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Sonic Scores Overture 4

User's Guide

Copyright Information
Information in this document is subject to change without notice and does not represent a commitment on
the part of Sonic Scores. The software described in this document is furnished under a license agreement
or nondisclosure agreement. The software may be used or copied only in accordance of the terms of the
agreement. It is against the law to copy this software on any medium except as specifically allowed in the
agreement. No part of this document may be reproduced or transmitted in any form or by any means, elec-
tronic or mechanical, including photocopying and recording, for any purpose without the express written
permission of Sonic Scores.

Copyright 2012 Sonic Scores. All rights reserved.

Program by Don Williams
VST Instrument Definitions by Joseph Burrell
Manual edited by Bart Wijnen, Jim Williams, and JohnD from the sonicscores.com forum.
Program Copyright 1994-2012 Sonic Scores. All rights reserved.

Sonic Scores is a registered trademark. Overture and the Sonic Scores logo are trademarks of Sonic
Scores. Other company and product names are trademarks of their respective owners.

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Part I Getting Started 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Learning Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Using the Users Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Overture Manual Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Mouse Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Tear Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Choose vs. Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
PC and Macintosh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Overture Help (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Overture Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Symbol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Numerical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Overture Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Tracks Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Graphic Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Step Input Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Overture Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Table of Contents
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File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
VST/AU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Sonic Scores Technical Support Information . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2 Working with Notes and Symbols . . . . . . . . . . . . . . . . . 13
Constructing a Tutorial Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Preparing The Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Entering Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Changing Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Changing Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Adding a Pickup Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Grouping Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Entering Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Ornaments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Adding Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
3 Creating New Staves and Setting Up Tracks . . . . . . . . 31
Adding Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Setting Up Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4 Real Time MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . 37
Setting Up MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Record Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Transcription Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Linking Staves to MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
5 Step Entry MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . 43
Setting Up Step Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
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Chord Name Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
6 Editing MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
MIDI Data Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Tap Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Editing Notes (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Editing With The Controllers Pane (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Editing Notes (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Editing With The Strip Chart (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
7 Page Layout and Printing . . . . . . . . . . . . . . . . . . . . . . . . 61
Setting Up The Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Setting Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Setting Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Pre-Made Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
Part II The Score Window . . . . . . . . . . . . . . . . . . . . . . . . . 67
8 Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Status Bar: Page View and Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Turning Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Turning to a Specific Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Turning to a Specific Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Turning to the First Page and Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Turning to the Last Page and Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Selecting a Page View Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Scrolling a Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Arranging Staves and Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Adjusting Vertical Staff Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Adjusting Horizontal Staff Placement . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Placing Systems Side by Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Creating a Default File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Selecting Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Viewing Selected Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Selection Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
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Selecting a Voice to Enter or Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Editing Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Editing Stems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Editing Beams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Editing Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Editing Other Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Adjusting Note Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Dragging Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Nudging Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Using Beat Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Changing Bar Widths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Automatic J ustify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Locked Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Cursors in the Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Part III The Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
9 Tool Bar Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Anatomy of the Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Palette Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Transcription Quantize Amount Button . . . . . . . . . . . . . . . . . . . . . . . . .118
10 Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Arrow Cursor Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Eraser Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Scale Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Scaling Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
Scaling Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Scaling Clefs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Scaling Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Hand Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Zoom Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Scrub Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
11 Notes Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Using the Notes Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
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Mouse Entry Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Entering Notes in the Clef Above or Below the Track . . . . . . . . . . . . . .130
Keyboard and Mouse Entry Method . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Grace Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Cautionary Accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Changing Existing Note Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Effect of Changing Note Values on MIDI Duration . . . . . . . . . . . . . . . .134
12 Groups Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Using the Groups Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Editing Ties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Editing Slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Editing Glissandos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Editing Tuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Complex Tuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
The Harp Pedal Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Ottava Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Editing Brackets and Braces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
13 Ornaments Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Using the Ornaments Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Ornamenting Multiple Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
Deleting Ornaments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
Using the Trill Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Inserting a Trill Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Inserting a Trill Mark with a Trill Section . . . . . . . . . . . . . . . . . . . . . . .150
Adding a Trill Section to an Existing Trill Mark . . . . . . . . . . . . . . . . . .151
Editing Trills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
Inserting an Accidental into a Trill Mark . . . . . . . . . . . . . . . . . . . . . . . .153
Setting Trill Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
About the Set Trill Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
Using the Mordent Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Setting Mordent/Turn Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157
About the Set Mordent/Turn Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .157
Using the Fingering Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
14 Articulations Button . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Articulations Palette Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
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Using the Articulations Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Articulating Multiple Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164
Editing Notes with Attached Articulations . . . . . . . . . . . . . . . . . . . . . . .164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Editing Articulation Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Deleting Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Using the Arpeggio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Using the Tremolo Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Using the Pause Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
15 Noteheads Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Using the Noteheads Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
16 Tablature Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Using the Tablature Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176
Creating Tablature - Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Creating a Tablature Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177
Creating Tablature Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
17 Guitar Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
String Bend Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Barre at Fret Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
18 Drums Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Using the Drums Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Placing on Multiple Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Deleting Drum Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Using the Drum Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Inserting a Drum Rudiment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190
Inserting a Drum Articulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
19 Jazz Articulations Button . . . . . . . . . . . . . . . . . . . . . . . 193
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
20 Dynamics Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
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Using Absolute Dynamics Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Inserting Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196
Repositioning Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Copying Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Playback of Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Using Crescendos and Decrescendos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Crescendo Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Inserting a Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Editing a Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201
Copying a Hairpin
To copy the hairpin: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
The Edit Dynamic Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
The Edit Hairpin Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204
Playback of Hairpins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
21 Text Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Using Bar Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Inserting Bar Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Repositioning, Copying, and Editing Bar Text . . . . . . . . . . . . . . . . . . . .209
Using System Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Inserting System Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211
Repositioning, Copying, and Editing System Text . . . . . . . . . . . . . . . . .211
Using Rehearsal Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Inserting Rehearsal Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212
Repositioning and Editing Rehearsal Marks . . . . . . . . . . . . . . . . . . . . . .213
Using Page Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Inserting Page Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Repositioning, Copying, and Editing Page Text . . . . . . . . . . . . . . . . . . .214
Using Lyric Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Inserting Lyric Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216
Adding Additional Lyric Verses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217
Font, Size, and Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Transparent Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217
22 Expressions Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Using the Expressions Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
The Edit Expression Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
23 Graphics Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
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Using the Graphics Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Select Font Symbol Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
24 Clefs Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Clef Insertion Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Using the Clefs Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Using the Moveable C-Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232
25 Staves Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Inserting Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Creating Big Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .237
Deleting Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Grouping Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Editing Staff Grouping Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239
Deleting Staff Groupings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241
26 Barlines Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Tool Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Using the Barlines Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245
Using Dotted Barlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246
Using Single and Double Measure Repeats . . . . . . . . . . . . . . . . . . . . . .246
Using the Close and Open Repeat Tools . . . . . . . . . . . . . . . . . . . . . . . . .247
Using the Ending Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Deleting Barlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Hiding Standard Barlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256
27 Transcription Quantize Amount Button . . . . . . . . . . . . 259
Setting a Transcription Quantize Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Using Transcription Quantization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Transcription Quantization and Auto Transcription . . . . . . . . . . . . . . . .260
Transcription Quantization and Manual Transcription . . . . . . . . . . . . . .260
Fixing Transcription Quantization Mistakes . . . . . . . . . . . . . . . . . . . . . .262
Part IV Other Overture Windows . . . . . . . . . . . . . . . . . . 265
28 Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
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Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Moving the Transport Controls from the Tool Bar . . . . . . . . . . . . . . . . .268
Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Historical Origins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
General Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Punch Recording in Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Thru Device Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Thru Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Count Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Real Time MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273
Setting Metronome and Record Options . . . . . . . . . . . . . . . . . . . . . . . . .274
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277
29 Tracks List Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Tracks Window Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
About Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280
Viewing Voice Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280
Setting the Number of Voices for a Track . . . . . . . . . . . . . . . . . . . . . . .281
Setting Stem Direction for a Track or Voice . . . . . . . . . . . . . . . . . . . . .282
Device Selection for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . .283
Setting a Channel for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . .283
Bank Selection for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . .283
Patch Selection for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . . .284
Setting Volume for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . . . . . .285
Setting Transposition for a Track or Voice . . . . . . . . . . . . . . . . . . . . . . .285
Muting a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286
Soloing a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286
Rearranging Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286
Opening the Setup Track Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . .288
30 Graphic Window (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
The Piano Roll View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Selecting and Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290
To Select Notes with the Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . .291
To Select All Notes of Certain Pitches . . . . . . . . . . . . . . . . . . . . . . . . . .291
To Edit a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292
To Change Note(s) Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293
To Move Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293
To Copy Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293
To Add a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293
To Erase a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
To Erase Several Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
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To Select and Erase Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
To Scrub the Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
Percussion, Drum Notes, and Note Names . . . . . . . . . . . . . . . . . . . . . . .294
The Controller Pane View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Using the Controllers Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
To Display Different Types of Data . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
To Insert a Controller Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
To Draw a Linear Series of Controllers . . . . . . . . . . . . . . . . . . . . . . . . .299
To Draw a Series of Controller Value Changes . . . . . . . . . . . . . . . . . . .299
To Remove or Erase Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
31 Graphic Window (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . 301
Track Select Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
The Piano Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Cursor Position Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Horizontal Cursor Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304
Vertical Cursor Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305
Quantize Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Zoom Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Zoom In Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308
Zoom Out Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309
Zoom To Fit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
MIDI Instrument Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Mute & Solo Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Common Selection and Editing Techniques . . . . . . . . . . . . . . . . . . . . . .313
Marquee Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
I-beam Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318
Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
About the Insert Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .322
The Strip Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Opening the Strip Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326
Strip Chart Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328
Controller Type Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329
Strip Chart Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .330
The Strip Chart Select Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331
The Strip Chart Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .332
Density Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334
The Variable Tool Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335
Edit Shapes Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .339
32 Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
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Chord Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Anatomy of the Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Entering Chord Names with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Entering Chord Names with the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Step Entering Chord Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Step Entering Chord Names with the Computer Keyboard . . . . . . . . . .353
Guitar Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Entering Guitar Frames with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Moving Chord Names/Guitar Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Moving Chord Names Globally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359
Moving Chord Names Individually . . . . . . . . . . . . . . . . . . . . . . . . . . . .360
33 Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Anatomy of the Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362
Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
Lyric Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
Lyric Editing Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Using the Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Adding Lyrics to a Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Editing Existing Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366
Advanced Lyric Entry Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . .367
Applying Different Fonts To Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . .370
Moving Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370
34 Step Input Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Anatomy of the Step Input Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Type Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .376
Size Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .379
Duration Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381
Velocity Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .383
Step Entering Notes and Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Step Entering Notes and Rests with the Computer Keyboard . . . . . . . .384
Step Entering Notes and Rests with a MIDI Keyboard . . . . . . . . . . . . .391
Step Entering Slashes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Step Entering Rhythmic Slashes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Step Entering Chord Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Step Entering Chord Names with a MIDI Keyboard . . . . . . . . . . . . . . .398
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Part V Menu Reference . . . . . . . . . . . . . . . . . . . . . . . . . . 403
35 File Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
New... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Open... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Opening a Score Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407
Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Closing a Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407
Closing a Support Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .408
Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Save As... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Revert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Edit Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Allotment Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .410
Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .413
Drum Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .426
Expression Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Guitar Frames Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .436
Instruments Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .439
The Instruments Library Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445
Range Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445
Transpose Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445
Rearranging Instruments in the Library . . . . . . . . . . . . . . . . . . . . . . . . .445
The Instruments Library and the Tracks Window . . . . . . . . . . . . . . . . .446
Resolving Device Conflicts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .447
Load Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .448
Importing MusicXML, Encore and MusicTime Files . . . . . . . . . . . . . . .452
Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Extract Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
About the Extract Parts Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . .454
Automatic Names for Extracted Parts . . . . . . . . . . . . . . . . . . . . . . . . . . .456
Page Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Print Preview (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
About the Print Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .459
List of Recently Opened Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Exit/Quit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
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36 Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Merge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Paste Special... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Paste and Paste Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .463
Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Find Item... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Find Next Item.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Make Invisible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Make Visible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Set Color... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Disable Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Enable Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Playback Time... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Modify Controller... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
37 Score Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Insert Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Using the Insert Page Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .470
Delete Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Layout Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
About the Layout Page Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . .471
Page Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
About the Page Dimensions Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .473
Increase Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Decrease Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Hide/Show Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
About the Hide/Show Staves Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .485
Using the Hide/Show Staves Command . . . . . . . . . . . . . . . . . . . . . . . . .486
Insert Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Using the Insert Track Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .488
Delete Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Setup Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
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Track Name Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .491
Instrument Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .492
Staff Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .500
Action Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .502
Using the Setup Track Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .502
GM Equivalent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Updating Old Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Setting Attributes for all Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Respace Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Respace Staves Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Recalc Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Redraw Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Allotment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Changing the Allotment Table Dialog Box . . . . . . . . . . . . . . . . . . . . . .514
Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
About the Articulation Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .516
Engraver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Font Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Placing Mapped Font Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521
Clearing Replacement Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521
Saving Font Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521
Loading Font Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
The Title Page Text Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
38 Measures Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Using the Insert Measure Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . .528
Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Using the Delete Measure Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .529
Increase Measures on System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Decrease Measures on System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
Split System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Set Key Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
About the Set Key Signature Dialog Box . . . . . . . . . . . . . . . . . . . . . . . .535
Using the Set Key Signature Command . . . . . . . . . . . . . . . . . . . . . . . . .540
Set Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
About the Set Time Signature Dialog Box . . . . . . . . . . . . . . . . . . . . . . .541
Using the Set Time Signature Command . . . . . . . . . . . . . . . . . . . . . . . .549
Set Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
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About the Set Tempo Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .550
Using the Set Tempo Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555
Editing Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555
Set Codas, Segnos, etc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
About the Set Codas, Segnos, etc. Dialog Box . . . . . . . . . . . . . . . . . . . .556
Set Measure Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
About the Set Measure Numbers Dialog Box . . . . . . . . . . . . . . . . . . . . .560
Using the Set Measure Numbers Command . . . . . . . . . . . . . . . . . . . . . .563
Rebar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Multi Measure Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Using the Multi-Measure Rest Command . . . . . . . . . . . . . . . . . . . . . . .566
Fill in Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Justify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
39 Notes Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
About the Transpose Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .572
Using the Transpose Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .574
Modify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
About the Modify Notes Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . .575
Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .578
Humanize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Using the Humanize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .579
Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
About the Quantize Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .580
Using the Quantize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .581
Redo Pitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Add Interval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Beams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .582
Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .582
Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .583
Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Based on Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584
Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584
Break in Middle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584
Hide Tuplet Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584
Tremolo Beams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .584
Beaming Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .585
Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
Tie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .588
Slur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .589
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Ottava . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .590
Tuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .591
Glissando ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
Glissando - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
The Edit Glissando Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .593
Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Enharmonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Sharps to Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Flats to Sharps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Stem Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Step Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Hide Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Show Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Set Stem Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .596
Display on Prev Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Display on Next Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Move to Prev Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Move to Next Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Notate Notes As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Notate Notes as Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .600
Notate Notes As Reduced Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .601
Notate Notes as Swing Eighths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .602
Notate Notes as Trill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .603
Notate Notes as Triplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .604
Notate Notes as Turn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .604
Notate Notes as Cue Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .605
Notate Notes as Grace Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .605
Notes/Notate Notes as/Single Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . .606
Notes/Notate Notes as/Two Tied Notes . . . . . . . . . . . . . . . . . . . . . . . . .606
Transcribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Notes to Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Notes to Tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
The Tablature Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .610
Editing the Tablature Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .611
Set Guitar Frame Capo... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Set to Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Set Playback Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
40 Options Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
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Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Beat Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .616
Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Margin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Symbols in Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Invisibles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Incorrect Rhythms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Range Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Tracks Transposed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .618
Tracks Voice Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619
Filled Measure Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619
System Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619
Chord Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .620
Lyric Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .621
Slash Note Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .622
Dynamic Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .622
Time Code Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .623
Auto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624
Correct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624
J ustify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624
Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625
Transcribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625
Wrap Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625
Keyboard Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
What is Keyboard Thru and Why is it Useful? . . . . . . . . . . . . . . . . . . . .626
The Solution: Keyboard Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .627
Hold Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Click in Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Click in Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Click in Count Off Only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Metronome Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Play Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
As Recorded . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633
In Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633
As Written . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633
Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .634
Record Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
About the Record Options Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .634
Using the Record Options Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .635
MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
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Instruments (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
General Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .641
Engraver Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .644
Layout Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .644
Element Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .646
Line Thickness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .646
Fonts Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .647
Libraries Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .649
Playback Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .651
Dynamics Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .652
Colors Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .653
Save Window Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
41 VST Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Audio Preferences... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Instrument Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
Record to File... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Set Folder... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
42 Windows Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659
Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659
Main Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660
Standard Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660
Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660
Status Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661
Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661
Window/Cascade (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662
Window/Tile Horizontally (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Window/Tile Vertically (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Window/Arrange Icons (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Open Score Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
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Part VI MIDI Facilities . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
43 Instrument Assignments and Definitions (PC) . . . . . . . 667
Assigning Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
To Assign Instruments to MIDI Ports and Channels . . . . . . . . . . . . . . .668
To Clear Instrument Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .668
Importing Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
To Import Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . .669
Creating Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
To Create a New Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .671
To Rename an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
To Delete an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
To Save an Instrument Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
Creating Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
To Manage Name Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
Copying Name Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .673
Assigning the Bank Select Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
To Change the Bank Select Method . . . . . . . . . . . . . . . . . . . . . . . . . . . .674
Assigning Patch Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .675
To See the Assignment of Patch Name Lists to Banks . . . . . . . . . . . . . .675
To Add a Bank or Change the Patch Names for a Bank . . . . . . . . . . . . .675
To Remove a Bank or Patch Name List . . . . . . . . . . . . . . . . . . . . . . . .676
To Set or Clear the Drum Flag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .676
Assigning Note Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .676
To See the Assignment of Note Name Lists to Patches . . . . . . . . . . . . .677
To Change the Note Names for a Patch . . . . . . . . . . . . . . . . . . . . . . . .677
To Remove a Note Name List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .677
To Set or Clear the Drum Flag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678
Assigning Controller Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678
To See the Controller Name List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678
To Change the Controller Name List . . . . . . . . . . . . . . . . . . . . . . . . . . .678
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
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Part I
Getting Started
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Introduction
Lear ni ng Over t ur e
Sonic Scores provides a manual and a Quick Reference Card with Overture:
Sonic Scores Overture 4 Users Guidecontains a series of step-by-step tutorials designed to
introduce you to some basic Overture features, plus detailed information about every window and
menu item in Overture.
Sonic Scores Overture 4 Quick Reference Cardcontains a quick reference for toolbar functions,
support windows, keyboard shortcuts, the tool palettes, and menus.
Overture is a very intuitive program but its power, flexibility and sophistication may seem slightly
daunting if you try to learn it without reading the manuals. Sonic Scores recommends that you work
through the tutorials before using the rest of the Users Guide.
Usi ng t he User s Gui de
For a thorough working knowledge of Overture, you can read this manual straight through after
completing the tutorials. If your notation needs arent fully encompassing, read only those sections in the
manual that interest you.
The Users Guide is broken into six parts:
Part One: Getting Started. This part introduces fundamental concepts and presents tutorials for
getting you up and running quickly.
Part Two: The Score Window. This part discusses Overtures Score window and how to use it.
Part Three: The Tool Bar. This part discusses Overtures Tool Bar and all its various tools and
palettes.
Part Four: Other Overture Windows. This part discusses each of Overtures remaining windows.
Part Five: Menu Reference. This part discusses each Overture menu item.
1
4 Part I: Getting Started
Part Six: MIDI Facilities. This part discusses the use of MIDI instruments with Overture.
Not e:
Individual notation needs are as varied as individuals. For this reason, its impossible for this manual to
cover every possible notation technique in detail. Overture is a very powerful programgenerally it
allows most any symbol to be selected, moved or modified. If you dont see a specific notation detail
covered in this manual, simply use the general techniques outlined within it and try it for yourself.
Over t ur e Manual Convent i ons
This manual uses a number of conventions. Some make it easier to discuss and understand certain on-
screen actions. Others make it possible to distinguish between instructions for the Macintosh and
instructions for the PC.
Mouse Ac t i ons
This manual uses the following terms to describe various mouse actions:
Click. When this manual instructs you to click, position the mouse where youre told and press once
on the mouse button, then immediately release it.
Double-click. When this manual instructs you to double-click, position the mouse where youre told
and rapidly press and release the mouse button twice.
Press and hold. When the manual instructs you to press and hold, position the mouse where youre
told, press the mouse button and hold it down.
Release. When a manual instructs you to release, let up on the mouse button (which you were
probably holding down because of an earlier press and hold instruction).
Drag. When this manual instructs you to drag, position the mouse where youre told, then press the
mouse button and hold it down as you move the mouse.
Move. When this manual instructs you to move the mouse, simply move it to another location on the
screen without pressing its button.
Tear Of f
This manual uses the term tear off to describe the action of making a button palette into a floating palette.
Press and hold on a toolbar button to display its palette. Drag beyond the edges of the palette to tear it off
of its place in the toolbar and make it a floating palette. See the descriptions of the toolbar buttons for
further information on the palette.
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Choose vs. Sel ec t
The words choose and select are often interchangeable in conversational English. In this manual,
however, there is a distinct difference between the two terms.
Select. When this manual tells you to select something, it stays selected. This is the case with most
Overture tools and with some menu options.
Choose. When this manual tells you to choose something, you perform a one-time action. This is the
case with most menu commands, you choose a command, and it performs its chosen action only
once.
Menu Commands
This manual uses a form of verbal shorthand to describe the choosing of menu items. For instance, this
manual might say:
Choose Notes>Group>Slur
What this means in plain English is choose the Slur command from the Notes menus Group
submenu. This is easier to read and decipher than a complete sentence because it displays the menus
hierarchical structure plainly and simply.
PC and Mac i nt osh
Since this book covers both the PC and Macintosh versions of Overture, and the versions are slightly
different, weve done the following to make it easy for you to find the material you need. Most of it is
common to both platforms, so it looks like this.
We distinguish different keystrokes by displaying them slightly shaded and enclosed in brackets. Fo
example: Control[Command]. PC users will press the control key and MAC users the command key.
When a section or chapter is relevant for only one platform, its title says (Mac) or (PC) as well.
Where the functionality and discussion are close to identical, we provide a mix of Mac and PC pictures.
Where one is a superset of the other, pictures show the more encompassing. Where they differ
substantially, we provide pictures of both.
6 Part I: Getting Started
Over t ur e Hel p (PC)
You have several ways to see on-line Help about a particular topic:
The Help key. Press F1 to get context-sensitive help:
about a command when a command is highlighted
about a dialog box and its parts when a dialog box is active
about a window when a window is active
The Help button. Click the help button in any dialog box to get help about that dialog box.
The Help menu. Choose Help>Contents to see the entire on-line help system. You can navigate it by
contents, by topic, and by index.
Over t ur e Ter ms
Overture uses terms common to both standard musical notation and MIDI sequencing. Overture requires
this mix of terminology because of its immense power to both notate and play a musical score. You must
know these terms before proceeding with the remaining chapters in this manual.
Symbol
This term is applied loosely to any note, rest, beam, tie, ornament, etc. included in a musical score.
St af f
A staff is a set of horizontal lines on which symbols are placed to represent music.
Most musical instruments require only a single staff to notate their lines, like this violin solo.
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Harps and most keyboard instruments (such as piano or harpsichord) use two staves (called a grand staff).
Organs often use three staves (adding the third for the bass pedals).
Tr ac k
A track is very closely related to a staff. Staves notate the MIDI data contained in tracks. Overture notates
each track on a single staff, so any instruments that require multiple staves also require multiple tracks.
Voi c e
A voice is a single rhythmic line within a track. Some tracks require more than one voice to notate and
playback correctly. Specifically:
If you notate more than one instrument per staff, youll need to use multiple voices to distinguish
between the multiple instruments.
If you notate a polyphonic instrument (such as a piano) that plays different rhythmic lines
simultaneously, youll need to use multiple voices to distinguish between the multiple rhythmic
lines.
If you score an instrument such that it plays only a single melodic line, youll need to assign only one
voice to the staff.
Single Voice

8 Part I: Getting Started
If you assign two or more instruments to a single staff (or notate a polyphonic instrument playing
different rhythmic lines), youll need to assign different voices to each instrument or rhythmic line.
Voice 1
Voice 2
Overture allows you to assign up to eight voices to a single trackthis supports even the most
complicated rhythmic intricacies.
Syst em
A system is a group of staves, each of which is played at the same time as all the other staves in the
system. All staves in a system are joined by a single vertical line connecting their left sides.
Tool
Tools allow you to perform very specific Overture functions. Different tools allow you to insert notes and
other symbols, to group various notes, to add staves, alter noteheads, create lyrics, and to perform many
other useful tasks. You use Overtures tool bar to access individual tools.
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Pal et t e
Palettes contain groups of related tools. For instance, the Dynamics palette contains all the individual
dynamics tools (such as the Pianissimo Tool, Mezzo-Forte Tool, Forte Tools, etc.).
Numer i c al
Numericals are variables that you can edit on the screen. Numericals usually contain numeric data.
Numericals
There are a couple ways to edit the value of a numerical:
Use the mouse as a slider

To change a numerical in this way, press and hold the mouse button over the numerical, then drag
the mouse in a vertical direction. Pushing the mouse up increases values and pulling the mouse
down decreases values
Type to set values

Click the numerical, then type the desired value. The numerical changes to reflect the new value.
You will not be allowed to enter invalid values.
Over t ur e Wi ndow s
Overture groups related functions together and places them in separate windows. The following sections
present a brief overview of each Overture window.
Sc or e Wi ndow
The Score window displays a traditional music score complete with notes, symbols, lyrics, staves,
systems, and anything else you want in your printed musical score. Use the Score window to enter, view
and modify your musical score. We describe the Score window in Part II, The Score Window.
10 Part I: Getting Started
Tool Bar
The Tool Bar contains buttons that open all of Overtures Tool palettes. Use the Tool Bar to select tools
for entering and modifying music in the Score window. The Tool Bar is discussed in Part III, The Tool
Bar.
Tr anspor t Wi ndow
The Transport window contains buttons to control MIDI recording and playback, and a pop-up menu to
select the MIDI Thru Instrument.
Tr ac k s Wi ndow
The Tracks window defines the characteristics of all the tracks in your Overture score. Use the Tracks
window to
name tracks
enable tracks
assign MIDI playback devices, programs, channels and transpositions
specify the number of voices in a track
determine default voice stem directions in a track
Gr aphi c Wi ndow
The Graphic window graphically displays the MIDI data in a selected track using a piano roll and strip
chart display. Use the Graphic window to edit any MIDI data in any track. Overture applies any changes
you make in the Graphic window to the Score window and vice versa.
Chor ds Wi ndow
The Chords window contains a list of possible chord suffixes (as specified by the user in the Chord
Symbol library) as well as root and bass names. Use the Chords window to insert chord names into your
score.
Lyr i c s Wi ndow
The Lyrics window is like a miniature word processor that you use to enter and edit lyrics. Use the Lyrics
window to type or modify lyrics and assign them to specific notes in the score.
St ep I nput Wi ndow
Use the Step Input window to enter a score by recording music one step at a time. You can enter notes,
chord names, or rhythmic slashes in the Step Input window.
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The Step Input window is particularly convenient if your playing technique is limited, or if you want to
enter lead sheet chords and guitar rhythms quickly.
Over t ur e Menus
Overture has numerous menus under which it groups related commands and options. The following
sections present a brief overview of Overtures different menus.
Fi l e
Use the File menu commands to save, create, open, export, and print the various scores you create with
Overture.
Edi t
Use the Edit menu commands to cut/copy/paste symbols, lyrics, MIDI data, or other elements of an
Overture score. Edit commands use a Clipboard concept common to most Macintosh and Windows
programs. Overture uses both an internal Clipboard and the Macintosh or Windows Clipboard depending
on the type of data.
Sc or e
Use the Score menu commands to perform score-related tasks like staff location and appearance, system
groupings, and page setup.
Measur es
Use the Measures menu commands to perform measure-related tasks like inserting and deleting
measures, wrapping measures, setting key, meter and tempo, and justifying symbols in a measure.
Not es
Use the Notes menu commands to perform many common Overture tasks like modifying notes,
transposing, beaming, grouping, and converting between traditional notation and raw MIDI data.
Opt i ons
Use the Options menu to set numerous Overture operating, editing, and display options like auto
beaming and positioning, metronome values, and recording choices.
VST (Wi n32)
Use the VST menu commands to open the VST rack and setup the Audio Engine. You must be running
Windows 2000 or XP to use VST instruments.
Wi ndow s
Use the Windows menu commands to open (or make active) any Overture window.
12 Part I: Getting Started
Hel p
Use the Help menu to see help available for Overture.
Soni c Sc or es Tec hni c al Suppor t I nf or mat i on
If you need more information:
Check the Forum and Support page of our World Wide Web site (www.sonicscores.com) for updated
technical information and answers to frequently asked questions.
Post messages to the Overture user community using one of the Sonic Scores forum. For more
information about the forum, visit www.sonicscores.com.
You can also get technical support directly from Sonic Scores. In order to get technical support, you must
register your product on our website. You can get technical support for this product in the following ways:
E-mail your questions to support@sonicscores.com. Be sure to include your serial number in your e-
mail.
Call Sonic Scores Technical Support at (843) 637-4477 on weekdays, 11:00AM to 4:00PM, Eastern
time. Be sure you have registered at www.sonicscores.com and to have your serial number ready
when you call.
Technical support hours, policies, and procedures are subject to change at any time. Check our web site
for the latest support information.
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Working with Notes and
Symbols
In this chapter, you will begin constructing a score for Amazing Grace using some of the note and
symbol tools available in Overture.
Tool Bar
Score
Window
Page View
Controls
2
14 Part I: Getting Started
Const r uc t i ng a Tut or i al Sc or e
1. Launch Overture and choose File>New if the New Score dialog does not appear
automatically.
Overture opens the New Score dialog box.
2. Click on the Single Staff radio button to choose Treble Clef Staff.
Do not choose any other option. You will set these manually in the tutorial.
3. Click on the OK button.
Overture creates a score with a single staff (track).
Use this newly created score for this tutorial.
Pr epar i ng The Sc or e
The first step in constructing the score is setting the key and time signature.
1. Choose the Arrow Cursor tool from the Tool Bar.
2. Click somewhere in the first measure, so that the insertion point is positioned within
that measure.
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3. Choose Measures>Set Key Signature.
The Set Key Signature dialog box opens.
Click here twice to move
the key to D major
4. Click the up arrow twice to move the key up to D Major, then click the OK button.
16 Part I: Getting Started
Since this piece is in 3/4 time, and Overture defaults to 4/4 time, you need to change the time signature.
1. Choose Measures>Set Time Signature.
The Set Time Signature dialog box opens.
2. Click the 3/4 button at the top of the window.
This tells Overture that the score is in 3/4 time.
3. Click OK.
Your score looks like this:
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Ent er i ng Not es
Now youre ready to add some notes. Before each note is added, you have to select a duration for it.
There are three ways to select the note duration:
Press and hold the note palettes icon in the Tool Bar, choose a note from the pop-up menu, and
release the mouse button. The note palette vanishes.
Tear off the Notes palette by clicking and dragging it intol the score area, then choose a note value
from the palette by clicking the appropriate tool.
18 Part I: Getting Started
Enter the note duration from the keyboard. This chart shows the relationship between keys and note
durations:
Key Func t i on
0 Set value to double whole note/rest
1 Set value to whole note/rest
2 Set value to half note/rest
4 Set value to quarter note/rest
8 Set value to eighth note/rest
6 Set value to sixteenth note/rest
5 Set value to thirty-second note/rest
3 Turn triplets on or off
. Turn the dot on or off
R Change to a rest of the selected size
Here is the melody that you will write on the score:
1. Since the first note in the melody is a half note, type the number 2. The cursor
becomes a half note.
If the Notes palette is on the screen, the half note icon highlights. The note icon in
the tool bar also changes to a half note.
Note icon
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Now its time to add the notes.
1. Position the note cursor in the first measure, on D, then click.
Position note cursor on D
A D appears in the score, and immediately moves to the left end of the measure. (If
it doesnt move, make sure that the Options>Auto Justify menu item is checked.)
Also, if Options>Auto>Rests is checked, a quarter note rest will be added to fill
the measure.
2. Type 8 to set the duration to eighth notes.
3. Position the cursor on the F space over the quarter note rest position and click.
This inserts an F#, since you are in the key of D.
Notice how Overture automatically adds the eighth note rest if
Options>Auto>Rests is checked.
4. Position the cursor on the D line, over the eighth note rest position of the F# you
just inserted, and click.
Notice how Overture automatically draws a beam connecting the F# and D.
Repeat the steps of selecting the duration and placing notes on the score until your window looks like the
melody on page 18.
2. Make sure that the Options>Auto>Justify and Options>Auto>Rests menu items
are checked. This ensures that each added note automatically moves to the proper
place within the measure and rests are automatically added as you enter notes.Also
make sure that the Advance Cursor When Entering Notes item is check in the
Preferences dialog. This automatically positions the cursor to the next note position.
20 Part I: Getting Started
Edi t i ng Not es
Overture has many tools for adjusting score elements. In many instances, it is not necessary to specially
select them; you can just move the pointer over the element and the pointer will change shape to let you
know that you can now edit the element.
Changi ng Pi t c h
To change the pitch of a note, move the pointer over it so that it becomes a Drag Cursor, then click.
The note head becomes red, indicating that it is selected for editing.
You can drag the note up and down to change its pitch, or press the up or down arrow keys.
1. Change a G to an A by dragging it up one step.
Changi ng Dur at i on
The eighth note in the last measure should actually be a half note. Heres how to fix it:
1. Position the pointer over the erroneous note (so that it becomes a Drag Cursor) and
click.
The note head becomes red, indicating that it is selected:
2. Now change the duration by typing the number 2 (for half note).
The note instantly becomes a half note. You may have to adjust any remaing rests.

Ti p:
Although this example shows only the effect of editing single notes, Overture lets you select multiple
notes and edit them simultaneously. You can select multiple notes by shift-clicking, them or by dragging
a rectangle around them. Any edit operations affects all selected notes.
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Addi ng a Pi c k up Measur e
If you know the song Amazing Grace, you may have noticed that the initial pickup beat is missing from
the score. This section shows you how to add new measures and change their lengths.
1. Choose the Arrow Cursor tool from the Tool Bar.
2. Click in the first measure, making it the active measure.
3. Choose Measures>Insert.
The Insert Measure dialog box opens:
4. In this case, the default values (1 measure before current measure) are correct, so
simply click OK.
A blank measure is inserted before the first measure.
Now that you added the measure, you must tell Overture that it is a pickup measure.
1. Click in the first measure to make it the active measure.
22 Part I: Getting Started
Now, add the pickup note. Using what you learned in previous sections, place a quarter-note A in the
measure.
The score doesnt look quite right, because the newly-added measure has space for many notes, yet there
is only one note in it. To fix this, you need to move the barline to the left, reducing the space used by the
measure. Heres how:
2. Choose Measures>Set Time Signature.
Click here to indicate
that the currently
active measure is a
pickup measure.
3. Click the Is Pickup check box.
4. Click OK.
1. Make sure that the Arrow Cursor tool is selected.
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Notice that the spacing of the other measures on the staff are now too wide.
You can probably fit another measure on the first line, so...
1. Click in the first measure to make it the active measure.
2. Choose Measures>Increase Measures on System.
Overture wraps measures to the left, stealing the first measure of the second line
and making it the last measure of the first line.
Notice that there are
now four measures
on the top line
2. Choose Options>Show>Handles.
Youll notice small boxes appearing to the left of the staff and on top of the barlines.
These are called handles.
Handles
3. To move the barline, position the pointer over the barline handle and drag it to the
left.
Adjust it so that it looks good to you.
This barline has been
dragged to the left
4. Choose Options>Show>Handles again to uncheck the option and hide the handles
in the score.
24 Part I: Getting Started
Gr oupi ng Not es
Now you are going to add a slur to the eighth notes in the second measure. Heres how:
1. Select the slur tool from the Groups palette.
2. Drag a rectangle around the notes that you want to group.
When you release the mouse button, a slur appears, joining the selected notes.
You can alter the shape of the slur by dragging either the slur or its handles. If you
like, try dragging the different handles now to see their effects on the slur.
Ent er i ng Symbol s
Overture has palettes of ornaments, articulations, noteheads, tablature, dynamics, text and clefs,
collectively known as symbols. This section introduces you to the basics of placing and moving symbols
on the score.
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Dynami c s
In this section, you will add dynamic markings to the score. The first marking is a mezzo-piano symbol at
the start of the piece.
1. Choose the mezzo-piano tool from the Dynamics palette.
You can pull the palette down temporarily from the Tool Bar, or you can tear off
the palette for repeated uses.
2. Position the pointer under the first note of the score and click.
A mezzo-piano symbol appears where you click. If you didnt place it in the proper
position, move the pointer over the symbol so that it becomes a drag cursor, and
drag the symbol to the right place.
Some dynamics symbols, like the crescendo hairpin, are resizable. To see how this works, add a
crescendo and diminuendo to the score.
1. Choose the crescendo hairpin from the Dynamics palette.
26 Part I: Getting Started
Now add a diminuendo in the third measure, using what you learned above. Drag from right to left, using
the same open hairpin symbol. When you are done, your score should look like this
Drag to left to create a diminuendo
Or nament s
You add ornaments to the score in the same way you add dynamics, except that you can attach ornaments
to specific notes. To do so click the note or select a group of notes to ornament. Try adding a fingering
mark to the score.
2. Position the pointer at the start of the second measure, press and hold the mouse
button, and drag to the right.
As you move the mouse, you should see the crescendo symbol appear and grow.
Drag to right to create a crescendo
1. Choose the Finger 5 tool from the Ornaments palette.
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You dont have to place ornaments one at a time: you can add the same ornament to many notes at once
by dragging over them when the ornament tool is selected.
You can drag an attached ornament wherever you please, but it remains attached to the original note for
playback purposes.
Addi ng Voi c es
Now its time to add a second voice to the score. For an explanation of voices, see Voice on page 7.
2. Position the pointer directly on the F# in measure two and click.
The fingering ornament appears.
Position the pointer here...
...and click...
The fingering symbol appears.
1. Set the note duration to dotted half notes using the note palette.
Click the half note icon, then the augmentation dot icon to add the dot to the half
note.
Half note Augmentation dot
28 Part I: Getting Started
2. Select Voice 2 from the voice pop-up menu.
The voice pop-up menu is at the bottom of the score window.
Notice when you select Voice 2 that the notes belonging to Voice 1 dim:
Dimmed
notes
indicate
non-active
voice
3. Position the cursor at the beginning of the second measure and click F to add an F#.
Dont worry about the stemsthey will automatically be adjusted to the appropriate
direction as you enter in a second voice.
New note
inserted in
Voice 2
4. Add more notes, one per measure: another F#, then a G, then another final F#.
Your display looks like this:
New notes
entered in
Voice 2
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5. Theres just one final bit of clean-up to do to complete this section: the fingering mark in measure
two may need to be moved.
Using the Arrow Cursor, drag the fingering to the desired location in the score.Your
score should look like this when youre finished:
30 Part I: Getting Started
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Creating New Staves
and Setting Up Tracks
This chapter teaches you how to create new staves, assign instrument names and set up some features of
tracks.
Addi ng St aves
At the end of the last chapter, the score consisted of two voices in the treble clef. The next task is to add
some left-hand accompaniment.
1. To create the bass clef use the Score>Insert Track menu command.
3
32 Part I: Getting Started
Now add a brace so the staves appear as conventional left-hand/right-hand piano notation (known as a
grand staff.)
1. Select the Group With Brace tool from the Staves palette.
2. Drag a box that spans the two staves.
When you release the button, the brace appears.
2. Click on the popup-menu next to the Single Staff option and choose Bass Clef
Staff. Click on the After current track option and then click on OK. The bass clef
track appears in the proper position.
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All that remains is to add a barline through the system.
1. Select the Cross-Staff Barlines tool from the Staves palette.
2. Drag a box around both staves.
A barline appears, connecting the two staves.
Barline
Staves that are played together are known as Systems. Overture has many features that can affect all the
staves or measures in a system at once. See Chapter 8 of the Users Guide for full details.
34 Part I: Getting Started
Set t i ng Up St aves
In this section, you will tell Overture that the staves are piano parts.
1. Click anywhere in the top staff to make it the active one.
2. Choose Score>Setup Track.
The Setup Track dialog box opens:

Shor t c ut :
Double-clicking a staffs selector handle or the main clef in the first measure also opens this dialog box.

3. In the Instrument box is a pop-up menu, Instrument Name. This menu contains a list
of common instruments. Use it to choose Piano for the current track.
Notice that the name boxes fill in automatically.
4. Check the Show Main box.
This causes the instrument name to be displayed to the left of the staff.
5. Click OK.
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Using the Setup Track dialog box, you can change many properties of each track including
which lines of the staff are displayed
which elements of the staff are displayed
scale of entire staff
transposition if different from concert key
36 Part I: Getting Started
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Real Time MIDI
Recording
Chapters 4 through 6 discuss Overtures MIDI functions. If you arent using a MIDI device with
Overture, feel free to skip ahead to Chapter 7.
Set t i ng Up MI DI
Before you can start recording via MIDI, you must have a MIDI interface connected to your computer
and a MIDI keyboard connected to the interface. [You must also enter the layout of your studio into the
Audio MIDI Setup application if you are running under OS X].
A detailed explanation of these procedures is beyond the scope of this tutorial, so if you havent yet
defined a Studio Setup document, you should read the manuals that came with your MIDI keyboard(s)
and interface(s).
You wont be able to proceed with this tutorial until you have done this.
Rec or di ng MI DI
There are a few program options to set up before you can start recording. This section discusses these
options.
4
38 Part I: Getting Started
Met r onome
Before you start playing, youll probably want to have some sort of metronome to guide your playing.
1. To configure the metronome sound, choose Options>Metronome>Metronome
Sound.
You can set the device, note, velocity and duration for accented and unaccented
metronome strikes. If you have a sound module in your MIDI studio with drum kits
or percussive sounds, youll probably want to use that.
2. Change the Note number until you hear a sound you like.
Each change causes the new note to be played on the instrument, so you can hear
how each note sounds as you scroll through the list of values.
3. Click the Test button.
This plays one measures worth of metronome sound, so you can hear what the
metronome will sound like when youre actually recording. What you hear has
nothing to do with the meter or tempo of your score.
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Rec or d Opt i ons
Choose Options>Record Options. This opens the Record Options dialog box, where you tell Overture
what sort of data to record and how to display it once it has been recorded.
Make sure theAuto Transcribe checkbox is selected.
Click OK to dismiss this dialog box.
Tr ansc r i pt i on Quant i ze
When you enter data from a MIDI keyboard, Overture records it with a high degree of rhythmic
sensitivity. Many times you dont want such an accurate transcription of what you play. For example,
perhaps youre only interested in entering quarter notes. If you dont play with computer-precision, you
could wind up with something like this:
40 Part I: Getting Started
To solve this problem, you can tell Overture to round up anything smaller than a quarter note. You set
this with the Transcription Quantize Amount button. At this time, choose quarter note resolution.
Now Overture transcribes whatever you play in as quarter notes or longer.
Li nk i ng St aves t o MI DI Devi c es
In order to have Overture play notes on the proper devices, you need to tell Overture where you want the
data sent.
1. Click anywhere in the treble clef, so that it becomes the currently active staff.
2. Choose Windows>Tracks.
Each line in this window represents a staff in the score. If you have a multi-timbral
synthesizer (one that plays more than one note at a time), you can play each staff
over a different synthesizer sound, if you like. For simplicitys sake, assign both
staves to the same sound.
3. Click in the Device column. A pop-up menu appears listing all of the currently
available instruments.
Pick a device and MIDI channel appropriate for your setup.
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Rec or di ng
Look at the left hand part for Amazing Grace:
You are going to play this into Overture from a MIDI keyboard. While you are playing the new part, you
will hear the metronome and the already-entered right-hand part.
4. Click in the Device column for the second line, and pick the same MIDI device and
channel.
Overture is now configured to play back the right and left hand parts on the
synthesizer channel that you selected.
1. Open the Transport window by choosing Windows>Transport.
Rewind
Button
Play from
Beginning
Button
Stop
Button
Play
Button
Record
Button
Thru Device
42 Part I: Getting Started
Notice that as soon as you stop, the score window draws in the newly entered data. Your score should
look like the one on page 41. If you made mistakes, you might want to try cleaning them up using the
editing techniques introduced earlier in this manual.
To hear what you played, click the Play button or press the spacebar. Overture plays back your notes and
continues playing the silent parts afterwards, so click the Stop button or press the Return key to stop
playing.
Remember to use transcription quantize; regardless of how the performance sounds (within reason), it
should be notated correctly.
2. Using the Thru device pop-up menu, select the same MIDI Instrument that you
selected in the previous section.
This sets all notes played on the controller keyboard to echo on the Thru device.
3. Click in the first measure of the bass staff.
Recording begins at the insertion points location.
4. Click the record button to begin.
There is a one-measure count in during which the metronome plays but no MIDI
data is recorded.
5. Play the part!
6. When youve played it, press the return key to stop recording, or click the stop
button.
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Step Entry MIDI
Recording
This chapter introduces you to Overtures step entry features. It assumes you have set up your MIDI
devices and interfaces properly.
Set t i ng Up St ep Rec or d
To open the Step Input window, choose Windows>Step Input.
Type area
Size area
Duration
area
Velocity
area
Note Size
pop-up menu
5
44 Part I: Getting Started
In this exercise, you use the Step Entry window to add more notes to the left hand part.
1. Position the insertion point at the beginning of the first full measure of the bass
clef.
When you step enter data, it starts at the insertion point.
2. Select the dotted half note symbol from the Note Size pop-up menu.
The counter advances this much time after you enter each note.
3. Select Percent from the Duration pop-up menu.
Notice that the default percentage is 90%. This tells Overture that step-entered
notes have a playback duration equal to 90% of a dotted half-note. Playback
duration does not affect the way the score is notated; it only affects what you
hear when you tell Overture to play the data over MIDI devices.
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Notice that it doesnt matter how long you pause between notes, how long you hold them down or how
hard you play them. Each note is transcribed as exactly one dotted half note into the score.
Note that unlike real-time record, which erases everything in the track (overwriting it with what you play)
step entry adds its data to the track. That is, if you put the insertion point where there is already some
information and step-enter some notes, they are merged with the existing data.
4. Play the low notes of the left hand part as shown here:
46 Part I: Getting Started
Chor d Name Ent r y
You can step enter chords and have Overture automatically identify them and place their names in the
proper place above the staff.
1. Choose the Chord Entry icon with the Input Select button.
Input Select button
Chord Entry icon
The duration and velocity sections of the Step Entry window disappear.
2. Using the note size pop-up menu, set the duration to dotted half note, if it isnt
already.
You can do this by clicking the note size icon and typing a 2 followed by a period
(dot).
3. Click the mouse at the start of the first full measure of the treble staff.
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Using the techniques discussed above, add some more chords.
Not e About I nver si ons:
Chords are identified from the lowest note played on the keyboard, so Overture may not properly
identify an inversion if the chord root isnt the lowest note played.
4. Play a D Major chord (D-F#-A) on your MIDI keyboard.
Overture identifies the chord and places its name above the staff.
5. Press the right-arrow key to skip the next measure.
Notice that the counter in the Step Entry window advances by the currently
selected note duration in this case, one bar.
48 Part I: Getting Started
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Editing MIDI Data
There are two facets to every Overture score: what you see and what you hear. So far weve been
primarily concerned with making a score look good. This chapter is a small detour to the MIDI Data
mode and Graphic Window, which can affect not only a scores appearance, but the way it plays back.
This chapter touches lightly on a few aspects of the Graphic window; for a complete description of all
Graphic window elements, see Chapter 30, Graphic Window (PC) [Chapter 31, Graphic Window
(Mac) ]
The Graphics window differs on the two platforms so we provide procedures for the PC below, then
procedures for the Mac starting on page 57.
MI DI Dat a Mode
The MIDI Data mode is a powerful tool for editing MIDI data directly on your score. You can create
mathematically precise shapes or draw MIDI events freehand. In this tutorial, well use the MIDI Data
mode to create volume. In this mode the Arrow cursor becomes a Pencil for drawing in the
data and the Eraser cursor is used to delete existing data.
Choose Choose type
of controller Data Type
Score
position
Data
value
Temporarily
adjust tempos
Zoom
buttons
Drag graph
MIDI Data area
position vertically
Note data shown
as raw data
Density of
inserted data
6
1. Open the MIDI Data mode by choosing the Edit>MIDI Data menu command or by
pressing the Tab key. The MIDI Data mode tool strip will appear just below the tool
bar and looks like this. Note: When MIDI Data mode is active Tab key toggles
between normal score and current data type.
The MIDI Data mode displays a graph above each measure showing the data except
when Normal Score is chosen for data type. The data values runs vertically.

2. Choose the Controller from first the pop-up menu on the tool strip.
...and from the scond popup-menu
choose the Volume controller
Choose Controller from popup menu
3. Draw any data you like into the MIDI Data area. Hold the shift key down while
dragging to draw staright lines. Score symbols such as dynamics that also send this
type of data are shown with a handle that can be dragged vertically.
When you release the button, the data area shows the new data youve drawn:
Assuming your MIDI device is set up to respond to controller 7, you hear the effects
of this data on the track when you play it back.
50 Part I: Getting Started
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Tap Tempo
While in the MIDI Data mode youc an record new tempos. To do thi
1. While in MIDI Data mode choose Choose Tempo from first the pop-up menu on the
tool strip.
The MIDI Data mode displays a graph above each measure showing the beats based
on the current meter and the tempo changes within each measure. The tempo data
values runs vertically.

2. Press the Record button on the transposrt or press the Enter[return] key to enable
recording. Press the Enter[return] key again or play a note on the MIDI keyboard to
start recording tempos. Press the key again (or play a note) to record a tempo for
each beat. Overture determines the tempos based on the time between key presses
(played notes) for each beat within the current time signature. Press the space bar
or Stop button on Transport to stop recording tempos. A dialog will ask you if you
wish to keep the recorded tempos. Press the Yes button if you want to save the
recorded tempos into the score.

52 Part I: Getting Started
Edi t i ng Not es (PC)
In the Graphic window, the notes you entered appear on a piano-roll display. Each box in the window
indicates a notes start point (by where it is located on the X axis), pitch (by where it is located on the Y
axis) and duration (by the length of the graphic box).
Any notes you select in the Graphic window are also automatically selected in the Score window as well.
You can select notes by clicking them one at a time, or shift-clicking multiple notes, or dragging a
selection box to select many at once.
1. Make sure the insertion point is in the treble staff at the score.
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2. Choose Windows>Graphic to see the MIDI interpretation of Amazing Grace.
3. Select the Select tool.
54 Part I: Getting Started
4. Select a range of notes by dragging a rectangle around them.
The notes turn red:
5. Switch back to the Score window to see that the corresponding notes have been
selected.
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Edi t i ng Wi t h The Cont r ol l er s Pane (PC)
The Controllers pane is a powerful tool for editing MIDI data. You can create curves or straight lines or
draw MIDI events freehand. In this tutorial, well use the strip chart to create volume data.
If you arent concerned with playback control, you can skip the rest of this chapter.
1. Choose Control from the first popup menu at the top of the Graphic window, then
choose Volume from the second popup menu.
2. The Controllers pane displays a graph that runs vertically from 0 to 127.
Choose the pencil tool in the Graphic windows toolbar.
56 Part I: Getting Started
Assuming your MIDI device is set up to respond to volume data, you hear the effects of this data on the
track when you play it back.
3. Draw any data you like into the Controllers pane.
When you release the button, the Controllers Pane fills in the area under the shape
youve drawn:
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Edi t i ng Not es (Mac )
In the Graphic window, the notes you entered appear on a piano-roll display. Each box in the window
indicates a notes start point (by where it is located on the X axis), pitch (by where it is located on the Y
axis) and duration (by the length of the graphic box).
Any notes you select in the Graphic window are also automatically selected in the Score window as well.
You can select notes by clicking them one at a time, or shift-clicking multiple notes, or dragging a
rectangle to select many at once.
1. Make sure the insertion point is in the treble staff at the score.
58 Part I: Getting Started
2. Choose Windows>Graphic to see the MIDI interpretation of Amazing Grace.
3. Select the Marquee tool.
Marquee Tool
4. Select a range of notes by dragging a rectangle over them.
The notes become hollow, like this:
5. Switch back to the Score window to see that the corresponding notes have been
selected.
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Edi t i ng Wi t h The St r i p Char t (Mac )
The strip chart is a powerful tool for editing MIDI data. You can create mathematically precise shapes or
draw MIDI events freehand. In this tutorial, well use the strip chart to create modulation wheel data.
If you arent concerned with playback control, you can skip the rest of this chapter.
1. Open the strip chart by clicking on the Strip Chart button at the bottom of the
graphic window and selecting Modulation Wheel from the pop up menu.
The strip chart opens at the bottom of the window and looks like this:
2. The strip chart is a graph that runs vertically from 0 to 127.
Choose the pencil tool.
3. Choose the Free tool from the pop-up menu at the bottom of the window.
60 Part I: Getting Started
Assuming your MIDI device is set up to respond to modulation wheel data, you hear the effects of this
data on the track when you play it back.
4. Draw any data you like into the strip chart.
When you release the button, the strip chart fills in the area under the shape
youve drawn:
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Page Layout and Printing
This chapter teaches you how to set margins, spacing, page size and other items associated with printing.
It also discusses Overture templates.
Set t i ng Up The Page
Before you can print your score, you need to make sure the page parameters are properly set. This section
introduces you to some of the most common issues related to printing.
Set t i ng Mar gi ns
1. To see what your page margins look like currently, choose
Options>Show>Margin.
A gray line appears around the score, outlining where the margins lie.
Margin
7
62 Part I: Getting Started
You can change the margins by adjusting the numbers in the margin boxes.
Set t i ng Si ze
You can enter the page width and height in the boxes provided.
You can drag the slider to change the scaling factor for the entire score to allow more staves on a page.
For example, if you are printing to a regular sheet of 8.5 x 11 paper, and have set the slider to 50%, a
17 x 22 score is created. This is because a 17 x 22 score printed at 50% is 8.5 x 11.
Use the portrait or landscape button to allow for horizontal or vertical scores. Use the Page buttons to
view different pages in your score.
2. To change the margins, choose Score>Page Dimensions.
Page scale slider
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Addi ng Ti t l es
Its time to put a title on the score.
1. Choose Score>Title Page.
The Title Page Text dialog box appears.
2. Click the Title tab if necessary and type Amazing Grace on the top title line.
You have a choice of many different text styles, but the defaults are fine for now.
3. Click OK.
Overture displays the title on the first page of the score.
If you want to change the font style of the Title, do the following:
1. Choose Score>Title Page to display the Title Page Text dialog box again.
64 Part I: Getting Started
2. Click the Font button next to the Title.
Overture opens the Font dialog box.
3. Choose the font, style, and size.
4. Click OK.
Overture closes the Font dialog box.
5. Click OK.
Overture closes the Title Page Text dialog box.
You can now go back and enter Composers name, Instructions, Copyright,
Headers, and Footers, in the same manner.
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Pr i nt i ng
Once the page is set up, all you have to do is choose File>Print from the File menu. A standard print
dialog box appears. Make sure everything is set properly for your printer and click OK.
Templ at es
If you have a complicated score configuration that youll be using more than once, you might want to
make a template out of it. A template can store staff configurations, page dimensions, instrument names,
clef configurations, fonts for titles and more. To create a template:
1. Set up the score elements the way you want them.
2. Save the file in the Templates folder inside the Overture folder.
3. Switch to the Explorer[Finder] and locate the file youve just
saved. Select its icon so that it becomes highlighted.
4. Choose File>Get Properties[Info]
5. Set the file to be Read Only.
Pr e-Made Templ at es
Overture comes with a number of pre-made templates, covering a wide variety of scoring formats. These
reside in the Overture Templates folder. Open them up and look at the staff and page settings to get a
feel for how some of them were designed. One of the best ways to learn is by example, so dont be shy!
66 Part I: Getting Started
Part II
The Score Window
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Page
Page View
Controls
Gener al
The Score window displays one or more pages of a traditional music score complete with staves, notes,
symbols, lyrics, chords, text and anything else you want in your printed musical score. Use the Score
window to enter, view and modify your musical score.
8
70 Part II: The Score Window
St at us Bar : Page Vi ew and Tr ac k Cont r ol s
The bottom of the Score window contains several controls that determine and illustrate which page is
displayed and the zoom level at which its displayed.
Voice pop-up menu Next Page button Page numerical
Previous Page button Bar numerical View
Track
MIDI Activity
CPU Meter

The following describes each of Overtures page view controls:
View. Use this pop-up menu to select both the size at which you want to display the score and a page
view option. For more information, see Auto>Zooming command on page 72 and
Auto>Selecting a Page View Option command on page 75
Track control. Use this pop-up menu to change tracks. Overture puts the cursor in the track you
select. The track control always shows the track the cursor is in, a convenience if you are not
showing names and abbreviations.
Voice pop-up menu. Use this pop-up menu to select the voice you want to display and edit in the
Score window. For more information, see Auto>Selecting a Voice to Enter or Edit command on
page 96.
Bar numerical. Use this numerical to quickly move the cursor to a specified bar number. Overture
displays the page containing the active measure. For more information, see Auto>Turning to a
Specific Bar command on page 71.
Page numerical. Use this numerical to quickly move to a specified page. Overture displays the
selected page, but the cursor remains in the currently active measure. For more information, see
Auto>Turning to a Specific Page command on page 71.
Previous Page button. Click this button to display the previous page in the score.
Next Page button. Click this button to display the next page in the score.
MIDI Activity. Led lights blink when MIDI data is being received and sent.
CPU Meter. Shows the amount of time the CPU is spending while processing audio data.
Each of the following sections discuss various actions you can perform with the page view and track
controls.
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Tur ni ng Pages
To move forward or backward through your score a single page at a time, click the Next Page or Previous
Page buttons.
Previous Page Button Next Page Button

If you have an extended computer keyboard, you can also turn pages by typing Control[Option]-PgUp or
Control[Option]-PgDn.
Tur ni ng t o a Spec i f i c Page
To turn to a specific page in your score, use the Page numerical. Simply drag the numerical upward to
increase the page number, or drag it downward to decrease the page number. Alternately, you can click
the Page numerical, type the desired page number, then hit the Return key.
Page Numerical
Tur ni ng t o a Spec i f i c Bar
To place the insertion point in any measure in your score (activating that measure), use the bar numerical.
Simply drag the numerical upward to increase the bar number, or drag it downward to decrease the bar
number. Alternately, you can click the Bar numerical, type the desired bar number, then hit the Return
key.
Bar Numerical
When you turn to a specific bar, Overture automatically positions the cursor in that bar, thus making it the
active measure.
Ter mi nol ogy Not e:
When the cursor is in a particular measure, that measure is called the active measure. This manual will
often ask you to activate a particular measure. This means to place the cursor in a particular measure
either by clicking in it, or by using the bar numerical.

I mpor t ant :
The Bar numerical always shows the absolute bar number in the score; it does not show custom bar
numbers assigned in the Set Numbers dialog box (as discussed in Auto>Set Measure Numbers
command on page 559). For example, if you set up your score such that the first measure is labeled as
Bar #17, the Bar numerical will still show that first measure as Bar #1. However, if your song begins
with a pickup measure, Overture numbers it Bar #0.
72 Part II: The Score Window
Tur ni ng t o t he Fi r st Page and Bar
If you use an extended keyboard, you can quickly turn to the first page in a score by pressing
Control[Option]-Home on your computer keyboard. When you press option-Home, Overture moves the
cursor to the first bar in the active track and displays the first page in the Score window.
Tur ni ng t o t he Last Page and Bar
If you use an extended keyboard, you can quickly turn to the last page in a score by pressing
Control[Option]-End on your computer keyboard. Overture moves the cursor to the last bar in the active
track and displays the last page in the Score window.
Zoomi ng
You can zoom in on a score to see tiny details or zoom out to display more of the score. Also, you can size
a score to fit completely in the Score window.
1. Click the Zoom Level pop-up menu to see a list of zoom levels.
2. Select the desired zoom level from the pop-up menu.
Overture resizes the score based on your selection.
2. Select a zoom level
from the pop-up menu
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The zoom level options are as follows:
Zoom In. Select this zoom level to zoom in on the score. When you zoom in, Overture displays all
notes and symbols larger than actual size, allowing you to see more detail in a single portion of a
score. You can choose this command repeatedly to zoom in closer and closer.
Zoom Out. Select this zoom level to zoom out on the score. When you zoom out, Overture displays
all notes and symbols smaller than actual size, allowing you to see more of a score. You can choose
this command repeatedly to zoom out further and further.
Fit in Window. If you select this zoom level, Overture automatically selects a zoom level that
displays an entire page within the confines of the Score window.
Fit Page Width. If you select this zoom level, Overture automatically selects a zoom level that
displays an entire page width within the confines of the Score window.
Fit Page Height. If you select this zoom level, Overture automatically selects a zoom level that
displays an entire page height within the confines of the Score window.
100%. Select this zoom level to display the score at its normal size.
250%, 200, 150%, 125%, 75%, 50%. Select one of these zoom levels to set the zoom level to the
indicated percentage.
X%. Choose this zoom level to open the zoom level dialog box. Use the View at numerical to select
a zoom level between 10% and 800%. Click the OK button to apply the chosen zoom level.
Sel ec t i ve Zoomi ng
Overture lets you zoom in on a specific area of the score. To do so:
1. Select the Zoom Cursor in the Tool Bar.
Zoom Cursor
74 Part II: The Score Window
2. Drag a rectangle around the area you want to zoom in on or just click to zoom in.
Drag an area
to zoom in on
Overture zooms the selected area to the largest size that will fit within the Score
window.
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Sel ec t i ng a Page Vi ew Opt i on
The Zoom Level pop-up menu also contains several viewing options so you can define how Overture
displays pages in the Score window.
Page View Options
There are three different ways to view pages in the Score window:
Single Page. If you select this option, Overture displays only one page at a time in the Score
window.
76 Part II: The Score Window
Horizontal Pages. If you select this option, Overture places your pages side by side horizontally
across the Score window.
Vertical Pages. If you select this option, Overture places your pages top to bottom vertically down
the Score window.
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Sc r ol l i ng a Sc or e Wi ndow
There are a few cases where you want to scroll a Score window:
If the physical page size of your score is larger than your monitor screen and you wish to view the
score at full size (100%), youll need to scroll the Score window to see any portions of a page that
dont fit within the windows confines.
If you view a score at some magnified level (>100%), youll need to scroll the Score window to see
the entire page (even if you have a 1- or 2-page monitor).
The most intuitive way to scroll the Score window is to use the standard scroll bars located both to the
right and the bottom of the Score window.
Scroll Bars
You can also scroll a Score window by using the Hand tool (press h) within the window. This converts
the cursor to a hand for dragging the Score window.
78 Part II: The Score Window
Ar r angi ng St aves and Syst ems
Overture allows you to adjust staff spacing and width by dragging staves to place them anywhere on a
page. The following sections discuss how to arrange staves and systems in a score.
Adj ust i ng Ver t i c al St af f Pl ac ement
You can adjust the spacing between any two staves or systems and apply that spacing to:
the selected staff only, or
all remaining staves on a page, or
all remaining staves in a score
The following sections outline Overtures staff spacing techniques.
Adj ust i ng St af f Spac i ng i n a Si ngl e Syst em
To change the spacing between a staff and the staff above it:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
wont need to select this option. Handles are always availabletheyre just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
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2. Drag a staff handle up or down to change the spacing between it and the staff (or
margin) above it.
Staff Handle
All staves below a dragged staff maintain their relative spacing.
Notice that this staff spacing has changed...
...but that the relative spacing of all
remaining staves remains unchanged.
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If you drag the top staff in a system, that system moves closer to or further from the system (or margin)
above it, but all other staff and system spacings are unaffected.
...affects staff spacing
this way.
Dragging this
staff down...

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If you drag a middle staff in some system, it will move closer to or further from the staff immediately
above it. All staff and system spacing below the dragged staff is unaffected.
...affects staff spacing
this way.
Dragging this
staff down...

Adj ust i ng St af f Spac i ng i n al l Syst ems on a Page
As you learned in the previous section, you can drag a staff to change the spacing between it and the staff
(or margin) above it. If you like, you can have Overture apply the new staff spacing to all remaining
systems on a page. To do so:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
wont need to select this option. Handles are always availabletheyre just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Hold down the Alt[Option] key and drag a staff handle up or down to change the
spacing between it and the staff (or margin) above it.
By Alt[Option]-dragging, you tell Overture to apply the same spacing to all remaining
systems on a page.
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If you Alt[Option]-drag the top staff in a system, that system moves closer to or further from the system
(or margin) above it, and Overture applies the spacing to all remaining systems on the page.
...affects staff spacing
this way.
Option-dragging
Alt-dragging this

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If you Alt[Option]-drag any other staff in a system, it moves closer to or further from the staff
immediately above it, and Overture applies the spacing to all remaining systems on the page.
Alt[Option]-
dragging this
staff down...
...affects staff
spacing this way.

Adj ust i ng St af f Spac i ng i n al l Syst ems i n a Sc or e
As you learned previously, you can drag a staff to change the spacing between it and the staff (or margin)
above it. If you like, you can have Overture apply the new staff spacing to all remaining systems in a
score. To do so:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
wont need to select this option. Handles are always availabletheyre just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Hold down the Control[Command] key and drag a staff handle up or down to
change the spacing between it and the staff (or margin) above it.
By Control[Command]-dragging, you tell Overture to apply the same spacing to all
remaining systems in a score.
Control[Command]-dragging affects system and staff spacing just as Alt[Option]-dragging does. The
only difference is that Overture applies any new spacing throughout the remaining score, not just the
active page.
84 Part II: The Score Window
Respac i ng St aves
Overtures Score>Respace Staves command respaces all the staves on the page according to the Respace
Staves dialog box and the Engraver preferences set in the Preferences dialog box. See Auto>Respace
Staves Dialog Box command on page 512 and Auto>Engraver Preferences command on page 644.
For example, assume your score contains the page below, and that you want to re-space the staves
according to your Engraver preferences.
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To respace the staves:
1. Choose Score>Respace Staves.
Overture re-spaces the staves according to the Engraver preferences set in the
Preferences dialog box.
86 Part II: The Score Window
Notice the differences between the re-spaced page above and the original page shown on page 84.
Adj ust i ng Hor i zont al St af f Pl ac ement
You can adjust the width of any system by dragging either of its handles horizontally or by clicking on the
staff with the hand tool and dragging horizontally.
For example, assume your score contains the page below, and that you want to indent the top system.
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To indent the top system:
1. In the top system, drag any staffs left selection handle to the right.
Overture shortens the entire system.
Dragging left staff handle to
the right indents the staff
You can also drag a staffs right selection handle to change a systems width. Here is what happens when
you drag a staffs right selection handle to the left.
88 Part II: The Score Window
Pl ac i ng Syst ems Si de by Si de
You can apply a combination of vertical staff positioning and staff width adjustment to place systems
side-by-side in a score. To do so:
1. Adjust the width of each system you wish to place side by side.
2. Drag the lower system up until its parallel with the system above it.
You may also split a system into two side by side systems using Auto>Split System command on page
534.
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Cr eat i ng a Def aul t Fi l e
If you frequently use particular scoring conventions, you may create a score with the desired
characteristics and save it with the name DefaultFile. If you put DefaultFile in the same folder as the
Overture application, an untitled copy automatically opens every time you launch Overture by double
clicking the Overture application icon. Scoring conventions commonly used in creating the DefaultFile
include:
Staff names and abbreviations
Staff grouping and spacing
Measures/System and Systems/Page specifications
Clef assignments in staff systems
You may save the DefaultFile, including specific parts. For example, a commonly used basic drum track
can be saved in the DefaultFile.
Not e:
Choosing File>New does not automatically load DefaultFile. Choosing File>Open to open DefaultFile
opens the actual file for editing, not an untitled copy. Double-clicking the file launches Overture files
directly.
Sel ec t i ng Not at i on Symbol s
You can select notes and symbols either individually or in groups. The following sections discuss how
Overture displays selected symbols and how to select them.
Vi ew i ng Sel ec t ed Symbol s
Overture displays most selected notes and rests in red. It displays editing handles on most other types of
notation symbols.
Unselected Note
Selected Note
90 Part II: The Score Window
Similarly, when you select a rest, Overture displays it in red:
Unselected Rest
Selected Rest
When you select a note with a beam, Overture displays only the notehead in red. You can select beams
separately, so as to edit their position and angle. Editing handles appear on all selected beams. For
information about editing beams, see Auto>Editing Beams command on page 101.
Unselected Notes Selected Notes Selected Beam
When you select most other types of symbols, small, rectangular editing handles appear on or around the
symbol. These handles allow you to move or reshape the selected symbol.
Editing Handles
For more information about editing selected symbols, see Auto>Editing Notation Symbols command
on page 97.
Sel ec t i on Tec hni ques
You may select notes and symbols either individually or in groups. To select notes or symbols in the
Score window, Overture must be in Score mode and the Arrow Cursor tool must be active. The following
sections discuss numerous selection techniques.
Sel ec t i ng I ndi vi dual Symbol s
To select any note or symbol in the Score window:
1. Click the Arrow Cursor button in Overtures tool bar to select the Arrow Cursor tool.
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Alternately, you could select a symbol by dragging a rectangle around it.
Sel ec t i ng Di sc ont i guous Symbol s
To select discontiguous notes and symbols in the Score window, hold down the Control[Command] key
as you click. Specifically:
2. Move the cursor over the symbol you wish to select.
When you position the cursor over a symbol, it changes into a Drag Cursor ( ).
The Drag Cursor always appears when you move the Arrow Cursor over an editable
portion of a musical symbol.
We discuss this and other Score window cursors in Auto>Cursors in the Score
Window command on page 109.
3. Click the desired symbol.
Overture highlights it to show that its selected.
1. Using the Arrow cursor, move the mouse over the first symbol you wish to select.
The cursor turns into a Drag cursor.
2. Click the symbol to select it.
Overture highlights it to show that its selected.
92 Part II: The Score Window
Alternately, you could select discontiguous symbols by dragging rectangles around the individual notes or
symbols as you hold down the Control[Command] key.
Sel ec t i ng Cont i guous Symbol s
To select contiguous notes and symbols in the Score window, use the Shift key. Specifically:
3. Control[Command]-click each additional note or symbol you wish to select.
Overture adds the note or symbol to the selection.
Control[Command]-click these notes to select them
1. Using the Arrow Cursor, move the mouse over the first symbol you wish to select.
The cursor turns into a Drag Cursor.
2. Click the symbol to select it.
Overture highlights it to show that its selected.
Click symbol to select it.
Click this note with Arrow Cursor to select it. (The
Arrow Cursor becomes a Drag Cursor when you
move it over the note.)
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Alternatively, you could select contiguous symbols by dragging a rectangle around all the desired
symbolsthe selection includes any symbol that the rectangle either touches or encloses.
Sel ec t i ng Al l Symbol s i n a Measur e
To select all symbols in a single measure:
Using the Arrow Cursor, double click on any blank space in a measure.
Overture selects all the symbols in the measure.
3. Shift-click the space after the last symbol you wish to select.
Overture selects all notes and symbols between the first selection and the point
where you shift-clicked.
Shift-click here to select all
symbols between here and the
selected symbol.
94 Part II: The Score Window
Sel ec t i ng Al l Symbol s i n Di sc ont i guous Measur es
To select all symbols in discontiguous measures:
1. Using the Arrow Cursor, double-click any blank area in one of the measures.
Overture selects all the symbols in the measure.
2. Control[Command]-double click a blank area in each additional measure.
Overture adds all symbols in each additional measure to the selection.
You can also use this technique to select discontiguous measures on different staves.
Sel ec t i ng Al l Symbol s on an Ent i r e St af f Li ne
To select all symbols on an entire staff line.
Using the Arrow Cursor, double-click any blank area in the first measure of a staff.
Shift-double click the last measure on the staff.
Overture selects all the symbols in that staff in that system.
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Sel ec t i ng Symbol s On Di f f er ent St aves
You can use any of the contiguous or discontiguous selection methods to select notes and symbols that
are on different staves. In addition, you can select symbols in contiguous measures and staves by
dragging a rectangle around all desired symbols.
Drag to select symbols
across multiple staves.

