a new length value (displayed in bars, beats, sixteenth notes, and ticks).

To set the display length to “Auto” again, scroll the value down to zero.

4. Click Apply and close the dialog.

The note is now displayed according to its display length setting. However, the Display Quantize settings still apply!

RELATED LINKS

Inserting Display Quantize changes on page 34

Page 53

Entering and editing notes Splitting a note in two

Splitting a note in two

If you have two notes strung together by a tie, and click on the “tied” note head with the Split tool, the note is divided into two, with the length of the “main” and the tied note, respectively.

Before and after splitting a tied note

Working with the Display Quantize tool

There are instances when you want different staff settings for different sections of the track. The settings on the Staff page of the Score Settings dialog are valid for the entire track, but by using the Display Quantize tool you are able to insert changes and exceptions wherever you like.

RELATED LINKS

Inserting Display Quantize changes on page 34

Split (piano) staves

Setting up the split staff

PROCEDURE

1. Make a staff active.

2. Open the Score Settings dialog on the Staff page and select the Polyphonic tab.

3. From the Staff Mode pop-up menu, select Split.

4. Set the Split Point value to a suitable note.

All notes below this note value are put on the lower clef, all above are put on the upper clef.

Split mode selected.

If the default piano clef settings for the upper and lower staff are not what you want, you can adjust these settings now (or you can make key and clef adjustments directly in the score).

5. Make whatever additional staff settings you need.

These apply to both the upper and lower staves of the split system.

6. Click Apply.

Page 54

Entering and editing notes Strategies: Multiple staves

Before and after setting a split at C3

RELATED LINKS

Setting clef, key, and time signature on page 22

Changing the split point

PROCEDURE

1. Make sure that the system you are working on is active.

2. Open the Score Settings and select the Staff page.

3. Select the Polyphonic tab.

4. Change the Split Point value.

5. Click Apply.

RESULT

Now, some notes that were previously on the lower staff are on the upper, or vice versa.

Strategies: Multiple staves

When you have parts on several tracks selected in the Project window, these are put on one staff each, when you open the Score Editor. This allows you to work on several staves in parallel.

Working with several staves is not much different from working with one. Below follow some guidelines that apply specically to working with multiple staves.

Score settings dialog, Staff page

The settings on the Staff page of the Score Settings dialog are local to each staff. You can have the Score Settings dialog open and select each staff in turn to make settings – just remember to click Apply before selecting another staff, otherwise your changes are lost.

If several staves share settings, you can save some time by using staff presets. Set up the staff settings for the the other staves, one at a time.

RELATED LINKS

Working with staff presets on page 59

rst staff, and save them as a preset. This preset can then be applied to any of

Selecting notes

You can select notes from one or several staves at the same time, using any of the selection methods.

RELATED LINKS

Selecting notes on page 45

Page 55

Entering and editing notes Inserting and editing clefs, keys, or time signatures

Adding notes

This is done just as on a single system. Please note the following:

When you enter a note, use the Mouse Note Position display (in the status line) to

● determine the pitch. Whether it ends up on the upper or lower staff has nothing to do with where you aim with the mouse. The Split Point setting always decides if a note goes on the upper or lower staff. If you change the split point, this affects existing notes.

● Sometimes a xed split point is not good enough. You might want to put two notes with the same pitch on different staves in different parts of the score. To achieve this you need to use polyphonic voicing.

●

You can add notes to any staff by clicking on it with the Insert Note tool. The active staff rectangle moves to the staff where you input the note.

●

If you need to enter a note with a very high or low pitch, which makes it wind up on the wrong staff when you click, rst enter a note with the wrong pitch, and then edit its pitch.

RELATED LINKS

Adding and editing notes on page 42 Polyphonic voicing on page 68 Editing pitches of individual notes on page 50

Inserting and editing clefs, keys, or time signatures

It is possible to insert a change of clef, key, or time signature anywhere in the score.

Inserting a symbol on one staff

PROCEDURE

1. In the Symbols Inspector, open the “Clefs etc.” section.

This contains clef, key, and time signature symbols.

2. Select the symbol that you want to insert.

When you move the mouse over the score display, the pointer takes on the form of a pencil.

3. Move the mouse over the staff where you want to insert a new symbol.

Use the Mouse Time Position display in the status line to nd the exact location. The Mouse Note Position, that is, the vertical position is of no relevance as long as you click somewhere in the staff. Time signature changes can only be inserted at the beginning of a bar.

4. Click the mouse button to insert the symbol.

IMPORTANT

Inserting a symbol at position 1.1.1.0 is the same as changing the staff settings which are stored in the track. Inserting anywhere else adds the change to the part.

RELATED LINKS

About the Draw tool on page 108

Page 56

Entering and editing notes Inserting and editing clefs, keys, or time signatures

Inserting a symbol on all staves

If you hold down Alt when you insert a symbol with the Draw tool, it is inserted at this position on all staves being edited in the Score Editor.

Time signature changes are always inserted on all tracks in the score.

●

Or rather, they are inserted on the signature track, which affects all tracks.

● For key changes, Display Transpose is taken into account.

This allows you to set all staves to a new key and the staves set to Display Transpose still show the correct key after the key change.

NOTE

If some of the staves are bracketed (straight brackets only, as set up in the Score Settings dialog on the Layout page), inserting a symbol for one of these staves inserts it for all other staves within the bracket. Staves outside the bracket are not affected.

RELATED LINKS

Adding brackets and braces on page 177

Editing clefs, keys, and time signatures

If you double-click on a symbol, a dialog appears allowing you to change the settings for it.

If you hold down Alt when double-clicking, all symbols at the same position are changed accordingly. With key signatures, the Display Transpose value is taken into account.

● In the Score Settings dialog on the Project page (Notation Style subpage), you can nd several options for how clef, key, and time signature changes are displayed.

You can also adjust the automatic spacing between these symbols in the Spacings subpage. See the dialog help for details.

Moving clefs

Clefs inserted into the score have an effect on how notes are displayed. If you for example insert a bass clef in the middle of a treble staff, the staff switches to show bass pitches. Therefore it is very important where you insert the clef.

If you want to move the clef graphically, without disturbing the relation between the clef and the notes, proceed as follows:

PROCEDURE

1. Select the Layout tool on the toolbar or context menu.

Note that this tool is available in Page Mode only.

2. Click on the clef and drag it to the desired position.

Note that this tool is available in Page Mode only.

NOTE

When you insert a clef change in the score, you can decide whether this has the same size as the rst (default) clef symbol or whether it is displayed with a smaller symbol. Simply right-click the symbol and activate or deactivate “Display Clef Changes as Small Symbols”.

Page 57

Entering and editing notes Deleting notes

NOTE

If “Warnings for new Clefs at Line Breaks” is activated on the Clef context menu and you inserted a clef change at a line break in the score, the Clef change symbol is inserted in the last bar before the staff break. If this option is deactivated, the symbol is inserted in the rst bar of the next staff line.

Deleting notes

Using the Erase tool

PROCEDURE

1. Select the Erase tool on the toolbar or context menu.

2. One at a time, click on the notes you want to erase, or enclose them in a selection

rectangle, and click on any of the notes.

Using the Delete menu option or the keyboard

PROCEDURE

1. Select the notes that you want to delete.

2. Select Delete from the Edit menu, or press Delete or Backspace on the computer

keyboard.

Page 58

Staff settings

About this chapter

In this chapter you will learn:

● How to make staff settings.

● How to work with staff presets.

Staff settings

Below follows a run-through of all staff settings, more detailed information about the ones already described and references to other places in the manual for some options.

The Staff page has four tabs – here, the Main tab is selected:

Making settings

PROCEDURE

1. Open the Score Settings and select the Staff page.

2. With the dialog open, make the desired staff active.

Click anywhere in a staff to make it active, or use the Up Arrow and Down Arrow keys to step from staff to staff.

3. Select the desired tab and make all necessary settings.

Page 59

Staff settings Working with staff presets

The settings for regular staves are found on the Main and Options tab, the Polyphonic tab contains settings for split systems and polyphonic voices while the Tablature tab lets you set up tablature scores.

4. When you have made the desired settings, click Apply.

NOTE

If the “Apply closes Property Windows” option is activated in the Preferences dialog (Scores–Editing page), clicking Apply also closes the dialog.

To make settings for another staff, simply make it active in the score (by clicking anywhere in the staff or by using the Up Arrow/Down Arrow keys).

