Notation Composer 3 Users Guide

Notation Composer 3
User Guide
Notation Composer 3 User Guide
© 2017 Notation Software Germany GmbH
All rights reserved. Parts or the whole of this work may be reproduced only for personal use. Parts or the whole of this work
may not be reproduced and distributed more than 10 times by any individual, company, or institution, in any form or by any
means - graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval
systems - without the written permission of the publisher.
Products that are referred to in this document may be either trademarks and/or registered trademarks of the respective
owners. The publisher and the author make no claim to these trademarks.
Contents 3
Table of Contents
Foreword 0
Part I Introduction 12
1 What's
...................................................................................................................................
New in Version 3.0 12
2 Getting
...................................................................................................................................
Started 14
About the Trial..........................................................................................................................................................
Version of Notation Com poser 14
Using This Docum
..........................................................................................................................................................
entation 15
Printing This Docum
..........................................................................................................................................................
entation 15
Installing, Backing
..........................................................................................................................................................
up, and Reinstalling Notation Com poser 16
Finding and Starting
..........................................................................................................................................................
Notation Com poser on Your System 18
Setting up Your..........................................................................................................................................................
Default MIDI Playback Device 19
Getting Free Softw
..........................................................................................................................................................
are Updates to Com poser 22
Uninstalling Notation
..........................................................................................................................................................
Com poser 23
How to Buy Notation
..........................................................................................................................................................
Com poser 24
3 The Purpose
...................................................................................................................................
of Notation Composer 24
Preparing and..........................................................................................................................................................
Printing Sheet Music from the Internet 24
Studying and Enjoying
..........................................................................................................................................................
Music 24
Practicing Music
.......................................................................................................................................................... 25
Rearranging Music
..........................................................................................................................................................
for Your Particular Instrum ent 25
Arranging Music
..........................................................................................................................................................
According to Your Perform ance Skills and Taste 25
Arranging Music
..........................................................................................................................................................
for Your Group of Musicians 26
Preparing Lessons
..........................................................................................................................................................
for Music Students 26
Com posing Music
.......................................................................................................................................................... 26
4 Who Needs
...................................................................................................................................
Notation Composer? 28
5 Comparison
...................................................................................................................................
Between Notation Composer and Notation Musician 29
6 Quick...................................................................................................................................
Start Tutorial 34
Tutorial: Opening
..........................................................................................................................................................
a File on Your System 34
Tutorial: Opening
..........................................................................................................................................................
a File from the Internet 36
Tutorial: Playing
..........................................................................................................................................................
the Song 38
Tutorial: Using..........................................................................................................................................................
a Playlist of Multiple Songs 40
Tutorial: Correcting
..........................................................................................................................................................
the Notes and Accidentals 43
Tutorial: Adding
..........................................................................................................................................................
Lyrics 49
Tutorial: Saving
..........................................................................................................................................................
Your Work in a File 51
Tutorial: Working
..........................................................................................................................................................
w ith Parts 55
Tutorial: Creating
..........................................................................................................................................................
a New Song 58
Tutorial: Adding
..........................................................................................................................................................
Notes to a New Song 60
Tutorial: Adding
..........................................................................................................................................................
Annotations 67
Tutorial: View..........................................................................................................................................................
ing and Quantizing the Perform ance 72
Part II Opening, Transcribing, Printing, Playing,

and Saving Songs 77
1 Music...................................................................................................................................
File Formats That You Can Use in Composer 77
2 Opening
...................................................................................................................................
a MIDI FIle or Karaoke File Already on Your System 78
3 Associating
...................................................................................................................................
Notation Composer with .MID, .KAR, and .NOT Files 79
4 Searching
...................................................................................................................................
for and Downloading MIDI Files from the Internet 79
Using Com poser's
..........................................................................................................................................................
Internet Brow sing Window 80
Specifying the..........................................................................................................................................................
Initial Web Page for Brow sing 81
Dow nloading MIDI
..........................................................................................................................................................
Files and Zip Files 81
3
4 Notation Composer 3 User Guide
5 Transcribing
...................................................................................................................................
MIDI Files and Recordings to Notation 83
Transcription..........................................................................................................................................................
Options 86
Re-Transcribing
..........................................................................................................................................................
a MIDI File or Recording 90
Correcting the..........................................................................................................................................................
Barlines for Files Recorded Without a Metronom e. 91
How to Determine
.........................................................................................................................................................
a "Metronomeless" File 93
Summary of .........................................................................................................................................................
Steps for Correcting Barlines Using the Rebar Feature 94
Using the Rebar
.........................................................................................................................................................
Tools to Correct Barlines 96
6 Creating
...................................................................................................................................
a New Song File 107
7 Creating
...................................................................................................................................
Your Own Song Templates 111
8 Editing
...................................................................................................................................
the Song Title and Author Information 112
9 Saving
...................................................................................................................................
Your Work in a Notation .not or MIDI .mid File 112
10 Sharing Your Music With Others so They Can View, Play, and
Print...................................................................................................................................
Your Songs 114
11 Transferring
...................................................................................................................................
Your Score to Other Music Programs Via MusicXML 115
12 Backing
...................................................................................................................................
Up Your Work with Automatic Backup 117
13 Opening
...................................................................................................................................
a Notation .not File 118
14 Viewing
...................................................................................................................................
Multiple Song Files at a Time 118
15 Printing
...................................................................................................................................
the Score 119
16 Playing
...................................................................................................................................
the Song 121
Playback Location
..........................................................................................................................................................
and Staff Focus Markers 122
Starting and ..........................................................................................................................................................
Stopping Playback 124
Fast Forw arding
.......................................................................................................................................................... 125
Using Staff Setup
..........................................................................................................................................................
To Change Instrum ents and Settings 125
Setting Up the
..........................................................................................................................................................
Metronom e 127
Jum ping to or
..........................................................................................................................................................
Preview ing Another Location in the Song During Playback 130
Setting the Focus
..........................................................................................................................................................
on a Staff During Playback 130
Anticipating Page
..........................................................................................................................................................
Turns 130
Playing or Ignoring
..........................................................................................................................................................
Repeats and Endings 131
Highlighting Active
..........................................................................................................................................................
Notes and Lyrics 131
Turning Off Stuck
..........................................................................................................................................................
Notes 132
View ing and..........................................................................................................................................................
Adjusting the Tem po 133
Controlling the
..........................................................................................................................................................
Overall Volum e Level 134
Muting and Soloing
..........................................................................................................................................................
Staves 135
Adjusting the..........................................................................................................................................................
Volum e Level of Selected Staves During Playback 135
17 Using
...................................................................................................................................
Playlists (Jukebox) 137
Organizing Songs
..........................................................................................................................................................
in a Playlist 138
Playing Songs
..........................................................................................................................................................
in a Playlist 140
Moving Playlists
.......................................................................................................................................................... 142
18 Practicing
...................................................................................................................................
Music with Accompaniment 142
Playing Along..........................................................................................................................................................
w ith Your MIDI Instrum ent 143
Setting up Practice
..........................................................................................................................................................
Loops 145
Starting and ..........................................................................................................................................................
Stopping a Practice Session 147
Advancing to..........................................................................................................................................................
the Next (or Previous) Rehearsal Mark 148
Practicing a Part
..........................................................................................................................................................
While Singing or Playing a non-MIDI Instrum ent 148
Practicing a Part
..........................................................................................................................................................
Using Your MIDI Keyboard or MIDI Instrum ent 149
Controlling Notation
..........................................................................................................................................................
Com poser from Your Music Keyboard 151
Part III Navigating through Composer and the Score 153

1 Parts...................................................................................................................................
of the Composer Window 154
Custom izing..........................................................................................................................................................
Colors in Com poser 155
Show ing and..........................................................................................................................................................
Hiding Parts of the Com poser Window 157
Contents 5
Menus (But Not

..........................................................................................................................................................
Too Much) 158
Toolbar .......................................................................................................................................................... 159
Song Time......................................................................................................................................................... 160
Playback .........................................................................................................................................................
and Paging Buttons 160
Metronome.........................................................................................................................................................
Button 161
Tempo and.........................................................................................................................................................
Volume Controls 161
Window and
.........................................................................................................................................................
Page View Buttons 162
Mouse Mode
.........................................................................................................................................................
Buttons: Select and Add 162
Undo and.........................................................................................................................................................
Redo Buttons 163
Zoom-In and
.........................................................................................................................................................
Zoom-Out Buttons 164
2 Palettes
................................................................................................................................... 164
3 Keyboard
...................................................................................................................................
Commands 167
4 Executing
...................................................................................................................................
Commands from Your MIDI Keyboard 171
5 Window
...................................................................................................................................
View and Page View 171
6 Staff...................................................................................................................................
Controls 172
Play, Mute or..........................................................................................................................................................
Solo Staff 173
Instrum ent Sound
..........................................................................................................................................................
Selection 175
Select Staff .......................................................................................................................................................... 175
7 Scrolling,
...................................................................................................................................
Resizing and Zooming the Window 176
Scrolling the..........................................................................................................................................................
Window 177
Autom atic Scrolling
..........................................................................................................................................................
During Playback 177
Resizing the ..........................................................................................................................................................
Window 178
Zoom ing the..........................................................................................................................................................
Window 178
8 Navigating
...................................................................................................................................
through Pages of the Score 179
View ing a Range
..........................................................................................................................................................
of Measures 179
First Page, Next
..........................................................................................................................................................
Page, Previous Page, and Last Page 180
Go to a Measure
..........................................................................................................................................................
or Page 180
Go to a Rehearsal
..........................................................................................................................................................
Mark 181
Part IV Editing Staves and Formatting Parts 182

1 Understanding
...................................................................................................................................
Tracks, Staves, and Parts 182
2 Editing
...................................................................................................................................
Staves 184
Adding New ..........................................................................................................................................................
Staves 185
Deleting Staves .......................................................................................................................................................... 188
Editing Instrum ..........................................................................................................................................................
ent (Staff) Nam es 189
Changing the..........................................................................................................................................................
Instrum ent Sound of a Staff 191
Assigning MIDI ..........................................................................................................................................................
Channels 196
Cloning a Staff .......................................................................................................................................................... 197
Merging Staves .......................................................................................................................................................... 198
Adjusting Per-Staff
..........................................................................................................................................................
Volum e Level and Left-to-Right Pan 199
Transposing..........................................................................................................................................................
a Staff 200
Splitting Staves.......................................................................................................................................................... 200
Splitting a.........................................................................................................................................................
Staff into Right- and Left-Hand Staves 201
Splitting the
.........................................................................................................................................................
Drum Staff into Individual Drum Staves 202
Splitting a.........................................................................................................................................................
Staff into Melody and Accompaniment 204
Splitting Double-Played
..........................................................................................................................................................
Notes from Solo Instrum ent 204
Rearranging ..........................................................................................................................................................
the Order of Staves 205
Shifting Notes ..........................................................................................................................................................
Betw een Staves 206
3 Preparing
...................................................................................................................................
Parts 207
Autom atically
..........................................................................................................................................................
Creating Parts 208
Creating a New
..........................................................................................................................................................
Part 208
Selecting a Part
.......................................................................................................................................................... 209
Renam ing a Part
.......................................................................................................................................................... 210
5
Changing Which..........................................................................................................................................................
Staves Are Displayed in a Part 210
Deleting a Part
.......................................................................................................................................................... 211
Printing Parts.......................................................................................................................................................... 211
Wizard for Preparing
..........................................................................................................................................................
Part 212
Sing-Along.........................................................................................................................................................
Part 214
Easy Notes.........................................................................................................................................................
Part 214
Fake Book.........................................................................................................................................................
Lead Sheet Part 215
Chord Chart
......................................................................................................................................................... 215
Customized.........................................................................................................................................................
Part 217
Preparing Parts
..........................................................................................................................................................
for Piano, Voirce, Drum s, and Guitar 217
Preparing.........................................................................................................................................................
a Piano or Keyboard Part 217
Preparing.........................................................................................................................................................
a Piano Reduction of a Score 219
Preparing.........................................................................................................................................................
a Vocal Part 219
Preparing.........................................................................................................................................................
a Drum Part 220
Preparing.........................................................................................................................................................
a Guitar Part 222
4 Formatting
...................................................................................................................................
Parts 223
Page Setup .......................................................................................................................................................... 224
Adding Page..........................................................................................................................................................
Title, Headers and Footers 226
Overall Font Size
.......................................................................................................................................................... 227
Horizontal and
..........................................................................................................................................................
Vertical Spacing 229
Font Type and..........................................................................................................................................................
Size for Types of Text 230
Show ing and..........................................................................................................................................................
Hiding Types of Music Annotations 233
Show ing and..........................................................................................................................................................
Hiding Instrum ent Nam es 234
Hiding Em pty..........................................................................................................................................................
Staves 236
Displaying Pitch
..........................................................................................................................................................
Nam e (Easy Note) Letters in Noteheads 238
Form atting a..........................................................................................................................................................
Part Using a Tem plate 239
Copying the ..........................................................................................................................................................
Form at of a Part to Other Parts 240
5 Laying
...................................................................................................................................
out Pages of a Part 241
Tip: Postpone..........................................................................................................................................................
Doing Page Layout 243
Changing Font..........................................................................................................................................................
Size in Layout View 243
Changing Horizontal
..........................................................................................................................................................
Spacing in Layout View 244
Specifying the
..........................................................................................................................................................
Num ber of Bars Per Line 245
Forcing a Page
..........................................................................................................................................................
Break or System Break 246
Moving a Measure
..........................................................................................................................................................
to the Previous System 248
Moving a System
..........................................................................................................................................................
to the Previous Page 250
Moving Barlines
..........................................................................................................................................................
Within a System 251
Changing Vertical
..........................................................................................................................................................
Spacing Betw een Staves and System s 253
Freezing Line..........................................................................................................................................................
Breaks and Page Breaks for Entire Part 255
Restoring Default
..........................................................................................................................................................
Pagination 256
Part V Editing the Music Notation 260

1 Basic
...................................................................................................................................
Editing Procedures 260
General Method
..........................................................................................................................................................
for Adding, Changing, and Deleting Objects 261
Adding Objects
..........................................................................................................................................................
Using Palettes 263
Selecting One..........................................................................................................................................................
or More Objects Before Editing Them 264
Changing Object
..........................................................................................................................................................
Properties Using Palettes 265
Selecting and..........................................................................................................................................................
Editing Regions of a Score 266
Using the Clipboard
.......................................................................................................................................................... 267
Copy, Cut,.........................................................................................................................................................
and Paste 268
Clearing a.........................................................................................................................................................
Region of the Score 269
Creating a.........................................................................................................................................................
New Song from the Clipboard 270
Undoing Editing
..........................................................................................................................................................
Operations 270
Recovering Interrupted
..........................................................................................................................................................
Song File Editing 272
2 Editing
...................................................................................................................................
Measures 273
Inserting and..........................................................................................................................................................
Adding Measures 273
Contents 7
Deleting Measures
.......................................................................................................................................................... 274
Splitting Measures
.......................................................................................................................................................... 275
Joining Measures
.......................................................................................................................................................... 276
Creating Upbeat
..........................................................................................................................................................
Measures 277
Shifting Barlines
.......................................................................................................................................................... 281
Editing Measure
..........................................................................................................................................................
Num bers 282
3 Adding
...................................................................................................................................
Notes 283
Adding Notes..........................................................................................................................................................
w ith the Mouse 284
Adding Notes
.........................................................................................................................................................
w ith Mouse by Choosing Durations from the Note Palette 285
Selecting .........................................................................................................................................................
the Note Duration 287
Using the.........................................................................................................................................................
Beat Ruler 289
Adding Notes
.........................................................................................................................................................
Using the Sequential Note Entry Mode 291
Specifying.........................................................................................................................................................
the Stem Direction (Voice) 295
Determining
.........................................................................................................................................................
the Pitch of a New Note 298
Determining
.........................................................................................................................................................
the Loudness of a New Note 299
Adding Notes..........................................................................................................................................................
Using Only Your Com puter Keyboard 300
Adding Notes..........................................................................................................................................................
Using Your Music (MIDI) Keyboard 301
Recording.........................................................................................................................................................
Your Performance at MIDI Keyboard to Enter Notes 302
Adding Notes
.........................................................................................................................................................
Using Step-Time Recording Mode 304
Using Step-Time
.........................................................................................................................................................
Recording and Sequential Note Entry Modes Together 305
4 Selecting,
...................................................................................................................................
Editing and Deleting Notes 309
Alternative Methods
..........................................................................................................................................................
for Selecting Notes 310
Selecting Notes..........................................................................................................................................................
and Advancing to the Next or Previous Note 311
Autom atically ..........................................................................................................................................................
Playing Notes When Selected 312
Deleting Notes .......................................................................................................................................................... 312
Rem oving Silent
..........................................................................................................................................................
Notes 312
Editing Note Pitch
.......................................................................................................................................................... 313
8va Octaves .......................................................................................................................................................... 314
Editing Note Accidental
..........................................................................................................................................................
(Sharp, Flat, etc.) 316
Editing the Rhythm
..........................................................................................................................................................
s of Notes 318
Editing Note
.........................................................................................................................................................
Location (Attack) 319
Editing Note
.........................................................................................................................................................
Duration 321
Editing Triplets
.........................................................................................................................................................
and Quintuplets 323
Editing Sw.........................................................................................................................................................
ing Notation 328
Combining.........................................................................................................................................................
Separate Notes into Chords 330
Editing Accent ..........................................................................................................................................................
Marks 331
Editing Beam..........................................................................................................................................................
s 334
Editing Ties .......................................................................................................................................................... 337
Editing the Note
..........................................................................................................................................................
Voice (Stem Direction) 340
Editing Drum..........................................................................................................................................................
Notes 341
Editing Notehead
..........................................................................................................................................................
Shape 342
5 Transposing
...................................................................................................................................
Notes 343
Transposing..........................................................................................................................................................
Actual Pitches 346
Transposing..........................................................................................................................................................
to the Key of an Instrum ent 348
6 Doubling
...................................................................................................................................
and Scaling Note Durations 351
7 Editing
...................................................................................................................................
Rests 353
Deleting Rests..........................................................................................................................................................
to Extend the Duration of Previous Notes 354
Dividing and ..........................................................................................................................................................
Com bining Rests 354
Changing the..........................................................................................................................................................
Voice of a Rest 356
Using Rests ..........................................................................................................................................................
to Erase Notes 357
Elim inating Sm
..........................................................................................................................................................
all Rests 358
Using Multiple..........................................................................................................................................................
Measure Rests 359
Hiding Rests.......................................................................................................................................................... 359
8 Editing
...................................................................................................................................
Grace Notes 361
Understanding
..........................................................................................................................................................
the Tw o Types of Grace Notes 362
7
Adding Grace..........................................................................................................................................................
Notes 362
View ing Grace
..........................................................................................................................................................
Notes as Written-Out Notes 365
Editing the Slash
..........................................................................................................................................................
on Grace Note Stem s 366
Converting Short
..........................................................................................................................................................
Notes to Grace Notes 367
Editing the Tim
..........................................................................................................................................................
ing of Grace Notes 370
Reverting Grace
..........................................................................................................................................................
Notes to Written-Out Notes 371
9 Editing
...................................................................................................................................
Ornaments 372
Adding Ornam ..........................................................................................................................................................
ents 373
Converting Written-Out
..........................................................................................................................................................
Perform ances to Ornam ents 374
Reverting Ornam
..........................................................................................................................................................
ents to Written-Out Notes 375
Deleting an Ornam
..........................................................................................................................................................
ent 376
View ing and..........................................................................................................................................................
Editing the Written-Out Perform ance of Ornam ents 376
Editing and Transcribing
..........................................................................................................................................................
Trills 377
Editing Turns.......................................................................................................................................................... 379
Editing Mordents
.......................................................................................................................................................... 381
Editing Arpeggios
.......................................................................................................................................................... 383
Editing and Transcribing
..........................................................................................................................................................
Trem olos 384
10 Editing
...................................................................................................................................
Staff Symbols 385
Brackets and..........................................................................................................................................................
Braces 386
Clefs .......................................................................................................................................................... 390
Key Signatures.......................................................................................................................................................... 391
Meters (Tim e ..........................................................................................................................................................
Signatures) 394
Barlines .......................................................................................................................................................... 396
Repetition Marks
.......................................................................................................................................................... 397
Barline Repeat
.........................................................................................................................................................
Marks 397
Endings ......................................................................................................................................................... 398
D.S. and Other
.........................................................................................................................................................
Go-To Marks 400
Repeat Instructions
.........................................................................................................................................................
for Performances 401
11 Editing
...................................................................................................................................
Music Annotations 407
Accents and..........................................................................................................................................................
Articulations 408
Dynam ic Marks .......................................................................................................................................................... 409
Hairpin Crescendo
..........................................................................................................................................................
Marks 413
Special Sym bols
.......................................................................................................................................................... 417
Slurs (Phrase ..........................................................................................................................................................
Marks) 419
Adding Slurs
......................................................................................................................................................... 420
Deleting a.........................................................................................................................................................
Slur 423
Converting .........................................................................................................................................................
Pedal Performance to Pedal Marks 423
Changing.........................................................................................................................................................
the Shape and Extent of a Slur 424
Lines and Glissandos
.......................................................................................................................................................... 427
Adding Lines
.........................................................................................................................................................
and Glissandos 428
Deleting a.........................................................................................................................................................
Line Or Glissando 429
Changing.........................................................................................................................................................
the Extent or Angle of a Line or Glissando 429
Sustain Pedal ..........................................................................................................................................................
Marks 430
Converting .........................................................................................................................................................
Pedal Marks to Pedal Performance 433
Part VI Editing Types of Text 435

1 General
...................................................................................................................................
Procedures for Editing Text 436
Adding Text .......................................................................................................................................................... 436
Editing Text .......................................................................................................................................................... 438
Deleting Text.......................................................................................................................................................... 439
Selecting Font
..........................................................................................................................................................
Type, Size, and Properties 440
Moving a Text..........................................................................................................................................................
Object 441
Copying and..........................................................................................................................................................
Pasting Text 442
Show ing and..........................................................................................................................................................
Hiding Types of Text 442
Adding International
..........................................................................................................................................................
Characters in Text 443
Contents 9
2 Lyrics
................................................................................................................................... 445
Adding and Editing
..........................................................................................................................................................
Lyrics 446
Advancing to..........................................................................................................................................................
the Next (or Previous) Lyric 447
Adding and Editing
..........................................................................................................................................................
Multiple Verses 447
Lyric Hyphen..........................................................................................................................................................
and Melism a Characters 448
Copying and..........................................................................................................................................................
Pasting Lyrics 449
Correcting the..........................................................................................................................................................
Misalignm ent of Lyrics w ith Notes 451
Editing Lyrics..........................................................................................................................................................
Using an External Text Editor 453
Working w ith..........................................................................................................................................................
Karaoke (.kar) Files 456
Hiding Lyrics.......................................................................................................................................................... 457
3 Free...................................................................................................................................
Text 458
Adding and Editing
..........................................................................................................................................................
Free Text 459
Mixing Music..........................................................................................................................................................
Sym bols and Norm al Text 460
Vertically Aligning
..........................................................................................................................................................
Free Text 462
4 Page...................................................................................................................................
Text 462
Adding and Editing
..........................................................................................................................................................
Page Text 463
Determ ining..........................................................................................................................................................
What Pages Show the Page Text 464
Aligning Page
..........................................................................................................................................................
Text 466
Standard Page
..........................................................................................................................................................
Text Such as Page Num ber 466
Specifying Page
..........................................................................................................................................................
Text in Tem plates 467
5 Chord
...................................................................................................................................
Names 468
Adding and Editing
..........................................................................................................................................................
Chord Nam es 469
Analyzing (Transcribing)
..........................................................................................................................................................
Chord Nam es 476
Advancing to..........................................................................................................................................................
the Next (or Previous) Beat While Editing Chord Nam es 480
Shifting Chord
..........................................................................................................................................................
Nam es to the Right or Left 480
Form atting Chord
..........................................................................................................................................................
Nam es 480
Tem porarily ..........................................................................................................................................................
Hiding or Perm anently Rem oving Chord Nam es 481
Transposing..........................................................................................................................................................
Chord Nam es 482
6 Rehearsal
...................................................................................................................................
Marks 482
Adding and Editing
..........................................................................................................................................................
Rehearsal Marks 482
Using Rehearsal
..........................................................................................................................................................
Marks as Editing Bookm arks 483
Using Rehearsal
..........................................................................................................................................................
Marks for Practicing Music 483
Part VII Recording from a Music Keyboard 485

1 Setting
...................................................................................................................................
Up Your Music Keyboard 485
2 Recording
...................................................................................................................................
in Step-Time 486
3 Setting
...................................................................................................................................
the Tempo for Real-Time Recording with a Metronome 487
4 Setting
...................................................................................................................................
Up Pickup Beats 489
5 Recording
...................................................................................................................................
Without the Metronome 489
6 Setting
...................................................................................................................................
the Instrument Sound for Recording 491
7 Setting
...................................................................................................................................
Up Transcription Options for Recording 492
8 Starting
...................................................................................................................................
and Ending the First Recording (Using the Metronome) 493
9 Recording
...................................................................................................................................
Into a Selected Region (Punch-In) 494
10 Recording
...................................................................................................................................
from a Keyboard with Two Hands 495
11 Recording
...................................................................................................................................
Multiple Alternative Takes 496
12 Recovering
...................................................................................................................................
an Interrupted Recording 497
13 Cleaning
...................................................................................................................................
up the Performance and/or Notation after a Recording 497
Part VIII Viewing and Editing the Music Performance 499
9
1 Viewing
...................................................................................................................................
and Editing the Performance of Notes 501
View ing and..........................................................................................................................................................
Editing the Attack and Release of Notes 501
Understanding
.........................................................................................................................................................
Piano Roll Notation 501
View ing Piano
.........................................................................................................................................................
Roll Notation While Annotating a Score 502
Using the.........................................................................................................................................................
Piano Roll Palette 503
Displaying.........................................................................................................................................................
As-Performed Attack and Release Offset Data 508
Editing As-Performed
.........................................................................................................................................................
Attack Location and Duration 509
Quantizing .........................................................................................................................................................
the Performance of Notes 513
Changing.........................................................................................................................................................
Only the As-Notated Location and Duration 514
Saving and .........................................................................................................................................................
Applying Note Duration Adjustments 516
View ing and..........................................................................................................................................................
Editing the Loudness of Notes 520
View ing the
.........................................................................................................................................................
Loudness of Notes While Annotating the Score 520
Editing the.........................................................................................................................................................
Loudness of Notes 521
Filtering Notes
.........................................................................................................................................................
Based on Notation 526
2 Inserting
...................................................................................................................................
a Sound Change in the Middle of a Staff 528
3 Viewing
...................................................................................................................................
and Editing Graphs of the Musical Performance 530
Tutorial on Graphical
..........................................................................................................................................................
Music Editing 534
Tem po .......................................................................................................................................................... 545
Editing the.........................................................................................................................................................
Tempo Graphically 546
Applying a .........................................................................................................................................................
Constant Tempo, Accelerando, or Decelerando 551
Per-Staff Channel
..........................................................................................................................................................
Volum e Level 554
Left-to-Right..........................................................................................................................................................
Pan 559
Note Pitch Bend.......................................................................................................................................................... 562
Sustain Pedal ..........................................................................................................................................................
Control 567
MIDI Controller..........................................................................................................................................................
Data 569
Part IX Configuring Your Soundcard and MIDI

Equipment 572
1 Notation
...................................................................................................................................
Software Internal Synthesizer 573
2 Quick
...................................................................................................................................
MIDI Device Setup 576
3 What...................................................................................................................................
To Do If You Hear Static or Crackling 581
4 What...................................................................................................................................
To Do If You Do Not Hear Any Sound 581
5 What...................................................................................................................................
To Do If Recording Does Not Work 585
6 Procedures
...................................................................................................................................
for Common MIDI Configuration Tasks 589
Assigning Device
..........................................................................................................................................................
Nam es That Make Better Sense to You 589
Changing the..........................................................................................................................................................
Default Playback Device 591
Installing a USB
..........................................................................................................................................................
or MIDI Cable Betw een Your Soundcard and Keyboard 594
Adding a New ..........................................................................................................................................................
MIDI Keyboard to Your Configuration 598
Deciding Whether
..........................................................................................................................................................
or Not Your Keyboard Should Directly Produce Sound 598
7 Procedures
...................................................................................................................................
for Advanced MIDI Configuration Tasks 602
Installing a Softw
..........................................................................................................................................................
are Synthesizer 602
Preparing Bank,
..........................................................................................................................................................
Patch, and Drum Note Nam es for a MIDI Device 602
Adjusting.........................................................................................................................................................
for the Delay of Some MIDI Output Devices 604
Configuring a ..........................................................................................................................................................
New External MIDI Output Device 606
How to Handle ..........................................................................................................................................................
Devices Connected w ith MIDI Thru Cables 609
How to Save ..........................................................................................................................................................
Effort if You Rearrange Your MIDI Equipm ent Often 611
8 Using
...................................................................................................................................
the MIDI Device Configuration Window 611
Understanding
..........................................................................................................................................................
the Details of the MIDI Device Configuration Window 613
Understanding
.........................................................................................................................................................
Ports and Devices in the MIDI Device Configuration Window 613
Common MIDI
.........................................................................................................................................................
Device Configurations 616
Recording.........................................................................................................................................................
Indicator in the MIDI Device Configuration Window 620
Menus in .........................................................................................................................................................
the MIDI Device Configuration Window 620
Testing Playback
..........................................................................................................................................................
and Recording Devices 620
Contents 11
Managing MIDI ..........................................................................................................................................................

Ports 621
Connecting .........................................................................................................................................................
and Disconnecting Devices from an External Port 622
Specifying .........................................................................................................................................................
Whether a Port Is Internal or External 622
Managing MIDI ..........................................................................................................................................................
Devices 623
Importing .........................................................................................................................................................
from a MIDI Device Description (.mdd) File 624
Importing .........................................................................................................................................................
from a Cakew alk Instrument Description (.ins) File 626
Adding an.........................................................................................................................................................
External Device 629
Removing.........................................................................................................................................................
a Device 630
Renaming.........................................................................................................................................................
a Device 631
Specifying .........................................................................................................................................................
Properties of a Device 631
Specifying .........................................................................................................................................................
the Default MIDI Output Device 635
Specifying .........................................................................................................................................................
a General MIDI (GM) Device 636
Tuning a Device
.........................................................................................................................................................
to Specific MIDI Channels 638
Exporting.........................................................................................................................................................
to a MIDI Device Description (.mdd) File 640
Assigning Bank,..........................................................................................................................................................
Patch, and Drum Note Nam es to a MIDI Device 641
Assigning.........................................................................................................................................................
a Bank to a MIDI Device 643
Removing.........................................................................................................................................................
a Bank from a MIDI Device 644
Assigning.........................................................................................................................................................
Patch Names for a MIDI Device or Bank of a Device 645
Managing.........................................................................................................................................................
Drum Note Lists 646
Managing Alternative
..........................................................................................................................................................
MIDI Device Configurations 652
Saving a Configuration
......................................................................................................................................................... 652
Selecting .........................................................................................................................................................
a Configuration 652
Creating a.........................................................................................................................................................
New Configuration 653
Re-Initializing
.........................................................................................................................................................
a Configuration 653
Cloning a .........................................................................................................................................................
Configuration 653
Renaming.........................................................................................................................................................
a Configuration 653
Deleting a.........................................................................................................................................................
Configuration 654
Restoring.........................................................................................................................................................
A Configuration 654
Part X Appendices 655

1 Appendix
...................................................................................................................................
A: Notation Composer Keyboard Shortcuts 655
2 Appendix
...................................................................................................................................
B: What is MIDI? 662
3 Appendix
...................................................................................................................................
C: Technical Support 663
4 Appendix
...................................................................................................................................
D: Notation Composer License Agreement 664
5 Appendix
...................................................................................................................................
E: 3rd Party Libraries and Acknowledgements 671
Index 673
11
1 Introduction
Welcome to N o ta tio n Co mp o s e r!
In this documentation we will refer to this music software program as Co mp o s e r for short.
Co mp o s e r is a tool for creating and arranging music-- both the sound and the printable notation. You
can create music with your mouse and keyboard, or by recording from a music keyboard connected
to your computer. Co mp o s e r helps you find and download MIDI (.mid) and Karaoke (.kar) files from
the Internet, and converts them to sheet music with amazing accuracy. You can use MIDI files that you
find on the Internet as a starting point for preparing arrangements that suit your musical tastes, your
playing ability, or the membership of your band or choir. You can print the music you have created or
imported, view it on the screen, and sing or play along with it as the score is played. You can also
extract particular parts for performers in your ensemble.
You likely will be able to learn how to use most of Co mp o s e r's features by simply trying out menu
commands and clicking buttons here and there. However, for a quick start in learning how to use
Co mp o s e r, we recommend going through the Quick Start Tutorial 34 .
T IP : The most important tip we can offer you for getting started with Co mp o s e r is to
have fun exploring it! Explore Co mp o s e r's menus, toolbar, and palettes by clicking
items to learn what happens. If you do not like a result, you can always undo it.
Co mp o s e r has a large number of options, but they are well organized to help avoid
overwhelming you. You probably won't need all of the features of Co mp o s e r. Don't
worry that you're not using all of the features and options. When you accomplish your
musical goals with Co mp o s e r, and have fun doing so, then you will have taken full
advantage of Co mp o s e r. Many unexplored features of Co mp o s e r will remain
waiting for you for a later project!
1.1 What's New in Version 3.0

The following new features and improvements are included in N o ta tio n Co mp o s e r version 3.
S o und E nha nc e me nts
N o ta tio n S o ftwa re S y nth 573 - an internal sound synth using a General MIDI (GM) soundfont to
guarantee sound on any machine. Co mp o s e r allows you to select the GM soundfont you would
like to use for your sounds.
E xp o rt a s .W A V 54 lets you export an audio version of your arrangements and compositions
to share with others.
A S IO d riv e r s up p o rt 573 , eliminates latency (delay) issues. Selecting the ASIO driver and the
Notation Software Synth for playback and recording assures you of good sound and no latency
for more accurate recording and transcription.
Sounds of original imported MIDI files supported, especially useful for devices that use specific
extended bank voices.
Recovers "select" sound sets from original MIDI files created using device-specific banks and
instrument patches. If you have a Yamaha (or other keyboard/synthesizer/library) that generates
files with special sound sets, N o ta tio n Co mp o s e r can now find and preserve those special
sounds, even from older saved .not files, and put them back in so that your songs sound great
when you play them, or when you export a MIDI (.mid) file to play on your keyboard or other
device.
Introduction 13
Mo re La ng ua g e V e rs io ns
Now available in German and Spanish versions.

QuickStart Guides available for each language version.
German version uses German style notation.
A German version of the website is also in place to support German-speaking/reading
customers.
A flexible upgrade path to switch the language variant of the software when upgrading your
product.
N e w p la tfo rms s up p o rte d
Founded on the Wine HQ environment. The latest version is enhanced to provide the best
experience on Apple MACs. See our MAC installation guide at www.notation.com/MAC.php
Linux' Ubuntu and openSUSE are now supported, also founded on the WineHQ environment.
See our Ubuntu installation guide at www.notation.com/Ubuntu.php
D ire c t P D F E xp o rt
Notation music sheets can be exported directly using our High Resolution PDF Export for crisp
notation sheets.
D e te c tio n o f Mo d e rn Ke y b o a rd s
Modern keyboards today have a certain structure through their USB interface. Version 3.0.2 and
later detects those accurately.
Imp ro v e d U s e r Inte rfa c e
More stream-lined user interface for fast and effective work with the software
Better feedback for correcting musical problems with song files 469
Enhanced color scheme
Y a ma ha XF Cho rd Fo rma t S up p o rt
Full implementation of Yamaha's XF format for chord names 470 , both for importing from .mid files
and exporting to .mid files.
Cho rd N a me E nha nc e me nts
Chord names are compared to the underlying notation and checked for validity 470 . Chord
names that are "suspect" are marked for easy correction using the Chord Name tools.
MusicXML export of chord names
MID I D e v ic e Co nfig ura tio n Ma na g e r (D CM) E nha nc e me nts
Improved interface for easier access and use

New folder structure for saving and restoring backup configuration files
MID I E nha nc e me nts
GraphOverNotes - better integration with Staff Setup

Qua lity a nd S e c urity Initia tiv e
Many bugs corrected in Version 3

Security enhancements to protect users who purchase a license
Easy installation procedure with "Readme" guides 16
Easy update process for free updates
Easy restoration later if a problem should occur requiring reinstallation of the software. 16
Improved service support with real-time logging and fault diagnosis for better customer service
Backup installation is saved in a zip folder for easy user storage and recovery.
T e c hno lo g y
Enhanced User Interface libraries from Microsoft, Inc. and FOSS Software, Inc.
New user-friendly grids using the modern grid technology of Ultimate Grid
Version 3 has been developed with Microsoft's modern development environment to provide
support for future operating systems
A S IO integration for better visual and sound experience.
T uto ria l V id e o s
Tutorial videos are available on the website to help you get going fast
1.2 Getting Started

If you have already successfully installed Co mp o s e r, and are already comfortable using this
documentation, you might want to skip this Getting Started section. Before beginning the Quick Start
Tutorial 34 , you might find it helpful to read about The Purpose of Notation Composer 24 , so that you
will have a better idea about what you should expect in this music software.
This Getting Start section offers the following introductions and instructions:
About the Trial Version of Notation Composer 14
Using this Documentation 15
Printing this Documentation 15
Installing Notation Composer 16
Finding and Starting Notation Composer 16
Backing up Your Purchased Copy of Notation Composer 17
Uninstalling Notation Composer 23
How to Buy Notation Composer 24
1.2.1 About the Trial Version of Notation Composer
The trial version of N o ta tio n Co mp o s e r is functional for 30 days from the installation date. The trial
version offers all features of Co mp o s e r available in the full version, except printing and saving files.
To determine whether you are using the trial version of N o ta tio n Co mp o s e r rather than the full
purchased version, choose the About command from the Help menu. A window will display the
N o ta tio n Co mp o s e r graphics logo and the version number of Co mp o s e r. This window also
displays "Trial Version" if you are using the trial version rather than the full purchased version of
Co mp o s e r.
With the trial version of Co mp o s e r you can edit the score and play it back, work with the practice
Introduction 15
features, and see how it can help you with your music.
If you have enjoyed using the trial version of Co mp o s e r, we hope you will consider purchasing the full
version of the software, which removes the 30-day trial period limitation and allows you to save and
share your work. To purchase the full version of Co mp o s e r, please see How to Buy Notation
Composer 24 .
1.2.2 Using This Documentation
This Co mp o s e r documentation is organized according to tasks that you can do, and will want to learn
about, in Co mp o s e r rather than "reference" documentation, which is organized according to the
structure of the software program-- menus, toolbars, dialog boxes, etc. We hope this helps you get
things done quicker.
T o find the d o c ume nta tio n tha t e xp la ins ho w to a c c o mp lis h a c e rta in ta s k :

If you are viewing this documentation on the screen, then do one of the following:
You will see the Table of Contents on the left side of the help window. Navigate through the
Table Contents until you find the category and sub-category of documentation that is relevant
to your need
-- OR --
Click on the Search or Index tab in the left side of the help window. If you are interested, for
example, in help topics that specifically focus on preparing piano scores or parts, then look up
"piano" in the Index, or use "piano" as the keyword for Search.
Although the Co mp o s e r documentation is particularly well-organized to answer "how to" questions, it
also provides quick reference information if you just need some help on how to use the command or
dialog box.
T o le a rn a b o ut the p urp o s e a nd us e o f a p a rtic ula r me nu ite m:
While holding the mouse over the menu item, hit the F1 key. Composer will display this help
window, presenting the topic that describes the situations in which you might want to use that
menu command, and the overall procedures in which you would use that command.
T o le a rn a b o ut the p urp o s e a nd us e o f a b utto n o r c o ntro l in the ma in to o lb a r 159 , or a
b utto n in o ne o f the p a le tte s 164 :
While holding the mouse over the button or control, hit the F1 key.
T o le a rn a b o ut the d e ta ils o f a d ia lo g b o x:
Click the Help button in the dialog box.
T o le a rn a b o ut k e y b o a rd s ho rtc uts in Co mp o s e r:
See Appendix A: Keyboard Shortcuts 655 . You might find it useful to print out that particular
reference topic to speed up your learning of helpful keyboard shortcuts.
If you know the menu item or palette button for a given command, you can find out what the
keyboard shortcut for that command is by placing the mouse over the menu item or palette
button, then wait for a brief moment until Composer displays a tip describing the command and
its keyboard shortcut.
1.2.3 Printing This Documentation
If you would like to print out portions of this documentation then we suggest that you download the
documentation available in Adobe Acrobat PDF file format. You can then use your favorite PDF
reader or editing program to print out the pages you would like. Alternatively you can purchase a
bound book copy of this documentation.
1.2.4 Installing, Backing up, and Reinstalling Notation Composer
You may have received the installation file for Co mp o s e r either via download from the Internet or on a
CD-ROM. Either way, the setup program will be named something like
Inst_NS_Composer_3_English.msi.
The number "3" in the setup file name represents the Co mp o s e r version number 3.0. Newer versions
of the Co mp o s e r software and setup program might be released before this documentation is
updated. In that case, the number in the setup program might be something like "302" for Co mp o s e r
version 3.0.2.
Installing on Windows 16
T he fo llo wing thre e p la tfo rms re q uire W ine H Q to b e ins ta lle d firs t, a nd whic h y o u c a n
d o wnlo a d d ire c tly b y c lic k ing he re .
Installing on a Mac
Installing on Ubuntu
Installing on openSUSE
For Windows machines

T o ins ta ll Co mp o s e r us ing the s e tup file d o wnlo a d e d fro m the Inte rne t:
We strongly encourage you to select "Download" and not "Run" when downloading the
software.
If you have just completed the download of Inst_NS_Composer_3_English.msi (or
Inst_NS_Composer_3_German.msi or Inst_NS_Composer_3_Spanish.msi )
file, your Internet browser might immediately offer you the opportunity to "open" the file. In
that case, do choose the "open" option.
If you did not immediately run the setup program after downloading it, then you will first need to
find it on your system. One way to do this is as follows:
1. At the lower, left corner of the screen, click the Windows button:
OR
2. In the Search field, type in the word "Composer".
Windows will find NotationInst_NS_Composer_3_English.msi file in your Internet
download directory, and display it in the right panel of the Search Results window.
3. With the mouse, double-click the name of the found file. That will start the setup program.
4. Follow the steps in the Notation Composer setup program. These will include entering
your registered name, email address, mailing address, and your license number.
5. IMPORTANT: We recommend that you restart Windows after finishing the installation. It
might not be necessary for you to do this. But if you have any problems initially running
Co mp o s e r after installing it, then it is highly recommended that you restart Windows.
T o s ta rt Co mp o s e r ins ta lla tio n fro m the CD -R OM:
1. Insert the Notation Composer CD-ROM into your computer's CD-ROM drive. Normally the
setup program will start automatically.
Introduction 17
2. If the setup program does not start automatically:

(a) At the lower left corner of the screen, click the Windows button:
OR
(b) Choose (or type) "Run".
(c) In the Run dialog, type "D:\setup.exe" if your CD-ROM is the "D:" drive. If you do not
know the drive letter for your CD-ROM, then click the Browse button to find letter for your
CD-ROM drive.
3. Follow the steps in the N o ta tio n Co mp o s e r setup program. These will include entering your
registered name, email address, mailing address, and license number. It is probably a good
idea to have your receipt email handy so you can simply copy/paste this information into the
fields and avoid any problems.
4. IMPORTANT: We recommend that you restart Windows after finishing the installation. It might
not be necessary for you to do this. But if you have any problems initially running Co mp o s e r
after installing it, then it is highly recommended that you restart Windows.
A lwa y s b a c k up y o ur ins ta lla tio n:
When you first install N o ta tio n Co mp o s e r using either method above, or when you update
your software, the installation file creates a backup installation folder. In the event that you
have a problem with your machine (eg. a viral infection which has to be cleaned up, a hard
drive crash, etc.) which requires the re-installation of your software, you can use this folder of
files to reinstall the software on the same machine. Therefore, we strongly recommend that
you make a copy of this folder and save it in a safe location (eg. memory stick, external hard
drive, etc.)
1. Use Windows Explorer to navigate to the folder C:\Users\Public\Documents\Notation_3
\Composer_3\Installation For systems that use the WineHQ paradigm, this folder will be
located within the "Wine" folder on your machine.
2. Co p y the e ntire " Ins ta lla tio n" fo ld e r to a backup drive or other secure media backup that
you may have. Alternatively, you can make a copy to a CD or DVD disc if your machine has
the capability to "burn" CDs or DVDs. You may also wish to copy the MidiDev_Config folder
or other files that are contained here if you have a complicated MIDI Device Configuration that
you want to preserve in case of problems later.
T o re ins ta ll the s o ftwa re o n the s a me ma c hine :

1. If you find that you need to reinstall the software on the same machine that you originally
installed it on, you can use the backup that you created above. Copy the entire "Installation"
folder that you saved in the steps above to your computer's hard drive.
IMPORTANT: the files
o Inst_Notation_Composer_3_English_Backup_303.zip (or whichever language and version
variant you have)
o Notation_Installation_LOG.log
both need to be located in the "Installation" folder on your hard drive for reinstallation to be
successful!
2. Unzip the file Inst_Notation_Composer_3_English_Backup_303.zip to its own folder within the /
Installation folder.
3. Follow the instructions in the "Read_me_to_reinstall_Notation.txt" for the reinstallation.

4. In the folder "Inst_NS_Composer_3_English_Backup_303" is a file named
"Installation_Notation_Composer_3_English.msi" - double-click the filename to start the
reinstallation.
5. Run Notation Composer to make sure that everything has reinstalled correctly.
If y o u wis h to tra ns fe r y o ur lic e ns e to a d iffe re nt ma c hine :
Please use the form at our website to Request a Redownload at http://www.notation.com/
Redownload.php
1.2.5 Finding and Starting Notation Composer on Your System
Once you have installed Co mp o s e r, there are a couple of ways you can start the program.
On most systems you can simply double-click the Co mp o s e r icon on your desktop to
start the program.
Introduction 19
T o s ta rt Co mp o s e r fro m its W ind o ws p ro g ra m fo ld e r:

1. At the lower left corner of the screen, click the Windows Start button:
OR
Windows will display the Start menu.
2. In the Start menu, choose Programs. A submenu with various programs on your system will be
listed.
3. In the submenu, choose Notation Composer. A second submenu will be displayed, showing
various tools available for Composer.
4. Select Notation Composer from the submenu:
Alternatively, just double-click the Co mp o s e r icon on your desktop to start the program.
T o s ta rt Co mp o s e r o n a Ma c :
Double-click the Co mp o s e r icon on your desktop to start the program.
T o s ta rt Co mp o s e r o n U b untu:
Simply double-click the Co mp o s e r icon on your desktop to start the program.
T o s ta rt Co mp o s e r o n o p e nS U S E :
Simply double-click the Co mp o s e r icon on your desktop to start the program.
1.2.6 Setting up Your Default MIDI Playback Device
Beginning with the version 3.0.3 release, the default MIDI playback device is the N o ta tio n S o ftwa re
S y nth 573 . Unless you have other "specialty" synths or sound libraries, or an external unit you want to
use for playback, you won't need to read any further in this section.
However, your computer may have more than one MIDI device that can be used for listening to your
files. You will be able to hear the difference in how one MIDI device versus another plays, for example,
a grand piano sound.
A MIDI device can be "software synthesizer" on your system, or a physical device, most commonly an
external MIDI keyboard that is connected to the computer via a MIDI cable or USB cable.
The Quick MIDI Device Setup command in Co mp o s e r's Setup menu offers you an easy way to
choose the default MIDI device that will be used for playback.
Most MIDI devices offer a list of 128 different instrument sounds, and certain drum sounds, which
together are called the "General MIDI" sounds. Many MIDI devices also offer one or more additional
"banks" of sounds, where each bank can have up to 128 sounds. If your MIDI device has additional
banks of sounds besides General MIDI sounds, you can also use the Quick MIDI Device Setup
command to inform Co mp o s e r about what particular MIDI device manufacturer and model you are
using. With that information, Co mp o s e r lets you select instrument sounds by meaningful names, such
as "pizzicato violin" instead of MIDI "patch" numbers.
T o s e t up the d e fa ult MID I p la y b a c k d e v ic e in Co mp o s e r:
1. In the Setup menu, choose the Quick MIDI Device Setup command.
-- OR --
Type "qqds" for (Quick command) quick device setup.
Co mp o s e r will display the Quick MIDI Device Setup dialog box:
2. Select one of the MIDI playback devices in the list.

To use an external MIDI device that is connected to your system via a MIDI cable or USB
cable, select a MIDI device that has "MIDI Out" or "Out" in its name.
3. To test the sound for the selected playback device, click the Test Playback button.
Co mp o s e r will display and play a 12-note chromatic scale. The notes will be highlighted as
they play. Also, the green playback indicator in the Quick MIDI Device Setup window will
display a bright green color as the notes are played. Upon completion of the playback,
Co mp o s e r will close the window that displays the notes.
If the device is an "internal" device on your Windows system, then you should hear sound
through the speakers connected to your sound card. If the device is "external", such as a MIDI
keyboard capable of producing its own sound, then you should hear that device play the
sound.
Introduction 21
4. If you do not hear sound for a device when you choose the Test Playback option, then some
possible explanations and remedies are discussed in What To Do If You Do Not Hear Any
Sound 581 .
5. Click the OK button when you have selected the desired playback device.
6. After you click OK, if you have already opened a song, Co mp o s e r will display a simple
dialog box that offers you the option to reassign all of the staves of that song to the newly
assigned default device.
If your MIDI device has additional MIDI sound banks besides the General MIDI sounds, then it is a
good idea to import the sound names, as described in the next procedure. Once you have done this,
you can refer to instrument sounds according to names, such as "pizzicato violin", rather than MIDI
patch numbers.
You can import instrument sound names from either of two types of files: (1) a Cakewalk tm Instrument
Description (.ins) file, or (2) a Notation Software tm MIDI Device Description (.mdd ) file. The .ins and
.mdd files are available at the web site of, respectively, Cakewalk and Notation Software, as
described in the procedure below. An .ins or .mdd file usually is named according to a MIDI device
manufacturer's name, as in yamaha.ins or roland.ins. The file typically has descriptions for
several MIDI device models offered by the manufacturer.
T o s e t up s o und na me s fo r a d e v ic e tha t ha s a d d itio na l MID I s o und b a nk s b e s id e s the
Ge ne ra l MID I s o und s :
1. Find a Cakewalk .ins file for the manufacturer of your MIDI keyboard or device from our
collection in our User Forum's "Instrument Defintion" list.
-- OR --
Find a file using your internet browser and searching for "INS" and the name of your device.
2. In your Internet browser, download the .ins or . mdd file to a directory that you can easily
remember.
3. In the Quick MIDI Device Setup dialog, select a MIDI output port under Select MIDI Playback
Device.
A MIDI output port will include "MIDI Out" or "Out" in its name. If your device is connected via a
USB cable, then the MIDI output port will also have "USB" in its name.
4. Click the Import Sound Names button.
Co mp o s e r will display the Import Sound Names from File dialog box:
5. In the dialog box, navigate to the directory where you downloaded the .ins or .mdd file, and
select the file. Click the Open button.
Co mp o s e r will display the Select Manufacturer and Model dialog box:
6. Select your particular manufacturer / model in the list, and click the OK button.
Co mp o s e r will then return you to the Quick MIDI Device Setup dialog box.
7. Click the OK button in the Quick MIDI Device Setup dialog box.
1.2.7 Getting Free Software Updates to Composer

From time to time, Notation Software provides free updates to the N o ta tio n Co mp o s e r software.
These updates offer new features, usability enhancements, and bug fixes.
If you have an Internet connection, it is easy for you to find out whether there is a free software update
and then immediately download and install it. With a DSL or cable Internet connection, this whole
procedure can typically be done in about one minute. If you have a dial-up connection, it will take
longer.
T o re v ie w the fe a ture e nha nc e me nts a nd b ug fixe s a v a ila b le in re c e nt Co mp o s e r

s o ftwa re up d a te s :
Note that you can skip this procedure and directly download and install the most recent update to
Co mp o s e r if you do not wish to review the software changes.
1. Choose the Software Updates command in the Help menu.
That will take you to a "Check for Latest Software Update" page inside Co mp o s e r with
instructions.
2. Click the link for "Review Update":
That will take you to a page at Notation Software's web site where you can review
descriptions of recent feature enhancements and bug fixes in Co mp o s e r.
Introduction 23
T o d e te rmine whe the r the re is a fre e up d a te (o r a ne w up g ra d e ) fo r N o ta tio n

Co mp o s e r, a nd to d o wnlo a d a nd ins ta ll it:
1. Choose the Software Updates command in the Help menu.
That will take you to a "Check for Latest Software Update" page inside Co mp o s e r with
instructions.
2. Click the link for "Upgrade/Update Assistant":
Co mp o s e r will display the Web Upgrade/Update Assistant window.

3. The Web Update Assistant will inform you whether an update for Co mp o s e r is available. If
so, just follow the instructions on the page to receive your download key.
4. Upon completion of the update, the program will offer you the option to immediately restart the
newly updated Co mp o s e r software.
1.2.8 Uninstalling Notation Composer
T o unins ta ll Co mp o s e r:
1. If the Co mp o s e r program folder is on your Windows desktop, simply click the Uninstall
Co mp o s e r icon in that folder.
-- OR --
2. In the Windows Start menu, navigate to the Composer Uninstall program and run it, as follows:
(a) Click the Windows Start button at the bottom left corner of the screen. Windows will display
the Start menu.
(b) In the Start menu, choose Programs.
(c) In the Programs submenu, choose Notation Composer.
(d) In the Notation Composer submenu, choose Uninstall Notation Composer.
-- OR --
3. Use the Remove option of the Windows Control Panel as follows:
(a) Click the Windows Start button at the bottom left corner of the screen.
(b) In the Start list, select the main Settings option. On Windows 7, Vista, XP, 2000, Me, or 98,
choose the Control Panel sub-option.
(c) In the Control Panel folder, choose Add/Remove Programs.
(d) Scroll down in the list of currently installed programs on your system to the entry for
Co mp o s e r.
(e) Click the Add/Remove button to remove Co mp o s e r from your system.
1.2.9 How to Buy Notation Composer
We will be delighted if you choose to purchase N o ta tio n Co mp o s e r. Your purchase will support our
dedicated efforts to continue developing and supporting this software.
To review the price of Notation Composer and to optionally purchase it please visit us at
www.notation.com/Buy.php
1.3 The Purpose of Notation Composer

N o ta tio n Co mp o s e r is a software tool that offers you an efficient and enjoyable way to prepare
music-- both the sound and the notation-- for your own use, for performance by other musicians, and for
visually interactive listening.
Although "Composer" is in the name N o ta tio n Co mp o s e r, using it as a tool for composing is just one
of several ways that Co mp o s e r can help enrich your musical creativity.
With N o ta tio n Co mp o s e r, you can:
find music (MIDI) files on the Internet and convert them to printable sheet music 24
study and enjoy music 24
practice music on your instrument or practice singing 25
arrange music for your particular instrument 25
arrange music that matches your performance skills, voice range, or stylistic taste 25
arrange parts to match the makeup of your group of performing musicians 26
if you are a music teacher, prepare lessons for your students 26
compose music and write songs from scratch 26
save audio files to share with others for practice or enjoyment
1.3.1 Preparing and Printing Sheet Music from the Internet
You can use N o ta tio n Co mp o s e r to prepare and print sheet music that it helps you find on the
Internet:
Use Co mp o s e r' s built-in Internet browser and directory of MIDI file web sites to search the
Internet for a MIDI file of the music you want.
When you find the MIDI file at a web site, click its name, and Co mp o s e r will download it and
open it as sheet music.
Print the sheet music.
If the music is for multiple instruments or voices, extract the parts and print them individually or
all together with one command.
1.3.2 Studying and Enjoying Music
Co mp o s e r adds an extra visual dimension to your study and enjoyment of music. Whatever song or
piece of music you are interested in, you will likely be able to find it as a MIDI file on the Internet.
Download it using your favorite browser and open it in Co mp o s e r, or use Co mp o s e r's built-in
Internet browser.
When you open the MIDI file in Co mp o s e r, it will immediately display the sheet music. Although with
Co mp o s e r you can change the notes or any detail of the music or notation, in many cases you might
just want to use Co mp o s e r as a tool for visually studying and enjoying music as it plays:
You can easily follow the music as it plays because a blue vertical cursor shows the current
Introduction 25
playback position, and actively playing notes are highlighted.

Slow down the music so that you can hear the details of rhythms.
Select a particular instrument and increase its volume level, so that you can focus on the role
of that instrument in the harmony and orchestration.
If you have never followed a score while listening to music, Co mp o s e r might open up a whole new
way for you to enjoy and experience music, with your eyes as well as your ears.
1.3.3 Practicing Music
You can use Co mp o s e r as a tool for practicing on your instrument or with your voice in several ways:
Play along with your acoustic instrument, or sing along, as you read the notes from your part
on the screen.
Let Co mp o s e r play the accompaniment for other instruments.
Slow down the tempo when you are first learning the music.
Temporarily increase the font size of the notes so that you can comfortably read them.
Turn off the volume (that is, "mute") the part that you are performing, so that only your "live"
performance is heard.
Let Co mp o s e r automatically turn pages for you.
Set up practice loops. You can specify:
-- the number of lead-in measures
-- the range of measures in the loop, or the starting and ending rehearsal marks
-- how many times the loop should repeat
-- how much the tempo should increase in each repeated loop
1.3.4 Rearranging Music for Your Particular Instrument
Sometimes you might find a MIDI file that has approximately the right notes, but they are not arranged
well for your particular instrument. You can use Co mp o s e r to rearrange the music to meet the
requirements of your instrument:
Transpose the notation according to the key of your instrument. For example, if your instrument
is a Bb clarinet, transpose the shown notes up a whole step, so that a 'C' in the score is heard
as the Bb a whole step below.
Transpose the actual pitches up or down to fit within the range of your instrument.
Change the pitches of individual notes to stay within the range of your instrument, or to avoid
awkward fingerings.
Prepare a piano reduction of an ensemble or choral score.
Prepare fake book lead sheets for guitar or keyboard. Co mp o s e r automatically analyzes
the harmonies of the song for chords and displays them.
1.3.5 Arranging Music According to Your Performance Skills and Taste
When you find a MIDI file for the music you want to learn, the notes might not be arranged exactly as
you want them. Perhaps the arrangement is too demanding on your skills as a musician. Or the other
way, perhaps the arrangement is too simple, and you want to "jazz it up".
With Co mp o s e r, you can quickly rearrange the music to meet your needs. It is easy and fun to add
and change notes.
After you have rearranged the music, you can play it back to hear whether it is the way you want to
learn to perform the music yourself. Then print a copy of your arrangement so that you can practice
and study it away from the computer. Or practice along with accompaniment by Co mp o s e r as it plays
the other parts.
1.3.6 Arranging Music for Your Group of Musicians
If you are responsible for finding arrangements for your group of musicians, then you likely have
discovered that it is difficult to find arrangements that exactly match the makeup of your group. There
are several ways that you can use Co mp o s e r to arrange parts that match the number of musicians in
your group, the instruments they play, their voice ranges, and their skill levels:
Start with a MIDI file for the music. Some parts might already be a good match for the players
in your group.
Copy one part to create a second doubling part for another instrument voice.
Consolidate two parts into one part, and delete the least important notes.
-- OR --
Create an extra part from scratch to supplement the conductor's score and parts that you
purchased from a sheet music dealer.
1.3.7 Preparing Lessons for Music Students
If you are a music teacher, then Co mp o s e r is an excellent tool for preparing customized lessons for
your students:
For beginning students, create music exercises from scratch, according to your own teaching
methods.
Start with an arrangement that is close to what you want to offer to your students, but rearrange
it so that it better matches the playing level and musical tastes of your students.
The arrangement that you start with might be a MIDI file that you find on the Internet. Or, you
might start with some already printed sheet music that, if you have music keyboard skills, you
can quickly play into Co mp o s e r in real-time or step-time 486 .
Add annotations to the music such as fingerings, rehearsal marks, and textual instructions
such as "play evenly here".
1.3.8 Composing Music
N o ta tio n Co mp o s e r is an ideal tool for composing. Whereas most music notation programs focus
on the printing aspect of music that has already been composed, N o ta tio n Co mp o s e r focuses on
the actual activity of composing and arranging music. N o ta tio n Co mp o s e r offers many ways that
you can quickly record or enter the notes of your musical ideas. In a rapid interactive process, you can
improvise musical ideas on your music keyboard, or enter the notes on the screen. Then, immediately
play back your work in progress, and refine your musical ideas with convenient editing tools.
Here are some typical steps you might take in composing or arranging music with Co mp o s e r:
Create a new song file, with a specified meter, and instrument sound.
Set the tempo for the final performance speed. You can temporarily adjust the tempo to a
slower value (as a percentage of the normal tempo), if you want to record at a slower pace.
Set the metronome sound, or turn off the metronome if, for example, you have already laid in
the percussion staff.
Start recording. Improvise your musical ideas at a music keyboard, or on your MIDI guitar or
other MIDI input device.
Introduction 27
Stop recording. Co mp o s e r will immediately transcribe your performance to notation, using

the best MIDI-to-notation transcription available in any music software.
Play back your improvisation to hear which parts you want to keep and which parts you want to
discard.
If desired, completely record a section as another "take" on top of the previous one. If you
want to go back to the previous one, use the Undo command.
If desired, save multiple takes on additional staves that you can clone from the recorded staff
with a single Clone Staff command.
If you want to change just a section of a part, then select that region of the score with the
mouse, and then "punch in" a new recording for just that section.
If you do not have keyboard skills to improvise the music live, then use the Step-Time Entry
Method, where you can quickly enter notes from your music keyboard at your own pace.
-- OR --
With your mouse, add notes on the screen. With the Sequential Note Entry Method, you will
usually not have to choose a note duration before you add the note with the mouse. When you
add a second note, the duration of the first note will be automatically adjusted to end at the
beginning location of the second note.
Copy and paste one section of the song to another, and to other staves.
Correct individual notes that you performed with an unintended rhythm or pitch, and delete
unwanted notes.
Build up the song with multiple instrument staves. While you record the part for a new
instrument, let Co mp o s e r play back the already recorded instrument parts as
accompaniment.
After you have prepared a rough draft of the composition or arrangement, you can refine the
performance in many ways:
Change the exact timing (attack and release times) of individual notes, or several at a time.
Change the exact loudness of individual notes.
Mix the volume and pan levels of staves throughout the song.
Edit the tempo throughout the song with graphical drawing tools, or numerically.
Add or edit pitch bends, sustain pedal on/off events, and other MIDI controller events, using
intuitive graphs that are drawn on top of the notes.
You can also refine the printed score in many ways:
Add lyrics.
Add annotations, such as accent marks, dynamic marks, hairpin crescendo marks, tempo
marks, free text, and slurs (phrase marks).
Format the score with choices for:
-- font faces and sizes for different types of annotations
-- page size and margins
-- page title, header, and footer
-- horizontal and vertical spacing
-- line (system) breaks and page breaks
-- formatting templates that you can prepare for reuse
Produce individual instrument or vocal parts. Extracted parts are always kept fully integrated
with the conductor's score, so that changes in either an extracted part or the conductor's score
are always faithfully replicated in the other.
1.4 Who Needs Notation Composer?
Almost any musician who reads music-- beginner to professional-- will enjoy Co mp o s e r and find
many uses for it. You certainly do not need to be a song-writer or composer to find Co mp o s e r useful,
although if you are, you will find Co mp o s e r to be an ideal tool for capturing your musical ideas.
If you are a Mus ic ia n a t H o me or Mus ic S tud e nt you can:
Search for and download from the Internet MIDI file arrangements of pieces you would like to
learn. Find arrangements with the level of difficulty that match your skills. Print the sheet music
that Co mp o s e r transcribes from the MIDI files.
Practice along with accompaniment from other instrument sounds, at any tempo you choose,
reading from a song arrangement you have found on the Internet, received from your teacher,
or entered by hand. Set up rehearsal sections of the piece that repeat as many times as you
choose, with optionally increasing tempos for each repeat.
Enter notes into Co mp o s e r for a piece or portion of one you are learning, so that you can
hear how you should play it.
If you are a Mus ic T e a c he r, you can:
Create musical exercises for your students using the Co mp o s e r. Distribute the Notation
(.not)files to your students on floppy disks or publish them at your web site. Your students
can print, view, and practice the music using the separate N o ta tio n Mus ic ia n product.
Create musical arrangements for your students with exactly the level of difficulty that matches
their skills. You can create the arrangements from scratch, or customize arrangements from
MIDI files that you find on the Internet.
If you are a P ro fe s s io na l Mus ic ia n, you can:
Create your own music. If you read music notation, you will enjoy recording and editing MIDI
performances that Co mp o s e r clearly transcribes to notation, instead of using some other
MIDI sequencing program that has less accurate transcription.
Search for and download from the Internet MIDI file arrangements for pieces you want to learn.
Rearrange the music to match your performance style.
Touch up the arrangements of MIDI files you find on the Internet, or which you have created
with other music software tools such as PG Music's Band-in-a-Boxtm , and use them as MIDI
accompaniment on the stage.
If you are a B a nd Le a d e r, you can:
Print out parts for your band members from music that you have prepared in Co mp o s e r or
imported from a MIDI file that you sequenced yourself or downloaded from the Internet.
Rearrange music to exactly match the members and skills of your band.
Add musical annotations, such as accent marks, to the band members' parts.
If you are a Cho ir D ire c to r, you can:
Print out parts for your choir members from music that you have prepared in Co mp o s e r or
imported from a MIDI file.
Add lyrics and musical annotations, such as dynamic marks, to the vocal parts.
Rearrange music to exactly match the voice ranges and number of members in your choir.
If you are an S o ng -W rite r o r Co mp o s e r you can:
Introduction 29
Let Co mp o s e r capture your improvisations on a MIDI keyboard. Keep the recordings you
like, and discard the parts you don't. Quickly mold your improvisations into compositions.
Try out musical ideas by adding the notes on the screen and then listening to them during
playback.
Easily add one or more verses of lyrics to your song.
Prepare printed scores that are quite suitable for others to read and rehearse.
Edit the MIDI performance with a high degree of control, using intuitive graphical tools that are
oriented for those who read music notation.
1.5 Comparison Between Notation Composer and Notation

Musician
The following chart compares the purposes and features of N o ta tio n Co mp o s e r and N o ta tio n
Mus ic ia n. For ordering and pricing information for these two products, see How to Buy Notation 24 .
Notation Notation
Purpose and Features
Musician Composer
P urp o s e : Download MIDI files Internet and transcribe

them to sheet music that you can print or view on the Yes Yes
screen as the notes play.
Search the Internet for MIDI files, download, and unzip them
Yes Yes
using a built-in Internet browser 80 .
Transcribe MIDI file to sheet music 83 with excellent

accuracy, including detection of swing rhythms, grace Yes Yes
notes, trills and tremelos.
Correct any errors that might be made in the transcription of

Yes Yes
the note rhythms 318 .
Automatically analyze and display chord names 476 . Yes Yes
P urp o s e : Enjoy and study the music notation a song as it

Yes Yes
plays.
Highlight the notes and lyrics as they play 131 . Yes Yes
Slow down the tempo 133 so that you can hear the rhythms
Yes Yes
more clearly.
Temporarily increase the volume of one staff 134 while

decreasing the volume of other staves, so that you can
Yes Yes
focus your listening on a particular instrument or voice.
"Solo" a staff while the others are muted 135 .
Organize songs into playlists and play them back with

Yes Yes
Notation's built-in jukebox.
P urp o s e : Practice music as you sing along or play your Yes Yes
Notation Notation
Musician Composer
instrument with accompaniment
Transpose the pitch of a vocal part 346 to match your voice

Yes Yes
range.
Automatically turn pages 130 . Yes Yes
Set up practice loops 145 , to repeat a section of the song at

Yes Yes
optionally increasing tempos.
Remotely execute commands from your keyboard 171 ,

Yes Yes
such as Start Playback, End Playback, and Fast Forward.
P urp o s e : Quickly prepare parts from a MIDI file, for use by

Yes Yes
yourself or musicians in a performing group.
Prepare an "Easy Notes" part 214 for student musicians,

Yes Yes
showing note letters (for example "C") in the noteheads.
Prepare a "Sing-Along" vocal part 219 , for easy sight-

Yes Yes
reading from the screen while the song plays.
Prepare a fake book lead sheet part 215 , with melody and
Yes Yes
chords.
Prepare piano reduction of a score 219 that has multiple

Yes Yes
instruments or voices.
Extract individual parts 207 for the players or singers in your

Yes Yes
music group.
Transpose an instrument's part to its natural key 348 , such

Yes Yes
as for a Bb clarinet,
Split a single piano/keyboard staff into right- and left-hand

Yes Yes
staves 201 .
Split a MIDI drum staff into separate one-line drum

Yes Yes
instrument staves 202 .
Split a staff into melody and accompaniment parts 204 . Yes Yes
P urp o s e : Annotate the sheet music that has been

Yes Yes
transcribed from a MIDI file.
Add lyrics 445 . Yes Yes
Edit note beams 334 . Yes Yes
Transcribe the following types of ornaments: Yes Yes

Introduction 31
Notation Notation
Musician Composer
grace notes 362
trills 377
tremelos 384
Temporarily display an ornament as written-out notes 376 ,

or revert it to a written-out performance 375 .
Add accent marks and articulations 408 , dynamic marks 409

, hairpin crescendo marks 413 , slurs 420 , pedal marks 430 , Yes Yes
and other special music symbols 417 .
Add staff symbols 385 : brackets and braces 386 , clefs 390 ,
Yes Yes
key signatures 391 , and barline types 396 .
Add free text 458 anywhere in the score. Yes Yes
Add rehearsal marks. 482 Yes Yes
Add 8va octave marks 314 . Yes Yes
Add repeat barlines and endings 397 , which will be

Yes Yes
interpreted during playback.
Add special repeat directives, such as "D.C.", for which

Yes Yes
you can specify the destination measure 401 .
P urp o s e : Format and print the score and parts. Yes Yes
Choose the default font size, face, and style for various
categories of music symbols and types of text 230 . The Yes Yes
default can be overridden for specific items.
Specify the default horizontal spacing (degree of stretch or

compression) and default vertical spacing between staves Yes Yes
253 .
Control the layout of each page 241 :

page breaks 246 , system (line) breaks 246
number of measures on any given system 248 ,

number of systems on any given page 250
Yes Yes
vertical spacing between any pair of staves 253
vertical spacing between adjacent systems 253
relative horizontal spacing of individual measures

within a system (line) 251 .
Add and control the placement of page title, footer and

Yes Yes
header text 226 .
Notation Notation
Musician Composer
Optionally hide resting staves 236 . Yes Yes
Expand or collapse multiple-measure rests 359 . Yes Yes
Format parts using templates 239 . Yes Yes
Display one-line drum instrument staves using special

Yes Yes
percussion noteheads 342 .
Export a High Resolution PDF for sharing your score 54 Yes Yes
P urp o s e : Re-arrange the notes of an existing song, or

No Yes
create music from scratch.
Create a new song using a pre-defined template 107 for a

variety of solo instruments, duet pairs, small ensembles,
No Yes
and large ensembles. Or, use a custom song template 111
that you have previously prepared.
Add notes 283 by whatever method is most convenient for

you:
with the mouse and computer keyboard 285 .
using the Sequential Note Entry method 291 ,
whereby where you rarely have to select the note No Yes
duration, even when the sequence of notes has
different note duration.
using Step-Time recording 486 , one note or chord
at a time, from your MIDI keyboard or input device.
Change pitches of notes 313 . No Yes
Add staves (instrument parts) 185 . No Yes
Add measures 273 .. No Yes
Add ornaments 373 ::

graces notes 362
trills 313
turns 379 No Yes

mordents 381
arpeggios 383
tremelos 384
Change the meter and barline positions 394 . No Yes
MusicXML - 54 Transfer your score to other popular music

No Yes
notation programs, such as Finale(tm) and Sibelius(tm),
Introduction 33
Notation Notation
Musician Composer
using the MusicXML file format.
P urp o s e : Record music from your MIDI keyboard or input

No Yes
device.
The recording of your performance is transcribed using the

same excellent MIDI-to-notation transcription technology
that N o ta tio n uses to transcribe MIDI files to sheet music.
Set up the tempo for recording 487 . No Yes
Set up the number of pick-up measures 489 . No Yes
Record (punch in) into a selected region of a staff 494 . No Yes
Add (punch in) a recording of pitch bends or MIDI

No Yes
controllers 562 on top of notes previously recorded.
P urp o s e : Edit the performance (MIDI) of the song. No Yes
N o ta tio n Co mp o s e r offers the features of a typical MIDI

sequencer program but in a more musically oriented way.
Editing of the music performance is highly integrated with
the music notation. N o ta tio n Co mp o s e r offers an intuitive No Yes
and fun way to refine the details of the performance without
requiring that you know details about MIDI nor requiring
you to work with tedious numbers.
Edit the exact as-performed rhythms of notes 509 while

viewing Piano Roll Notation 501 that is drawn on top of the No Yes
notes.
Edit the loudness of individual notes 521 while viewing

"vectors" (lines drawn at an angle from each notehead) No Yes
that graphically show the loudness of each note.
Snap ("quantize") the as-performed attack or release of a

No Yes
note to its notated rhythm 513 .
Independently edit the notation or the performance of

No Yes
notes, or edit both. 503
Edit the underlying performance of ornaments 376 : grace

No Yes
notes, trills, turns, tremelos, and arpeggios.
Graphically edit the song tempo 546 . No Yes
Graphically edit the volume level 554 , left-to-right pan 559 ,

No Yes
pedal 567 , and pitch bend 562 activity in a staff.
Graphically edit any MIDI controller data 569 . No Yes

Notation Notation
Musician Composer
Export an audio .wav file of the song 54 No Yes
1.6 Quick Start Tutorial

The following tutorial will get you started quickly in enjoying some of Co mp o s e r's main features. This
tutorial can typically be completed in about 40 minutes, but much more quickly if you just read it on the
screen rather than actually do the tutorial steps yourself.
As you follow the steps of this tutorial, you should feel free to explore side tours on your own. Click
buttons; try menu commands; add, change, and delete music symbols. To return to the place where
you were in the tutorial, use the multiple-level Undo command in the Edit menu, or type CTRL+Z, as
many times as you need. Also, at various points in the tutorial, you might want to save your work, using
the Save As command in the File menu.
After completing this tutorial, you should be able to successfully explore many of Co mp o s e r's
features on your own without needing to refer to this User Guide.
1.6.1 Tutorial: Opening a File on Your System
N o ta tio n Co mp o s e r can open any MIDI .mid or Karaoke .kar file, and transcribe it to notation. If
you wish to arrange some existing music for your own purpose, then the easiest way to get started is to
find a MIDI file of the song, and then modify it to suit your needs.
This first step of the tutorial illustrates how you would open a MIDI file that you had previously
downloaded from the Internet to your system. Or, perhaps you have a MIDI file that you have created,
and now you wish to work with it further in N o ta tio n Co mp o s e r.
This tutorial will work with the simple children's tune, Twinkle Twinkle Little Star. You can find the MIDI
file for it, twinkle.mid, in your \Program Files\Notation\Songs directory, or if you are running
Windows Vista or higher, in the \Users\YOURNAME\AppData\Roaming\Notation\Songs
directory
T o o p e n the file o n y o ur s y s te m:
1. Start N o ta tio n Co mp o s e r, as described in Finding and Starting Notation Composer on Your
System 18 .
2. If no files are currently opened, then click the following icon or text, displayed in N o ta tio n's
front panel:
-- OR --
(If at least one file is opened, you will not see the above front panel.)
In the File menu, choose the Open command.

Co mp o s e r will present you with the File Open dialog box.
3. By default, the \Program Files\Notation\Songs directory (or on Windows Vista,
\Users\YOURNAME\AppData\Roaming\Notation\Songs)will already be opened. If
another directory is opened, then navigate to the Notation\Songs directory.
4. Open the file twinkle.not.
Introduction 35
Co mp o s e r will display the following Recommended Corrections dialog box:
MIDI files are often not ideally created for transcription to sheet music. One of the most
common examples of that is a MIDI file which combines the right- and left-hand notes of a
keyboard part into one staff (track). Co mp o s e r detects these kinds of problems in MIDI files
and automatically fixes them. (You can also manually do any such score fixing with
commands such as, for this example, the Split Hands 201 command.)
5. Click the OK button in the Recommended Corrections dialog box.
Co mp o s e r will display as many measures of the song as will fill the window. If you want to
see more measures in the window, click the Zoom Out button in the main toolbar. Notice
how the piano staff has now been split into right- and left-hand treble and bass staves:
T o c lo s e a s o ng file :
Choose the Close command in the File menu.
-- OR --
Type CTRL+F4, the standard Windows shortcut for Close Window.
1.6.2 Tutorial: Opening a File from the Internet
A good way to prepare an arrangement of a song for your own use, or for your group of musicians, is to
start with an existing MIDI file of that song, which another musician has prepared and made available
for download from the Internet.
To select whether Co mp o s e r uses your regular browser or the internal browser, click on File/Choose
Internet Browser. In that window, you can choose whether Co mp o s e r will use "Your system internet
browser" (computer's default browser) or "Notation's built-in internet browser." One advantage of
using your computer's default browser is that you can set book marks for your favorite places to find
files, and fine-tune your settings for downloading or opening files immediately.
Introduction 37
T o s e a rc h fo r a nd d o wnlo a d MID I file s us ing y o ur fa v o rite b ro ws e r.

1. EITHER run your browser, and use your favorite search engine to find "MIDI" and add the song
name, composer, or player that you want to find. After navigating to the page with your desired
song file(s), use your typical method to download the file(s) to a folder that you use for your
songs. (For the remainder of the tutorial, you will need to use the file "Twinkle.mid", which you
can already find in your default "Songs" folder.)
-OR-
1. In Co mp o s e r' s File menu, select "Download MIDI files from internet" after setting Co mp o s e r to
use your computer's browser as described above.
2. You will see a MIDI file directory Overview page, with a listing for "Samples". Click the
"Samples" text link.
3. On the MIDI Samples page, click the "Twinkle.mid" song title, and use your browser's typical
method for either downloading or opening a file. You may need to set a "Preference" or "Option"
for the .mid, .not and .kar filetypes in your browser.
Alternatively, Co mp o s e r has a built-in Internet browser (based on Microsoft's Internet Explorertm) that
makes it easy for you to find MIDI files on the Internet, download them, unzip them if they are in a Zip
file, and immediately see them as sheet music -- all without leaving the Co mp o s e r program.
In this step of the tutorial, we will open the same MIDI file twinkle.mid, except this time we will
search for it and download it from the Internet, using Co mp o s e r's built-in Internet browser.
T o s e a rc h fo r a nd d o wnlo a d MID I file s fro m the Inte rne t, us ing <% P R OD P OS E S S IV E %
> b uilt-in Inte rne t b ro ws e r:
1. Make sure you are connected to the internet.
2. Click the File menu item, and select "Download MIDI files from internet."
The Co mp o s e r window will temporarily become an Internet browsing window, and you will
initially see a MIDI file directory Overview page. On this page you will see a menu listing for
"Samples". Click the "Samples" text link.
3. On the MIDI Samples page you will see "Twinkle.mid". For this tutorial, click the filename.
4. Co mp o s e r will present the following File Save As dialog box, to ask you where the
downloaded MIDI file should be saved. By default, the MIDI file will be saved in the directory
\Users\YOURNAME\AppData\Roaming\Notation\Songs).
4. Click the Save button.

5. Because the Twinkle.mid file already exists in the Notation\Songs directory, Co mp o s e r
will ask you whether the downloaded file should replace the existing file. Reply with 'Yes",
unless you have some reason otherwise, in which case you should rename one of the files.
Co mp o s e r will display the Recommend Corrections dialog box, exactly as it did in the
previous tutorial step, when you opened a file that was already on your computer 35 .
6. In the Recommend Corrections dialog box, click the OK button.
Co mp o s e r will then display the notes for Twinkle Twinkle Little Star, just as when you opened
the same MIDI file from the Songs directory on your system.
1.6.3 Tutorial: Playing the Song
If your computer has a sound card, it is likely that Co mp o s e r will be able to immediately play through
your computer's sound card to the speakers. Co mp o s e r requires that the sound card support MIDI,
which is a certain computer music standard that almost all of today's sound cards support.
T o p la y b a c k the c urre ntly o p e ne d s o ng :
Hit the SPACE key.
-- OR --
Click the Play button in the toolbar at the top of the window.
Introduction 39
Playback starts wherever the green playback marker is currently located. A vertical blue
cursor moves along in the score as the song plays, to indicate the current playback position.
The currently playing notes are highlighted in a bright pink color.
T IP : Do you hear the Twinkle Twinkle Little Star playing? If so, then Co mp o s e r will not need
any assistance from you in setting up the MIDI sound card. If you do not hear the song play,
then follow the instructions in Quick MIDI Device Setup 576 . If after using the Quick MIDI Device
Setup option you still do not hear sound, then read about What To Do If You Do Not Hear Sound
581 .
T o te mp o ra rily fa s t fo rwa rd thro ug h the s o ng d uring p la y b a c k :
1. Click the Fast Forward button once to increase the playback speed by a factor of five.
2. Click the button a second time to resume the original playback speed.
T o s to p p la y b a c k :
Hit the SPACE key.
-- OR --
Click the Stop button.

-- OR --
Toggle the Playback button in the toolbar at the top of the window.
The green playback marker will be moved to the song location where you interrupted playback.
T o jump to a d iffe re nt lo c a tio n in the s o ng d uring p la y b a c k .

Click the mouse wherever you want the playback to jump to.
If you want to jump ahead a few pages, use the PAGEDOWN key to preview the page.
Co mp o s e r will continue playing where you left it, uninterrupted, while you look ahead. If you
wait for about 5 seconds, Co mp o s e r will return to the page that it is currently playing.
However, if you click somewhere on the look-ahead page, then playback will immediately
jump to the location of your mouse click.
T o c ha ng e the lo c a tio n o f the p la y b a c k ma rk e r b e fo re y o u s ta rt p la y b a c k :
While holding down the "P" key, click the mouse where you want to set the playback
marker.
T o c ha ng e the lo c a tio n o f the p la y b a c k ma rk e r to the b e g inning o f the s c o re , e v e n
d uring p la y b a c k :
Type CTRL+HOME.
-- OR --
Click the Start of Song button.
1.6.4 Tutorial: Using a Playlist of Multiple Songs

Sometimes you may want to keep an ordered list of songs in a p la y lis t, where the playback of each
song continues after the previous song. The most obvious use of a playlist is for listening enjoyment, to
listen to several songs-- perhaps ones you have arranged yourself-- in sequence.
Another use of a playlist is to play different parts of a larger musical piece, where each part is kept in a
separate Notation .not file. These might be movements of a sonata or orchestral piece. Or, they might
be numbers of a simple suite of children's music.
In the following example, we will create a playlist of three songs that are installed by default in the
\Program Files\Notation\Songs directory (or on Windows Vista \Users\YOURNAME\AppData
\Roaming\Notation\Songs).
T o c re a te a p la y lis t o f s o ng s :
1. Turn on the Show Playlists option in the View or File menu.
2. In the Playlists panel, click the button.

Co mp o s e r will present a File Open dialog box
Note, the button is for adding to the playlist a song you've already opened and are
currently viewing.
3. In the File Open dialog box, navigate to the \Program Files\Notation\Songs directory
(or on Windows Vista \Users\YOURNAME\AppData\Roaming\Notation\Songs) or any
directory. Select one or more songs (Notation .not, MIDI .mid, or Karaoke .kar) that you want
to add to the playlist. To select multiple, non-adjacent songs, hold down the CTRL key as you
click the file name.
Introduction 41
4. Click the OK button in the Open dialog.

You will see that the select songs have been added to the current playlist, which currently is
named "New". You can use the button to change the name of the playlist from
"New" to something like "Tutorial Examples".
T o p la y the s o ng s in the p la y lis t, o ne a fte r a no the r:

1. Turn on the check mark for "Auto play next song", as illustrated above.
2. If you want the playback to continuously cycle through all of the songs, starting at the first again
after playing the last, then turn on the check mark for "Loop songs in playlist".
3. If you want to start at a song other than the currently selected song, click its name in the playlist.
4. Click the button in the Playlist panel.

Playback of the currently selected song will begin. Notice that the highlighting of the select
song in the playlist changes from blue to green. Also, the next song to be played after the
completion of the currently selected song will be highlighted in a light green.
Introduction 43
5. While any song in the playlist is playing, you can click any other song, out of sequence, to play
next, upon completion of the currently playing song.
1.6.5 Tutorial: Correcting the Notes and Accidentals
Co mp o s e r usually does an excellent job of transcribing a MIDI performance into notation note
rhythms and spellings of accidentals. The MIDI-to-notation transcription technology in N o ta tio n
Co mp o s e r was first developed in 1994 and 1995, and has been improving ever since. N o ta tio n
Co mp o s e r and N o ta tio n Mus ic ia n offer the highest quality of transcription available in any music
software program.
However, the transcription of note rhythms and spellings of accidentals by Co mp o s e r is not perfect.
After you open a MIDI file in Co mp o s e r, you may need to correct some notation errors. Co mp o s e r
offers notation editing tools to make this task easy, and even fun.
The following are some of the common types of corrections you might want to make after Co mp o s e r
has transcribed a MIDI File:
Change the displayed and performedduration of a note.
Change the displayed and performedstarting location of a note.
Shift a note between the left and right hands of a piano or keyboard part.
Change a small note to a grace note, or vice versa.
Change the spelling (such as C# versus Db) of notes.
Undo one or more editing changes.
In Co mp o s e r you can change the song in any way you want, including changing the pitches of notes
and adding new notes. Co mp o s e r offers many convenient tools for editing the notation only or the
underlying performance only, that is, the MIDI data, as described in Viewing and Editing the Music
Performance 499 .
If you are eager to learn about adding notes, jump ahead to the tutorial step Adding Notes to a New
Song 60 .
T o c ha ng e the d is p la y e d a nd p e rfo rme d d ura tio n o f a no te :

Suppose you want to change the notated duration of the last quarter note in the second measure
of the melodyTwink le Twink le Little Star to be a half note instead, thus replacing the quarter note
rest after it:
Here are two ways you can do this.
Method 1: Change the duration of a note by explicitly giving it a new duration value
1. If you are not already in Select Mode, click the Select Mode button in the main
toolbar.
-- OR --
Hit th ENTER key.
-- OR --
Click the right mouse button anywhere.
2. Select the note whose duration you wish to change.
Co mp o s e r highlights the selected note. The detail palette indicates the duration of the
currently selected note. The illustration below shows the palette in a horizontal orientation.
By default, Co mp o s e r displays the palette horizontally across the top of the window, but
you can drag the palette wherever you want.
3. Click the half note button in the Note Palette to change the duration of the note.
Introduction 45
-- OR --
Type "22" on your keyboard, which is the shortcut for half note.
Examples of other shortcuts are "4", "8", "16", and "32" for quarter, eighth, sixteenth, and
thirty-second notes. The shortcuts for one or two dots are "1d" and "2d". The reason that
the shortcut for half note is "22" instead of "2" is so that it is not confused with "2d" for "two
dots".
To find out what the keyboard shortcut for a palette button is, hold the mouse cursor briefly
over the button:
Method 2: Change the duration of a note by extending it in increments with D+ or D+

If you have already tried Method 1, then undo the most recent command by choosing Undo
Set Note Duration command in the Edit menu, or by typing CTRL+Z.
1. Enter Select Mode as described in step #1 for Method 1.
2. Select the note whose duration you wish to change.
3. While holding down the "D" key (for "duration"), type the or key one or more times.
Each time you type D+ , the duration will be increased by some amount according to
the current Beat Ruler 289 setting.
T IP : If you do not know or recall the keyboard shortcut such as D+ for the Increase
Duration command, you can look it up in the menu for the type of object you have selected. In
this case, you can look up the shortcut in the Note menu.
T o c ha ng e the d is p la y e d a nd p e rfo rme d s ta rting lo c a tio n o f a no te :

In the last measure of the melody of Twink le Twink le Little Star , the first note was performed so
late that Co mp o s e r perhaps too literally interpreted the rhythm of that note to be intended as a
16th note after the start of the measure. If you play this part of the song, you will indeed hear the
delayed note, and may or may not agree that Co mp o s e r should have notated the rhythm the way
it did:
In this example, the starting location ("attack") of the note should be moved to the beginning of the
measure.
1. Select the note whose attack location you wish to change.
2. While holding down the "A" key (for "attack"), type the or key one or more times.
In this example, you need only type A+ once. The result is:
Notice that in moving the attack to the left by a 16th duration, the total duration of the note
increases by a 16th duration. If you had typed A+ , instead of A+ , the result would be as
shown here:
T o s hift a no te b e twe e n the le ft a nd rig ht ha nd s o f a p ia no o r k e y b o a rd p a rt:

Co mp o s e r's automatic splitting of the keyboard staff into right- and left-hand (treble and bass
clef) staves generally does an excellent job determining which notes are most likely to be played
by the right or left hand. Sometimes, however, Co mp o s e r might make mistakes. You can quickly
correct a mistake by shifting a note between the right- and left-hand staves of a piano or keyboard
part.
For the fairly simple piano accompaniment for theTwinkle Twinkle Little Star , Co mp o s e r made
no mistakes in assigning notes to the right and left hands. For purposes of illustration, we will
intentionally create such a mistake and then correct it.
1. Select the note that you intend to shift to another staff.

In this example, select the 'A' note in the left-hand staff in the third measure.
2. Type SHIFT+ to shift a note to the staff above, and SHIFT+ to shift a note to the staff
below.
In this example, first type SHIFT+ to shift the 'A' note in the left-hand staff to the right-hand
staff. The result will look like the first of the two above examples. This is a fairly realistic
example of the kind of mistake that Co mp o s e r might make, because the two hands are
Introduction 47
playing very closely together. In fact, the right hand has just played the same 'A' note one
quarter note beat earlier. Yet, Co mp o s e r was smart enough to determine that the left hand
should be playing the note.
3. While the 'A' note is still selected, now type SHIFT+ to shift it back to the correct left-hand
staff.
T o c ha ng e a s ma ll no te to a g ra c e no te , o r v ic e v e rs a :
In the third measure of the right-hand piano staff, Co mp o s e r's transcription correctly identified a
grace note and displayed it so. Before you import a MIDI file, you can set up transcription options,
including an option regarding whether grace notes should be displayed as grace notes or written
out as short notes, such as 32nd notes. By default, the grace note transcription option is turned on.
Sometimes Co mp o s e r might not correctly identify a grace note, or it might display a note as a
grace note, but you would prefer to have it written out as a short note.
We will use the example of the grace note in the third measure to show how you can change a note
back and forth between being displayed as a grace note and being written out as a short note.
1. Select the grace note which you wish to convert to a written-out note.
When you select a grace note, Co mp o s e r automatically displays the Grace Note Palette, as
illustrated above.
2. Click the Convert Grace Note to Written-Out Note button in the Grace Note Palette.
-- OR --
Hit the BACKSPACE key.
3. Select the short note which you wish to convert to a grace note.
In this example, the short note is already selected.
4. Click the Grace Note Left button if this grace note borrows its time from the note on the left.
Click the Grace Note Right button if this grace note borrows its time from the note on the
right. For an explanation of Grace Note Left versus Grace Note Right, see Understanding the
Two Types of Grace Notes 362 .
T o c ha ng e the s p e lling (s uc h a s C# v e rs us D b ) o f a no te :
In this simpleTwink le Twink le Little Star song in the key of F-major, there was only one note that
required an accidental, namely Eb in measure 9 for the left-hand piano part. Co mp o s e r correctly
determined that the spelling of the note was Eb rather than D#.
When a song has complex harmonies, Co mp o s e r might sometimes incorrectly spell a note. In
such cases, you will find it easy to correct the mistake.
For purposes of illustration, we will intentionally make a spelling mistake and then correct it.
1. Select the note for which you wish to change its spelling.
In this example, select the Eb in measure 9 of the piano left-hand staff.
2. Type E+ to lower the enharmonic spelling.

A good way to think about "lowering" versus "raising" the enharmonic spelling is to think about
which direction the notehead moves. When you lower the enharmonic spelling, the notehead
always moves down a step lower on the staff. When you raise the enharmonic spelling, the
notehead always moves up a step higher on the staff.
In this example, the Eb will be changed to D#.
3. Type E+ to raise the enharmonic spelling.

In this example, the D# will be changed back to the originally correct spelling Eb.
T o und o a nd re d o e d iting c ha ng e s :
Earlier in this step of the tutorial, you probably already had a little practice using the Undo
command, to try out the different ways to change a note duration.
Co mp o s e r supports multiple level undo. You can go back as many steps in your editing as there
is memory on your system to keep the history of changes. Co mp o s e r is efficient about storing the
history of changes; so it supports a large number of undo requests.
1. Click the Edit menu to view all your editing activities, the most recent one listed at the top of the
Undo list.
Introduction 49
2. Click any item in the Undo list to undo all of the commands from the most recent, at the top of
the list, down to and including the item you select.
-- OR --
Type CTRL+Z to undo the most recent command. This is the standard Windows shortcut for
the Undo command.
3. If you have undone some commands, they will be listed as Redo commands in an additional
section of the Edit menu. You can redo commands you previously requested to be undone by
selecting them in the Edit menu.
-- OR --
Type CTRL+Y to redo the most recent command for which you requested Undo.
1.6.6 Tutorial: Adding Lyrics
Some MIDI files include lyrics, and all Karaoke (.kar) files include lyrics, but many MIDI files do not.
You can quickly add lyrics to a song, as ilustrated in this step of the tutorial.
So far in this Twinkle Twinkle Little Star tutorial, we have edited existing notes, but we have not added
any new notes, new music symbols, or text to the score. This step of the tutorial provides an
introduction to adding "objects" to a score.
T o a d d ly ric s to a s o ng :
1. With the mouse, navigate to the Lyrics Palette, as illustrated here:
-- OR --
Type SHIFT+L. The shortcut for all palettes is Shift and some letter, such as SHIFT+N for Note
Palette.
Co mp o s e r will automatically enter Add Mode 162 .
So far, you have been working in Select Mode, where you click the mouse to select an
"object". An object is a note, a music symbol, or some text. In Add Mode, you click the mouse
to add an object. Co mp o s e r will automatically display the palette for that type of object,
which, in this case, is the Lyric Palette.
In Add Mode, the mouse cursor usually changes to this shape: (For notes and rests in
Add Mode, the mouse changes to the type of note or rest you are adding.)
2. Click the mouse where you want to add the first lyrics.
In this example, click somewhere below the first note in the melody.
Co mp o s e r will display a blinking text cursor, where you can start typing text.
3. Type the one word or syllable of the lyrics for the current note. If you want an dash "-" character
to appear after a syllable, then type it after the syllable.
4. To advance to the next note, hit the SPACE or TAB key.
The blinking text cursor will now be located under the second note.
5. Type the second word or syllable of the lyrics.
6. Repeat steps #4 and #5 as many times as desired.
Co mp o s e r will automatically advance the text cursor for lyrics across barlines and onto next
systems (lines of music). It will also automatically turn pages as you advance to the next lyric.
7. To complete the entry of lyrics, hit the ESC key.
Introduction 51
-- OR --
Click the Select Mode button in the toolbar to prepare to select some object for editing.
-- OR --
Navigate to another palette, or type SHIFT+Letter to select a different type of object, or to start
adding a different type of object.
,
Many options available for editing lyrics, which are not illustrated in this simple example include:
Common text editing operations, such as supported by the DEL and BACKSPACE keys and
the and keys.
Copying and pasting of lyrics from one section of the song to another.
Copying and pasting of lyrics via the Windows text clipboard so that, for example, you can
type lyrics in Windows NotePad and paste the lyrics into the song.
Editing of multiple verses of lyrics.
For a more thorough overview of Co mp o s e r's lyrics features, see the documentation section on
Lyrics 445 .
1.6.7 Tutorial: Saving Your Work in a File
Co mp o s e r's multiple level undo feature 270 , which you have already explored in this tutorial, offers a
certain degree of protection against mistakes that you might want to undo.
In addition, Co mp o s e r has an auto-recovery feature. Periodically (by default every 10 minutes),
Co mp o s e r makes a backup copy of your work. If your system fails, you can return to a recent state of
the song, using the Open Files from automatic backup 272 command in the File menu.
There are also various other formats in which you can save your song.
S a v ing a s a N o te S o ft (.no t) file . 51
E xp o rting a MID I (.mid ) o r Ka ra o k e (.k a r) file 53
E xp o rting a H ig h R e s o lutio n P D F file 54
E xp o rting a n a ud io (.wa v ) file 54
E xp o rting a Mus ic XML file 54
N o ta tio n Co mp o s e r and N o ta tio n Mus ic ia n use and share a music file format that includes not
only MIDI performance data but also notation data. Normally, you should save the song in the Notation
file format, used by Notation Software's N o ta tio n family of music software products. A Notation file
has the .not filename extension.
T o s a v e y o ur wo rk in a .no t file :
1. Choose the File / Save As command.
Co mp o s e r will present the File Save As dialog box.

-- OR --
Type CTRL+S, which is the standard Windows shortcut for File Save.
A default directory will be opened. It will be \Program Files\Notation\Songs (or on
Windows Vista \Users\YOURNAME\AppData\Roaming\Notation\Songs) unless you
installed Co mp o s e r in a different directory. You can change the default directory, if desired,
by navigating to another directory and then setting a check mark by "Set directory as default".
2. Enter a new file name. Or, use the same file name if you are certain that you want the newly
saved file to replace the old.
For example, use Twinkle1 as the file name. Co mp o s e r will automatically add the Notation
.not file name extension.
3. Click the OK button.
Introduction 53
T o E xp o rt y o ur wo rk to s ha re with o the rs :
E xp o rting a MID I file (.mid ) o r Ka ra o k e (.k a r) file - MIDI (.mid) files can be used in sequencers
and other MIDI software. Karaoke (.kar) files have some special text formatting, and can be used in
Karaoke machines or other MIDI playback software. The options for exporting either filetype are the
same.
1. Select "File / Export ... MIDI (.mid) file (or "File/Export...Karaoke(.kar)" ) and the Export dialog box
will open (the dialog for Karaoke is the same, only it will have "Karaoke" and ".kar")
2. Enter the filename (probably different than the original file)

3. Select the performance options you want for the MIDI (or karaoke) file. For example, if your file
has repeats, you will want to check the "Write out repeats" box so that the repeats are played
correctly in the exported .mid file. If the device that you will be using the MIDI (or karaoke) file on
needs to have the MIDI Controllers reset before the new file is played, check the "Force MIDI
Controller Reset at the start of the song" box.
4. Select the MIDI format you wish to save in. XG format saves the most information, such as bank
and patch information for the song. GS or GM2 format is required for some devices. GM MIDI
format is the most basic format, and may be desired if you'd like to change the format later to
another MIDI format.
5. After making all the appropriate selections, click "Save".
E xp o rting a P D F - PDF files can be shared with others who want to see the finished print version of
your music. Co mp o s e r' s High Resolution PDF export gives you great crisp sheets to share or print
anywhere.
1. Select "File / Export... PDF" and the "Save Parts to PDF file" dialog will appear. It will show all
the Parts 208 that have been created for the song file.
2.
3. Click on each part to select it and export a pdf, then click "Ok."
4. Each exported Part file will have the Part name appended to it so that you can easily see which
file is for which part.
E xp o rting a n a ud io (.wa v ) file - audio files can be shared with others who want to hear your finished
work.
1. Select "File/Export ... WAV" and the dialog will appear.
2. Name the file (if you want it to be different) and optionally navigate to the location you want to
save the file, then click "Ok" to export the .wav file using the sounds of the Notation Software
Synth 573 .
E xp o rting a Mus ic XML (.xml) file - MusicXML is a filetype that can be imported into other music
notation programs and preserves more of the score the way that you have it set up in N o ta tio n
Co mp o s e r
1. Select "File/Export ... MusicXML" and the dialog will appear
2. Select whether you want "Standard" or "Sibelius" Music XML export
3. Click "Save" to export the Music XML (.xml) file of your song.
Introduction 55
See the topic of "Transferring Your Score to Other Notation Programs" 115 for more details.
1.6.8 Tutorial: Working with Parts
The Twink le Twink le Little Star song has two parts: the vocal melody and the piano accompaniment.
The score that you have been working is called the "conductor's score" in Co mp o s e r, although that
term might seem too grand for this 16-measure children's song. But imagine instead that you are
working with a larger score with multiple parts for a small group of musicians, or choir members, or an
ensemble as large as a school band or symphony orchestra. Or, you might be working on a score for
a duet for two instruments. In all of these cases, it is likely that you will want to print separate parts to be
read by each musician in the ensemble rather than all of the staves together as the conductor's score.
Although you can view and print parts separately, they are always integrated with the conductor's
score. If you change notes, lyrics, or music annotations in the part, they are automatically reflected in
the staff for that instrument or voice in the conductor's score. Conversely, if you edit notes, lyrics, or
annotations in a staff in the conductor's score, those changes are automatically reflected in the
individual instrument or vocal part.
We will see how this works, using the Twink le Twink le Little Star song.
T o v ie w a p a rt:
Select the part in the part list in Co mp o s e r's menu:
Co mp o s e r displays the melody part:
T o le a rn ho w e d iting in a p a rt is a uto ma tic a lly re fle c te d in the c o nd uc to r' s s c o re :

1. In the Melody part that you just extracted in the above procedure, make some change, such
as changing the period to an explanation point in the last lyric:
2. Choose the Conductor's Score in the part list in Co mp o s e r's main menu to view it again.
Co mp o s e r will now display both the Melody and Piano parts together:
Notice how the change you made to the lyric in the Melody part is now reflected in the
conductor's score. This also works for most other types of objects, such as notes and
dynamic marks.
You might want to preview on the screen what the part will look like before you print it. Co mp o s e r
offers many options for formatting the printed page, setting up page titles and headers, changing the
font size, and so on. Co mp o s e r's default choices for these formatting options offer an excellent
starting point. You can customize your own templates 111 that will determine how scores and parts will
be formatted.
In this step of the tutorial, we will preview on the screen what Co mp o s e r's default formatting choices
look like, and then print the individual parts for the voice (melody) and accompaniment of Twink le
Twink le Little Star.
T o p re v ie w wha t a p rinte d s c o re o r p a rt lo o k s lik e :
Choose the Page View command in the View menu.
-- OR --
Type "qpv" for Quick Page View.
Many menu commands in Co mp o s e r offer such keyboard shortcuts that begin with the letter
"q" and are acronyms of the command.
In the last step, we were most recently viewing the extracted piano part. In Page View, this is
what it looks like:
Introduction 57
If you want to preview the whole page on the screen, then hit the Zoom Out button as
many times as necessary.
In the above example, the Zoom Out button was clicked a couple of times.
Notice in the above example how Co mp o s e r has already formatted the top of the page with the song
title "Twinkle". Co mp o s e r chooses the default paper size for your printer.
Note that you can edit the score in Page View, just as in Window View. For example, you can add and
change notes, lyrics, and chord names.
T o p rint the c urre ntly v ie we d p a rt:

1. Choose the Print command in the File menu.
-- OR --
Type CTRL+P, which is the standard Windows shortcut for the Print command.
2. In the Print dialog, select the destination printer, and range of pages you wish to print, the
number of copies, and other common printing options.
T o p rint s e v e ra l p a rts a t o ne time :

1. Choose the Print Parts command in the File menu.
Co mp o s e r will present the following dialog box:
2. Select the parts you wish to print, and click the OK button.
Co mp o s e r will present the Print dialog box.
3. In the Print dialog box, select the destination printer and other printing options. Note that you
will not be offered the choice for a range of pages. All pages for each selected part will be
printed. Each part might have a different number of pages.
1.6.9 Tutorial: Creating a New Song
Up to now you have been working with the Twinkle.mid MIDI file that someone else created. You
might want to compose or arrange your own song from scratch.
Co mp o s e r's New Song Wizard offers you an easy way to start a new score for any instrument, voice,
or ensemble you want. In a short series of New Song Wizard steps, you will specify the following
important details of the song:
instrument(s) or ensemble
meter (time signature)
key signature
number of measures
song title
Of course, you can later change any of these details of the song, or insert meter and key signature
changes throughout the song.
The New Song Wizard offers blank scores prepared for a wide variety of instrumental and vocal
ensembles. If you do not find a prepared blank score that exactly matches your musical group, then
you can prepare your own customized song template 111 . A song template is simply another N o ta tio n
.not file that serves as the initial blank score with the list of instruments and/or voices you need.
T o c re a te a ne w s o ng :
1. If no files are currently opened, then click the Sheet Music icon or the text "Create a New Song",
which is displayed in the main part of Notation's window:
Introduction 59
-- OR --
Choose the New command in the File menu.
-- OR --
Type CTRL+N, which is the standard Windows shortcut for File Open.
Co mp o s e r will display the first step of a 5-step New Song Wizard.
2. At the first step of the New Song Wizard, select the ensemble, instrument, or voice that most
closely matches your needs.
Co mp o s e r shows you the results of your choices as you go through the steps in the New
Song Wizard. The above example illustrates how the choice of the Voice and Piano ensemble
is immediately reflected in the score underneath the wizard window. You can move the wizard
window out of the way if you need to see different parts of the initial score.
3. If you are creating a score for some solo instrument other than one in the list, then follow
instructions in the topic Creating a New Song File 107 .
4. Click the Next button in the wizard window, and continue through each of the steps to enter:
key signature
number of measures
song title
5. In the last step of the wizard, in addition to entering the song title, also specify whether the song
should initially be displayed in Window View or Song View 171 . Use the Set As Default option
to save this selection for future new songs.
1.6.10 Tutorial: Adding Notes to a New Song
Having just created a new song in the previous step of the tutorial, you might be eager to start adding
new notes. You might have already explored this on your own already. There is a good chance,
however, that you have not discovered some of the ways that you can add notes in Co mp o s e r other
than choosing notes from the Note Palette and clicking the mouse where you want to add them.
Overall, there are three different physical devices you can use to enter notes in Co mp o s e r, and using
each of these various devices there are alternative methods you can use for entering notes:
1. W ith the mo us e :
(a) Point and click the mouse to add new notes, choosing their durations from the Note
Duration Palette 285 .
-- OR --
(b) Point and click the mouse to add new notes in the score from left to right, such that the
duration of each note is determined by the location of the next note. This Sequential Note
Entry Method 291 is particularly useful if the notes have frequently changing durations. You
will not have to select different duration values from the Note Palette, because the duration
of each note automatically extends to the beginning of the next note, whether that next note
is a 32nd duration later or, say, a dotted quarter note duration later.
2. W ith the c o mp ute r k e y b o a rd :
Use only your computer keyboard to enter notes 300 , by typing the duration of the note you wish
to add, such as "8" for 8th note, "16" for sixteenth note, or "41d" for a quarter note with one dot.
Use the , , , and keys to determine the position of the note to be added. Then hit
the key to add the note. If you tend to prefer using the computer keyboard over using the
mouse, you will like this method.
3. W ith a mus ic k e y b o a rd tha t is c o nne c te d to y o ur c o mp ute r v ia a MID I c a b le :
(a) In synchronization with Co mp o s e r's metronome, record your performance on your music
keyboard 302 in real time to quickly enter the notes. Perhaps you will want to record your
performance at a slower tempo which you can later set to a faster speed.
-- OR --
(b) Use your music keyboard instead of the mouse to determine the pitches of notes; but enter
the notes at your own pace, without regard to a metronome. This is called Step-Time
Recording 304 , as opposed to real-time recording.
-- OR --
(c) Use both your music keyboard and computer keyboard together. Point the mouse in the
score at the location where you want to add a note or chord, and play it on your music
keyboard. Hit the key one or more times to advance the cursor that many positions in
the Beat Ruler 313 . The next time you play a note, the duration of the previous note will
terminate at the location of the newly added note. This method combines Step-Time
Recording with the Sequential Note Entry Method 305 .
The procedures below illustrate each of the above six methods of entering notes-- 1(a), 1(b), 2, 3(a),
3(b), and 3(c). If you do not have a MIDI keyboard or input device, then skip the last two illustrations.
Introduction 61
Me tho d 1(a ): P o int a nd c lic k the mo us e to a d d no te s , c ho o s ing the ir d ura tio ns fro m the
N o te D ura tio n P a le tte .
This is the most obvious way to add notes. First, you choose the duration of the note you wish to add.
Then you click the mouse where you wish to add the note.
T o a d d a no te b y firs t c ho o s ing its d ura tio n:
1. With the mouse, navigate to the Note Duration Palette.
-- OR --
Type SHIFT+N.
In most cases, Co mp o s e r will automatically switch to Add Mode. The mouse cursor will turn
to the shape of a red note, which duration value represents the current to-be-added note
duration.
In the above example, the main Beat Ruler marks are at every quarter note beat, and the
smaller ruler marks are at eighth note sub-beats between the quarter note beats. At any time
you can change the Beat Ruler resolution 289 .
2. In the Note Duration Palette, choose some combination of base duration (such as quarter,
eighth, half), dotted value and tuplet (or no tuplet).
-- OR --
Type a keyboard shortcut for the duration, such as "4", "8", "16", "81d", or "833" for quarter,
eighth, sixteenth, dotted eighth, and eighth triplet. To learn what the shortcuts are, hold the
mouse over the buttons to view the button tips. Note that the shortcuts for whole note and half
note are "11" and "22" rather than the expected "1" and "2", and the shortcuts for triplet and
quintuplet are "33" and "55".
3. Move the mouse to the horizontal position where the start of the note should be located. At the
same time, move the mouse to the vertical position that determines the pitch of the note.
As you move the mouse around, the red note snaps to precise horizontal beat locations and
vertical pitch locations, thus offering you certainty about where the note will be added when
you click the mouse button.

4. Click the mouse in the score where you wish to add the note.
When you add the note, Co mp o s e r will automatically fill in rests around the newly added
note, as illustrated here:
5. If the note is not in the 7-note scale of the current key signature, you can raise or lower the pitch
of the selected note by typing P+ or P+ .
-- OR --
Type "b" or "#" to add a flat or sharp. Other shortcuts are available for other accidentals.
As you add more notes, Co mp o s e r will automatically beam them together, and change stem
directions if appropriate, as illustrated here:
Me tho d 1(b ): E nte r no te s o ne a fte r a no the r with the mo us e in S e q ue ntia l N o te E ntry

Mo d e .
With this method, you point and click the mouse to add new notes in the score from left to right, such
that the duration of each note is determined by the location of the next note.
T o a d d no te s us ing the S e q ue ntia l N o te E ntry Mo d e :
1. With the mouse, navigate to the Sequential Note Entry Palette.
Introduction 63
The palette will then change to the Beat Ruler Palette, and the Sequential Note Entry button
will be shown in the "down" position:
The mouse cursor will change to a red whole note, which suggests that when you initially add
the note, it will have a long note value (unless you add the note in front of another note). Here is
what the red to-be-added note looks like before it is clicked into the score:
2. Click the mouse where you want to add the first note.
It may surprise you that the first time you do this, the duration of this newly added note will be
large. The duration of the note will extend to the second barline after the location of the note.
Don't worry.
3. Move the mouse to where you want to add the next note in the sequence, and click the mouse
button.
Notice how the duration of the previous note is now terminated at the location of the next newly
added note:
4. To terminate the duration of the last note, or to make the duration of an intermediate note
shorter:
Click the Cut Duration button in the Sequential Note Entry Palette.
-- OR --
Type "cut".
The mouse cursor will temporarily change to the shape of a razor, suggesting the idea of
cutting:
Move the to the location where you want to terminate the duration of a note or chord, and
click the mouse button.
Me tho d 2: E nte r no te s us ing o nly y o ur c o mp ute r k e y b o a rd

The above heading is not entirely accurate, because you will need to use the mouse to add the first
note, or to select an already added note, as the starting point for adding new notes via your computer
keyboard.
T o a d d a no te us ing the a rro w k e y s a nd key:

1. If you have been following the previous tutorial steps, undo the most recently added notes by
typing CTRL+Z a few times until the first measure is empty. Then add the following note with
the mouse:
-- OR --
Undo the most recently added notes until only the above first note is left. If it is not already
selected (highlighted in blue), then temporarily switch to Select Mode by hitting the ENTER key;
select the note with the mouse; and then go back to Add Mode by hitting the ENTER key again.
The ENTER key always toggles between Select Mode and Add Mode.
2. Hit the key to move the red to-be-added note to the next ruler position:
3. Hit the key three times to move the red to-be-added note to the following location:
4. Hit the key to insert (add) the new note:

Introduction 65
T o c re a te a c ho rd us ing the a rro w k e y s a nd a nd key:

1. Add the first note of the chord.
2. Hit the or key one or more times to move the red to-be-added note to another staff
position at the same measure beat.
3. Hit the key to insert (add) the new note:
T o a d d a n a c c id e nta l (s ha rp o r fla t) to a ne wly a d d no te :

Type "#" or "b" to add a sharp or flat, or one of the other keyboard shortcuts for accidentals,
listed here:
k e y b o a rd c o mma nd a c c id e nta l
"ss" or "#" sharp
"f" or "b" flat
"na" no accidental
"ds" or "d#" or "x" double sharp
"df" or "db" double flat
-- OR --
Type the NumPad or key one or more times to raise or lower the pitch one half-
step at a time.
-- OR --
While holding the "P" key, hit the or key one or more times to raise or lower the
pitch one half-step at a time.
The remaining procedures rely on the use of a MIDI keyboard or input device. If you do not have one,
then you can skip the remaining procedures in this topic, unless you would like a glimpse of how much
fun it can be to have a MIDI keyboard and use it with Co mp o s e r.
Me tho d 3(a ): R e c o rd the no te s in re a l-time fro m y o ur MID I k e y b o a rd o r inp ut d e v ic e .

T o re c o rd in re a l-time fro m y o ur mus ic k e y b o a rd :
Follow the instructions in Recording from a Music Keyboard 485 .
With Co mp o s e r's real-time recording features, you can:
Record at a temporarily reduced tempo.
Record one staff while you listen to others being played as accompaniment.
Optionally select a pair of keyboard right- and left-hand staves, into which Co mp o s e r will
automatically distribute notes according to the same logic as you saw illustrated with the Split
Hands command.
"Punch in" the recording for a section of the staff. Co mp o s e r will give you a "running start", so
that you can hear the staff play back up to the place where you want to record, and then you
can jump in with your new recording.
Do multiple "takes" by simply recording on top of a previous take. If you want to go back to a
"take" that you made one or more times earlier, then use the Undo command 270 that many
times. If you would like to archive your takes, copy the staff to temporary backup staves using
the Clone Staff command in the Staff menu.
Me tho d 3(b ): U s e y o ur mus ic k e y b o a rd ins te a d o f the mo us e to d e te rmine the p itc he s o f

no te s , b ut e nte r the no te s a t y o ur o wn p a c e , witho ut re g a rd to a me tro no me .
This is called the Step-Time Recording method of entering notes.

T o a d d no te s fro m y o ur MID I k e y b o a rd in S te p -T ime R e c o rd ing Mo d e :
1. Click the Step-Time Recording button in the main toolbar.

2. Follow the steps in the first procedure, "To add a note by first choosing its duration". However,
instead of clicking the mouse at some vertical position in the score to determine the pitch of
the new note, play the note on your keyboard.
You need only move the mouse to the horizontal position in the Beat Ruler, where you want to
add the note. It does not matter where the mouse is located vertically, because the pitch of the
note will be determined by what you play on the keyboard.
3. To add a chord instead of a single note at the location of the mouse, play the chord on your
music keyboard.
Me tho d 3(c ): U s e y o ur mus ic k e y b o a rd a nd c o mp ute r k e y b o a rd to g e the r.

T o a d d no te s fro m y o ur MID I k e y b o a rd with the c o mb ina tio n S te p -T ime R e c o rd ing
Mo d e a nd S e q ue ntia l N o te E ntry Mo d e :
1. Click the Step-Time Recording button in the main toolbar.

2. Follow the steps in the above procedure 1(b) for the Sequential Note Entry method of adding
notes. However, instead of clicking the mouse at some vertical position in score to determine
the pitch of the new note, play the note on your keyboard, or play a chord on your keyboard.
After you add the second note, Co mp o s e r will automatically advance the insertion location
by an amount equal to the duration of the most recently completed note. For example, if the
second note is a quarter note after the first note you added, then the first note will have a
quarter note duration, and Co mp o s e r will advance the insertion point to a quarter note
duration beyond the location of the second note.
Introduction 67
3. As long as each new note or chord has the same duration as the previously completed note
or chord, you do not have to leave your music keyboard. Just keep playing more notes and
chords.
4. If the next to-be-added note does not have the same duration as the most recently completed
note, then move the mouse to the location for that next note before playing it at your music
keyboard.
1.6.11 Tutorial: Adding Annotations
In this step of the tutorial, we will "dress up" a score with several types of annotations, which offer the
musician reading the score instructions and suggestions for performing the music:
accent marks
dynamic marks
hairpin crescendo marks
tempo marks
slurs (phrase marks)
The procedures for adding each of these types of annotations are presented here in less detail than
other procedures in this tutorial. By now, you probably have already developed a sense for how things
work in Co mp o s e r. So, you will likely be able to predict how to accomplish most tasks, such as
adding annotations.
We will start with an excerpt from the main theme of George Gershwin's Rhapsody in Blue. The starting
file RhapsodyInBlueWithoutAnnotations.not will include only the notes, and no annotatons.
We will add one of each type of annotation listed above. To see what the completely annotated score
looks like, you can open and view the file RhapsodyInBlue.not.
T o o p e n the s ta rting file fo r this s te p o f the tuto ria l:
Choose the Open command in the File menu, and open the file
RhapsodyInBlueWithoutAnnotations.not in the directory \Program Files
\Notation\Songs (or on Windows Vista \Users\YOURNAME\AppData\Roaming
\Notation\Songs).
T o a d d a n a c c e nt ma rk :
1. With the mouse, navigate to the Accent Palette.
-- OR --
Type SHIFT+A.
Technically, some of the symbols in the Accent Palette are not accents. Rather, these marks
are annotations that are displayed immediately above or below notes.
2. In the Accent Palette, choose the type of accent you wish to add.
You can add two accents for the same note or chord by selecting two symbols in the Accent
Palette.
3. Choose the Accent Palette option that determines whether the accent is displayed at the
notehead or at the end of the stem .

4. Click the mouse somewhere near (on top of, above, or below) the note or chord where you
want to add the accent.
5. To add more accents of the same type, click the mouse at other notes and chords. To add
more accents of a different type, select a different accent from the palette, and then continue
clicking the mouse where you want to add those accents.
T o a d d a d y na mic ma rk :
1. With the mouse, navigate to the Dynamic Mark Palette.
-- OR --
Type SHIFT+D.
Introduction 69
2. In the Dynamic Mark Palette, choose the first letter of the type of dynamic mark you wish to
add.
-- OR --
Type the shortcut for the dynamic mark. For example, the shortcut for is "mf". The shortcut
for is "f1", and for is "f2".
3. Specify whether the dynamic mark should be placed above the staff, below the staff,
between two staves, above a note, or below a note.

4. Click the mouse where you want to add the dynamic mark.
T o a d d a ha irp in c re s c e nd o ma rk :
1. With the mouse, navigate to the Crescendo Mark Palette:
-- OR --
Type"<" for a crescendo, or ">" for a decrescendo mark.
2. In the Crescendo Mark Palette, click the Crescendo Mark button or Decrescendo Mark
button.
This step is not necessary if you typed "<" or ">" in the previous step.
3. Click the mouse where you want the beginning of the crescendo mark to start. Do not release
the mouse button yet.
Co mp o s e r will add a new crescendo mark, which will initially extend to almost the barline of
the same measure.
3. While still holding down the mouse button, drag the end of the crescendo mark to the left or
right. Then release the mouse button.
4. Adjust the position of the crescendo mark by dragging the red handles.
Other options are available in the Crescendo Mark Palette for vertically centering the
crescendo, or extending the start or end of the mark to an adjacent measure which is perhaps
on a different line (system) or page of the score.
T o a d d a te mp o ma rk :
1. With the mouse, navigate to the Free Text Palette.
-- OR --
Type SHIFT+F.
2. Click the mouse where you want to add the tempo mark.
Co mp o s e r will display a blinking text cursor.
3. Type the tempo mark text, and optionally use any text editing keys, such as and
BACKSPACE, in the same way that you edit lyrics.
4. Optionally, click buttons on the Free Text Palette to increase or decrease the font
size of the text, or to make it bold or italic .

-- OR --
Introduction 71
Type CTRL+ or CTRL+ to increase or decrease the font size, and CTRL +B or CTRL+I
for bold or italic.
5. Hit the ESC key when you are done typing and editing the tempo mark text.
6. To move the free text object, unselect it first by typing ESC or clicking elsewhere in the score.
Then click the mouse on the text, and without releasing the mouse button, drag the text to a
new position.
It is also possible to mix music symbols with normal text in free text objects. For example, you can
create a tempo mark that looks like this:
For instructions, see Mixing Music Symbols and Normal Text 460 .
T o a d d a s lur (p hra s e ma rk ):
1. With the mouse, navigate to the Slur Palette:
-- OR --
Type SHIFT+S. If the Sustain Pedal Palette is displayed first, type SHIFT+S a second time for
the Slur Palette.
2. To add a slur across several notes:

Click the mouse where you want the slur to start, but do not release the mouse button yet.
Drag the end of the slur to the last note that should be under the slur.
Start and end the slur above the notes to draw the slur above the notes. Start and end the
slur below the notes to draw the slur below the notes.
Release the mouse button to complete the addition of the slur.
Co mp o s e r will automatically fit the slur to the contour of the notes above or below, and will
adjust the start and end of the slur to appropriate positions relative to the first and last notes
under the slur.
In many cases, you will likely find Co mp o s e r's automatic placement of the slur quite
acceptable. However, if desired, you can adjust the start and end position of the slur, and the
shape of the slur.

3. Adjust the position and shape of the slur by dragging the red handles.
Try dragging the four red handles to get a feel for how they work. For details, see Changing
the Shape and Extent of a Slur 424 .
1.6.12 Tutorial: Viewing and Quantizing the Performance
In the previous step of the tutorial, you added some "polish" to the sheet music notation with
annotations such as accent marks, dynamic marks, and slurs. In this final of the tutorial, you will add
some polish to the playback performance of the song. In Co mp o s e r , you can have an equally high
level of control over both what the music looks like and what it sounds like.
This step of the tutorial describes one way that you can edit the performance of a song that you have
imported as a MIDI file, or recorded from your keyboard, or for which you have manually entered
notes. Even if you do not intend to edit the performance of the song, you might find it entertaining and
educational to view the performance of the notes with various features offered by Co mp o s e r. This
step of the tutorial describes how you can view the performed timing of notes.
Co mp o s e r also offers other ways that you can view and change the individual loudness of notes,
pitch bend of notes, tempo changes, per-staff volume changes, and other aspects of the performance.
For details, see Viewing and Editing the Music Performance 499 .
The MIDI file Twinkle.mid was originally prepared by recording live improvisations of keyboard
accompaniments, using <% P R OD P OS E S S IV E % > recording feature 485 . Although about ten
recording "takes" for different sections of the song were made to try out different ideas for the piano
accompaniment, there has been no editing of the actual performed rhythms. The melody staff of
Twinkle.mid uncannily has an appropriate child-like quality, due to the imprecision with which the
melody was originally performed.
For many styles of music, and perhaps thisTwinkle Twinkle Little Star song, it is desirable to preserve
the original performed timing of the notes-- starting location (attack) and ending location (release).
When initially editing notes of any song, Co mp o s e r changes both the notation and the performance.
You can, however, edit only the notation or only the performance if you desire.
For some styles of music, it is indeed desirable to "clean up" the performance so that the performed
timings of notes are exactly on the beat, that is, so that the timings of the notes are exactly as notated.
This procedure of cleaning up the performance is typically called "quantization", especially in MIDI
sequencing software and hardware. In Co mp o s e r, the term "snap" is often used instead of "quantize".
The performed attacks of notes can be "snapped" to the notated rhythms. And the performed
durations of notes can be "snapped" to the notated durations.
Quantizing a performance can have the undesired effect of draining the life out of a performance, so
that it sounds too mechanical. You can avoid this by snapping only the attacks of notes but leaving the
duration of the notes as originally performed. In a MIDI performance, the "articulation" of a note is
mostly determined by (1) the loudness of that note and (2) its duration. If you leave the originally
performed duration of the note unchanged, then the human feel-- the articulation-- of the note will be
partly preserved, even when you snap the performed attack of the note to its notated location.
In this step of theTwinkle Twinkle Little Star tutorial, we will follow the guideline suggested in the
previous paragraph, in order to preserve most of the human feel of the performance. That is, we will
quantize only the attack location of the notes, but leave the performed durations unchanged. Said
more accurately, we will leave the performed release times of the notes unchanged.
The first procedure shows you how to view the performed timing of notes, before you change the
timings.
T o p re p a re to e d it the p e rfo rme d timing s o f no te s :
1. Click the Piano Roll tab in the main palette.
Introduction 73
Co mp o s e r displays the score as shown below. The rectangles drawn on top of the notes
show the actual performed timing of the notes. These rectangles are called "Piano Roll
Notation". This graphical representation resembles the hole cutouts for notes in piano rolls of
mechanical player pianos that were popular in the late 1800's and early 1900's.
The left and right edges of a piano roll rectangle represent the actual performed timing of the
note attack and release. The left edge of the rectangle divides the width of the notehead in half
if the performed attack of the note is exactly at the notated rhythm. The right edge of the
rectangle extends exactly to the middle of the next notehead if the performed release of the
note is exactly at the notated location of the next note.
2. Click the Edit As-Performed button in the Piano Roll palette.

That instructs Co mp o s e r that you intend to edit the as-performed rhythms of the notes without
changing how they are notated in the sheet music. In response, Co mp o s e r now displays the
notes in a lighter gray color, to confirm that you will be editing just the performance (piano roll
rectangles) of the notes, and not the sheet music notation of the notes.
T o g e t a re p o rt o f the e xa c t p e rfo rme d timing s o f no te s :

Select one or more notes.
Co mp o s e r will report the average offset of the as-performed timing of the note from the as-
notated attack and release locations of the selected notes, as illustrated below:
The unit of measurement here is a tick. There are 480 ticks per quarter note (regardless of the
tempo or meter of the song).
Introduction 75
T o s na p (q ua ntize ) the p e rfo rme d a tta c k s o f no te s to the ir a s -no ta te d lo c a tio ns :

Before following these steps, first play the song, and listen to the timing of the notes. Especially,
listen to the first note of the last measure in the melody. Remember, in an earlier step of this tutorial,
that note was performed so late that Co mp o s e r originally notated it as a sixteenth note past the
beginning of measure. Even though we corrected the notation for that note, so that it starts at the
beginning of the measure, the performance of the note was left unchanged. The note still sounds
somewhat late.
1. Select the notes whose performed attacks you wish to snap to their as-notated locations.
There are several ways you can select notes, To select a few adjacent notes, just drag the
mouse over them.
To select all of the notes for the entire score, type CTRL+A, which is the standard Windows
shortcut for Select All. Then choose the Convert Region to Notes command in the Region
menu, or type "qcrn" for Quick Convert Region to Notes.
2 Click the Piano Roll tab in the main palette.
3. Click the Snap As-Performed Attack to As-Notated Attack button.