Also, you can Control[Command]-click symbols in different staves to select them.
Sel ec t i ng al l Symbol s i n a Tr ac k
You can select all symbols in a track by double-clicking with the Arrow Cursor in the margin next to the
track you want selected.
Double-clicking
in the margin...
...selects all
entire track
notes in the

96 Part II: The Score Window
Sel ec t i ng a Voi c e t o Ent er or Edi t
Each Overture staff displays up to eight voices simultaneously (for a definition of voices, see
Auto>Voice command on page 7). Select a voice using the Voice pop-up menu at the bottom of the
Score window. You can select and edit only those symbols that are assigned to the selected voice. To
select a voice:
1. Click Voice in the Score Windows page view controls to open the Voice pop-up
menu.
2. From the pop-up menu, select the voice you want to enter or edit.
You may also select the All option to edit all voices simultaneously.
2. Select a voice from the
pop-up menu
1. Click here to produce
the Voice pop-up menu.
When you select a particular voice, all other voices already in a score are grayed out.
Selected Voice (black)
Disabled Voice (grey)
In the example, you can edit only those notes and symbols that are assigned to the selected voice (the
black one).
Not e:
When you select All, Overture lets you edit all the voices, but automatically puts any new notes in
Voice 1.
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Edi t i ng Not at i on Symbol s
Edi t i ng Not es
You can change a notes pitch or position by dragging it. Drag a note up or down to change its pitch; drag
a note left or right to change its position.
Raise Pitch
Lower Pitch
Move Left Move Right
When you position the cursor over a notehead, it changes into a Drag Cursor ( ). The Drag Cursor
always appears when you move the Arrow Cursor over an editable portion of a musical symbol.
You can choose whether you want dragged notes to change chromatically (according to the twelve-tone
scale) or diatonically (according to the key of the measure). To drag notes diatonically:
1. Choose Options>Preferences.
Overture opens the Preferences dialog box.
2. In the Preferences dialog box, select General from the Preference Type pop-up
menu.
3. Make sure that Drag Notes Chromatically is not checked.
To drag notes chromatically:
1. Choose Options>Preferences.
Overture opens the Preferences dialog box.
2. In the Preferences dialog box, select General from the Preference Type pop-up
menu.
3. Click the Drag Notes Chromatically check box to check it.
98 Part II: The Score Window
You can nudge notes up or down through either the chromatic or diatonic scales. To do so:
1. Select the note (or notes) whose pitch you want to change.
2. Press the up arrow key to nudge notes up the scale. Press the down arrow key to
nudge notes down the scale.
You can change a notes value (such as turning a quarter note into an eighth note) by first selecting it, then
typing the key equivalent for a new note value. This is described in detail in Auto>Changing Existing
Note Values command on page 134.
You can duplicate a note (or most any musical symbol) by Control[Option]-dragging it.
There are two ways to remove notes from a score:
Select the Eraser tool and click the notes you wish to remove. See Auto>Eraser Button command
on page 119.
Using the Arrow Cursor, select those notes you wish to remove (as discussed in Auto>Selecting
Notation Symbols command on page 89) and type the delete key, or use the Edit>Cut command.
Copyi ng Not es
You can Control[Option]-drag any note to make a copy of it.
If you Control[Option]-drag a note vertically, Overture creates a new note of the same duration and at the
same time, but at a new pitch (thus creating a chord).
3. 1. Original Note 2. Control[Option]-drag the
note up to a D. Overture
creates a chord containing
your original note (G) and
the new note (D).
Move the Arrow
Cursor over the note
(it becomes a Drag
Cursor)
If you Control[Option]-drag a note horizontally, Overture copies it to a new location.
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If you Alt[Option]-drag any note in a chord horizontally, Overture creates a copy of the entire chord.
Control[Option]-drag the note
to the right. Overture
creates a new chord identical
to the one containing
the note you originally
dragged.
3. 1. Original Note 2. Move the Arrow
Cursor over one of
the notes (it becomes
a Drag Cursor)
You can also copy notes by selecting them and using standard copy and paste commands. For more
information, see Chapter , Edit Menu.
Edi t i ng St ems
To change a stems length:
1. Move the cursor over the end of a stem.
The cursor changes into a Drag Cursor.
Drag Cursor
2. Drag the end of the stem up or down to change its length.
dragging stem up
dragging stem down
To return a stem to its default length.
1. Select the notes whose stems you wish to reset to their default length.
100 Part II: The Score Window
To set a stems direction:
1. Select the notes whose stem directions you wish to set.
2. Choose either Notes>Stem>Stem Up or
Notes>Stem>Stem Down.
Overture makes the selected stems point in the chosen direction.
To hide a stem:
1. Select the notes whose stems you wish to hide.
2. Choose Notes>Stem>Hide Stem.
Overture hides the selected stem.
This is a particularly useful feature for tablature notation. For more information
about tablature notation, see Chapter , Tablature Button.
To show a hidden stem:
1. Select the notes whose stems you wish to show.
2. Choose Notes>Stem>Show Stem.
Overture shows the stem for the selected note.
2. Choose Notes>Stem>Default Stem Length.
Overture resets the selected stems to their default length.
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Edi t i ng Beams
You can change a beams height or angle simply by dragging it. To change the height of a beam:
1. Move the Arrow Cursor over the center of a beam.
The cursor turns into the Drag Cursor.
2. Drag the beam up or down to change its height.
dragging beam center up
dragging beam center down
To change the angle of a beam:
1. Move the Arrow Cursor over either end of the beam.
The cursor turns into the Drag Cursor.
102 Part II: The Score Window
There are three ways to remove beams from a score:
Select the Eraser tool and click the beams you wish to remove. See Auto>Eraser Button command
on page 119.
Using the Arrow Cursor, select those beams you wish to remove (as discussed in Auto>Selecting
Notation Symbols command on page 89) and press the delete key.
Using the Arrow Cursor, select those beams you wish to remove and use the Notes>Delete>Beams
menu command.
You can use one of the Notes>Beam commands to change how notes are beamed, and you can even beam
across barlines and across staves. For more information, see Auto>Beam command on page 583.
Edi t i ng Rest s
Drag any rest to move it. You can even move rests up and down on a staffthis is particularly useful
when you notate more than one voice on a single staff.
Move Up
Move Down
Move Left Move Right
2. Drag the end of the beam up or down to change its angle.
dragging beam end up
dragging beam end down
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You can nudge rests up, down, left or right in small increments. To do so:
1. Select the rest (or rests) whose position you want to change.
2. Press the up arrow key to nudge rests upward. Press the down arrow key to nudge
rests down. Press the left arrow key to nudge rests left, and press the right arrow
key to nudge rests to the right.
There are two ways to remove rests from a score:
Select the Eraser tool and click the rests you wish to remove. See Auto>Eraser Button command
on page 119.
Using the Arrow Cursor, select those rests you wish to remove (as discussed in Auto>Selecting
Notation Symbols command on page 89) and type the delete key (or choose Edit>Cut or
Edit>Clear).
Edi t i ng Ot her Not at i on Symbol s
There are also techniques for editing slurs, ties, glissandos, trill sections, arpeggios, chord symbols, text,
and numerous other musical symbols. We discuss each of these when first introducing the symbols in Part
III, The Tool Bar.
Adj ust i ng Not e Spac i ng
There are numerous ways to adjust the spacing of notes in the Score window:
Drag notes (or groups of notes) to change their position relative to other notes.
Nudge notes (or groups of notes) with the arrow keys to make small changes in their position
relative to other notes.
Display and modify Beat Charts.
Change the bar width to expand or contract the spacing of notes in a measure.
Automatically position notes. There are three ways to do this:
automatically align them with existing Beat Charts upon entry (using the Options>Auto>Justify
option).
automatically calculate new Beat Charts and align existing notes (using the Measures>Justify
command).
automatically adjust measure width and spacing based on the current Allotment Table and on the
existing Beat Charts (using the Score>Recalc Layout command).
The following sections detail each of the preceding techniques.
104 Part II: The Score Window
Dr aggi ng Not es
You can drag a note to change its position relative to other notes.
Not e:
You must disable Auto>J ustify in the Options Menu or the measure must be locked by
Control[Command] clicking on the meausures handle to allow notes to be dragged horizontally. If not,
they will automatically be repositioned.
Drag a note
to change its spacing
relative to other notes
Before dragging
After dragging
Also, you can drag any note in a chord to change the horizontal spacing of the entire chord.
You can select and drag notes and chords, as well as dynamics, hairpins, text repeats, and Graphics palette
objects as a group.
Nudgi ng Not es
You can nudge notes either left or right in small increments. To do so:
1. Select the note (or notes) you want to nudge.
2. Type the left arrow key to nudge the notes to the left. Type the right arrow key to
nudge the notes to the right.
Each horizontal nudge moves the symbol approximately a single pixel. Overture
prints at a resolution of 1/72 of an inch so, at 100% scaling, you can nudge
symbols at a resolution of 1/72 of an inch on the printed page.
Usi ng Beat Char t s
Instead of dragging individual notes to change their relative spacings, you might find it easier to modify
the beat spacing. Overture illustrates a measures beat spacing in a Beat Chart. Beat Charts appear above
a measure and mark each beat in the measure with a small rectangular handle.
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Use Beat Charts to view the individual beats (or pulses) in a measure and to modify the spacing of those
beats. To do so:
1. Using the Arrow Cursor, click anywhere in the desired measure to make it the
active measure.
2. Select Options>Show>Beat Chart.
Overture produces a Beat Chart over the active measure.
The upper row of the Beat Chart contains small square handles that represent
each beat in the measure. The measure shown above is in 4/4 time, so it contains
four handlesone at the start of each beat.
3. Drag one of the beat handles to a new position.
Beat dragged to the right
Notice that the sixteenth notes in the third beat are now closer together, and that there is now more space
between the second and third beats.
To hide a Beat Chart:
1. Using the Arrow Cursor, click anywhere in the desired measure to activate it.
106 Part II: The Score Window
Changi ng Bar Wi dt hs
You can proportionally compress or expand the spacing between all notes in a measure by changing the
width of the bar. To do so:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
wont need to select this option. Handles are always availabletheyre just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Drag the desired bars handle to the left or right.
The figure shows the middle bar dragged to the left. This results in tighter spacing in
the first measure and wider spacing in the second.

Not e:
Bar widths also change when you use the Measures>Increase Measures on System or
Measures>Decrease Measures on System commands since these actions place a different number of
bars on a single, fixed width line. For more information about wrapping measures, see Auto>Increase
Measures on System command on page 530 and Auto>Decrease Measures on System command on
page 532.
2. Select Options>Show>Beat Chart.
Overture hides the active measures Beat Chart.
Not e:
Overture actually displays pulses. Measures usually contain the same number of beats as pulses, but you
can use the Set Meter dialog box to set a number of pulses thats different from the number of beats. See
Auto>Set Time Signature command on page 541 for more details.
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Aut omat i c Just i f y
There are three ways to space notes automatically in a score. The following discusses the differences
between these three automatic note spacing algorithms:
Options>Auto>Justify: When you select this option, Overture automatically spaces any new notes
that you enter. Overture spaces notes according to the measures existing Beat Chart without
changing the width of the measure.
Overture spaces notes so
that they line up with the
current Beat Chart.
Beat Chart
Beats
Notice that collisions can occur,
but the rhythm of the piece is
visually accurate.

For more information about Beat Charts, see Auto>Using Beat Charts command on page 104. For
a detailed discussion of the Options>Auto Justify option, see Auto>J ustify command on page
624.
Measures>Justify: When you choose this command, Overture calculates a new Beat Chart based on
the note values and the amount of space allocated to them in the current Allotment Table. It then
spaces notes accordingly (without changing the width of the measure).
Beat Chart
Beats
Overture calculates new
Beat Charts based on the
note values and the
current Allotment Table
Notice that collisions can occur,
but theyre minimized since the
Beat Chart changes to take into
account the note values and the
current Allotment Table.
For more information about Beat Charts, see Auto>Using Beat Charts command on page 104. For a
brief description of Allotment Tables, see About Allotment Tables below. For a detailed discussion of
the Measures>Justify command, see Auto>J ustify command on page 568.
108 Part II: The Score Window
Score>Recalc Layout: When you choose this command, Overture calculates a new width for each
measure in the score based on the number of Measures per System you specify in the
Source>Layout Page dialog box.
Beat Chart
Beats
Overture calculates new
measure widths and note
spacings based on the
current Beat Chart and
Allotment Table
Notice that collisions disappear
since the measure can widen
to accommodate all the necessary
notes.

For more information about Beat Charts, see Auto>Using Beat Charts command on page 104. For
a brief description of Allotment Tables, see About Allotment Tables below. For a detailed
discussion of the Score>Recalc Layout command, see Auto>Recalc Layout command on page
513.
About Al l ot ment Tabl es
Allotment Tables determine the amount of horizontal space occupied by each note on a staff, relative to
other note values. For example, its generally desirable to have an eighth note occupy more space than a
sixteenth note (though not twice as much space)thus giving some visual feedback as to the rhythm of a
piece. You can create and save any number of Allotment Tables. To load an Allotment Table into
Overture, simply choose File>Load Library. For more information about creating and editing Allotment
Tables, see Auto>Allotment Table command on page 410.
Locked Measur es
When youve manually spaced notes in a measure, it is sometimes useful to exclude that measure from
being justified or affected by a Score>Recalc Layout command. Overture allows locked measures that
maintain their spacing. To lock a measure:
1. Select Options>Show>Handles.
Barline and staff handles appear.
2. Control[Command]-click the barline handle to lock the preceding measure.
The barline handle turns solid, indicating that it is locked. Control[Command]-click
the barline handle again to unlock the measure.
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Cur sor s i n t he Sc or e Wi ndow
Overture uses a number of different cursors depending on the function youre about to perform. The
following is a list of Overture cursors that appear in the Score window:
Arrow Cursor: The Arrow Cursor is Overtures basic operating cursor. It may change
form when you move it over various tools, symbols, staves, or text. Select the Arrow
Cursor by clicking the Arrow Cursor tool in the Tool Bar or by typing the letter c
(unless youre in a text entering mode). For more information, see Auto>Arrow
Cursor Button command on page 119.
Drag Cursor: The Drag Cursor appears automatically any time you move the Arrow
Cursor over any symbols edit handle. It indicates that you can edit or drag the
symbol.
Eraser Cursor: Use the Eraser Cursor to delete musical symbols by clicking them.
Select the Eraser Cursor by clicking the Eraser Cursor tool in the Tool Bar or by typing
the letter e (unless youre in a text entering mode). For more information, see
Auto>Eraser Button command on page 119.
Scale Cursor: Use the Scale Cursor to resize notes, staves, clefs and dynamics by
clicking them. Select the Scale Cursor by clicking the Scale Cursor tool in the Score
mode Tool Bar. For more information, see Auto>Scale Button command on page
121.
I-beam Cursor: The I-beam Cursor appears over any editable text.
Crosshair Cursor: The Crosshair Cursor appears over the Score window whenever youve selected
a symbol to insert. There are three types of crosshair cursors:
This crosshair appears when the cursor is directly over a staff and indicates that the
action youre about to perform applies to this staff.
This crosshair appears when the cursor is above a staff. It indicates that the action
youre about to perform applies to the staff immediately below the cursor.
This crosshair appears when the cursor is below a staff. It indicates that the action
youre about to perform applies to the staff immediately above the cursor.
There are numerous other cursors associated with Overtures Graphic window. For more information
about these cursors, see Chapter , Graphic Window (PC) Chapter , Graphic Window (Mac).
110 Part II: The Score Window
Part III
The Tool Bar
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Tool Bar Overview
The tool bar contains many of the tools and palettes you need for entering and editing scores in the Score
window. Use the Tool Bar to:
select cursor tools
enter notes, rests, ornaments, articulations, and other musical symbols
enter and place text
set a transcription quantization level
To open the Tool Bar, choose Windows>Tool Bar.
Staves button
Groups button
Articulations
Text
Tablature
Scale Cursor
Arrow Cursor
button button
Eraser Cursor
Notes button
Ornaments
Noteheads button
Clefs button
Dynamics button
Barlines button
button
Transcription
Amount
button
button
Guitar button
Expressions
button
Graphics
J azz
button
button
button
button
Hand Cursor
button
Zoom Cursor
button
Scrub button
Quantize
button

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Anat omy of t he Tool Bar
The Tool Bar contains a wealth of buttons and features. We group these into three areas:
Cursor buttons
Palette buttons
Transcription Quantize Amount button
Read the following sections for an overview of each of the three button groups.
Cur sor But t ons
Use these Six buttons to change the operational mode of the cursor. Use the Arrow Cursor to select
symbols and on the MAC to capture PICT and EPS graphics. Use the Eraser Cursor to delete symbols.
Use the Scale Cursor to scale symbols. Use the Hand cursor to drag the entire score around inside the
score window. Use the Zoom cursor to Zoom in or Out. Use the Scrub to listen to a passage as you drag
the mouse.
Scale Cursor button
Eraser Cursor button
Arrow Cursor button
Hand Cursor button
Hand Cursor button
Scrub Cursor button
See Chapter 10, Cursor Buttons, for detailed information about each of these buttons.
Pal et t e But t ons
The next fifteen Tool Bar buttons are called palette buttons.
Use palette buttons:
to open pop-up tool menus
to produce tear-off tool palettes
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Pop-Up Tool Menus
To open a pop-up tool menu:
1. Press and hold the mouse on a palette button.
Overture produces a pop-up menu of related musical tools.
2. While still holding the mouse button, move the cursor over the desired tool
(highlighting it), then release the mouse button.
The icon shown in each palette button changes to show the most recently selected tool.
116 Part III: The Tool Bar
Fl oat i ng Tool Pal et t es
You can create a floating palette by tearing off a menu. To tear off a menu:
1. Press and hold the mouse on the desired palette button.
2. Continue to hold down the mouse button and drag the cursor outside the boundary
of the original menu.
When you do so, an outline of the menu appears and moves along with the cursor.
3. Release the mouse button.
The menu appears in the position indicated by the outline.

Once you tear off a menu, it becomes a floating palette. Palettes float in front of any open windows on
your computer screen. Because of this, they never get hidden by any open windows and their tools are
always accessible.
To move a floating palette, drag its title bar grab bar.
To select one of the tools in a floating palette, move the cursor over the desired tool and click it.
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To change the shape of the palette, drag an edge (on MAC drag bottom right corner).
You can tuck the palette into an edge of the screen or dock it on (press it against) an edge of the Overture
window so it becomes a horizontal or vertical toolbar. (PC Only)
vertical toolbar
118 Part III: The Tool Bar
To add the palette to the toolbar, drag it to the toolbar area.
horizontal toolbar
To close a floating palette, click its close box or button. If the close box isnt visible, tear a new copy off
the toolbar button. This removes the old copy. Then click the close button of the new copy.
Each Palette button is discussed in its own chapter beginning with Chapter 11, Notes Button, and
ending with Chapter 26, Barlines Button.
Tr ansc r i pt i on Quant i ze Amount But t on
Use this button to set Overtures transcription quantization level. The button always shows the currently
selected transcription quantize value.
Transcription Quantize Amount button
See Chapter 27, Transcription Quantize Amount Button, to learn how to use this button.
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Ar r ow Cur sor But t on
Click the Arrow Cursor button to select the Arrow Cursor tool. Use the Arrow Cursor ( ) to select or
drag musical symbols, staves and text.
Not e:
You can type the letter c (for Cursor) to activate the Arrow Cursor (unless youre in one of Overtures
text entering modes). If you type the letter c and the Arrow Cursor is already active, Overture selects
the last tool you used before selecting the Arrow Cursor tool. This is a great way to toggle between the
Arrow Cursor and a specific tool during editing. If you type Esc the cursor will default to the Arrow
Cursor.
Er aser But t on
Click the Eraser button to select the Eraser tool. The cursor becomes an eraser ( ) when you move it
over the Score window. Use the Eraser tool to delete musical symbols by clicking them.
Shor t c ut :
You can type the letter e (for Eraser) to activate the Eraser tool (unless youre using one of Overtures
text-entering tools).
When you delete a note using the Eraser tool, the note is turned into a rest. If you then delete the rest, the
timing for notes later in that measure changes by the amount of time in the deleted rest. You alter note
timings when you delete a note in either the Score or Graphic Windows.
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For example, deleting the third quarter note in a measure with four quarter notes converts the third quarter
note into a rest. Deleteing the rest moves the last quarter note earlier by one quarter note. The Graphic
Window reflects the altered timing immediately after the deletion; the changed timing is not evident in
the Score Window until you justify or transcribe the measure. The figure below illustrates the changed
timing after retranscribing the measure.
When you delete this note...
...the note becomes a rest.
When you delete this rest...
...the quarter note occurring after the deleted note move in
time by the amount of time deleted.
After retranscribing the measures looks like this.
Overture changes note timings after you delete a note except when
you enter notes with the mouse in the Graphic Window but they have not yet been transcribed
you record notes in real time but they have not yet been transcribed
you delete the last note in a measure
In the first two cases, the notes appear in the Score Window as bars. Deleting the middle note has no
effect on the timing of the third note because the note timings are raw and have not been transcribed. The
third case doesnt require editing because there are no notes later in the measure to encroach on the time
deleted with the note.
See Hold Timing on page 630 for avoiding these situations.
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Sc al e But t on
Click the Scale button to select the Scale tool. The cursor becomes a percent sign ( ) when you move it
over the Score window. Use the Scale tool to resize notes, staves, clefs and dynamics.
To use the Scale tool:
1. Click the Scale button.
2. In the Score window, select the staff, notes, clef or dynamics you wish to scale.
Overture produces the Set Scale Factor dialog box.
3. Enter the desired scale factor in the dialog box and click the OK button.
Overture scales the selected symbol(s) by the indicated factor.
122 Part III: The Tool Bar
Sc al i ng St aves
It is sometimes desirable to create auxiliary staves that are smaller than other staves. Auxiliary staves are
often used in chamber music as cue lines, showing what all the instruments are playing. Auxiliary
staves are also used to notate suggested alternatives, corrections or embellishments to a section of the
score. Overture allows you to scale staves from 25% to 250% of their normal size. To do so:
1. Using the Scale tool, click a staff handle.
Staff handles are located at either end of the staff on the middle line.
If youre not sure where the staff handle is, select
Options>Show>Handles to display it.
click here with Scale tool
2. Select a scale factor in the Scale Factor dialog box, then click the OK button.
Overture scales the selected staff (and all musical symbols on that staff) by the
indicated factor.
This staff was scaled
to 60% of normal size
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Sc al i ng Mul t i pl e St aves
You can scale multiple staves by dragging a rectangle around the left edge of the staves you want scaled.
1. Using the Scale tool,
drag a rectangle around the
left edge of each staff you
want scaled.
2. Enter a scale factor
in the Scale Factor dialog
box (this example scales
3. Overture scales
all selected staves by
the desired amount.
staves by 75%).

Sc al i ng Not es
Sometimes alternate passages arent notated on a separate staff, but on the same staff as the main score.
This is common in popular vocal music when repeated sections have slightly different melody lines. To
indicate the alternate passage, use small notes. Overture allows you to scale notes from 25% to 250% of
their normal size. To do so:
1. Using the Scale tool, click a note or drag a rectangle around a group of notes.
Overture opens the Set Scale Factor dialog box.
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Overture scales the selected note(s) by the indicated factor.
Scaled notes
to indicate
alternate
passage
124 Part III: The Tool Bar
Its also common to use small notes to indicate rapid note passages or other types of melodic
ornamentation.
Sc al i ng Cl ef s
To scale clefs:
1. Using the Scale tool, click a clef.
You cannot scale the first clef in a score; you can only scale clefs in the middle of
a score.
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Overture scales the selected clef by the indicated factor.
Sc al i ng Dynami c s
Sometimes different voices on a staff have different dynamics levels. You can scale the various dynamic
markings to indicate more clearly which dynamics refer to which voice. To do so:
1. Using the Scale tool, click a dynamics marking (or draw a rectangle around a
group of dynamics).
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Overture scales the selected dynamic(s) by the indicated factor.
Hand But t on
Click the Hand Cursor button to select the Hand Cursor tool. Use the Hand Cursor ( ) to drag the score
within the score window. If the hand is over a staff the cursor changes to a drag staff cursor and the staff
can be moved horizontally or vertically.
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Zoom But t on
Click the Zoom Cursor button to select the Zoom Cursor tool. Use the Zoom Cursor ( ) to Zoom in or
Out in the score. If you single click, the score will be zoomed in. If you press the Control key, the cursor
is used to Zoom Out. If you click and drag a selection rectangle, the score will be zoomed to show just the
area within the rectangle.
Sc r ub But t on
Click the Scrub Cursor button to select the Scrub Cursor tool. Use the Scrub Cursor ( ) to audition a
passage in a track. Click and drag on a staff to hear the notes play as the mouse moves over the note.
126 Part III: The Tool Bar
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Notes Button
The Notes button always contains the icon of the most recently selected tool.
Notes Button
Press and hold the mouse on the Notes button to open the Notes pop-up menu. To create a floating palette,
tear it off the menu. To change a palettes orientation, drag an edge[Mac:bottom right edge].
Notes
Rests
Accidentals
Grace Note
Tuplet
Triple
Augmentation Dot
Double
Augmentation Dot
Augmentation Dot

Shor t c ut :
If youre not in one of Overtures text-entering modes and you type the letter p, Overture opens the
Notes palette and places it directly underneath your cursor. If the Notes palette is already open, typing p
moves the open palette directly under your cursor, no matter where it is on the screen.
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Tool Over vi ew
The Notes palette above contains the following tools:
Notes: Select one of these tools to insert a note of that value. The palette contains (from left to right):
double whole note, whole note, half note, quarter note, 8th note, 16th note, 32nd note, 64th note,
128th note.
Rests: Select one of these tools to insert a rest of that value. The palette contains (from left to right):
double whole rest, whole rest, half rest, quarter rest, 8th rest, 16th rest, 32nd rest, 64th rest, 128th
rest.
Accidentals: Select one of these tools to insert an accidental. The palette contains (from left to
right): sharp, flat, natural, double sharp, double flat, courtesy sharp, courtesy flat, courtesy natural,
courtesy double sharp, courtesy double flat.
Control[Command]-click a note with an Accidental tool to apply that accidental to all notes of the
same pitch for the remainder of the measure.
Control[Command]-click an accidental applies it to all notes of
same pitch in the same measure
Clicking an accidental without the Control[Command] key held
down applies to that note only.
Augmentation Dots: Select one of the three augmentation dot tools to turn the selected note or rest
tool into a dotted note or rest.
Tuplet: Use this tool to turn the selected note or rest tool into a tuplet whose value was last defined
in the Tuplets dialog box. The default tuplet value is a triplet. We discuss the Tuplets dialog box in
Tuplet on page 591.
Grace Note: Use this tool to insert a grace note into your score. See Grace Notes on page 133 for
more information.
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Usi ng t he Not es Pal et t e
Use the Notes palette to insert notes, rests, or accidentals. You can use the Notes palette with the mouse or
with a combination of the mouse and the keyboard.
Mouse Ent r y Met hod
To insert notes, rests or accidentals using only the mouse:
1. Select the voice youd like to enter from the Voice pop-up voice menu at the bottom
of the Score window.
Alternatively, you could type Control[Command]-1 through Control[Command]-8 to
select voices 1-8. If you type Control[Command]-0, Overture displays all voices but
enters notes only in Voice 1.
2. Select the desired symbol from the Notes palette (or pop-up menu).
Here are three examples: note selection; rest selection; and accidental selection.
When you select an accidental, the note remains selected if Attach Note Palette
Accidentals is checked in the Preferences dialog. This is used to insert a note with
an accidental at the same time.
Selecting a Note Tool
Selecting a Rest Tool
Selecting an Accidental Tool
130 Part III: The Tool Bar
Ent er i ng Not es i n t he Cl ef Above or Bel ow t he Tr ac k
It is occasionally useful to enter notes in a different clef without changing the tracks clef. For example, in
a grand staff, bass notes that temporarily move into the treble clef register are better represented in the
treble clef than by either ledger lines or changing the bass to a treble clef while those notes are active.
Overture provides a method for entering notes that are displayed on another staff:
Enter all the notes on one track and then select the notes to be displayed on another track.
Choose the Notes>Display on Prev Staff or Note>Display on Next Staff menu command.
Understanding the distinction between where notes appear and which track owns them is crucial when
you edit a track. For example, double-clicking to select all notes in a tracks measure does not select a
note that appears in that track but is owned by the track above or below.
3. Move the cursor to where you want to place the symbol.
The cursor becomes a note (with accidental if also selected) when you move it over
the Score window. We discuss all the different cursor types in Cursors in the Score
Window on page 109.
Position notes both vertically and horizontally. If Auto>Justify is checked in the
Options menu, then horizontal placement is automatically justified according to the
measures Beat Chart and the note might not be inserted exactly where you click.
Spacing within beats is determined by the current Allotment Table.
Position rests horizontally within the staff. If you have checked Auto>Justify in the
Options menu, then Overture automatically justifies horizontal placement according
to the measures Beat Chart and might not insert the rest exactly where you click.
The current Allotment Table determines spacing within beats.
If the cursor is an accidental without a note, position the accidental by clicking on
the note to which you wish to apply the accidental.
Placing Cursor
Placing Cursor Placing Cursor
to Insert a C
to Insert a rest to Insert an accidental
4. Click the mouse to insert the symbol in the score.
Inserted Note
Inserted Accidental
Inserted Rest
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Keyboar d and Mouse Ent r y Met hod
You can use keyboard shortcuts to select tools from the Notes palette without using the mouse. The table
below shows the relationship between keys and Notes palette values.
Key Function
0 Select breve note
1 Select whole note
2 Select half note
4 Select quarter note
8 Select eighth note
6 Select sixteenth note
5 Select thirty-second note
3 Toggle triplet on or off
. Toggle augmentation dot on or off
r Toggle between note or rest
s Select accidental sharp tool
f Select accidental flat tool
n Select accidental natural tool
g Toggle grace note on or off
To enter notes using a combination of the keyboard and the mouse:
1. Select the voice youd like to enter from the Voice pop-up voice menu at the
bottom of the Score window.
Alternately, you could type Control[Command]-1 through Control[Command]-8 to
select voices 1-8, or type Control[Command]-0 to select all voices.
2. Type the number key corresponding to the duration of the note you wish to enter.
For example, to select an eighth note, type 8.
3. Position the cursor in the score and click.
Overture enters the note in your score.
132 Part III: The Tool Bar
To enter dotted notes using a combination of the keyboard and the mouse:
1. Type the number key corresponding to the duration of the note you wish dotted,
then type the period key.
For example, to enter a dotted sixteenth note, type 6, then type..
2. Position the cursor in the score and click.
Overture enters a dotted note in your score.
To enter rests using a combination of the keyboard and the mouse:
1. Type the number key corresponding to the duration of the rest you wish to enter.
For example, if you wanted to insert an eighth note rest, type an 8.
2. Type an r to specify that you want to enter a rest of this value.
3. Position the cursor in the score and click.
Overture enters the rest in your score.
You can enter dotted rests by typing the period key as described previously.
To convert notes to rests:
1. Select the note you want to convert.
2. Type r.
Overture converts the note to a rest of the same duration.
To enter accidentals using a combination of the keyboard and the mouse:
1. Type the keyboard equivalent for your desired accidental: s to select an accidental
sharp, f to select an accidental flat, n to select an accidental natural.
2. Click the note to which you want to assign the accidental.
Overture enters the accidental next to the note. MIDI playback recognizes
accidentals and plays them at their proper pitch.
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Gr ac e Not es
Grace notes require a special entry method because their notation does not automatically dictate an actual
MIDI playback duration. To enter grace notes:
1. From the Notes palette, select the note tool that corresponds to the playback
duration of the grace note you wish to enter.
For example, if you want your grace note to play as though it were a 128th note,
select the 128th note tool. Obviously, if you select a note of greater duration (like
an eighth note or quarter note), the grace note will not actually sound like a grace
note in MIDI playback.
2. Click the Grace Note tool to select it (or type g).
3. Move the cursor to the desired position in the score and click.
Overture enters a standard grace note in the score and inserts a MIDI note of the
selected value into the track.
or:
1. Select the note to be made into a grace note.
2. Type g.
Overture changes the note to a grace note both in the score and in the MIDI track.
Caut i onar y Ac c i dent al s
Normally, an accidental affects only the pitch to which its assigned and only for that measure. Because of
this, Overture does not insert accidentals before any other affected pitches in the measure. If, however,
you wish to apply cautionary accidentals to other affected notes:
1. Select the desired accidental tool from the Notes palette.
2. Alt[Option]-click the note to which you wish to apply the cautionary accidental.
134 Part III: The Tool Bar
Changi ng Ex i st i ng Not e Val ues
You can change the value of any note in a score by selecting it, then selecting a new note value from the
Notes palette. For example, to change a quarter note into an eighth note:
Move the Arrow Cursor over the desired note in the score.
The cursor changes into a Drag Cursor when positioned over a note.
Click the note to select it.
If you want to change more than one note, you can shift-click multiple notes to
select them.
Selected quarter note
Type the keyboard equivalent for the note value to which you wish to change the
selected note(s).
In this example, you would type 8 to change the selected note into an eighth
note.
Ef f ec t of Changi ng Not e Val ues on MI DI Dur at i on
Overture intelligently decides whether or not to change the MIDI duration of an altered note based on
how you entered that note into Overture. Specifically:
If you recorded the note in real-time or imported it from a MIDI file or Vision file, Overture does not
change the MIDI duration of the altered note, thus preserving the feel of the piece.
If you entered the note in any other way, for example from the Notes palette or using the Step Input
window, Overture changes the MIDI duration of the note to 90% of its new notated value.
To adjust the MIDI note duration manually, use either the Graphic window (as discussed in Common
Selection and Editing Techniques on page 313) or Notes>Modify Notes (as discussed in Modify on
page 575).
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Groups Button
The Groups button always contains the icon of the most recently selected tool.
Groups Button
Press and hold the mouse on the Groups button to open the Groups pop-up menu. To create a floating
palette, tear off the menu. To change a palettes orientation, drag an edge[Mac:bottom right edge].
slur
straight
group as
insert wavy
dotted tie
bracket
tie glissando
new tuplet
half pedal
sign
harp pedal
sign
reapply tuple
brace
parenthesized
full pedal sign
ottava sign (up
one octave)
to group
glissando
dotted slur
ottava sign (down
one octave)
notes
Tool Over vi ew
Overture groups notes differently depending on the type of tool you selected. The following describes
each of the tools in the Groups palette:
Slur. Use this tool to create a slur across a selected group of notes. Using this tool is the same as
grouping notes and choosing Notes>Group>Slur.
Dotted Slur. Use this tool to create a dotted slur across a selected group of notes.
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Tie. Use this tool to tie together any notes of common pitch within a selected group. Using this tool
is the same as grouping notes and choosing Notes>Group>Tie. MIDI playback recognizes tied
notes and plays them properly.
Dotted Tie. Use this tool to tie together any notes of common pitch within a selected group. MIDI
playback recognizes tied notes and plays them properly.
Insert Straight Glissando. Use this tool to create a straight line glissando between two adjacent
notes. Using this tool is the same as selecting two notes and choosing Notes>Group>Glissando -.
Insert Wavy Glissando. Use this tool to create a wavy line glissando between two adjacent notes.
Using this tool is the same as selecting two notes and choosing Notes>Group>Glissando ~.
Group as New Tuplet. Use this tool to group selected notes into a tuplet of any kind. This tool
produces a Tuplets dialog box in which you define the value, style, and characteristics of the tuplet.
We discuss the Tuplets dialog box in Tuplet on page 591. Using this tool is the same as grouping
notes and choosing Notes>Group>Tuplet.
Reapply Tuplet to Group. Use this tool to group selected notes into the type of tuplet last defined
by the Tuplets dialog box. This tool makes it easy to apply common tuplet values quickly to many
groups of notes.
Half Pedal Sign. Use this tool to instruct the pianist to press the damper pedal down at the beginning
of the sign and release it halfway at the half pedal mark (the raised bump). Move the half pedal mark
by placing the cursor over the mark (the drag cursor appears), and dragging it to the desired location.
Ottava va Sign. Use this tool to insert an ottava sign over the selected notes. An 8va ottava sign
indicates that notes under the sign are to be played one octave higher than written.
Ottava vb Sign. Use this tool to insert an ottava sign under the selected notes. An 8vb ottava sign
indicates that notes above the sign are to be played one octave lower than written.
Full Pedal Sign. Use this tool to tell the pianist to press the damper pedal down at the beginning of
the sign and release it at the end. Move the pedal mark by putting the cursor over the sign. The drag
cursor appears. Drag the sign to the new location.
Harp Pedal Sign. Use this tool to enter and edit Salzedo Harp pedal positions.
You can also double-click the harp pedal symbol to open the Harp Pedal Settings dialog box. See
The Harp Pedal Settings Dialog Box on page 144.
Parenthesized Notes Sign. Use this tool to enclose selected notes and chords in parentheses.
Bracket Sign. Use this tool to group notes where you have written some information about them.
Brace Sign. Use this tool to group lyric verses.
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Usi ng t he Gr oups Pal et t e
Use the Groups palette to group notes into slurs, glissandos, tuplets or ties. To use the Groups palette:
1. Select the type of group you want from the Groups palette.
2. Drag a rectangle around the notes you want grouped.
3. Release the mouse button.
Overture groups the notes with the selected musical symbol.
The group symbol has editing handles so you can move or reshape the symbol
immediately after inserting it.
4. Click elsewhere in the score or select another tool to hide the editing handles.
138 Part III: The Tool Bar
Edi t i ng Ti es
You can reshape and reposition any tie in a score.
To change the height of a tie symbols arc:
1. Move the Arrow Cursor over the center of a tie.
The cursor changes into a Drag Cursor when positioned
properly.
2. Drag the center vertically to change the arc of the tie symbol.
drag vertically to change the arc of a tie
To change the position of either endpoint on a tie symbol:
1. Move the Arrow Cursor over either end of a tie.
The cursor changes into a Drag Cursor when positioned properly.
2. Drag the end to change its position in the score.
drag vertically to change distance between the
tie symbol and note heads
drag horizontally to lengthen or shorten the
tie symbol
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To flip the arc direction of a tie symbol:
1. Move the Arrow Cursor over the center of a tie or either of its endpoints.
The cursor changes into a Drag Cursor when positioned properly.
2. Click the tie with the Drag Cursor.
Overture selects the tie and displays its three editing handles.
3. Choose Notes>Flip>Direction.
Overture flips the arc direction of the tie.
4. Reposition the tie mark as desired.
To nudge a tie up or down:
1. Move the Arrow Cursor over a tie.
The cursor changes into a Drag Cursor when positioned properly.
2. Click the tie with the Drag Cursor.
Overture selects the tie and displays its three editing handles.
3. Press an arrow key (left, right, up, or down) to nudge the arc in the indicated
direction.
Edi t i ng Sl ur s
You can reshape and reposition any slur in a score. Each slur has four editing handles that allow you to
bend a slur into most any shape. This section discusses how to edit slur symbols in a score.
Slurs have four editing handles: one at each end of the slur and two control points positioned away from
the curve.
140 Part III: The Tool Bar
To change the shape of a slur:
1. Move the Arrow Cursor over the arc of a slur.
The cursor changes into a Drag Cursor.
2. Drag the cursor to change the shape of the slur.
You can reposition either endpoint by dragging it.
You can change the slurs curvature by dragging anywhere else along the arc.
Overture reshapes the slur as though you had actually dragged its control point.
1. Drag anywhere along the slur to
change its curvature. Overture
reshapes the curve as if you had
dragged the nearest edit handle.
You can even create S-shaped slurs by pushing and pulling on the slur and its
endpoints.
To flip the arc direction of a slur symbol:
1. Move the Arrow Cursor over the arc of a slur.
The cursor changes into a Drag Cursor.
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Edi t i ng Gl i ssandos
You can change the length and slope of any glissando. Editing methods are identical for both the straight
glissando and the wavy glissando.
To change the length or angle of a glissando:
1. Move the Arrow Cursor over either end of the glissando.
The cursor changes into a Drag Cursor when positioned properly.
2. Drag the end either vertically or horizontally to change the slope and/or length of the
glissando.
To change the vertical or horizontal position of a glissando:
2. Click the slur with the Drag Cursor.
Overture selects the slur and displays its four editing handles.
3. Choose Notes>Flip>Direction.
Overture flips the arc direction of the slur.
1. Move the Arrow Cursor over the center of the glissando.
The cursor changes into a Drag Cursor when positioned properly
142 Part III: The Tool Bar
Edi t i ng Tupl et s
Overture allows you to insert many different styles of tuplets, but all can be repositioned and reshaped by
dragging their editing handles.
Editing handles for straight-line tuplet markers are positioned on the corners and immediately below the
number.
drag this handle to lengthen/shorten the
vertical part of the tuplet beam
drag this handle to change the height, length
or slope of the tuplet beam
drag this handle to change the position of
the tuplet number symbol
Editing handles for curved tuplet symbols are positioned around the curve and are used like slur editing
handles.
drag this handle to change the position of
the tuplet number symbol
drag any of these handles to reshape
the tuplet curve
Compl ex Tupl et s
Overture has two complex tuplet figures:
nested tuplets
mixed duration tuplets.
2. Drag vertically or horizontally to change the position of the glissando.
dragging glissando vertically
dragging glissando horizontally
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Nested Tuplets
Use nested tuplets to play the triplet figure below.
To create this nested triplet figure:
1. Enter one eighth note, three sixteenth notes and one eighth note.
2. Use the tuplet tool to convert the three sixteenth notes into a three-in-the-time-of-
two tuplet figure (conventional triplet).
3. Use the tuplet tool again to convert the eighth notes and the sixteenth note triplet
figure into a three-in-the-time-of-two tuplet figure.
The nested tuplet pattern results. The three sixteenth note triplets occupy the same
amount of time as one eighth note of the triplet figure because the sixteenth notes
were already a triplet when they were nested into the enclosing eighth note triplet
figure.
Mi x ed Dur at i on Tupl et s
You can convert a selection containing different durations into a tuplet.
Overture calculates the resulting durations as if each duration were the only duration being converted. For
example:
1. Enter one eighth note, two sixteenth notes and one eighth note.
2. Use the tuplet tool to convert the entire four note passage into a three-in-the-time-
of-two tuplet figure (conventional triplet).
Overture creates the mixed duration tuplet shown below.
The two sixteenth notes occupy the same amount of time as one eighth note of the
triplet figure because they were not triplets prior to their inclusion in the eighth note
triplet figure.
144 Part III: The Tool Bar
The Har p Pedal Set t i ngs Di al og Box
Double click the harp pedal symbol to open the Harp Pedal Settings dialog box. This dialog box provides
an easier environment to manipulate the settings. Changes made to the Harp Pedal Settings dialog box
affect only the symbol being edited, not subsequent insertions of harp pedal markings. Individual harp
pedal markings can be copied and pasted.
Display Type:
Graphic. Display pedal settings as graphic.
Letter. Display pitch names for pedals.
Letter-Split. Display pitch names for pedals on two lines.
Change. Display pitch names for pedal changes.

Pedal Settings:
Up. The pitch for that string is flatted.
Middle. The pitch for that string is natural.
Down. The pitch for that string is sharp.
The string pitches are, from left to right: D, C, B, E, F, G, A. The vertical line divides the first three pitches,
controlled by the left foot, from the last four, controlled by the right foot.
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Ot t ava Di al og Box
Double-click on an ottava sign in the Score window to open the Insert Ottava dialog box.
You can move the Insert Ottava dialog box around the desktop by dragging its title bar.
MIDI playback recognizes ottava markings and transposes notes accordingly.
The left half of the dialog box has three radio buttons where you can select the type of ottava sign you
wish to insert:
8va. Select this type to insert an ottava sign over the selected notes. An 8va ottava sign indicates that
notes under the sign are to be played one octave higher than written.
8vb. Select this type to insert an ottava sign under the selected notes. An 8vb ottava sign indicates
that notes over the sign are to be played one octave lower than written.
15ma. Select this type to insert an ottava sign over the selected notes. A 15ma ottava sign indicates
that notes under the sign are to be played two octaves higher than written.
The right half of the dialog box has a series of check boxes and radio buttons that you use to determine
the appearance of the inserted ottava sign:
Courtesies (8va). If an ottava sign extends across more than one line, checking this option causes a
courtesy mark to be placed in parentheses at the beginning of each additional line.
va, vb, ma. Checking this option places the va, vb, or ma indications after the transposition number
in the inserted ottava sign.
Brackets. Checking this option places a bracket after the ottava sign that extends all the way to the
end of the selected region, where it ends in a downstroke to indicate the end of the passage.
Use brackets when an ottava sign extends over more than one note. If your ottava sign applies to
only a single note, do not check the brackets option.
There are two types of brackets: Dashed and Dotted. Select the dashed option if you want your
bracket to be a dashed line. Select the dotted option if you want your bracket to be a dotted line.
146 Part III: The Tool Bar
Edi t i ng Br ac ket s and Br ac es
Use brackets and braces to enclose a group of notes.
To enter and edit a horizontal bracket:
1. Drag over the notes you wish to group and release the mouse.
to create
2. Drag the control points to change the slope and/or length of the bracket.
To enter and edit a vertical brace or bracket:
1. Click on the top note of the group ( or in white space) and release the mouse.
2.
Drag the control points to change the slope and/or length of the bracket.
to create
Not e:
When dragging notes, the bracket end points will move relative to the notes position.
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Ornaments Button
The Ornaments button always contains the icon of the most recently selected tool.
Ornaments Button
Press and hold the mouse on the Ornaments button to open the Ornaments pop-up menu. To create a
floating palette, tear off the menu. To change a palettes orientation, drag an edge[Mac:bottom right
edge].
Insert Accidental for Trills
Insert Turn
Insert Inverted
Short Mordent
Insert Short
Mordent
Insert Trill 1
Insert Trill 2
Insert Trill Section
Insert Inverted
Insert Fingerings
Long Mordent
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Tool Over vi ew
The following describes each of the tools in the Ornaments palette:
Insert Trills. There are six trill tools. Use the trill 1 and trill 2 marks to indicate a trill (some scores
use different trill marks to indicate different trill directions or trill intervals). Use the Trill Section
tool to insert a scalable trill section. Use the three Trill Accidental tools to indicate accidentals in a
trill mark. Using the Trill Tools on page 149 discusses all of these tools in detail.
Insert Mordents. There are three Mordent tools. Although there are sometimes different schools of
thought, generally the short mordent indicates that you play the first three notes of a downward trill;
the inverted mordent indicates that you play the first three notes of an upward trill; and the inverted
long mordent indicates that you play the first five notes of an upward trill. Select the appropriate tool
to create the desired mordent.
Insert Turn. Use this tool to create a turn (similar to the concluding four notes in a trill).
Insert Fingerings. There are five fingering tools that you can use to indicate which finger should
play a particular note.
Usi ng t he Or nament s Pal et t e
Use the Ornaments palette to place ornaments over individual notes. To use the Ornaments palette:
1. Select an ornament tool from the Ornaments palette.
2. In the Score window, click the note to which you want to add the ornament.
If you click a note and immediately release the mouse button, Overture places the
ornament in its default position.
If you press and hold the mouse on a note, you can manually place the ornament by
dragging it before you release the mouse button.
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If you hold down the Alt[Option] key when you click a note, Overture forces the ornament to go above
the note. If you hold down the Control[Command] key when you click a note, Overture forces the
ornament to go below the note.
Or nament i ng Mul t i pl e Not es
The ornament tool remains selected after you insert an ornament. This allows you to insert multiple
ornaments of a similar type. Additionally, you can apply the same ornament to all the notes in a
contiguous group. To do so:
1. Select an ornament tool from the Ornaments palette.
2. Drag a rectangle around all the notes you wish to ornament.
Overture automatically places the ornament on all selected notes.
Del et i ng Or nament s
There are two ways to delete ornaments:
Click an ornament with the Eraser Cursor.
Select notes with ornaments attached to them and choose Notes>Delete>Articulations. For more
information, see Delete on page 582.
Usi ng t he Tr i l l Tool s
The following sections discuss how to use Overtures Trill tools.
150 Part III: The Tool Bar
I nser t i ng a Tr i l l Mar k
To insert a trill over a note:
1. Select one of the two Trill tools from the Ornaments palette.
2. Move the cursor over the desired note.
3. Click the note.
Overture places the selected trill symbol over the note.
You can force a trill mark to go above a note by holding down the Alt[Option] key when you insert it. You
can force a trill mark to go below a note by holding down the command key when you insert it.
MI DI Not e:
Trill marks affect MIDI playback. Double click on the inserted trill to change its settings box.
I nser t i ng a Tr i l l Mar k w i t h a Tr i l l Sec t i on
Many scores contain the tr mark along with a trill section. To insert a tr mark with a trill section:
1. Select one of the two Trill tools from the Ornaments palette.
2. Move the cursor over the desired note.
3. Press and hold the mouse.
The tr mark appears over the note.
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Addi ng a Tr i l l Sec t i on t o an Ex i st i ng Tr i l l Mar k
Overture lets you add a trill section to an existing tr mark. To do so:
1. Select the Trill Section tool from the Ornaments palette.
2. Move the cursor over the note to which you wish to add the trill section.
3. Press and hold the mouse button.
The trill section appears at its automatic placement position.
4. While still holding the mouse button, drag the mouse to the right or left to
lengthen or shorten the trill section.
5. Release the mouse.
Overture inserts the trill section.
Trill section dragged to
the right to lengthen it
4. While still holding the mouse button, drag the mouse to the right.
Overture begins creating a trill section immediately following the tr mark.
5. Release the mouse button when the trill section is the desired length.
Overture inserts the tr mark along with a trill section.
152 Part III: The Tool Bar
Edi t i ng Tr i l l s
You can reposition any trill mark by dragging it.
To move a tr mark:
1. Select the Arrow Cursor.
2. Move the mouse over a tr mark in your Score window.
The cursor changes into a Drag Cursor when positioned
properly.
3. Drag the mark to reposition it.
If you move a tr mark with a trill section beside it, your edits affect both the tr
and the trill section. Specifically, if you move the tr mark vertically, the trill
section also moves vertically. If you move the tr mark horizontally, the length of
the trill section changes.
If you want to move a trill section up or down without moving the tr mark:
1. Select the Arrow Cursor.
2. Move the mouse over the center of a trill section.
The cursor changes into a Drag Cursor when positioned
properly.
3. Drag up or down to reposition the trill.
Trill section dragged up
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If you want to change the length of a trill section without moving the tr mark:
1. Move the Arrow Cursor over either the right or left end of a trill section.
The cursor changes into a Drag Cursor when positioned
properly.
2. Drag horizontally to change the length of the trill section.
Right end of trill section
dragged to the right, lengthening
the existing trill section.
I nser t i ng an Ac c i dent al i nt o a Tr i l l Mar k
Some trills require accidental signs. These should appear between the tr and the trill section.
To insert an accidental in the trill marking:
1. Select the desired Accidental tool from the Ornaments palette.
2. Move the cursor over the note to which you wish to add the accidental mark.
3. Press and hold the mouse button.
Youll see an accidental mark appear over the note.
154 Part III: The Tool Bar
Tweaking the Appearance
If you like, you can create a gap between the tr and the trill section, then move the accidental mark into
the gap. To do so:
1. Select the Arrow Cursor and move it over the left end of the trill section.
The cursor becomes a Drag Cursor.
2. Drag the left end of the trill section to the right.
This produces a bigger gap between the tr and the trill section.
3. Drag the accidental mark into the gap.
4. While still holding the mouse button, drag the mouse to position the accidental
between the tr and the trill section.
5. Release the mouse.
Overture inserts the accidental for the trill mark.
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Set t i ng Tr i l l Pl aybac k
Double click on a trill to open the Set Trill dialog box.
About t he Set Tr i l l Di al og Box
Use the Set Trill dialog box to define how the trill is to affect playback.
I nt er val Sec t i on
Use this section to set the interval to Diatonic, Half Step, or Whole Step. If you wish to have the second
note played first, set the Auxiliary First check box.
Rat e Sec t i on
Use this section to choose the rate the trill is played.
Dont Trill - Use this to disable playing the trill.
1/8 - 1/64 Use this to set the duration of each note in the trill.
Clocks - Use this to set of the actual number of clocks for each note.
Acceleration - Use this to create a trill that accelerates.
Send Opt i ons
Use the Send Options portion of the Articulation dialog box to send controller data and key switches to
the output device, or even change to another voice within the track.
Send Key Switch
Switch to a another voice
Send Controller Data
156 Part III: The Tool Bar
You can send key switch data to VST players to switch instruments or modes.
You can send controller data to changes MIDI settings or access effects in VST instruments.
You can tell Overture to use the playback charactersitics of another voice within the Tracks Window.
This is useful for sample libraries that do not use keyswitches.
Change Al l Opt i ons
Check these boxes to apply these settings to all of the articulations.
Usi ng t he Mor dent Tool s
To insert a mordent into a score:
1. Select the desired Mordent tool from the Ornaments palette.
2. In the Score window, click the note to which you want to add the mordent marking.
If you click a note and immediately release the mouse button, Overture places the
mordent in its default position.
If you press and hold the mouse on a note, you can drag the mordent to position it
manually.
You can force a mordent to go above a note by holding down the Alt[Option] key when you insert it. You
can force a mordent to go below a note by holding down the Control[Command] key when you insert it.
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Set t i ng Mor dent /Tur n Pl aybac k
Double click on a mordent or turn to open the Set Mordent/Turn dialog box.
About t he Set Mor dent /Tur n Di al og Box
Use the Set Mordent/Turn dialog box to define how the mordent or turn is to affect playback.
Pl aybac k Sec t i on
Use this to set the pattern of notes to be played. If you want the mordent/turn to play, set the Play check
box. If you wish to have the second note played first, set the Lower Mordent/Turn check box.
Send Opt i ons
Use the Send Options portion of the Articulation dialog box to send controller data and key switches to
the output device, or even change to another voice within the track.
Send Key Switch
Switch to a another voice
Send Controller Data
You can send key switch data to VST players to switch instruments or modes.
You can send controller data to changes MIDI settings or access effects in VST instruments.
You can tell Overture to use the playback charactersitics of another voice within the Tracks Window.
This is useful for sample libraries that do not use keyswitches.
Change Al l Opt i ons
Check these boxes to apply these settings to all of the articulations.
158 Part III: The Tool Bar
Usi ng t he Fi nger i ng Tool s
To insert a finger marking into a score:
1. Select the desired Finger tool from the Ornaments palette.
2. In the Score window, click the note to which you want to add the finger marking.
If you click a notehead and immediately release the mouse button, Overture places
the fingering in its default position.
If you press and hold the mouse on a note, you can drag the finger mark to position
it manually.
You can force a finger mark to go above a note by holding down the Alt[Option] key when you insert it.
You can force a finger mark to go below a note by holding down the Control[Command]l key when you
insert it.
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Articulations Button
The Articulations button always contains the icon of the most recently selected tool.
Articulations Button
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Press and hold the mouse on the Articulations button to open the pop-up Articulations menu. To create a
floating palette, tear off the menu. To change a palettes orientation, drag an edge[Mac:bottom right
edge].
Staccatissimo
Inverted Sforzando
Arpeggio
Tremolo 3
Pause
Grand Pause
Sforzando
Tenuto
Sforzando with Staccato
Down Bow
Inv. Fermata
Inverted Sforzando with Staccato
Staccato
Up Bow
Fermata
Down Petal
Marcato
Marcato w/ Staccato
Natural Harmonic Artificial Harmonic
Inv. Up Bow
Tremolo 2
Tremolo 4
Inv. Down Bow
Plus
Tremolo 1
Toe Pedal
Heel Pedal
Toe-to-Heel
Heel-to-Toe
Heavy Attack/
Full Duration
Heavier Attack/
Full Duration
Up Petal
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Ar t i c ul at i ons Pal et t e Tool s
The Articulations palette contains the following tools:
Tenuto. Use this symbol to indicate a pressure accent.
Staccato. Use this symbol to indicate a short, light accent.
Staccatissimo. Use this symbol for exaggerated staccato. This marking indicates a stronger effect
than simple staccato, though is still a light accent.
Marcato. Use this symbol for moderate accents. This is stronger than a Staccatissimo.
Marcato with staccato. Use this symbol for short, moderate accents.
Sforzando. Use this symbol for heavy accents. This is stronger than a Marcato.
Inverted Sforzando. This symbol has the same effect as the Sforzando, but is used below notes.
Sforzando with staccato. Use this symbol for very strong, short, percussive accents (hammered).
This is stronger than a Sforzando.
Inverted Sforzando with staccato. This symbol has the same effect as the Sforzando w/staccato,
but is used below notes.
Heavy Attack/Full Duration. Use this symbol for very strong, full duration accents. This is
stronger than Sforzando w/staccato.
Heavier Attack/Full Duration. Use this symbol for excessively strong, full duration accents. This
is the strongest accent.
Down Bow. Use this symbol in string notation to indicate down bows.
Inverted Down Bow. This symbol has the same effect as the Down Bow, but is used below notes.
Up Bow. Use this symbol in string notation to indicate up bows.
Inverted Up Bow. This symbol has the same effect as the Up Bow, but is used below notes.
Natural Harmonic. Use this symbol to indicate that the note is to be played as a natural harmonic.
Artificial Harmonic. Use this symbol to indicate that the note is to be played as an artificial
harmonic. For example, use this symbol to indicate changing nut position with the first finger while
holding harmonic with the fourth finger.
Plus. Use this symbol with different instruments to indicate different articulation effects. For
example, use this symbol with woodwinds to indicate notes are to be played with a key click; use it
with brass to indicate hand stopping; use it with strings to indicate pizzicato notes played with the
left hand; or use it in jazz scores to indicate a du.
Tremolo 1. If indicating a measured tremolo, place this symbol on a note to indicate an eighth note
tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a very fast
passage.
162 Part III: The Tool Bar
Tremolo 2. If indicating a measured tremolo, place this symbol on a note to indicate a sixteenth note
tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a fast passage.
Tremolo 3. If indicating a measured tremolo, place this symbol on a note to indicate a thirty-second
note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a
moderate tempo passage.
Tremolo 4. If indicating a measured tremolo, place this symbol on a note to indicate a sixty-fourth
note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a slow
passage.
Down Pedal. Use this symbol in piano notation to mark the depression of the damper pedal. MIDI
controller for sustain on will be sent.
Up Pedal. Use this symbol in piano notation to mark the release of the damper pedal. MIDI
controller for sustain off will be sent.
Toe Pedal. Use this symbol in organ notation to indicate use of the toe.
Heel Pedal. Use this symbol in organ notation to indicate use of the heel.
Toe-to-Heel. Use this symbol in organ notation to indicate switching from toe to heel.
Heel-to-Toe. Use this symbol in organ notation to indicate switching from heel to toe.
Pause (Comma). Use this symbol to indicate a very brief pause (such as the length of a breath).
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Grand Pause (Caesura). Use this symbol to indicate a pause at the end of a long phrase or section.
This marking indicates a longer pause than a comma. Convention dictates that you always place a
pause through the top space of a staff.
Fermata. Use this symbol to indicate a long held note or a long pause.
Inverted Fermata. This symbol has the same effect as a Fermata, but is used below notes.
Arpeggio. Use this symbol next to a chord to indicate an arpeggio.
MI DI Not e:
Any of the symbols inserted with the articulation tools can affect MIDI playback. To set the playback
double click on the symbol. The default playback settings are found in the Score>Articulations on page
516 menu.
Usi ng t he Ar t i c ul at i ons Pal et t e
Use the Articulations palette to place articulations (such as staccato, bowing, and pedal marks) into your
score. To use the Articulations palette:
1. Select an articulation tool from the Articulations palette.
2. In the Score window, click the note to which you want to add the articulation.
If you click a note and immediately release the mouse button, Overture places the
ornament in its default position.
If you press and hold the mouse on a note, you can manually place the ornament by
dragging it before you release the mouse button.
If you hold down the Alt[Options] key when you click a note, Overture forces the articulation to go above
the note. If you hold down the Control[Command] key when you click a note, Overture forces the
articulation to go below the note.
164 Part III: The Tool Bar
Ar t i c ul at i ng Mul t i pl e Not es
The articulation tool remains selected after you insert an articulation. This allows you to insert multiple
articulations of a similar type. Additionally, you can apply the same articulation to all the notes in a
contiguous group. To do so:
1. Select an articulation tool from the Articulations palette.
2. Drag a rectangle around all the notes you wish to articulate.
Overture automatically places the articulation on all selected notes.
You can also apply an articulation to any set of selected notes. To do so:
1. Select the notes you want to modify.
2. Tear off the palette.
This is very important. The feature only works when the palette has been torn off.
3. Control[Command]-click on the desired tool.
All selected notes change immediately to reflect the tool used.
Edi t i ng Not es w i t h At t ac hed Ar t i c ul at i ons
In most instances, if you edit a note or stem direction, Overture automatically repositions any attached
articulations based on the notes new position and stem direction.
For example, assume you had the music shown below, and you wanted to flip the stem direction of the
first two notes.
1. Select the notes.
2. Choose Notes>Stem>Stem Down.
Notice that Overture not only flips the stem direction, but moves the staccato
articulations to the correct side of the note head.
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Edi t i ng Ar t i c ul at i on Pl aybac k
Double click any articulation to display its Articulation Playback dialog.
Please read the section on Score>Articulations on page 516 to learn about the settings.
Del et i ng Ar t i c ul at i ons
There are two ways to delete articulations:
Click an articulation with the Eraser Cursor.
Select notes with articulations attached to them and choose Notes>Delete>Articulations. For more
information, see Score>Delete on page 582.
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Usi ng t he Ar peggi o Tool
To insert an arpeggio:
1. Select the arpeggio tool from the Articulations palette.
The cursor becomes a crosshair when you move it over the Score window.
2. Click any note in a chord.
Overture places an arpeggio mark to the left of the chord that spans the entire
length of the chord.
3. If you need to move the arpeggio symbol, drag the top of it to a new location.
Overture repositions the arpeggio wherever you release the mouse button.
4. If you need to resize an arpeggio, drag the bottom of it to the desired length.
Overture lengthens or shortens the wavy arpeggio line when you release the mouse
button.
If you add notes to or delete notes from an arpeggiated chord, Overture automatically resizes the arpeggio
to span the entire length of the chord.
Usi ng t he Tr emol o Tool s
The tremolo tools contained in the Articulations palette are for bowed (or single note) tremolos. If you
want to create tremolos between notes of different pitch, youll need to use tremolo beams. We discuss
these in Score>Tremolo Beams on page 584.
168 Part III: The Tool Bar
To create a single note tremolo:
1. Select the desired tremolo tool from the Articulations palette.
Overture offers four different tremolo tools. We discuss these four tools in
Score>Articulations Palette Tools on page 161.
2. In the Score window, click the note to which you want to add the tremolo.
If you click a note and immediately release the mouse button, Overture places the
tremolo in its default position.
If you press and hold the mouse on a note, you can manually place the tremolo by
dragging it before you release the mouse button.
You can add tremolos to a contiguous group of notes by dragging a rectangle
around them.
MIDI playback is affected by tremolo symbols. Single slashes result in 8th note tremolos. Double slashes
result in 16th note tremolos; triple slashes in 32nd note tremolos, and quadruple slashes in 64th note
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tremolos. You can change the default playback of the tremolo by double clicking on the tremolo and
using the Articulations Playback Dialog. For more information see Score>Articulations on page 516.
NOTATION MIDI PLAYBACK
Usi ng t he Pause Tool s
Put pause marks, unlike other symbols in the articulations palette, not directly above or below a note, but
in the space where the pause is to occur. To put either a pause or a grand pause into a score:
1. From the Articulations palette, select either Pause tool.
2. In the Score window, press and hold the mouse on the note you want to pause
after.
Overture, by default, shows the pause over the note.
3. While still holding down the mouse button, drag the pause to the right to position it
in the score.
Commas go above the staff to the right of the note. Grand pauses go through the
top space of the staff to the right of the note.
4. Release the mouse button to complete the insertion.
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5. Double click on the pause to set its playback.
Set pause to 1/2 second
Play 3 clocks after its
logical time in the bar
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Noteheads Button
The Noteheads button always contains the icon of the most recently selected tool.
Noteheads Button
Press and hold the mouse on the Noteheads button to open the pop-up Noteheads menu. To create a
floating palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right
edge].
Open Fa Closed Fa
Open Do
Closed Do
Open Re
Closed Re
Open Mi
Closed Mi
Open Sol Closed Sol
Open La Closed La
Open Ti Closed Ti
Open Slash Closed Slash
Open Rhythm Closed Rhythm
Standard Head
Rhythmic Slash
Invisible Head
Percussion
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The following describes each of the tools in the Noteheads palette:
Standard Head. This is a standard note head. Use this tool if you want to convert a shaped head
back into a standard head.
Invisible Head. Use this tool to make noteheads invisible. The stem and flags remain; only the
notehead disappears.
Rhythmic Slash Head. Use this head to notate guitar or other strummed instrument parts.
Generally, this head is used to indicate strumming with a specific rhythm. This head usually has a
stem, but no pitch indication.
Percussion Head. Use this head to notate percussion parts.
Open & Closed Rhythm Heads. Use these heads to notate rhythm parts. Open rhythm heads
represent whole notes and half notes; closed rhythm heads represent quarter notes and smaller.
Open & Closed Slash Heads. Use these heads to notate guitar or other strummed instrument parts.
Generally, these heads are placed without stems or pitch, in the center of a staff. The open slash head
represents whole notes and half notes; the closed slash head represents quarter notes and smaller.
Picture Music Heads (Do, Re, Mi, Fa, Sol, La, Ti). Use these shaped notes to indicate pitch. Open
symbols represent whole notes and half notes; black symbols represent quarter notes and smaller.
This notation system is most commonly used in gospel music.
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Usi ng t he Not eheads Pal et t e
To change the shape of a notehead:
1. Select a notehead tool from the Noteheads palette.
2. Position the cursor over the note whose head you wish to change.
The cursor becomes a crosshair when you move it over the Score window.
Click here to change notehead
3. Click the desired note.
Overture automatically changes the notehead.
Notehead changes to selected shape
174 Part III: The Tool Bar
There are actually two fa heads although only one appears in the Noteheads palette. Notation uses
different fa heads depending on whether the stem points up or down. Overture automatically uses the
correct fa head depending on stem direction.
fa head with upward stem
fa head with downward stem
To change the shape of multiple notes:
1. Select the notes you want to modify.
2. Tear off the palette.
This is very important. The feature only works when the palette has been torn off.
3. Control[Command]-click on the desired tool.
All selected notes change immediately to reflect the tool used.
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Tablature Button
The Tablature button always shows the number of the most recently selected fret.
Tablature Button
Press and hold the mouse on the Tablature button to open the pop-up Tablature menu. To create a floating
palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right edge].
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Each tool in the Tablature palette corresponds to a guitar fret number, where 0 is an open string, 1 is the
first fret, 2 is the second fret, etc.
Usi ng t he Tabl at ur e Pal et t e
Use the Tablature palette to replace standard noteheads with fret numbers on a tablature staff. Click one of
the numbers in the Tablature palette and then click on the note head. Overture replaces the standard
notehead with the fret number.
To replace the multiple selected notes with fret numbers:
1. Select the notes you want to modify.
2. Tear off the palette.
This is very important. The feature only works when the palette has been torn off.
3. Control[Command]-click on the desired tool.
All selected notes change immediately to reflect the tool used.
Cr eat i ng Tabl at ur e - Manual l y
Assume you want to notate the following score in tablature notation.
The next few sections outline a step-by-step procedure for creating tablature notation for the figure above.
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Cr eat i ng a Tabl at ur e St af f
You must first create a tablature staff. To do so:
1. Click on the staff where you want the Tablature staff to follow and then choose the
Score> Insert Track menu command.
2. Click on the Tablature radio button. Click on the After current track radio button if
you want the tablature staff to appear below the current staff.
Tablature Staff
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Each line in a tablature staff represents a guitar string. The lowest line represents the low E-string, the
next line up represents the A-string, and so on.
Alternatively, if your score contains an unused staff, you can click within it to select it, choose
Score>Setup Track, then use the Setup Track dialog box to select an Instrument Name of Tablature. See
Setup Track on page 490.
Also, you can create tablature staves for instruments such as four-string and five-string bass guitars by
designing custom staves (as discussed in Staff Display Options on page 500).
3. Choose OK.
Overture inserts a new tablature staff.
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Cr eat i ng Tabl at ur e Not at i on
Now that your score contains a tablature staff, you can begin filling it with notation.
1. Using the Notes palette, enter all the notes onto the tablature staff using the
correct durations. When you click on the guitar string, a note will be entered with
with no stem and a 0 for the note head indicating an open string. Continue to
hold the mouse button down and drag up to increase the number until you reach
the desired fret number. To enter a rest, choose the desired rest duration and click
on the staff. The rest will automatically be hidden.
Remember to place notes on the line that represents the guitar string on which
you want the note played.
2. If you want to show note stems and beams, select the notes and choose
Notes>Stem>Show Stem. Then select the notes and choose Notes>Beam.
Overture shows the stems, flags, and beams.
3. You can also change a fret number by selecting a fret number from the Tablature
palette, and then clicking the notes you wish to change.
Overture replaces standard noteheads with the fret number you select.