However, please note that you need to click Apply before making another staff active – otherwise your settings are lost!

IMPORTANT

Staff settings can be saved in the track presets.

Working with staff presets

Making staff settings for your scores can be time-consuming. Staff presets allow you to reuse those settings whenever you work with a staff similar to one you have worked on before. A staff preset contains all the settings from the Staff page of the Score Settings dialog, except for the key.

● To save the current settings (including the settings on the Options tab) click the Store button in the Presets section of the Staff page.

Enter a name for the preset in the name dialog that appears, and click OK. The preset is now available on the Presets pop-up menu (in all projects).

● There are a number of staff presets available, set up to suit various instruments, etc. The presets are accessed from the Presets pop-up menu on the Staff page of the Score Settings dialog or from the staff context menu, opened by right-clicking on the rectangle to the left of a staff.

Use them as they are, or as starting points for your own settings. Note that this loads the settings in the preset into the dialog – to apply these to a staff you must click the Apply button as usual. You can also apply staff presets directly in the score.

To remove a preset, select it from the pop-up menu and click the Remove button.

●

Applying a preset directly in the score

If you right-click on the rectangle to the left of a staff, a context menu appears, listing all available presets. Select one to apply it to the staff.

How staff presets are stored

The staff presets are stored as individual les in the Presets–Staff Presets folder within the Nuendo program folder. The presets are available for selection in any project you create or edit.

Page 60

Staff settings Staff names

Staff names

These elds allow you to specify a “long” and a “short” name for the staff. The long name is shown for the very rst system for this staff in the score (at the start of the project), while the short name is shown for the remaining systems.

● Whether the names are shown at all is set in the Score Settings dialog on the Layout page.

● If you only want the “long name” to be shown, that is, if you do not want a name shown for

● If the “Show Long Staff Names on new Pages” option is activated in the “Staff Names”

● You can also specify two separate subnames by double-clicking the staff name and

each system in the score, simply delete the short name.

section of the Score Settings dialog (Project page), the long name is shown at the beginning of each new page.

entering them in the upper and lower text entry elds in the dialog that appears.

Note that this is only displayed correctly if you are in Page Mode and if “Show Staff Names to Left of Staff” is activated in the Score Settings dialog, on the Project–Notation Style subpage (Staff Names category).

RELATED LINKS

Staff names on page 152

Key and clef

The basic key and clef settings are described in detail in another section. There is also a Lower Staff checkbox which is only used in conjunction with split (piano) staves and polyphonic voicing.

● If you score a French horn, for example, and you want to set a different key symbol,

RELATED LINKS

Setting clef, key, and time signature on page 22 In a split system on page 25

activate the “Local Keys” option.

Display Quantize and Interpretation Options

These two sections of the dialog contain a number of settings used to determine how the notes are interpreted. While these settings are more critical to making MIDI recorded music appear as legible as possible it is still important to have them set correctly when entering notes using the mouse. Below you can nd descriptions of the settings.

There are “xed” Display Quantize values plus an “Auto” option which should only be used when your music contains mixed straight notes and triplets.

Page 61

Staff settings Display Quantize and Interpretation Options

RELATED LINKS

Adding Display Quantize changes on page 36 Display Quantize on page 9

Display Quantize values

Notes and Rests

● Generally, the Notes value should be set to a value equal to, or smaller than, the “smallest note position” that you want to be shown in the score.

● The Rests value should be set to a value equal to, or smaller than, the smallest note value (length) you want to be displayed for a single note, positioned on a beat.

● If the score contains only triplets, or mostly triplets, select one of the Triplet options.

Auto Quantize

● If the project contains no triplets or only triplets, deactivate this option.

● If the project contains mixed triplets and straight notes, activate this option.

Deviation and Adapt

● If Deviation is activated, triplets/straight notes are detected even if they are not exactly “on the beat”. However, if you know your triplets/straight notes are perfectly recorded (quantized or entered by hand), deactivate this option.

● If Adapt is activated, the program “guesses” that when one triplet is found, there are probably more triplets surrounding it. Activate this option if not all of your triplets are detected.

If your music only contains “straight” notes or triplets

PROCEDURE

1. Specify a Notes value.

For example, if you have notes on odd sixteenth note positions, the Notes value should be set to 16 (sixteenth notes). The “T” values on the pop-up menu are for triplets.

2. Specify a Rests value.

For example, if you want a single short note on a beat (quarter note position) to be displayed as a quarter note, set the Rests value to 4 (quarter notes).

3. Deactivate the Auto Quantize option.

4. Set all the Interpretation Options.

5. Examine the score.

6. If necessary, use the Display Quantize tool to insert “exceptions” to the staff settings.

RELATED LINKS

Inserting Display Quantize changes on page 34

Page 62

Staff settings Display Quantize and Interpretation Options

If your music contains mixed straight notes and triplets

PROCEDURE

1. Examine the score and decide if it mainly contains triplets or mainly “straight” notes.

2. Set the Notes value accordingly.

If the score is mainly triplets, select the smallest triplet note position used in the score. If it is mainly straight notes, select the smallest “ordinary” note position.

3. Set the Rests value.

4. Activate the Auto Quantize option.

5. Activate the Deviation and Adapt ags if you need them.

Interpretation Options

Syncopation

Activate Syncopation when the program adds more ties to notes crossing beats and barlines than you prefer. The following options are available:

Relax

When Syncopation is “relaxed”, the program applies syncopation in a number of common cases.

Full

Syncopation is on.

Off

Syncopation is off, with no exceptions.

For a “modern” notation of syncopated notes, activate Syncopation.

Without and with Syncopation:

Note that you can insert “exceptions” to the Syncopation setting in the Score Settings dialog on the Staff page, by using the Display Quantize tool. You can also create tied notes in various combinations by using the Cut Notes tool.

Consolidate Rests

Activate this when you want small consecutive rests joined into one (an eight note rest and a sixteenth note rest joined to a dotted eighth note rest for example).

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Staff settings Display Quantize and Interpretation Options

Consolidate Rests deactivated and activated

Clean Lengths

If this option is activated, the program interprets the length of your notes differently. A note’s length (in the display only) might be extended to the beginning of the next note or to the next Rests “position” for Display Quantize. An example:

If a note is too short, you may get a rest just after it.

●

● If Clean Lengths is activated, the rest disappears.

A slightly short eighth note without and with “Clean Lengths”.

If using Clean Lengths does not help in a particular situation, you can manually resize the offending notes or use the Display Quantize tool.

RELATED LINKS

Inserting Display Quantize changes on page 34

No Overlap

When notes starting at the same position have different lengths, the program tends to add more ties than you may want. This can be avoided by using No Overlap.

This recording in the Key Editor…

…is displayed like this when No Overlap is deactivated…

…and like this when No Overlap is activated.

You can insert “exceptions” to the No Overlap setting on the Staff page of the Score Settings dialog, by using the Display Quantize tool.

IMPORTANT

Please note that there may be situations when neither of these alternatives is ideal. If you run into such a situation, it can probably be resolved by using polyphonic voicing.

RELATED LINKS

Polyphonic voicing on page 68

Page 64

Staff settings Display Transpose

Shue

In jazz it is very common to score a shued beat as straight notes, simply to make it more legible.

If the Shue ag is activated, the program searches for eighth note or sixteenth note pairs where the second note is played late (with a “swing feel” or as the third note in a triplet). Such pairs are displayed as regular eighth or sixteenth notes instead of triplet-based

Without and with Shue

Display Transpose

This is used when preparing parts for instruments that are not scored at the actual concert key. For example, if you want the note C3 to be played by an alto sax, you have to score it as an A3 – nine semitones up. Luckily, the Display Transpose setting takes care of this for you:

●

Use the pop-up menu to select the instrument for which you are scoring.

●

If the pop-up menu does not list your instrument, you can set the desired transposition with the Semitones value eld.

gures.

NOTE

The Display Transpose setting does not affect playback or the actual pitch of the notes – it only changes how they are displayed and printed.

You can also insert Display Transpose changes anywhere in the score, by inserting a key change symbol and using the Transpose setting in the Edit Key dialog.

● In the Score Settings dialog, on the Project page (“Chord Symbols” subpage), deactivate the “Use Display Transpose” option if you do not want the chord symbols to be affected by the Display Transpose setting.

● You can disable Display Transpose by deactivating the “Display Transpose” button on the toolbar of the Score Editor.

