Ten Music Notation Programs

Total Page:16

File Type:pdf, Size:1020Kb

Ten Music Notation Programs Ten Music Notation Programs Second Edition ! Engraving in Dorico, Encore, Finale, LilyPond, MuseScore, Music Press, Notion, Overture, Score and Sibelius, of Vyssotsky’s Elegy arranged for classical guitar Introduction Since the advent of the personal computer and music notation programs for it, part of the criteria for program choice has been the engraving quality each application offers: design of music symbols and allotment of spacing between them. Symbols and spacing serve, first, in the interest of legibility. Beyond that, notation benefits from good graphic design just as does prose or poetry: the page which is more inviting to read can get a better reading. Although interface and feature set are of course important in the choice of an engraving program, this comparison is offered for those especially interested in high quality publication, and illustrates what notation from each of several popular applications looks like. Although one program’s output can be made to look much like another’s, some aspects of that are easier to do, and it’s interesting how the personality of the pages varies. I mentioned this to Abraham Lee, a noted designer of music fonts, who replied: I couldn’t agree more! It really is amazing to see how each application embeds its own personality into the score’s appearance, beyond what is “correct” or not. Truly fascinating, indeed! Unsolicited comments on earlier editions of this document include: Absolutely amazing! . Interesting! . This is certainly a worth while endeavor . a really great idea and I’m glad that someone is taking the time to do it the right way . I love seeing how each program handles music . I don't think I've ever seen a lineup of professionally engraved scores like this before. It's a great idea. I must say, I find it very encouraging that there is still a large element of personality to be found in every one of the engravings, despite the nature of computers. Long may that continue! . Very interesting indeed to see the subtle differences in the notation and how the eye perceives it for clarity . Nice work! . Thank you so much! . This is wonderful! This iteration of the document that started life as Six Music Notation Programs, and later became Seven, benefits from inclusion of the highly anticipated Dorico from Steinberg and the former Sibelius development team, and by restoration from Six of Encore, which is more widely used in Europe and especially South America, and Music Press, which under new auspices is again available. This second edition of Ten includes revisions of Dorico and Notion. John Rethorst [email protected] July 16, 2017 Acknowledgements Program Engraver Engraver contact info Program web site Dorico 1.1 Daniel Spreadbury steinberg.net steinberg.net Encore 5.0 Richard Sayage savageclassical.com passportmusic.com Finale 2014.5 Richard Lee/VSL [email protected] finalemusic.com Music Services www.vslmusic.com LilyPond 2.19.36 Abraham Lee musictypefoundry. lilypond.org com Music Press 9.1 Richard White whitcopress.com mansfieldmusic.com MuseScore 2.0.2 Nicolas Froment musescore.com/user/5 musescore.com Notion 6.2.439 Nikola Viel nikola.viel@gmail. presonus.com com Overture 5.0 John Rethorst [email protected] sonicscores.com Score 4.0 Matanya Ophee editionsorphee.com scoremus.com Sibelius 8.2 William Holab billholabmusic.com avid.com/sibelius Printing this document from a PDF viewer such as Adobe Reader may give better results than printing from a web browser. Elegy Arranged for 6-string guitar by Matanya Ophee Attributed to Mikhail Vyssotsky 5 10 1. 