180 Part III: The Tool Bar
See also Notes to Tablature on page 609.
Not e:
MIDI playback does not play tablature staves, nor do MIDI transpose commands change their pitch. If
you want MIDI playback of a tablature staff, you must create an additional staff that contains traditional
notation. If desired, you can then hide the traditionally notated staff in your printed score by using the
Score>Hide/Show Staves command as discussed in Hide/Show Staves on page 485.
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Guitar Button
The Guitar button always contains the icon of the most recently selected tool.
Guitar Button
Press and hold the mouse on
the Tablature button to open the pop-up Guitar menu. To create a floating palette, tear off the menu. To
change a palettes orientation, drag an edge [Mac:bottom right edge].
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The Guitar palette contains symbols to accurately notate guitar music. The finger markings and string
numbers suggest the finger or string used to play the notes to which they are applied. The vibrato marking
pops up to allow selection of symbols to denote other effects related to vibrato. You must tear the palette
off to see the pop-up menu
vibrato (or other effects)
finger markings
string numbers
bend up/release
bend up
bend up/release over
pop-up menu
continue until
barre at fret number
tremolo
pre-bend, release
over time
pre-bend,
release
pre-bend
St r i ng Bend Mar k i ngs
You can enter string bend markings into the score without needing to associate them with a note. Each
bend marking includes a bend range number signifying the number of half steps the note is bent.
Alt[Command]-drag the number to alter it within the allowable bend range of -3 to 3 steps. The default
bend is 1/2 step and the resolution is within 1/4 steps.
bend range set at 1/2 step...
...then
Alt[Command]-
dragged to 1 1/4 steps
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When you enter a bend marking, dragging to the right extends the area in which the marking pertains.
Select a bend marking by dragging a rectangle around it with the arrow cursor, or position the cursor over
the marking until you see the drag cursor.
Edit the shape of the bend by dragging the edit handles. You can move selected bend markings using the
arrow keys. Position the mouse over the left end of the bend until you see the drag cursor and
Alt[Command]-drag to move the bend marking. You can move the bend range number independently of
the bend marking by positioning the cursor over the number until you see the drag cursor and dragging
the number.
To summarize the bend markings:
Pre-bend. Bend the string prior to sounding the note.
Pre-bend, release. Bend the string prior to sounding the note, then release it to its normal pitch
during the notes duration.
Pre-bend, release over time. Bend the string prior to sounding the note, then release it to its normal
pitch during the time contained within the dotted marking.
Bend up. Bend the string up after sounding the note.
Bend up/release. Bend the string up and then release it during the note.
Bend up/release over time. Bend the string up and then release it during the time contained within
the dotted marking.
Bar r e at Fr et Number
Enter the barre at fret number symbol by selecting it in the Guitar palette and clicking in the Score
Window.
184 Part III: The Tool Bar
Double-clicking the barre at fret number symbol in the Score Window (not in the Guitar palette) opens
the Barre Settings dialog box.
Use the Barre Settings dialog box to create bar at fret number symbols similar to the one shown below
Fret Number
Dashed Line
Bracket
Type
Amount
The Barre Settings dialog box has numerous elements, as follows:
Type
These radio buttons represent different conventions for showing barre and fret positions. The three barre
settings options in the Type section represent different notation conventions. Showing the B, C, or no
letter differentiates the options in the Type section; the 1/2 is an example of the Amount (number of
strings barred), and II is an example of the fret number referenced. You can edit the actual barre Amount
and fret numbers in the Score Window, as described below.
Show
Barre markings that are extended over time appear with a line that can be Solid, Dashed, or Dotted.
Selecting the Brackets option ends the line with a downward pointing bracket. Alt[Command]-dragging
the bracket end in the Score Window toggles Brackets on and off. If you deselect Brackets, the line still
appears with its selected attribute but with no ending bracket.
Amount
The barre symbol can reference the following groups of strings:
All. Barre all strings. No marking is shown to denote this option.
1/6. Barre the highest string.
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1/3. Barre the 2 highest strings; same as 2/6.
1/2. Barre the 3 highest strings; same as 3/6.
2/3. Barre the 4 highest strings; same as 4/6
5/6. Barre all strings except the lowest string.
Changi ng t he Fr et or Amount
Alt[Command]-dragging the barre at fret mark horizontally changes the fret. It does not change the
Amount setting.
Alt[Command]-dragging the barre at fret mark vertically changes the Amount setting. It does not change
the fret number.
The direction first Alt[Command]-dragged constrains which function you are editing. This eliminates
inadvertent changes to either setting. For example, Alt[Command]-dragging first in a vertical direction
changes only the Amount setting, even if you also drag horizontally.
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Drums Button
The Drums button always contains the icon of the most recently selected tool.
Drums Button
Press and hold the mouse on the Drums button to open the Drums pop-up menu. To create a floating
palette, tear off the menu. To change a palettes orientation, drag an edge[Mac:bottom right edge].
Up Stroke Arrow
Right Sticking
Rudiment
Ghost Note
Circle
Left Sticking Down Stroke Arrow
Plus
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Tool Over vi ew
The following describes each of the tools in the Drums palette:
Rudiment. Use this tool to attach a rudiment to the note.
Ghost Note. Use this tool to indicate that the note is a ghost note.
Circle. Use this tool to place a circle on the head side of the note.
Plus. Use this tool too place a plus on the head side of the note.
Left Sticking. Use this tool to indicate to use the left hand for the stroke.
Right Sticking. Use this tool to indicate to use the right hand for the stroke.
Up Stroke Arrow. Use this tool to indicate to use an up stroke.
Down Stroke Arrow. Use this tool to indicate to use a down stroke.
Usi ng t he Dr ums Pal et t e
Use the Drums palette to attach drum rudiments and articulations to individual notes. To use the Drums
palette:
1. Select an drum tool from the Drums palette.
2. In the Score window, click the note to which you want to add the drum rudiment or
articulation.
If you click a note and immediately release the mouse button, Overture places the
drum rudiment or articulation in its default position.
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Pl ac i ng on Mul t i pl e Not es
The drum tool remains selected after you insert a rudiment or articulation. This allows you to insert
multiple rudiments or articulations of a similar type. Additionally, you can apply the same drum rudiment
or articulation to all the notes in a contiguous group. To do so:
1. Select an drum tool from the Drums palette.
2. Drag a rectangle around all the notes you wish to place the drum
rudiment or articulation on.
Overture automatically places the drum rudiment or articulation
on all selected notes.
Del et i ng Dr um Rudi ment s
There are two ways to delete rudiments:
Click an rudiment or articulation with the Eraser Cursor.
Select notes with articulations attached to them and choose Notes>Delete>Articulations. For more
information, see Delete on page 582.
190 Part III: The Tool Bar
Usi ng t he Dr um Tool s
The following sections discuss how to use Overtures Drum tools.
I nser t i ng a Dr um Rudi ment
To attach a drum rudiment to a note:
1. Select the drum rudiment tool from the Drums palette.
2. Move the cursor over the desired note.
3. Click the note.
Overture attaches the selected rudiment to the note.
4. To change the number of strokes for the rudiment, click and hold on the rudiment
tool to open the popup menu and choose the number of strokes.
5. Move the cursor over the desired note.
6. Click the note.
Overture attaches the selected rudiment to the note.
MI DI Not e:
Drum rudiments affect MIDI playback and are played as grace notes.
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I nser t i ng a Dr um Ar t i c ul at i on
To attach a drum articulation to a note:
1. Select the desired drum articulation tool from the Drums palette.
2. In the Score window, click the note to which you want to add the drum articulation
marking.
If you click a note and immediately release the mouse button, Overture places the
drum articulation in its default position.
You can insert the opposite sticking without changing tools by holding down the Alt[Option] key when
you insert it.
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Jazz Articulations Button
The J azz Articulations Palette always contains the icon of the most recently selected tool.
J azz Button
When the palette is floating,
a menu pops up for these
articulations, allowing you
to change the texture of the
line
rip, wah wah
spill, stab,
fall off
bend
wow wow, shake, grow,
lip trill, wide lip trill
plop
smear
doit
flip
fall off
slide, pick scrape,
gliss down
lift
slide, pick scrape, gliss up
Press and hold the mouse on the J azz Articulations button to open the pop-up J azz Articulations menu. To
create a floating palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom
right edge].
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The J azz Articulations palette contains symbols commonly used for jazz notation. You can drag some of
them to encompass more than one note; you can reposition all. The pop-up menu contains line textures
and shapes to designate different intensities you can associate with their articulations.
Most of the signs have more than one name and meaning. Consult a jazz notation text to learn more about
the terminology and use of jazz articulations. Here is a brief summary of terms:
Lift. Enter note via chromatic or diatonic scale beginning about a third below
Slide. Slide up to a note
Rip. Same as lift
Fall off. Opposite of lift
Flip. Sound note, raise pitch and drop into following note
Smear. Slide into note from below; reach correct pitch before the next note
Bend. Waver rapidly on indefinite pitches
Doit. Sound note then gliss upwards from 1 to 5 steps
Plop. Slide rapidly down diatonic scale before sounding the note
Shake. Vary the tone upwards, much as you do for a trill. Sustain note with vibrato, tremolo, or
feedback effect.
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Dynamics Button
The Dynamics button always contains the icon of the most recently selected tool.
Dynamics Button
Press and hold the mouse on the Dynamics button to open the pop-up Dynamics menu. To create a floating
palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right edge].
mezzo-piano
pianississimo
forte
fortissimo
forzando
piano pianissimo
sforzando
mezzo-forte
fortississimo
double hairpin
hairpin
fortissississimo
sforzato
forte piano
decrescendo text crescendo text
pianissississimo
sforzando piano
sforzando piano
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Tool Over vi ew
The Dynamics palette contains two types of dynamics tools:
Absolute Dynamics tools. use these tools to mark absolute levels of the dynamic scale (such as pp,
mf, ff).
Hairpin tools. use these tools to mark gradual changes in the levels of the dynamic scale (the hairpin
crescendo and hairpin decrescendo).
Usi ng Absol ut e Dynami c s Tool s
The following sections discuss how to insert, copy, and edit dynamic markings and how to define the
playback of the markings.
I nser t i ng Dynami c Mar k i ngs
To insert an absolute dynamic marking:
1. Select the desired absolute dynamics tool from the Dynamics palette.
The cursor becomes a crosshair pointer when you move it over the Score
window.
Select a tool... ... then position the cursor
2. Position the cursor at the point where you wish to insert the dynamic marking and
click.
Overture places the selected dynamic marking at that horizontal point and at the
Dynamics baseline (see Dynamic Positions).
Inserted dynamic marking
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To insert a dynamic mark into all displayed staves in a system:
1. Select the desired absolute dynamics tool from the Dynamics palette.
2. Control[Command]-click the score.
Overture adds the selected dynamic mark to all displayed staves in the system.
Control[Command]-click here...
...to add a dynamic mark
to all staves in the
system
To insert a dynamic mark into all displayed staves in a system as long as they have notes in that measure:
1. Select the desired absolute dynamics tool from the Dynamics palette.
198 Part III: The Tool Bar
Reposi t i oni ng Dynami c Mar k i ngs
To reposition a dynamics mark:
1. Click the Arrow Cursor button to select the Arrow Cursor (or type C on the
keyboard).
2. Drag the desired symbol to its new location.
Control[Command]-click to select more than one dynamic mark.
Shift-drag dymanics to constrain movement to the horizontal or vertical direction
(whichever way you first move the mouse when beginning to drag).
You can select dynamics, as well as text, hairpins, repeats, chords, and Graphics palette objects, as a group
and then drag them all to a new position.
You can drag dynamics anywhere, but they retain their track assignments. To change the track
assignments, delete and reinsert them.
2. Alt[Option]-click the score.
Overture adds the selected dynamic mark to all displayed staves in the system as
long as that measure has notes in it.
Alt[Option]-click here...
...to add dynamic mark to all
staves in the system if the
measure has notes in it
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Copyi ng Dynami c Mar k i ngs
To copy a dynamics mark:
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the keyboard).
2. Control[Option]-drag to copy individual dynamics to another place.
Control[Command]-click to select more than one dynamic mark on the same track.
Shift-Control[Option]-drag to copy the dynamic and constrain movement to the
horizontal or vertical direction first dragged.
Pl aybac k of Dynami c Mar k i ngs
You can use dynamic markings to affect MIDI playback. To do so:
1. Choose Options>Preferences.
Overture opens the Preferences dialog box.
2. Click the Dynamics tab.
The Dynamics tab moves to the front.
3. Set the default values for each dynamic marking.
4. Click OK.
200 Part III: The Tool Bar
Usi ng Cr esc endos and Dec r esc endos
The following sections discuss how to insert and copy crescendo and decrescendo marks and how to edit
their appearance.
Cr esc endo Tex t
You can display crescendo and decrescendo signs as words instead of as symbols. Choose the appropriate
expression from the Expressions palette or the Dynamics palette
I nser t i ng a Hai r pi n
To insert a hairpin crescendo or decrescendo:
1. Select the hairpin tool from the Dynamics palette.
The cursor becomes a crosshair pointer when you move it over the Score
window.
2. Move the cursor to where you want the hairpin to start, then press and hold the
mouse.
3. Drag the mouse left to right to the point where you want the hairpin to end, then
release the mouse.
Overture creates a crescendo.
OR
3. Drag the mouse from right to left.
Overture creates a decrescendo.

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To insert a crescendo followed by a decrescendo:
1. Select the double hairpin tool.
The cursor becomes a crosshair pointer when you move it over the Score window.
2. Move the cursor to where you want the symbol to start.
3. Drag from left to right.
Overture creates a crescendo followed by a decrescendo.
To insert a decrescendo followed by a crescendo:
1. Select the double hairpin tool.
The cursor becomes a crosshair pointer when you move it over the Score window.
2. Move the cursor to where you want the symbol to end.
3. Drag from right to left.
Overture creates a decrescendo followed by a crescendo.
Edi t i ng a Hai r pi n
To move or reposition the hairpin:
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the
keyboard).
2. Move the mouse into the open end of the hairpin.
The cursor becomes a Drag Cursor.
3. Click to select the hairpin.
202 Part III: The Tool Bar
You can select hairpins, as well as dynamics and rehearsal notes and drag them as a group.
You can drag hairpins anywhere, but they keep their track assignments. To change track assignment, delete
and reinsert them.
4. Drag the handle at the closed end of the hairpin to change the slope of the hairpin.
Drag this point up/down to change the hairpins slope.
Drag it left/right to change the hairpins length.
or...
5. Drag either open ended hairpin handle to open or close the opening of the hairpin.
Alt[Command]-drag either of the open ended hairpin handles to move just that stem
of the hairpin.
Alt[Command]-drag
Drag a point to open the hairpin
hairpin stems
or...
a handle to move just one
6. Drag anywhere within the open part of the hairpin to reposition it in the score.
Drag within the open part
to move the entire hairpin
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Copyi ng a Hai r pi n
To copy the hairpin:
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the
keyboard).
2. Move the mouse into the open end of the hairpin.
The cursor becomes a Drag Cursor.
3. Click to select the hairpin.
4. Control[Option]-drag anywhere within the open part of the hairpin to copy it to the
place you want.
Shift-Control[Option]-drag to copy the hairpin and constrain movement to the
horizontal or vertical direction first dragged.
The Edi t Dynami c Di al og Box
Double-click a dynamic in the Score Window to open the Edit Dynamic dialog box.
In the Edit Dynamic dialog box, press and hold the mouse on the Dynamic field to open a pop-up menu
showing all the dynamics settings. Set the Value field to the desired setting. Set the type of playback to
Velocity or Controller. For Controller, choose the Controller Type in the popup menu. Set the Use Voice
to switch to another voice (channel). Select the Play option to use the selected setting during playback.
Select on all voices to have the dynamics playback on all voices. This is useful for Piano Tracks, where the
dynamic is between the two staves and applies to both staves. Select the Change all of this type option to
change other dynamics of the selected type to the selected settings.
204 Part III: The Tool Bar
The Edi t Hai r pi n Di al og Box
Double-click a hairpin in the Score Window to open the Edit Hairpin dialog box.
Set the type of playback to Velocity or Controller. Set the Value fields to start, middle, and ending values
to be used during playback. Optionally choose a Dynamic to be displayed at the start or end of the hairpin.
Select the Play option to use the settings during playback. Select the Change all of this type option to
change other hairpins of the selected type to the selected Values setting. Overture plays hairpins by
sending the MIDI controller data or by changing the note velocities over the duration of the hairpin.
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Pl aybac k of Hai r pi ns
Double-click a hairpin in the Score Window to open the Edit Hairpin dialog box. Enter the values to be
played and select the type of playback. Overture plays hairpins by sending MIDI volume or by changing
note velocities over the duration of the hairpin. In the example below using the values of 50, 60, 70, 80,
90, 100, and 110, if Controller>Volume is selected, the following MIDI volume values will be sent at the
shown measure positions. If Velocity is selected, each note will be played with the velocity shown.
MIDI Volume
Note Velocity
50 70 90 110 100
50 70 90 110 60 80 100
If the type is Velocity, Overture changes the velocity of the notes covered by the range of the hairpin. If the
type is Controller, Overture plays the hairpin by sending these values for the specified controller over the
range of the hairpin. Overture interpolates values between the specified values to give a smooth transition.
Not e:
If you choose Score>MIDI Data Mode and the type is Controller, the hairpin values are shown as
straight lines with control points. To change a value, drag the values control point vertically.
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Text Button
The Text button always contains the icon of the most recently selected tool.
Text Button
Press and hold the mouse on the Text button to open the pop-up Text menu. To create a floating palette,
tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right edge].
Insert Bar Text
Insert Rehearsal Mark
Insert System Text
Insert Page Text
Insert Lyric Text
The Text Style toolbar becomes available whenever youve selected one of the Text tools. Use this
standard toolbar to assign a font to the selected text and to define its size and style.
Font Style
Font AlignmentTransparent &
Opaque Button Buttons Buttons
Font and Size
Popup Menus
Verse Popup
Menu
See Title Page on page 522 of your Overture Users Guide for a more automated way to put various
kinds of text on your score.
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208 Part III: The Tool Bar
Tool Over vi ew
The following describes each of the tools in the Text palette:
Insert Bar Text. This tool inserts text anchored to a specific measure on a specific staff.
Insert System Text. This tool inserts text anchored to the top of a system and to a specific measure.
If you re-arrange a system, the text always stays at the top of the system.
Insert Rehearsal Mark. This tool inserts rehearsal marks in your score. Rehearsal marks are
enclosed in boxes and are anchored to a specific measure and a relative staff location.
Insert Page Text. This tool inserts text anchored to a specific page. This is useful for titles, headers
and footers.
Insert Lyric Text. This tool inserts lyrics anchored to notes. Lyrics move with the notes they are
attached when the measure is being justified or you drag a note horizontally.
Usi ng Bar Tex t
Use bar text for written instructions that apply only to a particular measure and staff. Overture attaches
bar text to both a specific measure and a specific staff as illustrated below:
Bar Text and Measure Example
If you create bar text above the second measure and then insert a new measure before it, the text now
appears above the third measure since it stays attached to its original measure.
Original Line
Same Line after
inserting a new
second measure
Bar Text and Staff Example
If you create bar text on the third staff and then insert two staves above it, the text now appears on
the fifth staff since it stays attached to its original measure.
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I nser t i ng Bar Tex t
To insert bar text:
1. Select the Bar Text tool from the Text Palette.
2. In the Score window, drag a rectangle where you want to position the bar text.
Overture creates an empty text box in your Score window.
3. Type the desired information into the text box.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font
toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
Reposi t i oni ng, Copyi ng, and Edi t i ng Bar Tex t
To reposition bar text:
1. Move the Arrow Cursor over the bar text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Drag the bar text to a new location.
This repositions the text and attaches it to the new measure.
210 Part III: The Tool Bar
To copy bar text:
1. Move the Arrow Cursor over the bar text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Control[Option]-drag to move a copy of the bar text to a new place.
Shift-Control[Option]-drag to copy the bar text and constrain movement of the
horizontal or vertical direction first dragged.
To edit bar text:
1. Move the Arrow Cursor over the bar text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the bar text.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
Usi ng Syst em Tex t
Use system text for written instructions that apply to all staves in a system. Overture attaches system text
to a specific measure and to the top staff as illustrated below:
System Text and Measure Example
If system text is above the ninth measure and you insert eight measures at the beginning of the score,
the system text now appears above the 17th measure since it stays attached to its original measure.
System Text and Staff Example
If you enter system text above the first staff, then add a staff above that, the system text moves to the
topmost staff since system text always appears on the upper staff. No matter where you insert system
text, it always appears on the top staff.
Not e:
If you extract parts from a score that contains system text, each and every extracted part displays the text,
since system text applies to all instruments in a system. For more information about extracting parts, see
Extract Parts on page 453.
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I nser t i ng Syst em Tex t
To insert system text:
1. Select the System Text tool from the Text Palette.
2. In the Score window, drag a rectangle where you want to position the system text.
Overture creates an empty text box in your Score window.
3. Type the desired information into the text box at the cursor.
To resize the text box, drag its lower right corner. To reposition it, drag its upper left
corner.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font
toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
Reposi t i oni ng, Copyi ng, and Edi t i ng Syst em Tex t
To reposition system text:
1. Move the Arrow Cursor over the system text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Drag the text to a new location.
This repositions the text and attaches it to the new measure.
You can select and drag text, as well as dynamics, hairpins, repeats, chords, and Graphics palette objects,
as a group.
To copy system text:
1. Move the Arrow Cursor over the system text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
212 Part III: The Tool Bar
To edit system text:
1. Move the Arrow Cursor over the system text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the text.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
Usi ng Rehear sal Mar k s
Use rehearsal marks to mark a score in various places (such as at certain tempo, key or meter changes, or
at the entrance of prominent solo instruments). Overture attaches rehearsal marks to a specific measure
and a relative staff as illustrated below:
Rehearsal Mark and Measure Example
If a rehearsal mark is above the ninth measure and you insert eight measures at the beginning of the
score, the rehearsal mark now appears above the seventeenth measure (since it stays attached to its
original measure).
Rehearsal Mark and Staff Example
If you enter a rehearsal mark above the first staff, then add three more staves above it, the rehearsal
mark appears on the topmost staff (since it maintains its relative staff position).
I nser t i ng Rehear sal Mar k s
To insert rehearsal marks:
2. Control[Option]-drag to move a copy of the text to a new place.
Shift-Control[Option]-drag to copy text and constrain movement to the horizontal
or vertical direction first dragged.
1. Select the Rehearsal Mark tool from the Text Palette.
2. In the Score window, drag a rectangle where you want to position the rehearsal
mark.
Overture creates an empty text box in your Score window.
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Reposi t i oni ng and Edi t i ng Rehear sal Mar k s
To reposition a rehearsal mark:
1. Move the Arrow Cursor over the rehearsal mark.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Drag the rehearsal mark to a new location.
This repositions the text and attaches it to the new measure.
You can drag a rehearsal mark anywhere, but it keeps its track assignment. To change its track
assignment, delete it and reinsert it.
To edit a rehearsal mark:
1. Move the Arrow Cursor over the rehearsal mark.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the rehearsal mark.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
3. Type your rehearsal mark into the text box.
Generally, rehearsal marks consist of a single number or letter.
To resize the text box, drag its lower right handle. To reposition it, drag its upper
left handle.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font
toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
Overture creates a rehearsal mark, which consists of a rectangular box
surrounding the text you entered.
214 Part III: The Tool Bar
Usi ng Page Tex t
Use the Title Page dialog box to insert titles, instructions, composer credits, copyright notices, headers,
and footers. See Title Page on page 522 for a detailed description of how to use the Title Page dialog
box.
Use Page text to insert any addtional text to be displayed on the page. You can position Page Text
anywhere on the page.
I nser t i ng Page Tex t
To insert page text:
1. Select the Page Text tool from the Text Palette.
2. In the Score Window, drag a rectangle where you want to position the Page Text.
3. Select the type of Page Text you want, as well as specific pagination options.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus.
5. To complete the insertion, select a different tool or click outside the text box.
Reposi t i oni ng, Copyi ng, and Edi t i ng Page Tex t
To reposition page text:
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor unless one of the text tools is selected, in
which case, the cursor becomes an I-beam.
2. Drag the text to a new location.
You can select and drag text, as well as dynamics, hairpins, repeats, chords, and Graphics palette objects
as a group.
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To copy page text:
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor unless one of the text tools is selected, in
which case, the cursor becomes an I-beam.
2. Option-drag to move a copy of the text to a new place.
Shift-option-drag to copy page text and constrain movement to the horizontal or
vertical direction first dragged.
To edit page text:
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Double-click the text.
Overture displays the text box and I-beam cursor.
3. Change the text, font or box size as desired.
To edit page text characteristics by reopening the Page Text dialog box:
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. Option-double-click the text.
Overture opens the Page Text dialog Box.
3. Configure the Page Text dialog box as desired and click the OK button.
216 Part III: The Tool Bar
Usi ng Lyr i c Tex t
Use lyric text for attaching words or syllables to notes. Overture attaches lyric text to a specific note and a
specific voice as illustrated below: When you select the Lyric Tool, the Text Style ToolBar will open. This
is where you choose the font and verse for inserted lyrics. Lyrics are best added after the other symbols
have been added and spacing and alignment for each system has been performed. This is not essential but
can eliminate extra editing when the measure spacing changes due to changes in the measure.
I nser t i ng Lyr i c Tex t
To insert lyric text:
1. Select the Lyric Text tool from the Text Palette.
2. Click below the note to receive the first lyric. A blinking cursor will appear under the note you
clicked. If the blinking cursor is to close to the note head, drag the lyric position indicator at the
left edge of the staff. While dragging the indicator a horizontal dotted line will appear for
reference After adjusting the lyric position indicator you will need to click again near the starting
note for your lyrics.
Overture places a blinking cursor below the note.
Lyric Position Indicator
Blinking Cursor
3. Type the desired lyric text.
Type spaces to separate words and hyphens to separate syllables.
4. To assign a font, drag across the lyric with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus on the
Text Style Toolbar.
5. To complete the insertion, select a different tool or click outside the staff where
there are no notes.
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Addi ng Addi t i onal Lyr i c Ver ses
To add another verse:
1. Click outside the staff where there are no other notes.
2. Change the Verse on the Text Style Bar to Verse 2. Click below the note to receive
the next verse. A blinking cursor will appear under the note below the first verse.
3. Type the desired lyric text as before.
4. To complete the insertion, select a different tool or click outside the staff where
there are no notes.
Font , Si ze, and St yl e
The Font, Size, and Style menus become available whenever youve selected one of the Text tools. Use
the Text tool bar to assign a font to the selected text, and to define its size and style.
Tr anspar ent Tex t
Text entered with any text tool can be either transparent or opaque. You can select which style you prefer
by choosing either Style>Transparent or Style>Opaque. The differences between the two text styles are
outlined as follows:
Transparent Text: Select this style if you want staves and musical symbols to be visible behind the
text.
Opaque Text: Select this style if you want the text to completely cover the staves and musical
symbols behind it.
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Expressions Button
The Expressions button always contains the icon for the Expression tool.
Expressions Button
Press and hold the mouse on the Expressions button to open the pop-up Expressions menu. To create a
floating palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right
edge].
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Usi ng t he Ex pr essi ons Pal et t e
The Expressions button contains a palette of commonly used musical terms. You can enter expressions
anywhere in the Score Window and do not need to apply them to notes as you do other palette tools.
Expressions are, however, owned by the track in which you enter them. Moving an expression to another
track changes its ownership. When you finish moving or entering an expression, the track indicator (see
Status Bar: Page View and Track Controls on page 70) shows the track that owns the expression.
You can create additional Expressions libraries or edit the existing library. Store additional Expressions
Libraries in the Libraries folder, located in the folder that contains Overture. Specify the library to load
when launching Overture in Libraries Preferences. Load another library during an Overture session by
choosing File>Load Library.
You can play expressions by assigning them a controller and value, tempo, or patch.
Click the up scroll arrow to scroll up
through the list of expressions
Click the down scroll arrow to down
through the list of expressions
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The Edi t Ex pr essi on Di al og Box
Double-click an expression in the Score Window to open the Edit Expression dialog box shown below.
You can edit expressions here for changes that are not general enough to make in the library.
Appear anc e
The options in the top half of the dialog box determine how the expression appears. Set the Font, Size,
and Style attributes in the same manner as in other Overture dialog boxes. Select text style attributes by
using the Style pop-up menus. You can change the text for that expression in the Edit Expression dialog
box without affecting future uses of that expression from the palette. You can use this technique to create
an expression that doesnt exist in the library by changing the text to the new expression. You can
permanently alter the text for that expression in the Expression Library by choosing File>Edit
Library>Expressions and changing the text in the library. You can also insert to add expressions or
delete expressions from the library.
Select Extract On All Tracks to include that expression with any extracted track. Select Print Text to
print the expression when that track is selected for printing.
222 Part III: The Tool Bar
Some expressions span several notes. A line shows the time in which the expression is active. Use the
Line Type option to configure how the line appears. TheEnd Cap option determines how the line
terminates. The various options are illustrated in the figure below.
Solid line, no end cap
Dashed line, end cap up
Dotted line, end cap down
Dashed line, end cap up and down
Click an expression to select it and shows its handles. Drag the handle at the end of the line to change its
length.
Double-clicking the expression in the palette that has been torn off, opens a similar dialog box without the
Print Text, Line Type, and End Cap options. Those options are specific to either the track in which you
enter the expression or the type of line present in the expression; you dont know either attribute until you
actually enter the expression in the Score Window.
Pl ayback
You can play expressions in Overture by assigning them an appropriate tempo, patch, program change,
controller and value, key switch, or use the expression to switch playback voice. For example, if an
expression denotes a staccato sound for a guitar, changing the patch to a muted guitar sound might sound
better than creating short note durations. Note: You cant realistically play all expressions you specify.
If you double-click an expression in the Expressions palette, the Patch section contains program change
numbers instead of patch names because Overture doesnt know which track will eventually contain the
expression and to which device the track will be assigned.
The following describes each of the Playback Options:
None. Choose this option if you do not want this expression to affect playback.
Tempo. Choose this option if you want the expression to change the tempo across a range of
measures. Once the expression is entered you can drag its extension line to the exact position in a
measure, where the tempo range ends.
Patch. Choose this option if you want the expression to send MIDI data that changes the sound in a
track.
Playback Voice. Choose this option if you want the expression to force a track to use the playback
setting for a different voice. Ex. If voice 1 (in Tracks List window) is a normal violin sound on
channel 1 and voice 2 is a pizzicato sound on channel 2, an expression entered on voice 1 could force
all notes in voice 1 to start play using voice 2 settings. In other words, send all voice 1 notes out on
channel 2 instead of channel 1. Another expression later on, could force all notes to be played using
the original settings for voice 1.
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Key Switch. Choose this option if you want the expression to send a key switch. Key switches are
used by sample libraries to switch styles within a sample. The popup menu only shows the valid key
switches for this track and voice. If you wish to see all possible key switches, check the appropriate
setting in the Preferences dialog.
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Graphics Button
The Graphics button always contains the icon of the most recently selected tool.
Graphics Button
Press and hold the mouse on the Dynamics button to open the pop-up Dynamics menu. To create a
floating palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right
edge].
rounded
rectangle
line
symbol tool
line beginning and
ending attributes
line thickness
rectangle
oval
curve
solid, dashed, or
dotted
opaque or transparent
wedge
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Usi ng t he Gr aphi c s Pal et t e
The Graphics palette provides standard drawing tools. You can put the shapes anywhere in the Score
Window. Although this does not connect them to notes, it connects them to a track. The track containing
the cursor when you finish drawing or moving a graphic owns that graphic. The track indicator also
shows the track that owns the graphic. See Status Bar: Page View and Track Controls on page 70.
Overture extracts graphics only with the track that owns them.
The solid, dashed, dotted, and thickness attributes affect lines (straight and curved), and borders for the
rectangles and oval. Shift-dragging to create a rectangle (rounded or regular) or oval constrains the shape
to a square or circle, respectively.
You can do the following to selected objects:
Alt[Command]-drag to move the object(s)
Select and drag graphics objects as a group, together with dynamics, hairpins, text, repeats, and
chords
Resize by dragging the handles
Reassign line, border, thickness, or opaque/transparent attributes
Right[Control] click and Choose Set Symbol Color, Playback, etc. to modify the symbol.
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Sel ec t Font Symbol Di al og Box
The symbol tool opens the complete character set for a selected font, allowing you to see all non-
alphanumeric characters and symbols easily. Clicking in the Score Window with the symbol tool selected
opens the Select Character dialog box. You can alter the Style, Font and Size attributes before you enter
the character.
Double-clicking a character previously entered in the Score Window opens the Edit Playback dialog
box.
Clicking a symbol onto a note or rest attaches the symbol to that note or rest.
Clicking a symbol onto blank space attaches the symbol to the measure where you put the symbol.
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Clefs Button
The Clefs button always contains the icon of the most recently selected tool.
Clefs Button
Press and hold the mouse on the Clefs Button to open the pop-up Clefs menu. To create a floating palette,
tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right edge].
Insert Bass Clef
Insert 8va Bassa Clef
Insert Percussion Clef 1
Insert Treble Clef
Insert Modern Tenor Clef
Insert Moveable C-Clef
Insert Percussion Clef 2
Insert Modern Piccolo Clef
Insert Modern Baritone Clef
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Tool Over vi ew
The following describes each of the tools in the Clefs palette.
Insert Treble Clef. Select this tool to insert a treble clef at the insertion point.
Insert Bass Clef. Select this tool to insert a bass clef at the insertion point.
Insert Moveable C-Clef. Select this tool to insert a C-clef at the insertion point. It defaults to an alto
clef (center line), though you can drag it up or down to create a tenor clef, mezzo-soprano clef, or
soprano clef.
Insert Percussion Clefs 1 & 2. Select either tool to insert a percussion clef at the insertion point.
Percussion clefs are used for notating instruments of indefinite pitch (such as drums).
Insert Modern Tenor Clef. Select this tool to insert a modern tenor clef at the insertion point. Notes
following a modern tenor clef sound one octave lower than written. This is particularly useful for the
tenor voice.
Insert 8va Bassa Clef. Select this tool to insert an 8va bassa clef at the insertion point. Notes
following an 8va bassa clef sound one octave lower than written. This is particularly useful for such
transposing instruments as contrabassoon and double bass.
Insert Modern Baritone Clef. Select this tool to insert a modern baritone clef at the insertion point.
Notes following a modern baritone clef sound one octave higher than written. This is particularly
useful for high bass parts that normally would not move to another clef (such as bass voice, baritone
voice, and tuba).
Insert Modern Piccolo Clef. Select this tool to insert a modern piccolo clef at the insertion point.
Notes following a modern piccolo clef sound one octave higher than written. This is particularly
useful for such high transposing instruments as piccolo and xylophone.
Cl ef I nser t i on Rul es
When inserting clefs into a score you need to be aware of the following facts and conventions:
You cannot replace one type of clef with another by simply selecting a new clef and clicking the old
clef. Rather, you must click the old clef with the Eraser cursor, then enter a new clef in its place.
Exception: You can change the very first clef in the very first measure by clicking it with any clef
tool.
When a clef change is to occur at the beginning of a measure, you must insert the clef at the end of
the preceding measure, before the barline.
Exception: You can insert a clef change at the beginning of the very first measure because there is no
measure prior to it.
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Clefs shown to the left of each staff are not clef changesthey are merely courtesy clefs that
illustrate the clef last used in the previous measure. You cannot click these clefs to change them.
Rather, you must insert a clef change at the end of the preceding measure (as mentioned above).
Exception: You can change the very first clef in the very first measure by clicking it with any clef
tool.
You can insert new clefs in the middle of measures as well as at the ends.
When you insert a new clef, Overture uses it to define the pitch of all notes on that staff until it
comes across another inserted clef.
When you insert a new clef, Overture always shifts the vertical positions of the notes that follow, so
that they maintain their correct pitches.
Usi ng t he Cl ef s Pal et t e
Use the Clefs palette to insert clefs onto staves. To use the Clefs palette:
1. Select the type of clef you want from the Clefs palette.
2. In the Score window, click where you desire the new clef.
Overture inserts the clef and automatically shifts the vertical position of any notes
that follow it.
Click here...
...to insert the selected clef here.
232 Part III: The Tool Bar
Usi ng t he Moveabl e C-Cl ef
Overture lets you insert a moveable C-clef that you can drag up or down on the staff. To use the moveable
C-clef:
1. In the Clefs palette, click the moveable C-clef tool to select it.
2. In the Score window, press and hold the mouse at the desired point.
The C-clef will appear.
3. While still holding the mouse button, drag the mouse up or down to change the
position of middle C.
4. Release the mouse when the moveable C-clef is in the desired position.
Overture automatically shifts the vertical position of any notes that follow the
inserted clef.
Original score
Score after
inserting an
alto C-clef
C
C
C
C
Soprano clef (rarely used in modern music)
Mezzo-soprano clef (rarely used in modern music)
Alto clef (commonly used for viola and alto voice)
Tenor clef
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Staves Button
The Staves button always contains the icon of the most recently selected tool.
Staves Button
Press and hold the mouse on the Staves button to open the pop-up Staves menu. To create a floating
palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right corner].
Insert Bass Staff
Cross-Staff Barlines
Insert Treble Staff
Insert Piano & Melody Staff
Group as System
Group With Brace
Group With Bracket
Insert Piano Staff
Insert Tablature
Insert Percussive
Staff
Staff
Insert Tenor Staff
Insert Alto Staff
Tool Over vi ew
The following describes each of the tools in the Staves palette:
Insert Bass Staff. Select this tool to add a single bass staff to your score.
Insert Treble Staff. Select this tool to add a single treble staff to your score.
Insert Tenor Staff. Select this tool to add a single tenor staff to your score.
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Insert Alto Staff. Select this tool to add a single alto staff to your score.
Insert Tablature Staff. Select this tool to add a single, six-string tablature staff to your score.
Insert Percussive Staff. Select this tool to add a single percussive staff to your score.
Insert Piano & Melody Staff. Select this tool to add three staves to your score. The top staff is a
treble staff for a melody line. The bottom two staves (one treble and one bass) are braced for piano
accompaniment.
Insert Piano Staff. Select this tool to add a piano staff (two braced stavesa treble and a bass) to
your score.
Group With Bracket. Select the bracket ([) to connect independent staves into a loose grouping (for
example, bracketing the four staves of a string quartet).
Group As System. Select the system line (|) to connect all the staves in a system.
Cross-Staff Barline. Select this tool to connect barlines between staves.
Group With Brace. Select the brace ({) to connect the different staves representing a single musical
instrument (like the two staves of a piano score).
I nser t i ng St aves
Use the Staves palette to create and insert new staves. To do so:
1. From the Staves palette, select the tool for the type of staff you wish to insert.
2. In the Score window, either click the top part or an existing staff to add the
selected staff(s) above it or click the lower part of an existing staff to add the
selected staff(s) below it.
click in this range to insert the
selected clef(s) above this staff
click in this range to insert the
selected clef(s) below this staff
click in this range to insert the
selected clef(s) above this staff
Cursor in this range
points up to show
where staff will be
inserted
Cursor in this range
points down to show
where staff will be
inserted
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For example, to create a piano staff below an existing staff, select the Piano Staff tool and click just below
the existing staff.
1. Click here with Piano Staff tool.
2. Overture adds a piano staff
directly below the existing staff
for all remaining systems

I mpor t ant :
When you add a staff to a system, Overture adds the staff to all systems, but automatically hides it in all
systems above the current system. This lets you create staves in the middle of the score without having to
hide them manually (as discussed in Hide/Show Staves on page 485).

1. Click here with the Treble Staff
tool to insert a new treble staff
2. Overture creates the new staff
and shows it beginning with the
current system and continuing
to the end of the score.
3. Notice that Overture automatically
hides the new staff in the first
two systems.
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Cr eat i ng Bi g Syst ems
If you add so many staves to a system that Overture can no longer fit the requested number of systems on
the current page, then Overture automatically changes the number of systems on each page to fit the new
number of staves.
For example:
1. Assume you start with the score.
2. Add a staff above the top staff in the top system.
Overture changes the number of systems on a page by wrapping systems to a new
page.
238 Part III: The Tool Bar
Del et i ng St aves
To remove a staff from a score:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
wont need to select this option. Handles are always availabletheyre just
normally invisible. Selecting this option shows you where to click a staff or barline
to edit it.
2. Using the Eraser Cursor, click the editing handle of the staff you want deleted.
1. Click a staffs edit handle
with the Eraser Cursor
2. Overture deletes the staff
Gr oupi ng St aves
Use the Staves palette to create new staff groupings. To do so:
1. From the Staves palette, select the tool for the staff grouping you wish to create.
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Edi t i ng St af f Gr oupi ng Symbol s
You can move a single brace, bracket, or system grouping symbol by dragging it with the Arrow Cursor.
Drag here...
... and Overture
repositions only
that group symbol
2. In the Score window, drag a rectangle around those staves you want grouped.
1. Drag a rectangle around
those staves you want grouped.
2. Overture applies the grouping
across the selected staves.
240 Part III: The Tool Bar
You can move all related braces, brackets, and system grouping symbols for the entire score by
Control[Command]-dragging them with the Arrow Cursor.
Drag here...
... and Overture
repositions every
related group
symbol in the score
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Del et i ng St af f Gr oupi ngs
To remove any staff grouping, click it with the Eraser Cursor.
Click here with
... and Overture deletes
that staff grouping
(a cross-staff barline
the Eraser Cursor...
in this example)
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Barlines Button
The Barlines button always contains the icon of the most recently selected tool.
Barlines Button
Press and hold the mouse on the Barlines button to open the pop-up Barlines menu. To create a floating
palette, tear off the menu. To change a palettes orientation, drag an edge [Mac:bottom right corner].
Insert Double Barline Insert Close Repeat
Insert Fine
Insert Dotted Barline
Insert Standard Barline
Insert Open Repeat
Insert Single Measure Repeat
Insert Double Measure Repeat
Insert Final Ending
Insert First Endings
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Tool Over vi ew
The following describes each of the tools in the Barlines palette.
Insert Standard Barline. Select this tool and click a barline in your score to insert a standard
barline. Use the standard barline to separate the music into measures.
Insert Double Barline. Select this tool and click a barline in your score to insert a double barline.
Use a double barline to partition separate sections of music.
Insert Close Repeat. Select this tool and click a barline in your score to insert a close repeat. Use a
close repeat to indicate the end of a repeating section of music. The close repeat affects MIDI
playback only if you check Options>Play Style>Repeats (as discussed in Repeats on page 634).
If you check the Repeats option and Overture encounters a close repeat, it searches backward
through the score for an open repeat that doesnt have a matching close repeat. It then repeats that
section once. If it doesnt find an un-mirrored open repeat, it repeats from the top of the score. For
more information, see Using the Close and Open Repeat Tools on page 247.
Insert Open Repeat. Select this tool and click a barline in your score to insert an open repeat. Use
an open repeat to indicate the beginning of a repeating section of music. The open repeat affects
MIDI playback as discussed in the previous paragraph (but only if you check Options>Play
Style>Repeats).
Insert Dotted Barline. Select this tool and click in your score to insert a dotted barline. Dotted
barlines are commonly used to subdivide measures of complex rhythm.
Insert Fine. Select this tool and click a barline in your score to insert a Fine. Use a Fine to indicate
the end of a composition or of a movement within it.
Insert Single Measure Repeat. Select this tool and click in your score to insert a single measure
repeat symbol. This symbol means that youre to repeat the preceding measure in its entirety. This
symbol affects MIDI playback.
Insert Double Measure Repeat. Select this tool and click in your score to insert a double measure
repeat symbol. This symbol means that youre to repeat the preceding two measures in their entirety.
This symbol affects MIDI playback.
Insert First Endings. Select this tool and drag across your score to insert a first ending. Overture
automatically names the first ending and inserts a close repeat at the end of it. Use first endings for
any ending in your score except for the final ending. MIDI playback recognizes first endings in your
score only if you check Options>Play Style>Repeats. For more information, see Using the Ending
Tools on page 249.
Insert Final Ending. Select this tool and drag across your score to insert a final ending. MIDI
playback recognizes final endings in your score only if you check Options>Play Style>Repeats.
For more information, see Using the Ending Tools on page 249.
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Usi ng t he Bar l i nes Pal et t e
To change one barline type into another:
1. Select the desired barline tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor close to the barline you wish to change.
Overture changes the existing barline into the type selected in the Barlines palette.
Overture always changes the barline closest to where you click.
Click within this area...
...to change this barline. Click within this area...
...to change this barline.

Ex per t Ti p:
You cannot change an existing barline into a dotted barline. Dotted barlines are used within existing
measures to subdivide complex rhythms. See Using Dotted Barlines below for more information.
246 Part III: The Tool Bar
Usi ng Dot t ed Bar l i nes
Some modern music uses dotted barlines to subdivide irregular meters into useful patterns. These patterns
tell the performer which notes or beats to accent. Here is an example of a
7/8 measure subdivided into a 2+2+3 pattern using dotted barlines.
To insert dotted barlines into an Overture score:
1. Select the Dotted Barline tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor where you want to insert a dotted barline.
Overture inserts a dotted barline.
3. To reposition the barline, simply click its handle (at the top of the barline) and drag it
where you want it.
If you have trouble finding the barline handle, select
Options>Show>Handles. This shows all barline handles.
Usi ng Si ngl e and Doubl e Measur e Repeat s
Overture supports both single and double measure repeats:
Use this symbol to indicate the performer is to repeat the entire previous measure.
Use this symbol to indicate the performer is to repeat the entire previous two measures.
This symbol sometimes indicates the repetition of mixed value beats within a measure.
To insert a single or double measure repeat sign:
1. Select either the Single or Double Measure Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor where you want to insert the repeat.
Overture inserts the selected repeat.
3. To reposition a repeat, select the Arrow Cursor and drag the symbol to the desired
position.

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Usi ng t he Cl ose and Open Repeat Tool s
Overtures MIDI playback recognizes open and closed repeat signs and plays them correctly. Specifically,
when Overture encounters a close repeat it searches backward through the score for an open repeat that
doesnt have a matching close repeat. It then repeats that section once. If Overture doesnt find any un-
mirrored open repeats, playback jumps all the way back to the beginning of the score.
The following examples illustrate how to use repeats and how Overture plays them back.
Si ngl e Repeat s
To insert and playback a single repeat:
1. Select the Close Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click anywhere in the measure to the left of the barline you wish to change.
Overture changes the existing barline into a Close Repeat.
Click anywhere in this measure...
...to insert a
Close Repeat
here.
3. Make sure Options>Play Style>Repeats is checked.
If you dont check this option, MIDI playback ignores all repeats in an Overture
score.
4. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat sign after measure 2 and causes MIDI playback to
jump back to measure 1.
Specifically, Overture plays the measures in the following order:
1->2->1->2->3->4-> etc...
Nest ed Repeat s
To insert and playback nested repeats:
1. Select the Close Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
Ex per t Ti p:
Double click on a repeat to add winged repeats. See section below on winged repeats.
248 Part III: The Tool Bar
Wi nged Repeat s
To insert winged repeats:
2. Click anywhere in the measure to the left of the barline you wish to change.
Overture changes the existing barline into a Close Repeat.
Click anywhere in this measure...
...to insert a
Close Repeat here.
3. Select the Open Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
4. Click anywhere in the measure to the right of the barline you wish to change.
Overture changes the existing barline into an Open Repeat.
Click anywhere in this measure...
...to insert an
Open Repeat here.
5. Make sure Options>Play Style>Repeats is checked.
If you dont check this option, MIDI playback ignores all repeats in an Overture
score.
6. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat sign after measure 3 and causes MIDI playback to
jump back to measure 2.
Specifically, Overture plays the measures in the following order:
1->2->3->2->3->4->...
1. Insert your repeats as shown above.
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Usi ng t he Endi ng Tool s
Overtures MIDI playback recognizes endings and plays them correctly. Overture supports two types of
endings:
First Endings: Use this for the first ending in a song and for any endings other than the songs final
ending.
Final Ending: Use this to notate the final ending in a song.
2. Double click on the repeat that you wish to make a winged repeat.
Overture opens the Repeat Setting Dialog.
Double click on the repeat
3. Check the Winged repeat box and choose OK.
Overture adds a wing to the repeat.
Winged Repeat
250 Part III: The Tool Bar
To create an ending, select one of the ending tools and drag across the Score window beginning at the first
measure in the ending and stopping at the end of the last measure in the ending. You can drag endings
across systems if necessary.
Drag from here...
...to here...
... and notice that Overture automatically
wraps endings across staves
You can place any text you want in an ending. To do so, double-click the upper right corner of an ending
to open the Set Ending dialog box.
Double-click here...
...to open the
Set Ending
dialog box
Use the Set Ending dialog box to put text into an ending. Generally, endings contain only numbers to
identify them, but Overture lets you type any text you want into an ending. You may find it fastest to use
the numbered checkboxes to name endings. For example, if you want the same ending for 1, 3, and 5,
simply check the 1, 3, and 5 checkboxesOverture automatically puts the numbers into the Set Ending
dialog boxs Text field.
You can also define the endings font. Click the font button to open the Font dialog box, which is
discussed in Font Button on page 563.
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Read the next three sections to learn how to create first endings, middle endings and final endings using
the ending tools and the Set Ending dialog box.
Fi r st Endi ngs
To create a first ending:
1. Select the First Ending tool from the Barlines palette.
2. Move the cursor over the Score window.
The cursor becomes a crosshair pointer.
3. Press and hold the mouse at the left edge of the first measure in the ending and
drag to the end of the last measure in the ending.
Overture inserts a first ending, names it 1 and inserts a Close Repeat sign in the
final measure of the ending.
Drag from here... ...to here
252 Part III: The Tool Bar
Mi ddl e Endi ngs
Middle endings are identical to first endings, except theyre notated with an ending number other than 1.
To create a middle ending:
4. Make sure Options>Play Style>Repeats is checked.
If you dont check this option, MIDI playback ignores all repeats in an Overture
score.
5. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat sign after measure 2, causing MIDI playback to jump
back to measure 1. After re-playing measure 1, playback jumps to measure 3.
Specifically, Overture plays the measures in the following order:
1->2->1->3->4->5->...
1. Select the First Ending tool from the Barlines palette.
2. Move the cursor over the Score window.
The cursor becomes a crosshair pointer.
3. Press and hold the mouse at the left edge of the first measure in the ending and
drag to the end of the last measure in the ending.
Overture inserts an ending, gives it the default name of 1 and inserts a Close Repeat
sign in the final measure of the ending.
Drag from here... ...to here
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4. Using the Arrow Cursor tool, double-click the upper-right corner of the ending.
Overture opens the Set Ending dialog box.
Double-click here...
...to open the
Set Ending
dialog box
5. Since this is the second ending in the score, check the 2 checkbox and uncheck the
1 checkbox.
The Text area shows the exact text that will appear in the ending.
6. Click the OK button.
Overture changes the ending number to 2.
7. Make sure Options>Play Style>Repeats is checked.
If you dont check this option, MIDI playback ignores all repeats in an Overture
score.
8. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat signs after measure 1 and measure 2. Specifically,
Overture plays the measures in the following order:
1->2->1->3->1->4->5...
254 Part III: The Tool Bar
Fi nal Endi ngs
To insert a final ending:
1. Select the Final Ending tool from the Barlines palette.
2. Move the cursor over the Score window.
The cursor becomes a crosshair pointer.
3. Press and hold the mouse at the left edge of the first measure in the ending and
drag to the end of the last measure in the ending.
Overture inserts a final ending and gives it the default name of 2.
Drag from here... ...to here
Since this is actually the third ending, youll need to change its number from 2 to 3.
To do so:
4. Double-click the upper-right corner of the ending.
Overture opens the Set Ending dialog box.
5. Check the 3 checkbox and uncheck the 2 checkbox.
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Del et i ng Bar l i nes
You can delete dotted barlines by clicking their edit handles with the Eraser Cursor. Similarly, you can
convert any type of barline (except dotted) into a standard barline by clicking its edit handle with the
Eraser Cursor.
The Barline edit handle is located at the top of the barline, where the barline crosses the top line in the
staff.
Barline Edit Handle.
Click with Eraser cursor to
change this repeat barline
back into a standard barline
Edit handles are always available, but normally hidden unless you select Options>Show>Handles. The
edit handle does not have to be visible in order for you to click it. For more information about editing and
moving barlines, see Changing Bar Widths on page 106.
6. Click the OK button.
Overture changes the ending number to 3.
7. Make sure Options>Play Style>Repeats is checked.
If you dont check this option, MIDI playback ignores all repeats in an Overture
score.
8. Press space to playback the score through a MIDI sound module.
Overture recognizes the repeat signs after measure 1 and measure 2. Specifically,
Overture plays the measures in the following order:
1->2->1->3->1->4->5->6
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Hi di ng St andar d Bar l i nes
You can hide standard barlines by clicking their edit handles with the Eraser Cursor.
Barline Edit Handles
(click with Eraser
cursor to hide
standard barlines)
If you choose Options>Show>Invisibles, Overture displays the hidden barlines in grey (though they still
are invisible when printing).
To make a hidden barline visible again:
1. Select the Standard Barline tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
2. Click the cursor close to the barline you wish to change.
Overture changes the hidden barline into a standard visible barline.
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Transcription Quantize
Amount Button
Use this button to set Overtures transcription quantization level. The button always shows the currently
selected transcription quantize value.
Transcription Quantize Amount button

Not e:
This button does not quantize the actual MIDI datarather it quantizes the transcribed notation of the
MIDI data. MIDI data is unaffected by this button.
Set t i ng a Tr ansc r i pt i on Quant i ze Amount
Whenever Overture converts raw MIDI data into standard music notation, it does so using the value
displayed in the Transcription Quantize Amount button. Therefore, whenever you transcribe raw MIDI
data into notation, you generally select a transcription quantize value that corresponds to the smallest note
value you plan to transcribe. For example, if the smallest note youll transcribe is an eighth note, set a
transcription quantize amount equal to an eighth notethis keeps Overture from misinterpreting any
sloppy playing. Of course, there are exceptions to this rule and theyre discussed in Transcription
Quantization and Manual Transcription on page 260.
Overture interprets triplets of any value equal to or greater than the selected quantize amount. For
example, if you select a sixteenth note quantize value, Overture recognizes and transcribes not only
sixteenth note triplets but also eighth and quarter note triplets.
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To select a transcription quantization value:
1. Press and hold the Transcription Quantize Amount button.
Overture opens a pop-up menu of quantize values.
2. While still holding the mouse button, drag the cursor over the desired quantize level
(highlighting it), then release the mouse button.
Overture sets the transcribe quantization to the selected level and displays your
selection as the buttons icon.

I mpor t ant :
Overtures smallest transcription quantize amount is the straight (non-tuplet) value of the selected
quantize note. Therefore, it is necessary to select a smaller quantize amount when transcribing tuplets.
For example, if you select a transcription quantize amount of a sixteenth note, the smallest triplet note
value Overture transcribes correctly is an eighth note triplet.
Usi ng Tr ansc r i pt i on Quant i zat i on
Whenever you convert raw MIDI data into standard music notation, Overture quantizes the transcription
to the value set by the Transcription Quantize Amount button. The following sections show some
examples using different transcription processes.
Tr ansc r i pt i on Quant i zat i on and Aut o Tr ansc r i pt i on
If your scores are rather simple, you may find it adequate to use Overtures auto transcription feature.
This feature (which you can enable either in the Record Options dialog box, or by checking
Options>Auto Transcribe) automatically transcribes all recorded MIDI data into standard notation
using the value shown in the Transcription Quantize button. The advantage of auto transcription is that it
saves you the additional step of manually converting MIDI data into standard music notation. The
disadvantage is that it doesnt let you selectively transcribe raw MIDI data using different transcription
quantize values. The Auto Transcribe option is discussed in Record Options on page 634.
Tr ansc r i pt i on Quant i zat i on and Manual Tr ansc r i pt i on
If your score is rather complex, you may want to transcribe MIDI data manually. The advantage of
manual transcription is that it lets you selectively choose a transcription quantize amount and voice for
any note or group of notes. For example, if your score contains a few measures of eighth notes, then a few
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measures of sixteenth note triplets, you would find it easiest to transcribe the eighth notes using the eighth
note transcription quantize amount, then transcribe the sixteenth note triplet section using a sixteenth note
triplet transcription quantize amount.
Follow through this example to see how to record and manually transcribe raw MIDI data:
1. Choose Options>Record Options.
Overture opens the Record Options dialog box.
2. Make sure the Auto Transcribe option is unchecked, then click the OK button.
Alternatively, you could simply uncheck the Options>Auto Transcribe option.
3. Type the enter key on number pad key to begin recording.
4. Play some music on your MIDI controller.
5. Type the space or enter key on number pad key to stop recording.
Overture displays the recorded music as raw MIDI data.
6. Select the raw MIDI data you want to transcribe.
You select raw MIDI data exactly as you select standard music notation symbols.
7. Select a note value from the Transcription Quantize Amount pop-up menu.
8. Choose Notes>Transcribe.
Overture transcribes the highlighted MIDI data into standard music notation using
the selected transcription quantize amount. See Transcribe on page 606 for more
information about the Transcribe command.
262 Part III: The Tool Bar
Fi x i ng Tr ansc r i pt i on Quant i zat i on Mi st akes
If you find a transcription quantization error in your score, you can fix it using the Notes>Transcribe
command.
For example, assume your score contains the transcription quantization error below.
Assume you wanted this...
...but because the Transcription Quantize Amount
was set to eighth notes, you got this...
To correct this transcription quantization error:
1. Select the incorrectly transcribed notes.
2. Press and hold the mouse on the Transcription Quantize Amount button.
Overture opens a pop-up menu of transcription quantization amounts.
3. Select the sixteenth note from the pop-up menu.
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4. Choose Notes>Transcribe.
Overture converts the notes into raw MIDI data (as though you chose the Notes to
Raw command), then transcribes them back into standard music notation using a
sixteenth note transcription quantize amount.
Notes re-transcribed
using sixteenth note
transcription quantization
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Part IV
Other Overture Windows
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Transport Window
The Transport window contains buttons to control MIDI recording and playback, and a pop-up menu to
select the MIDI Thru Instrument.
To open the Transport window, choose Windows>Transport.
Thru Device
Record button
Stop button
Play from Beginning
button
Play from Measure
button
Punch In button
Punch Out button
Punch In Point
Bar-Beat-Unit
Punch Out Point
Bar-Beat-Unit
Thru Patch
Countoff Bars
Punch Record button
Rewind button
Tr anspor t Cont r ol s
The five buttons to the left of the Transport window are Overtures Transport Controls.
Use these buttons when you want to play a score using MIDI sound modules, or when you want to record
MIDI data in real-time.
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The table below shows the function of each Transport Control button as well as its key equivalent. Typing
a key equivalent has the same effect as clicking the respective button.
Button Key Equivalent Function

w
Rewind cursor to beginning of score.

ctrl[cmd]+space

MIDI playback from the beginning of the score.

return or space
while playing

Stops either MIDI recording or MIDI playback.

space
MIDI playback from the insertion point (the blinking cursor)

enter
Real-time MIDI recording from the beginning of the active
measure.
Movi ng t he Tr anspor t Cont r ol s f r om t he Tool Bar
To remove the transport controls from the tool bar, click in the drag area and move them out of the tool
bar. They expand into the transport window.
Transport Drag Area
Expanded Transport Controls
To put the transport controls in the tool bar, drag the palette by its title area to the tool bar.
The window shrinks to its four controls and appears in the tool bar. You can put it below the buttons or to
the right of them.
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Punc h Rec or di ng
Hi st or i c al Or i gi ns
The technique of Punch recording originated from tape recording studios. Recording engineers
discovered that they could improve sections or fix mistakes in a recorded track without re-recording the
entire track. They could correct only the area in which the mistake occurred. Punch recording saved time
and conserved the creativity of the musicians by retaining most of an acceptable (or even inspiring)
performance. It didnt require the musician to start from the beginning each time he or she made a small
mistake.
Gener al Pr oc edur e
Punch recording begins by rewinding the tape to the beginning of the section that needs modification.
When the tape starts playing, the musician begins playing as if he or she were recording, in order to get
into the flow of the music. Recording does not actually begin, however, until the engineer punches in to
activate recording. The musician continues playing, blissfully unaware of the mechanics of the process
until the tape arrives at the end of the section being replaced. The engineer then punches out to stop
recording.
Punch Rec or di ng i n Over t ur e
Punch recording is a standard feature in professional MIDI sequencers, and is now available in Overture.
You enable punch recording by first defining a punch region bounded by Punch In and Punch Out points
and then pressing the Punch Record button in the Transport Window. With the cursor located prior to the
Punch In point, press the Record button in the normal manner. Overture begins playback the number of
Countoff Bars (see page 273) prior to the Punch In point but begins recording at the Punch In point.
Overture stops recording at the Punch Out point.
Punch recording lets you improve sections or fix mistakes without either over-writing music outside the
Punch Region or interrupting your performance to punch in and out at the correct times.
In the following sections we discuss three useful methods for setting punch points.
Using the cursor to locate Punch points
Setting Punch points manually
Locating Punch points by playing the score
Whichever method you use, Overture enables Punch recording only when you highlight the Punch
Record button.
I mpor t ant :
In previous versions of Overture, the [ and ] keys reversed and advanced through the chords in the
Chord Input Window. With the addition of Punch recording to Overture the [ and ] keys now set the
Punch In and Punch Out points, respectively, to the current cursor location.
270 Part IV: Other Overture Windows
To Loc at e t he Punc h Poi nt s Usi ng t he Cur sor
The first method uses the location of the cursor in either the Score or Graphic Windows to derive and set
the punch points.
1. In either the Score or Graphic Window, identify the Punch In point by putting the
cursor at the desired place.
2. Press the Punch In button.
Alternatively, press the [ key. The Bar, Beat and Units numericals reflect the
location of the cursor.
3. In either the Score or Graphic Window, locate the Punch Out point by placing the
cursor at the desired location.
4. Press the Punch Out button on the Transport Window.
Alternatively, press the ] key. The Bar, Beat and Units numericals reflect the
location of the cursor.
5. Press the Punch Record button to enable Punch recording.
The button highlights when you enable Punch Record.
Punch In button
Punch Out button
Punch Record button (enabled)
To Set t he Punc h Poi nt s Manual l y
The second method operates directly on the Bar, Beat, and Units numericals in the Transport Window,
assuming the user knows the precise settings for the Punch points.
1. Set the Punch In point by clicking in the top row of the Bar, Beat and Units
numericals.
Type a number or use the mouse to set each numerical field.
2. Set the Punch Out location by operating on the lower row of the Bar, Beat, and
Units numericals.
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To Loc at e t he Punc h Poi nt s dur i ng Pl aybac k
You can easily locate and set punch points using the playback controls in the Transport Window.
1. Place the cursor before the desired Punch In point.
2. Press the Play button on the Transport Window to begin playback.
3. Press the Stop button in the Transport Window when playback reaches the Punch In
point.
Pressing the Play button again also stops playback.
4. Press the Punch In button.
The Bar, Beat, and Units numericals reflect the location of the cursor.
5. Press the Play button to resume playback.
6. When the Punch Out point is reached, press the Stop button.
The cursor is at the Punch Out point.
7. Press the Punch Out button to set the Punch Out point.
8. Enable Punch recording by pressing the Punch Record button.
You can also combine the methods described above to set the Punch points. For example, if playback
stops at a location that is close to, but not at, the desired Punch In point, either adjust the Punch In
numerical fields directly, or click the cursor at the precise Punch In point.
Thr u Devi c e But t on
Use this button to set Overtures Thru Device. The button always shows the name of the currently
selected Device.
Thru Device button
Thru Patch button
If Options>Keyboard Thru is checked (as discussed in Keyboard Thru on page 626), MIDI data
received by Overture gets sent to the device displayed in the Thru Device button. Overture watches for
3. Enable Punch recording by pressing the Punch Record button.
The button highlights when you enable Punch Record.
272 Part IV: Other Overture Windows
MIDI input from any device that you select as an Input Device (as discussed in MIDI Devices on page
637) and passes the MIDI data out to the device that you select as a Thru Device.
This feature allows your master MIDI keyboard to play any device in your studio.
To select a Thru Device:
1. Press and hold the mouse on the Thru Device button.
Overture opens a pop-up menu of all the devices in your current studio setup.
2. Release the mouse over the device you wish to use as a Thru Device.
Overture selects the device as the Thru Device and displays its name in the Thru
Device button.
If you check the MIDI Through Follows Tracks option in the Preferences dialog box (as discussed in
MIDI Through Follows Tracks on page 651), and you select a different track or voice in the Score
window, Overture automatically changes the Thru Device to the device assigned in the Tracks window.
See Chapter 29, Tracks List Window.
Thr u Pat c h
You need to understand Keyboard Thru to use Thru Patch correctly. See Keyboard Thru on page
626.
The Thru Patch pop-up menu selects a patch on the Thru Device.
This feature lets the MIDI controller play different patches and devices thru the computer without
permanently changing the tracks patch setting. For example, if youve already assigned an instrument
that has the correct device and patch settings to the current track and you want to search for a sound to use
for a new track, you can experiment using the Thru pop-up menus without over-writing the patch or
device settings for the current track.
Ex per t Ti p:
You must select Options>Keyboard Thru to transmit the changes made in the Thru pop-up menus to the
MIDI device. You must turn Local Control Off on the MIDI controller (if it generates sound) to use
Keyboard Thru correctly.
You can put changes made using the Thru Patch and Thru Device pop-up menus permanently into the
track by holding down the Control[Command]-key when choosing a new patch and/or device.
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Count Of f
Count Off allows the musician to begin recording at the correct tempo by previewing the metronome
before recording begins. Overture supports a maximum of 8 count off bars. After you click the Record
button, the metronome ticks the specified number of count off bars at the current tempo before beginning
recording. To set the number of count off bars, set the Count Off field to a number between 0 (no count
off) and 8. See page 630 for a complete discussion of the metronome.
Real Ti me MI DI Rec or di ng
Using a MIDI controller, you can record MIDI data directly into Overture. The following sections discuss
the process.
Basi c Set up
Before you record your first track, you need to make sure that your hardware is connected and that all the
software is configured properly. To do so:
1. Make sure you have a MIDI controller and sound source connected to a MIDI
interface, and that the interface is connected to your computer properly.
[On the Mac: Make sure your Audio MIDI Setup document is properly configured.]
2. Choose Options>MIDI Devices.
Overture opens the MIDI Devices dialog box.
3. Select your MIDI controller as an input port in the MIDI Devices dialog box.
4. Click OK.
274 Part IV: Other Overture Windows
Set t i ng Met r onome and Rec or d Opt i ons
Next, you must make decisions concerning metronome use, voice assignments, and other recording
options. To do so:
1. From the Options>Metronome submenu, select if and when you want the
metronome to click.
If you select Click in Record, Overtures metronome clicks for the number of
countoff bars and throughout the entire recording. If you select Click in Countoff
Only, Overtures metronome clicks only during the count off measure. If you dont
select either option, Overture does not play a one-bar countoff before recording and
the metronome will not click at all while Overture records.
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2. If you decide to use the metronome, choose Options>Metronome>Metronome
Sound.
Overture opens the Metronome dialog box.
3. Use the Metronome dialog box to assign a click sound to the metronome.
To learn more about the metronome and its related options, see Metronome on
page 630.
4. Decide whether you want the recorded music to be auto beamed, auto positioned,
or auto transcribed by checking the appropriate options in the Options menu.
We discuss each of these options in detail in Chapter 40, Options Menu.
5. If you decide you want Overture to automatically transcribe the music, select a
transcription quantize value with the Tool Bars Transcription Quantize Amount
button.
For details, see Chapter 27, Transcription Quantize Amount Button.
6. Decide whether or not to check the Options>Keyboard Thru option.
This feature allows you to play a master MIDI controller and hear the output from
any sound module in your studio. Generally, you should select this option if your
MIDI controller and sound module are separate instruments (or you use a
multitimbral keyboard synth with its Local Control turned off). You should uncheck
this option if youre using a single keyboard synthesizer and its Local Control is
turned on. For more information, see Keyboard Thru on page 626.
276 Part IV: Other Overture Windows
7. Using the pop-up menu at the bottom of the Score window, select a Voice to
record.
8. Choose Options>Record Options.
Overture opens the Record Options dialog box.
9. Select the desired record options, then click the OK button.
We discuss the Record Options dialog box in Record Options on page 634.
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Rec or di ng
Youre ready to start recording tracks. To do so:
1. Using the Transport Windows Thru Instrument button, select the MIDI device on
which you wish to record.
2. In the Score window, click the measure and staff at which you want recording to
begin.
3. In the Transport window, click the Record button, or press the number pad Enter
key.
If you checked either the Click in Record or Click in Countoff Only options in the
Options>Metronome submenu, Overture counts off the number of selected
measures, then begins to record. If you didnt check any count off options, Overture
begins to record immediately.
4. Play your MIDI controller.
278 Part IV: Other Overture Windows
5. When youre finished recording, click the Stop button in the Transport window, or
type the space bar or number pad Enter key.
Overture records the MIDI data and transcribes it in the Score window. If you
selected Options>Auto Transcribe, Overture automatically transcribes the music
using the transcription quantize amount set with the Tool Bars Transcription
Quantize Amount button.
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Tracks List Window
The Tracks window defines the characteristics of all the tracks in your Overture score.
To open the Tracks window, choose Windows>Tracks.
Track name
Click triangle to
Click to mute
Click to solo
Specify the MIDI
channel
Select a patch
Set a volume level
with this numerical
Click to set a stem
direction for each voice
Select number of
voices per track
with this numerical
show/hide all voices
Double-click here
to open the Track
Setup dialog box
Drag here to
re-order Tracks
Specify output device
for playing the track
Specify the set of patch
names for the track
Set a transposition
level (in semi-tones)
with this numerical
Set a stereo distribution
with this numerical
Select a bank
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Tr ac k s Wi ndow Over vi ew
The Tracks window is organized as a grid. Each row represents a different track (or voice), and each
column edits a different parameter for that track (or voice). Use the tracks window to:
enable tracks
arrange tracks
assign MIDI playback devices, programs, volume, pan, channels and transposition values to tracks
specify the number of voices in a track
determine voice stem directions in a track
See The Instruments Library and the Tracks Window on page 446 for a way to automate some of these
tasks.
About Voi c es
Each Overture track may contain as many as eight separate voices. A voice is defined as a single rhythmic
line within a track. Some tracks require more than one voice to notate and playback correctly.
Specifically:
If you notate more than one instrument per staff, youll need to use multiple voices to distinguish
between the multiple instruments.
If you notate a polyphonic instrument (such as a piano) that plays different rhythmic lines
simultaneously, youll need to use multiple voices to distinguish between the multiple rhythmic
lines.
See Voice on page 7 for more information about voices and how to use them.
Vi ew i ng Voi c e Assi gnment s
You can view all the voice assignments in a track by clicking the small right-pointing triangle to the right
of the track number. This causes Overture to display all the voice assignments for that track. It also rotates
the small triangle to point downward. You can click the downward-pointing triangle to hide the voice
assignments for a track.
Click the little triangle to view
all the voice assignments
for that track.
Click here to hide all
the voice assignments
for that track.
This numerical determines the
number of voice assignments
that appear for a track.
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Set t i ng t he Number of Voi c es f or a Tr ac k
Use the Voices column numerical to set the number of voices used by each track.
Use this numerical to set the
number of voices used by each track
If a track uses only one voice, set the numerical to 1. If a track uses three voices, set the numerical to 3.
You can assign up to eight voices per track. When you look at a tracks voice assignments, youll see only
as many voices as are defined in the Voices column.
Not e:
If you assign an Instrument name in the Setup Track dialog box, Overture automatically assigns a default
number of voices to that track corresponding to the type of instrument selected. You can override this
default by using the Voices numerical. We discuss the Setup Track dialog box in Setup Track on page
490.
282 Part IV: Other Overture Windows
Set t i ng St em Di r ec t i on f or a Tr ac k or Voi c e
Use the Stem column to set a stem direction for each track or voice.
Use this numerical to set the
stem direction used by each track
There are three possible stem directions:
Auto Stem: Overture determines stem direction based on staff position. Stems point down for any
notes below the middle line and point up for any notes on or above the middle line.
Up Stem: Overture makes all stems point up regardless of staff position.
Down Stem: Overture makes all stems point down regardless of staff position.
To switch between them, simply click the icon in the Stem column until it shows the desired stem
direction.
Auto Stem
Overture determines stem direction
based on staff position
Up Stem
Overture makes all stems point up
regardless of staff position
Down Stem
Overture makes all stems point down
regardless of staff position
(click) (click)
(click)

I mpor t ant :
Setting a direction in the stem column does not change the stem directions of any existing notes in a
track. Rather, it sets the direction for any newly entered notes. If you want to change stem direction of
existing notes, use the Notes>Stem>Stem Up or Notes>Stem>Stem Down commands as discussed in
Stem on page 595.
In general, youll use the Auto Stem direction for either single-voice tracks or for multi-voice tracks that
notate multitimbral instruments, that is, instruments that make more than one sound at a time. For tracks
notating two or more instruments, youll probably want to define a stem direction for each voice so as to
distinguish which instrument plays which voice.
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Devi c e Sel ec t i on f or a Tr ac k or Voi c e
You can assign a different MIDI device to play each separate track. To do so, press and hold the mouse in
the Device column and select a new device from the pop-up menu. This pop-up menu lists every device
defined by your current MIDI Setup.
Press and hold the mouse here...
...to open a Device selection pop-up menu
If you check the MIDI Through Follows Tracks option in the Preferences dialog box (as discussed in
MIDI Through Follows Tracks on page 651), and you select a different track or voice in the Score
window, Overture automatically changes the Thru Instrument to the device assigned in this column.
Set t i ng a Channel f or a Tr ack or Voi c e
MIDI transmits information on 16 channels, 1 through 16. On playback, the channel number directs the
MIDI information to a particular piece of equipment. Specify a number by pressing and holding on the
space, then selecting a number from the pop-up menu.
Bank Sel ec t i on f or a Tr ac k or Voi c e
Choose a bank containing the patches you need for this track. Specify a bank by pressing and holding on
the space, then selecting a number from the pop-up menu.
284 Part IV: Other Overture Windows
Pat c h Sel ec t i on f or a Tr ack or Voi c e
Pick a patch from the pop-up menu.
Press and hold the mouse here...
...to open a patch selection pop-up menu
When Overture plays a track, it sends the patch message to your MIDI device. If you dont want Overture
to change your MIDI devices internal program, set the patch to None.
You can also use Overtures Graphic window to insert MIDI patch information into a score. For more
information about how to insert this and other types of MIDI data, see Using the Controllers Pane on
page 296 [The Strip Chart on page 326 on the MAC].
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Set t i ng Vol ume f or a Tr ac k or Voi c e
You can assign a default MIDI volume level to each track (or voice) by entering it in the Vol column.
Use this numerical to set a default
MIDI volume level for a track or voice
When Overture plays a track, it sends the MIDI volume message to your MIDI device. If you dont want
Overture to set your MIDI devices volume, set the numerical to -.
You can also use Overtures Graphic window to insert MIDI volume changes into a score. For more
information about how to insert this and other types of MIDI data, see Using the Controllers Pane on
page 296 [The Strip Chart on page 326 on the MAC].
Setting Pan for a Track or Voice
Press and hold on the space to open a pop-up menu of possible choices. Select a number between -64 and
+63 to specify a default left-right balance for the track or voice. 0 balances both sides equally.
Set t i ng Tr ansposi t i on f or a Tr ack or Voi c e
You can assign a default MIDI transposition value (in semitones) to each track (or voice) by entering it in
the Pitch column.
Use this numerical to set a default
MIDI transposition amount for a track or voice
This is the same as the Transpose:Playback Numerical in the Setup Track dialog box. It does not affect
the staff; it affects playback only.
When Overture plays a track, it transposes the MIDI data before sending it to your MIDI device. If you
dont want Overture to transpose a tracks MIDI data, set the numerical to 0.
286 Part IV: Other Overture Windows
Mut i ng a Tr ac k
You can mute the playback of any one or more tracks by clicking in the corresponding Mute column.
Click here to either mute or
unmute a track
All muted tracks are indicated by the letter M. To unmute a track, simply click the M in the Mute column.
You can also mute individual voices.
Not e:
Overture ignores muted tracks when exporting to a MIDI file. Therefore, if you want to export an
Overture file but dont want all the tracks included in the exported file, mute those tracks in this
window. For more information, see Export on page 453.
Sol oi ng a Tr ack
You can solo the playback of any one or more tracks by clicking in the corresponding Solo column.
Click here to either solo or
un-solo a track
All soloed tracks are indicated by the letter S. To un-solo a track, click the S in the Solo column. You can
also solo individual voices.
Rear r angi ng Tr ack s
You can change the order of tracks by dragging them to new locations. When you change track order in
the Tracks window, the staves also change order in the Score window.
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To change track order:
1. Press and hold the mouse over the far left of the track you wish to move.
Make sure the cursor is in the far left column, underneath the up/down arrow
indicator ( ).
2. Drag the track to the desired location.
A outline of the track shows where youre moving it.
Outline indicates
Track being moved
3. Release the mouse button when the track is in the desired location.
Overture moves the track in the Tracks window and the corresponding staff in the
Score window.
Repositioned Track
288 Part IV: Other Overture Windows
Openi ng t he Set up Tr ack Di al og Box
You can open the Setup Track dialog box for any track by double-clicking in the far left column,
underneath the up/down arrow indicator ( ).
Double-click here...
...to open the Setup Track
dialog box for the Track
This is the same as clicking a staff selection handle in the Score window and choosing Score>Setup
Track. To learn about the Setup Track dialog box, see Setup Track on page 490.
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Graphic Window (PC)
Overture lets you edit the events in your songs in dozens of different ways. The Graphic Window lets you
add and edit notes, controllers, and automation data interactively, using a graphic display. Overtures
many editing commands can improve the quality of recorded performances, filter out certain types of
events, and modify the tempos and dynamics of your songs.
The Graphic window displays all notes and other events from a single track in a grid format that looks
much like a player piano roll. Notes display as horizontal bars, and drum notes as diamonds. Pitch runs
from bottom to top, with the left vertical margin indicating the pitches as piano keys or note names. Time
runs left to right with vertical measure and beat boundaries. The Graphic window facilitates adding,
editing, and deleting notes.
The Graphic window has two main panes: the Piano Roll view pane and the Controllers pane. When you
first open a Graphic Window, the Piano Roll pane is at the top and the Controllers pane is at the bottom.
Drag the gray splitter bar up or down to display more or less of each pane.
30
The Pi ano Rol l Vi ew
The Piano Roll is so named because it resembles the old rolls of paper used by player pianos. The Piano
Roll consists of a gridthe vertical lines represent bar lines and the horizontal lines indicate pitch. Notes
are represented on the Piano Roll as black, rectangular blocks. The length of the block represents the
duration of the note.
Controllers menu Snap Grid button Tracks menu
Note pane
Splitter bar
Controllers pane
Snap Grid menu
290 Part IV: Other Overture Windows
To open the Graphic window, choose Window>Graphics Window.
Zoom tools let you change the vertical and horizontal scale of the view. Hold the Shift key and click the
zoom tool to jump to the largest or smallest scale.
The Snap Grid button snaps note start times and durations to the snap grid resolution. You can set the
resolution to any note length in the Snap Grid pop-up menu.
Sel ec t i ng and Edi t i ng Not es
To select notes in the Graphics window:
Use the Select tool to select notes
Or
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Click or drag the piano keys to select all notes of the given pitch(es)
Shift-click to add notes to the selection and Control-click to toggle between adding to or removing from
the selection.
You can add notes to your score by clicking in the Note pane with the draw tool . Overture remembers
the velocity, duration, and channel of the note that you most recently moved, edited, or deleted, and uses
these same characteristics for new notes automatically. You can edit notes freely, using the mouse to
change the start time, pitch, or duration. You can move and copy notes anywhere in the track.
You can scrub the current track. The Scrub tool lets you drag a vertical bar over the view so that you
can hear the notes in the track. You can scrub forward or backward at any speed. Scrubbing can be handy
when you want to locate a bad note or listen to the effects of changes you have made without playing
back at normal speed.
To Sel ec t Not es w i t h t he Sel ec t i on Tool
1. Click to select the Arrow cursor.
2. Select notes as shown in the table:
To do t hi s Do t hi s
Select a single note Click on the note
Select several notes at once Drag a rectangle around the notes you want to
select
Add to the selection Hold the Shift key while selecting notes
Toggle the selection Hold the Control key while selecting notes
Selected notes are highlighted in the Note Pane view, and the time selection is set to the
range of note start times.
To Sel ec t Al l Not es of Cer t ai n Pi t c hes
Click the piano keys or note names on the left side of the Note pane as shown in
the table:
To do t hi s Do t hi s
Select all notes of a single pitch Click on the piano key or note name
Select all notes of several pitches Drag across the keys or note names
292 Part IV: Other Overture Windows
To Edi t a Not e
1. Click to choose the Draw tool.
2. Edit notes as described in the table:
To do t hi s Do t hi s
Change the start time Drag the left edge of the note in either
direction. The note duration stays the same,
but the start time is shifted.
Change the pitch Drag the middle of the note up or down.
Change the duration Drag the right edge of the note in either
direction.
If the snap grid is enabled, the start time of each note is restricted to points on the snap
grid, and the length of each note is restricted to multiples of the snap grid. For example,
if the snap grid is set to quarter-note resolution, you can move notes only to quarter-
note boundaries, and you can increase or decrease the duration only by quarter notes.
Add to the selection Hold the Shift key while clicking on a piano key
or note name
Toggle the selection Hold the Control key while clicking on a piano
key or note name
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To Change Not e(s) Vel oc i t y
1. Display the Controllers pane.
2. Select Velocity in the popup menu.
3. Click or type d to choose the Draw tool.
4. Draw a line or curve representing the velocity of the note(s) value you want.
To Move Not es
1. Click or type s to choose the Select tool.
2. Select one or more notes.
3. Drag the selected notes to a new location.
Overture moves the selected notes.
To Copy Not es
1. Click or type s to choose the Select tool.
2. Select one or more notes.
3. Press and hold the Control key.
4. Drag the selected notes to a new location.
Overture copies the selected notes.
To Add a Not e
1. Click or type d to choose the Draw tool.
2. Press and hold the left mouse button in the Notes pane. Overture adds a new note
with the duration and velocity of the last note you edited.
3. Drag the note to the desired location.
4. Release the mouse button.
294 Part IV: Other Overture Windows
To Er ase a Not e
1. Click or type e to choose the Erase tool.
2. Click on any note to delete it.
To Er ase Sever al Not es
1. Click or press e to choose the Erase tool.
2. Drag the cursor across notes to delete them.
3. Release the mouse button when you are done.
To Sel ec t and Er ase Not es
1. Click or press s to choose the Select tool.
2. Select one or more notes.
3. Press the Delete key to delete the notes.
To Sc r ub t he Song
1. Click or press b to choose the Scrub tool.
2. Press and hold the left mouse button in the Notes pane. Overture displays a vertical
line and plays any notes that are underneath the line.
3. Drag the line to the left or right, at any desired speed.
Per c ussi on, Dr um Not es, and Not e Names
If you are editing a track that is routed to a percussion instrument, the Graphics window automatically
configures itself in drum mode. In drum mode, the names of the various percussion instruments replace
the piano keys. This means it is easy to change percussion notes from one instrument to another or to
select and edit the notes played by a single percussion instrument.
To display drum note names:
1. Set the track to a percussion definition.
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The Cont r ol l er Pane Vi ew
The Controllers pane, the lower half of the Graphics window, lets you edit MIDI, controller, velocity, and
pitch wheel data.
MIDI hardware and software use controllers, special types of events, to control the details of how MIDI
music is played. They use automation data to adjust volume, pan, and other parameters of MIDI and
audio tracks on the fly while playback is in progress.
Overture lets you enter or edit controller and automation data using the Controllers pane in the Graphic
window.
Cont r ol l er s
Controllers are the pedals, knobs, and wheels on your electronic instrument that you use to change the
sound while you're playing. For example, a sustain pedal and a modulation wheel are two controllers
commonly found on keyboards.
Controllers let you control the detail and character of your music. Say youre playing a guitar sound on
your synthesizer, but it sounds lifeless and dull. Thats partly because a guitar player doesnt just play
notes one after another he often bends or slides on the strings to put emotion into his playing. You can
use controllers in the same way, creating bends, volume swells, and other effects that make sounds more
realistic and more fun to listen to.
Your computer can work the controllers on your electronic instrument by sending MIDI Controller
messages. The MIDI specification allows for 128 different types of controllers, many of which have
standard usages. For example, controller 7 is normally used for volume events, and controller 10 is
normally used for pan. Every controller can take on a value ranging from 0 to 127.
The Graphic window toolbar contains two drop-down lists, Data type and Controller, that let you choose
the controller or data you want to see and edit. The contents of these lists depend on the port and channel
settings and on the instrument assigned to that port and channel. Different instruments use controllers in
different ways. Overture lets you use instrument definitions to define the names that go with each
controller number. For more information on instrument definitions, see Chapter 43, Instrument
Assignments and Definitions (PC).
Not e:
Overture has automatic searchback for all continuous controller data to ensure that the correct
controller values are in effect regardless of where you start playback. Suppose you start playback
halfway through a song. Overture searches back from that point to find any earlier controller values that
should still apply.
2. Assign an instrument with defined note names.
296 Part IV: Other Overture Windows
Vel oc i t y, Pi t c h Wheel , and Af t er t ouc h
Overture lets you display and edit several other types of data the same way you do controller data. These
data depend on your port and channel settings and on the instruments assigned to them. They may
include, for example:
Velocity. MIDI note velocities
Wheel. MIDI pitch wheel or pitch-bend messages
ChanAft. MIDI channel aftertouch (ChanAft) values
Control. MIDI Controller values
Tempo. Song tempos
Note velocity is an attribute of each note and not a completely separate event. You cannot add or remove
velocity events in the Controllers pane, but you can use the draw and straight line tools to adjust the
velocity values for existing notes. You can also edit velocities with the Notes>Modify Notes command.
To use this command, see Modify on page 575.
Usi ng t he Cont r ol l er s Pane
The Controllers pane is the most powerful and flexible way to edit data. The Controllers pane is the lower
half of the Graphic window. To display the Controller pane, drag the splitter bar at the bottom of the
Graphic window up.
Tools for editing
controllers
Choose the type
of data to edit
Pick the controller
to change
Choose the track
Controllers pane Splitter bar
Snap Grid button
Snap Grid menu
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The Controllers pane looks like a graph; the horizontal axis represents time, and the vertical axis
represents the event values. Each event appears as a single vertical line, and the height of this line shows
the value of the event. The Controllers pane shows events for a single track. You can only see one type of
controller at a time. You can zoom in and out on the Controllers pane using the zoom and unzoom buttons
in the scrollbar. To zoom all the way in or out in a single step, hold the Shift key while you click on the
tool.
Selection methods in the Controllers pane are similar to those in other views. Here is a summary:
Click a controller value to select it
Shift-click to add other controller values to the selection
Ctrl-click to toggle the selection state of a controller
Drag a rectangle around several controller values to select them
298 Part IV: Other Overture Windows
The Controllers pane has the same tools you use to edit notes; use them to add or modify controller
events:
Tool ... Name... What i t s f or...
Select Select controller events, so you can delete them
Line Draw a straight line indicating a steady increase or decrease in
controller value
Draw Draw a custom curve indicating changes in controller value
Erase Erase controller changes already in place
When you use the Draw tool, the speed with which you drag the mouse determines the density of
controller events. To insert a larger number of controller events with relatively small changes in value,
move the mouse slowly. To insert a smaller number of controller events with relatively large changes in
value, drag the mouse quickly.
Creating a change that sounds smooth does not always require making the value change by one on each
unit. Bigger jumps may sound very gradual if the tempo is fast. Also, many devices round off the
controller values. For example, many instruments respond to volume controller values of 100 and 101
with exactly the same loudness. Using too high a density of controller events can backfire by making the
computer work so hard during playback that it is unable to keep up. This will usually cause hiccups or
poor timing during playback.
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To Di spl ay Di f f er ent Types of Dat a
1. Select the track whose controller data you want to see by clicking the track number
in the Track view.
2. Choose Window>Graphic Window to display the Graphic window.
3. Choose the data you want to see. For controllers also choose the controller number.
Overture displays the data in the controllers pane.