RELATED LINKS

Display Transpose in the Edit Key dialog on page 28 Chord Symbols on page 139 Transposing instruments on page 28

Page 65

Staff settings The Options tab

The Options tab

Clicking the Options tab in the dialog brings up another page with additional settings. Below follows a brief description of these, with references to more detailed explanations.

Switches

This section allows you to make beam settings.

Flat Beams

Activate this when you want the beams over notes to be at (as opposed to slanted).

No Beams

Activate this when you do not want any beaming at all on the staff (for example for vocal scoring).

Beam Subgroups

Use this when you want sixteenth notes displayed under a beam to be divided into groups of four notes.

Without and with Beam Subgroups.

16th Subgroups

Use this when you want even smaller subgroups of sixteenth notes. This setting has no effect if Beam Subgroups is deactivated.

As above, but with 16th Subgroups activated.

RELATED LINKS

Beam appearance and slant settings on page 93 Turning beaming on/off on page 88 Handling beam groups on page 92

System Sizes

This section allows you to set the number of system lines and to control spacing between the lines:

System Lines

The number of lines in a system. For regular scoring, this should be set to 5.

Page 66

Staff settings The Polyphonic tab

Add Space

Allows you to increase or decrease the space between the lines in a system.

Size

Allows you to set a size for the systems, as a percentage (with 100 % being the default value). In effect, this setting scales the score vertically.

Score Drum Map

When scoring for drums, you can assign a unique note head to each pitch. There is even the possibility to set up different note heads for different note values!

RELATED LINKS

Scoring for drums on page 183

Fixed Stems

Activate this if you want all note stems to end at the same vertical position. This feature is perhaps most often used when scoring for drums.

A drum pattern with Fixed Stem length activated

The Up and Down parameters determine which position (relative to the top of the staff) is used for up and down stems, respectively. The graphical display helps you get your settings right.

RELATED LINKS

Setting up a staff for drum scoring on page 185

Note Limits

Use the Low and High elds to specify a note range. In the active staff, any notes outside this range are displayed in a different color. When writing a score for a specic instrument, this makes it easy to nd notes that are outside of this instrument’s note range.

NOTE

If the “Hide Notes beyond limits” option is activated in the Preferences dialog (Scores–Editing page), any notes outside the Note Limits range are hidden.

The Polyphonic tab

This is where you activate and set up split (piano) systems or polyphonic voices (several independent score lines in the same staves).

RELATED LINKS

Polyphonic voicing on page 68

The Tablature tab

This tab contains settings for creating tablature scores.

Page 67

Staff settings The Tablature tab

RELATED LINKS

Creating tablature on page 187

Page 68

Polyphonic voicing

About this chapter

In this chapter you will learn:

● How to decide when to use polyphonic voicing.

● How to set up voices.

● How to automatically convert your score to polyphonic voicing.

● How to enter and move notes into voices.

Background: Polyphonic voicing

Polyphonic voicing allows you to resolve a number of situations impossible to score properly otherwise:

●

Notes starting at the same position, but with different lengths. Without polyphonic voicing you get unnecessary amounts of ties.

Without and with polyphonic voicing

● Vocal scoring and similar. Without polyphonic voicing, all notes starting at the same position are considered parts of a chord. With polyphonic voicing you can give each voice a stem direction, you can have individual rest handling for each voice, etc.

Without and with polyphonic voicing

● Complicated piano systems. Without polyphonic voicing, you have to resort to a xed split note setting to decide which notes go on which clef. With polyphonic voicing, the split point can be “oating”. The program can even automatically put a bass line on the lower clef for you.

With a split system and with polyphonic voicing

How voices are created

Nuendo allows for up to eight voices. The rst thing you do is to set them up. This includes “telling” the program which voices belong to the upper clef and which belong to the lower, how you want rests displayed for each voice, etc.

Page 69

Polyphonic voicing Background: Polyphonic voicing

The second thing you do is to move or enter notes into the voices. If you have a recording done already, the program can do much of this work for you, automatically. You might then want to ne-tune by moving one or more notes into another voice, or you might want to add notes to a certain voice.

IMPORTANT

Each voice is polyphonic. In other words, one voice can contain chords.

RELATED LINKS

Adding and editing notes on page 42

Overlapping notes

Throughout this chapter you encounter the term “overlapping notes”. Two notes are considered overlapping when they are on the same staff and:

●

They start at the same position, but have different note values (for example whole note and a quarter note both at the beginning of a bar).

Notes starting at the same position, without and with polyphonic voices.

● One note starts before another has ended. For example a half note at the beginning of a bar and an eighth note at the second beat.

A note that starts before another has ended, without and with polyphonic voices.

Voices and MIDI channels

Internally the program organizes the notes into voices by changing their MIDI channel values. Normally you set it up so that notes with MIDI channel 3 belong to voice 3 etc. Most of the time the link between MIDI channels and voices is totally transparent to you as a user. Sometimes you can take advantage of this relationship.

There are also a few important things to note:

NOTE

When you make a note part of a voice, you are in fact changing its MIDI channel value. However, when you change the voice’s MIDI channel values in the setup dialog, this does not affect the notes’ MIDI channel setting. This can lead to serious confusion, since the relationship between the notes and the voices is affected. It might even make notes disappear (the program warns if this happens). In other words, do not change the MIDI channels on the Polyphonic tab of the Staff page in the Score Settings dialog after you have put your notes into voices, unless you are absolutely sure of what you are doing.

NOTE

When you open a part that contains notes on different MIDI channels, these notes are in fact already assigned to voices (since notes are assigned to voices using their MIDI channel setting). While this fact can be put to good use, it can also create confusion, and even disappearing notes.

Page 70

Polyphonic voicing Setting up the voices

Setting up the voices

To set up your score for polyphonic voicing, proceed as follows:

PREREQUISITE

The staff is active.

PROCEDURE

1. Open the Score Settings dialog and select the Staff page.

2. Select the Polyphonic tab.

3. Open the Staff Mode pop-up menu and select Polyphonic.

This makes the voice list in the lower part of the dialog available. It consists of eight rows, one for each voice. They are numbered and therefore we refer to them as voices 1 to 8.

IMPORTANT

Do not confuse the voice numbers with the MIDI channel setting for each voice.

4. To activate a voice, click in its “On” column, so that a checkmark appears.

There are four voices on each staff, for a total of eight. If you activate one “upper” voice and one “lower” voice, you get a split (piano) staff.

5. If you have particular reasons to use specic MIDI channels, change the “Chan” settings for the voices.

The program automatically sets each voice to a different MIDI channel. If you do not have good reasons to make changes, leave the settings as they are.

IMPORTANT

If two voices are set to the same MIDI channel, the lower voice is treated as if it were turned off.

6. Optional: If Reduce Rests is set to Off, you can click in the “Rests–Show” column to decide for which voices you want rests displayed.

A checkmark indicates that rests are shown for a voice. You may only want rests to be shown for one voice per staff.

NOTE

If you have activated “Rests–Show” for a voice, but do not want rests to be shown in empty bars, select an option from the “Reduce Rests” pop-up menu. This is especially useful for cue voices.

Page 71

Polyphonic voicing Setting up the voices

7. Click in the “Rests–Center” column to determine at which vertical positions rests are shown

8. Decide on a stem direction for each voice by selecting from the pop-up menu in the Stems

9. If you want the notes in a voice to be smaller than regular notes, put a checkmark in the

10. Click Apply.

(for voices with “Rests–Show” activated).

If this option is activated for a voice, the rest is put in the vertical center of the staff, when it is not, the rest gets a vertical position based on the pitch of the notes.

column.

If you select Auto, the program makes decisions about which stems go in which direction (just as when not using polyphonic voices). You can always force stem direction for individual notes by using the Flip Stem function.

IMPORTANT

There is a special stem feature for voice 1: If you set this to Auto, the stem direction depends on the pitch of the note as usual – except if there are voice 2 notes in the bar, because then the voice 1 stems are automatically set to Up!

Cue column for the voice.

The staff is changed to polyphonic voicing, and the program distributes the existing notes into voices according to their MIDI channel values.

At this point, you may want to use the Explode function to automatically move notes into the proper voices.

RELATED LINKS

Cue notes on page 97 Flipping the stem of one or several notes on page 80 Automatically – the Explode function on page 74 Handling rests on page 75

If the “Some Notes Do Not Belong To Voices…” dialog appears

When you click Apply, a warning may appear saying “Some notes do not belong to any voice and may be hidden. Correct these notes?”.