-- OR --
Type A+ .
Now play Twinkle Twinkle Little Star again. It is now played with a very precise rhythm, even
though much of the expression of the song is preserved because the note releases were not
quantized. We only quantized the note attacks in the above procedure. Listen again to the last
measure of the melody. Notice how the first note in the last measure is now played exactly on
the beat. It is no longer delayed as it was in the original performance.
You now have briefly explored how you can polish the sound of the song as well as the sheet music
notation of the song.
Congratulations! You now know the basic procedures to accomplish most common tasks in <%
P R OD P E R IOD % > Now, explore Co mp o s e r on your own to learn about the many more types of
notation and performance editing you can do. And, of course, read other parts of this Co mp o s e r
documentation for a more structured exploration of Co mp o s e r's features
Opening, Transcribing, Printing, Playing, and Saving Songs 77
2 Opening, Transcribing, Printing, Playing, and Saving

Songs
This section of the Co mp o s e r documentation describes how to work with song files as a whole. Other
sections of the documentation describe how to edit details of the music and the score.
Co mp o s e r reads and writes the following file formats 77 : MIDI (.mid), Karaoke (.kar), and the
N o ta tio n (.not) file type used by N o ta tio n Mus ic ia n and N o ta tio n Co mp o s e r. Co mp o s e r
exports music scores as MusicXML (.xml) files 115 that can be read by other music notation programs,
such as Finale tm and Sibelius tm as well as exports .wav audio files 54 using the Notation Software
Synth 573 ..
You can open a MIDI or Karaoke file already on your system 78 or use Co mp o s e r's built-in Internet
browser 79 to download, unzip (if necessary), and open the file. If you associate 79 Co mp o s e r with
the MIDI .mid filename extension and Karaoke .kar, then when you double-click on a MIDI or
Karaoke file name in a directory listing or on a web page, Co mp o s e r will automatically start and the
file will open in Co mp o s e r's window.
When you open a MIDI or Karaoke file, you can select various transcription options 86 to control the
MIDI-to-notation results. If you are not happy with the results of the transcription, you can use the Re-
Transcribe 90 command to try out different transcription options.
Co mp o s e r's New Song Wizard guides you through the steps of creating a new song 107 -- the number
of measures, meter, key signature, and list of instrument and vocal parts. Co mp o s e r offers many
templates for new songs, using common musical instruments and ensembles. You can also create
your own song templates 111 .
You can view multiple songs 118 at a time, and copy and paste sections between them.
You can print 119 one score part at a time, or a range of measures for a given part. You can also print
several separate parts 211 with one command. Co mp o s e r also exports High Resolution PDF 54 files
that you can share.
Co mp o s e r offers a variety of options for enjoying and studying music during playback 121 , for
listening to multiple songs in a playlist 137 (jukebox), and practicing your instrument or voice with
accompaniment. 142
2.1 Music File Formats That You Can Use in Composer

The following table identifies common music file formats that Co mp o s e r does and does not support.
E xte ns io Co mp o s e r Co mp o s e r
File T y p e D e s c rip tio n
n Reads W rite s
Special format for music notation and

performance used by Co mp o s e r and
Notation .not yes yes
other music software programs by
Notation Software.
MIDI File
Music performance data, not music MIDI File Type 1
MIDI .mid
notation data. Type 0 and 1 (but not Type
0)
A version of MIDI file that includes

Karaoke .kar yes yes
specialized lyrics information.
no
A standard file format for exchange (to be

MusicXML music scores between music notation .xml supported in yes
115
programs. future version
of
Co mp o s e r)
Wave 54 An audio sound wave file format. .wav no yes
A compressed audio sound wave file

MP3 .mp3 no no
format.
For an overview in how to share your music with others, see Enabling Others to View, Play, and Print
Your Songs 114 .
A MIDI file is a saved recording of a MIDI performance. For an introduction to MIDI, see Appendix B:
What is MIDI? 662 A MIDI file contains very little information about how the musical performance should
be represented as music notation. If you import a MIDI file, Co mp o s e r must transcribe it to music
notation. After that, you can edit the music notation and/or the MIDI performance. Since a MIDI file does
not store music notation data, Co mp o s e r needs a file format for saving music notation data along with
the MIDI performance data. That is the Notation (.not) file format, which is used only by Co mp o s e r and
other music software programs by Notation Software.
After you have recorded or edited a song in Co mp o s e r, you can save it in the MIDI file format, so that
other MIDI software programs can play the song.
A Karaoke (.kar) file is a special type of MIDI file. It includes extra information about how lyrics should be
displayed when just lyrics and not the music notes are shown. Particularly, the Karaoke information
indicates where the line breaks in the lyrics are located, to match musical phrases. Co mp o s e r reads
Karaoke files. Instead of just displaying the lyrics, Co mp o s e r also displays the notes. See Working
with Karaoke (.kar) Files 456 .
Wave and MP3 files save music recordings as sound waves, as described in Appendix B: What is
MIDI? 662 Co mp o s e r exports .WAV files 54 but does not import them. A frequently asked question is:
"Does Co mp o s e r transcribe audio files or CD music to notation?" Co mp o s e r does not do this. Some
music software can do this only for very clear single note instruments and voice. Many audio engineers
have spent years attempting to develop software that can identify what pitches are being played by
what instruments at what times in an audio recording. But there has been very little success for music in
which more than one note is played at a time.
2.2 Opening a MIDI FIle or Karaoke File Already on Your System

The name Co mp o s e r might mistakenly lead you into thinking that this program is intended only for
composing music from scratch. Actually, one of the most powerful features of Co mp o s e r is that it can
import MIDI and Karaoke files from the Internet, or from another music software program, and
transcribe them into music notation with amazing accuracy. The central feature of Musician is that it can
import MIDI and Karaoke files from the Internet, or from another music software program, and
transcribe them into music notation with amazing accuracy.
A MIDI file 77 usually has a .mid file name extension.
A Karaoke file 77 is a special type of MIDI file, which has a lyrics staff normally intended to be
displayed as text without notes. A Karaoke file usually has a .kar file name extension. Most Karaoke
playing programs display only the lyrics; but Composer displays both the lyrics and the notes. Since a
Karaoke is technically only a special type of MIDI file, this Composer documentation will sometimes
use the terminology MIDI file to refer to both MIDI and Karaoke file .
When Co mp o s e r imports the MIDI or Karaoke file, it preserves all of the fine details of the musical
performance. Even though Co mp o s e r nicely rounds off notes to readable note durations, the
underlying exact timings of the notes are preserved and accurately performed by Co mp o s e r during
playback. If Co mp o s e r does not perfectly transcribe the note locations, durations, and rests, you can
edit them without changing the underlying performance. However, you can also fully edit the underlying
performance, including note locations, durations, rests, loudness, along with fancier details such as
pitch bends.
2.3 Associating Notation Composer with .MID, .KAR, and .NOT Files
You can set up Windows to always use Co mp o s e r to open a MIDI (.mid) or Karaoke (.kar) file
when you open it from Windows Explorer, or download it using Internet Explorertm or another browser.
T o a s s o c ia te Co mp o s e r with MID I (.mid ) a nd Ka ra o k e (.k a r) file s :

1. In Windows Explorer, navigate to a .mid, .not, or .kar file on your computer.
2. Right-click on the filename, and select "Open with..." then "Choose default program" from the list.
3. Select Co mp o s e r from the list, and set a checkmark for "Always use the selected program to
open these files."
4. Click "Ok" to save and exit.
T o re mo v e the a s s o c ia tio n o f Co mp o s e r with MID I (.mid ) a nd Ka ra o k e (.k a r) file s :

1. Follow the same procedure as above, but remove the check mark(s).
2. After you remove the association of Co mp o s e r with .mid or .kar files, the next time you
open one of these files, Windows might ask you to choose which new program to associate
with the .mid or .kar file extension. You should follow Windows instructions for establishing
the new file association.
For internet browsers, you will need to follow the instructions for the particular browser to set N o ta tio n
Co mp o s e r as the default program to open .mid, .kar and .not files. These options are typically
in "Options" or "Preferences", and are related to "Programs" or "Applications."
2.4 Searching for and Downloading MIDI Files from the Internet
You can use your favorite Internet browser, such as Firefox or Microsoft's Internet Explorer, to search
for and download MIDI files from the Internet. If you have associated 79 the MIDI .mid filename
extension and Karaoke .kar filename extension with Co mp o s e r, then as soon as the download of
the file has completed, Co mp o s e r will automatically start up and open the file. You will see the MIDI or
Karaoke file transcribed to sheet music.
Also, you can use your favorite Internet browser to download MIDI files to a folder on your system.
Then you can use Co mp o s e r's File Open command to open any of the downloaded MIDI files. You
might find this method inconvenient if you tend to forget the folder where you have downloaded your
files.
Instead of using an external browser, you can use Co mp o s e r's built-in Internet browser to download
and open MIDI and Karaoke files. This built-in browser is actually Microsoft's Internet Explorer,
repackaged inside of Co mp o s e r's own window.
The following topics describe how to use Co mp o s e r's built-in browser.
2.4.1 Using Composer's Internet Browsing Window
In order to download a MIDI file, Karaoke file, or Zip file from the Internet, you need to first navigate to a
web site that offers MIDI files.
T o s ta rt b ro ws ing fo r MID I file s o n the Inte rne t:
Click File -> Download MIDI files from the internet. This will direct you to a MIDI File Directory,
listing many useful websites that host MIDI files.
You can instruct Co mp o s e r to always initially open some alternative web page by using the
Set Initial Web Page command 81 .
T o na v ig a te to o the r we b p a g e s o n the Inte rne t:
Position the mouse over highlighted text. Near the bottom of the browse window, you will see a
web page location. If you click the mouse on the highlighted text, the browser will take you to
that location.
-- OR --
Type in the location (URL) of the web page in the "Location" box near the top of the page. It is
not necessary for you to type in the leading "http://" characters. Press the ENTER key to
complete the entry of the location.
-- OR --
To view the previous web page that you last visited, click the Back button. If you have
browsed back to a previous web page and want to return to the more recently reviewed page,
click the Forward button.

-- OR --
Click the down arrow at the right side of the "Location" box to list the most recent web pages
you have visited. Then click one of the web page locations in the list to view the page again.
T o inte rrup t the d o wnlo a d ing o f a we b p a g e :
Click the button. This option is handy if the web page is taking too much time to
download, which sometimes happens if the web site offering the page is temporarily not
working or too busy.
T o e xit the b ro ws e r:
Click the button.

-- OR --
In the Window menu or File menu, choose the Close Window command.
-- OR --
Type CTRL+F4.
2.4.2 Specifying the Initial Web Page for Browsing
When you use the Browse Internet for MIDI Files command in the File menu to start searching for MIDI
files on the Internet, Composer will first take you to Notation Software's web page that lists
recommended MIDI file sites. You can specify a different default web page. Then, whenever you use the
Browse command, Composer will first take you to that web page instead.
T o s p e c ify the initia l we b p a g e fo r b ro ws ing :
1. In the browser window 80 , navigate to the web page that you wish to establish as the initial
web page for browsing.
2. In the Preferences menu of the browser window, choose the Set Initial Web Page command.
3. The dialog box will display the web page location (URL) for the page you are currently
viewing. You can enter a different web page location if the currently viewed page is not the one
you want.
2.4.3 Downloading MIDI Files and Zip Files
See Using Co mp o s e r's Internet Browsing Window for instructions in starting Co mp o s e r's built-in
Internet browser.
Once you have arrived at the initial web page for browsing 81 , you can browse around the Internet,
searching web sites that offer MIDI files, Karaoke files, or Zip files containing MIDI or Karaoke files. The
techniques you should use for finding MIDI files with the built-in browser are the same that you would
use in Internet Explorer or your favorite browser. One difference, however, is that by default, the built-in
browser takes you directly to a directory of MIDI file web sites.
You can also perform searches using general search engines such as Google. Just type
"www.google.com" for the Location in Co mp o s e r's browser window, and hit the key.
Once you arrive at Google, do a search on "midi" and the name of the song or artist you are interested
in. For example, do a search on "midi twinkle" to look for MIDI files for the children's song Twinkle
Twinkle Little Star.
When you visit a web page that publishes MIDI files, you may find the files in a couple of different
formats. Also, the links might be displayed in some different ways. MIDI files 77 usually have a .mid
filename extension. Karaoke files 77 have a .kar filename extension. Zip files have a .zip filename
extension. Sometimes just the name of the MIDI or Zip file is displayed. In other cases, the song title is
displayed instead of the file name. In this case, you can confirm that the highlighted text corresponds to
a MIDI or Zip file by moving the mouse cursor over the highlighted text and noting the location (URL)
displayed at the bottom of the browse window.
Once you have found the file you want to download, the procedure is simple.
T o d o wnlo a d a MID I (o r Ka ra o k e ) file :
1. Click the name of the MIDI music, or filename of the MIDI file shown at the web page.
Co mp o s e r will start downloading the file.
N OT E :
If the MID I file imme d ia te ly p la y s ra the r tha n s ta rting to d o wnlo a d , you probably
have a MIDI player plug-in installed on your system. Some MIDI player plug-ins provide an
option for saving the MIDI file to your hard drive. You should use this option, and specify your
song directory as the download location. Upon completion of the download, Co mp o s e r will
automatically open the MIDI file if you have associated Co mp o s e r with the .mid file name
extension. If Co mp o s e r does not automatically open the MIDI file, then you can open it using
the Open command in the File menu 78 .
If you are not able to keep the MIDI player plug-in from playing the MIDI file instead of letting
you download the MIDI file, then the steps to correct this problem depend on which particular
MIDI player is installed on your system. You can visit our User Forum for specific instructions for
different player plug-ins.
2. If the download takes longer than you want, click the button. This will abort the
download.
3. Co mp o s e r will present you with a file Save As dialog. Navigate to the directory where you
want to save the file. You can keep the same file name as downloaded, or change it now. The
file Save As dialog looks like this:
4. Click the Transcription Options button to provide Co mp o s e r instructions for how to transcribe
the downloaded MIDI file.
This is necessary only if you want to change the Transcription Options from their most recent
settings. For details, see Transcription Options 86 .
5. Click the Save button to save the MIDI file.
T IP : If you find that you usually want to save MIDI files in the same directory, then turn
on the "Set as default directory" check mark in the above Save As dialog. Then,
whenever you run Co mp o s e r, it will automatically open this directory in the Save As
dialog.
6. As soon as Co mp o s e r has completed the download, it will save the MIDI file in the directory
you specified above. It will then convert the MIDI file to notation, and display the score on the
screen. To start playing the music 124 , press the play button or hit the SPACE bar.
T o d o wnlo a d a Zip file :
1. Follow the above steps 1 through 3, except choose a Zip file rather than MIDI file to download.
Specify the directory where the one or more MIDI (or Karaoke) files should be unzipped.
2. If the Zip file contains only one MIDI file, then Co mp o s e r will display its name in the Save As
dialog. Click the Save button to save the MIDI file.
3. If the Zip file contains more than one MIDI file, then Co mp o s e r will display a separate dialog
box listing the MIDI files that were unzipped. All of the MIDI files will be saved to the directory
that you specified earlier. However, you can also click one of these files in the dialog box to
immediately open and view its sheet music.
4. After Co mp o s e r has completed the unzipping, it will automatically delete the original Zip file.
This saves you the effort of removing unneeded Zip files from your hard disk.
2.5 Transcribing MIDI Files and Recordings to Notation

If you use Co mp o s e r to record your performance on a MIDI keyboard, Co mp o s e r will automatically
display your performance on the screen as music notation. The process by which Co mp o s e r
converts your performance into notation is called transcription..
When you import a MIDI file, Co mp o s e r transcribes the performance in the MIDI file to notation. The
data stored in the MIDI file is basically a recording of what notes (pitches) are played at what exact
times by various instruments (in staves). The process that Co mp o s e r uses to transcribe your
performance at your music keyboard to notation is exactly the same transcription process that
Co mp o s e r uses to convert MIDI files to notation.
A good way to understand transcription is to think of the MIDI performance as a piano roll used on
player pianos that were popular in the late 1800's and early 1900's. The holes in the piano roll
determine what notes are played at what times. If you unroll the piano roll horizontally, you will observe
that the holes mark the beginning and ending times of played notes. The vertical position of the holes
determine the pitch of the notes.
Here is an example of a piano roll:
Basically, the above piano roll is all that Co mp o s e r is given when it must transcribe your recording at
the keyboard, or a MIDI file, to notation. Co mp o s e r is able to transcribe the above piano roll
information into notation. This example happens to be the Bach Minuet file, minuet.mid, that is
installed in the C:\Program Files\Notation\Songs (or on Windows Vista \Users\YOURNAME
\AppData\Roaming\Notation\Songs)directory. The result of the transcription looks like this:
In N o ta tio n Co mp o s e r, you can see the Piano Roll Notation that underlies the notation. This is
particularly useful when you want to edit the exact timing of notes without changing the notation. Here is
what the above example looks like when you click the piano roll button in the main toolbar:
Co mp o s e r must make many decisions about how to transcribe any given MIDI performance to
notation. These decisions are similar to those that a trained musician would make when he or she
hears music and writes down the notes on paper. (Very few musicians have this special training in
"music dictation".)
Some decisions about how to transcribe the music are closely related to the style of the music.
Co mp o s e r does not attempt to determine what the style of music is, in order to make the appropriate
decisions in transcribing the MIDI performance to notation. Instead, Co mp o s e r lets you make a few
simple choices about how to transcribe the music.
In particular, you can instruct Co mp o s e r to:
Choose either Standard or Swing style in determining how to display rhythms such as
illustrated here:
Detect and display split upper and lower voices as opposed to single voice, as illustrated
here:
Remove overlapping notes in order to reduce the number of ties, as illustrated here:
Remove rests smaller than some size you specify, such as a quarter rest, as illustrated here:
Detect grace notes, trills, and tremolos.
The options described above are offered in the Transcription Options dialog described in the next
topic. Co mp o s e r offers you the opportunity to specify the transcription options in several
circumstances:
As you import a MIDI file, click the Transcription Options button in the File Open dialog box.
As you download a MIDI file from the Internet, click the Transcription Options button in the File
Save As dialog box.
Before you record from your MIDI keyboard, choose the Transcription Options command in
the Setup menu.
When you use the Split Hands command, click the Transcription Options button in the Split
Hands dialog box.
When you use the Merge Staves command, click the Transcription Options button in the
Merge Staves dialog box.
Also, after you have imported a MIDI file, or recorded a performance at your music keyboard, you can
request Co mp o s e r to transcribe the performance using a different set of transcription options, by
using the Re-Transcribe 90 command.
A b o ut Qua ntiza tio n
If you have used other music notation programs with a transcription feature, that feature
very likely includes an option for specifying the "quantization level". Such an option
tells the program to round note duration values and attack times to the nearest, say,
thirty-second note, or sixteenth note. Rather than using "quantization", Co mp o s e r has

a better way of determining note durations and attack times than simply rounding to
some nearest value. Such quantization only works well for fairly simple rhythms. Notes
with long values tend to be "over-enthusiastically" notated with extra dotted values and
ties. Separate notes with short values and small differences in attack times may be
incorrectly collapsed into chords. Co mp o s e r does a much better job at transcribing
rhythms than notation programs that use a simple quantization approach. Co mp o s e r
analyzes the rhythmic context of each note to determine what quantization level to
apply to the note.
2.5.1 Transcription Options
For an overview of how Co mp o s e r transcribes an imported MIDI file, or the recording of your
performance at the music keyboard, to music notation, see the preceding overview topic, Transcribing
MIDI Files and Recordings to Notation.
The Transcription Options dialog box offers you the opportunity to determine how Co mp o s e r
transcribes an imported MIDI file, or the recording of your performance at the music keyboard, to music
notation:
There are several ways that you can access the Transcription Options dialog box:
Choose the Transcription Options command in the Setup menu.
Click the Transcription Options button in any of the dialog boxes for File Open 78 , Split Hands
201 , or Merge Staves 198 , and also the File Save As when downloading a MIDI file 80 from the
Internet.
Choose the Re-Transcribe 90 command in the Format menu.
The transcription options you choose will be applied in all subsequent transcriptions, not only in the
current session in which you are running Co mp o s e r, but also in future sessions. The transcription
options will apply to newly imported MIDI files and recordings from your keyboard, as well as the Split
Hands and Merge Staves commands.
Each of the transcription options are described below. To Retranscribe a song that is already open,
you can use the Fo rma t / R e tra ns c rib e command.
D e te c t a nd D is p la y V o ic e s
The difference between the two voice options is illustrated here:
Choose the Split (Upper and Lower) Voices option under these circumstances:
The MIDI file includes keyboard parts, or your recording is at a music keyboard.
You want the notation to clarify how some notes are held for longer durations while other
notes played at the same time are held for shorter durations.
You can simplify the notation by choosing the Single Voice Only option, but only if you also
choose the Remove Overlaps of Notes option. The above single voice example is actually more
difficult to read than the split voice example, because the overlappings of notes has not been
removed.
R e mo v e Ov e rla p s o f N o te s
The result of choosing the Remove Overlaps of Notes option is illustrated here:
Removing overlaps of notes reduces the number of ties, and thus simplifies the overall notation.
However, this also results in notation that less accurately represents the actual duration of notes.
If you are working with keyboard parts and find that transcriptions have too many ties, you first
should consider choosing the Split (Upper and Lower) Voices options. Then, if there are still too
many ties, use the Remove Overlaps of Notes option.
If you are working with single-note instrument or vocal parts, then choose the Single Voice Only
option and the Remove Overlaps of Notes option.
R e d uc e R e s ts S ma lle r T ha n...
If you find that Co mp o s e r transcribes with too much accuracy with respect to the use of dotted
note values and rests, then you can instruct Co mp o s e r to eliminate any rest that is smaller than a
certain size (quarter rest, eighth rest, or sixteenth rest), as illustrated here:
In general, you should choose a smaller minimum rest size for slow tempos, and a larger minimum
rest size for fast tempos. In slow tempos, you may want the notation to clarify the duration of notes
and rests. In fast tempos, you may want to reduce the complexity of the notation by eliminating
smaller rests.
R hy thm S ty le
In jazz and swing styles of music, triplets with a missing middle member are quite common. There
is a convention in jazz and swing notation that simplifies the notation of such partial triplets by
displaying the two members of the triplet as a simple pair of notes with equal durations. You can
instruct Co mp o s e r which style of rhythm notation to use, as illustrated here:
T ra ns c rib e Orna me nts

Co mp o s e r recognizes grace notes, trills and tremolos. Instead of literally writing the notes of the
ornamented performance, Co mp o s e r displays the standard notation for the type of detected
ornament. All of the details of the ornament's performance are preserved-- the exact timing of the
notes and the loudness of each note. You can view the written-out performance at any time, and
edit the performance. While viewing the written-out performance you can edit details of the
performance 376 -- the timing and loudness of the notes.
S ta ff A d jus tme nt R e c o mme nd a tio ns

Co mp o s e r recognizes certain common problems in MIDI files, and offers you the opportunity to
immediately fix those problems when importing the MIDI files. The most common problem is that a
keyboard part in a MIDI file might have only one track, so that the notes for the right- and left-hand
staves would otherwise be mixed together into a single, unplayable staff. If you choose the
Transcription Option for Co mp o s e r to automatically detect when a keyboard track probably
needs to be split into right- and left-hand staves, then when Co mp o s e r imports such a MIDI file,
you will be presented with a dialog box such as the following:
If you do not correct these kinds of problems with the MIDI file when you first import it, don't worry,
you still have another chance to fix the problems later. The following table indicates what
commands you can use that accomplish the same thing as the automatic corrections:
T ra ns c rip tio n R e c o mme nd a tio n A lte rna tiv e Co mma nd Y o u Ca n U s e
Keyboard staff probably should be split into Split Hands command in the Staff menu 201 .
RH and LH staves.
The order of a pair of keyboard staves Move Up and Move Down buttons in the Staff
probably should be switched from LH/RH Setup window (Staff menu, Setup command) 205 .
to RH/LH.
The keyboard RH/LH staves should be Move Up and Move Down buttons in the Staff
ordered before other instrument staves. Setup window (Staff menu, Setup command) 205 .
Two-note chords in a staff that has mostly Convert To Solo Notes command in the Staff
solo notes should be sequenced as two menu 204 .
separate notes.
T ra ns c rip tio n o f Ly ric s

Many MIDI files have one or more tracks with no notes but with a "lyric", which is actually some
notice that the author of the MIDI file wishes to be kept with the file, such as a "by line" or copyright
notice. N o ta tio n Co mp o s e r respects the intention of the author of the MIDI file to preserve this
information with the file. However, it is typically distracting to see a newly opened MIDI file with one
or more empty tracks with these notices.
Co mp o s e r offers you the option to temporarily hide this information. It is still kept in the song file,
and will be included when you resave the file in any of the file formats: MIDI (.mid), Karaoke (.kar),
or Notation (.not). This information will only not be saved if you choose to delete the track (staff)
that holds this "lyric" information.
You can view such temporarily hidden lyrics by going to the Lyrics palette, and turning on Reveal
Hidden Lyrics button, as illustrated here:
2.5.2 Re-Transcribing a MIDI File or Recording
When you import a MIDI file, or record from your music keyboard, Co mp o s e r applies the transcription
options that you have most recently specified in the Transcription Options dialog. If you are not
satisfied with the results of the transcription, you might be able to improve the results by choosing
different transcription options. You can select specific staves to which the new transcription options are
applied.
N OT E : The Re-Transcribe command, described below, preserves notes and lyrics
in the re-transcribed staves, but discards all other kinds of editing you may have
made after the original transcription of the MIDI file or recording of your performance
at your music keyboard. Some examples of editing changes that will be discarded
are editing of: enharmonic spellings, beams, dynamic marks, free text, and
crescendo marks.
Therefore, it is a good idea to review the transcription of a song or staff immediately

after you have imported the MIDI file, or recorded a performance on your music
keyboard,. If you want to re-transcribe the song or staff, do that before you start editing
it.
T o re -tra ns c rib e s p e c ifie d s ta v e s in a s o ng :
1. Choose the Re-Transcribe command in the Format menu.
-- OR --
Type "qrt" for Quick Re-Transcribe.

Co mp o s e r will display the Re-Transcribe dialog box, such as the following:
2. Select the staves that you wish to re-transcribe. Click a staff name to toggle its selection. Use
the buttons below the list of staves to select all of the staves, or to unselect all of the staves so
that you can then select individual staves.
3. The re-transcription options are the same as those in the Transcription Options dialog box.
Refer to the Transcription Options 86 topic for a description of the options for voices, overlaps
of notes, minimum rest size, and rhythm style.
4. If you wish to set the new transcription options as the default for future transcriptions, click the
Set As Default button. This is equivalent to choosing the Transcription Options command in
the Setup menu, and selecting the same options.
N OT E : Some MIDI files are recorded without reference to a metronome. Co mp o s e r
cannot correctly analyze the rhythms in such MIDI files on its own, nor can most other
music notation programs.
You can tell whether a MIDI file has been recorded without reference to a metronome
by following this simple procedure: After Co mp o s e r has opened the MIDI file, start
playback. Watch the vertical playback cursor (blue, by default) move along with the
playback. Listen to playback and start tapping the beats with you hand or foot. Does
the playback cursor move in synchronization with the beats you hear? If so, the MIDI
file was indeed recorded with reference to a metronome. If the beat movements of the
playback cursor do not relate to the beats you hear, then the MIDI file was recorded
without reference to a metronome. For such files you can use the Rebar 91 feature to
adjust the barlines correctly, to get readable sheet music from the file, as well as
preserve the nuances of the performance.
2.5.3 Correcting the Barlines for Files Recorded Without a Metronome.
Sometimes you may find a file that was recorded, or may want to record a new song, without the
constraints of a metronome. N o ta tio n Co mp o s e r' s R e b a r feature allows you to get excellent sheet
music from such "metronomeless recording" files, while preserving the performance nuances of such
files.
With Co mp o s e r' s R e b a r feature, you can:
Play the song and then tap in the downbeats for each bar in the file. Co mp o s e r then uses your
recorded downbeat to correct the placement of the barlines in the song so that the notation will
be properly transcribed for easy reading and playing.

Use the "Beat zoom" to tap in individual beats for measures that have pronounced tempo
changes, giving finer resolution for the notation transcription.
Co mp o s e r preserves the nuances of the song's performance by keeping track of the
performed tempos throughout the rebar process. This is a great way to create backing tracks
that feel "live" and have the sheet music to go along with them.
Get sheet music for MIDI (.mid) files you find that have a great performance, but were recorded
without reference to a metronome. Such song files will have a much more "live" feel to them
than one that is locked in with a metronome, and can be used for accompaniment tracks or other
live performance opportunities.
Using the Rebar feature, you can start with a song that looks like this:
And turn it into this:
The topics in the following sections of the Users Guide will help you get quality sheet music while
maintaining the fine performance of your song files.
H o w to d e te rmine if y o u ha v e a " Me tro no me le s s " file 93
S umma ry o f S te p s fo r Co rre c ting B a rline s U s ing the R e b a r Fe a ture 94
U s ing the R e b a r T o o ls to Co rre c t B a rline s 96 (a detailed explanation of the process)

2.5.3.1 How to Determine a "Metronomeless" File
H o w to d e te rmine if y o u ha v e a " me tro no me le s s " file tha t ne e d s to b e re b a rre d

Sometimes you will find a file where the beat cursor keeps time with the playback of the notes, but the
barlines are misaligned with the downbeats. Please see the section on how to shift barlines to the
right 281 to correct those files.
The typical signs of a "metronomeless" file are:

When opening the file in Co mp o s e r the notation is very complicated or messy, and is quite
likely unplayable.
When you play the file in Co mp o s e r, you will notice that the beat cursor does not "hit" on the
beats of the actual performance.
The following screen shot shows what a rather simple file that was recorded without reference to a
metronome might look like on first opening it in Co mp o s e r. Notice the multiple dotted notes, chord
notes that don't begin measures, and many excess ties in the notation:
Co mp o s e r helps you get quality, playable sheet music from such files, while keeping the playing
nuances for playback of these files by using the innovative Rebar feature 94 to adjust the barlines
appropriately. You can transform the above notation to get notation that looks like this:
2.5.3.2 Summary of Steps for Correcting Barlines Using the Rebar Feature
T he R e b a r P a le tte
The Rebar tool palette (keyboard shortcut "|") is located in the Staff Symbols tab. This picture shows
how it typically appears, when the detail palette is "docked" horizontally at the top of Co mp o s e r' s
window.
T he ma in s te p s in the R e b a r p ro c e s s a re :
1. E nte r re b a r line s 96 : You can quickly convert all the barlines in the opened score to editable
barlines using the "Ma k e b a rline s e d ita b le " button (keyboard shortcut "e") This is the
easiest method to start with for files that have barlines that are close, but not quite correctly
placed.
-- OR --
Record rebar lines into the score using the " R e c o rd B a rline s o r B e a ts " button on the
Rebar detail (tool) palette (keyboard shortcut "r") and tapping the Insert (INS) key on your
computer keyboard. This method is useful for files that have tempo changes. If one or more
measures has a substantial tempo change within the measure, you can turn "on" the Beat
Zoom button to record in beats within the selected measure. Note that this "Record
barlines or beats" button is not the same button as the main transport control "Record" button
on the main toolbar.
-- OR --
Enter rebar lines using your mouse in "Add" mode. You can also enter beat markers with your
mouse when the Beat Zoom is "on".
2. E d it the re b a r line s 102 : Change the meter associated with a rebar line, move, delete, or
otherwise edit the rebar lines and meters using the Rebar tools on the detail palette.
3. R e v ie w the no ta tio n 105 : After any editing step, you can see what the notation in the adjusted
score will look like by using the "S ho w b a rline a d jus tme nts " button. The rebar lines
are still editable at this point, and can be further adjusted and reviewed using the Rebar tools
and "Show barline adjustments" until you are satisfied with the results.
4. Fina lize the s c o re 106 : When you are satisfied with the notation that you see, use the
"Fina lize " button. This step changes all the rebar lines back to regular barlines, and
shows you the final notation using the adjustments you made.
You can always go back through the rebar process any time you want but do be aware that any other
types of edits you have done to your score will be lost if you use "Show adjustments" or "Finalize". If
you stop working on your Rebar edits, Co mp o s e r will save your rebar work at the point you stopped.
T ip s while us ing the R e b a r to o ls :
We strongly suggest that you perform any rebar adjustments as the first editing that you
perform on a file. Just as for Re-Transcribing a MIDI (.mid) file, using the Rebar feature's "Show
barline adjustments" button or the "Finalize" button will lose any other scoring edits
you may have made (eg. enharmonic spellings, beams, free text) , except lyrics.
Using the Rebar feature to adjust the barlines (and thus the notation) is a step-wise process.
Therefore, unlike other palettes, you cannot select other objects (such as notes or chord
names) to work on while you are in the Rebar palette. You can still switch to another tab by
clicking the other tab (eg. Notes and Rests) and then working on those aspects of the score.
However, trying to select other objects in the score while you are working in the Rebar palette
will not automatically change the working tab.
Like other editing palettes, you can use the Edit / Undo command at any point during your work
in the Rebar palette. If you leave your file, or close Co mp o s e r and save the file, your rebar
editing will be saved at the point you closed the file. When you open the file next time to
continue editing, you can resume where you stopped previously.
Rebar objects show up red in the score. To select an object to edit, just use the mouse to click
on it. The selected object will then turn blue, and you can use the Rebar palette tools to edit the
rebar line and its associated meter. After editing and then finalizing the barlines, the red rebar
objects will be erased to leave a "clean" score.
To see how to specifically use the Rebar tools for each of the above main steps, you can click the
links above for each step, or go to the next page 96 .
2.5.3.3 Using the Rebar Tools to Correct Barlines
T he R e b a r P a le tte
The Rebar tool palette (keyboard shortcut "|") is located in the Staff Symbols tab. This picture shows
how it typically appears, when the detail palette is "docked" horizontally at the top of Co mp o s e r' s
window.
T ip s while us ing the R e b a r to o ls :
We strongly suggest that you perform any rebar adjustments as the first editing that you
perform on a file. Just as for Re-Transcribing a MIDI (.mid) file, using the Rebar feature's "Show
barline adjustments" button or the "Finalize" button will lose any other scoring edits
you may have made (eg. enharmonic spellings, beams, free text) , except lyrics.
Using the Rebar feature to adjust the barlines (and thus the notation) is a step-wise process.
Therefore, unlike other palettes, you cannot select other objects (such as notes or chord
names) to work on while you are in the Rebar palette. You can still switch to another tab by
clicking the other tab (eg. Notes and Rests) and then working on those aspects of the score.
However, trying to select other objects in the score while you are working in the Rebar palette
will not automatically change the working tab.
Like other editing palettes, you can use the Edit / Undo command at any point during your work
in the Rebar palette. If you leave your file, or close Co mp o s e r and save the file, your rebar
editing will be saved at the point you closed the file. When you open the file next time to
continue editing, you can resume where you stopped previously.
Rebar objects show up red in the score. To select an object to edit, just use the mouse to click
on it. The selected object will then turn blue, and you can use the Rebar palette tools to edit the
rebar line and its associated meter. After editing and then finalizing the barlines, the red rebar
objects will be erased to leave a "clean" score.
You can always go back through the rebar process any time you want but do be aware that any other
types of edits you have done to your score will be lost if you use "Show adjustments" or "Finalize". If
you stop working on your Rebar edits, Co mp o s e r will save your rebar work at the point you stopped.
E nte ring R e b a r Line s
Sometimes the transcribed barlines of a file may be almost correct, and only need some slight
adjustments to line up the barlines properly and give correct sheet music. Co mp o s e r does put
"reference" barlines in any file when the song is first opened, and these can be used as beginning
points for lining up the barlines in a metronomeless recording. One of the easiest ways to adjust the
barlines for measures is to make all the barlines into editable rebar lines and then quickly edit them.
T o us e e xis ting b a rline s a s s ta rting p o ints :
1. After opening the .mid file, or finishing recording, navigate to the Rebar palette in the Staff
Symbols tab.
-- OR --
Type "|" to bring up the Rebar palette.
2. Click the "Ma k e b a rline s e d ita b le " button (keyboard shortcut "e"). The score will now
show the rebar lines and meters, which are now ready to edit, as in the following score, which is
the same file as the picture above, but now with the rebar lines displayed:
Other files may have more complex tempo changes, or may just be so completely "off" from the
transcribed barlines that it would be simpler to record in the correct (or nearly correct) placement of
barlines using the "tap in" recording method.
T o re c o rd ne w re b a r line s
1. It will probably be helpful to listen to the file a few times, so that you can hear and get a better
understanding of where the tempo changes occur. This will help you to more accurately tap in
the rebar lines during recording. Keep in mind that the rebar lines don't have to be placed
perfectly the first time you record. You can re-record the rebar lines for an entire song, or re-
record just a selected region of the score ("punch in"). You also have many tools and options
available for finely adjusting the rebar lines so that your notation will be correct when you finish.
2. After listening to the song a few times, and perhaps practicing tapping your computer
keyboard's "Insert" (INS) key on beat "one", you will be ready to record the rebar lines. To
begin recording the rebar lines, click the "Record barlines or beats" button in the Rebar
palette.
3. Co mp o s e r will give you a couple of seconds to find the "Insert" (INS) key on your keyboard
before the file begins to play. As the file plays, tap the "Insert" key (INS) button on your
computer keyboard on every beat "one". You will notice that there will be a red rebar line
inserted into the score at each place you tap.
4. When you are done, hit the Spacebar on your computer keyboard, or click the "Record
barlines or beats" button again to stop recording.
At the end of recording, Co mp o s e r will automatically re-transcribe the notation for the file according to
the rebar lines that you have recorded. If you are not satisfied with your rebar line recording, you can
re-record the entire song, or you can "punch in" a select region of the score. You can also see below
for adjusting the rebar lines manually with the toolbar tools.
T ip : What if you notice that the rebar lines you record are not where you thought you tapped, or
you see that each note highlights before you hear the note play? In this case, your MIDI
playback device may have a problem with latency. "Latency" means that there is some time
between when Co mp o s e r "requests" the sound from the MIDI device, and the time you
actually hear it. Co mp o s e r now allows you to calibrate your MIDI Device 605 using the same
"Insert" (INS) key tap-in procedure as for recording rebar lines or beat marker lines. Just click
the "Calibrate MIDI Device" button in the Rebar palette, or the command in the menu list,
and follow the directions in the dialog box that appears. After calibrating your MIDI device,
Co mp o s e r will then save that setting, and adjust for the latency of that MIDI device when you
play a file using that device or use the tap-in recording method for rebar lines or beat markers.
T o re c o rd re b a r b a r line s in a s p e c ific re g io n (" p unc h in" )
1. Click on the "Select Region Mode" button in the main toolbar (or right-click your mouse to
change modes).
2. Click-drag the mouse to select the region you would like to re-record.
3. Now click the "R e c o rd B a rline s o r B e a ts " button in the Rebar palette, to hear a short
lead-in section, and then use your "Insert" (INS) key to tap in the first beat for each measure in
the selected region as you listen.
4. When you are finished, Co mp o s e r will automatically stop recording, and retranscribe the
notation according to the new rebar lines you have just recorded.
You can also use your mouse to enter rebar lines. Using this method will not automatically display the
change in the notation after each entry, but you can use the "S ho w B a rline A d jus tme nts " button
to retranscribe the score and see the corrected notation whenever you want.
T o E nte r R e b a r line s us ing the mo us e

1. From the Rebar palette, click the "Add mode" button in the main tool bar (or right-click your
mouse to change modes)
2. Now click in the score at the location (typically on a note) for the first beat of the measure where
you want to enter a barline.
The meter that is associated with a rebar line affects how the notes of that measure are transcribed. In
some cases you may need to change the meter associated with one or more rebar lines for the
notation to be transcribed properly.
Co rre c ting the me te r o f a me a s ure
1. Select a rebar line by clicking on it and then click the "Change Meter" button in the palette
-- OR --
Double click the meter of a rebar line that you want to change.
2. In the Change Meter dialog, click the radio button of the meter you want for that measure, or click
"Other" and enter the custom meter you want for the measure.
3. After selecting the meter you want for the measure (eg. 3/4), click "Ok".
4. To see the corrected notation, click the "S ho w a d jus tme nts " button. Co mp o s e r will
then retranscribe the notation using the new meter for that measure.
B e a t Ma rk e rs W ithin a Me a s ure
Some files may contain more dramatic changes in tempo within a single measure. Such tempo
changes cannot be accurately transcribed to good notation just by adjusting the barlines.
For these situations, you can use the Beat Zoom button to enter individual beats in a selected
measure or measures. Turning "on" the Beat Zoom means that beat marker lines can be added by
using the same methods as for adding rebar barlines, but with the resolution adjusted to beats rather
than barlines.
T o R e c o rd B e a t Ma rk e rs
1. Using Region Select (the same as for selecting a region in "punch in recording" above), select
the measure(s) that you want to record beat markers into.
2. It will probably be helpful to listen to the passage a few times, so that you can hear and get a
better understanding of where the tempo changes occur. This will help you to more accurately
tap in the beat marker lines during recording. Keep in mind that the beat marker lines don't
have to be placed perfectly the first time you record. You can re-record the beat marker lines
for the measure(s) you have selected as many times as you wish. You also have many tools
and options available for finely adjusting the beat marker lines (such as "Shift to nearest next
note") so that your notation will be correct when you finish.
3. After listening to the passage a few times, and perhaps practicing tapping your computer
keyboard's "Insert" (INS) key on the beats you hear, you will be ready to record the beat
marker lines. To begin recording the beat marker lines, click the "Record barlines or beats"
button in the Rebar palette.

4. Co mp o s e r will play a short bit before your selected region, to give you a couple of seconds to
find the "Insert" (INS) key on your keyboard before beginning recording. As the file plays, tap
the "Insert" key (INS) button on your computer keyboard on the beats. You will notice that there
will be a red dashed beat marker line inserted into the score at each place you tap.
5. When you are done, hit the Spacebar on your computer keyboard, or click the "Record
barlines or beats" button again to stop recording.
T o E nte r B e a t ma rk e rs us ing the mo us e :
1. From the Rebar palette, click the "Add mode" button in the main tool bar (or right-click your
mouse to change modes)
2. Make sure that the Beat Zoom button is "on".
3. Now click in the score at the location (typically on a note) for the first beat of the measure where
you want to enter a barline.
4. Continue clicking on the specific notes that should be "on the beat".
5. When you are done entering beat marker lines, then click the "S ho w A d jus tme nts "
button. Co mp o s e r will retranscribe the notation to adjust it for your beat markers.
E d iting R e b a r Line s
Co mp o s e r Makes it easy for you to fine-tune the rebar line and beat marker adjustments so that the
notation for your file will be playable and the performance will remain faithful to the recording when you
play the file back.
Please note that all the editing tools of the Rebar palette work the same for rebar bar lines or for beat
mark er lines.
If you use the "Make barlines editable" command or button (keyboard shortcut "e"), you may find
that there will be "extra" rebar lines that need to be removed, or rebar lines that need to be shifted to a
previous or next note.
T o d e le te a re b a r line :
1. Click on the barline to select it.
2. Click on the "Delete" button to remove the rebar line (or press the "Delete" key on your
keyboard).
D e le ting a ll R e b a r a nd B e a t Ma rk e r Line s a nd Me te rs
If you want to remove all the rebar lines for a fresh start at entering and editing them, simply click on the
"D e le te A ll" button (or type "Shift + Del"). All rebar objects (rebar lines, meters, and any beat
marker lines) will be removed from the score. No transcription changes will be made, and you can
begin the process of editing the barlines from scratch.
Mo v ing a R e b a r line to the ne xt no te o n the rig ht

In this particular file the left-hand (bass clef) chords were intended to sound on beat 1. To edit any
rebar line, simply click on it to select it for editing. Click on the rebar line to edit it, and then click the
"Shift rebarline to next note" button (or type "Shift + right arrow key")
Mo v ing a R e b a r line to the p re v io us no te o n the le ft

The process for shifting a rebar line to the left to correct the notation is similar to that for shifting the
rebarline to the next note to the right. Using the "Show adjustments" button after either type of rebar
line shift will then show you the newly transcribed notation. You can do the same type of shift for a beat
marker line as well.
Mo v ing the s e le c tio n o f a R e b a r line
Using the "Select previous" button (left arrow key) or "Select Next" button (right arrow key) will
change the selected object to the next rebar line or beat marker line in their respective direction.
S hifting the s e le c te d R e b a r o r B e a t Ma rk e r line

In addition to shifting a rebar or beat marker line to the nearest note on either side of the line,
Co mp o s e r allows you to make adjustments that do not fall directly on a note. These types of
adjustments are useful for songs that are syncopated or have other rhythmic variations.
S hift to Le ft - When a rebar line is selected, clicking this button will shift the rebar line slightly
to the left. This is handy for fine adjustments of intricate passages. (keyboard shortcut "Ctrl + Left
Arrow")
S hift to R ig ht - When a rebar line is selected, clicking this button will shift the rebar line slightly
to the right. This is handy for fine adjustments of intricate passages. (keyboard shortcut "Ctrl + Right
Arrow")
R e v ie wing the no ta tio n a fte r e d iting re b a r a nd b e a t ma rk line s

If you choose to use the "Record rebar lines or beats" method of entering editable rebar lines or beats,
then Co mp o s e r will automatically retranscribe the notation after your recording to show you how the
new rebars or beats will adjust the notation. If you manually enter rebar lines or beat markers with your
mouse, you can use the "S ho w a d jus tme nts " button at any time to see how your edits affect the
transcription of the notation. Using this command often will give you a good idea of how changes you
make will affect the notation, and help you learn what steps will quickly give you the notation you want
for your songs.
Fina lizing b a rline a nd b e a t a d jus tme nts

When you are satisfied with the positions of the rebar lines and any beat adjustments that you have
made within measures, and have checked them using the "Show adjustments" command, then you are
ready to Finalize your changes to the score. Using the "Fina lize " command or button will (1) commit
all notation changes to the score (2) preserve the original playback of the score by keeping the tempo
changes of the performance and (3) remove the rebar and beat marker lines from the score.
After finalizing your barline and beat adjustments, you can now go on to do any further note editing or
score annotations that you need to complete your score for great sheet music of your song. Just click
another tab such as "Text" to leave the Rebar feature, and enjoy working on your score!
2.6 Creating a New Song File

Co mp o s e r's New Song Wizard offers you an easy way to start a new score for any instrument, voice,
or ensemble you want. In a short series of New Song Wizard steps, you will specify the following
important details of the song:
instrument(s) or ensemble
key signature
number of measures
song title
Of course, you can later change any of these details of the song, or insert meter and key signature
changes throughout the song.
The New Song Wizard offers blank scores prepared for a wide variety of instrumental and vocal
ensembles. If you do not find a prepared blank score that exactly matches your musical group, then
you can prepare your own customized song template 111 . A song template is simply another N o ta tio n
.not file that serves as the initial blank score with the list of instruments and/or voices you need.
After you have created a new song, that might be a good time for you to add the song title and author
information 112 .
T o c re a te a ne w s o ng :
1. If no files are currently opened, then click the Sheet Music icon or the text "Create a New Song",
which is displayed in the main part of Notation's window:
-- OR --
Choose the New command in the File menu.
-- OR --
Type CTRL+N, which is the standard Windows shortcut for File Open.
Composer will display the first step of a 5-step New Song Wizard.
2. At the first step of the New Song Wizard, select the ensemble, instrument, or voice that most
closely matches your needs.
Co mp o s e r shows you the results of your choices as you go through the steps in the New
Song Wizard. The above example illustrates how the choice of the Voice and Piano ensemble
is immediately reflected in the score underneath the wizard window. You can move the wizard
window out of the way if you need to see different parts of the initial score.
3. If you are creating a score for some solo instrument other than one in the list, then choose the
ensemble named "Blank (one unknown instrument)":
Then click the Staff Setup button:
In the list of instruments at the bottom of the Staff Setup window, choose the desired type of
instrument. Then click the OK button in the Staff Setup window.
TIP: If you intend to create several songs for this solo instrument, then create a song template
111 for it. A good time to do that is immediately after you complete the New Song Wizard steps
and have a blank score.
4. If you chose one of the ensembles, but it did not have exactly the list of instruments or voices
you need, then click the Staff Setup button. That will display the Staff Setup window, such as
illustrated above, except that it will list all of the instruments and voices in the ensemble. In this
Staff Setup window, you can add and remove instruments, and optionally change their order.
SIMILAR TIP: If you intend to create several songs for this same revised list of instruments,
then create a song template 111 for it. A good time to do that is immediately after you complete
the New Song Wizard steps and have a blank score.
5. Click the Next button in the wizard window, and continue through each of the steps to enter:
key signature
number of measures
song title
6. In the last step of the wizard, in addition to entering the song title, also specify whether the song
should initially be displayed in Window View or Song View 171 . Use the Set As Default option
to save this selection for future new songs.
2.7 Creating Your Own Song Templates

If over time you intend to create several songs for the same ensemble, or even for a solo instrument for
which there is not a pre-defined blank score, , then it is a good idea to create your own customized
song template. This is easy to do. A song template really is nothing more than a N o ta tio n (.not) file
that you have chosen to reuse often as a starting point for a new song.
A song template is kept in a special directory, which is typically C:\Program Files\Notation
\Composer\Templates. When you use the New Song Wizard 107 , Co mp o s e r offers you the list of
Notation (.not) files in this directory as candidate templates for your new song. You can prepare and
add your own song template to this list.
Note that you can use song templates not only when you are creating a new song, but also when you
want to apply formatting to an existing song. See the description of the Format Part Using Template
command 240 in the Format menu.
T o c re a te a s o ng te mp la te :
1. Create a new song file 107 .
-- OR --
Open a song file that already has the intended list of instruments. Remove all of the notes and
musical annotations in it.
2. Add, modify and delete instrument staves to create the list of instruments you intend for the
template.
See, Adding New Staves 185 , Changing the Instrument Sound of a Staff 191 , and Deleting Staves
188 .
3. Add or modify any page text that you want to appear in the score created from the template.
For example, add your own name to the title page. See Adding and Editing Page Text 463 and
Specifying Page Text in Templates 467 .
Note that if you remove all page text from a song template, Co mp o s e r automatically adds
certain page text to any new score created from the template. On the first page, Co mp o s e r
will add a song title. On subsequent pages, Co mp o s e r will add a page header, consisting of
the song title and page number.
4. Save the song as a N o ta tio n (.not) file in the C:\Program Files\Notation
\Templates directory.
T o e d it a n e xis ting s o ng te mp la te :
1. Use the Open command in the File menu, and choose a template (.not) file in the C:
\Program Files\Notation\Templates directory.
2. Edit the template file just as though you were editing a normal song file. The details of the
template file that will be copied to a newly created song file are: the list of staves; the
instrument sound assignments (MIDI device, bank, and patch) for each staff; and page text.
3. Save the template (.not) file using the Save command in the File menu.
2.8 Editing the Song Title and Author Information

After you have created a new song, you can add the song title and author information.
The song title is displayed on the title page of the song, if you choose to display it as standard page
text 466 .
The author information, such as your name and copyright notice, is kept in a special place that can be
viewed by another N o ta tio n Co mp o s e r or N o ta tio n Mus ic ia n user with the Song Titles and
Authors command in the File menu.
T o e d it the s o ng title a nd a utho r info rma tio n:
1. Choose the Song Title and Authors command in the File menu.
Co mp o s e r will display the Song Title and Authors dialog box.
2. In the dialog box , enter text for the:
song title
composer
arranger
lyricist
copyist
copyright notice
other information
2.9 Saving Your Work in a Notation .not or MIDI .mid File

N o ta tio n Co mp o s e r and N o ta tio n Mus ic ia n use and share a proprietary music file format that
includes not only MIDI performance data but also notation data. Normally, you should save the song in
the N o ta tio n file format, used by Notation Software's N o ta tio n family of music software products. A
N o ta tio n file has the . not filename extension.
Only N o ta tio n music software programs can read and write files in Notation Software's N o ta tio n
.not file format. You can export the music performance of a song as a MIDI file. There are many music
software programs that can play MIDI files.
N OT E : MIDI files contain almost no information about the notation of the music. If
you wish to save your music notation, then you need to save it as a Notation .not file
rather than export it a MIDI .mid file.
You can also save the music notation details of a score as a MusicXML file, and import it into another
music notation program, such as Finale tm or Sibelius tm . For details, see Transferring Your Score to
Other Music Programs Via MusicXML 115 .
T o s a v e y o ur wo rk in a N o ta tio n .no t file :

1. Choose the Save As command in the File menu.
Co mp o s e r will present the File Save As dialog box.
A default directory will be opened. It will be \Program Files\Notation\Songs, unless
you installed Co mp o s e r in a different directory. You can change the default directory, if
desired, by navigating to another directory and then setting a check mark by "Set directory as
default".
2. Enter a new file name, or use the same file name if you are certain that you want the newly
saved file to replace the old. Co mp o s e r will automatically add the Notation . not file
extension if you do not provide it at the end of the file name.
T o e xp o rt y o ur s o ng a s a MID I .mid :
1. In the File menu, choose Export, then select "MIDI".
For MIDI filetypes, Co mp o s e r will present the Export MIDI File dialog box:
A default directory will be opened. It will be \Program Files\Notation\Songs, unless

you installed Co mp o s e r in a different directory. You can change the default directory, if
desired, by navigating to another directory and then setting a check mark by "Set directory as
default".
2. Enter the name of the MIDI file you wish to export.
3. If your keyboard or synthesizer needs to have the MIDI controllers cleared before a song
begins playback, check the "Force MIDI Controller Reset at the start of the song" box.
4. Optionally set a check mark by "Quantize the note locations and durations as notated".
Choose this option if you are using Co mp o s e r as a tool for transcribing MIDI-to-notation, and
wish to import the results into another music notation program. This will have the undesirable
effect of making the MIDI performance sound very mechanical. However, this will adjust the
notes so another music notation program can more successfully import and transcribe the
MIDI performance. Said another way, Co mp o s e r will do the hard work in transcribing the MIDI
to notation, and the other music notation program can take advantage of Co mp o s e r's MIDI-
to-notation transcription. If the other program you are working with can import MusicXML 115
files, then you might first try transferring the score from Co mp o s e r to the other music program
using MusicXML.
5. Optionally set a check mark by "Write out repeats and separate lyric verses." For example, if
your song has repeat instructions 401 to play four verses, and four lines of lyrics are included,
then this option will expand the song into four written-out sections of the verse, each time with
one of the four verses.
6. Select the MIDI file format that will best suit the device you will play your exported .mid file on.
The XG format is recommended as it has the most capabilities and flexibility. However, some
equipment can only handle other MIDI file formats, and so Co mp o s e r offers the option of
saving in the file format that you need. Please note that if a MIDI .mid file that you have opened
in Co mp o s e r is a particular MIDI format, then you cannot change the MIDI format to a different
type on export. There are other tools available for making such format changes. Also note that
if you have
T o e xp o rt y o ur s o ng a s a Ka ra o k e .k a r:
1. In the File menu, choose Export, then select "Karaoke". A dialog identical to the one above
for MIDI will be presented, and you can select the same options as for exporting a MIDI .mid
file.
2.10 Sharing Your Music With Others so They Can View, Play, and
Print Your Songs
Once you have prepared a song with N o ta tio n Co mp o s e r, you might want to share it with others--
family members, friends, or visitors at your web site. There are several ways you can share you music
with others:
S ha re y o ur N o ta tio n .not file , whic h c a n b e v ie we d , p la y e d , o r p rinte d b y the fre e

N o ta tio n P la y e r.
Send your N o ta tio n .not file via email to your family member or friend, or publish the .not file at
your web site. Instruct your family member, friend, or web site visitor to download the free N o ta tio n
P la y e r from www.notation.com/DownloadNotationPlayer.php. Or, you can send the N o ta tio n
P la y e r with your .not file, or make it directly downloadable from your web site.
The free N o ta tio n P la y e r lets the user view, play, and print your music exactly as you saved it. It
has many of the features of N o ta tio n Mus ic ia n. However, it does not allow the user to edit the
music.
S ha re y o ur s o ng a s a MID I .mid o r Ka ra o k e .kar file .
The MIDI file format is the most common format supported by Co mp o s e r for sharing your song
with others. On most Windows systems, the user can double-click the MIDI file name and it will
immediately start playing.
The MIDI file format directly supports only playing, not viewing and printing. That, in fact, is the main
purpose of N o ta tio n Mus ic ia n, to convert MIDI files to viewable and printable sheet music.
To export your song as a MIDI file 112 , use the File menu's Export as MIDI or Karaoke command,
and choose MIDI File as the save-as file type.
S ha re y o ur s o ng a s a Mus ic XML .xml file .
MusicXML is a standard file format for sharing the notation of music scores between different music
software programs. Many of the most popular music notation programs can import MusicXML files
that have been saved by Notation Co mp o s e r.
To export your song as a MusicXML file 115 , use the File's menu Export as MusicXML File
command.
S ha re y o ur s o ng a s a n a ud io W A V E .wav file .
The WAV audio format is a common uncompressed audio file format, easily used by most audio
players and audio editing software. Notation Co mp o s e r can export .wav files for use in audio
production software. To export a .wav file 54 of your music, just use the "File / Export... Wave (.wav)
file command:.
S ha re y o ur s o ng a s a P D F .pdf file .
PDF files are easily shared between computer platforms, making them a great way to share music
sheets with friends.
To export a high resolution copy of your song in PDF format 54 , simply use the File / Export...PDF
command.
.
2.11 Transferring Your Score to Other Music Programs Via

MusicXML
MusicXML is a file format designed for exchanging music notation between different music software
applications. MusicXML, developed by Recordare and now maintained by MakeMusic, is used under
a royalty-free license in many popular music software programs.
Some common scenarios under which you might find it useful to transfer a score from Co mp o s e r to
another music notation program, such as Finale tm and Sibelius tm include:
You wish to send your music to a publisher which requires that submitted scores be prepared
in a particular music notation file format, particularly that of Finale tm or Sibelius tm .
You find that Co mp o s e r is an ideal tool for capturing your musical thoughts, and for producing
parts used in live musician rehearsals, but you wish to use another music notation program,
even though more difficult to use than Co mp o s e r, to put a final polish the completed score.
N o ta tio n Co mp o s e r supports the exporting of a score as a MusicXML file. This means that you can
transfer a score that you have created in Co mp o s e r to another music program, such as Finale tm and
Sibelius tm , that supports importing (reading) MusicXML files.
For example, here are the first few measures of \Program Files\Notation\Songs
\RhapsodyInBlue.not, as displayed on the screen by Co mp o s e r:
The above score, saved by Co mp o s e r as a MusicXML file, looks like this when opened by Finale tm
2006:
The transfer of the score is not perfect, but with Finale tm the transfer of the score usually good. The
score might not look as good in some other music notation programs. The quality of the transfer of the
score is dependent both on (1) how well Co mp o s e r e xp o rts MusicXML and (2) how well the other
music notation program im p o rts MusicXML. Co mp o s e r does a good job exporting MusicXML, and
Finale tm 2006 does a good job importing MusicXML, as illustrated above. If another music notation
program does not do a good job displaying the imported MusicXML score, then this suggests that the
"blame" is on the other music notation program for not correctly or thoroughly importing the MusicXML
file. However, if the problem is specific to a certain type of music symbol, then the blame might very
well be on Co mp o s e r. If you find that your other music notation program correctly imports a music
symbol exported by some third music notation program, but not if it is exported by <% P R OD % >, then
please let us know, by contacting us at support@notation.com or by posting a message in our forum,
following the link at the bottom of this Help topic.
Note, this version of Co mp o s e r does not support exchange of MusicXML files in the opposite
direction. That is, this version of Co mp o s e r does not support im p o rting MusicXML. Support for
importing MusicXML is planned for a future version of Co mp o s e r.
T o e xp o rt a s c o re in the fo rma t o f a Mus ic XML file :

1. In the Part menu, select the Conductor's Part or the individual instrument part that you wish to
transfer to another music notation program.
2. In the File menu, choose the Export as MusicXML File command.
3. Optionally change the name of the file, or change the directory into which it will be saved.
4. Click the Save button in the Export as MusicXML File dialog box.
The instructions for opening the MusicXML file in your other music notation program depends on which
program you are using. You can expect to find the option in the File menu of that other program. First,
look for an Import command, and if you do, choose MusicXML as the type of file you wish to import. If
you do not find an Import command, then try the Open command, and look for an option to specify
MusicXML as the type of file you wish to open.
2.12 Backing Up Your Work with Automatic Backup

Co mp o s e r will back up your work on a song file at a periodic interval, such as every 10 minutes. It will
do this without any interruption to your editing work. This Automatic Backup feature helps protect you
against loss of much work if your computer system fails or even if Co mp o s e r itself fails. If there is such
a failure, it is easy to recover a very recent backup of your work, such that you will lose no more than a
few minutes of work, depending on the time interval you set.
T IP : Although <%PRODPOSESSIVE%> Auto-Save feature offers you protection against loss

of work, you should not rely on it as the only means of backing up your work. You should still
periodically back up your song files to a safe, external backup media, such as CD ROM. In
addition, even as you are working in a single Composer session, if it is a long session last, say,
20 or 30 minutes or longer, you should also manually back up your work, using some file
naming convention such as MySongBk1.not, MySongBk2.not, etc. This is a good habit for
any type of work you do stored in a file by a software program. It offers you not only additional
protection against failure of your computer system, or failure of the software program, but also
protection against yourself-- that is, in case you make a mistake deleting a large portion of a
song that you would later regret.
T o s e t up Co mp o s e r to p e rio d ic a lly b a c k up y o ur s o ng file a s y o u e d it it:

1. In the File menu, choose the Automatic Backup Options command.
Co mp o s e r will display the following dialog box:
2. Set a check mark for "Enable auto-save".

3. Specify the frequency at which you wish the automatic backups to be done. Ten minutes is a
good compromise between (1) minimizing how much work you might lose in the event of a
computer or software failure and (2) not over-burdening your computer with too much
background work backing up your song files.
4. Specify how many backups per song file will be done before recycling the files.
If you song is named MySong.not, then the backup files will be named MySong-1.not,
MySong-2.not, etc., up to the number of backups per song that you specify. These files are
saved in the \Program Files\Notation\Composer\Recover directory. If you have a lot
of disk space, you might want to specify a larger number than the default 5 for the number of
backups per song file.
T o re c o v e r a n A uto ma tic B a c k up file :

1. In the File menu, choose the "Open files from automatic backup" command.
Co mp o s e r will display a File Open dialog box listing all of the backup files in your
\Notation\Composer\Recover directory.
2. In the File Open dialog box, find the files that have the same name as the file you want to
recover, differing only with the suffix "-1", "-2", as explained above.
These backup files are numbered so that the most recent backup file is "-1", and the second is
"-2", etc.
3. Select the backup file with the "-1" suffix, such as MySong-1.not.
Usually, this file will open without any problems. However, if it does not open, perhaps
because it was not completely saved at the time of the software failure, then try opening the "-2"
file.
4. Review your newly opened backup file carefully. Make sure that it reflects your most recent
work.
5. Manually back up the older copy of the song file that you are about to replace with the restored
Auto-Save backup file. Do this just in case there is a problem with the Auto-Save backup file
that you have not yet discovered.
6. Save the Auto-Save backup file using the name and directory location of your older file. Save
it in a location where you will remember that you saved your more recently edited and restored
backup file.
7. Continue working now with the restored file.
2.13 Opening a Notation .not File

T o o p e n a p re v io us ly s a v e d N o ta tio n .no t file :
1. If no files are currently opened, then click the folder icon or the text "Open a MIDI or Notation
file on My Computer", which is displayed in the main part of N o ta tio n's window:
-- OR --
Choose the Open command in the File menu.
-- OR --
Type CTRL+O, the standard Windows shortcut for File Open.
Co mp o s e r will present the File Open dialog box.
2. If the file is not in the default directory, navigate to the directory where it is located.
3. Select the file in the directory.
4. Click the Open button.
2.14 Viewing Multiple Song Files at a Time

You can open multiple songs in Co mp o s e r and view them in separate sub-windows. Normally, you
will see one song at a time. You can quickly switch from one song to another using the Song Tabs.
You can also view and work with multiple songs at a time, for example, to compare the notes in two
songs, or to copy portions of one song to another.
T o o p e n a s e c o nd s o ng in Co mp o s e r:
Open the file 78 as usual, using the Open command in the File menu, or download and open a
MIDI file from the Internet 79 .
T o s witc h fro m o ne o p e ne d s o ng to a no the r:
If the Song Tabs are not already visible, turn on the check mark for Song Tabs in the View
menu. Then click the tab for the song you wish to view.
-- OR --
Type CTRL+F6 or SHIFT+CTRL+F6 to cycle forward or backward through the list of songs
currently opened. This strange shortcut is a standard one defined by Windows for Next
Window and Previous Window.
-- OR --
Open the Window menu, and select one of the opened songs listed at the bottom of that menu.
T o v ie w multip le o p e ne d s o ng s a t the s a me time :
In the Window menu, choose the Ca s c a d e , T ile H o rizo nta lly , or T ile V e rtic a lly
command. These are standard Windows commands for organizing multiple windows within a
single application. Try them out to see how they work.
After you have used one of these commands, you can resize the individual song windows
within Co mp o s e r's overall window by dragging sides or corners of the windows with the
mouse.
To maximize, minimize or close these song windows, just use the standard Windows control buttons in
the upper right of each open song window.
2.15 Printing the Score

The procedures below describe how to:
print a single part from a score
print some range of measures for a single part
print multiple parts with one command
T o p rint a s ing le p a rt fro m a s c o re :

1. If you are not already viewing the score part you wish to print, use the Select Part 209 command
in the Part menu.
2. Choose the Print command in the File menu.
-- OR --
Type CTRL+P, the standard Windows shortcut for File Print.
Co mp o s e r will present a Print dialog box such as the following:
3. In the Print dialog box, select options:

-- which printer you want to use, if you have more than one printer
-- what range of pages should be printed, or all of them
-- how many copies
-- for purposes of two-sided printing, whether to print odd-numbered or even-numbered
pages only (some printers offer this option)
If you have previously prepared a part for a given paper size (such as 8-1/2x11, Legal, or A4) and
orientation (portrait versus landscape), then you should use the same page size when printing the
current page. By default, Co mp o s e r will offer the paper properties that you have previously specified
for the part. This way, any special formatting you have prepared for the part that is dependent on the
paper size and orientation will correctly match the paper for the print job.
T o p rint a ra ng e o f me a s ure s ins te a d o f a ll o f the me a s ure s in the s c o re :

1. Choose the View Measures command in the Measure menu. The View Measures menu item
indicates what range of measures are currently being displayed, such as "View Measures 25
to 49".
-- OR --
Type "qvm" for Quick View Measures.
2. Co mp o s e r will present a View Measure Range dialog. In the dialog, specify the starting and
ending measures that you wish to display or print. The measure numbers of a score start at 1
(not 0), unless you have specified a different starting measure with the Measure Numbers 282
command in the Score menu.
3. Then print the score 119 , using the Print command in the File menu, or by typing CTRL + P.
4. If after printing the score you wish to view the entire score again on the screen, use the View
Measures command again to reset the range from the first measure to the last measure of the
score.
T o p rint s e v e ra l p a rts a t o ne time .

Co mp o s e r will display the simple Print Parts dialog box. Initially, all parts of the song will be
pre-selected.
2. In the Print Parts dialog box, unselect any parts that you do not wish to print, by clicking the
highlighted part name. Selected parts are highlighted, and unselected parts are not, as
illustrated below:
3. Hit the OK button.

Co mp o s e r will display the Print dialog box.
4. In the Print dialog box, choose options as described earlier in this topic.
Note that the Print dialog box will not offer you the option to print a range of pages. The Print
Parts command supports printing only of the entire range of pages of each part. For the same
range of measures, each part can require a different number of printed pages. To print the
parts for only a selected range of measures, use the View Measures command in the
Measure menu, as described earlier in this topic.
2.16 Playing the Song

With Co mp o s e r you can play back a song while viewing the score on the screen. Co mp o s e r
highlights notes as they are played, and automatically turns pages.
This section describes:
Playback Location and Staff Markers 122
Starting and Stopping Playback 124
Fast Forwarding 125
Setting Up the Metronome 127
Changing the Song Position During Playback 130
Setting the Focus on a Staff During Playback 130
Anticipating Page Turns 130
Playing or Ignoring Repeats and Endings 131
Highlighting Active Notes and Lyrics 131
Turning Off Stuck Notes 132
Viewing and Adjusting the Tempo 133
Controlling Overall Volume Level 134
Muting and Soloing Staves 135
Adjusting the Volume of Selected Staves During Playback 135
In another section, see also:

Changing the Instrument Sound of a Staff 191 .Changing 191
Using Playlists (Jukebox) 137
2.16.1 Playback Location and Staff Focus Markers
The score window displays two green playback markers.

The playback location marker indicates where playing will begin the next time your start playback.
Once you stop playback, the marker will be automatically moved to the location where the playback
stopped.
The staff focus marker indicates the staff on which Co mp o s e r will attempt to stay focused during
playback. When a staff has the focus, and Co mp o s e r turns a page during playback, Co mp o s e r will
attempt to keep that staff in exactly the same vertical position in the window by scrolling the window up
or down as necessary. This feature helps you better follow a particular instrument part during
playback.
You can temporarily hide the display of these playback markers.

You can set the playback markers either before playback or while playback is in progress.
T o c ha ng e the p o s itio n o f the p la y b a c k lo c a tio n ma rk e r b e fo re p la y b a c k :
While holding down the 'P' (for "position") key, click anywhere in the score. The horizontal
position where you click the mouse will determine the playback location.
To move the playback location marker to the beginning of the score, choose Rewind from
the Perform menu.
-- OR --
Type CTRL+HOME.
-- OR --
Click the Rewind button.

To set the playback marker to one beat before the end of the score, choose the Last Page
command in the Go To submenu of the View menu.
-- OR --
Type CTRL+END.
T o c ha ng e the p o s itio ns o f the s ta ff fo c us ma rk e r b e fo re o r d uring p la y b a c k :
While holding down the 'V' (for "vertical") key, click somewhere in the score. The vertical
position where you click the mouse will determine which staff has the playback focus. If
playback is in progress, when Co mp o s e r turns a page, the staff where you click the mouse
will maintain the same vertical position in the window.

T o c ha ng e the b o th p o s itio ns o f the p la y b a c k lo c a tio n a nd the p la y b a c k s ta ff
ma rk e r d uring p la y b a c k :
Double-click the mouse at the horizontal position where you want the playback to jump to, and
at the vertical position where you want the staff focus to be held.
T o hid e the d is p la y o f the a nd p la y b a c k ma rk e rs :
Turn off the check mark for the Show Playback Position command in the View menu.
-- OR --
Type "qspp" for Quick Show (or Hide) Playback Position.
To turn back on the display of the playback markers, repeat (toggle) the Show Playback Position
command.
You can also hide the vertical line that is displayed during playback, or you can change its color. See
Highlighting Active Notes and Lyrics 131 .
2.16.2 Starting and Stopping Playback
The playback location marker 122 indicates where playback will begin when you hit the SPACE key.
You can also start playback at the beginning of the current list of selected notes and rests, or at the
beginning of the current region selection 266 , by holding down the SHIFT key when you hit the SPACE
key. This feature is quite handy when you have added or edited some notes. You can immediately
hear the notes you are working with. If you want to start the playback a few beats before the notes you
are working with, then hit the key a few times, before hitting SHIFT+SPACE, to select some
previous notes.
T o s ta rt p la y b a c k a t the p la y b a c k lo c a tio n ma rk e r:
1. Hit the SPACE key.
-- OR --
2. Click the Play button in the toolbar at the top of the window.
-- OR --
3. If you have enabled Co mp o s e r's Pitch-to-Command feature, while holding down the "trigger
key" on your music keyboard, play the first F# above Middle C. See Controlling Composer
From Your Keyboard 151 .
T o s ta rt p la y b a c k a t the c urre nt s e le c tio n o f no te he a d s a nd re s ts , o r the c urre nt
s e le c tio n re g io n:
Type SHIFT+SPACE. That is, while holding down the SHIFT key, hit the SPACE key.
If some noteheads or rests are selected, and a region is also selected, Co mp o s e r starts
playback at the first of the noteheads or rests rather than at the start of the region.
-- OR --
2. Click the Stop button in the toolbar at the top of the window.
-- OR --
3. Toggle the Play button in the toolbar at the top of the window.
-- OR --
2.16.3 Fast Forwarding
T o te mp o ra rily fa s t fo rwa rd thro ug h the s o ng d uring p la y b a c k :
1. Click the Fast Forward button once to increase the playback speed five times as fast.
Click the button a second time to resume the original playback speed.
-- OR --
key" on your music keyboard, play the first Bb above Middle C to fast forward, and play it a
second time to end fast forward. See Controlling Composer From Your Keyboard 151 .
2.16.4 Using Staff Setup To Change Instruments and Settings

N o ta tio n Co mp o s e r gives you multiple ways to control various aspects of the instruments and their
playback settings for each staff (which corresponds to a MIDI "track").
You can use either the Single Staff Setup, or the "big" Staff -> Setup dialog to:
Edit the instrument name(s) as it appears on the score 189

Change the instrument sound of a staff or staves 191
Adjust the Volume level and Pan 199
Rearrange the order of the staves 205
Set whether a staff shows normal noteheads or drum notation noteheads 220 .
T o a c c e s s the S ta ff S e tup fo r a s ing le s ta ff
In Window View, the Staff Control buttons are visible. Clicking on the Staff Setup button for any staff will
bring up the Staff Setup dialog for that staff.
Clicking the Staff Setup button will bring up the dialog for that staff, where you can make changes for just
that staff.
T o a c c e s s the S ta ff S e tup fo r a ll the s ta v e s o f y o ur s o ng

On the menu bar, select "S ta ff", and then select "S e tup " from the menu list.
You will then be able to edit all the staves of your song in one location.
Please note that if you want to change the soundfont for the Notation Software Synth 573 for your
instruments, you will need to do that in Setup/MIDI Devices Configuration/Notation Software Synth/
Properties dialog. Co mp o s e r does not currently support loading different fonts at the staff level.
For details, see the following topics:
Edit the instrument name(s) as it appears on the score 189

Change the instrument sound of a staff or staves 191
Adjust the Volume level and Pan 199
Rearrange the order of the staves 205
Set whether a staff shows normal noteheads or drum notation noteheads 220 .
2.16.5 Setting Up the Metronome
The Co mp o s e r metronome produces a sound at major and minor beats in measures as you play or
record music. You can define the specific metronome sounds, typically various types of percussion
notes, for the major and minor beats.
When you first record into an empty section of a song, you will almost always want Co mp o s e r to play
the metronome, so that you can synchronize your performance with barlines and beats within
measures. You can specify how many measures and beats of pickup the Co mp o s e r will play on the
metronome before beginning the song that you are recording.

When you play back a song, you might want to turn off the metronome.
The metronome appropriately stays in synchronization with anytempo changes 545 in the song.
T o turn o ff o r o n the me tro no me :
Toggle the metronome button in the toolbar to the down or up position for on or off.
-- OR --
Type CTRL + M.
T o s p e c ify whe the r the me tro no me s ho uld b e o n o r o ff b y d e fa ult:
1. In the Perform menu, choose Metronome Setup command.
-- OR --
While holding down the CTRL key, click the button in the toolbar.
Co mp o s e r will display the Metronome Setup dialog box , as illustrated in the next procedure.
2. Set a check mark or not for the two options at the top of the dialog box, for "Metronome is on
during playback" and "Metronome is on during recording".
T o s e le c t the s o und s us e d b y the me tro no me fo r the ma jo r a nd mino r b e a ts :
-- OR --
While holding down the CTRL key, click the button in the toolbar.
Co mp o s e r will display the following Metronome Sound dialog box:
2. If you wish to use your Windows system default beep sound instead of your sound card for
metronome sounds, then select "Use computer beep sound". Then click the OK button. No
other options apply to the beep sound.
In general, you should avoid the computer beep sound option unless you have a good
reason, because that option gives you very little control over the volume level and type of
sound that is used.
3. Choose the Use MIDI Device option for Metronome Sound Source, and choose a MIDI
Device that you know will produce sound - the default Notation Software Synth 573 is a good
choice. (However, if you are not sure, you can use the Audition option described below.)
4. For almost all playback devices, choose 10 for the MIDI Channel if you want to use percussion
sounds for the metronome beats.
5. Enter the Length of Metronome Sound, as measured in ticks. There are 480 ticks in a quarter
note. So, 120 ticks is equal to a sixteenth note, which is usually a good length for percussion
sounds.
6. For the Down Beat, Primary Beat, and Secondary Beat, select a Percussion Sound and
Loudness.
The down beat is the beat at the beginning of each measure. The primary beat is a major beat
within the measure. The second beat is a minor beat between major beats in the measure. For
example, in a 4:4 meter, there is a down beat at the beginning of the measure; a primary beat
at the middle of the measure; and a secondary beat at the second and fourth quarter note
beats of the measure. In a 9:8 meter, there is a down beat at the beginning of the measure;
primary beats at the second and third dotted quarter note beats; and secondary beats at each
eighth note beat between the dotted quarter note beats.
For almost all sound cards, if you specify MIDI channel 10, then the percussion sounds will be
those indicated in the lists. If you do not specify MIDI channel 10, then the sounds will be actual
pitches on some instrument such as a piano-- which is probably not what you want. So, be sure
to choose MIDI channel 10 unless you have a good reason not to.
For the loudness value, specify a number between 1 and 127. (This is the MIDI velocity value.)
7. If you want to hear what the metronome beats sound like, hit the Audition button. Co mp o s e r
will display and play a score for a 12-note chromatic scale in a 4:4 meter with the metronome
playing in the background. Co mp o s e r will automatically close the audition score when the
playback has completed. You can also close the audition score by clicking the Audition
button a second time.
8. Set a check mark by "Metronome is on during recording". Optionally, set the check mark for
"Metronome is on during playback."
9. Click the OK button to save the metronome settings.
2.16.6 Jumping to or Previewing Another Location in the Song During Playback
While the song is playing back, you can immediately jump to another location in the song by clicking
the mouse elsewhere on the same page or on another page. This action also causes playback to
proceed from the point where you clicked.
Alternatively, during playback you can preview another page in the score without disrupting the current
playback. Use the Next Page or Previous Page commands of the Page menu, or hit the PAGEDOWN
or PAGEUP keys. Playback will continue uninterrupted, without changing its song position. This feature
is intended to offer you the opportunity to look ahead (or behind) in the score, without having to commit
to a decision to change where the song is currently playing.
If you then click somewhere on the currently displayed page, playback will immediately jump to that
position.
When you click on a page during playback, the staff focus 130 will also change. If you want to change
the playback position in the song without changing the staff focus, then hold down the 'P' click when
you click the mouse.
If you do not click anywhere after moving to another page,Co mp o s e r will, after a few seconds, return
to the page that is currently playing.
2.16.7 Setting the Focus on a Staff During Playback
During playback, Co mp o s e r displays the measure and beat location of the score that is currently
playing. If Co mp o s e r's window is not tall enough to display all of the staves (staves) for the current
measure, then Co mp o s e r must decide which staves to display.
You can instruct Co mp o s e r where to vertically scroll the window, according to which staff you want to
keep in focus during playback. You may wish to do this while you are studying the role of a particular
instrumental part or voice during playback.
You can assign the playback focus to a staff by setting the playback staff focus marker, as
described in Playback Location and Staff Focus Markers 122 . To set the focus on a staff either before
playback starts or during playback, click the mouse anywhere in that staff while holding down the
"V" (vertical) key.
If you scroll the window during playback, then the focus will shift to another staff, approximately in the
middle of the window. Afterwards, that staff will remain in the same vertical position upon subsequent
page turns.
If the Hide Resting Staves 236 option is in effect, then the staff with the playback focus might temporarily
drop out during playback, if there is no staff for the instrument. In this case, Co mp o s e r attempts to find
a nearby staff to temporarily assume the role of playback focus. As soon as the originally focused staff
has notes, its staff will reappear, displayed in the same position as before.
2.16.8 Anticipating Page Turns
During playback, Co mp o s e r automatically turns page, just as though someone were turning the
pages for you as you read the music. If you are singing or playing an instrument while sight-reading
music, you usually will want the page to be turned a short time ahead of the first beat on the next page.
Even if you are just listening to the score, you may want the pages to turn ahead of time.
Co mp o s e r lets you specify how many beats ahead of time it will turn pages. You can specify the
page turn value for each song.
T o c ho o s e ho w ma ny b e a ts a he a d o f time p a g e s will b e turne d :
1. Choose the Playback / Page Turns command in the Perform menu.
2. Specify the beat value for which page turns will be anticipated, by clicking one or more times
on the up or down scroll buttons.

-- OR --
Enter the page turn anticipation value in ticks. In Co mp o s e r, there are 480 ticks per quarter
note.
3. Click the OK button to apply the new page turn anticipation value to the current song.
4. If you wish the newly entered page turn anticipation value to be applied to any subsequently
opened MIDI file, or any newly created song, then hit the Save As Default button.
To recall the most recent page turn anticipation value that you saved with Save As Default,
click the Restore Default button.
2.16.9 Playing or Ignoring Repeats and Endings
Co mp o s e r enables you to add repeat marks 397 and endings 398 in a song. By default Co mp o s e r
performs repeats and endings during playback. However, you can instruct Co mp o s e r to ignore
these.
T o p e rfo rm o r ig no re re p e a ts a nd e nd ing s d uring p la y b a c k :
Toggle the Ignore Repeats and Endings option in the Perform menu.
2.16.10 Highlighting Active Notes and Lyrics
While Co mp o s e r plays a song, it normally highlights those notes and lyrics that are currently playing,
and it displays a vertical line, called the p la y b a c k c urs o r,. The playback cursor indicates the currently
playing beat within some measure. You can choose what colors Co mp o s e r uses to highlight the
notes, lyrics, and the playback cursor. You can optionally suppress the highlighting of any of these
cues. You can also specify whether, and by how much, lyrics are displayed in advance of the time that
they are normally sung.
T o c ha ng e the c o lo r us e d to hig hlig ht a c tiv e ly p la y ing no te s , ly ric s , o r the p la y b a c k

c urs o r:
1. Choose the Playback Highlighting Options command in the View menu.
Co mp o s e r will display the following Playback Highlighting Options dialog box:
2. Click the Color example box for Notes, Playback Cursor, or Lyrics.
3. Co mp o s e r will present you with a Color dialog box. Select the color to be used for the active
notes, playback cursor, or lyrics. Click OK in the Color dialog box. The above Playback
Highlighting Options window will immediately display the new color you have chosen.
T o s up p re s s the hig hlig hting o f a c tiv e ly p la y ing no te s , ly ric s , o r the p la y b a c k c urs o r:
1. Choose the Playback Highlighting Options command in the View menu.
2. Remove the corresponding check mark in the left portion of the window for Notes, Playback
Cursor, or Lyrics.
T o s p e c ify the le a d time fo r the hig hlig hting o f ly ric s :
1. In the Lyrics portion of the window, use the and buttons to select a note duration for the
lead time.
-- OR --
2. Manually enter a tick value for the lead time. In Co mp o s e r, there are 480 ticks per quarter
note.
2.16.11 Turning Off Stuck Notes
Occasionally, you may hear stuck notes that continue sounding indefinitely. This can happen if the
connection to your MIDI device is temporarily disrupted, so that it does not signal the "note-off"
corresponding to a preceding "note-on".
If you hear stuck notes, you can turn them off, either during playback, or after playback has completed.
T o turn o ff s tuc k no te s :
1. Type SHIFT + CTRL + S.
-- OR --
2. Choose the Turn Off Stuck Notes command from the Perform menu.
Note that this command not only turns off the stuck notes but also turns off any other notes that happen
to be playing.
2.16.12 Viewing and Adjusting the Tempo
The toolbar indicates the tempo at the current playback location marker 122 , as shown below:
If you do not see the toolbar in the window, then choose Show Toolbar from the View menu, or type
"qstb" for Quick Show Toolbar.
The tempo is indicated in beats per minute. The example illustrates 160 quarter notes per
minute. The note duration used for the tempo beat is determined by the meter, and in some cases also
the speed of the tempo, as specified in the following table:
Me te r T e mp o S p e e d T e mp o B e a t V a lue
2:4, 3:4 or 4:4 Any
2:4 or 4:2 Any
3:8, 6:8, 9:8, or 12:8 Slow
3:8, 6:8, 9:8 or 12:8 Medium or Fast
irregular N:8, such as 5:8 Any
During playback, the tempo value is constantly updated if the tempo changes throughout the song.
Co mp o s e r enables you to change the tempo of the song before you start playback, or dynamically
during playback. The tempo adjustment is measured as a percentage of the tempo as originally
recorded in the song. The displayed tempo reflects the percentage adjustment. For example, if the
percentage adjustment in the above example is set at 75%, then the tempo during playback is
displayed as:
T o c ha ng e the p e rc e nta g e te mp o a d jus tme nt, b e fo re o r d uring p la y b a c k :

1. Click the up or down arrow button next to the percentage value displayed in the toolbar.
-- OR --
2. Type in a number for the tempo percentage.

-- OR --
3. While holding down the 'T' key, press the or key to increase or decrease the tempo.
Or, type T+ENTER to reset the tempo to 100%.
-- OR --
key" on your music keyboard, play the second Eb above Middle C to increase the tempo, or
the second C# above Middle C to decrease the tempo. See Controlling Composer From Your
Keyboard 151 .
With Co mp o s e r you can also add tempo changes throughout the song, and view them graphically.
For details, see Editing Tempo 545 .
T o p e rma ne ntly a p p ly a p e rc e nta g e te mp o c ha ng e to the s o ng :
1. Follow the above procedure for temporarily changing the tempo. Play back some of the song
to make sure you are happy with the revised tempo.
2. Choose the Keep Adjusted Tempo command in the Tempo submenu of the Perform menu.
-- OR --
Type "qkte" or "qktm" for "Quick Keep Tempo".
2.16.13 Controlling the Overall Volume Level
If you do not hear any sound during playback, then see What To Do When You Do Not Hear Any
Sound 581 .
There are several ways that you can control the volume level for playback:
1. Turn the volume level up or down on the speakers connected to your computer.
2. Use Co mp o s e r's volume control, located in the main toolbar:
With Co mp o s e r's volume control, you can dynamically change the volume level of one or
more selected instruments during playback.
3. Individually set each staff's volume level 199 before starting playback.
4. Use the Windows volume control in the Windows task bar:
Windows will then display the following sound volume level control:
Move the volume lever up and down to increase and decrease the volume level.
2.16.14 Muting and Soloing Staves
There are a variety of occasions in which you might want to listen only to certain staves of a song while
other staves are muted (silenced). For example, if a song has a melody staff played by some
instrument, but you want to sing the melody yourself, then you can mute the melody staff. Or, you might
want to study the composition and arrangement of a song and focus on how a particular instrument part
is written by "soloing" that instrument part, thus muting all of the other staves.
Co mp o s e r enables you to play any combination of staves while muting other staves. You can even
do this while the song is playing back. There are two places where you can see whether a staff is
muted or not. If the staff controls 172 are visible, you can tell that a staff is muted if the top-left button is
not pressed down and has a dull light instead of the normal bright green light:
staff playback is active
staff is muted
If the staff controls are not visible, then you can set the Mute check mark for the staff in the Staff Setup
window, as described later in this topic.
If you save the song as a MIDI file, any muted staff will be restored as an audible staff when you
reopen the MIDI file. If you wish the staff to remain muted, you should save the file as a Notation (.not)
file 112 . If you save a muted staff in a Notation file, you have the option to later open the Notation file
and unmute the staff.
T o to g g le the p la y / mute s ta tus o f a s ta ff us ing the s ta ff c o ntro l:
1. If the staff controls are not already visible, set the Show Staff Controls 172 option in the View
menu. Note that the Show Staves Controls option is not available in Page View 171 .
2. In the group of four staff controls, toggle the play/mute button to active or muted .
T o to g g le the p la y / mute s ta tus o f a s ta ff us ing the S ta ff S e tup wind o w:
1. Select the Staff Setup command from the Staff menu. Co mp o s e r will display the Staff Setup
window.
2. In the Mute column of the Staff Setup window, set or unset the check mark for the staff.
-- OR --
Click the Mute column header to change the status of play/mute for all staves at once.
Another option allows you to mute all staves except one staff that you wish to "solo". The play/mute
status of the other staves are only temporarily changed. Once you turn off the solo option for the staff,
any staff that was previously playing will continue to play, and any staff that was previously muted will
continue to be muted.
T o to g g le the s o lo s ta tus o f a s ta ff:
Toggle the solo button to a down or up position.

You can temporarily solo any number of staves together by setting their respective solo buttons to the
down position.
2.16.15 Adjusting the Volume Level of Selected Staves During Playback
During playback you can increase the volume of selected staves relative to other non-selected
staves, so that you can focus your listening on these staves. This is a useful aid for studying
orchestrations and arrangements.
You can control volume with your mouse and the volume control in the toolbar; or by typing V+ or V
+ ; or by playing special notes on your keyboard, using the Pitch-to-Command 151 feature.
The volume control is in the toolbar 159 , and looks like this:
Normally, when no staves are selected, the volume control applies uniformly to all of the staves in the
score.
When one or more staves are selected, and you move the volume control to the right of center, the
selected staves will sound louder, while the non-selected staves will remain at their normal level.
When one or more staves are selected, and you move the volume control to the left of center, then the
behavior is probably not initially what you would expect. You might expect the volume level of the
selected staves to decrease. Instead, the volume level of the selected staves remains at the normal
level, and the volume of the non-selected staves decrease.
W he n y o u mo v e the v o lume s lid e r to the le ft, why d o e s Co mp o s e r d e c re a s e the

v o lume le v e l o f the no n-s e le c te d s ta v e s ins te a d o f d e c re a s ing the v o lume le v e l
o f the s e le c t s ta v e s ?
Consider why it is you would usually want to change the volume level of some staves but not
others. It is probably so that you can hear one or a few staves better than all of the others. You
want sound of that staff to stand out.
One way you can do this is to select the staff in make it louder. But maybe it is already set at a
maximum volume level. Or maybe the overall sound level is already loud enough that you
don't want it any louder.
You have an alternative: Select the staves for which you want their sound to stand out, but
instead of increasing the volume level of those staves, instead you can decrease the volume
level of the non-selected staves. Do this by moving the volume slider to the left. Try it out so
your ears can learn how this works. Your ears might be grateful that the overall sound level is
decreasing rather than increasing!
If you are familiar with the distinction between MIDI staff volume control events and individual MIDI
note-on velocities, then you might find it useful to know how Co mp o s e r's volume control is
implemented. The volume control affects both individual MIDI note velocities and the overall MIDI staff
volume (via controller event 7). The reason for this design is that some sound cards do not implement
staff volume controller events well or at all. Co mp o s e r's design, which relies on both MIDI note-on
velocity adjustments and staff volume controller events, produces more reliable volume control
across a wider variety of sound cards.
If you find that the overall volume level is too soft, then you might find it preferable to increase the
volume level of your computer speakers, or use the Windows volume control 134 , rather than to use
Co mp o s e r's control. Some of the expressiveness of volume changes in the

song, as well as some instrument panning, will be lost the more you increase Co mp o s e r's volume
level.
T o c ha ng e the v o lume o f s e le c te d s ta v e s re la tiv e to o the r s ta v e s :
1. Select one or more staves as follows: Choose Show Staff Controls from the View command.
Click the staff selection button to select a staff. While holding down the SHIFT key, click the
staff selection button to extend the range of staves.
2. Increase (or decrease) the volume of the selected staves, using one of these methods:
(a) Drag the volume control button to the right (or left).
-- OR --
(b) Type V+ (or V+ ).

-- OR --
(c) If you have enabled Co mp o s e r's Pitch-to-Command feature, while holding down the
"trigger key" on your music keyboard, play the first Eb above Middle C to increase the
volume, or the C# to decrease the volume. See Controlling Composer From Your Music
Keyboard 151 .
T o re s e t the v o lume le v e l b a c k to no rma l:
1. Type V+ENTER.
-- OR --
key" on your music keyboard, play the first D above Middle C. See Controlling Composer
2.17 Using Playlists (Jukebox)

Sometimes you may want to keep an ordered list of songs in a collection, where the playback of each
song continues after the previous song. Such a collection of songs is called a p la y lis t in Co mp o s e r.
The most obvious use of a playlist is for listening enjoyment, to listen to several songs-- perhaps ones
you have arranged yourself-- in sequence.
Another use of a playlist is to play different parts of a larger musical piece, where each part is kept in a
separate Notation .not file. These might be movements of a sonata or orchestral piece. Or, they might
be numbers of a simple suite of children's music.
The Playlist feature is also very helpful for organizing your practice sessions. You can keep groups of
songs together in separate playlists to quickly access them for practice sessions. Co mp o s e r keeps
the last saved version of the songs as the one in the playlist, so you will have instant access to the last
settings for each song in your playlist.
The following screen shot shows the first song ("Minuet") in the playlist playing. The next song
("RhapsodyInBlue") will play immediately after the first song completes.
The topics that follow describe:

How to organize songs in a playlist 138 .
How to play songs in a playlist 140 .
How to move playlists 142 .
2.17.1 Organizing Songs in a Playlist

A p la y lis t is a collection of Notation .not, MIDI .mid, and/or Karaoke .kar files, which will
automatically play one after another. Ideally, these should be Notation .not files, because then they
do not need to be re-transcribed each time they are opened and played.
You will probably want to have multiple playlists. Each playlist might have a group of songs that you
like to listen to together. Or, a playlist might have parts of one larger piece of music, such as multiple
sections of an instrumental or vocal suite, or multiple movements of a classical style composition.
T o v ie w a p la y lis t:
1. If the Playlist Panel is not already showing, set a check mark by Show Playlists in the View
menu.
Co mp o s e r will display the Playlist Panel, which looks like this:
2. If the playlist you want to see is in a different directory (folder) than the current one listed at the
top of the Playlist Panel, then click the button, and choose another directory. The
default directory for playlists is \Program Files\Notation\Songs. You will probably find
that there is no need to keep playlists in any other directory than this default directory, unless
you intend to move playlists 142 and their song files to other directory locations or to another
computer.
3. In the upper panel, click the mouse on the name of the playlist you wish to view.
In the lower portion of the Playlist Panel, the songs belonging to that playlist will be displayed,
as illustrated above.
T o c re a te a ne w p la y lis t:
1. If you want to add the new playlist to a different directory (folder) than one one currently listed at
the top of the Playlist Panel, then click the button, and choose another directory.
2. Click the button in the upper half of the Playlist Panel, not the same-named button in
the lower half.
Co mp o s e r will display a small Add Playlist dialog box.
3. In the Add Playlist dialog box, enter the name of the new playlist, such as "Susan's Favorites".
Co mp o s e r add the new playlist to the list of playlist names at the top of the Playlist Panel. The
list of songs in the lower half of the Playlist Panel will initially be empty for this new playlist.
4. Add songs to the new playlist as described in the next procedure.
T o a d d s o ng s to a p la y lis t:
1. Click the button in the lower half of the Playlist Panel.

Co mp o s e r will display a File Open dialog box.
2. In the File Open dialog box, navigate to the directory where the song files are located.
3. Choose one or more files listed in the File Open dialog box. You can select multiple adjacent
songs in the File Open dialog box by selecting the first one, and then while holding down the
SHIFT key, click the mouse on the last song. You can also select multiple non-adjacent files
by holding down the CTRL key as you click the mouse on each file name.
-- OR --
Instead of the above three steps:
If you have already opened the song and are currently viewing it, click the button.
T o c ha ng e the o rd e r o f s o ng s in a p la y lis t:
1. Click the mouse on the name of the song in the lower half of the Playlist Panel.
The selected song will be highlighted with a blue background.
2. Hit the or button to move the song up or down in the playlist.
T o re mo v e a s o ng fro m a p la y lis t:
1. Click the mouse on the name of the song in the lower half of the Playlist Panel.
2. Hit the button.
2.17.2 Playing Songs in a Playlist

After you select a playlist 138 in the Playlist Panel, you can:
Start playback at any song.
Automatically play each of the songs in their order in the playlist.
Loop through the songs in the playlist multiple times.
Dynamically queue a different song to be played next after the completion of the currently
playing song, as a disc jockey might do so.
T o s ta rt p la y b a c k in a p la y lis t:
1. Click the mouse on the song you want to play first.
That song will be highlighted with a dark blue background to indicated that it has been
selected.
If you want to start playback with the first song, and no song has been previously selected,
then you can skip this step: the first song will automatically be selected.
2. Click the button.

The song you selected will start playing. You will see the notes highlighted as they play, just
as in normal playback. The currently playing song will be highlighted with a dark green
background in the Playlist Panel. The next song to be played will be highlighted with a light
green background.
Click the button in the Playlist Panel.

-- OR --
Use any other method you normally use to stop playback of a single song, such as by hitting
the SPACE key, or by clicking the Stop button in the toolbar, or toggling off the Playback
button in the toolbar.
T o p la y the s o ng s o ne a fte r a no the r in the ir o rd e r in the p la y lis t:

Turn on the "Auto Play Next Song" check mark at the bottom of the Playlist Panel.
To play all of the songs as an endless loop, restarting with the first after completing the last
song in the playlist, turn on the "Loop Songs in Playlist" check mark.
You can toggle either of the above options during playback as well as before playback.
T o d y na mic a lly q ue ue a d iffe re nt s o ng to b e p la y e d ne xt a fte r the c o mp le tio n o f the

c urre ntly p la y ing s o ng :
While the current song is playing, simply click the next song in the playlist that you wish to play
next.
This will not interrupt the playback of the current song. The song that you selected to play next
will be highighted with a light green background. After it plays, the playback will continue with
the next song after it.
2.17.3 Moving Playlists

This is an advanced topic.
By default, playlists will reside in your \Program Files\Notation\Songs directory. The playlist is
actually just a simple text file with the list of songs in it. The playlist has a .ply file name extension. If a
song in the playlist belongs to the same directory as the playlist .ply file itself, then just the name of the
song is listed. Otherwise, the full path name of the song is listed in the .ply file.
If you intend to move a playlist and its song files to another directory, perhaps on another computer,
then it is a very good idea to keep all of the songs in the same directory as the playlist. That way, when
the playlist .ply file is moved to the new directory, the song files it refers to will be assumed to be in the
same directory, which is what you'll want.
You can optionally archive a playlist .ply file, along with the song files that belong to it, in a .zip file or
other type of archive file. You might find that to be a handy way to send a list of your songs to another
person. Note, the recipient of your song files does not need to own a copy of N o ta tio n Mus ic ia n or
Co mp o s e r. He or she can view, print, and play your songs using the fre e N o ta tio n P la y e r 114 .
W hy a re the s o ng file na me s in a p la y lis t .p ly file mis s ing the file na me e xte ns io n

.no t, .mid , o r .k a r?
Suppose you add a MIDI file to a playlist. Later, you might decide to edit the song, and save it
as a Notation .not file in the same directory. It would be inconvenient if you had to remove the
MIDI file from the playlist and add its corresponding Notation .not file back to the playlist.
Instead, the playlist .ply file stores just the name of the song, such as "Minuet", without the file
name extension, such as "Minuet.mid". When you resave Minuet.mid as Minuet.not, the
playlist .ply file will automatically refer to Minuet.not instead of Minuet.mid. When
Co mp o s e r looks for a song file referred to in the playlist, it always looks for the file name with
the Notation .not extension first.
2.18 Practicing Music with Accompaniment

Co mp o s e r provides useful and entertaining features to help you practice music with your voice, your
music keyboard, MIDI instrument, or acoustical instrument. Co mp o s e r's central features are that it
displays a score as it plays the notes, highlights notes and lyrics, and automatically turns pages.
Co mp o s e r lets you set up a section of the song that you can practice in a loop with optionally
increasing tempo. If you have a MIDI keyboard, then you can control some of Co mp o s e r's playback
features remotely from your music keyboard.
This section describes:

Playing Along with Your MIDI Instrument 143
Setting up Practice Loops 145
Starting and Stopping a Practice Session 147
Advancing to the Next (or Previous) Rehearsal Mark 148
Practicing a Part While Singing or Playing a non-MIDI Instrument 148
Practicing a Part Using Your MIDI Keyboard or MIDI Instrument 149
Controlling Composer From Your Music Keyboard 151
2.18.1 Playing Along with Your MIDI Instrument
If you have a MIDI keyboard or other MIDI controller such as a MIDI guitar, then you can play along
while Co mp o s e r plays the song. Co mp o s e r will route your MIDI performance to a MIDI output
device and channel that you specify; and it will use an instrument sound (MIDI patch) that you specify.
This topic describes how you can play along, or "jam", with Co mp o s e r's playback of a song, if you
have a MIDI keyboard or controller. If you are interested in practicing a part in the song, where you
perform it rather than Co mp o s e r, then see Practicing a Part Using Your MIDI Keyboard 149 .
If you want to play along, or jam, using the instrument sound of one of the staves in the song, then there
is a quick way for you to select that sound, by double-clicking the solo button, as described in the
first procedure below. If you want to play along using an instrument sound that is not associated with
any staves in the song, then follow the second procedure below.
You can also set up Co mp o s e r to produce a selected sound as you play at your keyboard, even
while Co mp o s e r is not playing any song. Just follow the same instructions below.
T o p la y a lo ng with y o ur MID I ins trume nt, us ing a n ins trume nt s o und tha t is a lre a d y
a s s ig ne d to o ne o f the s o ng s ta v e s :
1. Open the MIDI (. 78 mid) file or 78 N o ta tio n 78 (. 78 not 78 ) file 78 that you want to play along
with.
2. Double-click the solo button at the left side of the staff. If the staff controls 172 are not
visible, you can make then visible using the Show or Hide Staff Controls command in the View
menu.
When you double-click the solo button, it will turn to red , and a red arrow will be
displayed to the left of the staff, as illustrated below.
In addition, the selected staff will be muted, as indicated by the playback button in the up
position.
3. If you now play back the song, the staff that you selected will be muted (silenced). If you play
along on your music keyboard, the notes you play will be heard using the instrument sound of
the selected staff.
4. If you do not want the selected staff to be muted, just click the solo button again, to its up
position. The instrument sound for that staff will continue to be used for your play-along
performances.
T o p la y a lo ng with y o ur MID I ins trume nt, us ing a ny a v a ila b le ins trume nt s o und :
1. Open the MIDI (. 78 mid) file or 78 N o ta tio n 78 (. 78 not 78 ) file 78 that you want to play along
with.
2. Choose the Select Play-Along Sound command in the Perform menu.
Co mp o s e r will display a Select Play-Along Sound dialog box such as the following:
3. Specify the MIDI device and bank that you want to produce the sound for notes that you play
on your MIDI keyboard or controller.
N OT E : Do not choose a MIDI device that has a built-in delay. Otherwise, there will
be a frustrating delay between the time you play a note on your MIDI keyboard or
controller and the time you hear it played. You can review the delay for a MIDI output
device in the Device Properties dialog 631 .
4. To play drum sounds instead of note-pitch sounds, check the "Pitch determines drum sound
..." checkbox.
5. To play note-pitch sounds, turn off the check mark in the "Pitch determines drum sound ..."
checkbox. Choose the instrument sound (MIDI patch) that you want to use.
6. If you want this Play-Along Sound selection to be used by default when you run Co mp o s e r at
later times, then click the Save As Default button.
7. Click the OK button when you are done selecting the Play-Along Sound.
8. Start playback of the song 124 .
10. Play your MIDI keyboard or controller to accompany Co mp o s e r's performance of the song.
You will hear the instrument sound you have selected for the notes that you play.
2.18.2 Setting up Practice Loops
You can sing or play along with Co mp o s e r as you read the music from the screen. Co mp o s e r
highlights the active notes and lyrics and automatically turns pages for you. In addition to adding
accompaniment and fun to your singing and playing, Co mp o s e r can also help you practice part of
the song with your voice or instrument. You can set up sections in your song to practice in a loop, for a
specified number of repeats, with pauses between each repeat, and with an optionally increasing
tempo in each repeat.
You can specify a practice loop for a specific range of measures. You can also specify a practice
loop between any two rehearsal marks that you add to the score. With rehearsal marks, you can
specify starting and ending locations in the middle of measures instead of at barlines. Also, you can
define rehearsal marks with names that are easy for you to remember for sections of the song that you
want to practice. For more information, see Editing Rehearsal Marks 482 .
Co mp o s e r automatically turns pages for you during a practice session. You can instruct Co mp o s e r
to turn the pages ahead of time, so that you can look ahead in your performance. For instructions, see
Anticipating Page Turns 130 .
T o s e t up the s e c tio n o f the s o ng y o u wis h to p ra c tic e , a nd to s e t up the numb e r o f
re p e a ts a nd te mp o :
T IP : For a quick way to set up a practice loop without using the Practice Setup dialog box,
see the next procedure after this one.
1. Choose the Practice Setup command in the Perform menu.
-- OR --
Type "qpra" for Quick Practice.
Co mp o s e r will display the Practice Setup dialog, such as the following:
2. In the Practice Range section of the dialog, specify the section of the song you wish to
practice. You can specify the section of the song with measure numbers or rehearsal marks.
Co mp o s e r initially sets the "from" measure to 1 and the "to" measure to the last measure in
the score. Or, if you previously have selected a range of measures with CTRL+Drag (holding
down the CTRL key while you drag the mouse), then the measures will be pre-selected to the
range of measures you have selected.
The Rehearsal Mark list displays a list of rehearsal marks 482 that you have previously
defined. The rehearsal marks are listed in the order in which they are located in the song.
3. In the Practice Settings section of the dialog, specify how many seconds you want Co mp o s e r
to wait before playing after you click the Start Playback 124 button or hit the SPACE key. This
pause will give you time to get your instrument into position for playing, for example, if you are
playing a guitar or clarinet.
Also, specify how many seconds you want Co mp o s e r to wait between each practice loop.
This pause will give you a chance to catch your breath between each practice repeat.
4. In the Practice Settings section of the dialog, specify how many times you want the practice
section to repeat. Also, if you want the tempo to increase during each repeat, specify the
tempo of the first and last repeats in terms of percentage of the song's tempo.
Co mp o s e r remembers the tempo setting 133 before you start a practice session. Once the
practice session completes, Co mp o s e r resets the tempo to what it was before the practice
session.
5. Click the Save As Default button to set the current Practice Settings as the default for any
subsequently opened song.
6. Click the Save and Begin Practice button if you wish to begin practicing immediately with the
specified settings. Or, click the Save and Exit button to save the settings without starting a
playback session.
7. The easiest way to start the practice loop after you have set up the practice section is to type
ALT+SPACE. Stop the practice by hitting the SPACE key, or by clicking the Stop button,
or toggling off the button. More more details, see the next topic, Starting and Stopping a
Practice Session 147 .
T o q uic k ly s e t up the s e c tio n o f the s o ng a nd s ta rt p ra c tic e :
1. Use CTRL+Drag to select the range of measures you wish to practice.
2. Start the practice session by typing ALT+SPACE.
For this practice session, Co mp o s e r will use the practice settings that you most recently
entered in the above Practice Setup dialog box.
2.18.3 Starting and Stopping a Practice Session
Use the Practice Setup command 145 in the Perform menu to set up the section of the song you want to
practice, to specify the number of repeats of the practice section, and to set the tempo. Or, if you have
already used the Practice Setup command to practice another section of the song, and now you just
want to practice a new section of the song with the same settings (for number of repeats and tempo),
then select the range of measures you wish to practice with CTRL+Drag; that is, hold down the CTRL
key while dragging the mouse over the range measures.
Once you have chosen the range of measures to practice, and have specified the options for number
of loops and tempo, you can practice the same section of the song as many times as you would like.
T o s ta rt p ra c tic ing :
1. After you have filled out the options in the Practice Setup dialog 145 , press the Begin Practice
button in the dialog.
-- OR --
2. Type ALT+SPACE.
-- OR --
key" on your music keyboard, play the second F# above Middle C. See Controlling Composer
From Your Music Keyboard 151 .
T o s to p p ra c tic ing :
Stop playback just as you would stop normal playback, as follows.
-- OR --
-- OR --
3. Toggle the Playback button in the toolbar at the top of the window.
-- OR --
2.18.4 Advancing to the Next (or Previous) Rehearsal Mark
If you have added rehearsal marks 482 to the score, then you can practice from one rehearsal mark to
the next as many times as you want, and then with a simple command, advance to the next rehearsal
mark. Using the practice commands described here, you can practice from one rehearsal mark to the
next one in the score.
If you wish to set up a practice loop that crosses over one or more intermediate rehearsal marks, then
you can identify the starting and ending rehearsal marks, as described in Setting Up Practice Loops
145 .
T o a d v a nc e to the ne xt (o r p re v io us ) re he a rs a l ma rk a nd s ta rt p ra c tic ing :

1. In the Perform menu, choose the command Set Practice Loop at Next Rehearsal Mark or Set
Practice Loop at Previous Rehearsal Mark command.
-- OR --
Type "qpnr" or "qppr" for Quick Practice Next Rehearsal Mark or Quick Practice Previous
Rehearsal Mark.
-- OR --
If you have enabled Co mp o s e r's Pitch-to-Command feature, while holding down the "trigger
key" on your music keyboard, play the second Bb above Middle C to advance to the next
rehearsal mark, or the second Ab above Middle C to go to the previous rehearsal mark. See
Controlling Composer From Your Music Keyboard 151 .
2. Choose the Start Practice command in the Perform menu.
-- OR --
Type ALT+SPACE.
-- OR --
If you have enabled Co mp o s e r's Pitch-to-Command feature, while holding down the "trigger
key" on your music keyboard, play the second F# above Middle C. See Controlling Composer
2.18.5 Practicing a Part While Singing or Playing a non-MIDI Instrument
This topic describes how to use Co mp o s e r to practice a section of a song if you want to practice
singing or playing with an acoustical instrument while reading notes from the screen. If you have a MIDI
keyboard or other MIDI input device such as a MIDI guitar that you wish to use, then see Practicing a
Part Using Your MIDI Keyboard or MIDI Instrument 149 .
T o p ra c tic e a s e c tio n o f a s o ng while s ing ing o r p la y ing y o ur ins trume nt:
1. Choose the Practice Setup command in the Perform menu to specify the section of the song
you wish to practice; the number of times you wish the practice section to repeat; and the
optional increase of tempo for each repeat of the practice loop. For detailed instructions, see
Setting up Practice Loops 145 .
2. You can optionally mute the sound of the part you will be practicing so that your singing or
instrument playing will replace the sound of the part played back by Co mp o s e r.
To mute the part, click the play/mute staff control 135 button to change it from to . If the
staff controls are not visible, turn on the Show Staff Controls 172 option in the View menu, or type
"qssc" for "Quick Show Staff Controls".
-- OR --
While holding down the 'S' (staff) key, click somewhere in the staff. Co mp o s e r will display a
pop-up menu. Choose the Mute Staff command in the pop-up menu.
3. Choose Start Practice in the Perform menu.
-- OR --
Type ALT+SPACE.
Before each practice loop, Co mp o s e r displays (in the status bar) the number of remaining practice
loops, and a countdown in seconds to the start of the practice loop, such as the following:
T o s to p a p ra c tic e s e s s io n in p ro g re s s :
-- OR --
-- OR --
-- OR --
2.18.6 Practicing a Part Using Your MIDI Keyboard or MIDI Instrument
This topic describes how to use Co mp o s e r to practice a section of a song if you have a MIDI
keyboard or other MIDI input device, such as a MIDI guitar. You can play a part "live" through your
MIDI keyboard or other input device. Co mp o s e r will produce the instrument sound assigned to the
part through your sound card or external MIDI sound module.
If you do not have a MIDI keyboard or MIDI instrument, then see Practicing a Part While Singing or
Playing a non-MIDI Instrument 148 .
T o p ra c tic e a s e c tio n o f a s o ng us ing a MID I k e y b o a rd o r MID I ins trume nt:
1. Choose the Practice Setup command in the Perform menu to specify the section of the song
you wish to practice, the number of times you wish the practice section to repeat, and the
optional increase of tempo for each repeat of the practice loop. For detailed instructions, see
Setting up Practice Loops 145 .
2. Double-click the solo staff control 172 button to change it from to . If the staff controls are
not visible, then set the Show Staff Controls 172 option in the View menu, or type "qssc" for
Quick Show Staff Controls. Note that the Show Staff Controls option is not available in Page
View 171 .
-- OR --
While holding down the 'R' key, click anywhere in the staff for the part you want to practice.
N OT E : If the MIDI device for this staff is one that has a built-in delay, the procedure described
here will not work successfully. There will be a frustrating delay between the time you play a
note on your MIDI keyboard or controller and the time you hear it played. You can review the
delay for a MIDI output device in the Device Properties dialog 631 . Instead of using the
procedure described here, you should mute the staff 135 for the part you want to practice. Then
you should use the "jam along" feature described in Playing Along with Your MIDI Instrument
143 . Also, for the "play along sound", you should assign a MIDI device that does not have a
delay.
3. Co mp o s e r displays a red arrow to the left of the part you will practice.
If you are practicing a part with two or more staves, such as the right- and left-hand staves for a
keyboard part, then double-click the solo button of each part; or while holding down the 'R'
key, click anywhere in each additional staff. For each staff you will be practicing, Co mp o s e r
will turn the solo staff color to red and will display a red arrow to the left of the staff, as
illustrated above.
4. To unselect a staff, double-click the red solo button , or while holding down the 'R' key,
click anywhere in the staff.
5. If the staff controls are visible, you might want to hide them while practicing, so that more of the
screen will be used for the score. To do so, toggle the Show Staff Controls option in the View
menu.
6. To begin the practice session, choose Start Practice in the Perform menu.
-- OR --
Type ALT+SPACE.
Before each practice loop, Co mp o s e r displays (in the status bar) the number of remaining practice
loops, and a countdown in seconds to the start of the practice loop, such as the following:
As you play from your MIDI keyboard or other MIDI input device, the notes you play will be routed by
Co mp o s e r through the MIDI output device and channel assigned to the part you selected, or the first
staff if you selected more than one staff. Also, Co mp o s e r will use the instrument sound (MIDI patch)
assigned to that staff. Note that you can change the sound for the staff 191 , if desired.
T o s to p a p ra c tic e s e s s io n in p ro g re s s :
-- OR --
-- OR --
2.18.7 Controlling Notation Composer from Your Music Keyboard
When you are practicing at your music keyboard, you may find it convenient to control Co mp o s e r
directly from your music keyboard rather than switching back and forth between it and your computer
keyboard or mouse.
Co mp o s e r's Pitch-to-Command feature associates certain keys (pitches) on your music keyboard to
commands that you are most likely to want to use while you are working at your music keyboard:
Start and stop playback.
Rewind.
Fast forward.
Increase, decrease, and reset tempo.
Increase, decrease, and reset volume level.
Start a practice loop.
Advance to the next or previous practice loop.
When you play one of the keys on your music keyboard to execute one of the above commands,
Co mp o s e r needs some way to determine whether you intend it to be interpreted as a command
versus a normally detected pitch. For this purpose, you need to (1) define a "trigger key" and (2)
enable the Pitch-to-Command feature.
The "trigger key" is a key on your music keyboard that is reserved specifically for the purpose of
informing Co mp o s e r that you are "playing a command" rather than "playing a note". We recommend
that you define the highest or lowest note on your keyboard as the trigger key, whichever of the two you
are least likely to need during normal playing. When you want to "play a command" at your music
keyboard, you simultaneously hold down the trigger key and play the particular command key, as
described later in this topic.
You can enable or disable the Pitch-to-Command feature. When the Pitch-to-Command feature is
enabled, the trigger key will not be available for normal performance or recording. When the Pitch-to-
Command feature is enabled, if you play the trigger key, you will hear nothing. Nor will you hear
anything when you play any other notes while the trigger key is down. When you do not need the Pitch-
to-Command feature, and you need to perform or record the trigger key as a normal pitch, then you
should disable the Pitch-to-Command feature.
T o id e ntify the trig g e r k e y o n y o ur mus ic k e y b o a rd :
1. Choose the Set Up Pitch-to-Command command in the Setup menu.
Co mp o s e r will display the Set Up Pitch to Command dialog box:
2. At your music keyboard, play the key that you wish to serve as trigger key. You will see the
pitch letter and octave displayed in the dialog box. If it does not change as you play a key on
your music keyboard, then see What To Do If Recording Does Not Work 585 .
3. Set the check mark for Enable Pitch-to-Command Feature.
4. Click OK to commit the settings.
T o p la y a c o mma nd fro m y o ur mus ic k e y b o a rd :
1. Hold down the trigger key that you specified above.
2. While holding down the trigger key, play one of the keys identified in the music keyboard
diagram below:
3. Release the trigger key.

T o e na b le o r d is a b le the P itc h-to -Co mma nd fe a ture :
Toggle the check mark for Enable Pitch-to-Command in the Setup menu.
-- OR --
Type "qpc" for Quick Pitch-to-Command.
Navigating through Composer and the Score 153
3 Navigating through Composer and the Score
The previous section of this Co mp o s e r documentation describes how you can download from the
Internet, open, view, print, and play MIDI files or previously created Notation .not files 77 . You can
accomplish those tasks without needing to understand details about how Co mp o s e r's window,
menus, toolbar, and palettes are arranged.
After you have gained some experience and enjoyment viewing and playing existing MIDI files, you
will likely want to start editing them. To edit music in Co mp o s e r, you will need to understand how
Co mp o s e r's window is basically arranged.
If you like to "learn by doing", then you will probably have success learning how Co mp o s e r works by
simply exploring on your own the menus, the toolbar, and the palette. There is little harm you can do by
exploring Co mp o s e r this way. If you ever accidentally delete or change part of the score, you can
always undo the change. Co mp o s e r offers multiple-level undo 270 , that goes back for as many
operations as can be held in your computer's memory.
Alternatively, if you like to learn by reading first, then read this introductory section. It provides an
overview of all of the parts of Co mp o s e r 's window, and details about how to navigate through a
score.
This section is organized as follows:
Parts of the Composer Window 154
Showing and Hiding Parts of the Window 157
Menus 158
Toolbar 159
Play and Record Buttons 160
Metronome Button 161
Tempo and Volume Controls 161
Zoom-In and Zoom-Out Buttons 164
Mouse Mode Buttons: Add, Select, and Step-Time Record 162
Show/Hide Palette Button 157
Where Are All of the Buttons? 162
Palettes 164
Keyboard Commands 167
Executing Commands from Your MIDI Keyboard 171
Window View and Page View 171
Staff Control Buttons 172
Play, Mute, or Solo Staff 173
Instrument Sound Selection 175
Select Staff 175
Scrolling, Resizing and Zooming the Window 176
Scrolling the Window 177
Automatic Scrolling During Playback 177
Resizing the Window 178

Zooming the Window 178
Navigating through Pages of the Score 179
View Range of Measures 179
First Page, Next Page, Previous Page, and Last Page 180
Go to a Measure or Page 180
Go to Rehearsal Mark 181
3.1 Parts of the Composer Window

The following picture identifies the main elements of Co mp o s e r's window:
Each part of Co mp o s e r's window is briefly described below. Some parts of the window are
described in more detail throughout the remainder of this section.
T o o lb a r
The toolbar offers a variety of buttons and controls for recording and playing back songs; setting
the metronome; controlling the volume level; zooming in and out; showing or hiding Piano Roll
Notation; switching between Select Mode and Add Mode; and displaying or hiding the palettes.
For details, see the Toolbar 159 topic 159 .
P la y b a c k Lo c a tio n a nd S ta ff Fo c us Ma rk e rs
The playback location marker indicates where playback will start the next time you press the
Playback button, or hit the SPACE key.

The staff focus marker indicates the staff that Co mp o s e r will focus on during playback.
For details, see Playback Location and Staff Focus Markers 122 .
S ta ff Co ntro ls
The staff controls for each staff enable you to:
-- mute (turn off the sound) of a staff.
-- solo it, so that no other staves are heard.
-- set the instrument sound for the staff.
-- select the staff for a global editing operation.
For details, see Staff Controls 172 .
Ma in P a le tte a nd D e ta il P a le tte
The main palette and detail provide a uniform way to add or edit any type of musical data with just
a few mouse clicks.
When you click on an object such as a note, clef, or dynamic mark, Co mp o s e rautomatically
displays the palette that offers choices for editing that type of object.
To add a new object, you can easily "drill down" through the three levels of palettes to select the
type of object you wish to add. For details about using the palette, see the Palettes 164 topic 164 .
S ta tus B a r
The status bar shows:
-- the most recent tip or error message.
-- the characters of a command you are typing, such as "qpv" for Quick Page View.
-- the name of the staff at the current mouse position.
-- the measure and beat at the current mouse position.
-- the page number of the currently displayed page.
P a g e S c ro lle r
Use the page scroller if you prefer to use the mouse rather than keyboard shortcuts, such as
PAGEDOWN and CTRL+END, for example, to go to the next page or end of the score.
3.1.1 Customizing Colors in Composer

You can easily change the overall color scheme in Co mp o s e r, and also the colors using for highlight
the music during playback.
T o c ha ng e the o v e ra ll c o lo r s c he me :
1. Choose the Color Theme command in the Setup menu.
Co mp o s e r will display the Color Theme window:
2. In the list at the bottom of the window, choose one of the standard color themes pre-defined by
Co mp o s e r.
-- OR --
Change the background color, used for the background of palettes and windows, or the button
color (of buttons in palette), by selecting clicking a color "of the rainbow" at the bottom of the
color palette, and then selecting a shade of the color in the main portion of the color palette.
You can immediately preview your color selection by observing <%PRODPOSESSIVE%>
palettes and menus.
3. Click the OK button to save the new color theme, or Cancel to return to the most recent color
theme.
T o c ha ng e the c o lo rs us e d to hig hlig ht the s c o re d uring p la y b a c k :

1. Choose the Playback Highlighting Options in the Perform menu.
2. In the Playback Highlight Options dialog, choose the colors that are used during playback:
3.1.2 Showing and Hiding Parts of the Composer Window
Co mp o s e r offers options to show or hide most of the parts of the window described in the previous
topic: the toolbar, palette, staff controls, and status bar.
T o s ho w o r hid e p a rts o f the Co mp o s e r wind o w:
1. In the View menu, choose the Show Multiple Selections command.
-- OR --
Type "qsh" for Quick Show Hide.
Add or remove check marks for the types of window components you wish to show or hide.
-- OR --
2. In the View menu, toggle the check mark for, as example, the Show Song Tabs menu item.
3.1.3 Menus (But Not Too Much)
First, here's some advice about how you might use Co mp o s e r's menus. In general, menus provide a
reliable way to find commands that accomplish your music editing goals. However, for many
commands you also have the alternative of using toolbar and palette buttons or keyboard shortcuts.
For commands that you use often, such as Page View, consider using the Page View button in the
toolbar, or the shortcut command characters "qpv" for Quick Page View. Co mp o s e r's menus show
the keyboard shortcuts so that you can easily learn the ones you use often. When you use a menu
command, just take a brief look at its corresponding Quick command letters. The next time you may
find it more convenient to just type the command letters.
Co mp o s e r offers a convenient way for you to learn about the purpose and use of any menu
command.
T o d is p la y H e lp fo r a me nu c o mma nd :
1. Click the menu, and submenu if needed, that has the command.
2. Hold the mouse over the text of the command name.
3. Without clicking the mouse, hit the F1 key. This will display the on-screen help topic that
describes the purpose and use of the selected menu command.
-- OR --
Instead of the above steps, use the Index option in this Help to look up the name of the menu, such
as "Staff menu", and then choose the name the comment.
Listed below is a summary of each main menu selection in Co mp o s e r. This summary is intended to
help you to better anticipate where a command for a given operation might be found.
File
Open 78 , create 107 , close, save or download 81 (from the Internet), or print 119 songs.
E d it
Copy and paste to and from the clipboard 267 . Undo and redo 270 transactions.
V ie w
Determine how the Co mp o s e r window displays the score and shows or hides window parts 154 ,
such as the palettes and staff controls.
Me a s ure
Edit measures 273 : add and insert 273 measures; temporarily view a range of measure 179 rather
than all measures of the score; display measure numbers; add barlines 396 , repeats 397 , and
endings 398 .
S ta ff
Edit staves 184 : add 185 and delete 188 staves; merge 198 and clone 197 staves; split a staff 200 into
two staves for piano right- and left-hand, for drum instruments, and for melody and
accompaniment; and transpose notes 343 .
P a rt
Prepare separate instrumental and vocal parts that are fully integrated with the main score, so that
changes you make in the main score are reflected in the parts, and vice versa. Prepare special
parts 212 (sing-along 214 , fake book lead sheet 215 , Easy Notes 214 , and piano reduction 219 ).
R e g io n
Select a region of the score 266 , which is a range of measures or beats in one or more staves.
Manipulate the selected region with commands in this menu, as well as with clipboard commands
in the Edit menu.
Ob je c t (re na me d a c c o rd ing to c urre ntly s e le c te d ty p e o f mus ic a l o b je c t)

In Select Mode, the Object Menu 164 changes according to the type of object selected.
In Add Mode, the Object Menu provides options for the type of object that will be added when the
mouse is clicked somewhere. In Add Mode, you can determine the type of object that will be
added by navigating through the palettes with the mouse, or by using palette keyboard
commands such as SHIFT+N for the Notes Palette or SHIFT+D for the Dynamic Mark Palette.
P e rfo rm
Play 121 , record 485 , and practice 142 portions of a song.
S e tup
Configure Co mp o s e r to work with Windows, and in particular, the MIDI devices under the control
of Windows.
W ind o w
Within Co mp o s e r's window, arrange the size and positions of score windows for multiple songs.
H e lp
Get help from Co mp o s e r's online documentation or from Frequently Asked Questions (FAQ) or
other resources at Notation Software's web site.
3.1.4 Toolbar
The toolbar is displayed along the top of Co mp o s e r's window. The buttons and controls in the
toolbar are grouped as indicated:
Each group of buttons and controls are described in the topics that follow:
Song Time 160
Playback and Paging 160
Metronome Button 161
Tempo and Volume Controls 161
Window and Page View Buttons 162
Mouse Mode Buttons: Add and SelectAdd, Select, and Step-Time Record 162
Zoom-In and Zoom-Out Buttons 164
T o s ho w o r hid e the to o lb a r:
Toggle the Show Toolbar check mark in the View menu.
-- OR --
Type "qstb" for Quick Show Toolbar.
3.1.4.1 Song Time
The song time indicator in the main toolbar 159 shows how far along the playback of a song is,
measured in minutes and seconds from the beginning of the song:
The song time indicator reflects elapsed time for repeated sections of the song.
3.1.4.2 Playback and Paging Buttons
The following buttons for controlling playback and recording are located in Co mp o s e r's toolbar 159 :
S ta rt o f S o ng
Go to the start of the song.
P re v io us P a g e
Go to the previous page.
S ta rt/ S to p P la y b a c k
Click this button to start playback at the current location of the Playback Location Marker . The
Play button is shown in a down position if playback is in progress. If playback or recording is in
progress, click either this button or the Stop button to stop playback or recording.
S ta rt o r S to p R e c o rd ing
Click this button to start or stop recording. See Starting and Ending the First Recording 493 .
S to p
Click this button to stop playback or recording that is in progress. To pause button, use this Stop
button, and then resume playback with the Play button.
N e xt P a g e o f Fa s t Fo rwa rd
If playback is in progress, click this button to quickly play through the song at five times normal
speed.
E nd o f S o ng
Go to the end of the song.
3.1.4.3 Metronome Button
T o turn o ff o r o n the me tro no me fo r p la y b a c k o r re c o rd ing :
Toggle the metronome button in the toolbar 159 to the down or up position for on or off.
T o s p e c ify whe the r the me tro no me s ho uld b e o n o r o ff b y d e fa ult:
-- OR --
While holding down the CTRL key, click the metronome button in the toolbar.
Co mp o s e r will display the Metronome Setup dialog box, as illustrated in Setting up the
Metronome 127 .
2. Set a check mark or not for the two options at the top of the Metronome Setup dialog box, for
"Metronome is on during playback" and "Metronome is on during recording".
T o s p e c ify ho w ma ny me a s ure s a nd b e a ts the me tro no me s ho uld le a d in b e fo re the
s ta rt o f p la y b a c k o r re c o d ing :
Choose the Pickup Beats command in the Perform menu.
For more information, see Setting Up Pickup Beats 489 .
3.1.4.4 Tempo and Volume Controls
The following buttons for tempo and volume level are located in Co mp o s e r's toolbar 159 :
B e a ts P e r Minute
The tempo of the song is displayed in beats per minute. For many meters, the beat is a quarter
note. For a 6:8 meter, the beat is indicated as a dotted quarter note if the tempo is fast, or an eighth
note is the tempo is slow. You can click either the note duration symbol for the beat, or the tempo
value (160 quarter notes per minute in this example), to change the tempo value for the entire song,
or for any selected range of the song.
The song may have several tempo changes throughout. During playback, the Beats Per Minute
value shows the tempo at the current location. If playback is not in progress, the indicated tempo is
that where the playback marker 122 is located.
For details, see Viewing and Adjusting the Tempo 133 .