To I nser t a Cont r ol l er Val ue
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool or the tool.
3. Click in the Controllers pane view at any desired time point and value.
Overture adds a controller at the indicated point.
To Dr aw a Li near Ser i es of Cont r ol l er s
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool.
3. Drag a line in the Controllers pane from the starting time and value to the ending
time and value.
Overture adds a series of controllers and erases any existing controller values in the same
time interval.

To Dr aw a Ser i es of Cont r ol l er Val ue Changes
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool.
3. Drag the cursor across the Controllers pane, adjusting the value as you move left to
right.
Overture adds a series of controllers and erases any existing controller values in the same
time interval.
Ti p:
When using the tool, you can press and hold the Shift key to draw a straight line.
300 Part IV: Other Overture Windows
To Remove or Er ase Cont r ol l er s
1. Choose the data type and controller (if applicable) from the toolbar menus.
2. Select the tool.
3. Drag the mouse over the desired region to highlight the region you want to erase.
4. Release the mouse button when you have highlighted the desired region.
Overture deletes all controllers of the selected type. You cannot delete velocity events
in the Controllers pane. You must delete the notes that have those velocities.

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Graphic Window (Mac)
Although Overture is not a stand-alone sequencing program, it does offer many powerful MIDI data
editing tools. Among these is the Graphic window, which graphically displays a tracks MIDI data using a
piano roll and strip chart display. Use the Graphic window to edit any MIDI data in any track. Overture
automatically applies any changes you make in the Graphic window to the Score window and vice versa.
To open the Graphic window, chooseWindows>Graphic.
Piano Roll
Zoom To Fit
Button
Pencil
Tool
Selection
Tools
Quantize Cursor Buttons
MIDI Instrument
Track Select
Cursor Position
Display
Ruler
(displays
bar & beat)
Notes (displayed
in raw MIDI form)
Zoom Buttons
Mute and Solo
Buttons
31
302 Part IV: Other Overture Windows
Tr ac k Sel ec t But t on
Use this button to select which track Overture displays in the Graphic window. The button always shows
the name of the currently displayed track (as does the windows title bar).
Track Select
pop-up Menu
To change the track whose MIDI data is displayed in the Graphic window, select a different track from the
Track Select pop-up menu. Specifically:
1. Press and hold the mouse button on the Track Select pop-up menu.
Overture displays a list of all tracks in the active score.
2. While still holding the mouse button, move the cursor over the track you wish to
view.
Overture highlights the track.
3. Release the mouse button.
The graphic window now shows the MIDI data contained in the selected track.
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The Pi ano Rol l
The Piano Roll is so named because it resembles the old rolls of paper used by player pianos.
The Piano Roll consists of a gridthe vertical lines represent bar lines and the horizontal lines indicate
pitch. Notes are represented on the Piano Roll as black, rectangular blocks. The length of the block
represents the duration of the note.
For example, the Piano Roll below contains two notes:
The first is a C3 (indicated by its vertical position), and it occurs on the second beat of the first bar
(indicated by its horizontal position) and lasts for two beats (indicated by its length). The second is a
G3, and it occurs on the third beat of the second bar and lasts for one beat.
304 Part IV: Other Overture Windows
The two measures shown above translate into the standard music notation below.
Cur sor Posi t i on Di spl ay
The Cursor Position display shows both the horizontal and vertical position of the cursor in the Piano
Roll.
Cursor
This shows the horizontal
position of the cursor in
Bars Beats Clocks
This shows the vertical
position of the cursor
by note name
Hor i zont al Cur sor Posi t i on
The horizontal position of the cursor is displayed in Bars Beats Clocks.
Bar number
Beat number
Clock number
Overture indicates the horizontal cursor position with three numbers:
The bar number displays the measure number containing the cursor.
The beat number displays how many beats the cursor is into the measure.
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The clock number displays how many clocks the insertion point is into the beat.

Overture records and plays notes with a resolution of 480 clocks per quarter note, so an eighth note
equals 240 clocks; a sixteenth note 120 clocks, and so on.
The cursor position above indicates that the cursor is at 2 4 240. This means the cursor is in the second
measure and midway through the fourth beat.
Ver t i c al Cur sor Posi t i on
The vertical position of the cursor is displayed as a note name. The MIDI standard supports 128 notes
ranging from C-2 to G8 with Middle C =C3.
Cursor
Cursor
306 Part IV: Other Overture Windows
Quant i ze Cur sor But t ons
Use the Quantize Cursor buttons to limit cursor movements to exact beat values. This is particularly
useful for selecting a range of notes based on exact beat values or for moving notes in exact beat
increments.
Cursor Quantize On/Off
Cursor Quantize Value
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There are two Quantize Cursor buttons:
Cursor Quantize On/Off: Click this button to turn cursor quantization on and off. Cursor
Quantization is ON when the button is highlighted.
Cursor Quantization ON Cursor Quantization OFF
Cursor Quantize Value: Press and hold this button to select the cursor quantization value. This
button always displays the active cursor quantization value.
1. Press and hold to open
a quantization value
pop-up menu.
2. Select a quantization
value from the pop-up
menu.
The following discussion tells why you may wish to turn off cursor quantization:
When cursor quantization is off, the cursor moves at its maximum resolution of 1/480th of a
quarter note. Turning cursor quantization off allows you to move notes with maximum accuracy,
slightly adjusting their timing and, therefore, their feel. Turning off cursor quantization also lets you
select precise, non-quantized editing regions (such as 11225 to 13390).
When cursor quantization is on, the cursor moves across the Piano Roll in discrete increments
equal to the Cursor Quantize value. For example, if the cursor is quantized to quarter notes,
selections will only begin or end upon times like 110, 120, 430, or any others with a clock
value equal to zero. Similarly, if the cursor is quantized to eighth notes, selections will only begin or
end upon times like 12240, 140, 51240, or any others with a clock value equal to either zero or
240. If youre not sure what these numbers mean, please read Horizontal Cursor Position on page
304.
308 Part IV: Other Overture Windows
Zoom But t ons
Use the Zoom buttons to either zoom in for a detailed look at a narrow region of data or to zoom out for
an overview of many measures worth of data. The zoom buttons affect only the horizontal displaythe
vertical display is unaffected.
Zoom In button
Zoom Out button

Not e:
Overture only zooms horizontally; showing more measures as you zoom out or fewer measures as you
zoom in. You cannot change the Graphic windows vertical scalingif you need to see notes that are
outside the pitch range of the window, either use the scroll bar or resize the window.
There are two Zoom buttons. These are discussed in the following two sections.
Zoom I n But t on
Click this button to zoom in on the MIDI data displayed in the Piano Roll. You can click the button
numerous times to zoom closer and closer to specific areas of the Piano Roll.
Using this button is like using a zoom lens on a camerayou have a narrower field of view, but you see
more details within that field of view. Look at the figure below. The top illustration shows the original
Piano Rollnotice that it displays five full measures. The bottom illustration shows the Piano Roll after
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zooming in. Notice that you can now see only one measure, but that you can see much more detail about
the notes within that measure.
Measures Beats
This Piano Roll is zoomed out to show five measures.
This Piano Roll
is zoomed in
to only a single
measure
Zoom Out But t on
Click this button to zoom out from the MIDI data displayed in the Piano Roll. You can click the button
numerous times to display more and more measures in the Piano Roll.
Using this button is like using a wide angle lens on a camerayou have a wider field of view, but the
objects within that field are less detailed. In the figure above the bottom illustration shows the original
Piano Rollnotice that it displays only a single measure. The top illustration shows the Piano Roll after
zooming out. Notice that you can see more measures, but that you see less detail about the individual
notes within the measures.
310 Part IV: Other Overture Windows
Zoom To Fi t But t on
Click this button to fit the current selection width into the Graphic window. Option-click this button to fit
the entire track into the Graphic window.
Zoom To Fit button

Not e:
Overture only zooms horizontally (the time axis). You cannot change the Graphic Windows vertical
scalingif you need to see a greater pitch range of notes, resize the window using its grow box.

For example, assume you have the track below and you want to display only the data in measures 6 and 7.
To do so:
1. Click the I-beam button to select it.
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2. Drag across measures 6 and 7.
Overture highlights all the data in measures 6 and 7.

Drag across ruler with I-beam cursor
to select a region of measures
3. Click the Zoom to Fit button.
Overture automatically zooms in to show the two selected measures.
312 Part IV: Other Overture Windows
MI DI I nst r ument But t on
Use this button to select the MIDI device that Overture uses to play the currently displayed track. The
button always shows the name of the currently selected device.
MIDI Device button
By default, this button displays the MIDI device assigned to the corresponding track in the Tracks
window (as discussed in Device Selection for a Track or Voice on page 283). Selecting a new device
from the Graphic windows MIDI Instrument pop-up menu automatically updates the Tracks window.
To use the MIDI Instrument pop-up menu:
1. Press and hold the mouse on the MIDI Instrument button.
Overture opens a pop-up menu of all the devices in your current Studio Setup
document.
2. Release the mouse over the device you wish to use as a MIDI Instrument.
Overture selects the device as the MIDI playback Instrument for the indicated
track, displays its name in the MIDI Instrument button, and updates the
assignment in the Tracks window.
Mut e & Sol o But t ons
Use these buttons to either mute or solo the track currently displayed in the Graphic window.
Mute & Solo buttons
These buttons have the same effect as checking the corresponding column in the Tracks window (as
discussed in Muting a Track on page 286 and Soloing a Track on page 286).
When you mute a track, its ignored during MIDI playback. When you solo a track, only it and any other
soloed tracks play during MIDI playback.
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Sel ec t i on Tool s
There are two different selection tools:
Marquee tooluse this tool to drag a rectangle around those notes you wish to select.
I-beam tooluse this tool to select all notes in either a time range or a pitch range.
The following section discusses common note selection techniques (regardless of which selection button
you click). The sections following that discuss each of the two selection tools in detail.
Common Sel ec t i on and Edi t i ng Techni ques
Selecting and editing individual notes is the same regardless of which selection mode you choose.
When you move the cursor over the left portion of a note in the Piano Roll, the cursor turns into a Move
cursor ( ). Drag the note to the left or right to change its beginning point.
Move Cursor
Option-drag the note to copy it.
314 Part IV: Other Overture Windows
When you move the cursor over the middle portion of a note in the Piano Roll, the cursor turns into a
Transpose cursor ( ). Drag the note up or down to change its pitch. Notes dragged in the Graphic
window always change chromatically.
Transpose Cursor
When you select more than one note (see below) and option-drag a note in the selection vertically,
Overture transposes the entire selection.
When you move the cursor over the right portion of a note in the Piano Roll, the cursor turns into a
Duration cursor (+<>). Drag the end of the note left or right to change its duration.
Duration
Cursor
To select a note, click it (it doesnt matter which cursor appears when you move it over the note). To
select more than one note, hold down the shift-key as you click each additional note. Selected notes
appear hollow rather than solid.
Any notes you select in the Graphic window are automatically selected in the Score window. Similarly,
any notes you select in the Score window are automatically selected in the Graphic window.
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Sel ec t i ng Not es Wi t hi n a Pi t c h Range
To select all notes within a specified pitch range:
1. Move the cursor into the Piano Rolls left margin.
The cursor becomes a sideways I-beam ( ) regardless of which
selection tool is enabled.
2. Press and hold the mouse at one end of the desired pitch range
and drag to the other end.
3. Release the mouse button.
Overture selects all notes that fall within the selected pitch range.
Sel ec t i ng al l Not es of a Si ngl e Pi t c h
To select all notes of a single pitch:
1. Move the cursor into the Piano Rolls left margin.
The cursor becomes a sideways I-beam ( ) regardless of which selection tool is
enabled.
Drag the
cursor in the
margin to
select a range
of notes
Selected notes
within the
specified
pitch range
316 Part IV: Other Overture Windows
Mar quee Tool
Click the Marquee tool to select it.
Marquee tool
When you select the Marquee tool, Overtures cursor turns into a cross-hair when you move it over the
Piano Roll.
2. Click the desired pitch.
Overture automatically selects all notes of that pitch.
Click a note in
the left margin
to select
all notes of that
pitch in the track
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Use the Marquee tool to select notes in a rectangular area. To do so:
1. With the Marquee tool selected, press and hold the mouse at one corner of the
desired rectangular selection.
2. While still holding the mouse button, drag diagonally to the opposite corner.
318 Part IV: Other Overture Windows
Zoomi ng w i t h t he Mar quee Tool
If you hold down the option key while dragging with the Marquee tool, Overture automatically zooms the
Graphic window in on the selection.
I -beam Tool
Click the I-beam tool to select it.
I-beam button
When you select the I-beam tool, Overtures cursor turns into an I-beam when you move it over the Piano
Roll.
Use the I-beam tool to select:
all notes within a region of time
all MIDI data within a region of time
Not e:
Do not confuse this I-beam tool with the Select tool in the Strip Chart. We discuss the Strip Charts
Select tool in The Strip Chart Select Tool on page 331.
The following sections discuss each I-beam selection technique.
3. Release the mouse button.
Overture selects all notes that begin within the rectangle.
Overture selects all
within the rectangle
This note is not
selected since it
doesnt begin
within the rectangle
notes that begin
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Sel ec t i ng Not es i n a Ti me Regi on
To select all notes within a region of time:
1. With the I-beam tool selected, press and hold the mouse at the desired start time
anywhere within the Piano Roll.
I-beam Cursor
(vertical placement
is unimportant)
2. While still holding the mouse button, drag to the desired end time.
320 Part IV: Other Overture Windows
Sel ec t i ng Al l MI DI Dat a i n a Ti me Regi on
To select all MIDI data (including notes, pitch bend, continuous controls, and the like) within a region of
time, drag the I-beam cursor across the top of the Piano Roll.
Dragging in this area
selects ALL types
of MIDI data (not
just notes)

Not e:
You can use the Strip Chart to view and edit all the various types of non-note MIDI data. The Strip
Chart is located just below the Piano Roll in the Graphic window. To learn to use the Strip Chart, see
The Strip Chart on page 326.
3. Release the mouse button.
Overture selects all notes that begin within the time range.
Overture selects all
the notes that begin
within the selected
time range
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Penc i l Tool
Click the Pencil tool to select it. Use the Pencil tool to insert notes into the Piano Roll.
Pencil button
Where you click in the Piano Roll determines the start time and pitch of any notes entered with the Pencil
tool. The Insert window (see below) determines the duration and velocity of inserted notes.
Not e:
Do not confuse this Pencil tool with the Pencil tool in the Strip Chart. We discuss the Strip Charts Pencil
tool in The Strip Chart Pencil Tool on page 332.
To insert notes with the Pencil tool:
1. Double-click the Pencil tool.
Overture opens the Insert window.
2. Set the note size, duration and velocity of the note you wish to enter.
We discuss this Insert window in detail in About the Insert Window below.
322 Part IV: Other Overture Windows
About t he I nser t Wi ndow
The Insert window has three elements:
Size parameters
Duration parameters
Velocity numerical
We discuss these in the following sections.
Si ze Par amet er s
Use this portion of the window to set the size of the note you wish to insert. Select a note size from the
pop-up menu or set the size (in clocks) using the Clocks numerical.
If you wish to insert a tuplet, check the Tuplet option and use the numericals to set the X in the time of
Y value of the tuplet.
3. Move the cursor into the Piano Roll.
The cursor turns into a note.
4. Move the cursor to the desired pitch and start time of the note you wish to insert.
You may find it helpful to use the Cursor Position Display (as discussed in Cursor
Position Display on page 304) or to use a quantized cursor (as discussed in
Quantize Cursor Buttons on page 306).
Not e:
You can select individual notes when the Pencil tool is active. Move the cursor over a note and one of
the Move, Transpose, or Duration cursors appears, depending on where you position the cursor. For
more information about selecting notes this way, see Common Selection and Editing Techniques on
page 313.
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For example, to insert eighth note triplets, first select an eighth note from the Size pop-up menu, check
the Tuplet check box, then specify 3 in the time of 2.
Dur at i on Par amet er s
Use this portion of the window to set the actual length of the note you will enter.
A notes duration is different from its size. The duration is the actual length of the note, and the size is the
amount of time the counter will advance. The space between notes is called the gap.
Size
Gap
Duration
Size arrow demonstrates
size (as opposed to
duration) of note below.
You can specify a Duration either as a Percent of note size or as a Constant Gap by selecting it from the
Duration pop-up menu.
324 Part IV: Other Overture Windows
If you select Percent from the Duration pop-up menu, the Insert window shows a numerical with which
you set a percentage of note size. For example, if you have a note size of a sixteenth note (120 clocks),
and you set the duration to 90%, Overture will insert a note with a length of 108 clocks (90% of 120).
Duration parameters in
Percent Mode
If you select Constant Gap from the Duration pop-up menu, this window shows a Gap size pop-up menu
and a Gap size numerical (in clocks).
Duration parameters in
Constant Gap Mode
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In Constant Gap mode, use the Duration parameters (either the Gap Size pop-up menu or Clocks
numerical) to set an equal space between all notes entered by the Pencil tool (regardless of note size).
Constant Gaps
Vel oc i t y Numer i c al
Use this numerical to set the key velocity of the inserted note. MIDI velocity values can be between 1
(softest) and 127 (loudest).
Velocity numerical
326 Part IV: Other Overture Windows
The St r i p Char t
The Strip Chart is a powerful portion of the Graphic window. You use it to view and edit graphically
MIDI data that you cant otherwise see. Use the Strip Chart to display and edit graphically such track
properties as:
key velocity
note duration
pitch bend
modulation wheel, volume or other continuous controller event
program changes
sustain pedal
aftertouch
tempo, and more
Openi ng t he St r i p Char t
When you first open a Graphic window, the Strip Chart is hidden. There are two ways to open a Strip
Chart:
Click the Strip Chart toggle at the bottom of the windowthe Strip Chart opens showing the data
type last displayed in the Strip Chart.
Or...
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Choose an event type from the Strip Chart pop-up menua Strip Chart opens showing the selected
data type.
Press and hold to open
pop-up menu of all
types of Strip Chart events
The Strip Chart displays each MIDI event as a rectangle. The height of the rectangle determines the value
of the MIDI event; the left edge of the rectangle determines the start time of the event; and the width of
the rectangle determines the duration of the MIDI event.
Select Tool
Pencil Tool
Variable Tool
Edit Shapes
pop-up
Strip Chart
pop-up
Controller Type
pop-up
Density Setting
Strip Chart
Toggle
Strip Chart
pop-up
MIDI Data
Events
menu
menu menu
menu
Your Strip Chart may look different from the one above since not all Strip Chart elements are applicable
to all data types. The following sections discuss how to use the Strip Chart and its various elements.
328 Part IV: Other Overture Windows
St r i p Char t Pop-up Menu
The Strip Chart can display many different types of events. Use the Strip Chart pop-up menu to select the
event type displayed in the Strip Chart.
Not e:
The text displayed in the Strip Chart pop-up menu indicates the type of data currently displayed in the
Strip Chart. The pop-up reads Strip Chart only if no Strip Chart is present.
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To select an event type:
1. Move the cursor over the Strip Chart pop-up menu at the top of the Graphic
window.
2. Press and hold the mouse to open a pop-up menu.
3. From the pop-up menu, choose the type of MIDI data you want to display.
The Strip Chart changes (or opens) to display data of the selected type. The Strip
Chart is blank if no data exists.
The Strip Chart displays information for only one track. Inserting events in the Strip Chart places the
events in the displayed track.
If you choose No Strip Chart from the pop-up menu, Overture hides the Strip Chart in the Graphic
window, giving more room to the Piano Roll display.
Cont r ol l er Type Pop-up Menu
If you select a controller event from the Strip Chart pop-up menu, Overture displays a second pop-up
menu that you use to select the type of controller you want to display.
Controller Type
Pop-up Menu
Strip Chart
Pop-up Menu
330 Part IV: Other Overture Windows
The Strip Chart pop-up menu lets you select some of the more popular controller events directly. You can,
however, use the Controller Type pop-up menu to view any MIDI controller.
St r i p Char t Toggl e
Click the Strip Chart Toggle to either show or hide the Strip Chart. If the Strip Chart is open, clicking the
toggle will hide it. If the Strip Chart is hidden, clicking the toggle opens it to display the most recently
selected data.
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The St r i p Char t Sel ec t Tool
Use this tool to select a range of data only within the Strip Chart.
Not e:
Do not confuse the Strip Chart Select tool with the Graphic windows
I-beam tool. We discuss the Graphic windows I-beam button in I-beam Tool on page 318.
To use the Strip Chart Select tool:
1. Click the Strip Chart Select tool.
Overture disables the Edit Shapes pop-up (discussed in Edit Shapes Pop-up Menu
on page 339), since it has no effect on the use of this tool.
2. Move the cursor into the Strip Chart.
The Cursor becomes an I-beam.
332 Part IV: Other Overture Windows
You can also select a range of Strip Chart values by dragging the I-beam cursor vertically in the Strip
Charts left margin.
The St r i p Char t Penc i l Tool
Use the Strip Chart Pencil tool to draw new data values in the strip chart. The Pencil tool works in
conjunction with the Edit Shapes pop-up menu (discussed in Edit Shapes Pop-up Menu on page 339).
3. Drag the cursor horizontally to select all Strip Chart events in a time range.
Notice that only Strip Chart events are selected. The Select tool does not select
MIDI notes in the Piano Roll.
Not e:
Do not confuse the Strip Charts Pencil tool with the Graphic windows Pencil tool. We discuss the
Graphic windows Pencil tool in Pencil Tool on page 321.
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To use the Strip Chart Pencil tool:
1. Click the Strip Chart Pencil tool.
2. Select a shape from the Edit Shapes pop-up menu.
We discuss this pop-up menu in detail in Edit Shapes Pop-up Menu on page 339.
This example assumes youve selected the Straight shape ( ).
3. Move the cursor into the Strip Chart.
The cursor becomes a pencil.
4. Drag the pencil to draw a line of the selected shape.
In this example, the pencil draws a straight line because the Straight shape is
selected. You can select other shapes.
5. Release the mouse.
Overture sets the Strip Chart data to the values drawn by the mouse.
When you use the Pencil tool to edit any continuous event (except Tempo, which is generated every
eighth note), you must also set a density value (as discussed in the following section).
334 Part IV: Other Overture Windows
Holding down the command key when you enter controller values using the Strip Chart Pencil Tool
causes a pop-up menu to appear. Selecting among all valid values gives you greater precision in entering
that controllers data. This feature is not active for Channel or Polyphonic Aftertouch.
Using the pencil tool with Patches selected in the Strip Chart works the same as using the Patch pop-up
menu in the Tracks Window.
Densi t y Set t i ng
When the Strip Chart displays continuous data (such as pitch bend or volume) and you select either the
Pencil tool or the Thin tool, the Density setting appears below the Strip Chart.
Density setting
Drawing in a Strip Chart with a low Density setting inserts very few continuous events. Drawing in a
Strip Chart with a high Density setting inserts numerous continuous events. Generally, its best to keep
the Density setting as low as possible without hearing individual steps in your continuous data.
MIDI is capable of communicating about one thousand events per second. If you drew a pitch bend line
from 0 to +1000 over the course of 1 second, MIDI would be so busy transmitting pitch bend events that
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it wouldnt have time to do anything else. The Density setting gives you the option to choose what
percentage of MIDI capacity you want occupied by the continuous events you insert.
For example, if you are drawing pitch bend for a patch whose pitch bend range is one whole step, you
will probably find that a density of 1% gives satisfactory results. If youre pitch bending across 2-3
octaves, you may want to increase density to 20%. Use your ears to set the lowest possible density value
without hearing individual steps.
The Var i abl e Tool Pop-up Menu
Press and hold the Variable Tool pop-up menu to display all the possible variable tools. Use a Variable
tool to apply a modification algorithm to the Strip Chart data. The Variable tools work in conjunction
with the Edit Shapes pop-up menu (discussed in Edit Shapes Pop-up Menu on page 339).
The following sections discuss each of the Variable tools.
Sc al e
Use the Scale tool to scale Strip Chart data to between 25% and 400% of its present value. The Strip
Charts left margin shows the scaling factor. Overture multiplies the value of each MIDI event by the
scaling factor shown.
336 Part IV: Other Overture Windows
Look at the example shown in the following figure. If a series of notes each has a Key Velocity of 90 and
you use the Scale tool to draw a straight line at 50%, then each of the notes gets scaled to a value of 45
(50% of 90).
1. Draw straight line at
50% with Scale Tool
2. Overture scales all
intersected data by 50%
Not e:
Overture respects the limits of each type of Controller to avoid creating invalid MIDI data.
Add Amount
Use the Add Amount tool to add to or subtract from the present Strip Chart data value.
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Look at the example below. If a series of notes each has a Key Velocity of 90 and you use the Add
Amount tool to draw a straight line at -20, then each of the notes gets set to a value of 70 (20 subtracted
from 90).
1. Draw straight line at -20
with the Add Amount Tool
2. Overture subtracts 20
from all intersected data
Max i mum Li mi t /Mi ni mum Li mi t
Use either the Maximum Limit or the Minimum Limit tool to restrict the range of values in the Strip
Chart.
If you use the Maximum Limit tool to draw a straight line at a Key Velocity of 80, then Overture sets each
note over the limit to 80, but does not change the value of any notes less than 80.
1. Draw straight line at 80
with the Max Limit Tool
2. Overture sets any values
originally over 80 to exactly 80.
It doesnt disturb any values
less than 80.
338 Part IV: Other Overture Windows
Legat o
Use the Legato tool to change note durations so that they extend a certain percentage of the way to the
next note. If you set the Legato tool to 100%, each note will extend exactly to the start of the following
note. Chords are treated as a single note.
Legato is grayed out when the Strip Chart displays anything other than note duration.
Thi n
Use the Thin tool to decrease the amount of controller data in a track. This saves memory and frees up the
MIDI data stream for other types of MIDI events.
For example, if you have a track with dense MIDI volume data, you can thin it as follows:
1. Make sure the Strip Chart shows the data you want to thin.
2. Select the Thin tool from the Variable pop-up menu.
3. Set the Density setting to a small amount.
This example uses a density setting of 0.3%.
4. Drag across the controller data you wish to thin.
Overture automatically thins the controller data down to the indicated Density
setting.

You can also thicken data by setting the Density setting to a value greater than the current density of the
events.
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Edi t Shapes Pop-up Menu
Press and hold the Edit Shapes pop-up menu to display all the possible edit shapes.
Click here...
...to open the Edit Shapes
pop-up menu.

Use the Edit Shapes pop-up menu to tell Overture how to draw data in the Strip Chart. The following
sections discuss each of the Edit Shapes tools.
St r ai ght
When you select the Straight shape, you can drag a line in any direction and make linear changes to Strip
Chart events.
Fr ee
When you select the Free shape, you can drag a freehand line through the Strip Chart. This is especially
useful when using the Pencil, Minimum Amount, and Maximum Amount tools.
Par abol a
When you select the Parabola shape, you can draw a parabola that gets steeper at the end. You can also
use the parabola to draw a curve in the opposite direction, giving you a curve thats steeper at the
beginning.
340 Part IV: Other Overture Windows
The direction and amount that you drag define the shape and size of the parabola.
Using the parabola is especially useful in defining natural sounding fades:
1. Select Volume from the Strip Chart pop-up.
2. Select the Pencil tool.
3. Choose the Parabola shape from the Edit Shapes pop-up.
4. Drag a parabola from the top of the Strip Chart to the bottom, starting at the time
you wish to begin fading, and stopping at the time your track ends.
Fl at
Use the Flat shape to draw straight, horizontal lines. All selected data will either become the same value,
or be added to or scaled by the same amount. This is especially useful with the Percent tool to scale
everything by the same amount.
Random
Use the Random shape to randomize data within a rectangle that you draw in the Strip Chart. To use the
Random shape:
1. Select the Random shape from the Edit Shapes pop-up.
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When the Variable pop-up is set to Add Amount, Overture adds a random amount between the values you
outline. When it is set to Scale, Overture chooses random values to scale the selection up and down.
2. In the Strip Chart, drag a rectangular box around the events you wish to randomize.
Overture randomly chooses values within the limits of that box and applies the
changes to the selected events.
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Chords Window
Use the Chords window to put chord names and guitar frames in the Score window. To open the Chords
window, choose Windows>Chords.
Root button
Bass button
Symbol list
Toggle to
Guitar Frames
Place Bass Note
Below Chord
Chord Name
Display

Not e:
The Chords window cannot be open at the same time as the Lyrics window. If the Lyrics window is
open when you choose Windows>Chords, the Lyrics window closes automatically.
32
344 Part IV: Other Overture Windows
Chor d Ter mi nol ogy
Its important to understand the different terminology associated with naming chords. Specifically:
Chord. This is the actual notation of multiple notes as shown on the staff in a score.
Chord Name. This is the alphanumeric name of the chord as written above a staff to indicate which
chord to play.
Chord Root. This is the fundamental note of the chord, or its root position.
Chord Bass. This is an additional pitch added to a chord name that indicates a note other than the
root is the lowest pitch in the actual chord.
Chord Suffix. This is the portion of the chord name that describes the actual pattern of notes that
make up the chord, without regard for the root or alternate bass. Examples of suffixes are mi7 or
sus4.
Chord Symbol. In standard music notation, this term is synonymous with chord name but in
Overture it describes a generic suffix/root/bass pattern as defined in the Chord Symbol library
(discussed in Chord Symbols on page 413). For example, CMa
7
/G is a different chord name
than EMa
7
/B, but theyre based upon the same chord symbol since both use the identical pattern of
notes.
Chord
Chord Name
Suffix (mi7)
Root (C) Bass (G)
The entire pattern of
notes specified here
is a chord symbol
(uses the actual
root and alternate
bass)
(using a generic
root and alternate
bass)
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Anat omy of t he Chor ds Wi ndow
The Chords window contains five separate areas. These are:
Root button. Click the root button to set the root of a chord name.
Click to select root name
Bass button. Click the bass button to set the bass of a chord name. Bass notes (and their
corresponding sharp or flat) are displayed when they differ from the root name.
Symbol list. Overture gets this list of symbols from the current Chord Symbol library (as discussed
in Chord Symbols on page 413). Click one of the symbols to select it. If a symbol isnt visible, use
the scroll bars to scroll the list.
Click a symbol
to select it
Scroll to see more
symbols
Guitar Frames and Bass on Bottom. Click the Guitar Frames button to toggle between guitar
frames and chord names. Click the Bass on Bottom to plass bass notes below the chord name.
346 Part IV: Other Overture Windows
Chord Name display. This area shows a preview of the chord name exactly as it appears when you
insert it into the Score window.
Chord Name display
You can use the Chords window to enter chords names in a score using one of the following techniques:
Entering chord names with the mouse. Create chord names by clicking a symbol, root and
alternate bass in the Chords window, then click the Score window to insert the chord name.
Entering chord names with the computer keyboard. Create chord names by using the computer
keyboard to select a symbol, root and alternate bass, then click the Score window to insert the chord
name.
Step-entering chord names with the computer keyboard. Create chord names using either mouse
or keyboard selection of symbol, root and alternate bass, then step-enter the chord name into the
Score window.
Overture provides a fourth method for entering chord names, step-entering them with a MIDI keyboard.
This method does not use the Chords window. We discuss it in Step Entering Chord Names with a MIDI
Keyboard on page 398).
Each of the three chord name entry methods that use the Chords window are discussed in the following
sections.
Ent er i ng Chor d Names w i t h t he Mouse
Follow through this example to learn how to enter chord names using only the mouse.
Assume you want to enter the following chord names:
1st measure: Dmi7
2nd measure: G7
3rd measure: Ami7/F
To enter these chord names using only the mouse:
1. Make sure the Step Entry window is closed.
2. Choose Windows>Chords.
Overture opens the Chords window.
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3. Click the Root popup menu and choose D.
Since your first chord is a Dmi7, clicking D sets the root of the chord.
Click here...
...to set the root
4. Click mi7 in the Chords windows scrolling symbol list.
Since your first chord is a Dmi7, selecting mi7 sets the correct chord symbol.
Overture gets the root of the chord (in this case, a D) from the Root popup menu.
NOTE: Because Overture gets the chord symbols for this window from the Chord
Symbol library, your chord symbol list may look different from the one shown in this
example if youre using a different Chord Symbol library. Chord Symbol libraries are
discussed in Chord Symbols on page 413.
Click here... ...to select the symbol
5. Move the cursor into the Score window at exactly the spot you wish to insert the
chord name.
The cursor becomes a crosshair pointer, pointing at the staff where you want to
attach the chord name.
348 Part IV: Other Overture Windows
6. Click the mouse.
Overture inserts the chord name into the score.
7. Continue entering chord names using only the mouse.
To enter the G7 chord name, set the dialog box as shown below, then click the
score in the desired location.
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Ent er i ng Chor d Names w i t h t he Keyboar d
You can assemble chord names in the Chords window using only the computer keyboard. The table
below shows all the key equivalents necessary to create chord names in the Chords window.
8. To enter the Ami7/F chord name, set the dialog box as shown below, then click the
score in the desired location.
Click here to
add a bass note
to the chord
Not e:
If, while the Chords window is open, you select a tool from the Tool Bar, then that tool becomes active
and chord insertion is disabled. To continue inserting chords, click in the Chords Windows symbol list.
Key Ac t i on Key Ac t i on
a Sets root to A Shift-a Turns added A bass on/off
b Sets root to B Shift-b Turns added B bass on/off
c Sets root to C Shift-c Turns added C bass on/off
d Sets root to D Shift-d Turns added D bass on/off
e Sets root to E Shift-e Turns added E bass on/off
f Sets root to F Shift-f Turns added F bass on/off
g Sets root to G Shift-g Turns added G bass on/off
s Sets root to one half step higher Shift-s Sets root to one half step higher
w Sets root to one half step lower Shift-w Sets bass to one half step lower
# Sets the last selected root or
bass to one half step higher
[ or left arrow Selects previous chord symbol ] or right arrow Selects next chord symbol
350 Part IV: Other Overture Windows
Assume, as in the previous section, that you want to enter the following chord names:
1st measure: Dmi7
2nd measure: G7
3rd measure: Ami7/F
To enter these chord names using the computer keyboard:
1. Make sure the Step Entry window is closed.
2. Choose Windows>Chords.
Overture opens the Chords window.
3. Type d to select a root of D.
4. Type either [ or ] or repeatedly until Overture highlights the mi7 chord symbol.
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5. Move the cursor into the Score window at exactly the spot where you want to
insert the chord name.
The cursor becomes a crosshair pointer, pointing at the staff to which Overture will
attach the chord name.
6. Click the mouse.
Overture inserts the chord name into the score.
7. Select a G7 chord name by typing a g, then typing [ one time to step backwards to
the previous chord symbol in the list.
Because Overture gets the chord symbols for this window from the Chord Symbol
library, your chord symbol list may look different than the one shown in this
example if youre using a different Chord Symbol library. We discuss Chord Symbol
libraries in Chord Symbols on page 413.
352 Part IV: Other Overture Windows
8. Click the score in the desired location.
9. Select an Ami7/F chord name by typing an a to set the root, then typing shift-f to
add an F bass, then typing ] one time to step to forward to the next chord symbol in
the list.
Because Overture gets the symbols for this window from the Chord Symbol library,
your chord symbol list may look different from the one shown in this example.
10. Click the score in the desired location.
Not e:
If, while the Chords window is open, you select a tool from the Tool Bar, then that tool becomes active
and chord insertion is disabled. To continue inserting chords, click in the Chords Windows symbol list.
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St ep Ent er i ng Chor d Names
You can step-enter chord names from either the computer keyboard or from a MIDI Keyboard. The
following section shows how to step enter chord names using the computer keyboard. To learn how to
step enter chord names with a MIDI keyboard, see Step Entering Chord Names with a MIDI Keyboard
on page 398.
St ep Ent er i ng Chor d Names w i t h t he Comput er
Keyboar d
Follow through this example to learn how to step enter chord names without using a MIDI keyboard.
Assume, as in the previous sections, that you want to enter the following chord names:
1st measure: Dmi7
2nd measure: G7
3rd measure: Ami7/F
To enter these chord names using the computer keyboard:
1. Choose Windows>Step Input.
Overture opens the Step Input window.
354 Part IV: Other Overture Windows
2. Press and hold the mouse on the Input Select button, then select the chord name
icon from the pop-up menu.
We discuss this and all other elements of the Step Input window in Chapter 34,
Step Input Window.
Input Select button
Chord Name icon
3. In the Score window, click in the measure where you want to begin step-entering
chord names.
4. Select a step size of a whole note from the Note Size pop-up menu.
Alternatively, you can type a 1 on the computer keyboard to set the step size to a
whole note. See the table on page 380 to see how number keys correspond to step
durations.
5. Choose Windows>Chords.
Overture opens the Chords window.
6. Using either the mouse or the computer keyboard, select a Dmi7 chord name.
7. Type return.
Overture enters the Dmi7 chord name and advances the cursor one measure (since
the step size is a whole note and this example is in 4/4 time).
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Gui t ar Fr ames
To enter Guitar Frames click on the Guitar Frames check box. in the Chords Window.
8. Select a G7 chord name and type return.
Overture enters the G7 chord name and advances the cursor one more measure.
9. Select an Ami7/F chord name and type return.
Overture enters the Ami7/F chord name and advances the cursor one more
measure.
356 Part IV: Other Overture Windows
The symbols view now displays guitar frames from the current Guitar Frames library plus several
additional buttons.
Suffix button. Click the suffix button to choose the desired frame suffix. This is the same list of
suffix names found in the Guitar Frames library.
Tuning button. Click the tuning button to choose the Guitar tuning. This is the same list of tunings
found in the Guitar Frames library.
Text Only check box. Click the text only box if you want to display only the guitar frame name.
Ent er i ng Gui t ar Fr ames w i t h t he Mouse
Follow through this example to learn how to enter guitar frames using the mouse.
Assume you want to enter the following guitar frames:
1st measure: Dmi7
2nd measure: G7
3rd measure: Ami7/F
1. Switch to Guitar Frames view if needed..
2. Type d to select a root of D or click on the root button and choose D.
3. Type m then 7 to choose minor 7 or by clicking on the suffix button and choosing
minor 7.
4. Type either [ or ] or the left and right arrow keys repeatedly until Overture highlights
the desired frame in the symbol list.
5. Move the cursor into the Score window at exactly the spot where you want to
insert the guitar frame.
The cursor becomes a crosshair pointer, pointing at the staff to which Overture will
attach the guitar frame.
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6. Click the mouse.
Overture inserts the guitar frame into the score.
7. Select a G7 guitar frame by typing g then 7 or choose them by clicking on the root
button and the suffix button.
8. Click the mouse.
Overture inserts the guitar frame into the score.
358 Part IV: Other Overture Windows
The table below shows additional key equivalents for selecting guitar frames view in the Chords window.
Key Action
m Selects minor suffix
6 Selects 6 suffix
7 Selects 7 suffix
9 Selects 9 suffix
+ Selects next item in last button
- Selects previous item in last button
Tab Displays popup of all suffixes
9. Select a Am7/F guitar frame by typing a, m, 7, then shift-f or by using the root,
suffix, and bass buttons.
10. Click the mouse.
Overture inserts the guitar frame into the score.
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Movi ng Chor d Names/Gui t ar Fr ames
You can move chord names and guitar frames either individually or globally by staff (or multiple staves).
The use of Chord Names will also apply to Guitar frames for the following section.
Movi ng Chor d Names Gl obal l y
When you select Options>Show>Chord Positions, the Score window displays a small triangle to the left
of the chords on each systemthis is called the Chord Position Indicator.
Chord Position
Indicators show
vertical position
of chord names
on a staff.
Drag any position indicator up or down to change the vertical position of all chord names for that system.
1. Drag a position indicator down...
2. Notice that chord names move only
for the system whose indicator you dragged.
Alt[Option]-drag a position indicator up or down to change the vertical position of all chord names for all
remaining systems on that page.
1. Alt[Option]-drag a position indicator down...
2. Notice that chord names move for all
remaining systems on the page.
360 Part IV: Other Overture Windows
Control[Command]-drag a position indicator up or down to change the vertical position of all chord
names for every remaining system in the score.
Shift-click the indicator to reset all chord names to the baseline position. The shift-click also works in
combination with the Alt[Option] and Control[Command] keystrokes.
Movi ng Chor d Names I ndi vi dual l y
Once youve placed chord names in a score, you can modify their automatic placement by dragging any
chord name to a new location.
Drag a chord name to move i
(the cursor becomes a
Drag cursor).
Original Chord Name
placement
New Chord Name
placement after
dragging it down.
To constrain movement to vertical or horizontal while dragging a chord name, shift-drag it. Overture
constrains the movement to the direction you moved the mouse when you began shift-dragging. That is, if
you begin to drag horizontally, the chord name moves only in the horizontal direction. If you begin to
drag vertically, the chord name moves only in the vertical direction.
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Lyrics Window
Use the Lyrics window to add or change lyrics and assign them to specific notes.
To open the Lyrics window, choose Window>Lyrics.
Lyric Locator
Lyric Editing
Area

Not e:
The Lyrics window cannot be open at the same time as the Chords window. Opening the Chords window
will close the Lyrics window automatically.
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362 Part IV: Other Overture Windows
Anat omy of t he Lyr i c s Wi ndow
The Lyrics window is split into four areas:
Buttons. The right side of the window has buttons for inserting and deleting lyrics in the Lyrics
window, and putting them in the score. The botton of the window has buttons for inserting non-
breaking spaces and non-breaking dashes.
Font characteristics. Use the top area of the window to specify the look of the lyrics.
Lyric Locator. Use this middle area to load and assign where lyrics are placed in the score.
Lyric editing area. The bottom area of the window functions as a standard text editing area. It has
its own scroll bar so you can move through long lyrics.
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A lyric phrase is any body of text displayed in the Lyric editing area. You can assign the individual words
and syllables to notes in a score. You assign each lyric to a specific voice beginning on a specific measure
and, if necessary, on a particular verse.
Not e:
Lyric phrases are determined by using any barline other than a normal barline. When you open the Lyrics
window Overture includes all lyrics from the current measure to a the first non-normal barline or the end
of the score. If you change the locator fields and press the Load button, all lyrics from the measure
indicated in the Locator section to the first measure with a non-normal barline are loaded into the editing
area. You can override this rule by checking the EOS check box. This tells Overture to ignore barlines and
load the lyrics from the current measure through the end of the score.
The following sections discuss each of the main areas of the Lyrics window.
But t ons
Use the buttons to add and delete lyrics and to apply lyric changes to a score. There are four buttons.
They are:
Apply. Click this button to apply any lyric changes to the score. When you click this button,
Overture reflows the lyric, beginning in the specified measure on the designated verse and voice.
Delete. Click this button to delete the selected lyric. All lyrics from the specified measure to the first
non-normal barline on the designated verse and voice are deleted.
Insert Non-Breaking Space. Click this button to assign multiple words to a single note.
Insert Non-Breaking Dash. Click this button to assign multiple syllables to a single note.
Lyr i c Loc at or
Use the Lyric Locator to assign where lyrics are placed in the score.
There are numerous elements in the Lyric List. They are:
Include Verse Number. Use this box to include the verse number to the left of the first word in the
lyric line.
Track box. Use this box to assign each lyric to a specific track.
Measure box. Use this box to assign a starting measure for each lyric. Overture automatically flows
lyrics beginning on the first note in the starting measure.
Voice box. Use this box to assign each lyric to a specific voice. Overture supports 8 voices.
Verse box. Use this box to assign each lyric to a specific verse. Overture supports 8 verses.
Load button. Use this button to load the lyrics starting at track and measure on the designated verse
and voice.
364 Part IV: Other Overture Windows
EOS check box. Use this button to tell Overture to ignore barlines and load the lyrics from the
current measure through the end of the score.
Lyr i c Edi t i ng Ar ea
The lyric editing area functions as a standard text editing area. Type in this area to enter lyrics. Drag
across lyrics to select them. Double-click words to select them. Generally, most common word-processor
editing rules apply to the lyric editing area. This area has its own scroll bar so you can scroll through long
lyrics.
Usi ng t he Lyr i c s Wi ndow
Perhaps the easiest way to learn about lyric entry is to follow some examples. The following sections take
you step by step through the process of creating and editing lyrics in Overture.
Addi ng Lyr i c s t o a Sc or e
To add a lyric to a score:
1. Choose Window>Lyrics.
Overture opens the Lyrics window.
2. In the Locator area, type the number of the track, measure, voice, and verse to
which you want to assign the Lyric.
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3. Type the lyric in the Lyric editing area.
For now, type only single syllable words. If your lyric extends beyond the width of
the window (or if you prefer to view your lyrics as poetic verse), you can press the
return key at the end of each line. Overture treats returns exactly like spaces.
4. Click the Apply button.
Overture assigns each word to an individual note automatically.
Overture assigns each word
to an individual note.
366 Part IV: Other Overture Windows
Edi t i ng Ex i st i ng Lyr i c s
To edit an existing lyric phrase:
1. Click on the measure that contains the lyric to be edited.
2. Choose Window>Lyrics.
The location fields will be filled appropriately and the edit area will be filled with the
lyric line text. You can change these fields and press the Load button to edit another
phrase.
3. Type the changes in the Lyric editing area.
For now, type only single syllable words. If your lyric extends beyond the width of
the window (or if you prefer to view your lyrics as poetic verse), you can press the
return key at the end of each line. Overture treats returns exactly like spaces.
4. Click the Apply button.
Overture assigns each word to an individual note automatically.
Overture assigns
each word to
an individual note
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Advanc ed Lyr i c Ent r y Tec hni ques
In the previous sections, you created lyrics that contained only single syllable words, with each word
assigned to its own note. In the following sections, you learn to create more advanced lyrics.
Ent er i ng Mul t i -syl l abl e Wor ds
You can type words with multiple syllables and have each syllable automatically assigned to a note. To do
so, simply separate each syllable with either a dash or a space. In the score, dashes are centered between
syllables. When a word crosses a barline, the dash is centered under the barline.
Type a dash between syllables
to spread a word over more
than one note.
368 Part IV: Other Overture Windows
Ent er i ng Mul t i -not e Syl l abl es (Mel i sma)
To extend a syllable across more than one note, type an underline character. Each underline extends the
syllable for one note.
There are four underlines to
extend the word my across
four additional notes. This
is called a melisma.
Ent er i ng Mul t i pl e Wor ds or Syl l abl es on a Si ngl e Not e
To assign multiple words to a single note, click in the lyric line to position the blinking cursor and press
the Insert Non-Breaking Space button. To assign multiple syllables to a single note, press Insert Non-
Breaking Dash button.
Entered a non-breaking space
to center both words under
a single note.
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St ar t i ng a Lyr i c i n t he Mi ddl e of a Measur e
Overture automatically flows lyrics beginning with the first note in the designated measure. If you want
lyrics to begin on a note other than the first note in the measure, begin the lyric with a space for each note
you wish to skip.
To start flowing lyrics from the middle of a
measure, type a leading space for each note you
wish to skip. In this example, type four spaces.
Ent er i ng Addi t i onal Ver ses
Popular vocal music often contains multiple verses, with each verses text shown immediately below the
previous verse. To add a verse to an existing score:
1. In the Lyrics window, set the location fields to the beginning of the lyric phrase.
2. Since this is the second verse, enter 2 in the Verse field.
3. In the Lyric editing area, type the desired text.
370 Part IV: Other Overture Windows
Appl yi ng Di f f er ent Font s To Lyr i c s
You can apply any font, size, or style to any syllable or word in a lyric. To change the font, size, or style
of any text in a Lyrics window:
1. Drag across any syllable or word, word or group of words in the Lyrics window.
2. Select the font you want from the Font drop-down list.
3. Select the font size you want from the Size drop-down list.
4. Select the font style you want from the Style drop-down list.
5. Click the Apply button.
Overture applies the font changes to your score.
Movi ng Lyr i c s
You can move lyrics either individually or by line (verse).
4. Click the Apply button.
The second verse is created below the first verse.
Second verse flows below the
first verse automatically
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Movi ng Ent i r e Lyr i c Li nes
When you select the Options>Show>Lyric Positions option, Overture places a small triangle to the left
of each verse in the Score windowthese are the lyric position indicators. If there is one verse assigned
to a staff, theres one lyric position indicator. If there are three verses, there are three position indicators.
Lyric position indicators
show each verse assigned
to a staff.
Drag any position indicator up or down to change the vertical position of all remaining verses for that
staff in that system.
1. Drag the Verse 2 indicator down... 2. Notice that Verse 2 and Verse 3 move
down by the amount you drag
(for one staff only).
372 Part IV: Other Overture Windows
Alt[Option]-drag a position indicator up or down to apply the vertical change to the same verse in every
remaining system on that page.
1. Alt-drag the Verse 2 indicator down...
2. Notice that Verse 2 and Verse 3 move
down by the amount you drag
for all remaining systems on the page.
Control[Command]-drag a position indicator up or down to apply the vertical change to the same verse in
every remaining system in the score.
Shift-click the indicator to reset all lyrics to the baseline position. The shift-click also works with the
Alt[Option] and Control[Command] keystrokes.
Movi ng Lyr i c s I ndi vi dual l y
Once youve assigned lyrics to notes in a score, you can modify their automatic placement by dragging
any word (or syllable) in a score to a new location.
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You can constrain word movement to either the horizontal or vertical direction by holding down the shift
key before dragging a word.
Original Lyric Line
Drag a word to move it
(the cursor becomes a
Drag Cursor).
Modified lyric after
manually dragging
the word "this".
374 Part IV: Other Overture Windows
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Step Input Window
Use the Step Input window to enter a score by recording MIDI data one step at a time. You can enter
notes, chords, or rhythmic slashes in the Step Input window.
To open the Step Input window, choose Windows>Step Input.
Duration area
Velocity area
Type area
Size area
Anat omy of t he St ep I nput Wi ndow
The Step Input window contains four different areas, though not all areas are available at all times. These
areas are:
Type area. Use this top portion of the window to define the type of symbol you want to input and
any related options. This area also contains a counter, showing exact metrical location and pitch.
Size area. Use this portion of the window to set the amount of time the counter advances each time
you play a note. Size appears as both an actual note value and as a number of clocks (480 clocks =
one quarter note).
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376 Part IV: Other Overture Windows
Duration area. Use this portion of the window to set the actual duration of the MIDI note you enter.
This area is not available if youre entering chord names.
Velocity area. Use this portion of the window to set the actual velocity of the MIDI note you will
enter. This area is not available if youre entering chord names.
The following sections discuss each area in detail.
Type Ar ea
Use this area to define the type of symbol you want to input, to set options related to that symbol, and to
view pitch and meter placement of any step-entered data.
Options
pop-up menu Counter
Pitch
Indicator
Input Select
button
The Type area contains four elements:
Input Select button
Options pop-up menu
Counter
Pitch indicator
We discuss each element in one of the following sections.
I nput Sel ec t but t on
Press and hold the mouse on this button to open the Input Select pop-up menu.
Input Select button
Input Select pop-up menu
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Select the type of symbol you want to step-enter from the Input Select pop-up menu. Overture lets you
step-enter five types of music symbols: notes, rests, slashes, rhythmic slashes, and chord names.
Note Entry mode
Rest Entry mode
Slash Entry mode
Rhythmic Slash Entry mode
Chord Name Entry mode
Opt i ons pop-up menu
Move the cursor over the Options button, then press and hold the mouse to open the Options pop-up
menu.
Use the pop-up Options menu to select various step-entry notation options:
Force Stems Up. When you select this option, Overture makes the stems of any step-entered notes
point upward, regardless of staff position. Select this option to enable it (put a check beside it); select
it again to disable it.
Force Stems Down. When you select this option, Overture makes the stems of any step-entered
notes point downward, regardless of staff position. Select this option to enable it (put a check beside
it); select it again to disable it.
Force Accidentals to Sharps. When you select this option, Overture notates any accidentals as
sharps, regardless of the key. Select this option to enable it (put a check beside it); select it again to
disable it.
378 Part IV: Other Overture Windows
Force Accidentals to Flats. When you select this option, Overture notates any accidentals as flats,
regardless of the key. Select this option to enable it (put a check beside it); select it again to disable
it.
Tie Previous Two Notes. This is actually a command, not an option. When you choose this
command, Overture automatically ties together the two notes immediately to the left of the input
point. This command allows you to step-enter tied notes easily.
Duplicate Previous. This command is enabled only when you are step-entering slashes. Use it to
copy the previous measures slash pattern into the active measure.
Duplicate Previous to End. This command is enabled only when you are step-entering slashes. Use
it to copy the previous measures slash pattern into all remaining measures in the score.
Count er
The Counter displays (in bars, beats and clocks) the location of the step youre about to enter.
Bar number
Beat number
Unit number
The bar number displays the measure number containing the insertion point. The beat number displays
how many beats the insertion point is into the measure. The clock number displays how many clocks the
insertion point is into the beat. Overture records and plays notes with a resolution of 480 clocks per
quarter note, so an eighth note would equal 240 clocks; a sixteenth note would equal 120 clocks, and so
on.
The counter display shown above indicates that the cursor is at 8 2 240. This means the insertion point
is in the eighth measure and midway through the second beat.
8 1 0
8 1 240
8 2 0
8 2 240 (insertion point)
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Pi t c h I ndi c at or
The Pitch Indicator displays, as a MIDI note number, the pitch of the note youre about to enter. MIDI
supports 128 notes ranging from C2 to G8 with Middle C =C4.
Pitch Indicator
Si ze Ar ea
This area sets the amount of time the counter advances each time you play a note. Overture displays the
step size as both a note value and as an exact number of clocks (480 clocks =one quarter note).
There are several ways to set the size:
Method 1: Select a size from the Note Size pop-up menu.
Press and hold the Note Size
button...
...then select a note size
from the pop-up menu
Method 2: Use the clocks numerical to enter a new step size.
380 Part IV: Other Overture Windows
If you enter a value in the clocks field that is not an equal subdivision of the beat, the Note Size
button shows a < or > symbol along with the current note size.
Method 3: Use the computer keyboard to set step size.
As shown in the table below, you can type keys on your computer keyboard to set the step size.
Key Function
1 Set value to whole note/rest
2 Set value to half note/rest
4 Set value to quarter note/rest
8 Set value to eighth note/rest
6 Set value to sixteenth note/rest
5 Set value to thirty-second note/rest
3 Turn triplets on or off
. Turn the dot on or off
Tupl et Chec k box
You can also define the size as a tuplet by clicking the Tuplet checkbox. This lets you create complex
timing divisions, like five notes in the space of one quarter note.
Use the mouse or keyboard to set tuplet fields. Overture automatically calculates the clocks and updates
the note size pop-up.
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Dur at i on Ar ea
The duration is the length of the note you step enter.
Not e:
The Duration area is not available when you step-enter chord names.
The duration is different from the size; the duration is the length of the note, and the size is the amount of
time the counter advances each step. The space between notes is called the gap.
Size
Gap
Duration
Duration +Gap =Size. These are MIDI notes as shown in the Graphic window. See Chapter 31, Graphic
Window (Mac) for more information.
You can select one of three possible duration modes, which you select from the Duration Mode pop-up
menu.
382 Part IV: Other Overture Windows
These duration modes are:
Constant. Select this duration mode to create notes of identical duration, regardless of the step size.
Constant Durations
Set the constant duration amount by selecting a value from the Note Size pop-up menu or changing
the value in the clocks field. Changing either of these values updates the other one.
Clocks field
Note Size
pop-up menu
Constant Gap. Select this duration mode to create a uniform amount of space between all step-
entered notes, regardless of the step size.
Constant Gaps
Set the constant gap amount by selecting a value from the Gap Size pop-up menu, or change the value in
the Units field. Changing either of these values updates the other one.
Gap Size
Units field
pop-up menu
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Percent. Select this duration mode to have Overture calculate a note duration as a percentage of the
step size.
is 90% of
90%
Notice that each notes duration is 90% of the step size.
Set the percentage by entering it in the Percentage Amount field, which appears below the Duration
Mode pop-up menu when you select Percent mode.
Percentage Amount
calculated duration
Step Size numerical used by
field
Overture to calculate a duration
Vel oc i t y Ar ea
Velocity is the parameter that defines how hard you struck a note.
Not e:
The Velocity area is not available when you step-enter chord names.
384 Part IV: Other Overture Windows
You can select one of two possible velocity modes from the Velocity Mode pop-up menu.
These velocity modes are:
Constant. Select this velocity mode to insert notes of a set velocity, regardless of the actual velocity
you play.
Constant Velocity field
Set the desired constant velocity value by entering it into the Constant Velocity field.
As Played. Select this velocity mode to insert notes at exactly the velocity you play them.
St ep Ent er i ng Not es and Rest s
You can step-enter notes and rests from either the computer keyboard or a MIDI keyboard.
St ep Ent er i ng Not es and Rest s w i t h t he Comput er
Keyboar d
You can step-enter notes and rests using only the computer keyboard. To do so:
1. Choose Windows>Step Input.
Overture opens the Step Input window.
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2. Press and hold the mouse on the Input Select button, then select the note icon from
the pop-up menu.
Input Select button
3. Select the voice youd like to enter from the Voice pop-up menu at the bottom of
the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select
voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click where youd like to begin entering music.
5. If desired, select a stem direction and accidental naming scheme from the pop-up
Options menu.
You need to do this only if you want to override Overtures default stem direction
and accidental naming algorithms.
386 Part IV: Other Overture Windows
6. On the computer keyboard, type a number to set the step size of the note you wish
to enter.
See the table on page 380 to see how computer number keys correspond to note
(or rest) durations.
Alternatively, you can select a size from the Note Size pop-up menu, but youll
probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size button changes to show the value of the
note youre about to enter.
Type 8, and the Note Value Selector
changes to show an eighth note
Type 4 and then adot, and the Note Value
Selector changes to show a dotted quarter note
7. On the computer keyboard, type the letter of the scale tone you wish to enter (c, d,
e, f, g, a, b). Type lower case o to raise an octave and shift-o to lower it an octave.
Notice that when you type a letter, the Pitch Indicator changes to show the pitch of
the note youre about to enter.
Type f and the Pitch Indicator
changes to show an F note
Type a and the Pitch Indicator
changes to show an A note
8. Enter the desired Duration parameters.
We discuss duration parameters in Duration Area on page 381.
9. Enter the desired Velocity parameters.
We discuss velocity parameters in Velocity Area on page 383.
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St ep-Ent er i ng Rest s
You can step-enter rests as well as notes from the computer keyboard. To do so:
1. On the computer keyboard, type a number to set the step size of the rest you wish
to enter.
See the table on page 380 to see how computer number keys correspond to note
(or rest) durations.
2. If desired, select the voice youd like to enter from the Voice pop-up menu at the
bottom of the Score window.
Alternatively, you could type Control[Command]-1 through Control[Command]-8 to
select voices 1-8, or type Control[Command]-0 to select all voices.
3. On the keyboard, press space to insert a rest of the selected duration.
Pressing space inserts rests without actually toggling the Step Input window to Rest Entry mode. This
allows you to step-enter the occasional rest quickly while performing the more common task of step-
entering notes. If you actually wish to enter Rest Entry mode, select the rest icon from the Input Select
pop-up menu.
When in Rest Entry mode, select rest values from the Note Size pop-up menu. To insert a rest into the
score, press either return or space on your computer keyboard.
You can toggle back and forth between Rest Entry mode and Note Entry mode by typing either r or = on
your computer keyboard.
10. Press the Enter[return] key.
Overture enters the note as specified and moves the cursor to the next step.
388 Part IV: Other Overture Windows
Shi f t i ng St ep-Ent r y Oc t aves
When you enter notes with the computer keyboard, the seven scale tone keys (c, d, e, f, g, a, b) all enter
notes in the octave beginning with middle C. If you want to enter notes in a higher or lower octave range,
you need to shift the step-entry octave. To do so:
1. Type a lower case o to raise the step-entry range one octave. Type an upper case O
to lower the step-entry range one octave.
This change affects the current step and all steps after it.
Notice that when you change the octave range, the Pitch Indicator changes to show
the octave of the note youre about to enter.
If the original octave was 3 and you type
a small o, the Pitch Indicator changes to
show that the octave is raised to 4.
If the original octave was 3 and you type
a capital O, the Pitch Indicator changes to
show that the octave is lowered to 2.
For example, assume you enter the following notes:
Next, if you want to enter an eighth note at high C, you have to shift octaves. Type 8, then c, then o, then
press return:
Any note you enter next is placed in the octave beginning with high C. So, if you type 8, g, then press
return, youll enter an eighth note at high G.
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If, after entering high C, you really want to enter the G above middle C, type 8, g, O, then press return.
The capital O lowers the pitch of the entered note back to the octave beginning with middle C.
St ep Ent er i ng Ac c i dent al s
Step entry always enters notes using the actual pitch displayed. For example, if your song is in F major
and you type a b, Overture actually enters a b natural. If you need to enter an accidental, use the up and
down arrow keys to raise and lower pitch in half-step increments before entering the pitch.
1. After typing the letter of the scale tone you wish to enter, press up arrow to raise
its pitch a half step, or press down arrow to lower its pitch a half step.
You can step up and down through all note values using the up arrow and down
arrow keys.
St ep Ent er i ng Chor ds
To step-enter chords using the computer keyboard:
1. Type the first note in the chord.
2. Press the Enter on the number pad.
Pressing Enter on the number pad enters the note into Overture but does not
advance the cursor to the next step.
3. Type the next note in the chord, then press Enter on the number pad.
Overture enters the second note at the same cursor location as the first.
4. Continue entering notes in your chord.
5. After entering the last note in your chord, press Enter[return] to advance the cursor
to the next step.
St ep Ent er i ng Ti ed Not es
To step-enter tied notes using the computer keyboard:
1. Enter the first note using previously discussed techniques.
2. Enter the second note using previously discussed techniques.
390 Part IV: Other Overture Windows
Aut o-Ti ed Not es
Overture automatically splits any step-entered note across a barline.
For example, assume youve step-entered the music below, and you now want to enter a quarter note.
There is only room in the measure for an eighth note, so when you step-enter a quarter note, Overture
automatically creates two eighth notes tied across the barline below.
St eppi ng Thr ough a Sc or e
To step backward through a score and erase the most recently entered note or rest:
Press delete to back up one step and erase it.
The cursor moves one step to the left and Overture erases the note or rest associated with that step.
Each time you press delete Overture backspaces and erases the previous step.
To start step recording in the middle of a measure (to enter a different voice, for example), or to skip a few
steps without entering any actual music:
1. Press right arrow to step forward through the score.
Overture steps forward by the amount indicated by the Note Value selector in the
tool bar. It does not enter any notes or rests.
2. Press left arrow to step backward through the score.
Overture steps backward by the amount indicated by the Note Value selector in the
tool bar. It does not erase any notes or rests.
3. Type ;.
Alternatively, you can select Tie Previous Two Notes from the Tool Bars pop-up
Options menu.
Overture ties together the two notes immediately to the left of the insertion point.
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Synopsi s of St ep-Ent r y Key Modi f i er s
The following table shows a synopsis of all the key modifiers discussed in the previous sections.
Key Func t i on
right arrow Step forward through a score without entering notes
left arrow Step backward through a score without deleting notes
delete Step backward through a score, deleting each step
up arrow Raise current pitch 1/2 step
down arrow Lower current pitch 1/2 step
o Raise current and future pitch range one octave
O Lower current and future pitch range one octave
Enter[return] Enter a note or rest, then step forward
Enter on number pad Enter a note or rest, but dont step forward (use for
step-entering chords)
; Tie together the two previous notes
R or = Toggle between Note Entry mode and Rest Entry
mode
space Insert a rest while in Note Entry mode
St ep Ent er i ng Not es and Rest s w i t h a MI DI Keyboar d
To step enter a score using a MIDI controller:
1. Choose Windows>Step Input.
Overture opens the Step Input window.
392 Part IV: Other Overture Windows
2. Press and hold the mouse on the Input Select button, then select the note icon from
the pop-up menu.
Input Select button
3. Select the voice youd like to enter from the Voice pop-up menu at the bottom of
the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select
voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click in the measure where you want to begin entering music.
5. If desired, select a stem direction and accidental naming scheme from the pop-up
Options menu.
You need to do this only if you want to override Overtures default stem direction
and accidental naming algorithms.
6. On the computer keyboard, type a number to set the step size of the note you wish
to enter.
See the table on page 380 to see how computer number keys correspond to note
(or rest) durations.
Alternatively, you could select a size from the Note Size pop-up menuhowever,
youll probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size pop-up menu changes to show the value of
the note youre about to enter.
7. Enter the desired Duration parameters.
We discuss duration parameters in Duration Area on page 381.
8. Enter the desired Velocity parameters.
We discuss velocity parameters in Velocity Area on page 383.
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You can enter a rest by pressing a space or you can type r or = to toggle to Rest Entry mode, then play
any note on your MIDI keyboard. As with step entry of notes from the keyboard, you can delete the
previous step by pressing delete and you can move forward or backward through a score by pressing
right arrow or left arrow. For more information, see Stepping Through a Score on page 390. Also,
you can enter tied notes as discussed in Step Entering Tied Notes on page 389.
9. On your MIDI keyboard, play the note (or chord) you wish to enter.
Overture enters the note and moves the cursor to the next step.
Using a MIDI keyboard, you can step record single notes or entire chords.
394 Part IV: Other Overture Windows
Ent er i ng Rest s
You can use a MIDI keyboard to enter rests. To do so:
1. Type a number to set the duration of the rest you wish to enter.
2. Type either an r (for rest) or =.
This is the same as selecting the rest icon from the Input Select pop-up menu.
Notice that when you type r or =, the Input Select button changes to show that
youre about to enter a rest.
Input Select button show a rest icon
when you step-enter rests
3. On your MIDI keyboard, play any note to insert the rest.
Overture enters the rest and moves the cursor to the next step.
Alternatively, you can simply press space on your keyboard to enter a rest without toggling to Rest Entry
mode.
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St ep Ent er i ng Sl ashes
Lead sheets for guitarists generally contain chord names and a series of slashes to indicate that the
performer is to strum the chords. This section discusses how to use Overtures Step Input window to enter
strum slashes into a score quickly. See Step Entering Chord Names on page 398 to learn how to step-
enter chord names).
1. Choose Windows>Step Input.
Overture opens the Step Input window.
2. Press and hold the mouse on the Input Select button, then select the slash icon
from the pop-up menu.
Input Select button
3. Select the voice youd like to enter from the Voice pop-up menu at the bottom of
the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select
voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click the measure where you want to begin entering slashes.
5. On the computer keyboard, type a number to set the Step Size of the slash you
wish to enter.
See the table on page 380 to see how number keys correspond to step sizes.
Generally, you use one slash per quarter note.
Alternatively, you can select a note value from the Note Size pop-up menu. Youll
probably find it quicker to use the keyboard equivalents.
Notice that when you type a number, the Note Size button changes to show the
value of the slash youre about to enter.
396 Part IV: Other Overture Windows
The position at which the slash note is displayed is independent from the played pitch (or pitches if a
chord has been entered). Slash symbols may be transposed, affecting the played pitch, without changing
the displayed position.
You can enter a rest by pressing a space, or you can type r or = to toggle to Rest Entry mode, then play
any note on your MIDI keyboard. As with step entry of notes, you can delete the previous step by
pressing delete and you can move forward or backward through a score by pressing right arrow or left
arrow. For more information, see Stepping Through a Score on page 390.
Not e:
You can step enter slashes using only the computer keyboard. The technique is
identical to that used for entering notes and rests from the keyboard. For more
information, see Step Entering Notes and Rests with the Computer Keyboard on
page 384.
6. On your MIDI keyboard, play any note to enter a slash.
Overture enters the slash and moves the cursor to the next step. Slashes do not
have stems because they do not actually indicate any rhythm. They also do not
indicate pitch. The played pitches may be different from what the score shows.
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St ep Ent er i ng Rhyt hmi c Sl ashes
Sometimes, its desirable to indicate the actual strumming pattern on a lead sheet. You do this by entering
rhythmic slashes. Rhythmic slashes (unlike regular slashes) have stems, flags and beams to indicate
rhythm. Like regular slashes, rhythmic slashes do not indicate pitchthe played pitches may be different
from what the score shows.
This section discusses how to use Overtures Step Entry mode to enter rhythmic slashes in a score
quickly. See Step Entering Chord Names on page 398 to learn how to step-enter chord names.
1. Choose Windows>Step Input.
Overture opens the Step Input window.
2. Press and hold the mouse on the Input Select button, then select the rhythmic slash
icon from the pop-up menu.
Input Select button
3. Select the voice youd like to enter from the Voice pop-up menu at the bottom of
the Score window.
Alternatively, type Control[Command]-1 through Control[Command]-8 to select
voices 1-8, or type Control[Command]-0 to select all voices.
4. In the Score window, click in the measure where you want to begin entering
rhythmic slashes.
5. On the computer keyboard, type a number to set the step size of the slash you wish
to enter.
See the table on page 380 to see how number keys correspond to step sizes.
Alternatively, select a note value from the Note Size pop-up menu, but youll
probably find it quicker to use the keyboard equivalents.
Notice that when you type a number, the Note Size button changes to show the
value of the slash youre about to enter.
398 Part IV: Other Overture Windows
You can enter a rest by typing a space, or you can type r or = to toggle to Rest Entry mode, then play any
note on your MIDI keyboard. As with step entry of notes, you can delete the previous step by pressing
delete and you can move forward or backward through a score by pressing right arrow or left arrow. For
more information, see Stepping Through a Score on page 390.
Not e:
You can step enter rhythmic slashes using only the computer keyboard. The
technique is identical to that used for entering notes and rests from the keyboard.
For more information, see Step Entering Notes and Rests with the Computer
Keyboard on page 384.
St ep Ent er i ng Chor d Names
You can step-enter chord names from either the computer keyboard or from a MIDI Keyboard. The
following section shows how to step enter chord names using a MIDI keyboard. To learn how to step
enter chord names with the computer keyboard, see Step Entering Chord Names with the Computer
Keyboard on page 353.
St ep Ent er i ng Chor d Names w i t h a MI DI Keyboar d
6. On your MIDI keyboard, play any note to enter a rhythmic slash.
Overture enters the rhythmic slash and moves the cursor to the next step.
1. Choose Windows>Step Input.
Overture opens the Step Input window.
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As with step-entry of notes, you can delete the previous step by pressing delete and you can move
forward or backward through a score by pressing right arrow or left arrow. For more information, see
Stepping Through a Score on page 390.
2. Press and hold the mouse on the Input Select button, then select the chord name
icon from the pop-up menu.
Input Select button
3. In the Score window, click in the measure where you want to begin step-entering
chord names.
4. On the computer keyboard, type a number to set the step size you wish to enter.
See the table on page 380 to see how number keys correspond to step durations.
Alternatively, select a note value from the Note Size pop-up menu, but youll
probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size button changes to show the value of the
chord youre about to enter.
5. On your MIDI keyboard, play the chord you wish to notate.
Overture searches the current Chord Symbol library for a matching chord. If it finds
a matching chord, it enters the chord name above the staff and moves the cursor to
the next step.
Overture alerts you if it doesnt find a matching chord in your chord library and gives
you the option of opening the current chord library to add the chord.
For more information about how Overture recognizes chords, see About Chord
Recognition below. For more information about Chord Symbol libraries, see Chord
Symbols on page 413.
400 Part IV: Other Overture Windows
About Chor d Rec ogni t i on
Follow through these steps to learn how Overture names chords:
1. If you want to enter a chord name without an alternate bass note, play the chord
such that its root is the lowest note.
For example, if you play F-A-C, Overture assumes F is the root, then searches the
Chord Symbol library and matches the note pattern with a major chord. Overture
then enters a chord name of F.
2. If you want to enter a chord name with an alternate bass note, play the chord so
that the bass note is the lowest note and the root is the second lowest note.
For example, if you play E-F-A-C, Overture assumes E is the root, then searches the
Chord Symbol library for that four-note pattern. When it doesnt find a match, it
assumes that E is an alternate bass and that F is the root. It then searches the
Chord Symbol library for the remaining three-note pattern. It matches the major
chord. Overture then enters a chord name of F/E.
1. Play this chord.
2. Overture assumes E is desired root (since its the lowest note).
3. Overture searches the Chord
Symbol library for this chord pattern.
(This is the pattern of the chord
naturalized to C.)
4. When Overture doesnt find a match, it assumes that E must
be an alternate bass. It then drops it from the chord and assumes
the next highest note (F) is the root.
5. Overture searches the Chord
Symbol library for this chord pattern.
(This is the pattern of the chord
naturalized to C.)
6. Overture finds a match (a major chord) and names your chord F/E.
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The figure below illustrates how Overture interprets chords played on a MIDI controller.
Chord recognition always references the current Chord Symbol library. For more information about
Chord Symbol libraries, see Chord Symbols on page 413.
3. If you want to enter a chord name with an alternate bass note thats the same as a
note in the chord, use the note twice in your chord.
For example, if you wanted to notate Fmaj7 with an E bass, simply play E-F-A-C-E.
Overture recognizes the F-A-C-E as an Fmaj7 and adds the first E as an alternate
bass.
402 Part IV: Other Overture Windows
Part V
Menu Reference
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File Menu