2. 15 1. 19 2. 24 D.C. al et poi la Coda CODA 29 Copyright © 1997 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. All Rights Reserved. 6 String Guitar Elegy attr. Mikhail Vyssostsky arr. Matanya Ophee & " &% & & &" % & &% & &* % & & +& & &% & &% & $ ' & ' &" ' & ' &* '&+& '& '& ! # & &" &% &" % &% ) &% (% % ,% 5 & " &&% & & & &% & &% & &&% +& &% &% ! ' & (% ' &" ' & ' &* &" (% +& & '&& '&& % & ," &* & + % &% % % % ,% 9 &% & & &% & " &* &" & &% & &% & ' &- &" & & &% & &% % '& ' & ' & &% (% ' & '&& ! &% &% (% ,% ,% 13 1. & & " % & & & &% & &% & &&% & && & &% % ! ' & & ' & ' & ' &" ' * & ' & &" & % &" &* , & ' & ,% &% (% % % % 2. 17 . / " &% & ' & &% & &&% & & &% & &% ' &" '&* &" & & % & % ' & & (% ' & '&& ! &" &" % '& '& &% % ,% &% &% (% 1. 21 &% & & &"% & & & &% &% & & &% & &% & " ' & & (% ' & & ' & & ' & & ' & ' & ! &% &% &% (% &(% % ,% 2. 25 . & &% & & &% & & & " &&% & && & &% &" % & & & ! ' &" ' + & ' & ' & % ' & ' & & & &" , & & % % % &(% % ,% 29 1 &% &&% & % % & & " ' & ' + &" & & & &% & '& & & &% &% ! &" +* & '& '& & &% &% &" % &% Da Capo al ,% e poi la Coda0000/ ,% &% &% © Copyright 1997 Editions Orphée Inc.,1 Columbus, OH 43235 International Copyright Secured. Made in U.S.A. All Rights Reserved Elegy Arranged for 6-string guitar by Matanya Ophee Attributed to Mikhail Vyssotsky !! !" !!! $!!" !" % " ! # ! ! " !" $ ! ! ! & ! ! % ! & #$! !! ! ! ) 6 & ! ! & $ !" & ! !" # ! & ! & ! 8 (" $!" $!" mf !" '" 5 ! $ !" ! ! ! ! ! " ! !" ! !" $! ! #! ! ! " !" ) & ! ( " & $! & ! & %! ( " #! & ! ! & ! ! " !" $' %!" !" !" " '" 9 ! " ! !! !" ! $ %! $! !! ! " !" & ! ! !!" ! !" " & ! & ! ! & ! ! ! *! ( " & ! & ! ! ) " " !" !" '" '" ( " 1. 13 ! " ! ! $ ! ! !! !" ! !" ! !" ! ! #!! !! !" $!" ) & ! ! & ! & ! & $! & # %! & ! & ! " " $!" %!" '" ! ! '" !" ( 2. + ! 17 ! !" $ !" ! & ! " !" !" ! ! ! & ! !" ) & $! & %! $$ !! & ! ! & ! !&" & ! ! ( " ! ! ! ! $! $!" " ( " " '" !" !" 1. " 21 ! ! !" " ! ! ! !! ! " !" $ $!" ! ! ! ! ! ! ! ! ! ! ! ! ) & ( " & ! & ! & ! & & !" " !" !" ( !" (" '" 2. " ! 25 + ! ! ! ! " ! !! !! $ !" ! ! #!! !! ! " $!" ! ! ! ) & $! & #! & ! & ! " & ! & ! ! ! $! # ! ! " " '" !" (" '" D.C. al ! et poi la Coda " CODA " 29 #! $ !" ! # ! ! " $ ! " !! !! # & ! & # $! !! & ! !" ! & ! ! #!" #!" ) $! # % ! ! & ! ) ! #!" #!" $!" "! # # '" '" #!" #!" Copyright © 1997 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. All Rights Reserved. Transcribed by Abraham Lee using LilyPond 2.19.36 "#!# ! !" ! $ %&'(#&! ) &*&+ ' ! ,(#-#,##. /# Typeset with Music Press by Graphire Corp. Elegy Arranged for 6-string guitar by Matanya Ophee Attributed to Mikhail Vyssotsky 1. 2. 1. 2. Coda D.C al et poi la Coda Copyright © 1997 Editions Orphée, Inc., Columbus OH, 43235 International Copyright Secured, Made in U.S.A.. All Rights Reserved Elegy Arranged for 6‑string guitar by Matanya Ophee Attributed to Mikhail Vyssotsky 5 9 1. 13 2. To Coda 17 1. 21 2. 