T e mp o A d jus tme nt
During playback you can temporarily increase or decrease the tempo as a percentage of the
underlying tempo in the song. You can adjust the tempo by clicking up the arrow buttons at the right
of the tempo adjustment number. Or, you can type T + Up (or Down) Arrow. Type T + Enter to reset
the tempo to normal (100%).
To save a file with the adjusted tempo, click on the P e rfo rm menu item, and select "T e mp o /
Ke e p a d jus te d te mp o ".
For further details, see Viewing and Adjusting the Tempo 133 .
V o lume Co ntro l
During playback you can adjust the overall volume level of all staves. Also, if one or more staves
are currently selected, the volume control changes the volume level of these staves relative to
other non-selected staves. This feature is useful for focusing on certain instruments during
playback. For details, see Adjusting Volume of Selected Staves During Playback 135 .
3.1.4.5 Window and Page View Buttons
In Window View, Co mp o s e r arranges the pages of the score as though the page size were exactly
the size of the window. If you change the window size 178 , Co mp o s e r will automatically and quickly
repaginate the score for the new "page size", which is, in this case, the window size.
In Page View, Co mp o s e r displays an image of the page as it would be printed, which is usually
larger than what can be seen all at once in the window. Therefore, in Page View, Co mp o s e r usually
displays scrollbars that enable you to scroll horizontally and/or vertically in the page. In Page View
you can view the entire printed page by using the Zoom Out 178 command.
You can toggle between Window View and Page View using these two buttons in the toolbar 159 :
For more information, see the topic on Window View and Page View 171 .
3.1.4.6 Mouse Mode Buttons: Select and Add
When you click here and there in the score, do you intend to select something that you want to edit, or
do you want to add something new in the score? The way you indicate your intention is to choose
Region Select Mode, Select Mode, Add Mode, or Step-Time Record. You can choose which mode
using these buttons in Co mp o s e r's toolbar 159 :
R e g io n S e le c t Mo d e -- drag mouse to select a region 266 for operations such as copy and
paste
S e le c t Mo d e -- mouse-click to select objects for editing.
A d d Mo d e -- mouse-click to add objects.
S te p -T ime R e c o rd Mo d e -- mouse-click to determine the song location where notes and
chords you enter via your music (MIDI) keyboard will be added.
Switching between Select Mode and Add Mode is such a common operation that Co mp o s e r has
reserved one of the most convenient keys on the keyboard (ENTER), and one of the most common
mouse operations (Right Click), for this purpose.
T o s witc h b e twe e n A d d Mo d e a nd S e le c t Mo d e :
Click the Select Mode button or Add Mode button in the main toolbar.
-- OR --
Hit the ENTER key.
-- OR --
Right-click the mouse anywhere on the score.
In Select Mode, when you select one (or more) objects of the same type, Co mp o s e r displays a
palette that offers options for changing the properties of that object. For example, when you click the
mouse on a clef in Select Mode, Co mp o s e r displays the clef palette. You can use this palette to
change the clef from, say, a treble to bass clef. For details, see Selecting One or More Objects Before
Editing Them 264 .
In Add Mode, you can navigate through palettes to determine the type of object you wish to add. Once
you have chosen the type of object you wish to add from a palette, click the mouse where you want to
add it. For details, see Adding Objects Using Palettes 263 .
Use the Step-Time Record Mode to enter notes one at a time, or one chord at a time, from a music
(MIDI) keyboard connected to your computer.
T o s witc h to R e g io n S e le c t Mo d e :
Click the Region Select Mode button in the main toolbar..

-- OR --
Double right-click the mouse anywhere on the score.
T o s witc h to S te p -T ime R e c o rd Mo d e :
Click the Step-Time Record button in the main toolbar.

-- OR --
Type CTRL+Enter.
For details about Step-Time Record Mode, see Recording in Step-Time 486 .
3.1.4.7 Undo and Redo Buttons
Use the following two buttons on the main toolbar 159 to undo your most recent editing operation, and to
redo the most recent editing operation you have undone:
Co mp o s e r keeps a long list of editing operations in its undo history. You can view the names of the
undoable editing operations in the Edit menu. You can also undo or redo several editing operations
with one click in the Edit menu. For details, see Undoing Editing Operations 270 .
3.1.4.8 Zoom-In and Zoom-Out Buttons
The following buttons in Co mp o s e r's toolbar 159 let you temporarily enlarge or shrink the size of the
score notation viewed on the screen:
Zoom In makes everything look bigger, and Zoom Out makes everything look smaller.
It is important to understand that zooming in and out does not affect the size of what is printed. To
change the size of what is printed, use the Font Size and Spacing command in the Format menu. For
details, see Overall Font Size 227 .
3.2 Palettes
Co mp o s e r's palette offers a large number of choices for adding and editing music symbols.
The palettes are organized in a 3-level hierarchy. If you wish to add a music symbol of a certain type,
you "drill down" through the three level to select the type of object you wish to add. When you select a
music symbol in Select Mode, then Co mp o s e r automatically drills down to the palette for the type of
object you have selected.
N a v ig a ting T hro ug h P a le tte s in A d d Mo d e

The following example shows how you would navigate through the three levels of palettes to start
adding lyrics:
T IP :
In Add Mode 162 you need to select the palette of the type of music symbol you wish to add
before you click the mouse where you wish to add the music symbol.
In contrast, in Select Mode 162 , you just click the mouse on the music symbol you wish to
select: Co mp o s e r will automatically display the palette for that type of symbol.
If you wish to edit an music symbol of a particular type, it is a bad idea to click around in the
palettes, because when you change palettes, Co mp o s e r will automatically switch from Select
Mode to Add Mode, because it figures the only reason you have for navigating in the palettes
is to add a music symbol, not select it. Again, if you want to edit a music symbol already in the
score, just click it with the mouse in Select Mode.
U s ing the P a le tte s to E d it Mus ic S y mb o ls a nd T e xt

In Select Mode, use the third-level (detail) palette to edit music symbol or text you have selected.
T o e d it a mus ic s y mb o l o r te xt us ing the p a le tte :
Enter Select Mode 162 .
Click the music symbol or text to select it.
The object will be highlighted in blue. Composer will automatically select the third-level
(detail) palette for the type of selected object.

Click one or more buttons in the detail palette to edit the selected object.
Ke y b o a rd S ho rtc uts fo r P a le tte s

In Add Mode, you can quickly navigate a third level palette with a keyboard shortcut, which is SHIFT
+{letter}, such as SHIFT+L for the Lyrics palette.
You can learn the SHIFT+{letter} shortcut for a palette by holding the mouse over the second-level
palette button for that third-level palette, as illustrated in the above example for the Lyric palette.
Note, some palettes share the same SHIFT+{letter} shortcut. For example, the shortcut for the
Rehearsal Mark palette and the Rest palette are both SHIFT+R. If you type SHIFT+R and the wrong
palette comes up, just type SHIFT+R a second time. We figure it is easier for you to type SHIFT+R
twice than it is to type something like CTRL+SHIFT+R, which is both difficult to type and difficult to
remember.
H id ing P a le tte s
When you are first learning Co mp o s e r, it is a good idea to leave all three levels of the palettes
displayed. After you learn the simple SHIFT+{letter} shortcuts for the palettes, you might prefer to free
up some of Co mp o s e r's window by hiding the first two levels of the palettes, leaving only the third-
level palette showing. You can switch between different third-level palettes by typing the SHIFT
+{letter} shortcut.
Also, you might want to temporarily hide all levels of the palettes, when you are just viewing or singing
or playing along with the score, but not editing it.
The first two levels of the palette-- the palette tabs and the intermediate palette buttons-- are together
called the main palette. The third-level palette is called the detail palette.
T o s ho w o r hid e the ma in p a le tte o r d e ta il p a le tte :

Toggle the Show Main Palette or Show Detail Palette command in the View menu.
-- OR --
Choose the Show Multiple Selections command in the View (or type "qsh") and toggle the
check mark for main palette or detail palette.
-- OR --
Type "qsmp" for Quick Show (or hide) Main Palette, or "qsp" for Quick Show (or hide) Palette
for the detail palette.
Mo v ing P a le tte s
You can dock the main palette or detail palette to any of the four sides of Co mp o s e r's window
according to your personal preference. Also, you can "float" the palette in the middle of the window and
drag it around with the mouse on the window, close to where you are working,
T o mo v e o r " flo a t" the d e ta il p a le tte o r ma in p a le tte :
Press down the left mouse button on the dotted lines along the left edge of the palette, or top
edge of a vertically oriented palette.
While holding down the left mouse button, drag (move) the palette to another edge of
Co mp o s e r's window, or to the middle of the window.
Release the left mouse button.
3.3 Keyboard Commands

Co mp o s e r enables you to edit music using your computer keyboard without having to use awkward
and difficult-to-remember key combinations such as CTRL+ALT+N. Instead, most commands in
Co mp o s e r are typed not by holding down two or three keys at a time but, rather, by typing a
sequence of keys, such as "qpv" for "Quick Page View".
Quic k " Q" Co mma nd s

Many keyboard commands in Co mp o s e r begin with the letter "q" for "Quick". Many other commands
do not. The "q" commands are for commands that are listed in the top menus and tool bar, such as
View or Staff commands . Commands that occur within palette tabs do no t begin with the letter "q". For
example, when the clef palette is showing, you can type "t" to prepare to add a treble clef - you do not
use a "q".
As you type command letters, Co mp o s e r displays them in the status bar. For example, this is what
the status bar looks like when you have typed the first two letters of the Page View command, before
typing the last letter of "qpv":
You can quickly learn the Quick command letters for commands you use frequently by observing them
in Co mp o s e r's menu. The following example shows that "qpv" are the Quick command letters for the
Page View command:
A summary of all of the Quick command shortcuts is provided in Appendix A: Keyboard Shortcuts 655 .
S ho rtc uts fo r Ob je c t-S p e c ific Co mma nd s
Commands specific to a given type of object do not begin with the letter "q". For example, if in Add
Mode you are preparing to add a bass clef, then you can type "b" for bass clef.
There are two ways that you can learn the keyboard shortcuts for object-specific commands. The first
way is to hold the mouse cursor over the palette button for the command, as illustrated here:
The second way to learn the keyboard shortcuts for object-specific command is to review it in the
Object Menu. At any given time, the Object Menu is named according to the type of object you are
working with:
Here is a fairly easy way to remember whether a command begins with a "q" or not. If the command
has a corresponding palette button, then it will not begin with the letter "q". If the command is found in
the Object Menu (which will be renamed to whatever type of object you are working with, such as Note
or Clef or Accent), then the command also will not begin with the letter "q". Otherwise, if the command is
only available in some other menu-- not in the Object Menu, and not in a palette-- then the command
will begin with the letter "q".
H o w is Co mp o s e r a b le to o ffe r s uc h s imp le k e y b o a rd s ho rtc uts c o mp a re d to

o the r p ro g ra ms ?
The reason that Co mp o s e r is able to offer you convenient keyboard commands is that, with
one exception, you do not need the keyboard for other purposes. Normally you do not need to
enter text as you would in a word processor or an email program. The exception, of course, is
that sometimes you do need to enter text, such as for lyrics or textual annotations in the score.
When you add a new lyric or text annotation, you just click the mouse where you want to add it,
and then you start typing. When you are done typing, hit the ESC key. Similarly, if you want to
edit text, just click the lyric or text object. hit the ENTER or ESC key when you are done editing
the text.
In all circumstances other than the editing of lyrics and text annotations, Co mp o s e r interprets
your keystrokes as Quick commands when they begin with "q", and otherwise as palette short-
cut commands. You don't have to use awkward and difficult-to-remember combinations of
ALT, CTRL, and SHIFT keys!
For more details about editing lyrics and text annotations, see Editing Types of Text 435 .
U s ing the A LT Ke y fo r Me nus

Alternatively, while holding down the ALT key, type the letter of the menu, such as "V" for the Staff
menu. That sequence displays the menu. Then type the letter that is underlined in the command name,
such as the P in the Page View command name.
You might find this alternative method particularly useful for commands you are used to using in other
programs, such as ALT+F and "O" for the File Open command.
If the menu has more than one command with the same letter, then type the letter once for the first
command, or a second time for the second command, followed by the ENTER key.
A Fe w CT R L+Le tte r Co mma nd s
Co mp o s e r does use a few CTRL+letter commands according to conventions you have likely
learned in other Windows programs.
There are only a few, all of which are listed here:
File Co mma nd s
CT R L+N create a new file
CT R L+O open an existing file
CT R L+P print the currently viewed score
CT R L+S save the currently viewed score
Clip b o a rd a nd R e g io n E d iting
CT R L+X cut (remove) and copy to the clipboard
CT R L+C copy to the clipboard
CT R L+V paste from the clipboard
CT R L+D delete (clear) selected region of score
U nd o a nd R e d o
CT R L+Z undo most recent transaction
CT R L+Y redo most recent undone transaction
W ind o w a nd P a g e N a v ig a tio n
CT R L+G go to measure, page, or rehearsal mark
CT R L+F6 show next window when viewing multiple opened songs
CT R L+F4 close score (song) window
A LT +F4 exit Co mp o s e r
Mis c e lla ne o us
S H IFT +CT R L+S turns off stuck notes that will not otherwise stop sounding.
A rro w Ke y Co mma nd s
Co mp o s e r does use some two-key combination commands, where one of the letters is an arrow key
and the other is a letter. Hold down both the letter key and the arrow key, just as you are probably used
to doing with CTRL and ALT. These arrow key combination commands all make good sense
because the directions of the arrows are meaningful, and the letters relate to the purpose of the two-
key arrow commands.
For example, while holding down the 'T' key, hit the (or ) key to increase or decrease the tempo
during playback. In this documentation, that two-key combination is indicated as T+ (or T+ ).
Another example is D+ to increase the duration of a selected note.

This makes sense, doesn't it? These Letter + Arrow combinations are easy to learn and remember.
For a list all of Letter + Arrow commands, see Appendix A: Keyboard Shortcuts 655 .
3.4 Executing Commands from Your MIDI Keyboard

When you are practicing or playing along with Co mp o s e r at your music keyboard, you may find it
convenient to control Co mp o s e r directly from your music keyboard rather than switching back and
forth between your music keyboard and your computer keyboard or mouse.
Co mp o s e r's Pitch-to-Command feature associates certain keys (pitches) on your music keyboard to
commands that you will most likely to want to use while you are working at your music keyboard, such
as Start Playback and Stop Playback. You specify a "trigger key" on your music keyboard, typically
the highest or lowest note. When you hold down the trigger key, Co mp o s e r will not play that note.
Instead, while you are holding down the trigger key, you simultaneously play another key to instruct
Co mp o s e r to perform a command, such as starting playback.
For details about Co mp o s e r's Pitch-to-Command feature, see Controlling Notation Composer from
Your Music Keyboard 151 .
3.5 Window View and Page View

Co mp o s e r offers two ways to view a score on the screen: Window View and Page View.
In Window View, Co mp o s e r arranges the pages of the score as though the page size were exactly
the size of the window. If you change the window size 178 , Co mp o s e r will automatically and quickly
repaginate the score for the new "page size", which is, in this case, the window size.
In Page View, Co mp o s e r displays an image of the page as it would be printed, which is usually
larger than what can be seen all at once in the window. Therefore, in Page View, Co mp o s e r usually
displays scrollbars that enable you to scroll horizontally and/or vertically in the page. In Page View
you can view the entire printed page by using the Zoom Out 178 command.
N OT E : P a g e V ie w is the s a me thing a s P rint P re v ie w
Some software programs offer a Print Preview command, which enables you to preview pages
exactly as they would be printed. Co mp o s e r's Page View command offers you everything that
a Print Preview command does, and a lot more. In Co mp o s e r's Page View you can not only
preview the printed pages but also e d it them.
In Window View, Co mp o s e r evenly spaces the measures so that the barline of the last visible
measure is right-justified in the window. As many measures are displayed as can comfortably fit
horizontally. If more than one system (also called a "line", which includes multiple staves) can be
displayed in the window, then multiple systems are displayed. If only one system can be displayed,
but it has more staves (staves) than can be shown without crowding, then the window adds a vertical
scrollbar that enables you to view the lower staves.
In Page View, Co mp o s e r simulates the layout of the notation symbols as they would appear on a
printed page. Because the size of various symbols are not exactly proportional as rendered by the
printer versus the monitor, the image displayed by Page View cannot exactly represent the spacing of
the printed page. Therefore, whereas the spacing between accidentals and noteheads, for example,
may look ideal when printed, the spacing may seem less than perfect on the screen. Usually the
difference is insignificant, but we mention the issue here in case you do notice any difference.
T o v ie w the s c o re in W ind o w V ie w:
Click the Window View button in the main toolbar 159 .

-- OR --
Type "qwv" for Quick Window View.
T o v ie w the s c o re in P a g e V ie w:
Click the Page View button in the main toolbar.

-- OR --
For either view you may want to "Refresh" the page to make sure that you are seeing the score
properly. To do this, you can use the "V ie w / R e fre s h Curre nt P a g e " or "V ie w / R e fre s h E ntire
S c o re " menu command. This is especially helpful if you have made many edits and want to review
your pages for printing.
3.6 Staff Controls
Along the left-side of each staff you will see a group of four staff control buttons, as shown:
These four buttons affect the entire staff. Therefore, these buttons are displayed only at the beginning
of the first set of staves in the window.
The purpose of each button is summarized below, and described in more detail in the topics that
follow.
Play or mute 173 : turn the staff sound on or off during playback.
Solo 173 : play only this staff while muting all other staves (except other soloed staves).
Instrument sound 175 : assign a new device, MIDI bank, MIDI patch, or name to the staff.
Select the staff 175 : prepare for a Staff menu command such as Split Hands, or a Region
menu command such as Remove Inaudible Notes.
You can use any of these controls during playback.
You may not always want these staff controls to use up space on the screen. In such cases, follow this
next procedure.
T o s ho w o r hid e the s ta ff c o ntro l b utto ns .

Turn off the Show Staff Controls check mark in the View menu.
-- OR --
Type "qssc" for Quick Show Staff Controls, to toggle between show and hide.
If the staff controls are not currently visible, there is an alternative way you can accomplish the same
tasks as offered by the staff controls.
T o d o s ta ff c o ntro l ta s k s whe n the c o ntro ls a re no t v is ib le :
1. While holding down the 'S' key, click the mouse anywhere in a staff. Co mp o s e r will display a
pop-up menu, such as illustrated here:
2. Choose the equivalent staff control command from the pop-up menu.
3.6.1 Play, Mute or Solo Staff
There are a variety of occasions where you might want to listen to only certain staves of a song while
other staves are muted (silenced). For example, if a song has a melody staff played by some
instrument, but you want to sing the melody by yourself, then you can mute the melody staff. Or, you
might want to study the composition and arrangement of a song and focus on how a particular
instrument part is written by "soloing" that instrument part, thus muting all of the other staves. If you have
a MIDI keyboard, you can temporarily mute a staff and perform the part yourself; Co mp o s e r will
assign the instrument sound of the staff to the notes you play.
Co mp o s e r enables you to play any combination of staves while muting other staves. You can even
do this while the song is playing back. If the staff controls are visible, you can tell that a staff is muted if
the top-left button is not pressed down and has a dull light instead of the normal bright green light:
staff playback is active
staff is muted
Note that you can also mute staves using the Staff Setup command in the Staff menu.
If you save the song as a MIDI file, then any muted staff will be restored as an audible staff in the MIDI
file; the staff will not be deleted.
T o to g g le the mute s ta tus o f a s ta ff:
If the staff controls are not already visible, choose the Show Staff Controls 172 option in the
View menu. Note that the Show Staff Controls option is not available in Page View 171 .
In the group of four staff controls, toggle the play/mute button between and .
-- OR --
If the staff controls are not visible, and you do not wish to display them, then while holding down
the 'T' key, click anywhere in a staff. Co mp o s e r will display a pop-up menu offering choices
for Select Staff, Mute Staff, Solo Staff, and Instrument Sound. In the pop-up menu, choose the
Mute Staff command.
Another option allows you to mute all staves except one (or a few) staff(s) that you wish to temporarily
"solo". The play/mute status of the other staves are only temporarily changed. Once you remove the
solo status of all staves, any staff that was previously playing will continue to play, and any staff that
was previously muted will continue to be silent.
T o te mp o ra rily s o lo o ne s ta ff s o tha t no o the r s ta v e s a re he a rd :
Toggle the solo button from the up position (in which two musicians are shown) to the
down position: (in which a solo musician is shown).
-- OR --
While holding down the 'S' key, click anywhere in a staff belonging to that staff. Co mp o s e r will
offer a pop-up menu. Choose the Solo Staff command.
T o te mp o ra rily s o lo multip le s ta v e s s o tha t o nly the y a re he a rd :
1. Click the solo button for one staff.
2. While holding down the SHIFT key, click the solo button for additional staves.
T o te mp o ra rily s o lo a ll o f the s ta v e s in the c urre nt p a rt, while muting a ll
a c c o mp a nime nt s ta v e s no t inc lud e d in the p a rt:
While holding down the SHIFT key, click the solo button for one staff.
-- OR --
Type "qsolo" for Quick Solo.
T o re mo v e a s ta ff fro m the lis t o f s o lo s ta v e s :
While holding down the CTRL key, toggle the solo button from the down position to the up
position .
T o re s ume p la y b a c k o f a ll s ta v e s , a nd turn o ff the s o lo o f a ny s ta v e s :
While holding down the SHIFT key, click the play/mute button for any staff. It does not
matter whether that particular staff has been previously muted.
Yet another option lets you temporarily mute a staff and assign the sound of that staff to any notes you
play at your music keyboard. This option is useful when you want to play one of the instrument parts of
a song instead of having Co mp o s e r play it. Co mp o s e r will still play the other parts as
accompaniment.
T o te mp o ra rily mute a s ta ff a nd a s s ig n its ins trume nt s o und to no te s tha t y o u p la y o n
y o ur mus ic k e y b o a rd :
Double-click the solo button for the staff.

-- OR --
While holding down the "R" key (for "record", although you will not actually be recording), click
anywhere in the staff of the staff.
Co mp o s e r indicates that this staff has been muted by changing the staff play button to the up
position:
At the same time, Co mp o s e r indicates that this staff has been selected to provide the
instrument sound for your music keyboard by changing the solo button from green to red:
In addition, Co mp o s e r indicates that this staff has been so selected by drawing a red arrow
right before the beginning of the first staff shown in the window for this staff:
T o re turn the s ta ff to no rma l p la y b a c k :

Just click the staff's solo button again.
If the part you want to play has two staves, such as a piano or keyboard part, then you will find the
following procedure useful.
T o te mp o ra rily mute mo re tha n o ne s ta ff a nd a s s ig n the ins trume nt s o und o f o ne o f the
s ta v e s to no te s tha t y o u p la y o n y o ur mus ic k e y b o a rd :
1. Double-click the solo button for the staff whose instrument sound you want to assign to
your music keyboard.
-- OR --
While holding down the "R" key (for "record", although you will not actually be recording), click
anywhere in the staff for that staff.
2. For the other staff(s) that you want to play instead of Co mp o s e r, toggle the playback button to
the up position:
3.6.2 Instrument Sound Selection
Among the staff controls 172 , the Instrument Sound Selection button lets you change the instrument
sound of a staff. You can change the instrument sound even while the song is playing.
If the staff controls are not visible, and you do not wish to display them, then while holding down the 'S'
key (for 'staff'), click the mouse somewhere in the staff.
Co mp o s e r will display a pop-up menu such as illustrated here:
In the pop-up menu, choose the Instrument Sound command.

For details, see Changing the Instrument Sound of a Staff 191 .
3.6.3 Select Staff
If you click the Select Staff button among the staff controls 172 , Co mp o s e r will select the entire staff
as the current region.
Alternatively, if some notes are already selected in a staff, or if some region of the staff is already
selected, you can use the Select Staff command in the Note or Region menu, or type "st" for "select
staff".
As another alternative, if the staff controls are not visible, and you do not wish to display them, then
hold down the 'S' key (for 'staff'), and click the mouse somewhere in the staff. Co mp o s e r will display a
pop-up menu in which you can choose the Select Staff command:
Co mp o s e r displays a light blue background for the entire selected staff. You can then use
commands that edit the entire staff. Commands that edit the entire staff are located in the Edit, Region,
and Staff menus.
If you want to apply commands to more than one staff at a time, you can select more than one adjacent
staff using the Select Staff controls for the respective staves.
T o s e le c t the e ntire ra ng e o f o ne o r mo re a d ja c e nt s ta v e s :
Click the Select Staff button among the staff controls to select one staff. While holding down the
SHIFT key, click another staff to select it and all of the other staves between it and the first
selected staff.
3.7 Scrolling, Resizing and Zooming the Window

The Co mp o s e r window shows some portion of the score at any given time. In Page View 171 , the
window shows some or all of one printed page of the score. In Window View 171 , the window shows
some range of measures of the score-- as many as will fit in the window.
The window will display a vertical scrollbar in the following circumstances:
In Page View, if the entire height of the page does not fit in the window.
In Window View, if only part of one system fits in the window.
The window will display a horizontal scrollbar in the following circumstances:
In Page View, if the entire width of the page does not fit in the window.
In Window View, if only part of one measure fits in the window.
If a vertical and/or horizontal scrollbar is present in the window, then you can use it to scroll the window
177 , to see other parts of the page in Page View, or other staves of a system in Window View, or other
beats of a measure in Window View. You can also scroll from one page to the next page or the
previous page. If your mouse has a scroll wheel, you can use it to scroll the window. You can also use
keyboard shortcuts, such as PAGEDOWN to scroll down through a large portion of the page, and
SHIFT+PAGEDOWN to advance to the top of the next page.
During playback, Co mp o s e r automatically scrolls the window 177 to show the current position in the
song, and to keep the focus on the staff that you have selected 130 .
If you want to see a larger portion of the score in the window, you can resize the window 178 to see
more. Or you can use the Zoom Out 178 command to make the notes smaller and therefore view more
notes at once.
If are editing the score and need to increase the accuracy of the placement of objects in the score, you
can use the Zoom In 178 command to make the notes and annotations larger.
Options summarized above are described in detail in the topics that follow.
3.7.1 Scrolling the Window
Co mp o s e r displays a horizontal and/or vertical scrollbar along the right and bottom edges of the
window if the page does not fully fit within the window.
T o s c ro ll the c urre nt p a g e d is p la y e d in the wind o w:
If there is a vertical scrollbar, hit the PAGEDOWN or PAGEUP key to scroll the window by
almost the full height of the window. Alternatively, click the mouse cursor in an empty area of
the scrollbar.
-- OR --
To scroll by smaller amounts, move the horizontal or vertical scrollbar button with the mouse.
-- OR --
If your mouse has a scroll wheel, scroll it up or down to scroll the window vertically.
-- OR --
Type CTRL + , CTRL + , CTRL + , or CTRL + to scroll the window down, up, left,
or right by relatively small increments.
T o c o ntinue s c ro lling to the ne xt o r p re v io us p a g e :
Hit the PAGEDOWN or PAGEUP key for the next or previous page.
-- OR --
When you reach the bottom of a page, click the bottom vertical scroll button ; or when you
reach the top of the page, click the top vertical scroll button.
-- OR --
If your mouse has a scroll wheel, continue scrolling it up or down to scroll the window vertically.
Co mp o s e r will hesitate for about a half second between each page, so that you do not
unintentionally overshoot the next page.
T o a d v a nc e to the to p o f the ne xt o r p re v io us p a g e , witho ut s c ro lling thro ug h the re s t o f
the c urre nt p a g e :
Type SHIFT+PAGEDOWN for the next page, or SHIFT+PAGEUP for the previous page.
Also see Navigating through Pages of the Score 179 .
3.7.2 Automatic Scrolling During Playback
During playback, Co mp o s e r automatically scrolls the window vertically and horizontally to show the
current position in the song. It scrolls horizontally a few extra beats ahead of the current playback
position so that you can see the notes ahead. Co mp o s e r also turns the page a few beats ahead of
the current playback position. You can specify the exact number of beats for the page turn anticipation
130 .
If Co mp o s e r's window is not tall enough to display all of the staves for the current measure, then
Co mp o s e r automatically scrolls the window vertically to a position that maintains the focus on some
staff that you have selected, or which otherwise Co mp o s e r selects by default. You can assign
playback focus to a staff 130 , thus setting the playback staff marker, by clicking the staff while you
hold down the "V" key (for "vertical focus").
3.7.3 Resizing the Window
T o re s ize <% P R OD P OS E S S IV E % > wind o w:

1. If the window occupies the full screen, then you will first need to toggle the Maximize button at
the top, right corner of the window:
2. "Drag" the window's corner or edge: hold the mouse down, starting at the corner or edge, and
move the mouse to the new position before releasing the mouse button.
In Window View 171 , Co mp o s e r automatically and quickly repaginates the score so that each
page exactly fits the window size.
3.7.4 Zooming the Window
Co mp o s e r enables you to change the magnification of the score displayed on the screen. "Zooming
in" increases the magnification so that the music symbols appear larger. "Zooming out" makes the
symbols appear smaller, so that more of the musical score appears at once in the window.
Although you can specify exact zoom percentage levels with the Zoom Percentage command in the
View menu, Co mp o s e r may limit small zoom values to 30% or 40% if you are using Windows 95, 98,
or Millennium. On Windows NT, 2000 and XP, Co mp o s e r can handle arbitrarily small zoom levels.
N OT E : Changing the zoom level affects only the size of music symbols as displayed on the
screen. To change the size of music symbols as printed, use the Font Size and Spacing 223
command in the Format menu.
T o c ha ng e the zo o m le v e l:
1. Choose the Zoom command in the View menu, and the Zoom In or Zoom Out command from
the Zoom submenu.
-- OR --
2. Type Z+ to zoom in, or Z+ to zoom out.

-- OR --
3. In the toolbar, click the button to zoom in, or the button to zoom out.
-- OR --
4. To change the zoom level to a specific percentage magnification, choose the Zoom
command in the Zoom menu, and the Zoom Percentage command in the Zoom submenu.
T o re s e t the zo o m le v e l b a c k to 100% :
1. Choose the No Zoom command from the Zoom submenu.
-- OR --
2. Type Z+ENTER.
3.8 Navigating through Pages of the Score

You can go to different pages of the score by referring to any of the following:
Page number 180 .
Measure number 180 .
Rehearsal mark 181 .
You can do this by using:
Commands in the Go To submenu of the View menu.
-- OR --
Keyboard shortcuts, such as CTRL+PAGEDOWN for next page.
-- OR --
The Fast Forward and Rewind buttons in the main toolbar. Using these will move
the Playback Position Marker to the top of the page.
-- OR --
The Page Scroller in the lower right of the Status Bar.

Using this scroller allows you to view other pages without changing the position of the
Playback Position Marker when play is stopped, as well as when the file is playing.
You can also temporarily view and print a range of measures in the score 179 rather than all of the
measures.
For details about the above navigation and viewing options, see the topics that follow.
3.8.1 Viewing a Range of Measures
T o d is p la y o r p rint a ra ng e o f me a s ure s ins te a d o f a ll o f the me a s ure s in the s c o re :

1. Choose View Measures in the Measure menu. The View Measures menu item indicates what
range of measures are currently being displayed, such as "View Measures 25 to 49".
-- OR --
Type "qvm" for Quick View Measures.
Co mp o s e r will present a View Measure Range dialog.
2. In the dialog, specify the starting and ending measures that you wish to display or print. The
measure numbers of a score normally start at 1, unless you have specified a different starting
page number in the Page Setup 224 dialog box.
3. To then print the score 119 , use the Print command in the File menu.
3.8.2 First Page, Next Page, Previous Page, and Last Page
In Page View 171 , the page on the screen is an image of the page as it would be printed. In Window
View 171 , the page on the screen simulates a printed page that is exactly the size of the window. In
either Page View or Window View, you can advance forward and backward through the pages.
If the song is currently playing when you use any of the First Page, Next Page, or Previous Page
commands, then the song will continue playing where it was, without jumping to the new page. After a
few seconds, Co mp o s e r will return to the page that is currently playing. However, if you use one of
these commands during playback and you decide you would like playback to jump to the new page,
just click on that page.
If an object is currently selected, and you use the Next Page or Previous Page command, then the
page will be vertically scrolled so that staff of the selected object will have the staff vertical position in
the window. This is done so with the assumption that you will want to continue working in the same staff
as that of the most recently selected object, as you go to the next or previous page.
T o a d v a nc e to the ne xt o r p re v io us p a g e :
Type SHIFT+PAGEDOWN for next page, or SHIFT+PAGEUP key for previous page.
See the previous topic, Viewing a Range of Measures 179 , to learn about the action of the
PAGEDOWN and PAGEUP keys without the CTRL key.
-- OR --
Click the ">>" or "<<" areas in the Page Slider in the status bar at the bottom of Co mp o s e r's
window for the next or previous page:
-- OR --
Click the Next Page or Previous Page button in the main toolbar 159 .
T o g o to the firs t o r la s t p a g e o f the s c o re :
Type CTRL+HOME for first page, or CTRL+END key for the last page.
-- OR --
Double-click the Start of Song or End of Song button in the main toolbar.
3.8.3 Go to a Measure or Page
T o g o to s p e c ific me a s ure numb e r:

1. Choose the Go To command in the View menu, and Measure in the Go To submenu.
-- OR --
Type "qgm" for Quick Go to Measure.
Co mp o s e r will display the Go To Measure dialog box.

2. In the dialog box, enter the measure number that you want to go to.
T o g o to s p e c ific p a g e numb e r:
1. Choose the Go To command in the View menu, and Page in the Go To submenu.
-- OR --
Type "qgp" for Quick Go to Page.
Co mp o s e r will display the Go To Page dialog box.
2. In the dialog box, enter the page number that you want to go to.
-- OR --
3. In the status bar at the bottom of the window, drag the Page Scroller button.
3.8.4 Go to a Rehearsal Mark
You can add any number of rehearsal marks in a score, as described in Rehearsal Marks 482 .
Rehearsal marks help ensemble musicians to easily refer to locations in a score during rehearsals. You
can also use rehearsal marks as bookmarks while you are composing or editing the song. Once you
have added a rehearsal mark, you can quickly go to it from wherever you are in the score.
T o g o to a p re v io us ly a d d e d re he a rs a l ma rk :
1. Choose the Go To command in the View menu, and Rehearsal Mark in the Go To submenu.
-- OR --
Type "qgr" for Quick Go to Rehearsal Mark.
Co mp o s e r will display the Go To Rehearsal Mark dialog box.
2. In the dialog box, select the rehearsal mark that you want to go to.
4 Editing Staves and Formatting Parts
In Co mp o s e r, the largest unit of musical data is the song. (The term "song" is admittedly
inappropriate for many types of music compositions, but it is a convenient term to use.) A song is all of
the music-- the performance and the notation-- that you can save and later retrieve from a Notation .not
file 77 .
T IP : Actually, the largest unit of musical data in Co mp o s e r is a playlist 40 . You might find it
handy to break up a musical composition into multiple Notation .not files, perhaps one for each
major section of a composition or arrangement.
The next largest unit of musical data is a "staff". A staff is the line of music throughout the song
performed by one instrumentalist or vocalists, or group of musicians sharing the same notes. Some
instruments have multiple staves, such as a pair of piano right-hand and left-hand staves. In
Co mp o s e r, a staff also holds underlying MIDI performance details. If you are familiar with MIDI
sequencing software, a staff is similar to a MIDI track, except that a staff also includes notation details.
In Co mp o s e r, the concept of a "part" is similar to what you would think of as an individual part that lies
on a music stand as an instrumentalist or vocalist reads it. A part shows one or more staves. The part
for an oboe or saxophone has only one staff. The part for a piano or keyboard instrument typically has
two staves for the right and left hands.
If the song has multiple instruments or vocal parts, then the score that shows all of the instruments and
vocal parts together is called the "conductor's score". In Co mp o s e r, the conductor's score is treated
just like another instrument part; it just happens to show all of the staves for all of the instruments.
N OT E : Instrument and vocal parts are integrated with the conductor's score. For example, if
you change a note in a part, it is automatically reflected in the conductor's score; or if you
change a note in a staff in the conductor's score, that change is automatically reflected in the
instrument or vocal part.
In Co mp o s e r, you can format a part 223 or layout pages of a part 241 for printing using a wide variety of
options, whether the part is for a single instrument or voice, or whether it is the overall conductor's part.
The main idea here is that a "part" is a primary unit in Co mp o s e r that you can format independently of
other parts.
The above introductions to the terms "staff" and "part" are far from adequate to help you understand
their central roles in Co mp o s e r. It is highly recommended that you read the topic Understanding
Staves, Staves and Parts 182 before exploring these major areas of Co mp o s e r:
Editing Staves 184
Preparing Parts 207
Formatting Parts 223
Laying out Pages of a Part 241
4.1 Understanding Tracks, Staves, and Parts

It is important to understand how Co mp o s e r defines the terms staff and part. These two terms are
closely related, yet they have distinct meanings in Co mp o s e r, and are used extensively in
Co mp o s e r's user interface. For example, Co mp o s e r's main menu includes both a Staff menu and a
Part menu.
If you have worked with MIDI sequencing software, then you are probably familiar with the term track.
The relationship between a staff in Co mp o s e r and a MIDI track is explained at the end of this topic.
Editing Staves and Formatting Parts 183
The following excerpt from the string section of Tchaikovsky's 1812 Overture: illustrates the
relationships between staves and parts. The remainder of this topic explains these terms.
The above example illustrates:

two systems on a page of the string section from the conductor's score
four staves per each system, for Violin 1, Violin 2, Cello, and Contrabass
the Violin 2 part extracted from the conductor's score
S y s te m
A system is one line of music played together by possibly multiple instruments and voices. In the top
half of the above example, there are two systems, that is, two lines of music. A system break is like a
line break in a text documentation, where a sentence ends at the right side of the page and continues
below on the page or at the beginning of the next page.
S ta ff
In strict music terminology, a staff is the set of five (or sometimes a different number of) staff lines that
hold the notes for a particular instrument or voice in one system (line of music). Music software
programs have traditionally departed from this strict definition of the term staff, and so does
Co mp o s e r. A staff is defined as all of the music (and all MIDI details) played by given instrument or
voice across all of the systems and pages in the score.
P a rt
In Co mp o s e r, the most common example of a "part" is the music played by one instrumentalist or
vocalist (or multiple musicians performing the same part). The part is the sheet music that lies on the
music stand in front of the musician.
Vocal parts and single-melody instruments usually have just one staff. Piano parts usually have two
staves for the right and left hands.
The "conductor's score" is a special part that shows all of the staves in the score.
The currently selected part is displayed in the main menu. You can view a different part by selecting
in the dropdown list of part names:
A part can be formatted and paginated independently of other parts extracted from the conductor's
score. You can choose special formatting options 223 for the display of a given part. You can also
control the page breaks and system breaks 241 (at particular measures) for that part. You can assign a
name to that part 209 and later recall it, so that only the staves assigned to that part are displayed, and
the saved formatting options and pagination details are restored.
One of the powerful features of Co mp o s e r, which you will not find in many other music notation
programs, is that all "extracted" parts of a score remain perfectly synchronized with the full conductor's
score. If you add a note for, say, the Violin 2 part in the conductor's score, it will also be added in the
separately extracted, formatted and paginated Violin 2 part. Conversely, if you are viewing the Violin 2
part, and add a note to it, the next time you view the conductor's part, you will see that the note was
added there also.
P o te ntia l Co nfus io n b e twe e n the T e rms ' S ta ff' a nd ' P a rt'
This terminology is potentially confusing, because Co mp o s e r's definition of staff is what some
musicians might say is a "part". When a musician talks about a "part", is he referring to his lines
(staves) of music in the conductor's score, or is he referring to the sheet music on his music stand that
he plays from? Both concepts of the music are commonly called "part", but Co mp o s e r needs to
distinguish the two concepts.
If at first you are confused about the difference between the terms staff and part, you might find it helpful
to think about piano music. A solo piano piece has just one part-- the piano part. But the solo piano
piece has two staves-- the right- and left-hand staves.
R e la tio ns hip b e twe e n S ta ff a nd MID I T ra c k
In Co mp o s e r, there is exactly one MIDI track for each staff. If an instrument has two staves, then it has
two MIDI tracks. If you are familiar with MIDI and MIDI sequencers, you can think of "staff" as being a
MIDI track for which the music notation is displayed.
Some other music software programs, called "MIDI sequencers", offer a "staff view", which is an
automatic transcription of the notes in the MIDI track. In Co mp o s e r, the notes displayed in the staff are
similarly automatically transcribed. However, after the notes have been recorded and transcribed, in
Co mp o s e r you can further refine the notation (such as the interpretation of rhythms) while optionally
leaving the underlying MIDI performance unchanged.
4.2 Editing Staves

A staff is a storage area within a song, that collects all of the notes and musical performance details
(such as volume level and pan) that are associated with a particular instrument or vocal part. If you
have not done so yet, it is highly recommended that you read the previous topic Understanding Tracks,
Staves, and Parts 182 .

Adding New Staves 185
Deleting Staves 188
Editing Instrument (Staff) Names 189
Changing the Instrument Sound of a Staff 191
Assigning MIDI Channel 196
Cloning a Staff 197
Merging Staves 198
Adjusting Per-Staff Volume Level and Pan 199
Transposing a Staff 200
Splitting Staves 200
-- Splitting a Staff into Right- and Left-Hand Staves 201
-- Splitting the Drum Staff into Individual Drum Staves 202
-- Splitting a Staff into Melody and Accompaniment 204
Removing Double Played Notes from Solo Instrument 204
Rearranging the Order of Staves 205
Shifting Notes Between Staves 206
4.2.1 Adding New Staves
For most types of instruments, there should be one staff in the song for each instrument. For piano,
keyboard, organ, and some other instruments, there should typically be two staves-- one for the right
hand, and one for the left hand. If the song is written for a large ensemble, then one staff might produce
the sound for a "section" of instruments, such as cellos in an orchestra.
A newly added staff is initially added only to the currently selected part 182 . The next time you view any
other part, Co mp o s e r will ask you whether you would like to make the newly added staff visible that
part.
There are three ways you can add new staves in Co mp o s e r:
1. Add a new staff immediately below a currently selected staff, or at the end of the list of staves.
2. Add several staves and rearrange their order in the Staff Setup dialog box.
3. Add a pair of piano, keyboard, or organ right- and left-hand staves, for which a brace will be
automatically added to the left.
N OT E : When you add a staff, Co mp o s e r will automatically create a corresponding part,

which you can later selected in the part dropdown list in the main menu. When you add a
keyboard part, Composer will automatically add both the right- and left-hand staves to it.
T o a d d a ne w s ta ff imme d ia te ly b e lo w a c urre ntly s e le c te d s ta ff, o r e ls e a t the e nd o f

the lis t o f s ta v e s :
1. Select the staff below which you wish to add the new staff. Select this staff by clicking the
Select Staff button among the staff controls 172 . If no staff is selected, this procedure will
result in adding the new staff at the end of the list of staves.
2. Choose the Add Staff command in the Staff menu.
-- OR --
Type "qas" for Quick Add Staff.
Co mp o s e r will display a Staff Setup dialog box, such as the following:
This is the same Staff Setup dialog that is displayed when you click the Instrument Sound
button among the staff controls 172 .
If you selected a staff in step #1, then the Staff Setup dialog box will be preset with the staff
name, device, channel, bank, and instrument sound of the staff that you selected. This allows
you to quickly duplicate the properties of a staff when creating a second staff.
3. Fill out the Staff Setup dialog box according to how you want the instrument sound to be
produced by Co mp o s e r. For details, see Changing the Instrument Sound of a Staff 191 .
4. Click the OK button to complete the adding of the new staff.
Co mp o s e r will display the new staff in the score at the position you selected in step #1.
T o a d d o ne o r mo re ne w s ta v e s us ing the Multip le S ta ff S e tup d ia lo g :
1. Choose the Staff Setup command in the Staff menu.
-- OR --
Type "qsus" for Quick Set Up Staves.
Co mp o s e r will display the Multiple Staff Setup dialog, such as illustrated below:
N OT E : The Staff Setup window lists all of the staves, regardless of whether they happen to be
included in the current part you are working with, which is the conductor's score in the above
example. The 'In Part' check mark indicates whether a staff is included in the current part, which
is identified and which can be selected using the Display or Define Part button at the top of the
Staff Setup window.
2. In the list of staves, click on the staff number above which you wish to add a new staff. (If you
wish to add a staff at the top of the list, add it initially in the second position in the list, and then
use the Move Up button to move it to the first position.)
3. Click the Add button.
Co mp o s e r will add a new staff in the list, immediately below the currently selected staff.
4. You can rearrange the order of the new staff in the list by clicking the Move Down or Move Up
button. The Move Down and Move Up buttons apply to the currently selected staff.
5. You can also change the staff name, instrument sound, and other properties of the staff as
listed in the columns. Details about the staff properties in each of the columns are described in
the following topics:
Staff and Abbr columns: Editing Instrument (Staff) Names 189
Show column: Showing and Hiding Instrument Names 234
Mute column: Muting Staves 135
Volume column: Per-Staff Channel Volume Level 554
Pan column: Left-to-Right Pan 559
Device, Channel, Bank, and Instrument columns: Changing the Instrument Sound of a Staff
191
6. If this is a drum staff, then set a check mark for Drum Instrument, and specify the Drum
Instrument Properties, as described in Changing the Instrument Sound of a Staff 191 . See also
Editing Drum Notes 341 .
7. Click the OK button to complete the adding of staves and editing of staff properties.
T o a d d a p a ir o f p ia no , k e y b o a rd o r o rg a n rig ht- a nd le ft-ha nd s ta v e s :

1. Choose the Add Keyboard RH and LH Staves command in the Staff menu.
2. Follow the same instructions as above for adding a single-staff instrument.
Co mp o s e r will create a pair of right- and left-hand keyboard staves, and will create a new
part to which these two staves belong. The name that you give to this instrument will be
displayed on the left side of the brace 386 that is automatically created for the two staves.
4.2.2 Deleting Staves
In Co mp o s e r you can either delete a staff or temporarily hide a staff. If you delete a staff, it is
permanently removed from the song. If you save the song as a MIDI file or Notation file 112 , the deleted
staff will not be included in the file.
In contrast, if you "hide" a staff, it is only temporarily removed from the current part 182 . If you save the
song as a MIDI file or Notation file 112 , the hidden staff will also be saved. If the MIDI file is later
reopened, the hidden staff will displayed again.
T o d e le te a s ta ff:
1. Select a staff by clicking the Select Staff 175 button.

2. Choose the Delete command in the Staff menu.
-- or --
Type "qds" for Quick Delete Staff.
Co mp o s e r will display the Delete Staff dialog box.
3. Select a staff in the Delete Staff dialog box. To select a set of adjacent staves, hold down the
SHIFT key as you click a second staff name. To select non-adjacent staves, hold down the
CTRL key as you click the staff names.
-- OR --
1. Choose the Staff Setup command from the Staff menu.
-- or --
Co mp o s e r will display the Staff Setup window with a list of staves.
2. In the left-most column of the staff list, click the number of the staff you wish to delete. This will
highlight the row of information for that staff.
3. Click the Delete button on the right side of the Staff Setup window.
4. Click OK in the Staff Setup window to delete the staff.
T o te mp o ra rily hid e a s ta ff:

1. Click "Staff/Setup"
2. In the dialog click in the staff's "HIde" box to temporarily hide the staff in that Part. This does
not delete the staff, but only hides it temporarily. If the file is closed and then re-opened, the
staff will again show in the displayed Part.
3. To show the staff again for that Part in the same session, simply uncheck the "Hide" box.
4.2.3 Editing Instrument (Staff) Names
Co mp o s e r optionally displays instrument names in the left margin of the window or printed page.
Each staff has a "long name" and an abbreviated name. Many MIDI files have staff names that are so
long that too much of the printed page or viewing area of the screen would be wasted. Therefore, you
might want to abbreviate the staff names. In addition, you can specify a long staff name for the
beginning of the score, and an abbreviation for subsequent pages of the score. This is a common
practice in orchestral scores.
Co mp o s e r allows you to specify whether a long name or short name is displayed after the first page
of a given part 182 . Or, you can omit the display of staff names altogether. Look further down this topic
for details.
If two or more staves are grouped together in the left margin with a brace or bracket 386 , then you can
assign an instrument name or instrument group name, as explained at the end of this topic.
T o c ha ng e a s ta ff na me :
1. Enter Window View 171 by choosing the Window View command in the View menu.
-- OR --
Type "qwv" for Quick Window View.
2. Make sure that the staff controls are visible at the start of the staff, by choosing the Show Staff
Controls 172 option from the View menu. The staff controls look like this:
3. Click the instrument sound 175 button for one of the staves.
Co mp o s e r will display a Staff Setup dialog box such as the following:
4. Type in a new long name and an abbreviation.

5. Click OK to save the change(s).

Alternatively, if you need to change the names of several staves at once, you can use the multiple Staff
Setup window.
T o c ha ng e s e v e ra l s ta ff na me s a t o nc e :
Co mp o s e r will display the Staff Setup dialog box, such as below:
2. Change the staff name and/or abbreviation in the first and second columns of the upper panel.
3. Click OK to complete any staff name change(s).
T o s p e c ify whe the r the s ta ff na me a nd / o r a b b re v ia tio n (o r ne ithe r) a re to b e d is p la y e d

o n p a g e s a nd s ta ff s y s te ms thro ug ho ut the c urre nt p a rt 182 :
Follow instructions in the topic Showing and Hiding Instrument Names 234 .
T o a d d a n ins trume nt na me o r ins trume nt g ro up na me to the le ft o f a b ra c e o r b ra c k e t

fo r multip le s ta v e s :
1. Add the brace or bracket, and extend it vertically across all of the staves it belongs to.
2. If the brace or bracket is not already selected, then click it in Select Mode.
3. In the Bracket Palette, click the Bracket Group Name button.
Co mp o s e r will display the Bracket Staff Group Name dialog box.

4. In Bracket Staff Group Name dialog, enter the "long" name and the abbreviation for the
instrument or instrument group.
In determining whether to display the long or abbreviated name at the left of the bracket or
brace, Composer applies the same rules as it does for determining whether the long or
abbreviated name of individual staves are displayed, as described in Showing and Hiding
Instrument Names 234 .
4.2.4 Changing the Instrument Sound of a Staff
For each staff, you can specify what kind of instrument sound will be used by specifying the MIDI
device, channel, bank, and instrument sound (MIDI program number). You can change the sound of a
staff while the song is playing.
Typically, a staff uses a single instrument sound throughout the entire song. But you can also insert
instrument sound changes (MIDI program changes) at any time locations throughout the staff. Also,
some MIDI files that you import will have such mid-staff instrument changes. You can make these
instrument sound changes temporarily visible in the score, and change or delete them, or insert
additional sound changes. For details, see Inserting a Sound Change in the Middle of a Staff 528 .
Use the MIDI Device Configuration Window 611 to determine what devices, banks, and patches are
available in your current configuration of MIDI devices.
N OT E : If this is y o ur firs t time us ing Co mp o s e r, and it does not produce sound from
your sound card, then follow the procedure as described in Quic k MID I D e v ic e S e tup 576 .
There are two ways you can change the instrument sound of a staff. The first method is convenient for
changing the sound for one staff. The second method is convenient for changing the sounds for
several staves. The first method has the advantage that you can change instrument sounds while a
song is playing.
T o c ha ng e the ins trume nt s o und fo r a s ing le s ta ff (e v e n d uring p la y b a c k ):
1. Make sure that the staff controls are visible at the start of the staff, by choosing the Show Staff
Controls option from the View menu, or by typing "qssc" for "Quick Show Staff Controls". The
staff controls look like this:
Then click the Staff Selection button.

- OR --
If you do not wish to display the staff controls, use the right mouse button to click any empty
area in the staff's staves.
Co mp o s e r will display a pop-up menu such as illustrated here:
In the pop-up menu, choose the Instrument Sound command.

Co mp o s e r will display the Staff Setup dialog, such as shown below. The most important
setting that determines the sound of a staff is the "instrument sound". Select the instrument
sound from the list at the bottom of the window.
3. Choose a device 623 from the list of choices. The available devices will be those MIDI output
devices in the current MIDI device configuration.
4. Choose a MIDI channel, 1 to 16, or Auto Channel. Here are some important guidelines in
choosing the right MIDI channel:
If the MIDI file plays well, and you only intend to change the patch for a staff, then you
probably should not change the MIDI channel.
If the device is a General MIDI (GM) 636 device, and the staff is intended to play General
MIDI drum sounds, then assign channel 10.
If your song has more than 16 staves that must share the same MIDI output port, then
assign all of the staves to Auto Channel. One exception is that the General MIDI drum staff
must still be assigned to channel 10. For more information, see Assigning Auto Channel
196 .
5. Choose a bank from the list of choices, which will depend on the type of device selected.
6. Choose an instrument sound from the Patch table. The list of available patches will depend on
the type of device and specific bank selected.

T IP : To search for an instrument sound, click anywhere in the list of patch names.
Then type the first letter of the instrument name, such as "V" for Viola. If another
instrument is selected, such as "Violin", then type "V" again for the next instrument
name that begins with that letter.
7. If this staff is for one or more drum instruments, then following these steps:
(a) Set a check mark by Drum Instrument. The bottom of the Staff Setup dialog box will
expand, offering extra choices for the drum instrument:
If the playback device is a General MIDI (GM) device, then channel 10 will be
automatically assigned-- the standard channel for GM drum tracks.
The patch selection will remain unchanged. For GM devices, you can ignore the patch
selection.
(b) For some devices, select from the Patch list a patch that specifies one of possibly
several available "drum kits". For other devices, it does not matter which patch you select.
For more information about this, see Managing Drum Note Lists 646 .
(c) Choose one of the following three options for 5-line or 1-line drum staff:
5-line s ta ff with multip le d rum p itc he s : Use this for a "drum kit" that assigns pitches to
distinct drum sounds. For example, the General MIDI drum kit specifies the "Hi Bongo"
drum sound for pitch 60 (middle-C), and "Tambourine" sound for pitch 54 (F# below
middle-C). The pseudo drum pitches are indicated on a treble or bass clef staff, like
normal pitches. A pseudo drum pitch might have an accidental. Note,this version of
Co mp o s e r does not offer a option with which you can reassign drum instruments to
specific lines of the 5-line drum staff.
1-line s ta ff with multip le p s e ud o d rum p itc he s : This option collapses a 5-line drum
staff into a 1-line drum staff. The distinct drum sounds are still heard during playback. But
the 1-line staff places the noteheads all on the same single staff line.
1-line s ta ff fo r this d rum ins trume nt: The 1-line drum staff plays a single drum
instrument sound for a specific pseudo drum pitch in the drum kit.
(d) If you choose either of the two 1-line staff options, then choose the drum sound, that is, one
the drum notes that has been specified for this device. For information about how to
configure drum notes for a device, see Managing Drum Note Lists 646
(e) Optionally, choose a percussion notehead style for the drum staff.
8. Click the OK button to complete the assignment of the instrument sound to the selected staff.
T o c ha ng e the ins trume nt s o und s fo r s e v e ra l s ta v e s a t a time :
-- OR --
Co mp o s e r will display a Staff Setup window, such as the following:
2. Each row in the Staff Setup table offers the same choices as those described above for the
single staff setup procedure: device, channel, bank, and patch. When you click one of the
cells, Co mp o s e r will display a list of choices for the device, channel, bank, or patch.
3. Click the OK button to complete the new sound assignments.
T o a s s ig n a ll s ta v e s to the s a me d e v ic e a nd MID I b a nk :
1. Choose the Staff Setup command from the Staff menu. Co mp o s e r will display a Staff Setup
window, such as shown above.
2. Click the column header for Device. Co mp o s e r will display the following dialog box:
3. Select the device and MIDI bank to be assigned to all staves, and click the OK button.
Note, non-General MIDI patches generally differ among alternative devices and MIDI banks.
Therefore, after you assign the new device and bank, you will also probably need to reassign
patches on a per-staff basis.
T o a uto ma tic a lly re a s s ig n s ta v e s to a ne w d e fa ult MID I d e v ic e whe n y o u re o p e n

N o ta tio n .no t file s :
See Changing the Default Playback Device 591 .
4.2.5 Assigning MIDI Channels
In the Staff Setup 191 dialog, you can assign a staff either to a specific MIDI channel, 1 to 16, or to Auto
Channel. When a staff is assigned to Auto Channel, Co mp o s e r may assign different notes in the
same staff to different MIDI channels during playback. Auto Channel is explained later in this topic.
T o c ha ng e the MID I c ha nne l fo r a s ing le s ta ff:
1. If the staff controls are visible, click the Instrument Sound button. To display the staff
controls, choose the Show Staff Controls command in the View menu, or type "qssc for Quick
Show Staff Controls.
-- OR --
While holding down the 'S' key, click anywhere in a staff of the staff. Co mp o s e r will display a
pop-up menu. Choose the Instrument Sound command in the pop-up menu.
2. Co mp o s e r will display a Staff Setup dialog, such as the following:
3. In the Staff Setup dialog, select a channel number, 1 to 16, or select "Auto" for automatic
channel assignment. Automatic channel assignment is explained below. For General MIDI
devices, assign channel 10 to drum staves.
T o c ha ng e the MID I c ha nne l fo r s e v e ra l s ta v e s a t a time :
Co mp o s e r will display a Staff Setup window, such as the following:
2. For each staff row, click the Channel cell. In the Channel cell, select a channel number, 1 to 16.
For General MIDI devices, assign channel 10 to drum staves.
3. Click the Exit button to complete the new channel assignments.
T o a s s ig n MID I c ha nne ls to a ll s ta v e s in o ne s te p :
Co mp o s e r will display a Staff Setup window, such as illustrated above.
2. Click the Channel column header.
3. If you click "Ok", then channel 1 will be assigned to the first staff, 2 to second, and so forth; but
channel 10 will be skipped if the lower checkbox has a check mark. Using this method of
assigning channels to staves all at once can be useful if you have a single MIDI playback
device, but the original file used multiple devices and had the same channel numbers
assigned to multiple staves.
4.2.6 Cloning a Staff
Sometimes you may want to clone (copy) an entire staff, such as to back up a staff before you
experiment with some new musical ideas for that staff. Or, you may want to make a copy of a recording
"take" before you record a second take.The procedure for cloning a staff is simple.
T o c re a te a ne w s ta ff a s a c o p y o f a no the r:
1. If the staff controls are visible, then click the Staff Selection button to select the first staff:
2. Choose the Clone Staff command from the Staff menu.

Co mp o s e r will display the Clone Staff dialog box.
3. In the Clone Staff dialog box, confirm the staff you selected in step #1.
-- OR --
Select a staff that you wish to copy.
4. If you are cloning the staff for backup purposes, then you will likely want to mute the newly
cloned staff. See Muting and Soloing Staves 135 for instructions.
4.2.7 Merging Staves
Sometimes you may find it useful to merge two or more staves. For example, some MIDI files for
Baroque keyboard pieces assign a separate staff to each voice in a hand, rather than just a right- and
left-hand staff. You will want to merge these staves into a single staff, and then use the Split Hands 201
command to separate the now single staff into right- and left-hand staves.
If you intention is to produce a piano reduction of a score of multiple instruments or vocal parts, then
you can use the Prepare Piano Reduction command in the Part menu. It basically combines the
Merge Staves command and the Split Hands command into one easy step. For details, see Preparing
a Piano Reduction of a Score 219 .
When Co mp o s e r merges staves, it merges both the underlying MIDI performance and the visible
notation. The merging of the notation can become complicated. For example, if one staff has triplets,
and another quintuplets, and another dotted rhythms, the merging of the rhythms could result in more
than the maximum of two voices (upper and lower voices with stems pointing up and down) supported
by Co mp o s e r. In this case, Co mp o s e r attempts to simplify the displayed rhythms; but it will not
change the underlying MIDI performance-- the actual timing of the played notes.
T o me rg e two o r mo re s ta v e s :
1. If the staff controls are visible, then click the Staff Selection button to select the first staff.
Then while holding down the SHIFT key, click the Staff Selection button for another staff.
These two staves and all of the staves in between will be selected.
2. Choose the Merge Staves command from the Staff menu.
-- OR --
Type "qms" for Quick Merge Staves.
Co mp o s e r will display the Merge Staves dialog box.
3. In the Merge Staves dialog box, confirm the staves you selected in step #1.
-- OR --
Select the staves that you wish to merge.
4. Also, in the Merge Staves dialog box, you may wish to click the Transcription Options button.
The transcription options will apply to the newly merged staff. The determine whether:
Standard versus jazz (swing) rhythm notation will be used.
Single voices or split (upper and lower) voices will be detected and notated.
Overlaps of notes will be removed to reduce the number of ties in the score.
Rests smaller than a specified size (quarter, eighth, or sixteenth) will be removed.
Grace notes, trills and tremolos will be detected and notated.
For details about these options, see Transcription Options 86 .
Co mp o s e r will merge the selected staves.
4.2.8 Adjusting Per-Staff Volume Level and Left-to-Right Pan
You can independently adjust the volume level and left-to-right pan for each staff. Adjusting the left-to-
right pan is similar to setting the balance between the left and right speakers on a stereo audio system.
The range of volume level is 0 to 127. This is the "MIDI channel volume", controlled by MIDI controller
number 7.
The range of the left-to-right pan value is also 0 to 127. This is the "MIDI pan", controlled by MIDI
controller number 10.
Co mp o s e r lets you temporarily adjust the volume of one or more selected staves during playback.
See Adjusting Volume of Selected Staves During Playback 135 .
You should be aware that some sound card drivers cleanly separate sounds into the left and right
speakers when you assign the maximum left and right values, 0 and 127. Other sound card drivers
bleed the sounds to some degree between the left and right speakers, even when the maximum left
and right values (0 and 127) are used. Other sound card drivers do not support left-to-right pan at all.
The staff for an imported MIDI file may have varying per-staff volume and pan values throughout the
song. Or, you may add varying per-staff volume level and pan values throughout the song using graph
editing tools, as described in Per-Staff Channel Volume 554 and Left-to-Right Pan 559 .
T o d e te rmine whe the r a s ta ff ha s a c o ns ta nt v o lume le v e l o r le ft-to -rig ht p a n, v e rs us a
v a ry ing v o lume o r p a n thro ug ho ut the s o ng :
1. Choose the Staff Setup command from the Staff menu. Co mp o s e r will display a Staff Setup
window, such as the following:
2. Observe the values in the Volume and Pan columns of the Staff Setup table for each staff. A
number for the volume or pan indicates that the staff has a constant value for the volume or
pan throughout the entire song. If the value is displayed as "Var" (for "varying") then the
volume or pan changes at one or more places in the song.
T o c ha ng e the v o lume le v e l o r le ft-to -rig ht p a n fo r o ne o r mo re s ta v e s :
1. Choose the Staff Setup command from the Staff menu, as above.
2. For each staff row, click the Volume or Pan cell. In the Volume or Pan cell, enter a value 0 to
127.
N OT E : If the value was "Var" and you enter a number, then the varying volume or pan level
will be replaced with a constant level throughout the entire song. Once you have entered a
number, you cannot restore the varying volume or pan levels in the song by typing "Var" back
into the table cell. To restore the varying volume or pan level, hit the Cancel button to exit the
dialog box without saving the changes.
3. Click the OK button to complete the new volume or pan assignments.
T o a s s ig n a v o lume le v e l o r le ft-to -rig ht p a n v a lue to a ll s ta v e s in o ne s te p :

Co mp o s e r will display a Staff Setup window, such as illustrated above.
2. Click the column header for Volume or Pan.
Co mp o s e r will display the following dialog box (or a similar one for Pan):
3. Enter a value from 0 to 127.
4.2.9 Transposing a Staff
If you wish to transpose all of the notes in a staff, you should first ask yourself these questions: Do you
wish to change actual as-heard pitches of all of the notes in the staff? Or, do you wish to transpose the
staff according to the natural key or clef of the instrument? For example, do you wish to transpose the
notes for a Bb clarinet up by two half-steps, or transpose the notes for a guitar up by an octave?
If you wish to transpose the actual as-heard pitches of all of the notes in the staff, then select all of the
notes in the staff, and then raise or lower the pitches of all of the notes with one Change Pitch
command. For details, see Editing Note Pitch 313 .
If you wish to transpose the as-notated pitches according to the natural key or clef of the instrument,
then use the Transpose Instrument Key 348 command in the Staff menu.
Please see the details in the above two referenced topics for further details.
4.2.10 Splitting Staves
Co mp o s e r offers the following commands in the Staff menu to split a staff into two or more staves, with
certain ways of distributing the notes between the staves:
If a piano or keyboard staff combines the notes for both the right and left hands, then use the
Split Hands 201 command to divide the notes into right- and left-hand staves.
A MIDI file normally combines the notes for all drum instruments on one staff, and
misrepresents the notes as pitches on a 5-line staff. You can use the Split Drums 202 command
to divide the percussion notes into separate one-line staves per each instrument.
If a staff combines a melody and accompaniment, use the Split Melody and Accompaniment
204 command to separate them into two staves.
4.2.10.1 Splitting a Staff into Right- and Left-Hand Staves
In a MIDI file, the notes for a keyboard instrument are often kept in one staff, combining the notes of
both the left and right hands. When Co mp o s e r first transcribes the keyboard staff, it might display the
notes for both hands in a single staff, such as the following:
At your request, Co mp o s e r will split the notes into left- and right-hand staves. Co mp o s e r makes
intelligent guesses about the distribution of notes between the two hands, based on an analysis of
hand positions, finger positions, and hand motions. If Co mp o s e r makes an error in determining which
hand a particular note is assigned to, you can easily reassign it to the other hand.
T IP : You can instruct Co mp o s e r to automatically recognize tracks in imported MIDI files that
probably need to have the Split Hands command applied. Use the Transcriptions Option
command in the Setup menu, and set a check mark for the automatic recommendation named:
"Keyboard staff probably should be split into RH and LH staves." For more information, see
Transcription Options 86 .
T o s p lit no te s in a k e y b o a rd s ta ff into le ft- a nd rig ht-ha nd s ta v e s :

The remaining steps of this procedure will replace the original staff that you are splitting. If you want
to preserve a copy of the original staff, then use the Clone Staff 197 command in the Staff menu to
make a copy of the staff.
1. If the staff controls are visible, then click depress the Staff Selection button to select a staff.
If the staff controls are not visible, you can make them visible by choosing the Show Staff
Controls option from the View menu.
2. Choose the Split Hands command from the Staff menu.
-- OR --
Type "qsplh" for Quick Split Hands.
Co mp o s e r will present you with the Split Hands dialog box.
3. In the Split Hands dialog box, confirm the staff you selected in step #1, or select a staff.
4. Also, in the Split Hands dialog box, you might wish to click the Transcription Options button.
The transcription options will apply to the two newly created right- and left-hand staves, and
determine whether:
Grace notes, trills and tremelos will be detected and notated.
For details about these options, see Transcription Options.
5. Click the OK button to confirm the Split Hands command.
Co mp o s e r will replace the single selected staff with two staves, one for the left hand and one
for the right hand. It will also add a brace along each pair on the left side of the right- and left-
hand staves. For the above example, the result will look like this:
You might notice that the first measure distributes the notes between the left- and right- hands
differently than as scored by Bach. Of course, Bach is right, and Co mp o s e r is wrong. You can
quickly correct such mistakes.
T o c o rre c t the p la c e me nt o f o ne o r mo re no te s b e twe e n the rig ht- a nd le ft-ha nd s ta v e s :
1. Select one or more notes 264 : Click a note with the mouse. Or click and drag the mouse cursor
across multiple notes. Or click one note with the mouse, and to select additional separate
notes, hold down the SHIFT key while clicking them.
2. While holding down the SHIFT key, hit the key to move the selected note(s) from the left-
hand staff to the right-hand staff above, or the key to move the note(s) down to the next
staff.
Here is what the same example looks like after the three notes in the left hand of the first measure
are selected and then moved to the right-hand staff with SHIFT+ :
4.2.10.2 Splitting the Drum Staff into Individual Drum Staves
In MIDI files, the notes for drum kit instruments are typically kept in a single staff. Even though most
percussion instruments do not have pitches, the various instruments are assigned unique pseudo
pitches to distinguish the multiple percussion instruments that can be simultaneously playing in a staff.
To learn about viewing and editing the drum note pitches for a MIDI device, see Managing Drum Note
Lists 646 .
When Co mp o s e r first transcribes a percussion staff, it will display the drum notes as though they have
pitches, as illustrated here:
N OT E : Most drum sounds do not have pitches. However, in MIDI files, different types of drum
sounds are distinguished by pseudo pitches. Instead of displaying sharps and flats in front of
the drum notes, Co mp o s e r uses a upward triangle to indicate that the pseudo drum pitch is
to be raised by a sharp, and a downward triangle to indicate that the pseudo drum pitch is to
be lowered by a flat.
A drum player will not want to try to play from a part notated like the above. The drum player will prefer
to play from a part in which the notes for each instrument are displayed on a separate staff line.
Co mp o s e r offers an easy way for you to change a drum pitch staff such as the above to one or more
single-line staves, one per each unique percussion instrument.
T o s p lit a d rum no te p itc h s ta ff into s ing le -line s ta v e s , o ne p e r e a c h d rum ins trume nt:
1. The remaining steps of this procedure will replace the original staff that you are splitting. If you
want to preserve a copy of the original staff, then use the Clone Staff 197 command in the Staff
menu to make a copy of the staff.
2. If the staff controls are visible, then click the Staff Selection button to select a staff. If the
staff controls are not visible, you can make them visible by choosing the Show Staff Controls
option from the View menu.
3 Choose the Split Drums command from the Staff menu.
-- OR --
Type "qspld" for Quick Split Drums.
Co mp o s e r will present you with the Split Drums dialog box.
4 In the Split Drums dialog box, confirm the staff you selected in step #1, or select a staff.
5 Click the OK button to confirm the Split Drums command.
Co mp o s e r will replace the original drum staff with one or more staves, one per each unique
percussion instrument. For the above example, the result will look like this:
Co mp o s e r will assign each percussion instrument the instrument name (such as "Side Stick") that
is associated with the pseudo pitch of the drum sound. For more information, see Managing Drum
Note Lists 646 .
4.2.10.3 Splitting a Staff into Melody and Accompaniment
Sometimes it is useful to split the notes in a staff into two staves, one for melody notes and a second
staff for accompaniment notes. For example, you might want to do this to prepare a melody vocal staff
to which you will add lyrics.
T o s p lit a s ta ff into two s ta v e s with me lo d y no te s a nd a c c o mp a nime nt no te s :
1. The remaining steps of this procedure will replace the original staff that you are splitting. If you
want to preserve a copy of the original staff, then use the Clone Staff 197 command in the Staff
menu to make a copy of the staff.
2 If the staff controls are visible, then click depress the Staff Selection button to select a staff.
If the staff controls are not visible, you can make them visible by choosing the Show Staff
Controls option from the View menu.
3 Choose the Split Melody and Accompaniment command from the Staff menu.
-- OR --
Type "qsplm" for Quick Split Melody.
Co mp o s e r will present you with the Split Melody and Accompaniment Notes dialog box.
4 In the dialog box, confirm the staff you selected in step #1, or select a staff.
5 Click the OK button to confirm the Split Melody and Accompaniment Notes command.
Co mp o s e r will replace the original staff with a pair of melody and accompaniment staves, as
illustrated below:
4.2.11 Splitting Double-Played Notes from Solo Instrument

When Co mp o s e r transcribes a track from a MIDI file, it makes many decisions about the timing of
notes, including whether two notes are played together or not. For some instruments such as a piano,
guitar, and violin, it is possible to play two notes simultaneously. For other instruments, such as an
oboe or saxophone, it is not possible for two notes to be played at the same time.
Co mp o s e r offers two way to clean up a staff the has double-played notes or chords which should be
separated into sequentially played notes.
T o s p lit d o ub le -p la y e d no te s in the s ta ff fo r o ne o r mo re s o lo ins trume nts :

1. Choose the Convert to Solo Notes command in the Staff menu.
2. In the Convert Staff to Solo Notes dialog box, select one or more staves.
T o ins truc t Co mp o s e r to re c o g nize s o lo ins trume nt s ta v e s (tra c k s ) in imp o rte d MID I

file s a nd a uto ma tic a lly s p lit d o ub le -p la y e d no te s :
1. Choose the Transcription Options command in the Setup menu.
2. Under the Automatic Recommendations section, set a check mark for "Two-note chords in a
staff that has mostly solo notes should be sequenced as two separated notes."
When Co mp o s e r detects a solo track, it will give you an opportunity to confirm that the double-
notes in the staff should be split.
4.2.12 Rearranging the Order of Staves
If you create a new song from scratch, you can control the order of staves as you add new staves 185 .
If you have imported a MIDI file, Co mp o s e r orders the staves in the score according to how they were
ordered in the MIDI file. If you are not pleased with the order of the parts, you can change the order. If
you have created multiple parts 182 and then rearrange the order of staves, the new order of the staves
will be applied to all parts, not just the part you are currently viewing.
T o c ha ng e the o rd e r o f the s ta v e s :
1. Choose Staff Setup from the Staff menu.
-- OR --
Co mp o s e r will display the Staff Setup dialog box, filled out with a list of staves as illustrated
below:
2. The order of the staves in the top panel determines the order of printing of parts in the
conductor score. To move a part up or down in the conductor score, click the staff name, and
then click the Move Up or Move Down button.
3. Click the OK button to commit the changes.
4.2.13 Shifting Notes Between Staves
Co mp o s e r lets you move selected notes between adjacent staves. This option is particularly useful
after you have used the Split Hands 201 command to split a keyboard part into left- and right-hand
staves. Although Co mp o s e r does a good job splitting hands, it may not do it perfectly. Co mp o s e r
lets you correct any mistakes the Split Hands command might make in distributing notes between the
left and right hands.
You can optionally change the voice (upper, lower, or single voice) of a note at the same time that you
shift it to an adjacent staff.
T o mo v e o ne o r mo re no te s b e twe e n a d ja c e nt s ta v e s , witho ut c ha ng ing the v o ic e :
1. Enter Select Mode 162 .
2. Select one or more notes by clicking or click-dragging the mouse.
3. Choose the Move Up One Staff or Move Down One Staff command in the Staff Assignment
submenu Note menu to move the selected notes to an adjacent staff.
-- OR --
Type Shift+ (or Shift+ ) for Move UpOne Staff (or Move Down One Staff).
T o c ha ng e the v o ic e o f o ne o r mo re no te s while mo v ing the m b e twe e n a d ja c e nt s ta v e s

:
2. Select one or more notes by clicking or click-dragging the mouse.
3. Choose the one of the following commands in the Staff Assignment submenu Note menu, or
type its equivalent shortcut:
Command Shortc ut
Move up one staff to lower ul
voice
Move up one staff to upper uu
voice
Move up one staff to single us
voice
Move down one staff to upper du
voice
Move down one staff to lower dl
voice
Move down one staff to single ds
voice
4.3 Preparing Parts

In Composer, a part is a set of one or more staves throughout the song, that are view or printed
together. In the simplest case, a part is for a solo voice or instrument for which the musician plays from
only one staff at a time, such as an oboe or saxophone. Another case is a part for a keyboard
instrument that has two staves for the right- and left-hands. In Composer, the conductor's score, which
shows staves for all of the instruments and/or voices, is treated as a part.
A part can be formatted and paginated independently of each other, and independently of the
formatting of the conductor's score.
A given staff can be displayed in more than one part. For example, usually a staff is shown in both the
conductor's score and a separately formatted part for just that instrument.
All of the parts of a score are integrated so that if you, for example, add a note to a staff that appears in
more than one part, the note is automatically added to all of the parts. If you add a note in the
conductor's score, that note also shows up in the instrument part that the staff belongs to. Or, if you add
a note in the instrument part, that note will automatically show up in the conductor's score.
If you have not done so yet, it is highly recommended that you read the topic Understanding Staves,
Staves, and Parts 182 .
This section on Preparing Parts is organized as follows:
Automatically Creating Parts 208
Adding a Part 208
Selecting a Part 209
Renaming a Part 210
Changing Which Staves Are Displayed in a Part 210
Deleting a Part 211
Printing Parts 211
Wizard for Preparing a Part 212
-- Sing-Along Part 214
-- Easy Notes Part 214
-- Fake Lead Sheet Part 215
-- Customized Part 217
Preparing Parts for Piano, Voice, Drums and Guitar 217
-- Preparing Piano or Keyboard Part 217
-- Preparing Piano Reduction of a Score 219
-- Preparing a Vocal Part 219
-- Preparing a Drum Part 220

-- Preparing a Guitar Part 222
4.3.1 Automatically Creating Parts

Co mp o s e r automatically creates parts under the following circumstances:
1. When you import a MIDI file 83 , one part is created for each track, except for tracks with no
notes. Said another way, one part is created for each staff in the score. Also, a conductor's
part is created, which has all of the staves.
2. When you create a new song with the New Song Wizard 107 , parts are automatically created.
Actually, the parts have already been prepared for the song templates 111 that are used by the
New Song Wizard.
3. When you add a new staff 185 , a corresponding new part is automatically created. If you use
the Add Keyboard RH and LH Staves command in the Staff menu, then a single new part is
created that has the pair of right- and left-hand staves.
4. The Prepare Part Wizard automatically creates the Sing-Along 214 part, Easy Notes 214 part, or
Fake Book Lead Sheet 215 part.
5. The Split Hand command 201 automatically creates a new keyboard part with the pair of right-
and left-hand staves.
6. The Split Drums command 202 automatically creates a new drum part has all of the split one-
line percussion staves
7. The Prepare Piano Reduction 219 command creates a single new keyboard part.
4.3.2 Creating a New Part
In Co mp o s e r, a part 182 displays the staves for one or more instruments or voices. A part can be
formatted and paginated independently of other parts and the conductor's score. However, any
changes to notes and annotations in a part are always reflected in the conductor's score, and vice
versa.
T IP : Be sure to read the topic on Understanding Tracks, Staves and Parts 182 .
Usually, Co mp o s e r automatically creates parts 208 for you as you import a MIDI file, create a new
song, add staves, or prepare parts. However, there may be circumstances in which you will want to
create additional parts with some combination of instrument staves that you select. For example, if you
have an arrangement with a vocal choir section and instruments, you might want to prepare a separate
choir section part for rehearsing the choir separately from the orchestra, and a separate orchestra
section part for rehearsing the orchestra separately from the choir.
T o a d d a ne w p a rt:
1. Choose the Display or Define Part command in the Part menu.
Co mp o s e r will display the Display and Define Parts dialog box..
2. In the list of Staves in Part, select and unselect staves according to which you wish to be
included in the new part.
3. In the Part Name field, enter the name for the new part.
4. Click the Add Part button.

You can also start this procedure by first clicking the Add Part button. In that case, a new part
will be created with the name "New Part". Replace that with the name you want, and then click
the Change Part Name button.
5. Click the Display Part and Exit button to display the newly created part.
N OT E : When you add a part, Co mp o s e r automatically applies the formatting and page text
that is specified in the template file named "Extracted Part.not" in the \Program Files
\Notation\Templates directory. To control the automatic formatting and page text for
extracted parts, you should directly edit this "Extracted Part.not" file, according to the
procedure described in Creating Your Own Song Templates 111 .
4.3.3 Selecting a Part
In Co mp o s e r, a part 182 displays the staves for one or more instruments or voices. Usually,
Co mp o s e r automatically creates parts 208 for you as you import a MIDI file, create a new song, add
staves, or prepare parts. You can also create additional parts 208 with some combination of instrument
staves that you select.
T o v ie w a p a rt:
Select the name of the part from the list of parts in Co mp o s e r's main menu:
4.3.4 Renaming a Part
T o re na me a p a rt:
1. Choose the Display and Define Parts command in the Part menu.
2. In the Display and Define Parts dialog box, select the part you wish to remain.
3. Enter the new name in the Part Name field.
4. Click the Change Part Name button.
4.3.5 Changing Which Staves Are Displayed in a Part
In Co mp o s e r, a part 182 displays the staves for one or more instruments or voices.
You can create a new part 208 for some combination of staves you want to view and print together. For
example, if you have an arrangement with a vocal choir section and instruments, you might want to
prepare a separate choir section part for rehearsing the choir separately from the orchestra, and a
separate orchestra section part for rehearsing the orchestra separately from the choir.
You can temporarily or permanently change which staves are displayed in a part. A temporary
change in the list of staves that are displayed in a part lasts only as long as you are viewing that part. If
you select another part 209 , and then return to the former, the original list of staves for that part will be
restored. Or, if you exit Co mp o s e r and return, the temporary changes in the list of staves for that part
will similarly be discarded.
T o p e rma ne ntly c ha ng e the lis t o f s ta v e s in a p a rt:

The Display and Defined Parts dialog will be opened, as illustrated in Creating a New Part 208 .
2. Select the part you wish to edit.
3. In the list of Staves in Part, select and unselect staves you wish to show and hide in the part.
4. Click the Change Staves Assigned to Part button.
T o te mp o ra rily c ha ng e the lis t o f s ta v e s in a p a rt:

1. Choose Setup command in the Staff menu.
2. Toggle the check mark for Show for each of the staves you wish to temporarily show or hide in
the part.
N OT E : The check mark for 'In Part' indicates whether the stave is normally (permanently)
included in the part. You cannot directly change the check mark for 'In Part'. If you wish to
change whether a staff is permanently included in the part, then follow the previous procedure.
4.3.6 Deleting a Part
In Co mp o s e r, a part 182 displays the staves for one or more instruments or voices.
You may decide that you no longer need a part, even though you want to keep the staves that it
displays.
T o d e le te a p a rt witho ut d e le ting the s ta v e s tha t it d is p la y s :
2. In the Display or Define Part window, select the part you wish to delete.
3. Click the Delete Part butotn.
4.3.7 Printing Parts
Typically, a song has one part for each instrument and/or voice. To print each part, you can
individually select each one and then use the Print command in the File menu 119 . But there is an
easier way.
T o p rint s e v e ra l p a rts a t o ne time .
Co mp o s e r will display the simple Print Parts dialog box. Initially, all parts of the song will be
pre-selected.
2. In the Print Parts dialog box, unselect any parts that you do not wish to print, by clicking the
highlighted part name. Selected parts are highlighted, and unselected parts are not, as
illustrated here:
3. Hit the OK button.

Co mp o s e r will display the Print dialog box.
4. In the Print dialog box, choose options the same way as you would if you were printing a single
part 119 .
Note that the Print dialog box will not offer you the option to print a range of pages. The Print
Parts command supports printing only of the entire range of pages of each part. For the same
range of measures, each part can require a different number of printed pages. To print the
parts for only a selected range of measures, use the View Measures command in the
Measure menu 179 .
4.3.8 Wizard for Preparing Part
formatted and paginated independently of other parts extracted from the conductor's score.
Co mp o s e r 's Part Preparation Wizard offers a quick and easy way to create three standard parts with
certain formatting options. These parts are named: the Sing-Along Part, the Easy Notes Part, and the
Fake Book Lead Sheet Part. The purpose of each of these three parts, and their formatting
characteristics, are summarized in the following table:
S ing -A lo ng E a s y N o te s Fa k e B o o k Le a d Cho rd Cha rt

P a rt P a rt S he e t P a rt
P urp o s e o f a Easy sight- Easy sight- "Short-hand" Mostly used by

p a rt. reading of a reading of an notation for the lead guitarists, to play
Karaoke part instrumental melody instrument of chords while
(with notes) part, by a small band, or for a accompanying
or vocal part beginner keyboard instrument, their own voice or
from the musicians. where just the while following the
screen from melody notes and lyrics sung by
a distance of chord names are another musician
about 2 displayed. in the group.
S ing -A lo ng E a s y N o te s Fa k e B o o k Le a d Cho rd Cha rt

P a rt P a rt S he e t P a rt
yards or
meters.
A re ly ric s Yes. Optional. Yes. Yes.

inc lud e d in the
p a rt?
A re jus t the Yes. Yes. Yes. No notes are

me lo d y no te s displayed.
d is p la y e d , a nd
no t the
a c c o mp a nime nt
no te s ?
A re c ho rd No. Yes. The chord Yes. The chord style Yes.

na me s inc lud e d style named named "Fake Book"
in the p a rt? "Easy Chords" is used.
is used.
A re the no te s No. Yes. No. No.

d is p la y e d in a
la rg e fo nt s ize ?
A re the ly ric s Yes. No. No. No.

d is p la y e d in a
la rg e fo nt s ize ?
A re " e a s y no te " No. Yes. No. No.

p itc h le tte rs
d is p la y e d in the
no te he a d s ?
The Part Preparation Wizard lets you override the default characteristics for any of these three types of
parts. For example, you can include lyrics in an Easy Notes Part, or remove lyrics from a Fake Book
Lead Sheet Part. The only exception is that easy notes are displayed only for the Easy Notes Part.
If you override a default setting for one of the part types, Co mp o s e r will remember your override and
use it as the default the next time you prepare a part of that type.
Co mp o s e r defines a fourth part type named the "Customized Part". You can choose whatever
options you want for this part. The next time you prepare another Customized Part, Co mp o s e r will
offer the previous options you chose as defaults.
T o p re p a re o ne o f the s p e c ia l p a rts , o r a c us to mize d p a rt:
1. Choose the Part Preparation Wizard command in the Part menu.
Co mp o s e r will display Step 1 of the 5-step Part Preparation Wizard.
After each step, click the Next button.
2. Select Type of Part (Step 1 of 5):
Choose which of the four types of parts you wish to create.
3. Lyrics Options (Step 2 of 5):
Optionally check the box for "Include lyrics in the newly prepared part".
If you have check marked lyrics, then select the staff that has the lyrics. Co mp o s e r will
pre-select the staff that has the most lyrics in it.
4. Melody Options (Step 3 of 5):
Select the staff that you know has the melody notes. If you selected a lyrics staff in Step 2,
then Co mp o s e r will pre-select a staff that has notes most closely matching the timing of
the lyrics. Co mp o s e r's guess is not always correct. So, if you are certain about which staff
has the melody notes, then select that staff.
If the melody staff has both melody notes and accompaniment notes, Co mp o s e r will
remove the accompaniment notes by default . Two other options are also available. You
can keep the melody staff as it is, by not removing any melody notes. Or, you can split the
melody staff into two staves, one staff having just the single line of melody notes, and a
second staff with accompaniment notes. This last option is equivalent to separately using
the Split Melody and Accompaniment command in the Staff menu 204 .
This option is disabled for chord charts, which do not display melody notes.
5. Chord Names Options (Step 4 of 5):
Specify whether you want chord names in the part or not.
If you choose to include chord names, then specify how the chord names should be
transcribed, and specify which staves should be used for analyzing the chord harmonies.
These options are the same as for the Transcribe Chord Names command in the Format
menu and Chord Name Menu. For details about the chord name transcription options,
see Transcribing Chord Names 476 .
6. Font Options (Step 5 of 5):
Select the various font sizes for notes, lyrics, and chord names.
Click the Finish button to complete the preparation of the part.
4.3.8.1 Sing-Along Part
You can quickly prepare a Sing-Along part, which is formatted for easy sight-reading of a Karaoke part
(with notes) or vocal part off the screen from a distance of about 2 yards or meters. The Sing-Along
Part includes the lyrics and melody notes, which are displayed in a large font size.
You can manually prepare a Sing-Along part in several steps, that include using: the Select Part 209
command, the Split Melody and Accompaniment 204 command; merging 198 a lyrics staff with a
melody staff; the Transcribe Chord Names 476 command; and changing the font size 230 of the notes
and lyrics. But it is a lot easier to do this with the Prepare Sing-Along Part command in the Part menu.
T o p re p a re a S ing -A lo ng p a rt:
1. Choose the Prepare Sing-Along Part command in the Part menu.
This will take you to Step 1 of 5 of the Part Preparation Wizard. The part type will be pre-
selected to Sing-Along Part.
2. Follow the instructions for the wizard Steps 2 through 5 in the Part Preparation Wizard 212 .
4.3.8.2 Easy Notes Part
You can quickly prepare an Easy Notes part for easy sight-reading of an instrumental part by beginner
musicians. The Easy Notes Part displays notes in a large font size, and displays pitch letters in the
middle of the notes. The Easy Notes Part displays chord names that are analyzed from the song using
the "Easy Chords" chord style 476 . By default, lyrics are not displayed, but have the option to include
lyrics in the Easy Notes Part.
You can manually prepare an Easy Notes part in several steps, that include using: the Select Part 209
command; Display Easy Notes 238 command; and changing the font size of the notes 227 . But it is a lot
easier to do this with the Prepare Easy Notes Part command in the Part menu.
T o p re p a re a n E a s y N o te s p a rt:
1. Choose the Prepare Easy-Notes Part command in the Part menu.
selected to Easy Notes Part.
4.3.8.3 Fake Book Lead Sheet Part
You can quickly prepare a Fake Book Lead Sheet part. A fake book lead sheet is "short-hand"
notation for the lead melody instrument of a small band, or for a keyboard instrument, where just the
melody notes and chord names are displayed. The actually performed, written-out notes may be
different.
You can manually prepare a Fake Book Lead Sheet part in several steps, that include using: the
Select Part 209 command; the Split Melody and Accompaniment 204 command; merging 198 a lyrics
staff with a melody staff; and the Transcribe Chord Names 476 command. But it is a lot easier to do this
with the Prepare Fake Book Lead Sheet command in the Part menu.
T o p re p a re a Fa k e B o o k Le a d S he e t:
1. Choose the Prepare Fake Book Lead Sheet command in the Part menu.
selected to Fake Book Lead Sheet Part.
4.3.8.4 Chord Chart
Guitarists use chord charts to play chords as they sing lyrics, or accompany the singing of a vocalist in
the group. You can quickly prepare a chord chart, such as the one illustrated here:
Co mp o s e r arranges the chord names and lyrics according to standard conventions used among
chord charts on the Internet, and in printed chord chart books. A chord name is vertically aligned with
the corresponding lyric when the chord change and lyric occur at the same measure and beat in the
song. Otherwise, the chord name is displayed before or after the lyric, depending on its relative
timing.
T o p re p a re a c ho rd c ha rt:
1. Choose the Prepare Chord Chart command in the Part menu.
selected to Chord Chart.
The chord chart is prepared using a fixed width font, so that the relative positions of chord names and
lyrics are preserved when you use clipboard copy/paste to copy the chord chart to another text editor,
and when you save the chord chord in a text file. You can edit the chord chart in its window, and
change some simple formatting. However, please note that formatting changes are preserved only
when you save the chord chart in the RTF (rich text format) file format, not in the text (.txt) file format.
T o e d it the p re p a re d c ho rd c ha rt:
Insert and delete characters as you would in a simple text editor, such as NotePad or
WordPad.
Drag the mouse over characters, and choose commands in the Edit menu, or equivalent
toolbar buttons, or command shortcuts, to make the font bold, or a larger or smaller size.
Use the Edit Undo or Redo command, the toolbar button for Undo, or Ctrl+Z, to undo or redo
the most recent command. Note, this simple text editor supports only one level of undo.
T o c o p y the c ho rd c ha rt to a no the r te xt e d ito r:
1. Choose the Select All command in the Edit menu.
2. Choose the Copy to Clipboard command in the Edit menu, or type Ctrl+C.
3. In your text editor, such as NotePad or WordPad, choose the Past command in its Edit menu,
or type Ctrl+V.
N o te :
If the other text editor supports only text, not "rich text", then the formatting (bold, and font size)
will not be carried over in the copy/paste.
If the alignment of chord names and lyrics is disrupted when you paste the chord chart in the
other text editor, then use an option in that text editor to change the font to a fixed-width style of
font, such as Courier.
T o s a v e the c ho rd c ha rt in a n R T F o r te xt file :
1. Choose Save Chord Chart command in the File menu.
2. In the Save As dialog box, the default file type is RTF (rich text format), which is the file type
necessary to preserve formatting (bold and font size). The file will be saved with an .rtf file
extension. If you do not need to preserve formatting, you can choose the alternative, simpler
text .txt file type.
T o p rint the c ho rd c ha rt:

Choose the Print Chord Chart command in the File menu.
4.3.8.5 Customized Part
Co mp o s e r offers options to prepare three specially formatted parts: the Sing-Along Part, Easy Note
Part, and Fake Book Lead Sheet Part 212 . These three standard types of parts specify certain
combinations of options for:
whether lyrics should be included in the part and merged with notes in a melody staff
whether accompaniment notes in the melody staff should be sorted out into a separate
accompaniment staff, or removed altogether
whether chord names should be transcribed and included
the font sizes for notes, lyrics, and chord names
You can override any of these options when preparing one of the three standard types of parts with
the Part Preparation Wizard 212 . If you do so, then the next time you run the Part Preparation Wizard, it
will offer the options you most recently selected as defaults for that type of part (eg, Sing-Along).
You might want to create a special part, with combinations of the above options, without disrupting the
default values for the three standard types of parts. In this case, you can choose a fourth type of part,
called the "Customized Part" in the Part Preparation Wizard.
T o p re p a re a c us to mize d p a rt:
1. Choose the Part Preparation Wizard command in the Part menu.
2. In Step 1 of the Part Preparation Wizard, choose the Custom part type.
4.3.9 Preparing Parts for Piano, Voirce, Drums, and Guitar
This section offers tips for preparing special instrument parts:

piano or keyboard part 217
piano reduction of a score 219
vocal part 219
drum part 220
guitar part 222
4.3.9.1 Preparing a Piano or Keyboard Part
If you are preparing a part for the piano or keyboard, here are several tips that you should find useful.
T o a d d a p a ir o f rig ht- a nd le ft-ha nd s ta v e s with o ne c o mma nd :
Use the Add Keyboard RH and LH Staves command 185 in the Staff menu.
If y o u ha v e imp o rte d a MID I file , a nd the le ft-ha nd a nd rig ht-ha nd no te s fo r the
k e y b o a rd p a rt a re c o mb ine d in o ne d iffic ult-to -re a d s ta ff:
Use the Split Hands command 201 in the Staff menu to sort out the notes into right- and left-
hand staves.
If Co mp o s e r does not do a perfect job of distributing the notes between the right- and left-
hand staves, then select notes and type SHIFT+ or SHIFT+ to move the notes between
the staves 206 .
T o ins truc t Co mp o s e r to a uto ma tic a lly re c o mme nd to y o u a d jus tme nts to k e y b o a rd

tra c k s while imp o rting a MID I file :
Use the Transcription Options 86 command in the Setup menu. Set check marks for these
automatic recommendations:
Keyboard staff probably should be split into RH and LH staves.
The order of a pair of keyboard staves probably should be switched from LH/RH to RH/
LH.
The keyboard RH/LH staves should be ordered before other instrument staves.
If the no te s in a rig ht-ha nd o r le ft-ha nd s ta ff a re to o fa r a b o v e o r b e lo w the s ta ff (the re
a re to o ma ny le d g e r line s ):
If the notes are too high in the bass clef, then insert a treble clef 390 in front of the notes.
If the notes are too low in the treble clef, then insert a bass clef 390 in front of the notes.
If the notes are too high in the treble clef, then insert an 8va octave 314 notation across the span
of high notes.
If the notes are too low in the bass clef, then insert an 8va basso octave 314 notation across the
span of low notes.
T o p re p a re a s imp le p ia no p a rt with a s ing le line o f no te s with " e a s y no te " p itc h le tte rs
d is p la y e d in the no te he a d s in a la rg e fo nt s ize , s uc h a s fo r a b e g inne r p ia nis t :
Use the Prepare Easy Notes 214 command in the Part menu.
If the re a re to o ma ny tie s in the p a rt b e c a us e s o me no te s o v e rla p with d iffe re nt a tta c k s
o r d ura tio ns :
Re-transcribe 90 the right- and/or left-hand piano staff, with the Split (Upper and Lower) Voice
option turned on. This will result in some notes with upward stems, and some with downward
stems, so that the independent note attacks and durations are more clearly distinguished
without the use of ties.
Re-transcribe 90 the right- and/or left-hand piano staff, with the Remove Overlaps of Notes
option turned on.
T o p re p a re a p ia no re d uc tio n o f a n ins trume nt e ns e mb le s c o re (s uc h a s a s tring
q ua rte t o r e v e n o rc he s tra l s c o re ):
Use the Prepare Piano Reduction 219 command in the Part menu.
If Co mp o s e r does not do a perfect job of distributing the notes between the right- and left-
hand staves for the reduced score, then select notes and type SHIFT+ or SHIFT+ to
move the notes between the staves 206 .
T o p re p a re a " third ha nd " s ta ff, fo r p a s s a g e s in whic h the rig ht o r le ft ha nd is fre q ue ntly
jump ing two o c ta v e s o r mo re :
Use the Add Staff 185 command to add the third hand adjacent to the right- or left-hand piano
staff.
Move extreme notes from the right- or left-hand staff to the new third hand staff, by selecting
them and typing SHIFT+ or SHIFT+ . See Shifting Notes Between Staves 206 .
Apply the Hide Resting Staves 236 command to this new third hand staff, so that it is displayed
in the score only when there are notes in it.
4.3.9.2 Preparing a Piano Reduction of a Score
With Co mp o s e r, you can quickly prepare a piano reduction of an instrument ensemble or choral
score.
There are many uses for piano reductions of scores:
For your own enjoyment, transcribe an instrumental or choral piece so that you can play it.
If you lead an instrument or choral group and have piano skills, convey your musical ideas to
your group by playing the score reduction on a piano or keyboard.
If you compose, prepare the reduction as a "digest" of your score that a conductor can easily
review.
T o p re p a re a p ia no re d uc tio n o f a n ins trume nta l o r c ho ra l s c o re :
Use the Prepare Piano Reduction command in the Parts menu. Select the instrument and
vocal parts you wish to merge into a piano reduction part.
If this newly created piano reduction has too many notes, delete the extra, unnecessary notes.
If you want to play a note in the right or left hand instead of the other, select it, and type SHIFT+
or SHIFT+ .
4.3.9.3 Preparing a Vocal Part
If you are preparing a part for voice, here are several tips that you should find useful.
To prepare a chord such that below, see instructions for Chord Chart 215 :
T o d is p la y a Ka ra o k e o r v o ic e p a rt o n the s c re e n in a la rg e fo nt s ize fo r e a s y re a d ing

fro m a d is ta nc e :
Use the Prepare Sing-Along Part 214 command in the Part menu.
T o a d d o ne o r mo re v e rs e s o f ly ric s b y ty p ing the m in, d ire c tly ins id e the Co mp o s e r
wind o w:
Follow the instructions in the beginning of General Procedures for Editing Lyrics 436 .
T o me rg e ly ric s with no te s , fro m a n e xte rna l te xt e d ito r, o r fro m the W ind o w te xt
c lip b o a rd :
Follow the instructions for Editing Lyrics Using an External Text Editor 453 .
T o e xtra c t the ly ric s fro m a Co mp o s e r s c o re , fo r p a s ting into a n e xte rna l d o c ume nt:
Follow the instructions in Copying and Pasting Lyrics 449 .
T o p la c e a p a ir o f p a re nthe s e s a ro und a no te , to s ho w tha t it is s ung in s o me v e rs e s ,

a nd no t o the rs :
Add the left and right parentheses as two separate free text objects, as shown below.
T o ins truc t Co mp o s e r to re p e a t a s e c tio n d uring p la y b a c k a c c o rd ing to the numb e r o f

v e rs e s :
Follow the instructions for Repeat Instructions for Performances 401 .
T o d is p la y the firs t v e rs e o f ly ric s und e r the v o c a l me lo d y no te s , b ut d is p la y re ma ining
v e rs e s a t the b o tto m o f the p a g e :
Enter the first verse lyrics under the vocal melody notes, as described in the instructions in the
beginning of General Procedures for Editing Lyrics 436 .
With the Page Layout 241 tool, reserve enough room at the bottom of each page for the
additional lyric verses.
Add the additional verses as page text 463 at the bottom of the page. You should add this as
page text rather than as free text 459 , because free text is anchored to specific beats in
measures, which might shift around as you refine the score.
T o o p e n, e d it, a nd s a v e Ka ra o k e (.k a r) file s :
To open a Karaoke file, use the Open command in the File menu, and select a file that has the
Karaoke .kar filename extension.
To view Karaoke formatting, such as line breaks for phrases of lyrics, choose the Show
Karaoke Line Breaks command in the Lyric Menu.
-- OR --
In the Lyrics Palette (SHIFT+L), click the Show Karaoke Line Breaks button.
To add or change Karaoke line breaks and paragraph breaks, add backward or forward
slash characters ("\" or "/") at the end of the lyric in each verse for the line or paragraph break.
For details, see Working with Karaoke (.kar) Files 456 .
To save a Karaoke file, use the Export as MIDI or Karaoke File command in the File menu,
and choose Karaoke (.kar ) as the file type.
4.3.9.4 Preparing a Drum Part
If you are preparing a drum part, here are several tips that you should find useful.
N OT E : Most drum sounds do not have pitches. However, in MIDI files, different types of drum
sounds are distinguished by pseudo pitches. Instead of displaying sharps and flats in front of
the drum notes, Co mp o s e r uses a upward triangle to indicate that the pseudo drum pitch is
to be raised by a sharp, and a downward triangle to indicate that the pseudo drum pitch is to
be lowered by a flat.
If a d rum p a rt s ho ws d iffe re nt p itc he s a nd a c c id e nta ls fo r d iffe re nt d rum ins trume nts ,

lik e this ...
a nd y o u wa nt the re a rra ng e the d rum p a rt s o tha t e a c h d rum ins trume nt ha s its o wn

s e p a ra te s ta ff line , lik e this :
Follow the instructions for Splitting Drum Staff Into Individual Drum Staves 202 .
T o me rg e multip le s ing le -line d rum p a rts b a c k into a c o mb ine d d rum p a rt:
Apply the Merge Staves 198 command to the multiple single-line drum staves.
T o c ha ng e the no te he a d s ha p e fo r a s ing le -line d rum ins trume nt to a n , , , , or :
Click the Instrument Sound Selection 175 staff control.
Co mp o s e r will display the Staff Setup dialog box.
In the bottom, left corner of the Staff Setup dialog box, turn off the check mark for Notehead
Style / Use Default.
In the selection box next to the Notehead Style / Use Default option, choose the notehead
shape.
T o c ha ng e the no te he a d s ha p e fo r ind iv id ua l no te s :
Follow the instructions in Editing Notehead Shapes 342 .
T o c ha ng e the v o lume le v e ls a nd p a n o f d rum ins trume nts thro ug ho ut the s o ng :
If your MIDI playback device is a General MIDI (GM) device, then it will require that all of the
drum kit staves be assigned to channel 10. If you use the Split Drum Staves 202 command, the
resulting individual drum instrument staves will each be assigned to the same channel 10, You
should choose just one of the individual drum instrument staves to serve as a master staff for
graphically editing volume levels 554 and pan levels 559 throughout the song for the drum
instruments. You will not be able to independently control the MIDI volume levels and pan
levels for the individual drum instruments assigned to General MIDI channel 10. However, you
can still change the loudness of each individual note 521 . This way, you can still edit
independent volume levels for each drum instrument. However, you will not be able to set
independent pan levels for each drum instrument.
If your MIDI playback device is not General MIDI, and its drum kit allows you to use multiple
MIDI channels, then assign the different drum instruments to different MIDI channels if you want
independent volume and pan graphs for the different drum instruments.
T o a d d s p e c ific d rum s y mb o ls to the s c o re , s uc h a s rim hits ::

Use the Add Symbol command 417 , and in the Select Symbol dialog box, choose "Drum
Symbols" for the Symbol Category, and select among the drum symbols available in the
Harmony font:
4.3.9.5 Preparing a Guitar Part
If you are preparing a guitar part, here are some tips that you should find useful.
To prepare a guitar chord such that below, see instructions for Chord Chart 215 :
Note that Co mp o s e r version 2.0 does not support display or editing of guitar fret diagrams, nor
tablature notation. These two guitar notation features are planned for a future version of Co mp o s e r.
If the g uita r no te s a re d is p la y e d o ne o c ta v e to o lo w, p e rha p s in the b a s s c le f ins te a d o f
tre b le c le f:
Follow the instructions in Transposing Key of an Instrument 348 . Guitar notes are normally
shown one octave higher than their actual pitch. In the Transpose Instrument Key step of
theTranpose Wizard, set the transposition for the guitar staff to "Note read as 'C' actually
sounds as 'C' below plus 1 octave".
When you display the guitar part, make sure that there is no check mark by the Show Concert
Pitches menu item in the Staff menu.

If after transposing the guitar part, some bass clefs are left in the part, and you want to change
them to treble clefs, add a treble clef 390 at the beginning of the measure for the guitar part, and
delete any subsequent bass clef in the guitar part.
T o d is p la y c ho rd na me s a b o v e the me lo d y no te s :
Determine which staves in the song have mostly notes that belong to the chord harmonies, as
opposed to staves that have "passing notes" between chord notes, and other notes that do
not belong to chord harmonies. Use the Transcribe Chord Names 476 command, and select
these staves as the ones that Co mp o s e r will use to analyze and display the chord names.
T o d is p la y ro lle d o ut c ho rd s a s v e rtic a l c ho rd s ra the r tha n writte n-o ut a rp e g g io s :
Follow the instructions in Editing Arpeggios 383 .
T o no ta te ha rmo nic s s uc h a s the fo llo wing :
Follow the instructions in Editing Notehead Shapes 342 .

T o a d d a p itc h b e nd to a no te , s uc h a s the fo llo wing :
Follow the instructions for graphical editing the pitch bend curve in Note Pitch Bend 313 .
T o a d d a v ib ra to to a no te , s uc h a s the fo llo wing :
Follow the instructions for graphical editing the Modulation Wheel Controller curve in MIDI
Controller Data 569 .
4.4 Formatting Parts

formatted and paginated independently of other parts and independently of the conductor's score.
The conductor's score is itself also a part, which typically shows all of the instrument and/or vocal
stave. You can format and print the conductor's score with a different paper size or orientation
(landscape versus portrait) than the paper size and orientation that you intend for the individual
instrument or vocal parts.
If you are pleased with the formatting of a part and would like to apply the same formatting to other
parts, you can quickly do this with the Copy Formatting to Other Parts 240 command in the Format
menu. You can also save the formatting in a template file and later use the Format Part Using
Template 239 command to apply the saved formatting to a current part.
The topics that follow describe how you can individually format the following details of each part:
page setup 224 : paper size and orientation; margins; and page numbering (determine the
starting page number, and assignment of even or odd numbers to the left pages)
page title, headers and footers 226 : text that is displayed on the first page, or at the top or
bottom of each subsequent page of the part or score
overall font size 227 : the point size used for notes and text, except where overridden for types of
text or particular text objects
horizontal and vertical spacing 229 : the amount of horizontal stretch or compression, and the
minimum amount of vertical spacing between staves and between systems
font size for types of text 230 : each category of text, such as lyrics and chord names, can have
its own unique font size
show or hide types of music annotations 233 : optionally hide lyrics, chord names, rehearsal
marks, ornaments, or instrument sound change marks
show or hide instrument names 234 : show long instrument names, or abbreviations, on every
system of each page, or just the first system of each page, or not at all
Hide Resting Staves 236 : optionally hide any staves in the part that have no notes and lyrics
"Easy Notes 238 ": display note letters (C, D, E, etc.) inside each notehead
4.4.1 Page Setup
Co mp o s e r offers several familiar options for setting up the printed page, such as the paper size,
orientation (portrait or landscape), and margins.
Co mp o s e r saves the page setup settings in the Notation (.not) file 77 , so that when you later reopen
the file and prepare to print, you do not have to re-enter the page settings.
You can specify and save the page settings on a per-part 182 basis. For example, you might want the
conductor's part to be printed on tall legal size paper, and print the individual instrument parts on
normal letter size paper. You only have to prepare the page setup once for the conductor part, and
once for the instrument parts. As you are working on your music project and switch back and forth
between printing the conductor's part and instrument parts, you will not have to manually switch the
page setup each time. Co mp o s e r will remember the page setup for each part.
When you create a new song, or import a MIDI file, Co mp o s e r will apply the most recent page setup
settings that you have entered as a default .
T o c ho o s e p a g e s e tup o p tio ns :
1. Choose the Page Setup command in the Format menu.
-- OR --
Type "qpgs" for Quick Page Setup.
Co mp o s e r will display the following Page Setup dialog box:
2. Choose the options as described below, and then click the OK button.
A p p ly to whic h p a rt a rra ng e me nts ?
This option determines whether the page settings you entered will be applied only to the
current part that you are viewing or, alternatively, to all parts of the song.
Pa p e r
Size
Use this option to specify the size of the paper on which you intend to print the score. The
paper sizes available are dependent, of course, on the type of printer you have.
Source
Some printers offer you the option to feed papers from different physical locations on the
device. Use this option to specify, for example, "manual" versus automatic "feeder".
Ma rg ins
The example page shown in the top-left corner of the dialog provides a preview of the
various margin settings.
Units
Specify here whether you prefer to enter the margin values in inches or millimeters.
Top, Bottom, Left, Right
These margins are applied to every page, except as overridden by the Gutter setting.
Gutter
If you intend to staple or tape pages of the score together as right and left pages, then it is
a good idea to allocate some extra space at the right side of the left pages, and at the left
side of the right pages. This extra space is called the "gutter".
P a g e numb e ring
First page number
This option is useful if you split up a large score into multiple N o ta tio n . not files.
Suppose the first . not file holds the first 60 pages of the part. Then for the same part in the
second . not file, you would specify 61 for the first page number. Each part in the second
. not file might start with a different first page number. Since the Page Setup settings apply
on a per-part basis, you can set different first page numbers for each of the parts in the
second . not file.
Odd-numbered pages on left
This setting is relevant only if you assign a Gutter value. If your pages are to be arranged
as right and left pages with a gutter, then set the check mark if the first page is to be
arranged as a left page in the score.
Orie nta tio n
The Portrait orientation arranges the page upright. The Landscape orientation arranges
the page on its side. The preview picture of the page at the top-left corner of the dialog
box illustrates the orientation.
4.4.2 Adding Page Title, Headers and Footers
The overall procedure for adding a page title, header, or footer has two steps. First, reserve an area
on the page for text. Then add the text.
T o re s e rv e s p a c e fo r the p a g e title , he a d e r a nd fo o te r:
1. Choose the Page Setup command in the Format menu.
-- OR --
Type "qpgs" for Quick Page Setup.
Co mp o s e r will display the Page Setup dialog box.
2. In the Page Setup dialog box, enter a value for the First Page Top margin, which will be a
larger value than that for Other Pages Top.
T o a d d a p a g e title o n the firs t p a g e o f the s c o re :

1. Navigate to the Page Text Palette 463 .
-- OR --
Type SHIFT+P. If the Page Layout Palette is displayed instead of the Page Text Palette, then
type SHIFT+P a second time.
2. Follow instructions for adding Standard Page Text 466 for the standard page text type "song
title".
T o a d d p a g e he a d e rs a nd fo o te rs :
1. Follow step #1 in the above procedure.
2. Follow the instructions for adding Standard Page Text 466 for the standard page text types:
song title, part name, file name, and page number.
4.4.3 Overall Font Size
Co mp o s e r enables you to change the overall font size for each score part 182 . You can specify
different font sizes for different parts. For example, if you are preparing a piano and flute duet, where
the music teacher plays the piano part and a student plays the flute part, you might choose a normal
font size for the piano part, but a larger, easier-to-read font size for the student's flute part.
It is important to understand that changing the font size is different than zooming 178 in or out in the
window. Zooming only temporarily changes the magnification of notes and other music symbols in the
score, as viewed in the window. Zooming does not affect the size of notes and music symbols for the
printed score. In contrast, when you decrease the font size, notes and music symbols not only look
smaller on the screen but also look smaller when printed. When you choose a smaller font size, more
measures can be printed on each page.
This help topic describes how you can change the overall font size that applies to notes, music
symbols and text in one or more selected parts. Co mp o s e r also enables you to set different font
sizes and faces for specific categories of music symbols and text, such as for lyrics and chord names.
See Font Size for Types of Text 230 .
You might find it more convenient to change the overall font size in Page Layout View 241 , rather than
follow the procedure below. In Page Layout View, you immediately see the effects of incrementally
increasing or decreasing the font size as you click the Increase Font Size button or Decrease
Font Size button. For details, see Changing the Font Size in Layout View 243 .
T o c ha ng e the o v e ra ll fo nt s ize fo r o ne o r mo re s e le c te d p a rts :
1. Choose the Font Size and Spacing command in the Format menu. Co mp o s e r will display the
following dialog box:
2. Select one or more parts for which you wish to apply the new font size. Co mp o s e r will pre-
select the part that you are currently viewing.
3. Enter a value for the default font size.
The default font size is applied to any type of music or text object that is not otherwise
specified.
4. To find out what types of objects (such as lyrics or chord names) might override the default font
size, click the Font Setup button. Co mp o s e r will then display the Fonts dialog box, as
described in Font Size for Types of Text 230 .
5. For an explanation of the remaining portion of the dialog box, see the next topic Horizontal and
Vertical Spacing 229 .
T o s e t a d e fa ult fo nt s ize fo r a ny s ub s e q ue ntly c re a te d s o ng o r imp o rte d MID I file :

After step #3 in the above procedure, click the Save As Default button.
4.4.4 Horizontal and Vertical Spacing
Co mp o s e r enables you to change the overall horizontal and vertical spacing in each score part. You
can apply the horizontal and vertical spacing values to one or more score parts in one step.
By default Co mp o s e r applies spacing to the score part according to the following rules:
Avoid overlapping music symbols and text, such as lyrics.
Arrange the horizontal positions of notes within measures according to "engraving rules". The
horizontal space occupied by a note or chord is not proportional to its duration in the measure.
Rather, longer notes or chords are assigned relatively less horizontal space, and shorter
notes or chords are assigned relatively more horizontal space. These "engraving rules" are
designed to produce the most readable and pleasing layout of notes.
Print as much music as possible on a page, subject to the above constraints.
You can instruct Co mp o s e r to pack the notation more closely together to get more music on a page.
In this case, Co mp o s e r will compromise the normal music engraving rules, but it will always attempt to
avoid overlapping of music symbols.
You can also instruct Co mp o s e r to pack the notation less closely so that, for example, there is extra
room on the printed page for you to add hand-written notes or text.
Note that you should not expect to be able to anticipate what change in the horizontal or vertical
spacing value will be necessary to pack more or fewer measures on any given page. The purpose of
the Font Size and Spacing command is to establish the overall spacing-- compressed or expanded--
for all pages of a part. For example, if there are 21 measures on a given page at 100% spacing, and
you want to display 22 measures instead, it is difficult to predict whether 99% horizontal spacing will be
necessary, or whether a smaller horizontal spacing percentage will be needed, such as 98% or 95%
or 90%. You will need to try out different spacings, and see what happens. Also, changing the
horizontal spacing percentage will affect the number of measures on each page differently, according
to how much "slack" is currently distributed in any given page.
If you need to control exactly how many measures are on a specific page, then you will need to go to
the Page Layout Palette 241 , and use some combination of these Page Layout commands: System
Break 246 , Page Break 246 , Keep Measure With Previous 248 , and Keep System With Previous 250 .
T o c ha ng e the o v e ra ll ho rizo nta l a nd v e rtic a l s p a c ing fo r o ne o r mo re s e le c te d p a rts :
1. Choose the Font Size and Spacing command in the Format menu. Co mp o s e r will display the
following dialog box:
2. Select the part(s) for which you wish to apply the new font size. Co mp o s e r will pre-select the
part that you are currently viewing.
3. In the middle portion of the dialog box, enter a horizontal spacing percentage, where 100% is
Co mp o s e r's default horizontal spacing. Smaller values will compress more measures per
system (line) on the pages. Values larger than 100% will spread out fewer measures per
system (line) on the page.
4. In the lower portion of the dialog box, you can enter different values for the Vertical Spacing
between adjacent staves or adjacent systems if you would like more or less spacing between
staves or systems.
5. For an explanation of the top portion of the dialog box, see the previous topic, Overall Font
Size 227 .
T o s e t a d e fa ult ho rizo nta l a nd v e rtic a l s p a c ing fo r a ny s ub s e q ue ntly c re a te d s o ng o r
imp o rte d MID I file :
After step #3 in the above procedure, click the Save As Default button.
4.4.5 Font Type and Size for Types of Text
Co mp o s e r defines several categories of music symbols and types of text, such as lyrics and chord
names. You can specify a distinct font style, point size (with optional digit after decimal point, as in 8.5),
and styles (bold or italic) each type of text. You can also specify the point size for the music symbols
(noteheads, clefs, etc.). For example, you can display lyrics using a bold Arial 9 point font, and
instrument names (displayed along the left side of the staves) using a normal Times New Roman 8
point font.
Co mp o s e r uses a default font for any type of text that is not specified elsewhere.
In addition to specifying font characteristics for various categories of text, you can also individually
change the font size and styles (bold or italic) for individual text objects, such as a specific lyric, page
text item, or chord name. See Editing Types of Text 435 .
You can specify different font styles, sizes, and characteristics for different score parts. For example,
suppose a voice teacher is preparing a piano and voice duet, where the teacher plays the piano part
and a student sings the vocal part. The voice teacher's part might include both the piano
accompaniment and the student's part, so that the teacher can follow the student's part as she plays
the piano accompaniment. The teacher's part might have a normal font size and characteristics for the
notes in the piano and vocal staves, as well as the lyrics in the student's staves. The student's part
might have an overall larger font size, for easier reading, and also use a bold font characteristic for
lyrics, for yet easier reading of the lyrics. This can be accomplished by applying different font styles to
the two separate parts-- the teacher's part and the student's part.
If you only need to change the overall font size for certain parts, and do not need to change individual
font characteristics for specific categories of text, then follow the procedure in Overall Font Size 227 .
T o v ie w the fo nt s e tting s fo r the c urre nt p a rt:
1. Choose the Text Fonts command in the Format menu.
Co mp o s e r will display the following Fonts dialog box:
2. Co mp o s e r will pre-select the part that you are currently viewing, as indicated under "Apply to
Selected Parts".
If you want to view the font attributes for another part, then Cancel this dialog box, use the
Select Part command in the Part menu to select another part, and then use the Text Fonts
command to reopen the dialog box for the newly selected part.
3. Click any entry in the Text or Symbol list to review the current font type, point size, and bold or
italic style.
The Fonts dialog box will indicate the Font Type, Point Size, and Style (bold and italic) for the
category of text or music symbol you have selected. If there is a check mark by "Use default
font type", then the selected category of text or music symbol will assume the font type that you
see in the Font Type box. Similarly, if there is a check mark by "Use default point size", then
the selected category of text or music symbol will assume the font size that you see in the Point
Size box.
4. If you only intend to view the font styles and not change any, then click the Cancel button.
T o s e t the d e fa ult fo nt ty p e a nd p o int s ize tha t a re s ha re d b y a ny ty p e s o f mus ic
s y mb o ls a nd te xt tha t a re no t s p e c ifie d e ls e whe re :
Co mp o s e r will display the Fonts dialog box, as illustrated above.
2. Under "Apply to Selected Parts", select one or more parts for which you wish to apply the new
font size. Co mp o s e r will pre-select the part that you are currently viewing.
3. Click "Default Font" at the top of the Text or Symbol Text list, as illustrated in the first of the two
above pictures.
4. Select the desired Font Type and Point Size from the drop down lists.
Note that the default font type does not define the Bold and Italic style.
Note also that specifying the point size for the "Default Font" is equivalent to setting the overall
font size 227 using the Font Size and Spacing command in the Format menu.
5. If you change the Point Size for the Default Font, then Co mp o s e r will display an extra option
for "Scale Non-Default Font Sizes Proportionally":
Typically you will want to set a check mark for this option. As example, if the default point size
were 10 and you change it to 12 (a 20% increase), and if the point size for lyrics were 9, then
this option would increase the lyrics font size by 20% of 9, or 1.8, to point size 10.8. Co mp o s e r
maintains font sizes with 1/10th point size accuracy.
6. Select each entry in the Text or Symbol Type list, and review the settings for Font and Point
Size. If you wish the type of music symbol or text to derive its font type or point size from the
default font, then set a check mark for "Use default font type" or "Use default point size".
7. Click OK.
T o o v e rrid e the d e fa ult fo nt c ha ra c te ris tic s fo r a ty p e o f mus ic s y mb o l o r te xt:
-- OR --
Type "qtr" for Quick Text Font.
Co mp o s e r will display the Fonts dialog box.
2. Under "Apply to Selected Parts", select the part(s) for which you wish to apply the new font
size. Co mp o s e r will pre-select the part that you are currently viewing.
3. Click an entry in the Text or Symbol Text list.
4. Specify the Font Type, Point Size, Bold, and Italic fields, as illustrated in the second of the two
pictures above.
5. If you wish to override the default font characteristics for other types of music symbols or text,
then repeat steps 3 and 4.
6. Click OK.
T o s p e c ify the fo nt a ttrib ute s tha t will b e a p p lie d to a ny ne wly o p e ne d MID I file , o r a ny
ne wly c re a te d s o ng :
1. Using the Select Part 209 command in the Part menu, select a part that has the font attributes
that you wish to establish as the default.
3. Click the Save As Default button.
Any MIDI file that you subsequently open, or any song that you newly create with the File New
command, will use the font styles that you saved here.
4. If you have changed any font styles while the Fonts dialog box was opened, then click OK to
save the changes. Otherwise you can click Cancel to exit the dialog box.
T o a p p ly the mo s t re c e ntly s a v e d d e fa ult fo nt s ty le s to s e le c te d p a rts :
2. Under "Apply to Selected Parts", select the part(s) for which you wish to apply the most
recently saved default font styles. Co mp o s e r will pre-select the part that you are currently
viewing.
3. Click the Restore Default button, and then the OK button.
4.4.6 Showing and Hiding Types of Music Annotations
You can specify whether Co mp o s e r should display (or print) versus hide any of the following types of
music annotations:
lyrics
chord names
rehearsal marks
instrument sound change symbols

Co mp o s e r can show and hide different combinations of these types of music annotations for different
parts 182 . For example, you might want to show chord names only in a guitar part, but not in other parts.
T o s ho w o r hid e a ll o c c urre nc e s o f o ne o f the a b o v e ty p e s o f mus ic a nno ta tio ns :
1. Choose the Show or Hide Types of Objects command in the Format menu.
Co mp o s e r will display the following Hide Types of Objects dialog box:
2. Under "Apply to which part arrangements?", choose whether the options will be applied to all
parts or only to the currently selected part.
3. Set a check mark by the type of annotation(s) that you want to hide in the selected part(s).
4. If the part does not show chord names, and if you open the Hide Types of Objects dialog box
and find that there is no check mark next to "Hide chord names", you might wonder why chord
names are not displayed. This probably happens because Co mp o s e r has not yet analyzed
your song for chord names. If you want to analyze the chord names now, then set a check
mark by "Transcribe chord names". When you click the OK button, Co mp o s e r will close the
Hide Types of Objects dialog box, and then take you to a second Chord Name Transcription
dialog box. Follow the instructions in Transcribing Chord Names 476 for selecting options in the
Chord Name Transcription dialog box.
4.4.7 Showing and Hiding Instrument Names
Co mp o s e r optionally displays instrument (staff) names in the left margin of the window or printed
page. Each staff has a long name and an abbreviation. Many MIDI files have staff names that are so
long that too much of the printed page or viewing area of the screen would be wasted. Therefore, you
may want to make the staff names shorter. In addition, you can specify a somewhat longer staff name
for the beginning of the score, and a shorter staff name for subsequent pages of the score. This is a
common practice in orchestral scores.
Co mp o s e r allows you to specify whether a long name or an abbreviation is displayed after the first
page of a part 182 . Or, you can omit the display of instrument names altogether.
You can specify how instrument names are displayed on a per-part basis. For example, in a
conductor's score you might want to display the instrument name abbreviations; whereas in
individually printed parts, you might want to display no instrument name at all, except as page text 463
at the top of the first page of the instrument part.