Use the File menu commands to save, create, open, import, export, and print Overture files, MIDI files
and support libraries. The following sections discuss each command in detail.
35
406 Part V: Menu Reference
New...
Choose this command to open a new, untitled Overture score.
When you choose the new command, a New Score dialog box appears. Use the dialog to enter your new
score attributes.
There are three areas in the New Score dialog box. These are described below:
Score Type. Use this area to choose the type of instruments/tracks for your score. You may choose a
single instrument from the Instruments Library, or Piano, or Piano and Voice, or Guitar and
Tablature, or a template from the Templates folder.
Title Page. Use this area to enter title page text. You may add more text, footers, and headers later by
choosing Score>Title Page. See Title Page on page 522 for more information
First Measure. Use this area to enter the scores initial settings such as Time Signature, Key
Signature, etc..
To use the J azz Font (if installed on your computer) for the default music font, check box labeled J azz
Font at the bottom of the dialog.
To prevent this dialog from appearing at startup, disable the check box labeled Open this dialog at
startup at the bottom of the dialog.
Not e:
If you save a score named DefaultFile in the Overture folder, Overture will open this file at startup and
skip the New Score Dialog. Also, you can have as many open Overture scores as memory allows. To
switch between open Overture scores, select the appropriate score from the Windows menu.
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Open...
Use this command to open a saved Overture score. When you choose the Open command, a standard
Open dialog box appears. Use the Open dialog box to navigate through your various volumes and folders
to locate the desired file. Click the file to select it, then click the Open button. The Open dialog box
disappears and the selected Overture score opens.
You can have as many open Overture scores as memory allows. To switch between open Overture scores,
select the appropriate score from the Windows menu.
Openi ng a Sc or e Templ at e
Overture ships with numerous score templates saved as Read Only files. A score template contains staff
and page setups for particular types of music and are stored in the Templates folder within the Overture
folder. Alternatively, you can open a score template by double-clicking its icon in the finder.
Cl ose
Use this command to close the active Score window. Choosing the Close command is the same as
clicking the active windows Close box.
Cl osi ng a Sc or e Wi ndow
If a Score window is active when you choose the Close command, that Overture file closes. If there are
any open support windows, they remain open. If you have made any unsaved changes to an Overture
score, Overture asks you if you want to save the changes before closing the score.
The contents of any open support windows depend on whether or not there are any other open Overture
scores:
408 Part V: Menu Reference
If, when you close a Score window, you have no other open Score windows, the open support
windows will go blank. This is because all data is removed from a support window when you close a
Score window. The support windows stay open for use with other Overture scores.
If, when you close a Score window, you have other open Score windows, the open support windows
fill with data from the frontmost Score window.
Cl osi ng a Suppor t Wi ndow
To close a support window click on the windows Close box.
Save
Use this command to save the active Overture score in the same folder you last saved it in. This command
always saves Overture scores in the Overture file format. If you want to save a score using a different
format, use the Export command. If you choose the Save command for a score that has never before been
saved, Overture prompts you to name and file the score using the standard Save As dialog box. We
discuss the Save As dialog box below.
Save As...
Choose this command to either save an existing score under a new name, or save a new score. When you
choose the Save As command, Overture produces a standard Save As dialog box.
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Type the desired name into the text field and use the pop-up menu and scroll list to select a storage
location. Click the Save button to save the file.
Not e:
Overture scores are cross-platform compatible between the PC and Macintosh. To open a score on the
other platform, just save the score on a disk and open it with Overture on the other platform.
Rever t
Choose this command to cancel any changes you have made to the active Overture score since the last
time you saved it and open the most recently saved version.
Edi t Li br ar y
Choose File>Edit Library to produce a submenu of library types.
From the submenu, choose the type of library you wish to edit. Overture contains five types of libraries:
Allotment Table. Overture uses the Allotment Table to determine the default horizontal spacing of
notes on a staff. Choosing this submenu opens the current Allotment Table for editing.
Chord Symbols. Overture uses the Chord Symbol library to name chords using the Chords window,
or to recognize chords played on a MIDI keyboard. Choosing this submenu opens the current Chord
Symbol library for editing.
Drum Map. Overture uses the Drum Map to assign names, noteheads and staff positions to MIDI
notes. Choosing this submenu opens the current Drum Map for editing.
Expressions. Overture uses the Expressions library to organize sets of expressions, their appearance
in the Score window, and their sound during playback. Choosing this submenu command opens the
current Expressions library for editing.
410 Part V: Menu Reference
Guitar Frames. Overture uses the Guitar Frames library to create and organize sets of guitar frames.
Choosing this submenu command opens the current Guitar Frames library for editing.
Instruments. Overture uses the Instrument Library to define instruments, including the following
track attributes: name, abbreviation, clef, device, patch, output transposition, pitch, range, transposed
clef, transposed steps, and number of voices. Choosing this submenu command opens the current
Instruments library for editing.
The following sections discuss editing each library type in detail.
Al l ot ment Tabl e
Choose this command to modify Allotment Tables and create new ones. When you choose
File>Edit Library>Allotment Table, Overture opens the Allotment Table dialog box.
You can move the Allotment Table dialog box around the desktop by dragging its title bar. The dialog box
displays the name of the active Allotment Table just underneath the title bar.
About t he Al l ot ment Tabl e Di al og Box
The Allotment Table dialog box contains a simple editing grid with basic note values displayed in
columns and various durations displayed in rows. Each cell in the table contains a numerical that
represents the number of spaces assigned to each type of note. A space is equal to the distance between
two staff lines. If you decrease the number of spaces assigned to a particular type of note, that note
appears closer to other notes. If you increase the number of spaces assigned to a particular note, that note
appears farther from other notes.
The Allotment Table dialog box also contains three buttons. These are:
Save As button. Click this button to save the edited Allotment Table to disk. When you click this
button, Overture opens a standard Save As dialog box. Use the dialog box to name the new
Allotment Table and to tell Overture where to save it.
Cancel button. Click this button to close the Allotment Table dialog box and restore the Allotment
Table to its original state. Clicking this button does not save or apply any of your changes to the
current Allotment Table.
OK button. Click this button to activate your changes. When you click this button, Overture uses the
modified Allotment Table. Clicking the OK button does not save the new Allotment Table to disk
Chapter 35: File Menu 411
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it only affects the Allotment Table thats loaded into RAM. If, when you quit the program, your
Allotment Table has unsaved changes, Overture performs one of two actions:
If the Auto Save Changed Libraries option is checked in the Preferences dialog, Overture
automatically saves the changes to disk upon quitting the program.
If the Auto Save Changed Libraries option is not checked in the Preferences dialog, Overture
asks if you want to save the changes to disk before quitting the program.
Overture uses the current Allotment Table in a number of ways:
It automatically positions any notes entered either by MIDI input or by importing MIDI files
according to the Beat Chart derived from the current Allotment Table.
If you check Options>Auto Position, it places any notes entered by mouse according to the Beat
Chart derived from the current Allotment Table.
If you choose Measures>Justify, it aligns any notes in the active measure according to the Beat
Chart derived from the current Allotment Table.
Usi ng t he Al l ot ment Tabl e Di al og Box
Assume, for this example, that you want to create an Allotment Table that minimizes the spacing
differences between eighth notes, sixteenth notes and thirty second notes. To do so, change the Allotment
Table so that eighth notes are given less space and thirty second notes are given more.
To create this Allotment Table:
1. Choose File>Edit Library>Allotment Table.
Overture opens the Allotment Table dialog box. This dialog box shows all the
assignments for the current Allotment Table. If you want to edit a different
Allotment Table, choose File>Load Library and select a different Allotment Table.
See Load Library on page 448 for more information.
2. Use the numericals in the eighth note column to decrease the number of spaces
allotted to all versions of eighth notes.
In this example, decrease the normal eighth note spacing to 1.7; the dotted eighth
note spacing to 2.8; and the triplet eighth note spacing to 1.6.
412 Part V: Menu Reference
Youve now created a new Allotment Table that minimizes the spacing differences between eighth,
sixteenth, and thirty-second notes. When you justify a measure, Overture spaces notes using the Beat
Chart derived from the new Allotment Table. The figure below shows the difference between note
spacings for the two Allotment Tables discussed in the previous example.
Note spacing using default
Allotment Table.
Note spacing using modified
Allotment Table.
Spacing between
eighth notes is slightly tighter here.
Spacing between
sixteenth notes is slightly wider here.
There is now less of a space difference between eighth notes and sixteenth notes in the bottom music
sample than in the top.
3. Use the numericals in the thirty-second note column to increase the number of
spaces allotted to all versions of thirty-second notes.
In this example, increase the normal thirty-second note spacing to 1.4; the dotted
thirty-second note spacing to 1.6; and the triplet thirty-second note spacing to 1.3.
Notice the differences between the two tables above.
4. Click the Save As button.
Overture opens a standard Save As dialog box.
5. Name and save your new Allotment Table in the Libraries folder.
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Chor d Symbol s
Choose this command to modify the current Chord library or to create new Chord libraries. When you
choose this command, Overture opens the Chord Library dialog box for the current library.
Suffix Element Area
Symbol Viewing Area
Chord Suffix
Editing Area
File Buttons
You can move the Chord Library dialog box around the desktop by dragging its title bar.
The dialog box displays the name of the active Chord library just underneath the title bar.
Active
Chord Symbol Library
The Chord Library dialog box consists of four separate areas. We describe these areas beginning with
Suffix Element Area on page 415.
About Chor d Li br ar i es
You can create and store as many Chord libraries as you wish, but Overture can only refer to one Chord
library at a time. That one library is called the current Chord library, and you define it in the Preferences
414 Part V: Menu Reference
dialog box. You can load a different Chord library by choosing File>Load Library (see Load Library
on page 448 for more information).
Why Chor d Li br ar i es Ex i st
Overture uses the current Chord library to name chord suffixes in the Score window. There are two ways
that Overture uses this library:
Chords window: All suffixes stored in this library appear in the Chords window. For more
information about the Chords Window, see Chapter 31, Chords Window.
MIDI Chord Entry: Overture uses this library when you enter chords in step-entry mode using a
MIDI keyboard. Overture searches the library for a matching note pattern and, if it finds one, enters
a chord of the appropriate root in the Score window. For more information about step-entering
chords with MIDI input, see Step Entering Chord Names with a MIDI Keyboard on page 398.
What Chor d Li br ar i es Cont ai n
Chord libraries contain only chord suffixes and the note patterns assigned to themthey do not store
information about the actual roots. Therefore, the bottom of the Chord Library dialog box displays any
chord you add to the library as having a root of C (regardless of the root you used to enter and edit the
chord). For example, the library might store the pattern first +minor third +fifth with the suffix min. For
simplicity, the Chord Library dialog box displays this suffix as C min and shows that it contains the notes
C, Eb, and G.
When you enter a chord name into the Score window, Overture gets the suffix information from the
current Chord library. It gets the root either from the Root buttons in the Chords window or by analyzing
the pattern played on a MIDI keyboard (as discussed in About Chord Recognition on page 400).
For example, if you want to enter an F mi chord name into the score window, either:
Use the Chords window to select a C mi symbol. Then click the F root button. Then click the Score
window to insert the chord name (as described in Chords Window on page 343).
Or
Step-enter an F mi chord from a MIDI keyboard. Overture recognizes the minor chord pattern from
the Chord library and applies the correct root name, F, by analyzing the MIDI input (as described in
Step Entering Chord Names with a MIDI Keyboard on page 398).
The Chord library also contains information about the fonts, sizes, and styles used by chord names in an
Overture score. When you change the Chord library that an Overture score references, the appearance of
any existing chords in the score changes to that defined by the new library.
About t he Chor d Li br ar y Di al og Box
The Chord Library dialog box consists of four separate areas:
Suffix element area
Chord suffix editing
Symbol viewing area
File buttons
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Suf f i x El ement Ar ea
This area of the Chord Library dialog box contains all the elements you can use to name a chord suffix.
Place chord suffix elements in the Chord Suffix editing area (described below) either by double-clicking
elements or by dragging them into the Chord Suffix display.
Some elements (such as majors, minors, diminished, and augmented chords) have numerous acceptable
spellings. To open a pop-up menu of alternate spellings for a suffix element, Alt[Option]-click the
element. The alternate spelling you select applies every time you use that element in the future.
Alt[Option]-click to
open pop-up menu
of spelling alternatives
[To create a symbol not in the Suffix element area, scroll to the end of the list and double-click on the ?.
Overture opens the standard Choose Symbol dialog box. Choose the font and symbol you want.]
To learn how the Suffix element area works in conjunction with other elements in the Chord Library
dialog box, see Editing Chord Symbol Libraries on page 420.
416 Part V: Menu Reference
Chor d Suf f i x Edi t i ng Ar ea
Use the Chord Library dialog box to assemble and edit chord suffixes. It contains the following elements:
Replace button
Show Axis checkbox
Root display
Chord Suffix display
Font button
Trash
Insert button
The Chord Suffix Editing Area consists of the following elements:
Chord Suffix display. Use this to edit a chord suffix. You can click any suffix element to select it
and you can drag any suffix element to reposition it. You can nudge a symbol using the arrow keys
and, if you Alt[Option]-nudge, all elements after the nudged element move the same amount.
Show Axis checkbox. Check this to show the vertical and horizontal axis lines in the Chord Suffix
display. Uncheck this box to hide the axis lines.
Font button. Click this to set the font used for the currently selected suffix element(s). Clicking this
button opens the font dialog box discussed in Font Button on page 563. This is different from both
the Root Font and the Accidental Font buttons in the Symbol viewing areaOverture allows roots,
suffixes, and accidentals all to have completely different fonts. Clicking the Replace button saves
this font together with the chord suffix

If you Control[Option]-click the Font button, Overture changes the font for all suffixes in the library,
not just the selected suffix.
Insert button. Click this to insert the suffix shown in the Chord Suffix display into the Symbol
viewing area (discussed in Symbol Viewing Area below) and into the Chord library itself.
Overture inserts the suffix immediately to the left of the highlighted suffix in the library.
Replace button. Click this to replace the highlighted suffix in the Symbol Viewing Area (discussed
in Symbol Viewing Area below) with the suffix shown in the Chord Suffix display.
Root display. This shows the root of the chord that you select or play. If you play a chord on a MIDI
keyboard, the Root display shows the root of the chord you played. If you select a chord suffix from
the Symbol Viewing Area (as discussed in the following section), the Root display shows C, since all
symbols stored in the Chord Symbol library are displayed with a root of C.
Trash. You can remove suffix elements from the Chord Suffix Editing Area by dragging them to the
trash. Similarly, you can remove chord symbols from the Symbol viewing area by dragging them
into the trash. We describe the Symbol viewing area in Symbol Viewing Area below.
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To learn how the Chord Suffix editing area works in conjunction with other elements in the Chord
Library dialog box, see Editing Chord Symbol Libraries on page 420.
Symbol Vi ew i ng Ar ea
This area shows all the suffixes in the current Chord library along with a keyboard representation of the
actual notes in each chord symbol (generally based on a root of C).
Miniature Keyboard Display
Scrolling Symbol Library
Upper Root pop-up menu
Root Font button
Accidental Font button
This area consists of numerous elements. Specifically:
Miniature Keyboard display. Use this to enter or view the notes in a chord symbol. All displayed
chord symbols are based on the root selected in the Root pop-up menu. There are two ways to enter
the notes in contained in a chord symbol:
Manually. On the miniature keyboard, click each key that makes up the chord. If you enter a
chord using a root other than C, Overture automatically transposes it to the root of C when you
add it to the Chord library.
From a MIDI Controller. Play a chord on a MIDI controller. Overture automatically enters
the notes on the miniature keyboard display and selects the Root based on the lowest note
played. You can change this root if you want the chord named some other way, for example
with an added bass note as discussed in Example 2: Creating a Chord Symbol with an
Alternate Bass on page 422.
The C with the box around it indicates middle C on the miniature keyboard.
Overture uses the notes shown in the miniature keyboard display to recognize chords that you play
on a MIDI keyboard. For more information, see Step Entering Chord Names with a MIDI
Keyboard on page 398.
418 Part V: Menu Reference
Symbol Library. Use this scrolling display to select a chord symbol. When you select a symbol, the
miniature keyboard displays the notes in the chord. Clicking the Replace button in the Chord Suffix
editing area replaces the selected chord symbol with whatever is in the Chord Suffix display (and
normalizes it to the root of C). Clicking the Insert button in the Chord Suffix editing area inserts
whatever is in the Chord Suffix display between the selected chord symbol and the symbol
immediately to its left. The Chord Library can contain an unlimited number of chord symbols. You
can delete chord symbols by dragging them to the trash icon in this dialog box.
To delete a chord
symbol from here...
... drag it here.
Root Font button. Click this button to set the font for the chord symbols root. Clicking this button
opens the Font dialog box discussed in Font Button on page 563. This is different from both the
Font button in the Chord Suffix Editing Area and the Accidental Font buttonOverture allows
roots, suffixes, and accidentals all to have completely different fonts.
Accidental Font button. Click this button to set the font for any accidental that appears in a chord
symbol. Clicking this button opens the Font dialog box discussed in Font Button on page 563. This
is different from both the Font button in the Chord Suffix editing area and the Root Font button
Overture allows roots, suffixes, and accidentals all to have completely different fonts.
14 pt. Times Bold as set by Root Font button
9 pt. Helvetica Plain as set by Root Font button
16 pt. Aloisen Plain as set by Accidental Font button
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Upper Root pop-up menu. Use this pop-up menu to change the note that Overture defines as the
root of a chord that you play into the library. Normally you wont need to change the root, but if you
want to add a chord symbol with an alternate bass to the library, youll need to use this pop-up menu
as discussed in Example 2: Creating a Chord Symbol with an Alternate Bass on page 422.
To learn how the Symbol viewing area works in conjunction with other elements in the Chord library
dialog box, see Editing Chord Symbol Libraries on page 420 below.
Fi l e But t ons
This area contains the following buttons:
Clear All button. Click this button to clear all chord symbols from the existing library. Use this
when you want to create a Chord Symbol library from scratch. Generally, youll find it easier to
modify an existing library than to create a new one.
Save button. Click this button to save changes to the file immediately. This lets you:
Know the state of your libraries as you edit them without having to remember at the end of the
Overture session which changes youd like to keep.
Save the changes to the file but press Cancel to restore your working copy to the state it was in
before the current editing.
Press the OK button without pressing Save to use the current state of the library for the
duration of the Overture session without saving the changes to the file. This button does not
save changes to the chord suffix or its font. Use the Replace button to save these elements.
Save As button. Click this button to save the edited Chord library to disk. When you click this
button, Overture opens a standard Save As dialog box. Use the dialog box to name the new library
and to tell Overture where to save it. This button does not save changes to the chord suffix or its font.
Use the Replace button to save these elements.
Cancel button. Click this button to close the Chord library dialog box and restore the Chord Library
to its original state. Clicking this button does not save or apply any of your changes to the current
Chord library.
OK button. Click this button to activate your changes. When you click this button, Overture uses the
modified Chord library. Clicking the OK button does not save the new Chord library to diskit
only affects the Chord library thats loaded into RAM. If, when you quit the program, your Chord
library has unsaved changes, Overture performs one of two actions:
420 Part V: Menu Reference
If the Auto Save Changed Libraries option is checked in the Preferences dialog box, Overture
automatically saves the changes to disk upon quitting the program.
If the Auto Save Changed Libraries option is not checked in the Preferences dialog box,
Overture asks if you want to save the changes to disk before quitting the program.
This button does not save changes to the chord suffix or its font. Use the Replace button to save
these elements.
Edi t i ng Chor d Symbol Li br ar i es
Follow through the next couple of examples to learn how to edit a Chord library. Refer to the earlier
discussions of the Chord Library dialog box individual elements for more information.
Ex ampl e 1: Si mpl e Chor d I nser t i on
Assume, for this example, that you want to add a major triad with an added ninth to your Chord Library.
To do so:
1. Choose File>Edit Library>Chord Symbol.
Overture opens the current Chord library.
2. Click a blank symbol box in the scrolling symbol library.
You may have to scroll to the end of the list. This example shows a Chord Symbol
library that has been emptied using the Clear All button (as discussed in File
Buttons on page 419).
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3. Since a major triad with an added ninth is written as X
(add 9)
, you need to create this
suffix in the Chord Suffix Editing area. First, double click the ( element in the Suffix
Elements area.
This inserts the left parenthesis in the Chord Suffix display.
Double-click an element here...
...to insert it over here.
4. In the Suffix Elements area, double-click the add element to insert it in the Chord
Suffix display, then double-click the 9 to insert it.
Alternatively, drag the symbol over to the Chord Suffix display.
5. Finally, double-click the ) to insert it in the Chord Suffix display.
6. On your MIDI controller, play a C
(add 9)
chord.
Overture automatically enters the notes into the miniature keyboard display.
If you dont have a MIDI controller connected to your computer click each key in the
C
(add 9)
chord using the miniature keyboard display.
422 Part V: Menu Reference
Ex ampl e 2: Cr eat i ng a Chor d Symbol w i t h an Al t er nat e Bass
Assume, for this example, that you want to create a minor triad chord symbol with an alternate bass note a
half step below the root. To do so:
7. Click the Replace button in the Chord Suffix editing area to save the change to the
chord suffix.
Overture replaces the empty chord symbol with a C
(add 9)
chord symbol.
1. Choose File>Edit Library>Chord Symbol.
Overture opens the current Chord library.
2. Click a blank suffix box in the scrolling symbol library.
You may have to scroll to the end of the list.
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3. To create the suffix, first double-click the min element in the Suffix Elements area.
This inserts the min suffix in the Chord Suffix display.
Double-click an element here... ...to insert it here.
4. On your MIDI controller, play a D minor chord with a C# in the bass.
Overture automatically enters the notes into the miniature keyboard display and
shows the upper root as C#.
Notes shown here
Root shown as C#since
thats the lowest note
in chord
If you dont have a MIDI controller connected to your computer click each key in the
chord using the miniature keyboard display.
424 Part V: Menu Reference
5. Since C# is actually the alternate bass and D is the upper root, press the mouse on
the Upper Root pop-up menu and select an upper root of D.
Overture changes the upper root from C# to D and changes the chord symbol to
Dmi/C#.
D now appears as the upper root
C#now appears as an
alternate bass note
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6. Click the Replace button in the Chord Suffix Editing Area to save the change to the
chord suffix.
Overture replaces the empty chord symbol with the newly created symbol,
transposing it so that the lowest note in the chord is a C.
426 Part V: Menu Reference
Dr um Map
Choose this command to modify Drum Maps and create new ones. When you choose
File>Edit Library>Drum Map, Overture opens the Drum Map dialog box.
You can move the Drum Map dialog box around the desktop by dragging its title bar.
The dialog box displays the name of the active Drum Map library just underneath the title bar.
Library
Active
Drum Map
You can create and store as many Drum Map libraries as you wish, but Overture can only refer to one
Drum Map at a time. That one map is called the current Drum Map and is defined in the Preferences
dialog box. You can load a different Drum Map by choosing File>Load Library (see Load Library
on page 448 for more information).
About t he Dr um Map Di al og Box
The Drum Map dialog box contains a simple scrolling chart. The chart has 128 rows (one for each MIDI
note) and it has columns for editing each notes head, staff position and name. Obviously, you most
commonly use Drum Maps to assign drum names to MIDI notes, but you can also create Drum Maps to
use with sound effects, foley work, and the like.
Tracks use Drum Maps to create percussion notation. To learn to use Drum Maps in a track, see
Percussive Tracks on page 497.
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There are four columns in the Drum Map dialog box. These are:
Pitch. This column shows each of the 128 MIDI pitches to which you assign a name, head and staff
position. Click those pitches you want included in a default percussive track and Overture places a
small triangle next to them. Since a percussive track can record, play and notate up to sixteen
different drums, you can select up to sixteen pitches to include in the default percussive track. For
more information about percussive tracks, see Percussive Tracks on page 497.
Checked pitches appear
by default in a percussive
tracks Track Setup dialog
box.
Head. Press and hold the note icon to open a pop-up menu. From the menu, select the notehead you
want to use for the MIDI note.
428 Part V: Menu Reference
Position. Press and hold the small staff icon to open a larger, editable staff. Drag the cursor up and
down to change the staff position on which Overture displays the MIDI note.
1. Move the mouse over
a notes Position indicator.
2. Press and hold the mouse to
open a larger, editable staff.
3. Drag the cursor up and
down to change the staff
position on which Overture
4. Release the mouse when
youre satisfied with the
displays the note.
notes staff position.
Name. Use this column to type the name of the sound thats assigned to each MIDI note.
The Drum Map dialog box also contains four buttons. These are:
Save button. Click this button to save changes to the file immediately. This lets you
know the state of your libraries as you edit them without having to remember at the end of the
Overture session which changes youd like to keep
save the changes to the file but press Cancel to restore your working copy to the state it was in
before the current editing
press the OK button without pressing Save to use the current state of the library for the duration
of the Overture session without saving the changes to the file
Save As button. Click this button to save the edited Drum Map to disk. When you click this button,
Overture opens a standard Save As dialog box. Use the dialog box to name the new Drum Map and
to tell Overture where to save it.
Cancel button. Click this button to close the Drum Map dialog box and restore the Drum Map to its
original state. Clicking this button does not save or apply any of your changes to the current Drum
Map.
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OK button. Click this button to activate your changes. When you click this button, Overture uses the
modified Drum Map. Clicking the OK button does not save the new Drum Map to diskit only
affects the Drum Map thats loaded into RAM. If, when you quit the program, your Drum Map has
unsaved changes, Overture does one of two things:
If the Auto Save Changed Libraries option is checked in the Preferences dialog, Overture
automatically saves the changes to disk upon quitting the
program.
If the Auto Save Changed Libraries option is not
checked in the Preferences dialog, Overture asks if you
want to save the changes to disk before quitting the
program.
Usi ng t he Dr um Map Di al og Box
Assume, for this example, that your drum machine plays a kick drum on C1, a snare on D1, and low, mid
and high toms on G1, A1, and C2 respectively. Also, assume you want Overture to display all drum notes
with an X head and that you want the kick drum assigned to the lowest space, the snare in the next space
up, the low tom in the space above that, the mid tom in the top space, and the high tom in the space above
the top line.
To create this Drum Map:
1. Choose File>Edit Library>Drum Map.
Overture opens the Drum Map dialog box. This dialog box shows all the
assignments for the current Drum Map. If you want to edit a different Drum Map,
choose File>Load Library and select a different Drum Map (see Load Library on
page 448 for more information).
2. Use the scroll bar to find MIDI note C1.
430 Part V: Menu Reference
3. Press and hold the note in the Head column next to C1 and select the X head from
the pop-up menu.
This assigns the X head to C1.
4. In the Position column, drag the C1 notes staff position to the lowest space.
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5. In the Name column, type Kick Drum.
Overture assigns the name Kick Drum to MIDI note C1.
6. Assign MIDI note D1 to the snare as shown below.
432 Part V: Menu Reference
Youve now created a simple Drum Map containing a kick, snare and three toms. To see how to use a
Drum Map in a score, see Percussive Tracks on page 497.
7. Assign the three toms as shown in the Drum Map dialog box below.
8. Click the Save As button.
Overture opens a standard Save As dialog box.
9. Name and save your new Drum Map.
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Ex pr essi on Li br ar y
Choose File>Edit Library>Expressions to change the expressions that appear on the Expressions
palette (see Chapter 21, Expressions Button, on page 237) and create new ones. Overture opens the
Expression library dialog box.
The Expression library lets you specify and store information about expressions. The definition of each
expression includes name, font, size, style, and playback information.
Usi ng t he Ex pr essi on Li br ar y Di al og Box
This section discusses how to edit, save, and name the currently loaded Expression library.
The Expression library dialog box lists all the expressions in the currently loaded Expression library.
Columns in the dialog box allow you to manipulate the expressions in the Expression palette and change
their information:
434 Part V: Menu Reference
. Click to select an expression. Press and drag to move an expression up or down the list of
expressions. Expressions appear on the palette in the order you specify by moving them in this
column.
Ex. (Extract). Click to put a bullet in the column or to remove it. Putting a bullet in the column tells
Overture to extract this expression in all parts when you extract parts. See Extract Parts on page
516.
Name. Click and type to change the name of an expression. The new name appears on the palette,
where you can choose it and put it on the score.
Font. Press and drag to choose a font from the pop-up menu. The expression appears in the score in
the font you specify.
Size. Click and type to change the font size. The expression appears in the score in the size you
specify.
Style. Click and choose the style characteristics you want. Choose multiple times to specify multiple
characteristics. Your choices are Normal, Bold, Italic, and Underline. The expression appears in the
score with the style characteristics you specify.
Playback. Click to display the Expression Playback dialog box for an expression. This dialog box
lets you specify options for MIDI playback of the expression in your score. See Expression
Playback dialog box below.

Buttons in the Expression Library dialog box let you manipulate the Expressions palette further.
Insert. Select a row and press the Insert button to add an empty row above the selected row. You can
fill in the row with a new expression. This adds the new expression to the palette after you click OK.
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Delete. Select a row and press the Delete button to delete the selected row. This removes the selected
expression from the Expressions palette after you click OK.
Save. Click this button to save the changes you have made as part of the current Expressions library.
Save As. Click this button to save the current Expressions library with a new name (creating a new
Expressions library) or to another place. The Save As dialog box appears. Specify the new name and
location and click Save.
Ex pr essi on Pl aybac k Di al og Box
The Expression Playback dialog box lets you tell Overture how you want MIDI playback of the specified
expression to sound. In the Expression Library dialog box (see Using the Expression Library Dialog
Box above) click the Playback column for the expression you want to specify. The Expression Playback
dialog box opens.
Choose one of these options:
None. Click to tell Overture not to provide MIDI playback for this expression.
Tempo. Click the radio button to specify a tempo. Click and type a number to specify the tempo you
want.
Patch. Click the radio button to specify a patch for MIDI playback. Press and hold to display the
Patch pop-up menu. Drag and release to choose a patch. The patch name or number appears on the
menu button.
Controller. Click the radio button to specify a controller for MIDI playback. Press and hold to
display the Controller pop-up menu. Drag and release to choose a controller. The controller name or
number appears on the menu button.

Type a value for the controller in the Value box.
Use Voice: Choose the voice (channel) to to send MIDI data out for this expression.
Also Send: Check this box and choose a value if you want to send a key switch.
Click OK to apply your choices for playback to the selected expression.
436 Part V: Menu Reference
Gui t ar Fr ames Li br ar y
Choose this command to modify the current Guitar Frames library or to create new Guitar Frames
libraries. When you choose this command, Overture opens the Guitar Frames Library dialog box for the
current library
Frame Viewing Area
Buttons Area
Frame Editing Area
Chord Type Area
About Gui t ar Fr ames Li br ar i es
You can create and store as many guitar frames libraries as you wish, but Overture can only refer to one
Guitar Frames library at a time. That one library is called the current Guitar Frames library, and you
define it in the Preferences dialog box. You can load a different Guitar Frames library by choosing
File>Load Library (see Load Library on page 448 for more information).
What Gui t ar Fr ames Li br ar i es Cont ai n
Guitar Frames libraries contain the root, bass, suffix, and tuning for each frame, and the fingering pattern
assigned to them.
When you enter a guitar frame into the Score window, Overture gets the frame information from the
current Guitar Frames library. You choose the root, bass, suffix, and tuning in the Chords window.
For example, if you want to enter an Fmi guitar frame into the score window:
Open the Chord window and switch to Guitar Frames (if needed) using the check box. Choose F
from the root menu and minor from the Suffix menu. Click on the desired fingering and then click
the Score window to insert the guitar frame (as described in Chapter 31, Chords Window).
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The Guitar Frames library also contains information about the fonts, sizes, and styles used by guitar
frames in an Overture score. When you change the Guitar Frames library that an Overture score
references, the appearance of any existing guitar frames in the score may change to that defined by the
new library.
About t he Gui t ar Fr ames Li br ar y Di al og Box
The Guitar Frames Library dialog box consists of five separate areas:
Chord Type area
Default Suffix Spellings area
Frame Editing area
Frame Viewing area
Buttons area
Chor d Type Ar ea
Use this area to choose the type of guitar frame you wish to edit.
To place guitar frame in the Frame Editing Area (described below), set the Root, Suffix, Bass, and
Tuning menus to the desired chord. This displays the different fingerings for this chord. Now click on a
fingering to place it into the Frame Viewing Area.
Def aul t Suf f i x Spel l i ng Ar ea
Use this area to set default spellings for suffix names. To change a spelling click on the menu button and
choose a different spelling.
Fr ame Edi t i ng Ar ea
Use this area to edit the guitar frame.
438 Part V: Menu Reference
The enter a dot on a string, click on the string and fret. Click above the frets to place a symbol for open or
muted string. Multiple clicks toggle between open, muted, and no symbol.
Shift click two dots to enter a barre between them.
To change starting fret, use the Fret popup menu.
Type the suffix name in the given area. You may type anything you wish for a name. Overture displays
non-alpha numeric characters as a superscript. For Example: A C9 chord will have the 9 displayed in a
slightly smaller font and raised.
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When you are finished editing the fingering, choose the Replace button to replace an existing chord or
the Insert button to insert a new fingering. You can reposition the frames by dragging them to a new
position.
Fr ame Vi ew i ng Ar ea
Use this area to choose the guitar frame to edit.
Click on the fingering you wish to edit. The current frame being editited will be shown in red. You may
also reposition the frames by clicking and dragging them to a new position. To delete a frame, drag it to
the Trash Can.
Not e:
You can copy the current frame by typing Control[Command]-c and then paste it into the Frame Editing
Area by typing Control[Command]-p.
But t ons Ar ea
Use this area to set change the spellings for suffix names. To change a spelling click on the menu button
and choose a different spelling.
Font button. Click this button to choose the default font for the suffix names.
Insert button. Click this button to insert the frame in the edit area into the viewing area and into the
current Guitar Frames library.
Replace button. Click this button to replace the hilited frame in the viewing area with the frame in
the editing area.
Save button. Click this button to saves changes to the file immediately.
Save As button. Click this button to save the edited library to disk under a different name. Overture
opens the standard Save As dialog to allow you to specify a different name.
OK button. Click this button to activate your changes. This does not save them to disk - it only
affects the current Guitar Frames library.
Cancel button. Click this button to restore the library to its original state.
I nst r ument s Li br ar y
Choose File>Edit Library>Instruments Library to change instruments and create new ones. Overture
opens the Instruments library dialog box.
440 Part V: Menu Reference
The Instruments library lets you specify and store important information about instruments. Each
instruments definition includes: name, abbreviation, clef, device, patch, output transposition, pitch range,
transposed clef, transposed steps, and number of voices.
Assigning an instrument to a track automatically enters the instruments information into the track. There
is, however, no dynamic link between a track that has been assigned an instrument and the Instrument
library that contains that instrument. Editing an instrument in the Instruments library has no effect on
tracks that have already been assigned that instrument. Once the track has been assigned an instrument,
the instruments attributes belong to that track. The tracks attributes are still editable in the Setup Track
dialog box, the Tracks Window, or the Score Window.
Assigning instruments to tracks is a much faster, more efficient way to use Overture than individually
entering each attribute. We recommend using the Instruments library as much as possible to configure
instruments; override the assignments in the track only when necessary.
Or c hest r al and GM I nst r ument s
Sonic Scores provides two libraries: Orchestral Instruments and GM Instruments. Both libraries reside in
the Libraries folder located in the same folder as the Overture application.
Orchestral Instruments contains a list of the most commonly used orchestral instruments and loads as the
default Instruments library when you first launch Overture. Although the name, abbreviation, clef, pitch
range, number of voices, and transposed steps attributes of each instrument are accurately defined, you
need to select the devices and patches to use for your MIDI setup.
GM Instruments contains a complete list of General MIDI instruments. Since these instruments are
designed to work with General MIDI devices, the patches are accurately specified. You need to select the
device theyll play through in your MIDI setup, however.
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You can specify the Instruments library to load when starting Overture by selecting the desired library
from the Instruments pop-up menu in Libraries Preferences. The Instruments pop-up menu contains all
Instruments libraries in the Libraries folder. This menu defaults to Orchestral Instruments until you select
another library.
Edi t i ng t he I nst r ument s Li br ar y
This section discusses how to edit, save, and name the currently loaded Instruments library.
Its a good idea to make copies of the GM and Orchestral Instruments libraries. Making backups prevents
any mistakes from overwriting these important starting libraries.
You can derive your own libraries from those Sonic Scores provides or create your own from blank
entries. Although GM Instruments is intended for General MIDI devices, you can select patches different
from those predefined, or devices that dont conform to General MIDI. You can add non-orchestral
instruments to Orchestral Instruments.
Since most composers use a smaller set of instruments than are contained in the libraries we provide, it is
not necessary to define all instruments in the library. You can either delete instruments you dont need or
just define the instruments youd like to use and ignore the others. Once they have defined the relevant
instruments, most composers do not need to make frequent changes to the Instruments library.
To begin editing the currently loaded Instruments library, choose File>Edit Library>Instruments. This
opens either:
the Instruments library that was loaded when Overture started;

Or
the Instruments library that was last loaded by choosing File>Load Library.

Choosing File>Load Library is the only way to edit and use a library different from the currently
loaded library.
The OK and Canc el But t ons
After you edit the library and press the OK button, Overture uses any changes made to that library until
you:
edit the library again (and press OK)
load a different library
quit and re-start the program
Pressing the OK button after editing the library saves those changes while you use that library (think of it
as a working copy) without saving them permanently in the library file. This allows you to experiment
with different settings without committing them to the file.
If you select theAuto Save Libraries option in Libraries Preferences, however, Overture saves the
changes in the current library file every time you click the OK button. This is a shortcut method for those
users who prefer to keep the working copy and the library file in sync with each other without the extra
442 Part V: Menu Reference
step of clicking the Save button. If you press Cancel instead of OK, Overture saves changes to neither the
working library nor the library file.
Save
Pressing the Save button saves any changes you make in the current library to the current librarys file
name. Pressing the Save button permanently changes the library file but doesnt save the changes to the
working library until you press the OK button.
Not e:
You can edit the library, press Save to store the changes in the library file, and then press Cancel to avoid
working with the changes.
Save As
Pressing Save As opens the standard Save As dialog box. Locate the Libraries folder (in the folder that
contains Overture) and assign the library a new name. The name appears in the upper left of the library
window. If youd like to use the current changes to this library, press OK. If you are merely making a
copy of the library under a different name and would like to return to the previous librarys state before
editing, press Cancel.
Its important to understand that using Save As does not load that library file as the current Instruments
library. The next time you choose File>Edit Library>Instruments, youll be editing the currently loaded
library, not the file you named when you used the Save As button. The only way to change the
Instruments library while Overture is running is by choosing File>Load Library to load a different
library.
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I nser t and Del et e
You enable the Insert and Delete buttons only when you select an instrument by clicking in the column
with the arrows at the far left of the library.
Click in this column to
select an instrument
Selected instrument
Pressing Insert copies the selected instruments attributes to a new, un-named entry above the selected
instrument. Its helpful to select an instrument whose attributes are similar to the instrument youd like to
create. Then you can edit those fields in the new instrument that differ from those in the original
instrument.
Pressing Delete removes the selected instrument from the library.
Cl ear
Pressing the Clear button creates a new library with unspecified fields. This is the easiest way to create a
new library from scratch.
The I nst r ument s Li br ar y At t r i but es
This section discusses each instrument attribute in the Instruments library.
I nst r ument Sec t i on
Name and Abbr evi at i on
You can name and abbreviate each instrument. Selecting Show Name in the Setup Track dialog box
displays the instruments name in the left margin of the first system in the Score Window. Selecting Show
444 Part V: Menu Reference
Abbreviation in the Setup Track dialog box displays the instruments abbreviation in the left margin for
systems subsequent to the first system in the Score Window.
GM #
When you open an Overture file in a MIDI setup different from the one used to create the file, the devices
assigned to tracks may differ. This commonly occurs when you exchange Overture files with a friend or
co-composer. Overture uses the number specified in the GM # field of the Instruments library in which
the file was created to search the Instruments library in the new environment for an instrument that uses
the same GM #. If it finds a match, Overture uses the device and patch from that instrument if the current
MIDI Setup knows that device. The GM#links MIDI devices in different setups; it is not the actual patch
used for the track.
If Overture doesnt find a match, it uses the device you select in the General Preferences option Remap
Unknown Devices To. You still need to specify the patch for that track for the new device to play the
correct sound. If you dont select Remap Unknown Devices To, Overture warns you that it will not
remap the device(s) and that any tracks using them will not play. Use the Tracks Window to specify
devices and patches for these tracks.
Cl ef
Tracks you assign to this instrument use the clef you select.
Dr um Sec t i on
When first launched, Overture automatically loads a default General MIDI Drum Map. See Drum Map
on page 426 for more information on Drum Map libraries.
Sonic Scores would like to thank Dr. Norman Weinberg for giving us a standard. His article Guidelines
for Drumset Notation in Percussive Notes, J une 1994 was very useful. We have made our best effort to
match the notehead and staff positions of the various drum notes to his suggestions. Because of the vast
numbers of drums, we occasionally had to make slightly different choices.
Drum Maps specify names and clef positions for drum notes. You can store multiple Drums Maps in the
Libraries folder but only one Drum Map is active at a time. Select a different Drum Map by choosing
File>Load Library and select the new Drum Map from the standard File dialog box that appears. There
are sixteen pitches in each Drum map, each of which is assigned a position on the percussive clef.
Map
Click the Map column to open the current Drum Map. Clicking OK saves the changes made to that Drum
Map, not to the currently active Drum Maps file. A dot to the left of the Map field (in the Dot field) shows
that the pitches for tracks using that instrument are designated by the notes and clef positions you specify
in that instruments Drum Map. You can edit a different Drum Map for each instrument but each
instrument begins with the current Drum Map.
Click the dot in the Dot field to remove the dot and use conventional note pitches instead of the Drum
Map. Click the Dot field when there is no dot to activate the current Drum Map for that instrument.
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Out put Sec t i on
Devi c e/Pat c h
Set the device and patch for the instrument with the Device and Patch pop-up menus. Alt[Option]-
clicking to select a device sets all instruments in the library below that device to the selected device.
Option-clicking to select a patch opens the OMS Names Browser.
Think carefully about how you allocate the devices in your MIDI setup to instruments. Consider how
many MIDI channels, notes, and multi-timbral parts each device can play before assigning the same
device to instruments that play simultaneously. Sometimes you may have to use a device that doesnt
have the best sounding patch in order to play all the tracks with the correct instrumentation. See
Resolving Device Conflicts on page 502 for a detailed discussion about assigning devices in the
Instruments library.
Tr ans
Set the output transposition in the Trans numerical field. This field affects playback only, not the
appearance of notes in the Graphic or Score Windows.
Range Sec t i on
Low and Hi gh
The Low and High fields specify the lowest and highest notes, respectively, in the instruments pitch
range.
Voi c es
The Voices field specifies the number of voices the instrument is capable of generating. For example, an
alto sax generates only a single voice but a guitar can generate up to four voices.
Tr anspose Sec t i on
Cl ef
The Clef field shows the clef displayed in the track if you select Options>Show>Tracks Transposed.
St eps
The Steps field shows the instruments transposition. You can edit this field, but each transposing
instrument in Overtures libraries already has the correct transposition.
This is different from the Output Trans field that transposes the output for playback only.
Rear r angi ng I nst r ument s i n t he Li br ar y
You can move the instruments around the library by dragging in the far left field with the up and down
arrows at the top of the column. Since the instruments in GM and Orchestral Instruments libraries are
ordered alphabetically, you may want to group instruments in other ways. For example, see Resolving
Device Conflicts on page 502 to learn how grouping instruments by device lets you assign devices to
groups of instruments in one step.
446 Part V: Menu Reference
The I nst r ument s Li br ar y and t he Tr ack s Wi ndow
Although you can explicitly set the Track, Voices, Device, Patch, and Trans fields, it is easier to set them
automatically by selecting an instrument that encapsulates these attributes. Control[Command]-clicking
the Device field opens a pop-up menu with the instruments in the current Instruments library. The normal
pop-up menu displays the devices known to the current MIDI setup. When you select an instrument,
Overture assigns all the instruments attributes to the track. This includes the attributes displayed in the
Setup Track dialog box but not in the Tracks window, namely clef, pitch, range, steps transposed, and
GM#.
Not e:
The instruments name appears in the Track field. The Trans field of the Tracks window displays the
Output Trans attribute from the instrument, not the Steps attribute from the Transpose section.
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Resol vi ng Devi c e Conf l i c t s
To use the Device field to select instruments you must completely define the instruments in the
Instruments library. This is not hard. If you are using the Orchestral or GM Instruments libraries, you
must systematically configure only the Device and Patch fields in order to view and play tracks correctly.
Give careful thought to which devices have the best patches to play specific sounds. Its also important to
think about which instruments you most commonly use in a particular type of composition. For example,
if a piece uses horns, piano, drums, bass, and guitar all mapped to a single device, you may run out of
MIDI channels, multi-timbral parts, or notes on that device. Overture and the Instrument Definitions
Manager cannot help you in resolving these issues.
As you select patches and devices for the many instruments in the library, it is difficult to anticipate how
and when those instruments will be used. For example, consider the following situation:
If you assign Proteus/2-1 and Oboe as the device and patch to an
oboe instrument
and you assign Proteus/2-1 and Harp as the device and patch to a harp
instrument
then what happens if you assign the harp and oboe to tracks that play
simultaneously?
Both tracks request different patches on the same device. Overture resolves the conflict by assigning the
next available MIDI channel to the second of the two tracks. For example, if the Proteus/2 from the
previous example were enabled to receive on channels 1-8, Overture would assign Proteus/2-2 for track
2.
This automatic device mapping brings up another interesting possibility: since Overture solves device
conflicts, why go to the trouble of specifying the precise MIDI channel for each device for every
instrument?
The answer is that you dont have to specify the precise MIDI channel. You can simply select the devices
first enabled channel for an instrument. As long as you dont assign a single device for too many
instruments that play simultaneously, you really dont have to worry about which MIDI channels
Overture uses, as long as the correct patch plays on the selected device.
This automatic device mapping has an interesting implication for grouping instruments in the library. If
you group instruments in your library based on the device they play through, rather than alphabetically,
you can Alt[Option]-click the Devices pop-up menu when selecting the device for the first instrument in
the group to assign that device to all instruments below that instrument.
By starting at the top of the library and moving down, you can assign the first channel of the device for
that group to the first instrument in the group. Then move on to the first instrument of the next group and
perform the same operation. Each succeeding assignment overrides the preceding assignment for the
instruments below the instrument you Alt[Option]-click. Overture then assigns specific MIDI channels
for the devices as the instruments are used in tracks.
448 Part V: Menu Reference
This technique can significantly speed up and simplify the task of assigning devices. When youre done
assigning devices, you can then re-group the instruments in the library alphabetically or in any other way
that makes sense.
Not e:
Selecting an instrument from the Setup Track dialog box does not enter the device and patch into the
Track List. See Instrument Pop-up Menu on page 556 to learn why this is the case.
Load Li br ar y
Choose this command to load any of Overtures six library types from disk into Overtures local memory.
We discuss Overtures library types in Edit Library on page 466.
When you choose File>Load Library, Overture opens a standard Open dialog box. Use the dialog box to
find the library you wish to open. When you load a library into Overture, it replaces the library previously
in use.
You can edit any loaded library by choosing its type from the File>Edit Library submenu.
When Overture launches, it automatically loads the Chord library, Drum Map, Allotment Table,
Expressions library, Instruments, and Guitar library selected in the Preferences dialog box. For more
information, see Preferences on page 704.
I mpor t
Choose this command to import either a standard MIDI file, MusicXML file, Encore. or MusicTime
file, and convert it into standard music notation.
I mpor t i ng Fi l es
To import a files into Overture:
1. Choose File>Import.
A standard Open dialog box appears.
2. Navigate to where you store your files.
3. For MIDI files an Import dialog box appears. Enable those tracks you wish to import
and select the desired voicing, split, quantization and transcription options for each
track.
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About t he I mpor t MI DI Fi l e Di al og Box
This section discusses the Import MIDI File dialog box.
File Name
Track Name
Voices
Split Point
Transcription
Quantization
Transcribe Mode
Track Selector
Score Options
There are numerous elements in the Import MIDI File dialog box. These are described below:
File Name. This area of the dialog box displays the name of the MIDI file youre importing into
Overture.
Transcribing Status. Once you click the OK button, this reporting box displays the import status on
a measure-by-measure, track-by-track basis.
4. Click the OK button.
Overture creates a new Score window. Its staves show either standard music
notation or raw MIDI data (MIDI files only) depending on the transcription option you
selected in the Import MIDI File dialog box.
450 Part V: Menu Reference
Track Selector. Use this column to select those tracks you want to import. Overture imports all
tracks marked with a small triangle. Click a selector dot to turn it into a triangle (enabling it for
importing). Click a selector triangle to turn it into a dot (disabling it for importing).
Track disabled for import
Track enabled for import
Track Name. This column shows the name of each track in the selected MIDI file.
Voices. Use this column to tell Overture whether you want the corresponding track imported as a
single voice or a multiple-voice track. For a definition of voices, see Voice on page 8. Simply click
the word Single or Multiple to switch between the two choices.
Clef. Use this column to assign the type of clef you want for the imported track. Change the clef type
by clicking the Clef field. Each click changes the type between treble, bass, alto, tenor, and perc.

Percussive Tracks. Tracks imported with the perc. (percussive) clef type display with respect to the
current drum map. Overture plays the imported pitches, but displays them on the percussive clef in
the positions you have specified in the drum map.
Split Point. Use this numerical if you want Overture to split a track into two separate tracks. Press
and hold the mouse in this column and drag it up to set a split point. Overture imports split tracks as
two tracksit places any notes equal to or higher than the split point in one track and notes below
the split point in another. If you select None, Overture imports the track as is. Split points are
particularly useful for importing piano parts that were recorded on one track, but that you want
notated on two staves.
Transcription Quantization. Use this column to set the quantization level for each imported track.
Press and hold the note, then choose a new note from the pop-up menu.
Overtures smallest transcription quantize amount is the triplet value of the selected note. For
example, if you select a transcription quantize amount of an eighth note, the smallest note value
Overture transcribes correctly is an eighth note triplet.
Transcribe Mode. Use this column to tell Overture whether you want the corresponding track
transcribed directly (Auto), or if you want the track transcribed as raw MIDI data (Manual). Click the
word Auto or Manual to switch between the two choices.
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Map Channels to Staves. If a single track has multiple channels, use this box to tell Overture to
display each channel on a separate staff.
Score Order. Use this options to reorder the tracks to match the standard order of classical
instruments.
Optimize Staves. Use this option to suppress the display of staves containing no track data.
Use Jazz Font. Use this option to have Overture use the J azz Font for musical symbols. This
requires that the J azz Font be installed.
Overture justifies all measures and recalculates the score for each imported track. It uses information
about the highest and lowest note in each staff to adjust the space between staves accurately.
Abbr evi at i ons f or I mpor t ed Tr ac k s
If the track name in an imported Standard MIDI File is the same as an Overture instrument name, and you
have specified an abbreviation for this instrument name, Overture automatically uses the appropriate
abbreviation.
For example:
If you import a track named Flute to a track in Overture,
and there already exists an Overture track named Flute with
abbreviation Fl.,
then Overture automatically uses Fl. as the abbreviation for the
imported track. If Overture doesnt recognize the name of the
track, it uses the imported tracks full name instead of an
abbreviation.
Remap Unk now n Devi c es
Importing a standard MIDI file created with different MIDI devices from those in the current MIDI Setup
requires that you map the previous devices to the current devices. You can do this manually using the
Patch and Device fields in the Tracks Window.
The Remap Unknown Devices To field in the General Preferences dialog box assists the remapping
process by assigning unknown devices to successive, valid channels on the selected device. Choose
Options>Preferences. The General Preferences dialog box opens. When you select the Remap Unknown
Devices To checkbox and select a device from its pop-up menu, Overture uses available channels for that
device (as determined from your MIDI setup) to remap unknown devices during import.
Mar ker s
Sequencers or notation tools often use markers to designate important events. These may include cues in
film or video scores or the verse, chorus, and bridge sections in a song. Overture imports markers from
standard MIDI files and puts them above the top staff as system text.
Default Suffix
Spellings Area
452 Part V: Menu Reference
Appl y I mpor t Opt i ons t o Al l Tr ac k s
Alt[Option]-clicking a tracks import options fields (Clef, Voices, Split, Quantize, and Transcribe) applies
that setting to the current track and all subsequent tracks.
I mpor t i ng Musi c XML, Enc or e and Musi c Ti me Fi l es
To import an MusicXML, Encore or MusicTime file into Overture:
1. Choose File>Import.
A standard Open dialog box appears.
2. Navigate to where you store MusicXML, Encore or MusicTime files.
3. Click the OK button.
Overture creates a new Score window with the converted score.
Not e:
Not all of the notation will be imported. Overture imports the basic page layout, most MIDI information,
and essential notation elements. You may need to adjust the page layout and some element positions.
Sonic Scores will continue to improve Overtures import capabilities, so check the website for updates.
.
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Ex por t
Choose this command to export data in the active Overture score to a multitrack (format 1) MIDI file.
When you choose File>Export, Overture opens a standard Save As dialog box. Use the dialog box to tell
Overture what to name the resulting MIDI file and where you want it saved.
If your score contains tracks that you dont want included in the exported MIDI file, disable them by
muting them in the Tracks window. For more information, see Muting a Track on page 286.
Ex t r ac t Par t s
Choose this command when you want to create separate instrument parts from a complete score. When
you choose the Extract Parts command, Overture produces the Extract Parts dialog box.
Track Selector
Track Name
Left edge barline
check box
Parts
Split Field
Multi-bar rests
check box
454 Part V: Menu Reference
About t he Ex t r ac t Par t s Di al og Box
There are four different areas in the Extract Parts dialog box.
Track Selector. Use this column to select those tracks you want extracted. Overture extracts all
tracks that are marked with a small filled triangle. Click a selector triangle to turn it into a filled
triangle (enabling it for part extraction). Shift-click to make multiple selections.
Track disabled for extraction
Track enabled for extraction
Parts. The dotted lines between tracks indicate part divisions. The number of tracks between dotted
lines indicates the number of staves (tracks) that Overture extracts into a single part.

For example, if there are two tracks between dotted lines (as with the two Piano tracks), then the
extracted part will contain two staves (one for each track).
Split Field. Use this column to control the number of voices extracted into each part.

The possible values for the Split field are:
. all voices go into one part
1. splits each voice into a separate part
2. splits two voices into a part
3. splits three voices into a part
4. splits four voices into a part
Part extraction for multiple splits (options 2-4 above) proceeds in order of the voices in the track. For
example, a four voice track with the Split value set at 2, extracts voices one and two into one part and
voices three and four into another.
Track Name. Use this column to rename tracks, or to drag them around to change their order or part
assignment.

For example, assume the vocalist in your band is also the bass player and you want to extract her
parts into a single score. As shown in the figure below, you select the two tracks to extract, then drag
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the name of the bass track on top of and the vocal track. This puts the two tracks together in a single
part.
1. Click the name of the track you
want to move.
2. Drag an outline of the track to
the desired destination.
3. Release the mouse.
The bass track now shares a part with
the vocal track.
If you Alt[Option]-click a track name, Overture automatically groups it with the track immediately
below it.
Left Edge Barline Check Box. Check this box to have Overture display the barline at the left edge
of each system. Single instrument parts usually do not display the barline at the left edge of the
system.
Multi-Bar Rests Check Box. Check this box to have Overture create multi-bar rests. Extracted
parts use multi-bar rests to indicate many consecutive blank measures as a single bar. Use the
Minimum field to set the minimum number of consecutive empty bars required before Overture
notates them as a single multi-bar rest. Use the Maximum field to set the maximum number of
consecutive empty bars that Overture notates as a single multi-bar rest.

Overture recognizes rehearsal marks and double barlines, and never creates a multi-bar rest that
spans such symbols.
Reduction. Use this to scale the size of the individual extracted parts.

Using the Extract Parts Command
456 Part V: Menu Reference
To extract individual parts from an Overture score:
1. Choose File>Extract Parts.
The Extract Parts dialog box appears. (See the previous section.)
2. Click the selector dots of those tracks you wish to export.
3. Drag track names into the desired part groupings.
4. Check the appropriate check boxes and click the OK button.
Overture saves each extracted part as its own Overture file.
Aut omat i c Names f or Ex t r ac t ed Par t s
Overture uses the file and track names to name extracted parts automatically. Overture uses each file
name while that piece is open. This is just a default name, and you can assign your own name and locate a
folder in the standard File dialog box that appears.
For example:
If a file is named Counterpoint,
and the selected track is named piano and contains 4 voices,
and the track is extracted with the Split field value set to 2,
then Overture creates two parts with two voices each with the
following names: Counterpoint-piano 1&2 and Counterpoint-piano
3&4.

Not e:
Extracted parts derive their page layout from the Engraver Preferences dialog box, not from the Layout
Page dialog box settings.
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Page Set up
Choose this command to define various printing options such as paper size, orientation, scaling and text
effects. When you choose the Page Setup command, Overture produces the Page Setup dialog box for
your printer. The look and format of the dialog box depends on your printer and platform. See your
printer manual for specific information about its page setup options.
Save
There are several areas in the Print Setup dialog box. These are described below:
Name Area. Use this popup menu to choose your printer.
Paper Area. Choose the paper size that is is your printer.
Orientation Area. Choose Portrait or Landscape.
458 Part V: Menu Reference
Pr i nt
Choose this command to print all or part of the active Overture score. When you choose the Print
command, Overture produces the Print dialog box. The actual appearance of the dialog box depends on
your printer and platform. See your printer manual for specific information about its print options.
There are several areas in the Print dialog box. These are described below:
Name Area. Use this popup menu to choose your printer.
Range Area. Choose the number of score pages to print.
Copies Area. Choose the number of copies to print.
Format Area. Choose how you want to print your score.
Normal - Prints one music page on one sheet of paper. Use the Odd pages Check Box to print only odd pages. Use the Even
pages Check Box to print only even pages.
Booklet - Prints two pages of music side-by-side. Each music page is scaled to fit two pages on one sheet of paper and the
page order is changed to produce a booklet when the printed sheets are folded in half. Use the Start on Inside Check Box if
you want the top of the booklet to be blank.
2-Up - Prints two pages of music side-by-side. Each music page is scaled to fit two pages on one sheet of paper.
Manual Duplex Printing - Check this if you want to print on both sides on the paper and your printer does not offer this
option. After the top of each sheet is printed, youll be prompted to flip the sheet of paper over to print on the other side.
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Pr i nt Pr evi ew (PC)
Use this command to see what your score will look like when you print it. When you choose this
command, Overture displays the print preview of your score.
About t he Pr i nt Pr evi ew
The Print preview has buttons to help you inspect your score:
Print. Sends your score to the printer when you are satisfied with it.
Next Page. Displays the next page of your score.
Prev Page. Displays the previous page of your score.
Two Pages. Displays your score two pages at a time.
Zoom In. Magnifies your score
Zoom Out. Shrinks your score
Close. Closes the print preview and returns you to the score window.
Li st of Rec ent l y Opened Fi l es
This list of up to four files near the bottom of the File menu displays files you have opened recently. This
is a convenience for files you open often.
Choose the file you want from the list.
Ex i t /Qui t
Choose this command to exit the Overture application. If any scores contain unsaved changes, Overture
prompts you to save those changes before quitting.
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Edit Menu

Use the Edit menu commands to cut, copy, and paste symbols, lyrics, MIDI data, or other elements of an
Overture score.
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Undo
Choose this command to undo your most recent action. You can undo most Overture commands. The
Undo command usually describes the reversible action, as in Undo Insertion or Undo Deletion. The
Undo command allows you to examine the results of an action without committing to it.
Redo
Choose the Redo command to make the score appear as it did before you chose Undo. Use the Undo and
Redo commands to toggle between the before and after versions of your most recent action. You can
sequentially undo and redo your last sixteen actions since you started the current Overture session.
Cut
Choose this command to delete the current selection and copy it to the Clipboard. The cut selection
remains on the Clipboard until you cut or copy some other selection to the Clipboard.
Copy
Choose this command to copy the current selection to the Clipboard. Unlike the Cut command, choosing
Copy keeps the current selection in the Overture score. The copied selection remains on the Clipboard
until you cut or copy some other selection to the Clipboard.
Past e
Choose this command to copy the contents of the Clipboard to the insertion point in the current score.
Since the Paste command puts a copy of the Clipboards contents into a score, you may use the Paste
command repeatedly to insert multiple copies.
When you choose Edit>Paste in the Score window, Overture pastes all note and note-related events from
the Clipboard into the score, replacing the events currently in that time range. It does not paste some
symbols like meters, beat charts, or tempo changes. This is so you can copy and paste notes between
different sections of a score without disturbing the rhythmic flow of the composition. If you do want to
paste any of the above-mentioned attributes, use the Paste Special command (discussed in Paste
Special on page 467).
[Mac:If the Clipboard contains a PICT file and you paste it into a score, Overture attaches the PICT to the
active measure and puts a white background behind it (obscuring any other symbols in that region of the
score).]
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If the Clipboard contains text, you can paste that text into the Lyrics window or into any text area in
Overture.
Cl ear
Choose this command to delete the current selection from the Overture score. The contents of the
Clipboard are not altered since the Clear command does not place a copy of the selection on the
Clipboard.
Mer ge
This command merges the symbols on the clipboard with the symbols already in the score. It does not
replace the symbols like the Paste command.
[Mac:If you merge a PICT file into score, Overture attaches the PICT to the active measure and puts a
transparent background behind it (so you can still see any other symbols in that region of the score).]
Past e Spec i al ...
Choose this command to perform a more complete and user-definable paste operation than is possible
using simply the Paste command. Overtures Paste command does not copy all symbols from the
Clipboard into the score. Overtures Paste Special command pastes all gives you the option of pasting
meters, beat charts, tempo changes, lyrics, chord names, or measure text.
Paste and Paste Special
The following example shows the difference between the Paste and Paste Special commands:
464 Part V: Menu Reference
Assume you have the score below, and that you want to copy notes from the first measure and paste them
into the third.
To maintain the tempo pattern youd already established in the second measure:
1. Copy the selected notes and symbols from the first measure.
2. Using the Arrow Cursor, click in measure 3.
3. Choose Edit>Paste.
Overture pastes all notes and symbols from the first measure into the third (as
shown in the following figure). Notice that measure 3 maintains the tempo set in
measure 2.
To have measure 3 change tempo so that it matches the tempo in the first measure:
1. Copy the selected notes and symbols from the first measure.
2. Using the Arrow Cursor, click in measure 3.
3. Choose Edit>Paste Special.
Overture opens the Paste Special dialog box.
4. Check the Notes and Tempo Changes options, then click the OK button.
Overture pastes all notes and symbols from the first measure into the third. In
addition, it also pastes the tempo from the original measure into measure #3.
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Sel ec t
Choose this command to select musical symbols in the active score.
All: Choose this command to select all musical symbols in the active score.
Current Track: Choose this command to select all musical symbols in the active track.
By Filter: Choose this command to select or deselect specific music symbols in the score. If you
have a range selected, the filter will use the selected range to find items, otherwise the entire score
will be used. Use the Note Filter to choose notes by MIDI and graphical parameters. Use the Data
filter to choose notes and other symbols by MIDI parameters. For example, in the dialog below
every quarter note on the second and fourth beat with a velocity of 80 or greater will be selected.
Articulations
describing notes
Starting position
and pattern in bar.
MIDI parameters
describing the notes.
None: Choose this command to deselect all items in the score.
Fi nd I t em...
Choose this command to find musical symbols and MIDI data in the active score.
Fi nd Nex t I t em..
Choose this command to find the next occurrence of musical symbols or MIDI data selected in the Find
Dialog in the active score.
466 Part V: Menu Reference
Make I nvi si bl e
Choose this command to hide all currently selected symbols. This command is useful for a number of
functions, including:
Voices: You can hide rests that you might not want to appear as part of a multi-voice staff.
Trills: If you want the trill to playback as intended, you enter all the MIDI notes. You do not,
however, want to notate all the notes in the trillonly one of the notes. Use the Make Invisible
command to hide all the other trill notes in your score. Overture can also perform this function
automatically by choosing Notes>Notate Notes as>Trill. For more information, see Notate Notes
as Trill on page 602.
Turns: If you want a turn to playback as intended, you enter all the MIDI notes. You do not, however,
want to notate all the notes in the turnonly one of the notes. Use the Make Invisible command to
hide all the other turn notes in your score. You can also cause Overture to perform this function
automatically by choosing Notes>Notate Notes as>Turn. For more information, see Notate Notes
as Turn on page 604.
You can view all the invisible symbols in your score by checking the Options>Show>Invisibles option
(discussed in Invisibles on page 615). Also, any invisible symbols can be made visible by selecting the
desired symbols and choosing Edit>Make Visible.
Editing operations affect invisible notation symbols exactly as they do visible symbols. For example,
when you drag to select multiple symbols (or use double-click or shift-click selection methods),
Overtures selects all invisible symbols as well as all visible ones. Copy, cut, paste, and edit invisible
symbols exactly as if they were visible.
Make Vi si bl e
Choose this command to make visible all currently selected invisible symbols. For more information, see
the previous section.
Set Col or...
Choose this command to set the color for all currently selected symbols.
Di sabl e Pl aybac k
Choose this command to disable playback on all currently selected symbols. To enable playback, select
the symbol and choose the Enable Playback command.
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Enabl e Pl aybac k
Choose this command to enable playback on all currently selected symbols. To disable playback, select
the symbol and choose the Disable Playback command.
Pl aybac k Ti me...
Choose this command to offset the time a symbol plays within a measure. This command is also used to
create rolled chords.
MI DI Dat a
Choose this command to enable the MIDI Data mode. This allows you to edit MIDI Data directly on the
active score. For more information see the tutorial on Editing MIDI Data. in Chapter 6.
Modi f y Cont r ol l er...
Choose this command to reassign one controller to another or to change any controllers value.
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Score Menu

Use the Score menu commands for such score-related tasks as specifying staff location and appearance;
grouping systems; and setting up pages. The following sections discuss each command in detail.
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I nser t Page
Choose this command to add one or more pages to the current Overture score. When you choose
Score>Insert Page, Overture opens the Insert Page dialog box.
You can move the Insert Page dialog box around the desktop by dragging its title bar.
Usi ng t he I nser t Page Di al og Box
Choose whether you want to add pages before or after the current page, and enter the number of pages
you want added to the score. Click the OK button to add the pages. Click Cancel if you decide not to add
any pages to your Overture score. Inserted pages use the Page Layout assigned to the current page. For
more information about page layout, see Layout Page on page 471.
Del et e Page
Choose this command to delete one or more pages from the current Overture score. When you choose the
Delete Page command, Overture displays the Delete Page dialog box.
You can move the Delete Page dialog box around the desktop by dragging its title bar.
Enter the number of pages you want to delete, then click the OK button. Overture deletes pages beginning
with the current page.
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Layout Page
Choose this command to specify the default number of measures in a system and the default number of
systems on a page. When you choose the Score>Layout Page command, Overture displays the Layout
Page dialog box.
You can move the Layout Page dialog box around the desktop by dragging its title bar.
About t he Layout Page Di al og Box
There are numerous elements in the Layout Page dialog box.
Systems per Page. Use this numerical to enter the number of systems you want displayed on the
current page.