This warning appears when the staff contains notes with MIDI channel settings which do not match any of the active voices.

If you click the “Correct” button, these notes are moved to active voices. If you click “Ignore”, nothing is changed, and some notes are hidden. However, they are not lost, they appear in all other editors and can be made to appear again in the Score Editor if you change the channel settings for the notes or voices, activate more voices, etc.

About the polyphonic presets

The Presets pop-up menu on the Polyphonic tab (below the list of voices) contains three very useful setups. Instead of making settings by hand, you can select one of the presets, saving some time. The presets are:

Variable Split

This sets up the dialog for two voices, one on each staff, each with auto stem direction. This is a good starting point for a piano staff when the xed split option does not suce.

Optimize Two Voices

In this preset, only voices 1 and 2 are activated, and set up like this:

Page 72

Polyphonic voicing Strategies: How many voices do I need?

This way the rst voice behaves as in single staff mode, but if there are notes in the second voice, the stems of the

rst one are set to Up.

Optimize Four Voices

This is like “Optimize Two Voices”, but with two staves. Voices 5 and 6 are activated as well, with the same settings as voices 1 and 2. This is the recommended way to write piano music.

Strategies: How many voices do I need?

●

If you are scoring for vocals, you simply need one voice for each voice, so to speak.

●

If you use voices for resolving the problem of overlapping notes, for example when scoring for piano, you need two voices each time two notes overlap. If three notes overlap, you need three voices. In other words you need to check for the “worst case” (largest number of overlapping notes at a certain position) and activate that many. If you do not know how many voices you need when starting out to prepare a score, do not worry, you can add more voices later.

● Voices 1 and 2 on the upper staff and 5 and 6 on the lower are special. These handle “collisions” (notes with small intervals, accidentals that otherwise would come too close, etc.) automatically which the other voices do not. Always use these voices rst!

An example: in the situation below, three voices are required. The lowest note overlaps both the “melody” and the chords, so it cannot share a voice with the chords. The chords overlap the melody, so they cannot share a voice either.

RELATED LINKS

Overlapping notes on page 69

Entering notes into voices

When you add new notes, you need to decide which voice they go into:

PROCEDURE

1. Make sure that the extended toolbar is visible.

2. Select the Object Selection tool.

3. If you have a split system, check the voice Insert buttons.

These are displayed after the text “Insert” on the left side on the extended toolbar. Only the voices that are activated on the Polyphonic tab are shown. If the upper staff is active, the voice Insert buttons are numbered 1, 2, etc., otherwise they are numbered 5, 6, etc.

4. If you need to switch the voice icons to the right “clef”, click somewhere in the system you want to insert notes in.

5. Select one of the voices by clicking on the corresponding button.

Any notes you enter from now on are inserted into that voice.

Page 73

Polyphonic voicing Checking which voice a note belongs to

Voice 3 activated for insertion

6. Insert the notes as usual.

7. To switch to another voice, click the corresponding button.

8. To insert notes into a voice on the other clef, click on that clef and then select a voice using

the buttons.

RELATED LINKS

Adding and editing notes on page 42

Checking which voice a note belongs to

When you select one single note, the corresponding voice button on the extended toolbar is selected. This allows you to quickly nd out which voice a certain note is in (after you have used the Move To Voice function, for example).

●

When you step through the notes using the Left Arrow/Right Arrow keys, you only step through the notes in one voice at a time.

This can be used as a quick way to check which notes belong to the same voice as some other note.

Moving notes between voices

Manually

To manually move notes to another voice, proceed as follows:

PROCEDURE

1. Select the notes you want to move to a particular voice.

2. Right-click on one of the notes and select “Move to Voice” from the context menu.

3. On the submenu, select the voice to which you want to move the notes.

Only the activated voices are available on the menu.

You can also press Ctrl/Cmd and click a voice Insert button on the extended toolbar to move the selected notes to the corresponding voice.

You can also assign key commands for this in the Score Functions category of the Key Commands dialog on the File menu.

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Polyphonic voicing Moving notes between voices

Automatically – the Explode function

The Explode function distributes notes, either onto new tracks or into polyphonic voices:

PROCEDURE

1. Open the Scores menu and select “Explode” from the Functions submenu.

The Explode dialog, set to create polyphonic voices.

2. Make sure that “To Polyphonic Voices” is selected at the top of the dialog.

3. Use the options in the lower half of the dialog to set up the criteria for the split.

Choose from the following options:

Option Description

Split Note Use this to move all notes below a certain

Lines To Tracks Use this when you want all musical “lines”

Bass To Lowest Voice

4. Click OK.

The notes are distributed to different voices.

RELATED LINKS

The Explode function on page 36

Alternative ways of handling voices

Below we suggest further “advanced” ways of putting notes into voices. This is based on the relation between voices and MIDI channels, so please make sure that you understand how this connection works.

You can use the Logical Editor to put notes into voices, based on other more complex

● criteria, like for example their pitch and length. This is done by setting up the Logical Editor so that the notes that meet the criteria get their MIDI channel changed to that of their voice.

When you enter notes using step input you can change the MIDI channel on your input

● device and directly enter notes into separate voices.

You can play back each voice on a different MIDI channel, simply by setting the track to

● Any. This can be used as a convenient way of “proof-hearing” each voice separately.

You can use the Input Transformer to assign a certain key range to a MIDI channel, and

● thereby automatically put notes into voices when recording.

pitch to another voice.

to be put in one voice each. The notes with the highest pitch goes to the rst voice, the notes with the second highest pitch goes to the second, and so on.

If this option is activated, the lowest notes always ends up in the lowest voice.

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Polyphonic voicing Handling rests

● For brass and vocals, you might record each voice on its own track, and use the “Merge All Staves” function to automatically copy each recording to a separate voice on a new track.

● When you have assigned parts to voices, you can use the Extract Voices function to create one track out of each voice.

RELATED LINKS

Automatic polyphonic voicing – Merge All Staves on page 77 Converting voices to tracks – Extract Voices on page 78

Handling rests

With polyphonic voices, you often get more rest symbols than desired.

●

If a voice does not need any rests at all, you can deactivate rests separately for this voice on the Polyphonic tab of the Staff page in the Score Settings dialog.

●

If you only need rests from one voice on a staff, activate Rests–Center for that voice (this is done in the same dialog). If two or more voices have rests, deactivate Rests–Center. The program then automatically makes sure the rests do not “collide” in the score, by adjusting their vertical position.

●

To hide rests in empty bars, you can open the “Reduce Rests” pop-up menu and select “All”. If you only want whole rests to be hidden, select “Whole rests only”.

● You can use the Hide feature to remove individual superuous rests from the score.

● You can use the Object Selection tool to manually move rests up/down or sideways.

● If needed, you can add “rest symbols” (rests that do not affect the playback data in any way) by using the symbols.

RELATED LINKS

Hiding/showing objects on page 167

Voices and Display Quantize

When you insert Display Quantize changes, you can either apply the settings to all voices (by Altclicking with the tool) or to the current voice only.

IMPORTANT

If “Display Quantize Tool affects all Voices” is activated in the Score Settings dialog on the Project– Notation Style subpage (Miscellaneous category), the Display Quantize settings always affects all voices (even if you do not press Alt and click).

Making Display Quantize settings for one single voice allows you to do two things:

● Make each voice have its own Display Quantize settings by inserting a Display Quantize event for each voice, at the beginning of the staff. This is valid for the entire staff, until another Display Quantize event is inserted.

● Insert Display Quantize “exceptions” anywhere in the score, independently for each voice.

PROCEDURE

1. Make sure that the “Display Quantize Tool affects all Voices” option is deactivated.

2. Select the voice for which you want to insert a Display Quantize event.

This is done by clicking at the corresponding voice button on the extended toolbar, or by selecting a note that belongs to this voice.

3. Select the Display Quantize tool.

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Polyphonic voicing Creating crossed voicings

4. Click at the position at which you want to insert the event.

The Display Quantize dialog appears.