T o c ha ng e the lo ng na me (o r a b b re v ia tio n) o f a n ins trume nt na me fo r a g iv e n s ta ff:
See the topic Editing Instrument (Staff) Names 189 .
T o s ho w (o r hid e ) ins trume nt na me s in the c urre nt s c o re p a rt:
Toggle the check mark for the Show or Hide Instrument Names command in the Format menu.
-- OR --
Type "qsin" for Quick Show Instrument Names.
T o s p e c ify whe the r s ho rt o r lo ng ins trume nt na me s a re d is p la y e d o r p rinte d in the
c urre nt s c o re p a rt, a nd whe the r the y s ho uld b e le ft- o r rig ht-jus tifie d o r c e nte re d :
1. Choose the Instrument Names Display Options command in the Format menu.
-- OR --
Type "qin" for Quick Instrument Names.
Co mp o s e r will display the following Instrument Name Options dialog box:
2. Set the check mark for Hide Instrument Names according to whether you wish instrument
names to be shown or not. Setting a check mark here has exactly the same effect as turning off
the check mark for Show Instrument Names in the Part menu.
3. Choose options under "How Instrument Names are Displayed" to distinguish whether long or
short (abbreviated) instrument names are displayed in Window View 171 versus Page View
171 and on the printed page. The following example, shows how the above settings are
reflected in the first and second systems of a score:

Note that you can edit the long and short instrument names 189 for each individual staff using
the Staff Setup command in the Staff menu.
4. Choose the option for Instrument Name Text Alignment: left-, center, or right-justification.
5. Click OK to save the changes.
T o s p e c ify the ins trume nt na me d is p la y o p tio ns tha t s ho uld b e a p p lie d to a ny ne wly
o p e ne d MID I file o r a ny ne wly c re a te d s o ng :
1. In the Format menu choose the Instrument Names Display Options command.
-- OR --
2. In the Instrument Name Options dialog box, select the options that you wish to apply to
subsequently opened MIDI files or newly created songs.
3. Click the Save As Default button.
4. If you have changed any settings while the Instrument Names Display Options dialog box was
opened, then click OK to apply the changes to the currently viewed score part. Otherwise you
can click Cancel to exit the dialog box.
If you create a new song using a template 107 , then Co mp o s e r will use the instrument name display
options saved with the template. If you want to apply to this song the instrument name display options
that you most recently saved as a default, then after you create the song you will need to follow the next
procedure. If you want to always use the same instrument name display options with the template, then
open the template . not file, and edit its instrument name display options.
T o a p p ly the mo s t re c e ntly s a v e d Ins trume nt N a me Op tio ns the c urre nt s c o re p a rt:
1. In the Format menu choose the Instrument Names Display Options command.
-- OR --
2. In the Instrument Names Display Options display box, click the Restore Default button, and
then the OK button.
4.4.8 Hiding Empty Staves
In a conductor's score, it is common practice to present staves only for those instruments that are
playing. For example, if a system 184 in the score displays measures 10 through 14, and the flutes are
not playing in these measures, then the conductor's part omits the flute staff in this system.
Co mp o s e r offers an option to Hide Resting Staves, according to this common practice for a
conductor's part. If a staff has lyrics, but no notes, Co mp o s e r will still display the staff. If no staves in a
system have notes or lyrics, then Co mp o s e r displays only the first staff.
Co mp o s e r's option for hiding empty staves works on a per-part basis. Usually, you will want to use
the Hide Resting Staves options for the conductor's part, but not other parts 182 .
T o H id e R e s ting S ta v e s in the c urre nt p a rt.
In the Staff or Format menu choose the Hide Resting Staves command.
-- OR --
Type "qhrs" for Quick Hide Resting Staves.
T o c o ntro l whic h s ta v e s a re hid d e n in the c urre nt p a rt.
1. In the Staff or Format menu choose the Hide Resting Staves Options command.
Co mp o s e r will display the Hide Resting Staves dialog, filled out with a list of staves as
illustrated below:
2. Turn on the first check mark for "Hide Resting Staves for staves selected below."
3. Select the staves for which you wish to Hide Resting Staves. You can individually select or
unselect a staff by clicking its name in the list box. Empty staves will be hidden only for the
staves you select.
4. Click OK to complete the operation.
In Window View 171 , you have the option of showing or hiding staff controls 172 , which include the Mute
and Solo buttons. If you choose to show the staff controls, then you may want to set this check mark:
"Do not Hide Resting Staves when staff controls (play, solo, etc.) are shown." If you do not set this
check mark, on some pages the staff controls for some staves may be hidden along with the empty
staves, so that you will then have no visible means of controlling (muting, etc.) the hidden staff.
T o c ha ng e the b e ha v io r o f hid d e n e mp ty s ta v e s in W ind o w V ie w:
1. Turn off the second check mark if you want empty staves to always be hidden in Window
View, the same way that they will be hidden in the printed score (as shown in Page View 171 ).
By default, the check mark is off.
2. If you do not want empty staves to be hidden in Window View when the staff controls 172 are
visible then turn on the second check mark.
If the staff controls are not visible, then the first option determines the visibility of empty staves
regardless of whether you set the second check mark in the Hide Resting Staves dialog or
not. For instructions on showing or hiding the staff controls, see Staff Control Buttons 172 .
4.4.9 Displaying Pitch Name (Easy Note) Letters in Noteheads
Beginning music students may find Co mp o s e r's "easy note" notation a helpful way to associate pitch
names with note positions in a staff. Co mp o s e r gives you the flexibility to display these noteheads
with or without a key signature, and with or without courtesy accidentals. This flexibility gives the
aspiring musician just enough help at each stage of learning to encourage their musical growth.
There are two ways that you can prepare a part that displays the pitch names in the noteheads. The
first method uses the Part Preparation Wizard, and creates an Easy Notes part that does not show a
key signature, and shows all accidentals beside their notes. The second method can optionally show
courtesy accidentals, and retains the key signature in either case.
T o p re p a re a n " E a s y N o te s " p a rt:

In the Part menu, select Prepare Easy Notes part. The Wizard for Preparing Parts 212 will then
walk you through the steps for preparing a part containing a single staff with melody notes
only, or a simple two-hand part with melody notes in one staff and accompaniment notes in a
second staff. You can also select whether or not to include any lyrics that may be in the song
file.
T o d is p la y p itc h na me s in the no te he a d s fo r s e le c te d s ta v e s in the c urre nt s c o re :

You can use this method to show pitch names in the noteheads for a single or for multiple staves.
You can use this option at any time after you've prepared a part using other options, in a multi-
instrument score, or after selecting a Part from the Part drop list in the main toolbar.
1. In the Format menu, select "Display pitch names in noteheads..."
-- OR --
use the keyboard shortcut "qdpn".
2. In the "Pitch Names in Noteheads" dialog, select whether or not you want to show courtesy
accidentals (to help with correctly playing key signatures in the early stages of learning).
3. Select the staff or staves for which you want to show pitch names in the noteheads.
4. Click "Ok."
The screen shot below displays the pitch names in the noteheads for a single staff, but without the
courtesy accidentals.
4.4.10 Formatting a Part Using a Template
Using commands in the Part menu, you can specify many details about how a part 182 is formatted: the
page setup, overall font size 227 , horizontal and vertical spacing 229 ,font size for types of text 230 ,
showing or hiding types of music annotations 233 , showing or hiding instrument names 234 , hiding
empty staves 236 and displaying "easy notes" 238 .
You can save this formatting as a template that is offered by the New Song Wizard when you create a
new song. You can also use apply your template to other songs using the Format Part Using
Template command in the Format menu.
T IP : When you import a MIDI file, Composer uses the template file \Program Files
\Notation\Composer\Templates\MidiFileDefault.not to format the transcribed
score. You can customize the default formatting of MIDI scores by editing that this
MidiFileDefault.not file.
You might also want to modify some of Co mp o s e r's default templates to adopt the formatting you
want. You can directly edit the formatting of Co mp o s e r's templates. You can also open one of
Co mp o s e r's templates and copy the formatting from your own template.
T o s a v e the fo rma tting o f a c urre ntly v ie we d p a rt a s a te mp la te :

1. Use the Save As command in the File menu, and save the current song with a new name in the
\Program Files\Notation\Composer\Templates directory. Save the file with a . not
filename extension, just like a normal Notation song file. This step assures that you will not
alter your original file as you make a template file.
2. Any notes, lyrics, free text, and most of the content of the template file should be removed,
since it will be ignored when the template is applied to a new song, or when it is used to format
another song. It is not necessary for you to remove this extra content, but the template will open
more quickly each time you use it, if you do the following:
Delete all of the measures except the first few measures.
Remove all of the notes, lyrics, and free text in these remaining measures.
Delete all parts except the one that has the formatting you wish to use as a template. You
can do this by selecting each part, one at a time, using the Select Part command in the
Part menu, and deleting the unwanted parts with the Delete Part command.
3. Use the Save command in the File menu to resave the template . not file that you prepared
above. Now you can use this version of the file as a format template.
T o a p p ly the fo rma tting o f a te mp la te to a c urre ntly v ie we d p a rt:
1. Choose the Format Part Using Template command in the Format menu.
Co mp o s e r will display a File Open dialog box, and will initially display the files in the
\Program Files\Notation\Composer\Templates directory.
2. Choose a template . not file in the template directly, and click the OK button.
Co mp o s e r will apply the formatting of the most recently opened part in the template to the
part that you are currently viewing.
T o a p p ly the fo rma tting o f a te mp la te to multip le p a rts in a s o ng :
1. Follow the above procedure to apply the formatting of a template to one part.
2. Follow the directions in the next topic, Copying the Format of a Part to Other Parts 240 , to format
all of the remaining parts in the current song.
T o c us to mize the fo rma tting o f o ne o f <% P R OD P OS E S S IV E % > d e fa ult te mp la te s :
1. Open the template file, such as, Voice and Piano.not, in the \Program Files
\Notation\Composer\Templates directory.
T o q uic k ly c us to mize the fo rma tting o f <% P R OD P OS E S S IV E % > d e fa ult te mp la te s :
1. Prepare your own template . not file as described above.
2. Open each of Co mp o s e r's template files in the \Program Files\Notation\Composer
\Templates directory, using the Format Part Using Template command to copy the
formatting of your template to Co mp o s e r's default templates.
For example, if you use Co mp o s e r's "Voice and Piano" template when you create new
songs, then apply this procedure to the file \Program Files\Notation\Composer
\Templates\Voice and Piano.not.
4.4.11 Copying the Format of a Part to Other Parts
Using commands in the Part menu, you can specify many details about how a part 182 is formatted: the
page setup, overall font size 227 , horizontal and vertical spacing 229 ,font size for types of text 230 ,
showing or hiding of types of music annotations 233 , showing or hiding of instrument names 234 , hiding
empty staves 236 and displaying "easy notes" 238 .
Some of the Part menu commands let you apply formatting characteristics not only to the currently
viewed part, but also to other parts that you specify in a dialog box. Some other Part menu commands
let you apply formatting characteristics only to the currently viewed part.
If you have prepared a part with formatting characteristics that you would like to apply to other parts,
there is an easy way to do that.
T o c o p y the fo rma t o f o ne p a rt to o the r p a rts :
1. Select the part you want to copy, using the Select Part 209 command in the Part menu.
2. Choose the Copy Formatting to Other Parts command in the Format menu.
Co mp o s e r will display the Copy Formatting to Other Parts dialog box.
3. In the dialog box, select the parts to which you wish to copy the formatting, and click OK.
4.5 Laying out Pages of a Part
Co mp o s e r offers you convenient options for controlling how a part or score is separated into pages,
and how each page is separated into systems 182 (lines of measures). On each page, you can control
the spacing between staves and between systems. You can also stretch or compress the horizontal
spacing of individual measures within systems. All of these options are available in Page Layout View.
T o e nte r P a g e La y o ut V ie w:
1. If the palettes are not already shown, turn on the check marks for Show Main Palette and Show
Detail Palette in the View menu.
2. Click the Layout tab in the main palette.
3. Click the Page Layout View button.

-- OR --
Type SHIFT+P. If this takes you to the Page Text Palette instead, type SHIFT+P a second
time to go to the Page Layout Palette.
Co mp o s e r will display the Page Layout palette:
The various options in the Page Layout palette are summarized here:
Co mp o s e r will also display the score in Page Layout View, as shown below. The score will turn
gray, and red "handles" (boxes for dragging staves and barlines) might be displayed.
T o mo v e s y s te ms , s ta v e s , a nd b a rline s us ing the P a g e La y o ut ha nd le s :
1. Click the Move Barlines and Staves button in the Page Layout Palette.
2. Follow the instructions in Changing Vertical Spacing Between Systems and Staves 253 and
Moving Barlines Within a System 251 .
T o s p e c ify a fixe d numb e r o f b a rs p e r line :
Click the Fix Number of Bars Per Line 245 button in the Page Layout Palette, and then
respond to the Fix Number of Bars Per Line dialog box.
T o ins e rt a s y s te m b re a k o r p a g e b re a k :
. Click the System Break button or Page Break button in the Page Layout Palette.
Then click anywhere in the measure where you want the new system or page to begin. For
further instructions, see Forcing a Page Break or System Break 246 .
T o mo v e a me a s ure a t the b e g inning o f o ne s y s te m to the e nd o f the p re v io us s y s te m:
Click the Keep Measure With Previous button in the Page Layout. The click the measure
you want to move to the previous system. For further instructions, see Moving a Measure to the
Previous System 248 .
T o mo v e a s y s te m a t the to p o f o ne p a g e to the b o tto m o f the p re v io us p a g e :
Click the Keep System With Previous button in the Page Layout Palette. Then click
anywhere in the system that you want to move to the previous page. For further instructions,
see Moving a System to the Previous Page 250 .
T o re s to re a p a g e , o r a ll p a g e s o f a s c o re p a rt, to the d e fa ult p a g ina tio n:
Click the Default Pagination button in the Page Layout Palette. For further instructions, see
Restoring Default Pagination 256 .
T o inc re a s e o r d e c re a s e the o v e ra ll fo nt s ize :
Click the Increase Font Size button or the Decrease Font Size button. For further
instructions, see Changing Font Size in Layout View 243 .
T o c o mp re s s o r e xp a nd the o v e ra ll ho rizo nta l s p a c ing o f no te s a nd me a s ure s :
Click the or button to increase or decrease the horizontal spacing in large increments,
or the or button to increase or decrease the spacing in small increments. For further
instructions, see Changing Horizontal Spacing in Layout View 244 .
T o fre e ze a ll o f the line b re a k s a nd s y s te m b re a k s in a p a rt o r c o nd uc to r' s s c o re :
Click the Freeze All Page and Line Breaks button. For further instructions, see Freezing
Line Breaks and System Breaks for Entire Score 255 .
T o inc re a s e o r d e c re a s e the d e fa ult v e rtic a l s p a c ing b e twe e n s ta v e s a nd s y s te ms :
In the Part menu, choose the Font Size and Spacing command 229 . Use the Vertical Spacing
option in the Font Size and Spacing dialog box.
4.5.1 Tip: Postpone Doing Page Layout
It is a good idea to postpone work on page layout until you have completed all other tasks:
compose or arrange the notes of the song
add lyrics
add annotations such as accent marks, dynamic marks, and phrase marks
After your are done writing and editing the music, then:
set up the page 224 size, orientation, and margins for the various parts
set the overall font size 243 , and perhaps also font sizes for different types of text 230
set the horizontal spacing 244 (percentage compression or expansion)

add the page title and headers or footers 226
After you have completed all of the above tasks, and are fairly certain that you will not change the
work, only then should you then work on the page layout: adding page and system breaks,
rearranging measures of systems, changing the vertical spacing of staves and systems, etc. If you
start working prematurely on the page layout, you may have to discard some of your page layout
effort. For example, if you add some introduction measures at the beginning of the music, then this
might disrupt the pagination of the entire score.
Nevertheless, Co mp o s e r's page layout mechanism can be forgiving about how changes you make
to the music might impact pagination. Try using the Keep Measure With Previous and Keep System
With Previous options, instead of "hard" system and page breaks.
4.5.2 Changing Font Size in Layout View
Before you work on the details of laying out pages of a score part, you should choose the font size and
overall horizontal spacing (compressed or expanded). This topic describes how to choose the font
size for the score part. The next topic describes Changing Horizontal Spacing in Layout View 244 .
By default, all music symbols and text share the same font size and style (such as Times New
Roman). In Page Layout View, you can change the font size for all music symbols and text by simply
clicking the Increase Font Size button or Decrease Font Size button.
You can specify different font sizes for different types of text. For example, the font size for notes and
music symbols might be 9 points, but the font size for lyrics might be a larger 10 or 12 points. To assign
different font sizes to different categories of text or symbols in Co mp o s e r, follow the instructions in
Font Size for Types of Text 230 .
The procedure below describes how to change the default font size. The default font size applies to
any category of text or music symbol when which you have not specified an overriding value via the
Text Fonts command 230 in the Format menu.
Note that the procedure for changing the default font size, using Page Layout commands, has exactly
the same effect as using the font size option in the Font Size and Spacing Command 229 in the Format
menu. The font size option is provided redundantly in Page Layout View so that you can adjust the font
size and other aspects of page layout all in one place in Co mp o s e r.
T o c ha ng e the d e fa ult fo nt s ize :
1. Navigate the Page Layout palette 241 .
-- OR --
Co mp o s e r will display the score in Page Layout View.
2. In the Page Layout Palette, click Increase Font Size button or Decrease Font Size
button.
-- OR --
Type F+ or F+ to increase or decrease the font size.

-- OR --
Choose the Increase Font Size or Decrease Font Size command in the Layout Menu.
4.5.3 Changing Horizontal Spacing in Layout View
Before you work on the details of laying out pages of a score part, you should choose the font size and
overall horizontal spacing (percentage compression or expansion). This topic describes how to
change the horizontal spacing. The previous topic describes how to change the font size 243 .
By default, all music symbols and text share the same font size and style (such as Times New
Roman). In Page Layout View, you can change the font size for all music symbols and text by simply
clicking the Increase Font Size button or Decrease Font Size button.
You can specify different font sizes for different types of text. For example, the font size for notes and
music symbols might be 9 points, but the font size for lyrics might be a larger 10 or 12 points. To assign
different font sizes to different categories of text or symbols in Co mp o s e r, follow the instructions in
Font Size for Types of Text 230 .
The procedure below describes how to change the default font size. The default font size applies to
any category of text or music symbol which you have not specified using the Text Fonts command 230
in the Format menu.
Note that the procedure for changing the horizontal spacing, using Page Layout commands, has
exactly the same effect on horizontal spacing as using the horizontal spacing option with the Font Size
and Spacing Command 229 in the Format menu. The horizontal spacing option is provided redundantly
in Page Layout View so that you can adjust the horizontal spacing and other aspects of page layout all
in one place in Co mp o s e r.
T o c ha ng e the ho rizo nta l s p a c e :
1.Navigate to the Page Layout palette 241 .
-- OR --
2. In the Page Layout Palette:
To increase the horizontal spacing in large increments, click the button, or type H +
.
To decrease the horizontal spacing in large increments, click the button, or type H +
.
To increase the horizontal spacing in small increments, click the button, or type H +
.
To decrease the horizontal spacing in small increments, click the button, or type H +
.
T o find o ut wha t the c urre nt ho rizo nta l s tre tc h p e rc e nta g e is :
Hold the mouse over any of the four horizontal spacing buttons.
Co mp o s e r will report the horizontal stretch percentage in the button tip, as illustrated here:
Note that you should not expect to be able to anticipate what change in the horizontal or vertical
spacing value will be necessary to place more or fewer measures on any given page. For example, if
there are 21 measures on a page at 100% spacing and you want to display 22 measures instead, it is
difficult to predict whether 99% horizontal spacing will be necessary, or whether a smaller horizontal
spacing percentage will be needed, such as 98% or 95% or 90%. You will need to try out different
spacings, and see what happens. Also, changing the horizontal spacing percentage will affect the
number of measures on each page differently, according to how much "slack" is currently distributed in
any given page.
If you need to control exactly how many measures are on a given page, then you will need to use
some combination of these Page Layout commands: System Break 246 , Page Break 246 , Keep
Measure With Previous 248 , and Keep System With Previous 250 .
4.5.4 Specifying the Number of Bars Per Line

By default, Co mp o s e r determines how many bars are displayed in each line of the score. The
number of bars per line can vary among the different lines of the score. Co mp o s e r offers you control
over how many bars are in any given line so that, for example, you can arrange for convenience page
breaks in an instrument part.
In some types of music, such as Broadway musicals and jazz, it is common practice that each line of
the score has a fixed number of bars, typically four. With a single command, you can specify or change
the number of bars per line at any time, for the entire score (or part) or any range of measures in the
score.
If you try out Co mp o s e r's command for specifying a fixed number of bars per line, you will quickly gain
insight into how you can also move the measure at the beginning of one line to the each of the previous
line. Co mp o s e r's Number of Bars Per Line command is actually a short-cut for adding Keep Measure
With Previous 248 locks on all of the measures of each line.
T o s p e c ify a fixe d numb e r o f b a rs p e r line fo r s o me ra ng e o f me a s ure s in a s c o re o r

page:
1. Navigate to the Page Layout palette 241 .
-- OR --
2. In the Page Layout Palette, click the button.

-- OR --
Type "bpl" for bars per line.
Co mp o s e r will display the Number of Bars Per Line dialog box.
3. In the Number of Bars Per Line dialog box, specify the number of bars per line, and the range of
measures.
4.5.5 Forcing a Page Break or System Break
A page break forces a new page to start at a specified measure. A system break forces a new system
182 (line of measures) to start at a specified measure.
T o a d d a s y s te m b re a k :
-- OR --
2. Click the System Break button in the Page Layout Palette.

-- OR --
Choose the System Break command in the Layout Menu.
-- OR --
Type "sb" for System Break.
3. Click anywhere in the measure that you want to push to the beginning of a new system.
T o re mo v e a p re v io us ly a d d e d s y s te m b re a k :
1. Enter Page Layout view, as above.
2. Enter Select Mode by clicking the Select Mode button in the main toolbar, or by hitting
the ENTER key, or by right-clicking the mouse anywhere on the page.
3. Click the mouse cursor somewhere on the "system break" text in Page Layout View.
The "system break" text will be displayed in the color blue, as shown:
4. Hit the DEL key.

-- OR --
Click the Default button.

T o a d d a p a g e b re a k :
Follow the same procedure as the one above for adding a system break, except:
Cick the Page Break button instead of the System Break button.
-- OR --
Choose the Page Break command in the Layout Menu.
-- OR --
Type "pb" for Page Break.
The page break will look like this at the top of the new page:
4.5.6 Moving a Measure to the Previous System
In Page Layout View 241 , the System Break option enables you to move one or more measures
from one system to the next system. This results in fewer measures on the original system.
Sometimes you want to do the opposite. That is, you may want to place more measures on a system,
thus packing them together more tightly You can do this with the Keep Measure with Previous
command.
When you apply the Keep Measure with Previous command to a measure, Co mp o s e r will keep that
measure on the same system as the previous measure. If the previous measure is on the previous
system, then it will shift to the next to last position on that system, and the last measure on that system
will be the "keep with previous" measure.
If you keep two adjacent measures with the previous, then all three measures will be forced onto the
same system, along with any other measures that would have been on the same system before the
first of these three measures. In this way, it is possible to force the assignment of more measures to a
system than can be spaced without overlapping of notes and symbols. Co mp o s e r will obey your
request to do so.
If a measure has been designated to be kept with the previous measure, and that previous measure is
already on the same system, then the measures are left together on the same system without change.
T o mo v e the firs t me a s ure o f a s y s te m to the la s t me a s ure p o s itio n o n the p re v io us
s y s te m:
-- OR --
2. Click the Keep Measure With Previous button in the Page Layout Palette.
-- OR --
Choose the Keep Measure With Previous command in the Layout Menu.
-- OR --
Type "km" for Keep Measure With Previous.
3. Click the mouse cursor anywhere in the measure that you want to move to the previous
system.
T o re mo v e the " k e e p me a s ure with p re v io us " c o ntro l:

the ENTER key, by right-clicking the mouse anywhere on the page.
3. Click the "keep measure with previous" lock symbol.

The lock symbol will become highlighted in blue to show that it is selected.
4. Hit the DEL key.
-- OR --
4.5.7 Moving a System to the Previous Page
In Page Layout View 241 , the Page Break option enables you to move a system from the bottom of
one page to the top of the next.
Sometimes you may want to do the opposite. That is, you may want to move a system at the top of one
page to the bottom of the previous page. You can do this with the Keep System with Previous
command.
When you apply the Keep System with Previous command to a system, Co mp o s e r will keep that
system on the same page as the previous system. If the previous system is on the previous page,
then it will shift to the next to last position on that page, and the last system on that page will be the
"keep with previous" system.
If you keep two adjacent systems with the previous, then all three systems will be forced onto the same
page, along with any other systems that would have been on the same page before the first of these
three system. In this way, it is possible to force the assignment of more systems to a page than can be
spaced without overlapping of systems and staves. Co mp o s e r will obey your request to do so.
If a system has been designated to be kept with the previous system, and that previous system is
already on the same page, then the systems are left together on the same page without change.
T o mo v e the to p s y s te m o f a p a g e to the b o tto m o f the p re v io us p a g e :
This procedure is quite analogous to the procedure for Moving a Measure to the Previous System
248 . See that topic for more details.

-- OR --
2. Click the Keep System With Previous button in the Page Layout Palette.
-- OR --
Choose the Keep System With Previous command in the Layout menu.
-- OR --
Type "ks" for Keep System With Previous.
3. Click anywhere in the page's first system, which you want to move to the bottom of the previous
page.
T o re mo v e the " k e e p s y s te m with p re v io us " c o ntro l:

3. Click the "keep system with previous" lock symbol.

The lock symbol will become highlighted in blue to show that it is selected.
4. Hit the DEL key.
-- OR --
4.5.8 Moving Barlines Within a System
In general, Co mp o s e r does a good job of horizontally spacing measures, and systems with
measures, to evenly distribute space according to standard music engraving practices. There may be
reasons, however, that you will want to override Co mp o s e r's default horizontal spacing.
You can move a barline within a system to add more horizontal spacing to the measure on one side,
and less horizontal spacing on the other side. For example, if one measure is too horizontally
crowded, compared to other measures on the same system, you can move its left barline to the left, or
its right barline to the right. This may, in turn, crowd the adjacent measure. So you may need to move
the opposite barline of the adjacent measure to evenly space the system.
T o mo v e a b a rline :
This procedure is quite analogous to the procedure for Moving a Measure to the Previous System
248 . See that topic for more details.

-- OR --
-- OR --
If you are not already in Select Mode, click the button in the main toolbar.
-- OR --
hit the ENTER key.
-- OR --
Right-click the mouse anywhere on the page.
3. Click the red box handle on the barline you want to move. Keep the left mouse button down.
The color of the handle and the barline will be highlighted as blue, to show that you have
selected the barline.
4. While holding down the left mouse button, drag the barline to the left or right with the mouse.
Then release the mouse button.
The barline's handle will be filled solid red to indicate that the barline has been moved from its
default position:
T o re s to re a b a rline to its d e fa ult ho rizo nta l p o s itio n:

the ENTER key, by right-clicking the mouse anywhere on the page.
3. Select the barline's solid handle by clicking it.
The barline and the handle will be highlighted in blue to indicate the selection:
4. Hit the DEL key.

-- OR --

This restores the barline to its default position.
4.5.9 Changing Vertical Spacing Between Staves and Systems
In general, Co mp o s e r does a good job of vertically spacing staves within systems, and systems on
a page, to evenly distribute space according to standard music engraving practices. There may be
reasons, however, that you will want to override Co mp o s e r's default vertical spacing of staves and
systems.
Co mp o s e r offers the following ways to change the relative spacing of staves and systems on a
page:
Move a single staff up or down, relative to the position of the adjacent staves in the same
system.
Move an entire system up or down, relative to the position of adjacent systems on the same
page.
Stretch or compress the height of a system, so that staves within that system are evenly
spread out or compressed together.
T o c ha ng e the v e rtic a l s p a c ing b e twe e n s ta v e s a nd s y s te ms :
-- OR --
-- OR --
-- OR --
hit the ENTER key.
-- OR --
3. Click one of the system or staff handles, and while holding down the left mouse button, drag the
handle of the system's or staff's vertical position, or the height of the system.
After you have moved a system or staff, or stretched a system, the handle will be filled with a
solid color, as illustrated here:
T o re s to re a s ta ff' s o r s y s te m' s v e rtic a l p o s itio n, o r a s y s te m' s v e rtic a l s tre tc h, to the

d e fa ult:
3. Select the staff's or system's handle by clicking it.
The staff or system, and its handle, will be highlighted in blue:
4. Hit the DEL key.

-- OR --

This restores the staff or system to its default vertical position, or the system to its default
vertical stretch.
4.5.10 Freezing Line Breaks and Page Breaks for Entire Part
After you have prepared the page layout of a part or conductor's score, there are some good reasons
why you might want to "freeze" the line (system) breaks and page breaks:
If you send your N o ta tio n .not file to someone else who has N o ta tio n Co mp o s e r, or
another N o ta tio n product, or the free 114 N o ta tio n P la y e r 114 , 114 but a different printer than
yours, then you can ensure that the parts and conductor's score will look very similar when
printed by a different printer using the same paper size.
As you continue to make small changes to your score, there is the possibility that some
changes may disrupt the line breaks and page breaks that you wish to preserve.
IT ' S GOOD T H A T ... Any page layout changes you have made before you froze the part or
score will be restored after you unfreeze it. That is, the freeze is just temporary. Also, you can
make further page layout adjustments after you freeze the part or score, such as moving
staves and systems and barlines. If you later unfreeze the part or score, any page layout
changes you made after the freeze will also be preserved.
T o fre e ze the line b re a k s a nd p a g e b re a k s fo r a n e ntire p a rt o r s c o re :

-- OR --
2. Click the Freeze Page Break and System Breaks button in the Page Layout palette.
You will see that Co mp o s e r adds a Keep Measure With Previous lock on every measure
except the first in each line (system); and it adds a Keep System With Previous lock on every
system (line) except the first one on each page:
Really, that's all that Co mp o s e r does when it freezes pages. You could do the same thing by adding
the locks to every measure; but, of course, that would be a lot of work.
IT ' S GOOD T H A T ... This method of freezing the layout of pages offers an excellent balance
by freezing the pages just enough to ensure that the overall pagination of the part or score
doesn't change, and yet offering plenty of "breathing room" for you to add and edit music
symbols and text within the pages, without causing the symbols to overlap. Even when a page
is frozen, when you add, edit, and delete music symbols and text, Co mp o s e r will continue to
dynamically format the page so that symbols are evenly and aesthetically spread out on the
page without collision or overlapping.
T o unfre e ze the line b re a k s a nd p a g e b re a k s :
Toggle of the Freeze Page Break and System Breaks button in the Page Layout palette.
4.5.11 Restoring Default Pagination
The previous topics describe how you can refine the layout of a page in many ways:
force a page break or system break 246
move a measure at the beginning of one system to the end of the previous system 248
move a system from the top of one page to the bottom of the previous page 250
move a barline 396 in a system to horizontally stretch the spacing of the measure on one side
of the barline, and compress the spacing of the measure on the other side of the barline
move a system 253 up or down on the page relative to other systems
move a staff up or down 253 in a system relative to other staves in the system
stretch or compress the total height of a system 253 , evenly moving the staves in the system
further apart or closer together
You can individually remove any of the adjustments, as explained in the topics for each of the above
tasks, and summarized here.
In addition, you can restore the default page layout for an entire page in one step, or for an entire score
part in one step, as described in the second procedure of this topic.
T o re mo v e s p e c ific p a g e la y o ut a d jus tme nts :
1. Navigate to the Page Layout Palette 241 .
-- OR --
-- OR --
-- OR --
hit the ENTER key.
-- OR --
3. Select one or more of the following Page Layout objects by clicking on or dragging the mouse
cursor over them. After you select the first object, Co mp o s e r will subsequently select only
additional objects of the same type.
4. Hit the DEL key.

-- OR --

This removes the Page Layout object, thus removing its adjustment to the page layout.
T o re mo v e the p a g e la y o ut a d jus tme nts fo r a n e ntire p a g e , o r fo r a ll p a g e s o f the
s c o re .
1. Make sure that no Page Layout objects are selected. You can do this by clicking anyswhere
on the page except where a Page Layout object is located.
2. Click the Default button.

?
3. Choose one of the two options to remove the page layout adjustments for either the currently
viewed page or for the entire score part.
5 Editing the Music Notation
The previous major sections of this Co mp o s e r documentation describe how to edit the largest units
of music data: the song 77 , staves 182 , and parts 182 . This section, Editing the Music Notation,
describes how to edit the symbol symbols that are displayed in a score or part.
If you have imported a MIDI into Co mp o s e r, you can then quickly correct any transcription errors it
might have made in determining note rhythms and accidentals. You can rearrange the music by
adding and deleting notes, or changing note pitches. You can also add lyrics and a wide variety of
annotations, such as accent marks, dynamic marks, slurs, ornaments, and free text.
Co mp o s e r is an ideal tool for composing new music. You can enter notes with the mouse, or from
your music keyboard via real-time or step-time recording.
If your style of learning is to read about it first, then it is suggested that you read the introductory section
on Basic Editing Procedures 260 . It offers an overview of how to add and edit music symbols, and alerts
you to the ways that Co mp o s e r might differ from other software applications with which you are
familiar.
The remaining sub-sections describe how you can add and edit all of the music symbols supported
by Co mp o s e r:
Editing Measures 273
Adding Notes 283
Selecting, Editing, and Deleting Notes 309
Transposing Notes 343
Editing Rests 353
Editing Grace Notes 361
Editing Ornaments 372
Editing Staff Symbols 385
brackets and braces, clefs, key signatures, meters, barlines, repetition marks, 8va octaves,
and rehearsal marks
Editing Music Annotations 407
accents and articulations, dynamic marks, hairpin crescendo marks, special symbols, slurs,
and sustain pedal marks
Separate major sections of this Co mp o s e r documentation describe how to edit text 435 , and how to
edit the underlying MIDI performance of the music 499 .
5.1 Basic Editing Procedures

As you explore how to edit various types of music symbols and text, you might find it helpful to gain an
understanding of the overall procedures for editing music symbols. Most of these procedures are
consistent with other Windows applications, but Co mp o s e r does have a few relatively unique user
interface methods.
A central concept in Co mp o s e r's user interface is that of the "object". Examples of objects are
noteheads, accent marks, dynamic marks, clefs, key signatures, lyrics, and free text. This
documentation usually refers to objects as "music symbols", to describe them in musical terms rather
than technical software terms. If you are a student of software user interfaces, Co mp o s e r's user
interface is "object-oriented". This simply means that an object, or musical symbol, is something that
you can individually select on the screen by clicking it with the mouse.
You select a music symbol by clicking it with the mouse. You also add a music symbol by clicking the
Editing the Music Notation 261
mouse on the screen where you want to add it. How does Co mp o s e r know whether you are selecting
a music symbol already on the screen, or adding a new one? You tell it so by clicking either the Select
Mode or Add Mode button in the main toolbar. In Select Mode, after you select a music
symbol by clicking it, you can then change details about that symbol, or you can delete it. See General
Method for Adding, Changing, and Deleting Objects 261 .
As in other software applications with "object-oriented" user interfaces, you can select multiple objects
264 by dragging the mouse over them, select additional objects by clicking them with the mouse while
holding down the SHIFT key, and so on.

A major component in Co mp o s e r's window is the palette 164 . A palette offers you a choice of music
symbols that you can add or edit. Co mp o s e r's palettes are organized in a three-level hierarchy that
offers you a good overview of where you are located within the overall Co mp o s e r user interface.No
palette is more than a couple of mouse clicks away. However, we recommend that you learn the
shortcuts for the most common palettes. All palette shortcuts are Shift and some letter, such as SHIFT
+N for the Note Palette and SHIFT+A for the Accent Mark Palette.
You have probably had experience using palettes in other software applications; but you should be
aware that palettes in Co mp o s e r take on a broader role than palettes do in some other software
applications. Like other applications, you can use 263 Co mp o s e r 263 palettes to add objects 263 .
Unlike many other applications, however, you can also use 265 Co mp o s e r 265 palettes to change the
properties of objects 265 . For example, if you have selected a quarter note, you can click the eighth
note button in the Note Duration Palette to change the quarter note to an eighth note.
As in most Windows applications, you can, of course, use menu commands to add and edit objects. In
general, however, menus do not offer the most convenient way to add and edit objects. You will find it
easier to use either the palettes or keyboard shorts. You will nevertheless find menus useful for
looking up keyboard shortcuts 158 .
In addition to being able to select multiple objects by dragging the mouse over them, you can also
select a 266 region of the score by holding down the CTRL key while you drag the mouse cursor over
the region. The selected region then has a blue background, as shown here:
You select regions this way to prepare for clipboard operations 267 , such as Copy, Cut and Paste. For
example, you can copy several measures from one part of the score to another, including notes,
dynamic marks, slurs, and so on.
You can experiment with musical ideas and editing operations with the confidence that you can undo
recent changes 270 in reverse order, to restore your previous work. Also, Co mp o s e r periodically (by
default, every 10 minutes) completely backs up a copy of your work to a file 272 , from which you can
restore your work in the event of a system failure.
All of the basic editing procedures introduced above are described in detail in the topics that follow.
5.1.1 General Method for Adding, Changing, and Deleting Objects
In general, there are three things you can do with any type of musical object or symbol, such as a note
or dynamic mark. You can add, change, or delete it.
The general procedures for accomplishing each of these three tasks in Co mp o s e r are outlined
below.
Note that some editing operations, such as copy and paste, are based not on selected objects but on
selected regions of the score such as a range of measures in one or more staves. For details, see
Selecting and Editing Regions of a Score 266 .
T o a d d a n o b je c t:
1. Enter Add Mode 162 by one of the following methods:
Click the Add Mode button.

-- OR --
Hit the ENTER key.
-- OR --
Right-click the mouse anywhere in the score, except on a lyric or text object.
The mouse cursor will change to this shape:

2. Choose the type of object you want to add from a palette 164 . Use the mouse to navigate
through the palettes 164 , or type the SHIFT key plus the letter for the palette, such as SHIFT+D
for the Dynamic Mark Palette.
3. Move the cursor to where you want to add the object and click the mouse.
This procedure for adding objects is described in more detail in the topic Adding Objects Using
Palettes 263 .
T o c ha ng e a n o b je c t:
1. Enter Select Mode by one of the following methods:
Click the Select Mode button.

-- OR --
Hit the ENTER key.
-- OR --
Right-click the mouse anywhere in the score, except on a lyric or text object.
The mouse cursor will change to this shape:

2. Click on the object you want to change.
The palette 164 and the Object Menu 263 will be updated to offer you editing options specific to
the type of object you have selected. A selected object is highlighted in blue.
3. Choose options in the palette or Object Menu to change the properties of the selected object.
The procedure for changing objects is described in more detail in the topic Changing Object
Properties Using Palettes 265 .
T o d e le te a n o b je c t:
1. Enter Select Mode as described above.
-- OR --
Hit the ENTER key to switch from Add Mode 162 or Step-Time Record Mode 304 .
2. Click the object you want to change. The selected object will be highlighted in blue.
3. Hit the key.
5.1.2 Adding Objects Using Palettes
The following general procedure for adding objects via palettes can be used for most types of
objects.
T o a d d no te s a nd s y mb o ls :
1. If Select Mode is currently active, switch to Add Mode by pressing the button, or by
pressing the ENTER key, or right-clicking the mouse.
For most types of objects, the mouse cursor will change to this shape:
As you add notes in Add Mode, the cursor will change to a red note such as The red note
indicates the note value (duration) that you have selected from the Note Palette. When you
click the mouse, a note of that duration will be added to the score.
As you add rests in Add Mode, the cursor will change to a red rest such as:
2. Make sure that the palettes are visible.
Turn on the check mark for Show Main Palette and Show Detail Palette in the View menu.
-- OR --
Type "qspl" for Quick Show Palette.
3. Navigate through the palettes to the one that offers options for the type of musical object you
wish to add.
For general instructions about navigating through palettes, see the introduction for Palettes 164 .
To learn about what palettes are available, explore through the palettes with the mouse.
-- OR --
While holding down the SHIFT key, type the letter for the type of palette you wish to display,
such as SHIFT+N for the Note Palette.
4. In the palette, select the attributes of the particular type of object you wish to add. For example,
if you wish to add a bass clef, click the bass clef button in the palette.
In some palettes you can choose multiple options at the same time. For example, in the
accent palette, you can choose any two accents to be displayed above or below a note at the
same time:
5. Click the mouse where you want you the selected type of object.
The type of object you just added will remain selected.
6. To delete the object you just added:
Hit the key.

-- OR --
Use the Undo command in the Edit menu, or type CTRL+Z.
T o a d d ly ric s o r o the r ty p e s o f te xt:
1. Follow the above steps 1 through 3, for selecting the type of text you wish to add.
2. Click the mouse where you want to add the text.
If you have added a new text object (lyric, free text, rehearsal mark, etc.), Co mp o s e r will
display a text entry box and a blinking cursor at the location of the new lyric or chord name,
such as illustrated below:
3. Type in the text. For lyrics or page text, use the ENTER key to start a second line of text.
4. Complete the entry of the text by hitting the ESC key, or by clicking the mouse somewhere else
to start another new text object of the same type.
5. If you are adding lyrics or chord names, you do not have to click the mouse again to add the
next lyric or chord name. Instead, hit the TAB key. Or in the case of lyrics, you can also press
the SPACE key, to advance to the next note.
For more details, see Adding Text 436 .
5.1.3 Selecting One or More Objects Before Editing Them
An object must be selected before it can be edited or deleted. You can simultaneously select and edit
multiple objects of the same type.
T o s e le c t a n o b je c t:
1. If the current mode is Add Mode, then enter Select Mode by clicking the button, by
pressing the ENTER key, or by right-clicking the mouse anywhere in the score.
2. Place the mouse over the object, and click the left mouse button.
T o s e le c t multip le o b je c ts o f the s a me ty p e .
1. Click on an object, hold down the left mouse button and drag the mouse over the score.
Co mp o s e r will select objects of the same type during the drag. For example, if you start the
mouse drag at a note, then only more notes will be selected, not other types of objects such
as lyrics.
2. To select an additional object of the same type, hold down the SHIFT key and click the object.
3. To add several more objects to the list of already selected objects, hold down the SHIFT key
and drag the mouse over the additional objects.
4. To remove some objects from the list of selected objects, hold down the SHIFT key and click
them individually, or drag the mouse over them.
5.1.4 Changing Object Properties Using Palettes
The following procedure applies to most types of objects.

T o e d it o ne o r mo re s e le c te d o b je c ts (o f the s a me ty p e ) us ing the p a le tte :
1. Follow one of the two procedures described in the previous top for selecting one or more
objects 264 .
Select two notes of different durations.
The Note Palette palette shows buttons "half on" for the different note duration values. The
color for "half on" will depend on your Color Theme 155 .
2. Click buttons in the palette to change the attributes of the currently selected object(s).
Continuing with the above select, click the sixteenth note button, both notes will change to
sixteenth notes:
Such changes will affect both the notation and the sound of the notes. If you wish to change
just the notation and not the performance, you will need to first go to the Piano Roll palette
and select the "Edit as notated" button before making your editing changes to just the
notation.
5.1.5 Selecting and Editing Regions of a Score
Editing a score usually involves adding, selecting, modifying, and deleting objects, such as notes and
lyrics. However, some methods of editing a score, such as Edit Copy and Paste 268 , are based on
selecting a region of the score. A region may cover a range of measures and beats, and a range of
one or more adjacent staves.
Co mp o s e r displays a light blue background for the currently selected region, as illustrated below:
N OT E : The background color for the region will be light red instead of blue if you are working
with performance (MIDI) graphs 534 .
T o s e le c t a re g io n o f the s c o re :
Me tho d 1
1. In the main toolbar, click the Region Select Mode 162 button.
-- OR --
Double right-click the mouse anywhere in the score.
2. While holding down the mouse button, drag the mouse from the start to the end of the region
you wish to select.
Me tho d 2
1. Hold down the CTRL key.
2. While holding down the CTRL key, point the mouse at the beginning of the region, and press
down on the mouse button.
2. While holding down both the CTRL key and the mouse button, drag the mouse to the intended
end of the region.
3. Release the mouse button and the CTRL key.
Me tho d 3
Choose the Select Region command in the Region menu. It will present the following dialog
box, in which you can enter the range of measures and beats for the selection, and the range
of staves:
T o s e le c t the e ntire s c o re (a ll o f the me a s ure s in a ll o f the s ta v e s ):

Choose the Select All command in the Edit menu.
-- OR --
Type CTRL+A.
T o re mo v e the re g io n s e le c tio n:
Hit the ESC key.
T o e xte nd the re g io n s e le c tio n:
1. If you wish to extend the region to another page of the score, use the Page Down key to go to
that page.
2. If the Region Select Mode button in the main toolbar is select, then hold down the Shift
key and click where you want the region to be extended to.
-- OR --
Hold down both the CTRL and Shift keys.
-- OR --
While holding down the mouse button and CTRL key, drag the mouse to the intended end of
the region. Then release the mouse button and CTRL key.
T o s e le c t the e ntire ra ng e o f o ne o r mo re a d ja c e nt s ta v e s :
Click the Select Staff button among the staff controls to select one staff. While holding down the
SHIFT key, click another staff to select it and all of the other staves between it and the first
selected staff. For details, see Select Staff 175 .
Once you have selected a region, many commands in the Region and Edit menus are available. For
example, you can Remove Inaudible Notes in a Selected Region, or Remove Rests Smaller Than a
rest duration that you specify. You can also use the Edit menu clipboard 267 commands Cut, Copy,
Paste, and Clear, as described next.
5.1.6 Using the Clipboard
Similar to clipboards in other Windows programs, Co mp o s e r's clipboard is a place off the screen
where you can temporarily save some region of a score. Later you can paste the temporarily saved
region of the score into a new location in the same score, or in another score.
Note that Co mp o s e r's clipboard is used only for moving regions of a score within Co mp o s e r.
Co mp o s e r's clipboard does not support transferring music notation or performance data, nor bitmap
images, to and from other Windows applications. There is one exception: you can use the clipboard to
exchange lyrics between Composer and an external text editor 453 .
Instructions for using the clipboard are described in the topics that follow.
5.1.6.1 Copy, Cut, and Paste
With Co mp o s e r's clipboard, you can move all details-- both notation and performance-- from one
region of a song to another. You can do this for just a few beats in a measure, or you can do this for
large regions, including one or more entire staves of the score. You can move the region of music not
only to some other location in the same song, but also to another song.
Co mp o s e r's clipboard serves as a powerful tool for composers and arrangers. For example, using
the clipboard and a few commands, a composer can copy a 16-bar section of a song to a new second
section, and then transpose the notes up, say, two half-steps.
You can copy a region and then paste it on top of another region or, alternatively, you can insert the
copied measures somewhere in the middle of the song or at the end of the song.
As you copy and paste measures, you can use the Paste Repeated Loop can to fill the destination
multiple repeated times. For example, you might use the Paste Repeated Loop command to fill in a
repeated percussion pattern.
Co mp o s e r's clipboard also enables you to copy music from one region to another even if the meter
and barlines do not match. For example, you can move notes from measures in a 4:4 meter to
measures in a 6:8 meter. However, there is one restriction: If there are triplets or quintuplets in the
region, then they must be moved in such a way that they do not straddle beats at their destination. For
example, an eighth note triplet can be moved to a quarter note beat in the destination measure, but not
to a minor eighth note beat in the destination measure. If you attempt to do this, Co mp o s e r will display
the following error message in the status bar:
Action would result in misalignment of tuplet members
All clipboard operations begin with selecting the region to be copied, as described in Selecting and
Editing Regions of a Score 266 .
N OT E : If you are currently viewing a MIDI graph 530 , then the region copy and paste
commands will apply only to the type of MIDI data currently displayed in the graph, and will not
copy, for example, notes and text.
The following commands in the Paste Special submenu of the Edit menu are described in other topics:
Paste Tempo: Copying Tempo Changes from One Region to Another 266
Paste Lyrics: Copying and Pasting Text 442
T o c o p y a re g io n fro m o ne lo c a tio n o n to p o f a no the r re g io n in the s a me s o ng :

1. Select the region 266 you wish to copy.
2. Choose the Copy command in the Edit menu.
-- OR --
Type CTRL+C.
3. Select the region where you wish to paste the music.

4. Choose the Paste command in the Edit menu.
-- OR --
Type CTRL+V.
T o c o p y a re g io n fro m o ne lo c a tio n o n to p o f a no the r re g io n in a d iffe re nt s c o re :
Follow the same instructions as above, except in step 3 open another song if it is not already
opened and select a region in it as the destination for the Copy/Paste operation.
T o mo v e a re g io n fro m o ne lo c a tio n to a no the r:
Follow the same instructions as above, except in step 2 choose the Cut command instead of
the Copy command in the Edit menu.
-- OR --
Type CTRL+X (instead of CTRL+C).
T o ins e rt a c o p y o f s o me me a s ure s e ls e whe re in the s c o re :
-- OR --
Type CTRL+C.
3. Optionally select a region before which you wish to insert the copied measures. It does not
matter where this destination region starts. It only matters where it ends.
4. Choose the Insert New Measures from Clipboard command in the Paste Special submenu of
the Edit menu.
If you skipped Step #3, then you will be asked in a dialog box to specify the number of the
measure where the copied measures will be inserted.
T o c o p y re g io n multip le time s to a d e s tina tio n re g io n, re p e a ting a s ma ny time s a s
ne c e s s a ry to fill the d e s tina tio n re g io n:
-- OR --
Type CTRL+C.
3. Select the destination region.
4. Choose the Paste Repeated Loop command in the Paste Special submenu of the Edit menu.
5.1.6.2 Clearing a Region of the Score
Clearing a region of the score leaves the measures and staves in place, but removes all notes,
performance data, and music annotations such as dynamic marks. If you also want to remove the
measures or staves, follow the instructions in Deleting Measures 274 and Deleting Staves 188 .
T o c le a r a re g io n o f the s c o re .
1. Select the region, as described in Selecting and Editing Regions of a Score 266 .
2. Choose the Clear command in the Edit menu.
-- OR --
Type CTRL+D.
5.1.6.3 Creating a New Song from the Clipboard
Sometimes it is useful to create an entirely new song file, borrowing some portion of an existing song.
This is easy to do using Co mp o s e r's clipboard.
T o c re a te a ne w s o ng b y b o rro wing a p o rtio n o f a n e xis ting s o ng :
1. Select the region in the current song that you wish to use for the new song file. See Selecting
and Editing Regions of a Score 266 .
2. Choose the New Song from Clipboard command in the File menu.
5.1.7 Undoing Editing Operations
Co mp o s e r supports multiple level undo. For example, if you transpose the score up a whole step,
then add a clef in some staff, and then delete some notes, you can undo all of these editing
operations, called transactions, one by one in reverse order. Further, you can undo several
transactions at once. Also, once you have undone a transaction, you can change your mind and redo
it again.
Note that if you make some change to the score after undoing a transaction, then the undo of that
transaction is committed. That is, you can no longer redo that undone transaction.
Co mp o s e r's multiple level undo feature requires the allocation of additional memory for each
transaction that is saved. Eventually, if little memory is available on your system, Co mp o s e r will
display the following message in the status bar:
When you see this message, you should use the Clear Undo History command in the Edit menu. If you
need to undo any recent editing operations, you should undo them first before using the Clear Undo
History command. After you use the Clear Undo History command, the "memory is low" message will
usually go away. If the message is still displayed, then you may need to exit other programs that are
running at the same time as Co mp o s e r. If that does not work, then save your work with the Save or
Save As command in the File menu; exit Co mp o s e r; then run Co mp o s e r again and reopen the file.
T o und o o ne o r mo re o f the mo s t re c e nt e d iting o p e ra tio ns (tra ns a c tio ns ):
1. Click the Edit menu in the main menu bar. Beneath the Edit menu label, a command name for
undoing the most recent transactions will be listed, such as "Undo Set Key Signature." The
undo command for the first most recent transaction will be listed first; the undo command for
next most recent transaction will be listed second; and so on.
2. Click the first Undo transaction command listed to undo the most recent transaction.
-- OR --
Click some other Undo transaction command further down the list. All of the transactions from
that point through the most recent will be undone.
-- OR --
Type CTRL+Z. This is a standard keystroke combination for the Undo command in most
Windows software applications.
After you undo one or more transactions, the next time you view the Edit menu, it will display Redo
transaction names for each of the most recently undone transactions. The following example shows
four transactions that can be undone, the most recent being a "Delete Note" transaction:
In the above example, suppose you undo the two most recent transactions, by undoing them one at a
time, or by clicking "Undo Set Clef" below "Undo Delete Note". That action will undo those two
transactions. The next time you view the Edit menu, it will display the following:
The first transaction that can be redone is "Set Clef", and the second "Delete Note".
T o re d o o ne o r mo re o f the mo s t re c e nt und o ne o p e ra tio ns (tra ns a c tio ns ):
1. Click the Edit menu in the main menu bar. Beneath the Edit menu label, review the list of Redo
command names, such as "Redo Set Clef" and "Redo Delete Note" in the above example.
2. Click the first Redo transaction command listed to redo the most recently undone transaction.
-- OR --
Click some other Redo transaction command further down the list. All of the transactions from
the first up to the one you clicked will be redone.
-- OR --
Type CTRL+Y. This a standard keystroke combination for the Redo command in most
Windows software applications.
T o fre e me mo ry us e d to s up p o rt the und o o f tra ns a c tio ns :

1. Make sure that you do not want to undo any previous transactions, because once you follow
this procedure, you will no longer be able to undo them.
2. Choose the Clear Undo History command in the Edit menu.
5.1.8 Recovering Interrupted Song File Editing
If you are editing a song and your computer system or Co mp o s e r program is abnormally terminated
for any reason, you can still recover most of the work in progress on the song. Reasons that the
Co mp o s e r program might abnormally terminate include disruption of power to your computer, or
hanging of the Windows operating system due to external causes.
Co mp o s e r completely backs up your work periodically, which is every 10 minutes by default. You
can set the backup frequency to a shorter or longer period, according to instructions described later in
this topic. Co mp o s e r backs up your work with a minimal interruption to your keyboard or mouse
activity. You will probably never notice that the back up is in progress. Co mp o s e r will display "Auto-
save <filename>..." in the status bar at the bottom of Co mp o s e r's window, probably faster than you
will be able to read it.
Co mp o s e r stores backup files in the Recover subdirectory of your \Program Files\Notation
\Composer directory. The backup file will have the same name as the file you are working on, except
that "-Recover", plus a number (eg, -Recover-2) will be added to the end of the file name. For example,
if you are working on MySong.not, the backup file will be named MySong-Recover-1.not. The
recovery files are renumbered upon each backup, so that the most recently is always (or almost
always) the one numbered 1.
Note that this backup and recovery system is not intended as a solution for normal backup of your
music work in progress. If you are composing and arranging a song, and are about to make some
major changes to the song that you are not sure you want to keep, then you should explicitly save a
backup copy of the song using the File menu Save As command.
The Undo 270 command is useful for reversing recent changes you have made to the song. Manually
saving and restoring a backup copy using the File menu Save As and Open commands is the
appropriate procedure for saving and returning to a major earlier juncture in your song composing or
arranging project. Co mp o s e r's file recovery feature is useful in the case that your system or
Co mp o s e r abnormally terminates.
The Auto Save Recovery option is enabled by default when you first install Co mp o s e r.
T o e na b le <% P R OD P OS E S S IV E % > file re c o v e ry fe a ture :
1. Choose the Auto Save Recovery Options command in the File menu.
2. Turn on the check mark for "Enable auto-save (backup) of song data."
The next time you view the Auto Save Recovery Options command name in the File menu,
you will see a check mark by it.
T o s e t the a uto -s a v e re c o v e ry fre q ue nc y :

Follow the previous procedure, and enter the auto-save frequency, measured in minutes.
T o re c o v e r a file a fte r y o ur c o mp ute r s y s te m o r Co mp o s e r ha s a b no rma lly te rmina te d :
1. Choose the Recover Auto-Saved File command in the File menu.
Co mp o s e r will display a File Open dialog box, and will pre-select your Program Files
\Notation\Composer\Recover directory.
2. In the Recover subdirectory, search for the files that match the name of the file you were
working on when Co mp o s e r was interrupted. Open the recovery file with the same name, with
"-Recover-1" at the end of the name, as that usually will be the most recently backed up copy
of your file.
3. Review the opened recovered file. Compare it with the original file. Do not replace the original
file if the recovered file is not newer. You can determine this by recalling what changes to the
song you recently made.
4. Optionally, rename the original file, or make a backup copy of it, just in case you have made a
mistake in assessing that the recovered file is more recent.
5. While viewing the recovered file, use the Save As command in the File menu to rename it to
the original file name, and to save it in the original file's directory.
IMP OR T A N T : Do not forget step 5! If you skip this step, and later use the File Save
command, your work will be saved in the MySong-Recover.not file instead of the original file.
5.2 Editing Measures

Co mp o s e r defines a measure as all the music that is played from one barline to the next, across all
staves. Co mp o s e r enables you edit measures as a whole in the following ways:
Insert measures 273 in the middle or at the end of the song.
Delete measures 274 .
Split a measure 275 with a new barline into two smaller measures.
Join two measures 276 by removing the barline that separates them.
Create an upbeat measure 277 , which has less that the full count of beats for the following
meter.
Specify the periodic numbering of measures 282 , such as showing the measure number of
every fifth measure.
Use multiple measure rests 359 to collapse two or more measures that are rests only.
5.2.1 Inserting and Adding Measures
T o ins e rt ne w me a s ure s a t the b e g inning o r mid d le o f the s c o re , o r a d d ne w

me a s ure s a t the e nd o f the s c o re :
1. Optionally, select a score region 266 . The new measure(s) will be inserted before the selected
region. Select the region by holding down the CTRL key while you drag the mouse.
2. Choose the Insert Measures command in the Measure menu.
-- OR --
Type "qim" or "qam" for Quick Insert Measure or Quick Add Measure.
Co mp o s e r will display the following Insert Measures dialog box:
If you selected a region in step #1, then Co mp o s e r will pre-select the choice "Insert measure
at measure number" and the measure number.
3. For the Where option, choose according to whether you want to insert the measure in the
middle (or beginning) of the score, or at the end of the score.
4. Specify how many measures you want to insert or add.
5. Choose the meter for the new measures. The instructions for selecting the meter in this dialog
are the same as for changing a meter; see topic Meters (Time Signatures) 394 .
6. Normally, you can accept the default Beam Groups pattern offered by Co mp o s e r. The
instructions for overriding the beaming pattern in this dialog are the same as for changing the
beaming of existing measures; see topic Beams 334 .
5.2.2 Deleting Measures
You can delete one or more measures with the Remove Measures command in the Score menu.
Beat zero of the first measure of a MIDI file typically contains MIDI data that must be transmitted at the
start of the song. If you delete the first measure, or a range of measures starting at the first measure,
Co mp o s e r will move this data to the new first measure of the score.
T o d e le te o ne o r mo re me a s ure s :
1. Optionally, select a range of measures 266 that you wish to delete. Select the measures by
holding down the CTRL key and dragging the mouse across them.
2 Choose the Remove Measures command in the Score menu.
-- OR --
Type "qrm" or "qdm" for Quick Remove Measures or Quick Delete Measures.
Co mp o s e r will present a Remove Measures dialog box.
3 In the Remove Measures dialog box, specify the measure number of the first measure to be
deleted, and the number of measures to be removed. If you selected a range of measures in
step #1, the values in the dialog box will be pre-selected.
4. Click the OK button to commit the deletion of the measures.
5.2.3 Splitting Measures
Co mp o s e r enables you to insert a barline into the middle of a measure, thus splitting the measure
either into two parts divided by a dotted barline, or into two smaller measures. Some reasons that you
might want to split a measure are:
Insert a dotted barline in the middle of a measure to emphasize the rhythmic structure of the
measure. This just splits the measure in half: it does not divide the measure into two new
measures.
If the first measure of the song is an upbeat, you can split the first measure exactly at the first
upbeat note, and then delete the left measure 274 of the two newly created split measures.
If an upbeat at the beginning of a section of the song is paired with a partial measure at the
end of the section, then you may need to split a measure at the end of the section in order to
create the partial measure. The procedure for Creating Upbeat Measures 277 includes the
procedure described in this topic for splitting a measure.
The barline can be inserted at any beat within the measure such that the newly created smaller
measures do not necessarily have equal lengths. If the barline is inserted at a minor beat in the
measure, Co mp o s e r arranges the beams for the second of two smaller measures according to the
same pattern as in the original measure. For example, if you split a 4:4 measure into 5:8 and 3:8
measures, the last two eighth notes of the second 3:8 measure will remain beamed together, and the
first of the three eighth notes in the 3:8 measure will not be beamed.
T o s p lit a me a s ure b y ins e rting a b a rline in the mid d le o f the me a s ure :
1. With the mouse, navigate to the Barline Palette.
-- OR --
Type the vertical line character "|", which suggests the shape of a barline. This is the upper-
case for the backward slash "\" character on many keyboards.
2. In the Barline Palette, select the type of barline you wish to insert in the middle of some
measure.
3. Click the Insert Barline button.

-- OR --
Type "ib" for Insert Barline.
4. The mouse cursor will change to .

As you move the cursor around on the score, a dark red barline of the type you have selected
will indicate where the new barline will be inserted if you click the mouse:
4. Click the mouse where you want the new barline to be inserted.
Co mp o s e r will add a new double barline where you clicked the mouse, and will indicate the
meters (time signatures) of the newly created left and right measure, as illustrated using the
above example:
In this example, if you want to convert the 1/8 measure into an upbeat measure, and delete the 7/8
measure, then follow the instructions in Creating Upbeat Measures 277 .
5.2.4 Joining Measures
By removing a barline, you can join two measures. The meter of the resulting new measure will have a
total number of beats equal to the sum of the beats of the two measures.
For example, the barline between these two measures will be removed:
This is the result after the barline is removed:
The meter of the two measures before the barline was removed was 3:4. The meter of the resulting
joined measure is 6:4, which is the sum of the 3:4 and 3:4 meters.
T o jo in two me a s ure s :
2. Select the barline between the two measures by dragging the mouse across it horizontally.
Co mp o s e r will highlight the selected barline in the color blue.
3. Hit the key to remove the barline.

-- OR --
Choose the Join Measure With Next command in the Barline Menu.
5.2.5 Creating Upbeat Measures
An upbeat measure begins a section of a song with fewer beats than the full count of beats in the
meter.
This topic describes how to create an upbeat measure if the barlines in your song are already
correctly aligned with the downbeat of measures. If you have imported a MIDI file, or recorded MIDI,
such that the barlines are misaligned with the downbeat of measures, then you can shift the barlines,
as described in the separate topic, Shifting Barlines 281 .
If a section of a song begins with an upbeat measure, and that section has repeats, then the section
normally ends with a partial measure. The total number of beats in the upbeat measure and the last
measure of the section equals the total number of beats in the meter of the section.
The procedure in this topic shows how you can create an upbeat measure, and corresponding last
measure of the section, with repeat marks. In the example, we will start with the following score:
We will change the first measure to an upbeat measure; split the third measure to create the section's
last measure, which complements the first measure; and add repeat marks.
If you need only to create an upbeat measure, you need only follow the first few steps in the following
procedure.
T o c re a te a n up b e a t me a s ure a nd a c o rre s p o nd ing tra ile r me a s ure with re p e a t ma rk s :
1. Split the first measure where you want the upbeat to start. Usually you will want to split the
measure where the first note follows preceding rests. See Splitting Measures 275 for
instructions.
2. Delete the left half of the split measure. See Deleting Measures 274 for instructions.
3. Hide the meter of the upbeat measure, as follows:

(a) Type SHIFT+M to display the Meter Palette.
(b) Click the meter button in the palette.
The mouse cursor will turn into this shape:

(c) Click the upbeat measure.
Co mp o s e r will display the Change Meter dialog, as shown here:
(d) Add a check mark for "This is an upbeat Measure". Then click the OK button.
4. Skip the remaining steps of this procedure if your goal is only to create the upbeat measure.
5. Split the last complete measure of the section so that the right half has the same number of
beats as the upbeat measure. See Splitting Measures 275 for instructions.
6. Select the barline after the upbeat measure, and change its type to a start-repeat. Select the
barline at the end of the repeated section, and change its type to an end-repeat. See Barlines
396 for instructions in changing the barline type.
7. Hide the meter in the newly split measure at the end of the repeated section. Follow the
instructions in step #3 to display the Change Meter dialog for the section's last measure, which
is the 7:8 measure in this example. Set a check mark by the hide button:
The result of this step is:
8. Hide the meter in the newly split measure that follows the end of the repeated section,
following the same instructions as Step 7 above.
N OT E : Do not attempt to hide the meters in both measures with one visit to the Change Meter
dialog, because that will incorrectly make the meter for both measures the same.
The result of this step completes the overall task:

5.2.6 Shifting Barlines
It is common that a MIDI file prepared by another MIDI program will have barlines that are misaligned
with the downbeat of measures. This problem particularly happens if the song has an upbeat
measure, which has a duration less than the meter of the song. This problem arises not because
Co mp o s e r cannot correctly interpret the barlines in the MIDI file, but because the barlines are
misplaced in the MIDI file.
Here is an example of misaligned barlines:
You can readily fix this problem by using the Shift Barlines command. The result will be this:
T o s hift multip le b a rline s to the rig ht:

1. While holding down the CTRL key, drag the mouse over the range of measures for which you
wish to shift the barlines. It does not matter which staff you select.
-- OR --
Use the Select Region command in the Region menu to select a range of measures.
-- OR --
Select the entire range of measures by clicking the Select Staff button among the staff
control buttons 172 . (Please note that the actual selection color will be light blue.)
2. Navigate to the Barline Palette 396 with the mouse.

-- OR --
Type '|' (which is probably Shift + '\' on your keyboard).
3. In the Barline Palette, click the Move Barlines button.

-- OR --
Choose the Shift Barlines command in the Barline menu.
The mouse cursor will change to show a red double-barline, which you can move around on
the score:
4. Move the red double-barline to where you what the first barline to be shifted:
5. Click the mouse button.

A barline will be inserted where you clicked the mouse, and all of the remaining barlines in the
selected region will be shifted by the same number of beats as those in the first partial
measure that you have created:
This will create a partial measure at the beginning of the selected region. If this is at the
beginning of the song, you probably want this to be an upbeat measure, and do not want to
see the partial meter, which is the 1:8 meter in this example. Also, this will create a
corresponding partial measure at the end of the selected region, which is the 7:8 meter in this
example.
6. To correctly display the meter in the upbeat measure 277 , double-click it. That will bring up the
Change Meter dialog box. Set a check mark for "This is an upbeat measure."
7. Optionally delete the trailing partial measure, which is the 7:8 meter in this example.
-- OR --
Change the meter 394 value for that partial measure.
The final result of the above procedure is as displayed at the top of this topic.
5.2.7 Editing Measure Numbers
Co mp o s e r offers several options for displaying measure numbers, such as at every 5th measure, or
at the first measure of every system.
If you break up a large musical work into more than one Notation .not file, then you might want the
measure number of the second .not file to follow the last measure number of the previous .not file.
You can do this as described below.
T o c ho o s e a me a s ure numb e ring o p tio n:
1. In the Measure menu choose the Measure Numbers command.
-- OR --
Type "qmn" for Quick Measure Numbers.
Co mp o s e r will display the Measure Numbers dialog:
2. Choose one of the options in the dialog, and click OK.

All of the options are self-explanatory except perhaps for the first one: "first measure of every
system". A system is one line of measures on a page. The line of measures includes the
staves for all of the instruments or voices that are playing. Thus, this option displays a
measure number at the first measure of each line (system) on each page of the score.
T o s p e c ify s o me s ta rting me a s ure numb e r, o the r tha n 1, fo r the c o ntinua tio n o f a s o ng
in a s e c o nd N o ta tio n .no t file :
Follow the same procedure as above. Enter the starting measure of the second .not file in the
"First measure number" field of the Measure Numbers dialog box. Please note that this
number cannot be negative.
5.3 Adding Notes

Co mp o s e r offers many methods for adding notes to a score, to suit varied preferences among a
wide variety of users, as well as to suit different needs that you may have at different times.
Overall, there are three different physical devices you can use to enter notes in Co mp o s e r, and using
each of these various devices there are alternative methods you can use for entering notes:
1. W ith the mo us e :
(a) Point and click the mouse to add new notes, choosing their durations from the Note
Duration Palette 285 .
-- OR --
(b) Point and click the mouse to add new notes in the score from left to right, such that the
duration of each note is determined by the location of the next note. This Sequential Note
Entry Method 291 is particularly useful if the notes have frequently changing durations. You
will not have to select different duration values from the Note Palette, because the duration
of each note automatically extends to the beginning of the next note, whether that next note
is a 32nd duration later or, say, a dotted quarter note duration later.
2. W ith the c o mp ute r k e y b o a rd :

Use only your computer keyboard to enter notes 300 , by typing the duration of the note you wish
to add, such as "8" for 8th note, "16" for sixteenth note, or "41d" for a quarter note with one dot.
Use the , , , and keys to determine the position of the note to be added. Then hit
the key to add the note. If you tend to prefer using the computer keyboard over using the
mouse, you will like this method.
3. W ith a mus ic k e y b o a rd tha t is c o nne c te d to y o ur c o mp ute r v ia a MID I c a b le :
(a) In synchronization with Co mp o s e r's metronome, record your performance on your music
keyboard 302 in real time to quickly enter the notes. Perhaps you will want to record your
performance at a slower tempo which you can later set to a faster speed.
-- OR --
(b) Use your music keyboard instead of the mouse to determine the pitches of notes; but enter
the notes at your own pace, without regard to a metronome. This is called Step-Time
Recording 304 , as opposed to real-time recording.
(c) Use both your music keyboard and computer keyboard together. Point the mouse in the
score at the location where you want to add a note or chord, and play it on your music
keyboard. Hit the key one or more times to advance the cursor that many positions in
the Beat Ruler 313 . The next time you play a note, the duration of the previous note will
terminate at the location of the newly added note. This method combines Step-Time
Recording with the Sequential Note Entry Method 305 .
The topics that follow explain all of the many methods of entering notes. You'll almost certainly find one
or more methods that suit your preferences.
T IP : For a quick overview of the above methods of adding notes, see the tutorial step on
Adding Notes to a New Song 60 .
5.3.1 Adding Notes with the Mouse

There are two quite different ways to add notes with the mouse in Co mp o s e r. The first way is the most
obvious way: point and click 285 . Choose a note duration value 287 from the Note Palette, or use a
keyboard shortcut such as "4" for quarter note and "16" for 16th note. Then click the mouse where you
want it to be added. This point-and-click method for adding notes "feels good" because as you move
the mouse around, the notes snap to the grid of a Beat Ruler 289 , which lets you know with more
confidence where the note will be added when you click the mouse.
The second method of adding notes with the mouse is not so immediately obvious because, for one
thing, you may not have seen this feature in other music programs: the Sequential Note Entry Method
291 . With this method, the duration of a newly added note is determined by where you add the next note.
Initially, the duration of a newly added note extends to the end of its measure, and also to the end of the
next measure. This is probably not the duration you intend for the note. However, as soon as you add
the next note after the first note, the duration of that first note will be changed so that it ends where the
next note begins. The term "sequential" is used here to suggest how one would add notes sequentially,
from left to right, in the score, where each note usually follows the previous. (It's easy, however, create
chords with multiple notes, as well as to include rests between notes.)
T IP : Many Co mp o s e r users tend to initially overlook this useful Sequential Note Entry
Method, because the Note Duration Palette draws their attention first, and they quickly develop
the habit of point-and-click for adding notes. However, many users have discovered the
Sequential Note Entry Method with delight and wish they had been using it all along. We
suggest that you briefly try it out so that you can decide whether it suits your working habits.
5.3.1.1 Adding Notes with Mouse by Choosing Durations from the Note Palette
The basic method for adding notes uses the mouse, and optionally the computer keyboard, but not
the music keyboard. The overall procedure for adding notes this way is:
1. Enter Add Mode 162 .
2. Select the note duration 287 value from the Note Palette.
3. Specify the voice of the note 295 , which determines the direction (up or down) of the stem
attached to the note.
4. Use the Beat Ruler to determine the location where you want the note to be added 289 , and
click the mouse at the desired location.
5. Determine the pitch of the new note 298 by the vertical position of the mouse click on the staff,
and optionally, by later dragging the pitch up or down with the mouse.
This basic method for adding notes is illustrated in the following example, where an eighth note is
added below a quarter note.
P ra c tic e a d d ing no te s with d iffe re nt no te d ura tio ns a nd v o ic e s (s te m d ire c tio ns ):
1. Create or open a song file.
2. Enter Add Mode 162 by clicking this button in the toolbar:

3. If the Note Palette is not already showing, type SHIFT+N to display it:
4. Prepare to add a quarter note to the score by clicking the quarter note button in the Note
Palette, or by typing "4".
5. Move the mouse to the measure where you want to add the quarter note. Use the Beat Ruler to
determine the exact beat location within the measure for the new note:
6. Click the mouse at the beat location and the staff line or staff space where you want to add the
note. The note will be added to the score, and will automatically be selected for further editing,
as indicated with the blue highlighting of the notehead:
Notice that Co mp o s e r automatically adds rests surrounding the newly added note.
7. Prepare to add an eighth note by clicking the eighth note button in the Note Palette, or by
typing "8" for eighth note:
8. Click the Lower Voice button, to prepare to add the eighth in the lower voice.
-- OR --
Type "lv" for lower voice.
9. Move the mouse to one eighth note past the quarter note added above, and at a lower staff
position:
10. Click the mouse. Notice how the new eighth note has a downward pointing stem. and how the
quarter note's stem direction has been automatically changed to an upward direction.
Co mp o s e r also fills in the extra eighth note rest in the lower voice below the quarter note. This
is the proper way to separate voices singing or playing different note durations in the same
staff:
11. Change the pitch of the newly added note up a half-step by typing "#" to add a sharp
accidental, or by hitting the key while holding down the "P" key for "pitch up":
In the topics that follow, the above basic procedure for adding notes is described in further detail.
5.3.1.2 Selecting the Note Duration
Unless you are using the Sequential Note Entry Mode 291 , you should normally specify a note duration
value before you add the note to the score with a mouse click. You can specify a note duration value
by using (1) the Note Palette, (2) an equivalent keyboard command, or (3) the Note menu (not
recommended except for learning the keyboard shortcuts).
By default, the as-performed duration of the newly added note will be only slightly less than the as-
notated duration. The result of this is that notes following one another be played in a connected legatto
style. Often this is not what you will want. You may want a more crisp sound, with brief gaps of silence
between them. You can individually adjust the as-performed duration of each note, or of several
selected notes at a time. Also, Co mp o s e r enables you set a default as-performed duration
corresponding to each standard note value, so that whenever you add a note, its as-performed
duration will automatically be adjusted. For example, you can set the as-performed duration of a
quarter note to be the equivalent, of, say a dotted eighth note, every time you add a quarter note. For
details, see Saving and Applying Note Duration Adjustments 516 .
T o s e le c t the no te d ura tio n v a lue fro m the N o te P a le tte :
1. Type SHIFT+N to display the Note Palette. Co mp o s e r will automatically switch from Select
Mode 162 to Add Mode 162 .
The Note Palette looks like this:
A note duration is specified as a combination of these three things:

(1) The base (round) duration, such as:
or
(2) The dotted note value, such as:
or no dot
(3) The triplet or quintuplet value, such as
or no triplet or quintuplet
2. Click options from each of the above three groups in the Note Palette.
Here are some examples:
T o s e le c t the no te d ura tio n v a lue fo r ne w no te s us ing the k e y b o a rd :

1. Type SHIFT+N to display the Note Palette so that you can see the current note duration value.
2. To select the base (round) note duration, type its 1- or 2-digit value, as indicated below:
Note that the whole note keystrokes are "11" and "22" instead of "1" and "2". Why? Because
"1d" and "2d" are used for single and double dots. If you just typed "1" or "2", Co mp o s e r
would not know if you wanted to add a whole or half note, or whether you wanted to type a "d"
character to indicate "dot", as described next.
3. To change the dotted note value, type "0", "1" or "2", followed by "d", for zero, one or two dots:
4. To select the tuplet style, type "00", "33" or "55" for no tuplet, triplet, or quintuplet, as indicated
below:
5. To add the first note of a triplet swing:
Click the triplet swing button.

-- OR --
Type "3s" for triplet swing.
5.3.1.3 Using the Beat Ruler
The previous topic, Adding Notes with the Mouse 283 , introduces using the Beat Ruler for adding
notes. This topic describes more details about the Beat Ruler.
The Beat Ruler has an appearance similar to that of a normal desk ruler. It is drawn in the background
behind the notes and rests in the measure where the mouse is currently pointing:
As you move the mouse from one measure to another,the Beat Ruler follows to the new measure. The
red to-be-added note "snaps" to positions in the Beat Ruler. This snapping behavior of the note
helps you gain certainty about where it will be added when you click the mouse.
At any time you can change the resolution of the Beat Ruler so that the Beat Ruler marks are as small
as 64th notes, or as large as 8th notes. If you are adding triplets or quintuplets, the Beat Ruler
resolution will automatically, temporarily, be set to the triplet or quintuplet duration. If you find that the
Beat Ruler marks are so close together that it is difficult to position the mouse at the correct beat
position, you can stretch the Beat Ruler. These procedures are described later in this topic.
You may want to add notes between the minor beats indicated by the Beat Ruler. Although you can
change the resolution of the Beat Ruler, usually you will not find that necessary. When you add a note
with a duration that ends in between two minor beats of the Beat Ruler, Co mp o s e r will automatically
add a rest. You can then add a note to replace some or all of the rest. The location of the rest serves
as an additional subdivision of the Beat Ruler, as illustrated here:
If you need to add a note in between two ruler positions that is spanned by a rest, then you can first
divide the rest. The division of the rest will provide you a place to subsequently add the note between
the Beat Ruler beat positions. For details, see Dividing and Combining Rests 354 .
If you are adding triplet or quintuplet members, the Beat Ruler marks will temporarily change to triplet
or quintuplet increments.
T o c ha ng e the B e a t R ule r re s o lutio n to 8th, 16th, 32nd o r 64th:

1. Navigate to the Note Duration Palette, or type SHIFT+N.
2. In the Note Duration Palette, click the Beat Ruler Palette button.
-- OR --
Type "ru" for ruler.
That will take you to the Beat Ruler Palette:
3. Click some resolution value, such as 16th note intervals, illustrated here:
T o a uto ma tic a lly , te mp o ra rily , c ha ng e the B e a t R ule r re s o lutio n to a trip le t o r

q uintup le t re s o lutio n:
When you select a triplet or quintuplet note duration in Add Mode, the Beat Ruler resolution will
be automatically set to the triplet or quintuplet note duration:
T o s tre tc h the B e a t R ule r ma rk s fa rthe r p a rt, o r to c o mp re s s the m c lo s e r to g e the r:

1. Navigate to the Beat Ruler Palette, as described above.
2. Click the Increase Ruler Spacing button or Decrease Ruler Spacing button one or
more times.
-- OR --
3. Choose one of the commands in the Spacing Between Ruler Marks submenu of the View
menu. One of these commands is Specify Minimum Pixels Per Ruler Mark.
-- OR --
4. Type S+ or S+ to increase or decrease the ruler resolution. Type S+ENTER to set the
ruler resolution to the default.
5.3.1.4 Adding Notes Using the Sequential Note Entry Mode
The basic method of adding notes with mouse point-and-click 285 requires that you select a note
duration before adding a note. If you are adding a series of notes with frequent changes in durations, it
may become somewhat tedious to have to select varying note durations before you add notes. You
may find that using keyboard shortcuts, such as "81d" for "dotted 8th note" will make selecting note
durations much easier. But there is an alternative method of entering notes, named the Sequential
Note Entry Mode, where you do not have to specify the note duration before you add it.
With the Sequential Note Entry Mode, the duration of a newly added note is determined by where you
add the next note. Initially, the duration of a newly added note extends to the end of its measure, and
also to the end of the next measure. This is probably not the duration you intend for the note. However,
as soon as you add the next note after the first note, the duration of that first note will be changed so that
it ends where the next note begins. The term "sequential" is used here to suggest how one would add
notes sequentially, from left to right, in the score, where each note usually follows the previous. (It's
easy, however, create chords with multiple notes, as well as to include rests between notes.)
T IP : Many Co mp o s e r users tend to initially overlook this useful Sequential Note Entry
Method, because the Note Duration Palette draws their attention first, and they quickly develop
the habit of point-and-click for adding notes. However, many users have discovered the
Sequential Note Entry Method with delight and wish they had been using it all along. We
suggest that you briefly try it out so that you can decide whether it suits your working habits.
T o a d d no te s with v a ry ing d ura tio ns us ing the S e q ue ntia l N o te E ntry Mo d e :

The mouse cursor will change to a red whole note, which suggests that when you initially add
the note, it will have a long note value (unless you add the note in front of another note). Here is
what the red to-be-added note looks like before it is clicked into the score:
3. Move the mouse cursor in the score to the horizontal measure and beat location where you
want to add the first note, and the vertical pitch position of the first note. Then click the mouse.
The newly added note will have a duration that extends to the next note, or to the second
barline, which ever is first.
4. Optionally, change the pitch of the newly added note by dragging it up or down before
releasing the mouse button. Or, type P+ or P+ . Or add an accidental, such as "#" for
sharp. See Determining the Pitch of a New Note 298 .
5. With the mouse, move the red to-be-added note to the measure and beat and pitch for the
next note; and then click the mouse. The duration of the second newly added note will extend
to the second barline. The duration of the previously added note will extend to the location of
the second added note, as illustrated below:
The result of clicking the red to-be-added note at its location in the above example will be:
T o c re a te c ho rd s :
Click a new note at the same location as another note. For example, here is the result of
adding a second note to the first note in the above example:
T o a d d no te s b e twe e n o the r no te s :
Simply click the mouse somewhere between two notes. The previous note will be shortened,
so that its duration ends at the location of the newly inserted note. The duration of the newly
inserted note will extend up to the next note after it:
In the above examples, the spacing between notes was limited to no smaller than 8th notes. You can
change the spacing to a smaller (or larger) value, according to the next procedure.
T o d e te rmine ho w fa r a p a rt the no te s a re , in te rms o f no te le ng th:
Choose one of the resolutions in the Beat Ruler, as illustrated below:
In the above examples, we have created different note duration values without having to explicitly
specify them in the Note Duration Palette. Instead, the duration of each note is determined by the
location of the next note in the sequence, which is why we call it the "Sequential Note Entry Mode".
Suppose you would like to terminate the last note at the barline, rather than have it extend across the
barline. This is easy to do with the Cut Duration Tool.
T o s ho rte n the d ura tio n o f a no te o r c ho rd :
1. Select the note or chord. If you just added it, then it is already selected.
2. Click the Cut Duration Tool button in the Beat Ruler Palette.
-- OR --
Type "cut".
The mouse cursor will change to a razor shape.
3. Move the mouse so that the razor is located where you want to end the previous note or
chord, as illustrated below. It does not matter where you place the razor vertically.
4. Click the mouse to complete the "cutting" of the note duration. The result for the above
example is:
After using the Cut Duration Tool once, Co mp o s e r will automatically return to Sequential Note
Entry Mode.
You can also use the Cut Duration Tool for a note in the middle of a sequence, as illustrated here:
5.3.1.5 Specifying the Stem Direction (Voice)
With Co mp o s e r, the direction of a stem attached to a note is determined by the voice of the note. The
term voice has musical meaning. The stem direction indicates the voice according to common music
notation practice, as described below.
If a part in the score is for a single instrument or human voice, which can only play or sing one note at a
time, then all of the notes in that part are said to have a single voice. If the part is played or sung by two
or more individuals, but they all play the same notes, and only one note at a time, then that part is also
said to have a single voice. The stem directions for notes in a single voice may be upward or
downward. If a note is above the middle staff line, the stem direction is downward; if the note is below
the middle staff line, the stem direction is upward.
If a part is for two players, and if the notes they play have different rhythms, then the part is said to be
split with upper and lower voices. Upper voice notes always have upward stems; and lower voice
notes always have downward stems.
Piano and keyboard parts also indicate upper and lower voices to clarify and simplify the notation of
notes simultaneously played with different rhythms. When all of the notes have the same rhythms, they
typically use stem direction rules for single voice. These rules for keyboard voice notation are
illustrated below:
If a pair of notes-- one in the upper voice and one in the lower voice-- share the same pitch, then
Co mp o s e r will display the two notes using a single notehead with one upward stem for the upper
voice and a second download stem for the lower voice. This will be done unless there would be
ambiguity about the duration of the note in either voice. Two shared noteheads are illustrated below:
In Co mp o s e r, you do not directly edit stem directions. Instead, you indirectly edit them by specifying
the voice of notes. However, if Co mp o s e r chooses a stem direction that is the opposite of what you
want, you can force it in the opposite direction according to a procedure at the end of this topic.
T o s e le c t the v o ic e fo r no te s tha t y o u s ub s e q ue ntly a d d :
1. Type SHIFT+N to display the Note Duration Palette.
2. Click one of the three buttons in the palette to choose the voice.
-- OR --
Type "sv", "uv" or "lv" for single, upper or lower voice.
In Add Mode, as you move the mouse around, you will notice that the stem direction of the moving note
is consistent with the voice you have chosen. For example, if you have chosen lower voice, then even
if you move the mouse below the middle staff line, the stem direction of the moving note will remain
downward:
When you add a new note to a location in the score where another note has a different voice,
Co mp o s e r may change the voice of the other note in a way that should usually please you. In the
following example, an eighth note is added one eighth note beat past the beginning of a quarter note
that has a single voice:
When Co mp o s e r adds the eighth note, it automatically reassigns the adjacent quarter from single
voice to upper voice:
This works the other way, too. If you add a single voice note such that it overlaps some upper or lower
voice notes already in the score, then Co mp o s e r will automatically reassign those overlapping notes
to a single voice.
T o fo rc e the s te m d ire c tio n to b e the o p p o s ite o f its na tura l d ire c tio n:

1. To set the stem direction up, assign the note to upper voice. To set the stem direction down,
assign the note to lower voice. If the note already exists, select it, and then click the Upper
Voice or Lower Voice button in the Note Palette, or type "uv" or "lv" for upper voice or lower
voice.
The score will then show a rest in the opposite voice, as illustrated here:
2. Select the rest in the opposite voice.

To select many rests, you may find it convenient to select a region using Ctrl+Drag, or by
selecting an entire staff, and then use the Convert Region to Selection or Rests command in
the Region menu.
3. Choose the Hide Rest command in the rest menu.
-- OR --
Click the Hide Rest button in the Rest Palette.

-- OR --
Type "h" for "hide rest".
The rest will be temporarily reveal in gray rather than black:
4. To return the hidden rests back to invisible, toggle off the check mark for Reveal Hidden
Rests in the Rest menu.
-- OR --
Toggle of the Reveal Hidden Rests button in the Rest Palette.

-- OR --
Type "r" to toggle off "reveal hidden rests".
5.3.1.6 Determining the Pitch of a New Note
When you add a note, its pitch is initially determined by its staff position and the preceding key
signature. After you add the note you can quickly add an accidental to it, such as a sharp or flat. You
can also listen to the pitch of the note before you commit to adding it. While you hold down the mouse
button, you can move the mouse up and down to hear different pitches before you release the mouse
button to add the note. These and some other procedures for determining the pitch of a new note are
described below.
T o d e te rmine the p itc h o f a ne w no te :
1. Prepare to add the note by navigating to the Note Palette, selecting the note duration and
voice, and then moving the mouse cursor to the measure and beat location where you want to
add the note. The procedure for preparing to add the note is described in Adding Notes with
the Mouse 285 .
2. Move the cursor (note) to a position in the staff that determines the pitch of the note for the key
signature of the measure.
As you move the mouse, the moving note at the cursor will snap to a position exactly on a staff
line, or at the space between two staff lines. This snapping behavior of the mouse gives you
certainty about what the pitch of the note will be when you finally click the mouse.
3. If you do not need to hear the pitch of the note before you commit to adding the note, click the
mouse button. Otherwise, press the mouse button down and you will hear the pitch of the note
about to be added.
4. If you have not yet released the mouse button, you can move the mouse up and down to hear
different pitches:
It does not matter if you also move the mouse left and right; the note will remain at the measure
and beat location you originally clicked.
5. Release the mouse button when you hear the pitch you want, or a pitch that is a half-step
above or below the pitch you want if your desired pitch does not belong to the current key
signature.
6. If you decide you do not want to add the note, you can hit the ESC key before releasing the
mouse. You might find it easier, however, to just hit the key after the unwanted note is
added.
7. If the note does not belong to the current key signature, then you can add an accidental as
follows:
step at a time.
-- OR --
-- OR --
Type one of the following commands:
"ss" or "#" sharp
"f" or "b" flat
"na" no accidental
If you type P+ , P+ , CTRL+ or CTRL+ to specify the pitch of the note, Co mp o s e r

will automatically choose a "spelling" for the note based on its analysis of the surrounding
harmony. For example, Co mp o s e r will automatically choose between two alternative
spellings of C# and Db. If Co mp o s e r does not automatically choose the spelling you want,
you can change the enharmonic spelling, as described in the topic on Accidentals 316 .
5.3.1.7 Determining the Loudness of a New Note
The loudness of a note can range from 1 to 127. This is the MIDI note-on velocity. When you add a
note, its loudness will be 64, by default. You can change this default by following this general
procedure:
T o s p e c ify the lo ud ne s s fo r ne wly a d d e d no te s :
1. Click the Note Velocity tab.
2. In the "Loudness" menu choose the Set Loudness for New Notes command.
3. Enter the loudness value, and check the "Use the above loudness (MIDI velocity) for all newly
added notes" option.
4. Click "Ok" to save and exit.
After this, any note that you subsequently add will have the loudness that you saved.
The above procedure is described in detail in Editing the Loudness of Notes 521 .
5.3.2 Adding Notes Using Only Your Computer Keyboard
The method for adding notes described here is ideal if you prefer to do most of your work with the
computer keyboard instead of the mouse.
The following example introduces how adding notes with only your computer keyboard works:
T o a d d no te s us ing the c o mp ute r k e y b o a rd :

3. Select the note duration for the to-be-added note, as described in Selecting the Note Duration
287 . You can use the mouse to choose a duration value from the above Note Palette. Or, you
can use computer keyboard shortcuts, such as "4" for quarter note, "16" for sixteenth, or "833"
for eighth triplet.
4. Move the mouse so that the red to-be-added note on the screen is close to where you want to
add the first note.
5. Hit the or key one or more times to move the red to-be-added note to the measure
and beat location where you want to add the note.
You might need to change the Beat Ruler 289 to determine the resolution of the beats where
notes can be added, such as every eighth note beat or every sixteenth note beat.
6. Hit the or key one or more times to move the red to-be-added note up or down one
staff step at a time. If you need to add an accidental to the note, follow step #8.
7. Hit the key to insert (add) the new note at the location of the red to-be-added note.
The newly added note will be shown in the score, and will be selected, as indicated with a
blue highlight.
8. To add an accidental to the newly added note:
step at a time.
-- OR --
-- OR --
Type one of the following commands:
"ss" or "#" sharp
"f" or "b" flat
"na" no accidental
If you type NumPad or , or P+ or P+ to specify the pitch of the note, Co mp o s e r

will automatically choose a "spelling" for the note based on its analysis of the surrounding
harmony. For example, Co mp o s e r will automatically choose between two alternative
spellings of C# and Db. If Co mp o s e r does not automatically choose the spelling you want,
you can change the enharmonic spelling, as described in the topic on Accidentals 316 .
9. To add a note to a chord, use the and keys to move the red to-be-added note to
another staff position at the same measure/beat, and hit the key.
5.3.3 Adding Notes Using Your Music (MIDI) Keyboard

If you have a music (MIDI) keyboard connected to your computer, there are two general ways you can
use it to add notes:
1. Record your performance of the notes on the music keyboard in real-time 302 , or perhaps at a
slower tempo.
2. Use your music keyboard as a natural way to select pitches of notes or chords as you insert
them one-by-one into the score. This is called Step-Time Recording 304 .
3. Step-Time Recording offers an especially quick way to enter notes if you use it together with
the Sequential Note Method 305 .
These three methods of adding notes using your music (MIDI) keyboard are described in the topics
that follow.
5.3.3.1 Recording Your Performance at MIDI Keyboard to Enter Notes
If you are skilled with a music keyboard, then you might find that the quickest way to enter notes it to
record your live performance. (If you are not skilled with a music keyboard, then there are many other
ways to enter notes with Co mp o s e r.)
You do not need an expensive electronic keyboard for the purpose of entering notes via a music
keyboard. The keyboard does not even need to be able to produce sound. You can use what is
called a MIDI controller, which is just the keyboard without any sounds: Co mp o s e r will "hear" the
notes you play on the MIDI controller and play them back using whatever instrument sounds you
assign. You can purchase a compact 49-key MIDI controller for as little as $100 (USD) or less, which
will even detect and record how loud you play each key (the MIDI note velocity).
The procedures for recording notes from your MIDI keyboard are described in the section Recording
from a Music Keyboard 485 . The current topic does not describe the procedures for recording but,
rather, offers some tips on how you can take advantage of Co mp o s e r's recording capability in order
to add notes to a score. Co mp o s e r offers the option of recording with or without using a metronome. If
you are more comfortable using a metronome to keep your timing and rhythm on track, then you have a
very quick method of entering the notes for your song. If you prefer to play "with feeling", but still want a
high-quality transcription, then you can play your song however you want and then use the Rebar
feature 91 to adjust the barlines and beats to accurately transcribe the sheet music for your song.
Tips for Entering Notes by Recording Your Performance at a MIDI

Keyboard
1. Co ns id e r us ing the S te p -T ime R e c o rd ing Me tho d .
One of the most difficult things about recording from a MIDI keyboard is keeping in time with the
metronome. You can avoid this altogether with the Step-Time Recoding Method 304 . By that
method, you still use your MIDI keyboard to tell Co mp o s e r which notes you are adding. Play a
note or chord on the music keyboard, and Co mp o s e r will add it at the active location in the score.
You can take as much time as you want before then playing the note or chord. With this method,
however, you will sometimes need to go back and forth between your MIDI keyboard and either the
mouse or your computer keyboard.
2. Y o u d o n' t ha v e to p la y a ll o f the no te s a t o nc e .
Suppose you want to enter the notes for a piano piece. You don't have to record all of the notes at
once. For example, you might record just the right hand first, and then the left hand. Or, you might
record just the melody first, and then fill in the accompaniment in subsequent recordings. If you do
this, you might want to add one or extra temporary staves for different "slices" of the music, and then
merge two or more of them together into a single staff.
3. R e c o rd a t a s lo we r te mp o a nd the n la te r e d it the te mp o fo r a fa s te r s p e e d .
This is sort of cheating, but nobody has to know that you recorded at a slower tempo. If you care
only about preparing the music score, and don't care about fine details in the performance
interpretation of the score upon playback, then you can ignore the rest of this tip.
If you do care about the fine details of how the music sounds upon playback, then take care to
perform the music with a "feeling" that takes into account that the tempo will be later sped up. This
tip assumes that you are recording with a metronome. If you want a freer playing and performance
style, then see Tip 6 below.
For example, suppose the final score has some fairly quickly played staccato notes. At a slower
tempo, you'll play each note on a slower beat or sub-beat. That much is easy. However, you might
be tempted to play the staccato note at a slower tempo with the same shortness that it would have
at the finally adjusted faster tempo. A discriminating ear will hear that at the final faster tempo, the
staccato note will then sound too short.
Here's some math to explain this. Suppose the final tempo is 120 quarter notes per minute, and
there are some staccato 8th notes. Each quarter note is one-half second long, because if there are
120 quarter notes per minute, there are 2 for every second. Therefore, each 8th notes is 1/4 second
long. Suppose you want each staccato 8th note to sound half as long as it is notated, so that the
as-heard duration of each 8th note is therefore 1/8th second long. Your ear knows what that sounds
like. Now, suppose you perform the music at your keyboard at half the tempo, so that it is easier for
you to play the notes. At this half tempo, each 8th note is 1/2 second apart. Your ear might tell you,
however, to play these slowed downed 8th notes with still the very abbreviated 1/8th second length.
That might sound right as you're performing at the slower tempo. However, when you double the
tempo back to the intended 120 quarter notes per minute, the 8th notes will sound for only half as
long, that is, for 1/16th of a second. They will sound half as short as you want. They will then be
played with too much staccato.
It takes a little bit of practice to learn how to compensate for this "tempo shift". Soon, you will find
yourself naturally compensating for it. Or, alternatively, consider playing at a normal tempo and
correct your performance mistakes later, as described in the next tip. If you want an even freer
playing and performance style, see Tip 6 below.
4. R e c o rd a t no rma l te mp o ; d o n' t wo rry a b o ut s o me wro ng no te s ; c o rre c t the m la te r.
This method is advised only if you care a lot about the playback of the score. At first glance, this
advice might seem self-contradictory, because why would you want to record wrong notes if you
care a lot about the playback? The reason is that it is easier to fix the wrong pitch of a note than it is
to adjust the rhythm of the note or its loudness. Using this method you can enter the proper rhythms
of chords or single notes, then easily go back and adjust the pitches. This tip assumes you are
recording with the metronome "on." If you want a freer style of playing, please see Tip 6 below.
If you care only about preparing the score, then we do not recommend recording at normal tempo.
You might as well record at a slower tempo at which you will hit fewer wrong notes.
If you do care about how the music sounds upon playback, and you want it to follow your
interpretation, then recording your interpretation-- the precise rhythms the individual loudness of
each note-- is an ideal way to prepare the sound track. And, you might be able to produce the best
musical interpretation of the music by performing it normal tempo. Or, record at almost normal
tempo, and then speed up the tempo just somewhat for the final sound track.
5. U s e <% P R OD P OS E S S IV E % > U nd o Co mma nd fo r Multip le T a k e s
After you record, say, 16 measures, you might think, "I could do better than that". Give it a try. Use
CTRL+Drag to select the region that you are punching in 494 , and record it again. Maybe your
second attempt isn't even as good as the previous. No problem. Use the Undo command, and
you're back to your first take 496 . You can go back and forth between multiple takes this way, with
Undo and Redo. However, be aware that if you return to a previous recording take, and then edit it
in any way, then all subsequent takes will be discarded, given the way that Undo works.
6. R e c o rd y o ur p e rfo rma nc e witho ut us ing the me tro no me , a nd the n us e the R e b a r

fe a ture to a d jus t the b a rline s a nd c o rre c tly no ta te the inte nd e d rhy thms a nd
d ura tio ns .
Beginning with version 2.6, Co mp o s e r gives you the flexibility to record notes using a MIDI
instrument without using a metronome. You can use this feature if you have a lot of tempo changes
that you want to preserve in the performance of the piece. Go ahead and record your performance,
and then use the Rebar 91 feature to adjust the barlines, and resulting notation, according to the
beats or pulses of the performance. The tempo changes of your performance will be preserved,
and you will have correctly notated rhythms and durations for your score. You can still use the
various editing capabilities of Co mp o s e r to fine-tune the performance and/or the notation if
needed when you finish using the Rebar feature to adjust the barlines.
5.3.3.2 Adding Notes Using Step-Time Recording Mode
If you have a music keyboard or other MIDI input device, you can add notes using the Step-Time
Recoding Mode. Point the mouse at the measure and beat location, and then play the note or chord
on your music keyboard. Co mp o s e r will add the note or chord, and then automatically advance to the
next location ready for you to play another note or chord.
This Step-Time Recording method differs from real-time recording in that you can enter notes at your
own pace, without having to play accurate rhythms. The individual loudness of each note you record in
Step-Time Recording Mode will be saved along with the pitch, and will be faithfully performed by
Co mp o s e r with the same degree of loudness during playback. The actually played duration of the
note, however, will be determined by Co mp o s e r according to the Note Duration Adjustment Table 516
.
The following procedure describes how to use the Step-Time Recording Mode while using the Note
Duration palette or keyboard shortcuts to select to-be-added note durations. You can also use the
Step-Time Recording Mode in conjunction with the Sequential Note Entry Mode. When you use these
two methods of note entry together, you can enter notes from you music keyboard, with different note
durations, with relatively little use of your mouse and computer keyboard. For details, see the next
topic Using Step-Time Recording and Sequential Note Entry Modes Together 305 .
T o a d d a no te o r c ho rd us ing y o ur mus ic k e y b o a rd , a t y o ur o wn p a c e :
1. Click the Step-Time Record button in the toolbar 159 :
-- OR --
Type R + Enter. That is, while holding down the "R" key, hit the ENTER key.
Co mp o s e r will automatically display the Note Palette if it is not already displayed.
2. Choose the note duration 287 from the Note Palette.
-- OR --
Type the one or more note duration commands 287 , such as "41d" for a dotted quarter note.
The red to-be-added note cursor will show the note duration that will be added, as illustrated
in the next step.
3. Move the mouse cursor to the measure and beat where you want to add a note or chord from
your music keyboard, such as in this example:
It does not matter where the mouse is located vertically on the staff, because the pitch of the
new note(s) will be determined by what you play on the music keyboard. What does matter is
that you move the mouse the measure and beat where you want the note(s) to be added.
5. Play the note or chord on your music keyboard.
Co mp o s e r adds the note or chord you have played, and automatically advances the mouse
to the location that marks the end of the note's or chord's duration. For example, if you play an
F-major chord in the above example, it will be added with an eighth note duration. The mouse
will automatically be moved to the eighth note rest following the newly added chord:
6. You can continue playing notes and chords. They will be added sequentially in the score. You
do not have to manually move the cursor to the new location. Co mp o s e r will have already
moved the cursor for you.
For example, having just played the F chord, you can play a Bb chord, and it will be added, as
shown below:
7. At any time you can change the duration of the next note or chord that you are about to add.
Just select the new duration from the Note Palette, or type the keyboard command for the
duration.
5.3.3.3 Using Step-Time Recording and Sequential Note Entry Modes Together
Co mp o s e r's Step-Time Recording 304 feature enables you to enter notes from you music keyboard
at your own pace, without having to keep a rhythm.
Co mp o s e r's Sequential Note Entry Mode 291 enables you to quickly enter sequences of notes with
varying durations. In this mode, you do not have to specify a note duration value in the Note Duration
Palette, or type a note duration shortcut, such as "4", before you add a note with a different duration
than the previous.
Both the Step-Time Recording and Sequential Note Entry Mode features alone are quite useful. They
can also be used together!
There is an extra benefit in using the Step-Time Recording and Sequential Note Entry Modes
together. As you enter notes or chords from your music keyboard, Co mp o s e r will remember the
duration of the most recently entered note, and will advance the cursor by that amount for the next to-
be-added note. This is quite convenient for adding, for example, runs of eighth notes or sixteenth
notes.
When the run of same-duration notes is broken by a different note duration value, you can either move
the mouse to the position of the next note, or you can use the or key to move the cursor one or
more positions in the Beat Ruler 289 .
The following exercise illustrates how this works.
T o p ra c tic e us ing the S te p -T ime R e c o rd ing a nd S e q ue ntia l N o te E ntry Mo d e s
to g e the r:
1. Click the Step-Time Record button in the toolbar 159 :
-- OR --
Type S + Enter. That is, while holding down the "S" key, hit the ENTER key.
Co mp o s e r will automatically display the Note Duration Palette if it is not already displayed.
2. Click the Sequential Note Entry button in the Note Duration Palette.
3. With the mouse, move the red to-be-added note to the measure and beat where you want to
add the first note or chord. It does not matter where you place the to-be-added note vertically,
because the pitch(es) of the new note (chord) will be determined by what you play at your
music keyboard.
4. Play a note or chord at your music keyboard. Co mp o s e r will add the note or chord at the
location where the red to-be-added note cursor was located.
At this point, the red to-be-added note cursor will not automatically advance, because there
is no previous note for Co mp o s e r to determine what the duration for the anticipated
sequence of same-duration notes should be.
5. With the mouse, move the red to-be-added note cursor to the position of the next note.
-- OR --
Hit the key one or more times. The red to-be-added note cursor will advance one Beat
Ruler mark per each click. You can also use the key to move the cursor to the left.
6. Play the second note or chord at your music keyboard. As always in Step-Time Record
Mode, Co mp o s e r will add your newly played note or chord to the location where the note
cursor is located.
7. Play the third note or chord at your music keyboard. Notice how the cursor advances one
quarter note at a time.
8. Now, prepare to add the fourth note one 8th note after the third note. You can do this by moving
the mouse cursor to the proper location. But you will likely find it easier to simply hit the
key. That moves the red to-be-added note cursor back one Beat Ruler position. In this
example, the Beat Ruler marks occur every eighth note. You can optionally specify a different
Beat Ruler resolution 289 .
Here is what the example looks like after you have hit the key once:
8. Play the fourth note or chord at your music keyboard. Because the newly added note is one
eighth note after the third note, Co mp o s e r automatically changes the duration of the third note
to an eighth note. Also, the red to-be-added note cursor advances by an eighth note rather
than a quarter note, because the previous note is an eighth note.
9. Play two more notes. The result will look like this:
10. To make the last note an eighth note, ending at the first barline, use the Cut Duration Tool.
Click the Cut Duration Tool button in the Beat Ruler Palette.
-- OR --
Type "cut".
The mouse cursor will change to a razor shape.
With the mouse, move the razor to the beginning of the second measure:
Click the mouse to cut the duration of the previous note:
That ends the exercise. Now just play around some, adding sequences of notes from your music
keyboard with the same durations as well as differing durations. In a short time you will likely find this to
be an efficient and fun way to enter notes.
5.4 Selecting, Editing and Deleting Notes

Co mp o s e r offers convenient tools for editing the many details of notes in a score.
Alternative Methods for Selecting Notes 310
Selecting Notes and Advancing to the Next (or Previous) Note 447
Automatically Playing Notes When Selected 312
Deleting Notes 312
Removing Silent Notes 312
Editing Note Pitch 313
8va Octaves 314
Editing Accidentals (Sharp, Flat, etc.) 316
Editing the Rhythms of Notes 318
Editing Note Location (Attack) 319
Editing Note Duration 321
Editing Triplets and Quintuplets 323
Editing Swing Notation 328
Editing Accent Marks 331

Editing Beams 334
Editing Ties 337
Editing Note Voice (Stem Direction) 340
Editing Drum Notes 341
Editing Notehead Shape 342
5.4.1 Alternative Methods for Selecting Notes
Notes are the most important element in a music score. Much of your work on a score will involve
selecting and editing notes. Co mp o s e r offers several ways that you can select notes.
T o s e le c t a s ing le no te :
In Select Mode 162 , click the note with the mouse, or drag over it with the mouse.
T o s e le c t s e v e ra l a d ja c e nt no te s :
Drag the mouse over the notes.
-- OR --
Add one or more new notes to the list of already selected notes by holding down the SHIFT
key and clicking that note, or dragging the mouse over that note.
T o s e le c t a ll o f the no te s a c ro s s a ra ng e o f lo c a tio ns in o ne o r mo re a d ja c e nt s ta v e s ,
us ing CT R L+d ra g :
2. While holding down the CTRL key, drag the mouse over the range of locations and staves.
The selected region 266 will be highlighted with a blue background, as illustrated here:
(a)
If the Note Palette is already active, the notes will be automatically selected and highlighted in
blue, as illustrated here:
(b)
3. If the Note Palette is not already active, then click the Notes and Rest palette tab. The notes
will then be automatically selected and highlighted in blue, as illustrated in (b) above.
T o s e le c t a ll o f the no te s in a s ta ff (o r multip le s ta v e s ):
2. Among the four staff control buttons 172 , click the Select Staff button.
The entire staff will be highlighted with a blue background to indicate the selection of staff as a
region.
To select additional staves, hold down the Shift button while clicking the Select Staff
button. This action selects all of the staves from the previous selection down (or up) through
the staff you just selected.
3. If the Note Palette is not already active, then click the Notes and Rest palette tab.
T o s e le c t a ll o f the no te s in the e ntire s o ng :
2. Choose the Select All command in the Region menu.
All of the measures in all of the staves ill be highlighted with a blue background.
T o s e le c t a ra ng e o f no te s in o ne o r mo re a d ja c e nt s ta v e s , b y s p e c ify ing the ra ng e
a nd s ta v e s in a d ia lo g b o x:
2. Choose the Select Region command in the Region menu.
Co mp o s e r will present the Select Region dialog.
3. In the Select Region dialog box, specify the start and end measures and beats of the range,
and specify the first and last of the adjacent staves.
4. Click the OK button in the Select Region dialog.
The selected range of locations and staves will be highlighted with a gray background.
You can also select notes in a range of measures and beats, and range of staves, according to these
selection criteria:
all of the top melody notes in the selected staff
the accompaniment notes in the selected staff, that is, all of notes except the top melody notes
upper or lower voice notes
notes with specified accent marks, such as staccato or tenuto
T o s e le c t no te s in a ra ng e o f me a s ure s a nd b e a ts , a nd ra ng e o f s ta v e s , a c c o rd ing to
v a rio us s e le c tio n c rite ria (me lo d y , a c c o mp a nime nt, v o ic e , o r a c c e nt ma rk ):
In the Region menu, choose the command Filter Notes According to Selection Criteria, as
described in the topic Filtering Notes Based on Notation 526 .
5.4.2 Selecting Notes and Advancing to the Next or Previous Note
In Select Mode 162 , once you have selected a note, chord, or rest, you can advance the selection to
the next (or previous) note, chord, or rest in the same staff by using a keystroke instead of a mouse
click. Or, you can select another note above or below in the same chord.
Also, in Add Mode 162 , if you are entering notes on top of existing notes, you can advance the
selection from the most recently added note to the next note that follows it.
T o a d v a nc e the s e le c tio n to the no te , c ho rd o r re s t a t the ne xt o r p re v io us me a s ure -
b e a t lo c a tio n:
Use the key to advance to the next note, chord or rest. Use the key to go back to the
previous note, chord or rest.
Co mp o s e r automatically turns pages as necessary to advance to the next or previous chord
or rest.
T o a d v a nc e the s e le c tio n to the ne xt hig he r o r lo we r p itc he d no te in the s a me c ho rd :
Use the or to select the next higher or lower pitched note in the same chord.
If there are upper and lower voice chords at the same location in the staff, Co mp o s e r
advances forward from the upper voice to the lower voice, and backward from the lower voice
to the upper voice.
By default, Co mp o s e r plays the newly selected note or chord, using the instrument sound and
loudness (MIDI velocity) that would be used for the note or chord during normal song playback. You
can optionally turn off the automatic playing of notes when selected 312 .
5.4.3 Automatically Playing Notes When Selected
As you add and change notes, you may find it useful to hear the note pitches. By default, Co mp o s e r
plays a newly selected note or chord, using the instrument sound and loudness (MIDI velocity) that
would be used for the note or chord during normal song playback. You can turn off this option so that
newly selected notes and chords are not automatically played.
T o turn o n o r o ff the o p tio n to a uto ma tic a lly p la y no te s whe n the y a re s e le c te d :
Toggle the Play Notes When Selected option in the "Perform" or "Edit" menu.
5.4.4 Deleting Notes
The procedure for deleting notes is natural.

T o d e le te o ne o r mo re s e le c te d no te s :
1. Select the note(s), as described in Alternative Methods for Selecting Notes 310 .
2. Hit the key.
5.4.5 Removing Silent Notes
You can select and delete specific notes 312 . Also, if you have recorded a performance at your music
keyboard and accidentally played some extra notes very softly, or with very short durations, you can
readily remove all of them with one command.
T o re mo v e v e ry s o ft o r s ho rt no te s :
2. Select a group of notes with the mouse. The group may include both notes that will be
removed and notes that will not be removed.
-- OR --
Select a region of the score 266 .
3. Choose the Remove Silent Notes command in the Note menu or Region menu.
-- OR --
Type "rsn" for Remove Silent Notes.
Co mp o s e r will display the Remove Silent Notes dialog box:
4. You can remove silent notes based on whether they are very short and/or very soft. Set a
check mark for either or both of the options. Specify the threshold values for note length and
loudness. By default, Co mp o s e r will initially offer the values you most recently specified in
this dialog box.
6. If Co mp o s e r removes either fewer or more notes than you desire, then use the Undo
command 270 and try the Remove Silent Notes command again with a different threshold note
duration and/or loudness.
5.4.6 Editing Note Pitch
When you add a new note with a mouse click, its pitch is determined by the vertical position of the
mouse on the staff, and the key signature of the measure. If you hold the mouse button down and drag
the mouse vertically up and down on the staff, Co mp o s e r will play the pitches. You can release the
mouse when you hear the pitch you want. For details, see Determining the Pitch of a New Note 298 . You
can also drag the pitch of an exiting note with the mouse.
Co mp o s e r also lets you easily raise or lower the pitches of existing notes.
T o ra is e (o r lo we r) the p itc h o f o ne o r mo re no te b y o ne o r mo re ha lf-s te p s us ing the
c o mp ute r k e y b o a rd :
2. Select one or more notes 264 by clicking or dragging the mouse cursor over them. (To select
all the notes in a staff, you can click the Staff Select button 175 for that staff. Then in the Region
menu, select the "Convert Region to a selection of notes" command.)
3. Type the NumPad or key one or more times to raise or lower the pitch one half-step at
a time.
-- OR --
Type P+ (or P+ ) one or more times to raise (or lower) the pitch by that many half-steps.
Co mp o s e r will play the pitches of the notes 312 as you raise or lower them, unless you have
turned off this feature.
-- OR --
While holding down the left mouse button, select the note and drag it up or down. If this does
not work, be sure that the option for Enable Dragging of Note Pitches is selected in the Note
menu.
T o ra is e (o r lo we r) the p itc h o f o ne o r mo re no te s b y a n o c ta v e :
Hold down the SHIFT key as you type the NumPad or key.
-- OR --
Type P+PAGEUP or P+PAGEDOWN.
You can also change the pitch of a note by adding or removing an accidental 316 , as described in the
next topic.
5.4.7 8va Octaves
When a series of notes are too far above the top staff line, or far below the bottom staff line, they are
difficult for a performing musician to read. The , , and symbols shift the as-
notated pitches by one or two octaves, to bring the notes into the easier reading range of the staff lines:
The symbol transposes the notes down one octave. The notes you see in the score will
be performed and heard an octave higher, as illustrated below:
The symbol transposes the notes up one octave. It is usually used in the bass clef
to bring very low notes up an octave higher in the staff.
The symbol transposes the notes down two octaves. It is used for extremely high notes.
The following procedures describe how to:
Add an , , or symbol.
Change the range of measures and beats over which the symbol spans.
Delete the symbol.
Add notes within the span of the , , or symbol.
To add an , , or s y mb o l:
1. With the mouse, navigate to the Octave Palette, in either of the two ways shown below:
-- OR --
Type SHIFT+O. If Co mp o s e r displays the Ornament Palette first, then type SHIFT+O a
second time for the Octave Palette.
Co mp o s e r will automatically enter Add Mode 162 , and the mouse cursor will change to this
shape:
2. In the Octave Palette or menu, or with a keyboard shortcut, select the type of octave
transposition you want:
Click the button, or type "8va", to add the symbol and transpose the as-notated
notes down an octave.
Click the button, or type "8vb", to add the symbol and transpose the as-
notated notes up an octave.
Click the button, or type "15ma", to add the symbol and transpose the as-
notated notes up two octaves.
3. Click the mouse, but do not yet release the button, and point the mouse at the first to-be
transposed note.
Co mp o s e r will initially add the symbol, starting at the location where you clicked the mouse,
and ending at the barline for that measure. Notice how the notes up to the end of the current
measure are already transposed. The octave symbol will be highlighted in blue. You can use
the red handles at the start and end of the symbol to change the starting and ending locations
of the symbol.
4. While still holding down the mouse button, drag the handle to the end of the range of notes that
you wish to transpose. The newly selected notes will not be transposed until you release the
mouse button.
5. Release the mouse button. This completes the adding of the octave symbol and the as-
notated transposition of the underlying notes. The as-heard playback pitches will remain
unchanged.
T o c ha ng e the ra ng e o f me a s ure s a nd b e a ts o v e r whic h the s y mb o l s p a ns .

1. In Select Mode 162 , click anywhere on the octave symbol.
Co mp o s e r will highlight the selected symbol in the color blue, and will display a pair of red
handles at the start and end of the symbol, as illustrated in the above examples.
2. Click one of the two red handles while holding down the mouse button, and drag it to the right
or left, to change the starting or ending location of the octave symbol. Release the mouse
button.
-- OR --
To move the start or end of the symbol one measure to the right or left, click one of the
following buttons, or type one of the keyboard shortcuts:
Click the button, or type S+ , to move the start of the octave symbol one measure
to the left.
Click the button, or type S+ , to move the start of the octave symbol one measure
to the right.
Click the button, or type E+ , to move the end of the octave symbol one measure to
the right.
Click the button, or type E+ , to move the end of the octave symbol one measure to
the left.
T o d e le te a n o c ta v e s y mb o l:
1. In Select Mode 162 , click anywhere on the octave symbol.
2. Hit the key.

Co mp o s e r will remove the symbol, and the underlying notes will return to their original un-
transposed locations in the staff.
T o a d d no te s within the s p a n o f the , , or s y mb o l:
If you are adding the notes with the mouse, then add them as you normally would. The newly
added note will be placed at the vertical staff location where you click the mouse. The as-
heard pitch for the newly added note will be transposed according to the type of octave
symbol.
If you are using the Step-Time Recording Method 305 of entering notes, then play the notes at
your keyboard at the as-heard pitch you want for the notes.
5.4.8 Editing Note Accidental (Sharp, Flat, etc.)
You can change the pitch of a note by adding or removing an accidental. You can also change the
enharmonic spelling of a note, such as from C# to Db, which raises or lowers the position of the note on
the staff by a half-space, but leaves the pitch unchanged.
Co mp o s e r automatically determines the spellings of notes, based on the key signature and
surrounding harmony. Co mp o s e r usually makes the correct decision about the enharmonic spelling
of a note as, for example, Db versus C#. In some cases, however, Co mp o s e r may make a mistake,
or you may have a different opinion about the correct spelling. In such cases, you can override
Co mp o s e r's choice of spelling, as described in the second procedure below.
T IP : When you change the pitches of notes, we recommend that you let
Co mp o s e r make a first guess at the spelling. For example, If you want to raise the
pitch 313 of a note by a half-step, then select the note and hit the P+ keys, Try this
instead of, for example, dragging the note to the staff position above and explicitly
inserting a flat accidental. Why? If you explicitly add the flat accidental, Co mp o s e r
will rigidly preserve that spelling of the note with a flat accidental. Even if you radically
change the surrounding notes to sharps, this note will continue to be spelled with a flat,
probably incorrectly, rather than with a sharp at the next lower staff line.
T o c ha ng e the a c c id e nta l a nd c o rre s p o nd ing p itc h o f a no te :
2. Select the note 264 by clicking it with the mouse.
3. Choose one of the accidentals in the Accidental submenu of the Note menu.
-- OR --
Type one of the following commands, which is easier than using the Note menu:
Ke y b o a rd Co mma nd A c c id e nta l
"ss" or "#" sharp
"f" or "b" flat
"na" no accidental
T o c ha ng e the e nha rmo nic s p e lling o f a no te :

3. In the Enharmonic Spelling submenu of the Note menu, choose the Raise or Lower command.
-- OR --
Type E+ (or E+ ) to raise (or lower) the enharmonic ("E") spelling. To "raise" the
enharmonic spelling means to "move the note up one step on the staff". For example, Db is
the raised enharmonic spelling for C#, because D is one step higher on the staff than C.
The following table illustrates the Raise and Lower Enharmonic Spelling commands:
Orig ina l R a is e E nha rmo nic Lo we r E nha rmo nic

S p e lling S p e lling S p e lling
C Dbb B#
C# Db B##
Db not available C#
D# Eb not available
F Gbb E#
A "courtesy accidental" is an accidental that does not need to be displayed because it is already
implied by the key signature or a preceding identical accidental in the same measure. The courtesy
accidental is displayed to help the performer avoid possibly overlooking the accidental, or to assure
the performer that the accidental is intended by the composer. A courtesy accidental is displayed in
parentheses, as illustrated below:
T o a d d a c o urte s y a c c id e nta l:
1. Select the note for which you wish to add the courtesy accidental.
2. Type the parenthesis character '('.
-- OR --
Type "ca" for courtesy accidental.
Co mp o s e r will add the implied accidental with parentheses around it, as illustrated above.
T o re mo v e a c o urte s y a c c id e nta l:
1. Select the note that has a courtesy accidental (with parentheses around it).
2. Type "rc" for remove courtesy accidental.
5.4.9 Editing the Rhythms of Notes
With Co mp o s e r, you can edit the rhythms of notes, as displayed in the score, independently of how
they are actually performed during playback. This way, you can preserve the "feeling" of your original
live recording of the notes, or of the originally imported MIDI file. Alternatively, you can also choose to
change the performance so that it exactly matches, or closely matches, the notation. Thus, Co mp o s e r
offers you a high degree of control over both the notation and the performance of notes.
Using the Piano Roll Notation 501 option, you can explicitly:
edit just the notated locations and duration of notes 514
edit just the performed attacks and releases of notes 501
edit both the notated and performed locations and durations of notes (this is the default
setting)
The topics that follow describe procedures for editing the location and duration of notes:
Editing Note Location (Attack) 319
Editing Note Duration 321
Editing Triplets and Quintuplets 323
Editing Swing Notation 328
Combining Separate Notes into Chords 330

5.4.9.1 Editing Note Location (Attack)
You can move the location of a note to the right or left. When you move the note, you can preserve the
note's duration ("note value"), or you can move the attack of the note independently of its release
(where the note ends). You can also move the attack location of multiple selected notes with a single
command.
T o mo v e (s hift) a no te to the rig ht o r le ft witho ut c ha ng ing its d ura tio n:

3. While holding down the SHIFT key (for "shifting" the note), press the or key to shift the
note to the left or right.
For example, here is a quarter note before it is shifted to the right:
Here is the quarter note after it is shifted to the right:
T o mo v e the a tta c k o f the no te , while le a v ing the re le a s e o f the no te unc ha ng e d :
Type A+ to move the note attack to the right, and A+ key to move the note attack to the
left.
The amount that Co mp o s e r moves the note attack to the right or left depends on the context of the
note. If there are no other notes nearby in the same staff, nor any other staff, then the attack will be
moved by a sixteenth note beat. If the note is a member of a triplet or quintuplet, then the attack will be
moved to an adjacent tuplet member position. If there is another note or rest, in the same staff or other
staves, that lies closer than one sixteenth away from the current note's location, then the note's location
will be moved to the same location of that other note or rest. This is illustrated in the following example.
The quarter note in the middle of the measure is selected with a mouse click:
In each of the subsequent pictures, the keys A+ have been used to move the attack one position at
a time. The attack position moves 16th beat at a time until the note is adjacent to the 32nd rest. Then it
moves by just a 32nd beat rather than a 16th beat:
T o mo v e the a s -no ta te d a tta c k lo c a tio n o nly , while e ns uring tha t the a s -p e rfo rme d
a tta c k re ma ins unc ha ng e d :
2. Click the Piano Roll tab in the main palette 164 .
-- OR --
Type SHIFT+Y.
Co mp o s e r will display the Piano Roll Palette:
3. Click the Edit As-Notated Only button.

-- OR --
Type "en" for edit notation only.
Now the piano roll rectangles will be white to indicate that the performed timings are temporarily
lock ed, as illustrated in the next picture.
5. Type A+ or A+ key to move the as-notated attack to the left or right.

The result of this last procedure is illustrated below:
5.4.9.2 Editing Note Duration
The procedures below describe how to change the duration of a note by directly editing the note. You
can also change the duration of a note by deleting the rest after it, or by dropping a rest on top of the
start or end of the note. See Deleting Rests to Extend the Durations of Previous Notes 354 and Using
Rests to Erase Notes 357 .
T o c ha ng e the d ura tio n o f a no te :
Co mp o s e r will display the Note Palette:
4. Use the buttons in the Note Palette to change the duration of the selected note. For an
explanation of the Note Duration Palette, see Selecting the Note Duration 287 .
-- OR --
Type the equivalent keyboard commands 287 for the buttons, such as "81d" for dotted eighth
note.
-- OR --
Type D+ or D+ key one or more times to increase or decrease the duration of the note.
The procedure for changing the duration with D+ and D+ is similar to that for changing the attack
location of a note 319 with A+ and A+ . The amount by which Co mp o s e rincreases or
decreases the duration depends on the context of the note. If there are no other notes nearby in the
same staff, nor any other staff, then the duration will be increased or decreased by one sixteenth (of a
whole note). If the note is not a member of a triplet or quintuplet, and if the original duration is not a
multiple of a sixteenth note, then the duration will be rounded up or down to the nearest multiple of a
sixteenth note. If the note is a member of a triplet or quintuplet, then the duration will be changed so that
it aligns with an adjacent tuplet member position. If in the same staff or other staves there is another
note or rest which lies closer than one sixteenth away from the current note's as-notated release (end
of note), then the note's duration will be changed so that it ends where the nearby note or rest begins.
This is illustrated in the following example. It is not really necessary for you to know all of these details.
Try using D+ and D+ and you will quickly get a feel for how it works.
The quarter note is selected with a mouse click:
In each of the subsequent pictures below, the keys D+ have been used to increase the duration.
The duration increases by one sixteenth at a time until the note ends at the 32nd note. Then the next D+
command extends the duration by only a 32nd beat rather than the normal sixteenth beat, so that
the duration ends at the start of the next 32nd note.
By default, the as-performed duration of the changed note will be slightly less than the as-notated
duration. The result of this is that sequential notes will play in a legato style, that is, with almost no gaps
between them. Sometimes this is not what you will want. You may want a more crisp sound, with brief
gaps of silence between them. You can individually adjust the as-performed duration of each note 509 ,
or of several selected notes at a time. Co mp o s e r also enables you to set a default as-performed
duration corresponding to each standard note size, so that whenever you add a note, its as-performed
duration will automatically be adjusted. For example, you can set the as-performed duration of a
quarter note to be the equivalent, of, say a dotted eighth note. For details, see Saving and Applying
Note Duration Adjustments 516 .
You also have the option to change the as-notated duration without changing the as-performed (heard)
length of the note.
T o c ha ng e the a s -no ta te d d ura tio n, while e ns uring tha t the a s -p e rfo rme d d ura tio n
re ma ins unc ha ng e d :
-- OR --
Type SHIFT+Y.
Co mp o s e r will display the Piano Roll Palette:
3. Click the Edit As-Notated Only button.

-- OR --
Type "en" for edit notation only.
Now the piano roll rectangles will be white to indicate that the performed timings are temporarily
lock ed, as illustrated in the next picture.
5. Type D+ or D+ key to make the as-notated duration shorter or longer.

The result of this last procedure is illustrated below:
5.4.9.3 Editing Triplets and Quintuplets
Co mp o s e r automatically recognizes triplets and quintuplets as it transcribes a MIDI file to notation,

and also as you record live from your music keyboard. Co mp o s e r also recognizes irregular triplets,
such as with missing members. If Co mp o s e r incorrectly detects a triplet or quintuplet, you can convert
regular notes to the tuplet, or convert the tuplet notes to regular notes.
You can manually add triplets and quintuplets to a score using the note duration palette or equivalent
keyboard commands. With a single command, you can convert non-tuplet groups of notes to triplets or
quintuplets, or vise versa. You can combine adjacent two triplets or quintuplets of the same size into a
single tuplet, or split a single tuplet into two equal, smaller tuplets.
The procedures for all of the above tasks are described in this topic.
T o a d d trip le t o r q uintup le t no te s to a s c o re :
2. If you want to begin the tuplet with a note rather than a rest, then type SHIFT+N to display the
Note Palette:
If you want to begin the tuplet with a rest, then type SHIFT+R to display the Rest Palette:
3. Select the round note or rest duration that represents the basic member of the tuplet, before
choosing the tuplet type (triplet or quintuplet). For example, if you are adding eighth note triplet
members, click the eighth note button first.
4. Click the triplet or quintuplet tuplet, after choosing the round note value: or
-- OR --
If you are adding the first note of a swing rhythm, such as this:
then click the swing button. The rest of the swing rhythm procedure is described in Editing
Swing Notation 328 .
After you click the or button, the resolution of the Beat Ruler 289 will temporarily
change to the size of the tuplet member that you are adding, as illustrated here:
5. Click the mouse cursor where you want the tuplet to begin.
Co mp o s e r will add the first note or rest in the tuplet, with additional rests for the remaining
members of the tuplet. For example, if you choose an eighth note for the triplet member
duration, and add it to the second beat of the measure, it will look like this:
If you choose an eighth rest for the triplet member duration, and add it to the beginning of the
second beat of the measure, it will look like this:
6. Add other members to the tuplet, taking advantage of the temporary tuplet resolution of the
Beat Ruler. The following example such a second member added to the tuplet started above:
7 The notes in the tuplet do not have to be the exact duration of a tuplet member. From the note
or Rest Palette, choose other note durations as desired.
For example, to add a sixteenth note after the eighth note member of the triplet, click the
sixteenth note button in the Note Palette, and then the triplet button.
N OT E : Whenever you choose a different "round" note duration, the tuplet value automatically
resets to "no tuplet",
as indicated by the button.
Move the mouse cursor to the location where you want this note to be added:
When you click the mouse, the result will be:
T o c ha ng e the d ura tio n o f a no te in a trip le t o r q uintup le t:

Follow the same procedure as for that for changing the duration of a non-tuplet note 321 , as
summarized here.
2. Select the note by clicking it.
3. Type SHIFT+N to display the note duration palette.
4. Click a duration and/or dotted note value in the Note Palette.
-- OR --
Type an equivalent keyboard command, such as "16" to change the note to a sixteenth duration
in the tuplet.
-- OR --
While holding down the "D" key, hit the or key to increase or decrease the duration.
T o c o nv e rt no n-tup le t no te s to trip le ts o r q uintup le ts :
2. Select the notes and rests that should be converted to a triplet or quintuplet group, as
illustrated:
4. Click the triplet or quintuplet button in the note duration palette.

-- OR --
Type "33" for triplet, or "55" for quintuplet.
Using the above example, if you convert the selected notes to a triplet, the result will be:
If the underlying performance of the notes is closer to an even triplet, Co mp o s e r will convert
the non-triplet members to this:
You can also convert the rhythm the other way, from a triplet or quintuplet to non-tuplet rhythm, as
described next.
T o c o nv e rt a trip le t o r q uintup le t to no n-tup le t no te d ura tio ns :
2. Select at least one note or rest, but not necessarily all members, of the tuplet.
4. Click the no-tuplet button.

-- OR --
Type "00" for no tuplet.
Co mp o s e r will convert all of the members of the tuplet to the simplest rhythm of non-tuplet
durations that most closely matches the tuplet rhythm.
T o c o mb ine a d ja c e nt tup le ts o f the s a me s ize into o ne la rg e r tup le t:
2. Drag the mouse over some, but not necessarily all, of the notes or rests in both tuplets, to
select them. For example:
Note that the two sets of tuplets to be joined must span across a natural beat or sub-beat in the
meter of the measure, rather than straddle a beat or sub-beat.
3. Choose the Join Pair of Triplets or Quintuplets command in the Triplets and Quintuplets
submenu Note menu.
-- OR --
Type "jt" for join tuplet.
In this example, the result will be:
4. To beam the notes 334 together, type SHIFT+B to display the Beam Palette, and choose the
Beam Left and Right option.
-- OR --
Type "==".
The result will be:
T o s p lit a tup le t into two s ma lle r, e q ua l s ize d tup le ts :

2. Select at least one member of the tuplet, but not necessarily all members of the tuplet. For
example:
3. Choose the Divide Triplet or Quintuplet In Two command in the note menu.
-- OR --
Type "dt" for divide tuplet.
In this example, the result will be:
A beam is left between the two tuplets. You can easily remove it, as described in Beams 334 .
5.4.9.4 Editing Swing Notation
A swing rhythm, when literally written out as two unequal members of a triplet, looks like this:
In a jazz or "big band" music style, swing rhythms are typically not written out using triplets, such as in
the above example. Instead, to simplify the notation, the swing rhythm is notated as though the notes
are evenly played, with equal durations. The above as-performed notes are usually notated like this:
You can prepare a swing that will be heard with a triplet swing, but displayed with paired notes of equal
durations.
If you are importing a MIDI file for a jazz or "big band" piece with a swing rhythm, then choose the
"Swing Rhythm" transcription option 86 . Co mp o s e r will automatically notate the swing rhythms as
illustrated in the above second example. Similarly, if you are recording swing rhythms at your music
keyboard, then choose the "Swing Rhythm" transcription option.
T o " write o ut" a s wing rhy thm, a s in the firs t o f the a b o v e two e xa mp le s :
1. In the Note Duration Palette, select the "round" value of the first member of the swing rhythm by
clicking, in this example, the quarter note button.
2. In the Note Duration Palette, click the triplet swing button.