25 29 D.C. al Coda Copyright © 1997 Editions Orphée, Inc., Columbus OH, 43235 International Copyright Secured, Made in U.S.A.. All Rights Reserved Elegy ! Arranged for 6-string guitar Attributed to by Matanya Ophee Michael Vyssotsky Guitar t « t t t « « « t « ! t ! t t dt t # t !t dt ¨ t t t t « t Ä 86 d t t d !t t d #t ¨!t d t d t ! t « t « !t « t « ô t « c« | « 5 t ! t « t t t t t « t t « t t « !t t ¨t t t « t « Ä d t c« d !t d t d #t c« ¨t d t t d t t t « ! | « # t « t « øæ t « | « 9 t « t « ! #t !t t t t « t « t t t t t t « t t « d t d t t d t t d "t c« d t d t t Ä "ø t « t « t « | « | « c« 13 1. ! t « t t t t « t t « t t « t t ¨ tt t t « « d t d t d t d !t d ¨#t d t !dt t Ä t ! t « # t « ¨ t t øæ | « t « c« | « 2. 17 # « d t $ « « t t t « t « ! dt t d !t dt t « dt t t t d t t d t Ä !t #t t t d t t "ø c« t « t ! t « !t « t « c« | « 1. t « 21 « t t t « t « t t t t t « t « ! !t « t t t t t t t t t t Ä d c«« d t d t d t d d t t « c« t « c« t « 2. | « 25 # « t t t t t « t t t ! t « t t ¨tt t t « !t « t t t Ä d !t d ¨t d t d t d t d t t t « ! t « ¨ | « t t øæ « « t c | « D.C. al e poi la Coda 29 $ ± t ¨ t « ! dt « t dt ¨ !t t t « t « dt « t t ¨ t « ¨t « Ä !t ¨# t d t t d t t t t ¨ « ¨t « ! t « t « ¨ t ¨ æ | « | « ¨ t « ¨t « Copyright © 1997 Editions Orphée Inc., Columbus, OH 43235 International Copyright Secured. All Rights Reserved. Elegy Arranged for 6-string guitar by Matanya Ophee Attributed to Mikhail Vyssotsky 5 9 13 1 2 17 1 21 2 25 Coda 29 D.C. al et poi la Coda Copyright © 1997 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. All Rights Reserved. ' %*# + * ! " # # $ %# &$' ' ( ().
Recommended publications
  • A Guide for Creating Virtual Video/Audio Ensembles Written By
    A guide for creating virtual video/audio ensembles Written by Ben Sellers With contributions from Wiltshire Music Connect Associate Luke Pickett, and Lee Hextall from Lincolnshire Music Service. This document guides you through the process of creating an audio or video ‘virtual ensemble’ performance. The process takes time and may require you to learn some new skills, but it is worth it: your pupils will develop their identities as musicians, a new audience will be reached, and the profile of the department and school will be raised. Get an idea of what is possible by watching this video from Wiltshire Young Musicians, created by Matt Thorpe. To create an audio recording you will need: • Sibelius, Musescore (free) or alternative sheet music software • Audio editing software (see below) • A Google Drive or Dropbox account. To create a music video you will also need: • Video editing software (see below) • A Youtube or Vimeo account to publish the videos online • Appropriate pupil filming consent. Each of the following steps is detailed below: 1. Choose your piece of music 2. Decide if you want to create an audio recording or a music video. 3. Create an arrangement 4. Send instructions, sheet music and backing track(s) to pupils 5. Edit together the recordings 6. Publish 1. Choose your piece of music Your chosen piece should be: a. Fairly easy to play, with no tricky rhythms b. Something popular that the musicians already know c. The same tempo throughout d. Less than 4 minutes in length Page 1 of 5 2. Decide if you want to create an audio recording or a music video.
    [Show full text]
  • Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
    Fakult¨at fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakult¨at fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof.
