Hartmut Lemmel

Bernd Jungmann

capella-scan
Version 7

capella-software
capella-scan, Version 7

Copyright © 2009
capella-software GmbH
An der Soehrebahn 4
D-34318 Soehrewald
Germany
info@capella.de
www.capella.de

Authors: Bernd Jungmann, Hartmut Lemmel

capella-scan is a registered trademark of capella-software GmbH.

VST is a registered trademark of Media Technologies GmbH.
 3

Contents
Introduction......................................................................................................................................................6
Welcome............................................................................................................................................................6
New in Version 7.0.............................................................................................................................................6
Required Hard- and Software.............................................................................................................................7
Installation, Licensing, Activation.......................................................................................................................8
Working with capella-scan.................................................................................................................................9
Lesson 1: First Steps...........................................................................................................................................9
Using the Toolbars ........................................................................................................................................9
Scan or Open an Image File...........................................................................................................................9
Starting Recognition....................................................................................................................................10
Lesson 2: Correct Recognition Errors................................................................................................................10
Exporting to capella....................................................................................................................................13
Saving the Current Level of Recognition......................................................................................................13
Lesson 3: Edit Text............................................................................................................................................13
Types of Text Objects..................................................................................................................................13
Lesson 4: Analyse Rhythm, Polyphony..............................................................................................................17
Lesson 5: Assign Voices, Template System........................................................................................................19
Classification Criteria..................................................................................................................................20
Abbreviation List.........................................................................................................................................20
Correction of Classification Errors...............................................................................................................20
Transposing Instruments.............................................................................................................................21
Lesson 6: Improve Recognition.........................................................................................................................21
Optimising the Black and White Image.......................................................................................................22
Reference........................................................................................................................................................24
Scanning and Recognition................................................................................................................................24
Scanning.....................................................................................................................................................24
Loading an Image........................................................................................................................................25
Saving an Image..........................................................................................................................................25
Inserting an Image......................................................................................................................................26
Inverting, Rotating and Mirroring Images ...................................................................................................26
Recognition Area and Clipping....................................................................................................................26
Greyscale Images........................................................................................................................................27
Remove Shadows........................................................................................................................................28
Remove Speckles........................................................................................................................................28
Starting the Recognition.............................................................................................................................29
Use of Colour in capella-scan......................................................................................................................31
Rhythmic Analysis and Multiple Voices.......................................................................................................32
Playback......................................................................................................................................................33
Multiple Column Scores, Broken Staves......................................................................................................33
Editing..............................................................................................................................................................34
Why Edit in capella-scan?............................................................................................................................34
Inserting Objects.........................................................................................................................................34
Inserting Objects of Variable Size................................................................................................................35
Inserting Text Objects..................................................................................................................................35
Repeat Inserting..........................................................................................................................................36
Assigning Objects to Staves.........................................................................................................................36
Anchors.......................................................................................................................................................36
Selecting Objects........................................................................................................................................36
Search.........................................................................................................................................................37
Moving Objects...........................................................................................................................................38
4 capella-scan 7