5. Fill out the dialog.

6. Click Apply.

RELATED LINKS

Inserting Display Quantize changes on page 34 Display Quantize and Interpretation Options on page 60

Creating crossed voicings

Often, for example in vocal scoring, you have crossed voicings on one system. You can of course move notes manually into voices to get the stem direction and other note properties right, but there is a quicker way. Let’s explain how to do this by example. Without using polyphonic voicing, you have entered this:

PROCEDURE

1. Open the Score Settings dialog on the Staff page and select the Polyphonic tab.

2. From the Staff Mode pop-up menu, select Polyphonic.

3. Activate voice 1 and 2 only, and make settings for them as in the picture below.

4. Click Apply.

The staff is in Polyphonic staff mode, but all notes are still in the same voice.

5. Open the Scores menu and select “Explode” from the Functions submenu.

6. In the dialog that appears, select the “To Polyphonic Voices” option and activate “Lines To

Tracks”.

Leave the other options off.

7. Click OK.

The notes have now been split in two “lines”, each in a separate voice. However, from the middle of the bar, notes that are in voice 1 should be in voice 2 and vice versa.

8. Select the two notes that you want to be moved from voice 1 to voice 2.

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Polyphonic voicing Automatic polyphonic voicing – Merge All Staves

9. Move the notes to voice 2.

The quickest way to do this is to press Ctrl/Cmd and click the voice Insert 2 button on the extended toolbar.

10. Select the two notes that you want to be moved to voice 1 and move them, too.

All notes in the right voices.

RESULT

The voicing is now correct, as you can tell from the stem directions. However, there is still some work to do on the notes graphical positions and the display of stems and beams for some of the notes. When you have made those adjustments, the score may look like this:

RELATED LINKS

Graphic moving of notes on page 96 Manual adjustment of beams on page 94

Automatic polyphonic voicing – Merge All Staves

If you have already created some tracks which look and play back as they should, and you want to combine these into one track with polyphonic voices, there is a special function on the Scores menu for this:

PROCEDURE

1. Open the tracks (up to four) in the Score Editor.

2. Open the Scores menu and select “Merge All Staves” from the Functions submenu.

Now a new track is created and shown in the score. The track has polyphonic voices activated, and the four original tracks are assigned to one voice each (voices 1, 2, 5 and 6 are used).

Before…

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Polyphonic voicing Converting voices to tracks – Extract Voices

…and after merging the staves

Furthermore, all non-linked symbols that belong to the staff that become the rst polyphonic voice in the merged staff are copied. They have the same positions as the original symbols.

IMPORTANT

When you later play back the music, you need to mute the four original tracks, or you get double notes.

Converting voices to tracks – Extract Voices

This function does the opposite of “Merge All Staves” – it extracts polyphonic voices from an existing track and creates new tracks, one for each voice.

PROCEDURE

1. Open a track containing 2 to 8 polyphonic voices in the Score Editor.

2. Open the Scores menu and select “Extract Voices” from the Functions submenu.

A number of new tracks is created and added to the display of the Score Editor. Each track contains the music from one polyphonic voice. If there were non-linked symbols in the original track, each new track gets a copy of these symbols.

IMPORTANT

When you later play back the music, you need to mute the original track (the one with polyphonic voices), or you get double notes.

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Additional note and rest formatting

About this chapter

In this chapter you will learn:

● How to control stem direction.

● How to control beaming, and create cross-staff beaming.

● How to make detailed adjustments to note appearance.

● How to perform “graphic moving” of notes.

● How to create grace notes.

●

How to create tuplets.

Background: Note stems

The direction of stems is governed by ve things:

●

How notes are grouped under beams.

●

Any manual manipulation of beams.

● The Flip Stems function.

● How the note information is set for each note.

● How the Polyphonic tab on the Staff page of the Score Settings dialog is set up (if you use polyphonic voices).

The order of this list corresponds to the priority of the settings. On conict, the grouping under beams has the highest priority and the settings made on the Polyphonic tab the lowest.

IMPORTANT

If you have edited the stem length of a note and then ip it, the stem is reset to default length.

IMPORTANT

If you have activated the “Fixed Stems” option on the Staff page of the Score Settings dialog (Options tab), a lot of the automatic stem length settings are ignored. However, you can still edit the stem length and direction of individual notes.

RELATED LINKS

Fixed Stems on page 66

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Additional note and rest formatting Setting stem direction

Setting stem direction

In polyphonic voices

In the Score Settings dialog, on the Staff page (Polyphonic tab), the stem direction can be set separately for each voice.

Using Flip Stems

Flipping the stem of one or several notes

PROCEDURE

1. Select the notes.

2. Click the Flip icon on the extended toolbar.

All the stems in the selection are now ipped. Those that pointed up now point down and vice versa.

The Flip icon

You can also assign a key command for this. In the Key Commands dialog on the File menu, the command is called “Flip” and is found in the Score Functions category.

You can also right-click a note or a selection of notes and select the Flip option from the context menu.

Flipping the stems of notes grouped under a beam

PROCEDURE

1. Select any note in the group.

2. Invoke Flip.

The entire group is now ipped.

Before and after the ip. No matter which note you select, the entire group is ipped.

IMPORTANT

This does not work if you have adjusted the slanting of the beam by dragging. If you have, you must rst reset the beam.

RELATED LINKS

Stem length on page 81

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Additional note and rest formatting Stem length

Independent stem direction under a beam

If you need stems attached to the same beam to go in different directions, this is achieved by dragging the beam’s start and end points. This feature is available in Page Mode only.

Independent stem direction under a beam

RELATED LINKS

Manual adjustment of beams on page 94

Stem direction in the Set Note Info dialog

The Set Note Info dialog can be opened by double-clicking on a note head. In its lower left corner you can nd a pop-up menu for setting stem direction.

● Setting this pop-up menu to Up or Down is the same as using Flip Stems.

● Setting this pop-up menu to Auto makes the program set the stem direction automatically.

RELATED LINKS

Using Flip Stems on page 80

Stem length

Adjusting stem length (Page Mode)

PROCEDURE

1. Click on the end of the stem so that a handle appears.

2. If you want to change the lengths of several stems at the same time, hold down Shift and

select these stems as well.

3. Drag the stem handle (on one of the selected stems) up or down.

All selected stems are lengthened or shortened by the same amount.

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Additional note and rest formatting Accidentals and enharmonic shift

Resetting stem length and beam slants

PROCEDURE

1. Make sure that the lter bar is visible.

If the lter bar is not visible, click the “Set up Window Layout” button on the toolbar and select the Filters option.

2. Make sure that the “Stems/Beams” checkbox is activated on the lter bar.

Now, below the notes where stems have been changed or beam slant adjusted manually, the word “Stem” appears.

3. Click on the “Stem” text to select it.

4. Press Backspace or Delete to remove it.

Before and after deleting the “Stem” item.

Accidentals and enharmonic shift

Making global settings

In the Score Settings dialog, on the Project page (Accidentals subpage), you can nd a number of options for how accidentals are displayed in the score. Once set, these are valid for all tracks in the project. Proceed as follows:

PROCEDURE

1. Open the Score Settings dialog on the Project page and select the Accidentals subpage from the Pages list.

You have the following options:

● Activate the “Courtesy Acc Distance” option and enter a value in the Bars eld.

This determines after how many measures courtesy accidentals are shown. If you set this to “0”, notes outside the scale get accidentals and no courtesy accidentals are shown.

Activate one of the following options:

●

Option

Force Notes outside the scale get accidentals, and

Force all Every single note in the score gets an

Description

accidentals are repeated even within the same bar.

accidental.

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Additional note and rest formatting Changing the note head shape

2. In the “Outside the Scale” area, you can decide how ve of the most common intervals outside the scale are displayed, as sharps or as ats.

IMPORTANT

If you activate the “Accidentals for Each Note” option in the Score Settings dialog, on the Project–Notation Style subpage (in the “H.W. Henze Style” category), all notes are displayed with accidentals (even tied notes).

IMPORTANT

If you activate “Use Chord Track for Accidentals”, the chord track is used to determine the accidentals.

Enharmonic Shift

If one or several notes are not displayed with the accidentals that you want, you can perform an Enharmonic Shift operation on them.

PROCEDURE

1. Select the notes to be shifted.

2. Click the desired option on the extended toolbar.

3. If you want the enharmonic shift to be repeated in the whole bar, activate the “Enharmonic

shift for entire bar” option in the Score Settings dialog (Project–Accidentals subpage).

Extended Toolbar

Use these buttons when you want regular Enharmonic Shifting (select one option).

Use this button when you want to deactivate Enharmonic Shifting for the notes.