    [Show full text]
  • Sibelius Artwork Guidelines Contents
    Sibelius Artwork Guidelines Contents Conditions of use ...........................................................................................................................3 Important information ..................................................................................................................4 Product names and logos.............................................................................................................5 Example copy..................................................................................................................................6 Endorsees ........................................................................................................................................7 Reviews............................................................................................................................................8 Awards...........................................................................................................................................11 House Style ...................................................................................................................................12 Conditions of use Who may use this material Authorized Sibelius distributors and dealers are permitted to reproduce text and graphics on this CD in order to market Sibelius products or PhotoScore, but only if these guidelines are adhered to, and all artwork is used unmodified and cleared by Sibelius Software before production of final proofs. Acknowledge trademarks Please
    [Show full text]
  • Why and How I Use Lilypond Daniel F
    Why and How I Use LilyPond Daniel F. Savarese Version 1.1 Copyright © 2018 Daniel F. Savarese1 even with an academic discount. I never got my money's Introduction worth out of it. At the time I couldn't explain exactly why, but I was never productive using it. In June of 2017, I received an email from someone using my classical guitar transcriptions inquiring about how I Years later, when I started playing piano, I upgraded to use LilyPond2 to typeset (or engrave) music. He was the latest version of Finale and suddenly found it easier dissatisfied with his existing WYSIWYG3 commercial to produce scores using the software. It had nothing to software and was looking for alternatives. He was im- do with new features in the product. After notating eight pressed with the appearance of my transcription of Lá- original piano compositions, I realized that my previous grima and wondered if I would share the source for it difficulties had to do with the idiosyncratic requirements and my other transcriptions. of guitar music that were not well-supported by the soft- ware. Nevertheless, note entry and the overall user inter- I sent the inquirer a lengthy response explaining that I'd face of Finale were tedious. I appreciated how accurate like to share the source for my transcriptions, but that it the MIDI playback could be with respect to dynamics, wouldn't be readily usable by anyone given the rather tempo changes, articulations, and so on. But I had little involved set of support files and programs I've built to need for MIDI output.
    [Show full text]
  • Soundboard No. 22
    SOUNDBOARD A Magazine for Church Musicians Number 22 !!! November 2010 Looking to the future The Committee seeks to identify and busy seasons of Advent and Two events since the end of summer respond to the needs and demands Christmas approach, we wish you all have given the Church Music of church music here in Dublin and the best with your music ministry, Committee good cause to celebrate. Glendalough, and the nature of these and look forward to a prosperous Firstly, we were delighted to will necessarily change over time. and musically fulfilling 2011 for us welcome six new students to the Just as we keep our training all! ! Archbishop's Certificate Course in schemes under review, so too are we Church Music, bringing the total aware of the need to continue to offer number of current students across relevant resources, support and the three years to fourteen. Their events. To that end, two days after arrival was marked on 9 September welcoming the students, the with Choral Evensong and a Committee met for a 'brainstorming WHAT’S IN THIS ISSUE reception at Christ Church breakfast' — the second of our Cathedral during which our 'events' — followed by a morning of The Role of Music in Liturgy chairperson, Archdeacon Ricky lively discussion (admirably led by Edgar Swann’s Living Worship talk Rountree, wished them well in their Ruth Handy). This left us in a much The Wesley Family studies and thanked them for their clearer position about the shape that David McConnell writes dedication and the hours of hard our work should take in the future.
    [Show full text]
  • Musical Notation Codes Index
    Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20.