Editing.........................................................................................................................................................38
Undo...........................................................................................................................................................38
Editing Object Properties............................................................................................................................38
Notes, Stems and Heads.............................................................................................................................39
Rests...........................................................................................................................................................43
Accidentals..................................................................................................................................................44
Clefs............................................................................................................................................................44
Time Signatures..........................................................................................................................................45
Barlines.......................................................................................................................................................45
Slurs and Brackets.......................................................................................................................................46
Dynamic Symbols........................................................................................................................................48
Section Repeat Signs...................................................................................................................................48
Trills and Ornaments...................................................................................................................................48
Performance Marks.....................................................................................................................................50
Text.............................................................................................................................................................51
Editing Text.................................................................................................................................................53
Styles and Default Fonts..............................................................................................................................54
Guitar Fret Diagrams...................................................................................................................................55
Staves..........................................................................................................................................................56
Inserting, Extending and Joining Staves.......................................................................................................59
Deleting and Splitting Staves.......................................................................................................................60
Moving Stave Ends......................................................................................................................................61
Stave Identification.....................................................................................................................................61
Template System..............................................................................................................................................62
Create Manually..........................................................................................................................................62
Create Automatically...................................................................................................................................63
Saving...............................................................................................................................................................63
Saving Level of Recognition.........................................................................................................................63
Saving Notation Files...................................................................................................................................64
Appending Notation....................................................................................................................................65
Undoing an Append....................................................................................................................................65
Using and Customizing capella-scan.................................................................................................................65
Windows.....................................................................................................................................................65
Multipage Scores........................................................................................................................................65
Navigation...................................................................................................................................................67
Zoom...........................................................................................................................................................67
View............................................................................................................................................................68
Options.......................................................................................................................................................68
Options → Scanning....................................................................................................................................68
Options → Recognition...............................................................................................................................68
Options → Editing ......................................................................................................................................69
Options → Saving........................................................................................................................................70
Options → Playback....................................................................................................................................70
Options → View..........................................................................................................................................71
Toolbars......................................................................................................................................................71
capella-tune....................................................................................................................................................73
Brief Introduction to the Tabs in the capella-tune Dialogue:.......................................................................73
Instruments tab................................................................................................................................................73
Column: capella Instrument........................................................................................................................74
Column: Playback Device............................................................................................................................74
Column: sound............................................................................................................................................74
Column: vol.................................................................................................................................................74
Column: pan...............................................................................................................................................74
Use only Default Sound for Playback...........................................................................................................74
Pre-set Profiles on Instruments Tab............................................................................................................74
Articulations tab...............................................................................................................................................75
 5

Column: name............................................................................................................................................75
Column: articulation sign............................................................................................................................75
Section Start and Section End.....................................................................................................................75
Types of Articulation Marks........................................................................................................................76
Pre-set Profiles on Articulations Tab...........................................................................................................76
Playback Devices tab........................................................................................................................................76
MIDI and VST Playback................................................................................................................................76
Column: delay.............................................................................................................................................77
VST Special Effects......................................................................................................................................77
Recommended Echo Effect Plug-ins............................................................................................................77
Test box.......................................................................................................................................................77
Test Tuning..................................................................................................................................................77
Wave Output for VST Devices......................................................................................................................78
Configure VST Plug-in..................................................................................................................................78
VST Volume.................................................................................................................................................78
Dynamics & Rhythm Tab..................................................................................................................................78
Articulation Sign..........................................................................................................................................78
crescendo and diminuendo (decrescendo).................................................................................................79
Scope..........................................................................................................................................................79
Include Dynamics during playback..............................................................................................................79
Pre-set Profiles on Dynamics & Rhythm Tab................................................................................................79
Special Rhythms..........................................................................................................................................80
Include Dynamics During Playback..............................................................................................................80
Include Special Rhythms During Playback...................................................................................................80
Pre-set Profiles for Dynamics & Rhythm Tab...............................................................................................80
Trills & Ornaments Tab.....................................................................................................................................81
Trills............................................................................................................................................................81
Repetitions & Tremolo Bars..............................................................................................................................83
Repeat Signs................................................................................................................................................83
Repeating Sections......................................................................................................................................84
da capo and dal segno................................................................................................................................84
Repeat Marks..............................................................................................................................................84
Repeat Instructions.....................................................................................................................................84
Tunings Tab......................................................................................................................................................85
What are Tunings?......................................................................................................................................85
When is an Interval Perfect?.......................................................................................................................85
Where is the Problem?...............................................................................................................................85
Select and Test Tuning.................................................................................................................................85
Pitch Display................................................................................................................................................85
Intonation Display.......................................................................................................................................86
Hermode Tuning.........................................................................................................................................86
Historical Tunings........................................................................................................................................86
Relation to Key............................................................................................................................................86
Absolute Tuning..........................................................................................................................................87
VST Plug-ins Explained.....................................................................................................................................87
Configure Plug-ins.......................................................................................................................................87
Keyboard Shortcuts.........................................................................................................................................89
Inserting Objects..............................................................................................................................................89
Editing Object Properties .................................................................................................................................89
Program Control...............................................................................................................................................91
Cursor Keys......................................................................................................................................................91
Function Keys, Miscellaneous Keys...................................................................................................................92
Mouse..............................................................................................................................................................92
Index...............................................................................................................................................................93
6 capella-scan 7