Use this button when you want to hide the accidental completely.

Use this button when you want to create a “help accidental” for the selected notes only.

Use this button when you want to enclose the accidental in parentheses. To remove these, select “off”.

Changing the note head shape

PROCEDURE

1. Select the notes for which you want to change the note head shape.

Make sure not to select the stems, only the note heads.

2. Open the Set Note Info dialog.

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Additional note and rest formatting Other note details

To do so, double-click one of the notes, click the “i” button on the extended toolbar, or right-click on a note head and select “Properties” from the context menu.

3. Open the “Note Head” pop-up menu in the top left corner of the dialog.

The pop-up menu contains all the available head shapes and an “Auto” option, which selects the normal default shape for the note.

4. Select one of the note heads.

5. Click Apply.

The settings are applied to the selected notes.

6. If you like, select other notes and make settings for them.

7. When you are done, close the dialog.

Other note details

Each note has a number of settings in the Set Note Info dialog.

The Set Note Info dialog contains the following settings:

Note Head

Used for selecting custom note head shapes.

Tablature on/off and number

Used for creating or editing tablature. This feature can be used for individual notes or together with the automatic tablature function.

Bows

Used for adding bow up/bow down articulation. When selecting “Off”, bow symbols are not displayed for the selected notes.

Bow up and down

Length

This allows you to change the displayed length of notes, without affecting playback. Note that the display quantize settings still apply. To reset this value to “Auto” (so

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Additional note and rest formatting Other note details

that notes are displayed according to their actual length), scroll the value down to zero.

Accidental Distance

Use this to specify how far from the note, horizontally, you want the accidental. The higher the number the greater the distance.

No Ledger Lines

Turns off ledger lines for notes with high or low pitches.

With and without ledger lines

No Stem

Hides the note stem completely.

No Dot

Hides the dot from a dotted note.

No Flag/Beam

Activate this to hide the ags or beams of the selected notes.

Bracket Head

If this option is activated, notes are displayed with brackets:

Bracket Head on and off

X Stem (Spoken)

If this option is activated for a note, it is displayed with an x across its stem. This is normally used to indicate spoken words.

Hide Note

Activating this checkbox hides the selected notes.

Stem

Determines the stem direction.

Tie

Determines the direction of ties. When this is set to “Auto”, the program chooses a tie direction depending on the stem direction of the tied notes.

Type

Determines the note type. There are four options:

● Normal. This is how notes usually are displayed.

● Grace. When this is selected, notes are displayed as grace notes.

● Cue. When this is selected, notes are displayed as cue notes (smaller notes,

often used as “guide notes” or optional lines).

● Graphic. These are special notes, useful for example for guitar notation (pull-

offs) and trills (as “help notes”, indicating which notes to trill between). In both these cases the “No Stems” option could be useful.

Graphic notes are not included in the “automated cutting”. They are positioned after the notes they “belong to” (as opposed to grace notes).

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Additional note and rest formatting Coloring notes

Crossed

Activate this option, when you want the stem to be crossed by a slanted line (to indicate that the note is a grace note).

Grace note options

These options are available when Grace is selected on the Type pop-up menu.

RELATED LINKS

Changing the note head shape on page 83 Creating tablature on page 187 Display Quantize values on page 61 Using Flip Stems on page 80 Grace notes on page 98 Cue notes on page 97 The Cut Notes tool on page 95

Coloring notes

You can assign colors to notes using the Event Colors pop-up menu on the toolbar.

PROCEDURE

1. Simply select the notes for which you want to use colors, open the Event Colors pop-up menu on the toolbar and pick a color.

Only the note heads are colored. Note that the color is only visible once the notes have been deselected.

2. On the far right on the Score Editor toolbar you can nd the Hide Colors button.

If you assigned colors to some or all of the notes in your score, this button allows you to switch between display of colored or uncolored notes. This may help you to nd selected notes among other colored notes.

Scores Colors for Additional Meanings

If the Preferences dialog (Scores–Colors for Additional Meanings page) you can specify different colors for elements in the score in order to indicate that they are “special” in any way. You can for example choose a color for a “Moved Graphic” or a “Moved Slur”. These objects are colored accordingly when they are moved from their default positions.

PROCEDURE

1. Open the Preferences dialog (Scores–Colors for Additional Meanings).

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Additional note and rest formatting Copying settings between notes

2. Click in the Active column to activate this function for the corresponding element.

3. Click in the Color eld to the right to select a color.

When color-printing a score, you get the colors you selected for the notes. When you are using a black-and-white printer, the notes appear in black (notes that have not been assigned a color) and different shades of gray (depending on how bright/dark a color was used for the note).

RELATED LINKS

Moving note symbols on page 123

Copying settings between notes

If you have made various settings in the Set Note Info dialog for a note, and want to use these settings for other notes as well, there is an easy way to do this:

PROCEDURE

1. Set up the rst note as desired.

This includes the settings in the Set Note Info dialog, but also any note-related symbols such as accents, staccato, articulation, etc.

2. In the score, select the note and select “Copy” from the Edit menu.

3. Select the notes to which you want to copy the attributes.

4. Right-click the notes to which you want to copy the attributes, and select “Paste Attributes”

from the context menu.

The selected notes now get the attributes of the rst, copied note, but their pitches and note values remain unchanged.

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Additional note and rest formatting Handling beaming

RELATED LINKS

Adding note symbols on page 108

Handling beaming

Turning beaming on/off

Beaming is enabled/disabled independently for each staff.

PROCEDURE

1. On the Staff page in the Score Settings dialog, click the Options tab.

2. To turn off beaming, activate No Beams and click Apply.

Even if beaming is deactivated for the staff, you can put some notes under beams.

Grouping

When beaming is on, the program automatically groups notes under beams. However, there are a number of ways to determine how notes are grouped.

Using the Edit Time Signature dialog

The time signature for the score naturally affects grouping. But you can control this yourself by creating a composite time signature used only for grouping:

PROCEDURE

1. Open the Edit Time Signature dialog by double-clicking the time signature symbol for the staff.

2. Set up the numerator with the grouping you desire.

If you for example want eighth notes in two groups of three and one group of two, enter 3+3+2.

3. Set the denominator, if necessary.

4. Activate “For Grouping Only”.

5. Click OK.

IMPORTANT

Note that the “For Grouping Only” setting only affects the way the numerator is divided. Any changes you make to the “sum” of the numerator number or the denominator result in a change of actual time signature in the project. If you need a grouping which cannot be entered in the current time signature, you have to group notes manually.

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Additional note and rest formatting Handling beaming

Using Click Patterns

Click patterns can affect grouping.

PROCEDURE

1. In the Score Settings dialog, click the Project tab.

2. Open the Notation Style page and in the Grouping category, activate Use Click Patterns for Groupings.

3. Click Apply.

4. Select Project > Add Other Track or Use Track Preset > Signature to add a signature

track.

5. Double-click the plus sign or the pattern to the right of the time signature value to open

Click Pattern Editor.

the

6. Use the Clicks setting to dene the number of clicks that you want to hear, and click in the event display to set up a new click pattern.

7. When you are done, click outside the Click Pattern Editor to close it.

RESULT

The grouping and beaming follows the click pattern.

Regular grouping of a number of eighth notes or smaller (“Beam”)

If the grouping the program assigns is not the one you want, you can put any selection of eighth notes or smaller under a beam:

PROCEDURE

1. Select at least two notes, where you want the beam to begin and end.

All notes between these two notes are grouped under a beam.

2. Click the Group Notes icon on the extended toolbar or right-click on one of the notes to be grouped and select “Beam” from the “Group/Ungroup” submenu of the context menu.

The Group Notes icon

Before and after grouping

Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to adjust the “note value” for the symbols.

Grouping quarter notes or larger under a beam (“Brillenbass”)

It is also possible to use the grouping feature for notes that are not displayed with beams (quarter notes, half notes, etc.). The result are so called “Brillenbass” symbols, commonly used for indicating repeated accompaniment patterns, etc.

Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to adjust

● the “note value” for the symbols.

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Additional note and rest formatting Handling beaming

Grouping notes using Repeats

To show Repeats for the grouped notes, proceed as follows:

PROCEDURE

1. Make sure that the lter bar is visible in the Score Editor.

If the lter bar is not visible, click the “Set up Window Layouts” button on the toolbar and select the Filters option.