-- OR --
Type "3s" for triplet swing.
3. Click the mouse cursor where you want to add the first member of the swing.
4. In the Note Duration Palette, select the "round" value for the second member of the swing
rhythm by clicking, in this example the eighth note button.
5. Click the triplet button.

-- OR --
Type "33" for triplet.
6. Click the mouse cursor where you want to add the second member of the swing.
T o a d d a s wing rhy thm tha t will b e p e rfo rme d with the s wing , b ut whic h will b e
d is p la y e d a s a p a ir o f e q ua l d ura tio n no te s :
1. Add the swing notes using the procedure described above, and then select the swing notes.
For example, a section of swing notes might look like this:

-- OR --
Type SHIFT+Y.
Co mp o s e r will display the Piano Roll Palette.
3. In the Piano Roll Palette, click the Edit As-Notated Only button.
-- OR --
Type "an" for as-notated.
4. Type SHIFT+N to display the Note Duration Palette.

5. Click the No Tuplets button in the Note Duration Palette.

All of the selected swing notes will now be displayed as paired notes of equal durations. The
Piano Roll rectangles indicate that the performance of the second note of each pair occurs
after its as-notated location. Thus, when the notes are played, you still hear the swing.
5.4.9.5 Combining Separate Notes into Chords
A MIDI file, or a recording of your performance at a MIDI keyboard, will finely specify the exact time at
which each note is played. If the notes are played closely together, then Co mp o s e r will display the
notes as a single chord. If one note is played some significant amount of time before another note,
then Co mp o s e r will display that note as a grace note or as a normal note with a short duration, such
as a 32nd or 64th note. It is challenging for Co mp o s e r to determine with 100% accuracy whether notes
played nearly together should be notated as separate notes or, alternatively, as a chord.
Co mp o s e r's rate of accuracy is high, but sometimes it will make a mistake that you will want to
correct. Also, you may at the same time want to change the actual performance of the notes so that
they are played more closely together.
If Co mp o s e r has displayed notes with two or more separate attacks, which you want to combine into
a single chord, then you can very quickly make the correctly. You could manually move the attacks of
notes, and adjust the durations of the notes, but an even quicker way to make the correction is to use
the Combine Chord command.
T o c o mb ine s e p a ra te no te s into a c ho rd :
1. Select the notes to be combined into a single chord. The order in which you select the notes is
important. The first note you select determines where the location (attack) of the combined
chord will be. You can also select a rest, to move the notes to the location of that rest.
2. After selecting the notes (and optional rest), choose the Combine Chord command in the Note
menu.
-- OR --
Type "cc" for "combine chord".
If after making using the Combine Chord command you want to correct the performance, so that the
notes are played at exactly the same time, then use the Snap to As-Notated command, or type A +
. For more information, see Quantizing the Performance of Notes 513 .
5.4.10 Editing Accent Marks
With Co mp o s e r you can add a variety of accent marks and other music symbols at noteheads, or at
the ends of note stems. You can assign two accents to a single note or chord. You can add accent
marks for several selected notes with a single command.
In Co mp o s e r, the term "accent mark" is defined more generally than the musical definition of accent
mark. Co mp o s e r's term "accent mark" includes other types of annotations that are placed directly
above or below notes and chords. These extra annotations include string bowings (up, down) and
fermatas.
In Co mp o s e r, accent marks do not affect the actual performance of the notes. Instead, you can
directly edit the performance of the notes exactly as you want the accent marks to be interpreted
during playback. For example, if the note has an ">" accent mark that you wish to be interpreted during
playback, you can increase the loudness of that note 521 . You can shorten the as-performed duration
of a note 509 if it has a staccato mark. For a given region, you can filter (select) all of the notes that have
a staccato mark 526 , and decrease their as-performed durations in one step.
Co mp o s e r offers a special option that converts a written-out staccato into a note or chord with a
staccato accent mark. For example, this option will convert an eighth note followed by an eighth rest to
a quarter note with a staccato mark, or a sixteenth note followed by a dotted eighth rest to a quarter
note with a staccato mark. See the procedure at the end of this topic.
T o a d d o ne a c c e nt ma rk , o r two a c c e nts , to o ne o r mo re no te s :
2. Select one or more notes 264 by clicking or dragging the mouse.
3. Type SHIFT+A to show the Accent Palette.
-- OR --
Navigate to the Accent Palette from the top palette as shown:
4. Click one or two of the accent mark buttons.

-- OR --
Type one or two of the equivalent keyboard commands shown above.
-- OR --
Select one or two of the accent mark types in the Accent Menu.
Co mp o s e r will add the accent mark(s) to all of the selected notes.
By default, Co mp o s e r places accents at the noteheads for notes in single voice 295 , and at the stem
ends for notes in upper or lower voice 295 . You can override this default.
T o fo rc e the a c c e nt ma rk to b e p la c e d a t the no te he a d o r a t the s te m e nd :
1. Enter Select Mode 162 . Select the note. Type SHIFT+A to display the accent palette.
2. Choose the Place At Notehead or Place at Stem End command in the Accent Menu.
-- OR --
Click the Place At Notehead or Place at Stem End button in the accent palette.
-- OR --
Type "n" for placement at the notehead, or "s" for placement at the stem end.
T o re mo v e a n a c c e nt ma rk fro m o ne o r mo re s e le c te d no te s :
2. Select one or more notes 264 by clicking or dragging the mouse. Then type SHIFT+A to
display the accent palette.
The accent palette will show what accent, if any, is associated with the selected notes. If all of
the notes have the same accent mark, then the accent mark button shown in a "full on" color. If
some, but not all, of the notes have the same accent mark, then the button will be displayed in
a "half on" color. The colors will depend on your Color Theme 155 . This is illustrated below:
3. If all of the notes have the accent mark, then click the button once, or type its equivalent
keyboard command once. That will toggle the palette button to off, and the accent mark will be
removed from all of the notes.
If some, but not all, of the notes have the accent mark, then click the button once. That will add
the accent mark to all of the notes. Then click the button a second time. That will remove the
accent mark from all of the notes.
T o re p la c e a writte n-o ut s ta c c a to p e rfo rma nc e with a no te o r c ho rd with a s ta c c a to

ma rk :
1. Select the notes that you want to convert. It does not matter if you also select adjacent rests.
Also, it does not matter if you select some notes that should not be converted to staccato
notes, because Co mp o s e r will intelligently determine which notes are staccato notes.
In the following, some notes that will be converted to staccato marks are selected, and some
notes that will not be converted are selected. Also, some rests are selected, and some rests
are not selected.
2. With the mouse, navigate to the Accent Palette, as described in the first procedure in this topic.
-- OR --
Type SHIFT+A.
3. Click the Replace Notes and Rests with staccato button in the Accent palette.
-- OR --
Type "r." (the letter "r" followed by a dot/period) for replace with staccato (dot).
-- OR --
Choose the Replace Notes and Rests with staccato command in the Accent Menu.
The result of the command for the above example is:
Notice how a pair of sixteenth notes did not need staccato marks.
5.4.11 Editing Beams
Co mp o s e r automatically determines how notes are beamed together, but you can change the
beams if you disagree with any of Co mp o s e r's decisions.
You can add or remove a beam, or change the secondary beam. An example of changing a
secondary beam is:
You can specify the beaming pattern for many measures at a time, if they share a common meter. For
example, in a 4:4: meter, eighth notes are normally beamed together as four pairs of two eighth notes
each. You can change this so that for every measure, eighth notes are beamed together in two groups
of four eighth notes each. Instead of individually changing the beaming of eighth notes in every
measure, you can change the beaming of notes in all of the measures in one step. The procedure for
doing this is described at the end of this topic.
T o a d d a b e a m fro m o ne no te to the ne xt:
2. Select the first of the two notes by clicking it with the mouse. For example:
3. Type SHIFT+B to show the Beam Palette:
4. Click the Beam Right and Left button in the Beam Palette:
-- OR --
Choose the Beam Right and Left command in the Beam Menu.
-- OR --
Type "==". The two equal sign characters (==) are intended to look like beams on the left and
right side of a note stem.
In this example, the result is:
T o re mo v e a b e a m b e twe e n two no te s :
1. Enter Select Mode 162 ; select one of the notes; and type SHIFT+B to display the Beam
Palette.
2. Select the first of the two notes, and click the Beam Right button, or type "r" for "right only".
-- OR --
Select the second of the two notes, and click the Beam Left button, or type "l" for "left only".
T o re mo v e b e a ms o n b o th s id e s o f a no te , s o tha t it is le ft with o nly a fla g :
1. Enter Select Mode 162 ; select the note; and type SHIFT+B to display the Beam Palette.
2. Click the Flag button to replace the beam(s) with a flag.

T o c ha ng e the s e c o nd a ry b e a m b e twe e n two no te s :
2. To remove a secondary beam that extends from the selected note to the next note:
Click the button.

-- OR --
Type "=-". The first "=" character suggests two beams; and the second dash "-" suggests
one beam.
3. To remove a secondary beam that extends from a previous note to the selected note:
Click the button.

-- OR --
Type "-=".
4. To add a secondary beam among one or more selected notes:
Click the button.

-- OR --
Type "==".
T o re s to re <% P R OD P OS E S S IV E % > d e fa ult c ho ic e fo r b e a ms :
2. Drag the mouse over all of the notes for which you wish to reset the beams.
3. In the Beam Palette, click the ("default") button.

-- OR --
Choose the Default Beams command in the Beam Menu.
Suppose your song has a 4:4 meter. By default, Co mp o s e r beams eighth notes in the 4:4 meter as
four pairs of two eighth notes each, as illustrated below:
If you want to change the beaming to two groups of four eighth notes per measure, follow the next
procedure.
T o c ha ng e the b e a ming p a tte rn o f no te s fo r s e v e ra l me a s ure s a t a time :
1. Navigate to the Meter Palette.
-- OR --
Type SHIFT+M.
2. Select a range of measures 266 for which you wish to change the pattern of beaming. All of
these measures must have the same meter. You can select the measures using the Select
Region command in the Region menu. Or, select the range of measures by holding down the
CTRL key and dragging the mouse over them. You can extend the range by holding down
both the Shift and CTRL keys and clicking in some further measure in the score. It does not
matter which staff you choose.
3. Click the meter button in the palette.

Co mp o s e r will display the Meter dialog box, such as shown here:
4. In the dialog box, change the "From" and "To" measures if the pre-selected measures are not
what you want.
5. In the Beam Groups section of the dialog box, enter the pattern for beaming notes in the meter
of the selected measures. Enter one to four numbers, each separated by a plus "+" sign. The
total of these numbers should add up to the total number of sub-beats in the selected meter.
The sub-beat value initially displayed by Co mp o s e r shows the beam group pattern for the
first of the pre-selected measures.
In the above example, the Beam Group pattern "2+2+2+2" of eighth notes indicates that there
are four pairs of two eighth notes each, such as was illustrated in the score example before the
beginning of this procedure. In this example, if the beaming pattern is changed to "4+4", that is,
two groups of four eighth notes each, the notes will be re-beamed as shown here:
5.4.12 Editing Ties
Co mp o s e r lets you add or remove ties between notes. Co mp o s e r automatically determines the arc
direction, up or down, for ties. However, you can change the tie arc direction if you wish.
Co mp o s e r also offers a command, Remove Overlaps of Notes, that can eliminate or simplify ties in a
selected region of the score.
T o a d d a tie b e twe e n a d ja c e nt no te s :
2. Select the first note, as described in Selecting Objects 264 . The end of this first note must
coincide with the beginning of the note to which it will be tied.
3. Choose the Tie to Next Note command in the Note menu.
-- OR --
Type "ti" for tie.
-- OR --
Type a dash "-", which suggests the role of a tie.
After the tie has been added, Co mp o s e r will display the following Tie Palette:
You can then use the Tie Palette to change the arc direction of the tie, or delete the tie.
There is also a second way to add a tie.
T o a d d a tie with the " p o int a nd c lic k " me tho d :
1. Type SHIFT+T to display the Tie Palette. If the Text Palette is displayed first, type SHIFT+T a
second time.
2. Click the Add Tie button.
The mouse cursor will turn to the Add Mode shape:
However, when you move the mouse to a note that can be tied to another note, the shape
will temporarily disappear, and a red tie will be displayed between the candidate notes to be
tied:
3. Click the mouse to add the tie.

T o re mo v e a tie b e twe e n two no te s :
1. Click the mouse on the tie. The tie will be highlighted in blue, and the Tie Palette will be
displayed.
2. Click the button in the Tie Palette to delete the tie.

-- OR --
Choose Delete Tie in the Tie Menu.
-- OR --
Hit the key.

T o c ha ng e the a rc o f a tie to up wa rd o r d o wnwa rd :

1. Click the mouse on the tie object.
2. In the Tie Palette, click the or button to change the arc of the tie.
-- OR --
Choose the Set Tie Arc Up or Set Tie Arc Down command in the Tie Menu.
-- OR --
Type "u" for an upward tie, or "d" for a downward tie.
T o re s to re <% P R OD P OS E S S IV E % > d e fa ult fo r tie a rc d ire c tio ns :
1. Drag the mouse over all of the ties for which you wish to reset the arc directions. The drag must
start on some tie object.
2. In the Tie Palette, click the ("automatic") button.

-- OR --
Choose the Set Automatic Tie Arc Direction command in the Tie Menu.
T o e limina te a nd s imp lify tie s in a s e le c te d re g io n o f a s c o re b y re mo v ing o v e rla p s o f
no te s :
1. Select a region 266 of the score by holding down the CTRL key and the left mouse button, and
dragging the mouse.
-- OR --
Select a group of notes 264 by holding down the left mouse button and dragging the mouse.
2. Choose the Remove Overlaps of Notes command in the Region menu or Note menu.
-- OR --
Type "qro" for Quick Remove Overlaps of Notes.
Another method of accomplishing this "clean up" procedure is the following:
1. Select some tied notes.
2. In the Clean Up Rests and Overlapping Notes sub-menu of the Notes menu, choose the
Remove Overlaps of Notes command.
-- OR --
Type "ro" for Remove Overlaps of Notes.
5.4.13 Editing the Note Voice (Stem Direction)
With Co mp o s e r, the direction of stems attached to notes is determined by the voice of the notes. The
term voice has musical meaning. The stem direction indicates the voice according to common music
notation practice, as described below.
If a part in the score is for a single instrument or human voice, which can only play or sing one note at a
time, then all of the notes in that part are said to have a single voice. If the part is played or sung by two
or more individuals, but they all play the same notes, and only one note at a time, then that part is also
said to have a single voice. The stem directions for notes in a single voice maybe upward or
downward. If a note is above the middle staff line, the stem direction is downward; if the note is below
the middle staff line, the stem direction is upward.
If a part is for two players, and if the notes they play have different rhythms, then the part is said to be
split with upper and lower voices. Upper voice notes always have upward stems, and lower voice
notes always have downward stems.
Piano and keyboard parts also indicate upper and lower voices to clarify and simplify the notation of
notes simultaneously played with different rhythms. When all of the notes have the same rhythms, they
typically use stem direction rules for single voice. These rules for keyboard voice notation are
illustrated below:
In Co mp o s e r, you do not directly edit stem directions. Instead, you indirectly edit them by specifying
the voice of notes.
T o c ha ng e the v o ic e (s te m d ire c tio n) o f o ne o r mo re no te s :
2. Select one or more notes 264 with the mouse cursor.
3. Type SHIFT+N to display the Note Palette.
The bottom part of the Note Palette has three buttons for voices:
Co mp o s e r will indicate the voice(s) of the notes currently selected. If all of the notes have the
same voice, then one of the buttons will be displayed in the down position. If the notes have
two or more voices, then corresponding buttons will be shown in a half-down position.
4. Click one of the three buttons in the palette to choose the voice.
-- OR --
Type "sv", "uv" or "lv" for single, upper or lower voice.

-- OR --
In the Voice submenu of the Note menu, choose the Single Voice, Upper Voice, or Lower
Voice command.
Co mp o s e r will change the voice of the selected notes. If you choose upper voice, and some
of the selected notes were in a single voice, then Co mp o s e r will change to lower voice any
notes that were not selected but which had pitches below the newly assigned upper voice
notes. It will also change to upper voice any notes that were not selected but which had
pitches above the newly assigned upper voice notes. Co mp o s e r will similarly change the
voices of adjacent notes if you choose lower voice, and some of the selected notes were in
the single voice.
In the following example, a quarter note is accompanied by two eighth notes. In a piano or
keyboard part, the quarter note and eighth notes should be separated into upper and lower
voices. In preparation, select the quarter note:
Use the Upper Voice command to change the selected quarter note to upper voice. This step
will automatically change the accompanying eighth notes to lower voice:
If an upper and lower voice note share the same pitch and attack location, then Co mp o s e r will
automatically share the same notehead for the two voices, provided that there would be no ambiguity
in the interpretation of the duration of either the upper or lower voice note. For example:
5.4.14 Editing Drum Notes
Most types of percussion instruments do not have discrete pitches. However, in Co mp o s e r they have
pseudo pitches.
If a staff is specified as a 5-line drum staff, then note drum notes might look something like this:
Each drum instrument has a distinct pseudo pitch.
N OT E : Starting in N o ta tio n Co mp o s e r version 2.0, accidentals for pseudo drum pitches are
now represented with distinct drum noteheads. The notehead is for no accidental; the
upward pointing triangle notehead indicates a sharp; and the downward pointing triangle
notehead indicates a flat. For example, the General MIDI pitch for Side Stick is C#, indicated in
the above example with the upward pointing triangle notehead.
Usually, you will not want give a percussionist a drum part with such pseudo pitches. If you have
imported a MIDI file with such a percussion staff, then you can use the Split Drums 202 command, to
produce individual 1-line staves for each distinct drum instrument, as illustrated here:
In creating a new drum staff, you have the choice to create either a 5-line staff drum staff with pseudo
pitches for multiple drum instruments, or a 1-line drum staff for just a single drum instrument. For details,
see Changing the Instrument Sound of a Staff 191 .
If the staff is a 5-line drum staff, then you add drum notes with the mouse, and assign them the pseudo
drum pitches, just like normal note pitches. For example, you can drag the pseudo pitch of a drum note
with the mouse, or change it by typing P+ or P+ . As you change the pseudo pitch of the drum
note, Co mp o s e r will audit the sound so that you can hear what type of drum instrument is associated
with the pseudo pitch.
If the staff is a 1-line drum staff, then it has a specific pseudo pitch that you cannot change by moving
the note up or down.
You can enter drum notes via a music keyboard via real-time recording or Step-Time Recording 486 .
You can associate various drum instruments with different keys on your music keyboard,
independently of the pseudo pitches. This enables you to play the drum notes on your music
keyboard using keys that are most convenient for you to play while recording a drum part. For more
information, see Managing Drum Note Lists 646 .
For a given 5-line or 1-line drum staff, you can specify what notehead shape will be used for the notes
in the staff. By default, the notehead shape is an . You can assign a different notehead shape among
these choices: , , , , or . You can also change the notehead shape of individual notes, as
described in Editing Notehead Shape 342 .
5.4.15 Editing Notehead Shape
For any single-line drum staff, you can specify one of several percussion notehead shapes. The
notehead shape is applied to every note in the particular single-line drum staff, except those notes for
which you specify a different notehead shape.
You can also assign special note head shapes to individual notes for other instruments.
The most common example of a special notehead shape is the diamond that is used to indicate a
harmonic, which is produced by placing a second finger lightly on a string, a fourth or fifth above
another fingered note on the same string. If the finger is placed a fourth above the lower note, then the
harmonic tone is two octaves above the lower note on the string. If the finger is placed a fifth above the
lower note, then the harmonic tone is an octave and a fifth above the lower note on the string.
T o c ha ng e the no te he a d s ha p e fo r a s ing le -line d rum ins trume nt to a n , , , , or :

Click the Instrument Sound Selection 175 staff control button.
In the bottom left corner of the Staff Setup dialog box, turn off the check mark for Notehead
Style / Use Default.
In the selection box next to the Notehead Style / Use Default option, choose the notehead
shape.
T o c ha ng e the no te he a d s ha p e fo r a ny no te :
3. Navigate to the Notehead Shape Palette, as shown below.
-- OR --
Type SHIFT+H.
4. Choose one of the notehead shapes in the palette, or type one of the shortcuts:
5.5 Transposing Notes

Co mp o s e r offers commands for two kinds of transpositions. It is important that you understand the
difference between the two types of transposition so that you choose the correct command in
Co mp o s e r.
If we begin with a file that has the following staves in the concert key of C, with Piano (a non-transposing
instrument), Alto Saxes (Eb transposing instrument), and Tenor Sax (Bb, minus 1 octave transposing
instrument), this is what the score looks like in "heard" key of C, which is the actual pitches that you hear
when the instruments all play:
However, for each musician to play the correct heard notes, the saxes must have sheet music that is
transposed for their particular instruments. For this type of transposition, you use Staff / Transpose to
each instrument's key. Transposing to the Key of an Instrument 348 shows each instrument's notation
as the musician would need it to play the piece on their particular instrument,, and is shown here:
Notice the key signature of C (no accidentals) for the RH and LH piano "hands" stays the same
because the piano is not a transposing instrument. However, the Alto Sax parts and the Tenor sax
have been transposed to reflect their notation requirements for their respective "natural tone".
The other kind of transposing changes the concert, or "heard", key of the entire song. Transposing
Actual Pitches 346 shifts the actual heard pitches of the notes. Thus, if we start with the same song
which is in concert key of C, and use Staff / Transpose Actual Pitches to the concert key of D (two half-
steps up, or one whole-step), we would see the concert pitches as shown here:
Notice how - when viewed in "Concert pitch", all staves have the key of D accidentals and the notated
(and heard) pitches are raised two-half steps (a whole step) up from the original file (see the first screen
shot above).
We can then Transpose the Instrument Keys 348 for this new key-of-D file to give the following
Instrument Transpositions for this song file which is now in the "heard" (concert) key of D:
5.5.1 Transposing Actual Pitches
Co mp o s e r handles two kinds of transpositions. This topic describes how to transpose actual as-
performed pitches in a song. If you do not want to change the actual as-performed pitches but, rather,
want to change the key in which the pitches are notated, in order to match the key of an instrument, see
Transposing to the Key of an Instrument 348 .
When Co mp o s e r transposes a song, it shifts the pitches of all of the measures in all of the staves up
or down by some number of half-steps that you specify except for "drum staff" notes.
Most MIDI files adhere to the General MIDI 636 specification. In the General MIDI specification, channel
10 is reserved for percussion ("drum staff") sounds. Different pitches on MIDI channel 10 produce
different types of percussion sounds. To shift the pseudo pitch of a drum sound will entirely change the
sound, such as from a Side Stick to an Acoustic Snare. You would not be happy with the results if
Co mp o s e r shifted "pitches" in drum staves. Therefore, Co mp o s e r does not transpose the pitches of
notes assigned to a drum staff. You can specify which MIDI channels produce drum sounds for a given
device using the Device Properties 631 command in the MIDI Device Configuration Window 611 .
Normally you do not have to specify which MIDI channels produce drum sounds, because
Co mp o s e r by default assumes that a device adheres to the General MIDI specification.
When Co mp o s e r transposes pitches, it also transposes the pitches of chord names 469 . For
example, if you transpose pitches up two half steps, Co mp o s e r will change a "C7" chord to "D7". In
the case of ambiguous chord root spellings, such as "F#7" versus "Gb7", Co mp o s e r makes its best
guess based on the surrounding harmony. Wherever Co mp o s e r makes the wrong guess, you can
quickly correct the error, as described in Editing Chord Names 469 .
The procedure for transposing pitches is simple.
T o tra ns p o s e p itc he s fo r a n e ntire s o ng , o r a ra ng e o f me a s ure s in the s o ng :
1. Optionally, select a region 266 with the measures you wish to transpose by dragging the
mouse over them while holding down the CTRL key. This will pre-select the measure range in
Step 2 of the Transposition Wizard, as described below.

2. Choose the Transpose Actual Pitches command in the Staff menu.
-- OR --
Type "qtp" for Quick Transpose Pitches.
Co mp o s e r will display Step 1 of a two-step Transposition Wizard:
The first step of this two-step wizard is intended to help you make sure that you understand the
distinction between the two types of transposition, and have chosen the correct type.
3. Confirm that you intend to transpose actual pitches, and hit the Next button.
Co mp o s e r will display Step 2 of the Transposition Wizard:
If you selected a range of the score in step #1 of this procedure, then the Range of Measures
to Transpose will be pre-selected in the wizard step above.
5. Enter the range of measures for which you wish to transpose notes, if you did not pre-select the
range.
6. Enter the number of half steps you wish to shift pitches up or down. There are 12 half steps in
an octave. Choose "Up" or "Down".
-- OR --
Use the up and down arrows to choose a different number of flats or sharps in the key
signature.
-- OR --
Choose the new major or minor key for the beginning of the song.
The key signature initially shown in the dialog box will be that at the beginning of the selected
range, or at the beginning of the song if you did not pre-select the measures.
7. Click the Finish button.
5.5.2 Transposing to the Key of an Instrument
Co mp o s e r handles two kinds of transpositions. This topic describes how to change the key in which
pitches are notated, in order to match the key of a transposing instrument, without changing the actual
as-performed (heard) pitches. If you want to change the actual as-performed pitches, then see
Transposing Actual Pitches 346 .
You can switch at any time between showing the conductor score or selected parts in either concert
(actual as-heard) pitches or transposed pitches.
In addition to transposing parts, you can independently change key signatures 391 and clefs 390
anywhere within any staff.

When Co mp o s e r transposes instrument key, it also transposes the pitches of chord names 469 for the
separately viewed or printed instrument part 182 . It does this if, but only if: (1) the part has only one staff
for the transposing instrument, or (2) all of the staves in the part have the same instrument transposition.
For more information, see Transposing Chord Names 482 .
Note that transposing to an instrument key does not affect the pitch of displayed chord names 469 .
Chord names almost always are read only by non-transposing instruments, such as the piano, guitar,
and autoharp. Therefore, this is not a significant limitation. The reason that Co mp o s e r does not
transpose chord names for instrument transpositions has to do with the complications of ambiguous
enharmonic spellings.
T o re v ie w a nd c ha ng e whe the r the s c o re is c urre ntly no ta te d in c o nc e rt p itc h o r
tra ns p o s e d p itc h:
Open the Staff or Format menu. If there is a check mark by the Show Concert Pitches menu
item, then this means that the score is not currently notated using transposed pitches.
If instead there is a check mark by the Show Instrument Transposed Pitches menu item, then
the score is currently notated using as-heard concert pitches, provided that the transposition
for each instrument has been previously specified. If you set the check mark for the Show
Instrument Transposed Pitches menu item, then you should expect to see different key
signatures for transposing instruments. If you do not see the different key signatures, then this
means that you will need to specify the transpositions for the instruments, as described in the
next procedure.
To switch between showing concert (non-transposed) pitches and transposed pitches, set a
check mark for Show Concert Pitches or Show Instrument Transposed Pitches.
T o c ha ng e the tra ns p o s itio n o f a s ta ff (ins trume nt p a rt):
1. Choose Transpose Instrument Key command in the Staff menu.
-- OR --
Type "qti" for Quick Transpose Instrument.
Co mp o s e r will display Step 1 of a two-step Transposition Wizard:
The first step of this two-step wizard is intended to help you make sure that you understand the
distinction between the two types of transposition, and have chosen the correct type.
2. Confirm that you intend to transpose instruments and hit the Next button.
Co mp o s e r will display Step 2 of the Transposition Wizard:
3. In the row for the staff you wish to transpose, choose values under the column header "Note
read as 'C' actually sounds as." For example, consider a Bb clarinet. When the musician sees
a note written as a 'C' in the Bb clarinet part, and plays that note, it will actually sound two half-
steps lower, as a Bb. Therefore, the correct entry for the Bb clarinet is "Bb Below plus 0
octaves".
4. If you are not sure what the transposition for a given type of instrument should be, click the
Look Up button in the row for its staff.
Co mp o s e r will display a list of orchestra and band instruments that you can select from, as
illustrated below:
Co mp o s e r will pre-select one of the instrument types based on the staff name, but it might
make a wrong guess. Confirm or change the instrument type. Then hit the OK button.
Co mp o s e r will then automatically set the values for "Note read as 'C' actually sounds as."
5. Follow the above procedure for one or more instruments.
6. Co mp o s e r will pre-select the Show Instrument Transposed Pitches option, which is usually
what you want if you are specifying instrument transpositions. However, you can optionally
toggle this to the Show Concert Pitches option. The option in the dialog box is fully equivalent
to the Show Concert Pitches menu item in the Staff menu
7. Click the Finish button when you are done, or Cancel if you decide not to keep the new
transpositions.
T o a uto ma tic a lly s e t the ins trume nt tra ns p o s itio ns fo r a ll o f the s ta v e s :
1. Follow the same steps #1 through #3 in the previous procedure.
2. Click the Look Up All Instrument Transpositions button.
Co mp o s e r will examine each of the staff names to guess the type of instrument, and will
accordingly assign the transposition for each staff. Using the Look Up All Instrument
Transposition option is equivalent to accepting the pre-selected Look Up instrument type for
each staff
3. You should review the assigned instrument transpositions, because Co mp o s e r can make
mistakes if the staff names do not correctly match the instrument types. Make corrections to
any of the transpositions according the previous procedure.
4. Click the Finish button when you are done, or Cancel if you decide not to keep the new
transpositions.
5.6 Doubling and Scaling Note Durations

Sometimes you might open a MIDI file in which the tempo is correct, but the note durations are too short,
too difficult to read. You might want to double all of the durations.
For example, you might want to double all of the note durations here:
The result will be:
Co mp o s e r's Scale Meter command supports that. More generally, you can scale note values by any
common ratio, such as 2-to-1, 1-to-2, 3-to-1, and 1-to-3, or even 3-to-2 and 2-to-3.
T o s c a le no te d ura tio ns :
1. Navigate to the Meter palette 394 , such as by typing SHIFT + M.
2. Choose the Scale Meter command in the Meter menu. It will display a dialog box such as the
following:
3. In the Scale Meter dialog, choose an example 'from' note duration that will be scaled to the 'to'
note duration. The above dialog box illustrates the selection you would make for the example
at the beginning of this topic.
Note that all note durations will be scaled proportionally. The meter will not be changed.
Therefore, half as many or twice as many(or other ratio of) notes will be displayed in resulting
measures.
5. Co mp o s e r will open a new copy of your song, without destroying the old copy. The new
copy of the song will be saved in a temporary directory on your system. There will be a
temporary file name for the song, based on the song title, plus some arbitrary numbers at end
of the file name.
If you are satisfied with the newly scaled song, then save with a new name in a directory of
your choose, using the File Save 112 command. If you wish to save the file with the same
name as the original file, then you will first need to close the original file.
5.7 Editing Rests
With Co mp o s e r, you do not have to do much work to include rests in the score. Co mp o s e r
automatically adds rests wherever there are no notes.
For example, if you add a quarter note at the half-note beat in a 4:4 meter measure, Co mp o s e r will
place a half note rest before the note, and a quarter note rest after the note:
You can split larger rest durations into two or more smaller rests. You might want to do this to prepare
for adding a note at the location of the second smaller rest, as explained in Dividing and Combining
Rests 354 , and illustrated here:
You can use rests as a means of editing the duration of notes and removing notes. You can delete a
rest to extend the duration of previous notes 354 . Also, you can drop rests on top of notes to erase note
durations, as explained in Using Rests to Erase Notes 357 .
After importing and transcribing a MIDI, or transcribing a recording, you might want to use <%
P R OD P OS E S S IV E % > Clean Up Rests and Overlapping Notes command as a quick way to
remove small unwanted rests that "over-notate" the score in too much detail. For details, see
Eliminating Small Rests 358 .
See Using Multiple Measure Rests 359 for instructions in preparing multiple measure rests which look
like this:
You can hide rests 359 , such in tests for music students, where you want to leave space for the student
to add notes by pen or pencil:
5.7.1 Deleting Rests to Extend the Duration of Previous Notes
If you delete a rest that follows a note or a chord, then the duration of that previous note or chord will be
extended to fill in the place of the rest.
T o e xte nd the d ura tio n o f a no te o r c ho rd b y d e le ting the re s t a fte r it:
1. Select the rest.
2. Hit the key.
5.7.2 Dividing and Combining Rests
Co mp o s e r automatically adds rests wherever there are not notes. Sometimes you may find it
convenient to divide a rest into smaller rests. This is particularly useful if you want to add a note in the
middle of a rest, where there is not a Beat Ruler 289 location.
For example, suppose you want to add a sixteenth note following a 16th rest. You could change the
resolution of the Beat Ruler 289 to 16th notes, and then directly insert the note at the exact 16th Beat
Ruler position:
Alternatively, you can add a sixteenth rest at the beginning of the half note rest, and then add the
sixteenth note on top of the second sixteenth rest that Co mp o s e r automatically places after the first
one:
This topic describes how to add rests to divide larger rests, and how to do the reverse, that is, to
combine smaller rests into larger rests.
The procedure for adding rests is similar to that for adding notes. In Add Mode 162 , select a rest
duration value from the Rest Palette. Then click the mouse where you want to add the rest.
Like notes, rests also have voices: single voice, upper voice, or lower voice. Use the voice palette to
specify the voice of a rest.
The procedures for these various ways of editing and using rests are described below.
T o s p lit a re s t into multip le s ma lle r re s ts :
1. Type SHIFT+R to show the Rest Palette:
2. Select a rest duration that is smaller than the rest you wish to split. The smaller rest, plus one or
more remaining rests that make up the difference, will replace the original rest.
The Rest Palette offers options from 64th rests to whole rests; a single dotted rest; and triplet
or quintuplet member rests. As with notes, you can use keyboard commands, such as "4" for
quarter note rest, or "81d" for dotted eighth rest.
The mouse cursor will in the shape of a rest, with the duration you select, colored red.
3. Move the rest cursor to the Beat Ruler position where you wish to split a larger rest, and click
the mouse.
The following example shows the result of "adding" a 16th rest on top of an half rest:
T o a d d a no te in the mid d le o f a re s t a nd b e twe e n B e a t R ule r ma rk s :

1. Follow the above procedure, to split a rest into a part that is smaller than the Beat Ruler
resolution.
2. Type SHIFT+N to display the Note Palette, and select the duration of the note you want to add
between the Beat Ruler beats. Continuing with the above example, choose a sixteenth note
duration.
3. Move the mouse over the rest that you wish to replace with the note, as illustrated here:
4. Click the mouse to add the note.

Here is the result:
If you have been adding notes and rests in some voice and need to add the next rest with a
different voice, then use the voice options at the bottom of the Rest Palette. Select single, upper
lower voice from the voice palette, or use the equivalent keyboard command:
T o c o ns o lid a te two a d ja c e nt re s ts into o ne la rg e r re s t:

1. In the Rest Palette, choose the duration for the larger rest.
2. Click the mouse at the first of the two rests.
For example, suppose you had previously split the second half of the following measure with a
sixteenth rest. Select a half-note rest from the palette, or type "22", and move the mouse on top
of the first sixteenth rest:
When you click the mouse, the smaller rests are replaced with the half-note rest:
5.7.3 Changing the Voice of a Rest

If you open a MIDI file with the Split Voice option on for Transcription Options (in the Setup menu), then
Co mp o s e r will sometimes create upper and lower voice rests as well as upper and lower voice notes.
Usually Composer will make the right decisions about whether to use single voice versus split voice
for both notes and rests. However, it might make an error, or you might have a difference preference
about splitting the voices or not at some particular location in the song.
T o c ha ng e a s ing le v o ic e re s t to a s p lit v o ic e re s t, o r v ic e v e rs a :
1. Select a rest.
Co mp o s e r will display the Rest Palette:
2. Select one or the other of the single voice or split voice rest buttons, as illustrated here:
5.7.4 Using Rests to Erase Notes
You can use rests to erase portions of notes, or entire notes.

T o us e a re s t to e ra s e the b e g inning o f s o me p o rtio n o f a no te o r c ho rd :
1. Type SHIFT+R to show the Rest Palette.
2. Decide how much of the beginning the note you want to erase, and select that duration in the
Rest Palette.
3. Click the mouse at the location of the beginning of the note or chord.
For example, suppose you choose an eighth rest and click the mouse on the half-note chord
here:
Co mp o s e r will replace the beginning of the half-note chord with an eighth rest, leaving a
remainder dotted quarter note chord:
T o us e a re s t to e ra s e the e nd o f a no te o r c ho rd :
After selecting the rest duration in the Rest Palette, click the mouse at end of the note or chord,
as illustrated here:
T o c o mp le te ly e ra s e a no te o r c ho rd with a re s t:
1. Type SHIFT+R to show the Rest Palette.
2. Select a rest value that is at least as large as the note you wish to erase.
3. Click the mouse at the location of the beginning of the note or chord.
Keep in mind that the rest will replace any notes that span its duration, not just the first note or
chord where you add the rest.

T o e ra s e p a rt o r a ll o f two o r mo re no te s a t the s a me time :
1. From the Rest Palette, choose a rest duration equal to the total span of the note duration that
you wish to erase.
2. Using the Beat Ruler, click the red to-be-added rest where you wish the erasure to begin
(perhaps the middle part of the duration of the first note), as illustrated here:
5.7.5 Eliminating Small Rests
If you have imported a MIDI file, or recorded a performance at your music keyboard, and you find that
Co mp o s e r has transcribed the performance to notation using too many small rests, there are a
couple of options you have to eliminate the small rests.
One option is to re-transcribe the entire song or specified staves. The Re-Transcribe 90 command in
the Format menu lets you specify the minimum rest duration that will be notated. Rests smaller than the
specified minimum duration will be eliminated by extending the duration of preceding notes.
A second option enables you to select the region of the score, or group of notes, among which the
small rests will be removed. In this example, rests smaller than quarter rests are removed:
T o e limina te s ma ll re s ts fo r a s e le c te d re g io n o f the s c o re :
1. First, select a region 266 of the score by holding down the CTRL key and the left mouse button,
and dragging the mouse.
-- OR --
Select a group of notes 264 .
2. In the Region menu, open the submenu named Clean Up Rests and Overlapping Notes. In the
submenu, open a second submenu name Remove Rests Smaller Than. In that second
submenu, choose 16th Rest, 8th Rest, or Quarter Rest, to determine the size of rests that will be
removed.
-- OR --
Type "r16r", "r8r" or "r4r" to remove rests smaller than a sixteenth, eighth, or quarter rest.
-- OR --
Type "rr" to remove rests smaller than the size you most recently specified in this or any
previous session of Co mp o s e r.
5.7.6 Using Multiple Measure Rests
Throughout a score, wherever there are two or more measures with only rests for all of the staves, you
can specify whether each measure will be displayed with a whole measure rest, or whether all
measures are collapsed into a multiple measure rest. The following is an example of a two-measure
rest:
T o d is p la y multip le me a s ure re s ts :
In the Format menu, turn on the check mark for Collapse Multiple Measure Rests.
-- OR --
Type "qcmr" for Quick Collapse Multiple Rests.
T o d is p la y e a c h me a s ure with its o wn who le me a s ure re s t:
Turn off the check mark for Collapse Multiple Measure Rests in the Format menu.
5.7.7 Hiding Rests
Sometimes it is useful to hide rests. One common case is where you want to force the stem direction of
a note in the opposite of its natural direction. For example, in a vocal part, you might want to force the
stem directions of all notes up, even though some of the noteheads lie above the middle staff line:
A second example where hidden rests are useful is in tests for music students, where you want to
leave space for the student to add notes by pen or pencil:
A third case is where you can use hidden rests to create extra horizontal space between two notes. (A
future version of Co mp o s e r will have direct support for spacing between two notes.) For example, you
can add hidden rests in an upper or lower voice to create extra space for a note that appears to be in
a single voice rather than opposite voice:
T o hid e re s ts :
1. Select one or more rests.
To select many rests in a region (a range of measures in one or more staves), first select the
region, by using Ctrl + Drag, or by selecting an entire staff, or by using the Select Region
command in the Region menu. Then choose the Convert Region to Selection of Rests
command in the Region menu.
T IP : Whole measure rests cannot be selected. To hide a whole measure rest, first divide the
whole measure rest 354 by adding a smaller rest at the beginning of the measure. Then select
the resulting divided rests in that measure and hide them according to the remaining steps of
this procedure.
2. Choose the Hide Rest command in the Rest menu.

-- OR --
Click the Hide Rest button in the Rest Palette.

-- OR --
Type "h" for "hide rest".
The rest(s) will be temporarily revealed in gray rather than black:
4. To un-reveal the hidden notes, toggle off the check mark for Reveal Hidden Rests in the Rest
menu.
-- OR --
Toggle of the Reveal Hidden Rests button in the Rest Palette.

-- OR --
Type "r" to toggle off "reveal hidden rests".
5.8 Editing Grace Notes

A grace note is displayed in a relatively small font size, and is performed by borrowing time from a
longer note before or after it. A grace note looks like this:
Before you start working with grace notes in Co mp o s e r, it is important that you understand the
difference between two types of grace notes 362 . One type of grace note borrows its time from a longer
note that follows after it. The second type of grace note borrows its time from a longer note that
precedes it.
In Co mp o s e r, it is as easy to add grace notes 362 as it is to add normal notes. Because a grace note
so often has a slur to the note after it, or from the note before, Co mp o s e r makes it easy for you to add
a grace note with a slur 362 in one step.
You can specify whether a grace note has a slash through the stem 366 or not.
When you import a MIDI file, or record MIDI from your music keyboard, you can request Co mp o s e r to
automatically detect and display grace notes 86 .
You can temporarily view the written-out performance of grace notes 370 . For example, a written-out
short note might be a 32nd note. When you view the written-out short note, you can also optionally
adjust the performed timing of the grace note 370 --its performed attack and release time-- using Piano
Roll Notation.
You can convert written-out short notes to displayed grace notes 367 , such as changing a leading 32nd
note to a grace note. Going the other way, you can convert a displayed grace note back to a written-
out short note 371 .
Procedures for all of the above tasks are described in the topics that follow. Additionally, to change
the stem direction of a grace note, simply click the grace note to select it, then click the stem direction
button you want:
5.8.1 Understanding the Two Types of Grace Notes
A grace note is displayed in a relatively small font size, and is performed by borrowing time from a
longer note before or after it. A grace note looks like this:
Co mp o s e r distinguishes two types of grace notes according to whether the grace note borrows time
from the longer note before or after it.
In formal music language, different terms are sometimes used to distinguish these two types of graces
notes that borrow time from the left or right. Other music terms related to grace notes include
appoggiatura and accacciatura. These other terms often carry more meaning than just whether the
note borrows time from the left or right. These terms are sometimes also used differently in different
countries, and for different periods (styles) of music. Much controversy surrounds the use of these
terms. Co mp o s e r intentionally avoids confusion and controversy by not using the terms
appoggiatura and accacciatura. Instead, Co mp o s e r uses a single term grace note to describe any
note that is (1) displayed in a smaller font size and (2) borrows time from either the left or right.
When you add a grace note, you must specify whether this is the type of grace note that borrows time
from a note to its right, or borrows time from a note (or rest) to its left. That will determine how
Co mp o s e r performs the grace note during playback. The above chart indicates which buttons in the
Grace Note Palette (SHIFT+G) create the two types of grace notes. The button for a grace note that
borrows time from the left draws a leftward arrow above the grace note, in order to suggest that the
grace note borrows time from the left; and similarly for the grace note that borrows time from the right.
5.8.2 Adding Grace Notes
In Co mp o s e r, adding grace notes is similar to adding normal notes in these ways:

Select the as-performed duration of the grace note. Even though the duration of the grace note
is not displayed, your selection of the duration will determine how the grace note is played.
In Add Mode, move the to-be-added grace note cursor around with the mouse to determine the
location and pitch where the note will be added.

Click the mouse to add the grace note.
Optionally, before releasing the mouse button, drag the note up or down to change its pitch.
The procedure for adding grace notes differs from adding normal notes in these ways:
Use the separate Grace Note Palette (SHIFT+G) for adding grace notes, rather than the Note
Palette (SHIFT+N).
There is no Beat Ruler for determining the position of the grace note, as it is not necessary.
For example, if you add a 32nd duration grace note in front of a quarter note, then the location
of the 32nd duration grace note will be exactly a 32nd before the quarter note. You can finely
adjust the timing of the grace note later, if desired, as described in Viewing and Editing the
Timing of Grace Notes 370 .
You must specify whether the duration of the grace note is borrowed from the note on the right
362 , or from a note (or rest) on its left.
Co mp o s e r supports series of grace notes, as well as grace note chords, as described in this topic.
T o a d d a g ra c e no te in fro nt o f a lo ng e r no te :
1. Navigate to the Grace Note Palette.
-- OR --
Type SHIFT+G.
You will find that you can skip most following steps, except the last (click the mouse to add the
grace note), because the buttons will already be set as you want them from the previous time you
added a grace note.
2. Enter Add Mode 162 , if you are not already in Add Mode.
The mouse cursor will turn into the same of a grace note, in the color red, as show here:
3. Decide whether the grace note you are adding should borrow time from the note on its right, or
borrow time from the note (or rest) on its left. This is important. If this issue is not clear to you, it
is highly recommended that you read the previous topic Understanding the Two Types of
Grace Notes 362 .
4. Click one of the two buttons that determine whether the newly added grace note will borrow
time from the right or left.
-- OR --
Type "gl" or "gr" for grace note borrow from left or right.
5. Specify the duration of the to-be-added grace note by clicking one of the buttons for 16th,
32nd, or 64th duration, and one of the buttons for no tuplet, triplet or quintuplet.
-- OR --
Type "16", "32", or "64" for the base duration, and optionally "33" or "55" for triplet or quintuplet.
For example, if you choose the combination of and , the grace note will be a 16th
triplet member. A 16th triplet member has one third of the duration of an eight note. A 16th
quintuplet member has one fifth of the duration of a quarter note.
Even though the duration of the grace note is not displayed, your selection of the duration will
determine how the grace note is heard on playback.
6. Click the grace note with slash button of without slash button.
7. Toggle on or off the grace note with slur button.
8. Move the to-be-added grace note slightly in front of the note before which it is to be played.
9. Click the mouse to add the grace note.
T o a d d a g ra c e no te c ho rd :
Move the grace note cursor to another pitch (staff position) at the same location as another
grace note, and then click the mouse to add the second one:
T o a d d a s e rie s o f g ra c e no te s :
Add the graces notes in reverse order. Add the right-most grace note in front of the long note.
Then add the second to last grace note in front of the right-most grace note. Continue adding
grace notes this way from right to left:
-- OR --
First add the grace notes as written-out notes, typically 32nds or 64ths. Select the to-be-
converted grace notes. Open the Grace Note Palette with SHIFT+G. Click the button to
convert the written-out notes to grace notes. For more details about this procedure, see
Converting Short Notes to Grace Notes 367 .
5.8.3 Viewing Grace Notes as Written-Out Notes
You can view the written-out performance of grace notes at any time. You might want to do this in
conjunction with viewing the Piano Roll Notation for the grace notes so that you can finely edit the
performed timing of the notes.
T o v ie w the writte n-o ut p e rfo rma nc e o f a g ra c e no te :
1. Navigate to the Grace Note Palette.
-- OR --
Type SHIFT+G.
2. Toggle off the Show Ornaments and Grace Notes button in the Grace Note Palette.
-- OR --
Type "gsor" to toggle off Show Ornaments.
Co mp o s e r will show the grace notes written out, highlighted in the color purple so that you
can easily identify them.
`
Once you have switched to viewing the written-out short notes, you can click the Piano Roll Notation
button in the main toolbar to view the piano roll rectangles for the timings of the notes. You can
also edit the timings of the notes independently of the notation of the grace note, as explained in
Editing As-Performed Attack Location and Duration 509 .
5.8.4 Editing the Slash on Grace Note Stems
A grace note can be displayed with or without a slash through the stem:
Usually grace notes are displayed with a slash through the stem, which is the default for Co mp o s e r.
You can remove the slash on any grace note 366 , or for many grace notes at a time. For some periods
(styles) of music, and for some interpretations of the performance of grace notes, the presence or
absence of a slash in the stem may have significance. There are different opinions among musicians
and sheet music publishers about the use of grace note stem slashes. Co mp o s e r does not attempt
to musically interpret the presence or absence of a slash in the grace note stem. Rather,
Co mp o s e rsimply offers you the option to include (by default) or not include the slash, as you prefer.
T o a d d a g ra c e no te with a s la s h o r witho ut a s la s h:
1. Navigate to the Grace Note Palette with the mouse, or type SHIFT+G.
2. In the Grace Note Palette, choose the option for slash or no slash in the grace note stem.
-- OR --
Type "g/" or "gn/" for slash or no slash.
3. Continue the procedure for adding a grace note, as described in Adding Grace Notes 362 .
T o a d d o r re mo v e a s la s h fro m the s te m o f a n e xis ting g ra c e no te :
1. Select the grace note.
2. Click the slash or no slash button in the Grace Note Palette.

-- OR --
Type "g/" or "gn/" for slash or no slash.
5.8.5 Converting Short Notes to Grace Notes
In Co mp o s e r, it is easy to add grace notes with the "point and click" method described in Adding
Grace Notes 362 . Another way to add grace notes is to enter them first as written-out notes with short
durations, and then convert them to grace notes.
You might also want to write out the short note performances first, before converting them to grace
notes. One reason you might want to do this is so that you can precisely determine how the grace
notes will be performed. However, this is usually not necessary, because when you add a grace note,
you specify its duration, which in turn determines how soon it is played before the long note. For
example, you might choose the combination of the and buttons for a 16th triplet member,
which is one third of an eighth note. In addition, you can finely adjust the timing of grace notes using
Piano Roll Notation, as described in Viewing and Editing the Timing of Grace Notes 370 .
There are several ways that you can convert written-out short notes to displayed grace notes:
Before you import a MIDI file, you can instruct Co mp o s e r to automatically detect and convert
written-out short notes into grace notes, as described in Transcribing MIDI Files and Recordings
to Notation. 83 If Co mp o s e r does not detect all of the grace notes in the MIDI file, then you
can individually convert the remaining ones using the procedure below.
Before you record from your music keyboard, you can instruct Co mp o s e r to automatically
detect and convert written-out short notes into grace notes, as described in Setting Up
Transcription Options for Recording 492 .
Use the Transcribe Grace Notes command in the Grace Note Menu, as described in the first
procedure below. This is a convenient way to convert several grace notes at one time. For a
range of measures and staves that you specify, Co mp o s e r will automatically detect and
convert written-out short notes to displayed grace notes.
Individually select the written-out short notes and use the Grace Note Palette buttons or
keyboard shortcuts to convert them to displayed grace notes. This method is described in the
second procedure below.
You can also convert a series of two or more written-out short notes to grace notes, as
described in the last procedure below.
T o a uto ma tic a lly d e te c t a nd c o nv e rt writte n-o ut s ho rt no te s to d is p la y e d g ra c e no te s :
In detecting grace notes, Co mp o s e r uses the same analysis for the Transcribe Grace Notes
command as it does if you choose the grace note transcription option when you are importing a
MIDI file, recording from your MIDI keyboard, or using the Re-Transcribe 90 command.
1. Navigate to the Grace Note Palette, as described in Adding Grace Notes 362 .
-- OR --
Type SHIFT+G.
2. Select a region by holding down the CTRL key while you drag the mouse. The region should
be the range of measures and beats, and one or more staves, for which you wish to convert
the grace notes. For example:
-- OR --
Instead of step #2, follow the remaining steps #3 and #4.
3. Choose the Transcribe Grace Notes command in the Grace Note Menu.
Co mp o s e r will display the Transcribe Grace Note dialog box.
4. In the Transcribe Grace Notes dialog box, select the range of measures and beats, and the
range of staves, for which you wish to convert the grace notes.
T o c o nv e rt a writte n-o ut s ho rt no te to a d is p la y e d g ra c e no te :
It is suggested that you use the Transcribe Grace Notes command, as described in the previous
procedure, instead of the following procedure, unless you have a good reason. The above
Transcribe Grace Notes command lets you convert many grace notes at once, very quickly.
1. Select the written-out short note.
2. Navigate to the Grace Note Palette, as described in Adding Grace Notes 362 Palettes 164 .
-- OR --
Type SHIFT+G.
3. In the Grace Note Palette, select one of the following buttons to convert the written-out short
note to a grace note, and to optionally add a slur at the same time:
Note that if the written-out version of the grace note borrows time from the long note that follows,
then Co mp o s e r will convert the written-out short note to that type of grace note, even if you
choose the option for the opposite type of grace note, which borrows time from the left.
4. If the written-out version of the grace note borrows time from the right or left, and you wish to
change the direction from which the time is borrowed, then you can do so for the now selected
grace note. Click the button for the desired option, as illustrated here:
5. If the written-out performance of the grace note does not exactly describe how you want the
grace note to be played, you can further refine the timing of the grace note by editing its Piano
Roll Notation. See Viewing and Editing the Performance of Notes 501 .
T o c o nv e rt a s e rie s o f two o r mo re writte n-o ut s ho rt no te s to a g ra c e no te g ro up :

1. Select the multiple written-out short notes.
2. In the Grace Note Palette, click the Grace Note Borrow From Right button (or Borrow From
Left button).
-- OR --
Type "gr" for grace note borrowing from right (or "gl" for grace note borrowing from left).
5.8.6 Editing the Timing of Grace Notes
Just as you can view and edit the performed timing of normal notes, you can also view and edit the
performed timing of grace notes, using Piano Roll Notation.
T o v ie w a nd e d it the p e rfo rme d timing o f g ra c e no te s :
1. In the Grace Note Palette, toggle off the Show Grace Notes and Ornaments button. The
grace notes will be displayed as written-out notes, highlighted in the color purple, as illustrated
below, and as described in Viewing Grace Notes as Written-Out Notes 365 .
2. Click the Piano Roll tab:
-- OR --
Type SHIFT+Y.
Co mp o s e r will display the Piano Roll Notation for the written-out short notes, as illustrated
below:
3. Follow the procedures for editing the performed timing of notes, as described in Viewing and
Editing the Performance of Notes 501 .
For example, to move the performed attack of a grace note to the right or left:
Select the written-out short note.
Click the Edit Performed Timing button in the Piano Roll Palette.
-- OR --
Type "ep" for edit performance.
While holding down the "A" key (for attack), click the or key one or more times, or
hold down the Arrow key.
5.8.7 Reverting Grace Notes to Written-Out Notes
A grace note is a short-hand way of writing a brief note that precedes a longer note, as illustrated here:
You can convert a written-out short note to a displayed grace note, as described in Converting Short
Notes to Grace Notes 367 . You can also do the reverse, that is, convert a displayed grace note to a
written-out short note.
T o c o nv e rt o ne o r mo re d is p la y e d g ra c e no te s to writte n-o ut s ho rt no te s :
1. Select the grace notes.
2. Click the Convert Grace Note Back to Normal Note button.

-- OR --
T o c o mp le te ly d e le te a g ra c e no te a nd its p e rfo rma nc e :

1. Select the grace note.
2. Click the Delete Grace Note button.
-- OR --
Hit the key.

5.9 Editing Ornaments

In addition to grace notes 361 , Co mp o s e r supports the following types of ornaments:
The above chart shows how the various types of ornaments might be performed, although you can
precisely specify alternative durations for the individual performance notes. For example, you can
specify the individual trill notes to have any duration such as 32nd, 64th or 16th triplet. Or, you can write
out the notes of an accelerated trill, starting with 16th notes and ending in 32nd triplets, and then convert
the written-out trill notes to a trill ornament symbol.
The chart shows the corresponding buttons in the Ornament Palette for each type of ornament, and the
keyboard shortcuts. Type SHIFT+O to show the Ornament Palette. Or, follow the procedure in Adding
Ornaments 373 for navigating to the Ornament Palette with your mouse.
In most books and literature on music notation, you will find that grace notes are classified as
ornaments, among the other types that are named "ornaments" in Co mp o s e r. We agree that grace
notes are ornaments. But because the procedures for editing grace notes are inherently different that
these other types of ornaments, Co mp o s e r provides a separate Grace Note Palette and Grace Note
Menu, as described in Editing Grace Notes 361 .
The procedures for editing ornaments are generally the same for all types of ornaments. Once you
learn how to edit one type of ornament, you will be able to quickly learn how to edit the other types of
ornaments. The following topics describe procedures that are shared in common by all types of
ornaments:
Adding Ornaments 373
Converting Written-Out Performances to Ornaments 374
Reverting Ornaments to Written-Out Notes 375
Deleting an Ornament 376
Viewing and the Written-Out Performance of Ornaments 376
Remaining topics in this section provide procedures for editing special characteristics of each type of
ornament:
Editing and Transcribing Trills 377
Editing Turns 379

Editing Mordents 381
Editing Arpeggios 383
Editing and Transcribing Tremolos 384
5.9.1 Adding Ornaments
The general procedures for adding an ornament are the same for all types of ornaments: trills, turns,
mordents, arpeggios, and tremolos. Once you have added a few ornaments of a given type, you will
know how to add ornaments of any type.
There are three alternative procedures for adding ornaments:
In Add Mode, use the "point and click" method. Select a type of ornament, and click the mouse
where you want to add it.
In Select Mode, first select the note to which you wish to add the ornament. Then select the
ornament you wish to add. Using this method, you can add the same type of ornament to
several notes in a single step.
If the ornament is already written out as notes, then select those notes and convert them to a
displayed ornament. This procedure is described in Converting Written-Out Performances to
Ornaments 374 .
The Add Mode and Select Mode procedures are described below.
T o a d d a n o rna me nt in A d d Mo d e with the " p o int a nd c lic k " me tho d :
1. Navigate to the Ornament Palette with the mouse.
-- OR --
Type SHIFT+O. If Co mp o s e r displays the Octave Palette, then type SHIFT+O a second time
for the Ornament Palette.
2. In the Ornament Palette, select the type of ornament you wish to add. See the chart of
ornament types in Editing Ornaments 372 for an explanation of each of the ornament type
buttons in the palette.
3. Specify the duration of the ornament members by clicking one of the buttons for 16th, 32nd, or
64th duration, and one of the buttons for no tuplet, triplet or quintuplet.
-- OR --
Type "16", "32", or "64" for the base duration, and optionally "33" or "55" for triplet or quintuplet.
For example, if you choose the combination of and , each member of the ornament
will be a 16th triplet. A 16th triplet member has one third of the duration of an eighth note. A 16th
quintuplet member has one fifth of the duration of a quarter note.
4. Move the Add Mode mouse cursor to the note where you want to add the ornament. The
mouse does not need to be vertically positioned exactly on the pitch of the note. It need only
be positioned horizontally at the exact measure and beat where the ornament should be
added.
6. After adding the ornament, you can optionally change its accidental. Click the Edit Accidental
button, or type "ac" for accidental. Co mp o s e r will display a dialog box in which you can
specify the accidental. The details for this option depend on the type of ornament, and are
described in the specific topics for trills 377 , turns 379 , and mordents 381 .
T o a d d a n o rna me nt to o ne o r mo re s e le c te d no te s :
1. In Select Mode 162 , select the note(s) to which you wish to add the ornament.
2. With the mouse, navigate to the Ornament Palette as described in the first procedure above.
-- OR --
3. In the Ornament Palette, select the type of ornament that you wish to add to the selected
note(s).
5.9.2 Converting Written-Out Performances to Ornaments
In Co mp o s e r, it is easy to add an ornament with either the "point and click" method or the "select note
and add ornament" method, both described in Adding Ornaments 373 . Another way to add an ornament
is to enter it first as a written-out performance, and then convert it to a displayed ornament symbol.
The most common reason that you might want to convert a written-out ornament is that most types of
ornaments are initially written out in an imported MIDI file, or in a recording from a music keyboard.
After you import a MIDI file, or record from the keyboard, you will likely want to manually convert the
written-out performances to ornament symbols. In the case of trills 377 and tremolos 384 , however, you
can instruct Co mp o s e r to automatically detect them when transcribing a MIDI file or a recording from
your keyboard.
Another reason that you might want to convert a written-out ornament performance is for more control
over the exact timing of the notes. When you add a trill, for example, you can specify that the trill
members should be, say, 32nd notes or 16th triplets. However, if you want the trill to accelerate from
32nd notes to 16th triplets or 64ths, then you can write out the detailed performance of the trill notes first,
and then convert the series of trill notes into a trill symbol. For even finer control over the timing of the
performance ornament notes, you can edit the Piano Roll Notation 501 for the notes.
T o c o nv e rt a writte n-o ut p e rfo rma nc e o f a n o rna me nt to its s y mb o l:

1. In Select Mode 162 , select the notes that you wish to convert.
2. With the mouse, navigate to the Ornament Palette as described in the first procedure above.
-- OR --
3. In the Ornament Palette, select the ornament symbol that will replace the performance of the
notes.
5.9.3 Reverting Ornaments to Written-Out Notes
An ornament symbol is a short-hand way of writing out a performance of several short notes, such as
illustrated for all of types of ornaments supported by Co mp o s e r in the chart of ornament types 372 .
You can convert a written-out (as-performed) ornament to a displayed ornament, as described in
Converting Written-Out Performances to Ornaments 374 . You can also do the reverse, that is, convert a
displayed ornament to a written-out ornament, as described in this topic.
If you want to just temporarily view the written-out performance of an ornament, then turn off the View
Ornaments and Grace Notes button in the Ornament Palette, as described in Viewing and the
Written-Out Performance of Ornaments 376 .
T o c o nv e rt o ne o r mo re d is p la y e d o rna me nts to writte n-o ut p e rfo rma nc e s :
1. In Select Mode 162 , select the ornament.
2. Click the Convert Ornament to Written-Out Performance button.

-- OR --
5.9.4 Deleting an Ornament
Deleting an ornament removes the performance of the ornament, but preserves the note that was
ornamented. This is illustrated in the procedure below.
If you want to remove the ornament symbol, but preserve the performance of the ornament, then use
the Convert Ornament to Written-Out Performance command with the button or BACKSPACE key,
as described in the previous topic, Reverting Ornaments to Written Out Notes 375 .
T o d e le te a n o rna me nt:
1. In Select Mode 162 , select the ornament.
2. Click the Delete Ornament button.

-- OR --
Hit the key.
5.9.5 Viewing and Editing the Written-Out Performance of Ornaments
You can view the written-out performance of ornaments at any time. You might want to do this in
conjunction with viewing the Piano Roll Notation for the grace notes so that you can finely edit the
performed timing of the notes.
T o v ie w the writte n-o ut p e rfo rma nc e o f a n o rna me nt:
1. Navigate to the Ornament Palette, as described in Adding Ornaments 373 .
-- OR --
2. Toggle off the Show Ornaments and Grace Notes button in the Ornament Palette.
-- OR --
Type "qsgo" to toggle off Show Ornaments.
Co mp o s e r will show the ornaments written out, highlighted in the color purple so that you can
easily identify them.
Once you have switched to viewing the written-out short notes, you can click the Piano Roll Notation
button in the main toolbar to view the piano roll rectangles for the timings of the ornament notes.
Then you can edit the timings of the notes independently of the ornament symbol.
5.9.6 Editing and Transcribing Trills
A trill is performed as a rapid alternating between two pitches that are a whole step or half step apart.
The trill symbol can be displayed with or without the squiggle line. The squiggle line has no
extra musical meaning. In general, the squiggle line is used when the trill spans over a relatively
long duration, or when it spans across a shorter time when accompanied by several other relatively
short notes.
In the Ornament Palette, the buttons for the two types of trills look like this:
and .
The following general procedures apply to the editing of trills:
Adding Ornaments 373 . The Adding Ornaments procedure explains how you can specify the
duration of the trill members, such as 32nd notes or 16th triplets.
Converting Written-Out Performances to Ornaments 374 .
Reverting Ornaments to Written-Out Performances 375 .
Deleting an Ornament 376 .
Viewing and the Written-Out Performance of Ornaments 376 .
The following procedures, unique to trills, are described in this topic:

Add or remove the line extension of the symbol.
Add an accidental to the trill.
Automatically transcribe trills when importing a MIDI file, or after recording a performance from
your MIDI keyboard.
T o a d d o r re mo v e the line e xte ns io n o f the s y mb o l:
1. Select the trill symbol in the score.
2. Click the or button in the Ornament Palette to change the trill symbol.
-- OR --
Type "tr" or "t~ ".
A trill can optionally have an accidental. The accidental is displayed between the symbol and
line, or if there is no line, then above the symbol. The accidental is necessary only if
the upper note of the trill does not fall within the key signature, or if in the same measure there is a
previous note that would change the inherited accidental for the upper note of the trill. The procedure
for adding an accidental to a trill is described in this topic.
T o a d d a n a c c id e nta l fo r the up p e r no te o f a trill:
1. If the trill has not already been added, then add it, as described in Adding Ornaments 373 . You
always add an accidental to an ornament after the ornament has been added.
2. In the Ornament Palette, click the Edit Accidental button.

-- OR --
Type "ac" for accidental.
Co mp o s e r will display the Trill Accidental dialog box:
3. Select the an accidental, or perhaps "no accidental" to remove an already existing accidental.
4. If you want the accidental to apply to the actual performance-- which you usually will want to
do-- then leave a check mark by "Change pitch according to new accidental."
Co mp o s e r can automatically transcribe trills when it imports a MIDI file or transcribes your
performance at the music keyboard.
T o a uto ma tic a lly tra ns c rib e trills in a n imp o rte d MID I file :
Before you open the MIDI file, click the Transcription Options button in the File Open dialog
box. Co mp o s e r will present the Transcriptions Options dialog box. In the Transcription
Options dialog box, turn on the check mark for Transcribe Ornaments / Trills. For further
details, see Transcribing MIDI Files to Notation 83 .
T o a uto ma tic a lly tra ns c rib e trills in a p e rfo rma nc e tha t y o u re c o rd a t y o ur mus ic
k e y b o a rd :
Before you begin recording, choose the Transcription Options command in the Setup menu.
Co mp o s e r will present the Transcription Options dialog box. In the Transcription Options
dialog box, turn on the check mark for Transcribe Ornaments / Trills. For further details, see
Setting Up Transcription Options for Recording 492 .
5.9.7 Editing Turns
A turn, indicated with the symbol above the ornamented note, is performed as three notes
preceding the final performance of the ornamented note The first note of the turn starts a whole step or
half step above the ornamented note. The second note has the same pitch as the ornamented note.
The third note is one whole step or half step below the ornamented note.
In a delayed turn, the three notes follow some time after the ornamented note is first played, and are
followed by the final performance of the ornamented note. For a delayed turn, the is displayed after
the ornamented note rather than immediately above the ornamented note.
In the Ornament Palette, the buttons for the two types of turns look like this:
and .
The following general procedures apply to the editing of turns:
duration of the turn members, such as 32nd notes or 16th triplets.

The following procedures, unique to turns, are described in this topic:
Change the type of turn, that is, whether the turn starts at the beginning of the ornamented note
or after a delay.
Add an accidental for the note above and/or below the ornamented note.
T o c ha ng e the ty p e o f turn.
1. Select the turn symbol in the score.
2. Click the or button in the Ornament Palette to change the turn symbol.
-- OR --
Type "tu" or "td" for turn or delayed turn.
Co mp o s e r will change not only the symbol but also the performance of the turn.
A turn can optionally have one or two accidentals for the two notes above and below the ornamented
note. These accidentals are displayed above and below the turn symbol. The ornament
accidental is necessary only if the upper or lower note of the turn does not fall within the key signature,
or if in the same measure there is a previous note that would change the inherited accidental for the
upper or lower note of the turn.
T o a d d a n a c c id e nta l fo r the up p e r a nd / o r lo we r no te o f a turn:
If the turn has not already been added, then add it, as described in Adding Ornaments 373 . You

-- OR --
Co mp o s e r will display the Turn Accidental dialog box:
2. For the note above, and/or the note below the ornamented note, select an accidental, or
perhaps "no accidental" to remove an already existing accidental.
do-- then leave a check mark by "Change pitches according to new accidentals."
5.9.8 Editing Mordents
A mordent, indicated with the or symbol above the ornamented note, is performed as two notes
preceding the final performance of the ornamented note The first note of the mordent has the pitch of
the ornamented note. The second note is a half step or whole step above or below the note. The more
common mordent, represented with the symbol, plays the second note below the ornamented note.
The mordent represented with the symbol plays the second note above the ornamented note.
In the Ornament Palette, the buttons for the two types of mordents look like this:
and
The following general procedures apply to the editing of mordents:
duration of the mordent members, such as 32nd notes or 16th triplets.
The following procedures, unique to mordents, are described in this topic:
Change the type of mordent, that is, whether the mordent plays a note below or above the
ornamented note.
Add an accidental for the note above or below the ornamented note.
T o c ha ng e the ty p e o f mo rd e nt.
1. Select the mordent symbol in the score.
2. Click the or button in the Ornament Palette to change the mordent symbol.
-- OR --
Type "md" or "mu" for downward or upward mordent.
Co mp o s e r will change not only the symbol but also the performance of the mordent.
A mordent can optionally have an accidental for the note above or below the ornamented note. This
accidental is displayed below the symbol or above the symbol. The ornament accidental is
necessary only if the upper or lower note of the mordent does not fall within the key signature, or if in the
same measure there is a previous note that would change the inherited accidental for the upper or
lower note of the mordent.
T o a d d a n a c c id e nta l fo r the up p e r a nd / o r lo we r no te o f a mo rd e nt:
If the mordent has not already been added, then add it, as described in Adding Ornaments 373 . You

-- OR --
Co mp o s e r will display the Mordent Accidental dialog box:
2. Enter the accidental for the note below or above the ornamented note, depending on whether
the mordent symbol is or .
do-- then leave a check mark by "Change pitch according to new accidental."
5.9.9 Editing Arpeggios
An arpeggio is a chord whose notes are played in rapid succession rather than together. An arpeggio
symbol is a short-hand notation for indicating that the succession of notes accumulate as tied notes to
form a chord held for some duration. The arpeggio chord notes are usually played starting at the
lowest note and ending at the highest note. But the notes can be played in the reverse direction,
starting at the highest note. Two different arpeggio symbols distinguish the direction of the "rolled"
chord.
In the Ornament Palette, the buttons for the two types of arpeggios look like this:
and .
The following general procedures apply to the editing of arpeggios:
duration of the arpeggio members, such as 32nd notes or 16th triplets.
T o c ha ng e the ty p e o f a rp e g g io .
1. Select the arpeggio symbol in the score.
2. Click the or button in the Ornament Palette to change the arpeggio symbol.
-- OR --
Type "au" or "ad" for upward or downward arpeggio.

Co mp o s e r will change not only the symbol but also the performance of the arpeggio.
5.9.10 Editing and Transcribing Tremolos
A tremolo is the rapid repeating of notes. The tremolo can repeat a single note or chord. Or, it can
repeat back and forth between two different notes, or between two different chords. If the tremolo
repeats for a single note or chord, then it is notated with angular slashes through the stem. If the tremolo
alternates between two notes or chords, then broken beams are displayed between the notes or
chords, as shown below.
In the Ornament Palette, the buttons for the two types of tremolos look like this:
and
The following general procedures apply to the editing of tremolos:
duration of the tremolo members, such as 32nd notes or 16th triplets.
Co mp o s e r can automatically transcribe tremolos when it imports a MIDI file, or transcribes your
performance at the music keyboard.
T o a uto ma tic a lly tra ns c rib e tre mo lo s in a n imp o rte d MID I file :
Before you open the MIDI file, click the Transcription Options button in the File Open dialog
box. Co mp o s e r will present the Transcription Options dialog box, In the Transcription Options
dialog box, turn on the check mark for Transcribe Ornaments / Tremelos. For further details,
see Transcribing MIDI Files to Notation 83 .
T o a uto ma tic a lly tra ns c rib e tre mo lo s in a p e rfo rma nc e tha t y o u re c o rd a t y o ur mus ic
k e y b o a rd :
Before you begin recording, choose the Transcription Options command in the Setup menu.
Co mp o s e r will present the Transcriptions Options dialog box, In the Transcription Options
dialog box, turn on the check mark for Transcribe Ornaments / Tremolos. For further details,
see Setting Up Transcription Options for Recording 492 .
5.10 Editing Staff Symbols

In Co mp o s e r, the following symbols are grouped together in the Staff Palette:
Brackets and braces 386
Clefs 390
Key signatures 391
Meters (time signatures) 394
Barlines 396
Repetition marks 397
8va octaves 314
Rehearsal Marks 482

These staff symbols all have the general property that they affect the interpretation or organization of
notes that are within their relatively large scope. The scope of their effect is generally larger than, for
example, the effect of an accidental or ornament on an adjacent notehead.
To add a staff symbol, first navigate to the Staff Symbol Palette, or type one of the SHIFT+Letter
shortcuts, as shown below:
Procedures for adding and editing each of these types of staff symbols are described in the topics that
follow.
5.10.1 Brackets and Braces
You can add brackets or braces to one or more adjacent staves. The bracket or brace will be applied
to every system (line of music) throughout the score. You can add secondary brackets or braces to
group together instrument sections, choirs, or keyboard staves within the overall conductor score.
The brackets and braces that you add to the conductor's score will also be used for parts that you
manually extract. For example, if the conductor's score includes braces for the right- and left-hand
staves of a piano part, then the manually extracted piano part will also have braces.
You can specify an instrument or instrument/vocal group name that is displayed to the left of the brace
or bracket.
For any given part, you can hide the brackets and braces. This is particularly desirable for extracted
parts for single-staff instruments.
T o a d d a b ra c k e t o r b ra c e :
1. With the mouse, navigate to the Bracket Palette.
-- OR --
Type the bracket character ( [ ) or brace character ( { ) to display the bracket palette:
Co mp o s e r will automatically enter Add Mode 162 .

2. Click the mouse somewhere on the first staff where you wish the new bracket or brace to begin.
You must click inside the staff, rather than to the left of the staff.
Co mp o s e r will display a new brace or bracket that initially extends only for the height of this
first staff:
4. At this point the newly added bracket is selected for further editing. You can extend the bracket
across additional staves, or change the bracket to a brace, by following one of the
procedures below.
T o c ha ng e the e xte nt o f a b ra c k e t o r b ra c e to mo re o r fe we r s ta v e s :
1. (If the bracket or brace is already selected because you have most recently added it, then
skip this step.
Click somewhere on the bracket or brace to select it.)
Co mp o s e r will highlight the selected bracket or brace in blue, as illustrated in the above
example. The blue square boxes above and below the bracket are called handles, which are
used for changing the vertical extent of the bracket.
2. To change the vertical extent of the bracket or brace, move the mouse cursor to a handle, and
press down on the left mouse button. While holding the left mouse button down, drag the
bottom edge of the bracket to somewhere in the final staff where you wish the bracket to start
or end.
3. hit the ENTER key to complete the editing and to unselect the newly added brace or bracket.
T o c ha ng e a b ra c k e t to a b ra c e , o r a b ra c e to a b ra c k e t:
1. Click somewhere on the bracket or brace.
The or button in the Bracket Palette will indicate whether the currently selected object
is a brace or bracket.
2. Click the other brace or bracket button to change the shape of the object.
3. hit the ENTER key to complete the editing and to unselect the brace or bracket.
T o d e le te a b ra c k e t o r b ra c e :
1. Click the bracket or brace.
2. Hit the key.

T o c re a te a c o nd uc to r' s b ra c k e t a c ro s s ins trume nt o r v o ic e g ro up s :
1. First add the brackets and braces for each instrument group, choir, or keyboard part. Change
the extent of each brace to include the desired staves.
2. Add another bracket and change its extent to include all of the staves, so that it becomes the
conductor's score bracket. The instrument and voice group brackets and braces will
automatically be moved to the left of the conductor's score bracket.
T o a d d a n ins trume nt na me o r ins trume nt g ro up na me to the le ft o f a b ra c e o r b ra c k e t

fo r multip le s ta v e s :
1. Add the brace or bracket, and extend it vertically across all of the staves it belongs to.
2. If the brace or bracket is not already selected, then click it in Select Mode.
3. In the Bracket Palette, click the Bracket Group Name button.
Co mp o s e r will display the Bracket Staff Group Name dialog box.

4. In Bracket Staff Group Name dialog, enter the "long" name and the abbreviation for the
instrument or instrument group.
In determining whether to display the long or abbreviated name at the left of the bracket or
brace, Composer applies the same rules as it does for determining whether the long or
abbreviated name of individual staves are displayed, as described in Showing and Hiding
Instrument Names 234 .
5.10.2 Clefs
You can add clef changes anywhere within the score, including in the middle of measures.
If you import a MIDI file, Co mp o s e r automatically determines the clefs for staves, because MIDI files
do not include clef information. If you find that Co mp o s e r has incorrectly determined any clefs, you
can easily change them.
T o ins e rt a c le f:
1. With the mouse, navigate to the Clef Palette.
-- OR --
Type the SHIFT+C. This is also the keyboard short for the Chord Name Palette. If Co mp o s e r
displays the Chord Name Palette, then type SHIFT+C a second time to display the Clef
Palette, as shown below:

2. Click at a position in the measure of a staff where you want the new clef to be inserted.
Co mp o s e r will add the clef where you clicked the mouse. Co mp o s e r will also apply that clef
to additional measures in the same staff, up to the next measure where there is a different clef,
or to the end of the song if there are no other clef changes.
T o c ha ng e a c le f:
1. Click the mouse cursor on a clef symbol.
Co mp o s e r will indicate that the clef has been selected by highlighting in blue. Co mp o s e r will
also indicate the type of clef you have selected in the clef palette.
2. Click of the buttons in the clef palette to change the type of clef.
-- OR --
Choose one of the clefs listed in the Clef Menu.

-- OR --
Use one of the keyboard short-cuts, such as "t" for treble clef, or "b" for bass clef.
-- OR --
Click the clef selection button in the palette. Co mp o s e r will display a dialog box where
you can select the type of clef.
T o s e t the c le f fo r a ra ng e o f me a s ure s :
1. Navigate to the Clef Palette, as in step #1 of the first procedure above.
2. In the Clef menu, choose the command Set Clef in Range of Measures.
3. In the Set Clef in Range dialog box, choose a staff, measure range, and clef.
5.10.3 Key Signatures
You can add key signature changes at the beginning of any measure of any staff in the score.
In transcribing a MIDI file, Co mp o s e r examines whether the file includes key signatures. If it does,
then Co mp o s e r uses the key signatures saved in the file. Otherwise, Co mp o s e r analyzes the
harmony of the song to determine the key signature. This analysis does not account for possible mid-
song key signature changes. Co mp o s e r determines a single key signature for the whole song.
Co mp o s e r optionally transposes instrument parts according to their native keys. For more
information, see Transposing to the Key of an Instrument 348 .
After Co mp o s e r transcribes a song, you can update the key signature at the beginning of the song,
as well as at the beginning of any measure. Co mp o s e rapplies the key signature to all staves, or to a
single selected staff, according to your specification.
If you want to add a key signature change in the middle of a measure, you should insert a double
barline or dotted barline at the beginning of the new key signature. The procedure for doing this is
described at the end of this topic.
T o ins e rt a k e y s ig na ture a t the b e g inning o f a me a s ure :
1. With the mouse, navigate to the Key Signature Palette.
-- OR --
Type SHIFT+K.
It would be impractical for Co mp o s e r to display a palette of every possible key signature.

Instead, the Key Signature Palette has just the one button.
When you navigate to the Key Signature Palette, Co mp o s e r will automatically enter Add
Mode 162 . The mouse cursor will turn into this shape:
2. Click the mouse anywhere in the measure where you want the key signature to be added or
changed.
Co mp o s e r will present you with the following dialog box:
3. Choose the key signature from the dialog box by using the up and down arrows to spin through
0 to 7 flats or sharps, or select the key signature by major or minor key name.
4. If you wish the key signature change to be applied to all parts, rather than to just the part where
you clicked the mouse, then choose "Apply key signature to all parts".
5. Add or remove a check mark in the last box, according to whether you want the new key
signature to be preceded with natural accidentals for each accidental removed in the new key
signature. For example, if the previous measure has a key signature of four sharps, and the
new key signature is two sharps, then this option produces the following key signature with two
cancellation natural accidentals:
6. By default, the key signature will be applied to the entire range of measures in the song.
Choose a smaller range of measures, if desired.
7. Click the OK to complete the change.
Co mp o s e r will apply the new key signature from your selected measure up to the next
measure where there is a different key signature, or to the end of the song if there are no other
key signature changes.
T o c ha ng e a k e y s ig na ture :
2. Click the mouse on a key signature object.

Co mp o s e r will indicate that the key signature has been selected by highlighting it with the
color blue. Co mp o s e r will also display the Key Signature Palette.
3. Click the key signature button in the palette.

-- OR --
Type SHIFT+ENTER, that is, while holding down the SHIFT key, hit the ENTER key.
Co mp o s e r will then present you with the Key Signature dialog box, as shown above.
4. Continue with step #3 in the first procedure, to select the new key signature and options for
applying the new key signature to the score.
T o ins e rt a k e y s ig na ture in the mid d le o f a me a s ure :
In this example, the key signature will be changed from three flats (E-flat major) to one sharp (G
major) in the last beat of the second measure:
Note that we do not necessarily advocate the practice of inserting key signatures in the middle
of measures. In this example, the harmony change from the second to the third measure might
be just as clearly, or even more clearly, represented by postponing the key signature change
until the beginning of the third measure.
1. Insert a barline in the middle of the measure, as described in the topic Editing Barlines 396 :
Optionally, change the barline style from double barline to a dotted or dash style, as described
in the topic Editing Barlines 396 .
2. Hide the meters in the newly divided measure, as described in the topic Editing Meters (Time
Signatures) 394 :
3. Insert a new key signature after the newly added barline:
5.10.4 Meters (Time Signatures)
You can insert meter changes anywhere within a score. Co mp o s e r will replace barlines to match the
new length of measures, according to the meter you choose. You can change the meter for measures
even if the measures already have notes, lyrics, and music annotations. You can also show or hide
meters at specific measures in the score.
Co mp o s e r will not change the meter in any series of measures if a newly placed barline would divide
a triplet or quintuplet. If Co mp o s e r informs you that it cannot change the meter for this reason, convert
the triplets or quintuplets to regular notes 323 before attempting again to change the meter.
T o c ha ng e the me te r in o ne o r mo re me a s ure s :
1. With the mouse, navigate to the Meter Palette.
-- OR --
Type the SHIFT+M.
2. Optionally select a range of measures 266 for which you wish to change the meter by holding
down the CTRL key and dragging the mouse over them. You can extend the range by holding
down both the Shift and CTRL keys and clicking in some further measure in the score. It does
not matter which staff you choose.
3. Click the meter button in the palette.

If you selected a range of measures in step #2, Co mp o s e r will display the Meter dialog box,
as illustrated below. Otherwise, the mouse cursor will turn into this shape: In that case, click
the mouse somewhere in the first measure where you want to change the meter.
Co mp o s e r will display the Meter dialog box, such as shown here:
If you pre-selected a range of measures in step #2, then the Measure Range in the dialog box
will reflect your selection. If you clicked some measure, then Co mp o s e r will search for the first
measure after the one you clicked where there is a change in meter; for the Measure Range,
Co mp o s e r will assign the measure you clicked as the "From" measure; and Co mp o s e r will
assign the last measure before a change in meter, or the last measure of the score, as the
"To" measure.
4. In the dialog box, change the "From" and "To" measures if the pre-selected measures are not
what you want. The numbers of these measures are those for the current measures in the
score, as counted before applying the meter change rather than afterwards.
5. Choose the new meter. If it is not one of the standard meters offered, then click the "Other"
button, and enter the numerator and denominator of the meter.
6. Normally, you can accept the default Beam Group pattern that Co mp o s e r proposes. For
instructions in overriding Co mp o s e r's default beaming of notes, see the topic Editing Beams
334 .
7. Click the OK button to commit the change in meter for the selected measures.
Co mp o s e r automatically shows or hides meters (time signatures) according to the following rules:
Always show the meter for the first measure of the score.
Always show the meter in a measure when the meter has changed from that of the previous
measures.
Otherwise, do not show the meter.
For any specific measure or range of measures, you can override the above rules for automatic
showing or hiding of meters.
T o fo rc e the s ho wing o r hid ing o f the me te r, o r to s e t a uto ma tic s ho wing o f the me te r,
in o ne o r mo re me a s ure s :
1. Follow steps #1 through #4 in the first procedure, selecting the measures for which you wish to
show or hide the meters.
2. In the Change Meter dialog box, choose one of the three options for Show or Hide. The default
option is "Automatically show or hide".
5.10.5 Barlines
This topic describes how you can change the style of a barline to a double, dotted, or dashed barline,
or start-of-section or end-of-section barline.
For instructions in adding repeat marks to barlines, see Editing Repeats 397 .
If you have imported a MIDI file, or made a MIDI recording, in which the barlines are out of alignment
with the downbeat of measures, then you can shift the barlines, as described in Shifting Barlines 281 .
You can split a measure by inserting a barline in the middle of it, as described in Splitting Measures
275 .
T o c ha ng e the s ty le o f a b a rline :
1. Select a barline by dragging the mouse cursor over it. A barline is usually so narrow that it is
difficult to select it by directly clicking it. So, dragging the mouse over the barline is an easier
way to select it.
Co mp o s e r will highlight the newly selected barline in blue, and will display the Barline Palette:
The Barline Palette will indicate the type of barline you have selected.
2. Click one of the barline types in the palette, or type the keyboard short-cut.
Co mp o s e r will change the style of the selected barline(s) according to your palette (or
shortcut) selection.
For explanations of other buttons in the Barline Palette, see Splitting Measures 275 , Joining Measures
276 , Shifting Barlines 281 , Editing Repeat Marks 397 , and Editing Endings 398 .
5.10.6 Repetition Marks
Co mp o s e r supports a variety of ways indicating that a section should be repeated, or that the
performance should continue at another place in the score:
Barline repeat marks 397
Endings 398
D.S. and other "go to" marks 400
Co mp o s e r automatically plays any repeat marks and endings as displayed in the score, unless you
disable them with the Ignore Repeats and Endings command 131 .
Co mp o s e r does not automatically interpret "go to" performance marks such as "D.S." (Dal Segno) or
"D.C." (Da Capo). However, you can instruct Co mp o s e r exactly how to play such "go to" marks using
the Repeat Instructions 401 command in the Measure and Barline Menus.
5.10.6.1 Barline Repeat Marks
You can add start- and end-repeat marks to barlines. A barline for the end of a repeat can also mark
the beginning of a second repeat section.
By default Co mp o s e r performs a single repeat of a repeat mark during playback.
If a pair of start- and end-repeat marks span across a vocal part with three or more verses, then
Co mp o s e r does not automatically count the verses to determine how many times it should repeat the
section. However, you can instruct Co mp o s e r to repeat the section for as many times as there are
verses, using the Repeat Instructions command in the Measure and Barline Menus. For details, see
Repeat Instructions for Performances 401 .
You can instruct Co mp o s e r to ignore repeats during playback 131 .
The MIDI file format does not provide for repeats. Therefore, authors of MIDI files must write out repeats.
For example, if measures 16 to 31 of a score are repeated, then the MIDI file actually writes out the
same notes again in measures 32 to 45. Although this works fine for playback purposes, written-out
repeats are usually undesirable for printed scores. Co mp o s e r enables you to replace the written-out
repeated measures with repeat marks. First, you can delete the written-out repeat measures, as
described in Deleting Measures 274 . Then you can add repeat marks following the instructions below.
In some cases, repeats start in the middle of a measure. Even in this case, Co mp o s e r enables you to
replace the written-out repeated measures with repeat marks. First, you must split the starting and
ending measures 275 where the repeat marks are to be added. Then delete the written-out repeat
measures. Finally, add the repeat marks following the instructions below.
T o a d d a re p e a t ma rk to a b a rline :
1. Select a barline by dragging the mouse cursor over it.
Co mp o s e r will display the Barline Palette.
2. Click the Start Repeat or End Repeat button.

-- OR --
Or type "sr" for Start Repeat, or "er" for End Repeat.
3. If the barline serves as both the end of one repeated section and the start of a second
repeated section, then select the barline once and set the Start Repeat . Then select the
barline a second time and set the End Repeat . The Barline Palette will indicate that the
barline has both a Start Repeat and an End Repeat mark:
T o re mo v e a re p e a t ma rk fro m a b a rline :
Follow the same instructions as for adding a repeat mark. If the repeat mark is already
present, you can:
Toggle the palette button for the repeat mark.
-- OR --
Toggle the Start Repeat or End Repeat check mark in the Barline Menu.
-- OR --
Type the "sr" or "er" keyboard command to toggle whether the repeat mark is displayed or not.
5.10.6.2 Endings
Co mp o s e r enables you to specify alternative endings (1, 2, etc.) for repeats, such as this "closed"
ending:
or this "open" ending:
Co mp o s e r supports alternating or non-sequential endings. In the following example, the sequence of

performed measures is 2 through 5, 2 through 3, 6 through 7, 2 through 5, and then continuing with 8:
Please note that for later sets of endings, those endings need to also have a beginning "1" and then
consecutive ending numbers. This is good practice for "real" musicians who you may be printing a
score, as well as ensuring proper playback of the song file. For example:
By default Co mp o s e r performs repeats and endings during playback. However, you can instruct
Co mp o s e r to ignore them 131 .
T o a d d a n e nd ing :
1. With the mouse, navigate to the Barline Palette.
-- OR --
Type the vertical line character "|", which suggests the shape of a barline.
Co mp o s e r will display the following Barline Palette:
Co mp o s e r will automatically enter Add Mode 162 . The mouse cursor will change to the Add
Mode shape:
3. Click the Ending button.

-- OR --
Type "en" for ending.
4. Click anywhere in the measure where you want to add the ending.
Co mp o s e r will display the Ending dialog box:
In the dialog, the Ending at Measure indicates the measure you clicked to add the ending.
5. In the Ending dialog, specify the following:
One or more Ending Numbers. In this example, it is the fourth ending. For the non-
sequential ending example near the beginning of this topic, ending numbers 1 and 3
would be selected.
The Ending Length, counted in measures.
Open Ending or Closed Ending, as illustrated in the first two examples at the beginning of
this topic.
T o re mo v e a n e nd ing :
1. In the score, select the ending object above the measure.
Co mp o s e r will highlight the selected ending object in the color blue.
2. Hit the key.

T o c ha ng e the e nd ing numb e r(s ), me a s ure le ng th, o r s ty le (o p e n o r c lo s e d ) o f a n
e nd ing :
2. In the score, select the ending object above the measure.
3. Choose the Ending Properties command in the Barline Menu.

-- OR --
Type SHIFT+Enter. That is, while holding down the SHIFT key, hit the ENTER key.
This will bring up the Ending dialog, as illustrated above.
4. Enter new values for the Ending Number, Ending Length, or style (Open Ending or Closed
Ending). Then hit the OK button.
5.10.6.3 D.S. and Other Go-To Marks
Formal music notation includes a rich vocabulary of Italian words and abbreviations to indicate that the
musician should continue the performance at another location in the score, such as at the beginning of
the score, or at some a segno (sign), usually or .
Co mp o s e r supports the notation and playback of such "go to" instructions in the following ways:
Entersegno marks or using the Symbol Palette, as described in Special Symbols 417 .
Use the free text 459 feature to enter instructions that include Italian terms such as Dal Segno
(D.S.), Da Capo (D.C.) and Fine.
Use the Repeat Instructions 401 command in the Measure and Barline Menus to specify
exactly how the "go to" instructions should be performed during playback.
Even in contemporary music, the segno marks and Italian instructions are sometimes used, but you
can certainly write out instructions in your preferred language, or mix it with symbols, such as "Return to
".
For your reference, here are some of the most common Italian "go to" instructions:
D.S. (dal segno) means "to the sign".
D.C. (Da Capo) means "to the beginning (head)" of the song.
Fine means "end" of the song, even if this mark is not at the last measure of the song.
al means "then to". For example, D.S. al Fine means "to the sign and then to the end" of the
song.
Coda means "ending" of the song. The start of the Coda is usually indicated with double
barlines, and the ending extends to the last measure of the score.
5.10.6.4 Repeat Instructions for Performances
Co mp o s e r will automatically play repeats and endings as notated. If the measures (bars) between a
pair of start- and end-repeat barlines includes more than two verses, then the repeat will be played as
many times as there are verses.
Although Co mp o s e r does automatically interpret repeats, verses, and endings , Co mp o s e r does
not automatically interpret other more complex "go to" instructions, such as D.C. al Segno.. But
Co mp o s e r offers you complete control over the repeats, and which verse of lyrics is played during
each repeat.
To control how Co mp o s e r plays repeats and verses, use the Repeat Instructions command in the
Measure menu.
T o s p e c ify whic h v e rs e o f ly ric s is to b e s ung in e a c h re p e a t:
Consider the following example where the first verse is supposed to be sung twice, and the third
verse the last time:
1. Choose the Repeat Instructions command in the Measure or Barline Menu.

-- OR --
Type "qri" for Quick Repeat Instructions.
Co mp o s e r will display the following Repeat Instructions dialog box:
Notice that in row 5, for Repeat #3, the Repeat Instructions indicates that verse #3 is sung for
the third repeat, even though there is not a third verse. You can correct this, and also assign
the second repeat to the first verse rather than the second.
2. Change the verse assignments in the Repeat Instructions dialog box, as illustrated below:
T o s p e c ify re la tiv e ly c o mp le x " g o to " ins truc tio ns in the s c o re :
Consider the following example with four endings, a segno mark, a D.C. al Segno instruction,
and a Coda:
1. Choose the Repeat Instructions command in the Measure or Barline Menu.

-- OR --
Type "qri" for Quick Repeat Instructions.
Co mp o s e r will display the following Repeat Instructions dialog box:
Co mp o s e r has correctly prepared the repeat instructions for the endings and repeats, as
illustrated here:
However, Co mp o s e r did not interpret the segno mark, D.C. al Segno and Coda:.
2. Add instructions in the Repeat Instructions dialog box for the interpretation of the other "go to"
marks, as illustrated in rows #10 and #11 below:
The last two instructions for the D.C. al Segno and Coda: are performed as follows:
5.11 Editing Music Annotations

Co mp o s e r supports the following types of annotations:
Accents and articulations 408
Dynamic marks 409
Hairpin crescendo marks 413
Special music symbols 417 in Co mp o s e r's own Harmony font, or in another music font.
Slurs (phrase marks) 419
Sustain pedal marks 430
Procedures for adding and editing each of these types of annotations are described in the topics that
follow.
5.11.1 Accents and Articulations
One of the most common annotations in a score is the accent mark, such as the following:
Other types of annotations, such as the fermata, are technically neither accent marks nor articulations.
However, for editing purposes, they are handled the same way in Co mp o s e r. Such "accents" all
have their symbols displayed immediately above or below notes.
The procedures for adding and editing accent marks, articulations and fermata symbols are
described in the topic Editing Accent Marks 331
Sometimes you might want to view the Piano Roll Notation as you are annotating the score 502 . For
example, as you are adding staccato marks for notes, you can view the piano roll rectangles to see
which notes are performed with a short duration relative to their as-notated duration. Those are the
notes for which you might want to add staccato marks:
You might also want to see how loud the notes are as you are annotating the score. For example, as
you are adding accent marks for notes, you can view the velocity vectors of notes to see which ones
are relatively loud and therefore should have "strong accent" ( > ) marks:
A velocity vector 521 is a line pointing about 45 degrees up and to the right from the notehead. The
length of the line indicates the loudness of the note. The longer the line (vector), the louder the note.
5.11.2 Dynamic Marks
With Co mp o s e r, you can add a variety of dynamic marks to a score, such as and . You can
specify the placement of a dynamic mark above or below a staff, or immediately above or below a
note or chord. Co mp o s e r will automatically align the dynamics vertically in each staff. However, you
can also enter dynamic marks as free text, which you can move anywhere you want.
Co mp o s e r does not directly interpret dynamic marks during playback. Instead, you can directly edit
the loudness of notes 521 , and you can graphically edit the staff volume level 554 for regions of the
score. This offers you a high degree of control over the interpretation of dynamic marks in the score.
T o a d d a d y na mic ma rk :
1. With the mouse, navigate to the Dynamic Mark Palette.
-- OR --
Type SHIFT+D.
Co mp o s e r will automatically enter Add Mode 162 . The mouse cursor will turn to this shape:
2. Click one of the dynamic mark buttons, such as or .

3. Click one of the five buttons at the bottom of the palette to determine the placement of the
dynamic mark above or below the staff, or immediately above or below an adjacent note or
chord.
A dynamic mark is placed closer to the notes or chord if you choose Above Chord or Below
Chord rather than Above Staff or Below Staff.
4. Click the mouse where you want to add the dynamic mark.
T o c ha ng e the ty p e o f d y na mic ma rk , s uc h a s fro m to :

2. With the mouse, click the dynamic mark you wish to change.
3. In the Dynamic Mark Palette, click the new dynamic mark.
-- OR --
Type the short-cut for the dynamic mark you want:
Once you have selected of the the piano or forte marks, you can cycle through values by typing
"P" or "F" one or more times. For example, to go from to , just type "P" once.
T o c ha ng e the p la c e me nt o f the d y na mic ma rk :
2. With the mouse, click the dynamic mark you wish to change.
Co mp o s e r will display one of the Dynamic Mark Palettes, depending on the first letter of the
dynamic mark you selected.
3. Choose one of the placement options listed in the first procedure in this topic, such as Above
Staff or Above Chord. Choose the option by either clicking the palette button or by typing one
of the keyboard short-cuts:
When one of the placement options Above Staff, Below Staff, or Between Staves is applied to
multiple dynamic marks in the same staff, then they will be aligned vertically. This is usually
desired, so that the musician reading the score can more easily discern changes in dynamics.
The Above Chord and Below Chord options result in placement of the dynamic marks
immediately above or below chords.
For all five of these options, the placement of the objects is automatic. Co mp o s e r does not
offer you a way to finely adjust the positions of the dynamic marks. If you wish to finely control
the placement of a dynamic mark, then add the dynamic mark as free text, as described in the
last procedure in this topic.
T o d e le te a d y na mic ma rk :
2. With the mouse, click the dynamic mark you wish to delete.
3. Hit the key.

T o a d d o r c ha ng e a d y na mic ma rk us ing a d ia lo g b o x:
1. Type SHIFT+D to enter Add Mode for dynamic marks.
2. Click the mouse where you want to add the dynamic mark, or select an existing dynamic mark
that you want to change.
3. Type SHIFT+Enter to display the Dynamic Mark Properties dialog box:
4. In the dialog box, select the type of dynamic mark that you wish to add or change, and its
relative vertical position.
5. Click the OK button to complete the adding or changing of the dynamic mark.
T o a d d a d y na mic ma rk a s fre e te xt, s o tha t y o u c a n fre e ly mo v e it a ny whe re in the
s c o re :
1. Follow the instructions in General Procedures for Editing Free Text 459 , to add a new free text
object.
2. Click the Free Text Properties button in the Free Text Palette.
-- OR --
Type SHIFT+Enter.
Co mp o s e r will display a dialog box entitled Add Mix of Ordinary Text and Symbols.
3. In the dialog box, choose one or more symbols, such as , followed by , for mezzo forte
.
4. Click OK in the dialog box.
5. Using the mouse, drag the dynamic mark to the exact position you desire.
T o d ra w a d o tte d line b e twe e n " c re s c " o r " d im" a nd a d y na mic ma rk :
1. Add the starting "cresc" or "dim", and add the ending dynamic mark, such as .
2. Assign the "cresc" or "dim" mark, and the ending dynamic mark, to "above staff", "below staff",
or "between staves", by clicking one of the buttons: , , or .

-- OR --
Type "as", "bs", or "bts" for above staff, below staff, or between staves.
3. Add a dotted line between the starting "cresc" or "dim" mark and the ending dynamic, as
described in Adding Lines and Glissandos 428 .
4. In adding the dotted line, choose the line option for "line between dynamic marks above staff",
"line between dynamic marks below staff", or "line between dynamic marks centered between
staves". In the Line Palette, buttons are similar to the corresponding Dynamic Palette buttons:
, , and .
5.11.3 Hairpin Crescendo Marks
With Co mp o s e r, you can add to a hairpin crescendo or decrescendo mark to a score such as in the
following example:
The word "hairpin" is commonly used in the vocabulary of music notation to suggest the shape of the
symbol.
If a hairpin crescendo mark crosses a barline into a measure that is on a subsequent staff, Co mp o s e r
automatically divides the hairpin mark, as illustrated below:
Co mp o s e r does not directly interpret hairpin crescendo marks or dynamic marks during playback.
Instead, you can directly edit the loudness of notes 521 , and you can graphically edit the staff volume
level 554 for regions of the score. This offers you a high degree of control over the interpretation of
dynamic marks in the score.
T o a d d a ha irp in c re s c e nd o o r d e c re s c e nd o ma rk :
1. With the mouse, navigate to the Crescendo Palette.
-- OR --
Type the less-than sign "<" or greater-than sign ">" character on your keyboard for crescendo
or decrescendo.
Co mp o s e r will display the Crescendo Palette:
Co mp o s e r will change the mouse cursor to indicate Add Mode 162 :

2. Click the mouse in the score where you want the crescendo or decrescendo to begin.
Co mp o s e r will insert the crescendo or decrescendo in the score. It will extend horizontally
from the point where you clicked the mouse to slightly past the end of that measure.
Co mp o s e r highlights the newly added crescendo mark to indicate that it is selected so that
you can immediately edit it:
3. To change the position, length, or height of the hairpin crescendo mark, click one of the three
handles illustrated in the above picture, and hold down the left mouse button. Now drag the
handle to its new position. Then release the left mouse button.
If you wish to move the end of the hairpin right or left without changing the angle of the hairpin,
then hold down the SHIFT key while you drag the top of the two handles.
The following example shows the result of dragging the top, right handle down and to the left:
4. Optionally center the start of the hairpin mark by choosing Vertically Center in Middle
command in the Hairpin Menu.
-- OR --
Click the Vertically Center in Middle button in the Crescendo Palette:
-- OR --
Type "c" for center.
The following example shows the result of the Middle command:
5. Before attempting to add another crescendo mark, press the ENTER key to complete the
editing of the newly added crescendo mark.
The following example shows the result of unselecting the newly added crescendo mark:
T o c ha ng e the p o s itio n, le ng th, o r he ig ht o f a c re s c e nd o o r d e c re s c e nd o ma rk :

2. With the mouse, click the crescendo or decrescendo mark you wish to edit.
3. Drag any of the three handles, as explained in the previous procedure.
-- OR --
Move the start or end of the crescendo mark using one of the following palette buttons or
keyboard short-cuts:
4. Optionally, vertically center the start or end of the crescendo or decrescendo mark using the
Vertically Center in the Middle button.

5. Press the ESC or ENTER key to complete the editing of the selected object.
T o c ha ng e a c re s c e nd o ma rk to a d e c re s c e nd o ma rk o r v ic e v e rs a :
2. Using the mouse, click the crescendo or decrescendo mark you wish to edit.
The mark will be highlighted in blue, and Co mp o s e r will display the crescendo palette, as
shown before.
3. Click the crescendo or decrescendo button.

-- OR --
Type the less-than "<" or greater-than ">" key.
4. Press the ESC or ENTER key to complete the editing of the selected object.
5.11.4 Special Symbols
You can insert any symbol in Co mp o s e r's True Type font, named Harmony, anywhere in the score.
You may have another music software product that has a music font with symbols you like, or it may
have symbols missing in Co mp o s e r's Harmony font. You can also insert symbols from another music
font set anywhere in the Co mp o s e r score.
T o ins e rt a mus ic s y mb o l fro m <% P R OD P OS E S S IV E % > H a rmo ny fo nt a ny whe re in the
s c o re :
1. With the mouse, navigate to the Symbol Palette.
-- OR --
Type "%" (percent symbol) or "$" (the dollar sign), which are intended to suggest the idea of
symbol.
Co mp o s e r will automatically enter Add Mode, and the mouse cursor will change to this
shape:
2. Click the mouse where you want to add the symbol.
Co mp o s e r will display the Select Symbol dialog box:
Initially, the Select Symbol dialog box shows all of the symbols available in Co mp o s e r's
Harmony font. You can look through all of the symbols for the one you want, but it is easier to
narrow down search by selecting a Symbol Category.
3. In the Symbol Category list, select the type of symbol you are looking for, such as "Rhythms
and Tempo Units" or "Ornaments".
The dialog box will then display only symbols for the category you have selected.
4. Among the displayed symbols, select one, and then click the OK button.
The symbol will be added where you had clicked the mouse in the score.
5. Optionally, adjust the location of the symbol in the score by dragging it with the mouse.
This procedure is just a different way of adding free text. 458 In a free text object, you can mix ordinary
text with one or more music symbols from Co mp o s e r's Harmony font. The above procedure is
somewhat faster, but is limited to adding one music symbol at a time, and that symbol must be in
Co mp o s e r's Harmony font. To add a symbol from another music font, you will need to add it as free
text, as described below.
T o ins e rt a mus ic s y mb o l fro m a mus ic fo nt o the r tha n <% P R OD P OS E S S IV E % >
H a rmo ny fo nt:
We will illustrate this procedure using Co mp o s e r's own Harmony font, as though it were some
other music font.
1. Follow the procedure for Adding International Characters in Text 443 . Instead of adding an
international character from a text font, you will be adding a music symbol character from some
music font.
Start the Windows Character Map utility in the Accessories / System Tools folder.
Select the music font you want to use.
Find the symbol in the music font by clicking different symbols. In many music fonts, the
symbols are difficult to find. Some are even difficult to find in Co mp o s e r's Harmony font,
such as the segno character. Click different symbols to get a full view, as illustrated
below, until you find the one you need.
Double-click the symbol you want to use.

Now the character is in the Windows clipboard, ready for insertion into the score.
2. Navigate with the mouse to the Free Text Palette.

-- OR --
Type SHIFT+F.
shape:
3. Click the mouse where you wish to add the symbol.
4. Type CTRL+V to paste the music symbol at the text cursor position.
At this point, it may not look like this works, because the symbol does not look correct.
5. Click the Font button in the Free Text Palette.

-- OR --
Type CTRL+F.
Co mp o s e r will display the Select Font for Free Text dialog box.
6. In the dialog box, select the music font that you referred to in step #1 with the Windows
Character Map utility. Then click the OK button. The symbols should now display correctly.
5.11.5 Slurs (Phrase Marks)
The terms "slur" and "phrase mark" refer to a music symbol that is a curved line extending over two or
more notes. The slur indicates a musical phrase, similar to a spoken sentence. In vocal music, the
singer takes a breath at the end of the phrase. Wind instruments similarly take a breath at the end of
the phrase. Performers of other instruments simulate taking a breath by briefly disconnecting the last
note of the phrase from any notes that follow.
A slur is not a tie. A tie is not a slur. They may look similar, because they are both curved lines. But a
slur and a tie are two different things. A tie joins the durations of two notes of the same pitch, so that the
first note is heard for the total duration of the two tied notes. A slur does not tie notes together. A slur
groups the notes together into a musical phrase that is interpreted, to some degree subjectively, by
the performer.
It is important that you understand the difference between a tie and slur in Co mp o s e r. If you attempt to
draw a slur between two notes, hoping that this will tie the durations of the two notes together, the two
notes will not really be tied, even though there is a curved line between them as though they have
been tied. The two notes will still sound separately rather than as one continuously played note. To tie
two same-pitched notes together, you should use commands in the Note Palette or Tie Palette, or
corresponding menus, as described in Editing Ties 438 . To add a slur, you should use commands in
the Slur Palette or Slur Menu.
The remaining topics in this subsection describe how to:
Add a slur 420 .
Delete a slur 423 .
Change the shape and extent of a slur 424 .
5.11.5.1 Adding Slurs
Co mp o s e r offers a convenient method for initially drawing a slur across notes. All you have to do is
drag the new slur across the notes, and Co mp o s e r will automatically fit the curve above or below the
notes so as to avoid crossing through them. The result is almost always a visually pleasing curve. You
can refine the shape of the curve afterwards, if desired.
Co mp o s e r also offers a convenient "point and click" method for adding a slur between two notes.
Just click the mouse near the first of the two notes, and Co mp o s e r will automatically place the slur. An
option lets you add a ">" accent mark at the first of the two notes, at the same time you add the slur
between the two notes.
T o a d d a s lur a c ro s s multip le no te s us ing the mo us e d ra g me tho d :

1. With the mouse, navigate to the Slur Palette:
-- OR --
Type SHIFT+S. If Co mp o s e r displays the Sustain Pedal Palette first, then type SHIFT+S a
second time for the Slur Palette.
shape:
2. Click the button to choose the mouse dragging method for adding a slur across multiple
notes.
-- OR --
Type "m" for the multiple note method of adding a slur.
3. Start the multiple-note slur by clicking the mouse, above or below the starting note of the slur,
and hold down the button. Click above the note to add a slur above the notes, or click below
the note to add a slur below the notes.
Initially, Co mp o s e r will extend the newly added slur to the end of the measure, as illustrated
below. You will be able to drag the end of the slur to the right or left until you release the mouse
button.
4. While holding down the mouse button, drag the slur to the right across the tops or bottoms of
the notes. It does not matter where you position the end of the slur vertically, because
Co mp o s e r will automatically adjust the vertical position and shape of the curve according to
the underlying notes. You just need to position the end of the slur horizontally at the note where
you wish the slur to end.
5. Release the mouse button where you want to end the slur. If you want the slur to continue to the
next system, then initially drag the slur just to the end of the first staff. Then follow the procedure
later in this topic for extending the slur to additional measures.
As you drag the new slur, it might not initially have the correct shape, and might incorrectly
cross through notes. However, as soon as you release the mouse button, Co mp o s e r will
automatically fit the newly added slur above or below the notes. Most likely you will not need
to adjust its position. However, you can finely tune the position and curvature of the slur, as
described later in this topic.

This is what the example above looks like after the mouse is released:
Notice how Co mp o s e r automatically adjusts the end position of the slur so that it pleasingly
spans across the notes.
T o a d d a s lur b e twe e n a p a ir o f no te s us ing the p o int a nd c lic k me tho d :

1. Follow step #1 in the above procedure.
2. Click the Slur Between Pair of Notes button to choose the point-and-click method for
adding a slur between a pair of notes.
-- OR --
Type "p" for adding a slur between a pair of notes.
3. Move the mouse cursor to the first of the two notes:

Co mp o s e r will add the slur between the two notes and automatically adjust the shape of the
slur.
5. Hit the ESC key to unselect the newly added slur, unless you wish to adjust its position by
dragging its handles.
T o a d d a p hra s e ma rk b e twe e n a p a ir o f no te s , inc lud ing a n " >" a c c e nt ma rk o n the

firs t no te :
Follow the same steps as in the above procedure, except click the Slur and Accent
button instead of the Slur Between Pair of Notes button.
5.11.5.2 Deleting a Slur
T o d e le te a s lur:
1. In Select Mode 162 , click anywhere on the phrase mark curve.
Co mp o s e r will highlight the phrase mark in blue to indicate that it is selected.
2. Hit the key.
5.11.5.3 Converting Pedal Performance to Pedal Marks
The previous topic describes how you can convert pedal marks to performances. This topic
describes how you can do the converse, converting pedal performances to pedal marks. The need
for this can arise if you have imported a MIDI file with pedal performances that you would like to have
notated. Or, if you use a MIDI pedal controller while you perform at your MIDI keyboard, you can
convert your pedal actions into pedal marks.
Co mp o s e r avoids overzealously notating pedal marks. For example, if the performance includes a
rapid series of up and down pedal actions, Co mp o s e rignores these in converting the pedal
performances to pedal marks.
T o c o nv e rt p e d a l p e rfo rma nc e s to p e d a l ma rk s :
1. With the mouse, navigate to the Sustain Pedal Palette, or type SHIFT+S, as described in the
procedure for adding pedal marks 430 .

2. Select the region 266 for which you wish to convert pedal performances to pedal marks. Use
the Select Region command in the Select menu. Or while holding down the CTRL key, drag
the mouse over the region you wish to select. The selected region will be highlighted in gray,
as shown below.
3. Click the Convert Pedal Performance to Pedal Mark button in the Sustain Pedal Palette.
-- OR --
Type "m" to convert to pedal mark.
5.11.5.4 Changing the Shape and Extent of a Slur
Co mp o s e r offers several options for adjusting the extent and shape of a slur. For the finest control
over the extent and shape of the slur's curve, you can drag its four handles with the mouse. For most
adjustments, however, you can use one-click or one-letter shortcut commands to do the following:
Move the slur from above the note(s) to below the note(s), or the vice versa.
Automatically refit the slur to the contour of notes beneath or above it.
Move the entire slur up, down, right or left.
Increase or decrease the amount of bow in the slur mark.
Move the start or end of the curve to another measure, even on a separate system or page.
Adjust the position of a slur that spans across multiple systems.
T o fine ly a d jus t the p o s itio n a nd s ha p e o f the s lur' s c urv e :

1. In Select Mode 162 , click anywhere on the slur.
Co mp o s e r will highlight the selected slur in the color blue, and will display four red handles
that you can drag with the mouse to adjust the position and shape of the slur.
2. Drag any of the four handles of the slur's curve to change its starting and ending points and
shape. When you drag the starting or ending point of the slur, the adjacent "control" handle,
which determines the shape of the curve at the start or end, will move along with the starting or
ending point. Release the mouse button when you are done with a particular handle.
The following chart shows some examples of different curve shapes that you can make by
arranging the handles in different relative positions. You can even draw a curve that turns up,
then down, and then back up.
T o mo v e the s lur fro m a b o v e the no te (s ) to b e lo w the no te (s ), o r v ic e v e rs a :
1. Select the slur.
2. Click the Fit Slur Above Notes button or Fit Slur Below Notes button.
-- OR --
Type "a" for above notes, or "b" for below notes.
Co mp o s e r will adjust the start and end positions of the slur so that they start at appropriate
locations relative to the notes at the start and end of the slur. Also, Co mp o s e r will adjust the
arc of the slur so that it clears all of the notes without crossing through any noteheads or stems.
T o a uto ma tic a lly re fit the s lur to the c o nto ur o f no te s b e ne a th o r a b o v e it.
Follow exactly the same procedure as the one above. For example, if you have added a note
in the middle of a slur, such that the slur now crosses through the note or its stem, you can
select the slur and click the or button to refit the slur to the new contour of notes, as
illustrated here:
Note that if you do anything to a note at the start or end of a slur, Co mp o s e r will automatically
refit the curve to accommodate the change. Only if you change the notes in the middle of the
slur might it be necessary for you to follow the above refit procedure.
If you transpose the pitches of notes, so that they are raised or lowered on the staff,
Co mp o s e r will also automatically recalculate the position of slurs over or under those notes.
T o mo v e the e ntire s lur up , d o wn, rig ht o r le ft:
1. Select the slur.
2. Click the , , , or button one or more times.

-- OR --
Hit the Up, Down, Left or key one or more times.

T o inc re a s e the b o wing o f the s lur' s c urv e in a n o utwa rd d ire c tio n, o r d e c re a s e the
b o wing o f the c urv e in a n inwa rd d ire c tio n:
1. Select the slur.
2. Click the Bow Curve Out button or Bow Curve In button one or more times.
-- OR --
Type "o" or "i" for bow out or bow in one or more times.
T o mo v e the s ta rt o r e nd o f the c urv e to a no the r me a s ure , e v e n o n a s e p a ra te s y s te m

or page:
1. Select the slur.
2. Click one of the following buttons, or type one of the keyboard shortcuts:
Click the button, or type S , to move the start of the slur one measure to the left.
Click the button, or type S+ , to move the start of the slur one measure to the right.
Click the button, or type E+ , to move the end of the slur one measure to the right.
Click the button, or type E+ , to move the end of the slur one measure to the left.
T o a d jus t the p o s itio n o f a s lur tha t s p a ns a c ro s s multip le s y s te ms :

1. Adjust the handles at the start of the slur, on the first system, to influence the position of the slur
across not only that system but also the next system(s).
2. Adjust the handles at the end of the slur, on the last system, to influence the position of the slur
across not only that system but also the previous system(s).
5.11.6 Lines and Glissandos
Co mp o s e r supports the drawing of:

solid lines
dotted lines
dashed lines
wavy lines for glissandos and portanmento, with optional "Gliss." or "Port." text written above
the line
Here is an example of a dotted line and a glissando:
The topics in this subsection describe how to:

add lines and glissandos 428
delete a line or glissando 429
change the extent or angle of a line or glissando 429
5.11.6.1 Adding Lines and Glissandos
T o a d d a line o r g lis s a nd o :
1. With the mouse, navigate to the Lines and Shapes Palette:
-- OR --
Type the underline ('_') character (Shift + dash).
shape:
2. From the palette, choose one of the types of lines you wish to draw, such as a solid line or
dotted line.
-- OR --
Type the shortcut for the line type, as shown in the above diagram.
3. To draw a horizontal line, typically a dotted line, between two dynamic marks, as in "cresc ......
mf", click one of the three buttons for "draw line between dynamic marks", depending on
whether the dynamic marks have been previously added with one of the corresponding three
options: above staff, below staff, or between staves. This option offers the advantage that if the
vertical positions of the dynamic marks change when you added other music symbols
between them and the adjacent staff, then the dotted line between the dynamic marks will
move by the same amount.
4. Click the mouse where you wish to start the line. While holding down the mouse button, drag
the mouse where you wish to end the line. Then release the mouse button.
To force the line to be drawn horizontally or vertically, hold down the SHIFT key while you drag
the mouse.
:
5. Adjust the placement of the line by dragging the start or end handle.
5.11.6.2 Deleting a Line Or Glissando
T o d e le te a line o r g lis s a nd o :
1. In Select Mode 162 , click anywhere on the line or glissando.
Co mp o s e r will highlight the line in blue to indicate that it is selected.
2. Hit the key.
5.11.6.3 Changing the Extent or Angle of a Line or Glissando
Co mp o s e r offers the following options for adjusting the extent and angle of a slur:
Change the position of the start or end of the line.
Horizontally or vertically align the line.
Move the start or end of the line to another measure, even on a separate system or page.
T o c ha ng e the p o s itio n o f the s ta rt o r e nd o f the line :

1. In Select Mode 162 , click anywhere on the line.
Co mp o s e r will highlight the selected line in the color blue, and will display two red handles
that you can drag with the mouse to adjust the position and shape of the line.
2. Drag either of the two handles to move the starting or ending location of the line or glissando.
T IP : If you need to make space between two notes to make room for a glissando, then use
some hidden rests 359 , as illustrated here:
T o ho rizo nta lly o r v e rtic a lly a lig n the line :
1. Select the line.
2. Click the Center Horizontally button or Center Vertically button.

-- OR --
Type "h" for horizontal alignment, "v" for vertical alignment, or "c" to center (align) horizontally
or vertically, whichever is already closest.
T o mo v e the s ta rt o r e nd o f the line to a no the r me a s ure , e v e n o n a s e p a ra te s y s te m o r

page:
1. Select the line or glissando.
2. Click one of the following buttons, or type one of the keyboard shortcuts:
Click the button, or type S , to move the start of the line one measure to the left.
Click the button, or type S+ , to move the start of the line one measure to the right.
Click the button, or type E+ , to move the end of the line one measure to the right.
Click the button, or type E+ , to move the end of the line one measure to the left.
5.11.7 Sustain Pedal Marks
With Co mp o s e r, you can add a pedal mark to a score, drawn as a line, typically below the left-hand
staff of a keyboard part, as in the following example:
If a pedal mark crosses a barline into a measure that is on a subsequent staff, Co mp o s e r

automatically divides the pedal mark, as illustrated below:
Co mp o s e r does not directly interpret pedal marks during playback. Instead, you can quickly convert
pedal marks to MIDI pedal performance 433 , and convert MIDI pedal performance to pedal marks 423 .
You also can graphically edit the MIDI sustain pedal control 567 for regions of the score.
T o a d d a p e d a l ma rk :
1. With the mouse, navigate to the Sustain Pedal Palette.
-- OR --
Type SHIFT+S to display the Sustain Pedal Palette. SHIFT+S also displays Slur Palette. If the
Slur Palette is displayed first, then type SHIFT+S a second time to display the Sustain Pedal
Palette.
2. Choose the style of pedal by clicking the Bracket Style button or the Text Style
button.
-- OR --
Type "b" or "t" for the bracket or text style of button.
3. Click and hold the mouse in the score where you want the pedal mark to begin.
Co mp o s e r will insert the pedal mark in the score. It will extend horizontally from the point where
you clicked the mouse to slightly past the end of that measure. Co mp o s e r highlights the newly
added pedal mark in blue to indicate that it is selected so that you can immediately edit it:
3. While holding down the mouse button, drag the end of the pedal mark to where you want it to
end. Then release the mouse button.
4. Before attempting to add another pedal mark, press the ESC key to complete the editing of
the newly added pedal mark.
T o c ha ng e the s ta rting o r e nd ing p o s itio n o f a p e d a l ma rk :
2. With the mouse, click the pedal mark you wish to edit.
3. Drag one of the two handles at the start or end of the pedal mark, as explained in the previous
procedure.
-- OR --
Move the start or end of the pedal mark using one of the following palette buttons or keyboard
short-cuts:
4. Press the ESC key to complete the editing of the selected object.
5.11.7.1 Converting Pedal Marks to Pedal Performance
Co mp o s e r does not automatically perform pedal marks, but you can very easily convert pedal
marks into MIDI sustain pedal events that are performed during playback. If desired, you can finely
adjust the exact start and end times of any performed pedal mark.
T o c o nv e rt p e d a l ma rk s to p e d a l p e rfo rma nc e s :
1. In Select Mode 162 , select one or more pedal marks.
2. In the Sustain Pedal Palette 430 , click the View Graph button to view the graph of
performed pedal marks.
Initially, the graph might not show the graph of any pedal mark performances, because none
have been added yet. But the graph will show red dotted lines marking the "on" and "off"
positions of the sustain pedal.
3. Select the pedal marks that you wish to convert to pedal performances.
4. Click the Convert Pedal Mark to Performance button.

-- OR --
Type "p" for convert to performance.
5. To further edit the pedal graph, navigate to the GraphOverNotes tm Palette, or type SHIFT+G.
Follow instructions in Sustain Pedal Control 567 for editing the MIDI performance of the sustain
pedal.
Editing Types of Text 435
6 Editing Types of Text
Co mp o s e r distinguishes between the following types of text, which have different roles in a score, and
different methods for placement and formatting in the score:
Lyrics 446
Lyrics line up underneath the notes to which they belong. Co mp o s e r supports an unlimited
number of verses. The lyrics in each verse are centered underneath each corresponding
sung note, such as illustrated here:
Free Text 459
Free text can be freely placed anywhere within the body of the score. Examples of free text
include tempo markings and expressive directives, such as illustrated here:
Page Text 463
Page text appears at the header or footer of every printed page, or every left or right page, or
just the first page of the score. Some common examples of page text are the song title and
composer name on the first page, and page numbers displayed in headers or footers, such
Chord Names 469
Chord names are displayed above the top staff of each system of the score. Co mp o s e r
offers an option to automatically analyze an imported MIDI file to determine and display chord
names. You can edit chord names just as you do other text, except some special characters
such as "b" and "#" are interpreted as flat and sharp. Here are some examples of chord
names:
Rehearsal Marks 482
Rehearsal marks help to quickly direct ensemble musicians to important locations in the
score during their practice sessions. In Co mp o s e r, rehearsal marks can similarly be used to
define the start and end locations of practice loop 145 sessions, in which you can sing or
practice your solo instrument while reading notes from the screen with accompaniment from
Co mp o s e r. Rehearsal marks are always presented in boxes. You can enter any number of
letters or numbers for the rehearsal mark text. In this example, an upper-case letter is used:
6.1 General Procedures for Editing Text

The procedures by which you add and edit text are similar for each of the types of text supported by
Co mp o s e r. The common procedures are briefly described in the these topics:
Adding Text 436
Editing Text 438
Deleting Text 439
Selecting Font Type, Size and Properties 440
Showing and Hiding Types of Text 442
Adding International Characters in Text 443
Detailed procedures for editing each type of text are described in separate sections for each:
lyrics 445
free text 459
page text 463
chord names 469
rehearsal marks 482
6.1.1 Adding Text
T o a d d te xt:
1. With the mouse, navigate to the Text Palette.
-- OR --
Type SHIFT+T. If Co mp o s e r displays the Tie Palette first, then type SHIFT+T a second time
to display the Text Palette.
2. Click one of the buttons in the text type palette to display a specific palette for that type of text.
-- OR --
Skip step #1, and go directly to one of the text palettes by typing one of the short-cuts, such as
SHIFT+L for the Lyrics Palette.
<%PROD%> changes the mouse cursor to to indicate Add Mode.

3. Click the mouse approximately where you want to add the text.
Co mp o s e r will display a blue box surrounding the area in which you will type in text, and will
display a blinking cursor where you can start adding the text.
4. Type in the text, which will be inserted at the location of the blinking cursor. If you make any
errors typing in the text, you can correct them before completing the entry of the text, following
the procedures described in the next topic Editing Text 438 .
5. If you are adding lyrics or chord names, hit theTAB key to advance to the next note to prepare
to enter the next word or syllable of the lyric or next chord name. Or, if you are adding lyrics,
you can also use the SPACE key instead of the TAB key to advance to the next note.
6. For free text 458 and page text 462 objects, you can enter multiple lines of text. Press the
ENTER key to begin a new line of text.
7. Hit the ESC key when you are done entering the text.
The ESC key tells Co mp o s e r that you are no longer entering text. Co mp o s e r will then
interpret your subsequent keyboard input as Co mp o s e r commands rather than as text to be
added.
6.1.2 Editing Text
The techniques for editing text in Co mp o s e r are the same as for other typical Windows programs that
support text editing.
One difference in editing text in Co mp o s e r is that text is organized into objects. For example, a chord
name is an object, just like a notehead or clef is an object. To edit a text object you must first select it,
typically by clicking it, just as you must select a notehead before changing the pitch of the note, or a
clef object before changing it from a treble clef to a bass clef.
When you are done editing a text object, then you must hit the ESC key, or select another text or non-
text object. If you forget to unselect a text object, and then type in a command, such as SHIFT+N for the
Note Palette, you will add the letter 'N' to the text you have been editing. You can quickly correct this
mistake, which you may make a few times before you get used to the procedure. Just hit the
BACKSPACE key to remove the characters you mistakenly entered. Then hit the ESC key to complete
the text entry.
T o c ha ng e te xt:
2. Click a text object: lyric, free text, page text, chord name, or rehearsal mark.
Co mp o s e r will highlight the selected text in blue. A blinking cursor will indicate the current
insertion point for characters you want to type.
3. Edit the text in the same way that you would edit text in other Windows applications. Here are
some of the most common text editing techniques:
Click the mouse to move the blinking cursor within the text object, to determine where
characters that you type will be inserted.
Hit the BACKSPACE key to delete the character to the left of the cursor. Hit the key to
delete the character to the right of the cursor.
Hit the ENTER key to start a new line of text. This works only for lyrics (to add more
verses), and for free text and page text. The other types of text (chord names and
rehearsal marks) are limited to one line only.
Use the arrow keys to move the cursor right and left, and up and down, within the text
object.
While holding down the mouse button, drag the mouse to select text. Hit the key to
delete the selected text. Or drag the text to another position in the text object. Type CTRL
+C to copy the selected text to the clipboard.
Type CTRL+V to paste previously copied text from the clipboard. The text might have
been added to the clipboard by Co mp o s e r, or by another program such as the Windows
NotePad text editor.
4. You might notice that Co mp o s e r does not immediately adjust the spacing of surrounding
notation and other text as you enter new text.
This happens only temporarily. As soon as you complete the entry of the text, Co mp o s e r will
automatically reformat the area around the newly edited text to make room for it.
5. To complete the editing of the text, hit the ESC key.
-- OR --
In Select Mode 162 , select another text item to work on it.
-- OR --
In Select Mode 162 , select another non-text item to work on.
-- OR --
In Select Mode 162 , click the mouse in an empty space in the score.
-- OR --
In Add Mode 162 , click the mouse at another location to start a new text object there, thus
completing the editing of the currently selected text object.
6.1.3 Deleting Text
T o d e le te te xt:
2. Click a text object. Or select multiple objects by dragging the mouse over them.
3. Hit the key.
If you are already "inside" the text object, that is, editing text within it, then the key will only remove
the character immediately after the text cursor. If you are already editing text inside the object and
decide to delete the entire text object, then unselect the text object first. Then follow the above
procedure for deleting the text object.
6.1.4 Selecting Font Type, Size, and Properties
You can edit the font type, size and properties for any of the types of text supported by Co mp o s e r
(lyrics, free text, page text, chord names, and rehearsal marks), in the following ways:
Change the default font type (such as Arial), size (such as 10 point), and properties (such as
bold) that are applied to each object. You can specify a separate default font for each of the
categories of text (lyrics, free text, etc.).
Further, for a given type of text, such as lyrics, you can specify a different font size for different
score parts 207 .
For any given text object, override the default font assignment using a Font dialog.
For any given text object, override the default font assignment using palette buttons or
keyboard shortcuts.
T o s p e c ify the d e fa ult fo nt s ty le a nd p o int s ize fo r o ne o f the fiv e ty p e s o f te xt o b je c ts ,
a nd fo r a g iv e n p a rt o r a ll p a rts o f the s c o re :
Co mp o s e r will display the Fonts dialog.
2. Follow the instructions in the topic Font Size for Types of Text 230 .
T o o v e rrid e the d e fa ult fo nt ty p e , s ize , a nd b o ld o r ita lic p ro p e rty fo r ind iv id ua l te xt
o b je c ts us ing a fo nt d ia lo g :
2. Select one or more text objects of the same type (lyrics, free text, etc.)
Co mp o s e r will highlight the selected text objects in the color blue, and will display the palette
for that type of object, such as the Lyrics Palette.
3. In the text palette, click the format text button.