Introduction
Welcome
capella-scan makes it possible for scanned images of printed sheet music to be recognized as music. The recog-
nized music can be played back on your sound-card and can be saved in one of the following file formats: capella
binary, capXML, MIDI, MusicXML.
capella-scan works with any TWAIN compatible scanner. In addition, you can load existing scanned images in
various image formats and PDF.
Recognition of the scanned image is completely automatic. After recognition you can make any corrections that
might be required to the recognized notes.
Tutorial: The best way to become familiar with capella-scan is to work through the six tutorial lessons in the
second chapter WORKING WITH CAPELLA-SCAN.
• Lesson 1: First Steps page 9
• Lesson 2: Correct Recognition Errors page 10
• Lesson 3: Edit Text page 13
• Lesson 4: Analyse Rhythm, Polyphony page 17
• Lesson 5: Assign Voices, Template System page 19
• Lesson 6: Improve Recognition page 21
A detailed description of all program features can be found in the third chapter REFERENCE.
In menu Help HELP → ABOUT CAPELLA-SCAN... you can check which version of capella-scan you have installed on
your PC. You can also obtain the contact addresses and online links of the distributors and capella-software.

New in Version 7.0

New Recognition Features
See page 30 for a complete list of recognition features.
• Text recognition with improved FineReader version 8.0
• Gothic text, see page 69
• Guitar chord diagrams, see page 55
• Percussion clef
• Cross shaped note heads
• Double sharp symbol
• Parenthesis around accidentals
• Section letters (e.g. A, B, C...)
• Fingerings
• Acciaccatura notes
• Arpeggio symbols
• Pedal and pedal end (if not separated by a stave break)
• Repeats of notes and bars ( / , % )
• Removal of white speckles in bad photo copies is also possible in black & white images
• many more detailed improvements

New Editing Features

• New objects which can be inserted manually (in addition to the ones listed above): Single-line staves, vari-
ous trill and ornament signs, various head types, quarter tone accidentals, dashed barlines and slurs
 New in Version 7.0 7

• Text styles: Consistent formatting of automatically recognized text types like lyrics, fingering, section let-
ters, voice descriptions, chord symbols and metronome marks, see page 54.
• Support of Gothic fonts: Font specific character codes for special Gothic characters can be adjusted to the
font in use, see page 54.
• Template system: You can control and edit the template system with the new template system editor. Both
automatic and manual construction of the template system is supported by a built-in instrument data-
base, see page 62.
• Playback: The instrument of each voice can be selected separately in the template system editor. The in-
cluded capella-tune technology provides a VST interface and full support of the capella-Vienna-orchestra,
see page 33.
• Search function: Distinct types of objects can be displayed in different colours or collectively selected (e.g.
in order to be deleted) via a freely configurable search list, see page 37.
• Anchor chains: It is immediately obvious where text objects and other anchored objects belong to, see
page 36. Previously, only selected objects displayed their anchor point.
• Improved automatic anchoring of text and other anchored objects.
• Key signatures: The individual accidentals composing a key signature can be inserted and edited as a
group, see page 44.
• Automatic stem lengthening during vertical moving of heads
• Repeated inserting: The three most recent objects you have inserted, are stored in a history list and can
easily be recalled by repeatedly pressing the right mouse button or the space bar. (Previously, only the last
object was accessible.) The three most recent rests, notes, heads and stems can be recalled by their ap-
propriate shortcut keys (e, n, h, s), see page 36.
• With ÁÍAÍlÍtÉ+mouse click you can select all objects which belong together: beamed notes, guitar chord dia-
grams with all chord entries, all accidentals forming a key signature, entire line of lyrics, all text objects of
a text block, see page 36.
• Extended mouse wheel support: ÁÍCÍtÍrÍlÉ+mouse wheel changes the zoom factor. By pressing the mouse
wheel (or middle mouse button) and dragging you can scroll the page, see page 92.
• Keyboard shortcuts: All new features can also be controlled by keyboard shortcuts. Shortcuts are indicated
in the tool tips.
• Toolbars: New design, easier configuration, see page 71.