If you add staves to systems such that the requested number of systems no longer fits within the
current page, Overture automatically increases the length of the page by adding tiles, if Auto>Wrap
Measures is not check. Overture automatically tiles printed pages (as discussed in Metric
Measurements on page 473). If you dont want to have your pages tiled, decrease the value of the
Systems per Page numerical to prevent staves from extending beyond the bottom of the page.

If Auto>Wrap Measures if checked, the systems that would extend be below the bottom of the
page are wrapped to the next page.

For more information, see Creating Big Systems on page 237.
Measures per System. Use this numerical to enter the default number of measures you want in each
system on the current page.
All Remaining Pages. If you check this option, Overture applies the Systems per Page and
Measures per System choices to every remaining page in your score. It also generates new measures
to fit existing pages. If you leave this option unchecked, Overture applies your choices only to the
current page and does not change the number of measures in the score.
472 Part V: Menu Reference
Page Di mensi ons
Choose this command to specify page and margin sizes for the current Overture score. When you choose
Score>Page Dimensions, Overture opens the Page Dimensions dialog box.
You can move the Page Dimensions dialog box around the desktop by dragging its title bar.
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About t he Page Di mensi ons Di al og Box
There are numerous elements in the Page Dimensions dialog box. These are described in the following
sections.
Drag score size slider to allow
Type new page dimensions here.
more or less music on a page.
Type new margins here.
Met r i c Measur ement s
You can specify either inches or centimeters for measurement units. Click the Inches or Centimeters radio
button to set the type of units to display.
Page Si ze Cont r ol s
Use the page size controls to set the width and height of a page (up to a maximum of 34 x 44).
Pr i nt er Paper Si ze
Use this button to set the dimensions to the size of the paper in your printer. The dimensions are
determined by the Page Size setting found in the Page Setup dialog.
Sc or e Si ze Sl i der
Use the Score Size slider to increase or decrease the amount of music that fits on your paper. If you check
the Recalculate Layout check box and then change the score size, the score layout will be reflowed to fill
the new score size.
Mar gi n Cont r ol s
Use the margin numericals to set all four margins on a page.
Caut i on:
Set margin sizes appropriate for your printer. If you set margins narrower than your printers minimum
printable margin, some portions of music will be clipped.
474 Part V: Menu Reference
The Use Ti l es Opt i on
Choose the Use Tiles option when you want Overture to print pages larger than the physical dimensions
of the paper in your printer. Do this by printing individual tiles that you can tape together to create a larger
page. This is like the way billboards and other large banners are produced.
The easiest way to understand the Use Tiles option is by example. Assume that your printer is loaded with
8.5 x 11 paper (the physical page) and that you want to create actual score pages that are 16 x 20 (the
virtual page). To do so:
1. Choose Score>Page Dimensions.
Overture opens the Page Dimensions dialog box.
2. Using the Page Size numericals, enter a page width of 16 and a page height of
20.
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3. Check the Use Tiles option and click the OK button.
Overtures Score window contains the entire 16 x 20 virtual page (youll have to
zoom out to see all of it). The score has dotted lines to illustrate exactly what prints
on each physical page.
476 Part V: Menu Reference
4. Choose File>Print.
Overture opens the Print dialog box (your print dialog box may look different from
this one).
In this dialog box, you tell the printer how many virtual pages to print, not how
many physical pages. Therefore, to print the first page of a 16 x 20 tiled score,
tell the dialog box to print from page 1 to page 1. Because of the tiling option, the
printer knows that it must produce four physical pages to make one virtual page.
5. Click the Print button.
Overture prints four 8.5 x 11 physical pages that you can tape together to create
a single virtual page.
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When Overture prints tiled pages, it prints them left to right, then top to bottom. So, in the previous
example, Overture first prints the upper left corner, then the upper right corner, then the lower left corner
and finally the lower right corner.
478 Part V: Menu Reference
Usi ng t he Sc or e Si ze Sl i der
Assume, for example, that you want more staves on a page and that the slider is set to 100%. Move the
slider to 50%. When you release the mouse, the score will be scaled to 50% and the new size will be
displayed in the Score Area. Assuming you have set the Page size to 8.5x11 and a scaling of 50%,
Overture creates a 17 x 22 score. This is because a 17 x 22 score scaled at 50% is 8.5 x 11. A
printed page looks like this:
When you use the score size slider the printed output will fill a piece of paper no matter what the scaling.
Since using this slider changes the size of the printing area on a page, you generally want to choose
Score>Layout Page and change the number of measures in a system and number of systems on a page.
I nc r ease Syst ems
Choose this command to move a system from the top of the following page to the bottom of the current
page, thereby increasing the number of systems on the current page. Overture does not change the default
number of systems for any remaining pages, so systems continue to wrap throughout the score (that is, the
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top system on each page moves to the bottom of the preceding page). If the final page in the score
contains more than one system, Overture simply decreases the number of systems on that final page. If
the final page in the score contains only one system, Overture moves it to the bottom of the previous page
and deletes the blank page from your score.
For example, assume your score has three pages with four systems on each of the first two pages and two
systems on the third page.
480 Part V: Menu Reference
Assume that you want to modify your score so that all ten systems fit on two pages. To do so:
1. Click in any measure on the first page to make Page 1 the active page.
2. Choose Score>Increase Systems.
Overture adds a system to the bottom of the first page by taking it from the top of
the second page. The top system on the third page wraps to the bottom of the
second page. This is because Overture maintains the default number of staves per
page (as set in the Page Layout dialog box) for all pages except the last page.
3. Click in any measure on the second page to make Page 2 the active page.
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Dec r ease Syst ems
Choose this command to move a system from the bottom of the current page to the top of the following
page, thereby decreasing the number of systems on the current page. Overture does not change the default
number of systems for any remaining pages, so systems continue to wrap throughout the score (that is,
the bottom system on each page moves to the top of the following page).
If the final page in the score contains fewer systems than the default Systems per Page value (as set in
the Layout Page dialog box), Overture increases the number of systems on that final page. If the final
page in the score contains the same number of systems as specified in the Layout Page dialog box,
Overture adds a new page containing a single system.
4. Choose Score>Increase Systems.
Overture adds a system to the bottom of the second page by taking it from the top
of the third page. Since the third page no longer contains any systems, Overture
drops it from the score.
482 Part V: Menu Reference
For example, assume your score has two pages with six systems on each page.
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Assume that you want to modify your score so that it contains three pages, with five systems on the first
page; five systems on the second; and two systems on the third. To do so:
1. Click in any measure on the first page to make the first page the active page.
2. Choose Score>Decrease Systems.
Overture takes a system from the bottom of the first page and moves it to the top
of the second page. It then shifts all the remaining systems down the page and
takes the bottom system from the second page and moves it to the top of a third
page. This is because Overture maintains the default number of staves for the
second page.
3. Click in any measure on the second page to make Page 2 the active page.
484 Part V: Menu Reference
4. Choose Score>Decrease Systems.
Overture takes yet another system from the bottom of the second page and moves
it to the top of the third page and then shifts the other systems down the page.
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Hi de/Show St aves
Choose this command to select which staves are visible in the current system. The current system is the
system that contains the insertion point. When you choose Score>Hide/Show Staves, Overture opens the
Hide/Show Staves dialog box.
You can move the Hide/Show Staves dialog box around the desktop by dragging its title bar.
About t he Hi de/Show St aves Di al og Box
The Hide/Show Staves dialog box selects which tracks to display in the current system. Visible tracks are
marked with a bullet; hidden tracks are not bulleted. Click the Show column next to the desired track to
toggle between visible and hidden.
486 Part V: Menu Reference
Usi ng t he Hi de/Show St aves Command
Its common to hide staves when a particular instrument doesnt play for an extended time. For example,
you may have a vocal/piano score, but the singer doesnt perform for the first eight measures. Rather than
show eight measures of rests, you can hide the singers staff for the first eight measures. To do so:
1. Set up your score so that it contains four measures in each of the first two systems.
You can do this using the Measures>Increase Measures on System or
Measures>Decrease Measures on System commands or by changing the Measures
per System numerical in the Page Layout dialog box.
Since the top staff in
each of these two systems
contains no music, you
may wish to hide the
empty staves.
2. Click anywhere in the top system to make it the active system.
3. Choose Score>Hide/Show Staves.
Overture opens the Hide/Show Staves dialog box.
4. Click the Show column next to the Vocal track to uncheck it.
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You can tell Overture to perform part of this procedure automatically. Click the Auto Hide checkbox.
Overture automatically hides systems starting at the cursor and continuing for as many systems as you
specify in the Apply to x systems box. It does this even though you have the staves marked Show, for any
tracks with no data in them.
Not e:
Choosing Measures>Justify has no effect on hidden staves.
5. At the bottom of the dialog box, type the number 2 in the Apply to x systems field.
This means you hide this staff in both the active system and the system below it.
6. Click the OK button.
Overture hides the vocal staff from the first two systems.
Overture hides the vocal staves.
You can manually adjust staff
spacings to compensate for
the extra space or increase
the number of systems on
the page.
488 Part V: Menu Reference
I nser t Tr ac k
Choose this command to insert a new track into the score. When you choose the Insert command,
Overture opens the Insert Track dialog box.
Usi ng t he I nser t Tr ack Di al og Box
To insert one or more tracks measures into your score:
1. Click on the track where you want to insert the new track.
Click to make this
the active track
2. Choose Score>Insert Track.
Overture opens the Insert Track dialog box.
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Del et e Tr ac k
Choose this command to delete the current track beginning with the active track (the track that
contains the insertion point).
3. Choose the type of track (instrument) you wish to insert.
In this example we choose to insert a single track. If you choose Piano, Overture
will insert a Grand Staff and if you choose Tablature, Oveture will insert a Tablature
Track.
4. Click either the Before current track or After current track radio buttons.
If you select Before current track, Overture places the new track immediately before
the active track (the track that contains the insertion point).
If you select After current track, Overture places the new track number immediately
after the active track.
5. Click the OK button.
490 Part V: Menu Reference
Set up Tr ac k
Choose this command to set various options for the staff that contains the active measure. When you
choose Score>Setup Track, Overture produces the Setup Track dialog box.
Track Name
Instrument Options
Staff Display
Action Buttons
Options
Options
You can also open the Setup Track dialog box by double-clicking either the clef at the beginning of any
staff system or the staff selector handle. You dont actually see the handle unless you select
Options>Show>Handles. You can double-click in the location of the handle whether its visible or not.
Double-click to open the
Setup Track dialog box.
You can move the Setup Track dialog box around the desktop by dragging its title bar.
The Setup Track dialog box has four main editing areas. We discuss these in the following sections.
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Tr ac k Name Opt i ons
Use this portion of the dialog box to name tracks, assign a font to the track names, and select whether or
not to display track names in the score.
There are numerous elements in the Track Name Options portion of the Setup Track dialog box. These
are:
Main field. Type the full name of the track in this field. If you check the Show Main option, this
name appears next to the first staff. Using a comma (,) forces a carriage return in the track name
this is particularly useful for long track names.
Chorus
Analog
Synth
If you select something from the Instrument Name pop-up menu (as discussed in Instrument
Options on page 492), Overture automatically fills this field with the name of the selected
Instrument. Typing a new name replaces the old one.
Abbreviated field. Type the abbreviated name of the track in this field. If you check Show
Abbreviation, this text appears next to all staves after the first. If you select something from the
Instrument Name pop-up menu (as discussed in Instrument Options below), Overture
automatically fills this field with the abbreviated name of the selected Instrument. Typing a new
abbreviation replaces the old one.
Show Main option. If you check this option, Overture shows the name of the selected track in the
score. All displayed track names center around the widest name in a system.

If you hold down the Alt[Option] key when you check Show Main, Overture automatically shows
the names of all tracks in the score (not just the selected track). Similarly, if you hold down the
Alt[Option] key when you uncheck Show Main, Overture automatically hides the names of all
tracks.
492 Part V: Menu Reference
Show Abbreviation. If you check this option, Overture shows the abbreviation of the selected track
in the score.
Font button. Click this button to open the Font Select dialog box. Use the dialog box to select the
font with which to display track names in the score. For more information, see Font Button on
page 563.
I nst r ument Opt i ons
Use this portion of the dialog box to assign a particular type of notation to a track.
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I nst r ument Pop-up Menu
The appearance of the Instrument options section changes depending on the instrument you select from
the Instrument Name pop-up menu. To select an Instrument Name:
1. Press and hold the mouse on the Instrument Name pop-up menu.
Overture opens a menu of the instruments in the current
Instruments library.
494 Part V: Menu Reference
The Instruments listed are of three types:
Normal. These are instruments that Overture notates using standard music notation, for example,
Cello, Guitar, Soprano, and Trumpet in Bb. For more information, see Normal Tracks below.
Percussive. These are instruments that Overture notates using percussion notation, for example,
non-pitched instruments like Bass Drum, Drums, and Percussion. For more information, see
Percussive Tracks on page 497.
Tablature. These are instruments that Overture notates using tablature notation. Select this type of
instrument by selecting Tablature from the Instrument Name pop-up menu. For more information,
see Tablature Tracks on page 499.
2. Move the cursor over the desired instrument and release the
mouse button.
Overture sets the track to the selected Instrument. When you
select an instrument, Overture puts its pitch range, transposition,
and clef into the appropriate Setup Track dialog box fields. You
can still edit all the fields in the dialog box after selecting an
instrument but this is usually not necessary.
See Drum Map on page 426 for a full discussion of the
Instruments Library.
Normally, we recommend using the Tracks Window (see page
446) to assign instruments to tracks. The Instrument pop-up
menu allows the entry of all instrument attributes into the track
except the device and patch. This behavior lets imported tracks
that already have the correct device and patch acquire the other
instrument attributes without overwriting the device and patch.
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Nor mal Tr ac k s
If you select an Instrument of normal type, Overtures Instrument options look like these.
Instrument Name
pop-up menu
Range numericals
Transpose numerical
Playback numerical
Starting Clef
pop-up menu
Transposed Clef
pop-up menu
GM Equivalent
pop-up menu
There are numerous elements in the Instrument Options section of the Track Setup Dialog Box. These
are:
Instrument Name pop-up menu. Use this pop-up menu to select an Instrument Name for the track
from the Instruments library. When you select an Instrument Name from this pop-up menu, Overture
automatically fills in the Range, Transpose, and Playback numericals, selects a Starting Clef and
Transposed Clef, and supplies Main and Abbreviated track names to the Track Name options in the
dialog box.
GM Equivalent pop-up menu. The appropriate patch appears here when you select an instrument
name. If you need to, change the patch here.
Range numericals. Use these numericals to set the range of the Instrument notated by the track. The
left numerical sets the lowest note in the range. The right numerical sets the highest note in the
range. You can search your score for notes that are out of an instruments specified range by
choosing Options>Show>Range Errors (as discussed in Range Errors on page 617).
Transpose numerical. If youre notating a transposed instrument (such as many trumpets, clarinets,
english horns, and so on) and you want Overture to transpose an extracted part into the correct key,
use this numerical to set the transposition amount. This numerical does affect MIDI playback
pitchits used strictly to transpose a track when you extract it. To display the transposition in the
current score, choose Options>Show>Tracks Transposed.

For example, if the extracted track is to be played by a Bb trumpet, set the numerical to 2. Since a Bb
trumpet sounds a major second lower than written, a value of +2 indicates that the extracted trumpet
part needs to be transposed two half-steps higher than in the conductors score.
496 Part V: Menu Reference

Overture sets this numerical automatically when you select an Instrument Name from the Instrument
Name pop-up menu. For more information about extracting parts, see Extract Parts on page 453.

For an example of how to set up and use a transposing track, see Transposing Instrument Track
Example on page 503.
Playback numerical. Use this numerical to set the playback offset for instruments that sound
differently from how they are written. This does not affect the extracted part.

For example, if youre notating a Guitar, set the Playback numerical to -12. Guitar parts are written
an octave above where they actual sound..

Overture sets this numerical automatically when you select an Instrument Name from the Instrument
Name pop-up menu. For more information about extracting parts, see Extract Parts on page 453.

For an example of how to set up and use a transposing track, see Transposing Instrument Track
Example on page 503.
Starting Clef pop-up menu. Use this pop-up menu to select which clef Overture uses to notate the
track in the current score.

Overture sets this numerical automatically when you select an Instrument Name from the Instrument
Name pop-up menu.
Transposed Clef pop-up menu. Use this pop-up menu to select which clef Overture is to use to
notate the track in a transposed extracted score. This pop-up menu has no effect on the current score,
only on the score containing the extracted part.

Overture sets this numerical automatically when you select an Instrument Name from the Instrument
Name pop-up menu.

For an example of how to set up and use a transposing track, see Transposing Instrument Track
Example on page 503.
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Per c ussi ve Tr ac k s
If you select one of the percussive Instrument types, Overtures Instrument options look like these.
You must understand Drum Maps in order to understand percussive tracks. Percussive tracks refer to the
current Drum Map for pitch names, default noteheads and default staff positions. To learn about Drum
Maps, see Allotment Table on page 410.
The percussive track options are arranged in a grid. There are sixteen rows in the grid. Each row
corresponds to a single percussion instrument (called a part). If you need to notate more than sixteen
drum parts, youll need to use more than one percussive track.
There are five columns in the grid.
Pitch/Name pop-up menu. Press and hold the Pitch/Name cell to open a pop-up menu. From the
menu, select the Pitch (or pitch name) to be played by the corresponding part. The pop-up menu
displays all the MIDI notes as defined by your current Drum Map. If you want the menu to display
only those pitches to which youve assigned names, hold down the Alt[Option] key when you click
the Pitch/Name cell. When you select a new Pitch/Name, Overture automatically changes the
corresponding Head and Position to match those assigned to that pitch in your current Drum Map.

You can also select a different pitch by dragging across it, then playing a note on your MIDI
controller.
Head pop-up menu. This column displays the notehead with which Overture notates the
corresponding drum. When you select a different drum in the Pitch/Name column, Overture
automatically changes the head to match the one assigned to that pitch in your current Drum Map.

You can use this column to override your Drum Maps default head by pressing and holding the
notehead icon and selecting a new head from the pop-up menu. When you override a Drum Maps
498 Part V: Menu Reference
notehead assignment, you do not change the Drum Map, only the percussive track. This allows you
to create numerous percussive tracks that reference the same Drum Map, but that use different
noteheads.
Position popup menu. This column displays the staff position on which Overture notates the
corresponding drum. See About the Drum Map Dialog Box on page 426 to learn about position
numbers. When you select a different drum in the Pitch/Name column, Overture automatically
changes the position to match the one assigned to that pitch in your current Drum Map.

You can use this column to override your Drum Maps default position by entering a different
position. When you override a Drum Maps position assignment, you do not change the Drum Map;
only the percussive track. This allows you to create numerous percussive tracks that reference the
same Drum Map, but that use different positions.
Voice popup menu. This column displays the default voice on which Overture notates the
corresponding drum.

For example, you may want to put the bass drum on a different voice from the snare.
Once youve assigned parts in a percussive track, Overture uses your assignments to record, notate, and
play drum parts. When you record into a percussive track, Overture automatically maps each parts MIDI
note to the selected staff position and assigns the selected notehead. When you play a percussive track,
Overture automatically maps the displayed notes to their correct MIDI pitch so that it plays the correct
drum sounds.
For an example of how to set up and use a percussive track, see Percussive Track Example on page 505.
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Tabl at ur e Tr ac k s
If you select Tablature from the Instrument Name pop-up menu, Overture automatically creates a six-
line staff with a TAB clef. Additional Tablature track options are the same as those of a normal track. See
Normal Tracks on page 495.
Instrument Name
pop-up menu
Range numericals
Transpose numerical
Playback numerical
Starting Clef
pop-up menu
Transposed Clef
pop-up menu
GM Equivalent
pop-up menu
Use tablature notation to indicate guitar music by string and fret number, rather than with a traditional
musical staff. For information about setting up and using a Tablature track, see Chapter 16, Tablature
Button.
Not e:
MIDI playback does not play tablature tracks, nor do MIDI transpose commands change their pitch. If
you want MIDI playback of a tablature track, you must create an additional staff that contains traditional
notation. If desired, you can then hide the traditionally notated staff in your printed score by using the
Score>Hide/Show Staves command as discussed in Hide/Show Staves on page 485.
500 Part V: Menu Reference
St af f Di spl ay Opt i ons
Use this portion of the Setup Track dialog box to define the appearance of the staff used to notate the
track.
Staff Design Area
The Staff Display options are:
Scale numerical. Use this numerical to set the scale of the selected staff. Unlike the Scale tool, which
scales a single staff in a single system, the Scale numerical scales every occurrence of this staff in
every system.

If you hold down the Alt[Option] key while setting this numerical, Overture sets the scaling of every
staff in every system to the new value.
Show Clef option. Select this option if you want Overture to display a clef on the staff. You normally
leave this option checked unless youre notating some types of non-pitched instruments or a strum
pattern on a lead sheet.
Show Barlines option. Select this option if you want Overture to display barlines. You normally
leave this option checked unless youre notating music with no set meter or a strum pattern on a lead
sheet.
Show Ledger Lines option. Select this option if you want Overture to display any needed ledger
lines above or below the selected staff.
Show Key Signature option. Select this option if you want Overture to display the key signature of
the selected staff. You normally leave this option checked unless youre notating a non-pitched
instrument, tablature notation, or a strum pattern on a lead sheet.
Show Time Signature option. Select this option if you want Overture to display the time signature
of the selected staff. You normally leave this option checked unless youre notating music with no
set meter, or unless youre notating a tablature staff or a strum pattern on a lead sheet.
Filled Rests option. Use this option in conjunction with the Options>Show>Filled Measure Rests
command. Select this option if you want Overture to fill empty measures in the current track with
whole measure rests. Deselect this option if you want Overture to leave empty measures in the
current track.
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Flat Beams option. Select this option to display subsequent beams as flat rather than slanted. You
may want to do this if slanted beams look jagged on your monitor. You can change the angle of a
beam by dragging its ends.

Selecting Flat Beams affects the beams entered subsequently and does not replace slanted beams
previously entered in the track. In order to turn previously entered slanted beams in a track into flat
beams:
1. Select the Flat Beams option in the Setup Track dialog box for the
track whose beams youd like to flatten.
2. Select the notes that youd like to convert to flat beams.
Choose Edit>Select All to select all displayed notes in all tracks
or double click to the left of a staff to select all notes in that track
or double-click in a measure to select all notes in that measure or
drag around the individual notes.
3. Choose Notes>Beam>Based on Meter.
The beaming rules specified in the Set Meter dialog box create
groups with flat beams for all selected notes. These same rules
create beams if you select Options>Auto Beam. Be careful,
because this will override any manual beaming youve performed
on selected notes.

Not e:
Percussion tracks default to flat beams. For example, selecting drums from the Instrument pop-up menu
in the Setup Track dialog box automatically uses the percussion clef and selects the Flat Beams option.
Staff Clefs option. Select this option to display clefs after the first clef in the track. You usually hide
clefs when creating charts for a single instrument that doesnt require restatement of the clef. Be
careful when hiding clefs because its easy to get confused when multiple staves are displayed.

If you insert a clef after the beginning of the piece, Overture displays the first new clef but none
thereafter.
Key Signatures option. Select this option if you want Overture to display the current key signature
at the beginning of each staff.
Staff Design area. Use this area to design a custom line arrangement for any staff. Traditional staves
use five lines, but some instruments (particularly percussion) use staves with a different number of
lines. Click the small squares to the right of the Staff Design area to show or hide any of up to
sixteen staff lines. You can even create staves with no lines (these are particularly useful for
502 Part V: Menu Reference
indicating strum patterns in a lead sheet as shown in the following figure). The small arrow to the
left of the Staff Design area indicates where the middle line is in a standard five line staff.
The following example shows three staves. The top staff hides the meter, key signature, barlines, clef, and
all linesits used for notating a strum pattern. The second staff contains standard music notation and
shows the meter, key signature, barlines, clef, and 5 lines. The bottom staff is a tablature staff, so it has 6-
lines. As you can see, Overture covers a wide range of notation needs.
Ac t i on But t ons
Use this portion of the dialog box to step through staves in a system; cancel your changes; or apply your
changes to the selected staff.
The action buttons are:
Previous button. Click this button to apply the changes to the selected track, then step up to display
the attributes of the track immediately above it.
Next button. Click this button to apply the changes to the selected track, then step down to display
the attributes of the track immediately below it.
Cancel button. Click this button to close the Setup Track dialog box without applying any of the
changes to the selected track.
OK button. Click this button to apply the changes to the selected track and close the Setup Track
dialog box.
Usi ng t he Set up Tr ac k Di al og Box
The following examples illustrate some common ways to use the Setup Track Dialog box.
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Tr ansposi ng I nst r ument Tr ac k Ex ampl e
Assume that youre writing an orchestral score. Most orchestras contain many transposing instruments
(such as english horns, trumpets, clarinets, etc.) that play a different pitch from the written one. You want
your master score to show the actual pitch of the instruments (since MIDI playback will be correct), and
the individual instrumentalists parts to be written as played.
For the sake of example, assume youre writing a score for piano and Bb trumpet.
Youve written both instruments to show their actual pitch, but you want some provision for Overture to
transpose the Bb trumpet part automatically when you extract it. To do so:
1. Double-click the clef or selector handle of the staff you wish to use as the Bb
trumpet track.
Overture opens the Setup Track dialog box for that staff.
Alternatively, click anywhere in the desired staff and choose Score>Setup Track.
504 Part V: Menu Reference
Overture changes neither the existing score nor its MIDI playback pitch. In fact, you wont see any
change at all until you extract the trumpet part. To do so:
2. Select Trumpet in Bb from the Instrument Name pop-up menu.
Overture displays normal track options and automatically assigns default values
based on your Instrument Name selection.
3. Make sure the Transpose numerical is set to 2.
This indicates that, if you extract this track, Overture will transpose it up two
half-steps (since its a Bb trumpet).
4. Verify that the range and clef are correct.
5. Click the OK button.
1. Choose File>Extract Parts.
Overture opens the Extract Parts dialog box.
2. Click the Bb Trumpet tracks selector triangle.
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Per c ussi ve Tr ac k Ex ampl e
Assume, for example, that your drum module assigns C2 to a Bass drum and D2 to an Acoustic snare, and
that you want to create a bass/snare track that notates the bass drum with a triangle head in the lowest
space and the snare drum with an X head in the space above it.
Not e:
General MIDI percussion tracks default to channel 10 for playback. If you change an existing track to a
percussion track and plan on using General MIDI drums, you may need to set the tracks channel to 10
using the Tracks Window.
To do this:
3. Click the OK button.
Overture saves the extracted part in a file named <Title> Parts (where <Title>
is the name of the Overture file from which the parts are extracted) and places it in
the same folder as the application.
4. Open the extracted part.
The part is transposed such that, when the instrumentalist performs this written
score, he or she actually plays the pitches shown in the figure on page 503.
1. Double-click the clef or selector handle of the staff you wish to use as a percussive
track.
Overture opens the Setup Track dialog box for that staff.
Alternatively, click anywhere in the desired staff and choose Score>Setup Track.
506 Part V: Menu Reference
2. Select a percussive Instrument (such as Drums or Percussion) from the Instrument
Names pop-up menu. Overture displays the percussive track options. Overture
automatically assigns each drum part to the default pitches selected in your current
Drum Map.
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Since Overtures default drum map assigns different names to the two parts, you need to change them
now.
3. In the top row (Part 1), select a bass drum sound on pitch C2 from the Pitch/Name
pop-up menu if it is not currently selected and in the second row (Part 2), select a
snare drum on pitch D2 if it is not currently selected.
NOTE: Your Drum Map may contain different drum names from the ones in this
example.
Overture automatically fills in the Head and Position fields with the selections from
the current Drum Map.
508 Part V: Menu Reference
Notice that the noteheads and default positions are wrong for the bass drum and snare drum. You need to
change these in the Setup Track dialog box. To do so:
4. In the top row, press and hold the mouse on the note head and select the triangle
head from the Head pop-up menu and in the second row, press and hold the mouse
on the X head and select the triangle head .
This sets the kick and snare drums notehead to a triangle and X.
Triangle and X notehead
selected
5. In the first row, drag the Position indicator to the bottom space.
6. In the second row, drag the Position indicator to the second space from the bottom.
This sets the staff position of the snare to the second space from the bottom.
New Position assignment
7. Click the OK button.
Overture makes the selected staff a percussive track and changes its clef to a
neutral clef.
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Now, if you record (or import) a percussive track containing MIDI notes C1 and D1, Overture
automatically notates those pitches using the noteheads and positions selected in the percussive track
options. Therefore, if you record this:
Overture notates this:
Modi f yi ng a Per c ussi ve Tr ac k
Assume youve created the following percussion track via MIDI entry and would like to add two more
notes from the Notes palette.
To do so:
1. Select the Eighth Note tool from the Notes palette.
510 Part V: Menu Reference
2. Move the cursor over the Score window and click the Hi Hat line to insert a new
note. Click again to insert the second note.
Overture assigns the new notes standard heads and standard MIDI note numbers
(meaning they wont play using the expected MIDI sound).
New notes inserted via
the Notes palette.
The heads and pitches
are standardthey do not
conform to the Percussive
Track map.
3. In the Graphic window, drag the notes you just entered to the desired pitch.
New notes after dragging
them to the correct MIDI playback pitches.
Overture automatically assigns the correct notehead to the new notes, and they
play the correct sound on your drum module.
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GM Equi val ent
When you select an instrument from the Instruments pop-up menu in the Setup Track dialog box, the GM
#(if there is one) for that instrument appears in the GM Equivalent pop-up menu. You can override the
GM #by selecting a new GM Equivalent patch but this is not recommended; its much easier to use the
Instruments library (page 426) to define as many aspects of your instruments as possible.
Not e:
GM stands for General MIDI. The GM #and GM Equivalent describe the same attribute. To save
space, the Instruments library refers to GM #, while the Setup Track dialog box refers to GM
Equivalent.
Specifying a GM Equivalent patch for a track allows it to play correctly in a MIDI setup that doesnt
include that tracks device. This commonly occurs when Overture files are exchanged between
composers in different environments. For example, a track created on a Proteus/1 would automatically
play correctly on a Kurzweil K2000 using a different Instruments library if the libraries from both
environments correctly used GM Equivalent fields.
The tracks GM Equivalent patch lets Overture search the Instruments library in the new environment
for an instrument that uses the same GM #. If it finds a match, Overture uses the device and patch from
that instrument if that device is known in the current setup. Its important to realize that the GM#links
MIDI devices in different setups. It is not the actual patch used for the track.
If Overture doesnt find a match, it uses the device you select in the pop-up menu of the General
Preferences option Remap Unknown Devices To if you select that option. The patch for that track still
needs to be specified so the new device can play the correct sound. If you dont select Remap Unknown
Devices To, tracks using them will not play. Use the Tracks Window to specify devices and patches for
these tracks.
Updat i ng Ol d Fi l es
The easiest way to update old Overture files is to define the Instruments library that best suits your needs
and assign instruments to your tracks. See The Instruments Library and the Tracks Window on page
446 to learn how to do this. This makes the process of updating your files much easier. It also enables you
to take advantage of the Instruments library for your future compositions.
Set t i ng At t r i but es f or al l Tr ac k s
Holding down the Alt[Option] key while setting any of the following attributes in the Name and Staff
sections of the Setup Track dialog box assigns that attribute to all tracks:
Show Name and Show Abbreviation options in the Name section
all checkbox options in the Staff section
dragging the % Scale numerical field in the Staff section.
Since the character set changes when you hold down the Alt[Option] key, you cant type a new
number in the field.
512 Part V: Menu Reference
Respac e St aves
ChooseScore>Respace Staves to respace all staves according to your choices in the Respace Staves
dialog box and the preferences in the Preferences dialog box. For an example of how to use this
command, see Respacing Staves on page 84. For more information about Engraver preferences, see
Engraver Preferences on page 644.
Respac e St aves Di al og Box
The Respace Staves dialog box works in conjunction with the Engraver Preferences to provide more
flexibility in page layout.
The spaces between staves, spaces between systems, and spaces between groups fields are identical to
the first three Engraver Preferences fields. These fields acquire their initial values from the Engraver
Preferences when Overture is launched and when a new document is opened. Otherwise, they selectively
override the Engraver Preferences.
Avoid collisions. Selecting this option insures that notes on neighboring staves do not collide with
each other. Overture does this by overriding the staff, system and group spacing when necessary.
Fill to bottom of page. Selecting this option uses the available space on a partially full page to space
the staves evenly. Overture does this by overriding the staff, system and group spacing.
All remaining pages. Selecting this option applies the specifications set in the Respace Staves
dialog box to the current page and all remaining pages.

Deselecting this option applies the specifications to the current page.
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Rec al c Layout
When you choose Score>Recalc Layout, Overture calculates a new width for each measure in the score
based on the number of measures per system you specify in the Score>Layout Page dialog box.
Recalculating a layout causes some measure widths to expand and others to contract. This has the effect
of changing the number of measures in many of the systems and even changing the number of systems
and pages in a score. This greatly improves legibility since it eliminates the collision of note heads, but it
can play havoc with a carefully tweaked score. For this reason, you should recalculate a score before you
fine tune it.
To recalculate measure layout and note spacing in a score:
1. Look at the sample score shown below.
Beat Chart
Beats
2. Choose Score>Recalc Layout.
Overture calculates new measure widths for all measures in the score based on the
number of measures per system you specify in the Score>Layout Page dialog box.
Beat Chart
Beats
Compare the measures shown in the two figures above. Notice the modified widths and subsequent
increase in note spacing. Notice also that the proportional spacing of beats is the same for both figures.
To protect a measure from the Save>Recalc Layout command, see Locked Measures on page 108.
Overture can automatically space notes using either Options>Auto>Justify, Measures>Justify, or
Score>Recalc Layout. All three of these commands affect note spacing differently. To learn the
differences between them, see Automatic J ustify on page 107.
514 Part V: Menu Reference
Redr aw Page
This command would not be needed in a perfect world, but then this is software. Consequently, you may
sometimes perform an edit in the Score window and be left with traces of some undesirable
gobbledygook in the on-screen display of the score. This gobbledygook (not its technical name) results
from Overtures failing to update a score element correctly. When you choose the Score>Redraw Page
command, Overture quickly redraws the entire page, cleaning up any undesirable remnants of an edit
operation.
Al l ot ment
This command displays the Allotment table exactly as File>Edit Library>Allotment Table does. Choose
this command either to edit the Allotment table for the current score or to create a new one. See
Allotment Table on page 410.
Changi ng t he Al l ot ment Tabl e Di al og Box
Assume, for this example, that you want to change an Allotment Table to minimize the spacing
differences between eighth notes, sixteenth notes and thirty second notes. To do so, you need to change
the Allotment Table so that eighth notes get less space and thirty second notes get more.
To change the Allotment Table:
1. Choose File>Edit Library>Allotment Table.
Overture opens the Allotment Table dialog box. This dialog box shows all the
assignments for the current Allotment Table. If you want to edit a different
Allotment Table, choose File>Load Library and select a different Allotment Table
(see Instruments Library on page 439 for more information).
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Youve now changed the Allotment Table to minimize the spacing differences between eighth, sixteenth,
and thirty-second notes. When you justify a measure, Overture spaces notes using the Beat Chart derived
from the new Allotment Table.
2. Use the numericals in the eighth note column to decrease the number of spaces
allotted to all versions of eighth notes.
In this example, decrease the normal eighth note spacing to 3.0; the dotted eighth
note spacing to 3.4; and the triplet eighth note spacing to 2.8.
3. Use the numericals in the thirty second note column to increase the number of
spaces allotted to all versions of thirty second notes.
In this example, decrease the normal thirty-second note spacing to 2.0; the dotted
thirty-second note spacing to 2.5; and the triplet thirty-second note spacing to 2.2.
4. Click the Save button.
Overture saves the changed Allotment Table.
516 Part V: Menu Reference
Ar t i c ul at i ons
This command displays the Articulation Playback settings for the active score.
You can open the Articulation dialog box for individual articulations by double-clicking on them.
About t he Ar t i c ul at i on Di al og Box
Use the Articulation dialog box to define how articulations affect playback. When you choose this Dialog
from the Score Menu, all settings are saved with the score. Any new articulations you enter will use these
for its playback data.
Tr ac k Opt i on
Use this popup menu to choose which tracks articulations you wish to edit.
Ar t i c ul at i on Opt i on
Use this section to choose which articulation you wish to edit.
Normal - Use this to select the set of standard articulations
Jazz - Use this to select the set of jazz articulations.
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Pl aybac k Opt i ons
Use the Playback Options portion to affect note data and playback timing.
Change start and stop
times settings
Change velocity
value settings
Pause score settings
(Fermatas)
Tremolo repetitions
You can use the attack and duration settings to create rolled chords.
Use the velocity settings to create dynamic changes.
Use the pause setting for Fermats.
Use the tremolo settings for creating measures and un-measured tremolos.
Send Opt i ons
Use the Send Options portion of the Articulation dialog box to send controller data, program changes, and
key switches, to the output device, or even change to another voice within the track.
Send Key Switch
Send Program Change
Switch to a another voice
Send Controller Data
You can tell Overture to use the playback charactersitics of another voice within the Tracks Window.
This is useful for sample libraries that do not use keyswitches.
You can send key switch data to MIDI or VST devices to switch instruments or modes.
You can send key program changes to MIDI or VST devices to switch instruments or modes.
You can send controller data to changes MIDI settings or access effects in MIDI or VST devices or
VST instruments.
The possibilities are limitless with theses commands
518 Part V: Menu Reference
Engr aver
This command displays the Engraver dialog box just as Options>Preferences>Engraver does. Choose
this command to edit default layout spacing, element spacing, and line thickness in the score. See
Engraver Preferences on page 644.
Not e:
The settings in this dialog only affect the current score. The settings in the
Options>Preferences>Engraver dialog are used for defaults in new scores.
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Font Map
Choose this command to map one music font to another. You can substitute individual symbols or the
entire set of symbols in the font. The command displays the Music Font Map dialog box.
offsets
adjustment box
mapping
box
You can move the Music Font Map dialog box around the desktop by dragging its title bar.
The following section describes the elements of the Music Font Map dialog box and how they work
together.
You can use the mapping feature two ways:
To replace every symbol in one set with the corresponding symbol in another.
To align substituted symbols properly with the rest of your work.
To replace chosen symbols in your score with symbols from another music font:
1. Choose Score>Font Map.
Overture displays the Music Font Map dialog box.
520 Part V: Menu Reference
2. In the original symbol set, double-click a symbol you want to replace. If you hold the
Control[Command] key down when you double click, the font will default to
Overture Aloisen Music Font.
Overture displays the Font Symbol dialog box with the corresponding symbol
highlighted.
Font Name pop-up menu Symbol set
3. If you want the replacement symbol to be other than the highlighted one, select the
one you want.
It highlights.
4. Click OK.
Overture closes the Font Symbol dialog box and displays the replacement symbol in
the box above the symbol to be replaced.
5. Repeat steps 2 to 4 as many times as you need.
You can use a variety of replacement fonts, if you want, and you are not limited to
symbols whose numbers match exactly.
6. When you are finished, click OK in the Music Font Map dialog box.
Overture closes the box and displays your score with all substitutions as you
specified them.
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Pl ac i ng Mapped Font Symbol s
The Music Font Map dialog box has a placement feature to help you get precise spacing for substituted
symbols.
To place a mapped font symbol precisely:
1. Choose Score>Font Map.
Overture displays the Music Font Map dialog box.
2. In the new symbol set, click a symbol you want to place precisely.
Overture highlights the symbol and puts an enlarged copy of it into the adjustment
box. A gray copy of the replaced symbol lets you place the new symbol as you
want it with respect to the old symbol.
3. Adjust placement either by pressing and dragging the symbol in the adjustment box
or by changing the numbers in the Offset boxes.
Changes you make in either place affect both, so you can use both methods freely
until you have placed the symbol as you want.
Cl ear i ng Repl ac ement Symbol s
To cause your score to revert to its last saved symbol set:
1. Choose Score>Font Map.
Overture displays the Music Font Map dialog box.
2. Click Clear All.
The font mappings disappear. This command has no Undo, so use it with care.
3. Click OK.
Your score reverts to its previous symbol set.
Savi ng Font Mappi ngs
You save your font mappings as a library. To do so, in the Music Font Map dialog box, click Save. If you
are saving this font mapping for the first time, Overture displays a normal Save As dialog box. Choose a
name and click OK. Overture saves to the libraries folder unless you specify otherwise.
Overture saves your font map automatically when you save your score. If you haven't saved it previously,
Overture requests a name as above.
522 Part V: Menu Reference
Loadi ng Font Maps
Once you have created and saved a font map, you can reload it from the libraries folder. To do so, in the
Music Font Map dialog box, click Load. Overture displays a browser. Locate the font map you want.
Click Open. Overture loads the font map library you specify.
Ti t l e Page
Choose this command to specify all the text for your score. You can put a title, instructions, composer,
copyright notice, headers, and footers on your score. When you choose Score>Title Page, Overture
displays the Title Page Text dialog box.
Title tab
Other tabs (see
subsequent sections)
Lines for title
Font choices for
each line of the
title
Text offsets
Check Box to
display text on
all pages
You can move the Title page Text dialog box around the desktop by dragging its title bar.
The Ti t l e Page Tex t Di al og Box
The Title Page Text dialog box has a tab for each of the kinds of text you can put on.
Title. Use this tab to specify title text.
Instructions. Use this tab to specify instructions.
Composer. Use this tab to give the composers name.
Copyright. Use this tab to copyright your work.
Header. Use this tab if you want headers on your pages.
Footer. Use this tab if you want footers on your pages.
All the tabs make use of the standard Font dialog box, where you can choose the font, style, and size for
each line of each kind of text you put on your score.
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The Ti t l e Tab
The Title tab provides you with four lines for title text, which appears at the top center of the title page.
You can specify font characteristics and a vertical and horizontal offset for the title.

The I nst r uc t i ons Tab
The Instructions tab also provides four lines where you can give whatever instructions you want
(including tempo markings like vivace, for example. Instructions appear above and to the left of the first
system, lined up with the left margin of the pages systems (ignoring the first system, which you may
have placed differently). You can specify font characteristics and a vertical and horizontal offset for the
instructions.
The Composer Tab
The Composer tab provides you with four lines for composer information, which appears at the top right
of the title page, right justified to the right margin of the pages systems. You can specify font
characteristics and a vertical and horizontal offset for the composer information.
524 Part V: Menu Reference
The Copyr i ght Tab
The Copyright tab provides you with four lines for copyright information, which appears at the center
bottom of the title page. You can specify font characteristics and a vertical and horizontal offset for the
copyright information.
To put in a copyright symbol : On the PC be sure the Num Lock key is on, then hold down Alt while
typing 0169. On the Mac type option g.
To put in a registered sign : On the PC be sure the Num Lock key is on, then hold down Alt while typing
0174. On the Mac type option r.
The Header and Foot er Tabs
These tabs supply a line for each header or footer. Click the radio button for Header 1/2 or Footer 1/2 to
put in and display the information for that header or footer.
Header 1 appears above the title, at the left margin. Header 2 appears above the title, at the right margin.
Footers appear below the music at the left and right margin. You can line each one up left, center, or right.
Further, you can specify that they reverse positions. You might want that feature if your score is going to
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be bound so that two pages appear side by side, as they do in a book. This lets you display headers and
footers symmetrically.
Use the Starting Page field to specify that headers or footers start, not on the first page, but on some other
page, usually the second. This is conventional in books, for example. Use the Page Offset field, then, to
specify how many pages to add or subtract to make pagination as you want it.
You can specify font characteristics for each header and footer.
Use the codes as header or footer text to specify automatic page headers or footers. Overture supplies the
correct text in the header or footer you specify.
Ti me Code
Where to display
Display using
time code on score
this format
Offset start time
by this amount
Choose the font
to display time code
This command displays the Time Code dialog box. Choose this command to show the SMPTE Time
Code for each measure on the display.
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Measures Menu
Use the Measures menu commands to perform measure-related tasks like inserting and deleting
measures; wrapping measures; setting key, meter and tempo; and justifying symbols in a measure.
Most of these commands are not available until you actually activate a measure. To activate a measure,
click any blank area in the measure.
The following sections discuss each Measures menu command in detail.
38
528 Part V: Menu Reference
I nser t
Choose this command to insert one or more blank measures into the score. When you choose the Insert
command, Overture opens the Insert Measure dialog box.
You can move the Insert Measure dialog box around the desktop by dragging its title bar.
Usi ng t he I nser t Measur e Di al og Box
To insert one or more blank measures into your score:
1. Decide where you want to insert the blank measures, then click in the measure that
either immediately precedes or follows that location.
Click to make this
the active measure
2. Choose Measures>Insert.
Overture opens the Insert Measure dialog box.
3. Use the numerical to enter the number of blank measures you wish to insert.
In this example we choose to insert one measure.
4. Click either the Before current measure or After current measure radio buttons.
If you select Before current measure, Overture places the requested number of
blank measures immediately before the active measure (the measure that contains
the insertion point).
If you select After current measure, Overture places the requested number of blank
measures immediately after the active measure.
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Del et e
Choose this command to delete one or more contiguous measures beginning with the active measure. The
active measure is the measure that contains the insertion point. When you choose the Delete command,
Overture opens the Delete Measure dialog box.
You can move the Delete Measure dialog box around the desktop by dragging its title bar.
Usi ng t he Del et e Measur e Di al og Box
To delete one or more contiguous measures from your score:
5. Click the OK button.
Overture inserts the requested number of blank measures in the requested position.
The inserted measures retain the tempo, meter, and key signature of the measure
immediately preceding them.
In this example, we insert the measure before
the activated measure. It retains the characteristics
of the preceding measure.
1. Click in the first measure you wish to delete.
Click to make this
the active measure
530 Part V: Menu Reference
I nc r ease Measur es on Syst em
Choose this command to increase the number of measures on the active system. The active system is the
system that contains the insertion point.
Choosing Measures>Increase Measures on System moves a measure from the left of the following
system to the right of the active system, thereby increasing the number of measures in the active system.
Overture does not change the default number of measures for any remaining systems, so measures
continue to wrap throughout the score (that is, the left measure in each system moves to the right of the
preceding system).
If the final system in the score contains more than one measure, Overture simply decreases the number of
measures in that final system. If the final system in the score contains only one measure, Overture moves
it to the right of the previous system and deletes the final system from your score.
Overture wraps all slurs, ties, beams, etc. as required.
2. Choose Measures>Delete.
Overture opens the Insert Measure dialog box.
3. Use the numerical to enter the number of measures you wish to delete.
In this example, we choose to delete one measure.
4. Click the OK button.
Overture deletes the requested number of measures beginning with the active
measure.
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For example, assume that your score contains nine measures arranged into three systems as shown in the
following figure, and that you want to change it so that the top system contains four measures.
1. Using the Arrow Cursor, click any blank spot in the top system to make it the active
system.
532 Part V: Menu Reference
Dec r ease Measur es on Syst em
Choose this command to decrease the number of measures on the active system. The active system is the
one that contains the insertion point.
Choosing Measures>Decrease Measures on System moves a measure from the right of the active
system to the left of the following system, thereby decreasing the number of measures in the active
system. Overture does not change the default number of measures for any remaining systems, so
measures continue to wrap throughout the score (that is, the right measure in each system moves to the
left of the following system).
If the final system in the score contains fewer measures than the default Measures per System value (as
set in the Layout Page dialog box), Overture simply increases the number of measures in that final
system. If the final system in the score contains the same number of measures as are specified in the
Layout Page dialog box, Overture adds a new system containing a single measure.
2. Choose Measures>Increase Measures on System.
All measures after the active system wrap to the left. Compare the figure below
with the one above.
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Overture wraps all slurs, ties, beams, etc. as required.
For example, assume that your score contains eight measures arranged into three systems, and that you
want to change it so that the top system contains only two measures.
1. Using the Arrow Cursor, click any blank spot in the top system to make it the active
system.
534 Part V: Menu Reference
Spl i t Syst em
Choose this command to break a system at the current measure.
Before Split System Command
After Split System Command
2. Choose Measures>Decrease Measures on System.
All measures after the active measure wrap to the right. Compare the figure below
with the one above.
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Set Key Si gnat ur e
Choose this command to specify a key signature for the active measure (and all measures up to the next
key change). The active measure is the one that contains the insertion point. When you choose
Measures>Set Key Signature, Overture opens the Set Key Signature dialog box.
Key Setting
All Staves Option
Transpose Options
System Break
Warning Option
Previous Key Cancellation
Selection Area
Region Area
You can move the Set Key Signature dialog box around the desktop by dragging its title bar.
About t he Set Key Si gnat ur e Di al og Box
There are numerous elements in the Set Key Signature dialog box. We describe these in the following
sections.
Regi on Opt i ons
Use the Region Options portion of the Set Key Signature dialog box to define the measure range covered
by the new key signature. Press the End of Score button to set the through field to the last measure.
Ending measure
Starting Measure
End of Score button
536 Part V: Menu Reference
Key Set t i ngs
Use this scroll bar to set the measures key signature. Scroll up to add more sharps to the key; scroll down
to add more flats to the key.
You can also use the scroll up and down arrows to change the key signature in the Set Key Signature
dialog box:
The up arrow moves towards fewer flats and more sharps.
The down arrow moves towards fewer sharps and more flats.
Al l St aves Opt i on
Check this option to apply the key change to all staves in the system. If you dont check this option,
Overture applies the key change to only the selected staffother staves remain in their original keys.
Tr anspose Opt i ons
Check the Transpose option if you want Overture to transpose any music affected by the new key
signature automatically.
Original measure
Same measure after
inserting a key change
and transposing up
the existing music

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If you dont check the Transpose option, Overture keeps the pitch of the music the same and re-spells the
notes as required by the new key signature.
Original measure
Same measure after
inserting a key change
without transposing
the existing music

If you check the Transpose option, use the Up and Down radio buttons to tell Overture whether to
transpose notes up or down in pitch.
If you transpose a staff that contains chord names, Overture automatically transposes them, as well.
Pr evi ous Key Canc el l at i on Sel ec t i on
Use this set of radio buttons to tell Overture how you want it to display key cancellations.
If you click the None button, Overture changes keys without showing any cancellations from the
previous key.
538 Part V: Menu Reference
If you click the All button, Overture changes keys and shows all cancellations from the previous key.
If you click the Only Changed button, Overture changes keys and shows only those cancellations that
are different from the previous key.
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If you select either the All or Only Changed options, you can decide whether or not you want the
cancellation placed before or after the barline.
540 Part V: Menu Reference
Syst em Br eak War ni ng Opt i on
Check this option if you want Overture to provide a courtesy key change warning automatically at the end
of the previous system if the key change occurs at a system break.
Just Cour t esy at End of Bar
Check this option if you want Overture to provide a courtesy key signature at the end of the bar. This does
not affect any note transposition.
Col or
Click on the color box to choose the color for this key signature.
Usi ng t he Set Key Si gnat ur e Command
To insert a key signature into an Overture score:
1. Using the Arrow Cursor, click in a measure to make it the active measure.
2. Choose Measures>Set Key Signature.
Overture opens the Set Key Signature dialog box.
3. Define the desired key signature, then click the OK button.
Overture applies the key signature to the active measure and all remaining measures
up to the next key signature change.
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Set Ti me Si gnat ur e
Choose this command to specify a meter for the active measure and all measures up to the next meter
change. The active measure is the one that contains the insertion point. When you choose Measures>Set
Time Signature, Overture opens the Set Time Signature dialog box.
Quick Meter
Main Meter
Composite Meter
Beam Pattern Options
Select Buttons
Options
Options
Alternate Font and
Hollywood Lines
You can move the Set Time Signature dialog box around the desktop by dragging its title bar.
About t he Set Ti me Si gnat ur e Di al og Box
There are numerous elements in the Set Time Signature dialog box. These are described in the following
sections:
Regi on Opt i ons
Use the Region Options portion of the Set Time Signature dialog box to define the measure range covered
by the new time signature. Press the End of Score button to set the through field to the last measure.
Ending measure
Starting Measure
End of Score button
542 Part V: Menu Reference
Qui c k Met er Sel ec t But t ons
Click one of these buttons to set the measure quickly to one of these common meters.
When you click a Meter Select button, Overture automatically selects a default number of pulses and a
beaming pattern.
Mai n Met er Opt i ons
Use the Main Meter options to:
set a time signature for the measure
determine how Overture displays the time signature
select the number of pulses in the measure.
Show option
Parentheses option
Denominator numerical
Numerator
numerical
Pulses
numerical
Check the Show option if you want Overture to show the inserted time signature. Generally, you want
Overture to show the time signature unless youve created a composite meter and are showing it instead
of the main meter.
Check the Parentheses option if you want Overture to place the time signature in parentheses.
Use the time signatures Numerator numerical to set the number of beats per measure.
Use the time signatures Denominator numerical to set the note value that receives one beat.
Use the Pulses numerical to set the number of pulses in a meter. The pulses numerical determines how
many pulses (beats) Overtures beat chart displays (see Using Beat Charts on page 104). It also affects
the number of clicks the metronome plays and the beaming pattern used by the measure.
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Pulses are different from beats because pulses dictate the feel of a measure. For example, you can play a
6/8 measure as though it were three groups of eighth note pairs. The three groups make the measure feel
as if it has three pulses.
Pulses
Beat Chart
You can play that same 6/8 measure as though it were two groups of three eighth notes. The two groups
make the measure feel as if it has two pulses.
Beat Chart
Pulses
Obviously, pulses are closely related to the measures beaming pattern (as discussed in Beam Pattern
Options on page 544).
Composi t e Met er Opt i ons
Use composite meters to subdivide the measures main meter into separate, smaller metrical groups.
Show option
Parentheses option
Composite Numerator
numericals
Composite Denominator
numericals
Check the Show option if you want Overture to show the specified composite time signature. Often,
youll want to hide the main time signature when showing a composite time signature. Do this by
unchecking the Main Meter Show option.
Check the Parentheses option if you want Overture to place the composite time signature in parentheses.
Use parentheses if youre also going to show the main time signature.
544 Part V: Menu Reference
Overture lets you create composite meters of up to three groups. Use the Composite Numerator and
Composite Denominator numericals to define each of the composite groupings.
For example, if you create a 4/4 score, but want each measure performed in an unorthodox manner (such
as 3/8 +2/8 +3/8), you can create a composite meter.
You need a special beaming pattern to convey the rhythmic feel of the composite meter. We discuss
beaming patterns in the following section.
Beam Pat t er n Opt i ons
Beams create a visual representation of a measures meter and its internal rhythmic divisions. Use the Set
Time Signature dialog boxs Beam Pattern options to define how you want Overture to beam notes.
Primary Beam Group numericals
Secondaries option
Use the four Primary beam group numericals to set the pattern in which notes are beamed. For example,
in a 4/4 measure, a pattern of 4+4 automatically beams together the first four eighth notes, then the last
four eighth notes.
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As another example, in a 4/4 measure, a pattern of 3+2+3 automatically beams together the first three
eighth notes, then the middle two, then the last three eighth notes.
You dont have to enter every element of a steady beaming pattern. For example, to enter a beaming
pattern of 2+2+2+2, you only have to enter the first 2.
Secondary beams are the additional beams used to indicate 16th notes, 32nd notes, and so on.
Primary Beam
Secondary Beam
Check the Secondaries option if you want secondary beams to break at a specified number of notes, thus
giving a more accurate picture of the internal rhythm of a measure.
546 Part V: Menu Reference
Below, the measure on the left shows a string of sixteenth notes with unbroken secondary beams. The
measure on the right shows the same string of sixteenth notes with the Secondaries option checked and
set for 2the sixteenth note beams break into two-note groups.
No break in secondaries Break in secondaries
The Show Bef or e Syst em Br eak Opt i on
Check this option if you want Overture to provide a courtesy meter change warning automatically at the
end of the previous system if the meter change occurs at a system break.
The figure below illustrates the difference between enabling and disabling this option. When the option is
disabled (top example), the top system gives no warning of the impending change in meter. In the bottom
example, it does.
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The I s Pi c k up Opt i on
Check this option if you want Overture to recognize the active measure as a pickup measure.
I mpor t ant :
Unlike other elements in the Set Time Signature dialog box, the Is Pickup option applies only to the
active measure. This way you can define one measure as a pickup measure without defining the
following measure as standard.
When you define a measure as a pickup measure, the following things occur:
Overture right-justifies the notes in the measure.
When Overture plays a pickup measure, it plays the measure exactly as written.
For example, if you created a pickup measure in 4/4 time that had only two quarter notes, Overture
would play the two quarter notes, then play the next measure immediately without waiting two
additional beats.
The score above does not
contain a pickup measure. It plays
back as shown below.
The score shown above contains
a pickup measure. It plays back
as shown below.
548 Part V: Menu Reference
Overture ignores pickup measures when numbering measures in a score. To learn about measure
numbers, see Set Measure Numbers on page 559.
Overture ignores pickup measures when searching for incorrect rhythms. To learn how to search an
Overture score for incorrect rhythms, see Incorrect Rhythms on page 617.
Not e:
Rebarring scores destroys pickup measures. To learn about rebarring a score, see Rebar on page 564.
The Al t er nat e Font Opt i on and But t on
Check this option to enable the display of the score's meters in a different font, size, or style. Use the
Alternate Font button to to open a Font dialog box where the changes can be made.
To change the default Alternate Meter Font for new scores, use the Meters font button in the Fonts tab
of the Preferences dialog. See Fonts Preferences on page 647.
The Dr aw Hol l ywood Li nes Opt i on and Set t i ngs But t on
Check this option to enable the display of vertical lines that replace multiple meters in the conductor's
score. This is often seen in film scoring. The example below demonstrates Hollywood lines along with
larger meter display from the Alternate Font option.
The Settings button opens the Hollywood Lines dialog box which provides options for choosing which
staves the lines should pass through, line thickness, location of endpoints, and vertical placement of upper
and lower meter characters.
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The line thickness can be change directly on the score by shift-dragging the bottom of the line
horizontally. The lines X and Y offset can be changed by dragging the lines bottom endpoint. Each
characters offset can be changed by dragging the character vertically. If you hold down the
Ctrl[Command] key while dragging on the score, the changes will be applied to all meters in the score.
Usi ng t he Set Ti me Si gnat ur e Command
To insert a meter change into an Overture score:
1. Using the Arrow Cursor, click within a measure to make it the active measure.
2. Choose Measures>Set Time Signature.
Overture opens the Set Time Signature dialog box.
3. Use the dialog box (discussed earlier) to define the meter and its beaming options,
then click the OK button.
Overture applies the new meter to the active measure and all remaining measures
up to the next meter change.
550 Part V: Menu Reference
Set Tempo
Choose this command to specify a tempo for the active measure and all measures up to the next tempo
change. The active measure is the one that contains the insertion point. When you choose Measures>Set
Tempo, Overture opens the Set Tempo dialog box.
Text Font Button
Show Options
Playback Options
Metronome Font Button
Region Options
You can also open the Set Tempo dialog box by double-clicking on a tempo marking.
You can move the Set Tempo dialog box around the desktop by dragging its title bar.
About t he Set Tempo Di al og Box
Use the Set Tempo dialog box to define
the number of beats per minute for your new tempo.
the note value of the beat.
You can also use the dialog box to apply the tempo to MIDI playback and to show the tempo in your
score, either as a metronome value or as a text description.
There are numerous elements in the Set Tempo dialog box. These are described in the following sections.
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Regi on Opt i ons
Use the Region Options portion of the Set Tempo dialog box to define the measure range covered by the
tempo. Press the End of Score button to set the through field to the last measure.
Ending measure
Starting Measure
End of Score button
Pl aybac k Opt i ons
Use the Playback Options portion of the Set Tempo dialog box to define a tempo.
Beats Per Minute
Numerical
Beat Value
Select Buttons
Use the Beats Per Minute numerical to enter the number of beats you want in a minute.
Click one of the Beat Value Select buttons to define the value of a beat. For example, 100 quarter-note
beats per minute is twice the tempo of 100 eighth-note beats per minute.
Show Opt i ons
Use the Show Options portion of the Set Tempo dialog box to determine if you want Overture to display
the tempo and, if so, how you want it displayed.
Show Option
Show Metronome Option
Show Text Option
Tempo Text Field
Parentheses Option
Note Duration Option
Number Style Option
Check the Show Metronome option if you want to display the tempo in your score.
Check the desired option for displaying the number as a decimal or whole number.
Check the Parentheses option if you checked Metronome and you want to display the metronome
marking in parentheses.
552 Part V: Menu Reference
Check the numerical radio button if you checked Metronome and you want to display the tempo as an
actual number of beats per minute.
Check the note options radio button if you checked Metronome and you want to change the time
signature but keep the pulse constant and represent it by a different note duration. For example, if the
meter changes from 2/4 to 6/8, you can represent the change as quarter note=dotted quarter.
Check the Show Text option if you checked Show and you want Overture to display the tempo as user-
specified text.
If you selected the Show Text option, use the Tempo Text Field to enter the text you want displayed in
your score.
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The following figure illustrates some differences between the Show Metronome and Show Text options.
554 Part V: Menu Reference
You can show metronome and text values simultaneously. This is particularly convenient if you want to
show tempo markings made up of both text and metronome values. For example, assume you configure
the Set Tempo dialog box like this.
You can drag either type of tempo marking independently of the other. In the figure below, the
metronome marking was dragged to the right to make space for it in the Text area.
Drag Metronome marking
into space left in Text marking
Font But t ons
There are two font buttons:
Text Font button: Use this button to open a dialog box in which you select the font that Overture
uses to display the desired Tempo Text in the score.
Metronome Font button: Use this button to open a dialog box in which you select the font that
Overture uses to display metronome (beats per minute) markings in the score.
For a detailed discussion of the Select Font dialog box, see Font Button on page 563.
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Usi ng t he Set Tempo Command
To set a tempo change into an Overture score:
1. Using the Arrow Cursor, click within a measure to make it the active measure.
2. Choose Measures>Set Tempo.
Overture opens the Set Tempo dialog box.
3. Enter a tempo and select viewing options, then click the OK button.
Overture applies the tempo to the active measure and all remaining measures up to
the next tempo change.
Edi t i ng Tempo
To reposition any tempo mark in the Score window:
1. Move the Arrow Cursor over the tempo mark you wish to move.
The cursor changes to a Drag Cursor.
2. Drag the tempo mark to the desired position.
Moving tempo marks affects where the tempo change begins.
To copy a tempo mark in the Score window:
1. Move the Arrow Cursor over the tempo mark you wish to move.
The cursor changes to a Drag Cursor.
2. Control[Option]-drag to move a copy of the tempo mark to a new place.
Shift-Control[Option]-drag to copy a tempo mark and constrain movement to the
horizontal or vertical direction first dragged.
To open the Set Tempo dialog box and change an existing tempo:
1. Click in the desired measure and choose Measures>Set Tempo.
Alternatively, if the tempo appears in the score, you can double-click the tempo
mark to open the Set Tempo dialog box.
556 Part V: Menu Reference
Set Codas, Segnos, et c .
Choose this command to attach repeat and jumper text to a measure. When you choose Measures>Set
Codas, Segnos, etc., Overture opens the Set Codas, Segnos, etc. dialog box.
Repeat Type
Repeat Text
You can move the Set Codas, Segnos, etc. dialog box around the desktop by dragging its title bar.
About t he Set Codas, Segnos, et c . Di al og Box
There are two areas in the Set Codas, Segnos, etc. dialog box:
Repeat Type. Use this area to select among the most commonly used repeats.
Repeat Text. Use this area to modify the text used by one of the selected Repeat Types.
We describe each of these areas in the following sections.
Repeat Type
Overture offers eight default repeat notation options.
When you select one of these options, Overture enters default text into the Text area (described in Text
Editing on page 558). The following list describes each Type option:
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. Use this notation in conjunction with either the D.S. al Coda or D.S. al Fine options. Overture
places this symbol at the beginning of the active measure. When the performer sees a D.S. symbol in
a score, he or she knows to jump to the measure containing this symbol. This symbol is called a
Segno becaused it is used with the Dal Segno (abbreviated D.S.)
To Coda . Use this notation in conjunction with either the D.S. al Coda or D.C. al Coda option.
Overture places this symbol at the end of the active measure. When the performer sees this symbol,
he or she knows to jump immediately to the Coda section.
Coda. Use this notation in conjunction with the To Coda symbol. Overture places the Coda
symbol at the beginning of the active measure. When the performer sees a To Coda symbol in the
score, he or she knows to jump to the beginning of the measure containing the Coda symbol.
Fine. Use this notation in conjunction with either the D.C. al Fine or D.S. al Fine options. Overture
places the Fine symbol at the end of the active measure. The Fine indicates that this measure is the
final measure in the score.
D.C. al Coda. Use this notation to indicate that, when the performer finishes the measure, he or she
should jump back to the top of the piece and play to the To Coda sign; at which point, he or she
needs to jump to the Coda section (indicated by the Coda notation).
D.C. al Fine. Use this notation to indicate that, when the performer finishes the measure, he or she is
to jump back to the top of the piece and play to the Fine sign.
D.S. al Coda. Use this notation to indicate that, when the performer finishes the measure, he or she
should jump back to the measure containing the segno, then play through to the To Coda sign; at
which point he or she should jump to the Coda section (indicated by the Coda notation).
558 Part V: Menu Reference
D.S. al Fine. Use this notation to indicate that, when the performer finishes the measure, he or she
should jump back to the top of the measure containing the segno, then play to the Fine sign.
MI DI Not e:
If the Options>Play Style>Repeats option is checked, Overture recognizes and plays all default repeat
markings discussed above. You must enter all the necessary repeat markings in all the required
measures, just as you would for live performers.