-- OR --
Type CTRL+F.
Co mp o s e r will display a font dialog, such as the following one for lyrics:
4. Choose options in the dialog box as follows:

Set a check mark for "Use the font that is the default for (type of text you are editing)", to
use the default font for that type of text. To specify the default font for a type of text (lyrics,
free text, page text, etc.), following the procedure in Font Type and Size for Types of Text
230 .
Set a check mark for "Use default font type", "Use default point size", or "Use default
bold"), to use the default property for the category of text, as determined by the Text Fonts
command in the Format menu. (See the first procedure above.)
Turn off the check mark for "Use default" for any of the characteristics to enter an
overriding value.
The point size can have an optional single digit after decimal point, such as 8.5.
T o o v e rrid e the d e fa ult fo nt ty p e , s ize , a nd b o ld o r ita lic p ro p e rty fo r ind iv id ua l te xt
o b je c ts us ing p a le tte b utto ns o r k e y b o a rd s ho rtc uts :
2. Select one or more text objects of the same type (lyrics, free text, etc.).
Co mp o s e r will highlight the selected text objects in blue, and will display the palette for that
type of object, such as the Lyrics Palette.
3. Use one of the following text palette buttons or corresponding keyboard shortcuts:
6.1.5 Moving a Text Object
Two of Co mp o s e r's five types of text objects can be freely moved around on the page: free text and
page text.
The positions for the other three types of text-- lyrics, chord names, and rehearsal marks, are
automatically determined by Co mp o s e r in order, for example, to vertically align multiple objects of
the same type. If you find it too confining that a given lyric, chord name, or rehearsal mark cannot be
freely moved, then you might want to replace it with a free text object that can be freely moved.
You can move a free text or page text object either by dragging it with the mouse, or by selecting it and
using the arrow keys on your keyboard.
T o mo v e a fre e te xt o r p a g e te xt o b je c t b y d ra g g ing it with the mo us e :
2. Click the text object you want to move.
The text will be highlighted in blue to show that it is selected. A red handle will be displayed
at the top left corner of the text:
3. Click the mouse on the handle, and while holding down the mouse button, drag the text to a
new position.
T o mo v e a fre e te xt o r p a g e te xt o b je c t b y us ing the a rro w k e y s o n y o ur k e y b o a rd :
2. Click the text object you want to move.
3. Type the Up, Down, Left, or keys one or more times to move the text.
6.1.6 Copying and Pasting Text
You can use the Windows clipboard to copy text from one text object in Co mp o s e r to another, or to
copy text between a text object in Co mp o s e r and text that you edit in an external text editor, such as
Windows NotePad. The procedure below describes how to do this.
For lyrics, you can copy multiple lyrics and verses at a time, as described in Copying and Pasting
Lyrics 449 . You can also use an external editor to prepare lyrics and then paste them into a score, as
described in Editing Lyrics Using an External Text Editor 453 .
T o c o p y te xt fro m o ne o b je c t to a no the r:
2. Click the text object you want to copy.
The text will be highlighted in blue. Do not click the text object a second time to "open" it for
editing.
3. Copy the text to the Windows clipboard by using the Copy command in the Edit menu.
-- OR --
Type CTRL + C.
5. Click the mouse where you want to add the new text object.
In the score, a blue box and a blinking caret inside it will be displayed, indicating where you
could start typing text.
6. Paste text from the Windows clipboard into the new text object by using the Paste command in
the Edit menu.
-- OR --
Type CTRL + V.
6.1.7 Showing and Hiding Types of Text
For a given score part 182 , you can hide any of the following types of objects: lyrics, chord names, and
rehearsal marks. For example, you might want to remove the chord names from the top of staves
except for piano and guitar parts. Another reason you might want to hide these text objects is to
temporarily create more room in the Co mp o s e r window to view and edit other types of objects.
T o to g g le whe the r a ty p e o f o b je c t is hid d e n o r s ho wn in the c urre ntly v ie we d p a rt:
1. With the mouse, navigate to the palette for the type of text.
-- OR --
Type SHIFT+L, SHIFT+C, or SHIFT+R for the Lyrics, Chord Names, or Rehearsal Mark
Palette.
2. In the text palette, toggle the Show/Hide Type of Object button.

-- OR --
Type "qsl", "qscn", or "qsrm" for Quick Show (or Hide) Lyric, Chord Name, or Rehearsal Mark.
6.1.8 Adding International Characters in Text
If you are preparing scores in a language other than English, then you may need to include
international characters in lyrics or other text. For example:
èã
If your keyboard supports the international characters you need, then you can simply type them. Or, if
you already have developed your own techniques for entering international characters, then you will
not need to follow the procedure described below.
The procedure described here uses the Character Map utility which is included in the Windows
Accessories folder.
This procedure has on the limitation that a given text object in Co mp o s e r can use only one font. The
exception is that free text objects can mix ordinary text with 460 <% P R OD P OS E S S IV E % > 460
Harmony font music symbols 460 . There are a number of fonts have international characters, so this
limitation should not present a problem.
T o ins e rt a n inte rna tio na l c ha ra c te r in ly ric s o r te xt:
1. Follow the usual procedure for adding text 436 , such as for a lyric or free text object.
2. Specify the font name for the text.
You can specify a font name for all text objects of a given type, such as all lyrics, or all free. For
instructions, see Font Type and Size for Types of Text 435 .
You can also specify the font name for a specific text object, as described in Selecting Font
Type, Size, and Properties 440 .
3. Type normal text up to the point where you want to add the international character.
4. If you know the numeric code for the character in the font, then while holding down the ALT key,
type the 3-digit number of the character. If the character has only two digits, then type a leading
zero '0' character, such as in ALT+060.
If you choose this method of entering the numeric code for the character, then skip the
remaining steps of this procedure.
5. If it is not already running, start the Windows Character Map utility, as follows:
Click the or button in the left bottom corner of the screen.

Windows will display a pop up menu.
In the pop-up menu, choose All Programs / Accessories / System Tools / Character Map.
The Character Map utility window will be displayed, as shown here:
6. In the Character Map utility, select the same font that you are using for the text in Co mp o s e r. If
you are not sure what the font is in Composer, then while you are adding the text, click the Font
Style button. A simple dialog box will display the current font face name, such as Times
New Roman.
7. In the Character Map utility, preview the letter you wish add to the text in Co mp o s e r, by
clicking its box.
The character that you click will be displayed in a larger size, as illustrated for the ñ character,
illustrated above.
8. Click the Select button in the Character Map window.
Character Map will show the character you have selected:
9. Switch back to Co mp o s e r by clicking the top of its window, or by using ALT+Tab. Do not click
the mouse inside the score, because that will start a new text object.
The text cursor should still be blinking, as you had temporarily left it to use the Character Map
utility:
10. Type CTRL+V to paste the international character ( ñ in this example) at the current text cursor
position:
11. Continue adding normal characters. Repeat steps #3 through #8 to add other international
characters, as needed.
6.2 Lyrics
With Co mp o s e r, you can add lyrics to a song, with multiple verses 447 (lines of text), such as
illustrated below:
Co mp o s e r automatically centers each word or syllable under the note to which it belongs.
Co mp o s e r imports lyrics from MIDI and Karaoke files 77 . You can quickly create a vocal part that
combines lyrics with a melody, if the melody has its own staff. For more information, see Sing-Along
Part 214 . You can also quickly create a "fake book" lead sheet that includes the melody, chord names,
and lyrics. See Fake Book Lead Sheet Part 215 .
For several useful tips related to lyrics, see Preparing a Vocal Part 219 .
The topics that follow describe various procedures for editing lyrics:
Adding and Editing Lyrics 446
Advancing to the Next or Previous Lyric 447
Adding and Editing Multiple Verses 447
Lyric Hyphen and Melisma Characters 448
Copying and Pasting Lyrics 449
Correcting the Misalignment of Lyrics with Notes 451
Editing Lyrics Using an External Text Editor 453
Working with Karaoke (.kar) Files 456

Hiding Lyrics 457
6.2.1 Adding and Editing Lyrics
The procedures for adding and editing lyrics are generally the same as for all types of text supported
by Co mp o s e r. See the preceding General Procedures for Editing Text 436 :
Adding Text 436
Editing Text 438
Deleting Text 439
Selecting Font Type, Size, and Properties 440
Here are some special details about adding and editing lyrics that differ from other types of text:
The keyboard shortcut for the Lyrics Palette is SHIFT+L.
Use the SPACE key or TAB key to readily advance to the next note while you are adding
lyrics 447 .
To add a space character inside a lyric (eg. "My love"), hold the "Shift" key while typing the
space.
For a given staff, lyric text will be automatically centered under their respective notes. It is not
possible to move individual lyric objects in the way that you can move free text and page text
objects 441 .
To enter a second verse of lyrics 447 , select the first word in the line; move the text cursor to the
end of that word; and hit the ENTER key to begin the second line (verse). You can enter the
second verse word and advance in the same manner as entering and advancing in the first
verse of the lyrics.
Type two or more dash "-" characters in sequence to produce a lyric melisma 448 symbol that
looks like this:
You can use an external text editor, such as Windows Notepad, to quickly type the text for
lyrics. Copy the text to the Windows clipboard. Then in Co mp o s e r, use the Paste Lyrics
command to insert the lyrics across a range of notes. This works even for multiple verses.
Before you try this, make sure you understand how the text needs to be formatted in the text
editor. See Editing Lyrics Using an External Text Editor 453 .
You can prepare lyrics for especially formatted Karaoke 456 .kar files 456 , so that a Karaoke
player program reading the file will be able to correctly display one phrase of lyrics per line.
6.2.2 Advancing to the Next (or Previous) Lyric
As you are adding or editing lyrics, you can advance to the next note or previous note or lyric in the
following ways:
Type the Space or TAB key to advance to the next note or lyric, which ever comes first.
Type SHIFT+Tab to go back to the previous note or lyric, which ever comes first.
If you are adding lyrics and advance to a next or previous note that does not already have a
lyric, then you can start typing in the new lyric at that note.
As you advance to the next or previous lyric, the text cursor will remain positioned in the current
verse that you are editing.
If a note is tied from the previous note, then the cursor will skip over that tied note as you
advance. However, if you want to add a lyric at a tied note, just click the mouse below that
note.
6.2.3 Adding and Editing Multiple Verses
T o a d d a ne w v e rs e in a line o f ly ric s b e lo w a s ta ff:

1. Select the first lyric in the line.
Whichever verse of the lyric you clicked will be highlighted:
2. With a second mouse click, click any verse of the lyrics for the first note.
This will open a text editing area, and a blinking text caret will be display, as shown here:
3. Hit the key until the text cursor is located in the last verse.
4. Hit the ENTER key to start the new verse.
5. Type in the text for the new lyric.

After you start the new verse on the first lyric of the line, you can continue adding the lyrics for
the same verse below subsequent notes by hitting the Space or TAB key between each lyric.
Co mp o s e r will keep the text cursor in the same verse.
6.2.4 Lyric Hyphen and Melisma Characters
In Co mp o s e r, you can enter a long extended line at the end of a lyric word or syllable, which looks
like this:
The purpose of the extended line, sometimes called a melisma, is to show that a word or syllable is
sung across two or more different pitches, as in the above example.
The purpose of the hyphen is to separate two syllables of a lyric word.
T o a d d a hy p he n a t the e nd o f a ly ric s y lla b le :
1. Add the lyric syllable.
2. Type a single dash "-" character at the end of the syllable.
T o a d d a lo ng d a s h (me lis ma ) a fte r a ly ric :
1. Add the text portion of the lyric.
2. Before advancing with the SPACE or TAB key to enter the next lyric, type two or more dash "-"
characters. The number of dash characters you enter will determine the length of the melisma.
As you type in the dash characters, you will initially just see the dash characters.
3. Complete the entry of the lyric by hitting the ESC key, or by typing SPACE or TAB to advance
to the next note. At that point, the separate dash characters will turn into a continuous line.
4. You will not be able to rely on the length of the multiple dash characters as being the same as
the resulting continuous line. It will take a little practice on a couple of these before you will get
a feel for how many dash characters you need to enter to achieve a certain line length. The
number of dashes needed may also vary with the font style.
T o ins e rt a hy p he n in the mid d le o f a ly ric a nd s hift the s e c o nd s y lla b le to the ne xt
no te :
1. Select the lyric:
2. Click the mouse in the lyric, and move the text cursor to the position where you want to insert
the hyphen:
3. In the Lyric menu, choose the command Add Hyphen And Move Second Syllable To Next
Note.
-- OR --
Type Ctrl + dash( - )
-- OR --
Click the Add Hyphen And Move Second Syllable To Next Note button in the Lyric
Palette.
6.2.5 Copying and Pasting Lyrics
Sometimes you can save time entering lyrics that are repetitive by copying them from one part of the
score to another. Two alternative procedures for copying lyrics are described below.
When you copy lyrics from one part of a song to another, it is important that the rhythms of the sung
notes are basically the same, or more specifically, that the number of notes are the same in the two
regions. If the number of notes do not match, then the copied lyrics might not be aligned correctly with
the destination melody notes. If this happens, there is a convenient way for you to correct the problem.
You can shift one or more lyrics to the right or left 451 , as described in the next topic.
When Co mp o s e r copies lyrics, it recognizes if some of the "from" notes do not have corresponding
lyrics. If so, then Co mp o s e r will skip over corresponding "to" notes, as illustrated here:
In matching notes in the "from" and "to" regions, Co mp o s e r ignores the right note of any pair of tied
notes. This limitation is rarely a problem, because it does not make sense that a distinct lyric can be
sung at the division of a tied note. A distinct lyric (or syllable) requires a distinct note, even if that note is
of the same pitch.
T o c o p y ly ric s fro m o ne s e c tio n o f a s o ng to a no the r lo c a tio n, us ing the c lip b o a rd :
1. Select an entire staff 175 , or select some region 266 of a staff, that contains the lyrics you wish to
copy.
Here is an example of what the selected region looks like:
2. Copy the region to the clipboard using the Copy command in the Edit menu. This copies
everything in the selected region to the clipboard, including the lyrics.
-- OR --
Type CTRL+C, which is the standard Windows keyboard shortcut for Copy to Clipboard.
3. Select the new region to where you wish to copy the lyrics.
4. Type SHIFT+L to display the Lyrics Palette. In the Lyric Menu, choose the Paste Lyrics
command.
-- OR --
Choose the Paste Lyrics command in the Edit menu.
-- OR --
Type "qpl" for Quick Paste Lyrics.
T o c o p y ly ric s fro m o ne s e c tio n o f a s o ng to a no the r lo c a tio n, us ing a d ia lo g b o x:

1. Select an entire staff 175 , or select some region 266 of one staff, that contains the lyrics you
wish to copy.
2. Type SHIFT+L to display the Lyrics Palette and menu.
3. In the Lyric Menu, choose the Copy Lyrics Between Staves command.
-- OR --
Type "qcl" for Quick Copy Lyrics.
Co mp o s e r will display the Copy Lyrics Between Staves dialog box, such as illustrated below.
The region (staff and range of locations) that you selected in step #1 will be pre-selected in the
above dialog box.
3. In the dialog box, select the staff to which you wish to copy the lyrics.
4. Click the OK button to complete the task.
6.2.6 Correcting the Misalignment of Lyrics with Notes
You can quickly enter lyrics by typing one word or syllable at a time, and hitting the Space or TAB key
to advance to the next note. If you are in a hurry to enter the lyrics, you may find that at some point the
lyrics you have entered fall out of alignment with the melody notes. Fortunately, you do not have to
erase the misaligned lyrics and re-enter them. Instead, you can select the misaligned lyrics and shift
all of them one note to the right or left, with a single command.
Another example where shifting lyrics to the right or left is handy is when copying and pasting lyrics 449
from one section of a song to another. If the rhythms and number of notes do not match in the "from"
and "to" regions, then the lyrics might become misaligned with the notes in the destination "to" region.
Yet another example where shifting lyrics to the right or left is handy is when you are importing lyrics
that you have entered in an external text editor 453 . If you do not count the notes exactly (and remember
to skip over tied portions of notes), then the imported lyrics might become misaligned with the notes.
In all of these cases, you can easily correct the situation. The first procedure below shifts to the right or
left a lyric and all of the lyrics that follow it. That procedure is particularly useful for the case where you
entered lyrics in a text editor, such as NotePad, and then copy the lyrics via the Windows clipboard 453
into the score, but the lyrics are misaligned by one or more notes.
The second procedure below shifts to the right or left one or more selected lyrics. That procedure is
particularly useful for the case where you were rapidly typing in lyrics and did not notice that the lyrics
had become misaligned with the notes.
Finally, the third procedure below describes a global Align Lyrics with Notes command that moves all
lyrics to the closest notes.
T o s hift a ly ric a nd a ll fo llo wing ly ric s to the rig ht o r le ft:
Consider the following example, where the lyrics are misaligned with the notes, starting in the
second measure, and they need to be shifted to the left:
1. Select the lyrics that you wish to shift.

If there are multiple verses, then click the lyric of the verse that you wish to shift. The verse of
the lyric you selected will be indicated with a yellow-brown background:
2. Choose the Shift Lyrics And Following Lyrics Right (or Left) command in the Lyric Menu.
-- OR --
Click the Shift Lyrics and Following Lyrics Right or Left button in the Lyrics Palette.
-- OR --
Type SHIFT+CTRL+ or SHIFT+CTRL+ .
T o s hift o ne o r mo re s e le c te d ly ric s to the rig ht o r le ft:

1. Select the lyrics that you wish to shift. To select multiple lyrics in a verse, click the mouse on
the first lyric in the desired verse, and then drag the mouse across beats and measures, up to
the last lyric you wish to select in that verse.
2. Choose the Shift Lyrics Right (or Left) command in the Lyric Menu.
-- OR --
Click the Shift Lyrics Right or Left button in the Lyrics Palette.
-- OR --
Type SHIFT+ or SHIFT+ .
T o g lo b a lly a lig n a ll ly ric s with ne a rb y no te s :

1. Navigate to the Lyrics Palette, such as by typing SHIFT+ L.
2. In the Lyrics menu, choose the Align Lyrics with Notes command.
The command will display this dialog box:
3. Choose the maximum horizontal distance (in ticks) that Co mp o s e r will move the lyrics. There
480 ticks in a quarter note.
4. Choose the OK button.
6.2.7 Editing Lyrics Using an External Text Editor
Although it is easy to enter lyrics in Co mp o s e r by typing in each word and advancing to the next note
with the Space or TAB key, you might find it even easier to enter lyrics by first typing them into an
external text editor. You can use the Windows clipboard to copy the text from the external text editor,
and then paste the text into the score as lyrics.
Consider the following pub song:
The second verse of the song continues with "Ninety-nine bottles of beer on the wall". The third verse
continues with "Ninety-eight bottles of beer".
You can use an external editor, such as Windows Notepad, to quickly enter the additional verses. In
this example, two more verses instead of 99 more verses should be sufficient for illustration purposes.
We will start by copying the first verse of the song to the Windows clipboard, and then view the lyrics in
a text editor. By viewing the lyrics in the external text editor, you will be able to quickly understand how
you need to format the text so that it can be transferred via the clipboard back into Co mp o s e r. In the
external text editor, we will add the extra two verses to the song. Then, returning to Co mp o s e r, we will
replace the single verse with the three verses transferred via the clipboard from the external text editor.
T o c o p y ly ric s fro m Co mp o s e r to the W ind o ws c lip b o a rd a nd v ie w the ly ric s in a n
e xte rna l te xt e d ito r:
1. Select a region 266 of the song that has the lyrics you wish to view and later edit in the external
text editor. In this step, be sure to select a region, such as by dragging the mouse over the
measures while holding down the CTRL key. The selected region will be highlighted with a
gray background. This step will not work if you select the lyrics, highlighted in blue.
2. Choose the Copy Lyrics command in the Lyric Menu.
-- OR --
Type "qcl" for Quick Copy Lyrics.
-- OR --
Type CTRL+C, which is the standard Windows keyboard shortcut for Copy to Clipboard.
3. Open a text editing program, such as Windows Notepad. Use its File New command to create
an empty text document. Then use the Edit Paste command, or CTRL+P, to paste the lyrics
from the Windows text clipboard into the text document.
In this example, the text will look like this:
T o p re p a re ly ric s in a n e xte rna l te xt e d ito r, fo r tra ns fe r b a c k into Co mp o s e r:

The above illustration explains how Co mp o s e r formats the lyrics as text in the Windows text
clipboard. This simple format is expected by Co mp o s e rwhen you transfer lyrics via the
Windows text clipboard back into Co mp o s e r.
Continuing with the example, you can use the external editor's own Copy and Paste
commands to clone the next two verses of the song, and the "One hun-dred" to "nine-ty nine"
and "nine-ty eight". But notice that the syllables for "One hun-dred" and "nine-ty nine" are sung
with different notes. This example offers you a good illustration about how you can use the
special "<>" characters to indicate where no lyric is assigned to a note.
Here is what the text should look like in the external text editor, ready for transfer back to
Co mp o s e r:
If you do not include the first verse in the text that you copy to the clipboard, then you can
append the two new verses after the already existing first verse in the song in Co mp o s e r. On
the other hand, if you do include the first verse in the text that you copy to the clipboard, then in
Co mp o s e r you will first need to remove the existing lyrics (first verse in this example) before
you copy all of the verses from the clipboard.
T o imp o rt ly ric s fro m the e xte rna l te xt e d ito r into Co mp o s e r:
1. In the external text editor, select all of the text, and use the Copy command in the text editor's
Edit menu; or type CTRL+C, the standard Windows shortcut for Copy to Clipboard.
2. In Co mp o s e r, select the region 266 to which you wish to copy the lyrics. You might find that the
region is already selected, by the first step in the first procedure in which you originally copied
the lyrics to the Windows clipboard.
3. In the Lyric Menu, choose the Paste Lyrics command.
-- OR --
In the Edit menu, choose the Paste Lyrics command.
-- OR --
Type "qpl" for Quick Paste Lyrics.
The final result in this example is:
T IP : If after pasting the lyrics from the clipboard you find that some portion of
them are misaligned under notes, then you can correct the problem in one
of two ways. First, you can use the Edit / Undo command to remove the
newly added lyrics; go back to your text editor and correct the text editing
error there; and repeat the above procedure for copying and pasting the
lyrics.
Alternatively, you can quickly correct the problem by using lyrics shifting
commands. For details, see Correcting the Misalignment of Lyrics with
Notes 451 .
6.2.8 Working with Karaoke (.kar) Files
With Co mp o s e r, you can create Karaoke (.kar) files that can be played and viewed by third party
Karaoke player programs, such as VanBasco's Karaoke Playertm.
A Karaoke (.kar) file is almost exactly the same as a MIDI file. The only differences between a
Karaoke and MIDI file are:
Karaoke files always include lyrics.
There are a few special formatting characters used in Karaoke lyrics:
-- A back slash "\" character marks the end of a line of lyrics, as displayed by a Karaoke
viewer/player program.
-- A forward slash "/" character marks the end of a "paragraph" of lyrics. Some Karaoke
viewer/player programs interpret this to mean that the screen should be refreshed starting
with the next line of lyrics at the top.
-- Dash characters at the end of syllables are removed by the Karaoke viewer/player
program, and the syllables are joined together.
A Karaoke file has a .kar filename extension; whereas a MIDI file has a .mid filename
extension.
T o o p e n a Ka ra o k e file :
In the File menu, use the Open command. Open a Karaoke file, which must have a .kar
filename extension.
T o e d it the ly ric s fo r a Ka ra o k e file :
1. With the mouse, navigate to the Lyrics Palette.
-- OR --
Type SHIFT+L.
2. To view Karaoke formatting, such as line breaks for phrases of lyrics, choose the Show
Karaoke Line Breaks command in the Lyric Menu.
-- OR --
In the Lyrics Palette (SHIFT+L), click the Show Karaoke Line Breaks button.
3. Follow the normal procedures for Adding and Editing Lyrics 446 .
4. Add the back slash "\" character for Karaoke line breaks, and the forward slash "/" character
for paragraph breaks. Add these characters at the end of the last lyric in the line, or at the
beginning of the first lyric in the next line. If the song has multiple verses, then include the "\"
and "/" characters at the end of each verse, as illustrated here:
The following example shows how the special Karaoke line formatting characters are interpreted by
the popular VanBasco's Karaoke Player (tm).
T o e xp o rt a Ka ra o k e file :
Use the Export as MIDI or Karaoke File command in the File menu. Export the file as a
Karaoke file type, which has a .kar filename extension.
If the lyrics in the song have multiple verses, then set a check mark by the File Save dialog
option "Write out repeats and separate lyric verses in saved MIDI file"
6.2.9 Hiding Lyrics

In Co mp o s e r, you can temporarily hide all of the lyrics in the song 442 .
You can also select individual lyrics and hide them. But why would you want to hide just one or a few
lyrics? The main reason is that many MIDI files add lyrics at the beginning of one or more empty tracks
(staves) for the purpose of displaying song titles, composer and arranger information, and copyright
notices. Although it's a good idea to preserve this information in the MIDI file, you may not want to
display or print it.
Because this need is so common, Co mp o s e r offers an option to automatically hide individual lyrics
which are longer than a certain number of characters. The default is 12 characters. That is, any lyric that
is longer than 12 characters is probably not actually a lyric but, rather an informational notice displayed
in the MIDI track. In the Setup menu's Transcription Options 86 dialog, you can specify the minimum
lyric length that will be automatically hidden.
To view the hidden lyrics in a song, you can turn on the Reveal Hidden Lyrics button in the Lyrics
palette, as illustrated here:
If you wish to manually rather than automatically hide lyrics, then follow the procedure below.
T o hid e o r unhid e a s p e c ific ly ric :
1. Navigate to the Lyric palette, as shown above.
-- OR --
Type SHIFT + L.
2. Select the lyric you wish to hide or unhide.
3. Toggle the Hide Lyric button.

-- OR --
Type "h".
-- OR --
6.3 Free Text

With Co mp o s e r, you can add "free" text anywhere in the score. The term "free" refers to the fact that
you can freely determine the exact position of the text, in contrast to some other types of text. Lyrics 446
are always lined up across a staff; and so are chord names 469 . Free text does not have to line up with
any other text or symbols in the score.
You can use free text for several types of annotations in a score, including:
Tempo markings, such as Adagio or rallentando.
Expression directives, such as "with feeling" or "con espressione".
Playing directives, such as "R.H." for right hand.
The following example, from the main theme of George Gershwin's Rhapsody in Blue, illustrates the
use of free text:
Co mp o s e r formats a score so that free text objects belonging to one staff do not overlap any objects
in an adjacent staff. However, within a given staff, Co mp o s e r does not attempt to avoid the
overlapping of a text object with other objects. Thus, when you place a free text object in the score, you
may need to find a free space for it. However, if you place the object above or below other objects in
the staff, Co mp o s e r will always move the adjacent staves to make room.
6.3.1 Adding and Editing Free Text
The procedures for adding and editing free text are generally the same as for all types of text
supported by Co mp o s e r. See the preceding topic, General Procedures for Editing Text 436 :
Adding Text 436
Editing Text 438
Deleting Text 439
Here are some special details about adding and editing free text that differ from other types of text:
The keyboard shortcut for the Free Text Palette is SHIFT+F.
A free text object can have multiple lines. While adding or editing the free text, hit the ENTER
key to begin a new line.
In a single free text object, you can mix ordinary text with music symbols 460 , such as the
following tempo mark:
You can vertically align a selection of multiple free text objects 462 .
6.3.2 Mixing Music Symbols and Normal Text
In a single free text object, you can mix ordinary text and music symbols, such as the following tempo
mark:
T o c re a te a mixe d fre e te xt o b je c t:
1. With the mouse, navigate to the Free Text Palette.
-- OR --
Type SHIFT+F.
2. Click in the score where you wish to add the free text object.
3. Click the Free Text Properties button.

-- OR --
Type SHIFT+Enter.
Co mp o s e r will display the Enter Mix of Ordinary Text and Symbols dialog:
The "Displayed as" portion of the dialog box shows what the mixed text looks like as you type
in the ordinary text and add music symbols. The mixed text might be shown in a larger font size
than what will actually be used in the score so that you can clearly see what you are entering.
4. In the "Enter free text" area of the dialog box, type in the ordinary text. As you type in the text,
you will see it displayed in the "Displayed as" portion of the dialog box.
5. To insert a music symbol, find it in the symbol list and click. When you add the symbol, you will
see it displayed in the "Displayed as" portion of the dialog box. In the "Enter free text area",
you will see the Harmony music font character number for that symbol, preceded by a slash "\"
character.
T o e d it a fre e te xt o b je c t:
1. Select the free text object with the mouse.
2. Click the Free Text Properties button.

-- OR --
Type SHIFT+ENTER.
Co mp o s e r will present the Enter Mix of Ordinary Text and Symbols dialog box, as illustrated
above.
3. In the "Enter free text" area of the dialog box, edit the ordinary text as usual.
To remove a music symbol, delete all four characters of the symbol's font character number.
For example, to delete the quarter note symbol in the above example, delete the characters
"\213".
To insert a music symbol, click the mouse at the text position, in the "Enter free text" area,
where you wish to insert the symbol. Then click the symbol in the list in the bottom area of the
dialog box.
6.3.3 Vertically Aligning Free Text
Co mp o s e r always vertically aligns chord names and rehearsal marks, thus saving you the effort of
manually aligning them. The basic nature of free text objects is that you can freely place them
anywhere in the score. Sometimes, however, you may want to vertically align multiple free text objects
in a staff. For example, you might want to align tempo markings.
T o v e rtic a lly a lig n fre e te xt o b je c ts :
1. Select the multiple free text objects by dragging the mouse over them.
-- OR --
Select the first free text object with a mouse click, and select additional free text objects by
holding down the SHIFT key as you select them.
Co mp o s e r will automatically display the Free Text Palette.
2. In the Free Text Palette, click the Align Top Edges or Align Bottom Edges button.
-- OR --
Type CTRL+ or CTRL+ to align the top or bottom edges.
6.4 Page Text

Page text appears at the header or footer of every printed page, or every left or right page, or just the
first page of the score. Some common examples of page text are the song title and composer name
on the first page, and page numbers displayed in headers or footers, such as illustrated here:
The above example shows the use of two standard page text items 466 : the song title and page
number. You can also add any other text that you type in, instead of these standard page text items.
Page text is displayed only in Page View 171 , not in Window View. This is because page text is
intended for the printed page. Page View shows on the screen what the printed page looks like.
Page text is different from free text 459 . Free text is located within the score, and is placed relative to a
staff and measure and beat within the measure. A given piece of free text is displayed only once in the
score. In contrast, the page text may appear multiple times, at the same place on each page of the
score, or optionally, on just the right or left pages of the score, or on just the first page of the score.
IMP OR T A N T : To reserve space for a title, page header or footer, specify top and bottom
margins with the Page Setup 224 command in the Format menu. To reserve space for the page
title on the first page only, there is a special option in the Page Setup dialog box for Margin /
First
Co mp o s e r offers convenient options for horizontally aligning page text 466 at the left, right, or center of
a page, and for vertically aligning 462 multiple selected page text objects.
Standard page text objects 466 are defined for the song title, part name, file name, and page number.
Page text is applied to every score part 182 . Thus, when you set up a page title or page header, it will
be applied to each extracted part. Each part can have a unique part name, which you can enter with
the Edit Part Name 210 command in the Part menu. To display the unique part name in each
separately printed part, use the standard page text 466 for "part name".
6.4.1 Adding and Editing Page Text
The procedures for adding and editing free text are generally the same as for all types of text
supported by Co mp o s e r. See the preceding topic, General Procedures for Editing Text 436 :
Adding Text 436
Editing Text 438
Deleting Text 439
T he P a g e T e xt D e ta il P a le tte
Here are some special details about adding and editing page text that differ from other types of text:
IMP OR T A N T : To reserve space for a title, page header or footer, specify top and bottom
margins with the Page Setup 224 command in the Format menu. To reserve space for the page
title on the first page only, there is a special option in the Page Setup dialog box for Margin /
First Page Top.
Page text is shown only in Page View 171 and on the printed page. Page text is not shown in
Window View 171 .
When you navigate with the mouse to the Page Text Palette, or type SHIFT+P, Co mp o s e r
will automatically switch to Page View.
SHIFT+P is also the shortcut for the Page Layout Palette. If you type SHIFT+P once and the
Page Layout Palette is displayed, then type SHIFT+P a second time for the Page Text
Palette.
A page text object can have multiple lines. While adding or editing the free text, hit the ENTER
key to begin a new line.
You can specify which pages show the page text 464 : all pages, the first page only, left pages
only, right pages only, or all pages except the first page. These options are convenient for
distinguishing title text on the first page, and header and footer text on subsequent pages.
Co mp o s e r defines the following standard page text items 466 : page number, song title, file
name, and part name. The text displayed in these objects will vary according to, for example,
what the page number is on a given page of the score. Note, however, that you can enter any
text you want as page text, if you do not want to use one of the standard page text objects.
6.4.2 Determining What Pages Show the Page Text
You can specify which of the following pages show the page text: all pages, the first page only, right
pages only, left pages only, or all pages except the first page. These options are convenient for
distinguishing title text on the first page, and header and footer text on subsequent pages.
N OT E : The options described here refer to "left" and "right" pages. You can determine
whether the first page of the score part starts on a left or right page with the Page Setup 224
command in the Format menu. In the Page Setup dialog box, set a check mark or not for "Odd-
numbered pages on left".
T o s p e c ify whic h p a g e s o f the s c o re s ho uld s ho w a g iv e n p a g e te xt o b je c t:

1. If Co mp o s e r is not already in Page View 171 , then choose the Page View command in the
View menu.
-- OR --

2. Select the page text object.
Co mp o s e r will display the Page Text Palette. Depending on whether you are viewing the first
page, a left page, or a right page of the score part, the Page Text Palette will offer these
options:
3. Click one of the Page Text Palette buttons, as shown above.

-- OR --
Type CTRL+1 for first page only.
Type CTRL+A for all pages.
Type CTRL+2 for all pages except the first page.
Type CTRL+L for all left pages except the first.
Type CTRL+R for all right pages except the first.
After you change the page side option,Co mp o s e r might change the currently viewed page. For
example, if you change the setting for some page text from "display on left pages only" to "display
on right pages only", Co mp o s e r will automatically turn to the next or previous page so that you
will still see the same page text, but now on its newly assigned page.
The page side options do not include an option to display the page text on every left-only or right-only
page, including the first page. There is a presumption here that the first page is formatted differently
with a page title. If that presumption is incorrect, then you can add a duplicate page text item for the first
page.
6.4.3 Aligning Page Text
You can align a page text object horizontally with the left or right margin of the page, or the center of the
page. You can also align multiple page text objects vertically at their top or bottom edges.
T o a lig n a p a g e te xt o b je c t ho rizo nta lly a t the rig ht, le ft, o r c e nte r o f the p a g e :
2. In the View menu, select the Page View command so that you can view the page text.
-- OR --
3. Select a page text object.
Co mp o s e r will display the Page Text Palette.
4. Click one of the page alignment buttons in the Page Text Palette.
-- OR --
Type CTRL+ , CTRL+M (middle), or CTRL+ to align the page text object with the left,
center, or right side of the page.
T o a lig n two o r mo re p a g e te xt o b je c ts v e rtic a lly :
1. Follow steps #1 and #2 in the above procedure.
2. Select the two or more page text objects you wish to align.
3. In the Page Text Palette, click the Align Top Edge or Align Bottom Edge button.
-- OR --
Type CTRL+ or CTRL+ to align the top or bottom edges.
6.4.4 Standard Page Text Such as Page Number
A page text object can include any of the following four standard page text references:
S o ng title -- the song title that you specify with the Edit Song Title and Authors 112 command
in the Score menu.
P a rt na me -- the part name that you specify for each part in the Edit Part Name 210 command
in the Part menu. When a particular part is printed, its own part name will be shown.
File na me -- the full hard drive path of the song, except that the file name extension
(.not , .mid , or .kar ) is removed.
P a g e numb e r -- the page number (incremented) for each page of the printed part. You can
specify a page number other than 1 for the first page of the part using the Page Setup 224
command in the Format menu.
T o a d d a s ta nd a rd p a g e te xt ite m o n a p a g e :
1. With the mouse, navigate to the Page Text Palette.
-- OR --
Type SHIFT+P. If the Page Layout Palette is displayed instead of the Page Text Palette, then
type SHIFT+P a second time.
shape:
2. Click the mouse where you want to add the standard page text.
Co mp o s e r will display a blinking text cursor where you can type in the new page text or add a
standard page text reference.
3. Type any unvarying text that you want to include with the standard page text reference. For
example, if you want the page text object to be "page 1" for the first page, and "page 2" for the
second page, etc., then first type the text "page" at the cursor:
4. In the Page Text Palette, click the button for the type of standard page text item you wish to
insert at the text cursor.
Co mp o s e r will then insert a placeholder reference for the type of standard text item you
selected, such as "<page>" for page number:
5. Hit the ESC key to complete the entry of the page text.
Co mp o s e r will then replace the placeholder reference with the page number for the current
page, or the song title, part name, or file path.
6.4.5 Specifying Page Text in Templates
When you create a new song file, you can use the New Using Template command 107 in the File
menu, to borrow the staff setup from a standard template file, or from a custom template file that you
have previously prepared. The template is actually just a N o ta tio n .not file, from which the staff setup
is copied. In addition, the newly created song file copies any page text 462 that is included in the
template .not file.

When you import a MIDI file, Co mp o s e r copies page text from a special template named
MidiFileDefault.not, which by default resides in the \Program Files\Notation\Templates
directory on your system. The initially installed version of the MidiFileDefault.not template
automatically inserts the following page text in the score transcribed from your newly imported MIDI file:
Song title, in point size 20, at the top of the first page.
Song title, using the default page text font and size, at the left top corner of every page except
the first page.
Page number, using the default page text font and size, at the right top corner of every page
except the first page.
You can change the page text in any template. When you subsequently create a new file using a
template, or import a MIDI file using the MidiFileDefault.not template, the page text will automatically be
copied from the template to your new song or newly opened MIDI score.
T o a d d p a g e te xt to a te mp la te :
1. Use the Open command in the File menu, and choose a .not file in the \Program Files
\Notation\Templates directory.
2. Edit the page text in the template file, just as though you were editing the page text in a normal
song. Follow the instructions in Adding and Editing Page Text. 463
3. Save the template file using the Save command in the File menu.
6.5 Chord Names

N o ta tio n <% P R OD P OS E S S IV E % > offers many tools for adding and editing chord names. The
Chord Name Palette is included in the Text tab palette.
With Co mp o s e r, you can add chord names 469 as simple as:
or as complex as:
Co mp o s e r can also analyze the harmony in a song and automatically display chord names 476
(transcribe chord names).

The topics that follow provide detailed descriptions of various procedures for adding and editing
chord names:
Adding and Editing Chord Names 469
Analyzing (transcribing) Chord Names 476
Advancing to the Next (or Previous Beat) While Editing Chord Names 480
Shifting Chord Names to the Right or Left 480
Formatting Chord Names 480
Temporarily Hiding or Permanently Removing Chord Names 481
6.5.1 Adding and Editing Chord Names
The procedures for adding and editing chord names are generally the same as for all types of text
supported by Co mp o s e r.
Y o u c a n a d d c ho rd na me s to y o ur s c o re us ing a v a rie ty o f me tho d s :
Have Co mp o s e r analyze and automatically add chord names for you 476
Open a .mid file you have saved from your Yamaha keyboard (or other device) which
contains the XF format chord names. Co mp o s e r will automatically display those chord
names for you.
Manually type in chord names 470
Use the Chord Builder to add chord names 471
Copy chord names from another part of your score or another song file, and paste them into
your current song file. 472
Ma ny o f the e d iting fe a ture s fo r c ho rd na me s a re c o v e re d in the p re c e d ing Ge ne ra l
P ro c e d ure s fo r E d iting T e xt 436 :
Adding Text 436
Editing Text 438
Deleting Text 439
T he re a re s o me s p e c ia l d e ta ils a b o ut a d d ing a nd e d iting c ho rd na me s tha t d iffe r fro m

o the r ty p e s o f te xt:
The keyboard shortcut for the Chord Name Palette is SHIFT+C. If the Clef Palette is displayed,
type SHIFT+C a second time for the Chord Name Palette.
When you type certain special characters, such as "#" and "b", Co mp o s e r will redisplay
them as music symbols, such as the sharp and flat accidentals.
When you are manually typing in chord names, hit the TAB key to advance to the next major
beat 480 , in the measure, or the first beat of the next measure, where you can enter the next
chord name.
If a chord name is not lined up with the desired chord, you can shift it to the next or previous
chord 480 .
If you want to add a chord name manually "between notes", you can use your mouse to click
on the location where you want to add the chord name.
Copying and pasting chord names 472 works a bit differently than other text objects.
You can re-transcribe the chord names 476 in a file at any time after adding or editing notes,
and the chord names will reflect the changes in the notes.
Chord names when transposing song note pitches or an instrument key 482 : If you transpose
the actual pitches of a song (ie. change the key of the song), then the chord names also
transpose to reflect the correct key of the newly transposed song.
If the song file has transposing instruments and you select to display the part for a transposing
instrument from the drop list, the chord names for that part will show in the instrument key's
transposition. In other words, if you have a song in C, and have selected to show Instrument
Transposed Pitches for your score, then if you choose to display a Bb clarinet part, an "Ab"
chord in the Conductor's Score (concert pitch) will display as a "Bb" chord in the Clarinet part
(instrument transposed pitch).
When you click on a chord name, the chord notes will sound just as when you click on a note in
the score.
You can change the enharmonic spelling of chord names 475 , for example from a Db to a C#.
You can select the Chord Name Styles 480 you would like to have displayed in your score.
N o ta tio n Co mp o s e r can export chord names in Yamaha XF format in the .mid filetype, to use
with Yamaha keyboards and other devices that use the XF chord name format.
When saving your song file, N o ta tio n Co mp o s e r will analyze the song file and compare the
notes in the score with the chord names. If there is a discrepancy or any implausible situation
with the chord names, those names will be highlighted with brackets (eg. [B/G] ) so that you can
quickly find them and fix them using the Chord Name tools. You can turn off this feature in the
Chord Name Styles 480 dialog.
Ma nua lly ty p ing c ho rd na me s into a s c o re .

If you are creating a score and want to manually enter the chord names before adding notes and other
score elements, then you can type in the chord names first. To use this method of entering chord
names, you can do the following:
1. Click on the Text palette

2. Then click the Chord Names button (or you can use the keyboard shortcut "Shift + C"; if you get
the Clef palette, press "Shift + C" again)
3. Click in the score where you want to add chord names, and start typing.
4. Hit the TAB key to advance to the next major beat 480 , in the measure, or the first beat of the
next measure, where you can enter the next chord name.
A d d ing c ho rd na me s us ing the Cho rd B uild e r:

Co mp o s e r' s Chord Builder lets you see and hear the notes of a chord before adding the chord name
to the score.
The Chord Builder can be found in the Text -> Chord Names palette
Clicking the Chord Builder button (or using the keyboard shortcut "Shift + Enter") will open the
Chord Builder dialog, as shown here (well, without all the annotations):
Lo c a tio n o f c ho rd na me s in the s c o re : You can click anywhere in the score either before
or after opening the Chord Builder to choose a location for a chord name. Also, after entering
a chord name, you can click the "Next" button to move the chord name entry box to the next
beat location for a new chord name. Clicking the "Previous" button will likewise move the
chord name entry box to the previous beat location.

Cho rd na me o p tio ns : Select the Root of the chord, the type of chord, or extensions for your
chord name by using the radio buttons to mark your selection. In the screenshot above, the
"C6" chord has a slash bass note "A", which gives a C6/A chord name.
H e a ring the c ho rd : If you check the "Play chord each time you change it" box, then each
time you click on a radio button, the chord will sound with the new change. Otherwise, you can
click the "Play" button at any time to hear how the current chord sounds. You can also click on
a chord name in the score to hear it played.
Cha ng ing the ins trume nt s o und o f the c ho rd : To change the instrument that plays the
chord, click the "Select sound" button and choose the instrument you prefer to hear. The
device will initially show your Default MIDI Playback Device. You can select from any of your
available devices and instruments.
Co p y ing a nd p a s ting c ho rd na me s :
Co mp o s e r allows you to copy and paste chord names between sections of your score, so you don't
have to spend time separately entering repeating chord progressions.
1. Using Region select click-drag your mouse to select the range of measures with the chord
names you wish to copy.
2. Now click Edit -> Copy

-- OR --
type "Ctrl + C" (the Windows "copy to clipboard" keyboard shortcut)
3. Use Region select and click-drag your mouse to select the range of measures where you
wish to paste in the chord names.
4. Now click in the Chord menu, Chord -> Paste chord names
-- OR --
Edit -> Paste special -> Paste chord names
Now the chord names that you copied and pasted will appear in the target region of your score.
E nha rmo nic s p e lling o f c ho rd na me s :

Co mp o s e r allows you to change the enharmonic spelling of chord names. This allows you to raise
the enharmonic spelling, for example, of a Bb chord to an A#, or other varieties of enharmonic spelling
differences. A different enharmonic spelling may be more familiar to you or your band members, so
you can change the enharmonic spelling of such chord names when printing out a score, fake sheet, or
chord chart. For example, you may want to change an Fm to an E#m if you use barre chords for guitar,
as the Em chord shape is a common minor chord barre shape.
1. In the score, click on the chord name for which you wish to change the enharmonic spelling.
2. Click the "Lower enharmonic spelling" button.

6.5.2 Analyzing (Transcribing) Chord Names
Co mp o s e r can analyze a song to determine what chords are used, and then display the chord
names, such as C7 and Dm, above the staff. Co mp o s e r also lets you add, remove, or change chord
names.
Here is an example of the chord names automatically analyzed by Co mp o s e r for the country tune
"Dixie":
MIDI files do not generally include chord name information. Sometimes the author of a MIDI file will
enter chord names where lyrics are normally displayed. In this case, Co mp o s e r will display the chord
names as though they are lyrics.
In most cases, however, MIDI files do not include chord names at all. You are still in luck, though.
Co mp o s e r can analyze the harmonies in the song and automatically display chord names. This is a
difficult task, and Co mp o s e r cannot promise 100 percent accuracy. But Co mp o s e r transcribes
chord names remarkably well, considering the complexity of the task. In addition, since Co mp o s e r
lets you edit chord names 469 , you can easily correct any mistakes Co mp o s e r might make in its
analysis.
T o ha v e Co mp o s e r a na ly ze the s o ng fo r c ho rd na me s a nd d is p la y the m:
1. Decide which staves you want to analyze for harmonies. If you are not sure, you can just use
all of the staves. However, if you notice that a few of the staves contain the notes that define
"vertical" harmonies of the song, and other staves are more melodic or "horizontal", then you
should instruct Co mp o s e r to analyze chord names only using those staves that contain the
vertical harmonies of the song. If the MIDI file happens to include a chord staff, typically with the
staff name "Chords", then use just that staff. Note that Co mp o s e r always ignores channel 10
drum staves, since the pitches in a MIDI drum staff have nothing to do with the real harmonies
of the song.
2. Choose the Transcribe Chord Names command in the Format menu or Chord menu.
-- OR --
Type "qtc" for Quick Transcribe Chords.
-- OR --
Click the "Analyze chord names" button in the Chord Names palette.
Co mp o s e r will display a Chord Name Transcription dialog box;
The bottom half of this window shows the chord types Co mp o s e r will detect. Depending on
the style of music, you may want to either include or exclude a certain type of chord. For
example, a C7(#9) chord (C chord with a 7th and raised 9th) is unlikely to be used in a classical
piece, so you would want to turn off the check mark for "9th, 11th, and 13th" if you are working
with a classical piece.
Different music styles tend to use different chords. To make it easy for you to choose the right
kinds of chords for the music style of your song, Co mp o s e r defines various chord styles,
such as Rock, Classical, and Jazz. You can also define your styles, or change Co mp o s e r's
definition of a given chord style, as explained later in this topic.
3. In the "Select staves" section of the dialog box, select the staves that you identified in step #1,
and unselect all other staves.
4. Co mp o s e r analyzes and displays chord names on a per-beat basis, such as every quarter
note, half note, or dotted quarter note. Co mp o s e r uses the meter (time signature) of the song
to determine what beat value is used.
5. To choose one of Co mp o s e r's predefined chord styles, or one that you have previously
defined, select it from the Music Style dropdown list box:
Co mp o s e r will then update the check marks for the various chord types in the bottom half of the
window.
6. To specify whether a certain type of chord (such as Cmaj7) is to be detected or not, add or
remove a check mark by the type (eg. Major 7th) name. Some types of chord names are
always detected, such as major and minor, full- and half-diminished and 7th chords.
7. You can select to have slash bass notes analyzed along with the chord names (eg. G/B).
Simply check the "Find slash chords using bass notes in this staff:" and select the staff you
want to use from the drop list.
8. By default, Co mp o s e r will analyze the entire score for chord names, and will replace any
chord names previously analyzed or those manually entered or edited by you. If you want to
analyze the score only for a range of measures, then specify them at the top of the Chord
Name Transcription window.
9. Click the OK button when you are ready for Co mp o s e r to analyze the score for chord names.
Note that this is a fairly time-consuming task for Co mp o s e r, which will show you the progress
in the progress bar.
If the chord name transcription seems "stuck" or if you change your mind about the types of
chord names you want, then just click the "Cancel Execution" button and change your
selections.
T o c ha ng e the ty p e o f c ho rd s a s s o c ia te d with a " c ho rd s ty le " , o r to d e fine y o ur o wn
c us to m c ho rd s ty le :
1. To add a new style, in the "Detect types of chords" section of the dialog box, hit the Add
button. Co mp o s e r will display a simple Add Chord Style dialog box. Enter a name for the new
chord style.
2. Add or remove check marks next to the types of chords that you want Co mp o s e r to include or
not include it in the analysis of chord types for this style.
3. After editing the types of chords for this chord style, hit the Save button.
If y o u a re no t p le a s e d with the re s ults o f <% P R OD P OS E S S IV E % > c ho rd a na ly s is ,
the re a re a c o up le o f thing s y o u c a n try :
Co mp o s e r might display chord names that seem overly complex. For example, it might
display Csus4 and Fsus4 everywhere that you expected just C and F to be displayed. In this
case, use the Transcribe Chord Names command again. This time, uncheck the chord type
"sus4".
Co mp o s e r might display chord names that seem unrelated to the harmonies you hear. This
can happen when Co mp o s e r places too much weight on a staff that tends to have relatively
few notes landing on the chord harmonies and relatively more "passing" notes between
chords. In this case, use the Transcribe Chord Names command again, and do not include in
the staves that have a large percentage of notes outside of the chord harmonies.
If there are only a few specific chord names you would like to change, add, or remove, then
follow the instructions for Editing Chord Names 469 .
As you do more Chord Name Transcriptions, you will have a better understanding of which types of
staves and options give you the best Chord Names for you or your band's needs.
6.5.3 Advancing to the Next (or Previous) Beat While Editing Chord Names
As you are adding or editing chord names, you can advance to the next (or previous) note or chord
name in the following ways:
When manually typing in Chord Names, hit the TAB key to advance to the next major beat in
the meter or chord name, whichever comes first. The location of major beats in a measure is
determined by the meter. For example, the major beat in a 4:4 meter is a quarter note; and the
major beat in a 6:8 meter is a dotted quarter note.
Type SHIFT+TAB to go back to the previous major beat or chord name, which ever comes
first.
If you are using the Chord Builder, you can simply click the "Next" or "Previous" button to
advance forward or backward to the next major beat.
If you are adding chord names and advance to a next or previous major beat that does not
already have a chord name, then you can type in a new chord name at that location. If there is
already a chord name present, you can then edit it.
You do not have to add a chord name at every major beat, of course. If you do not want to add
a chord name at a beat, skip over it by hitting the TAB key (when manually typing) or the "Next"
button (when using the Chord Builder) to advance to the next beat.
6.5.4 Shifting Chord Names to the Right or Left
If a chord name is not located above the note you intend, you can shift the chord name to the right or
left, to the next nearest note or chord.
T o s hift a c ho rd na me to the rig ht o r le ft to the ne xt ne a re s t no te o r c ho rd :
1. In Select Mode 162 , select the chord name.
2. In the Chord Name Palette, click the Shift Chord to Right button or Shift Chord to Left
button.
-- OR --
Type SHIFT+ or SHIFT+ .
6.5.5 Formatting Chord Names
You can change font style, size, and bold and italic attributes of chord names. You can also specify
how certain types of chord names should be displayed, such as Cdim versus C-.
T o c ha ng e the fo nt ty p e , s ize o f the te xt, o r to c ha ng e it to b o ld o r ita lic s :
In the General Procedures for Editing Text 436 , see the procedure for Selecting Font Type,
Size, and Properties 440 .
T o s p e c ify ho w d iminis he d , a ug me nte d , a nd o the r ty p e s o f c ho rd s a re d is p la y e d :
1. With the mouse, navigate to the Chord Name Palette.
-- OR --
Type SHIFT+C. If the Clef Palette is displayed, type SHIFT+C a second time for the Chord
Name Palette.
2. In the Chord Name Menu, choose the Chord Name Display Styles command.
Co mp o s e r will display the Chord Name Styles dialog box, as illustrated below:
3. For each of the types of chords, choose the way you want the chord to be displayed.
4. Click the Save As Default button if you wish the styles to be applied to all songs that you later
create or import as MIDI files.
5. Click OK to apply the changes to the currently viewed score.
Cho rd N a me V e rific a tio n
When saving a file, Co mp o s e r can verify that chord names match up with the underlying notation.
If a chord name does not match up, or for some other reason is implausible, then the chord name
will be displayed with brackets around like this "[Abm7912]". You can either use the Chord Builder
471 to fix such chord names, or you can turn off the feature by selecting "Disabled" as illustrated in
the above screen shot.
6.5.6 Temporarily Hiding or Permanently Removing Chord Names
You can temporarily hide chord names so that they are not displayed. Co mp o s e r shows or hides
chord names independently in each score part 182 . For example, you can show chord names in a
keyboard or piano part and hide them in a vocal part.
You can also permanently remove chord names from the song.
T o hid e c ho rd na me s in the c urre nt s c o re p a rt:
1. With the mouse, navigate to the Chord Palette.
-- OR --
Type SHIFT+C. If the Clef Palette is displayed, type SHIFT+C a second time for the Chord
Palette.
2. In the Chord Name menu, turn off the check mark by the Show Chord menu item.
-- OR --
Click to toggle off the Show Chord Names button in the Chord Name Palette.
-- OR --
Type "qscn" for Quick Show (or Hide) Chord Name.

T o s ho w c ho rd na me s tha t ha v e b e e n hid d e n:
Repeat the above procedure to toggle on the Show Chord Names check mark in the Chord
menu, or click to toggle on the Show Chord Names button.

T o p e rma ne ntly re mo v e a ll c ho rd na me s fro m the s o ng .
Choose the Remove Chord Names command in the Chord menu.
6.5.7 Transposing Chord Names
Co mp o s e r automatically transposes chord names in these two circumstances:

1. When you transpose the pitch of the entire song or some range of measures in the song 346 ,
Co mp o s e r automatically transposes the chord names.
2. For an instrument part which has a transposed instrument key 348 , Co mp o s e r automatically
transposes the chord names for all of the measures for that part. This is done if, and only if: (a)
the part 182 displays only one staff, or (b) the multiple staves in the part all share the same
instrument key transposition.
The transpositions of chord name keys is automatic. This is generally good. However, in rare
cases where the spelling of a chord name is ambiguous, such as F#7 versus Gb7, and
Co mp o s e r makes a choice opposite of the one you would choose, Co mp o s e r currently
does not offer an option for you to change that decision.
If you change the notes in a chord, Co mp o s e r will not automatically change the chord name.
However, you can re-transcribe the chord names for any range of measures 476 at any time.
6.6 Rehearsal Marks

Rehearsal marks are used by ensemble musicians to refer to a natural starting point for rehearsing
some section of the score. A rehearsal mark looks like this:
You might also find rehearsal marks useful for your own purposes:
To specify the start and end of practice loops.
As a temporary bookmark 483 when you are working on a section of the score. You can then
quickly return to it using the Go To Rehearsal Mark 181 command (shortcut "qgr") in the View
menu.
6.6.1 Adding and Editing Rehearsal Marks
The procedures for adding and editing rehearsal marks are generally the same as for all types of text
supported by Co mp o s e r. See preceding General Procedures for Editing Text 436 :
Adding Text 436
Editing Text 438
Deleting Text 439

6.6.2 Using Rehearsal Marks as Editing Bookmarks
One normally thinks of rehearsal marks as a notation to help ensemble musicians refer to the same
score location while rehearsing together. You can also use rehearsal marks, however, as your own
private aid when you are preparing the score. You can use rehearsal marks as bookmarks for
locations in the score that you are currently editing.
Add any number of bookmarks at different locations in the score where you are currently working. You
can give relatively long names, to help you later recall the location. For example, if you are working on
a musical, you might enter "Alice's Glance":
Later, to quickly return to the "Alice's Glance" bookmark in the score, type "qgr" for Quick Go to
Rehearsal Mark, or choose that command in the View menu. Co mp o s e r will display the Go To
Rehearsal Mark dialog box as shown below. Select the rehearsal mark that you previously added as
a bookmark.
Before you finalize your score, you can quickly go through it to remove your bookmarks.
6.6.3 Using Rehearsal Marks for Practicing Music
Rehearsal marks are used routinely by ensemble musicians. You can also use rehearsal marks for
your own private practicing sessions. If you are a music teacher, you can create rehearsal marks that
will be used by your students, who can use the practice loop feature in N o ta tio n Mus ic ia n.
Mus ic ia n can display, play, and print the Notation .not files that you create with Co mp o s e r.
Add any number of rehearsal marks in the score, following the general procedure for Adding Text 436 .
Once you have added the rehearsal marks, you can refer to them in the Practice Setup dialog, as
described in Setting Up Practice Loops 145 .
Recording from a Music Keyboard 485
7 Recording from a Music Keyboard
With Co mp o s e r, you can record music live from your music keyboard. By "music keyboard", we
mean a MIDI 662 keyboard, or any MIDI input device such as a MIDI guitar.
If you have good keyboard skills, you can record directly from your keyboard 493 with one or two
hands at a comfortable tempo.
You can alternatively use your music keyboard to enter notes via the Step-Time Recording Method
486 . With the Step-Time Recording Method, you can enter notes at your own pace without regard to
rhythms or tempo. The rhythms of the notes that you enter in step-time will be determined by where you
point the mouse before you play the notes on the keyboard.
The topics that follow describe various procedures for recording in step-time or real-time from your
music keyboard:
Setting Up Your Music Keyboard 485
Recording in Step-Time 485
Setting the Tempo for Real-Time Recording with a Metronome 487
Setting Up Pickup Beats 489
Setting the Instrument Sound for Recording 491
Setting Up Transcription Options for Recording 492
Recording Without Using the Metronome 489
Starting and Ending the First Recording 493
Recording Into a Selected Region (Punch-In) 494
Recording from a Keyboard with One or Two Hands 495
Recording Multiple Alternative "Takes" 496
Recovering an Interrupted Recording 497
Cleaning up the Performance or Notation after a Recording 497
See also:
Setting Up the Metronome 127
7.1 Setting Up Your Music Keyboard

The instructions here for setting up a music keyboard apply to any MIDI input device, such as a MIDI
keyboard (or "controller") or MIDI guitar. These instructions refer to the MIDI input device as a music
keyboard.
T IP : We highly recommend using the default Notation Software Synth 573 as the Playback device,
and using the ASIO driver 573 for recording into Co mp o s e r. The ASIO technology allows for near
zero-latency real-time recording to help you make the most accurate play-recording possible.
Co nne c t y o ur mus ic k e y b o a rd to the c o mp ute r, a nd ins ta ll its MID I d e v ic e d riv e r:

Follow the instructions for Installing a USB or MIDI Cable Between Your Sound Card and
Keyboard 594 .
If you have not done so already, install in Windows the MIDI device driver software that came
with your MIDI keyboard.
T o te s t whe the r Co mp o s e r is c o rre c tly c o nfig ure d to re c e iv e no te s fro m y o ur mus ic

k e y b o a rd :
Open Co mp o s e r, then just start playing on your music keyboard. You do not have to click
Co mp o s e r's Record button. If you hear the notes you play, then Co mp o s e r is ready to
record notes from your MIDI keyboard into your computer.
If y o u d o no t he a r a ny no te s a s y o u p la y o n y o ur mus ic k e y b o a rd , the n d e te rmine
whe the r the p ro b le m is with y o ur k e y b o a rd c o nne c tio n, y o ur MID I s o und c a rd o r MID I
U S B hub , o r with y o ur MID I inp ut d e v ic e d riv e r:
Follow the instructions in What to Do If Recording Does Not Work 585 .
7.2 Recording in Step-Time

If you have good keyboard skills, you can record directly from your keyboard with one or two hands at
the full tempo of the song.
Alternatively, you can use your music keyboard to enter notes via the Step-Time Recording Method,
playing one note or chord at a time. Click the Step-Time Recording 304 button. Choose the note
duration you want to add. Then just point the mouse to the location where you want the note or chord to
be added, and play it on your music keyboard.
With the Step-Time Recording Method, you can enter notes at your own pace without regard to
rhythms. The rhythms of the notes that you enter in step-time will be determined by where you point the
mouse before you play the notes on the keyboard.
Comparison of Real-Time and Step-Time Recording Methods
R e a l-T ime R e c o rd ing S te p -T ime R e c o rd ing
Ke y b o a rd s k ill Intermediate or advanced Only basic keyboard skill required.

re q uire d keyboard skill required.
S p e e d o f no te e ntry Fast note entry, at song Slower note entry at your own pace,
tempo, or whatever is without regard to rhythm.
comfortable.
S witc hing b a c k a nd You do not have to leave the Sometimes you have to go back to
fo rth b e twe e n the music keyboard until the the mouse or computer keyboard to
mus ic k e y b o a rd , recording "take" is completed. choose a new duration, or choose a
the mo us e , a nd new note entry location. But you can
c o mp ute r k e y b o a rd often rely on automatic advancing
of the note entry location.
Co ntro l o v e r Your notes will be played Your notes will also be played back
e xp re s s iv e ne s s o f back with exactly the same with exactly the same loudness as
no te p la y b a c k loudness and timings as you you originally recorded. But, the
originally recorded them. notes will be played back exactly at
their as-notated locations. The as-
performed durations will be
determined by the Note Duration
Adjustment Table 516 , which you
can customize.
Further, you can combine the Step-Time Recording method with the Sequential Note Entry method 305 .
This way, do you not have to choose note duration values. Just move the mouse to the position where
you want the next note or chord to be entered, and play it at your keyboard. The duration of the
previous note or chord will end where you enter the next note or chord. For sequences of notes with the
same duration, you do not even have to leave your keyboard: just play them one after another, at your
own pace.
The Step-Time Recording 291 method offers an easy way to enter notes without requiring a high level
of music keyboard skill. You can enter the notes at your own pace without regard to rhythm. As you
add notes with the Step-Time Recording method, you can include expression by playing the notes
with different degrees of loudness. Co mp o s e r will play back the notes with the same individual
loudness.
The Step-Time Recording method has the disadvantage, however, that you cannot finely record the
timing of the notes. Co mp o s e r will play back the notes exactly at the locations where you added
them. The as-performed duration of the notes played back will not be literally the full notated duration;
the as-performed duration of the notes will be determined by Co mp o s e r's Note Duration Adjustment
Table 516 , which you can customize. Even so, with the Step-Time Recording method you have
relatively little control over the as-performed duration of the note, as well as its attack.
If you use the Step-Time Recording Method, and you do want the playback to include subtle timings
for notes, then you can edit them while viewing the Piano Roll Notation for the notes, as described in
7.3 Setting the Tempo for Real-Time Recording with a Metronome

Recording into Co mp o s e r and keeping tempo with the metronome is the quickest way to enter notes
with your keyboard if you are comfortable with improvisational playing or playing from memory.
Before you start recording a new song, you should set the tempo for the song. If you want to record the
song at a slower tempo than that at which you wish the song to be played back, then you should still
set the tempo for the song according to how you want it played, rather than the tempo at which you wish
to record. You can use Co mp o s e r's tempo slider control in the main toolbar to temporarily slow down
the tempo for recording purposes.
The following procedure describes how to set the playback tempo at the start of the song. If the song
already has tempo changes throughout and you wish to change the tempo, then follow instructions in
the topic Editing the Tempo 545 .
T o s e t the p la y b a c k te mp o o f a ne w s o ng :
1. Click the Tempo button in the toolbar as shown below:

Co mp o s e r will display the Set Tempo dialog:
The tempo unit value will usually be a quarter note, dotted eighth note, or eighth note,
depending on the meter. For example, in a 4:4 meter, the tempo unit will be quarter notes per
minute. In a 6:8 meter, the tempo unit will be dotted quarter notes per minute if the tempo is fast,
or eighth notes per minute if the tempo is slow.
2. Change the numeric value for the Initial Tempo.
-- OR --
Use the slider to change the Initial Tempo.
3. Optionally enter an Ending Tempo value by entering a numeric value or using its slider. You
can have a continuous accelerando or decelerando, by specifying a different Ending Tempo
than the starting tempo.
4. Click the Audition button to hear the song played according to your newly entered tempo. If
you want to re-adjust the tempo, click the Audition or Cancel button, or stop the playback in the
score window, to cancel the audition. You can then enter another tempo value and audition it.
5. Hit the OK button to save your most recently entered tempo. Hit the Cancel button to restore the
tempo as it was before you used the Set Tempo command.
T o p re p a re fo r re c o rd ing a t a te mp o s lo we r tha n the inte nd e d p la y b a c k te mp o :
Enter a percentage tempo adjustment value that is less than 100 in the tempo adjustment
control:
In the above example, the temporary recording tempo will be 80% of the normal playback
tempo.
-- OR --
Use the up and down spin buttons in the above tempo adjustment control to set the
percentage value.
-- OR --
While holding down the "T" key, type the or keys to adjust the percentage tempo
value down or up.
7.4 Setting Up Pickup Beats

When you record or play from your music keyboard, you will usually want Co mp o s e r to play some
lead-in measures or metronome beats. If you are recording or playing at the beginning of the song,
Co mp o s e r will play the metronome for the number of lead-in measures and beats that you specify. If
you are recording into or playing a selected region of the song, Co mp o s e r will play the portion of the
song immediately preceding this region, for the number of lead-in measures and beats that you
specify.
The pickup beats that you specify are saved independently for each song.
T o s p e c ify the p ic k up (le a d -in) b e a ts fo r re c o rd ing :
1. In the Perform menu, choose the Record Start Pickup Beats command.
Co mp o s e r will display the following Pickup Beats dialog:
2. Turn on the check mark for "Play the pickup beats even if metronome is silent thereafter."
3. Enter a value of 1 or more for "Count full measures before starting measure".
4. If you want these Pickup Beat values to be applied not only to the currently opened song, but
also to any other new song file or transcribed MIDI file, then click the Save As Default button.
5. If you have previously used the Save As Default option and want to apply those saved pickup
beat values to the currently opened song, then click the Restore Default button.
6. Click the OK button to apply the pickup beats to the currently opened song.
7.5 Recording Without the Metronome

If you enjoy improvising on your MIDI instrument, or you want to play piece with lots of tempo changes
or "feeling" but still get readable sheet music, then you will enjoy <% P R OD P OS E S S IV E % >
"metronomeless recording" capability. If you wish to use this method of recording, you will first record
your music, and then use <% P R OD P OS E S S IV E % > R e b a r 91 feature to set the barlines and adjust
the meter(s) for the final score. This "metronomeless" technique is also useful for creating "live" feeling
backing tracks for performances, and also create the sheet music for accompanying musicians or
vocalists.
When you record into a new song, the song does not need to have as many measures as you might
record. Co mp o s e r will automatically add measures during your recording.
After you have completed the first recording, Co mp o s e r will automatically determine the key
signature based on its analysis of the harmonies you have played. If Co mp o s e r incorrectly
determines the key signature, you can easily change it, as described in Key Signatures 391 .
T o re c o rd the no te s liv e fro m y o ur mus ic k e y b o a rd into a ne w s o ng :
1. If you are using both your right and left hands to play the keyboard, and you wish Co mp o s e r
to automatically distribute the notes into right- and left-hand staves, then pre-select the two
staves you wish to record into 495 .
2. To start recording, click the Record button in the toolbar:
-- OR --
Type CTRL + Space (hold down the CTRL key while hitting the Space bar).
By default Co mp o s e r will play the metronome for a two-measure lead-in before the beginning
of the portion of the song to be recorded. To specify a different number of pickup measures
and beats, follow the instructions in Setting Up Pickup Beats 489 .
3. After allowing the time indicator in the upper left to reach "0" and turn green, start playing your
MIDI keyboard.
During the recording, Co mp o s e r advances a blue vertical playback cursor to indicate the
position in the song. Also, it displays red rectangles that represent the pitch and durations of
the notes you have recorded:
4. Complete the recording by clicking the Record button again, by clicking the Stop button, or by
hitting the SPACE key.
Co mp o s e r will immediately transcribe your recording to notation, including determining the
key signature, as illustrated below:
5. The notation will probably look quite sloppy at this point, but you can adjust the barlines and
meters to show the appropriate notation while still preserving your performance by using the Rebar
feature 91 . You can also use this technique to create "live" feeling backing tracks for
performances, and have sheet music for accompanying musicians or vocalists.
7.6 Setting the Instrument Sound for Recording

Before you start recording notes into a staff, you should set the instrument sound for that staff. Follow
the procedure described in Changing the Instrument Sound of a Staff 191 .
N OT E : In choosing the instrument sound, it is important that you choose a MIDI output device
that does not have a playback delay. Many MIDI output devices that are software synthesizers
have playback delays of 100 milliseconds (1/10th of a second) or more. If you use one of these
devices, then as you play on your music keyboard, there will be a delay from the time you
press a key to the time you hear its sound. This delay will make it impractical for you to record
a performance. Instead, you should temporarily assign to the staff a MIDI output device that has
no delay.
T o d e te rmine if the MID I o utp ut d e v ic e fo r a s ta ff ha s a p la y b a c k d e la y :

1. Follow the procedure for Setting Up Your Music Keyboard 485 .
2. Play a note on your keyboard. Is it immediately responsive to your action on the keyboard? Or
do you feel like you want to press your fingers deep into the keys to make them sound
sooner? The latter approach will not work. If there is a delay, it is probably not that your
computer is slow. It is very likely that there is a built-in delay in your MIDI output device. For
more information about this, see Anticipating the Delay on Some MIDI Output Devices 604 .
If you find that the staff that you want to record into has a playback delay, then follow the next
procedure.
T o wo rk a ro und the p ro b le m tha t a s ta ff us e s a MID I o utp ut d e v ic e with a p la y b a c k
d e la y :
Assign a different MIDI output device to the staff that you are recording into. Be sure that it does
not have a playback delay.
-- OR --
Create a temporary staff for recording. Assign a MIDI output device to it that does not have a
playback delay. When you have completed a successful recording, copy that staff (or regions
of it) to the staff that has the MIDI output device that you want to hear during playback.
Before you start recording, you might want to improvise some musical ideas on your keyboard before
you attempt to commit them in a recording. If so, then you will want to select the instrument sound of the
staff which you are about to record.
T o a s s ig n the ins trume nt s o und o f a s ta ff to y o ur mus ic k e y b o a rd , a nd p la y no te s o n

the k e y b o a rd us ing tha t s o und b e fo re y o u s ta rt re c o rd ing :
1. While holding down the "R" key (for "record", even though you are postponing recording),
click anywhere in the staff of the staff you intend to record into.
Co mp o s e r indicates that this staff has been selected for recording by drawing a red arrow
right before the beginning of the first staff shown in the window for this staff:
2. Optionally hit some keys on your MIDI keyboard. You will hear the instrument sound of the
staff that you selected.
At this point you have set up the staff as though you were about to practice the part with your
music keyboard 149 . If you were to start playback by pressing the playback button, or by
hitting the SPACE key, Co mp o s e r would mute (silence) the selected staff. Any notes that you
play at your music keyboard would be assigned the instrument sound of the selected staff.
3. While holding down the "R" key, click anywhere in the staff of the staff again.
Co mp o s e r will remove the red arrow next to the staff, and will change the solo button from
play-along to no solo .
The instrument sound for the staff will continue to serve as the sound for notes that you play on
your music keyboard prior to recording. It is necessary to change the solo option for the staff
from play-along to no solo , so that when Co mp o s e r later plays the song, the notes in
this staff will be heard rather than muted.
7.7 Setting Up Transcription Options for Recording
Before you start recording, use the Transcription Options command in the Setup menu to determine
how Co mp o s e r transcribes your recording into music notation. The transcription options determine
whether:
Graces, trills, and tremolos will be detected and notated.
Co mp o s e r remembers the transcription options you most recently specified. Therefore, you need to
use the Transcription Options command only if you want to change the options.
If, after Co mp o s e r has transcribed your recording, you are not satisfied with the transcription, you
have some options available for improving or cleaning up the notation:
Use the Re-Transcribe 90 command in the Format menu to apply different transcription
options to selected staves.
Use the Remove Overlaps of Notes command 337 to eliminate and simplify ties.
Eliminate small rests 358 by selecting a region of the score and using one of the Remove
Rests commands in the Region menu. Or, select a group of notes and rests, go to the Note
menu, and use one of the Remove Rests commands in the Clean Up Rests and Overlapping
Notes submenu.
Use the Transcribe Grace Note 367 command, if you did not choose the grace note option
when you first recorded
7.8 Starting and Ending the First Recording (Using the Metronome)
If you have just started a new song 107 , and you wish to record notes from your music keyboard, you
should first make sure that the song has the right meter (time signature). If it does not, set the desired
meter in the first measure, as described in Meters (Time Signatures) 394 . Then set the tempo for the
song, as described below.
When you record into a new song, the song does not need to have as many measures as you might
record. Co mp o s e r will automatically add measures during your recording.
After you have completed the first recording, Co mp o s e r will automatically determine the key
signature based on its analysis of the harmonies you have played. If Co mp o s e r incorrectly
determines the key signature, you can easily change it, as described in Key Signatures 391 .
T o re c o rd the no te s liv e fro m y o ur mus ic k e y b o a rd into a ne w s o ng :
1. If you are using both your right and left hands to play the keyboard, and you wish Co mp o s e r
to automatically distribute the notes into right- and left-hand staves, then pre-select the two
staves you wish to record into 495 .
2. Choose a tempo at which you are comfortable playing the melody, as described in Setting the
Tempo for Recording 487 .
3. To start recording, click the Record button in the toolbar:
-- OR --
Type CTRL + Space (hold down the CTRL key while hitting the Space bar).
By default Co mp o s e r will play the metronome for a two-measure lead-in before the beginning
of the portion of the song to be recorded. To specify a different number of pickup measures
and beats, follow the instructions in Setting Up Pickup Beats 489 .
4. While listening to the metronome, and after waiting for the pickup beats, start playing at your
MIDI keyboard.
During the recording, Co mp o s e r advances a blue vertical playback cursor to indicate the
position in the song. Also, it displays red rectangles that represent the pitch and durations of
the notes you have recorded:
5. Complete the recording by clicking the Record button again, by clicking the Stop button, or by
hitting the SPACE key.
Co mp o s e r will immediately transcribe your recording to notation, including determining the
key signature, as illustrated below:
7.9 Recording Into a Selected Region (Punch-In)

You can record into a selected region of a song. This task is referred to as "punch-in" in music studios.
If there are any notes in the selected region, they will be erased as soon as you start recording into the
region.
The region can be any number of measures. The region can start and/or end in the middle of a
measure. Co mp o s e r will play the metronome and a portion of the song that leads into the section you
are recording, so that you can synchronize the beginning of your recording with the beat of the song.
You can optionally select and record into two adjacent keyboard staves. Co mp o s e r automatically
distributes the notes you play between the right- and left-hand staves.
T o re c o rd into a s e le c te d re g io n:
1. Select the region by holding downing the CTRL key and dragging the mouse across any
number of measures and beats. See Selecting and Editing Regions of a Score 266 . You can
record into two staves at a time by selecting two staves and playing at your keyboard with both
your right and left hands 495 .
2. Press the Record button in the toolbar.

-- OR --
Type CTRL+SPACE.
Co mp o s e r erases the region that you are punching in with a new recording. If you do not
record anything, and toggling off recording, then the original notes will be restored. Or, if you
do not want to keep your punch-in record, just use the Edit Undo command (CTRL+Z).
3. Listen for Co mp o s e r to play the number of lead-in measures that you have set with the
Pickup Beats command 489 . Start playing at your music keyboard when the lead-in measures
and beats have completed.
Just as with a first-time recording 493 , Co mp o s e r temporarily displays your recorded notes as
red rectangles:
Co mp o s e r will automatically stop recording at the end of the selected region. Then it will
transcribe your recording into the selected region of the score. Co mp o s e r will use the same
key signature as the one preceding the recorded region.
7.10 Recording from a Keyboard with Two Hands
When you record from the music keyboard, you can record into a single staff, or alternatively, into two
separate staves that are displayed as right- and left-hand keyboard staves. If you record into two
separate staves, Co mp o s e r automatically distributes the notes between them using the same logic
as it uses for the Split Hands 201 command.
T o re c o rd into a p a ir o f rig ht- a nd le ft-ha nd k e y b o a rd s ta v e s :
1. While holding down the CTRL key, drag the mouse to select a region 266 that spans a pair of
right- and left-hand keyboard staves, such as illustrated below:
N OT E : The region that you select will be replaced by your punch-in recording.
2. Follow the normal procedure for recording. Click the Record button 160 , or type CTRL+SPACE,
to start recording. See Recording into a Selected Region (Punch-In) 494 .
7.11 Recording Multiple Alternative Takes

After you have completed recording, the region you record will remain selected. Co mp o s e r indicates
the selected region with a gray background. If you are not happy with your recording and want to try
again, just press the Record button 160 again, or type CTRL+SPACE again. Co mp o s e r will erase
your previous recording and will record your new performance. This is sometimes called a second
"take". You can do as many "takes" as you want. And they will be temporarily saved.
If after you have made two or more takes you decide you would like to keep some previous take, use
the Undo command in the Edit menu, or type CTRL+Z, to restore some previous take. Or, use the
Redo command, or type CTRL +Y, to restore some later take. This way you can review each take and
save the one you like best before going on to other recording or editing tasks.
This is what the Edit menu looks like after you have recorded three takes:
If you use the Undo command once, the score will be restored to what it looked and sounded like after
your second take. If you use the Undo command again, the score will be restored to what it looked and
sounded like after your first take.
Note that Co mp o s e r's capacity for saving and restoring recording takes is limited to this use of the
Undo command. This is a quick and easy way to manage takes, but there is an important limitation.
After you have committed to a take and start making other changes to the song, you will not usually be
able to review and restore other takes. If this limitation is a problem for you, then you may want to
manually save each take as a separate song file. This is easy to do. And Co mp o s e r lets you open
and view multiple songs at a time, so that you can easily compare your different recording takes.
7.12 Recovering an Interrupted Recording

Suppose you have recorded three minutes of an inspirational improvisation, but upon completion of
the recording your system is interrupted or Co mp o s e r abnormally terminates for some reason. There
is a good chance that you will be able to recover your recording. Co mp o s e r saves your most recent
recording as a temporary MIDI file before Co mp o s e r attempts to transcribe it to notation.
T o re c o v e r y o ur mo s t re c e nt re c o rd ing :
1. In the File menu, choose the Open command.
2. In the File Open dialog, navigate to the \Program Files\Notation\Songs directory.
3. Open the file named recordng.mid. Note that this filename is intentionally missing the letter
"i" in "recording".
4. If you wish to save this recording, save it as a Notation .not file.
5. If this recording was a new staff for a song, or part of an existing staff, copy the notes from the
recording to the clipboard, and then paste them into the song you were working on. For details,
see Using the Clipboard 267 .
7.13 Cleaning up the Performance and/or Notation after a Recording

After you have made a recording, it is likely that there will be details in your performance that you will
want to change-- both the sound and the notation. A wealth of tools are available in Co mp o s e r to
"clean up" your recording. Listed below are some of the most common tools you might want to use.
Some of these tasks are best done through trial and error. If you try a certain way to clean up the
performance and are not happy with the results, just use the Undo command 270 , and try something
else. Your original performance will not be lost.
T o a d jus t the b a rline s , me te r(s ) a nd no ta tio n fo r a ne wly re c o rd e d p e rfo rma nc e d o ne

witho ut us ing the me tro no me (" me tro no me le s s " re c o rd ing ):
The first step you should do after you have recorded a "metronomeless" recording is to use
the Rebar 91 feature to set the proper barlines and meter(s) for your score. This feature will
move your score much closer to a readable piece of music. You can then use the following
tips to fine-tune the score.
T o c le a n up the no ta tio n o f a ne wly re c o rd e d p e rfo rma nc e if y o u ha v e us e d the

me tro no me o r ha v e finis he d us ing the R e b a r fe a ture to s e t the p ro p e r b a rline s fo r a
me tro no me le s s re c o rd ing :
If the notation looks too complicated, with too many ties, overlapping notes, dotted note
values, and small rests, try using the "Reduce number of ties" and "Remove rests smaller
than" options in the Re-Transcribe command 90 . You might be able to eliminate other
overlapping notes by choosing the "Split (Upper and Lower) Voices" option in the Re-
Transcribe command 90 .
If grace notes, trills, or tremolos are written-out in difficult-to-read detail, then use the Transcribe
Ornaments option in the Re-Transcribe command 90 so that the efficient short-hand music
symbols for these ornament are displayed rather than the written-out notes.
You can also convert individual written-out short notes to notated grace notes 367 . You can
convert individual written-out trills or tremolos to notated trills or tremolos 374 .
If you accidentally played a few extra notes very lightly or with very short durations, you can
easily remove them with the Remove Silent Notes 312 command.
If you played some incorrect note pitches, you can change them by dragging the notes or type
P + Up (or Down) Arrow. For details, see Editing Note Pitch 562 .
If Co mp o s e r spells the pitch and accidental of a note differently than what you would like, then
you can change the enharmonic spelling 316 by selecting the note and typing E + Up (or Down)
Arrow.
If you played a note too early or late, you can shift its notated and performed attack at the
same time. Or, if you are happy with the as-performed timing of the attack of the note, but want
to change its notated location so that it is lined up on a stronger beat, then you can shift only
the as-notated attack. For details, see Editing Note Location (Attack) 319 .
If you played the note with a longer or shorter duration than you intended, you can change the
notated and performed duration of the note. Or, if you are happy with the as-performed
duration of the note, you can change just the as-notated duration without affecting the
performed duration of the note. See Editing Note Duration 321 .
T o c le a n up the a c tua l p e rfo rma nc e o f a ne w re c o rd ing if y o u ha v e us e d the

me tro no me , o r ha v e us e d the R e b a r fe a ture o n a " me tro no me le s s " re c o rd ing :
If you would like your performance to have a more crisp, on-the-beat sound, then you can
"quantize" the performance to match the notated locations(attacks) of the notes. You can
quantize the note attacks while preserving their as-performed durations. Or, you can also
quantize the performed duration of the notes. For details, see Quantizing the Performance of
Notes 513 .
If your recording lacks expressiveness because you were performing in synchronization with a
fixed metronome tempo, you can graphically edit the tempo 546 , to add such features as
pauses (fermatas) and accelerandos.
You can graphically edit the overall volume 554 throughout the staff.
You can edit the individual loudness of specific notes 521 .
As mentioned above, if you accidentally played a few extra notes very lightly or with very short
durations, you can easily remove them with the Remove Silent Notes 312 command.
Viewing and Editing the Music Performance 499
8 Viewing and Editing the Music Performance
Preceding sections of this Co mp o s e r documentation describe how to edit the notation of a song. This
section describes how to edit the musical performance of a song.
Co mp o s e r offers you a high degree of control over both what the song looks like-- its notation- and
what the song sounds like-- its performance. The sound editing capabilities of Co mp o s e r are
comparable to the MIDI recording and editing capabilities of a good MIDI sequencer. A major
difference between Co mp o s e r and most MIDI sequencers is that the tools for editing the notation and
the MIDI performance are highly integrated in Co mp o s e r. You can always see a graphical
representation of the performance drawn on top of the notes, so that you can clearly see the
relationship between the notation and the performance.
You can view the exact performance of notes in the form of Piano Roll Notation 501 , as illustrated
below. The left and right edges of the rectangles indicate the timings of the performed note attacks and
releases.
The Piano Roll Notation offers you a fairly accurate visual view of the timing of notes. For greater
accuracy, you can move the mouse cursor over a note for a report of its exact timing, represented as
offsets of the performed attack and release times from the as-notated location and end of the note 508 .
You can easily adjust the exact performed attack and/or release of a note 509 by selecting it and using
keyboard shortcuts such as D+ to increase the performed duration of the note.
You can view the individual loudness of notes 521 , such as illustrated here:
To increase or decrease the loudness of one or more selected notes, type L+ or L+ . To

gradually increase or decrease the loudness over a range of notes, while preserving individual
relative differences in note loudness, type C+ or C+ (where "C" is for "crescendo").
Many types of musical performance data can be of a continually changing nature, such as a
continually changing volume level, tempo, or guitar pitch bend. For such kinds of continually changing
music data, Co mp o s e r offers a graphical way to view and edit the performance 530 which is quite
intuitive.
The following example illustrates the graph of the rubato (expressively changing) tempo in the main
theme of George Gershwin's Rhapsody in Blue.
You can edit the graph with GraphOverNotes tm Palette tools such as Draw Curve , Draw Sloped
Line , and Erase .

Also, if your MIDI recording instrument includes controls for volume, sustain pedal, pitch bend, and
general MIDI controllers, you can record these types of musical performances live, and merge them
with previously recorded notes. This is illustrated in the procedures for editing Note Pitch Bend 562 .
Co mp o s e r also supports mid-staff instrument sound changes 528 , which are technically "MIDI
program changes". For example, somewhere in the middle of a violin part, you can switch from a
bowed string sound to a pizzicato sound. Or, in a horn part, you can switch to a muted horn sound.
The high degree of integration of notation and performance editing in Co mp o s e r means that you do
not have to compromise the quality of one (notation or the performance) for the other. You will find that
you can productively refine both the notation and performance with the insight you gain by seeing both
together. The following example illustrates how you might add a hairpin crescendo mark to match the
increasing slope of the volume graph.
If prior to using Co mp o s e r, you have only been working with the notation, or only working with the MIDI
sequencing, you will discover in Co mp o s e r the rich unified world of both sound and notation of music.
8.1 Viewing and Editing the Performance of Notes
Whether you have imported notes from a MIDI file, or entered notes into a score by recording them
from a music keyboard, or by manually entering them with the mouse, Co mp o s e r offers you many
ways to edit how the notes are performed during playback.
With convenient commands that you can apply to one or more selected notes at a time, you can:
Change the exact time that a note is played without necessarily changing where the note is
located in the score 514 (edit only the "as notated" score).
Change the exact duration that a note is played without necessarily changing its note value in
the score 509 (edit only the "as performed" performance of notes).
Request Co mp o s e r to analyze the differences between as-notated durations and as-
performed durations of notes 516 in one region of a song and apply these differences as note
duration adjustments to another region of the song.
Edit the loudness of individual notes 521 . Create crescendos and decrescendos across a
range of notes. Increase or decrease the contrast of loudness between notes.
Add pitch bends to notes 562 , to simulate the musical effect achieved, for example, by a
guitarist when he stretches a fretted string by pushing against it sideways with his fingers.
Procedures for accomplishing all of the above note editing tasks are described in the topics that
follow.
If you wish to only view the performance aspects of notes so that you can annotate the score to give
live musicians the directions for recreating the performance, you can use the "Show Piano Roll"
command in the View menu (keyboard shortcut Ctrl + Shift + Y). You can then use the Piano Roll to
help you add performance annotations to the score that will help your "real" musician(s) to perform the
piece as you intend.
8.1.1 Viewing and Editing the Attack and Release of Notes

8.1.1.1 Understanding Piano Roll Notation
One of the main ways you can give "feeling" to the performance of notes, that you have previously
entered with the mouse and keyboard, is to adjust the exact as-performed timing of the notes. That is,
you can adjust the as-performed attack and release times of the notes.
Co mp o s e r's Piano Roll Notation helps you visualize the as-performed timing of notes:
The rectangles drawn on top of the notes show the actual performed timing of the notes. These
rectangles are called "Piano Roll Notation" because they resemble the hole cutouts for notes in piano
rolls of mechanical player pianos that were popular in the late 1800's and early 1900's. The left and
right edges of the rectangles indicate the as-performed timing of the notes. Because normal spacing
of notes in a score is not exactly proportional to actual note durations, the lengths of the rectangles are
not totally precise. Nevertheless, the rectangles serve to clearly show you where notes start and stop.
The color of rectangles may be yellow (below) instead of white (above):
The color of the a piano roll rectangle is white or yellow to show whether or not the performance of the
note will be edited or not. The color of the notation (gray or black) shows whether the notation will be
edited or not.
Here's a way to help remember the meaning of the yellow versus white rectangle. The yellow
rectangle stands out more prominently than the white, and this is a clue that if you change the location
or duration of the note, the rectangle will change. When the left or right edge of the yellow rectangle
changes, the as-heard timing of the note changes. Therefore, if the rectangle is yellow, a command
such as D+ will change the as-performed duration of the note. Conversely, if the rectangle is white,
then the rectangle "in the background" is not affected by a command such as D+ . That is, if the
rectangle is white, then D+ affects only the notated duration of the note, not the as-performed (as-
heard) duration.
8.1.1.2 Viewing Piano Roll Notation While Annotating a Score
Sometimes you might want to view the Piano Roll Notation as you are annotating the score. For
example, as you are adding staccato marks for notes, you can view the piano roll rectangles to see
which notes are performed with a short duration relative to their as-notated duration. Those are the
notes for which you might want to add staccato marks:
T o v ie w the P ia no R o ll N o ta tio n while y o u a re a nno ta ting a s c o re :
Click the Piano Roll button in <% P R OD P OS E S S IV E % > toolbar 159 .

-- OR --
Type CTRL + SHIFT + Y. (Note: SHIFT +Y is the shortcut for the Piano Roll Palette).
If you need to see the rectangles more closely, then choose the Zoom In command in the View
menu.
-- OR --
Click the Zoom In button.

-- OR --
While holding down the "Z" key, hit the key.
8.1.1.3 Using the Piano Roll Palette
To edit the piano roll rectangles 501 of notes rather than just view them, you need to use the Piano Roll
Palette:
T o b e g in e d iting the a s -p e rfo rme d lo c a tio ns a nd d ura tio ns o f no te s :
Navigate to the Piano Roll Palette.
-- OR --
Type SHIFT + Y.
Co mp o s e r enables you to independently edit the notation of notes and the as-performed timing of the
notes.
T o te ll Co mp o s e r whe the r y o u wa nt to e d it jus t the a s -no ta te d lo c a tio ns a nd d ura tio ns

o f no te s , o r the a s -p e rfo rme d lo c a tio ns a nd d ura tio ns , o r b o th:
Click the Edit Both As-Performed and As-Notated button if you want the editing of note
locations and durations to affect both the notation that you see and the performance of the
notes that you hear.
-- OR --
Type "pn" or "np" for as-performed equals as-notated.
Click the Edit As-Notated Only button if you want the editing of notes to effect only what
you see in the score but not the actual performance of the notes.
-- OR --
Type "en" for edit notation.
Choose the Edit As-Performed Only option if you want the editing of notes to effect only
the timing of the notes as you hear them played back, without changing the way they are
notated in the score.
-- OR --
Type "ep" for edit performance.
When you click one of the three Piano Roll Palette buttons to choose a combination of editing the
notation and/or performance of notes, Co mp o s e r will display the piano roll rectangles and notes
differently, according to which option you choose:
If your editing affects the notation, then the notes are shown in normal black color. If your
editing does not affect the notation, then the notes are de-emphasized with the gray color.
If your editing affects the performance, then the piano roll rectangles are filled with a bright
yellow color. If your editing does not affect the performance, then the piano roll rectangles are
de-emphasized with a white interior.
Once you have chosen one of the options for Edit Both As-Notated and As-Performed, Edit As-
Notated Only, or Edit As-Performed Only, then you can edit notes in the following ways:
Move the attack (start location) of the note.
Move the release of the note, thus changing its duration.
Shift both the attack and release of the note at the same time, so that the duration of the note is
preserved but the note starts at a different location.
Quantize ("snap") the as-performed attack and/or release of the note to its notation location or
duration.
The following diagram shows what the Piano Roll Palette buttons look like, depending on which option
you have chosen for Edit Both As-Notated and As-Performed, Edit As-Notated Only, or Edit As-
Performed Only:
You can find out the purpose of each of the editing buttons in the palette by briefly holding the mouse
over the button. Co mp o s e r will display a short message explaining what that button does, and what
the keyboard short-cut for the command is. You can also learn what the Piano Roll Notation buttons do
by understanding the meanings of the small drawings on the button faces.
The graphics on the piano roll palette buttons follow a consistent convention, which is summarized in
the following diagram:
For example, the above button has the following effect on the selected note:
Each of the four corners of the button may or may not have an arrow that points to the left or right. The
two arrows on the top half of the button indicate the effect of the button on the notation of the note. The
two arrows on the bottom half of the button indicate the effect of the button on the as-performed timing of
the note. The direction of the arrow indicates whether the attack or release of the note is to be moved
to the left or the right. In the above example, the button shifts the entire note, both its notation and its as-
performed timing, to the left.
If the button only affects the notation of the note, and not its as-performed timing, then there are no
arrows in the bottom half of the button face, and the piano roll icon in the button is displayed in a faded
color. Also, the button may affect only the attack, not the release, in which case there is an arrow only
on the left side of the button, not the right side. The following diagram illustrates these cases:
For example, the above button has the following effect on the selected note:
If the button only affects the as-performed timing of the note, and not the notation, then there are no
arrows in the top half of the button face, and the quarter note icon in the button is displayed in a faded
color. The button may affect only the release, not the attack, in which case there is an arrow only on the
right side of the button, not the left. The following diagram illustrates these cases:
For example, the above button has the following effect on the selected note when it is clicked several
times:
To see specific examples of how these buttons affect the notation and performance of notes, see
See Displaying As-Performed Attack and Release Offset Data 508 for an explanation of the Save and
Apply Duration Adjustments command.
8.1.1.4 Displaying As-Performed Attack and Release Offset Data
Sometimes you may need to edit the timing of notes with greater accuracy than is graphically
displayed by the Piano Roll Notation. If so, you can also display numeric information for notes that
indicates how much the as-performed timing deviates from the as-notated representation. This is
called the timing "offset".
T o d is p la y nume ric d a ta fo r the timing o f no te s :
1. Navigate to the Piano Roll Palette.
-- OR --
Type SHIFT + Y.
2. In Select Mode 162 , move the mouse over any note (without clicking).
Co mp o s e r will display the offsets of the as-performed from the as-notated attack and release
508 , as illustrated below:
There are two numbers separated by a slash ( / ) character. The first number indicates how
many ticks the as-performed attack of the note differs from the as-notated attack. The second
number indicates how many ticks the as-performed release (end) of the note differs from the
as-notated release.
In Co mp o s e r, there are 480 ticks per quarter note. Thus, there are 60 ticks in a 32nd note,
because there are eight 32nd beats in a quarter note, and 480 ticks divided by 8 is 60.
In the example above, the quarter note is actually played 28 ticks before its notated location at
the third quarter note beat of the second measure. Thus, the note is played about a 64th note
early. The end of the note is played 67 ticks after its notated value. Thus, the end of the note is
released about a 32nd note later than its notated duration indicates. This means that the note
was played with some legato, overlapping the next note.
3. Click a single note to display its timing information in the status bar.
For example, this is what the status bar looks like if the highlighted third quarter note in the
second measure above is clicked:
The status bar displays the same timing offset information (-28/+67) for the note as that which is
displayed when you move the mouse over the note. The status bar also shows the measure,
beat, and sub-beat for the as-notated attack and release of the note. In this example, the note
begins at the third beat of the second measure, and ends at the fourth beat. The first beat in a
measure is indicated as 0 rather than 1.
4. To display the average timing of several notes, drag the mouse over the notes to select them.
In the status bar, Co mp o s e r displays the average deviations of the as-performed attacks
and releases from the as-notated attacks and releases of the notes.
For example, this is what the status bar looks like when these five notes are selected:
The five notes are played at an average of 23 ticks late. The as-performed releases of the
notes are an average of 35 ticks later than the as-notated durations.
Some ways that you can use this information are:
Learn about whether your performed recordings on the keyboard tend to lag behind the
metronome. You can use this as a tool for improving your performance skills.
If the attack offset is large, you might want to "snap" (quantize) the as-performed to as-
notated attacks 513 , to create the musical effect of "crisp" rhythms. Or, you might want to
shift the attacks to the left or right so that the natural human feel (per-note offsets) of the
performance is preserved, but the notes overall are played closer to the beat.
You can preview the duration offset information before saving and applying the offsets to
another selection of notes 516 .
8.1.1.5 Editing As-Performed Attack Location and Duration
The as-performed attack location and duration of a note can differ from its as-notated location and
duration. Co mp o s e r offers several commands that enable you to change the as-heard timing of the
note independently of its notated location and duration. You can also "snap" (quantize) the as-
performed attack and/or release of a note to be exactly the same as its as-notated location.
As you edit the as-performed attack and duration of a note, Co mp o s e r enables you to clearly see the
results in Piano Roll Notation 501 . You can also use the Show Attack and Release Offsets command
508 to see a numeric comparison between the as-performed and as-notated attacks and releases of
notes.
T o c ha ng e the a s -p e rfo rme d d ura tio n o f o ne o r mo re s e le c te d no te s , while le a v ing the
a s -no ta te d d ura tio n o f the no te s unc ha ng e d :
-- OR --
Type SHIFT+Y.
2. Click the Edit As-Performed Only button in the piano roll editing palette, as illustrated above.
-- OR --
Or type "ep" for edit performance.
3. As you move the mouse over a notehead, Co mp o s e r will display the offsets of the as-
performed attack and release from the as-notated attack and release 508 , as illustrated below.
The as-performed attack is 24 ticks after the as-notated attack; and the as-performed release
is19 ticks before the as-notated release:
In Co mp o s e r, there are 480 ticks per quarter note. Thus, there are 32 ticks in a 64th note. In
the above example, the attack of the first note of the triplet is somewhat less than a 64th note
after the as-notated location of the note at the fourth beat of the 4:4 meter measure.
4. Drag the mouse to select the notes 264 for which you wish to edit the as-performed durations.
The color of the piano roll for the selected notes changes from yellow to blue.
5. Decrease or increase the as-performed duration of the notes by doing one of the following:
(a) Click the Decrease Duration or Increase Duration button in the piano roll palette, one or
more times:
-- OR --
(b) While holding down the "D" key (for duration), type the or key one or more times to
decrease or increase the duration. Hold down the arrow key to continually decrease or
increase the duration until you release the key. This method is far more convenient than
using the menu commands.
-- OR --
(c) Use any of the following keyboard shortcuts:
S ho rtc ut D e s c rip tio n E xa mp l

e
d+{ticks} Increase duration d+20 Increase duration by 20
ticks
d-{ticks} Decrease duration d-12 Decrease duration by
12 ticks
d={ticks} Set duration d=202 Set duration to 202 ticks
d%{percent} Change duration by d%120 Increase duration by

percentage 20%
N OT E : There are 480 ticks in a quarter note. For example, an 8th note has 240 ticks. The
shortcut "d=202" sets the performed duration of the note(s) to somewhat less than the full
duration of an 8th note.
In the following example, three notes in a triplet are selected:
The status bar reports that the as-performed attacks are an average of 10 ticks after the as-notated
attacks. The as-performed releases are an average of 28 ticks before the as-notated releases.
After typing D+ several times, or after typing "d-28" to decrease the duration by 28 ticks, the as-
performed durations of the three notes are shortened and look like this:
The above status bar reports that the as-performed releases are an average of 56 ticks before the as-
notated releases instead of 28 ticks. The as-performed attacks have remained unchanged.
T o c ha ng e the a s -p e rfo rme d a tta c k o f o ne o r mo re s e le c te d no te s , while le a v ing the

a s -no ta te d lo c a tio n o f the no te s unc ha ng e d :
1. Follow steps #1 and #2 above.
2. Move the attacks of the notes left or right by doing one of the following:
(a) Click the Move As-Performed Attack Left or Move As-Performed Attack Right button in the
piano roll palette, one or more times:
(b) While holding down the "A" key (for attack), type the or key one or more times.
Hold down the arrow key to continually move the attack to the left or right until you release
the key. This method is far more convenient than using the menu commands.
-- OR --
(c) Use one of these keyboard shortcuts:

e
a+{ticks} Move attack to right a+20 Move attack right by 20
ticks
a-{ticks} Move attack to left a-12 Move attack left by 12
ticks
Using the same example as above, the as-performed attacks of the three notes look like this after
typing A+ several times, or by typing "a-15":
T o s hift b o th the a s -p e rfo rme d a tta c k a nd d ura tio n o f o ne o r mo re s e le c te d no te s to

the le ft o r rig ht, while le a v ing the a s -no ta te d lo c a tio n o f the no te s unc ha ng e d :
1. Follow steps #1 and #2 in the first procedure in this topic.
2. Shift the notes left or right by doing one of the following:
(a) Click the Shift Note Left or Shift Note Right button in the piano roll palette, one or more
times:
-- OR --
(b) While holding down the SHIFT key (for "shift"), type the or key one or more times.
Hold down the arrow key to continually shift the note to the left or right until you release the
key. This method is far more convenient than using the menu commands.
-- OR --
(c) Use one of these keyboard shortcuts:

e
s+{ticks} Shift note (attack and release) s+20 Shift note right by
to right 20 ticks
s-{ticks} Shift note (attack and release) s-12 Shift note left by 12
to left ticks
8.1.1.6 Quantizing the Performance of Notes
The term "quantize" was introduced many years ago in MIDI sequencing hardware and software.
Historically, the term "quantize" has meant: "round off the note locations to nearest beat or subbeat".
The user would be able to choose the resolution of quantization, such as 16th notes or 32nd notes.
Co mp o s e r offers a far more powerful method of quantizing notes than merely rounding off their
locations to the nearest beat or subbeat. Because Co mp o s e r integrates MIDI sequencing and
notation, Co mp o s e r can offer you a way to quantize notes based on the notation.
Co mp o s e r does an excellent job transcribing the rhythms of notes, based on analysis that is far more
musical and careful than simply rounding note locations to the nearest, say, 16th note beat. Once
Co mp o s e r has transcribed the performance of notes to notation, you can then "clean up the
performance" so that the notes are played exactly at the locations as notated. If Co mp o s e r does not
perfectly transcribe the rhythms, you can correct the notation of the rhythms before requesting
Co mp o s e r to adjust the performance to match the notation.
Thus, in Co mp o s e r, "quantize" means "play the notes as notated". To avoid the association of this
feature with older music technology's definition of the term "quantize", Co mp o s e r uses the term
"snap" instead. In Co mp o s e r, you can snap the performance of a note to its notation.
T o s e t the a s -p e rfo rme d a tta c k , o r re le a s e , o r b o th a tta c k a nd re le a s e o f o ne o r mo re
s e le c te d no te s to c o inc id e e xa c tly with the a s -no ta te d lo c a tio ns :
-- OR --
Type SHIFT+Y.
2. Snap the as-performed attacks and/or releases to the as-notated locations by doing one of
the following:
(a) In the Piano Roll Palette, click one of three Snap-To buttons in the piano roll palette, one
or more times:
-- OR --
(b) To snap only the attack, type A+ . To snap only the release, type R+ . To snap both
the attack and the release, type S+ .

Using the same example in the previous topic, the piano roll for the three notes looks like this after
typing S+ (or both A+ and D+ ):
Notice how the status bar reports that the average offsets for the attacks and releases are both zero.
This means that indeed the as-performed attacks and releases have been set to exactly the as-
notated locations.
8.1.1.7 Changing Only the As-Notated Location and Duration
The previous topics describe how you can change the exact as-performed timing of a note-- its attack
and release-- while leaving its notated location and duration unchanged. This topic describes the
converse case, that is, how you can change the as-notated location and duration of the note without
changing the as-performed timing of the note.
The procedures for changing the as-notated location and duration of a note are quite similar to those
for changing the as-performed attack and release of a note. The main difference is that you select the
As-Notated palette before you use commands such as Move Attack Right, or their keyboard short-
cuts (A+ ).
T o c ha ng e the a s -no ta te d d ura tio n o f o ne o r mo re s e le c te d no te s , while le a v ing the
a s -p e rfo rme d d ura tio n o f the no te s unc ha ng e d :
-- OR --
Type SHIFT+Y.
2. Click the Edit As-Notated Only button in the piano roll editing palette, as illustrated above.
-- OR --
Or type "en" for edit notation.
3. Drag the mouse to select the notes 264 for which you wish to edit the as-notated durations.
4. Decrease or increase the as-notated duration of the notes by doing one of the following:
(a) Click the Decrease Duration or Increase Duration button in the Piano Roll Palette:
-- OR --
(b) While holding down the "D" key (for "duration"), type the or key to decrease or
increase the duration.
The following example shows the effect of decreasing the as-notated duration of a note.
Notice how the as-performed duration of the note remains as a full quarter note duration:
T o mo v e the a s -no ta te d a tta c k o f o ne o r mo re s e le c te d no te s , while le a v ing the a s -

p e rfo rme d a tta c k o f the no te s unc ha ng e d :
1. Follow steps #1 through #3 above.
2. Move the attacks of the notes left or right by doing one of the following:
(a) In the Note menu, select the Attack and Release submenu and its Move Attack Only
submenu. Choose the Move Attack Left or Move Attack Right command.
-- OR --
(b) Click the Move Attack Left or Move Attack Right button in the Piano Roll Palette:
(c) Type A+ or A+ .
The following example shows the effect of moving the as-notated attack of a note to the right.
Notice how the performed attack of the note remains at the beginning of the measure:
T o s hift the no te to the rig ht o r le ft, while le a v ing its a s -no ta te d d ura tio n unc ha ng e d ,
a nd le a v ing its a s -p e rfo rme d timing unc ha ng e d :
1. Follow steps #1 through #3 above.
2. Shift the note left or right by doing one of the following:
(a) Click the Shift Note Left or Shift Note Right button in the piano roll palette,:
-- OR --
(b) Type SHIFT+ or SHIFT+ .

The following example shows the effect of shifting the note to the right. Notice how the as-
performed start of the note still lies at the beginning of the measure, and the duration extends
to the end of the first quarter note beat of the measure, rather than to the end of the newly
shifted note.
8.1.1.8 Saving and Applying Note Duration Adjustments
As you add a new note to a score, its as-notated duration is determined by your prior selection of a
duration value in the Note Palette (or by an equivalent keyboard command). What determines the as-
performed duration of a newly added note? By default, the as-performed duration is slightly less than
the as-notated duration. Notes that follow one another will play with only slight gaps between them.
Often this is not what you will want. You may want a more crisp sound, with longer gaps of silence
between them. Or, alternatively, you might want the notes to be played as legato, so that the as-
performed duration of one note somewhat overlaps the beginning of the next note.
After you add a note, you can individually adjust its as-performed duration. You can also select
several notes and change their as-performed durations all together with a single series of D+ or D+
commands. See Editing As-Performed Attack Location and Duration 509 . That method can
become somewhat tedious, however, if you find that you typically want to shorten or extend the as-
performed durations by the same amount.
Co mp o s e r offers a convenient shortcut for determining the as-performed duration of notes as you
add the notes. You can request Co mp o s e r to memorize how as-performed durations differ from as-
notated durations for different note duration values. For example, maybe newly added quarter notes
should always have an as-performed duration that is roughly a sixteenth note duration (120 ticks)
shorter than the full 480-ticks duration of the quarter note. The difference between the as-performed
duration and as-notated duration is called a note duration adjustment. You can specify note duration
adjustments for note durations ranging from a 64th note to a whole note, including triplets.
You can use Co mp o s e r's Note Duration Adjustment dialog box to manually enter the note adjustment
values for different as-notated durations. In the example below, the note duration adjustments are all
approximately one fourth of the as-notated durations. For example, the adjustment for a 480-tick
quarter note is -118 ticks. Later in this topic, the procedure for using this dialog box will be described.
As you add notes to a score, you may want to apply different note duration adjustments depending on
whether, for example, the passage is for staccato versus legato playing. This is easy to do with
Co mp o s e r. The first time you add notes for a staccato passage, you will manually edit their as-
performed durations. Then you select all of the notes in the passage and ask Co mp o s e r to
memorize the average note duration adjustment for the various note sizes found in the passage. This,
in effect, fills in values in the above dialog box. (Actually, you will rarely need to directly use the Note
Duration Adjustment dialog box.) The next time you add notes, they will be added with staccato
durations. Also, as you change the as-notated durations of notes, Co mp o s e r automatically applies
the memorized note duration adjustments.
Once Co mp o s e r has memorized the note duration adjustments, you can select another group of
notes and apply the memorized note duration adjustments to those selected notes. This feature
essentially provides edit copy/paste functionality for just note duration adjustments.
The most recently memorized note duration adjustments are saved in a song's Note (.not) file. While
editing one song, you can borrow the note duration adjustments saved in another song.
All of the above features are described in the procedures below.
T o d ire c tly v ie w a nd e d it the no te d ura tio n a d jus tme nt ta b le :
-- OR --
Type SHIFT+Y.
2. Click the Apply and Save Duration Adjustments button in the Piano Roll Palette:
3. In the Piano Roll Palette, click the Edit Note Duration Adjustments Table button.
-- OR --
In the Note menu, choose the Attack and Release submenu. In the submenu choose the Edit
Note Duration Adjustments Table command.
-- OR --
Type "eda" for Edit Duration Adjustment.
Co mp o s e r will display the Note Duration Adjustment table, such as illustrated earlier in this
topic.
4. For different as-notated durations (indicated with note symbols), enter values that represent
the offset of the as-performed duration from the as-notated duration. Often these values are
negative, so that the as-performed durations are shorter than the as-notated durations.
5. To set all of the note duration adjustments to zero, click the Clear button.
6. To borrow the note duration adjustments saved in another Note (.not) file, click the Import
button.
T o a p p ly the me mo rize d no te d ura tio n a d jus tme nts to a s e le c tio n o f no te s :
1. Enter Select Mode.
2. Select one or more notes 264 .
3. Optionally choose a Piano Roll Notation option that lets you see the as-performed durations
of the notes displayed as piano roll rectangles.
4. In the Note menu, choose the Attack and Release submenu. In the submenu choose the Apply
Note Duration Adjustments command.
-- OR --
Type "ada" for "Apply Duration Adjustments".
Co mp o s e r will apply different duration adjustments to the selected notes according to their
distinct as-notated durations.
In the following example, several notes are selected with different as-notated durations. Initially, their
as-performed durations are exactly the same as their as-notated durations:
The note duration adjustment table shown earlier is now applied to the above selected notes. Recall,
the note duration adjustment table shortens the length of each note by approximately one quarter.
Here is the result of applying the note duration adjustments:
T o me mo rize the no te d ura tio n a d jus tme nts fo r a s e le c tio n o f no te s :

1. Open the Piano Roll Palette, following step #1 in the first procedure of this topic.
3. In the Note menu, choose the Attack and Release submenu. In the submenu choose the Save
Note Duration Adjustments command.
-- OR --
Type "sda" for Save Duration Adjustments.
Co mp o s e r will identify all of the different as-notated note lengths among the selected notes.
For each distinct as-notated note length, rounded to the nearest common duration (such as an
eighth note or quarter note, or triplet value), Co mp o s e r will compute the average offset of the
as-performed duration from the as-notated duration. It will save these values in the note
duration adjustment table that is displayed by the Note Duration Adjustment dialog box. For
as-notated durations that are not included among the selected notes, Co mp o s e r leaves the
adjustment values unchanged in the table.
In the following example, several notes are selected with different as-notated durations:
After choosing the Save Note Duration Adjustments command, or typing "sda", the note duration
adjustment table looks like this:
In this example, the note duration adjustment table had been cleared (with zero adjustment values)
before the Save Note Duration Adjustments command was applied. Notice that there are entries in the
table only for note durations that were found among the selected notes.
Once you have saved the note duration adjustments for one selected group of notes, you can apply
them to another group of notes. For example, shown below is a second group of notes newly selected.
These notes happen to have as-performed durations that are exactly as long as the as-notated
durations:
The Apply Note Duration Adjustment command changes the as-performed durations of the selected
note according to the previously saved table values. The result looks like this:
8.1.2 Viewing and Editing the Loudness of Notes

8.1.2.1 Viewing the Loudness of Notes While Annotating the Score
Sometimes you might want to s e e how loud the notes are as you are annotating the score. For
example, as you are adding accent marks for notes, you can view the velocity vectors of notes to see
which ones are relatively loud and therefore should have "strong accent" ( > ) marks.
T o v ie w the lo ud ne s s (v e lo c ity v e c to rs ) o f no te s while y o u a re a nno ta ting a s c o re :

In the View menu, click "Show loudness (note velocity)"
-- OR --
Type CTRL + SHIFT + V. (Note: SHIFT +V is the shortcut for the Velocity Vector Palette).
Co mp o s e r will display note velocity vectors, such as illustrated here:
A velocity vector is a line pointing about 45 degrees up and to the right from the notehead. The length of
the line indicates the loudness of the note. The longer the line (vector), the louder the note.
8.1.2.2 Editing the Loudness of Notes
Sometimes the notation for a song will look great, but on playback it will sound rather mechanical and
lack feeling. With Co mp o s e r, you can easily view and edit the loudness of one or multiple selected
notes, to add "feeling" to the performance. Technically, the loudness of a note is its MIDI note-on
velocity-- a value that ranges from 1 to 127.
N OT E : In Co mp o s e r, you can set the velocity of a note to zero (0) so that it will be silent.
If you click the Note Velocity tab in the main palette, Co mp o s e r will display the loudness of each note
as a vector, that is, a line pointing about 45 degrees up and to the right from the notehead. The length
of the line indicates the loudness of the note. The longer the lines, the louder the notes:
The status bar indicates how much the loudness of the notes increases or decreases over the
selected range. Also, it reports the "contrast" of the note loudness. The contrast of note loudness is
somewhat similar to the contrast of colors on a television. On a television, if the contrast is low, there is
less of a difference between light and dark. Similarly, it the contrast of loudness is low, then there is
less of a difference between soft and loud notes. If the contrast is high, the notes have a wide variety
between soft and loud.
You can also point the mouse (without clicking) at any note to see what its exact loudness is, as
illustrated:
Co mp o s e r offers a variety of commands to:

Increase or decrease the loudness of one or more selected notes.
Increase the loudness of just the melody notes (highest notes in chords), or decrease the
loudness of non-melody notes.
Gradually increase or decrease the loudness of selected notes over their range in the score;
that is, create a crescendo or decrescendo.
Set the default loudness that will be applied to newly added notes.
For a selection of notes, change the loudness of all of the notes to the average of their
loudness.
Increase or decrease the contrast of loudness among notes, so that the difference in loudness
between the notes is emphasized or deemphasized.
These commands are described below.
Co mp o s e r offers several types of music symbols that denote the loudness of notes: dynamic marks,
crescendo marks, and accents. These music annotations do not, however, affect the as-performed
loudness of notes.
Often it is useful to temporarily increase the loudness of notes in a staff while you are editing them. You
want to hear these notes more distinctly over notes in other staves. For that purpose, use the Select
Staff 175 command. Then use the volume control 161 in the toolbar, or type V+ several times (see
Controlling Overall Volume Level 134 ).
Co mp o s e r also lets you edit the graph of a staff's overall volume level. Editing a staff's overall
volume level is similar to turning a volume knob on a radio, except it is applied to one instrument (staff)
at a time. The distinct loudness of each note is preserved, but the overall volume level of all of the
notes is increased or decreased by the staff's volume level. Sometimes you may find that you cannot
achieve sufficient contrast between loud and soft sections of a song by editing note loudness. In this
case, you should consider editing the staff volume level, rather than individual note loudness, in the
soft versus loud sections of the song. For details, see Editing Per-Staff Channel Volume Level. 554
The remainder of this topic describes procedures for editing the specific loudness of one or more
selected notes.
T o inc re a s e o r d e c re a s e the lo ud ne s s o f o ne o r mo re s e le c te d no te s :
2. Navigate to the Note Velocity Palette.
-- OR --
Type SHIFT+V.
Co mp o s e r will display the Note Velocity Palette:

4. Decrease or increase the loudness (note velocity) of the notes by doing one of the following:
(a) Click the Increase Loudness or Decrease Loudness button in the Note Velocity
Palette.
-- OR --
(b) Type L+ or L+ one or more times to increase or decrease the loudness. Or hold
down the two keys together for a short time to continually increase or decrease the
loudness of the notes. It is much more convenient to use the keyboard shortcuts than the
menu commands.
-- OR --
(c) Use any of the following keyboard shortcuts:

e
v+{velocity} Increase v+20 Increase velocity by 20
(use the '+' key loudness units
on the main
keyboard, not
NumPad '+')
v-{velocity} Decrease d-12 Decrease velocity by
(use the '-' key on velocity 12 units
the main
keyboard, not
NumPad '-')
v={velocity} Set velocity v=105 Set velocity to 105
v%{percent} Change velocity v%120 Increase velocity by
by percentage 20%
N OT E : The value for note loudness (MIDI velocity) ranges from0 to 127.
T o inc re a s e the lo ud ne s s o f jus t me lo d y no te s (the hig he s t no te s in c ho rd s ):

1. Follow steps #1 and #2 in the above procedure.
2. Select a region of the score 266 by dragging the mouse while holding down the CTRL key.
-- OR --
Select a list of notes 264 by dragging the mouse without holding down the CTRL key.
In the following example, a region is selected for the first two measures of the right hand of the
piano arrangement of George Gershwin's Rhapsody in Blue:
3. In the Filter Notes in Current Region submenu of the Region or Note menu, choose the Filter
Top Melody Notes command.
Continuing with the above example, the result is:
4. Type L+ key one or more times, or hold down the two keys together for a short time to
continually increase the loudness of the selected notes.
Notice how the loudness vectors for the selected melody notes are now longer, and the
average loudness value, reported in the status bar, has increased:
T o d e c re a s e the lo ud ne s s o f no n-me lo d y no te s :
Follow the same procedure as above, except choose the Filter Non-Melody Accompaniment
Notes in the Range or Note menu, and use L+ to decrease the loudness of the non-melody
notes.
T o a d d a c re s c e nd o o r d e c re s c e nd o o v e r a ra ng e o f s e le c te d no te s :
1. Follow steps #1 and #2 in the first procedure, except select at least two notes.
2. If you want to add a crescendo, and you see in the status bar that the average loudness of the
notes is already high (close to 127), then you should first use the Decrease Loudness (L+ )
procedure to decrease the overall loudness of the notes. Otherwise, there will be no "room" for
the crescendo.
3. In the Note menu, select the Loudness submenu. In the submenu, choose the Crescendo
Across Selected Notes or Decrescendo Across Selected Notes command.
-- OR --
Type L+ (or L+ ) key one or more times for a crescendo (decrescendo).

-- OR --
Click the Crescendo or Decrescendo button in the Note Velocity Palette.

In applying the crescendo or decrescendo, Co mp o s e r preserves the relative loudness
between notes.
For example, suppose we start with the following selection of notes:
The status bar reports a crescendo value of -47. That means that over the range of the selected notes,
the loudness of the notes decrease by 47 out of the total of 128 units of loudness. You can visually
confirm that there is a decrescendo across the notes by observing that the velocity vectors get shorter
across the range.
After first using the Decrease Loudness command some to lower the overall loudness, and then the
Crescendo Across Selected Notes command, the notes look like this:
The status bar now reports a higher crescendo value of 16, as compared to -47 before. Notice how the
loudness vectors, on the average, get slightly longer going from the first measure to the second.
T o s e t the d e fa ult lo ud ne s s fo r ne wly a d d e d no te s :
1. Click on the Note Velocity tab.
2. In the Loudness menu, select the "Set loudness for new notes" command.
3. Enter the numerical value (if different) and check the "Use the above loudness (MIDI velocity)
for all newly added notes" and click "Ok" to save.
4. Add any number of notes. They will all be assigned the loudness value that you saved.
T o c ha ng e the lo ud ne s s o f a s e le c te d g ro up o f no te s to the ir a v e ra g e lo ud ne s s :
1. Follow steps #1 and #2 in the first procedure, selecting one or more notes.
2. In the Note menu, select the Loudness submenu. In the submenu, choose the Set Loudness to
Average command.
-- OR --
Type "la" for loudness average.
T o c ha ng e lo ud ne s s o f a s e le c te d g ro up o f no te s to s o me s p e c ific v a lue :
1. Follow the above procedure for changing the loudness of the notes to their average. The
notes will then all have the same loudness value, although perhaps not the value you desire.
2. Use the Increase Loudness or Decrease Loudness command to increase or decrease the
loudness for all of the selected notes at once, until the status bar reports the desired loudness
value.
-- OR --
Click the Constant Velocity (Loudness) button in the Note Velocity Palette, or type "v".
Co mp o s e r will display a simple dialog box in which you enter the note velocity value for the
selected notes.
T o inc re a s e o r d e c re a s e the c o ntra s t o f lo ud ne s s b e twe e n two o r mo re s e le c te d
no te s :
1. Follow steps #1 and #2 in the first procedure, selecting two or more notes.
2. In the Note menu, select the Loudness submenu. In the submenu, choose the Increase
Loudness Contrast or Decrease Loudness Contrast command.
-- OR --
Type C+ or C+ key one or more times ("C" suggests "crescendo").

-- OR --
Click the Increase Contrast or Decrease Contrast button in the Note Velocity Palette.
The following example shows the result of increasing the contrast for the notes in the original example.
The contrast has been increased from 10 to 24:
Notice how the loudness vectors for soft notes are shorter than before, and the loudness vectors for
loud notes are longer than before. The contrast between the soft and loud note has increased.
8.1.2.3 Filtering Notes Based on Notation
As you edit the as-performed attack and duration of notes 509 , or edit the loudness of notes 521 , you
may find it useful to select notes based on their musical roles and how they are notated:
top melody notes -- the top note of chords
non-melody accompaniment notes -- all but the top note of chords
upper voice notes
lower voice notes
accent mark
An example of this is demonstrated in the previous topic, Editing the Loudness of Notes 521 . In that
example, top melody notes were first selected, and their loudness was increased, and the loudness of
the non-melody accompaniment notes was left unchanged.
Another example is a case where you want to shorten the as-performed duration of all notes in a
region that have a staccato mark. You can easily select just the staccato notes, and then follow the
instructions in Editing As-Performed Attack Location and Duration 509 to decrease the as-performed
duration of the notes.
Selecting notes in a region based on the criteria listed above is called "filtering" in Co mp o s e r. If you
have used a MIDI sequencing program, then you may have used a filtering function in it. But that
filtering function is based on the performance (MIDI) data for the notes, rather than the notation or
musical role of the notes. Co mp o s e r has a filtering function that removes very soft or short notes. This
is the Remove Silent Notes 312 command. However, Co mp o s e r also enables you to filter notes
based on their musical role or how they are notated.
T o s e le c t jus t the me lo d y , a c c o mp a nime nt, up p e r v o ic e , o r lo we r v o ic e no te s in a
re g io n:
1. Select the region 266 , by holding down the CTRL key while dragging the mouse over a range
of measures and beats.
The selected region will be highlighted with a gray background.
2. In the Region menu, open the submenu for Filter Notes in Current Region, and choose any one
of the commands for Top Melody Notes, Non-Melody Accompaniment Notes, Upper Voice,
or Lower Voice.
The selected notes will be highlighted in blue. Edit whatever aspect of the selected notes you
wish.
T o s e le c t no te s tha t ha v e a s p e c ific ty p e o f a c c e nt ma rk :
1. Select the region 266 , by holding down the CTRL key while dragging the mouse over a range
of measures and beats.
The selected region will be highlighted with a gray background.
2. In the Region menu choose the Filter Notes According to Selection Criteria command.
-- OR --
Type "qfn" for Quick Filter Notes.
Co mp o s e r will display the Note Selection Filter dialog box:
3. In the Note Selection Filter dialog box, choose "Notes With Accent Mark", and select the type
of accent. Click the OK button.
The selected notes will be highlighted in blue. Edit whatever aspect of the selected notes you
wish, typically the as-performed duration and/or attack 509 , or the note loudness 521 .
8.2 Inserting a Sound Change in the Middle of a Staff
For most MIDI files that you might download from the Internet, each staff is assigned a single instrument
sound. Technically, each staff is assigned to a particular MIDI program (patch) and perhaps MIDI
bank. Some MIDI files may include mid-staff sound changes, that is, mid-staff MIDI program changes.
In general, you will not find mid-staff MIDI program changes for General MIDI (GM) files. But you might
find mid-staff MIDI program changes in MIDI files that have been prepared for specific MIDI
keyboards, sound modules, or sound libraries.
A common example where you might find a mid-staff sound change is where a violin or string
instrument switches from normal bowing to pizzicato.
If you have a MIDI output device that includes, for example, pizzacaio string sounds, then you will likely
enjoy enhancing the performance of your piece by including mid-staff sound changes.
Here is an example of what a mid-staff sound change looks like in Co mp o s e r:
Normally, the instrument sound change symbol is not displayed in the score, and there is no text for a
sound change.
If there is text associated with an instrument sound change, and you turn off the display of instrument
sound change symbols, then just the instrument sound change text is displayed, as illustrated here:
T o v ie w the mid -s ta ff ins trume nt s o und c ha ng e s y mb o ls a nd MID I d e ta ils :

1. Click the Sound Changes tab in the main palette.
-- OR --
Type SHIFT+I (upper-case "i").
2. Click the Show Instrument Sound button in the Instrument Sound Palette.
-- OR --
Type "qsis" for Quick Show Instrument Sounds.
Co mp o s e r will show the instrument sound symbol, as illustrated here:
3. To view the MIDI details for the instrument sound change, namely the MIDI bank and MIDI
program change, move the mouse over the symbol. The MIDI details will be shown at the
mouse cursor:
T o a d d a mid -s ta ff ins trume nt s o und c ha ng e :

1. With the mouse, navigate to the Instrument Sound Change Palette, or type SHIFT+I, as
described in step #1 in the above procedure.
Co mp o s e r changes the mouse cursor to indicate Add Mode 162 with this shape:
2. Click the mouse at the location where you want to add the mid-staff instrument sound change.
Co mp o s e r will display the Instrument Sound Change dialog.
3. In the Instrument Sound Change dialog, choose any MIDI bank and instrument sound (MIDI
program) available for the MIDI device to which the staff is assigned.
T o mo v e a n ins trume nt s o und c ha ng e :
1. Select the instrument sound change object.