New Features of Data Acquisition and Saving

• Bitmaps embedded in PDF files can be imported directly. Thus PDF files containing scanned images can be
read without loss of quality. Ghostscript is required only for PDF files which have been created by music
notation programs. See page 25.
• Images can be edited with scissors and eraser before being recognized, see page 26.
• Scanned images can be saved as (multi page) PDF files, see page 25.
• In addition to the scanner interface TWAIN 1.x, TWAIN 2.0 is also supported.
• Transposable chord symbols are saved as simple text objects which require less space in capella files.
• The location of capella-scan's temporary files can be modified. With Vista & Co it became more and more
difficult to find the data folder on the disk. Now you can select it in capella-scan OPTIONS and open it with a
single click in an Explorer window, see page 69.

Required Hard- and Software

Minimum system configuration
In order to use capella-scan you need:
• Windows -capable PC with at least Pentium processor and 256 MB memory. If you plan to scan large im-
ages in grey-scale mode or want to use text recognition, 512 MB memory or more are recommended.
• Screen resolution of at least 800x600 pixel and 16 bit colour depth (HiColor).
• Microsoft Windows in versions 2000, XP or Vista
8 capella-scan 7

• 100 MB free disk space

• Mouse or similar pointing device
• Scanner or digital camera for scanning in the music

Recommended Additions
If you simply want to playback recognized music you can use capella-scan as stand-alone software. For further
processing of the music you need one of the following programs:
• capella version 2002 to 2008 or newer is the best and most comfortable option. Thanks to the direct inter-
face to this program, music saved in capella-scan can automatically be opened and displayed in capella.
• capella version 2000, 1200, 1000, 800, 500 or 2.x
• A MIDI compatible music notation or sequencer program. But keep in mind that the MIDI format only con-
tains the basic notes. All information about layout, accidentals, slurs, brackets etc. is lost.
• A music notation program that can import MusicXML files

Installation, Licensing, Activation

capella-scan is standard software. Installation proceeds mostly automatically, following the Windows conven-
tions. You can find all details about installation, licensing and activation in our separate installation guide. If you
have obtained your copy of capella-scan via retail outlet or mail order, then the installation guide will be included
in that package. If you have obtained an on-line licence via our website, then you can download the installation
guide here: http://www.capella-software.com/download/more/installation_guide_international.pdf
 Working with capella-scan 9

Working with capella-scan

The lessons in this tutorial will introduce you step by step to working with capella-scan. Using the examples
provided, you will see how to correct errors in the smallest number of steps. Even experienced Windows users
should read these lessons.

Lesson 1: First Steps

Lesson 1 covers the basic principles of capella-scan.

Using the Toolbars

As in many modern Windows programs, capella-scan provides toolbars for fast access to program commands.
You can drag toolbars to any place on the screen. Close to the edge of the capella-scan window they will snap to
the edge.
capella-scan has two additional features to help you better utilize the available screen area. These are the broken
up menu bar and the optimized toolbar’s height. If you operate Windows with the small fonts option set, then
the menu bar plus the objects palette have the same height as two normal toolbars together. In that case the
toolbars should be positioned as shown here:

With the large font size set in Windows the menu bar equals the height of a single toolbar. In this case you
should drag the object palette to the left edge of the window:

Scan or Open an Image File

Normally you would begin your work with capella-scan with menu FILE → SCAN... but for the purpose of
these lessons we are going to use scanned images provided for you, so that they match the exercises.
To do this use menu FILE → OPEN IMAGE... .In the standard Windows file dialogue box go to the Example folder
(a sub folder of capella-scan). With a standard installation this will be:
c:\program files\capella software\capella-scan 7\examples
Open the file intro.bmp. The extract is from a sonata for violin and piano by G. F. Händel.
From the VIEW menu you can select the size the image is displayed in capella-scan. Now select VIEW
→ FULL PAGE WIDTH or click on the toolbars.
10 capella-scan 7

You see that the page has been scanned with a slight slant. capella-scan can cope with this as well as with the
small stave of the solo voice.

Starting Recognition
Click menu RECOGNIZE → START RECOGNITION. The image will be examined by capella-scan and after a few seconds
the image will be overlaid with light green notes and symbols. You will see coloured rectangles behind the
notes and rests.
Some notes have not been recognized correctly. By comparing the green and the black notes you will easily find
the mistakes and you can then correct them. The colour of the rectangles behind the notes indicates the voice to
which the notes have been assigned. The width of the rectangles indicates the rhythmic expansion of the notes.
Wrongly filled bars are indicated by red or yellow lines at the end of the bar.
capella-scan’s recognition feature has been steadily improved over the years to the point where there are very
few errors in the original example file that we are still using. Therefore we will load an old level of recognition in
the next lesson to practise the error correction. But before you proceed, make yourself familiar with the display
options of capella-scan:

• The coloured rhythmic representation can be switched off by clicking or pressing ÁÍFÍ1Í1É.