Tex t Edi t i ng
When you select one of the eight default Type notations, Overture automatically fills the Text area with
default text. This is the text that appears above the top staff of the active measure when you click the
dialog boxs OK button.
Overture attaches any text from this area to the active measure. Additionally, Overture allows you to enter
either a Segno symbol or a Coda symbol by typing #1 or #2, respectively.
For example:
Text box says D.S. #1 al Coda #2
Text box says D.S. al Coda
Click the Font button to open the Font dialog box. Use the Font dialog box to select the font used to
display repeat text. For more information about the Font dialog box, see Font Buttons on page 554.
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Set Measur e Number s
Choose this command to specify a measure numbering and display format beginning with the active
measure in the current staff and continuing to the next numbering change. The active measure is the one
that contains the insertion point. When you choose the Set Measure Numbers command, Overture
produces the Set Measure Numbers dialog box.
Font Button
Position Setting
Starting Measure
Numerical
Interval Options
Text Options
Character Options
Color Button
You can move the Set Measure Numbers dialog box around the desktop by dragging its title bar.
560 Part V: Menu Reference
About t he Set Measur e Number s Di al og Box
There are numerous elements in the Set Measure Numbers dialog box. We describe these in the following
sections.
St ar t i ng Measur e Numer i c al
Use the Starting Measure numerical to enter the measure number of the active measure. This is useful if,
for example, the current Overture score is a continuation of a different score and does not start with
measure 1.
Not e:
Overture doesnt include pickup measures in the measure numbering sequence. For more information
about pickup measures, see The Is Pickup Option on page 547.
Posi t i on Set t i ng
Use the Position Setting to position measure numbers. Overture places all measure numbers in the same
relative position in the score (later, you can drag individual measure numbers to change their positions).
Use the two gray lines for reference. Drag the small number 1 to show Overture where you want it to
place all measure numbers.
Drag to show Overture
where to position all
measure numbers
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Overture allows enclosures around measure numbers. Select the Enclosure option in the Set Measure
Number dialog box to enable the enclosure option.
Enclosure option encloses
measure numbers
I nt er val Opt i ons
Use this set of radio buttons to tell Overture how frequently you want measure numbers to appear
throughout your score.
If you click the Page button, Overture places measure numbers over the first measure at the top of the
first system on each page.
If you click the System button, Overture places measure numbers over the first measure at the top of each
system.
If you click then Measures button, Overture places measure numbers at the interval you specify. Use the
corresponding numerical to specify the desired interval between measure numbers.
If you click the None button, Overture puts no measure numbers into a score. Select this option to stop
displaying measure numbers (or to hide them for a while).
562 Part V: Menu Reference
Tex t Opt i ons
Use the Text Options portion of the Set Measure Numbers dialog box to place measure numbers and to
enter an optional prefix.
Use the Prefix numerical to enter up to two characters to use as a prefix for the active measure.
Select one of the J ustify options to tell Overture whether you want to place measure numbers to the Left,
Center or Right of the Position Setting.
Left Center
Right
If this is the Position setting...
...these are its three placement options.
Char ac t er Opt i ons
Use this portion of the Set Measure Numbers dialog box if you want Overture to number measures with
letters rather than numbers.
Check the Starts with option if you want Overture to indicate measures with letters rather than numbers.
Use the text entry field to type the letter you want applied to the active measure.
If you click the AA, BB, CC button, Overture follows measure Z with measure AA, then measure BB,
etc.
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If you click the AA, AB, AC button, Overture follows measure Z with measure AA, then measure AB,
etc.
Font But t on
Click this button to open the Font dialog box. Use the dialog box to select the font that Overture uses to
display measure numbers.
Font List
Font Style List
Font Size Field
Font Preview Area
Font Size List
There are numerous elements in the Font dialog box:
Font List. Click here to select a font from the list.
Font Style List. Click here to select the font style from the list.
Font Size List. Click here to select a font size from the list.
Font Size Field. Use this numerical to enter a font size not included in the Font Size Pop-Up Menu.
Font Preview Area.View your font selections in this area.
Usi ng t he Set Measur e Number s Command
To create a measure numbering format:
1. Using the Arrow Cursor, click a measure to make it the active measure.
2. Choose Measures>Set Measure Numbers.
Overture opens the Set Measure Numbers dialog box.
564 Part V: Menu Reference
Rebar
Choose this command to rebar the score beginning with the active measure and continuing to the end of
the score. Use the Rebar command to assure that your score contains the correct number of beats in every
measure.
This command is particularly useful if:
you inserted or deleted a note or rest
changed meters after entering notes
When you choose the Rebar command, Overture analyzes the active measure and, if necessary, moves
the barline so that the measure contains the correct number of beats as defined by its meter. It then
analyzes each of the following measures until the end of the score. Any leftover beats are, therefore,
confined to the final measure in the score.
If, for example, the first measure has too few notes or rests, Overture moves the necessary number of
beats from the beginning of the second measure to the end of the first measure. On the other hand, if the
first measure has too many notes or rests, Overture moves the necessary number of beats from the end of
the first measure to the beginning of the second measure.
Overture always divides any notes or rests as required. For instance, if a measure is short an eighth note,
and the first note in the next measure is a quarter note, Overture splits the quarter note into two tied eighth
notes; the first eighth note appears at the end of the first measure, and the second eighth note appears at
the beginning of the second measure.
Not e:
The Rebar command does not affect MIDI playback, but the Graphic window updates to show the new
position of bar lines.
3. Specify a measure numbering format, then click the OK button.
Overture numbers measures as requested, beginning with the active measure and
continuing until it sees a measure requesting a different numbering format.
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Mul t i Measur e Rest
Choose this command to group a specified number of empty measures into a single measure with multi-
measure rest notation. When you choose the Multi Measure Rest command, Overture opens the Set
Multi-Measure Rest dialog box.
You can move the Set Multi-Measure Rest dialog box around the desktop by dragging its title bar.
There are numerous elements in the Set Multi-Measure Rest dialog box:
Number. Select where you want the number to be displayed.
Style. Select the style of the multi-measure rest.
End Cap. Select the type of end cap for the solid line.
Combine Numerical. Use this numerical to enter the number of measures you wish to group into a
multi measure rest.
Fill Numerical. Use this numerical to enter the percentage of the measures width you wish the solid
line to fill.
Font Button. Click this button to open the Font dialog box. Use the dialog box to select the font that
Overture uses to display multi-measure rest numbers.
566 Part V: Menu Reference
Usi ng t he Mul t i -Measur e Rest Command
To create a multi-measure rest:
1. Using the Arrow Cursor, click the first measure you wish to group into a multi
measure rest.
Click to activate measure
2. Choose Measures>Multi Measure Rest.
Overture open the Set Multi-measure Rest dialog box.
3. In the dialog box, enter the number of measures you want to group into a multi-
measure rest (including the active measure).
In the example below, you want the multi-measure rest to be four bars long (the
current measure plus the three measures following it).
4. Click the OK button.
Overture creates a multi-measure rest of the specified length.
To expand a multi-measure rest:
1. Click the multi-measure rest you wish to expand.
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To display the range of measures in a multi-measure rest, check Show Range.
To display the number of measures in a multi-measure rest below rather than above the staff, check
Below Staff.
To switch from a normal to a jazz style of rest, click the J azz radio button.
To change the style of end caps on the rest, click the radio button for Thin, Thick, or None.
To adjust the length of the rest, drag an end cap horizontally.
2. Choose Measures>Multi Measure Rest.
Overture open the Set Multi-measure Rest dialog box.
3. In the dialog box, enter the number 1 then click the OK button.
Overture expands the multi-measure rest to show all measures in the score.
568 Part V: Menu Reference
Fi l l i n Rest s
When you choose this command, Overture fills in any missing beats in the active measure with rests. The
active measure is the one that contains the insertion point.
For example, assume you had the music example shown in the following figure, and that you wanted to
fill in the rest of the measure with rests.
To do so:
1. Click in the measure to make it the active measure.
2. Choose Measures>Fill in Rests.
Overture fills in the measure with the necessary rests.
This is also a quick way to insert rests into any blank measures.
Just i f y
When you choose this command, Overture calculates a new Beat Chart based on the note values
contained in the measure(s) and on the spacings assigned to them by the current Allotment Table.
J ustifying a measure causes the notes within it to change their relative spacings by calculating a new Beat
Chart (based on the current Allotment Table). This greatly improves legibility, though some collision of
note heads may still occur depending on the settings in the Allotment Table.
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To justify notes in a measure:
1. Find the measure(s) you wish to justify.
The example below contains auto-positioned notes (that is, they align with the
existing Beat Charts) that have not yet been justified.
Beat Chart
Beats
2. Activate the measure you wish to justify by clicking a blank space within it.
If you wish to justify many measures simultaneously, simply Ctrl[Command] double
click in each measure you wish to select or shift double click to select a range of
measures all selected measures are affected by the Justify command.
3. Choose Measure>Justify.
Overture calculates new Beat Charts based on the note values and the spacing
assigned to them by the current Allotment Table.
Beat Chart
Beats
Compare the two Beat Charts above. Notice the modified spacing of the beats and the consequent change
in note spacing.
To protect a measure from the Measures>J ustify command, see Locked Measures on page 108.
If you need to brush up on your knowledge of Beat Charts, see Using Beat Charts on page 104. For a
detailed discussion about Allotment Tables, see Allotment Table on page 410.
I mpor t ant :
Overture can automatically space notes using either Options>Auto>Justify, Measures>Justify, or
Score>Recalc Layout. All three of these commands affect note spacing differently. To learn the
differences between them, see Automatic J ustify on page 107.
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Notes Menu

Use the Notes menu commands to perform many common Overture tasks like modifying notes,
transposing, beaming, grouping, and converting between traditional notation and raw MIDI data. You
must select notes to activate most of the notes commands. The following sections discuss each command
in detail.
39
572 Part V: Menu Reference
Tr anspose
Choose this command to transpose a selection of notes. When you choose the Transpose command,
Overture opens the Transpose dialog box.
You can move the Transpose dialog box around the desktop by dragging its title bar.
Not e:
The Transpose command does not transpose staves that notate tablature or percussive tracks.
About t he Tr anspose Di al og Box
The left half of the dialog box has two radio buttons to select the type of transposition:
Chromatic. Transposes selected notes up/down the selected interval without respect to the current
key signature.
Diatonic. Transposes selected notes up/down the selected interval based on the current key
signature.
The right half of the dialog box has two radio buttons to select transposition direction.
Up. Transpose the selected notes up in pitch.
Down. Transpose the selected notes down in pitch.
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The contents of the Interval pop-up menu change to reflect the Type setting. Although the new dialog box
below has the Type set to Chromatic, we show both the Chromatic and Diatonic Interval pop-up menus.
Interval menu for
Diatonic transposition
Interval menu for
Chromatic transposition
For example:
If A and C are the selected notes,
and the key signature is F major,
and the Direction is Up,
574 Part V: Menu Reference
Usi ng t he Tr anspose Command
To transpose a selection of notes in your score:
1. Select the notes you wish to transpose.
We discuss note selection techniques in Selecting Notation Symbols on page 89.
2. Choose Notes>Transpose.
The Transpose dialog box appears.
3. Click the radio button next to the type of transposition you desire.
4. Click the radio button next to the direction you want to transpose.
5. Choose the interval by which you want to transpose the selection.
6. Click the OK button.
Overture transposes your selected notes.
If you perform a chromatic transposition, Overture automatically spells all notes and
accidentals correctly with respect to the key signature.
and the selected diatonic Interval is Third,
then The resulting transposition raises both the A and C two scale
steps up in F major but different absolute intervals. Overture
transposes the A a minor third to C and the C a major third to
E.
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Modi f y
Choose this command to alter various MIDI playback attributes of the selected notes. When you choose
the Notes>Modify command, Overture produces the Modify Notes dialog box.
Operation Note property Value setting
You can move the Modify Notes dialog box around the desktop by dragging its title bar.
Not e:
This command affects only the MIDI playback of notes, not their appearance in the score.
About t he Modi f y Not es Di al og Box
The Modify Notes dialog box contains three parameters:
the Operation pop-up menu
the Note Property pop-up menu
the Value Setting
We explain each of these parameters in the following three sections.
The Modify Notes dialog box always reads like a sentence. For instance, the dialog box shown above
reads Set duration to 240 units.
576 Part V: Menu Reference
Not e Pr oper t y Pop-Up Menu
Use the Note Property pop-up menu to select which note property you want to modify. Click the current
note property and select a new one from the pop-up menu.
The following note properties are available in the Modify Notes dialog box:
Duration. Selecting this causes the Modify Notes command to change the durations of selected
notes an amount determined by the Operation pop-up menu and the Value setting.
Key Velocity. Selecting this causes the Modify Notes command to change the key velocities of
selected notes an amount determined by the Operation pop-up menu and the Value setting.
Release Velocity. Selecting this causes the Modify Notes command to change the release velocities
of selected notes an amount determined by the Operation pop-up menu and the Value setting.
Oper at i on Pop-Up Menu
Use the Operation pop-up menu to select how you want to modify a note property. Click the current
operation and select a new operation from the pop-up menu.
The following operations are available in the Modify Notes dialog box:
Set. Select this operation to set the note property of all selected notes to the exact value indicated in
the Value Setting.

For example, if the note property is Key Velocity and the Value Setting is 64, then selecting Set
changes all selected note velocities to 64.
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Scale. Select this operation to multiply the note property of all selected notes by the percentage
shown in the Value setting. The Value setting ranges from 0%-999% when you select this operation.
Velocities are always limited to a range of 1 to 127.

For example, if the note property is Duration and the Value setting is 50%, then selecting Scale
changes all selected note durations to half their current value.
Add Amount. Select this operation to add or subtract the Value setting from the note property of the
selected notes. The Value setting ranges from -127 to 127 when you select this operation.

For example, if the note property is Key Velocity and the Value setting is +10, then selecting Add
Amount increases the velocity of all selected notes by a value of 10.

To set whether you want to add or subtract the indicated amount, click to toggle + and -.
Max Limit. Select this operation to restrict the note property of all selected notes to the maximum
limit indicated in the Value setting. Overture lowers any note properties with values above the
specified limit to the limit and leaves unchanged any note properties with values below the specified
limit.

For example, if the note property is Key Velocity and the Value setting is 100, then selecting Max
Limit limits the maximum velocity of any selected note to a value of 100. Overture sets any notes
with original velocities greater than 100 to a value of 100, and leaves unchanged notes with original
velocities less than 100.
Min Limit. Select this operation to restrict the note property of all selected notes to the minimum
limit indicated in the Value setting. Overture raises any note properties with values below the
specified limit to the limit and leaves unchanged any note properties with values above the specified
limit.

For example, if the note property is Key Velocity and the Value Setting is 50, then selecting Min
Limit limits the minimum velocity of any selected note to a value of 50. Overture sets any notes with
original velocities less than 50 to a value of 50 and leaves unchanged any notes with original
velocities greater than 50.
Legato. This operation works only when you set the note property to Duration. Select this operation
to set the duration of each selected note so that it extends a certain percentage of the way to the next
note. Use the Value setting to set the percentage.

For example, if the note property is Duration and the Value setting is 50%, selecting Legato changes
all selected note durations to half their natural values. Quarter notes have the duration of eighth
notes (240 units), eighth notes have the duration of sixteenth notes (120 units), and so on.
578 Part V: Menu Reference
Val ue Set t i ng
Use the Value setting in the Modify Notes dialog box to define how much the selected operation acts upon
the note property.
The Value setting changes depending on which operation and which note property youve selected. See
Operation Pop-Up Menu on page 576 for more information about how various operations and note
properties affect the Value setting.
Usi ng t he Modi f y Command
To modify the MIDI playback of selected notes in your score:
1. Select the notes you wish to modify.
We discuss note selection techniques in Selecting Notation Symbols on page 89.
2. Choose Notes>Modify Notes.
The Modify Notes dialog box appears.
3. Select the desired note property from the Note Property pop-up menu.
4. Select the desired operation from the Operation pop-up menu.
5. Use the Value setting numerical to set the desired value for the selected operation.
6. Click the OK button.
Overture modifies the MIDI note data of the selected notes.
Humani ze
Choose this command to humanize selected notes, that is, to alter their start times, durations and
velocities to give a human playback feel. When you choose the Humanize command, Overture produces
the Humanize dialog box.
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Usi ng t he Humani ze Command
To humanize selected notes:
1. Using the Arrow cursor, click the first note in the passage to select it (highlighting
it).
2. Shift-click the final note in the passage to select it (highlighting all the notes
between).
3. Choose Notes>Humanize.
The Humanize dialog box appears.
4. Set the maximun amount to adjust each parameter.
5. Click the OK button.
Overture humanizes the selected notes in your score.

This command affects the velocities, start and end times of notes only, not the notated note value. To
change note value, see Transcribe on page 606.
Quant i ze
Choose this command to quantize selected notes, that is, to round off their start times and durations to
even beats so they can display reasonably on a staff or play back with precision, rather than with
irregularities, the way humans play them. When you choose the Quantize command, Overture produces
the Quantize dialog box.
580 Part V: Menu Reference
About t he Quant i ze Di al og Box
Resol ut i on
In this section of the Quantize dialog box specify the granularity of the quantization. You can use any
value from a half note down to a thirty-second note triplet. Select a resolution that matches the smallest
note in the region you are quantizing. If you are quantizing a run of sixteenth notes, use a sixteenth note as
the resolution.
Change
In this section of the Quantize dialog box, choose to move the start times of notes, their durations, or both.
Opt i ons
In this section specify how, exactly, you want the selected notes quantized, in several dimensions.
Strength. The human ear is tuned to the slight imperfections we hear from most musicians. If you quantize
a song so that all notes are perfectly in position, it may end up sounding mechanical or rigid. To avoid
this, Overture lets you adjust the strength of the adjustment. A strength of 100 percent indicates that all
notes are moved so that they are in perfect time, while a strength of 50 percent means that all notes are
moved half-way towards the desired position. This lets you tighten up the timing as much as you want,
without going too far.
Swing. Many songs do not have notes positioned perfectly evenly. For example, songs with a swing feel,
though they may be written all using eighth notes, are often played more like eighth note triplets, with the
first note extended and the second one shortened. The swing option lets you distort the timing so each pair
of notes is spaced unevenly, giving the quantized material a swing feel.
A swing value of 50 percent (the default) means that the timing is even. A value of 66 percent means that
the time between the first and second evenly spaced notes is twice as long as the time between the second
and third. The figure below illustrates the effect of the swing setting on the timing.
Swing =50%
Swing =66%
Swing =33%
Window. When you quantize some portion of a song, notes that are very far from the specified timing
should probably not be moved at all. The window, or sensitivity setting, lets you choose how close to the
resolution a note must be for quantize to move it.
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A window of 100 percent includes all notes, and guarantees that all notes will shift to lie exactly on the
resolution timing. The window extends half the resolution distance before and after the quantization
point. A window of 50 percent extends only a quarter of the way toward the adjacent quantization points.
Offset. Normally, the resolution grid is aligned evenly with the start of measures and beats. As an option,
you can shift the grid earlier or later by any number of clock ticks. If the resolution is a quarter note, and
youve set the offset to +3 ticks, then a note that is originally near the beat would be moved three ticks
beyond the beat boundary.
Usi ng t he Quant i ze Command
To quantize selected notes:
1. Using the Arrow cursor, click the first note in the passage to select it (highlighting
it).
2. Shift-click the final note in the passage to select it (highlighting all the notes
between).
3. Choose Notes>Quantize.
The Quantize dialog box appears.
4. Click the radio button next to the resolution note size you need.
5. Click one or both check boxes to specify whether you want to quantize start times,
note durations, or both.
6. Specify percentages for the options Strength, Swing, and Window, and ticks for the
Offset option.
7. Click the OK button.
Overture quantizes the selected notes in your score.

This command affects start and end times of notes only, not the notated note value. To change note value,
see Transcribe on page 606.
Redo Pi t c hes
Select this command to replace notes with pitches played from a MIDI keyboard. The selected note will
be replaced with the pitches played on a MIDI keyboard and the notes duration will be preserved. The
next note will then be selected and will be replaced with any notes from the MIDI keyboard, and so on.
When you are done, select this command to disable Redo Pitches.
582 Part V: Menu Reference
Add I nt er val
Choose this command to add an interval to the selected notes. Any interval from a second to a ninth can
be added above or below the selected note(s).
Del et e
Choose the Delete command to produce a submenu of delete options.
From the Delete submenu, choose the type of note-related symbol you want deleted from the selected
notes. Each delete option is discussed in the following sections.
Beams
Choose this command to remove the beams from all selected notes. For example:
1. Select some beamed notes.
2. Choose Notes>Delete>Beams.
Overture deletes all beams attached to any of the selected notes.
Ar t i c ul at i ons
Choose this command to remove all articulations and ornaments from the selected notes. For example:
1. Select some notes with attached articulations and ornaments.
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Dupl i c at e Not es
Choose this command to remove duplicate notes from all selected notes. For example:
1. Select some duplicate notes.
2. Choose Notes>Delete>Duplicate Notes.
Overture deletes all selected notes that have the same pitch and start times.
Beam
Choose the Beam command to produce a submenu of beaming options.
To beam notes:
1. In the Score window, select the notes you want beamed.
2. Choose a beaming option from the Beam submenu.
Overture beams the selected notes according to one of the options. We discuss
beaming options below.
2. Choose Notes>Delete>Articulations.
Overture deletes all articulations and ornaments attached to the selected notes.
Not e:
You can beam notes that are on different staves and you can also beam across barlines. See Beaming
Examples on page 585 for more information.
584 Part V: Menu Reference
Based on Met er
Choose this command to beam the selected notes and group them based on the meter of the measure(s).
Define beam groupings in the Set Time Signature dialog box (accessed by choosing Measures>Set Time
Signature). See Set Time Signature on page 541 for more information about the Set Time Signature
dialog box.
Manual l y
Choose this command or press Control[Command]-shift-b to beam all selected notes as a single group
regardless of the meter of the measure(s). This command beams over any selected rests and across
barlines if requested. See Cross-Bar Beaming on page 586 for more information. This command
overrides previous beam commands, including the Options>Auto Beam toggle.
Br eak i n Mi ddl e
Choose this command to break the beam in the middle. Only the first and last notes will show with a
partial beam on each side. This is used to create glissandos in harp notation.
Normal Beam
Beam broken
in middle
Hi de Tupl et Number
Choose this command to hide the tuplet number that automatically appears above or below beams that
contain a tuplet group.
Tr emol o Beams
Choose one of the tremolo beam commands to place a tremolo beam across the grouped notes. Tremolo
beams connect only two notes.
Tremolo 8ths. Choose this command to create an eighth note tremolo beam.
Tremolo 16ths. Choose this command to create a sixteenth note tremolo beam.
Tremolo 32nds. Choose this command to create a thirty-second note tremolo beam.
Tremolo 64ths. Choose this command to create a sixty-fourth note tremolo beam.
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By default, Overture makes primary beams span the distance between notes less than a quarter note; it
indents secondary beams.
Primary Beam
Secondary Beam
If you create a tremolo beam between quarter notes or larger, Overture automatically indents the primary
beam.
To change the indentation of a secondary beam, drag it with the Arrow Cursor.
To create an indentation for the primary beam, Control[Command]-drag it with the Arrow Cursor.
Beami ng Ex ampl es
The following are specific examples of some common beaming techniques.
Cr oss-St af f Beami ng
This example shows how to beam across staves:
1. Enter notes onto a single staff.
2. Select those notes you want displayed on a different staff.
586 Part V: Menu Reference
If you wanted to beam to a lower staff, you would choose Notes>Display on Next Staff. Notes that are
part of a cross-staff beam can be up to two staves above or below the current staff.
MI DI Not e:
The Display on Prev Staff and Display on Next Staff commands do not actually move MIDI data from
one track to another; they only change which staff displays the notes.
Cr oss-Bar Beami ng
This example shows how to beam across bars:
1. Enter notes into your score.
2. Select the notes you wish to beam.
3. Choose Notes>Beam>Over Rests & Barlines.
Beams that cross barlines wrap to the next system if necessary. Also, Overture can notate simultaneous
cross-bar and cross-staff beams. Simply combine the two techniques.
3. Choose Notes>Display on Prev Staff.
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Feat her ed Beams
Create feathered beams by Control[Command]-dragging the end of a beam.
2. hold down the Control[Command]
key and drag the beam
1. move the cursor over the end
of a beam
to create a feathered beam
Cr eat i ng Gr oups of Beamed Not es i n Tupl et s
When creating a tuplet out of existing notes like 16th notes, you now have more control over how those
notes will display their secondary beams (the 16th or smaller beams). By breaking the secondary beams
in different places, you can imply a rhythmic or metric grouping within these notes.
For example, when creating a tuplet from six 16th notes you want to be played in the space of one quarter
note, you can either tell Overture to group them as one sextuplet, or as two triplets. Either way, the notes
will share a primary beam, as expected.
To create a sextuplet from six 16th notes, do either of the following:
Select the notes, choose Notes>Group>Tuplet, and enter 6 over 4
Select the notes using the Tuplet tool, and enter 6 over 4
To create two groups of triplet 16th notes displayed under one "3" bracket, do either of the following:
Select the notes, choose Notes>Group>Tuplet, and enter 3 over 2
Select the notes using the Tuplet tool, and enter 3 over 2
To create two groups of triplet 16th notes displayed with one primary beam but two "3" symbols, one
above each group, perform one of the two steps above, and then do the following:
Select the Eraser, and click on the bracket surrounding all six notes (this only removes the bracket,
and does not change the notes from triplets to regular notes)
Select the notes, and use the Notes>Beam>Based on Meter command
Cont r ol l i ng Sec ondar y Beami ng Gr oups i n Tupl et s
Overture allows you to change the beam grouping of smaller notes, like 16th notes, after you change
those notes into tuplets. For example, this allows you to select the beam on six 16th notes, and break the
secondary beam into 2 groups of 3, or 1 group of 6.
To change the grouping of a group of six 16th notes in a tuplet, do any of the following:
Create a tuplet from 16th notes grouped as 6 over 4
Select the beam using the Selection (arrow) tool; be sure to click the beam rather than the bracket or
slur (if any)
588 Part V: Menu Reference
Type the 1 key to beam all the notes as one group of 6 notes
Type the 2 key to beam the notes in two groups of 3 notes
Gr oup
Choose the Group command to produce a submenu of grouping options.
Overture groups the selected notes according to one of the options in the Group submenu.
Ti e
Choose this command to tie together any notes of the same pitch within the selected group. To create a tie
in your score:
1. Control[Command]-click each note you want to tie together.
2. Choose Notes>Group>Tie.
Overture ties the selected notes together.
If you draw a rectangle around a contiguous group of notes, then choose the Tie command, Overture ties
together any notes of the same pitch within the selected group.
You can select a single note and attach a tie mark to itthis lets you create a note thats tied to a different
place in the score (such as an ending, coda, etc.).

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Using the Tie command is the same as selecting the Tie tool from the Groups palette and grouping notes
in the Score window (see Chapter 12, Groups Button).
MI DI Not e:
MIDI playback recognizes tie markings. For instance, if you tie two quarter notes together, then your
MIDI module plays the tie as though it were a half note.
Sl ur
Choose this command to create a slur across all notes in the selected group. To create a slur in your score:
1. Select the notes you want slurred.
2. Choose Notes>Group>Slur.
Overture creates a slur between the noteseven if theyre on different systems.
If you wrap measures containing slurs (as discussed in Increase Measures on System on page 530 and
Decrease Measures on System on page 532), Overture keeps all slurs over all notes even if you wrap a
measure onto another system (as shown below).
This slur...
...automatically
wraps when you
change Overtures
measure layout
590 Part V: Menu Reference
Using the Slur command is the same as selecting the Slur tool from the Groups palette and grouping
notes in the Score window (see Chapter 12, Groups Button).
Ot t ava
Choose this command to insert an ottava mark to indicate that the selected notes should be played an
octave higher or lower than written.
To place an ottava mark in your score:
1. Using the Arrow Cursor, click the first note in the passage to select it (highlighting
it).
2. Shift-click the final note in the passage to select it (highlighting all the notes
between).
3. Choose Notes>Group>Ottava.
The Insert Ottava dialog box appears.
4. Click the radio button next to the type of ottava sign you need.
5. Use the check boxes in the right half of the dialog box to determine how you would
like the ottava sign to appear.
6. Click the OK button.
Overture inserts the ottava into your score.
You can remove an ottava mark by clicking it with the Eraser cursor. MIDI playback recognizes the
removal of ottavas and shifts playback pitch accordingly.
See Ottava Dialog Box on page 145 for a detailed description of Ottava options.
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Tupl et
Choose this command to group the selected notes into tuplets. When you choose the Tuplet command,
Overture produces the Tuplets dialog box.
Tuplet Value
Tuplet Style
Tuplet Options
About t he Tupl et s Di al og Box
The Tuplets dialog box contains three separate areas:
Tuplet Value. Set the tuplet value using the top two fields; the first field sets the number of notes
and the second field sets the duration of the tuplet.

For example, to group three notes into a triplet that would play in the time of two eighth notes, you
would set the Tuplet value to 3/2 (three notes in the time of two).
Tuplet Style. Click one of the illustrated styles to notate your tuplet in that style.
Tuplet Options. There are two check boxes for two separate options. Check the Show 2nd Number
check box if you want the second number (the in the time of number) to appear in the score. Check
the Change playback durations check box if you want to change the actual MIDI playback times
of the notes you grouped into a tuplet.
Not e:
Overture remembers the most recent parameters set in the Tuplets dialog box and opens with these
settings the next time you choose the command.
Usi ng t he Tupl et Command
To create tuplets with the Tuplet command:
1. Select those notes you want grouped into a tuplet.
592 Part V: Menu Reference
Gl i ssando ~
Choose this command to connect the selected notes with a wavy glissando. Generally, glissandos connect
two neighboring notes (the highest and lowest in the glissando). If you select more than two notes,
Overture creates a glissando between the first and last notes in the selection.
You can modify the angle and length of any glissando by clicking and dragging either end. You can
modify the vertical or horizontal position of any glissando by clicking and dragging its middle.
Gl i ssando -
Choose this command to connect the selected notes with a straight line glissando. Generally, glissandos
connect two neighboring notes (the highest and lowest in the glissando). If you select more than two
notes, Overture creates a glissando between the first and last notes in the selection.
You can modify the angle and length of any glissando by clicking and dragging either end. You can
modify the vertical or horizontal position of any glissando by clicking and dragging its middle.
2. Choose Notes>Group>Tuplet.
Overture produces the Tuplets dialog box.
3. Enter the desired tuplet value.
4. Click the desired tuplet style.
5. Check the desired tuplet options.
6. Click the OK button.
Overture groups the selected notes into a tuplet of the specified value using the
notation and playback options selected in the Tuplets dialog box.
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The Edi t Gl i ssando Di al og Box
Double-click a Glissando in the Score Window to open the Edit Glissando dialog box.
Set the Appearance fields to the desired setting. Use the Display Text Check Box to display text along
the Glissando. Set the type of playback to Diatonic, Chromatic, White Keys, or Last Harp Setting. For
Last Harp Setting, the notes will be determined by the previous Harp Pedal setting found in the score.
Select the Play option to use the Playback setting during playback.
Fl i p
Choose the Flip command to produce a submenu of flip options.
Overture changes the selected notes according to the command you choose in the Flip submenu.
594 Part V: Menu Reference
Di r ec t i on
Choose this command to flip the direction of most any selected symbol. If, for instance, you select a slur
and choose Notes>Flip>Direction, Overture inverts the slur as shown below.
Original Slur
Slur after choosing
Notes>Flip>Direction
Not e:
Notes>Flip>Direction does not flip articulations or ornaments to the other side of the note. If you wish to
move one of these symbols, drag it with the Arrow Cursor or use the Notes>Flip>Articulations
command.
Enhar moni c
Choose this command to change the spelling of a note to its enharmonic. For example, if you select an F#,
then apply the Enharmonic command, Overture changes the note to a Gb.
Shar ps t o Fl at s
Choose this command to flip a note from its sharped version to its flatted version. For example, if you
select a G#, this command changes it to an Ab.
Fl at s t o Shar ps
Choose this command to flip a note from its flatted version to its sharped version. For example, if you
select Bb, this command changes it to an A#.
Ar t i c ul at i ons
Choose this command to move all articulations to the opposite side of the note.
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St em
Choose the Stem command to produce a submenu of stemming options.
Overture stems the selected notes according to one of the options in the Stem submenu.
St em Up
Choose this command to make the stems of all selected notes point up.
St ep Dow n
Choose this command to make the stems of all selected notes point down.
Hi de St em
Choose this command to hide the stems of all selected notes.
This is useful when you want to create a tablature staff that shows only frets and strings, but no stems.
Tablature staves are normally used in conjunction with a standard notation staff.
Show St em
Choose this command to show the stems of any selected notes.
596 Part V: Menu Reference
Set St em Hei ght
Choose this command to set the stem height to your own specifications. Choosing this item opens the
Stem Height dialog box. Set the numerical field to your stem height or to the default height indicated in
parenthesis.
Di spl ay on Pr ev St af f
Choose this command to display the selected notes on the staff above their current one.
2. Choose Notes>Display on Prev Staff
and Overture moves the selected note
to the next higher staff (displaying it
in the proper key).
1. Select the note you want
displayed on the previous staff.
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Use this command for cross-staff beaming. See Cross-Staff Beaming on page 585 for more
information.
MI DI Not e:
The Display on Prev Staff command does not actually move MIDI data from one track to anotherit
only changes which staff displays the notes. If you wish to move MIDI data to the previous track, use the
Move to Prev Track command (discussed in Move to Prev Track on page 598).
Di spl ay on Nex t St af f
Choose this command to display the selected notes on the staff below their current one.
1. Select the note you want
displayed on the next staff.
2. Choose Notes>Display on Next Staff
and Overture moves the selected note
to the next lower staff (displaying it
in the proper key).
Use this command for cross-staff beaming. See Cross-Staff Beaming on page 585 for more
information.
MI DI Not e:
The Display on Next Staff command does not actually move MIDI data from one track to anotherit
only changes which staff displays the notes. If you wish to move MIDI data to the next track, use the
Move to Next Track command (discussed in Move to Next Track on page 599).
598 Part V: Menu Reference
Move t o Pr ev Tr ac k
Choose this command to move the MIDI data thats notated by the selected notes to the track notated
immediately above.
1. Select the note you want to
move to the previous track.
2. Choose Notes>Move to Prev Track.
Overture moves the selected
note(s) to the previous track.
When you choose this command, Overture actually moves the selected notes to the previous track,
converts them to raw MIDI data, then transcribes them again. This may cause some formatting like beam
adjustments, to be lost.
Use this command to correct split-point transcription errors, for example, when Overture notates a note
played by the right hand as belonging to the left hand.
Not e:
The Move to Prev Track command actually moves MIDI data from one track to another. If you wish only
to notate the selected notes on the previous staff (as for cross-staff beaming), use the Display on Prev
Staff command (discussed in Display on Prev Staff on page 596).
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Move t o Nex t Tr ac k
Choose this command to move the MIDI data thats notated by the selected notes to the track notated
immediately below.
1. Select the note you want to
move to the next track.
2. Choose Notes>Move to Next Track.
Overture moves the selected
note(s) to the next track.
When you choose this command, Overture actually moves the selected notes to the next track, converts
them to raw MIDI data, then transcribes them again. This may cause some formatting like beam
adjustments, to be lost.
Use this command to correct split-point transcription errors, for example, when Overture notates a note
played by the left hand as belonging to the right hand.
Not e:
The Move to Next Track command actually moves MIDI data from one track to another. If you wish
only to notate the selected notes on the next staff (as for cross-staff beaming), use the Display on Next
Staff command (discussed in Display on Next Staff on page 597).
600 Part V: Menu Reference
Not at e Not es As
Choose the Notate Notes As command to produce a submenu of choices.
Each choice alters the way notes are displayed in a score. This command is particularly useful for altering
the appearance of scores that youve entered either by MIDI recording or by importing MIDI files. The
following sections detail each of the notation choices.
Not at e Not es as Ar peggi o
Choose this command to notate the selected notes as an arpeggiated chord. The following example
illustrates how and why to use the Notate Notes as Arpeggio command.
Assume, when you recorded a song, that you played a measure containing an arpeggiated C major chord.
But, when you transcribed the song, the chord came out like this:
Youd like to notate these
notes properly.
To change the score so that it notates an arpeggiated chord:
1. Select the four thirty-second notes and the tied eighth note.
These are the notes you want displayed as an arpeggiated chord.
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Not at e Not es As Reduc ed Rest s
Choose this command to notate the selected note/rest combinations as staccato notes. The following
example illustrates how and why to use the Notate Notes As Reduced Rests command.
Assume, when you recorded a song, that you played a short staccato passage. But, when you transcribed
the song, the passage came out like this:
Youd like to notate these
notes properly.
To change the score so that it notates properly:
1. Select the series of notes and rests you want to re-notate.
2. Choose Notes>Notate Notes As>Reduced Rests.
Notice that each note/rest combination is now notated as a single staccato note
with a duration equal to the old note/rest combination.

2. Choose Notes>Notate Notes As>Arpeggio.
Overture groups the selected notes as an arpeggiated chord and sets the duration of
the chord to the total duration of all the individual notes.
MI DI Not e:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
602 Part V: Menu Reference
You can add the staccato markings of your choice using the symbols on the Articulations palette. See
Articulations Palette Tools on page 161.
MI DI Not e:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
Not at e Not es as Sw i ng Ei ght hs
Choose this command to notate a selected pattern of dotted eighth and sixteenth notes as straight eighth
notes. The following example illustrates how and why to use the Notate Notes as Swing Eighths
command.
Assume, when you recorded a song, that you played it using a swing feel. As a result, when you
transcribed the song, eighth note passages came out like this:
To change the score so that it notates the eighth notes correctly:
1. Select the series of dotted eighth and sixteenth notes you want to re-notate as
swing eighth notes.
2. Choose Notes>Notate Notes as>Swing Eighths.
Overture notates the selected notes as straight eighth notes. If you wish, you can
add an instruction to your score to play the selected passage in swing time.
MI DI Not e:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data,
nor does it affect playback unless you select Play Style>As Written or Play Style>In Swing. See Play
Style on page 633 for more information about Play Styles.
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Not at e Not es as Tr i l l
Choose this command to notate the selected notes as a single trilled note. The following example
illustrates how and why to use the Notate Notes as Trill command.
Assume, when you recorded a song, that you trilled a note. As a result, when you transcribed the song, the
trill came out like this:
Youd like to notate these
notes as a trill.

To change the score so that it notates the trill correctly:
1. Select all the notes of the trill.
2. Choose Notes>Notate Notes as>Trill.
Overture notates the selected notes as a single trilled note.
MI DI Not e:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
604 Part V: Menu Reference
Not at e Not es as Tr i pl et
Choose this command to notate the selected notes as a triplet. The following example illustrates how and
why to use the Notate Notes as Triplet command.
Assume, when you recorded a song, that you played a triplet. But, when you transcribed the song,
Overture did not notate the triplet correctly (for example, it notated it as an eighth note and two sixteenth
notes.
Youd like to notate these
notes as a triplet.
To change the score so that it notates the triplet correctly:
1. Select all the notes that comprise the tuplet.
2. Choose Notes>Notate Notes as>Triplet.
Overture notates the selected notes as a triplet.
MI DI Not e:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data,
nor does it affect playback unless you select Play Style>As Written. See Play Style on page 633 for
more information about Play Styles.
Not at e Not es as Tur n
Choose this command to notate the selected notes as a turn. The following example illustrates how and
why to use the Notate Notes as Turn command.
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Assume, when you recorded a song, that you turned a note. As a result, when you transcribed the song, it
came out like this:
Youd like to notate these
notes as a turn.
To change the score so that it notates the turn correctly:
1. Select all the notes that comprise the turn.
2. Choose Notes>Notate Notes as>Turn.
Overture notates the selected notes as a single turned note.
MI DI Not e:
This command changes only the notation of the selected passage; it does not affect
the actual MIDI data.
Not at e Not es as Cue Not es
Choose this command to notate the selected notes as a cue note. The selected notes instantly become
smaller cue notes. Cue notes do not play back.
Not at e Not es as Gr ac e Not es
Choose this command to notate the selected notes as a grace note. The selected notes instantly become
smaller notes.
606 Part V: Menu Reference
Not es/Not at e Not es as/Si ngl e Not e
Choose this command to convert two tied notes to a single note.
Not es/Not at e Not es as/Two Ti ed Not es
Choose this command to convert a single note to two tied notes.
Tr ansc r i be
Choose this command to convert the selected raw MIDI data from the Graphic Window or a recording
session into standard music notation. Choose this command also to convert existing notation to a different
appearance after changing the quantization value. Raw data appears in the Score window as long
rectangles. Their vertical position indicates their pitch, and their length indicates their duration.
To convert raw MIDI data into standard music notation:
1. Select the desired section of raw notes.
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This process of converting raw MIDI data into standard music notation happens automatically if you
check the Auto Transcribe option in the Record Options dialog box. (Open this by choosing
Options>Record Options.) While auto transcription may be suitable for simple scores, there are a
couple of reasons you may opt to transcribe raw MIDI data into standard notation manually:
You want to assign different notes to different voices manually.

If you select raw MIDI notes individually in the Score window, assign them to a voice, then
manually transcribe them (using the Notes>Transcribe command), you can fine-tune any
complicated voicings in your score.
You want to apply different transcription quantization values to different passages.

You can select raw MIDI notes individually in the Score window, select a transcription quantize
amount for just that passage, then manually transcribe the MIDI data into standard music notation
using the Notes>Transcribe command. This eliminates any transcription quantization errors that
may occur from applying a common transcription quantization amount to an entire score. For a
detailed example of this process, see Transcription Quantization and Manual Transcription on
page 260.

For more information about auto transcription, see Record Options on page 634.
2. Choose Notes>Transcribe.
Overture converts the raw MIDI data into standard music notation.
608 Part V: Menu Reference
Not es t o Raw
Choose this command to convert the selected standard notation into raw MIDI data. There are two
reasons for converting standard notation back into raw MIDI data:
It lets you reassign notes to different voices.

If you dont like the way Overture voiced a certain passage, you can select it, choose Notes>Notes
to Raw, then selectively transcribe various notes back into standard notation one voice at a time
(using the Notes>Transcribe command).
It lets you apply different transcription quantization values to selected passages.

If Overture transcribes a particular passage incorrectly, select it, choose Notes>Notes to Raw, set a
new transcription quantize amount, then transcribe the raw MIDI data back into standard music
notation using the Notes>Transcribe command. It is easier, however, to use the Notes>Transcribe
command directly on the incorrect passage. For a detailed example of this process, see Fixing
Transcription Quantization Mistakes on page 262.
Raw MIDI data appears in the Score window as long rectangles; their vertical position indicates their
pitch, and their length indicates their duration.
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Not es t o Tabl at ur e
Choose Notes>Notes to Tablature to transcribe selected notes to a tablature staff automatically. There
can be as many as eight lines in the tablature staff. If you insert the tablature staff below a bass clef, it
automatically contains four lines to accommodate bass tablature. If you insert the tablature staff below a
treble clef, it automatically contains six lines to accommodate guitar tablature. You can override the
number of lines by configuring the clef in the staff display in the Setup Track dialog box.
Click the rectangles to enable or disable staff lines. In
general, use four for bass and six for guitar.
Notes to Tablature is enabled only when there is a tablature staff directly beneath the staff containing
selected notes. Create a tablature staff by:
using the Setup Track dialog box to select the tablature clef. This converts the current staff to a
tablature staff.

Or
inserting a new staff with the Staff tools tablature option.
Tablature Staff option

Not e:
Overture manually displays tablature staves at 125% scale to increase the legibility of the small tab
notes.You can change this in the Setup Track dialog box.
610 Part V: Menu Reference
The Tabl at ur e Set t i ngs Di al og Box
Choosing Notes>Notes to Tablature opens the Tablature Settings dialog box.
The Tablature Setting dialog box has several elements:
Tuning Parameters. You can assign a pitch to each of the tablature staff lines. You usually assign the
strings to standard guitar or bass tunings if you insert the tablature staff below a treble or bass clef,
respectively. If there are more than six lines in the tablature staff, however, the Tuning section
displays a maximum of eight strings. You can set each strings tuning field to any valid MIDI note
(C2 to G8), using the mouse or typing the note and octave (i.e. B3).
Fret Position parameters. Assign the Fret Position by selecting the Floating or Fixed options. Both
options attempt to create tablature in the lowest possible fret position:
- Floating. Overture analyzes each measure in the selection and attempts to create tablature that
stays within the number set in the Finger Span field for each measure.
- Fixed. Overture attempts to create tablature at the fret position entered in the numerical field. If
that fails, Overture attempts to stay within the number set in the Finger Span field.
Assign the fret position relative to a capo position by setting the Capo on Fret numerical field to a
number between 1 and 31. For example, if you set the Capo on Fret field to 4, and the tablature
number for a note is 5, the actual fret number is 9: 5 frets above the capo position. Set this field to 0
if youre not referencing a capo position.
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Glissandos, Slurs, and Ties option. Selecting Glissandos, Slurs, and Ties shows these markings
on the tablature staff.
Tie
Slur
Not e:
Since tab notes have durations derived from their source notes in the staff above, deleting the second of
two tied notes creates problems if you justify that measure. If you dont want to see the second note, make
it invisible
Edi t i ng t he Tabl at ur e St af f
You can edit Tablature notes as follows:
Drag a tablature marking to a new string.

Overture automatically constrains which strings can accommodate a tablature marking. The
tablature marking adopts the appropriate fret number to designate the correct pitch using the
specified string tuning.
Ctrl[Command]-drag a number to change the fret it references.

Be careful when using this feature because Overture doesnt prevent you from referencing the wrong
note.
Copy, paste, and delete tablature entries.
Show the duration of the tablature note by selecting a note and choosing Notes>Stem>Show Stem.
612 Part V: Menu Reference
Set Gui t ar Fr ame Capo...
Choose this command to set the capo position for Chords and Guitar Frames.
Before Set Guitar Frame Capo After Set Guitar Frame Capo
(On 3rd Fret and showing
original suffix above frame)

Set t o Voi c e
Choose the Set to Voice command to produce a submenu of Voice selections.
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Overture sets the voice to the one you select in the Set to Voice submenu. We describe Overture voices in
Voice on page 7.
Set Pl aybac k Voi c e
Choose the Set Playback Voice command to produce a submenu of Playback Voice selections. Choosing
a playback voice tells Overture to play these notes using the settings set in the Tracks Window for this
voice. This is useful for instruments that switch to different playing styles within a passage.
For example lets say we have a violin passage where the first four notes are played legato and the next
four notes are played stacatto.
1. In the Tracks Window set this Tracks voice one set to a legato violin instrument and voice two
to a stacatto violin by specifying different channels (and program changes if needed).
2. Enter all eight notes in voice one.
3. Select the second four notes and choose Set Playback Voice>Voice 2.
Overture will play the first four notes using the legato violin intrument and the play the second four notes
using the stacatto violin instrument.
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Options Menu

Use the Options menu to set such Overture operating, editing, and display options as auto beaming and
positioning, metronome values, recording choices, and mode selection. The following sections discuss
each option and command in detail.
40
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Show
Press and hold the mouse on the Show command to produce a submenu of show options.
For the most part, the Show submenu contains various visual editing aids. The following sections discuss
each submenu item in detail.
Beat Char t
Select this option to show the beat chart for the active measure (the one containing the insertion point).
Beat charts appear above the top staff in a system and illustrate graphically the location of each beat. You
can change the spacing of notes by clicking and dragging the little square beat handles to new locations.
See Score>Using Beat Charts on page 104 for more information.
If you select this option when the active measure already shows a beat chart, Overture hides the chart.
You can activate and de-activate beat charts for the current staff by holding down the shift key either
when selecting Options>Show>Beat Charts or when using the keyboard equivalent Alt[Command] /).
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Handl es
Select this option to show each barline and staff handle. You may toggle this option on and off by
selecting it repeatedly. When the option is checked, Overture displays handles. When the option is not
checked, Overture does not display handles.
Mar gi n
Select this option to show the page margin. You may toggle this option on and off by selecting it
repeatedly. When the option is checked, Overture displays page margins. When the option is not checked,
Overture does not display page margins. To set page margins, use the Page Layout dialog box as
discussed in Score>About the Layout Page Dialog Box on page 471.
Rul er
Choose this command to display horizontal and vertical rulers on the score. Use them to align staves, text,
and other symbols precisely. Click in the top left corner of the rulers to switch between inches and
centimeters.
Gr i d
Choose this command to display a grid on the score. This is useful for aligning symbols.
Symbol s i n Col or
Choose this command to display symbols using their assigned color.
I nvi si bl es
Select this option to show any currently invisible music symbols. You may toggle this option on and off
by selecting it repeatedly. When you check the option, Overtures Score window shows (in grey) any
invisible symbols. When the option is unchecked, Overture hides all invisible notation.
I nc or r ec t Rhyt hms
When you choose this command, Overture searches your score (beginning with the active measure) for
measures containing either too many beats or not enough beats. If Overture finds an incorrect rhythm, it
beeps and places the insertion point in the offending measure. You may then either correct the measure, or
activate the next measure and continue searching through your score for other incorrect rhythms.
Range Er r or s
When you choose this command, Overture searches your score (beginning with the active measure) for
any pitches outside specified instrument ranges. If Overture finds a range error, it beeps and places the
insertion point in the offending measure. You may then either correct the error, or activate the next
measure and continue searching your score for other range errors.
618 Part V: Menu Reference
Overture gets its instrument range information from the Setup Track dialog box. For more information
about selecting Instruments and setting their ranges, see Score>Normal Tracks on page 495.
When you choose
Show>Options>Range Errors,
Overture beeps and positions the
insertion point in Measure #2, because
it contains a D5, which is outside the specified
Instrument range specified in the Setup Track
dialog box.
Tr ac k s Tr ansposed
When you select this option, Overture displays any transposing tracks (as set in the Setup Track dialog
box) in their transposed keys.
Assume, for example, that you created the conductors score shown below, and that the top staff notates a
transposing instrument (in this case, an A Trumpet).
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If you select the Options>Show>Tracks Transposed option, Overture shows the trumpet track
transposed into the proper notation key for the trumpet player.
Tr ac k s Voi c e Names
When you select this option, Overture displays the assigned voice names along with the track name to the
left of each system.
Fi l l ed Measur e Rest s
Choosing this option tells Overture to put a whole measure rest in every empty measure.
Syst em Separ at i ons
When you select this option, Overture puts a double-slash mark between one system and the next at the
left side of the score. It doesnt put a mark between systems if there is only one system displayed. If you
select the command again, Overture will place another separation mark on the right side of the score. If
620 Part V: Menu Reference
you select this option a third time, Overture removes the separation marks from the score.
Chor d Posi t i ons
When you select this option, Overture displays Chord position indicators in the Score window. You may
toggle this option on and off by selecting it repeatedly. When you check the option, Overtures Score
window shows a small triangle to the left of the chord names that appear above a score. When the option
is unchecked, Overture hides the Chord position indicators.
Chord Position Indicators
show vertical position of
chord names on a staff.
Drag a position indicator to adjust the vertical position of an entire line (or lines) of chords.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
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Control[Command]-drag a position indicator up or down to apply the vertical change to remaining
system in the score.
Shift-click the indicator to reset all chord positions to the baseline position. The shift-click also works
with the Alt[Option] and Control[Command] keystrokes.
For more information, see Score>Moving Chord Names Globally on page 359.
Not e:
Overture cannot display Chord position indicators and Lyric position indicators at the same time.
Lyr i c Posi t i ons
When you choose this option, Overture displays Lyric position indicators in the Score window. You may
toggle this option on and off by selecting it repeatedly. When you check the option, Overtures Score
window shows a small triangle to the left of each verse in the Score window. When you uncheck the
option, Overture hides the Lyric position indicators.
Lyric position indicators
show each verse assigned
to a staff.
Drag a position indicator to adjust the vertical position of the entire verse.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining
system in the score.
622 Part V: Menu Reference
Shift-click the indicator to reset all lyric positions to the baseline position. The shift-click also works with
the Alt[Option] and Control[Command] keystrokes.
For more information, see Score>Moving Entire Lyric Lines on page 371.
Not e:
Overture cannot display Lyric position indicators and Chord position indicators at the same time.
Sl ash Not e Posi t i ons
Checking this option displays slash note position indicators as small triangles to the left of each staff.
Drag a position indicator to adjust the vertical position of slash notes on a staff.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system
in the score.
Shift-click the indicator to reset all slash note positions to the baseline position. The shift-click also works
with the Alt[Option] and Control[Command] keystrokes.
The position of slash notes on a staff is independent of played pitch (or pitches, if you have entered a
chord). You can transpose slash symbols, affecting the played pitch, without changing their position on a
staff.
Dynami c Posi t i ons
Checking this option displays baseline position indicators for dynamics as small triangles to the left of
each staff. Drag a position indicator to adjust the vertical position of dynamics on a staff. When you insert
a dynamic, its baseline will be at this position.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system
in the score.
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Shift-click the indicator to reset all dynamic positions to the baseline position. The shift-click also works
with the Alt[Option] and Control[Command] keystrokes.
Ti me Code Posi t i ons
Checking this option displays Time Code position indicators as small triangles to the left of each staff.
Drag a position indicator to adjust the vertical position of where Time Code is displayed on a staff.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining
system in the score.
Shift-click the indicator to reset all Time Code positions to the baseline position. The shift-click also
works with the Alt[Option] and Control[Command] keystrokes.
624 Part V: Menu Reference
Aut o
Beam
Select this option to beam all notes automatically upon transcription. You may toggle this option on and
off by selecting it repeatedly. When you check the option, Overture automatically beams notes as theyre
transcribed, using the beaming pattern for the current measure (as set in the Set Meter dialog box and
discussed in Score>Set Time Signature on page 541). When you uncheck the option, Overture does not
beam notes upon transcription.
Cor r ec t
Select this option if you wish Overture to warn you when you have entered too many notes in a measure
or notes that are out of the instruments playable range. The range can be set in the Setup Track dialog.
Just i f y
When you select this option, Overture automatically spaces any new notes that you enter. When you
check the option, Overture spaces notes according to the measures existing Beat Chart, changes the width
of the measure if needed, and respaces the measures along the current system. When you uncheck the
option, Overture displays notes exactly where you enter them. You may toggle this option on and off by
selecting it repeatedly.
For example, the top example below shows some notes entered with the Auto Justify option disabled
(unchecked) and the bottom example shows notes entered with the Auto Position option enabled
(checked).
Auto Position
Disabled
Auto Position
Enabled
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Notes in the bottom example align with the beat chart and give a visual representation of the rhythm of
the piece. Notes in the top example provide no visual clue of the musics rhythm, since they appeared
wherever you clicked in the score.
MI DI Not e:
Overture automatically positions any notes entered by MIDI input or by importing MIDI files regardless
of the status of this option.
If you need to brush up on your knowledge of beat charts, see Score>Using Beat Charts on page 104.
Youll find a detailed discussion about allotment tables in Score>Allotment Table on page 410.
Not e:
Overture can automatically space notes using either Options>Auto Justify, Measures>Justify, or
Score>Recalc Layout. All three of these commands affect note spacing differently. To learn the
differences between them, see Score>Automatic J ustify on page 107.
Rest s
Select this option to enable Overtures automatic fill in rests feature. As you enter notes, Overture will fill
in the remaining rests to fill the empty time in the measure. You can replace a rest with a note by clicking
a note at the same horizontal position as the rests.
Tr ansc r i be
Select this option to enable Overtures automatic transcription feature. You may toggle this option on and
off by selecting it repeatedly. When you check Auto Transcribe, Overture automatically transcribes any
recorded MIDI data into standard music notation. When you uncheck the option, Overture displays real-
time MIDI recordings as raw MIDI data, which you can selectively and manually transcribe using the
Notes>Transcribe command.
This menu option duplicates the Auto Transcribe checkbox in the Record Options dialog box. For more
information about auto transcription, see Score>Using the Auto Transcribe Option on page 636.
Wr ap Measur es
Select this option when you want Overture to wrap measures to the next system or page when entering
new data. Overture will wrap the measure to the previous system when deleteing data if necessay.
626 Part V: Menu Reference
Keyboar d Thr u
Select this option to enable Overtures Keyboard Thru feature. You may toggle this option on and off by
selecting it repeatedly. When you check Keyboard Thru, Overture passes any received MIDI data
through to the selected Thru Instrument. Overture watches for MIDI input from any device that you select
as an Input Device (as discussed in Score>MIDI Devices on page 637) and passes the MIDI data out to
the device that you select as a Thru Device (from the Thru Device button in the Transport window, as
discussed in Score>Thru Device Button on page 271).
What i s Keyboar d Thr u and Why i s i t Usef ul ?
The most common setup for a MIDI computer system uses a single MIDI keyboard connected to a
computer by a MIDI interface.
MIDI Keyboard
In Out
Out In
Computer
MIDI Interface
MIDI
When you play the keyboard, its internal hardware produces sound. MIDI information travels from the
keyboards MIDI OUT. This path allows communication from the keyboard to the computer.
When MIDI information goes from the computer through the MIDI interface into the keyboards MIDI
IN, the synthesizer produces sound. This path allows communication from the computer to the keyboard.
This simple arrangement, allowing both the musician and the computer to play the keyboard, is not
possible for MIDI instruments that dont produce their own onboard sound, like wind, guitar, drum pad,
and keyboard controllers.
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If you connect such a controller to a sound module, and the sound module through the MIDI interface to
the computer, then the undesirable condition illustrated below occurs. No connection is possible for the
computer to the sound module.
???
Sound Module
MIDI
Thru
MIDI
In
MIDI
In
MIDI
Out
MIDI
Out
Computer
MIDI Interface
MIDI Controller
When the controller plays, MIDI information goes to the sound modules MIDI IN causing the module to
create sound. The sound module also routes MIDI information received at its MIDI IN back out its MIDI
Thru to the MIDI interface and computer. This path allows communication from the MIDI controller to
the computer.
The computer can not, however, play MIDI information back to the sound module because the modules
MIDI IN connection is already in use by the MIDI controller.
The Sol ut i on: Keyboar d Thr u
This problem is solved when you select Options>Keyboard Thru. The figure below illustrates the
correct configuration of devices.
Sound Module
MIDI
Thru
MIDI
Out
MIDI
Out
MIDI
In
MIDI
In Computer
MIDI Interface
MIDI Controller
The controller connects directly to the computer through the MIDI interface. MIDI information travels to
the computer but creates no sound yet. Overture receives the incoming MIDI information but routes it
immediately back to the sound modules MIDI IN through the MIDI interface. The controller plays the
sound module through the software despite the lack of a direct connection between them. During
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playback, Overture sends MIDI information through the MIDI interface to the sound modules MIDI IN,
causing it to produce sound.
Ex per t Ti p:
The preceding discussion intentionally omits more complicated MIDI interfaces and configurations to
illustrate the concept of Keyboard Thru simply.
The Keyboard Thru command lets you to play a master MIDI keyboard, assign a patch, and hear the
output from any sound module in your studio.
For example, assume you have a K2000 keyboard with local control turned off and you want to play it
into Overture while you hear the notes sound on a Proteus/2 set to MIDI channel #1 with a sound. To do
so.
1. Select Options>Keyboard Thru to check it.
Do not select the option if it is already checkedthat would disable it.
2. Move the mouse over the Thru Instrument button in the Transport window.
3. Press and hold the mouse to open a pop-up menu of MIDI devices.
Overture displays the MIDI devices defined by your current setup.
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4. Release the mouse over the Proteus/2-1 device.
Overture selects the Proteus/2, MIDI channel #1 as your Thru Instrument and
displays its name in the Thru Device button. For more information about the Thru
Device button, see Score>Thru Device Button on page 271.
5. Select Options>MIDI Devices.
Overture opens the Select MIDI Devices box.
6. Make sure the K2000 is enabled as an Input Device.
For more information about enabling input devices, see Score>MIDI Devices on
page 637.
7. Play your K2000.
You hear the sound assigned to the Proteus/2, channel #1 since youve now told
Overture to send MIDI data from your K2000 to the Proteus/2.
630 Part V: Menu Reference
Hol d Ti mi ng
Select this option to hold note timings constant in situations where they would otherwise alter. The figure
below displays normal note deletion. The bottom measure shows that Overture inserts the rest in the place
of the deleted note rather than moving the last two notes earlier.
When this note is deleted...
...the quarter notes occurring after the deleted note
dont move.
If you delete the rest with Options>Hold Timing selected, the timing of the third and fourth notes will
remain the same, even though the rest has been removed. Use the Hold Timing command to add notes to
a measure without affecting the timing of pre-existing notes and to maintain the timing of the measure
during the editing process.
Not e:
The results are unpredictable when transcribing measures that have too many notes.
See Score>Eraser Button on page 119 for a description of Overtures behavior when you dont use the
Hold Timing command.
Met r onome
Choose the Metronome command to produce a submenu of metronome options.
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You can toggle each of the first three options on (checked) or off (un-checked). The fourth option opens
the Metronome dialog box.
Cl i c k i n Rec or d
Select this option if you want Overtures metronome to click while you record into Overture. You may
toggle this option on and off by repeatedly choosing it. When the option is checked, Overtures
metronome plays during recording. When the option is not checked, Overtures metronome does not play
during recording.
Cl i c k i n Pl ay
Select this option if you want Overtures metronome to click whenever Overture plays. You may toggle
this option on and off by choosing it repeatedly. When you check the option, Overtures metronome plays
during playback. When you uncheck the option, Overtures metronome does not play during playback.
Cl i c k i n Count Of f Onl y
Select this option if you want Overtures metronome to click only during a count off, but not during
recording. You may toggle this option on and off by choosing it repeatedly.
Met r onome Sound
Choose this command to specify the sound used by Overtures metronome. When you choose the
Metronome Sound command, Overture produces the Metronome dialog box.
Beat Areas
Note Selection
Velocity Numerical
Test Button
Duration Numerical
Device Selection
Channel Selection
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Overtures metronome click uses the MIDI device and note parameters you specify in the Metronome
submenu.
About t he Met r onome Di al og Box
There are numerous elements in the Metronome dialog box. These are described, below:
Beat Areas. You can set different MIDI note values for different beats. Specifically, you can set a
MIDI note value for the Accented beat (the first beat in a measure), and a different MIDI note value
for the Unaccented beat (the remaining beats in a measure).
Device Selection. Use this pop-up menu to choose which MIDI device (as defined by your current
setup) to use for the metronome sound.
Channel Selection. Use this pop-up menu to choose which MIDI device channel to use for the
metronome sound.
Note Selection. Use this numerical to choose a MIDI note for both accented and unaccented beats.
You can also enter a value by clicking the down-pointing triangle and choosing a note from the pop-
up menu, or by playing the desired note on a MIDI controller.
Velocity Numerical. Use this numerical to set the MIDI velocity value for both accented and
unaccented beats. You can also enter a value by playing a note with the desired velocity on a MIDI
controller.
Duration Numerical. Use this numerical to set the MIDI duration for both accented and unaccented
beats.
Test Button. Click this button to hear a preview of your Metronome sound settings. The tempo and
meter of the test metronome are unrelated to the tempo and meter in your score. This button provides
only a preview of the metronomes sound.
Usi ng t he Met r onome Sound Command
To set Overtures metronome sound:
1. Choose Options>Metronome>Metronome Sound.
Overture produces the Metronome dialog box.
2. Configure the dialog box to your specifications.
3. To test the metronome sound, click the Test button.
Overture accents the first metronome click in a measure. The note duration affects
the test metronomes tempo. The test metronome always allows enough time
between notes for you to hear the entire selected duration.
4. When youre satisfied with your metronome sound, click the OK button.
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Pl ay St yl e
Choose the Play Style command to produce a submenu of MIDI playback options.
Active play styles have a check mark to the left of their names. The following sections describe each play
style in detail.
As Rec or ded
Select this option if you want Overture to play back your score exactly as recorded. When you select As
Recorded, Overture plays back any timing nuances exactly as you recorded them. It also faithfully plays
any changes you may have made to MIDI data either in the Modify Notes dialog box (as discussed in
Score>Modify on page 575), or in the Graphic window.
I n Sw i ng
Select this option if you want Overture to play back your score in swing time. Overture uses a 63% swing
value when you choose this play style.
This means the first half of the beat plays for 63% of the time occupied by the beat, while the second half
plays for only 37% of the beat. For example, if you select the In Swing option and a measure starts with
two eighth notes, the first eighth note will play longer than the second eighth note.
Music written like this...
...plays like this when
Options>Play Styles>In Swing
is checked.
As Wr i t t en
Select this option if you want Overture to play back your score exactly as written. When you select As
Written, Overture ignores any timing nuances you may have recorded or edited. Basically Overture
plays the start of each note at the exact time as shown on the score.
634 Part V: Menu Reference
Repeat s
Select this option if you want Overture to play back any and all repeats in your score. When you select
Repeats, Overture plays all repeats it sees in your score, including standard repeat barlines, endings, and
jumps (like D.S. al Coda, or D.C. al Fine). If you do not select this option, Overtures MIDI playback
ignores all repeats in a score.
Rec or d Opt i ons
Choose this command to specify various recording options. When you choose Record Options, Overture
produces the Record Options dialog box.
About t he Rec or d Opt i ons Di al og Box
There are numerous elements in the Record Options dialog box, as follows.
Split Point is checkbox and value field. Check this option if you want Overture to automatically
split incoming MIDI data into two tracks and notate it on a grand staff. Use the note value field to
define the split point. For more information, see Score>Using the Split Point Option on page 635.
Auto Transcribe checkbox. Check this option if you want Overture to automatically transcribe
incoming MIDI data into standard notation. When this box is un-checked, Overture displays raw
MIDI data in the score window. This checkbox duplicates the Options>Auto>Transcribe option.
For more information, see Score>Using the Auto Transcribe Option on page 636.
One voice per staff checkbox. You can enable this option only if the Auto Transcribe option is
checked. Check this option if you want Overture to interpret incoming MIDI data as a single voice
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per staff. Un-check this option if you want Overture to interpret incoming MIDI data as multiple
voices per staff. For more information, see Score>Using the One Voice Per Staff Option on page
636.
Tuplets. Use this check box to determine if tuplets are to be recorded.
Staccato/Tenuto. Use these checkboxes if you want Overture to automatically place a staccato/
tenuto articulation on notes that are rounded to the nearest quantize value and the duration meets the
set percentage values.
Record Filters. Use the radio buttons and checkboxes to determine which types of MIDI data you
want Overture to record and which types you want it to ignore.
Usi ng t he Rec or d Opt i ons Di al og Box
The Record Options dialog box lets you specify how you want Overture to interpret and assign the MIDI
data it records. To define the recording options:
1. Choose Options>Record Options.
Overture displays the Record Options dialog box.
2. Decide whether you want to check the Split point is, Auto Transcribe, Tuplets,
Staccato/Tenuto on notes, and One voice per staff options.
Each of these options is described in detail, below.
3. Select the desired Record filters.
The Record filters are discussed in Score>Using the Record Filters on page 637.
4. Click the OK button.
Whenever you perform real-time recording, Overture interprets the incoming MIDI
data using the attributes of the Record Options dialog box.
Usi ng t he Spl i t Poi nt Opt i on
Check the Split point is checkbox if you want Overture to split incoming MIDI data between two tracks
automatically. Use the corresponding numerical to define the MIDI note value of the split point
(C4=middle C). This option is particularly useful for correctly notating two-handed piano parts on a
grand staff.
To use this option, your score must contain two adjacent staves; the top staff with a treble clef and the
bottom staff with a bass clef. Overture always assigns the MIDI note value in the split point numerical to
the treble staff. When you record, you can activate a measure in either the treble staff or the bass staff;
Overture correctly divides the notes between the two staves.
636 Part V: Menu Reference
Usi ng t he Aut o Tr ansc r i be Opt i on
Check the Auto Transcribe checkbox if you want Overture to transcribe any recorded MIDI data
automatically. Uncheck the box if you want Overture to display recorded MIDI data as raw data in the
Score window.
If you select the Auto Transcribe option, you also have the choice of transcribing the recorded MIDI
data as single or multiple voices (see Using the One Voice Per Staff Option below).
Generally, automatic transcription is useful for most simple recordings. You may find it beneficial to turn
off auto transcription if youre recording rather complicated tracks with multiple voices. When auto
transcription is off, Overture displays the recorded data as raw MIDI data in the Score window. You can
edit and selectively transcribe sections of raw MIDI data as discussed in Score>Transcribe on page 606.
Overture notates all auto transcribed data in the Score window using the transcription quantization value
shown in the Tool Bar. For more information about setting a transcription quantization value, see Chapter
27, Transcription Quantize Amount Button.
Usi ng t he One Voi c e Per St af f Opt i on
You can enable this option only if you check the Auto Transcribe option first. Check One voice per
staff whenever you record a track that requires only a single voice per staff. This keeps Overture from
interpreting any sloppy playing as multiple voices. If you want to record a track with multiple voices, then
leave the option unchecked. Look at the following example to see the effect of this option.
Assume, for example, that you physically play and record the passage below. If you dont check One
voice per staff, then Overture transcribes the music exactly as shown below.
Voice 1
Voice 2
If, however, you play the passage, but you check One voice per staff, Overture transcribes your input as
a single voice and notates it as shown below.
Usi ng t he Tupl et s Opt i on
You can enable this option only if you check the Auto Transcribe option first. Check Tuplets to allow
notes to transcribe to the nearest tuplet based on the current transcription quantize amount. See
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Score>Setting a Transcription Quantize Amount on page 259
Usi ng t he St ac at t o/Tenut o On Not es Opt i on
You can enable this option only if you check the Auto Transcribe option first. Check Using the
Stacatto/Tenuto On Notes Option to automatically add stacatto/tenuto marks to transcribed notes whose
durations are below/above to given ranges. You can adjust the ranges by changing the percentage
numericals
Usi ng t he Rec or d Fi l t er s
Use the three radio buttons to tell Overture whether you want to record all events, only the events selected
in this dialog box, or all events except those not selected in this dialog box.
Unless you choose All, you need to check the selected event types at the bottom of the dialog box. In the
example shown, Overture records all MIDI data except Poly Aftertouch, Old DX7 Aftertouch, and
Portamento Pedal.
MI DI Devi c es
When you start Overture for the first time, it checks your computer to find all the MIDI input and output
devices you have installed (such as sound cards and MIDI interfaces). However, sometimes you need to
tell Overture exactly which devices you want it to use. If youre not getting sound from your sound card
or MIDI keyboard, or if you just want to change the MIDI devices that you are using, follow the steps in
this section.
638 Part V: Menu Reference
Use this command to open the MIDI Devices dialog box in which you select the MIDI In and MIDI Out
devices for Overture. Each item in the list is a MIDI In or MIDI Out port.
Device selected
for MIDI input
Device selected
for MIDI output
Click here to change the
order of MIDI devices
Click to test your
output devices
Input Ports. The left window shows devices on MIDI Input Ports. Make sure that all devices in this
window are highlighted. If a device isnt highlighted, click on it once to select it for MIDI Input.
Output Ports. The right window shows devices on MIDI Output Ports. Overture numbers its MIDI
Output Ports by the order of the devices in this window. The device on top is on Port 1, the one
below it is on Port 2, and so on.
Highlight each device in the Output Ports window and click Move Selected Devices to Top to
change its order. Then highlight all the devices that appear in the window to select them for output.
MIDI Thru Enabled. Check this box if you want the input from your inoput device to be sent to the
output device of the current track.
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I nst r ument s (PC)
Use this command to assign a MIDI instrument definition to each available MIDI port and channel. The
assignments you make determine the MIDI bank names, patch names, note names, and controller names
for Overture. For a detailed description of this command, see Chapter 43, Instrument Assignments and
Definitions (PC).
640 Part V: Menu Reference
Pr ef er enc es
Choose this command to select, set or view numerous Overture preferences. When you choose
Options>Preferences, Overture opens the Preferences dialog box.
The top of the Preferences dialog box displays tabs for each of the Preference types. This menu contains
different types of preferences:
General
Engraver
Fonts
Libraries
Playback
Dynamics
Colors
When you select one of the Preference tabs, the dialog box displays the selected type. The following
sections describe each preference and option in detail.
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Gener al Pr ef er enc es
To view the general preferences, select General from the Preference tabs.
Use the check boxes to enable (check) or disable (uncheck) various general options. The following
sections discuss these options.
Def aul t Doc ument Fol der
Use this option to set the default location where your scores are stored. When you choose Open or Save
from the File menu, this file location will be set as the default in the dialog. If this is left blank, the last
location is used.
Dr ag Not es Chr omat i c al l y
Use this option to determine whether Overture changes notes chromatically or diatonically when you
drag them in the Score window.
Checked. When you drag a note vertically in the Score window, its pitch changes chromatically
(according to the twelve-tone scale).
Unchecked. When you drag a note vertically in the Score window, its pitch changes diatonically
(according to the key of the measure).
For more information, see Score>Editing Notes on page 97.
Remap Unk now n Devi c es
Use this option to tell Overture whether or not to remap unknown MIDI devices to a device contained in
your current setup.
642 Part V: Menu Reference
Checked. Overture automatically remaps any unknown devices to the device specified in the
corresponding pop-up menu. For example, if someone gives you an Overture file that references
devices that arent in your current setup, Overture automatically remaps each of those devices to the
device shown in the pop-up menu. Overture plays all remapped tracks using the selected device and
MIDI channel. If you wish, you can open the Tracks window and reassign each remapped device to
a new device.
Unchecked. Overture does not remap unknown devices. For example, if someone gives you an
Overture file that references devices that arent in your current setup, Overture will not remap the
devices and any tracks using these devices will not play correctly. If you wish, you can open the
Tracks window and assign a device to each unassigned track.
Sk i p Ti ed Not es i n Lyr i c s
Use this option to specify that lyrics should treat tied notes as a single entity by placing only one word
under the first of the tied notes.
Add Doubl e Bar at Key Change
Use this option to insert double bar lines automatically before key changes.
Advanc e Cur sor When Ent er i ng Not es
Use this option if you want the mouse cursor to automatically move to the next note position after
entering a note with the mouse.
At t ac hNot e Pal et t e Ac c i dent al s
Use this option if you want the note cursor to have an accidental attached when you choose an accidental
from the Notes palette. Use this to enter a note with an accidental with one click. If you do not choose this
option, the cursor will become an accidental and youll have to click on the note to add the accidental.
Show Raw Dat a as Not e Heads
Use this option if you want to display raw data in the Score Window as note heads instead of horizontal
bars.
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Tr anspar ent Tabl at ur e Number s
Use this option if you want the staff lines to show through tablature numbers.
Dont Dr aw Rehear sal Mar k Encl osur es
Use this option if you want the rehearsal marks to be drawn without its surround box.
Show Al l Names i n Cont r ol l er and Key Sw i t c h Popup Menus
Use this option if you want all names to be shown in the popup menus when choosing controllers and key
switches. If this option is unchecked only the appropriate names will be shown for the current track and
voice.
Bac k up Sc or e Ever y [ 1] Mi nut es
Use this option if you want to backup your score at a set interval. You score will be saved in the Auto
Save folder within the Overture folder.
Mi ddl e C i s
Use this option to establish how Overture names middle C.
C3. Overture displays Middle C (MIDI note #60) as C3a convention adopted by Yamaha and
some other manufacturers.
C4. Overture displays Middle C (MIDI note #60) as C4the standard MIDI convention.
C5. Overture displays Middle C (MIDI note #60) as C5a convention adopted by some other
manufacturers..
Not e Names
Use this option to specify a convention for displaying note names throughout the score:
Standard. Uses the normal display technique with respect to note names.
Overture identifies pitches by the note name and octave (C#3).
B = H. Overture identifies pitch B as H and the pitch Bb as B. It identifies other pitches normally.
This convention is prevalent in Germany and other parts of Europe.
Solfege. Overture identifies pitches based on the Do, Re, Mi, Fa, So, La, Ti, Do convention for the C
major scale. The pitch description includes the octave number and Overture identifies chromatic
pitches as sharp or flat from the C major scale intervals. For example, F#4 is identified as Fa#4.
644 Part V: Menu Reference
Engr aver Pr ef er enc es
To view the engraver preferences, select Engraver from the Preference tabs. Overture places a copy of
these settings in each new score it creates. A copy of the settings is saved with the score. To edit the
engraver settings for individual scores choose Score>Engraver on page 518
Spacing
Page Layout
numericals
numericals
The Engraver dialog box displays three sets of options:
Layout Spacing
Element Spacing
Line Thickness
Layout Spac i ng
When you create a new Overture file, the Spacing numericals (as shown in the figure) define the default
spacing between staves, systems, and groups. Spaces are measured as a number of ledger lines. For
example, if you ask for 5 spaces between staves, Overture will space staves exactly 5 ledger lines apart.
Also, when you choose Score>Respace Staves on page 512, Overture respaces staves on the current
page according to these numericals (for more information, see Score>Respacing Staves on page 84).
There are three spacing numericals:
spaces between staves. Use this numerical to set the default spacing (in ledger lines) between each
staff.
spaces between systems. Use this numerical to set the default spacing (in ledger lines) between each
system
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spaces between groups. Use this numerical to set the default spacing (in ledger lines) between an
instrument group and the other staves in a system
646 Part V: Menu Reference
In addition to the three spacing numericals, the engraver preferences include two page layout numericals.
When you create a new Overture file, these numericals define the default number of measures in a system
and the default number of systems per page.
El ement Spac i ng
The Element Spacing numericals define default spacing for bar lines, clefs, key signatures, time
signatures and accidentals. A space is the distance between two ledger lines.
There are eight Element Spacing numericals:
Bar line to clef. Use this to set the default spacing (in quarter spaces) between the initial bar line in
the score and the clef sign.
Bar line to character. Use this to set the default spacing (in quarter spaces) between each bar line in
the score and the first character in the following measure.
Clef to note. Use this to set the default spacing (in quarter spaces) between the clef sign and any
note immediately following.
Clef to other. Use this to set the default spacing (in quarter spaces) between the clef sign and any
other symbol immediately following.