    [Show full text]
  • Methodology and Technical Methods
    Recordare MusicXML: Methodology and Technical Methods Michael Good Recordare LLC Los Altos, California, USA [email protected] 17 November 2006 Copyright © 2006 Recordare LLC 1 Outline Personal introduction What is MusicXML? Design methodology Technical methods MusicXML use today Suitability for digital music editions Recommendations Future directions 17 November 2006 Copyright © 2006 Recordare LLC 2 My Background B.S. and M.S. in computer science from Massachusetts Institute of Technology B.S. thesis on representing scores in Music11 Trumpet on MIT Symphony Orchestra recordings available on Vox/Turnabout Opera and symphony chorus tenor; have performed for Alsop, Nagano, Ozawa Worked in software usability at SAP and DEC before founding Recordare in 2000 17 November 2006 Copyright © 2006 Recordare LLC 3 What is MusicXML? The first standard computer format for common Western music notation Covers 17th century onwards Available via a royalty-free license Supported by over 60 applications, including Finale, Sibelius, capella, and music scanners Useful for music display, performance, retrieval, and analysis applications Based on industry standard XML technology 17 November 2006 Copyright © 2006 Recordare LLC 4 The Importance of XML XML is a language for developing specialized formats like MusicXML, MathML, and ODF XML files can be read in any computer text editor Fully internationalized via Unicode The files are human readable as well as machine readable Each specialized format can use standard XML tools Allows musicians to leverage the large
    [Show full text]
  • Dorico First Steps 3.5.12
    First Steps The Steinberg Documentation Team: Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek Translation: Ability InterBusiness Solutions (AIBS), Moon Chen, Jérémie Dal Santo, Rosa Freitag, Josep Llodra Grimalt, Vadim Kupriianov, Filippo Manfredi, Roland Münchow, Boris Rogowski, Sergey Tamarovsky This document provides improved access for people who are blind or have low vision. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use. All product and company names are ™ or ® trademarks of their respective owners. For more information, please visit www.steinberg.net/trademarks. © Steinberg Media Technologies GmbH, 2021. All rights reserved. Dorico_3.5.12_en-US_2021-06-15 Table of Contents 4 Introduction 73 Playing back music 4 Tour of the user interface 73 Changing the audio output device 6 Functions of the modes 74 Applying a playback template 7 Dorico projects 75 Playing back the piece 8 Key commands 76 Changing dynamic levels in playback 79 Changing the poco rit.
    [Show full text]
  • Tantacrul Pain Points Addressed in This Document
    Note Input Bar Redesign Tantacrul Pain Points Addressed in this Document • The NOTE INPUT BUTTON requires unnecessary steps when notating, which complicates the first time experience • There are too many options at the outset • Customisation is difficult to discover • Certain icons are hard to read (mainly ‘Note input’, ’Tie’ and ‘Flip direction’) • There are some inefficiencies with adding rests Out of Scope • Shortcuts Overview A brief description of visual & layout changes Workspace: Default Customise Note input 3 1 2 Palettes Inspector Add more palettes Accidentals More Clefs More Duet no.9 Time signatures More Key signatures More Grace notes More Grace notes More Bar lines More Text This is the proposed default layout of the Note Input Bar Workspace: Default Customise Note input 3 1 2 Palettes Inspector Add more palettes Only two voices (more can be accessed More descriptive Note Input button from the ‘Customise’ button on the far left) (New icon TBD) Accidentals * This particular suggested optimisation should not be More done without seeking wider approval Clefs ‘Customise’ is a button that triggers the existing ‘Customise String Quartet no.9 Toolbars’ dialog More A new Tuplet dropdown Time signatures More Redesigned icons for ‘Tie’ and ‘Flip direction’ Key signatures More (These are not final & ‘Flip direction’ needs to be tested) Grace notes More Less cluttered rest icon Grace notes More Bar lines More Text The Note Input Button Unlike Sibelius, Finale and Dorico, MuseScore requires the user to click a Note Input button before you can actually enter notes. Where the other notation apps have the same concept, they allow the user to immediately enter this mode by clicking on a note duration.
    [Show full text]
  • App Midi to Transcription
    App Midi To Transcription soEolian parchedly? Carlyle rejectMarkus therewith unnaturalised and slubberingly, curtly. she marver her tarp jouk altruistically. Is Sim backboneless or Saxon after unplanted Simmonds composing The soundfonts or end of sibelius that these are appealing in use the smallest note after i have issues, covering two warnings says copyright says it hear about that transcription app to midi Just ask google and drop on Reflow. Software Limited, like Forte, the Reader seamlessly peeks the first few lines from the next page over the top. Sibelius first page feature that midi app pretty much with a dynamic sheet for apps together pitches make? Easily transpose to annotate, transcription app from carl turner for. Analyze to rattle the alarm music! Some values may be grayed out based on the time signatures in the song to ensure every beat contains at least one smallest note. Imported MIDI files also translated well. You so transcriptions, transcription or key or bass clef. Are not do try it means that transcription results. For midi app for abc translation mistakes in your changes appearance to prominently display on your computer, thank you very intuitive. If you write from elementary looping, while it we then arrange straight to understand how easy to prevent unwanted notes are using just downloaded and editing. Mail, Windows, and importing audio files requires a pro subscription. Music though a less of velocity daily life and to branch it more meaningful. Export xml export of its actual name, or a know about music transcription is enhanced for use of? As midi app subscription plan, modern daw or track.