2. Activate the “Grouping” checkbox in the lter bar.

Now, you see the text “Grouping” below all groups you have created.

3. Select the desired notes.

4. Right-click on one of the notes and from the Group/Ungroup submenu, select “Repeat...”

5. In the dialog that appears, use the radio buttons to select the desired note value for the

repeats.

In this example, the “Repeat” feature is used to display two pairs of sixteenth notes as two eighth notes with “repeat bars”. Note that the second and fourth sixteenth note have only been hidden – playback is not affected!

6. Click OK.

Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to adjust the “note value” for the symbols.

Creating an accelerando/ritardando

To create an accelerando/ritardando, proceed as follows:

PROCEDURE

1. Select the notes and select “Accelerando” from the Group/Ungroup submenu.

A dialog appears.

2. Use the radio buttons to select the desired combination, that is, dene whether you want an accelerando or a ritardando and specify the desired note values and click OK.

Example for accelerando (left) and ritardando (right)

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Additional note and rest formatting Handling beaming

Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to select another combination.

The Grouping dialog

The Grouping dialog can also be opened by double-clicking an existing grouping text in the score.

● Which Grouping dialog appears depends on the grouping option you used for the notes (Beam, Repeats or Accelerando, see above).

Removing groups

If you have created a group and want to remove it, proceed as follows:

PROCEDURE

1. Make sure that the “Grouping” checkbox is activated in the display lter bar.

2. Select a group by clicking on its “Grouping” text.

3. Press Backspace or Delete.

The grouping is removed.

If you need to remove all groups from the score, hold down Shift and double-click on the rst “Grouping” text.

This selects all “Grouping” symbols, so you can delete them all at once by pressing

Backspace or Delete.

Removing a note from a group

There is no dedicated “ungroup” command, simply because it is not needed. A group can consist of one note.

● To remove one note at the end of a group, select it and proceed with grouping as above.

● If you select notes in the middle of a beam and then group, three groups are created.

Before and after grouping

Automatic grouping

The program can also go through the selected notes and automatically create grouping for you, where it is deemed suitable.

PROCEDURE

1. Select the notes that you want checked for auto-grouping.

Typically, you would select all notes on the track by using the Select All command on the Edit menu.

2. Right-click on one of the notes and select “Auto Group Notes” from the context menu.

Before and after using auto grouping in 4/4

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Additional note and rest formatting Handling beaming

In 4/4 you get for example two groups of eighth notes per bar, in 3/4 you get one group per bar, etc.

Cross-staff beaming

To create a beam that extends from one staff to another, proceed as follows:

PROCEDURE

1. Set up a split or polyphonic voicing system or open the Score Editor with more than one track.

2. Set up a beam of notes (using the group command) and adjust their pitches so that they are correct even though some of the notes are on the wrong staff.

Use the info line to edit the pitches if they are very low or high.

3. Select the notes that should appear on the other staff.

4. Select “Display in Staff” from the context menu for a selected note and select a staff from

the submenu.

The notes are “graphically” moved to the selected system, but keep their actual pitch.

Before and after moving a note to the lower staff

5. If needed, adjust the beam appearance.

Cross-staff beaming with the beam in the middle

This does not move the affected notes to another track, but merely displays them as if they belonged to the other staff.

RELATED LINKS

Manual adjustment of beams on page 94

Handling beam groups

There are two settings for groups under a beam, Beam Subgroups and 16th Subgroups, both found on the Options tab on the Staff page of the Score Settings dialog. If “Beam Subgroups” is activated, the program displays subgroups after four sixteenth notes under a beam. If you also activate “16th Subgroups”, subgroups appear after only two sixteenths.

Beam Subgroups off

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Additional note and rest formatting Handling beaming

Beam Subgroups on

On with 16th Subgroups activated

Beam appearance and slant settings

Global settings

In the Score Settings dialog, on the Project page (Notation Style subpage), you can nd the following three options for beam appearance in the Beams category:

● Thick Beams

Activate this if you want beams to be displayed as thick lines.

● Show Small Slants as Flat Beams

If this option is activated, beams that would be only slightly slanted are displayed at.

● Slanted Beams only Slightly Slanted

IMPORTANT

These settings are global for all staves.

Staff settings

In the Score Settings dialog, on the Options tab of the Staff page, you can nd a couple of settings for beams as well:

Flat Beams

No Beams

Without and with “Show Small Slants as Flat Beams”

Activate this if you only want a slightly slanted beam even though there might be a signicant pitch difference between the notes under the beam.

Without and with “Slanted Beams only Slightly Slanted”

Activate this when you do not want any slant at all, no matter the pitch difference of the notes under the beams.

Activate this when you do not want any beams at all.

Page 94

Additional note and rest formatting About tied notes

Manual adjustment of beams

For very detailed control you can manually adjust the beam slant:

PROCEDURE

1. Group and ip notes and adjust the settings described above until the beams are as close as possible to how you want them.

2. Click on the corner made up by the beam and the stem.

A handle appears on the corner of beam and stem.

A beam handle

3. Drag the handle up or down.

The slant of the beam changes.

Dragging a handle and the effect it has.

NOTE

You can adjust the distance between notes and their beam without changing the beam slant. Select both handles of a beam (by pressing the Shift key while selecting the second handle) and drag one of the handles up or down.

Mixed stem direction

By dragging the beam handles you can put the beam between the note heads:

Putting the beam between the notes

About tied notes

Sometimes, notes are displayed as two or more notes tied together. Generally, there are three different occasions when this happens:

● When a note is of an “uneven” length that cannot be displayed without tying together two or more notes of different note values.

● When a note crosses a barline.

When a note crosses a “group line” within a bar.

●

The last case requires some explanation: Nuendo uses a “cutting mechanism” that automatically creates tied notes depending on the length and position of the notes. For example, a quarter note is cut in two and tied if it crosses a half note beat, and an eighth note is cut in two and tied if it crosses a quarter note beat:

This quarter note is cut.

This eighth note is cut.

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Additional note and rest formatting About tied notes

However, this is not always what you want.

RELATED LINKS

Syncopation on page 95 Time signature changes on page 95 The Cut Notes tool on page 95

Syncopation

If the Syncopation option is activated on the Main tab of the Staff page in the Score Settings dialog, Nuendo is less prone to cut and tie notes. For example, the second quarter note in the gure above would not have been cut if syncopation had been activated.

The Syncopation setting affects the whole track, but you can also make syncopation settings for separate sections in the score, by inserting display quantize events.

RELATED LINKS

Inserting Display Quantize changes on page 34

Time signature changes

By inserting time signature changes, you can change the way notes are cut. This is done in the same way as when you specify how beamed notes are grouped.

With a regular 4/4 time signature

With a composite time signature (3+2+3 eighth notes)

RELATED LINKS

Grouping on page 101

The Cut Notes tool

By using the Cut Notes tool, you can disable the automatic cutting mechanism in a bar, and insert manual cuts at any given position in the score.

PROCEDURE

1. Select the Cut Notes tool.

2. Select a suitable quantize value from the “Quantize Presets” pop-up menu.

As usual, this determines where you can click.

3. When you are using polyphonic voices, select the voice you want to make settings for.

4. Click in the bar containing the notes that you want to cut manually, at the position you

want them cut.

This inserts a cutag event in the bar at the position you clicked. If you hold down Alt, a cutag event is inserted for all voices in a polyphonic staff.

A half note, placed at 2.1.3. This is by default cut at 2.3.1 (the middle of the bar). When you click at the position 2.2.1, a cutag event is inserted.

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Additional note and rest formatting Graphic moving of notes

As a result, the regular cutting mechanism is disabled and the note is cut at the position you clicked instead.

The following rules apply to cutag events:

● If a bar contains a cutag event, the automatic cutting mechanism is disabled within

that bar.

● All notes or rests that start before and end after a cutag event are cut at the

position of the event.

●

To display cutag events, make sure that “Cutag” is activated on the lter bar.

●

To remove a cutag event, either click again with the Cut Notes tool at the same position, or select it and press

Other options for tied notes

Tie direction

Backspace or Delete.

You can set the direction of the tie manually in the Set Note Info dialog.

RELATED LINKS

Other note details on page 84

Flat ties

If you prefer ties to be displayed as at lines, rather than regular “curved” ties, activate the “Flat Ties” option in the Score Settings dialog, on the Project–Notation Style subpage (H.W. Henze Style category).