Key to other. Use this to set the default spacing (in quarter spaces) between the key signature and
any symbol immediately following.
Meter to other. Use this to set the default spacing (in quarter spaces) between the time signature and
any symbol immediately following.
Space at End of Bar. Use this to set the default spacing (in quarter spaces) between the the last note/
rest and the barline immediately following.
Accidental to Note. Use this to set the default spacing (in quarter spaces) between and accidental
and the note immediately following.
Li ne Thi c k ness
The Line Thickness numericals define default thickness in quarters of a point (where a point is
approximately 1/72 of an inch) for bar lines, beams, staff lines, stems, ties, slurs, and the distance between
beams.
There are seven Line Thickness numericals:
Bar lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the bar lines.
Beam lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the beams.
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Staff lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the staff lines.
Stem lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the note stems.
Beam gap. Use this to set the default distance (in units of 1/288 of an inch) between note beams in
all notes with multiple beams.
Slur Thickness. Use this to set the default thickness (in units of 1/288 of an inch) at the middle of
the slur.
Tie Thickness. Use this to set the default distance (in units of 1/288 of an inch) at the middle of the
tie.
Font s Pr ef er enc es
To view the font preferences, select Fonts from the Preference tabs.
When you create a new Overture document, it automatically uses the default fonts specified in this dialog
box. There are numerous types of text elements, each of which can have its own default font. Specifically,
you can assign default fonts to:
Bar numbers
Endings
Tempo
Tablature
648 Part V: Menu Reference
Track Names
Meter Font. Activate this by checking the Alternate Font option in the Set Tempo dialog box. See
Score>The Alternate Font Option and Button on page 548.
Measure (Bar) Text
Page Text
Rehearsal Marks
System Text
Lyrics
Multi-measure rest. See page 565 to learn how to combine multiple measures of rests into a single
multi-bar rest.
About t he Font Di al og Box
To change the default font assigned to one of the previous elements:
1. Click the Select button next to the element.
Overture opens a Font dialog box.
Font Style
Font Size Field
Font Preview Area
Options
Font Menu
Font Size List
2. Use the dialog box to select the desired default font, size, and style.
3. Click the OK button.
The next time you create a new Overture score, the specified element uses this font
as the default.
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There are numerous elements in the Font dialog box:
Font Pop-Up Menu. Select a new font from the pop-up menu.
Font Size Pop-Up Menu or List. Select a new size from the pop-up menu.
Font Size Field. Type a font size not included in the Font Size Pop-Up Menu or List.
Font Style Options. Check those style options you want applied to the font.
Font Preview Area. View the effects of your font selections in this area.
Li br ar i es Pr ef er enc es
To view the library preferences, select Libraries from the Preference tabs.
When Overture launches, it automatically loads the Allotment Table, Chord Symbol Library, Drum Map,
Expressions Library, Instruments Library, and Guitar Frames Library specified in this dialog box.
650 Part V: Menu Reference
To select a new default Library, press and hold the mouse on the corresponding Library name and select a
new Library from the pop-up menu.
Not e:
The pop-up menu shows only those Libraries stored in the Libraries folder. That folder must be in the
same folder as the Overture application.
Use the Auto Save Changed Libraries checkbox to tell Overture whether or not to save automatically
any changes you may have made to any of the library types. You can either choose to check or to uncheck
this option:
Checked. If you change any of the five library types without saving them to disk and you quit
Overture, all changes are saved automatically without any warnings or dialog boxes.
Unchecked. If you change any of the five library types without saving them to disk and you quit
Overture, the libraries will not be saved.
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Pl aybac k Pr ef er enc es
To view the playback preferences, select Playback from the Preference tabs.
Use the check boxes to enable (check) or disabled (uncheck) various playback options. These playback
options are discussed in the following sections.
MI DI Thr ough Fol l ow s Tr ac k s
Use this option to determine whether or not Overture will automatically change the Thru Instrument
when you select different staves in the Score window. You can choose to either check or uncheck this
option:
Checked. Whenever you click in a staff, Overture automatically changes the Thru Instrument to
match the Device selected in the Tracks window.
Unchecked. Overture does not automatically change the Thru Instrument when you click in
different stavesit stays set to the Instrument last selected from the Thru Instrument pop-up menu.
Pl ay Not es Whi l e I nser t i ng/Dr aggi ng
Use this option to determine whether or not Overture sends MIDI data when inserting or dragging notes.
You can choose to either check or uncheck this option:
Checked. When you insert a note or drag it in a score, Overture sends MIDI data to the tracks
output devicethis gives you audible feedback of the notes pitch.
Unchecked. Overture does not play a note when you insert it or drag it in the Score window,
therefore you receive no audible feedback of the notes pitch.
652 Part V: Menu Reference
Pl ay Ent i r e Chor d Whi l e Dr aggi ng Not es
Use this option to tell Overture whether or not to play all the notes in a chord or just the note the cursor is
on while dragging a chord. You can choose to either check or uncheck this option:
Checked. When you drag a chord, Overture sends the MIDI data for all notes in the chord to the
tracks output device.
Unchecked. When you drag a chord, Overture sends the MIDI data for just the note the cursor is
pointing to.
Send Sync On
Use this option to specify the device that Overture sends MIDI Start, MIDI Clock, MIDI Continue, and
MIDI Stop, during playback.
Use Audi o Engi ne
Use this option if you plan on using VST Instruments. Youll need to restart Overture after enabling this
setting. Be sure to use the VST>Set Folder... menu command to tell Overture where your VST
instruments are stored on your hard drive.
Dynami c s Pr ef er enc es
Use the sixteen numericals to specify playback levels for dynamic markings. Each numerical specifies a
MIDI volume level. For more information about Dynamics, see Chapter 20, Dynamics Button.
MIDI Volume Numericals
Use in Playback Option
Dynami c Mar k i ngs (pppp-sf p)
Use these numericals to set their default values for volume.
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Use Cont r ol l er Number
Use this option to set the default controller number for volume. When entering dynamics and hairpins this
number will be used as the controller for volume.
Col or s Pr ef er enc es
Use the radio buttons and popup menus to set default colors for various items in the score.
MIDI Volume Numericals
Use in Playback Option
Save Wi ndow Posi t i ons
Choose this command to save the palette and and support window positions. The next time you open
Overture, the palette and support windows will be opened to the saved state.
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VST/AU Menu

Use the VST/AU menu commands to load and display VST or AU instruments. The following sections
discuss each option and command in detail.
Audi o Pr ef er enc es... (PC Onl y)
Choose this command to set the audio driver, sample rate, and buffer size for audio playback.
About t he Audi o Pr ef er enc es Di al og Box
There are several elements in the Audio Preferences dialog box. These are described, below:
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656 Part V: Menu Reference
Sample Rate. Use this pop-up menu to choose the sample rate. The sample rate determines the
quality of your sound and recordings. A higher sample rate produces higher quality sound but
requires more disk space and CPU usage. You may have to experiment to find the setting that works
best with your setup. The options are:

44.100 khz - The standard sample rate used on most audio CDs.
48.000 khz - A common sample rate, sometimes used on DAT recorders.
96.000 khz - A very high sample rate used for professional audio recordings.

Note: Not all sound cards support all these sample rates.
Buffer Size. Use this pop-up menu to choose the buffer size. The buffer size also determines the
quality of your sound and recordings. A lower number gives better sound but requires more CPU
usage.
Audio Driver. Use this pop-up menu to choose which Audio driver to use for your sound card. If
your audio sound card has a dedicated ASIO driver, you should use this driver and not the
Multimedia or DirectX(PC only) drivers .
16 Bit and 24 Bit. Set the bit depth for recorded wave files.
I nst r ument Rac k
Select this option to open the VST window. This window allows you to load VST instruments and effects
and adjust the output volume.
About t he I nst r ument Rac k
There are numerous elements in the Instrument Rack window. These are described below:
Open and Save Buttons. Use the Save button to save the state of all the instruments and effects in
the rack to a file. Use Open button to load the rack with contents of a saved file.
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Status Areas. These areas show the current CPU usage, and disk and file size when recording.
Mute. Click on the Mute cell to disable/enable playback for a VST/AU instrument.
Instrument Popup. Use this pop-up menu to choose a VST/AU instrument to load into the rack or
to remove an existing instrument.
Instrument Preset. Use this pop-up menu to choose the preset to be used by the VST/AU
instrument. This is only available if the instrument has presets.
Pre Gain Slider. Use this slider to set the gain(volume) to be sent into the effects rack. Note: The
output from all instruments is sent to this slider
Effects Popup. Use this pop-up menu to choose a VST/AU effect to load into the rack or to remove
an existing effect.
Effects Preset. Use this pop-up menu to choose the preset to be used by the VST/AU effect. This is
only available if the effect has presets.
Master Gain Slider. Use this slider to set the gain(volume) to be sent from the output of the effects
rack to the audio card. Note: The output from all effects is sent to this slider.
Rec or d t o Fi l e...
Select this option to set the filename for recording and to start the record process. Recording starts when
you press the Space bar or Play button on the Transport. Recording stops when you press the Space bar
again or the Stop button on the Transport.
Set Fol der... (PC Onl y)
Select this option to tell Overture where to locate VST plugins. If you change this folder, you will have to
exit Overture and load it again. Overture looks in this folder to determine which plugins to use.
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Windows Menu
Use the Windows menu commands to open (or make active) any Overture window, and to control the
display format of the Score window. A check mark to the left of their names indicates open windows. The
following sections discuss each command in detail.
Tool Bar
Choose this command to produce a submenu of Toolbar windows.
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Mai n Tool Bar
Checking this command displays all of Overtures notation and other tools. To learn more about the Main
Tool Bar, see Chapter 8, Part III The Tool Bar
St andar d Tool Bar
Checking this command displays the standard Windows tool bar, giving you easy access to the following
commands: New, Open, Save, Cut, Copy, Paste, Print.
Tr anspor t
Choose this command to open the Transport window. A check mark to the left of the command indicates
an open Transport window. The Transport window (as discussed in Chapter 28, Transport Window)
contains buttons to control MIDI recording and playback and a pop-up menu to select the MIDI Thru
Instrument.
St at us Bar
Choose this command to display or hide the Status Bar, the bar at the bottom of the Overture window. See
Status Bar: Page View and Track Controls on page 70.
Tr ac k s
Choose this command to open the Tracks window. A check mark to the left of the command indicates an
open Tracks window. The Tracks window (as discussed in Chapter 29, Tracks List Window) defines the
characteristics of all the tracks in your score.
Gr aphi c
Choose this command to open the Graphic window. A check mark to the left of the command indicates an
open Graphic window. The Graphic window (as discussed in Chapter 30, Graphic Window (PC))
graphically displays the MIDI data in a selected track using piano roll and strip chart displays. You can
use this window to edit any MIDI data in any track. Overture applies any changes you make in the
Graphic window to the Score window and the reverse.
Chor ds
Choose this command to open the Chords window. A check mark to the left of the command indicates an
open Chords window. Use the Chords window (as discussed in Chapter 32, Chords Window) to enter
chord names into a score.
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Lyr i c s
Choose this command to open the Lyrics window. A check mark to the left of the command indicates an
open Lyrics window. Use the Lyrics window (as discussed in Chapter 33, Lyrics Window) to type or
modify lyrics and assign them to specific notes.
St ep I nput
Choose this command to open the Step Input window. A check mark to the left of the command indicates
an open Step Input window. Use the Step Input window to enter a score by recording MIDI data one step
at a time. You can enter notes, chords, or rhythmic slashes in the Step Input window.
The Step Input window is particularly convenient if your playing technique is rather poor, or if you want
to quickly enter lead sheet chords and guitar rhythms. For more information about the Step Input window,
see Chapter 34, Step Input Window.
662 Part V: Menu Reference
Wi ndow /Casc ade (PC)
Choose this command to line up all the open scores so their titles are visible and each upper left corner is
to the right and below the one behind it.
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Choose this command to line up all the open scores so each is the full width of the window and all are
spaced evenly the length of the window.
664 Part V: Menu Reference
Wi ndow /Ti l e Ver t i c al l y (PC)
Choose this command to line up all the open scores so each is the full length of the window and all are
spaced evenly the width of the window.
Wi ndow /Ar r ange I c ons (PC)
Choose this command to line up icons of scores.
Open Sc or e Wi ndow s
The Windows menu displays the names of all open Score windows at the bottom of the menu. Select a
Score to make it the active window. The active window always has a check to the left of its name.
Part VI
MIDI Facilities
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Assi gni ng I nst r ument s
Use the Options>Instruments command to assign a MIDI instrument definition to each available MIDI
port and channel. The assignments you make determine the MIDI bank names, patch names, note names,
and controller names that you see.
Suppose that you have a Roland GS-compatible synthesizer attached to MIDI port 1. By assigning all
sixteen channels of MIDI port 1 to the Roland GS instrument definition, you ensure that the bank, patch,
note, and controller name lists you see displayed in Overture are the ones that match your synthesizer.
Often, you want to assign a different instrument to channel 10, which is usually used for percussion. For
example, you might assign the Roland GS instrument definition to channels 1 through 9 and 11 through
16, but you would most likely want to assign the Roland GS Drumsets instrument definition to channel
10. If you have several MIDI ports, with a different instrument attached to each one, you would normally
assign a different instrument to each MIDI port.
For convenience, you can assign a block of channels to one instrument and then change the assignment of
one or more of those channels without changing the others. For example, you can highlight all 16
channels of the first MIDI port and assign them to the Roland GS instrument definition. Then, you can
highlight channel 10 of the first MIDI port and assign it to the Roland GS Drumset instrument definition.
Channels 1 through 9 and 11 through 16 on the first MIDI port will stay assigned to Roland GS.
You might also want to split channels to different instruments if you have several instruments attached to
a single MIDI port. For example, you might have a Roland synth receiving on MIDI channels 1 through
9, a Roland drum machine receiving on channel 10, and a basic GM-compatible synth receiving on
channels 11 through 16. In this case, youd use three different instrument definitions for your one and
only MIDI port.
43
668 Part VI: MIDI Facilities
To Assi gn I nst r ument s t o MI DI Por t s and Channel s
1. Choose Options>Instruments to display the Assign Instruments dialog box.
2. Select one or more MIDI ports and channels from the Port/Channel list (use Shift-
click and control-click to select multiple ports and channels).
3. Choose the instrument to which the selected ports and channels should be assigned
from the Uses Instrument list. A black line connects the two lists.
4. To save these changes permanently, check the Save Changes for Next Session box.
5. Click OK when you are done.
From now on, Overture uses the bank, patch, controller, and note names from the
assigned instrument.

To Cl ear I nst r ument Assi gnment s
1. Choose Options>Instruments to display the Assign Instruments dialog box.
2. Select the MIDI ports and channels whose assignments you want to remove from
the Port/Channel list.
3. Choose <default> from the Uses Instrument list. A black line connects the two
lists.
4. Click OK when you are done.
From now on, Overture uses the default bank, patch, controller, and note names.
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I mpor t i ng I nst r ument Def i ni t i ons
A few common instrument definitions are already set up for you and ready to use. Overture also includes
several hundred additional instrument definitions that you can import.
These instrument definitions are stored in files, organized largely by manufacturer. For example, all the
instrument definitions for Roland gear are stored in the Roland.ins file; all the instrument definitions for
Yamaha gear are stored in the Yamaha.ins file. The file Misc.ins contains miscellaneous instrument
definitions. If you dont see a file for the manufacturer of your instrument, look in this file to see if it
contains the instrument you are looking for.
When you import an instrument definition, Overture adds it to the master instrument definition file
Master.ins. The contents of this file determines the list of instruments that appear in the Assign
Instruments dialog box.
To I mpor t I nst r ument Def i ni t i ons
1. Choose Options>Instruments to display the Assign Instruments dialog box.
2. Click Define to display the Define Instruments and Names dialog box.
3. Click Import to display the Import Instrument Definitions dialog box.
4. Choose the file that contains instrument definitions for your manufacturer, and click
Open. Overture displays a list of all the instrument definitions in the file.
5. Choose one or more instruments from the list, and click OK.
6. Click Close to close the Define Instruments and Names dialog box.
670 Part VI: MIDI Facilities
Cr eat i ng I nst r ument Def i ni t i ons
Overture lets you create and edit instrument definitions. To create an instrument definition, you must
answer these types of questions:
What are the names of the patches in each bank?
Which note names should be used for each patch?
What are the names of the MIDI Controllers for this instrument?
Which RPN and NRPNs are available on the instrument?
Which Bank Select method does the instrument use?
To collect this information, you need the MIDI documentation for your instrument.
You define instruments in the Define Instruments and Names dialog box.
The Instruments tree The Names tree
The Define Instruments and Names dialog box contains two trees:
The Instruments tree lists all defined instruments and their characteristics
The Names tree shows all the resources you use to define an instrument
The instrument definitions you import appear in the Uses Instrument list in the
Assign Instruments dialog box.
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You expand or collapse the folders and lists in each tree by clicking on the + or key shown to the left of
each item. You can also right-click an item and choose Expand or Collapse from the menu, or double-
click an item to expand or collapse it.
To define an instrument, you drag resources from the Names tree to the appropriate branches on the
Instruments tree. Each resource is color-codedfor example, you can only drag a Names list to an
Instrument tree branch of the same color.
Heres a general outline of the steps you must follow:
Create a new instrument
Create any new name lists that are required for the instrument
Drag name lists and other resources to each instrument
Save the instrument definition
There are six components to an instrument definition:
Method for bank selection
Patch names, such as Piano and Bass
Note names, which are most frequently used to name drum notes, such as kick or snare
Controller names, like volume and pan
Names for Registered Parameter Numbers (RPNs)
Names for Non-Registered Parameter Numbers (NRPNs)
The instrument definitions organize all names (patches, notes, controllers, RPNs, and NRPNs) into lists.
You may be able to define a new instrument using existing name lists. For example, two models of
synthesizers made by a particular manufacturer may have identical patch name lists but use different
NRPNs. In this case, you can use the same patch lists for both instruments, but you need to use a different
NRPN list (or perhaps create a new NRPN list) for the second synth.
If you want your changes to be remembered the next time you run , check the Save Changes For Next
Session option in the Assign Instruments dialog box before clicking OK. Otherwise, to make only
temporary changes, remove the check from that option.
To Cr eat e a New I nst r ument
1. Right-click the word Instruments at the top of the Instrument tree, and choose Add
Instrument from the menu.
2. Type a name for the new instrument and press Enter.
The new instrument gets default settings for all of its characteristics

672 Part VI: MIDI Facilities
To Rename an I nst r ument
1. Right-click an Instrument name and choose Edit from the menu.
2. Type the new name and press Enter.

To Del et e an I nst r ument
1. Right-click an Instrument name and choose Delete from the menu.
2. Confirm that you want to delete the instrument.

To Save an I nst r ument Def i ni t i on
1. Click Close to close the Define Instruments and Names dialog box.
2. Click OK.
Overture saves the instrument definition in the MASTER.INS file
.
Cr eat i ng Li st s
You can create and edit the various lists that make up each instrument definition. Patch name, note name,
and controller name lists can contain up to 128 entries, numbered 0 through 127. RPN and NRPN name
lists can contain up to 16,384 entries, numbered 0 through 16,383.
To Manage Name Li st s
1. To create, edit, or work with name lists, follow the directions in the table:
To do t hi s Do t hi s
Create a new name list Highlight a name list and press the Ins (Insert)
key; highlight the folder and press Shift-Insert;
or right-click any folder or name list and choose
Add Names List from the menu. Then enter the
name of the list.
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Copyi ng Name Li st s
You can easily create new lists that are similar to other lists. For example, suppose you want to create a
new patch name list called NewList that is almost identical to the General MIDI patch list, but with one or
two small changes. Heres how you proceed:
Create a new patch name list called NewList.
Drag the new list branch onto the General MIDI branch. Overture asks if you want to base NewList
on the General MIDI list.
Click OK. Overture lists NewList under the General MIDI branch. Any patch names that exist in the
General MIDI list apply to NewList, too.
Add new patch names to NewList. These names override those in the list on which NewList is
based.
If you change your mind about NewList and want to make it a stand-alone, separate list, drag it to the
Patch Names root folder.
Delete a name list Highlight the names list and press the Delete
key; or right-click the name list and choose
Delete from the menu. A warning appears if the
list is used by any instrument definition. If you
delete the list anyway, the instrument definition
changes automatically.
Add the next item in a name list Highlight a name and press the Insert key, or
right-click a name and choose Add Name from
the menu. Then enter the name.
Add a name anywhere in a list Highlight the name of a list and press Shift-
Insert, or right-click the name of a list and
choose Add Name from the menu. Then enter
the name.
Delete names from a list Highlight the Names List or Name, and press
Delete. You can also right-click, then choose
Delete.
Edit a name in a list Highlight the name or name list and press F2, or
right-click and choose Edit from the menu. Then
enter the new name.
674 Part VI: MIDI Facilities
Assi gni ng t he Bank Sel ec t Met hod
Your synthesizer uses one of four bank select methods to switch back and forth between banks of sounds.
To find the method used for your instrument, check the instruments users guide or the manufacturers
web site. The four methods are as follows:
Met hod Used f or
Normal Instruments that respond to Controller 0 or Controller 32 bank select mes-
sages
Controller 0 only Instruments that only respond to Controller 0 bank select messages
Controller 32 only Instruments that only respond to Controller 32 bank select messages
Patch 100..127 Instruments that let you change banks by sending patch changes between
100 and 127
The bank select method you choose affects the bank numbers that you assign to each patch list, as
described in the following section. Heres how you compute the bank numbers:
Bank sel ec t met hod To c omput e t he bank number
Normal Take the value of Controller 0, multiply it by 128, and add the value of
Controller 32 to derive the bank number. A synthesizer manufacturer
may refer to Controller 0 as the MSB (Most Significant Byte) and to Con-
troller 32 as the LSB (Least Significant Byte).
Controller 0 only The value of Controller 0 is the bank number.
Controller 32 only The value of Controller 32 is the bank number.
Patch 100..127 Take the patch number and subtract 100 to derive the bank number.
Here is an example of the Normal bank select method. According to the documentation for the Roland
J V-1080 synthesizer, the PR-A Bank has a Controller 0 value of 81 and a Controller 32 value of 0. You
compute the bank number that you enter in the instrument definition as follows: (81 x 128) +0 =10,368.
To Change t he Bank Sel ec t Met hod
1. Highlight and expand the instrument in the Instrument tree.
2. Expand the Bank Select Method branch in the Names tree.
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Assi gni ng Pat ch Names
A MIDI instrument can have up to 16,384 banks of 128 patches each. Patches can have names, like Piano
for patch number 0, Bass for patch number 1, and so on. Normally, each bank contains a different set of
patches, so each bank needs a separate patch name list. Most synthesizers start with a patch number of 0.
You can assign a patch name list to each bank. You can also assign a default patch name list to the
instrument, which is used for all banks for which you havent assigned a specific list. The previous
section describes how to compute the bank numbers to which each patch name list is assigned.
You can also assign each bank a special Drum flag, which indicates that all patches in that bank contain
drum sounds. If you set this flag, the Graphic window displays drum notes as diamonds, and the Score
will use percussion notation.
To See t he Assi gnment of Pat c h Name Li st s t o Bank s
1. Expand the instrument definition by clicking the + sign next to the instrument
name.
2. Expand the Patch Names for Banks folder by clicking the + sign. The list expands to
show the bank numbers and the patch name list that is assigned to each bank.
Instrument name
There are three
defined banks
The * indicates that this
patch list is the default
This is the name of a
patch name list
To Add a Bank or Change t he Pat ch Names f or a Bank
1. Drag a patch name list from the Names tree to the Patch Names for Banks folder.
2. Enter a bank number, or enter 1 to indicate that this list of patch names should be
used as the default.
Overture displays the updated banks and patch name lists. If necessary, Overture
adds a new bank to the instrument definition.
3. Drag the desired bank select method from the Names tree to the Instrument tree.
676 Part VI: MIDI Facilities
To Remove a Bank or Pat ch Name Li st
1. Highlight the bank and patch names list in the Instrument tree.
2. Press the Del key, or right-click on the bank name and choose Delete from the
menu.

To Set or Cl ear t he Dr um Fl ag
1. Right-click on the bank in the Instrument tree, and choose Drums from the menu.
Assi gni ng Not e Names
Each patch may have a list of up to 128 names for notes. Usually, note names are labels for percussion
instruments. For example, the pitch C3 may really be Kick Drum, and D3 may be Snare. Because a drum
machine may provide different drum kits for each patch, Overture lets you specify a different list of note
names for each patch. The Graphic window shows you these note names.
You can assign a note name list to each patch. You can also assign a default note name list to the
instrument, which is used for all patches for which you havent assigned a specific note name list.
You can assign each patch a special Drum flag, which indicates that this patch contains drum sounds. If
you set this flag, the Graphic window displays drum notes as diamonds, and the Score uses percussion
notation.
Overture provides several standard note name lists:
Not e name l i st Cont ent s
0..127 The numbers 0 through 127
Diatonic The default MIDI note names (like C4, E5, and so on)
General MIDI Drums The default instrument names for the General MIDI
drum patch

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To See t he Assi gnment of Not e Name Li st s t o
Pat c hes
1. Expand the instrument definition by clicking the + sign next to
the instrument name.
2. Expand the Patch Names for Banks folder by clicking the + sign.
3. Continue expanding the tree by clicking the + sign, until the tree
is fully expanded.
Instrument name
Note name lists are
defined for three
different patches
The * indicates that
this note name list is
the default
This is the name of
a note name list
Bank
To Change t he Not e Names f or a Pat ch
1. Drag a note name list from the Names tree onto the Note Names for Patches folder.
2. Enter a patch number, or enter 1 to indicate that Overture should use this list of
note names as the default.
Overture displays the updated patch and note name lists. If necessary, Overture
adds a new patch to the instrument definition.
To Remove a Not e Name Li st
1. Highlight the patch in the Instrument tree.
2. Press the Delete key, or right-click the note name list and choose Delete from the
menu.
678 Part VI: MIDI Facilities
To Set or Cl ear t he Dr um Fl ag
Right-click on the patch in the Instrument tree, and choose Drums from the menu.
Assi gni ng Cont r ol l er Names
Overture lets each instrument have its own list of controller names. There is always exactly one list per
instrument.
To See t he Cont r ol l er Name Li st
Expand the instrument definition by clicking the + sign next to the instrument
name.
Instrument name
Controller name list

To Change t he Cont r ol l er Name Li st
1. In the Names tree, expand the branch containing the Controller name list.
2. Drag the desired name list from the Names tree onto the corresponding branch of
the Instrument tree.
Overuture displays the updated Controller name list.
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A
Accidental
extending to end of measure 128
Accidentals
cautionary 133
mouse entry 130
step-entering 389
tools 128
Aftertouch
data display 296 to 299
Allotment Table dialog box 410
Allotment Tables
auto saving changes 650
editing 411, 514
how used by Overture 411
opening 410
overview 108
selecting default 649
Alto Staff tool 234
Arpeggio
inserting 167
notating transcribed notes 600
tool 163
Arrow Cursor 119, 124, 125
Articulations
articulating multiple notes 164
deleting 166
deleting w/Delete command 582
inserting 163
J azz 194
smart editing 164
Articulations button 159
Articulations palette 160
articulating multiple notes 164
basic techniques 163
tool overview 161
As Recorded command 633
As Written command 633
Audio preferences 655
Augmentation dots
tools 128
Auto Beam command 624
Auto Correct command 624
Auto J ustify command 624
Auto Measures command 625
Auto Rests command 625
Auto Save Changed Libraries option 650
Auto Save Libraries
effect on Instruments library 441
Auto Transcribe checkbox 636
Auto Transcribe command 625
B
Banks
assigning 674 to 675
assigning patch names to 675 to 676
Bar numerical 71
Bar Text
copying 210
editing 210
inserting 209, 216, 217
repositioning 209
using 208, 216
Bar Text tool 208
Bar width
changing 106
Baritone Clef tool
modern 230
Barline
Close Repeat tool 244
deleting 255
Dotted 244
Double Barline tool 244
680
Fine tool 244
hiding 256
invisible 256
Open Repeat tool 244
Standard Barline tool 244
using dotted barlines 246
Barlines button 243
Barlines palette 243
basic techniques 245
tool overview 244
Barre Settings dialog box 184
Based on Meter command 584
Bass Clef tool 230
8va Bossa 230
Bass on Bottom 345
Bass Staff tool 233
Beam command 583
Beams
automatic beaming 624
Based on Meter command 584
Break in Middle command 584
changing angle 101
Controlling Secondary Beaming Groups in
Tuplets 587
Creating Groups of Beamed Notes in
Tuplets 587
Cross-Bar 586
Cross-Staff 585
deleting w/Delete command 582, 583
editing 101
feathered 587
Hide Tuplet Number 584
Over Rests & Barlines command 584
Primary patterns 544
removing 102
Secondary patterns 545
setting patterns 544
Tremolo commands 584
Beat Charts
and the J ustify command 568
hiding 105
showing 104, 616
Booklet 458
Bow marks
deleting 166
inserting 163
tools 161
Brace tool 234
Bracket tool 234
C
Cautionary accidentals 133
C-Clef
moving 232
tool 230
Channel
assigning instruments to 667 to 678
Chord Names
definition 344
editing Suffix library 420
entering w/Mac keyboard 349
entering w/mouse 346
step-entering w/Mac keyboard 353, 355
step-entering w/MIDI keyboard 398
Chord Positions command 359, 620
Chord Symbol library 413, 436
auto saving changes 650
contents 414, 436
creating chord names w/added bass 422
selecting default 649
uses 413, 436
Chord Symbol Library dialog box 413, 436
miniature keyboard 417
Scrolling library 417
Show Axis checkbox 416
Suffix Elements 415, 437, 439
Chords
copying by option-dragging 99
definition 344
entering chord names w/Mac keyboard 349
entering chord names w/mouse 346
MIDI recognition 400
step entering 389
step-entering chord names w/Mac
keyboard 353, 355
step-entering chord names w/MIDI
keyboard 398
Chords window 343
Bass buttons 345, 356
Chord Name display 346
key equivalents 349, 358
Root buttons 345, 356
Suffix list 345
Chromatic dragging of notes 97
Clear command 463
Clefs
8va Bossa Clef tool 230
Bass Clef tool 230
insertion rules 230
Modern Baritone Clef tool 230
Modern Piccolo Clef tool 230
Modern Treble Clef tool 230
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Moveable C-Clef tool 230
moving a C-Clef 232
Neutral Clef tools 230
scaling with Scale tool 124
Treble Clef tool 230
Clefs button 229
Clefs palette 229
basic techniques 231
tool overview 230
Close command 407
Coda 557
Composite meters 543
Controllers 295 to 300
adding series of 299
assigning, to instruments 678
data display 299
deleting 300
inserting values 299
pane 296 to 300
Copy command 462
Copy notes by option-dragging 98
Count Off 273
Crescendo 200
creating 200
editing 201, 203
tool 196
Cross-Bar beam 586
Crosshair cursor 109
cross-platform compatible 409
Cross-Staff Barline tool 234
Cross-Staff beam 585
Cursor
Arrow 119, 124, 125
Crosshair 109
Drag 109
Eraser 119
Hand 77
I-Beam 109
locating in Graphic window 304
locating with BarBeatUnit display 304
pitch in Graphic window 305
quantizing in Graphic window 306
Scale 121
types in Score window 109
Cursor Position display
BarBeatUnit meanings 304
Cut command 462
D
D.C. al Coda 557
D.C. al Fine 557
D.S. al Coda 557
D.S. al Fine 558
Decrease Systems command 481
Decrescendo 200
creating 200
editing 201, 203
tool 196
DefaultFile 89
Delete command 489, 529, 582
Delete Measure dialog box 529
Delete Page command 470
Delete Page dialog box 470
Delete Track 489
Diatonic dragging of notes 97
Direction command 594
Display on Next Staff command 597
Display on Prev Staff command 596
Documentation
conventions 4
reference manual 3
Dotted Barline tool 244
Dotted barlines
using 246
Drag cursor 109
Drag Notes Chromatically option 641
Draw Hollywood Lines 548
Drawing MIDI controller data 339
Drum Map
auto saving changes 650
creating 429
editing 429
Instruments library 444
note names 431
notehead assignments 430
opening 426
selecting default 649
staff position assignments 430
Drum Map dialog box 426
Head column 427
Name column 428
Pitch column 427
Position column 428
Drum tracks 497
Drums Button 187
Drums Palette 188
articulation 191
rudiment 190
tool overview 188
Duplicate Previous option 378
Duplicate Previous to End option 378
682
Dynamics
default volume controller 653
Edit Dynamic dialog box 203, 204, 205, 593
editing position 198
inserting 196
MIDI playback 199
scaling with Scale tool 124
tools 196
Dynamics button 195
Dynamics palette 195
crescendo 200
decrescendo 200
tool overview 196
E
Edit Dynamic dialog box 203, 204, 205, 593
Edit Expression dialog box 221
Appearance section 221
Playback section 222
Edit Library command 409
Edit menu
Clear command 463
Copy command 462
Cut command 462
Make Invisible command 466
Make Visible command 466, 467
Merge command 463
Paste command 462
Paste Special command 463
Select All command 465
Undo command 462
Editing
adding to MIDI data value (Graphic
window) 336
adding to MIDI data value (Modify Notes
dialog) 577
Allotment Tables 411, 514
bar text 209
barlines 245
beams 101
Beat Charts 104
C-clefs 232
chord names 420
Chord Symbol Library 420
clefs 231
Drum Maps 429
dynamic positions 198
glissandos 141, 146
hairpins (crescendos) 201, 203
hearing notes when dragging 651
limiting MIDI data value (Graphic
window) 337
limiting MIDI data value (Modify Notes
dialog) 577
MIDI data in Modify Notes dialog 575
MIDI note duration in Graphic window 314
MIDI note pitch in Graphic window 314
MIDI playback duration (Graphic
window) 338
MIDI playback duration (Modify Notes
dialog) 576
notes (pitch or position) 97
page text 214
rehearsal marks 213
rests 102
scaling MIDI data (Graphic window) 335
scaling MIDI data (Modify Notes dialog) 577
slurs 139
staves 234
stems 99
symbols (general) 97
system text 211
tempo 555
thinning MIDI data 338
ties 138
tremolo beams 585
trills 152
tuplets 142
velocity (Modify Notes dialog) 576
Encore 448
Endings
Final Endings tool 244
First Endings tool 244
Set Ending dialog box 250
using the Ending tools 249
Engraver preferences 644
Enharmonic command 594
Entering Guitar Frames with the Mouse 356
Entering notes. See Notes (entering)
Eraser cursor 119
Events
selecting controller 298
Export command 453
Expressions
Edit Expression dialog box 221
palette 220
Expressions button 219
Expressions palette 219
Extract Parts
by voice 454
naming 456
Extract Parts command 453
Extract Parts dialog box 454
Split field 454
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F
Feathered beam 587
Fermata
deleting 166
inserting 163
tools 163
File menu
Close command 407
Edit Library command 409
Export command 453
Extract Parts command 453
Load Library command 448
New command 406
Open command 407
Page Setup command 457
Print command 458
Quit command 459
Revert command 409
Save As command 408
Save command 408
Files
instrument definitions 669
Fill in Rests command 568
Fine
ending playback at 557
tool 244
Fingerings
deleting 149
entering w/Fingering tools 148
tools 148
Fit in Window zoom level 73
Flip command 593
Flip Direction command 594
Flip Enharmonic command 594
Font
Chord Suffix elements 416
Chord Symbol accidentals 418
Chord Symbol roots 418
codas, segnos, etc. 558
endings 250
Measure numbers 563
preferences 647
selecting default fonts 647
Tempo markings 554
Track names 492
Font menu 217
Force Accidentals to Flats option 378
Force Accidentals to Sharps option 377
Force Stems Down option 377
Force Stems Up option 377
Fret
tools 176
G
General preferences 641
Glissando commands 592
Glissandos
creating w/Glissando tool 137
editing 141, 146
straight tool 136
wavy tool 136
Gospel notation tools 172
Grace note
entering 133
tool 128
Graphic 289
Graphic window 301
Cursor Position display 304
I-Beam tool 313
inserting notes 321
Marquee tool 313
MIDI Instrument button 312
Mute button 312
Pencil tool 321
Piano Roll (MAC) 303
Piano Roll (PC) 290
Solo button 312
viewing cursor pitch 305
viewing different tracks 302
Zoom to Fit button 310
Graphics button 225
Graphics palette 225
Group
Glissando - command 592
Glissando ~command 592
Slur command 589
Tie command 588
Group command 588
Groups button 135
Groups palette 135
basic techniques 137
Harp Pedal Setting dialog box 144
Harp pedal symbol 136
mixed duration tuplets 143
nested tuplets 142
tool overview 135
tuplets 142
Guitar 345
Tablature 609
Guitar button 181
Guitar Frames 355
Guitar palette
684
barre at fret number marking 184
Barre Settings dialog box 184
String bend 182
H
Hairpin
creating 200
default volume controller 653
editing 201, 203
playback 205
tools 196
Hand cursor 77
Handles 617
Harmonics
deleting 166
inserting 163
tools 161
Harp Pedal Settings dialog box 144
Harp pedal symbol 136
Hide Stem command 595
Hide/Show Staves command 485
Hold Timing 119
Hollywood Lines 548
Horizontal Pages view option 76
I
I-Beam cursor 109
Import File dialog box 449, 457
Importing
abbreviations for track names 451
clef 452
Encore and MusicTime Files 452
markers 451
MIDI files 448, 452
Optimize Staves 451
percussive clef 450, 452
Remap Unknown Devices 451
templates 450
in real-time 273
In Swing command 633
Incorrect Rhythms command 617
Increase System command 478
Insert command 488, 528
Insert Measure dialog box 488, 528
Insert Ottava dialog box 145
Insert Page command 470
Insert Page dialog box 470
Insert Track 488
Insert window 321
Duration parameters 323
Size parameters 322
Velocity numerical 325
Instrument
assigning type to Track 492
finding range errors 617
naming 495
range setting 495
selecting for tracks (Graphic window) 312
selecting for tracks (Tracks window) 283
setting MIDI Thru Instrument 271
showing name in score 491
transposing 503
Instrument definitions
creating 670 to 678
files 669
importing 669
name lists 672 to 673
saving 672
Instruments
assigning, to ports 667 to 678
bank assignments 674 to 675
defining 670 to 678
deleting 672
patch names for 675 to 676
Instruments library 440
abbreviation 443
Clear instruments 443
Delete instrument 443
Device 445
Drum Map 444
editing 441
General MIDI equivalent 444
GM Instruments 440
High field 445
Insert instrument 443
Low field 445
name 443
Orchestral Instruments 440
Patch 445
re-arranging instruments 445
Resolving device conflicts 447
Saving and naming 442
Transpose 445
Voices field 445
Invisible noteheads 172
Invisible symbols 466
J
J azz Articulations palette 194
J ustify
locking measures 108
I
n
d
e
x
Index 685
J ustify command 568
K
Key signature
cancelling previous keys 537
setting 535
Keyboard
controllers 295
Keyboard Thru command 626
L
Layout Page command 471
Layout Page dialog box 471
Library
Allotment Table 410
auto saving changes 650
Chord Symbols 413, 436
Drum Map 426
loading 448
selecting default libraries 649
Library preferences 649
Load Library command 448
Loading VST instruments 655
Locking Measures 108
Lyric Positions command 371, 621
Lyrics
adding more lyrics to a score 366
adding verses 369
changing fonts 370
creating the first lyric 364
flowing from middle of measure 369
melisma 368
moving 370
multi-note syllables 368
multi-syllable words 367
multi-words on a single note 363, 368
Lyrics window
Button bar 363
Lyric Editing area 364
Lyric List 362, 363
Measure column 363
Name column 363, 364
using 364
Verse column 363
Voice column 363
M
Make Invisible command 466
Make Visible command 466, 467
Manual
conventions 4
reference manual 3
Manual Duplex Printing 458
Marcato
deleting 166
inserting 163
tools 161
Margin
setting 473
showing 617
Markers 451
Measure
activating first in track 72
activating last in track 72
automatic width adjustment 513
decreasing number in system 532, 534
default number per System 471, 646
deleting 489, 529
filling with rests 568
increasing number in system 530
inserting 488, 528
justifying 568
key signature 535
meter 541
multi-measure rests 565
numbering 559
rebarring 564
tempo 550
Measure numbers 559
enclosures 561
measure interval 561
positioning 560
Set Measure Number dialog box 561
text of 562
Measures
Locking 108
Measures menu
Delete command 489, 529
Fill in Rests command 568
Insert command 488, 528
J ustify command 568
Multi Measure Rest command 565
Rebar command 564
Set Key command 535
Set Meter command 541
Set Numbers command 559
Set Repeats command 556
Set Tempo command 550
Wrap Left command 530
Wrap Right command 532, 534
Melisma 368
686
Menu
Edit 461
File 405
Font 217
Measures 527
Notes 571
Options 615
overview 11
Score 469
Size 217
Style 217
Windows 659
Menus
Options 119
Merge command 463
Meter
beam patterns 544
composite meters 543
finding incorrect rhythms 617
setting 541
setting number of pulses 542
showing before system breaks 546
Metric measurement units 473
Metronome command 630
Click in Countoff Only 631
Click in Play 631
Click in Record 631
Metronome Sound 631
Metronome Sound dialog box 631
Middle C
Middle C is C4 option 643
naming 643
MIDI
adding to data value (Graphic window) 336
adding to data value (Modify Notes
dialog) 577
chord recognition 400
controller data display 329
creating Legato playback (Graphic
window) 338
creating Legato playback (Modify Notes
dialog) 577
display/edit non-note data 326
drawing controller data 339
key aftertouch 296
limiting data value (Graphic window) 337
limiting data value (Modify Notes dialog) 577
modifying notes 575
muting a track (Graphic window) 312
muting a track (Tracks window) 286
note velocities 296
Piano Roll display (MAC) 303
Piano Roll display (PC) 290
pitch wheel 296
pitch-bend 296
Play buttons 268
randomizing MIDI values 340
Record button 268
recording in real-time 273
remapping unknown devices 641
scaling data (Graphic window) 335
scaling data (Modify Notes dialog) 577
selecting notes w/I-Beam tool 318
selecting notes w/Marquee tool 316
selecting playback device for tracks (Graphic
window) 312
selecting playback device for tracks (Tracks
window) 283
soloing a track (Graphic window) 312
soloing a track (Tracks window) 286
step entering notes 391
Stop button 268
tempo 516, 517, 535, 541, 551
thinning data 338
Thru Instrument 271
thruing 626
transcription of MIDI data 606
transposition defaults 285
volume level defaults 285
MIDI file
importing 448, 452
MIDI Through Follows Tracks option 651
Mixed Duration Tuplets 143
Modify Notes command 575
Modify Notes dialog box 575
Mordents
creating 148
deleting 149
insertion tutorial 156
playback 157
Set Mordent/Turn dialog box 157
tools 148
Move to Next Track command 599
Move to Prev Track command 598
Multi Measure Rest command 565
Multi Measure Rest dialog box 565
Multi-Bar Rests checkbox 455
Music
adding character to 295
MusicTime 448
N
Nested Tuplets 142
Neutral Clef tools 230
I
n
d
e
x
Index 687
New command 406
New Score dialog 406
Next page button 71
Normal 458
Notate Notes As command 600
Arpeggio 600
Staccato 601
Swing Eights 602
Trill 603
Triplet 604
Turn 604, 605
Note names 643
drum mode 294
of patches 676 to 678
Note velocity
displaying 296
Noteheads
changing types 173
invisible 172
percussive 172
picture music 172
rhythmic 172
rhythmic slash 172
slashes 172
standard 172
Noteheads button 171
Noteheads palette 171
basic techniques 173
tool overview 172
Notes
adjusting spacing 103
and Allotment Tables 108
auto positioning 107
changing properties of 293
changing value 98, 134
chromatic vs. diatonic dragging 641
converting to raw MIDI data 608
copying by option-dragging 98
deleting 119
displaying on other staves 596, 597
dragging to change spacing 104
drum mode 294
duplicating 98
editing 292
editing (pitch or position) 97
entering 129 to 133, 384 to 394
erasing 294
hearing while editing 651
Hold Timing 119
inserting in Graphic window 321
justifying 107
Mac keyboard & mouse entry w/palette 131
mouse entry w/palette 129
moving 293
moving chromatically 97
moving diatonically 97
moving to other tracks 598, 599
nudging to change pitch 98
nudging to change spacing 104
recalculating layout 108
removing 98
scaling with Scale tool 123
selecting 291
selecting and editing 290 to 294
spacing and bar width 106
spacing automatically 107, 624
spacing with Beat Charts 104
step entering w/Mac keyboard 384
step entering w/MIDI keyboard 391
timing 119
tools 128
transcribing automatically 625, 636
with attached articulations 164
Notes button 127
Notes Menu
Notes to Tablature 609
Stem Height 596
Tablature Settings dialog box 610
Notes menu
Beam command 583
Delete command 582
Display on Next Staff command 597
Display on Prev Staff command 596
Flip command 593
Group command 588
Modify Notes command 575
Move to Next Track command 599
Move to Prev Track command 598
Notate Notes As command 600
Notes to Raw command 608
Raw to Notes command 606
Set to Voice command 612, 613
Stem command 595
Transpose command 572
Notes palette 127
keyboard equivalents 131
tool overview 128
Notes to Raw command 608
Notes to Tablature 609
Numerical
definition 9
editing 9
688
O
Octaves
shifting in step-entry 388
Opaque text 217
Open command 407
Optimize Staves
when importing 451
Options Menu
Hold Timing 119
Options menu
Auto Beam command 624
Auto Correct command 624
Auto J ustify command 624
Auto Rests command 625
Auto Transcribe command 625
Auto Wrap Measures command 625
Instruments command 639
Keyboard Thru command 626
Metronome command 630
Play Style command 633
Preferences command 640, 653
Record Options command 634
Show Chord Positions 359
Show command 616
Show Lyric Positions 371
Ornaments
deleting 149
deleting w/Delete command 582
inserting 148
ornamenting multiple notes 149
Ornaments button 147
Ornaments palette 147
basic techniques 148
tool overview 148
Over Rests & Barlines command 584
P
Page
deleting 470
dimensioning 472
inserting 470
layout 471
turning 71
turning to first 72
turning to last 72
Page Dimensions command 472
Page Dimensions dialog box 473
Use Tiles checkbox 474
Page numerical 71
Page Setup command 457
Page Text
copying 215
editing 215
inserting 214
repositioning 214
using 214
Page Text tool 208
Page View options
Horizontal Pages 76
Single Page 75
Vertical Pages 76
Palette buttons
overview 114
pop-up menus 115
Palettes
Articulations 160
Barlines 243
Clefs 229
definition 9
Dynamics 195
Expressions 219, 220
Graphics 225
Groups 135
horizontal vs. vertical 116
J azz Articulations 194
Noteheads 171
Notes 127
Ornaments 147
Staves 233
Tablature 175
tearing off 116
Text 207
Part
extracted clef setting 496
extracted pitch setting 496
extracting 453
Parts
extracting by voice 454
Paste command 462
Paste Special command 463
Paste vs. Paste Special 463
Patch
assigning note names to 676 to 678
names 675 to 676
Pause
inserting 169
tools 162
Pedal mark
deleting 166
inserting 163
tools 162
Percent zoom level 73
I
n
d
e
x
Index 689
Percussion
drum mode 294
noteheads 172
Percussive Staff tool 234
Percussive tracks 497
Piano Roll (MAC)
editing notes in 313 to 325
overview 303
Piano Roll (PC)
editing notes in 290 to 295
overview 290
Piano Staff tool 234
Piano/Melody Staff tool 234
Piccolo Clef tool
modern 230
Pickups 547
Picture music tools 172
Pitch
selecting 291
Pitch wheel 296
Play button 268
Play Entire Chord While Dragging option 652
Play from Beginning button 268
Play Notes While Inserting/Dragging option 651
Play Style command 633
As Recorded 633
As Written 633
in Swing 633
Repeats 634
Playback
disable symbol playback 466
enable symbol playback 466, 467
Playback preferences 651
Plus
deleting 166
inserting 163
tool 161
Ports
assigning instruments to 668
Preferences
engraver 644
font 647
general 641
library 649
playback 651
types 640
Preferences command 640, 653
Preferences dialog box 640, 653
Previous page button 71
Primary beams 544
Print
2-Up 458
order of tiled pages 477
page dimensioning 472
page layout 471
Print command 458
Pulses 542
Punch points 269
manually setting 270
setting by playing 271
using the cursor 270
Punch Recording 269
Historical origins 269
setting Punch points 269
Q
Quantize
cursor movements in Graphic window 306
transcription 259
transcription of imported seq files 450
Quantize Cursor On/Off button 307
Quantize Cursor Value button 307
Quit command 459
R
Range Errors command 617
Raw to Notes command 606
Real time recording 273
Rebar command 564
Recalc Layout command 513
Record button 268
Record filters 637
Record Options command 634
Recording 273
by "drawing" notes in Graphic window 321
by entering notes with a mouse 129
by entering notes with the mouse & Mac
keyboard 131
Count Off 273
Punch recording 269
step recording 375
Recording audio 656
Redraw Page command 514
Rehearsal Mark tool 208
Rehearsal Marks
editing 213
inserting 212
repositioning 213
using 212
Remap Unknow Devices option 641
690
Remap Unknown Devices 444, 451, 511
Repeat
Double Measure Repeat tool 244
Single Measure Repeat tool 244
tools 244
using open & close repeats 247
using Sngl & Dbl Repeats 246
Repeats command 634
Respace Staves command 84, 512
Respace Staves dialog box 512
All remaining pages 512
Avoid collisions 512
Fill to bottom of page 512
Rests
editing 102
filling measure with 568
mouse entry 130
multi-measure 565
nudging 103
removing 103
step entering w/Mac keyboard 387
step entering w/MIDI keyboard 391
tools 128
Revert command 409
Rhythm noteheads 172
Roland gear 669
RPNs (Registered Parameter Numbers)
data display 299
S
Save As command 408
Save command 408
Scale cursor 121
Score menu
Decrease Systems command 481
Delete Page command 470
Hide/Show Staves command 485
Increase System command 478
Insert Page command 470
Layout Page command 471
Page Dimensions command 472
Recalc Layout command 513
Redraw Page command 514
Respace Staves command 512
Setup Track command 490
Score window
Bar numerical 71
cursors 109
overview 69
Page numerical 71
page view controls 70
redrawing 514
scrolling 77
selecting between 664
turning pages 71
Zoom Level pop-up menu 72
Scrub tool 294
locating bad note with 291
Secondary beams 545
Segno 557
Select All command 465
Selecting
all MIDI data (including non-note) in a time
range 320
all symbols in discontiguous measures 94
all symbols in measure 93
all symbols in staff 94
contiguous symbols 92
discontiguous symbols 91
MIDI notes w/I-Beam tool 318
MIDI notes w/Marquee tool 316
notation symbols 89
notes in a pitch range (Graphic window) 315
notes in a time range (Graphic window) 319
notes of the same pitch (Graphic window) 315
symbols in entire track 95
symbols on different staves 95
voice 96
Set Ending dialog box 250
Set Key command 535
Set Key dialog box
arrow keys 536
Set Measure Number dialog box 561
Set Meter command 541
Set Mordent/Turn dialog box 157
Set Numbers command 559
Set Repeats command 556
Set Tempo command 550
Set Tempo dialog box 516, 550
Set to Voice command 612, 613
Set Trill dialog box 155
Setting the VST Folder 657
Setup Track command 490
Setup Track dialog box 490
C3 Offset numerical 496
Instrument options 492
naming tracks 491
opening from Tracks window 288
option key to set attributes 511
Show Abbreviation 443
Show Name 443
Staff options 500
Starting Clef menu 496
I
n
d
e
x
Index 691
Transposed Clef pop-up 496
Sforzando
deleting 166
inserting 163
tools 161
Show Axis checkbox 416
Show Chord Positions command 359
Show command 616
Beat Chart 616
Chord Positions 359, 620
Handles 617
Incorrect Rhythms 617
Invisibles 617
Lyric Positions 371, 621
Margin 617
Range Errors 617
Tracks Transposed 618, 619
Show Lyric Positions command 371
Show Stem command 595
Single Page view option 75
Size menu 217
Slash
open & closed 172
rhythmic 172
step entering 395
step entering rhythmic slash 397
Slur command 589
Slur tools 135
Slurs
creating w/Slur tool 137
editing 139
flipping 140
Space between staves numerical 644
Space between systems numerical 644, 645
Staccatissimo
deleting 166
inserting 163
tool 161
Staccato
deleting 166
inserting 163
notating transcribed notes 601
tool 161
Staff
adding to a score 234
Alto Staff tool 234
arranging 78
Bass Staff tool 233
Brace tool 234
Bracket tool 234
choosing what to show 500
Cross-Staff Barline tool 234
default spacing 644
definition 6
grouping 238
hiding 485
indenting 87
moving horizontally 86
moving vertically 78
Percussive Staff tool 234
Piano Staff tool 234
Piano/Melody Staff tool 234
placing side-by-side 88
removing from a score 238
respacing 84, 512
scaling throughout score 500
scaling with Scale tool 122
setting number of lines 500
showing 485
space between staves 644
space between systems 644, 645
System tool 234
Tablature Staff tool 234
Tenor Staff tool 233
Treble Staff tool 233
Stationery pads 407
Staves button 233
Staves palette 233
basic techniques 234
tool overview 233
Stem command 595
Stem Down command 595
Stem Height dialog box 596
Stem Up command 595
Stems
assigning direction to voices 282
changing direction 100, 595
changing length 99
editing 99
hiding 100, 595
setting height 596
showing 100, 595
Step Entering
Accidentals 389
Chord Names w/Mac keyboard 353, 355
Chord Names w/MIDI keyboard 398
Chords 389
notes & rests w/Mac keyboard 384
notes & rests w/MIDI keyboard 391
rhythmic slashes 397
slashes 395
stepping through a score 390
Tied Notes 389
Step Input Duration
Constant 382
692
Constant Gap 382
Percent 383
Step Input options
Duplicate Previous 378
Duplicate Previous to End 378
Force Accidentals to Flats 378
Force Accidentals to Sharps 377
Force Stems Down 377
Force Stems Up 377
Tie Previous Two Notes 378
Step Input Velocity
As Played 384
Constant 384
Step Input window 375
Counter 378
Duration area 381
Input Select button 376
key equivalents 391
Note Size 379
Note Size key equivalents 380
Options menu 377
Pitch Indicator 379
Tuplet checkbox 380
Type area 376
Velocity area 383
Stop button 268
Strip Chart
Add Amount tool 336
density setting 334
drawing data 332
drawing shapes 339
Flat line drawing tool 340
Freehand drawing tool 339
hiding/showing 330
I-Beam tool 331
Legato tool 338
Maximum Limit tool 337
Minimum Limit tool 337
opening 326
overview 326
Parabola drawing tool 339
Pencil tool 332
Randomize tool 340
Scale tool 335
selecting controller data 329
selecting data 331
selecting data to view 328
Straight line drawing tool 339
Thin tool 338
variable tool 335
Strip Chart Pencil Tool 334
Style menu 217
Suffix button 356
Swing Time
notating transcribed notes 602
playing in swing time 633
Symbol
definition 6
duplicating 98
editing 97
selecting 89
selecting all in discontiguous measures 94
selecting all in measure 93
selecting all in staff 94
selecting contiguous 92
selecting discontiguous 91
selecting entire track 95
selecting on different staves 95
System
arranging 78
default number on page 471, 646
definition 8
putting fewer on a page 481
putting more on a page 478
System Text
copying 211
editing 212
inserting 211
repositioning 211
using 210
System Text tool 208
System tool 234
T
Tablature
dialog box 610
notating 176
tools 176
tracks 499
Tablature button 175
Tablature palette 175
basic techniques 176
tool overview 176
Tablature Settings dialog box 610
Capo on Fret 610
Fret Position 610
Glissandos, Slurs, Ties option 611
Tuning 610
Tablature Staff tool 234
Technical support 12
Templates 407
Tempo
display options 155, 157, 517, 551
editing 555
I
n
d
e
x
Index 693
MIDI playback 516, 517, 535, 541, 551
setting 550
Tenor Staff tool 233
Tenuto
deleting 166
inserting 163
tool 161
Text
Bar Text tool 208
opaque 217
Page Text tool 208
Rehearsal Mark tool 208
System Text tool 208
transparent 217
using bar text 208, 216
using page text 214
using rehearsal marks 212
using system text 210
Text button 207
Text Only check box 356
Text palette 207
tool overview 208
The 289, 290
Thru Instrument 271
Tie
auto-ties over barlines 390
creating w/Tie tool 137
editing 138
flipping 139
step-entering 389
tools 136
Tie command 588
Tie Previous Two Notes option 378
To 290
To Coda 557
Tool
8va Bossa Clef 230
accidentals 128
Alto Staff 234
Arpeggio 163
augmentation dots 128
Bass Clef 230
Bass Staff 233
Bow marks 161
Brace 234
Bracket 234
Close Repeat 244
Cross-Staff Barline 234
definition 8
Dotted Barline 244
Double Barline 244
Double Measure Repeat 244
dynamics 196
Eraser 119
Fermata 163
Final Endings 244
Fine 244
fingerings 148
First Endings 244
frets 176
Grace Note 128
Hairpins 196
Harmonics 161
invisible notehead 172
Marcato 161
Modern Baritone Clef 230
Modern Piccolo Clef 230
Modern Treble Clef 230
mordents 148
Moveable C-Clef 230
Neutral Clefs 230
notes 128
Open Repeat 244
Pause 162
Pedal mark 162
percussive notehead 172
Percussive Staff 234
Piano Staff 234
Piano/Melody Staff 234
picture noteheads 172
Plus 161
rests 128
rhythm noteheads 172
rhythmic slash head 172
Scale 121
Sforzando 161
Single Measure Repeat 244
Slash noteheads 172
Slur 135
Staccatissimo 161
Staccato 161
Standard Barline 244
Standard Notehead 172
Straight glissando 136
System 234
Tablature 176
Tablature Staff 234
Tenor Staff 233
Tenuto 161
Text 208
Tie 136
Treble Clef 230
Treble Staff 233
Tremolo 161
trills 148
Tuplet (new) 136
694
Tuplet (reapply) 136
tuplets 128
Turn 148
Wavy glissando 136
Tool Bar
Arrow cursor button 119, 124, 125
Articulations button 159
Barlines button 243
Clefs button 229
Dynamics button 195
Eraser button 119
Expressions button 219
Expressions palette 220
Graphics button 225
Groups button 135
Guitar button 181
J azz Articulations palette 194
Noteheads button 171
Notes button 127
Ornaments button 147
overview 113
palette button overview 114
pop-up menus 115
Scale button 121
Staves button 233
Tablature button 175
Text button 207
Transcription Quantize Amount button 259
Tracks
abbreviated names 491
abbreviation 443
definition 7
displaying MIDI data in Piano Roll 290
displaying MIDI data in Piano Roll
(MAC) 303
drum 497
MIDI playback devices (Graphic window) 312
MIDI playback devices (Tracks window) 283
MIDI volume defaults 285
moving notes between 598, 599
muting (Graphic window) 312
muting (Tracks window) 286
name 443
naming 491
percussive 497
rearranging 286
selecting all notes 95
setting number of voices 281
setup dialog box 490
showing name in score 491
showing transposed tracks 618, 619
soloing (Graphic window) 312
soloing (Tracks window) 286
Tablature 499
transposing 285
viewing in Graphic window 302
Tracks window 279
Device column 283
Mute column 286
overview 280
rearranging tracks 286
Solo column 286
Stem column 282
Transpose column 285
Voices column 280
Volume column 285
Transcription
correcting for swing time notation errors 602
fixing quantize mistakes 262
notating arpeggios 600
notating staccato notes 601
notating trills 603
notating triplets 604
notating turns 604, 605
quantizing 259
Transcription Quantize Amount button 259
Transparent text 217
Transport controls 267
Transport window 267
Transpose command 572
Transpose dialog box 572
Transposing
in Graphic window 314
to match new key signature 536
with Transpose command 572
Treble Clef tool 230
modern 230
Treble Staff tool 233
Tremolo
beams 584
inserting bowed tremolos 167
modifying beams 585
tools 161
Trills
adding a trill section 150
adding accidentals 153
adding mark to score 150
deleting 149
editing 152
making invisible 466
notating transcribed notes 603
playback 155
Set Trill dialog box 155
tools 148
Tuning button 356
I
n
d
e
x
Index 695
Tuplets
complex 142
correcting transcription errors 604
creating with Tuplet tool 137
editing 142
hiding number over beam 584
in Step Input 380
mixed duration 143
tool (new) 136
tool (reapply) 136
tools 128
Tuplets dialog box 591
Turn
creating 148
deleting 149
making invisible 466
notating transcribed notes 604, 605
playback 157
Set Mordent/Turn dialog box 157
tool 148
U
Undo command 462
Use 659
Use Tiles checkbox 474
V
Velocity
data display 296
Verse
creating additional verses 369
Vertical Pages view option 76
Voice
active 96
assigning in tracks 280
definition 7
inactive 96
making invisible 465, 466
pop-up menu 96
selecting 96, 612, 613
setting number per track 281
setting stem direction 282
Volume Controller Number 653
VST/AU Menu 655
Audio Preferences 655
Instrument Rack 655
Record to File 656
Set Folder 657
W
Window
Chords 343
Graphic 301
Insert 321
overview of types 9
Score 69
Step Input 375
Tool Bar 113
Tracks 279
Transport 267
Windows menu
active Score windows 664
Arrange Icons command 664
Cascade command 662
Chords command 660
Graphic command 660
Lyrics command 661
Open Score windows 664
Step Input command 661
Tile Horizontally command 663
Tile Vertically command 664
Tool Bar command 659
Tracks command 660
Transport command 660
Wrap Left command 530
Wrap Right command 532, 534
X
X% Zoom Level 73
Y
Yamaha gear 669
Z
Zoom In button 308
Zoom In command 73
Zoom Level
100% 73
Fit in Window 73
Percentage 73
X% 73
Zoom In 73
Zoom Out 73
Zoom Level pop-up menu 72
Zoom Out button 309
Zoom Out command 73
Zooming
I
n
d
e
x
Index 696
in Graphic window 308
in Score window 72
selected area in Score window 73
to fit in Graphic window 310
SONIC SCORES LICENSE AGREEMENT
YOU SHOULD CAREFULLY READ ALL OF THE FOLLOWING TERMS AND CONDITIONS BEFORE USING THIS PROD-
UCT. INSTALLING AND USING THE PRODUCT INDICATES YOUR ACCEPTANCE OF THESE TERMS AND CONDITIONS.
IF YOU DO NOT AGREE WITH THEM, YOU SHOULD PROMPTLY RETURN THE PRODUCT UNUSED AND YOUR MONEY
WILL BE REFUNDED.
1. GRANT OF LICENSE. In consideration of payment of the license fee, Sonic Scores, ("Sonic scores" or the "Licensor") grants to
you, the Licensee, a nonexclusive license to have one person use the enclosed Sonic Scores software product (the "Product") on one
personal computer at a time. If you want to use the Product on more than one personal computer at a time, or if you want to network the
Product, you must obtain separate licenses from Sonic Scores. This license does not grant you any right to any enhancement or update
to the Product. Enhancements and updates, if available, may be obtained by you at Sonic Scores using current standard pricing, terms
and conditions.
2. OWNERSHIP OF THE PRODUCT. Portions of the Product incorporate certain material proprietary to third parties. Sonic Scores
and licensors of Sonic Scores own and will retain all title, copyright, trademark and other proprietary rights in and to the Product. This
License is NOT a sale of the Product or any copy of it. You, the Licensee, obtain only such rights as are provided in this Agreement.
You understand and agree as follows:
2.1. You may NOT make any copies of all or any part of the Product except for archival copies of the computer software components of
the Product as permitted by law,
2.2. You may NOT reverse compile, reverse assemble, reverse engineer, modify, incorporate in whole or in part in any other product or
create derivative works based on all or any part of the Product.
2.3. You may NOT remove any copyright, trademark, proprietary rights, disclaimer or warning notice included on or embedded in any
part of the Product.
2.4. You may NOT transfer the Product unless you permanently transfer the entire Product (including all components and archival cop-
ies, if any), and the person to whom the Product is transferred is informed of and agrees to the terms and conditions of this Agreement.
2.5 You may not use the documentation for any purpose other than to support your use of the SOFTWARE PRODUCT.
2.6 You may not perform engineering analyses of the SOFTWARE PRODUCT, including performance analyses, or benchmark analy-
ses, without the written permission of Sonic Scores.
3. CONTENT RESTRICTIONS. Unless specified elsewhere in your product package, the following restrictions apply to all digitally
recorded sounds, MIDI or Sonic Scores-format song files or rhythm patterns, and printed or digitally reproduced sheet music contained
in the product package (the content):
All content is protected by copyright and owned by Sonic Scores or other parties that have licensed these works to Sonic Scores.
Any duplication, adaptation, or arrangement of the content without written consent of the owner is an infringement of U.S. or for-
eign copyright law and subject to the penalties and liabilities provided therein.
You may not synchronize the content with any videotape or film, or print the content in the form of standard music notation,
without the express written permission of the copyright owner.
The content may not be used for broadcast or transmission of any kind.
You may not resell or redistribute the content as is (i.e., stand alone) in any way, including for use in sampling or sample play-
back units, or in any sound library product, or in any radio or television broadcast, soundtrack, film or other commercial product
in any media, whether the works remain in their original form or are reformatted, mixed, filtered, re-synthesized or otherwise
edited.
4. LICENSEE'S RESPONSIBILITIES FOR SELECTION AND USE OF THE PRODUCT. Sonic Scores hopes the Product will be
useful to your business or personal endeavors. HOWEVER, GENEISOFT DOES NOT WARRANT THE OPERATION OF THE
PRODUCT OR THE ACCURACY OR COMPLETENESS OF ANY INFORMATION CONTAINED IN THE PRODUCT. You, and
not Sonic Scores, are responsible for all uses of the Product.
5. WARRANTY.
5.1. Limited Warranty. Subject to the other provisions in Articles 4 and 5 of this Agreement, Sonic Scores warrants to you, the original
licensee, that the media on which the Product is recorded will be free of defects in material and workmanship under normal use for a
period of thirty (30) days from purchase, and that the Product will perform substantially in accordance with the user guide for a period
of thirty (30) days from purchase. Sonic Scores's sole responsibility under this warranty will be, at its option, (1) to use reasonable
efforts to correct any defects that are reported to it within the foregoing warranty period or (2) to refund the full purchase price. Sonic
Scores does not warrant that the Product will be error free, nor that all program errors will be corrected. In addition, Sonic Scores makes
no warranties if the failure of the Product results from accident, abuse or misapplication. Outside the United States, these remedies are
not available without proof of purchase from an authorized international source. All requests for warranty assistance shall be directed
to Sonic Scores at the following address:
Sonic Scores
P.O. Box 22826
Charleston, SC 29483 U.S.A.
843-637-4477
5.2. Limitations on Warranties. THE EXPRESS WARRANTY SET FORTH IN THIS ARTICLE 4 IS THE ONLY WARRANTY
GIVEN BY SONIC SCORES WITH RESPECT TO THE ENTIRE PRODUCT; SONIC SCORES MAKES NO OTHER WARRAN-
TIES, EXPRESS, IMPLIED OR ARISING BY CUSTOM OR TRADE USAGE, AND SPECIFICALLY DISCLAIMS THE IMPLIED
WARRANTIES OF NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE. SONIC
SCORES SHALL NOT BE HELD RESPONSIBLE FOR THE PERFORMANCE OF THE PRODUCT NOR FOR ANY LIABILITY
TO ANY OTHER PARTY ARISING OUT OF USE OF THE PRODUCT.
SOME STATES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMI-
TATION MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO
HAVE OTHER RIGHTS WHICH VARY FROM STATE TO STATE.
6. LIMITATIONS ON REMEDIES. Sonic Scores's liability in contract, tort or otherwise arising in connection with the Product shall not
exceed the purchase price of the Product. IN NO EVENT SHALL SONIC SCORES BE LIABLE FOR SPECIAL, INCIDENTAL,
TORT OR CONSEQUENTIAL DAMAGES (INCLUDING ANY DAMAGES RESULTING FROM LOSS OF USE, LOSS OF DATA,
LOSS OF PROFITS OR LOSS OF BUSINESS) ARISING OUT OF OR IN CONNECTION WITH THE PERFORMANCE OF THE
PRODUCT, EVEN IF SONIC SCORES HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES
SO THE ABOVE EXCLUSION OR LIMITATION MAY NOT APPLY TO YOU.
7. U.S. GOVERNMENT RESTRICTED RIGHTS. If you are a government agency, you acknowledge that the Product was developed at
private expense and that the computer software component is provided to you subject to RESTRICTED RIGHTS. The rights of the gov-
ernment regarding its use, duplication, reproduction or disclosure by the Government is subject to the restrictions set forth in subpara-
graph (c)(1)(ii) of the rights in Technical Data and Computer Software clause at DFARS 252.227-7013, and (c)(1) and (2) of the
Commercial Computer Software -- Restricted Rights clause at FAR 52.227-19. Contractor is Sonic Scores.
8. TERMINATION. This License Agreement will terminate immediately if you breach any of its terms. Upon termination, you will be
required promptly to return to Sonic Scores or to destroy all copies of the Product covered by this License Agreement.
9. MISCELLANEOUS.
9.1. Governing Law. The terms of this License shall be construed in accordance with the substantive laws of the United States and/or
South Carolina, U.S.A.
9.2. No Waiver. The failure of either party to enforce any rights granted hereunder or to take any action against the other party in the
event of any breach hereunder shall not be deemed a waiver by that party as to subsequent enforcement of rights or subsequent actions
in the event of future breaches.
9.3. Litigation Expenses. If any action is brought by either party to this Agreement against the other party regarding the subject matter
hereof, the prevailing party shall be entitled to recover, in addition to any other relief granted, reasonable attorneys' fees and litigation
expenses.
9.4. Unenforceable Terms. Should any term of this License Agreement be declared void or unenforceable by any court of competent
jurisdiction, such declaration shall have no effect on the remaining terms hereof.
9.5.Certain components of this software are the property of Progressive Networks and its suppliers. You are not allowed to distribute
these DLLs to others.
YOU ACKNOWLEDGE THAT YOU HAVE READ THIS LICENSE AGREEMENT, UNDERSTAND IT AND AGREE TO BE
BOUND BY ITS TERMS AND CONDITIONS. YOU FURTHER AGREE THAT IT IS THE COMPLETE AND EXCLUSIVE
STATEMENT OF THE LICENSE AGREEMENT BETWEEN YOU AND SONIC SCORES WHICH SUPERSEDES ANY PROPOS-
ALS, OR PRIOR AGREEMENT, ORAL OR WRITTEN, AND ANY OTHER COMMUNICATIONS BETWEEN YOU AND SONIC
SCORES RELATING TO THE SUBJ ECT MATTER OF THIS LICENSE AGREEMENT.