2. In the Instrument menu, select the Shift Instrument Sound Change Right (Left) to move the
instrument sound change to the next (previous) note.
-- OR --
Click the Instrument Sound Change Right (or Left) button.

-- OR --
Type Shift + (or ).

You can optionally associate text with the instrument sound change. Even when the instrument sound
change symbol is hidden (i.e. when the Show Instrument Sound button is not selected), the
instrument sound change text will be displayed in the score, just like normal text. You can choose a font
face and size, and bold or italic characteristic. The example used in this topic provides a good
illustration of where it is useful to assign the text pizz to the instrument sound change for string pizzicato.
In this version of Co mp o s e r, you cannot freely move the instrument sound change text as you can
free text 458 objects. If you need the flexibility to move the text associated with an instrument sound
change, then you can create a separate free text object, which is independent of the instrument sound
change object.
T o a s s o c ia te te xt with a n ins trume nt s o und c ha ng e , a nd to fo rma t tha t te xt:
1. As you add the new instrument sound change, enter the text in the first field of the Instrument
Sound Change dialog box.
-- OR --
Select an existing instrument sound change object. Then click the Instrument Sound
Change Properties button, or type SHIFT+Enter. Co mp o s e r will display the Instrument

Sound Change dialog box. Enter the text in the Display Text in Score box of the dialog.
2. To change the font face, size, or bold or italic characteristic of the text, follow the procedure for
Selecting Font Type, Size, and Properties 440 . The procedure for editing the font properties for
the instrument sound change text is the same as for other types of text 435 .
8.3 Viewing and Editing Graphs of the Musical Performance

In Co mp o s e r, you can graphically edit the following types of music performance data:
tempo 545
per-staff channel volume level 554
left-to-right pan 559
note pitch bend 562
sustain pedal control 567
other MIDI controller data 569
These performance data controllers (MIDI cc events) can tremendously alter the performed sound of a
song file and help you to achieve a more "real life" type of performance or create various effects for
the different instruments. Most playback devices, sound libraries, and soundfonts respond similarly to
some common controllers such as Volume 554 , Sustain Pedal 567 , Pan 559 , and Pitch Bend 562 .
However various devices, and even different soundfonts, can be affected differently with other
controllers such as Modulation Wheel or Expression. Because of this variety, you should experiment
with the different controllers using the MIDI playback device that you intend to use for playing back
your file. You can use the GraphOverNotes(tm) tools described in this section to get the performance
that you want from the MIDI controllers that your MIDI device responds to the best.
Co mp o s e r provides a GraphOverNotes tm Palette with a set of drawing tools for editing any of the
above types of music performance data. For example, a crescendo (a gradual increase in volume) is
displayed as an upward sloping line or curve in the graph of volume level plotted against time in the
song.
The procedures below introduce how to turn graphs on and off, and how to select the type of graph.
It is recommended that you read the next topic, Tutorial On Graphic Music Editing 534 , after reading this
introduction.
You might want to display the graph of, for example, the tempo in your song, even though you don't
intend to edit the tempo graph. For example, as you are adding tempo marks, you might observe an
upward slope in the graph of the tempo and decide to add a corresponding accelerando mark in the
score.
T o d is p la y o ne o f the mus ic a l p e rfo rma nc e g ra p hs a s y o u a re a nno ta ting the s c o re :
1. In the View menu, select one of the "Show ...." types which corresponds to the graph you wish
to see
-- OR --
Type one of the "q" shortcut commands for the graph type.
2. Set a check mark next to the type of performance graph you wish to view..
3. If you wish to see other types of MIDI controller data, such as Mod wheel, or Expression, click
the "MIDI controller" option as shown in the above screen shot, and the following option dialog
will appear:
4. Select the type of graph you wish to view, and click "Ok." The MIDI data graph will now
display on top of the score, so you can see exactly where the performance changes occur
with respect to the notation.
The following example shows how you might use the tempo graph to determine where an Accel tempo
mark is needed:
The horizontal red line in the score is the graph of the tempo throughout the song. At the beginning of
the song, the line slopes upward, indicating an increase in tempo. If you wish to see numerical
information for a graph, then follow click the GraphOverNotes tm tab in the main palette, as described in
a procedure below.
T o v ie w a g ra p h d uring p la y b a c k o f the s o ng :
Just leave the View Graph checkmarked in the View menu command list.
During playback, you can also change the view among any of the six different types of graphs
by clicking one of the graph type buttons, such as the Tempo button.
T o turn o ff the d is p la y o f the g ra p h:
Toggle the View Graph checkmark "off" in the View command list.
If you wish to edit the graph, rather than just view the graph, then you will need to click the
GraphOverNotes tm tab in the main palette.
T o p re p a re to e d it the g ra p h o f s o me ty p e o f mus ic a l p e rfo rma nc e (MID I) d a ta :
1. Click the GraphOverNotes tm tab in the main palette.

-- OR --
Type SHIFT+X.
2. In the GraphOverNotes tm Palette, choose the type of musical performance (MIDI) data you
wish to edit; or type its shortcut.
For example, click the Volume button to view the graph of the volume level for staves.
-- OR --
Type "v" for staff volume.
8.3.1 Tutorial on Graphical Music Editing
Co mp o s e r offers graphical drawing tools for editing these six types of music data: tempo changes,
volume level, left-to-right pan, note pitch bend, sustain pedal, and MIDI controller data.
Co mp o s e r's graphical editing tools operate consistently, regardless of the type of music data. A few
exceptions are noted in topics for the specific types of graphical music data.
The following tutorial shows you how to use Co mp o s e r's graphical editing tools. The tutorial makes a
variety of changes to the volume level graph for a staff. The results of this tutorial are admittedly not
very interesting from a musical point of view. The purpose of this tutorial is to demonstrate how to use
the graphical editing tools rather than why to use them. There are separate topics for each of the six
types of graphical music data that explain the use of the graphical editing tools in the context of why
you might use them to accomplish certain musical results.
In this tutorial, it is not necessary that you draw the graphs exactly as shown. If you do not find it
convenient to follow the tutorial steps while running Co mp o s e r, you will still probably find it useful to
read this tutorial.
P ro c e d ure 1 -- T o s ta rt the tuto ria l:
1. Using the Open MIDI or Note File command in the File menu, open the file
GraphicalEditingTutorial.not in Co mp o s e r's Song directory: \Program Files
\Notation\Composer\Songs.
2. Save a copy of the file with a new name, such as GraphicalEditingTutorial2.not, and
continue working with the copy instead of the original file, in case you or another person
sharing your computer wants to work through the tutorial. For this purpose, use the Save Song
File As command in the File menu.
The song is very simple. It has only one staff and eight measures:
A single GraphOverNotes tm Palette supports editing for each of the five types of graphical music
information.
P ro c e d ure 2 -- T o d is p la y the Gra p hOv e rN o te s t m P a le tte a nd c ho o s e a ty p e o f mus ic

info rma tio n to e d it:

-- OR --
Type SHIFT+X.
2. In the first of the two groups of buttons in the GraphOverNotes tm Palette, click one of the six
buttons for the type of music information you wish to edit.
In this tutorial, click the Volume button if it is not already selected.

-- OR --
Type "v" for staff volume.
Co mp o s e r draws a graph of the selected music information type (staff volume level):
The thick red line is the graph of the staff volume level throughout the song. At the beginning of
the song, the line slopes upward, indicating an increase in volume level, that is, a crescendo. If
you play the song now, you will hear the volume level increase over the first two measures.
The dotted red lines mark the minimum and maximum values. In the case of volume level, the
minimum and maximum values are 0 and 127, which is the range of volume levels defined by
MIDI.
At first, it may concern you that the graph is drawn without any indication of the scale and range
of values. It may also concern you that the short distance on the screen between the minimum
and maximum value might not offer you sufficient precision for editing the graph. The next two
procedures show you how you can gain visibility and precision in editing the graph.
P ro c e d ure 3 -- T o d e te rmine the v a lue o f the g ra p h a t a ny lo c a tio n in the s o ng :
To view the current value at a particular location, move the mouse cursor there.
In the status bar, Co mp o s e r displays the location of the mouse as a measure/beat/tick, and
displays the exact value of the graph at that location. In the above example, the volume level
is 95 at measure 6, beat 1, tick 225.
When you are viewing rather than editing the graph, it does not matter what the vertical position
of the mouse is.
While editing the graph according to one of the procedures below, the vertical position of the
mouse on the score determines what the newly applied value will be. The report in the status
bar tells you the exact value corresponding to the vertical position of the mouse.
P ro c e d ure 4 -- T o inc re a s e the p re c is io n o f the g ra p h:
Use the Zoom In command in the View menu.
-- OR --
Click the Zoom In button one or more times.

-- OR --
Type Z+ one or more times.

The score and graph are now magnified on the screen so that you can more precisely edit the
graph, as shown here:
If you are viewing or editing the tempo graph, you can also temporarily specify a narrow range
for the minimum and maximum values of the graph, such as 80 to 120 quarter notes per minute.
For details, see Editing the Tempo Graphically 546 .
P ro c e d ure 5 -- T o d ra w a c urv e o n the g ra p h:
1. Choose the Draw Curve command in the Graph Menu.
-- OR --
Type "d" for draw.
-- OR --
Click the Draw Curve button in the GraphOverNotes tm Palette.

2. Move the mouse to where you want to start drawing the curve.
3. Press down the left mouse button.
4. While holding down the left mouse button, drag the mouse around on the graph. You can
move the mouse back and forth horizontally to change a portion of the curve, or to extend the
beginning or end of the range of locations that you are editing.
5. While still holding down the mouse button, you can move it to a different staff for the same
instrument. Co mp o s e r will continuously update the graph as you move the mouse. Changes
you make to the volume level will propagate to the next location where there is another
change of volume level. Thus, sometimes you will observe the graph to the right of the mouse
shifting up or down as you move the mouse up and down. Futher, you may see the graph for
other staves of the same instrument shift up or down as you move the mouse.
For example, draw a curve similar to the one shown below. Notice how the graph drawn to the
right of the mouse moves up and down as you move the mouse up and down and to the right.
Notice also how the graph in the second staff also moves up and down:
6. If, while still holding down the mouse button, you need to move the mouse across staves of
other instruments to reach another staff for the one you started with, Co mp o s e r will wait until
you move the mouse into another staff for the same instrument.
7. If, while still holding down the mouse button, you need to continue drawing on another page, hit
the PAGEDOWN or PAGEUP key. (This might require using your second hand to type the
PAGEDOWN or PAGEUP key.) Co mp o s e r will still continuously update the graph as you
move the mouse on the other page.
8. Release the mouse button when you are done drawing the volume level curve.
P ro c e d ure 6 -- T o d ra w a s lo p e d line o n the g ra p h:
This procedure describes how to draw a sloped line with the mouse. You can also use the
numeric value tool to specify a starting and ending value for a selected region. By that alternative
method, you enter the exact values in a dialog box. See Procedure 10 below.
1. Choose the Draw Sloped Line command in the Graph Menu.
-- OR --
Type "l" (lower-case) for line.
-- OR --
Click the Draw Sloped Line button in the GraphOverNotes tm Palette.

2. Follow the same instructions as above for drawing a continuous curve. The only difference is
that the Draw Sloped Line tool draws a straight line rather than a continuously curved line.
For example, draw an upward sloping line in the fifth measure. Since you are editing the staff
volume level, the musical result is a crescendo in the fifth measure:
P ro c e d ure 7 -- T o d ra w a ho rizo nta l s e g me nt in the g ra p h:

1. Choose the Draw Horizontal Line command in the Graph Menu.
-- OR --
Type "h" for horizontal line.
-- OR --
Click the Draw Horizontal Line button in the GraphOverNotes tm Palette.

2. Move the mouse to where you want to start the horizontal line. The vertical position where you
where click the mouse determines the height of the horizontal line on the graph.
move the mouse back and forth horizontally to extend the line to the left or right. The horizontal
line moves up or down as you move the mouse.
5. Release the mouse button when you are done drawing the horizontal line.
For example, draw a horizontal line across the portion of the graph for which you had previously
drawn a curve:
There are two ways to erase a portion of a graph: (1) by dragging the mouse over an area of the graph
with the erase tool, and (2) by selecting a region and hitting the key. Both methods are described
below.
P ro c e d ure 8 -- T o e ra s e a p o rtio n o f the g ra p h us ing the e ra s e to o l:
1. Choose the Erase command in the Graph Menu.
-- OR --
Type "e" for erase.
-- OR --
Click the Erase button in the GraphOverNotes tm Palette.

2. While holding down the left mouse button, drag the mouse over the portion of the graph you
wish to erase.
<% P R OD % > will draw a horizontal line across the portion that you have erase. The staff
volume level value for the region that you erase will be that value immediately preceding the
erased region.
For example, if,you erase the staff volume level in the second measure, the staff volume level
graph will look like this:
P ro c e d ure 9 -- T o e ra s e a s e le c te d re g io n o f a g ra p h:
1. Select a region 266 of the staff by holding down the CTRL key and dragging the mouse across
the region.
2. Hit the key.

To try out this method of erasing, use the Undo command in the Edit menu to reverse the
erasing you did in the previous step. Select the second measure by dragging the mouse over
it while holding down the CTRL key. Then hit the DEL key. The result will be the same as
shown above.
P ro c e d ure 10 -- T o s p e c ify a n e xa c t nume ric v a lue fo r s o me re g io n o f a s ta ff:
the region.
For example, select the last two measures 7 and 8 of the song.
2. Choose the Enter Numeric Value command in the Graph Menu.
-- OR --
Type "n" for numeric value.
-- OR --
Click the Constant Numeric Value button in the GraphOverNotes tm Palette.

Co mp o s e r will display a dialog box such as the following:
The above dialog box will indicate the staff and region (From Location and To Location) that
you selected. You can optionally change the selection in the dialog box. The dialog box also
shows the current volume level value at the beginning of the selected region. It is 70 in this
example.
3. Enter a new volume level (such as 70 here) that will be applied to the selected region. Volume
level values ranges from 0 to 127, as defined by MIDI.
The result is shown here:
To achieve certain musical intentions, you can stretch a graph to make it wider or narrower,
horizontally or vertically; shift a graph to the right or left; and uniformly raise or lower the graph. For
example, you can horizontally stretch the graph for a crescendo so that it extends over a greater
number of beats in the song. You can vertically stretch a graph for a note pitch bend to make the pitch
go higher or lower over the same duration. The procedures for stretching and shift graphs all include a
step in which you select the region to be stretched or shifted.
P ro c e d ure 11 -- T o s tre tc h a s e le c tio n p o rtio n o f the g ra p h ho rizo nta lly , thus e xte nd ing
the c urv e o v e r a lo ng e r o r s ho rte r ra ng e o f b e a ts in a s ta ff:
1. Select a region 266 in a staff by dragging the mouse while holding down the CTRL key. Start
the mouse drag at the beginning of the region you wish to stretch. If you want to stretch the
selected portion of the graph so that it spans more time, then end the mouse drag at the
location where you would like the stretch to end when you are done. If you want to stretch the
selected portion of the graph so that it spans less time, then end the mouse drag at the end of
the portion of the graph that you want to shrink.
For example, prepare to stretch the crescendo in the middle of the fifth measure so that it will
extend to the end of the sixth measure:
2. To stretch the graph to the right or left, hold down both the CTRL key and or key.
Co mp o s e r will continuously stretch the graph until you release the key. Or, while holding
down the CTRL key, hit the or key one or more times.
For example, hold down the CTRL and keys until the crescendo in the fifth measure
extends to the end of the selected region in the end of the sixth measure:
P ro c e d ure 12 -- T o s tre tc h a s e le c te d p o rtio n o f the g ra p h v e rtic a lly :
Follow the previous procedure, except while holding down the CTRL key, use the or
key, instead of the or key.
A particularly useful application of this procedure is for pitch bend. (In fact, it is the only
graphical data you can stretch vertically.) You can stretch a pitch bend so that it changes the
pitch higher or lower, over the same duration of time,while preserving the overall contour of
increasing and decreasing pitch. For details, see Editing the Pitch Bend of Notes 562 .
P ro c e d ure 13 -- T o s hift a s e le c te d p o rtio n o f the g ra p h to the rig ht o r le ft:
1. As in the previous procedure, select a region of the graph that you wish to shift, including the
area to the right or left into which you wish to shift the graph.
The previous tutorial step resulted in a crescendo that extends from the middle of measure 5
to the end of measure 6. Prepare to shift the first part of the crescendo to the left, so that it will
start at the beginning of measure 5:
2. Hold down the or key to shift the graph to the right or left. Or, hit the or key one
or more times.
For example, hold down the key until the crescendo shifts backward a half measure:
P ro c e d ure 14 -- T o s hift a s e le c te d p o rtio n o f the g ra p h up o r d o wn:

1. Follow the same steps as in the previous procedure, except select the exact region for which
you wish to raise or lower the graph.
2. Hold down the or key to shift the graph upward or downward. Or, hit the or key
one or more times.
You can also copy portions of a graph from one region to another. For example, you can copy a pitch
bend from one note to another in the same staff, or to another staff. You can copy the graphs for
multiple staves at a time. For example, you can copy the volume level graph for all staves from one
section of the song to another. You can even copy graphs from one song to another.
P ro c e d ure 15 -- T o c o p y a g ra p h fro m o ne re g io n to a no the r:
1. Select the region you wish to copy.
For example, select measures 5 and 6, as shown below:
2. In the Graph Menu, choose the Copy Graph from Region command.
-- OR --
Type CTRL+C, which is the standard Windows keyboard command for Copy to Clipboard.
3. Select the region you wish to copy the graph into.
For example, select measures 7 and 8, as shown below:
4. Choose the Paste Saved Graph Into Region command in the Graph Menu.
-- OR --
Type CTRL+V, which is the standard Windows keyboard command for "paste from the
clipboard".
The result is shown below. Notice how the shape of the graph in measures 7 and 8 is exactly the
shape of the graph that it was copied from in measures 5 and 6:
8.3.2 Tempo
At any number of locations in a song, you can specify changes in tempo that will be performed during
playback. The tempo changes can be gradual or sudden.
With Co mp o s e r, you can view and edit the tempo graphically. The following example shows the
graph of the tempo for a central theme in George Gershwin's Rhapsody in Blue, which is included as
the file RhapsodyInBlue.not in the installed \Program Files\NotationComposer\Song
directory:
For details in viewing and editing the tempo graphically 546 , see the next topic following this
introduction.
During playback, you can view the current tempo in the toolbar:
During playback you can also dynamically decrease or increase the tempo by changing the tempo
adjustment percentage in the toolbar 159 :
You can also speed up or slow down the playback by typing T+ or T+ . Any adjustments that
you make to the tempo during playback are temporary; that is, they do not affect the permanently
recorded tempo in the score. After you have adjusted the tempo by some percentage, you can
permanently save the revised tempo by using the Keep Adjusted Tempo command in the Tempo
submenu of the Perform menu. For more details about dynamically changing the tempo during
playback, see Viewing and Adjusting the Tempo 133
As an alternative to editing the tempo graphically, you can enter a constant tempo over any range of
the song that you select. You can audition the tempo before you apply it to the range of the song you
have selected. To edit the tempo this way, double-click the tempo indicator in the toolbar with the
mouse. For details, see Applying a Constant Tempo, Accelerando, or Decelerando 551 .
When Co mp o s e r imports a MIDI file, it preserves any tempo changes recorded in the song.
When you create a song from scratch, you can specify the initial tempo and edit any tempo changes
after the start of the song. When you record a portion of a song from your music keyboard, the tempo is
determined not by how fast or slowly you play, but, rather, by the tempo that you have previously
specified in the score. When recording from your music keyboard, you listen to Co mp o s e r's
metronome, or listen to previously recorded staves, in order to synchronize your performance
You can annotate the score with tempo markings, such as Allegro. Just add them as free text, as
described in the topic FreeText 459 . However, these annotations do not affect the tempo as performed
by Co mp o s e r. Therefore, you will typically want to edit the tempo performance to match the tempo
marking.
8.3.2.1 Editing the Tempo Graphically
With graphical editing tools, you can:

Set a constant tempo throughout any portion of the song.
Add the performance of a fermata (long hold of a note).

Set a gradual tempo acceleration or deceleration over some number of measures or beats.
Extend a tempo acceleration or deceleration over a longer range, or compress it into a shorter
range in the song.
Remove tempo changes for any portion of the song.
Uniformly increase or decrease the tempo over some region of the song.
Shift the tempo curve to the right or left.
Copy a tempo curve from one section of a song to another section.
For an overview of using graphical editing tools, see Tutorial on Graphical Music Editing 534 .
T o p re p a re fo r e d iting o f the te mp o g ra p h:

-- OR --
Type SHIFT+X.
2. Click the Tempo button in the GraphOverNotes tm Palette.

-- OR --
Type "t" for tempo.
Co mp o s e r will display a graph of the tempo, such as shown here:
T o find o ut wha t the te mp o is a t a ny lo c a tio n in the s o ng :

Move the mouse cursor to the location in the song.
In the status bar Co mp o s e r will display the tempo at the location of the mouse cursor. See
the above illustration.
As you draw the tempo curve with the mouse, you can view the tempo value in the status bar to see
exactly what the value is. For greater precision while editing the tempo, you can zoom in 178 . You can
also customize the scale of the tempo graph, as described below.
The tempo graph is drawn on top of the first two staves of each system of the score. If there is only one
staff, then the tempo graph is drawn on top of that one staff. The scale for the graph is linear, between a
pair of minimum and maximum values. The dotted red lines mark the minimum and maximum values. If
actual tempo values for the song fall outside of this range, then the graph will be drawn above or below
the dotted lines. By default, the minimum and maximum valuesfor the graph are 20 and 240 beats per
minute. You can change the scale of the graph on a per-song basis. You can also change the default
scale of the tempo graph for newly imported MIDI files or for newly created songs.
T o s e t the s c a le o f the te mp o g ra p h:
1. In the Graph Menu, choose the Tempo Graph Min and Max command.
-- OR --
Type "m" for minimum and maximum.
Co mp o s e r will display this dialog box:
2. Enter the minimum and maximum values that will be used for the scale of the graph.
3. Click the Save for Current Song button to apply the new scale values to the currently viewed
song.
4. Click the Save As Default button to apply the new scale values to any newly created song and
any newly imported MIDI file.
T o s e t a c o ns ta nt te mp o fo r a s ma ll p o rtio n o f the s o ng :
To set a constant tempo for a relatively large portion of the song, follow the procedure in Applying
a Constant Tempo, Accelerando or Decelerando 551 .
The general method for using the horizontal line drawing tool is described in Procedure 7 of the
Tutorial on Graphical Music Editing 534 . The procedure below applies the general method to the
tempo.
-- OR --
-- OR --

2. Move the mouse to where you want to start the new tempo. The vertical position where you
move the mouse determines the tempo value
move the mouse back and forth horizontally to extend the constant tempo value to the left or
right.
5. Release the mouse button when you are done drawing the horizontal line .
T o a d d the p e rfo rma nc e o f a fe rma ta (lo ng ho ld o f a no te ):
Use the previous procedure to change the tempo graph to a lower value for the duration of the
note.
T o s e t a g ra d ua l te mp o a c c e le ra tio n o r d e c e le ra tio n o v e r s o me numb e r o f me a s ure s
o r b e a ts :
the region.
-- OR --

-- OR --

Co mp o s e r will display the Set Tempo in Region dialog box.
3. In the Set Tempo in Region dialog box, enter the starting and ending values for the tempo.
Instead of entering the starting and tempo values from the keyboard, you can use the mouse to
draw an increasing or decreasing tempo line, as follows:
1. Choose the Draw Sloped Line command in the Graph Menu.
--- OR --
Type lower-case "L" for line.
-- OR --
Click the Drawi Sloped Line button in the GraphOverNotes tm Palette.

2. While holding down the left mouse button, drag the mouse across some range of the score.
To add a tempo acceleration, the slope of the line that you draw should be upward. To add a
tempo deceleration, the line should slope downward.
T o e xte nd a te mp o a c c e le ra tio n o r d e c e le ra tio n o v e r a lo ng e r ra ng e in the s o ng , o r
c o mp re s s it into a s ho rte r ra ng e in the s o ng :
the mouse drag at the beginning of the region you wish to extend or compress. If you want to
extend the acceleration or deceleration, then end the mouse drag at the location where you
would like the acceleration or deceleration to end when you are done. If you want to compress
the acceleration or deceleration so that it spans less time, then end the mouse drag at the end
of the current acceleration or deceleration.
2. While holding down the CTRL key, hold down the or key to stretch the graph to the
right or left. Co mp o s e r will continuously stretch the graph until you release the key. Or, while
holding down the CTRL key, hit the or key one or more times.
The general method for horizontally stretching a region of a graph is described in Procedure 11
of Tutorial on Graphical Music Editing 534 .
T o re mo v e te mp o c ha ng e s fo r a ny p o rtio n o f the s o ng :
-- OR --
Type "E" for erase.
-- OR --

2. While holding down the left mouse button, drag the mouse across the desired region of the
score.
As you erase the tempo curve, you will see Co mp o s e r apply the tempo value immediately
preceding the range that you have erased.
The general method for erasing a region of a graph is described in Procedure 8 of Tutorial on
Graphical Music Editing 534 .
T o unifo rmly inc re a s e o r d e c re a s e the te mp o o v e r s o me re g io n o f the s o ng :

1. Select the region 266 in the song for which you wish to increase or decrease the tempo.
2. Hold down the or key to shift the tempo graph upward or downward. Or, hit the or
key one or more times.
T o s hift the te mp o c urv e to the rig ht o r le ft:
1. Select the region 266 in the song for which you wish to shift the tempo graph, including the area
to the right or left into which you wish to shift the graph.
2. Hold down the or key to shift the tempo graph right or left. Or, hit the or key one
or more times.
The general method for horizontally shifting a region of a graph is described in Procedure 13 of
Tutorial on Graphical Music Editing 534 .
T o c o p y a te mp o c urv e fro m o ne s e c tio n o f a s o ng to a no the r s e c tio n:
For an illustration of copying a region of a graph, see Procedure 15 at the end of the Tutorial on
1. Select the region 266 from which you wish to copy the tempo graph.
2. Choose the Copy Graph from Region command in the Graph Menu.
-- OR --
3. Select the region you wish to copy the tempo curve into.
-- OR --
Type CTRL+V, which is the standard Windows keyboard command for Paste from the
Clipboard.
8.3.2.2 Applying a Constant Tempo, Accelerando, or Decelerando
As an alternative to editing the tempo of a song graphically, you can select some range of the song
and enter the exact tempo value from your keyboard. You can specify a constant tempo value for a
selected range in the song, or a continually increasing or decreasing tempo (accelerando or
decelerando) for the selected range. You can hear a preview of the tempo before you apply it to the
song.
T o s e t a c o ns ta nt te mp o , a c c e le ra nd o , o r d e c e le ra nd o fo r s o me ra ng e o f the s o ng :
1. Select a range 266 of the song by holding down the CTRL key and dragging the mouse, as
illustrated here:
2. With the mouse, double-click the tempo button in the toolbar:
-- OR --
If you are viewing the tempo graph 546 :
Choose the Enter Numeric Value command in the Graph Menu.
-- or --
-- or --

Co mp o s e r will display the Set Tempo dialog, as illustrated here:
The dialog indicates the range of the song that you have selected, and the current tempo at
the start and end of the selected range. The starting tempo is 80 quarter notes per minute, and
the ending tempo is 128 quarter notes per minute.
4. Change the "From Location" and "To Location" if you decide to set the tempo for a different
range than the one you selected.
5. Enter a value for the Initial Tempo at the start of the selected range.
-- OR --
Use the slider control to change the value.
6. To apply a constant tempo across the selected range, keep the default choice for "Ending
tempo is same as initial tempo". To apply a continually increasing or decreasing tempo
across the selected range, choose "Ending tempo is different than initial temp", and specify an
ending tempo value.
7. Alternatively to steps #5 and #6, select a percentage by which you wish to adjust the tempo in
the selected region. If, prior to entering this dialog box you had use the Tempo Adjustment
control, such as illustrated below to temporarily change the playback tempo, then the value in
the dialog box for the tempo percentage adjustment will be pre-selected (to, in this example,
75%):
8. You can hear what the tempo actually sounds like by clicking the Audition Tempo button.
Co mp o s e r will temporarily apply the new tempo values to the graph that you see, and
Co mp o s e r will start playing the song at the beginning of the selected range
To stop the audition:
Click the Audition Tempo button a second time.
-- OR --
Click the Cancel button.
-- OR --
hit the SPACE key.
-- OR --
Click the Stop Playback button.

-- OR --
Toggle the Playback button.

If you are not pleased with the audition, enter some other values, and try another audition. After
the audition has stopped, hit the Cancel button if you do not wish to save your most recently
entered tempo values.
9. Click the OK button to save the new tempo values.
8.3.3 Per-Staff Channel Volume Level
With Co mp o s e r, you can edit the overall volume level of a staff. The staff volume level is uniformly
applied to the individual loudness of all notes. The relative loudness of notes 521 in a staff do not
change as the staff volume level changes.
The following example shows the staff volume graph for the right- and left-hand piano staves for the
main theme in George Gershwin's Rhapsody in Blue, (which is included as file RhapsodyInBlue.not in
the installed \Program Files\NotationComposer\Song directory):
Notice above how the slopes of the volume level curve match the notated "hairpin" crescendo and
decrescendo marks 413 in the score.
The volume level of a staff ranges from 0 to 127. Technically, this is MIDI channel volume.
With graphical editing methods introduced in theTutorial on Graphical Music Editing 534 , you can:
Set a single volume level for an entire staff, from the start to the end of the song.
Create crescendos and decrescendos.
Create abrupt changes in volume level, corresponding to notated dynamic markings such as
piano or forte.
Copy the volume level changes, such as crescendos and decrescendos, from one region or
staff to another.
Remove volume level changes from a region of the song.
Stretch the duration of a crescendo or decrescendo to extend it over a longer or shorter range
of beats in a staff.
Shift a crescendo or decrescendo to an earlier or later position in the staff.
Uniformly increase or decrease the overall volume level for a region of the score.
Procedures for accomplishing each of the above musical goals are described later in this topic.
You can make any notes in a staff sound louder or softer either by changing the individual loudness of
the notes, or by changing the staff volume level. Which way should you do it? A good way to answer
this question is to consider the difference between (1) singing a note very softly and later amplifying its
volume and (2) singing a note very loudly and later decreasing its volume. The end result is the both
notes "sound" equally loud; but the qualities of the two notes sound quite different. The same thing
holds true for notes played by acoustic instruments. Also, the same thing may hold true for sounds
produced by your MIDI equipment. The more closely your MIDI equipment simulates real acoustical
instruments, the more apparent will be the distinction between note loudness and volume level.
Many instruments have the ability to increase or decrease the loudness of a held note as it is played.
This effect is particularly dramatic, for example, with bowed strings and brass instruments. To simulate
this effect, you can increase or decrease the volume of the staff over the duration of the long note.
In general, you should attempt to edit the individual loudness of notes so that the quality of the sound
seems right when played at a medium staff volume level. Later, if you want to adjust the relative
volume levels between staves, then you can do so using the procedures described below. The
adjustment of relative staff volume levels is called "mixing" in professional sound studios.
Sometimes, however, you may not be able to achieve sufficient contrast between loud and soft
sections of a song by changing the loudness of notes. In such cases, you can increase the volume
contrast by setting different staff volume levels in the loud and soft sections of the song.
The remainder of this topic describes procedures for various types of editing of volume level in a
song. These procedures refer to general graphical editing techniques introduced in the topic Tutorial
on Graphical Music Editing 534 .
T o s e t a s ing le v o lume le v e l fo r a n e ntire s ta ff, fro m the s ta rt to the e nd o f the s o ng :
controls, choose the Show Staff Controls command in the View menu, or type "qssc" for Quick
- OR --
While holding down the "T" key, click the mouse anywhere on one of the staves. Co mp o s e r
will display a pop-up menu. Choose the Instrument Sound command in the pop-up menu.
If the staff has at least one change in the volume somewhere, then the Staff Setup dialog box
will report the Volume level as "var" for varying. Otherwise, it will report the constant volume
level currently assigned to the staff.
2. In the Volume field, enter the constant volume value (0 to 127) which you wish to apply to the
staff.
Note that you can also assign a constant volume level to an entire staff, or a range within a staff,
following a procedure described later in this topic.
A ll o f the re ma ining p ro c e d ure s in this to p ic fo r e d iting the s ta ff v o lume le v e l b e g in with
the s e two s te p s :

-- OR --
Type SHIFT+X.
2. Click the Volume button in the GraphOverNotes tm Palette.

-- OR --
Type "v" for volume.
T o s e t a s ing le v o lume le v e l, o r c re s c e nd o o r d e c re s c e nd o , fo r s o me ra ng e o f
lo c a tio ns in a s ta ff:
the region.
-- OR --
-- OR --
Click the Numeric Value button in the GraphOverNotes tm Palette.

Co mp o s e r will display the Set Volume in Region dialog box.
3. Enter the start and end volume level numbers in the dialog box, as described in Procedure 10
in the Tutorial on Graphical Music Editing 534 .
-- OR --
Instead of the above procedure, click the Draw Horizontal Line button in the
tm
GraphOverNotes Palette, and draw a constant tempo for some range of the staff's volume
graph. Or, click the Draw Sloped Line button in the GraphOverNotes tm Palette, and draw an
upward or downward sloping line in the staff's volume graph for a crescendo or decrescendo.
T o c re a te a n a b rup t c ha ng e in v o lume le v e l, s uc h a s fo r a p ia no o r fo rte ma rk ing :
-- OR --
-- OR --

2. While holding down the left mouse button, draw a line starting at the location where you want
the volume level to be suddenly higher or lower. For more details, see Procedure 7 in the
Tutorial on Graphical Music Editing 534 .
T o c o p y a c re s c e nd o o r d e c re s c e nd o fro m o ne re g io n o r s ta ff to a no the r:
For an illustration of copying a crescendo, see Procedure 15 at the end of the Tutorial on Graphical
Music Editing 534 .
1. Select the region 266 from which you wish to copy the graph.
-- OR --
3. Select the region to which you wish to copy the graph.
-- OR --
Type CTRL+V, which is the standard Windows keyboard command for Paste from Clipboard.
T o re mo v e v o lume le v e l c ha ng e s fro m a re g io n o f the s o ng :
-- OR --
Type "e" for erase.
-- OR --

2. While holding down the left mouse button, move the mouse across the region for which you
wish to remove the volume level changes, as described in Procedure 8 in the Tutorial on
T o s tre tc h the d ura tio n o f a c re s c e nd o o r d e c re s c e nd o , thus e xte nd ing it o v e r a lo ng e r
o r s ho rte r ra ng e o f b e a ts in a s ta ff:
location where you would like the stretch to end when you are done. If you want to compress
the selected portion of the graph so that it spans less time, then end the mouse drag at the end
of the portion of the graph that you want to shrink.
right or left. Co mp o s e r will continuously stretch the graph until you release the keys. Or, while
For an illustration of stretching a crescendo, see Procedure 11 in the Tutorial on Graphical Music
Editing 534 .
T o s hift a c re s c e nd o o r d e c re s c e nd o to a n e a rlie r o r la te r p o s itio n in the s ta ff:
1. Select a region 266 of the graph that you wish to shift, including the area to the right or left into
which you wish to shift the graph.
or more times.
For an illustration of shifting a crescendo to an earlier or later position in the staff, see Procedure 13
in the Tutorial on Graphical Music Editing 534 .
T o unifo rmly inc re a s e o r d e c re a s e the o v e ra ll v o lume le v e l fo r a re g io n o f the s c o re :
1. Select a region 266 of the graph for which you wish to change the overall volume level.
2. While holding down the CTRL key, hold down the or key to stretch the graph upward
or downward. Or, while holding down the CTRL key, hit the or key one or more times.
For an illustration of uniformly increasing or decreasing the overall volume for a region of the
score, see Procedure 14 in the Tutorial on Graphical Music Editing 534 .
8.3.4 Left-to-Right Pan
Controlling the left-to-right pan is similar to adjusting the left-to-right balance of speakers on a stereo
system. An important difference is that with Co mp o s e r pan is controlled on a per-staff basis.
If your MIDI keyboard or other MIDI input device provides a method of controlling pan as you record,
Co mp o s e r will accurately record the left-to-right pan changes.
The following example shows changes in the pan across three measures. In the first measure, the pan
in the two staves are in the center (exactly between right and left). In the next two measures, the pan in
the first staff gradually moves all the way to the right, and the pan in the second staff gradually moves
all the way to the left.
The range of pan values are 63 to the left, to 63 to the right. Exact center is a pan value of 0.
With graphical editing methods introduced in the Tutorial on Graphical Music Editing 534 , some of the
common ways you can edit left-to-right pan are:
Set a single pan level for an entire staff, from the start to the end of the song.
Create gradual changes in pan between left and right.
Stretch the duration of a gradual pan change to extend it over a longer or shorter range of
beats in a staff.
Shift a gradual pan change to an earlier or later position in the staff.
Uniformly increase or decrease the overall pan level for a region of the score.
Procedures for accomplishing each of the above musical goals are described below. Additional
procedures for editing the left-to-right pan graph are described in terms of general graph editing
techniques in the Tutorial on Graphical Music Editing 534 ,
T o s e t a s ing le p a n le v e l fo r a n e ntire s ta ff, fro m the s ta rt to the e nd o f the s o ng :
controls, choose the Show Staff Controls command in the View menu, or type "qssc" for Quick
- OR --
While holding down the "T" key, click the mouse anywhere on one of the staff's staves.
Co mp o s e r will display a pop-up menu. Choose the Instrument Sound command in the pop-
up menu.
Co mp o s e r will display the Staff Setup dialog box:
If the staff has at least one change in the pan somewhere, then the Staff Setup dialog box will
report the Pan level as "var" for varying. Otherwise, it will report the constant pan level currently
assigned to the staff.
2. In the Volume field, enter the constant pan value (0 to 127) which you wish to apply to the staff.
The center value is 64. The full left pan value is 0, and the full right pan value is 127.
Note that you can also assign a constant pan level to an entire staff, or range within a staff,
following a procedure described later in this topic.
A ll o f the re ma ining p ro c e d ure s in this to p ic fo r e d iting the s ta ff p a n le v e l b e g in with
the s e two s te p s :
1. With the mouse, navigate to the GraphOverNotes tm Palette.

-- OR --
Type SHIFT+X.
2. Click the Pan button in the GraphOverNotes tm Palette.

-- OR --
Type "pa" for pan.
T o s e t a s ing le p a n le v e l, o r g ra d ua l le ft-to -rig ht o r rig ht-to -le ft p a n fo r s o me ra ng e o f
lo c a tio ns in a s ta ff:
the region.
-- OR --
-- OR --
Click the Numeric Value button in the GraphOverNotes tm Palette.

Co mp o s e r will display the Set Pan in Region dialog box.
3. Enter the start and end pan level numbers in the dialog box.
-- OR --
Instead of the above procedure, click the Draw Horizontal Line button in the
tm
GraphOverNotes Palette, and draw a constant pan level for some range of the staff's volume
graph. Or, click the Draw Sloped Line button in the GraphOverNotes tm Palette, and draw an
upward or downward sloping line in the staff's pan graph for a gradual left-to-right or right-to-left
pan.
T o s tre tc h the d ura tio n o f a g ra d ua l p a n c ha ng e to e xte nd it o v e r a lo ng e r o r s ho rte r
ra ng e o f b e a ts in a s ta ff:
location where you would like the stretch to end when you are done. If you want to stretch the
selected portion of the graph so that it spans less time, then end the mouse drag at the end of
the portion of the graph that you want to shrink.
right or left. Co mp o s e r will continuously stretch the graph until you release the key. Or, while
For an illustration of stretching a region of a graph horizontally, see Procedure 11 in the Tutorial on
T o s hift a g ra d ua l p a n c ha ng e to a n e a rlie r o r la te r p o s itio n in the s ta ff:

1. Select a region 266 of the graph that you wish to shift, including the area to the right or left into
which you wish to shift the graph.
or more times.
For an illustration of shifting a region of a graph to an earlier or later position in the staff, see
Procedure 13 in the Tutorial on Graphical Music Editing 534 .
T o unifo rmly inc re a s e o r d e c re a s e the o v e ra ll p a n le v e l fo r a re g io n o f the s c o re :
1. Select a region 266 of the graph for which you wish to change the overall pan level.
2. Hold down the or key to stretch the graph upward or downward. Or, hit the or
key one or more times.
For an illustration of this, see Procedure 14 in the Tutorial on Graphical Music Editing 534 .
8.3.5 Note Pitch Bend
The pitch of a note can be continuously raised or lowered as it plays by degrees much smaller than
normal scale half-steps. This is called pitch bend. The most common example of pitch bend is with
electric guitars, where the guitarist stretches the string by pushing against it sideways with the fretting
fingers. The stretching of the string raises the pitch. The same musical result of pitch bend can be
accomplished with a variety of acoustical instruments, such as other string instruments, saxophones,
harmonicas, and clarinets. Pitch bend is also quite often used with electronic keyboards.
If your music keyboard has a pitch bend wheel, Co mp o s e r will record any pitch bends that you
perform and will play them back.
You can also "punch in" pitch bends. That is, you can first record notes, and then in a second
recording pass, record pitch bends on top of the previously recorded notes.
You can enter pitch bends using graphical editing tools. With just a little practice you will find that you
can draw pitch bend curves that sound as though they were performed live.
Or, if you have captured a live pitch bend and wish to apply it to other notes, you can copy and paste
the pitch bend on top of the other notes.
In the following example, a pitch bend starts as the G above middle-C. At the lowest point in the pitch
bend, it reaches about 30% of the maximum allowed pitch bend.
You should be aware that the pitch bend applies to all notes under the graph. If a chord is playing in a
given staff, then any pitch bend in that staff applies equally to all of the notes in the chord.
If you have recorded or graphically created a pitch bend, there are a variety of ways in which you can
further edit it and copy it to other regions in a staff, as described below.
A ll o f the re ma ining p ro c e d ure s in this to p ic fo r e d iting p itc h b e nd b e g in with the s e two
s te p s :

-- OR --
Type SHIFT+X.
2. Click the Pitch Bend button in the GraphOverNotes tm Palette.

-- OR --
Type "b", "pi" or "pb" for pitch bend.
The following procedure also works for other types of graphical music data that can be recorded from
your keyboard or MIDI pedal controllers.
T o re c o rd p itc h b e nd o n to p o f p re v io us ly re c o rd e d no te s , in a s e c o nd re c o rd ing p a s s :
1. Add a new staff, 185 which will be used to record the new pitch bends. It will be most convenient
if you add this staff immediately below the staff that has the notes to which the pitch bends will
be applied.
2. If the staff with your notes of interest is assigned to the "Auto" MIDI channel, then assign the
staff to a fixed MIDI channel 196 .
3. Assign the new staff (added in step #1) to the same MIDI channel.
4. Select the new staff for recording, and start recording 493 .
5. As you hear the notes played from the previously recorded staff, use the pitch bend control
lever on your music keyboard to play the pitch bends. You do not need to play the notes on
your keyboard. Only play the pitch bends.
Because you assigned both the new staff and the previously recorded staff to the same MIDI
channel in steps #2 and #3, the pitch bends that you play on the keyboard will be merged in
real time with the notes that Co mp o s e r plays back. That is, you will hear your live
performance of the pitch bends applied to the previously recorded notes.
6. Stop the recording.
If you followed the previous procedure, you will now see the newly recorded pitch bends in the
Pitch Bend Graph, as illustrated below:
7. In the newly recorded staff, select a region 266 that has the pitch bends that you want to copy to
the first staff with the previously recorded notes.
8. Type CTRL+C to copy the selected pitch bend graphs to the clipboard.
9. In the original staff with the notes, select a region for the measures and beats.
10. Type CTRL+V to paste the pitch bend graphs from the clipboard.
11. Delete the temporary staff 188 in which the pitch bends were recorded.
T o ins e rt a ne w p itc h b e nd in a s ta ff:
1. In the Graph Menu, choose the Draw Curve command.
-- OR --
In click the Draw Curve button in the GraphOverNotes tm Palette.

-- OR --
Type "d" for draw.
3. While holding down the mouse button, drag the mouse to draw the curve of the pitch bend.
Then release the mouse button.
T o e ra s e a p itc h b e nd c urv e :
1. In the Graph Menu, choose the Erase command.
-- OR --

-- OR --
Type "e" for erase.
2. Move the mouse right before the beginning of the pitch bend curve you want to erase. It does
not matter where you place the mouse vertically. It only matters where you place the mouse
horizontally, to choose the starting point for erasing. While holding down the mouse button,
drag the mouse to the right.
Co mp o s e r will remove the graph for the pitch bend as you drag the mouse to the right.
T o mo v e a p itc h b e nd fo rwa rd o r b a c k wa rd , o r to s tre tc h the d ura tio n o f a p itc h b e nd
s o tha t it e xte nd s o v e r a lo ng e r o r s ho rte r ra ng e o f b e a ts in the s ta ff:
1. Select a region 266 in a staff by dragging the mouse while holding down the CTRL key. Pitch
bends usually apply to a single note or chord. So drag the mouse from the start of the note to
the end of the note, even if the pitch bend does not span the entire note or chord.
In the example below, a region has been selected in preparation for extending the pitch bend
further to the right:
2. Hold down the or key to stretch the graph to the right or left. Or, hit the or key
one or more times. To shift the graph to the right or left, without stretching it, hold down the
SHIFT key while holding down or hitting the or key.
Co mp o s e r will continuously stretch or move the graph until you release the key.
The following illustration shows the result of stretching to the right the graph in the above
example. Because the curve did not start at the beginning of the region, it was necessary to
use a combination of stretch commands and shift commands.
T o s tre tc h a p itc h b e nd , s o tha t it c ha ng e s the p itc h b y a g re a te r o r le s s e r a mo unt o v e r

the s a me d ura tio n:
1. Select a region in a staff, as in the previous procedure.
2. Hold down the or key to increase or decrease the extent of the pitch bend.
The following illustration continues from the previous example with stretching the pitch bend
downward:
T o c o p y a p itc h b e nd fro m o ne no te , c ho rd , o r ra ng e o f no te s to a no the r:

1. Select the region 266 from which you wish to copy the graph, by holding down the CTRL key
and dragging the mouse. Typically the region starts at the beginning of a note or chord that
has a pitch bend, and ends at the end of that note or chord.
2. Choose the Copy Graph From Region command in the Graph Menu.
-- OR --
Type CTRL+C, which is the standard Windows key combination for Copy to Clipboard.
3. Select the region to which you wish to the copy the graph.
-- OR --
Type CTRL+V, which is the standard Windows key combination for Paste from Clipboard.
8.3.6 Sustain Pedal Control
The sustain pedal MIDI control is equivalent to the right-most pedal on a piano, which holds the sound
of a note until you release the pedal. An important difference is that the MIDI sustain pedal control only
allows for completely up or down. Half-pedal techniques on accoustic pianos cannot be simulated with
the MIDI sustain pedal control.
If your MIDI keyboard or controller includes a connection to a MIDI sustain pedal, then Co mp o s e r will
record your pedal actions along with your keyboard performance.
The sustain pedal is applied on a per-staff basis. A keyboard part is typically divided into right- and
left-hand staves. If you wish a sustain pedal action to apply to both the right- and left-hand staves, then
you will need to separately add that sustain pedal action to the same region in both staves.
The following example shows how a sustained arpeggiated (rolled) chord can be notated and
performed two alternative ways. First, the sustained notes can be written out with note values and note
ties that span the full duration of the chord. Second, the sustained notes can be written using short note
values, and the sustain can be accomplished with the sustain pedal:
Only two values are possible for the sustain pedal: on (or "pedal down") and off (or "pedal up").
With graphical editing methods introduced in theTutorial on Graphical Music Editing 534 , you can:
Set the sustain pedal to the "on" or "off" position for a particular range of a given staff.
Copy the sustain pedal action for some range of locations in a right-hand keyboard staff to the
same range of locations for the left-hand staff.
You can convert pedal mark annotations to performances, and sustain perdal performances to to
pedal mark annotations, as illustrated below. For instructions, see Converting Pedal Marks to Pedal
Performance 433 and Converting Pedal Performance to Pedal Marks 423 .
A ll o f the p ro c e d ure s fo r e d iting the s us ta in p e d a l c o ntro l b e g in with the s e two s te p s :

-- OR --
Type SHIFT+X.
2. Click the Sustain Pedal button in the GraphOverNotes tm Palette.

-- OR --
Type "s" for sustain pedal.
T o s e t the s us ta in p e d a l to the " o n" o r " o ff" p o s itio n fo r a p a rtic ula r ra ng e o f a g iv e n
s ta ff:
1. In the Graph Menu, choose the Draw Curve command.
-- OR --
Click the Draw Curve button in the GraphOverNotes tm Palette.

-- OR --
Type "d" for draw.
2. While holding down the left mouse button, move the mouse over the range for which you wish
to change the sustain pedal position to "on" (pedal down) or "off" (pedal up). If you move the
mouse above the middle of the staff, the drawing will jump to the top of the staff to indicate the
"on" position. It will jump to the bottom for "off" when the mouse is below the middle of the staff.
T o c o p y the s us ta in p e d a l a c tio n fo r s o me ra ng e o f lo c a tio ns in a rig ht-ha nd k e y b o a rd
s ta ff to the s a me ra ng e o f lo c a tio ns fo r the le ft-ha nd s ta ff:
1. Select the region 266 in the right-hand keyboard staff, as illustrated below (note that the
selection will be pink rather than gray):
-- OR --
Type Ctr l + C, which is the standard Windows keyboard command for Copy to Clipboard.
3. Select the same range of locations in the left-hand staff.
-- OR --
Type CTRL+V, which is is the standard Windows keyboard command for Paste from Clipboard.
Here is the result:
8.3.7 MIDI Controller Data
There are a variety of ways that you can control the sound of a MIDI device other than the most
common ways described in the previous topics: channel volume 554 , pan 559 , pitch bend 562 , and
sustain pedal 567 .
The following example shows the modulation wheel applied to the second note. The modulation
wheel typically produces a vibrato effect.
T o v ie w a nd e d it MID I c o ntro lle r d a ta :

-- OR --
Type SHIFT+X.
2. Click the MIDI Controller Data button in the GraphOverNotes tm Palette.

-- OR --
Type "c" for controller data.

9 Configuring Your Soundcard and MIDI Equipment
When Co mp o s e r runs for the first time after installation, the default Notation Software Synth 573 allows
you to immediately start playing MIDI files that you have opened. You should hear sound through the
speakers connected to your sound card.
If you do not hear sound, then use the Quick MIDI Device Setup 576 command in the Setup menu. Use it
to test the playback of alternative MIDI playback devices on your system, and choose a device for
which you do hear sound. If that does not work, then follow the advice in What To Do If You Do Not
Hear Sound 581 .
If your sound card is connected via a cable to a MIDI keyboard, then you should also be able to play
at your keyboard and hear sound through the speakers connected to your sound card. If you do not,
then follow the advice in What To Do If Recording Does Not Work 585 .
If the MIDI playback and recording capabilities of your system are simple, Co mp o s e r makes it very
easy for you to set up your MIDI devices. See Procedures for Common MIDI Configuration Tasks 589 .
The topics in that section are:
Assigning Device Names That Make Better Sense to You 589
Changing the Default Playback Device 591
Installing a MIDI Cable Between Your sound card and Keyboard 594
Adding a New MIDI Keyboard to Your Configuration 598
Deciding Whether or Not Your Keyboard Should Directly Produce Sound 598
Co mp o s e r has been carefully designed to avoid overwhelming music enthusiasts with many of the
underlying technical details of MIDI. However, if you have a sophisticated MIDI studio, Co mp o s e r
provides a powerful, but intuitive MIDI Device Configuration Window 611 , in which you can describe to
Co mp o s e r exactly how your MIDI studio is arranged. Common tasks for managing MIDI studios that
are more complicated than a single sound card and keyboard are described in the section
Procedures for Advanced MIDI Configuration Tasks 602 , which includes these sub-topics:
Installing a Software Synthesizer 602
Anticipating the Delay on Some MIDI Output Devices 604
Configuring a New External MIDI Sound Module 606
How to Handle Devices Connected with MIDI Thru Cables 609
How to Save Effort If You Rearrange Your MIDI Equipment Often 611
The final section of this chapter provides a detailed guide to using all of the features in the MIDI Device
Configuration Window. Again, if your music equipment consists of no more than a sound card and a
keyboard, then you will find it easier to use the Quick MIDI Device Setup 576 window. However, if you
want to utilize the full performance capabilities of Co mp o s e r on your computer, then these topics will
be interest to you.
The topics in this chapter's final section, Using the MIDI Device Configuration Window 611 , are:
Understanding the Details of the MIDI Device Configuration Window 613
Testing Playback and Recording Devices 620
Managing MIDI Ports 621
Managing MIDI Devices 623
Assigning Bank and Patch Names to a MIDI Device 643
Managing Alternative MIDI Device Configurations 652

Configuring Your Soundcard and MIDI Equipment 573
Please note that the release of Version 3 of Notation Composer made it necessary to change the
format of the older MIDI Device Configuration files (MidiDev.cfg). If you are installing N o ta tio n
Co mp o s e r after having used a previous version, you will need to reimport any INS (Cakewalk filetype)
device descriptions that you may have had previously.
9.1 Notation Software Internal Synthesizer

With version 3.0.3 N o ta tio n S o ftwa re introduced it's own N o ta tio n S o ftwa re S y nth, an internal
synthesizer that uses soundfont technology and eliminates the need for any external or installed MIDI
playback or recording device(s). The N o ta tio n S o ftwa re S y nth is based on the FluidSynth
soundfont synth, and is used under the appropriate license 671 .
N o ta tio n Co mp o s e r allows you to select whichever General MIDI (GM) SF2 soundfont you would
like to use. Co mp o s e r' s installation includes the TimGM6mb.sf2, which is used under the
appropriate license 671 for free distribution. There are many excellent quality soundfonts that are
available for free on the internet. Use your favorite search engine to look for "general MIDI soundfont"
to find them. See the instructions below for using those in N o ta tio n Co mp o s e r.
To select which options you wish to use for the Notation Software Synth, you will need to access it's
Device Properties 576 dialog. You can do this by clicking "Setup -> MIDI Devices...Configuration" to
see the MIDI Devices that are on your machine. Notice that the N o ta tio n S o ftwa re S y nth is
highlighted in green, indicating that it is the current default playback device:
By double-clicking the N o ta tio n S o ftwa re S y nth device listing, you can access it's Properties
dialog:
S e le c ting a Ge ne ra l MID I (GM) s o und fo nt

N o ta tio n Co mp o s e r installs a soundfont that is ready to go when you run the software. However,
you may wish to explore other soundfonts as well. If you have other soundfonts that you would like to
use with N o ta tio n Co mp o s e r, just do the following:
1. Click the "Soundfont" button in the Device Properties dialog.
2. Navigate to the soundfont's location on your machine.
3. Click on the soundfont name you want to select.
4. Click the "Open" button in the dialog to save the change, which you will see shown in the
Soundfont field. N o ta tio n Co mp o s e r saves a copy of the soundfont into the C:\Users\Public
\Documents\Notation_3\Soundfonts folder so that next time you want to use your soundfonts they
will be readily available without having to navigate to other locations on your machine.
Please note that since changing soundfonts is a Device Property, the selected soundfont will be used
for all instruments that use the N o ta tio n S o ftwa re S y nth as their playback device in any open
song(s). If you have a variety of soundfonts that you would like to incorporate in the same song file, then
you may need to use a third-party soundfont library editor to pull together those various instruments into
a single soundfont. Please visit our Users Forum and search for "soundfont editor" for more
information.
S e le c ting the a ud io d riv e r

The N o ta tio n S o ftwa re S y nth has the flexibility to offer excellent sound and superior real-time
playalong and recording capability. It supports the ASIO Driver Technology by Steinberg Media
Technologies as well as standard Windows DirectSound. For most playback situations DirectSound
will be sufficient for good quality sound. If you wish to playalong with or record into N o ta tio n
Co mp o s e r in real-time without latency issues, though, you should probably select to use the ASIO
driver
To change the selection of the sound driver, click the "Driver" button in the Device Properties dialog
above to get the following Dialog:
Click the radio button for the Audio Technology you wish to use, then click "Ok" to save the change.
S e le c ting the S a mp le R a te
Most CD and other digital recording media is recorded at 44,100 Hz rate, and this is the default setting
for the Sample Rate in the N o ta tio n S o ftwa re S y nth. You should be fine to leave it at that.
If you are working with high-end audio recording, or are mixing exported .wav audio files from N o ta tio n
Co mp o s e r with other audio files that have a sample rate of 48,000 Hz then you should change the
Sample Rate to match the other audio sample rates of your project.
S e le c ting the B uffe r S ize a nd B uffe r Co unt

The default Buffer settings represent a moderate setting that should work on most machines. However,
due to various factors you may need to change the Buffer settings. For example, if you hear static,
crackling, "echoes," or other audio distortions when playing back a file in Co mp o s e r then you may
want to try changing the buffer settings.
Briefly, to keep the latency low, the buffer settings should be such that the multiplied number (size x
count) is kept as small as possible while still yielding good sound. If you are experiencing static,
crackling, or other audio artifacts, try changing the Buffer Size first to a higher number and see if that
fixes the problem.
1. Click the "Manually enter buffer size and count..." button in the Driver Options dialog.
2. Click the drop list for the Buffer size and select the next "size" larger than the current setting:
3. Click "Ok" to save the change.

4. Test the playback of your song file to see if the new setting fixes the problem.
5. Alternatively you can enter a higher number in the Buffer count field, click "Ok" to save the
change, and then test the playback of your file.
9.2 Quick MIDI Device Setup

Most computer systems include MIDI sound cards and alternative synthesizers (which we call MIDI
devices) for creating instrument sounds for MIDI playback. You might find it helpful to think of a
synthesizer (MIDI device) as an orchestra ready to play various kinds of instrument sounds at your
request. Your system most likely has a couple of MIDI devices, which are like different orchestras with
different personalities or sound qualities.
The Quick MIDI Device Setup command in the Setup menu lets you quickly select and test the
alternative MIDI devices. You should use the Quick MIDI Devce Setup command especially if you do
not hear any sound when you first run Co mp o s e r, or after you have installed a new sound card.
The MIDI playback device that you select in the Quick MIDI Device Setup window will be the default
playback device assigned to any new song you subsequently create, or any song you import as a
MIDI file.
If your sound card is externally connected via a MIDI cable to a MIDI keyboard (or MIDI guitar or other
input device), then the Quick MIDI Device Setup command also lets you quickly test whether the
connection to your MIDI keyboard is working.
Most MIDI devices offer a list of 128 different instrument sounds, and certain drum sounds, which
together are called the "General MIDI" sounds. Many MIDI devices also offer one or more additional
"banks" of sounds, where each bank can have up to 128 sounds. If your MIDI device has additional
banks of sounds besides General MIDI sounds, you can also use the Quick MIDI Device Setup
command to inform Co mp o s e r about what particular MIDI device manufacturer and model you are
using. With that information, Co mp o s e r lets you select instrument sounds by meaningful names, such
as "pizzicata violin" instead of MIDI "patch" numbers.
The Quick MIDI Device Setup command also provides a way for you to change difficult-to-read device
names to ones that make sense to you. For example, if you have a Casio tm keyboard connected via a
MIDI cable to a SoundBlaster Live!tm sound card in your computer, the Casio keyboard will be
identified as "SB Live! MIDI UART". It is not possible for Co mp o s e r (nor any other MIDI program) to
detect the name of the keyboard connected via the MIDI cable to the sound card. However, you can
quickly tell Co mp o s e r the name of the external device. For example, you can change the name from
"SB Live! MIDI UART" to "Casio" or simply "Keyboard". Once you rename a device this way, you will
find it easier to refer to it later in other parts of the Co mp o s e r program.
T o te s t a nd s e le c t a MID I p la y b a c k d e v ic e o n y o ur s y s te m:
1. Choose the Quick MIDI Device Setup command in the Setup menu.
-- OR --
Type "qqds" for "Quick Quick Device Setup".
Co mp o s e r will display the Quick MIDI Device Setup window, as illustrated here:
2. To test the sound for a playback device, select one in the dropdown list, and then click the
Test Playback button.
Co mp o s e r will display and play a 12-note chromatic scale. The notes will be highlighted as
they play. Also, the green playback indicator in the Quick MIDI Device Setup window will
display a bright green color as the notes are played. Upon completion of the playback,
Co mp o s e r will close the window that displays the notes.
If the device is an "internal" device on your Windows system, then you should hear sound
through the speakers connected to your sound card. If the device is "external", such as a MIDI
keyboard capable of producing its own sound, then you should hear that device play the
sound.
3. If you do not hear sound for a device when you choose the Test Playback option, then some
possible explanations and remedies are discussed in What To Do If You Do Not Hear Any
Sound 581 .
4. If you wish to rename the playback device, click the Rename Device button next to the
playback device name.
Co mp o s e r will present a Rename MIDI Device dialog box, in which you can specify the new
name.
5. Click the OK button when you have selected the desired playback device.
6. After you click OK, if you have already opened a song,

Co mp o s e r will display a simple dialog box that offers you the option to reassign all of the
staves of that song to the newly assigned default device.
If you have more than one song already opened, and you want to reassign staves for the other
songs, follow the instructions for Changing the Instrument Sound of a Staff 191 .
T o te s t a nd s e le c t a MID I re c o rd ing d e v ic e o n y o ur s y s te m:
Co mp o s e r will display the Quick MIDI Device Setup window, as shown earlier.
2. To test whether Co mp o s e r is detecting notes that you play at your MIDI keyboard, simply
play on some of its keys.
The Quick MIDI Device Setup window will automatically display the name of the MIDI
recording device:
Also, as you play on your MIDI keyboard, the red recording indicator in the Quick MIDI Device
Setup window will light up in a bright red color. Further, if your recording device is configured
with "Echo MIDI Input to Output", then as you play on your MIDI keyboard, your selected MIDI
Playback Device will produce sound for the notes as you play them, and the green light will
indicate so. Co mp o s e r always initially configures recording devices with "Echo MIDI Input to
Output". To review or change the echo option, see Specifying Properties of a Device 631 .
If you experience a problem where the keyboard produces its own sound at the same time
that you also hear sound through your sound card, then there are some alternative ways you
can turn off sound for one or the other. See Determining Whether or Not Your MIDI Keyboard
Should Produce Sound 598 .
If your recording device is not indicated in the Quick MIDI Device Setup window, then some
possible explanations and remedies are discussed in What To Do If Recording Does Not
Work 585 .
3. If you wish to rename the playback device, click the Rename Device button next to the
playback device name.
Co mp o s e r will present a Rename MIDI Device dialog box, in which you can specify the new
name.
For example, if you have a Casio tm keyboard connected to your computer, you are unlikely to
think of it as the "In-A USB MidiSport 2x2", illustrated in the above example. The "In-A USB
MidiSport 2x2" name unattractively identifies a "MIDI port" inside of Windows. Since this
Windows MIDI port is uniquely associated with, or essentially connected to, your Casio
keyboard, it would make a lot more sense to you if this recording device were instead named
"Casio". You can do that in the Rename MIDI Device dialog box:
4. In the Quick MIDI Device Setup dialog box, click the OK button when you have selected the
desired recording device.
If your MIDI device has additional MIDI sound banks besides the General MIDI sounds, then it is a
good idea to import the sound names, as described in the next procedure. Once you have done this,
you can refer to instrument sounds according to names, such as "pizzicata violin", rather than MIDI
patch numbers.
You can import instrument sound names from either of two types of files: (1) a Cakewalk(tm) Instrument
Description (.ins ) file, or (2) a Notation Software(tm) MIDI Device Description (.mdd ) file. INS and MDD
files are available at the web site of, respectively, Cakewalk and Notation Software, as described in
the procedure below. An INS or MDD file usually is named according to a MIDI device manufacturer's
name, as in yamaha.ins or roland.ins . The file typically has descriptions for several MIDI device
models offered by the manufacturer.
T o s e t up s o und na me s fo r a d e v ic e tha t ha s a d d itio na l MID I s o und b a nk s b e s id e s the
Ge ne ra l MID I s o und s :
1. Find a Cakewalk INS file for the manufacturer of your MIDI keyboard or device. This is most
easily accomplished by using your favorite search engine to search the internet for .ins files for
your keyboard or device.
2. In your Internet browser, download the INS file to a directory that you should remember.
3. In the Quick MIDI Device Setup dialog, select a MIDI output port under Select MIDI Playback
Device.
A MIDI output port will include "MIDI Out" or "Out" in its name. If your device is connected via a
USB cable, then the MIDI output port will also have "USB" in its name.
4. Click the Import Sound Names button.
Co mp o s e r will display the Import Sound Names from File dialog box:
5. In the dialog box, navigate to the directory where you downloaded the INS or MDD file, and
select the file. Click the Open button.
Co mp o s e r will display the Select Manufacturer and Model dialog box:
6. Select your particular manfacturer / model in the list, and click the OK button.
Co mp o s e r will then display the Select MIDI Port dialog box:
Make sure that the newly imported device is associated with ("connected to") the correct MIDI
output port. The MIDI output port will probably have "Out" or "External" in its name.
7. Click the OK button in the Select MIDI Port dialog box.
8. Click the OK button in the Quick MIDI Device Setup dialog box.
For additional information about setting up instrument sound names, see Preparing Bank, Patch, and
Drum Note Names for a MIDI Device 602 .
9.3 What To Do If You Hear Static or Crackling

If you hear static, crackling, or other audio artifacts and are using the Notation Software Synth 573 ,
please see the section on adjusting the buffer settings 575 for tips on correcting this problem.
If you are using a different MIDI playback device, you will need to consult the user's manual for your
device and/or the manual for your sound card. You can typically find these by visiting the
manufacturer's website and searching for "user's manual" and the model or name of your device or
sound card.
9.4 What To Do If You Do Not Hear Any Sound

If you do not hear any sound during playback of a song, you should use the Quick MIDI Device Setup
576 to try out alternative MIDI playback devices that are available on your system. Selecting the
Notation Software Synth 573 as your playback and recording device should automatically allow you to
hear your song files on any system as long as the system volume is "on". If you are hearing static or
crackling during playback, please see the section on adjusting the buffer settings 575 .
However, if you prefer to use a different MIDI device, this topic offers several possible explanations
and remedies for the problem of no sound. Some explanations and remedies are not specific to
Co mp o s e r. It is quite possible that you will not hear MIDI playback in any MIDI program, not just
Co mp o s e r. If you have explored several possible explanations and remedies within Co mp o s e r,
and still do not hear sound, it is a good idea to determine whether the problem is just with using
Co mp o s e r, or whether the problem is common to any MIDI program on your system. A good way to
do this is to try playing a MIDI file using another MIDI program. We recommend using the Windows
Multimedia Player, which is almost always installed on a Windows system. For detailed instructions on
testing MIDI playback using the Windows Multimedia Player, see the procedure at the end of this topic.
The first test you should do within Co mp o s e r is to try the Test Playback option in the Quick MIDI
Device Setup 576 window. If you unexpectedly do not hear sound for a particular device, then several
possible explanations and remedies are offered below. The most common explanations, and the
easiest ones to solve, are listed first:
Another application is using the MIDI output device.
In this case, exit the other application and try the MIDI device again in Co mp o s e r. It may be
necessary to also exit Co mp o s e r and then start Co mp o s e r again.
The volume level in Co mp o s e r is set to zero.
In this case, increase Co mp o s e r's volume level 135 .
The Windows sound volume level is set to zero, or is muted. In this case, click the following
icon in the Windows taskbar at the bottom of the screen:
on Windows 10, 8 or 7, on Windows XP, or on earlier versions of Windows

Windows will then display the following sound volume level control:
OR
Make sure that the volume level is above the lowest setting, and that there is no "X" over the
speaker icon, or a check mark for Mute.
The specific volume level for MIDI playback is muted or set to an inaudible level.
On some versions of Windows, the volume level for playback of MIDI can be controlled
separately from the volume level for playback of other types of audio. Make sure that the
volume level for MIDI playback is not zero and not muted, as follows.
Click the Windows Start menu at the bottom, left corner of the screen. Windows will display a
pop-up menu. Choose the Settings / Control Panel option. In the Control Panel folder, choose
the option named "Sounds and Audio Devices" or "Sounds and Multimedia":
-- OR --
Windows XP will display the Sounds and Audio Devices dialog box. Click the Volume tab.
Under "Device Volume", click the Advanced button.
Windows will display the Playback Control panel. It looks like the following on Windows XP,
and similar to this on earlier versions of Windows:
Observe that there is a separate volume control for MIDI. Make sure that the MIDI volume level
is above the lowest setting, and that there is no check mark for Mute. These separate MIDI
volume controls are not present in newer Windows audio settings.
You selected an external playback device, but there is no external MIDI device, such as a
MIDI keyboard, connected via a MIDI cable to the MIDI Out connector of your sound card.
In this case, choose an internal playback device instead of an external device. The MIDI
Device Configuration Window 611 indicates whether a device is internal or external.
There is a problem with the external MIDI device or cable connecting it to your computer.
If the output device is an external MIDI synthesizer or sound module connected via a MIDI
cable to the MIDI output connector of your sound card, then there are a couple of reasons why
you may not hear any sound.
-- Make sure that the output device power is turned on.
-- Make sure that the cable is connected to the MIDI connector of the sound card. The other
end of the cable should be connected to the MIDI In connector of the external MIDI device.
-- Make sure that the volume level of the external device is at an audible level.
The device driver for the MIDI device is not installed correctly.
To determine if this is the case, explore whether this MIDI device can be used by another MIDI
application, such as the Windows Multimedia Player, as described in the last procedure of this
topic.
If the device cannot be used in other MIDI applications, then try re-installing the device drivers
for your MIDI sound card.
Sometimes problems with non-responsive MIDI devices can be resolved by updating the
driver to the most recent one available from its manufacturer. Search the Internet for the
manufacturer's web site. Look for the "download" or "drivers" section of its web site. Find and
download the driver that matches the model of your MIDI device and the version of Windows
you are using (Windows 98, Me, 2000, XP, etc.)
T o te s t the p la y b a c k o f MID I file s us ing a no the r MID I p ro g ra m o n y o ur s y s te m, a nd
us ing a s p e c ific MID I p la y b a c k d e v ic e :
N OT E : Although the names of the Windows options, folders, and dialog boxes vary among
different versions of Windows, the following instructions are still basically the same.
1. Review, and optionally change, the default MIDI playback device that Windows chooses for
playing MIDI files:
(a) With the left mouse button, click the Start button in the lower, left corner of the screen.
Windows will display the Start menu.
(b) Choose Settings in the Start menu, and Control Panel in the Settings submenu.
Windows will display the Control Panel folder.
(c) In the Control Panel folder, choose Sounds and Multimedia.
Windows will display the Sounds and Multimedia Properties window.
(d) In the Sounds and Multimedia Properties window, choose the Audio tab.
The window will look like this:
(e) Make note of the MIDI Music Playback default device.

2. Run the Windows Multimedia player, as follows:
(a) With the left mouse button, click the Start button in the lower, left corner of the screen. Move
the cursor to the "All Programs" listing.
Windows will display a menu.
(b) In the menu, choose Accessories.
(c) In the Accessories submenu, choose Entertainment.
(d) In the Entertainment submenu, choose Windows Media Player.
This will start the Windows Media Player program.

3. In the Windows Media Player, play the minuet.mid MIDI file that is installed with <%
P R OD COLON % >
(a) In the File menu of the Windows Media Player, choose the Open command.
(b) In the File Open dialog box, navigate to this directory, if it is not already opened as the
default directory:
c:\Program Files\Notation Composer\Songs
(c) Double-click the file name minuet.mid.

4. Play the MIDI file by pressing the play control in the Windows Media Player, or by choosing
the Play command in the Play menu.
5. If you do not hear sound from Windows Media Player, then repeat the following steps until you
find an available MIDI device by which you can hear sound in the Windows Media Player:
(a) Exit the Windows Media Player.
(b) Repeat all of the steps in this procedure, starting at step #1, except as noted next.
(c) After step 1(d), select another available MIDI playback device.
6. Once you have found a MIDI device that works with the Windows Media Player, select that
device in the Quick MIDI Device Seutp 576 .
7. If you do not find a MIDI device that works with the Windows Media Player, then there may be a
problem with the installation of the sound card and/or its drivers on your system.
9.5 What To Do If Recording Does Not Work

First, find out whether Co mp o s e r is actually recording notes that you play on your MIDI keyboard.
T o d e te rmine whe the r Co mp o s e r is a c tua lly re c o rd ing no te s :
1. Follow the procedure for Starting and Ending the First Recording 493 .
You should see red piano roll rectangles drawn in the current staff as you play notes on your
keyboard:
2. If you see the red rectangles as you play at the keyboard, then you know that Co mp o s e r is
detecting what you are playing. In that case, as soon as you stop the recording, Co mp o s e r
will transcribe your recording to notation.
If Co mp o s e r fails to transcribe your recording into displayed notes, then you might still be
able to recover the recording. It is saved in a file named recordng.mid , as explained in
Recovering an Interrupted Recording 497 . If you open the recordng.mid file, and your recording
has been transcribed to notation, then the source of the problem is not exactly known at this
point, but at least you know that Co mp o s e r was recording the notes from your keyboard, and
you will have recovered your otherwise lost recording.

3. If you do not see the red rectangles as you play at the keyboard, then follow the next
procedure, even if you do hear the notes as you attempt to record them.
If y o u d o no t he a r a ny no te s a s y o u p la y o n y o ur mus ic k e y b o a rd , the n s e t up
Co mp o s e r to re c o g nize it:
Co mp o s e r displays the Quick MIDI Device Setup dialog:
2. Play a note on your music keyboard. You should see the red recording button light up. Also,
the name of your MIDI recording device should be reported, as shown here:
3. If the red recording button does not light up in the Quick MIDI Device Setup window, then make
sure that the MIDI keyboard is included in Co mp o s e r's MIDI Device Configuration. (The
device might be awkwardly named unless you have specifically changed its name.) Choose
the MIDI Device Configuration command in the Setup menu, and confirm that the MIDI
keyboard is listed as a MIDI input device. If you do not find the MIDI keyboard device listed,
then add it to Co mp o s e r's MIDI Device Configuration, following the instructions for Adding a
New MIDI Keyboard to Your Configuration 598 .
4. If the red recording button does light up, and the green light for the playback device also lights
up as you play on the keyboard, but you do not hear sound, then the problem is not with
recording but, rather, with the playback device. Try selecting a different playback device in the
Quick MIDI Device Setup window. Choose a playback device for which you know you can
hear sound. Create a new song, and assign that working playback device 191 to the first staff.
Enter a few notes in the staff. Then play the song. If you do not hear sound, then you should
explore this problem further as a playback problem rather than as a recording problem. See
What To Do If You Do Not Hear Any Sound 581 .
If the re d lig ht in the Quic k MID I D e v ic e S e tup wind o w d o e s no t lig ht up whe n y o u p la y
the k e y b o a rd a fte r c o rre c tly s e tting up up y o ur MID I k e y b o a rd in Co mp o s e r, the n y o u
s ho uld e xp lo re s o me p o s s ib le e xte rna l p ro b le ms :
1. If you have another music software program capable of recording MIDI, see if you can
successfully record with it. If recording does not work in other MIDI programs either, check the
connection of your MIDI keyboard to your computer. Also check the installation of the MIDI
drivers for your MIDI sound card device, or perhaps MIDI USB hub, that handles the MIDI input.
If the problem is only with Co mp o s e r, then you should focus your efforts in Co mp o s e r's MIDI
Device Configuration 572 .
2. Make sure that your MIDI keyboard is connected via a MIDI cable or USB cable to your sound
card, a USB MIDI hub, or USB port.
3. Make sure that the device driver for the MIDI input device is correctly installed.
Sometimes problems with non-responsive MIDI devices can be resolved by updating the
driver to the most recent one available from the manufacturer. Search the Internet for the
manufacturer's web site, and look for the "download" or "drivers" section. Find and download
the driver that matches the model of your MIDI device and the version of Windows you are
using (Windows 98, Me, 2000, XP, etc.) You might also be able to find the driver at the Microsoft
Windows Update web site.
4. Make sure that another MIDI application is not attempting to simultaneously use the same MIDI
recording device (Windows MIDI input port). If so, then exit the other application and try
recording again in Co mp o s e r. It may be necessary to also exit Co mp o s e r and then start
Co mp o s e r again.
If the re d lig ht in the Quic k MID I D e v ic e S e tup wind o w d o e s lig ht up whe n y o u p la y a t
the k e y b o a rd , the n turn o n the e c ho o p tio n fo r y o ur MID I inp ut d e v ic e :
When "echo" is enabled for a MIDI keyboard device, then whatever you play on the keyboard is
routed to some MIDI output device for simultaneous playback. The notes you play on your
keyboard are immediately "echoed" on the MIDI output device.
1. Play some notes on your keyboard and observe whether the green playback light in the Quick
MIDI Device Setup window lights up brightly:
If the green light does not light up, that means that "echo" is not enabled for your MIDI
keyboard device.
Note that it is not necessary that you enable echo for your MIDI keyboard device. If you do not
enable echo for your MIDI keyboard device, then your MIDI keyboard should be responsible
for producing the sound as you play. If your keyboard is just a MIDI controller", which means
that it does not itself produce sound, then you must enable echo in order to hear what you are
recording.
However, even if you normally want your MIDI keyboard to assume responsibility for
producing sound as you play, it is a good idea to temporarily enable echo while you trouble-
shoot the recording problem in the steps that follow.
2. In the Setup menu, choose the MIDI Device Configuration command.
3. In the Port or Device column of the MIDI Device Configuration Window, find the name of the
MIDI input device, such as "In-A USB MidiSport 2x2" in an above example of the Quick MIDI
Device Setup window. For a MIDI input device, the MIDI Device Configuration Window reports
"In" in the left-most column, and displays a Record light in the "Rec" column.
4. Double-click on "External Device" (not "External Port") or the name of the external device.
Co mp o s e r will display the Device Properties dialog for the external device.
5. In the Device Properties dialog box, set a check mark for "Echo MIDI Input to Output". Click the
OK button.
6. Repeat the second procedure in this topic, to confirm whether the notes you play on the
keyboard are now echoed to the MIDI playback device.
9.6 Procedures for Common MIDI Configuration Tasks

This section of the chapter, Configuring Your sound card and MIDI Equipment 572 , describes simple
procedures for the most common MIDI configuration tasks:
Assigning Device Names That Make Better Sense to You 589
Changing the Default Playback Device 591
Installing a MIDI Cable Between Your sound card and Keyboard 594
Adding a New MIDI Keyboard to Your Configuration 598
Deciding Whether or Not Your Keyboard Shoud Directly Produce Sound 598
If the task you need to accomplish is not in the above list, then see also Procedures for Advanced MIDI
Configuration Tasks 602 .
9.6.1 Assigning Device Names That Make Better Sense to You
You will probably often refer to MIDI device names as you assign instrument sounds to staves of
songs 191 . In choosing whether the instrument sound is, for example, a flute or clarinet, you must also
specify which MIDI device in your configuration produces that sound. Because you might need to refer
to MIDI device names often, Co mp o s e r offers you a way to assign devices names that make sense
to you.
When Co mp o s e r runs for the first time, it detects the various MIDI "ports" on your system. A MIDI port
is a somewhat abstract entity defined by Windows to identify choices for MIDI sound output and input.
MIDI ports have names that are defined by the manufacturer of your sound card or MIDI keyboard or
other MIDI device. The names are usually long and somewhat difficult to understand. If you have a
music keyboard connected to the computer, you are likely to think of it as "Keyboard" or "Yamaha tm
Keyboard" or "Yamaha", rather than as "the device that is connected to my Soundblaster Live! MIDI
UART port". This would be especially true if you do not know (very few people do know) what "UART"
means (universal asynchronous receiver/transmitter). Recent versions of Creative Lab's sound cards
have a more friendly name for the external MIDI port, such as "Creative SB Live! External MIDI".
Co mp o s e r lets you assign device names that make sense to you. You cannot change the name of
the Windows MIDI ports. But you can change the names of the devices that are connected to them. It is
a particularly good idea to rename external devices. An external device is one that is physically
located outside of your computer and is connected via a MIDI cable to your sound card (or perhaps a
special MIDI port card).
By default, Co mp o s e r assigns a "placeholder" external device to any MIDI external port that it
detects. It gives the device the same name as that of the corresponding Windows MIDI port.
The following example illustrates how you would specify that a staff should be played back on an
external device, such as a Yamaha tm keyboard, which is connected to the "Creative SB Live! External
MIDI" port. The Yamaha keyboard would be connected to your computer via a USB or perhaps MIDI
cable.
When you use the Staff Setup command to assign a MIDI device and instrument sound to a staff 191 ,
you will probably find it easier to refer to the name of your keyboard, such as "Yamaha keyboard"
rather than "Creative SB Live! External MIDI", as illustrated here:
With one short procedure, described below, you can rename the device from "Creative SB Live!
External MIDI" to "Yamaha Keyboard". Thereafter, you can always refer to the external device as
"Yamaha Keyboard", when assigning staves to any song.
The procedure for changing the name of a MIDI device is the same whether it is external or internal, but
the procedure is slightly different for an output (playback) device versus input (recording) device.
T o c ha ng e the na me o f a MID I o utp ut (p la y b a c k ) d e v ic e :
1. Choose the Quick MIDI Device Setup command in the Setup menu OR type the shortcut
"qqds."
Co mp o s e r will display the Quick MIDI Device Setup window, as illustrated here:
2. In the list, select the MIDI playback device you wish to rename.
3. Click the Rename Device button next to the playback device name.
Co mp o s e r will present you with the Rename MIDI Device dialog box.
4. In the Rename MIDI Device dialog box, enter the new name for the playback device, and click
the OK button.
T o c ha ng e the na me o f a MID I inp ut (re c o rd ing ) d e v ic e :
Co mp o s e r will display the above Quick MIDI Device Setup window.
2. Play a few notes on the recording device. The name of the recording device will be reported
in the Quick MIDI Device window. If it is not, then see the procedure "To test and select a MIDI
recording device" in the topic Quick MIDI Device Setup 576 .
3. Click the Rename Device button next to the recording device name.
Co mp o s e r will present you with the Rename MIDI Device dialog box.
4. In the Rename MIDI Device dialog box, enter the new name for the recording device, and click
the OK button.
9.6.2 Changing the Default Playback Device
Even if your computer has only one sound card, there are likely at least a couple of alternative internal
playback devices available. The internal playback devices actually correspond to MIDI device
drivers that are installed with your sound card. There might be additional internal playback devices
available if, for example, you have downloaded from the Internet and installed a MIDI "software
synthesizer".
The alternative internal playback devices are distinguished by the different types of engineering
techniques they use for simulating instrumental sounds. For example, some internal playback devices
play back actual sampled sounds of recorded instruments. Other internal playback devices simulate
instrument sounds via sound wave formulas designed by engineers. It probably will not matter to you
how the instrument sounds are created. You probably just care about how they sound to you.
It is a good idea for you to try out the various internal playback devices that are available on your
computer. Choose the playback device that sounds best to you as a default. Then, whenever you
open a new MIDI file, or create a new song, your chosen default playback device will be assigned to
the staves of the song.
T o c ha ng e the d e fa ult p la y b a c k d e v ic e :
Follow the procedure "To test and select a MIDI playback device on your system" in the topic
Quick MIDI Device Setup 576 .
What happens if you have previously saved a Notation .not file, in which some or all of the staves were
assigned to the MIDI playback device that has been replaced by your new default playback device? If
the old MIDI device is no longer available on your system, Co mp o s e r will automatically reassign the
staves to your new default MIDI playback device.
But what happens if your old default MIDI device is still available on your system? For example,
perhaps you have installed a new MIDI software synthesizer that you prefer, but you still want to keep
the old MIDI device on your system. In this case, do you want to reassign the staves in the song from
the old MIDI device to the new one, or do you want to leave them unchanged? There is no way that
Co mp o s e r can read your mind to determine what you want. Instead, Co mp o s e r will ask you what you
want to do, as illustrated here:
Once you instruct Co mp o s e r to automatically update the MIDI device assignments for previously
saved songs, the above dialog box will no longer be displayed. But what if you want to change your
preference? In that case, follow the next procedure.
T o c ha ng e Co mp o s e r' s rule fo r re a s s ig ning s ta v e s fro m a n o ld MID I d e v ic e to the ne w

d e fa ult MID I d e v ic e :
1. Choose the MIDI Device Configuration (not the Quick MIDI Device Setup) command in the
Setup menu.
2. Open the Device Properties 631 dialog box for the old MIDI device.
3. In the Device Properties dialog box, add a checkmark for "Was Previously the Default MIDI
Output Device" it you wish Co mp o s e r to review the assignment of staves to that old MIDI
device when you open Notation .not files. Remove the checkmark if you wish Co mp o s e r to
no longer do that.
4. If you do wish Co mp o s e r to either automatically reassign staves to the new MIDI playback
device, or ask you for each reopened Notation .not file whether you wish to reassign the
staves, then click the Option To Reassign Songs to New Default Device button in the Device
Properties dialog box:
Co mp o s e r will then display the following dialog box:
5. Choose one of the options in the above dialog box.
9.6.3 Installing a USB or MIDI Cable Between Your Soundcard and Keyboard
Your external MIDI keyboard needs to be connected to your MIDI sound card via one of these two
types of cables:
USB (Universal Serial Bus) cable
MIDI cable with joystick connector
You might also need to connect a USB MIDI interface device between your computer and keyboard.
To determine which kind of cable you need, and whether you will also need to add a USB MIDI
interface between your computer and keyboard, you should examine what kind of cable connectors
are available on your keyboard and computer's sound card.
D e te rmine wha t k ind o f c o nne c to r y o ur MID I k e y b o a rd ha s :

Examine the back side of your MIDI keyboard for one or possibly both of the following two
types of connectors:
If y o ur MID I k e y b o a rd ha s a U S B c o nne c to r a nd no MID I c o nne c to r(s ), the n c o nne c t a

U S B c a b le b e twe e n it a nd y o ur c o mp ute r:
1. Find an available USB female connector on the back side of your computer. It will look like
this:
2. Find the USB cable that came with your USB MIDI keyboard, or else purchase one. The two
ends of the USB cable look like this:
3. Connect the first of the above two ends of the USB cable to the USB connector on your MIDI
keyboard.
4. Connect the second of the above two ends of the USB cable to the USB connector on your
computer.
D e te rmine whe the r y o ur c o mp ute r' s s o und c a rd ha s a jo y s tic k c o nne c to r:

Find the sound card on the backside of your computer. It might have a joystick connector and
look like this:
However, your sound card might have only the connectors for speakers, headphone, and
microphone, and no joystick connector.
If y o ur MID I k e y b o a rd ha s o ne o r two MID I c o nne c to rs a nd no U S B c o nne c to r, a nd if
y o ur s o und c a rd ha s a jo y s tic k c o nne c to r, the n c o nne c t y o ur k e y b o a rd to y o ur s o und
c a rd with MID I c a b le s :
1. If you do not already have one, obtain a MIDI joystick cable, which looks like this:
The above picture probably seems confusing because it has two joystick connectors, and two
MIDI connectors. This is really just one cable. The second joystick connector is included in the
cable so that a game joystick can share the same joystick connector on the sound card with
the external MIDI device. The two MIDI connectors at the other end are for MIDI In and MIDI
Out, but there might not be labels indicating which connector is for MIDI In versus MIDI Out. In
that case you will need to figure out which cable connector is for MIDI In versus MIDI Out
experimentally.
2. Attach the cable's joystick male connector to the sound card's female joystick connector. At
the other end of the cable, connect the round 5-pin male connector labeled MIDI In to the
keyboard's round 5-pin female connector labeled MIDI Out. If the cable has two unlabeled 5-
pin MIDI connectors, then you will have to experiment, by trying one, and if it does not work,
then try the other.
3. If your keyboard is capable of playing back MIDI sent to it from the computer, then connect the
cable's other round 5-pin male connector to the keyboard round 5-pin female connector
labeled MIDI In.
4. If the MIDI joystick cable is not long enough to reach your keyboard, you may need to add one
or a pair of MIDI extension cables, with a female connector on one end and a male connector
on the other.
If y o ur MID I k e y b o a rd ha s o ne o r two MID I c o nne c to rs a nd no U S B c o nne c to r, a nd if
y o ur s o und c a rd ha s no jo y s tic k c o nne c to r, the n a d d a p hy s ic a l MID I U S B inte rfa c e
b e twe e n y o ur c o mp ute r a nd k e y b o a rd :
The following diagram shows how you would connect an E-MU Xmidi unit between your computer
and your MIDI keyboard:
1. Connect a USB cable between your computer and the MIDI USB interface.
2. If your MIDI USB interface has female MIDI connectors rather than cables (as illustrated for the
above E-MU midiX), then follow this step. A common example of such a MIDI USB interface is
the Midisport 2x2 by Midiman.
Connect one or two MIDI cables between the MIDI USB interface and your MIDI keyboard.
The MIDI cable will have male connectors on both ends, and look like this:
3. If you have not done so already, install the MIDI device driver for the MIDI USB interface on
your Windows system.
9.6.4 Adding a New MIDI Keyboard to Your Configuration
If you have purchased a MIDI keyboard so that you can record notes into Co mp o s e r, then
congratulations on a good decision! You will enjoy Co mp o s e r even more with a music keyboard.
If you have not done so already, then connect your computer to your new MIDI keyboard via a USB or
MIDI cable, as described in Installing a USB or MIDI Cable Between Your sound card and Keyboard 594
.
If your MIDI keyboard is a USB device, then install the MIDI device driver for your MIDI keyboard,
according to the keyboard's installation instructions.
Once you have connected your keyboard to the sound card with the MIDI cable, and have installed its
MIDI device driver (if it is a USB device), then it is a good idea to immediately test it using the Quick
MIDI Device Setup 576 command.
If the recording test is successful, then you should consider renaming the keyboard device. By default,
Co mp o s e r gives it the name of the external Windows port. This is usually a complicated name, such
as "SB Live! MIDI UART". Since the device name is referred to in various parts of the Co mp o s e r
program, you will probably be happier if you rename the device to something that makes better sense
to you. You might just rename it to "Keyboard". Or, you might rename it to the manufacturer of the
keyboard, such as "Casio" or "Yamaha". For instructions in renaming the recording device, use the
Rename Device button in the Quick MIDI Device Setup 576 window.
If, while running Co mp o s e r, you do not hear sound as you play your keyboard, then explore the
possible explanations and remedies described in What To Do If You Do Not Hear Any Sound 581 .
If your keyboard is capable of not only recording but also producing sound, then you might hear sound
simultaneously coming out of both your keyboard and your computer speakers as you record or play
at the keyboard. That is probably not what you want. To fix that problem, follow the instructions in
Deciding Whether or Not Your Keyboard Should Directly Produce Sound 598 .
If your keyboard is capable of producing sound, then you might want to assign staves of your song to
that device for playback. If your keyboard has standard General MIDI 636 (GM) sounds, then you will
be able to take advantage of the fact that, by default, Co mp o s e r assigns General MIDI sound (patch)
names to a newly identified external device. For example, the first three sounds are "Acoustic Piano",
"Bright Acoustic Piano", and "Electric Grand Piano." If your keyboard does not offer the General MIDI
sounds, then you will want to inform Co mp o s e r about the names of the various sounds available on
your keyboard. The instructions for doing this are the same as for configuring an external MIDI sound
module that only plays MIDI and does not record. For these instructions, see Preparing Bank, Patch,
and Drum Note Names for a MIDI Device 602 .
9.6.5 Deciding Whether or Not Your Keyboard Should Directly Produce Sound
If your keyboard can produce its own sound, then you can decide whether:
1. The keyboard will be used only for input.
While Co mp o s e r is playing back a song, you can play along on your MIDI keyboard, as
described in Playing Along with Your MIDI Instrument 143 . Co mp o s e r will produce whatever
instrument sound you choose to be played back among those available on your output
device.
-- OR --
2. The keyboard will be used for both input and output.
In this case, as you perform and record on the keyboard, the sound will be produced by your
keyboard rather than another MIDI device in your MIDI setup.
Some keyboards do not produce sound. Such keyboards are commonly called "MIDI controllers". For
such keyboards, only option #1 above is available.
U s ing Y o ur Ke y b o a rd fo r Inp ut (R e c o rd ing ) Only

If you wish to use your keyboard only for input (recording) and not playback, or if the keyboard is a
MIDI controller only, then you can configure it as illustrated here:
If your keyboard is capable of producing sound, it very likely has a "local off" option. When the "local
off" option is active, the keyboard does not produce sound as you perform. Instead, the notes you
perform are sent to the computer. It is the computer's job or, rather, Co mp o s e r's job, to play the notes
on some MIDI output device. If your keyboard is a MIDI controller, then it has no option except "local
off".
The "echo on" option specifies whether Co mp o s e r should instantly replay the notes you perform on
your keyboard. If you are recording a staff, Co mp o s e r will echo the notes on the device to which the
staff is assigned, as described in Setting the Instrument Sound for Recording 491 . If you wish to practice
or play along with your keyboard while Co mp o s e r provides accompaniment, Co mp o s e r will echo
the notes on the device that you specify with the Select Play-Along Sound command 143 in the Perform
menu.
The "echo on" option is one that you must specify in Co mp o s e r for the MIDI keyboard device.
Although the above diagram shows "echo on" below the computer, the "echo on" option is really
associated with the MIDI device that Co mp o s e r defines for the keyboard.
T o turn the " e c ho o n" o p tio n o n o r o ff fo r a MID I k e y b o a rd :
1. Choose the MIDI Device Configuration command in the Setup menu.
-- OR --
Type "qdc" for "Quick Device Configuration".
This opens the MIDI Device Configuration Window.
2. In the MIDI Device Configuration Window, find the output device that represents your
keyboard.
The easiest way to do this is to first assign a new name to the placeholder device for your
keyboard. Follow the procedure "To change the name of a MIDI input (recording) device" in
Assigning Device Names That Make Better Sense to You 589 . If you follow that procedure, then
your keyboard device will be listed in the MIDI Device Configuration Window, as illustrated here:
If you do not follow that procedure for renaming the keyboard device, then search through the
MIDI Device Configuration Window for the MIDI Input port that you are using for your keyboard.
The placeholder device will have the same name as the MIDI port listed above it.
3. Click the name of the keyboard device to select it; and then choose Properties in the Device
menu.
-- OR --
Double-click the device name in the window.
Co mp o s e r will present you with the Device Properties dialog:
4. In the Device Properties dialog box, turn the check mark on or off for "Echo MIDI Input to
Output" in the Recording Properties section of the dialog box.
5. Click the OK button in the dialog box to commit the newly assigned echo on option.
U s ing Y o ur Ke y b o a rd fo r B o th Inp ut (R e c o rd ing ) a nd Outp ut (P la y b a c k )
If you want your keyboard to be used not only for input (recording) but also output (playback), then you
can configure it as illustrated here:
In this case, the keyboard still does not actually play the notes immediately as you perform them.
Rather, the notes you perform are sent to the computer, and Co mp o s e r then immediately replays
them on your keyboard. There should be no noticeable delay between the time you perform a note
and the time you hear it, even though the note is "going through the computer".
The advantage of configuring your keyboard as illustrated above is that you can assign staves in your
song to sounds that are produced by your keyboard. This option may be especially attractive to you if
your keyboard produces better sounds than those produced by other output devices, such as your
MIDI sound card devices.
To exercise this option, you must specify the keyboard device as both a MIDI input and output device
in the Device Properties dialog box:
In the Device Properties dialog box for the keyboard, you still set a check mark for "Echo MIDI Input to
Output". The difference is that you assign your staves, or your play-along sound, to your keyboard
device, rather than to some other device in your MIDI configuration, as illustrated in the following Staff
Setup 191 dialog box:
Le tting Y o ur Ke y b o a rd Lo c a lly P ro d uc e S o und A s Y o u P la y

A third configuration alternative is available, as illustrated here:
In this case, your keyboard directly produces the sound for notes as you perform them. You do not
activate the "local off" option on your keyboard. Also, you turn off the "echo on" option for your
keyboard device. If you do not turn off the "echo on" option, then you will hear each note you perform
twice: the note will be played back by your keyboard as well as the other device to which the note is
echoed. Worse, if your keyboard is set up as the output device for the echoed notes, then it will be
forced to play the notes twice, with unpredictable results.
This third configuration option is somewhat less useful than the previous configuration option (Using
Keyboard for Both Input and Output). When you practice or record, you will hear the same thing--
sounds from your keyboard. However, when you later play back the recorded staff, the sound will be
played by a different device than that which you heard when you were recording, namely, the
keyboard device itself.
9.7 Procedures for Advanced MIDI Configuration Tasks

This section describes some of the most common MIDI configuration tasks for MIDI equipment
arrangements that include more than one external MIDI device, or which include an extra software
synthesizer that you might install to supplement the sounds normally provided with your sound card.
For instructions in more common MIDI configuration tasks, see Procedures for Common MIDI
Configuration Tasks 589 .
The procedures described in this section are:
Installing a Software Synthesizer 602
Adjusting for the Delay of Some MIDI Output Devices 604
Preparing Bank, Patch, and Drum Note Names for a MIDI Device 602
Configuring a New External MIDI Sound Module 606
How to Handle Devices Connected With MIDI Thru Cables 609
How to Save Effort if You Rearrange Your MIDI Equipment Often 611
9.7.1 Installing a Software Synthesizer
A software synthesizer is a MIDI device driver that produces sound using the computing powers of
your computer, as opposed to using specialized sound-creation circuitry in a sound card or external
device. sound cards that are pre-installed on computers, and sound cards that you can purchase and
install yourself, usually include multiple MIDI device drivers. Some of these MIDI device drivers are for
the sound card's internal sound-creation circuitry. One or more software synthesizers, provided as
additional MIDI device drivers, might be included with the sound card.
Software synthesizers are also available as software products that can be purchased, or in some
cases freely downloaded from the Internet, independently of which sound card you have.
After you install a software synthesizer, Co mp o s e r will automatically detect it as a new Windows MIDI
output port the next time you run the program. The software synthesizer will automatically become
available as a new device.
Many software synthesizers have a built-in delay between the time a software program (such as
Co mp o s e r) requests a note to be played, and the time that the sound is actually produced. This
requires special attention on your part. See the next topic, Adjusting for the Delay of Some MIDI Output
Devices 604 .
9.7.2 Preparing Bank, Patch, and Drum Note Names for a MIDI Device
Some MIDI devices-- software synthesizers or physical devices such as a sound-producing MIDI
keyboard-- offer a standard set of General MIDI (GM) instrument sounds. More capable MIDI devices
also, or instead, offer an extended set of instrument sounds in one or more MIDI banks. A MIDI bank is
a collection of up to 128 different instrument sounds, commonly called MIDI patches. Also, a given
patch in a MIDI bank may provide a "drum kit" of up to 128 different drum instrument sounds, each
associated with a pseudo drum pitch.
MIDI banks and patches are identified with bank and patch numbers by default. Drum instruments are
identified by pseudo drum pitch numbers by default. These numbers would generally be difficult for
you to use when assigning instrument sounds to staves, because you would have to know that, for
example, on your Roland JV-90 keyboard, the bank for MIDI controller 0 value 84 and controller 32
value 1, patch 12 is the "Thick Violas" sound. It will be much easier for you to assign an instrument
sound to a staff by referring to the names of the banks and patches, such as the "Thick Violas" patch in
the "Orchestral" bank of your Roland JV-90 keyboard.
In order to offer you instrument names instead of bank, patch, and drum note pitches, Co mp o s e r
needs to learn what the instrument names are. There are two ways it can do this. The easiest way is for
you find a Cakewalk(tm) Instrument Definition (.ins ) file or Notation Software MIDI Device Description
(.mdd ) file for your particular MIDI device. That INS or MDD file will have the various instrument names
for your device. You can quickly "import" the INS MDD file into Co mp o s e r. The other, more difficult
way, is for you to manually enter the instrument names yourself.
T o imp o rt ins trume nt na me s fo r y o ur MID I d e v ic e :

Follow the instructions in the topic Quick MIDI Device Seutp 576 for "setting up sound names for
a device that has additional MIDI sound banks besides the General MIDI sounds."
T o ma nua lly e nte r ins trume nt na me s fo r y o ur MID I d e v ic e :
Follow the instructions in the topic Assigning Bank, Patch, and Drum Note Names to a MIDI
Device 643 .
9.7.2.1 Adjusting for the Delay of Some MIDI Output Devices
An important aspect of many software synthesizers 602 is that they have a fixed built-in delay between
the time a software program (such as Co mp o s e r) requests a note to be played, and the time that the
sound is actually produced. This delay is necessary because of the many calculations that a software
synthesizer makes to simulate instrument sounds.
If your software synthesizer has such a delay, then you will not be able to use it to echo 598 your
performance on a MIDI keyboard. If you use such a device, then as you hit keys on your music
keyboard, you will hear them played only after some annoying delay. We recommend that you use
some other device to echo your performance on the keyboard. See Deciding Whether or Not Your
Keyboard Should Directly Produce Sound 598 for instructions on setting the playback device that
echoes your performance at the keyboard. Note that after you have recorded using "echo" on another
device, you can then reassign the staves to your software synthesizer device for playback.
If you want to play back songs that have staves that are assigned to both the delayed software
synthesizer and other non-delayed devices, then it is important that you tell Co mp o s e r exactly what
the delay time is in milliseconds for the software synthesizer, or that you use the "Tap in Device Delay"
feature so Co mp o s e r can automatically enter that value. Co mp o s e r needs this information in order
to synchronize the output to the delayed and non-delayed devices. If you do not do this, you will hear
the notes for the delayed software synthesizer lag behind those notes assigned to other devices.
Some acoustic pianos, such as the Yamaha Disklavier, and pianos retrofitted with a PianoDisc
system, have a MIDI playback mechanism. Such acoustic MIDI pianos also have a built-in delay
between the time that the software program requests a note to be played, and the time that the note
sounds. The reason for this is that it takes several milliseconds for the hammer to travel from its resting
position to the time it hits the string; and that travel time varies according to how soft or loud the note is.
(Pianists subconsciously account for this in their playing.) In order to produce accurate timing of note
attacks, independently of the softness or loudness of the notes, an acoustic MIDI piano must employ a
minimum delay that is at least as long as that for the most softly played note. Some acoustic MIDI
pianos offer you at least two choices for the delay it uses: (1) the minimum necessary delay, or (2)
some much larger but "round number" delay, such as 500 milliseconds (one half second).
You may find the delay information in your device's product documentation. If you do not find it there,
you might find that information through good searching on the Internet. Otherwise, you can use the "Tap
in Device Delay" feature as explained below.
T o s p e c ify the nume ric a l millis e c o nd d e la y fo r a n o utp ut d e v ic e whe n y o u k no w the
numb e r:
-- OR --
Type or "qdc" for "Quick Device Configuration".
Co mp o s e r will display the MIDI Device Configuration Window.
2. In the MIDI Device Configuration Window, click the name of the output device to select it. Then
in the Device menu choose Properties.
-- OR --
With the mouse, right-click the name of the output device.
Co mp o s e r will present you with the Device Properties dialog.

3. In the Device Properties dialog box, enter the millisecond delay value in the Playback
Properties section.
4. Click the OK button in the dialog box to commit the newly assigned delay value.
T o " T a p in" the D e v ic e D e la y us ing the " Ins e rt" (IN S ) k e y o n y o ur c o mp ute r k e y b o a rd :
1. In the Setup menu, choose "MIDI Devices Quick Setup", and the following dialog will appear:
2. Click the "Tap in Device Delay" button and the following dialog will appear:
3. Select the Playback Device from the drop list of Step 1 (all available MIDI playback devices
will be listed there) that you want to calibrate.
4. Now click the Step 2 "Listen and tap with INS key" (it may be labeled "Insert" key on your
keyboard). A test track will then appear, and playback will begin. As you hear the notes, tap
your Insert (Ins) key on your computer keyboard. It is ok if you miss the first few notes -
Co mp o s e r makes an allowance for a "getting in rhythm" time. It may help to close your eyes
during this step, and just tap when you hear the notes play. When you are done with this step,
you will see the calculated latency value in the "Delay (in msecs):" box. Alternatively, you can
manually enter the number value here if you know it.
5. Now you can click the Step 3 "Listen and verify" button. The same scale will play again, and
now you should watch and listen to verify that the notes highlight precisely when the notes
sound. If they do not, you may want to repeat Step 2 for a more accurate measurement.
6. When you are satisfied that the notes highlight at the same time they sound, you can click the
Step 4 button to "Accept delay value". The dialog will close, and Co mp o s e r will then save
the delay time (latency) value for that MIDI playback device.
9.7.3 Configuring a New External MIDI Output Device
The most common example of an external MIDI output device is a MIDI keyboard. You might think of a
MIDI keyboard as just an input device for recording; but many MIDI keyboards can also serve as
output devices, playing back MIDI sent to it from the computer. This topic describes how you can set
up your MIDI keyboard as an output device if it has extended sounds or "instrument patches"
available in multiple or extended banks.
Another type of external MIDI output device is called a "sound module", which is hardware that
specializes in playing back MIDI that is sent to it.
When you install a new external MIDI sound module, you will need to help Co mp o s e r learn the
names of the instrument sounds that this device can produce. The procedure below, for configuring a
new external MIDI device, applies equally to MIDI keyboards and MIDI sound modules.
T o c o nfig ure a ne w e xte rna l MID I s o und mo d ule :
1. Determine whether your MIDI device offers only the General MIDI (GM) sounds, or whether it
offers a different set of sounds.
A fairly good way to determine whether your device offers the GM sounds is to explore sound
options using the front panel of the device, or refer to its documentation. Note whether these
arbitrarily listed GM sounds match those of your instrument:
Patch #1 (or 0) -- Acoustic Grand Piano
Patch #7 (or 6) -- Harpsichord
Patch #23 (or 22) -- Harmonica
Patch #41 (or 40) -- Violin
Patch #57 (or 56) -- Trumpet
If your MIDI device has the standard GM sounds, then you can just refer to the Quick MIDI
Device Setup 576 to set up your device and you're done!
If your MIDI device does not have the standard GM sounds, or it has extended sounds that you
wish to use, then you'll want to continue.

Co mp o s e r will display the MIDI Device Configuration Window, such as illustrated here:
3. Identify the external output port to which you wish to connect the external device. All of the
external output ports on your Windows system are indicated with the combination of "Out" and
"External Port" in the second and third columns of the window. In the above example, there is
an external output port, named "1. Internal MIDI" that is the current default MIDI output device.
4. Note whether there is already an external output device listed below the external output port. In
the above example, the external output device "1. Internal MIDI" is listed below the external
output port with the same name.
When Co mp o s e r first initializes a MIDI device configuration, it assigns placeholder devices
to each external port. A placeholder device initially as the same name as the corresponding
port. It is a good idea to rename the device to that of the MIDI keyboard or external MIDI sound
module that you are connecting, such as "Yamaha Keyboard".
5. If you noted in step #4 that there is already an external device listed below the external output
port, then do one of the following:
(a) If you determined in step #1 that your device uses the General MIDI sounds, then rename
the device to something meaningful to you, such as the manufacturer and model of the
keyboard or sound module. To rename the device, select it in the window, then choose
Device Properties in the Device menu. In the Device Properties window, enter the new
name for the device. After that you do not need to follow any additional steps in this
procedure.
-- OTHERWISE --
(b) Remove the device listed below the external output port by selecting it and choosing
Remove from the Device menu. Skip to step #7 and then connect the device to the
external output port, as described in step #8.
6. If you noted in step #1 that the device you are adding uses the General MIDI set of sounds,
then do the following:
(a) Choose the New External Device command in the Device menu.
Co mp o s e r will display the Device Properties dialog:
(b) In the Device Properties dialog, enter a name for the device, such as the manufacturer
and model of your MIDI keyboard or sound module.
(c) For almost all external (hardware) General MIDI devices, the default values for the rest of
the options in the dialog box are appropriate. You can review the purpose of each option
in Specifying Properties of a Device 631 .
(d) If "General MIDI" is not listed under Banks, then click the Set General MIDI button.
Co mp o s e r will display "(000)* = General MIDI" in the Banks list., and will display 10 in the
Drum Channel Number(s) field.
(e) Click the OK button in the Device Properties dialog.
Co mp o s e r will add the new device at the bottom of the MIDI Device Configuration Window,
under the heading Unassigned Device(s).
(f) Skip step #7 and continue with step #8.
7. If you noted in in step # that the device you are adding does not use the General MIDI set of
sounds, then do the following:
(a) Attempt to import the device description from a Cakewalk Instrument Definition (.ins) file 626
, or from a Notation Software MIDI Device Description (.mdd) file 624 . This will save you a
lot of effort that you will otherwise spend manually entering the names of the sounds for
your device. If you are able to import the device description, then skip the rest of this step.
(b) Follow the instructions in step #6, except skip step #6(d), since your device is not a
General MIDI device.
(c) If your MIDI device has multiple banks, then use the Add Bank button in the Device
Properties dialog to add each bank.
(d) If your device has only one bank, then use the Add Bank button just once. You can give
that bank any name you want, such as "Instruments". Leave the bank value as 0.
(e) For each bank, you can enter the MIDI patch names, that is, up to 128 instrument sound
names. Click the name of the bank in the list, and then click the Edit Patch Names.
Co mp o s e r will display the Patch Names dialog. Read the names of the instrument
sounds off the front panel of your device, or from the manufacturer's manual for the device,
and enter them into the Patch Names dialog.
For further instructions, see Assigning Bank and Patch Names to a MIDI Device 645 .
Also, for each bank, optionally enter drum note names, as described in Assigning Drum
Note Names for a MIDI Device or Bank of a Device 643 .
8. To connect the newly added device to the external output port:
(a) At the bottom of the MIDI Device Configuration Window, under the heading "Unassigned
Devices", click the name of the newly imported or added device to select it.
(b) Choose the Connect to External Port command in the Device menu.
Co mp o s e r will display the Connect External Device to Port dialog box.
(c) In that dialog box, choose the external port to which you wish to connect the external
device.
For further instructions, see Connecting and Disconnecting Devices from an External Port 622 .
9. If your device relies on System Exclusive Events, you can check the appropriate boxes
("Record" if you will be using the device to record into N o ta tio n Co mp o s e r; to "Send SysEx
to this Device". Checking this box will also make sure that any MIDI files that you export
contain the proper Sys Ex events as well.
10. If your device relies on SysEx Events, then for optimal performance of sounds for your device
you should check the following parameter values, which you will need to get from your device
manual:
SysEx Buffer Count
SysEx Buffer Size (bytes)
GM Reset adjustment time (msec)
GM2/GS/XG Reset adjustment time (msec)
Delay between SysEx packets (msec)
9.7.4 How to Handle Devices Connected with MIDI Thru Cables
The physical MIDI Thru connector of a MIDI device enables that device to forward MIDI performance
data on to a second device, as illustrated here:
If you have physically configured your devices with MIDI Thru, then you probably want one device to
play back MIDI received on certain channels, and the second device to play back MIDI received on
other channels.
You will need to inform Co mp o s e r about such a MIDI Thru configuration, so that Co mp o s e r can
correctly play back MIDI on the two devices. The following screenshot shows the part of Co mp o s e r's
MIDI Device Configuration Window that represents the above configuration:
The physical MIDI Out connector at the computer will be associated with an external output port, such
as a "Creative SB Live! External MIDI".
T o c o nfig ure e xte rna l d e v ic e s tha t a re c o nne c te d v ia MID I T hru:
2. If the devices are not already included in the configuration, then add them using the New
External Device command in the Device menu. For an introduction to adding a new device,
see Configuring a New External MIDI Sound Module 606 .
The new devices will be listed under a heading "Unassigned Device" at the bottom of the
MIDI Device Configuration Window.
3. In the MIDI Device Configuration Window, identify the external output port that corresponds to
the physical MIDI Out connector, to which you have physically connected the first device. An
external output port is listed in bold text, and has "Out" and "External Port" in the second and
third columns.
4. If a placeholder device is already connected to that external output port, then disconnect it. A
placeholder device has the same name as the MIDI output port to which it is connected. To
disconnect the placeholder device, click its name to select it. Then choose the Disconnect
From External Port command in the Device menu.
5. Click the name of the first device to be connected, in order to select it. (The order in which the
two devices are connected or listed does not need to reflect how they are physically ordered
with MIDI cables.) Then choose the Connect to External Port command in the Device menu. In
the Connect External Device to Port dialog, select the external output port that you identified in
step #3. For further details, see Connecting and Disconnecting Devices from an External Port
622 .
6. Repeat step #5 for the second device.