    [Show full text]
  • Benutzerhandbuch
    Songbook-Edition Benutzerhandbuch SmartScore 64 by Musitek | www.musitek.com Windows Inhaltsverzeichnis Inhaltsverzeichnis 3 3 4 Benutzerhandbuch SmartScore4 64 Songbook Windows Registrierung, Kontakt & Support 5 Einführung & Tipps 6 SmartScore-Editionen & Seriennummer 6 Die richtige SmartScore-Edition installieren 6 Zu diesem Handbuch 6 Willkommen 7 Die SmartScore 64 Songbook-Edition Handbuch-Version7 1.1 (Juni 2021) Vorbereitung 8 Das Startfenster und die wichtigsten Funktionen 8 Globale Programm-Voreinstellungen 9 Den Scanner einrichten 10 Noten scannen 12 Noten richtig in den Scanner einlegen 12 Welche Noten, welche nicht 12 Den Scanvorgang starten 13 Das Scan-Interface von SmartScore 13 Mehrere Seiten scannen 14 Notenscans als TIFF-Datei speichern 15 Notenerkennung 15 Das SmartScore-Erkennungsmodul 15 Die wichtigsten Erkennungsoptionen 17 Die Erkennung starten 18 Spezial: Erkennung als Einzelstimmenpartitur 19 Erkennung von Noten im PDF-Dateiformat 20 Der Bildeditor 21 Bildbearbeitung im Bildeditor von SmartScore 21 Die wichtigsten Funktionen und Werkzeuge des Bildeditors 22 Tipps zur Bildbearbeitung 23 Der Noteneditor (TIF/ENF-Ansicht) 26 Die Darstellung von Ansichten und Seiten anpassen 27 In Dokumenten navigieren 29 Werkzeuge und Funktionen des Noteneditors 30 Die Notenbearbeitung 32 Notationssymbole auswählen 32 Notationssymbole einfügen (allgemein) 34 Notationssymbole löschen 34 Notationssymbole ändern 37 Notationssymbole positionieren und modifizieren (Zeichen bearbeiten-Modus) 38 Notationssymbole hinzufügen 39 Zeichen hinzufügen,
    [Show full text]
  • Beyond PDF – Exchange and Publish Scores with Musicxml
    Beyond PDF – Exchange and Publish Scores with MusicXML MICHAEL GOOD! DIRECTOR OF DIGITAL SHEET MUSIC! ! APRIL 12, 2013! Agenda • Introduction to MusicXML • MusicXML status and progress in the past year • Possible future directions for MusicXML • Interactive discussions throughout What is MusicXML? • The standard open format for exchanging digital sheet music between applications • Invented by Michael Good at Recordare in 2000 • Developed collaboratively by a community of hundreds of musicians and software developers over the past 13 years • Available under an open, royalty-free license that is friendly for both open-source and proprietary software • Supported by over 160 applications worldwide What’s Wrong With Using PDF? • PDF: Portable Document Format • The standard format for exchanging and distributing final form documents • High graphical fidelity • But it has no musical knowledge – No playback – No alternative layouts – Limited editing and interactivity • PDF duplicates paper – it does not take advantage of the interactive potential for digital sheet music MusicXML Is a Notation Format • Music is represented using the semantic concepts behind common Western music notation • Includes both how a score looks and how it plays back • Includes low-level details of the appearance of a particular engraving, or the nuances of a particular performance – Allows transfer of music between applications with high visual fidelity – Also allows the visual details to be ignored when appropriate – The best display for paper is often not the best for
    [Show full text]