Graphic moving of notes

There might be instances where the “graphical” order of the notes is not the one you want. In this case, you can move notes without affecting the score or playback in any way. This can be done with the Layout tool or using your computer keyboard.

By using the Layout tool

PROCEDURE

1. Select the Layout tool on the Score Editor toolbar.

2. Click again on the tool button to open the Mode pop-up menu and select the desired

option.

3. Click on the note and drag it to the desired position.

Note that movement is restricted to horizontally only.

NOTE

You can also automatically select all notes making up a chord, by holding down Alt and clicking on one of the notes with the Layout tool.

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Additional note and rest formatting Cue notes

Modes for the Layout tool

The following modes are available:

Move Single Object

In this mode, only the object you move with the Layout tool is affected (moved). Use this if you want to “correct” the position of one single note in the score, for example.

Move Notes and Context

In this mode, other score objects are moved accordingly when you move a note with the Layout tool. Use this mode if you want to correct the display of all score objects within a bar rather than modifying single note positions.

By using the computer keyboard

You can assign key commands for moving objects graphically. In the Key Commands dialog on the File menu, the commands are found under the Nudge category and called Graphical Left, Graphical Right, Graphical Bottom, and Graphical Top (only the Graphical Left and Graphical Right commands apply to notes).

After assigning key commands, you select the notes that you want to move and press the assigned keys to adjust their graphical position.

Cue notes

You can create cue notes by using voices or by converting individual notes into cue notes.

Setting a voice to display cue notes

PROCEDURE

1. Open the Score Settings dialog on the Staff page and select the Polyphonic tab.

2. Click in the “Cue” column for the voice, so that a checkmark appears.

3. Decide how to handle rests for the voice.

You might for example leave “Rests–Show” activated and activate “Reduce”. If you do, you get rests in this voice, but not as many as otherwise. Empty bars, for example, do not have any rests at all.

“Cue” activated for voice 3

4. Close the dialog.

5. Move the notes into the cue voice.

An example of a cue note voice

RELATED LINKS

Setting up the voices on page 70 Polyphonic voicing on page 68

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Additional note and rest formatting Grace notes

A quick example

Let’s say you have a ute part and want some cue notes for it:

PROCEDURE

1. Switch on polyphonic voices and activate voice 1 and voice 2.

2. Set voice 2 to “Auto” stem direction and centered rests.

3. Set up voice 1 to be a cue voice, with hidden rests and stems pointing up.

4. Insert the cue notes into voice 1.

Turning individual notes into cue notes

PROCEDURE

1. Select one or several notes.

2. Double-click one of the notes.

The Set Note Info dialog appears. You can also click the “i” button on the extended toolbar, or right-click on a note head and select “Properties” from the context menu to open this dialog.

3. Select Cue from the Type pop-up menu.

4. Click Apply.

The settings are applied to the selected notes.

5. Close the dialog.

Grace notes

You can turn any note into a grace note. Grace notes are considered to be notes without lengths. This means that once a note is turned into a grace note it does not affect the rest of the score display in any way.

After the conversion, the grace notes no longer “interfere” with the interpretation of the other notes.

NOTE

Grace notes are always positioned just before the next note on the staff. If there is no note after a grace note on the staff, the grace notes are hidden!

Creating grace notes manually

PROCEDURE

1. Locate the note for which you want a grace note.

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Additional note and rest formatting Grace notes

2. Insert one or more new notes just before it.

The note value and exact position of the note is not important. However, the pitch of course is.

From here on there are two ways to go:

● Select the notes and open the Set Note Info dialog, either by double-clicking on one

of the note heads or by clicking the “i” icon on the extended toolbar.

In the dialog, select the Grace note type.

Right-click on one of the notes and select “Convert to Grace Note” from the context

●

menu.

This turns the note into a grace note without opening any dialog.

Grace notes and beaming

If two grace notes are at exactly the same position (the same tick), they are put onto the same stem, as a chord. If multiple grace notes in front of the same note are put on different positions (even if they are only one tick apart), they are grouped under a beam.

It is possible to have beamed grace notes overlapping a beam of regular notes, as in the example below:

Grace notes in the middle of a group of regular notes

Editing a grace note

PROCEDURE

1. Select one or several grace notes and open the Set Note Info dialog.

2. Select a note value for the stem.

3. Activate Crossed, if needed.

If this option is activated, the stem is crossed by a slanted line, to further indicate that the note is a grace note.

4. Click Apply.

The settings are applied to the selected notes.

5. Close the dialog.

Converting grace notes to normal notes

PROCEDURE

1. Select the notes that you want to convert.

If you want to make sure that all notes in the score are normal notes, you can select all notes (using the Select All command on the Edit menu).

2. Double-click on one of the selected grace notes.

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Additional note and rest formatting Tuplets

The Set Note Info dialog appears.

3. Select “Normal” from the “Type” pop-up menu.

4. Click Apply.

Tuplets

The regular Display Quantize values do not apply to any other divisions than triplets. To create quintuplets, septuplets, etc., follow the instructions below.

There are two methods for creating tuplets:

●

With permanent alteration to the MIDI data. This is the “drawing” mode to use when you want to build the tuplet from scratch. It does not put any demand on the notes’ positions before the tuplet is created.

●

As display quantize. This is the method you use when the tuplet is recorded and plays back as you want it, but is not displayed correctly.

Actually, in the rst case, you make permanent alterations and set display quantize settings, all in one go. In the second case you only make display quantize settings.

With permanent change to MIDI data

PROCEDURE

1. Insert as many notes as the tuplet consists of.

This would typically be 5, 7 or 9. If the tuplet contains rests, simply leave space for those, but make sure that the current Display Quantize value allows them to be shown.

Five sixteenth notes, about to be converted to a quintuplet.

2. Select all the notes that make up the tuplet.

3. Select “Build N-Tuplet…” from the Scores menu.

The Tuplets dialog appears.

4. Set the type of tuplet in the Type eld.

“5” means a quintuplet, “7” means a septuplet, etc.

5. Set the length of the entire tuplet using the “Over” eld.

6. Activate Change Length, if needed.

If you do, the program alters the length of all notes so that they are exactly the note value the tuplet indicates. If you do not, the lengths of the existing notes is not affected in any way.

7. If you want any other text than the standard above the tuplet, enter it into the “Text” eld.

The standard text is simply the number in the type eld. If the tuplet is put under a beam the text is put just above it. If there is no beam, the text is found in the middle of a bracket.

8. Click Build.

The tuplet appears. The notes have now been moved to the tuplet positions and their length might have changed.

100

Steinberg Nuendo - 10.0 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Introduction

Platform-Independent Documentation

PDF Documents and Online Documentation

Conventions

Typographical Elements

Markup

Key Commands

How the Score Editor works

About this chapter

Welcome!

How the Score Editor operates

MIDI notes vs. score notes

An example of the MIDI/score relationship

Display Quantize

Choose your Display Quantize values with care

Using Rests as Display Quantize setting

Handling exceptions

Automatic Display Quantize

Using the Display Quantize tool

Permanent alteration of MIDI data

Entering notes by hand vs. recording notes

The basics

About this chapter

Preparations

Opening the Score Editor

Editing one or several parts

Editing whole tracks

Editing parts on different tracks

Displaying single voices or the complete score

The project cursor

Playing back and recording

Page Mode

Page Mode vs. Edit Mode

Changing the Background in Page Mode

Using the scrollbars in Page Mode

Moving between pages in Page Mode

Editing individual parts in Page Mode

Changing the zoom factor

Using the Zoom pop-up menu

Using the Zoom tool

Using the Mouse wheel

The active staff

Making page setup settings

Designing your work space

Window layout

The status line

The info line

The extended toolbar

Showing and hiding elements

The Symbols Inspector

The Inspector

The ruler

The Position Info window

About the Score Editor context menus

About dialogs in the Score Editor

Setting clef, key, and time signature

Using the Symbols Inspector to set the initial clef, key, and time signature

Editing the time signature

Composite time signatures and the For Grouping Only option

Setting the time signature on the Transport panel

Setting the time signature using the signature track/Tempo Track Editor

Editing the clef

On the clef context menu

In the Edit Clef dialog

On the Staff page of the Score Settings dialog

In a split system

Using Auto Clef

Editing the key

On the key context menu

In the Edit Key dialog

On the Staff page of the Score Settings dialog

Setting the key for a split system

Setting a local key

Transposing instruments

Setting Display Transpose