Normally, when you connect two devices using MIDI Thru, you will want one device to play notes
received on only certain MIDI channels, and the second device to play notes received on other MIDI
channels. To do this, you will probably need to use either the front panel controls, or some software
tool that accompanies your device, to "tune" the device to certain channels, and to have it ignore other
channels.
For a given song, you can assign specific channels to each staff. For example, suppose you have
tuned My Keyboard to channels 1 through 8, and My Sound Module to channels 9 through 16, using
manual controls available on the two physical devices. Using the Staff Setup 191 command in the Staff
menu, you will need to assign channel numbers to the staves that are consistent with the devices to
which they are assigned, as illustrated below:
9.7.5 How to Save Effort if You Rearrange Your MIDI Equipment Often
If you have two or more external input and output MIDI devices, then there are a variety of ways that
you might physically configure them. Each different way that you physically configure your MIDI
devices usually requires a different setup in Co mp o s e r. Or, more specifically, each different physical
configuration requires a different arrangement of MIDI ports and devices in the MIDI Device
Configuration Window 611 .
It would be inconvenient if you had to make corresponding changes in the MIDI Device Configuration
Window each time you changed the physical arrangement of your MIDI devices. To spare you this
inconvenience, Co mp o s e r enables you to save alternative configurations in the MIDI Device
Configuration Window.
The options available to you for managing alternative MIDI device configurations are all offered in the
Config menu of the MIDI Device Configuration Window. Commands in the Config menu include:
Initialize, New, Clone To, and Select. For details, see Managing Alternative MIDI Device Configurations
652 .
9.8 Using the MIDI Device Configuration Window

The MIDI Device Configuration Window shows you how Windows MIDI ports and devices are
configured in Co mp o s e r.
For simple MIDI configurations that consist of no more than a sound card and MIDI keyboard, you can
use the Quick MIDI Device Setup 576 window to quickly test MIDI playback and recording, and to
inform Co mp o s e r which MIDI output device you wish to use. In this case, you may not need to use the
MIDI Device Configuration Window.
You will probably want to use the MIDI Device Configuration Window if your MIDI studio consists of
more than one external MIDI device-- such as a MIDI keyboard plus one or more MIDI sound modules.
In this case, the extra complexity of your MIDI studio will require some corresponding extra complexity
in informing Co mp o s e r about the physical arrangement of your MIDI equipment. Co mp o s e r's MIDI
Device Configuration Window offers you an intutitive way to provide Co mp o s e r this information.
To use the MIDI Device Configuration Window effectively, you will need to understand the distinction
between MIDI port and device. The term MIDI port is something that is defined by Windows, and
something that you find references to in most other MIDI programs. In contrast, the term MIDI device
has a special definition in Co mp o s e r, even though the word device is also used in many ways by
other programs. It is important that you understand how Co mp o s e r defines the term device, and the
relationship between a port and a device. This is discussed in the topic Understanding the Difference
Between a Port and a Device 613 . We highly recommend that you review that topic before using the MIDI
Device Configuration Window.
T o o p e n the MID I D e v ic e Co nfig ura tio n W ind o w:
Select the MIDI Device Config command from the Setup menu.
When you open the MIDI Device Configuration, you may find that the text in the MIDI Device
Configuration Window 611 is too small to read. You can change the text size, as described below.
T o inc re a s e (o r d e c re a s e ) the fo nt s ize o f te xt in the MID I D e v ic e Co nfig ura tio n
W ind o w:
Increase (decrease) the size of the window by dragging one of the corners of the window
outward (inward) with the mouse. The size of the text will expand to fit the new size of the
window if you make the window larger.
-- OR --
Choose Zoom In (Out) from the View menu.
-- OR --
Type Z+ or Z+ for Zoom Out or Zoom In

If you decrease the size of the window, the same text size will be preserved, and scrollbars will be
added to the window. You can zoom back out by choosing Zoom Out from the View menu, or by typing
Z+ .
Another option is also available:
T o c ha ng e the fo nt s ize o f the te xt in the MID I D e v ic e Co nfig ura tio n W ind o w to fit the
c urre nt s ize o f the wind o w:
Choose Scale to Fit from the View menu.
-- OR --
While holding down the 'Z' key, hit the ENTER key.
The remainder of this chapter is organized as follows:
Understanding the Details of the MIDI Device Configuration Window 613
Testing Playback and Recording Devices 620
Managing MIDI Ports 621
Managing MIDI Devices 623

Assigning Bank, Patch, and Drum Note Names to a MIDI Device 643
Managing Alternative MIDI Device Configurations 652
9.8.1 Understanding the Details of the MIDI Device Configuration Window
The topics below provide an overview of the details that you see in the MIDI Device Configuration
Window:
Understanding Ports and Devices in the MIDI Device Configuration Window 613 -- Before you
attempt to change any of your MIDI configurations in Co mp o s e r, it is essential that you
understand the distinction between Windows MIDI ports versus Co mp o s e r-defined devices.
Common MIDI Device Configurations 616 -- There is a good chance that one of the typical device
configurations in this topic can serve as a very close example of how you can set up your MIDI
configuration in Co mp o s e r.
Recording Indicator in the MIDI Device Configuration Window 620 -- This topic explains the
recordingindicator that looks like this:
Menus in the MIDI Device Configuration Window 620 -- This topic explains the menus in the
window:
9.8.1.1 Understanding Ports and Devices in the MIDI Device Configuration Window
To use the MIDI Device Configuration Window effectively, you will need to understand the distinction
between MIDI port and device, both of which refer to software or hardware that produces instrument
sounds. The term MIDI port is something that is defined by Windows, and something that you find
references to in most other MIDI programs. In contrast, the term MIDI device has a special definition in
Co mp o s e r, even though the word device is also used in many ways by other programs. It is important
that you understand how Co mp o s e r defines the term device, and the relationship between a port and
a device.
A MIDI port is something that Microsoft Windows abstractly defines. Basically, a MIDI port identifies the
"place" where a MIDI application, such as Co mp o s e r, "talks" to a particular MIDI sound-producing
device. A device is some mixture of MIDI driver software and hardware circuity residing on your
computer and on your sound card or external physical MIDI device.
Co mp o s e r defines a device to represent something generally more physically concrete than a
Windows MIDI port. There are external and internal devices. External devices are particularly easy to
understand, because they are things you can see, such as a MIDI keyboard or a rack-mount MIDI
sound module.
Internal devices are somewhat more difficult to visualize than external devices, because they reside
somewhere inside your computer, where you do not really see them. A good way to think about an
internal MIDI device is to realize that it basically does the same thing as an external MIDI device-- it
makes instrument sounds, through some combination of software and hardware (sound card)
computations.
There are two types of internal devices: hardware-based and software-based. An internal hardware-
based device is sound card circuitry that simulates instrument sounds. An internal software-based
device is software that uses the general computing powers of your computer to calculate the sound
waves that are then played through your sound card. Such an internal software-based device is
usually called a software synthesizer.
If you think about a Co mp o s e r-defined MIDI device as something that makes instrument sounds, then
it should be easier for you to understand a device than a Windows MIDI port. Except for when you are
configuring MIDI devices in Co mp o s e r, you will not have to think about the abstract Windows MIDI
ports. Whereas you cannot change the usually difficult-to-understand names of Windows MIDI ports,
you can give whatever name you want to a corresponding device, such as, "Keyboard" or "Casio".
The following diagram provides a general illustration of the relationship between Windows MIDI ports
and devices:
The above diagram illustrates these important relationships:

A Windows internal output port is always associated with a Co mp o s e r-defined internal output
device.
A Windows external output port is always associated with a physical connector. In this
example, the physical connector is the joystick connector, to which a joystick MIDI cable is
connected. In other examples, the physical connector might be one of the computer's USB
connectors.
The next diagram is almost the same diagram as the above, except it shows the names of MIDI ports
and devices that are initially assigned by Co mp o s e r when it detects the MIDI ports on your system.
The port names are highlighted in yellow, and the device names in light blue.
The next diagram also differs from the one above because a single external port, named "SB Live!
External", handles both MIDI input and output.
N OT E : For some Soundblaster sound cards, the name of the external MIDI port is "SB Live!
External UART" instead of "SB Live! External MIDI". Some older versions of Soundblaster
sound cards have separate external MIDI input and output ports, named "SB Live! MIDI In" and
"SB Live! MIDI Out", or "AWE32 MIDI In" and "AWE32 MIDI Out".
The above diagram illustrates that Co mp o s e r initially assigns the placeholder device the same
name as the corresponding port. You can rename the devices, as described in Assigning Device
Names That Make Better Sense to You 589 .
The following MIDI Device Configuration Window shows how the above configuration is represented
in Co mp o s e r's MIDI Device Configuration Window, after you have renamed the external device
"Create SB Live! External MIDI" to "Yamaha Keyboard":
Some important details in this window are explained here:

Windows MIDI ports are indicated in bold text.
Co mp o s e r-defined devices are listed in normal text.
The default device is indicated by green text.
The first two colums indicate whether a port or device provides MIDI input or output. In this
example, the external port serves both MIDI input and output; and the external device, a MIDI
keyboard, is both a playback (output) and recording (input) device
An external device is listed below an external port, when that external device is physically
connected via a MIDI cable to the MIDI connector corresponding to the port.
An internal device is listed below the internal port with which it is associated.
9.8.1.2 Common MIDI Device Configurations
Most modern MIDI devices are "plug and play" using USB connections that do not require any manual
manipulations or much attention on the part of the user. If you have older devices, however, you may
need to check out this section.
This topic shows diagrams and corresponding MIDI Device Configuration Windows for some common
MIDI device configurations. Your configuration might exactly or closely match one of these
configurations. If not, you may find similarities that will help you correctly inform Co mp o s e r about your
MIDI equipment in the MIDI Device Configuration Window 611 .
All of the examples illustrate two versions of MIDI drivers for Soundblaster sound cards. Recent
Soundblaster sound cards define a single "SB Live! External MIDI" or "SB Live! MIDI UART" external
port that handles both MIDI In and MIDI Out. Somewhat older Soundblaster sound cards define two
separate external ports, one for MIDI In and one for MIDI Out. sound cards by other manufacturers
similarly have either a single external port for MIDI In and MIDI Out, or else separate MIDI In and MIDI
Out ports.
Most of the examples illustrate the connection of a joystick-MIDI Y-cable to the sound card joystick
connector. The last example illustrates a USB MIDI connector box, which connects to a USB connector
of the computer. In that case, the MIDI drivers for the USB MIDI connector box provide the MIDI input
and output ports; and the external input and output ports of the sound card remain unused.
All of the examples of MIDI Device Configuration Windows show two internal output ports, named "A:
SB Live! MIDI Synth" and "B: SB Live! MIDI Synth". Through these two internal output ports, the
Soundblaster sound card offers a total of 32 MIDI channels for playback through its software
synthesizer 602 . The diagrams in this topic do not show these internal ports; they show only the external
ports and connected external devices. For a diagram of internal ports, see Understanding Ports and
Devices in the MIDI Device Configuration Window 613 .
1. S ing le s o und c a rd e xte rna l p o rt fo r MID I In a nd MID I Out; jo y s tic k -MID I Y -c a b le ; a nd

MID I k e y b o a rd tha t c a n p la y b a c k MID I.
This diagram is the same as part of the diagram shown in Understanding Ports and Devices in the MIDI
Device Configuration Window 613 .
2. T wo s e p a ra te s o und c a rd e xte rna l p o rts fo r MID I In a nd MID I Out; jo y s tic k -MID I Y -

c a b le ; a nd MID I k e y b o a rd tha t c a n p la y b a c k MID I.
In this example, "B000" is the Windows port address, which is not information you would normally need
to know.
3. T wo s e p a ra te s o und c a rd e xte rna l p o rts fo r MID I In a nd MID I Out; jo y s tic k -MID I Y -

c a b le ; MID I c o ntro lle r k e y b o a rd tha t c a n p ro d uc e s o und o nly thro ug h the c o mp ute r
In this example, the external output port is not used. Co mp o s e r initially assigns a placeholder external
device to the external port, with a name that starts with the words "External Device Connected to",
followed by the name of the external port. In this example, the placeholder external output device woud
be named "External Device Connected to SB Live! IMIDI Out (B000)". If your MIDI contoller keyboard is
not capable of playing back MIDI, then it is a good idea to delete this placeholder external output
device. Then you will not see it listed as an option for assignments of output devices to the staff 191 . For
instructions in deleting a device, see Removing a Device 630 .
4. U S B MID I c o nne c to r; MID I k e y b o a rd tha t c a n p la y b a c k MID I

In this example configuration, the sound card's external MIDI In and MIDI Out ports are not used. The
MidiSport(tm) 2x2 USB MIDI connector box provides two MIDI In connectors and two MIDI Out
connectors, but in this example, only one MIDI In and one MIDI Out connector are used.
In this example, placeholder devices have been deleted for the ports "SB Live! MIDI UART", "Out-B
USB MidiSport 2x2" and "In-B USB MIdiSport 2x2". See the explanation for deleting placeholder
devices in the previous example.
9.8.1.3 Recording Indicator in the MIDI Device Configuration Window
An external MIDI input device has a red recording indicator in the MIDI Device Configuration Window,
as shown here:
The MIDI Device Configuration Window displays a recording indicator for a given device if there is a
check mark for "Is MIDI Input Device" in the Device Properties dialog box for that device. See
Specifying Properties of a Device 631 .
When you are actively playing on the MIDI recording device (typically a MIDI keyboard), you will see
the recording indicator light up with a bright red color. This is a good way to confirm if Co mp o s e r is
detecting your performance, as described in What To Do If Recording Does Not Work 585 . Note that
you can also monitor device recording activity in the Quick MIDI Device Configuration Window 611 .
9.8.1.4 Menus in the MIDI Device Configuration Window
The purpose of each menu in the MIDI Device Configuration Window is summarized below:
Co nfig -- Options for managing multiple alternative configurations. These options are useful if you
have two or more external MIDI devices, and find that you frequently rearrange their physical
connections or settings. You can use the "Configuration to clipboard command" to copy a text
report of your configuration to paste into a text editor or email for review or help. Also see
Managing Alternative MIDI Device Configurations 652 .
P o rt -- Options for hiding or showing Windows MIDI ports in a configuration, and for connecting or
disconnecting external ports from external devices. See Managing MIDI Ports 621 .
D e v ic e -- Options for adding or removing devices from a configuration; setting the properties of
devices, including MIDI bank and patch names; and connecting or disconnecting external
devices from external ports. See Managing MIDI Devices 623 .
T e s t -- For a currently selected output device, this command plays back a 12-note chromatic
scale, so that you can monitor the device activity shown by the playback channel indicators.
See Testing Playback and Recording Devices 620 .
V ie w -- Options for zooming in or out, to increase or decrease the font size used in the window.
See Using the MIDI Device Configuration Window 611 .
9.8.2 Testing Playback and Recording Devices
If a staff is assigned to a device, and you hear no sound for that staff during playback, then it is a good
idea to directly test the playback for the device.
T o te s t the p la y b a c k fo r a MID I o utp ut d e v ic e :

-- OR --
Type "gds" or "gdc" for Quick Device Setup or Quick Device Configuration.
2. In the MIDI Device Configuration Window, select a MIDI device by clicking its name. MIDI
device names are displayed in normal text, whereas MIDI port names are displayed in bold
text.
3. Choose the Test command in the main menu of the MIDI Device Configuration Window.
4. Co mp o s e r will display and play back a 12-note chromatic scale.
5. If you unexpectedly do not hear sound for a device when you choose the Test command, then
some possible explanations and remedies are suggested in What To Do If You Do Not Hear
Any Sound 581 .
T o te s t re c o rd ing o r p la y -a lo ng o f a MID I inp ut d e v ic e :
-- OR --
Type "gds" or "gdc" for Quick Device Setup or Quick Device Configuration.
2. Perform some notes on your MIDI input device (typically a MIDI keyboard). Observe whether
the recording indicator lights up in a bright red color.
3. If you unexpectedly do not observe recording activity for that input device, then some possible
explanations and remedies are suggested in What To Do If Recording Does Not Work 585 .
9.8.3 Managing MIDI Ports
Before reading this topic, you should review Understanding Ports and Devices in the MIDI Device
A MIDI port is something that Microsoft Windows abstractly defines. Basically, a MIDI port identifies the
"place" where a MIDI application, such as Co mp o s e r, "talks" to a particular MIDI sound-producing
device. Except in the MIDI Device Configuration Window, Co mp o s e r always refers to devices, not
ports. The MIDI Device Configuration Window is the place where you inform Co mp o s e r how external
devices are connected to ports.
When Co mp o s e r runs for the first time, or whenever it detects the presence of a MIDI port, it detects
whether each MIDI port is an internal or external port. For an explanation of internal versus external,
see Understanding Ports and Devices in the MIDI Device Configuration Window 613 . This detection is
based on information provided by the MIDI driver for the port. A few MIDI drivers incorrectly report this
information. Therefore, Co mp o s e r offers you the option to correct the specification of whether a port is
internal or external. See Specifying Whether a Port is Internal Or External 622 .
Co mp o s e r enforces a rule that an internal MIDI port must always be associated with a corresponding
internal device.
An external input or output port can be connected to one or more external devices. You can use the
Connect to External Device command in the Port menu to establish the connection between an
external port and an external device. See Connecting and Disconnecting Devices from an External
Device. 622
9.8.3.1 Connecting and Disconnecting Devices from an External Port
It is important that you understand the information in Understanding Ports and Devices in the MIDI
Device Configuration Window 613 before you attempt to connect or disconnect external devices from an
external port.
There is a good chance that your MIDI configuration will exactly or closely match one of the
configurations described in Common MIDI Device Configurations 616 . It is highly recommended that
you review those common configurations. They will probably help you determine how you will want to
connect external devices to external ports, as described here.
T o c o nne c t a n e xte rna l d e v ic e to a n e xte rna l p o rt.
1. In the MIDI Device Configuration Window 611 , select the external device by clicking its name. It
must be an external device, as indicated by the word "External" in the Port or Device column. If
the port is an input port, then the device must not already be assigned to another input port. If
the port is an output port, then the device must not already be assigned to another output port.
If the port is an input port, the device already may be assigned to an output port, and
conversely. That is, an external device (eg, MIDI keyboard) that supports both recording and
playback can be assigned to two different ports-- one that is an input port, and another that is
an output port.
2. Choose the Connect To External Port command in the Device menu.
Co mp o s e r will display the Connect External Device to Port dialog box, such as the following:
The external device that you selected in the MIDI Device Configuration Window will already be
selected as the External Device.
3. In the dialog box, select the external port to which you wish to connect the external device.
4. Click the Connect button.
T o d is c o nne c t a n e xte rna l d e v ic e fro m a n e xte rna l p o rt.
1. In the MIDI Device Configuration Window 611 , select the external device by clicking its name.
2. In the Device menu, choose the Disconnect From External Port command.
9.8.3.2 Specifying Whether a Port Is Internal or External
For most MIDI sound cards and devices, Co mp o s e r is able to correctly detect whether any
corresponding Windows MIDI port is for an internal MIDI device or an external MIDI device. However,
for a few MIDI sound cards or devices, Co mp o s e r cannot correctly detect the device status when the
MIDI device driver reports incorrect information. For such unusual cases, Co mp o s e r provides a way
to correct the inaccurate determination of whether the port is internal or external.
If you know that a listed Windows MIDI port is for an external port, but Co mp o s e r reports it as an
internal port, then you will find that you are not able to assign an external MIDI device, such as a MIDI
keyboard, to the listed port. This is because Co mp o s e r only allows external MIDI devices to be
connected to external ports.
Conversely, you might find that Co mp o s e r incorrectly reports an an internal port as an external port.
The way to correct either of these problems is to follow the procedure below for changing the property
of the Windows MIDI port from internal to external.
T o c ha ng e whe the r a W ind o ws MID I p o rt is inte rna l o r e xte rna l:
1. In the MIDI Device Configuration Window 611 , select the MIDI port by clicking its name with the
mouse.
2. In the Port menu, choose the Properties command.
-- OR --
Instead of selecting the port and choosing the Port Properties command, double-click or right-
click the port name.
Co mp o s e r will display the Port Properties dialog, such as the following:
The above is an actual example of a MIDI software synthesizer that incorrectly reports its
property as external rather than internal. Note that Co mp o s e r has a built-in work-around for
this particular Roland VSC software synthesizer, so that Co mp o s e r will correctly detect it as
internal rather than external.
3. Change the "Your assignment" value to Internal or External, and click OK.
4. Co mp o s e r will warn you if "Your assignment" for Internal or External differs from <%
P R OD P OS E S S IV E % > detection for the port. In the confirmation dialog, choose "Yes" if you
are fairly certain that you have correctly specified whether the port is internal or external. Note,
however, that you can later change the specification again if you have made the wrong choice.
9.8.4 Managing MIDI Devices
Before reading this topic, you should review Understanding Ports and Devices in the MIDI Device
MIDI devices play a central role in the assignment of sounds to staves 191 in a song. Specifically, for
any particular staff, you can specify which MIDI device the staff will be played back on. For the same
song, you can assign some staves to one device, and other staves to another device.
Each MIDI device has a unique set of properties that you can specify in Co mp o s e r . Some of the
properties of a device answer the following questions:
Is the device an output device and/or an input device?
Is the output device the default device to which staves for a newly opened MIDI file are
assigned?
Does the device have multiple banks of sounds available; and how are these defined?
What are the MIDI patch (instrument) names for the device?
If the device has drum kits, what are the names of the drum notes?
The following topics describe procedures for adding, removing, and renaming devices, and editing
the properties of devices:
Importing from a MIDI Device Description (.mdd) File 624
Importing from a Cakewalk Instrument Description (.ins) File 626
Adding an External Device 629
Removing a Device 630
Renaming a Device 631
Specifying Properties of a Device 631
Specifying the Default MIDI Output Device 635
Specifying a General MIDI (GM) Device 636
Exporting to a MIDI Device Description (MDD) File 640
9.8.4.1 Importing from a MIDI Device Description (.mdd) File
A quick way to specify the patch names for your MIDI device, and other properties of the device, is to
import this information from a MIDI Device Description (.mdd) file, which has a format defined by
Notation Software. Notation Software offers MDD files at its web site that have been contributed by
users of its products.
There are two ways to import the patch names for your MIDI device from a Notation Software MDD file.
The easier of the two ways is to use the Quick MIDI Device Setup command in the Setup menu. Use
the Import Sound Names option in the Quick MIDI Device Setup dialog box. For details, see the topic
Another less convenient way to import the patch names from your MIDI device from an MDD file is
described below. There are two minor advantages to using this method. First, you can preview the list
of MIDI bank names and patches for a device that you are about to import. Second, this method offers
an option that you can import a single bank of patches for a device rather than all of the banks.
T o imp o rt a d e v ic e d e s c rip tio n fro m a MD D file :

1. Open the MIDI Device Configuration Window 611 by choosing the MIDI Device Configuration
command from the Setup menu.
-- OR --
Type"qdc" for Quick Device Configuration.
2. In the MIDI Device Configuration Window, choose the Import command from the Device menu.
Co mp o s e r will present the Import MIDI Device Description from File dialog box:
3. In the above dialog box, navigate to the directory to which you downloaded the MDD file, or to
the directory where you saved the MDD file that you have exported from another computer
running Co mp o s e r .
4. In the dialog box, select the MDD file, and click the Open button.
Co mp o s e r will display the Import MIDI Device Description window, as illustrated here:
5. In the panel at the right side of the window, click the model number (the name, not the '+'
symbol) of the device description you want to import.
6. To optionally review the list of MIDI banks and patch names for a device, click the '+' symbol
next to the device name.
Co mp o s e r will display a list of the MIDI banks for that device. If you click the "+" symbol next to
one of the MIDI bank names, then Co mp o s e r will display the patch names for that bank in the
lower half of the window. You can selectively import patch names for a specific bank of a
device, but there is usually no need to do this.
You can optionally preview the patch names for a given bank of a device by selecting the
bank in the right panel.
7. In the left panel, select the MIDI output port that sends the MIDI output to the MIDI output device.
8. Click the Import button.
Co mp o s e r will list the newly imported device below the MIDI output port to which it is
"connected":
When you assign a staff to the external output device connected to an output port, you can
refer to each the name of the port, or the name of the external device. In this example, you can
refer to either "Out-A USB MidiSport 2x2" or "Korg M1". You will find it preferable to refer to the
device name because then you can assign a sound to the staff by referring to the name of a
MIDI bank and patch (instrument) rather than refer to the bank and patch numbers.
8. Click the Exit button.
Co mp o s e r will add the newly imported device in the MIDI Device Configuration Window.
T o imp o rt a s ing le MID I b a nk fro m a n MD D file into a p re v io us ly a d d e d d e v ic e :
Follow the same procedure as above, except select a MIDI bank in the right panel, and a
device in the left panel.
9.8.4.2 Importing from a Cakewalk Instrument Description (.ins) File
A Cakewalk(tm) Instrument Description (.ins ) file contains most of the information needed for a MIDI
device description in Co mp o s e r. The information is the list of MIDI bank and patch names for that
device. If you own a Cakewalk software product, then you can borrow instrument descriptions that
Cakewalk maintains in INS files installed on your computer. If you do not own a Cakewalk software
product, you can download an INS file from Cakewalk's web site, as described below.
The procedure for importing a device description from a Cakewalk INS file is similar to the procedure
for importing a device description from a Notation Software MDD file 624 .
There are two ways to import the patch names for your MIDI device from a Cakewalk INS file. The
easier of the two ways is to use the Quick MIDI Device Setup command in the Setup menu. Use the
Import Sound Names option in the Quick MIDI Device Setup dialog box. For details, see the topic
Another less convenient way to import the patch names for your MIDI device from a Cakewalk INS file
is described below. There are two minor advantages to using this method. First, you can preview the
list of MIDI bank names and patches for a device that you are about to import. Second, this method
offers an option that you can import a single bank of patches for a device rather than all of the banks.
T o d o wnlo a d a n IN S file :
1. Some of our users have collected and shared INS files which can be found on our User Forum
at http://www.notation.com/vb-forum/showthread.php?t=3891 or by searching the User Forum
for "Cakewalk INS". If you do not see your device listed there, you can use your favorite
browser to search the internet for "cakewalk INS" and list your device name in the search.
2. However you find it, download the INS file(s) for your device(s).
3. Make note of the directory to which the file(s) has been downloaded.
4. Once you have downloaded the .ins file, follow the instructions below for importing the .ins
file into Co mp o s e r .
T o imp o rt a d e v ic e d e s c rip tio n fro m a Ca k e wa lk IN S file :
-- OR --
Type "qdc" for Quick Device Configuration.
2. In the MIDI Device Configuration Window, choose the Import command from the Device menu.
Co mp o s e r will present the Import MIDI Device Description from File dialog box:
3. In the above dialog box, navigate to the directory to which you downloaded the INS file.
4. In the dialog box, select the INS file, and click the Open button.
Co mp o s e r will display the Import MIDI Device Description window, as illustrated here:
5. In the panel at the right side of the window, click the model number (the name, not the '+'
symbol) of the device description you want to import.
6. To optionally review the list of MIDI banks and patch names for a device, click the '+' symbol
next to the device name.
Co mp o s e r will display a list of the MIDI banks for that device. If you click the "+" symbol next to
one of the MIDI bank names, then Co mp o s e r will display the patch names for that bank in the
lower half of the window. You can selectively import patch names for a specific bank of a
device, but there is usually no need to do this.
You can optionally preview the patch names for a given bank of a device by selecting the
bank in the right panel.
7. In the left panel, select the MIDI output port that sends the MIDI output to the MIDI output device.
8. Click the Import button.
Co mp o s e r will list the newly imported device below the MIDI output port to which it is
"connected":
When you assign a staff to the external output device connected to an output port, you can
refer to each the name of the port, or the name of the external device. In this example, you can
refer to either "Out-A USB MidiSport 2x2" or "Korg M1". You will find it preferable to refer to the
device name because then you can assign a sound to the staff by referring to the name of a
MIDI bank and patch (instrument) rather than refer to the bank and patch numbers.
8. Click the Exit button.
Co mp o s e r will add the newly imported device in the MIDI Device Configuration Window.
T o imp o rt a s ing le MID I b a nk fro m a n MD D file into a p re v io us ly a d d e d d e v ic e :
Follow the same procedure as above, except select a MIDI bank in the right panel, and a
device in the left panel.
9.8.4.3 Adding an External Device
In the MIDI Device Configuration Window 611 , you can add only external devices, not internal devices.
This is because Co mp o s e r automatically adds and connects an internal device to any internal
Windows MIDI port that it detects. For a description of the difference between internal device and
external device, see Understanding Ports and Devices in the MIDI Device Configuration Window 613 .
If you intend to identify a new external device not previously defined in any configuration, you should
first explore whether you can import the device description. See Importing from a MIDI Device
Description (.mdd) File 624 and Importing from a Cakewalk Instrument Description (.ins) File 626 .
T o a d d a d e v ic e to a MID I d e v ic e c o nfig ura tio n:
-- OR --
2. Use the Select command of the Config menu if the current configuration is not the one to which
you wish to add the device.
3. If the device you want to add to the configuration has already been added or imported, then it
will be listed under "Unassigned Devices", as illustrated below. In that case, skip to step #5.
4. If the device is not listed under "Unassigned Devices", then add it as a new device by
choosing the New External Device command in the Device menu.
Co mp o s e r will present the following Device Properties dialog box:
5. In the dialog box, assign a meaningful name to the device. Specify the properties of the new
device, as described in Specifying Properties of a Device 631 . Then click the OK button.
Co mp o s e r will list the new device under "Unassigned Devices" in the MIDI Device
Configuration Window.
6. In the MIDI Device Configuration Window, select the device by clicking its name.
7. Choose the Connect to External Port command in the Device menu.
Co mp o s e r will present the Connect to External Port dialog.
8. In the Connect to External Port dialog, specify the external port to which the new device should
be attached.
9. Click the OK button in the Connect to External Port dialog to complete the task.
9.8.4.4 Removing a Device
Removing a device normally removes it only from the current configuration. If it is present in other
configurations, it will remain in those configurations. If it is no longer present in other configurations,
then Co mp o s e r will offer you the option to delete the description altogether.
T o re mo v e a d e v ic e fro m a MID I d e v ic e c o nfig ura tio n:
-- OR --
2. Select the device by clicking its name in the window.

3. In the Device menu, choose the Remove from Configuration command.
-- OR --
Hit the DEL key.
4. If the device is no longer present in any other configurations, Co mp o s e r will ask you whether
you want to delete the device permanently. Respond with "no" if you anticipate possibly using
the device description later in another configuration.
9.8.4.5 Renaming a Device
When you assign instrument sounds to staves 191 , you refer to the name of the device, a MIDI bank on
the device (or "General MIDI 636 "), and a MIDI program patch. In assigning the instrument sounds to a
staff, you will refer to device names rather than Windows port names. You cannot change the names
that Windows uses for the MIDI ports, which are generally awkward to read, but you can change the
names of devices so that the names make sense to you.
When Co mp o s e r initially detects a MIDI port, Co mp o s e r creates a "placeholder" device that is
"connected" to the port. Co mp o s e r assigns that placeholder device the same name as the port (such
as " SB Live! External MIDI") to which is connected, or with which it is associated. You can change the
name of the device to something like "Keyboard", or perhaps "Casio", to reflect the specific
manufacturer and model of your keyboard or external MIDI sound module.
T o re na me the e xte rna l MID I d e v ic e :
-- OR --
2. Select the device by clicking its name in the window.
3. In the Device menu, choose Properties.
Co mp o s e r will present the Device Properties dialog box.
4. Change the Device Name in the Device Properties dialog.
5. Hit the OK button to complete the task.
9.8.4.6 Specifying Properties of a Device
The Notation Software Internal Synth has some additional settings that are available besides the
"common" ones detailed below. Please see the topic "Notation Software Internal Synthesizer 573 " for
details on those specialized settings.
You can view and edit the properties of a MIDI device in the Device Properties dialog. The various
properties of a device are described later in this topic.
If you intend to identify a new external device not previously defined in any configuration, you should
first find out if you can import the device description. See Importing from a MIDI Device Description ( 624
.mdd) File 624 and Importing from a Cakewalk Instrument Description ( 626 .ins) File 626 .
T o v ie w a nd c ha ng e the p ro p e rtie s o f a d e v ic e :
2. Select a device by clicking its name in the MIDI Device Configuration Window, and then
choose the Properties command in the Device menu.

-- OR --
Right-Click the device's name with the mouse, and select "Properties" from the list there.
Co mp o s e r will display the Device Properties dialog, such as the following:
3. Change values in the dialog as described below.

4. Click OK to commit the changes.
The remainder of this topic describes the various properties of a MIDI device.
A MIDI device can be an output device, an input device, or both an input and output device. Some
MIDI keyboards are input-only. That is, they only send MIDI as input into the MIDI application, such as
Co mp o s e r. Such MIDI keyboards are also called "MIDI controllers". Other MIDI keyboards are also
capable of playing MIDI output sent from the MIDI application.
P la y b a c k P ro p e rtie s (o f a n Outp ut D e v ic e )
Is MIDI Output Device
Add a check mark to this checkbox if the device is a MIDI output device.
Is Default Output Device
Add a check mark to this checkbox if the device is the default MIDI output device. See also
Specifying the Default MIDI Output Device 635 .
Was Previously the Default MIDI Output Device

Use this option and the Option to Reassign button below it to determine how Co mp o s e r
should reassign staves to an old MIDI device output device that used to be the default MIDI
playback device but has since been replaced with a new default MIDI output device. See
Changing the Default Playback Device 591 .
MIDI banks
A device can have one or more MIDI banks. Each MIDI bank consists of one set of up to 128
MIDI patches, which can be thought of as distinct instrument sounds. Some MIDI devices
support multiple alternative banks of patches. If the device has multiple banks of patches, then
you must specify the Bank Select Method (see below). In the above example, the Roland M-
SE1 device has two banks named "Strings" and "Extras".
sound cards typically have one or more software-based synthesizers that implement the
standard General MIDI (GM) patches. Some external MIDI sound modules also implement
General MIDI. To assign the set of General MIDI patches to a device, follow the instructions for
Specifying a General MIDI (GM) Device 636 .
For general instructions in adding, editing, renaming, and removing banks, see Managing
MIDI Banks and Patches 643 .
Bank Select Method
If the device has only one MIDI bank, then the Bank Select Method for this device is "None".
Otherwise, the Bank Select Method will likely be the most difficult property of a device to find
listed in your device owner's manual. You will need to search in the section of the owner's
manual that is intended for software programmers, rather than normal users. Look under a
section of the manual that describes "MIDI Messages". Under that section, look for a
subsection that describes "Changing Patches", "Bank Changes", "Bank Selection", or "Bank
Select Method".
When a MIDI program sends a MIDI message to a device to change the MIDI bank, the
message can be formatted in a couple of different ways, depending on the expectation of the
particular device. Each of the alternative MIDI industry standard methods for formatting the
messages are listed below. No harm will come to your device if you choose the wrong Bank
Select Method; you simply might not hear the right instruments played. The names of the Bank
Select Method listed below are exactly as presented in the choice box in the Device
Properties dialog box:
Normal: This is the default setting. Controller Number 0, followed by a value that specifies the
particular bank to be selected, followed by Controller Number 32, followed typically by the
value 0 but perhaps by a number that further specifies which bank is to be selected. This Bank
Select Method is the most common one.
CTRL 0: Controller Number 0, followed by a value that specifies the particular bank to be
selected.
CTRL 32: Controller Number 32, followed by a value that specifies the particular bank to be
selected.
Patch 100 to 127: Patch numbers 100 to 127 select one of up to 28 alternative banks. For a
given bank, only 100 patches will be available, numbered 0 to 99, since numbers 100 through
127 are reserved for bank selections.
Patch Names
Each MIDI bank has a set of MIDI patches, alternatively called "MIDI programs". The MIDI
patches consist of up to 128 different instrument sounds, each identified within MIDI as simply a
number from 0 to 127. When you assign an instrument sound to a staff, you must specify both
the bank and a MIDI patch. (Note that if the staff includes mid-song MIDI program changes,
Co mp o s e r will correctly change the instrument sound in real-time during playback.) Because
it is difficult and inconvenient to remember what MIDI program numbers are associated with
which instrumental sounds, Co mp o s e r shows you meaningful patch names, such as
"Acoustic Guitar". For a given device, you can specify the wording of the patch names.
The patch names for one of the banks (or the only bank) of a device are typically listed in the
device owner's manual in a section name "Patch List", or "Tone List", or "MIDI Programs". If
the device has multiple MIDI banks, then the heading for the list of patches for a given bank will
show the bank value and perhaps the controller values mentioned above under Bank Select
Method.
For instructions in adding, editing, and renaming patches, see Managing MIDI Banks and
Patches 643 .
System Exclusive Events

If your device relies on System Exclusive Events, you can check the appropriate boxes
("Record" if you will be using the device to record into N o ta tio n Co mp o s e r; to "Send SysEx
to this Device". Checking this box will also make sure that any MIDI files that you export
contain the proper Sys Ex events as well.
If your device relies on SysEx Events, then for optimal performance of sounds for your device
you should check the following parameter values, which you will need to get from your device
manual:
SysEx Buffer Count
SysEx Buffer Size (bytes)
GM Reset adjustment time (msec)
GM2/GS/XG Reset adjustment time (msec)
Delay between SysEx packets (msec)
Anticipate Playback Delay

Some MIDI software synthesizers, such as the Roland Virtual Sound Canvas, delay the
performance of MIDI. The delay is necessary so that the software synthesizer can dynamically
prepare the sound wave data during playback. Also, some acoustic player pianos, such as
the Yamaha Disklavier, provide an option to delay playback by a specified number of
milliseconds. The delay allows piano hammers traveling at different speeds (faster for louder
notes) to hit the strings at more precise relative times.
If your MIDI software synthesizer has such a delay, or if your acoustic player piano is set for
such a delay, then the millisecond duration of the delay must be specified so that Co mp o s e r
can synchronize other output devices and visual information, such as highlighting of notes,
during playback.
Tap in Delay
Clicking this button will open the Tap in Delay 605 dialog which will let you listen to the
playback of a scale on the selected device, and tap in the notes as you hear them.
Co mp o s e r will then determine the Playback Delay for you, and save it so that it will correctly
coordinate the highlighting of notes with their sound during playback.
N OT E : If a MIDI output device has a delay, the device cannot be successfully used to echo
your live performance on a MIDI input device 143 . You will experience a frustrating delay
between the time you hit a note and the time you hear it. This is not Co mp o s e r's fault. It is just
the nature of your MIDI output device if it has a built-in delay.
For further information, see Adjusting for the Delay of Some MIDI Output Devices 604 .
Drum Channel Numbers
Some MIDI devices dedicate specific channel numbers to drum sounds. On drum channels,
MIDI pitches are interpreted not as real pitches but, rather, as different types of drum sounds.
The special MIDI device called "General MIDI", defines channel 10 as the drum channel. You
should specify the drum channel(s) when defining a device so that when Co mp o s e r
transposes the pitches of a song to another key, it knows that it should not attempt to
transpose the pitches in the drum channels. Otherwise, snare drum sounds might end up
sounding like bells.
Enter the drum channel numbers separated by commas, such as in "10,12".
R e c o rd ing P ro p e rtie s (o f a n Inp ut D e v ic e )
Is MIDI Input Device
Add a check mark to this checkbox if the device is a MIDI input device.
Echo MIDI Input to Output
If echo is turned on, then your performance on the MIDI input device will be routed to a MIDI
output device. Use the Select Play-Along Sound 143 command in the Perform menu to
determine which output device will be chosen for echoing the input.
For an overview of MIDI "echo", see Deciding Whether or Not Your Keyboard Should Directly
Produce Sound 598 .
9.8.4.7 Specifying the Default MIDI Output Device
When you first open a MIDI file, Co mp o s e r assigns all staves to a default MIDI output device. Initially
this is the Notation Software Synth 573 .
T o re v ie w whic h d e v ic e is the d e fa ult MID I o utp ut d e v ic e :
-- OR --
2. The default MIDI output default is highlighted in green. In the example below, the device
"Creative SB Live! Synthesizer" is the default output device.
T o c ha ng e the d e fa ult MID I o utp ut d e v ic e :

1. Open the MIDI Device Configuration Window 611 by choosing the MIDI Device Config
-- OR --
2. Select the desired default MIDI output device by clicking its name, and then choose the Set as
Current Playback Device command in the Device menu.
-- OR --
Double-click the name of the MIDI output device.
After opening a MIDI file, if you go to the Staff Setup 191 window, you will notice that all of the staves are
assigned to the default MIDI output device that you have specified. In the Staff Setup window you can
change the device assignment for any of the staves 191 .
9.8.4.8 Specifying a General MIDI (GM) Device
General MIDI (GM) is a standard specified by the MIDI Manufacturers Association (MMA). The General
MIDI standard defines 128 distinct instrument sounds and a collection of drum sounds. Most sound
cards that support MIDI also implement the General MIDI standard. Thus, you can play the same MIDI
file on two different manufacturer's versions of GM sound cards and hear roughly the same instrument
sounds. The actual instrument sounds can differ significantly, so that a song that sounds good on one
sound card might not sound quite as good on another. Nevertheless, if there are four different
instruments playing together in the MIDI source, for example, you will usually be able to identify what
kind of instruments are playing, regardless of what sound card is used.
When Co mp o s e r runs for the first time, it detects the software-based synthesizers for your sound card,
and automatically creates corresponding devices for each. Also, Co mp o s e r automatically specifies
these to be General MIDI devices. This means that Co mp o s e r assigns a single MIDI bank to the
device, and names that bank "General MIDI".
Co mp o s e r assigns standard General MIDI patch names to the General MIDI bank.
T o v ie w the Ge ne ra l MID I p a tc h na me s fo r a d e v ic e tha t is a lre a d y c o nfig ure d :
command in the Setup menu.
-- OR --
2. Click the name of a "Software Synth" device. If this device was initially configured by
Co mp o s e r , then Co mp o s e r will assume that the device uses the General MIDI standard.
3. Choose the Properties command in the Device menu. Co mp o s e r will display the Device
Properties dialog box.
4. In the Device Properties dialog box, click the line "0 = General MIDI" that is listed under
"Banks".
5. Click the Patch Names button. Co mp o s e r will then display the following dialog box:
6. If you only want to view the General MIDI patch names, then click the OK button when you are
done to exit the Patch Names dialog box, and click the OK button of the Device Properties
dialog to exit that dialog box.
You might need to create a new device with the General MIDI specification. You will need to do the
following procedure if this GM device is not already associated with the Windows MIDI output port of a
software-based synthesizer automatically detected by Co mp o s e r.
T o c re a te a ne w Ge ne ra l MID I d e v ic e :
1. Follow the procedure for Adding an External Device 629 , even if your device is an internal
device.
2. In the Device Properties dialog, click the Set General MIDI button. A "General MIDI" bank will
now be listed under "Banks", as illustrated:
3. You can review the newly added General MIDI patch names by clicking the Edit Patch Name
buttons.
4. Specify other properties of the new device, as described in Adding an External Device 629
(even if your device is an internal device).

5. Click the OK button to complete the task.
9.8.4.9 Tuning a Device to Specific MIDI Channels
Some external devices have the capability to "tune in" to specific MIDI channels, while ignoring
incoming MIDI events for other MIDI channels that are intended for, and passed on, to other MIDI
devices connected via MIDI Thru connectors. Such devices typically provide front panel options for
tuning into channels. By specifying which MIDI channels a given device is tuned to, you can help
Co mp o s e r determine which channels are intended to be performed by a given device.
In particular, if you assign a staff to the "Auto" MIDI channel of a "tuned" device, then Co mp o s e r will
play back that staff using only one of the channels that the device is tuned to. For details about
assigning a staff to the Auto MIDI channel, see Assigning MIDI Channels 196 .
In the following example, the 16 channels of MIDI performance sent from the SoundBlaster Live! MIDI
Out port are first received by the Korg M1 device. The Korg M1 device forwards all of the MIDI
performance, via its MIDI Thru connector, to the second device, a Roland M-SE1 sound module. The
Korg M1 device is intended to respond only to channels 9 through 16; and the Roland M-SE1 device is
intended to respond only to channels 1 through 8.
The MIDI Device Configuration for the above setup looks like this:
Notice that the first eight channel buttons are green for the Roland M-SE1, and the last eight channel
buttons are gray. For the Korg M1, the first eight channel buttons are gray, and the last eight channel
buttons are green. This means that the Roland M-SE1 is "tuned into" the first eight channels (1-8), and
the Korg M1 is tuned into the last eight channels (9-16).
T o tune a d e v ic e into s p e c ific MID I c ha nne ls :
-- OR --
2. For the desired device, click channel buttons, which are arranged in four groups of four
buttons, to toggle whether the channel is tuned into or not.
-- OR --
Drag the mouse over the channel buttons to toggle several at a time.
It is important to understand that "tuning into" channels is intended to instruct Co mp o s e r about your
intentions for using MIDI channels on the devices, but it does not directly force the external devices to
accept, or conversely, ignore incoming MIDI data on the specified channels. To accomplish this latter
purpose, you must typically choose options on the control panel of the external device to tune that
device to specific MIDI channels, and to ignore other channels. For details specific to your device,
please refer to its owners manual.
9.8.4.10 Exporting to a MIDI Device Description (.mdd) File
By importing a MIDI Device Description (.mdd) file 624 or a Cakewalk Instrument Definition (.ins) file 626 ,
you can spare yourself a lot of effort manually entering the patch names and other properties of a
device. However, perhaps there was no device description yet available for your device, and you had
to enter it manually. If you need to install Co mp o s e r on a second computer at your home, then you
can save yourself the effort of re-entering the same device information on your second computer.
Instead, you can export the device information from Co mp o s e r running on your first computer, into a
MIDI Device Description (.mdd) file, and then import it into Co mp o s e r running on your second
computer.
Also, if you have manually entered a device description, we hope you will consider sharing it with
other Co mp o s e r users . You can export the device description into an .mdd file and send it to us. We
will publish it at our web site so that other Co mp o s e r users can make use of your contribution. These
other Co mp o s e r users and Notation Software will greatly appreciate your generosity. For details,
see the instructions below.
Note that the format of the .mdd file is defined by Notation Software. Other music software companies
are welcome to use this file format, and to refer users of their music software programs to the .mdd files
available at our web site.
T o e xp o rt a MID I d e v ic e d e s c rip tio n:
-- OR --
2. Choose Export from the Device menu. You do not have to previously select a device.
Co mp o s e r will present you with an Export MIDI Device Description dialog box, such as the
following:
3. Under "Devices in Your MIDI Device Configuration", select the device that you wish to export.
4. In the panel on the right, select New Manufacturer, unless the manufacturer for your device
happens to be listed already.
5. Click the Export button.

Co mp o s e r will display the Export New Manufacturer dialog box.
6. Enter the name of the manufacturer, for example:
Co mp o s e r will then show the newly exported device in the right panel of the Export MIDI
Device Description dialog box:
7. If there are additional device descriptions you want to export, repeat steps 4 and 5.
8. Click the Save As button.
Co mp o s e r will present a Save As dialog box.
9. In the Save As dialog box, navigate to the directory where you want to save the MDD file. Give
the file a name. And click the Save button.
T o s e nd y o ur .mdd file to N o ta tio n S o ftwa re
1. Use your favorite email program to prepare an email.
2. Give the email a subject line that identifies the manfucturer and model of the device, such as
"Korg M1 MDD file".
3. Use the file attachment option in your email program to attach the .mdd file that you have
saved according to the previous procedure.
4. Send the email to support@notation.com.
We will really appreciate your contribution! And so will other Co mp o s e r customers who use
the same MIDI equipment that you do.
9.8.5 Assigning Bank, Patch, and Drum Note Names to a MIDI Device
When you specify an instrument sound for a staff 191 in a song, you use a Staff Setup window to identify
the playback device, a MIDI bank on the device (many devices have only one bank), and the
identification of some instrument sound that the device offers.
A patch, also called a "MIDI program" produces an instrument sound for a MIDI device. When a MIDI
program change instruction is sent to the device on a given MIDI channel, the device subsequently
uses the specified instrument sound to play notes on that channel. The patch, or MIDI program, is
identified with a number between 1 and 128.
The General MIDI (GM) 636 standard specifies a standard set of 128 instrument sounds. If your
playback device supports the GM standard, then you will not need to follow procedures in this section
on Assigning Bank and Patch Names to a MIDI Device 645 . Instead, you should follow the procedures in
Specifying a General MIDI (GM) Device 636 .
Some sound cards and most external MIDI devices offer alternative sets of instrument sounds, which
do not adhere to the General MIDI standard. Also, some MIDI devices offer more than one alternative
set of 128 patches, for a larger palette of instrument sounds. The palette of instrument sounds is
divided into MIDI banks, each defining up to 128 instrument sounds. For such devices, when you use
the Staff Setup dialog to specify an instrument sound for a staff, you must specify not only the device
and patch number but also the bank number.
If you add a new, non-General MIDI external playback device to your MIDI configuration, Co mp o s e r
does not have any way of knowing the names of the instrument sounds that the device offers, unless
you inform Co mp o s e r what the names are. The easiest way to provide Co mp o s e r the names of
instrument sounds is to import them from a MIDI Device Description (.mdd) file 624 or Cakewalk
Instrument Description (.ins) file 626 . However, if you are not able to find a MIDI Device Description file
or Cakewalk Instrument Description file for your device, then you will need to manually identify the one
or more MIDI banks available for the device, and enter the names of the instrument sounds for each
MIDI bank.
The procedure for identifying MIDI banks on a device is described in Assigning a Bank to a MIDI
Device 643 .
For each MIDI bank of a device, you can enter the names of the instrument sounds in a Patch Names
dialog, as described in Assigning Patch Names for a MIDI Device or Bank of a Device 645 . You only
have to enter the patch names for a device once. After that, the patch names will be shown in the Staff
Setup dialog as instrument sound names.
The following diagram shows the relationship between the Staff Setup window and the Patch Names
dialog box. You will use the Staff Setup window many times as you assign sounds to staves in songs.
You will use the Patch Names dialog box only once per device, to inform Co mp o s e r about the
instrument sounds provided by your playback device.
9.8.5.1 Assigning a Bank to a MIDI Device
If this is the first MIDI bank that you are specifying for a device with multiple banks, make sure that you
specify the Bank Select Method. See Specifying Properties of a Device 631 .
For devices with multiple MIDI banks, each bank has a distinct bank value. You will need to refer to
your device owner's manual to determine the bank value, as well as to find the patch names for that
bank.
Determining the bank value from the information in the device owner's manual can be somewhat
difficult. The bank value should be presented in a heading at the top of the list of patch names for the
bank.
If the Bank Select Method 631 for your device is "Normal", then the heading for the patch
names should indicate two numbers, one for Controller 0 and one for Controller 32, such as the
following:
CC0: 80; CC32: 0

If the Bank Select Method is CTRL 0 or CTRL 32, then there will be a single value for CTRL 0 or
CTRL 32. That value will be between 0 and 127.
If the Bank Select Method is Patch 100-127, then use the bank select patch value, which is a
number between 100 and 127.
The most common Bank Select Method is "Normal", with values for CTRL 0 and CTRL 32.
T o a d d a MID I b a nk to a d e v ic e :
-- OR --
2. Select a device by clicking its name in the MIDI Device Configuration Window.
3. Choose the Device Properties command in the Device menu. Co mp o s e r will display the
Device Properties dialog box.
4. In the Device Properties dialog box, click the Add Bank button. Co mp o s e r will display the
Bank Properties dialog box.
If the bank select method is "normal", then the Bank Properties dialog box will look like this:
5. Assign the bank a name, consistent with the name that the device manufacturer assigns to the
bank, and click the OK button.
The newly added bank will now be listed under Banks in the Device Properties dialog box.
6. Click the OK button to exit the Device Properties dialog box.
9.8.5.2 Removing a Bank from a MIDI Device
It is rare that you will need to remove a MIDI bank from a device. This might be necessary if you
mistakenly added a bank.
T o re mo v e a MID I b a nk fro m a d e v ic e :
-- OR --
Type or "qdc" for Quick Device Configuration.
4. In the Banks portion of the Device Properties dialog box, click the name of the bank you wish
to remove.
5. Click the Delete Bank button.
6. Confirm that you wish to remove the bank.
7. Click the OK button to exit the Device Properties dialog box.
9.8.5.3 Assigning Patch Names for a MIDI Device or Bank of a Device
Patch names, which are meaningful substitutes for patch numbers, 0 to 127, are primarily used in the
following way. When you assign an instrument sound to a staff in the Staff Setup 191 dialog, you select
the instrument sound from your list of patch names rather than from a list of numbers, 0 to 127. It is much
more convenient to refer to patch names than to have to remember or look up the meaning of the 128
patch numbers in some manual.
For any given device and its bank(s), you can choose the wording for each of the 128 patches.
T o s p e c ify p a tc h na me s fo r a MID I b a nk :
-- OR --
4. Under Banks in the Device Properties dialog box, select the bank whose patches you wish to
edit.
If you have not yet added the bank, then follow the instructions in Assigning a Bank to a MIDI
Device 640 .
5. Click the Patch Names button.
Co mp o s e r will display a Patch Names dialog, such as the following:
6. Add or change text for any of the patch names in the table. If the patches in this MIDI bank
adhere to the General MIDI (GM) 636 standard, click the General MIDI button. Click the Copy
From Other Bank button if you wish to copy the patch names from another bank of this device
or from another device.
7. Click the OK button to complete the editing of the patch names.
9.8.5.4 Managing Drum Note Lists
Most MIDI devices, including General MIDI devices, have one or more drum kits. A drum kit provides a
set of various percussion instrument sounds.
General MIDI devices include a standard drum kit for drum sounds that are played on MIDI channel 10.
The pseudo pitch of a General MIDI drum note determines its instrument sound. For example, middle-
C (MIDI pitch 60) produces a "High Bongo" sound, and C# (pitch 61) produces a "Low Bongo" sound.
Many MIDI devices offer multiple drum kits. Each drum kit is associated with a unqiue combination of a
MIDI bank and patch (program). For example, the Yamaha Tyros tm keyboard has a bank (CTRL 0 =
127, CTRL 32 = 0) with several different drum kits. Each drum kit is assigned a different MIDI patch
(program) number. For example, patch 17 is the "Rock Kit" and patch 28 is the "Dance Kit". In the Rock
Kit, pitch 38 is "Snare Rock", and pitch 40 is "Snare Rock Tight". In the Dance Kit, pitch 38 is "Snare
Clap" and pitch 40 is "Snare Dry". The Yamaha Tyros has hundreds of drum sounds assigned to
different pitches for different MIDI programs on this particular drum bank (CTRL 0 = 127, CTRL 32 = 0).
With a General MIDI device, you must assign the drum staff to channel 10. For other devices with drum
kits, you can usually assign any MIDI channel.
When you add a new drum staff for a non-General MIDI device using the Staff Setup 191 command, you
will need to specify its bank and program, as illustrated here:
The rest of this topic explains how you can configure your MIDI device with drum note names. In the
above example, "Snare Dry" is the drum note name for pitch 40 for MIDI program 28 on the Yamaha
Tyros Drums bank. If you do not configure your MIDI device with drum note names, then you will be
able to refer only to pitch and program numbers, which are difficult to remember, since any given
device might have hundreds of different drum sounds.
The easiest way to configure your MIDI device with note names is to import a MIDI Device Description
(.mdd ) or Cakewalk Instruction Definition (.ins ) file for the device. For instructions, see Importing from a
MIDI Device Description (.mdd) File 624 and Importing from a Cakewalk Instrument Description (.ins) File
626 . Only if you cannot find and import the note names should you spend the effort to manually enter
them.
Before we describe the procedure for adding drum notes, we will describe how you can review the list
of drum notes that already exist for a device. This will give you a better idea of where you are headed
before you start preparing a new drum note list.
T o re v ie w c urre ntly c o nfig ure d d rum no te lis ts fo r a d e v ic e :
-- OR --
Type for Quick Device Configuration.
Co mp o s e r will display the MIDI Device Configuration Window, such as illustrated below.
2. Double-click the name of the device for which you wish to review the drum note list(s).
Co mp o s e r will display the Device Properties dialog box, as illustrated here:
3. In the Banks list, select a bank that has a "d' after the bank selection number. The "d" indicates
that the bank contains drum kits.
In the above selection, the Yamaha Tyros Drums kit indicates a "d" after the bank selection
values (CTRL 0 = 127, CTRL 32 = 0).
4. Click the Edit Drum Notes button
Co mp o s e r will display the Drum Notes dialog, which shows the names of all of the drum note
pitches defined for the particular MIDI program (patch) on the specified MIDI bank:
5. Select the Patch (MIDI program) for a drum kit whose drum note names you wish to review, as
illustrated above.
6. Optionally, click the Show Playback Pitches or Show Recording Pitches to view the drum note
pitches graphically in a simulated score for which each distinct drum note is played once as a
quarter note. The concept of recording pitches is explained later in this topic.
Continuing with the above example, this is what the score looks like when you choose the
Show Playback Pitches option for the Yamaha Tyros Dance Kit:
T o s p e c ify the d rum no te na me s fo r a d e v ic e :

Note that you will need to refer to the user's manual, or perhaps the front panel, of your MIDI
keyboard or sound module, to determine the MIDI bank, patches (program numbers) and drum
note pitches for the various drum kits available for playback on that device.
-- OR --
Type "qdc" for Quick Device Configration.

2. Double-click the name of the device for which you wish to specify the drum note names.
Co mp o s e r will display the Device Properties dialog box.
3. In the Device Properties dialog box, select the MIDI bank that provides the drum kit(s). (If the
MIDI bank is not listed, then add it, as described in Assigning a Bank to a MIDI Device 643 .)
4. Click the Edit Drum Notes button.
Co mp o s e r will display the Drum Notes dialog, as illustrated in step #4 in the previous
procedure.
5. In the Drum Notes dialog, select the Patch (MIDI program) that selects a drum kit among those
available for the bank of the device. (If the patch (MIDI program) is not listed, then add it, as
described in Assigning Patch Names for a MIDI Device or Bank 645 .)
6. In the Drum Notes dialog, click an existing drum note. The new drum note will appear above
the selected drum note, as illustrated below:
The drum notes do not need to be listed in the same order as their pitches. You can organize
the drum notes in any order that will make the most sense to you when you later assign drum
notes to song staves. You can also change the order of the drum notes in the list at any time,
using the Move Up and Move Down buttons.
7. Click the Add Drum Note button.
Co mp o s e r will insert a new row in the Drum Notes list. Initially, the name of the drum note will
be empty. Also, the Playback Pitch and Recording Pitch will probably not be the value you
want.
8. In the new row of the Drum Notes list, enter the name, Playback Pitch, and Recording Pitch of
the new drum note, as illustrated below:
D rum N o te R e c o rd ing P itc h

When you record drum notes on your MIDI keyboard, in real-time or step-time 486 , you may find
it inconvenient to record those notes using the pitches assigned to the notes. If so, you can
"map" the drum notes to different pitches for recording purposes. For example, if you use only
five drum sounds in a given kit, you might want to assign two of them to two adjacent black
keys, C# and D#, in the left, and three adjacent black keys (F#, G# and A#) in the right hand. To
do this, specify the desired Recording Pitch for these five drum notes.
Often the manufacturer of MIDI equipment establishes standard drum kits that are shared among
several models of MIDI keyboards and sound modules. Also, sometimes different drum kits for the
same device have drum notes with different sounds, but the same names. In these cases, you can
save effort in entering drum note names by copying a list from another device, bank, or patch (MIDI
program).
T o c o p y a lis t o f d rum no te s fro m o ne d e v ic e , b a nk , o r p a tc h to a no the r:
1. Follow steps #1 through #5 in the above procedure for selecting the device, bank, and patch of
a drum kit.
2. In the Drum Notes dialog, click the Copy From Other Patch button.
The title of the dialog box will change from "Drum Notes" to "Copy Drum Notes from Another
Device/Bank/Patch".
3. In this new dialog box, select the device, bank, and patch from which you wish to copy the
entire list of drum notes. You can preview the list of drum notes before you commit to copying
them.
4. Click the Copy From Other Patch button a second time.
9.8.6 Managing Alternative MIDI Device Configurations

N OT E : If your system includes only a single sound card and at most one external MIDI
device, such as a MIDI keyboard, then you likely do not need to define more than one
configuration. You can manage your sound card ports using the single "Default Configuration"
that Co mp o s e r originally creates for you, and you do not need to refer to this section.
If your music studio includes at least a couple of external MIDI devices, then there are likely multiple
ways that you might want to arrange your devices, depending on the orchestration requirements for a
given type of song. This might require that you reconnect MIDI cables, or change settings on the front
panels of your devices.
Each time you change the physical arrangement of your devices, you will need to update the
corresponding representation in the MIDI Device Configuration Window 611 . This task is made easy
by Co mp o s e r, because you can name and save alternative configurations. If it takes you a couple of
minutes to rearrange your physical devices, it will still take you only a few seconds to recall the
corresponding configuration in Co mp o s e r .
9.8.6.1 Saving a Configuration
T o S a v e o r B a c k up a c o nfig ura tio n:

1. In the MIDI Device Configuration Window 611 , choose the Save/Backup command from the
Config menu.
2. Enter the name for the configuration in the dialog box that Co mp o s e r presents to you.
3. Click the "Save" button to save the configuration and exit the dialog.
9.8.6.2 Selecting a Configuration
T o s e le c t a c o nfig ura tio n tha t y o u ha v e p re v io us ly s a v e d :

1. Choose the MIDI Device Configuration command from the Setup menu.
-- OR --
2. In the MIDI Device Configuration Window 611 , choose the Select command from the Config
menu. Co mp o s e r will display the MIDI Device Configuration dialog box.
3. In the dialog box, select one of your previously saved configurations.
If you have a song currently opened, then Co mp o s e r will be able to fully play all of the song staves
only if the device assignments for the staves are supported by the new configuration. If some of the
staves are assigned to a device no longer in the current configuration, then you will need to use the
Staff Setup 191 window to reassign staves to devices in the new configuration.
9.8.6.3 Creating a New Configuration
T o c re a te a n e ntire ly ne w c o nfig ura tio n:

-- OR --
2. In the MIDI Device Configuration Window 611 , choose the New command from the Config
menu.
3. Enter the name of the new configuration in the dialog box that Co mp o s e r presents to you.
The new configuration will initially include no ports or devices. Usually it is more convenient to create a
new configuration by cloning an existing configuration 653 .
9.8.6.4 Re-Initializing a Configuration
If you change the sound card of your system or add a new one, Co mp o s e r will also automatically
detect it the next time you run the program. Co mp o s e r will deactivate any Windows MIDI ports that are
no longer in your Windows system. You can completely re-initialize the configuration based on the
current Windows MIDI ports in your system, as though Co mp o s e r were just installed for the first time.
To re-initialize the configuration, follow the procedure below.
T o re -initia lize the c urre nt c o nfig ura tio n:
-- OR --
2. Optionally make a backup of the configuration following the procedure for Cloning a
Configuration 653 .
3. Select the configuration 652 you wish to re-initialize if it is not already selected.
4. Choose the Initialize command in the Config menu.
9.8.6.5 Cloning a Configuration
You can make a copy of a configuration. Two good reasons for doing so are:
(1) to back up a configuration before making changes that you are uncertain you will want to keep
(2) to create a variation of an existing configuration.
T o c lo ne a c o p y o f a c o nfig ura tio n:
1. In the MIDI Device Configuration Window 611 , choose the Clone To command in the Config
menu.
2. Enter the name of the newly cloned configuration in the dialog box that Co mp o s e r presents to
you.
9.8.6.6 Renaming a Configuration
T o re na me a c o nfig ura tio n:

1. In the MIDI Device Configuration Window 611 , choose the Rename command from the Config
menu.
2. Enter the new name for the configuration in the dialog box that Co mp o s e r presents to you.
9.8.6.7 Deleting a Configuration
T o d e le te a c o nfig ura tio n:

1. In the MIDI Device Configuration Window 611 , choose the Delete command from the Config
menu.
2. Co mp o s e r will ask you to confirm your intention to delete the configuration.
9.8.6.8 Restoring A Configuration
T o R e s to re a p re v io us ly s a v e d c o nfig ura tio n:

1. In the MIDI Device Configuration Window 611 , choose the Restore command from the Config
menu.
2. In the navigation dialog box, find the configuration you wish to restore and click on it to select it.
3. Click the "Open" button to restore the configuration and exit the dialog.
Appendices 655
10 Appendices
Appendix A: Notation Composer Keyboard Shortcuts 655
Appendix B: What is MIDI? 662
Appendix C: Technical Support 663
Appendix D: Notation Composer License Agreement 664
10.1 Appendix A: Notation Composer Keyboard Shortcuts
Shortcuts Using Special Keys

Ke y s tro k e
Co nte xt A c tio n
(Co mb ina tio ns )
Viewing or editing the Toggle between Select Mode and Add

ENTER
score. Mode 162 .
Viewing or editing the For some types of objects, open the

SHIFT+ENTER
score. Properties dialog box.
Add a new note where the red to-be-

Add Mode for notes.
added note is currently shown.
Almost any time except Start or stop playback 124 , and stop
SPACE
when editing text. recording 493 .
Advance to the next note or chord 311 to

SPACE A lyric is selected.
continue adding the next lyric.
A staff or region has been

CTRL+SPACE Start recording 493 .
selected for recording.
You have previously

ALT+SPACE specified section that you Start a practice loop 147 .
want to practice.
Scroll up or down the page by a window's

Vertical scrollbars are
PAGEUP worth 177 . If the page is already at the top
displayed in Page View or
(or PAGEDOWN) (or bottom), advance to the top of the next
Window View.
page (or bottom of the previous page).
SHIFT+PAGEUP Window View or Page Go to the top of the next (or previous)
(or SHIFT+PAGEDOWN) View. page 177 .
Window View or Page

CTRL+HOME Go to the beginning of the score 180 .
View.
Window View or Page

CTRL+END Go to the end of the score 180 .
View.
Advance to the next (or previous) note or

A lyric or chord name is
TAB or SHIFT+TAB chord to continue adding or editing the
selected.
next lyric 447 or next chord name 480 .
Ctrl + (increase)
or Ctrl + (decrease)
(for machines with a
One or more lyric or text Increase or decrease the font size 440 of
NumPad)
items are selected, OR the selected text items OR increase or
OR one or more notes are decrease the pitch of selected note(s) by
selected. half step 313 .
CTRL + SHIFT + >
(increase)
CTRL + < (decrease)
CTRL+N Almost any time. Create new file 107 .
CTRL+O Almost any time. Open a file 78 .
CTRL+F4 Almost any time. Close a file.
CTRL+S Almost any time. Save an edited file 112 .
SHIFT+CTRL+S During or after playback. Turn off stuck notes 132 .
CTRL+P Almost any time. Print the current score or part 119 .
Shortcuts Using Arrow Keys

Ke y s tro k e
Co nte xt A c tio n
(Co mb ina tio ns )
Advance the selection to the next (or

or A note or chord selected.
previous) chord 311 in the same staff.
Advance the selection to the note above

or A note selected. (or below) in the same chord in the same
same staff.
or Add Mode for notes. Move the red to-be-added note to the
next or previous position.
Move the red to-be-added note to the

or Add Mode for notes. next staff pitch position above or below
the current one.
Vertical or horizontal
CTRL + , , , or scrollbars are displayed Scroll the score by a small amount in the
along the side of the window.
window.
Appendices 657
One or more notes Shift the selected notes to the staff

SHIFT+ or SHIFT+ selected. immediately above (or below) 206 .
One or more notes Move the notated and/or performed

A+ or A+ selected. attack of the notes to the right (or left) 319 .
Snap ("quantize") the as-performed attack

One or more notes
A+ of the selected notes to their notated
selected.
locations 513 .
Show the velocity vectors

(loudness) of notes, using Increase (or decrease) the contrast in
C+ or C+ SHIFT+V. Then select loudness between the selected notes. 521
three or more notes.
Show the velocity vectors Gradually increase (or decrease) the

(loudness) of notes, using loudness of notes over the range of
C+ or C+ SHIFT+V. Then select selection 521 , while preserving the accents
three or more notes. of notes. ("C" suggests crescendo.)
Increase (or decrease) the notated and/or

One or more notes
D+ or D+ performed duration of the selected notes
selected.
321 .
One or more notes Raise (or lower) the enharmonic spelling

E+ or E+ selected. of a note 316 , such as from C# to Db.
Increase (or decrease) the music font size

F+ or F+ Page layout view.
243 .
Show the velocity vectors

(loudness) of notes, using Increase (or decrease) the loudness of
L+ or L+ SHIFT+V. Then select one the selected notes 521 .
or more notes.
P+ or P+ or One or more notes Increase (or decrease) the pitch of the

selected. selected notes 313 .
CTRL+ or CTRL+
Snap ("quantize") the as-performed

One or more notes
R+ release of the selected notes to their
selected.
notated locations 513 .
Snap ("quantize") the as-performed attack

and duration of the selected notes to their
One or more notes
S+ notated rhythms 513 . (Use A+ to snap
selected.
the attack and R+ to snap the
release.)
Increase (or decrease) the percentage

T+ or T+ Before or during playback.
adjustment to the playback tempo 133 .
Reset the tempo adjustment to normal

T+ENTER Before or during playback.
(100%) 133 .
Increase (or decrease) the volume level

Before or during playback,
of the selected staves, or all staves if
V+ or V+ with one or more staves
none are selected, and decrease the
selected.
volume level of the other staves 135 .
Reset the volume levels of all staves to

V+ENTER Before or during playback.
normal 135 .
Palette Shortcuts 164
Ke y s tro k e Co mb ina tio n P a le tte
SHIFT+A Accents and articluations 408 .
SHIFT+B Beams 334 .
SHIFT+C (once or twice) Clefs 390 or chord names 468 .
SHIFT+D Dynamic marks 409 .
SHIFT+E Expressions 164 (master palette for other palettes).
SHIFT+F Free text 458 .
Graphical data 530 : tempo 545 , staff volume 554 , staff pan
SHIFT+G 559 , pitch bend 562 , sustain pedal 567 , and MIDI
controller data 569 .
SHIFT+I Instrument sound (mid-staff MIDI program change) 528 .
SHIFT+K Key signature 391 .
SHIFT+L Lyrics 445 .
SHIFT+M Meter 394 .
SHIFT+N Notes 283 .
SHIFT+O (once or twice) Ornaments 372 or 8va octaves 314 .
SHIFT+P (once or twice) Page text 462 or page layout 241 .
SHIFT+R (once or twice) Rests 353 or rehearsal marks 482 .
SHIFT+S (once or twice) Slurs 420 or sustain pedal marks 430 .
SHIFT+T Text (master palette for types of text) 435 .
Go to the palette one level up in the palette hierarchy 164

SHIFT+U
.
SHIFT+V Velocity (note loudness) 521 .

Appendices 659
SHIFT+Y Piano roll palette 502 .
> or < Hairpin crescendo (or decresendo) 413 .
$ or % Special music symbols 417 , such as and .
[ or { Bracket or brace 386 .
| (vertical line character) Barline 396 .
Quick "Q" Commands 167
Ke y b o a rd
Me nu / S ub me nu Co mma nd
S e q ue nc e
qam or qim Score Add (or insert) measure 273 .
qas Staff Add staff 185 .
qcl Lyric Copy lyrics 449 .
qcmr Score Collapse multiple measure rests 359 .
qcrl Region Convert region to selection of lyrics 266 .
qcrn Region Convert region to selection of notes 266 .
qdf File Browse and download MIDI files from the Internet
80
qcrs Region Convert region to selection of entire staff 266 .
qcuh Edit Clear undo history 270 .
MIDI device setup 611 . (See also qqds for Quick

qdc Setup
MIDI device setup.)
qdm or qrm Score Delete (remove) measures 274 .
qds Staff Delete staff 188 .
Display pitch names in noteheads for selected

qdpn Part
staves 238 .
qfn Note / Filter or Region Filter notes according to selection criteria 526 .
qfs Part Font size and spacing 227 .
qgm View / Go to Go to measure.
gqp View / Go to Go to page.

qgr View / Go to Go to rehearsal mark 181 .
qhrs Part Hide Resting Staves 236 .
qim or qam Score Insert (or add) measure 273 .
qin Part Instrument names display options 234 .
qkte or qktm Perform / Tempo Keep adjusted tempo.
qmet Perform Toggle metronome 161 .
qmn Score Measure numbers 282 .
qms Staff Merge staves 198 .
qpc Setup Enable pitch-to-command 151 .
qpdf File Export PDF 54
qpgs Part Page setup 224 .
qpl Edit or Lyric Paste lyrics 449 .
qpnr Perform Set practice loop at next rehearsal mark 148 .
qppr Perform Set practice loop at previous rehearsal mark 148 .
qpra Perform Practice setup 145 .
qps File Print setup.
qpt Edit Paste tempo 546 .
qpv View Page view 171 .
Quick MIDI device setup 576 . (also see qdc for full
qqds Setup
MIDI Device Setup)
qrc Chord Name Remove chord names 469 .
qrfp Edit Refresh current page.
qrfs Edit Refresh entire score.
qri Score Repeat instructions 401 .
qrm or qdm Score Remove (delete) measures 274 .
qro Note / Filter Remove overlaps of notes 526 .
qrr Note / Filter Remove rests smaller than 526 .
qrt Staff Re-transcribe staff 90 .

Appendices 661
qsas Part Show all staves.
qsbr Bracket Show brackets 386
qscn Chord Name Show chord names 481 .
qscp Staff Show concert pitches 348 .
Show MIDI controller graph 530 (select type from

qsgc View
list)
qsgpa View Show Pan data graph 530
qsgpb View Show Pitch Bend data graph 530
qsgs View Show Sustain Pedal data graph 530
qsgt View Show Tempo graph 530
qsgv View Show Volume graph 530
qsh View Show and hide parts of the Composer window 157
qsin Part Show or hide instrument names 234 .
qsl Lyric Show lyrics 442 .
qsor Ornament Show ornaments and grace notes 376 .
qsob Part Show types of objects 233 .
qspld Staff Split drums 202 .
qsplh Staff Split hands 201 .
qsplm Staff Split melody and accompaniment 204 .
qspp View Show playback position 130 .
qsreg Edit Select region 266 .
qssb View Show status bar 157 .
qstb View Show toolbar 157 .
qssc View Show staff controls 172 .
qtc Chord Name or Staff Transcribe chord names 476 .
qti Staff Transpose instrument key 348 .
qto Setup Transcription options 86 .

qtp Staff Transpose actual pitches 346 .
qsus Staff Set up staves 191 .
qvm View View measure range 179 .
qwav File Export WAV audio file 54
qwv View Window view 171 .
qz% or qzp View Zoom percentage 178 .
10.2 Appendix B: What is MIDI?

MIDI (Musical Instrument Digital Interface) is an industry standard for passing musical performance
information among electronic musical instruments and computers. There are very few details about
MIDI that are neccessary for you to understand in order to use Co mp o s e r. However, a general
understanding about MIDI will help you to more quickly understand how Co mp o s e r lets you create
and edit both the music you see as notation and the music that you hear.
Most audio equipment that we are familiar with-- such as CD players and radios-- receive and send
sound in the form of sound waves, such as shown below.
In contrast, MIDI instruments receive and send music data as specific actions to be performed, such
as "play a Middle C note softly using the clarinet sound, for a duration of a quarter note at the current
tempo." The MIDI instrument receiving such an instruction then produces the sound wave such as the
one shown above.
When Co mp o s e r (or any MIDI program) records a performance on a MIDI keyboard, Co mp o s e r
does not record the actual sound waves, such as shown above. Instead, Co mp o s e r simply records
what keys are played by the at what times, and with what loudness.
The following diagram illustrates MIDI note performance data. Each rectangle represents a single
note that is to be performed using some instrument sound, such as a clarinet. The left edge of each
rectangle marks the starting time of the note, and the right edge marks the ending time of the note. The
vertical position of the rectangle represents the pitch of the note. This diagram does not illustrate the
additional MIDI information for the loudness of the note.
Appendices 663
A diagram of a MIDI performance, such as shown above, is commonly called "Piano Roll Notation"
because it looks quite similar to piano rolls that were used in mechanical player pianos that were
popular in the early 1900's. Each rectangle in the above diagram is like a hole in a piano roll. As the
piano roll is scrolled during the performance, the player piano plays a key on the piano when it detects
the hole, and releases the key when it detects the end of the hole.
Piano Roll Notation is an ideal way to visualize the performance of notes. Co mp o s e r offers you the
option to see (and edit) both the Piano Roll Notation and standard music notation, at the same time,
For further information about Piano Roll Notation in Co mp o s e r, see the topic Displaying Piano Roll
Notation 501 .
A MIDI file is a saved recording of a MIDI performance. For a given song, a MIDI file is much smaller
(as measured in bytes) than an equivalent audio recording of the song, saved in a .WAV or .MP3 file
format or CD audio format. This is because only a few numbers are needed in the MIDI format to
describe a note: its starting and ending times, pitch, loudness, and instrument sound. In contrast, tens
of thousands of numbers are needed to describe the audio sound waves for just one second of music.
10.3 Appendix C: Technical Support
If while using N o ta tio n Co mp o s e r you have questions about how to use the program, or experience
difficulties using the program, there are several ways for you to receive assistance. Also, we would
highly appreciate your suggestions for improving Co mp o s e r (see #5 below).
1. U s e this U s e r Guid e (H e lp ).
This User Guide provides detailed procedures for how to accomplish various tasks in
Co mp o s e r. We encourage you to give this User Guide a try, since it is probably better organized,
more thorough, and easier to read than many User Guides that you have read.
2. Che c k whe the r a fre e up d a te o f N o ta tio n is a v a ila b le .
Notation Software provides free updates for maintenance releases of N o ta tio n <%
P R OD COMMA % > fixing known bugs as well as providing new features and enhancements to
the software. To check whether a new update is available, choose the Check for Latest Software
Update command in the Help menu.
3. V is it the N o ta tio n U s e rs Co mmunity Fo rum.

Notation Software offers the N o ta tio n U s e rs Co mmunity Fo rum, where N o ta tio n Co mp o s e r
users can trade tips with each other and the developer, ask questions, report software bugs, and
request new features. You can visit the forum directly at:
http://www.notation.com/vb-forum/index.php.
4. R e fe r to Fre q ue ntly A s k e d Que s tio ns (FA Qs ) o r o ur Kno wle d g e B a s e a t N o ta tio n
S o ftwa re ' s we b s ite .
To visit our FAQ page you can go to http://www.notation.com/FAQs.php
To find answers in our KnowledgeBase you can go to http://notation.kayako.com/
Knowledgebase/List
5. S e nd a q ue s tio n o r c o mme nts to N o ta tio n S o ftwa re us ing the o nline fo rm, o r v ia
e ma il
If after exploring the above options your question still remains unanswered, then you can S ub mit
a Que s tio n o r Co mme nt by visiting our Helpdesk directly at http://notation.kayako.com/
Tickets/Submit. You will receive a response within 24 hours, but typically much sooner.
Alternatively, send your questions or comments via email to: support@notation.com
10.4 Appendix D: Notation Composer License Agreement

The License Agreement is available in English 664 , Deutsch 666 , and Español 669 .
English
License Agreement for Notation Software Germany’s products
In this document the term “Software” is defined as the Notation Musician or Notation Composer Trial Version
software program and all language variants, or the purchased Notation Musician or Notation Composer Full
Version software programs and all language variants. By installing or otherwise using this Software, you agree
to be bound by the terms of this License Agreement. If you do not agree to the terms of this License Agreement,
you must immediately terminate your use of this Software and you must delete it completely from your
computer system (including any backup storage device).
1. Grant of License and Term
The Software is licensed, not transferred or sold, to you by Notation Software Germany GmbH (the term
“Notation Software” further used in this document stands for Notation Software Germany GmbH) or it’s licensed
marketing agents, and is protected by German copyright and intellectual property laws, and the laws of other
countries under international treaty. The installation package contains open source software libraries in the
form of Dynamic Link Libraries (DLL libraries) and a soundfont file. The LGPL license applies to these libraries
and to the soundfont file. The Software uses the ASIO Driver Technology of Steinberg Media Technologies
under the Steinberg ASIO SDK Licensing Agreement.
This license agreement remains effective for any potential legal successor of Notation Software Germany
GmbH.
The License terminates automatically if you fail to comply with the limitations described herein. On termination,
you must destroy any copy (including archived backups) of the Software and its documentation.
1.1 Notation Musician and Notation Composer - Trial Version

Appendices 665
For the Notation Musician and Notation Composer Trial versions, Notation Software grants you a license to use
the Software free of charge for evaluation purposes, for a period of 30 days. If you wish to use Notation
Musician or Notation Composer past the trial period, you may purchase a full version of Notation Musician or
Notation Composer. (Visit www.notation.com for ordering instructions.)
1.2 Notation Musician and Notation Composer - Full Version
In case you are under 18 years of age and wish to purchase a license of one of our products, please ask your
parent or guardian to act as principal.
For the Notation Musician and Notation Composer Full Versions, Notation Software grants you a license to use
the Software for as long as you want to use the Software. The installation of the Software is limited to one
single computer at a time. Computer also stands for a single virtual machine. Any virtual machine requires a
separate license. The installation setup is such that multiple users of the same computer can use the Software
license. In case the Software needs to be installed on another computer than the original computer, you can
port your personal license to a new computer for free by touching base with Notation Software. You will need to
send your name and full address which you used when purchasing the license, the license number, the log file
of the setup program and the log file of the Software itself. In addition it is required to precisely describe the
reason why you want to port the Software to another PC.
You should send this request from your email address which you used when purchasing the product. Notation
Software has prepared a form for that. Both log files are created by the Software automatically and stored on
your computer. Details like the location of these log files, where the license number is displayed etc. will be
presented by the Software in the case of attempting a new installation. Notation Software will validate your
request as soon as possible and reactive the license for the new PC accordingly.
When the license is reactivated for the new computer, the Software needs to be uninstalled from the former
computer as described above for the case of non-acceptance of the license agreement. An installation on a
new computer is only possible with the originally received Software installation program which you received
from Notation Software. There is no limit in the number of consecutive installations on the original computer,
and such reinstallations can be done without a reactivation of the Software by Notation Software.
2. Redistribution
2.1 Trial Version of Notation Musician and Notation Composer
You are only allowed to download the Trial Version Setup program from the website of Notation Software
www.notation.com. Redistribution of the Trial Version Setup program is not allowed in any form via electronic
means (Internet, bulletin boards, shareware distribution libraries, CD-ROMs, etc.). Anyone who installs the
Software will be subject to the terms and conditions of this License Agreement. When you present the Software
on a website you must clearly represent to the recipient that Notation Software is the publisher of the Software
and that you are not selling the Software. Furthermore you need to indicate to the recipient that he can buy a full
license from Notation Software’s website www.notation.com.
2.2 Notation Musician/Composer Full Version
You may transfer your rights under this Agreement to only one (1) other individual or entity such as a
corporation, provided that the recipient agrees to the terms of this License Agreement, and provided that you
completely destroy any copies (including archives) of the Software and its documentation. The transfer of the
license to the new licensee needs to follow the same scenario as for the reactivation described above in
section 1.2. Notation Software will re-distribute a new installation program of the Software and reactivate the
newly transferred license with the information of the new licensee.
3. Restrictions
You may not reverse engineer, decompile, re-package or disassemble the Software, except and only to the
extent that such an activity is expressly permitted by Notation Software in a written form in every respect for
applicable law, notwithstanding this limitation. You may not use any copy of Notation Musician Trial or Notation
Composer Trial Version in anyway by circumventing the 30-days trial period or other limitations of the trial
version. Even in this case you violate the law. The Software will detect possible illegal altered code through a
continuous software verification process. The license will terminate if any illegal handling or modification of the
Software is detected. The Software will terminate any further execution of the Software. Juridical measures will
be initiated accordingly by Notation Software.
4. Support
Notation Software provides support according to the announced lifetime of the products. Information is provided
to Notation Software for optimal support. In case of issues the licensee agrees to send requested log files to
Notation Software for further analysis.
5. No Liability
To the maximum extent permitted by applicable law, Notation Software is not liable for any indirect, special,
incidental, or consequential damages, including, but not limited to damages for loss of business, loss of
revenue or profit, loss of damaged data or other commercial or economic loss, which arise out of your use or
inability to use the Software.
In addition Notation Software is not liable when copyrighted music sheets may be illegally handled.
6. General
This Agreement represents the complete agreement concerning this license, and may not be changed except
by a signed amendment. If any provision of this Agreement is held to be unenforceable, such a provision shall
be reformed only to the extent necessary to make it enforceable and the other provisions shall remain in full
force and effect. This Agreement shall be governed by the law of the Federal Republic of Germany. Place of
jurisdiction is Landsberg am Lech, Germany.
Deutsch
Lizenzvereinbarung
Durch Klicken auf ‘Ich stimme zu’ vor der Installation eines der Produkte von Notation Software Germany GmbH
erklären Sie sich damit einverstanden, an alle Punkte dieser Lizenzvereinbarung gebunden zu sein. Stimmen
Sie nicht allen Bedingungen ausnahmslos zu, klicken Sie auf ‚Stimme ich nicht zu‘ und dann auf Abbrechen.
Der Installationsprozess wird daraufhin beendet.
Lizenzvereinbarung für Produkte von Notation Software Germany
In diesem Dokument steht der Begriff “Software” für die Notation Musician- oder Notation Composer Test-
(Trial-) Versionsprogramme sowie entsprechende Sprachvarianten, für gekaufte Voll-Versionsprogramme
Notation Musician oder Notation Composer und deren Sprachvarianten. Durch die Installation bzw.
anderweitiger Nutzung der Software stimmen Sie zu, dass Sie an diese Lizenzvereinbarung gebunden sind.
Sollten Sie dieser Lizenzvereinbarung nicht zustimmen, müssen Sie unmittelbar die Benutzung der Software
beenden und die Software komplett von Ihrem Computersystem inklusive aller Sicherungs(Backup-)kopien
löschen. Die Löschung muss über die Systemsteuerung des Betriebssystems erfolgen. Ebenso sind
sämtliche Installationsprogramme endgültig und nicht mehr korrigierbar zu entfernen.
1. Zur-Verfügungsstellung einer Lizenz

Appendices 667
Die Software wird an Sie von Notation Software Germany GmbH lizensiert, nicht transferiert, nicht übertragen
und nicht verkauft. Der Begriff „Notation Software“ in diesem Dokument steht für das Unternehmen „Notation
Software Germany GmbH oder ein entsprechend von Notation Software lizensierter Marketing Agent oder
Wiederverkäufer. Die Software ist copyright-geschützt nach deutschem Recht und intellektuellen
Eigentumsrechten (Intellectual Property Rights), nach Rechten anderer Länder unter internationalen Verträgen.
Die Installationsdatei enthält Open Source Software Bibliotheken in Form von Dynamic Link Libraries (DLL
Libraries) und eine SoundFont-Datei. Für diese Bibliotheken und die SoundFont-Datei gilt die LGPL Lizenz. Die
Software verwendet die ASIO-Treiber Technologie von Steinberg Media Technologies unter dem Steinberg
ASIO SDK Licensing Agreement.
Diese Lizenzvereinbarung behält ihre Gültigkeit auf für einen möglichen Rechtsnachfolger von Notation
Software Germany GmbH.
Die Lizenz erlischt automatisch, wenn Sie gegen die Bedingungen, die in dieser Lizenzvereinbarung
beschrieben sind, verstoßen. Bei Beendigung der Lizenzgewährung müssen Sie sämtliche Kopien der
Software löschen (inklusive Sicherungskopien auf externen Medien sowie entsprechende Dokumentation).
1.1 Notation Musician und Notation Composer – Test-(Trial-) Version
Für die Test-(Trial-)Versionen von Notation Musician und Notation Composer gewährt Ihnen Notation Software
eine Lizenz, die Software ohne Gebühren und Kosten für Ihre Bewertung für eine Zeitdauer von 30 Tagen zu
nutzen. Wenn Sie darüber hinaus (über die Dauer von 30 Tagen) die Lizenz benutzen möchten, müssen Sie
eine Lizenz der Vollversion von Notation Musician oder Notation Composer käuflich erwerben. Bitte weitere
Instruktionen für einen Kauf auf der Website www.notation.com einsehen.
1.2 Notation Musician und Notation Composer – Vollversion
Für den Fall, dass Sie unter 18 Jahre alt sind und eine Vollversion erwerben möchten, muss der Erwerb über
Ihre Eltern oder Ihren Vormund getätigt werden.
Notation Software stellt Ihnen eine Lizenz für die Notation Musician oder Notation Composer Vollversion zur
Verfügung, die Software so lange zu nutzen wie Sie es wünschen. Die Installation der Software wird beschränkt
auf einen einzelnen Computer oder PC zu einer Zeit. Computer steht auch für eine einzelne virtuelle Maschine.
Jede virtuelle Maschine erfordert eine separate Lizenz. Die Installation der Softwarelizenz können mehrere
Nutzer desselben Computers oder PC nutzen. Für den Fall, dass die Software auf einem anderen Computer
als dem Original-Computer installiert werden soll, können Sie Ihre persönliche Lizenz auf den neuen
Computer ohne zusätzliche Kosten portieren, indem Sie sich mit Notation Software in Verbindung setzen. Sie
müssen Notation Software Ihren Namen und volle Adresse, die Lizenznummer, die Log-Datei des
Installationsprogramms und die Log-Datei der Software schicken. Ferner müssen Sie den Grund für eine
Installation auf einem anderen PC ausführlich beschreiben.
Sie sollten diese Email von der Email Adresse schicken, die Sie beim Erwerb dieser Lizenz verwendet haben.
Notation Software hat für diesen Fall ein Formular vorbereitet. Die beiden Log-Dateien werden von der
Software automatisch erzeugt und auf dem Computer gespeichert. Details wie z.B. der Ort, wo die Log-Dateien
gespeichert sind, wie die Lizenznummer angezeigt wird etc. wird Ihnen die Software anzeigen, wenn eine neue
Installation vorgenommen wird. Notation Software wird Ihr Anliegen so schnell wie möglich bewerten und
entsprechend die Lizenz für den neuen Computer aktivieren.
Nachdem die Lizenz auf dem neuen Computer reaktiviert wurde, muss die Software auf dem ursprünglichen
Computer de-installiert werden wie oben bei beschrieben für den Fall, dass Sie der Lizenzvereinbarung nicht
zustimmen. Eine Installation auf dem neuen Computer ist nur mit dem Original-Installationsprogramm
möglich, das Sie von Notation Software erhalten. Die Anzahl aufeinanderfolgender möglicher Installationen auf
dem Original-Computer ist nicht limitiert. Solche Installationen können ohne eine Reaktivierung der Software
vorgenommen werden.
2. Weiterverteilung
2.1 Notation Musician und Notation Composer Test-(Trial-)Version
Kopien des Installationsprogramms der Test-(Trial-Version) dürfen nur von der Website von Notation Software
(www.notation.com) heruntergeladen werden. Eine Weitergabe einer Testversion in ihrer unveränderten Form
über elektronische Medien (Internet, Shareware-Verteilungsbibliotheken, CD-Roms etc) ist nicht erlaubt. Jeder,
der die Software installiert, ist an diese Lizenzvereinbarungen gebunden. Eine Gebühr durch Dritte in welcher
Form auch immer darf für die Testversion nicht erhoben werden. Bei der Präsentation von einer Testversion
auf einer Website sind Sie verpflichtet, Notation Software als den Hersteller der Software auszuweisen und
deutlich zu machen, dass Sie die Software nicht verkaufen und, sollte der Empfänger die Software erwerben
wollen, er eine Lizenz über die Website von Notation Software www.notation.com kaufen kann.
2.2 Notation Musician und Notation Composer Vollversion
Sie können Ihre Rechte unter dieser Lizenzvereinbarung genau an eine (1) andere Person oder Organisation
transferieren, vorausgesetzt der Empfänger stimmt diesen Lizenzvereinbarungen zu und vorausgesetzt dass
Sie jegliche Kopien der Software inklusive Sicherungskopien der Software sowie jeglicher zusätzlichen
Dokumentation vernichten. Der Transfer der Softwarelizenz an einen anderen Lizenznehmer muss nach dem
gleichen Verfahren wie die Reaktivierung (oben beschrieben in Abschnitt 1.2) erfolgen. Notation Software wird
in einem solchen Fall dem neuen Lizenznehmer ein neues Installationsprogramm zur Verfügung stellen und
wird die Lizenz für den neuen Lizenznehmer aktivieren.
3. Einschränkungen
Sie dürfen die Software nicht nachbauen, reverse engineeren, neu-paketieren, de-compilieren oder
disassemblieren außer es sei denn, Notation Software gewährt Ihnen schriftlich explizit das Recht zu, dieses
zu tun. Sie dürfen eine Kopie der Testversion von Notation Musician oder Notation Composer in keiner Art und
Weise verwenden, bei der die 30-Tage Testphase umgangen wird oder wurde. Auch in diesem Fall machen
Sie sich strafbar. Die Software erkennt automatisch einen abgeänderten Code durch einen permanenten
Verifikationsprozess. Sollte eine illegale Codeänderung erkannt werden, erlischt die Lizenz automatisch und
die Software nimmt eine Sperrung der Softwarelizenz vor. Juristische Maßnahmen werden von Notation
Software in einem solchen Fall eingeleitet.
Zur deutschen Softwarevariante gibt es online die Dokumentation in englischer Sprache. Diesem Sachverhalt
stimmen Sie zu.
4. Service
Notation Software leistet über den bekanntgegebenen Lebenszyklus der Produkte Service. Entsprechende
Informationen stehen Notation Software für optimalen Support zur Verfügung. Sie stimmen ausdrücklich zu,
dass bei aufgetauchten Problemen entsprechende Log-Dateien Notation Software zur Analyse zur Verfügung
gestellt werden.
5. Haftungsausschluss
Entsprechend maximaler Auslegung nach anwendbaren Gesetzen ist Notation Software nicht haftbar oder
verantwortlich zu machen für irgendwelche direkte oder indirekte, spezielle oder zufällige Schäden, weder
bezüglich Verlust an Geschäft, Umsatz oder Geschäftsergebnis, weder Verlust oder Beschädigung an Daten
oder anderen geschäftlichen Verlusten oder Schäden, die sich aus der Verwendung der Software oder einer
fehlerhaften Verwendung der Software ergeben könnten.
Ferner ist Notation Software in keiner Weise haftbar zu machen, sollten die Produkte von Notation Software
dazu verwendet werden, illegale, dem Urheberrecht widersprechende, Veränderungen an Musiknoten zu
erzielen.
Appendices 669
6. Allgemeines
Die Installationsdatei enthält Open Source Software Bibliotheken in Form von Dynamic Link Libraries (DLL
Libraries) und eine SoundFont-Datei. Für diese Bibliotheken und die SoundFont-Datei gilt die LGPL Lizenz.
Diese Vereinbarung beinhaltet die komplette Vereinbarung zu dieser Lizenz und darf nicht geändert werden es
sei denn in Form einer unterschriebenen Zusatzvereinbarung von beiden Seiten. Sollte eine Maßnahme
dieser Vereinbarung nicht vollstreckbar sein, darf eine solche Maßnahme nur zu dem Maße ersetzt werden, um
die Maßnahme umsetzbar zu machen. Alle anderen Punkte dieser Lizenzvereinbarung bleiben davon
unberührt. Angewendet wird das Recht der Bundesrepublik Deutschland. Gerichtsstand ist Landsberg am
Lech, Deutschland.
Español
Contrato de licencia
Al hacer clic en "Aceptar" antes de instalar el programa de Notation Software Germany GmbH, declara su
conformidad con los términos de este acuerdo. Si no está de acuerdo con todos los términos, haga clic en
"No acepto" y, a continuación, en Cancelar. El proceso de instalación finalizará.
Contrato de licencia de productos de Notation Software Germany
En este documento, el término "Software" se define como el programa de software de la versión de prueba de
Notation Musician o Notation Composer y todas sus variantes idiomáticas, o el programa de software de la
versión completa de Notation Musician o Notation Composer y todas sus variantes idiomáticas. Al instalar o
utilizar el Software declara su conformidad con los términos del presente contrato de licencia. Si no acepta los
términos del presente contrato de licencia, deberá finalizar el uso de este Software y borrarlo por completo de
su sistema informático (incluida toda copia realizada en cualquier dispositivo de almacenamiento de copia de
seguridad).
1. Garantía de la licencia y finalización
Notation Software Germany GmbH o sus agentes comerciales autorizados otorgan una licencia del Software y
en ningún caso se entenderá dicha licencia como transmisión ni venta de los derechos de propiedad del
mismo que estarán sujetos a la legislación en materia de derechos de propiedad intelectual nacional y a los
tratados internacionales aplicables. El paquete de instalación contiene bibliotecas de Software de código
abierto en forma de Dynamic Link Libraries (librerías DLL) y un archivo de fuentes de sonido. La licencia LGPL
se aplica a estas bibliotecas y al archivo de fuentes de sonido. El Software utiliza la tecnología de controlador
ASIO de Steinberg Media Technologies bajo el Contrato de licencia de Steinberg ASIO SDK.
Este acuerdo de licencia permanece vigente en caso de un posible sucesor legal de Notation Software
Germany GmbH.
La licencia finalizará automáticamente en caso de incumplimiento de las limitaciones señaladas en el

presente documento. A su finalización, debe destruir cualquier copia (incluidas las copias de seguridad
archivadas) del Software y de su documentación.
1.1 Notation Musician y Notation Composer - Versión de prueba
Con las versiones de prueba de Notation Musician y Notation Composer, Notation Software le concede una
licencia para usar el Software gratis con fines de evaluación durante un período de 30 días. Si quiere usar
Notation Musician o Notation Composer después del período de prueba, quizá quiera comprar la versión
completa de Notation Musician o Notation Composer. (Visite www.notation.com para instrucciones sobre
cómo hacer el pedido.)
1.2 Notation Musician y Notation Composer - Versión completa
En caso de que tenga menos de 18 años y quiera comprar una licencia de uno de nuestros productos, pídale
a su padre o tutor que actúe como titular.
Con las versiones completas de Notation Musician y Notation Composer, Notation Software le concede una
licencia para usar el Software todo el tiempo que quiera usarlo. La instalación del Software está limitada a un
solo equipo a la vez. Equipo también es sinónimo de una sola máquina virtual. Cualquier máquina virtual
requiere una licencia independiente. La configuración de instalación permite que varios usuarios del mismo
equipo puedan usar la licencia de Software. En caso de que haya que instalar el software en otro equipo
distinto al original, puede trasladar su licencia personal al nuevo equipo gratis poniéndose en contacto con
Notation Software. Tendrá que enviar el nombre y la dirección completa que usó para comprar la licencia, el
número de licencia, el archivo del registro del programa de instalación y el archivo de registro del propio
Software. Además, se necesita una descripción precisa del motivo por el que quiere trasladar el Software a
otro equipo.
Debería enviar esta solicitud desde la dirección de correo electrónico que usó al comprar el producto. Notation
Software ha preparado un formulario para ello. El Software crea ambos archivos de registro automáticamente
y los guarda en su equipo. Datos como la ubicación de estos archivos de registro, en los que aparece el
número de licencia, etc. aparecen en el Software en caso de intentar una nueva instalación. Notation Software
aprobará su solicitud en cuanto sea posible y volverá a activar la licencia para el nuevo equipo.
Después de volver a activar la licencia para el nuevo equipo, será necesario desinstalar el Software del equipo
antiguo tal y como se indica anteriormente en caso de no aceptar el contrato de licencia. La instalación en el
nuevo equipo solo será posible con el programa de instalación del software recibido originalmente de
Notation Software. No existe límite de instalaciones consecutivas en el equipo original, y cada una de las
reinstalaciones se puede realizar sin la reactivación del software por parte de Notation Software.
2. Redistribución
2.1 Versión de prueba de Notation Musician y Notation Composer
Solo puede descargar el programa de instalación de la versión de prueba en el sitio web de Notation Software
www.notation.com. No se permite la redistribución del programa de configuración de la versión de prueba de
ninguna manera ni por medios electrónicos (Internet, tablones de anuncios, bibliotecas de distribución de
software compartido, CD-ROM, etc.). Todo el que instale el Software estará sujeto a los términos y
condiciones de este contrato de licencia. Usted debe indicar claramente al destinatario que Notation Software
es el editor del Software. Además, debe indicar al destinatario que puede comprar una licencia completa en el
sitio web de Notation Software, www.notation.com.
2.2 Versión completa de Notation Musician y Notation Composer
Puede transferir los derechos que le otorga este contrato solo a (1) otro individuo o entidad como una
empresa, siempre y cuando el destinatario acepte los términos de este contrato de licencia y siempre que
destruya por completo cualquier copia (incluidos archivos) del Software y de su documentación. La
transferencia de la licencia al nuevo titular debe seguir los mismos pasos que la reactivación descrita
anteriormente en la sección 1.2. Notation Software redistribuirá un nuevo programa de instalación del
Software y reactivará la licencia recién transferida con la información de la nueva licencia.
3. Restricciones
No puede utilizar técnicas de ingeniería inversa, descompilar o desensamblar el Software, excepto y

únicamente en la medida en que ello esté expresamente permitido por Notation Software por escrito y de
Appendices 671
acuerdo con la ley vigente, independientemente de su limitación. No puede usar ninguna copia de la versión
de prueba de Notation Musician o Notation Composer en forma alguna una vez superado el período de prueba
de 30 días o cualquier otra limitación de la versión de prueba. Incluso en este caso, infringe la ley. El Software
detectará un posible código alterado ilegalmente por medio de un proceso de verificación de Software
continuo. La licencia se interrumpirá si se detecta algún uso o modificación ilegal del Software. El Software se
interrumpirá si se produce una ejecución posterior del Software. Notation Software iniciará medidas legales
en consecuencia.
4. Asistencia
Notation Software ofrece asistencia en función de la vida útil indicada de los productos. La información aquí
suministrada Notation Software para un soporte óptimo. En caso de problemas, el titular acepta enviar los
archivos de registros solicitados a Notation Software para su posterior análisis por su parte.
5. Ausencia de responsabilidad
Dentro de los límites que permite la ley, Notation Software no será responsable de ningún daño indirecto,
especial, accidental o secundario, incluyendo, pero sin limitarse a, daños por pérdida de actividad, pérdida de
ingresos o beneficios, pérdida de datos dañados o cualquier otra pérdida comercial o económica que surja
de un uso indebido o incapacidad de usar el Software.
Además, Notation Software no es responsable de un posible uso ilegal de partituras musicales con derecho
de autor.
6. General
Este contrato representa el acuerdo completo relacionado con esta licencia y no se puede cambiar salvo con
una enmienda firmada. Si alguna disposición de este contrato resulta ser no aplicable, dicha disposición
deberá ser modificada solo el mínimo necesario para que pueda ser aplicable y las demás disposiciones
seguirán teniendo plena vigencia. Este contrato se regirá por las leyes de la República Federal de Alemania.
La sede de la jurisdicción es Landsberg am Lech, Alemania.
10.5 Appendix E: 3rd Party Libraries and Acknowledgements

Library License
-------------------------------- -------------------------------------------------
-----------------
Prof-UIS purchased license from Foss Software, Inc
QTHM purchased license from GipsySoft
Ultimate Grid Code Project Open License (CPOL) 1.02
TinyXML zlib/libpng License
Haru PDF zlib/libpng License
libfluidsynth(-pl).dll LGPL v2.1 or later

portaudio.dll MIT license
libsndfile.dll LGPL v2.1 or later
libglib-2.0-0.dll LGPL v2.1 or later
libgthread-2.0-0.dll LGPL v2.1 or later
The libs with the LGPL license are built according to the license agreement in separate dll files. In that
set-up they are available for distribution in commercial applications like Notation Software products.
The source code can be downloaded from the according distributor. All libs are built using the
instructions of the distributor.
ASIO Driver Technology by Steinberg Technologies GmbH (www.steinberg.net)

Steinberg ASIO SDL Licensing Agreement signed between Notation Software
Germany and Steinberg Media Technologies
ASIO driver GmbH
on July 14th, 2015
Soundfont License
------------------------------- ------------------------------------------------
-----------------
TimGM6mb.sf2 LGPL v2.1 or later
Acknowledgements
---------------
Thanks to the open source community for all their work and that Notation Software Germany GmbH can
use the dll libraries under the LGPL license.
During the development where we received great support from Tim Deveaux (Ultimate Grid), Peter
Hanappe (fluidsynth), Tim Brechbill (TimGM6mb.sf2).
Thanks to Steinberg Media Technologies for signing the license agreement that Notation Software can
use the ASIO driver inside of notation musician and notation composer.
Index 673
arranging music
Index for your musical group 25

for your own instrument or voice
MidiNotate Composer as a tool for
25
25
-8- arrow
green playback location marker 122
8va green staff focus arrow 130
Window menu 118
arrow key commands 167
articulations 331
-A- ASIO 581
accacciatura 362 ASIO settings 573
accelerando 551 ASIO technology 671
accent marks as-notated
adding 331 changing as-notated without changing
filtering (selection) of notes based on 526 as-performed 514
tutorial 67 snap as-performed rhythm to 513
viewing piano roll notation while editing 502 as-performed
displaying as-performed notes 508
accidental
cautionary 316 editing as-performed notes 509
changing pitch of note by changing 298 locking of timing 318
courtesy 316 snap rhythm to as-notated 513
editing 316 assignment 641
tutorial 43 association of .mid file names with Notation Composer
79
accompaniment 143
attack
acknowledgements 671
as-performed offset from as-notated time 508
add measure 273
changing as-notated without changing
add mode
as-performed 514
toolbar button 162
editing as-performed 509
adding moving note attack 319
notes 283
quantize 513
adding objects snap as-performed to as-notated 513
overview 261
audio driver setting 573
using palettes 263
audio export 54
align
audio wave compared to MIDI 662
chords 480
auto channel 196
lyrics with notes 451
Auto-Save 117
Alt key commands 167
annotations
dynamic marks 409
-B-
hairpin crescendo marks 413 backup
overview 407 manually done 272
pedal marks 430 Recover Auto-Saved File 272
slurs 424 using Auto-Save feature 117
special symbols 417 backup Notation Composer 16
text 459 backup your installation files 17
tutorial 67 balance left and right 199
viewing piano roll notation while editing 502, bank 641
520 bank (see MIDI bank) 643
appoggiatura 362 barline
arc direction of ties 337 adding barline in middle of measure 275
arpeggios 383 adjusting for metronomeless files 91, 93, 94, 96
barline chord chart 215

edit barline style 396 chord
join measures 276 chord chart 215
move 251 combining separate notes into 330
rebar 91, 93, 94, 96 chord builder 469, 471
remove 276 Chord menu
repeat marks 397 Chord Name Display Styles 481
shifting multiple barlines to right 281 Show Chord Names 481
types 396 Transcribe Chord Names 476
bars chord names 469
fixed number of bars per line 245 add 469
beams adding and editing 469
editing 334 advancing to the next or previous 480
beat ruler builder 469
for adding notes 289 copy 469, 472
beep sound default styles 480
removing 127 edit 471
bookmarks enharmonic spelling 475
in score for editing references 483 enter 471
bow marks (string) 331 entering by typing 470
brace or bracket fake book preparation 215
name displayed in left margin 190 formatting 480
braces and brackets 386 hear 469, 471
named displayed in left margin 189 hide 233
breaks introduction 468
line and page breaks 246 moving 480
line breaks 245 paste 469, 472
browsing the Internet for MIDI files show/hide 442
intial web page 81 transcribe 476
Notation Composer's built-in Internet browser transpose 482
80 Chrome 79
buffer count 573, 575 clearing region of score 269
buffer size 573, 575 clefs 390
buffers 581 clipboard
buy Notation Composer 24 copy cut paste 268
creating new song from 270
-C- importing lyrics from a text file via 453
lyrics 449, 453
cable MIDI 594
clone
CakeWalk Instrument Definition (INS) file 626
track 197
calibrate
color customization
MIDI device 604
overall color theme 155
CD-ROM
playback highlighting 155
audio on CD-ROM compared to MIDI 662
commands
transcription to music 77
Alt and Ctrl key commands 167
channel 196
arrow key commands 167
assignment to track 196
learning 167
auto channel assignment 196
Quick ("Q") commands 167
tune MIDI device to 638
remote from MIDI keyboard 151
channel volume 554
shortcuts 655
chart
comparison of features
Index 675
comparison of features delay of playback 631

Notation Musician and Notation Composer 29 on acoustical/MIDI player piano 631
composer name on some MIDI software synthesizers 631
displayed as lyrics 457 deleting objects 261
composing 26 deleting region of score 269
computer keyboard Deutsch lisenz 666
entering notes using only 300 device 629
conductor's score adding to MIDI device configuration 606
formatting 223 bank (MIDI) 644
reduction to piano score 219 calibrate 604
configuration of MIDI devices configuration 616
copying 653 connecting to port 622
creating 653 default playback device 591, 635
deleting 654 delay 604
managing alternative MIDI setups 652 echo 598
re-initializing 653 explained 613
renaming 653 General MIDI (GM) 636
saving 652 latency 604
selecting 652 managing 623
connecting devices to ports 622 MIDI Thru 609
context-sensitive help (F1) patch (MIDI program) names 602
for buttons 15 properties 631
for menus 158 quick setup 19
continuously on note 132 removing 630
controller (MIDI) data 569 renaming 631
controller MIDI (see keyboard) 485 testing playback on 620
copy and paste 268 trouble-shooting 585
copy and paste (see clipboard) tune to MIDI channels 638
loop 268 device delay 605
copyright notices device description (importing and exporting)
displayed as lyrics 457 importing from a MIDI Device Description (MDD)
copyright of Notation Composer 664 file 624
courtesy accidental 316 importing from a CakeWalk INS file 626
crackling 575, 581 device renaming 613
crackling audio 573 directory (program folder) for Notation Composer 18
creating a new song disc jockey feature (playlist) 140
formatting of new song 239 documentation
from clipboard 270 printed 15
tutorial 58 using this 15
crescendo dotted note value 287
editing loudness of notes 521 double note durations 351
graphical editing of 554 downloading MIDI files and zip files 80
hairpin crescendo marks 413 tutorial 36
Ctrl drag mouse 266 drag mouse
Ctrl key commands 167 note pitch 313
cut note duration 291 drivers 581
drum 641
-D- assignment of staff to drum instrument 191
editing of notes 341
D.C. and D.S. 400 loop 268
dash character in lyrics 448 preparation of part (tips) 220
drum 641 eraser 499

special percussion symbols 220 eraser-graphical 534
split drum staff into single drum staves 202 Español license 669
drum kit note names export
importing drum note names 602 Karaoke file 112
duration 509 MIDI file 112
duration of notes MusicXML file type 115
changing 321 export .wav 54
changing as-notated without changing export audio 54
as-performed 514 export MIDI 51
double note durations 351 export MusicXML 54
editing as-performed 509 export PDF 54
new notes 287 external versus internal port 622
note duration adjustment table 516 extract part from score
quantize 513 easy notes part 214
scale note durations 351 fake book lead sheet 215
sequential note entry mode 291 Karaoke part 214
snap as-performed to as-notated 513 vocal part 214
dynamic marks 409 with customized options 217
tutorial 67
-F-
-E- F1 help
Easy Notes 214 for buttons 15
in a part 238 for menus 158
in one or more staff/staves 238 fake book preparation 215
echo 598 feature comparison
Edit menu Notation Musician and Notation Composer 29
Clear 269 fermata 331
Clear Undo History 270 file
Copy 268 automatic backup and recovery (Auto-Save)
Paste 268 117
Paste Lyrics 453 creating new 107
Paste Special 268 opening 34, 78
Redo 270 saving 112
Undo 270 viewing multiple songs at a time 118
education (music) file export Karaoke 53
easy notes part 214 file export MIDI 53
practicing music 142 file formats 77
preparing music lessons 26 alternative ways to share your music with others
self-study and enjoyment 24 114
elapsed time during playback 160 Karaoke (.kar) 77
end of song toolbar button 160 MIDI (.mid) 77
endings MidiNotate (.not) 77
editing 398 MP3 77
ignoring endings during playback 131 MusicXML 77
English license 664 wave (.wav) 77
enharmonic spelling 316 File menu
ENTER key Auto-Save Options 117
to toggle add and select mode 162 Browse Internet for MIDI Files 80
erase 499 New 107
New Song from Clipboard 270
Index 677
File menu lyrics alignment with notes 451

Open 118 margins of page 224
Print 119 measure numbers 282
Print Parts 211 move barline 251
Recover Auto-Saved File 117 move measure to previous system 248
Save As 112 move system to previous page 250
Set Auto-Save Frequency 272 overview 223
Song Title and Authors 112 page breaks and system breaks 246
filtering page header and footer 466
of accompaniment notes 526 page layout 241, 243
of melody notes 526 page numbers 224
of notes based on accent mark 526 page size and orientation 224
of upper or lower voice notes 526 page text 467
silent notes 312 template 239
small rests 358 title page 466
Finale (music software by MakeMusic) vertical spacing between individual staves and
transferring a score to 115 systems 244
find MIDI files 79 forum (Notation Users Community Forum) 12
fine (end of score) 400 free player
Firefox 79 Notation Player for viewing, printing, and playing
flag on note stem 334 Notation .not files 114
fluidsynth 671 free text
focus during playback 130 adding and editing 459
fonts introduction 458
for individual text objects 440 mixing music symbols and normal text 460
international characters 443 vertically aligning 462
mixing music symbols and normal text 460 freeze page layout 255
overall font size 227
setting overall font size 243 -G-
setting size and face for types of objects 230
General MIDI (GM) 636
footer (page) 226, 462, 463, 466 getting started 14
Format menu glissandos 427
Collapse Multiple Measure Rests 359 adding 428
Copy Formatting to Other Parts 240 editing 429
Font Size and Spacing 227
go to
Format Part Using Template 239 next or previous page 180
Hide Empty Staves 236 rehearsal mark 181
Instrument Names Display Options 234
grace notes
Page Setup 226 adding 362
Re-Transcribe 90 borrow time from left or right 362
Show or Hide Instrument Names 234 converting short notes to 367
Show or Hide Types of Objects 233 converting to written-out short notes 371
Text Fonts 230 editing performance of 370
Transcribe Chord Names 476 overview 361
formatting slash on stem 366
copying format of one part to another 240 viewing as written-out short notes 365
default 256
graph erasing 534
default horizontal and vertical spacing 253
Graph menu 534
font size 243
graphical editing 530
hide instrument names 234 controller (MIDI) data 569
hide types of annotations 233 left to right pan 559
graphical editing 530 from a Notation Software MDD file 624

note loudness (velocity vectors) 521 importing MIDI or Karaoke file 78
overview 530 INS Cakewalk Instrument Definition file 626
overview of viewing and editing MIDI data 499 Ins(ert) key for adding notes 300
piano roll notation 501 insert
pitch bend 562 measures from clipboard 268
show/hide graph 530 insert measure 273
sustain pedal control 567 install, Windows 16
tempo 546 installing Notation Composer 16
track volume 554 instrument 641
tutorial 534 instrument name
GraphOverNotes changing staff name 189
graphical editing 530 displayed left of brace or bracket 190
tutorial 534 formatting options 234
green arrow, horizontal 130 importing 602
green arrows 122 long versus short instrument names 234
grid show and hide 234
beat ruler 289 instrument sound (MIDI patch)
GTHM 671 assignment to staff 191
guitar for recording 491
chord names 469 mid-track sound changes 528
harmonic mark 331 show/hide instrument sound change marks 233
pitch bend 562 instrument transposition (key) 348
prearation of part (tips) 222 internal versus external port 622
tablature 222 international characters 443
internet 79
-H- Internet browsing features
tutorial 36
hairpin crescendo marks 413
Internet Explorer 79
harmonic mark 331
internet MIDI 79
Haru PDF 671
introduction to Notation Composer 14
header (page) 226, 462, 463, 466
help
for buttons 15 -J-
for menus 158 jamming along with a song 143
hide jazz
chord names 233, 442 swing rhythm 328
empy staves 236 join measures 276
instrument names 234 jukebox 137, 140
lyrics 233, 442 jump
lyrics individually 457 to another location during playback 130
parts of the Composer window 157
rehearsal marks 233 -K-
rest 359
Karaoke file 456
track controls 172
.kar file name association with Notation Composer
highlighting active notes and lyrics 131
79
horizontal spacing between notes 229, 359
downloading from the Internet 81
export 112
-I- opening 78
importing a device description 602 what is a 77
from a CakeWalk INS file 626 Karaoke part
Index 679
Karaoke part legato 509

part extraction from score 214 lessons
preparation of (tips) 219 using Notation Composer to prepare 26
karoke export 53 licencia Espanol 669
Keep Measure With Previous command 248 license agreement 664
Keep System With Previous command 250 license, English 664
key of instrument 348 license, Spanish 669
key signature 391 line break 246, 248
keyboard freezing all in part or score 255
add both right- and left-hand staves in one step lines 427
185 adding 428
MIDI controller 302, 304, 305 deleting 429
recording from 485 editing 429
two-hand recording 495 location
using music keyboard for entering notes by changing as-notated without changing
recording 302 as-performed 514
using music keyboard for entering notes via editing as-performed 509
step-time recording 304, 305 moving note attack 319
keyboard (computer) commands lock
arrow key commands 167 note performance 318
Ctrl and Alt key commands 167 loop
palette selection 167 paste 268
Quick ("Q") commands 167 playing a list of songs (or just one) in a 140
keyboard (MIDI) 19 practice 145
accompaniment 143 using rehearsal marks 148
adding to MIDI device configuration 606 loudness of notes
delay 604 changing 521
echo 598 of new notes 299
practicing with your MIDI keyboard or MIDI lyrics
instrument 149
adding (tutorial) 49
remote control of MidiNotate 151
adding and editing 446
setup 598
advancing to next or previous 447
keyboard part alignment with notes 451
preparation of (tips) 217
color used for highlighting during playback 155
reduction of score 219
copy and paste 449, 453
split single staff into right- and left-hand staves
copyright notices, composer, and arranger name
201
displayed as 457
hide all lyrics 233, 457
-L- hide individual lyrics 457
latency 605 highlighting during playback 131
calibrate 604 hyphen in 448
latency, keep low 575 international characters 443
Layout menu introduction 445
Increase or Decrease Font Size 243 melisma 448
Keep Measure With Previous 248 show/hide 442
Keep System With Previous 250 verses 447
Page Break 246 verses and repeats 401
System Break 246
layout of page (see page layout) 241, 243 -M-
lead sheet preparation 215
Mac installation 16
lead-in beats (see pickup beats) 145
manual
manual versus USB cable 594

in Adobe Acrobat PDF file format 15 MIDI cc 530
margins 224 MIDI channel 196
measure assignment to track 196
add 273 auto channel assignment 196
delete 274 tune device to 638
editing 273 MIDI controller data
fixed number of measures per line 245 converting MIDI sustain pedal events to pedal
join by removing barline 276 marks 423
move to previous system 248 converting pedal marks to MIDI sustain pedal
numbers 282 events 433
repeat marks 397 editing of 569
split with barline 275 MIDI device 641
upbeat 277 MIDI device (see "device") 572
viewing range of measures 179 MIDI device configuration
Measure menu copying 653
Add Measure 273 creating 653
Delete Measures 274 deleting 654
Insert Measure 273 introduction 652
Measure Numbers 282 managing alternative MIDI setups 652
Repeat Instructions 401 re-initializing 653
View Measures 179 renaming 653
measure number saving 652
specifying frequency of display 282 selecting 652
melisma 448 MIDI device configuration window
melody example configurations 616
filtering melody or accompaniment notes 526 menus 620
split staff into melody and accompaniment 204 overview 613
menus MIDI Device Description (MDD) File
customizing color of 155 exporting 640
overview 158 MIDI device, default 635
merge staves 198 MIDI export 51, 53
meter 394 MIDI file
scale 351 .mid file name association with Notation
Composer 79
metronome 127
downloading from the Internet 81
pickup beats 489
export 112
recording 127
opening 78
setting and auditing metronome sound 127
what is a 77
toolbar button 161
turning on and off 161 MIDI file search 79
MIDI keyboard 19
metronomeless 91, 93, 94, 96, 489
echo 598
Microsoft Internet Explorer 79
recording from 485
MIDI
remote control of MidiNotate 151
graphs of MIDI data 530
setup 598
overview of viewing and editing MIDI data 499
MIDI note velocity
MIDI bank
default assigned to new notes 299
assignment to staff 191
editing 521
bank selection method 631
versus volume level 554
importing bank and patch names 602
mid-track bank selection 528 MIDI note-on and note-off events
editing 509
MIDI cable
Index 681
MIDI note-on and note-off events creating from clipboard 270

viewing piano roll notation of 501 formatting of 239
MIDI port 621 tutorial 58
MIDI program (patch) next page 180
assignment to staff 191 Notation (.not) file
importing patch names 602 file format 77
initialization of patch names for a device 576 open 118
mid-track change in 528 save 112
MIDI thru 609 Notation Musician and Composer
mistakes feature comparison 29
clearning up recording 497 Notation Software (the company)
modulation 569 Notation Users Community Forum 12
mordents 381 Notation Software Synth 573
mouse note
adding notes with 285 name letters in noteheads 238
Ctrl drag 266 note durations - change all 351
double right click 162 note letters in noteheads 238
drag note pitch 313 Note menu
right click 162 Add Note Duration submenu 287
with Shift key 264 Combine Chord 330
move Convert Selection of Notes to Region 266
barline 251 Crescendo Across Selected Notes 521
free text and page text 441 Enharmonic Spelling 316
measure to previous system 251 Loudness submenu 521
notes between staves 206 Notehead Shape submenu 342
palette 164 Pitch submenu 298
staves or systems up or down on page 253 Remove Silent Notes 312
system to previous page 251 Save Loudness for New Notes 299
Mozilla Firefox 79 Staff Assignment submenu 206
MP3 Triplets and Quintuplets 323
compared to MIDI 662 Voice submenu 340
file format 77 note names for drum kits 646
multiple measure rests 359 notehead
multiple object selection 264 shape 342
music keyboard shared between upper and lower voice 340
for entering notes by recording 302 with both stem up and stem down 295
for entering notes via step-time recording 304, notes
305 accent marks 331
MIDI controller 302, 304, 305 accidental 316
MusicXML export 54 add (tutorial) 60
MusicXML file type 77 adding (alternative methods) 283
export 115 adding by recording live with MIDI keyboard 302
mute staff 173 adding using mouse point-and-click 285
track control button 135 adding using the mouse 284
advancing selection to next or previous note
-N- 311
articulations 331
Netscape 79
as-performed duration of new notes 516
new in version 3 12
automatically playing when selected 312
new song
beams 334
creating a 107
combining separate notes into chord 330
notes open source libraries 671

deleting 312 opening a MIDI or Karaoke file
displaying as-performed notes 508 automatically launching Notation Composer 79
double note durations 351 downloading from the Internet (tutorial) 36
drum 341 opening one already on your system 78
duration 287, 357 openSUSE installation 16
duration adjustment table 516 order of staves 205
editing (introduction) 309 organ
editing as-performed notes 509 add both right- and left-hand staves in one step
enharmonic spelling 316 185
entering notes using only computer keyboard orientation of page
300 portrait and landscape 224
filtering 526 ornaments
flags 334 adding 373
grace notes 371 arpeggios 383
location 319 converting to written-out performances 375
loudness 521 converting written-out performances to 374
loudness of new notes 299 deleting 376
moving attack 319 grace notes 361
moving between staves 206 mordents 381
notehead shape 342 transcription of 86
ornaments 372 tremelos 384
percussion 341 trills 377
performance of (overview) 501 turns 379
pitch bend 562 viewing the written-out performance of 376
pitch changing 313 overlapping notes
pitch of new notes 298 transcription option to remove 86
removing silent notes 312
scale note durations 351 -P-
selecting 310
page
sequential note entry mode 291
next and previous page toolbar button 160
stem direction 295
start and end of song toolbar button 160
step-time recording 486
page break 246, 250
ties 337
freezing all in part or score 255
transposing 343
page layout 241, 243
using rests to erase notes 357
font size 243
voice 295
header and footer 466
NoteSoft file saving 51
horizontal spacing 244
move barlines within a system 251
-O- move measure to the previous system 248
object move system to the previous page 250
adding 263 page breaks and system breaks 246
properties 265 page numbers 466
selecting 264 restore default pagination 256
terminology 260 song title 466
Object menu 158 vertical spacing between staves and systems
octaves 253
8va 314 page number
change pitch of note by 313 as page text 466
offset of as-performed from as-notated note rhythm changing the first 224
508 odd-numbered pages on right or left 224
Index 683
page scroller 180 sing-along part (preparation of) 214

page setup 224 transpose 316
page slider 180 tutorial 55
page text versus staff (terminology) 182
adding and editing 463 vocal (preparation tips) 219
aligning 466 Part menu
assignment to multiple pages 464 Add Part 208
introduction 462 Delete Part 211
specified in templates 467 Display Easy Notes for Selected Staves 238
standard page text types 466 Display or Define Part 210
page turns Edit Part Name 210
advance timing of 130 Part Preparation Wizard 217
page view 171 Prepare Easy-Notes Part 214
toolbar button 162 Prepare Fake Book Lead Sheet 215
pagination 256 Prepare Piano Reduction 219
freeze 255 Prepare Sing-Along Part 214
palette Select Part 209
Rebar 94, 96 paste 268
palettes patch 641
adding objects using 263 patch (see MIDI program)
computer keyboard commands for 167 assignment to staff 191
customizing color of 155 initialization of patch names for a device 576
editing objects using 265 mid-track change 528
hierarchy of 164 patch names for device 645
moving 164 pause playback 160
piano roll palette buttons explained 503 PDF
pan left and right printable version of documentation 15
graphical editing of 559 saving a part or score as a PDF file 114
initial staff setting of 199 PDF export 54
paper size 224 pedal control 567
parentheses pedal marks
around notes 219 converting MIDI sustain pedal events to 423
courtesy accidental 316 converting to pedal performance 433
part editing 430
automatic creation of 208 percussion
changing list of staves assigned to 210 drum kits 646
customized part options 217 editing of notes 341
delete 211 preparation of part (tips) 220
drum (preparation tips) 220 special symbols 220
easy notes part (preparation of) 214 split drum staff into individual drum staves 202
fake book lead sheet (preparation of) 215 Perform menu
format 316 Hear Metronome 127
formatting 223 Ignore Repeats and Endings 131
freeze layout of 255 Metronome Setup 161
guitar (preparation tips) 222 Pickup Beats 161
hide empty staves 236 Playback Page Turns 130
layout of 241, 243 Practice Setup 145
name of 210 Set Play-Along Sound 143
piano (preparation tips) 217 Start Playback 124
print 211 Start Practice 147
select 209 Stop Playback 124
Perform menu pause 160

Turn Off Stuck Notes 132 playback marker 130
Volume 135 playing a list of songs 140
performance (MIDI) playing multiple songs (or just one) in a look
overview of viewing and editing MIDI data 499 140
performance sound, GraphOverNotes 530 repeats 131
phrase marks (see slurs) 419 scrolling during 177
piano part solo staff 135
add both right- and left-hand staves in one step song time indicator 160
185 staff focus during playback 130
preparation of (tips) 217 start and stop 124
reduction of score 219 start at green playback location marker 122
split single staff into right- and left-hand staves stuck notes 132
201 tempo changes during 133
piano roll testing 620
displaying as-performed attack and release offsets toolbar buttons 160
508 tutorial 38
historical reference 662 volume level changes during 135
piano roll palette buttons explained 503 player
show/hide piano roll notation 501 free Notation Player for viewing, printing, and
tutorial 72 playing Notation .not files 114
viewing it while annotating a score 502 playlist
pickup beats .ply file format 142
creating upbeat measure 277 adding songs to 138
shifting barlines to account for 281 changing order of songs in 138
used in practice loops 145 moving playlists and their song files 142
used in recording 489 overview 137
pitch playing songs in 140
edit 313 tutorial 40
letters in noteheads 238 viewing songs in 138
of new notes 298 point size
transpose 346 overall point size for score 243
pitch bend 562 versus zoom 178
pitch name letters in noteheads 238 point-and-click method of adding notes 285
Pitch-to-Command 151 port
pizzicata mark 331 connecting to external device 622
play-along 173 disconnecting from external device 622
sound selection 143 explained 613
trouble-shooting 585 internal versus external port 622
playback 346 managing 621
automatic playing of notes when selected 312 portamento 428
changing position during playback 122 portaudio 671
default playback device 635 practicing options
fast forward 125 loops (repeats) 145
highlighting active notes and lyrics 131 overview 25
highlighting colors 155 practicing while singing or playing a non-MIDI
indicator in quick MIDI setup window 576 instrument 148
jamming with your MIDI instrument during 143 practicing with your MIDI keyboard or MIDI
mute staff 135 instrument 149
overview 121 rehearsal marks 483
page turns during 130 starting and stopping a practice session 147
Index 685
previous page 180 introduction to real-time recording from music

printing keyboard 485
page setup 224 metronome 127
parts 119, 211 no metronome 91, 93, 94, 96
preview 171 pickup beats 489
range of measures 119 punch-in (in a region) 494
score 119 real-time as a way to enter notes 302
printing this documentation 15 recovery from interrupted 497
Prof-UIS 671 setting up your MIDI keyboard 485
program (see MIDI program) 645 starting and stopping 493
program folder (directory) for Notation Composer 18 step-time 304, 305, 486
punch-in recording 494 takes 496
purchase Notation Composer 24 tempo 487
purpose of Notation Composer 24 transcription options for 492
trouble-shooting 585
-Q- two-hand (keyboard) 495
versus real-time 486
quantization recording, no metronome 489
snap as-performed to as-notated rhythm 513
recovery
tutorial 72 from interrupted recording 497
Quick ("Q") keyboard commands 167 from interrupted song file editing 117, 272
quick start tutorial 34 redo
quintuplets 287, 323 toolbar button 163
QWERTY keyboard redownload 16
entering notes using only 300
reduction of score into piano part 219
region
-R- convert to selection of entire staff 266
range of measures convert to selection of notes 266
selecting 266 defined 266
viewing 179 region selection mode 162
razor for cutting note duration 291 selecting 266
rebar 91, 93, 94, 96 Region menu
barline correction 91, 93, 94, 96 Clean Up Rests and Overlapping Notes 358
details 96 Convert Region to Selection of Rests 359
finalize 106 Convert Selection to Entire Staff 266
keep changes 106 Filter Notes According to Selection Criteria 526
overview 94 Filter Notes in Current Region 526
palette 94, 96 Remove Silent Notes 312
review adjustments 105 rehearsal marks
rebar lines, edit 102 adding and editing 482
rebar lines, make barlines editable 96 advancing to next or previous 148
rebar lines, record 96 go to 181
rebar, lines 96 introduction 482
Recodare (developers of MusicXML file format) 115 show/hide 233
recording used as bookmarks 483
cleaning up 497 used in practice loops 483
indicator in MIDI Device Configuration Window reinstall Notation Composer 16
620 release
indicator in Quick MIDI Setup Window 576 as-performed offset from as-notated time 508
instrument sound 491 changing as-notated without changing
as-performed 514
release reduction to piano part 219

editing as-performed 509 scroll window
note duration adjustment table 516 automatic scrolling during playback 177
snap as-performed to as-notated 513 search for MIDIs 79
remote control of MidiNotate from MIDI keyboard searching the Internet for MIDI files
151 initial web page 81
repeated loop secondary beams 334
paste 268 segno
repeats used in performance of repeats 401
D.C. and D.S. 400 select
endings 398 advancing selection to next or previous note
ignoring repeats during playback 131 311
instructions (manual control of) 401 automatically playing notes when selected 312
practice loops 148 entire staff 175
repeat marks 397 notes 310
repetition marks 397 region 266
segno 400 selecting objects 264
restore from program interruption 272 select mode
rests toolbar button 162
deleting 354 selecting whole measure rest 359
dividing and combining 354 sequential notes from two-note chords 204
eliminating small rests 358 setup 572
hiding 359 MIDI equipment 572
multiple measure rests 359 soundcard 572
overview 353 uninstalling 23
selecting whole measure rest 359 Setup menu
transcription option 86 Associate with .MID Files 79
using rests to erase notes 357 Enable Pitch-to-Command 151
voice 356 Set Up Pitch-to-Command 151
re-transcribe 90 Transcription Options 86
rewind 122 setup Notation Composer 16
rhythm shape of notehead 342
editing notes 321 share your music files with others 114
rhythm style used in transcription 86 shared notehead between upper and lower voice
swing 328 340
right mouse click 162 shortcuts
ruler keyboard 167
for adding notes 289 list of 655
remote control of MidiNotate from your music
keyboard 151
-S-
show
sample rate selection 573 graphs of MIDI data 530
save as .not file 51 piano roll 501, 502
save file Sibelius
tutorial 51 transferring a score to 115
scale note durations 351 sing-along part 214
score single-note instrument lines 204
formatting 223 slash on stem of grace note 366
freeze layout of 255 slurs
layout of 241, 243 adding 420
part 182 deleting 423
Index 687
slurs split measure 275

length of 424 split staff into melody and accompaniment 204
overview 419 splitting chord notes to solo notes 204
shape of 424 splitting double-played notes 204
ties are not the same thing as 419 staccato 509
tutorial 67 staff 188
snap as-performed to as-notated rhythm 513 add 185
software channel assignment 196
free updates for Composer 22 clone 197
software libraries 671 delete 188
software synthesizer drum staff into single instrument staves 202
delay in playback 604 editing 184
setup 602 focus during playback 130
solo a staff 135 hide empty staves 236
solo instrument keyboard right and left hand staves 201
splitting double-played notes into sequentially left to right pan 559
played notes 204 melody and accompaniment 204
solo notes 204 merge 198
solo staff 173 MIDI device assignment 191, 591
song name 189
copyright notice 112 order in score 205
creating new 107 pan 199
creating your own templates 111 part preparation 209
saving 112 remove 188
terminology 182 select 175
title 226 Setup 182, 185, 188, 191, 196, 198, 199, 491,
viewing multiple songs at a time 118 554, 559
song time indicator 160 show and hide 210
sound sound assignment to 191, 528
for recording 491 split 204
no sound heard 581 sustain pedal control 567
overview of viewing and editing MIDI data 499 symbols for 385
selection of instrument sound for staff 175 track controls 172
sound module 19 versus part (terminology) 182
configuring 606 vertical spacing 253
sound names, import 576 volume level 199, 554
soundcard (see device) 19 staff controls
soundfont, selection 573 instrument sound selection 175
spacing mute button 135
creating horizontal space with hidden rests 359 overview 172
default horizontal spacing 244 select staff 175
default vertical spacing between staves and show and hide track controls 172
systems 229 solo button 135
vertical spacing between individual staves and Staff menu
systems 253 Add Staff 185
Spanish license 669 Clone Staff 197
spelling (enharmonic) 316 Delete Staff 188
split Merge Staves 198
keyboard staff into right and left hand staves Show Concert Pitches 348
201
Split Drums 202
split drum staff 202 Split Hands 201
Staff menu
Split Melody and Accompaniment 204 -T-
Staff Setup 185
tablature guitar notation 222
Transpose Actual Pitches 346
takes (recording) 496
Transpose Instrument Key 348
tap in delay 605
staff order 125
tap in device delay 605
Staff Setup 125, 175, 185, 191, 196, 559, 641
tap in latency 605
staff, instrument 125
technical support 663
staff, instrument sound 125
template 602
staff, notehead display 125
copying format attributes 240
staff, pan 125
creating new song template 111
staff, volume 125
creating your own 111
start of song toolbar button 160
formatting a part using 239
start playback 124
page text 467
static 575, 581
tempo
static audio 573
changing during playback 133
stem direction
graphical editing 546
changing stem direction of notes 340
graphical viewing 545
force stem direction 359
marks 459
of new notes 295
recording 487
stem up and stem down for same notehead 295
saving the tempo change 133
step-time recording 304, 305
toolbar button 161
compared to real-time recording 486
tempo mark
step-time record button 162
tutorial 67
stop playback 124
terminology used in Composer 182
string
text
bow marks 331
adding 436
harmonic mark 331
chord names 469
pitch bend 562
deleting 439
stuck notes 132
editing 438
studying music with Notation Composer 142
font size and style for categories of text 230
support 663
font size and style of individual objects 440
sustain pedal control 567
footer 466
swing rhythm
free text 458
editing notation for 328
header 466
transcription 86
international characters 443
symbols 417
lyrics 445
synthesizer 19
mixing music symbols and normal text 460
delay of playback on some MIDI software
synthesizers 631 moving 441
software synthesizer 602 overview 435
page text 462
SysEx 606, 631
rehearsal marks 482
system
brackets and braces 386 show/hide lyrics and chord names 442
move to previous page 250 tempo markings 459
system break 248 title of song 466
terminology 182 vertically aligning 462
vertical spacing 253 ties
adding and removing 337
System Exclusive events 606, 631
arc direction 337
reducing number of 86
Index 689
ties tutorial
slurs are not the same thing as 419 graphical editing 534
time signature 394 quick start tutorial 34
TimGM6mb.sf2 soundfont 671 tutorial video 14
TinyXML 671
title 462, 463 -U-
title of song 226, 466
Ubuntu installation 16
toolbar
Ultimate Grid 671
add and select mode buttons 162
undo 270
metronome button 161
toolbar button 163
overview 159
uninstalling Notation Composer 23
show and hide 159
unzipping zip files
toolbar buttons
downloading from Internet 81
next and previous page 160
upbeat
playback 160
creating upbeat measure 277
start and end of song 160
in practice loop 145
tempo control 161
recording 489
undo and redo 163
update
volume level 161
free updates for Composer software 22
Window View and Page View 162
USB
zoom in and zoom out 164
cable 594
track
MIDI interface 594
is called a staff in Composer 182
user interface
transcription 86
overview of Composer's window 154
chord names 476
correcting errors 260
how it works 83 -V-
of new recording 492 velocity (MIDI)
options 86 editing 521
ornaments 86 velocity vectors
re-transcribing 90 viewing them while annotating a score 520
rhythm style 86 verses of lyrics 447
viewing with piano roll notation 83 assignment to repeats 401
transpose version
as-heard pitches 346 free updates for Composer maintenance releases
chord names 482 22
instrument key of a staff versus all of the pitches vertical spacing
in a staff 200 overall 229
instrument key transposition 348 using Page Layout 253
understanding two types of transposing 343 vibrato 569
tremelos 384 video 14
trial version of Notation Composer 14 view
trills 377 graphs of MIDI data 530
triplets 287 note velocity 520
editing 323 piano roll 502
swing rhythm 328 show piano roll 501
trouble-shooting View menu
play-along 585 Go To Rehearsal Mark 181
playback 581 Page View 171
recording 585 Play Notes When Selected 312
turns (ornament) 379 Playback Highlighting Options 131
View menu downloading from Internet 81

Show Attack and Release Timin 508 zoom
Show commands 157 changing zoom level 178
Show Palette 263 toolbar buttons 164
Show Playback Position 122 versus point size 178
Show Staff Controls 172
Show Toolbar 159
Window View 171
Zoom 178
vocal part
preparation of (tips) 219
sing-along part (preparation of) 214
split staff into melody and accompaniment 204
voice
changing voice of notes 340
of new notes 295
transcription option 86
volume 135, 554
changing volume during playback 134
graphical editing of 554
initial volume per staff 199
toolbar button 161
using Windows volume control 134
versus note loudness (MIDI velocity) 554
-W-
wav export 54
WAV file format
compared to MIDI 662
what's new 12
white space
reducing 229
whole measure rest
selecting 359
window
overview of Composer's window 154
resize 178
scroll 177
showing and hiding parts of the window 157
window view 171
toolbar button 162
wizard
part preparation 212
-Y-
Yamaha XF format chords 470
-Z-
zip files

Notation Composer 3 Users Guide

Uploaded by

Copyright:

Available Formats

Notation Composer 3 Users Guide

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Notation Composer 3 Users Guide

Uploaded by

Copyright:

Available Formats

What are the main sections covered in the user guide?

What are the main sections covered in the user guide?

What are some of the ways music can be prepared and printed using Notation Composer?

What are some of the ways music can be prepared and printed using Notation Composer?

Notation Composer 3

© 2017 Notation Software Germany GmbH

Part II Opening, Transcribing, Printing, Playing,

Part III Navigating through Composer and the Score 153

Menus (But Not

Part IV Editing Staves and Formatting Parts 182

Part V Editing the Music Notation 260

Part VI Editing Types of Text 435

Part VII Recording from a Music Keyboard 485

Part VIII Viewing and Editing the Music Performance 499

Part IX Configuring Your Soundcard and MIDI

Managing MIDI ..........................................................................................................................................................

Part X Appendices 655

1.1 What's New in Version 3.0

S o und E nha nc e me nts

Now available in German and Spanish versions.

N e w p la tfo rms s up p o rte d

Imp ro v e d U s e r Inte rfa c e

Cho rd N a me E nha nc e me nts

MID I D e v ic e Co nfig ura tio n Ma na g e r (D CM) E nha nc e me nts

Improved interface for easier access and use

MID I E nha nc e me nts

GraphOverNotes - better integration with Staff Setup

Qua lity a nd S e c urity Initia tiv e

Many bugs corrected in Version 3

1.2 Getting Started

Using this Documentation 15

Printing this Documentation 15

Installing Notation Composer 16

Finding and Starting Notation Composer 16

Backing up Your Purchased Copy of Notation Composer 17

Uninstalling Notation Composer 23

How to Buy Notation Composer 24

1.2.1 About the Trial Version of Notation Composer

1.2.2 Using This Documentation

T o find the d o c ume nta tio n tha t e xp la ins ho w to a c c o mp lis h a c e rta in ta s k :

1.2.3 Printing This Documentation

1.2.4 Installing, Backing up, and Reinstalling Notation Composer

For Windows machines

2. If the setup program does not start automatically:

T o re ins ta ll the s o ftwa re o n the s a me ma c hine :

3. Follow the instructions in the "Read_me_to_reinstall_Notation.txt" for the reinstallation.

1.2.5 Finding and Starting Notation Composer on Your System

T o s ta rt Co mp o s e r fro m its W ind o ws p ro g ra m fo ld e r:

Double-click the Co mp o s e r icon on your desktop to start the program.

Simply double-click the Co mp o s e r icon on your desktop to start the program.

Simply double-click the Co mp o s e r icon on your desktop to start the program.

1.2.6 Setting up Your Default MIDI Playback Device

2. Select one of the MIDI playback devices in the list.

1.2.7 Getting Free Software Updates to Composer

T o re v ie w the fe a ture e nha nc e me nts a nd b ug fixe s a v a ila b le in re c e nt Co mp o s e r

T o d e te rmine whe the r the re is a fre e up d a te (o r a ne w up g ra d e ) fo r N o ta tio n

Co mp o s e r will display the Web Upgrade/Update Assistant window.

1.2.8 Uninstalling Notation Composer

1.2.9 How to Buy Notation Composer