• To zoom into an area of the screen to help with editing, click on the magnifying glass and drag a rect-
angle over the area that you wish to see enlarged. If you have a mouse with mouse wheel you can also
hold down ÁÍCÍtÍrÍlÉ and zoom in and out by turning the mouse wheel. Alternatively you can use the short-
cut keys ÁÍCÍtÍrÍlÉ+ÁÍ+É and ÁÍCÍtÍrÍlÉ+ÁÍ–É.

• Click on to return to the previous view.

• You can move the magnified view with the scrollbars or the direction arrows. If you do not normally use
the scrollbars you can remove them from the window edges to give yourself a larger viewing area in the
window. Do this via menu VIEW → SCROLLBARS. If you have a mouse with mouse wheel or centre mouse but-
ton you can hold it down and scroll by dragging.

Lesson 2: Correct Recognition Errors

In lesson 2 you will learn how to repair recognition errors and how to save the result as a capella file.
Start lesson 2 by clicking on HELP → TUTORIAL → LESSON 2 in order to load the file intro.bmp with a pre-defined
level of recognition. Do not start the recognition process because this current version of capella-scan is more ac-
curate than previous versions and will not give you the errors and missed notes that we require for teaching pur-
poses. The images on the next pages will show you the context in which the errors which we are going to correct
are found.

Beginning of third line

The quaver rest was not recognized, and the coloured background indicates that
there is something missing in the note values contained within the bar.

Move the mouse pointer over the crotchet rest symbol in the editing palette. A sub-palette will fly out auto-
matically. (You can turn this off if you wish, see VIEW → TOOLBARS ). Click on the quaver rest in this palette. You will
see a grey quaver rest attached to the mouse pointer. Move this rest over the black rest and click. The rest will
appear pink indicating that it is selected. If you click elsewhere on the white background the rest will turn bright
green.
In front of the barline you will still see a light yellow bar which indicates that the bar is not completely filled. In
this instance this is not relevant, as the bar is an anacrusis.
 Lesson 2: Correct Recognition Errors 11

Third stave, first full bar

The red barline at the end of the bar indicates that the recognized
notes add up to too great a value for the time signature. On closer
look you will see that the middle note of the first beamed group
was recognized as a crotchet as its stem did not join up to the
beam. You will also see that the crotchet has a yellow background
rather than the red one of the other notes of the group. This indicates, that capella-scan has assigned the note to
a different voice. It has done this because the beamed group could not contain a crotchet.
Click the faulty note stem and it will turn pink to indicate that it is selected. At the same time a new toolbar will
appear showing the properties that can be changed on the selected object.

Click on "Crotchet" and select "Quaver" from the list. The stem gets a quaver flag and the red barline disappears
as the bar is now correctly filled for the time signature.

Click on , the stem should now have two stubs.

NB: If you have a small screen or run capella-scan in a narrow window, the whole of the Property palette may not be visible. In this
case right mouse click on the stem. Now the Property palette appears as a floating window in the middle of the screen with all the at-
tributes visible.

All that remains is to drag the bottom of the stem down to the beam between the other notes. It will merge with
this beam and at the same time the ”foreign” voice coloured rectangle will disappear.
Finally press the ÁÍEÍnÍdÉ key to jump to the right edge of the score. Scroll up to the first stave.

First stave, last note

The note head was recognized but not the stem or the flag.

Move the mouse onto the stem symbol (green head) in the Object palette and select a downward quaver
stem.
Position the stem correctly alongside the note head. As it gets close enough it will snap to the head. When this
has happened click the left mouse button and the stem and note will be locked together. The head will turn
bright green, indicating that capella-scan now accepts it as correct. The stem will be pink because it is still selec-
ted.
If the note head remains dark green and the stem dark pink then they have not snapped together properly. Click
and drag the stem closer to the head.

Third Stave, Last Note

The semiquaver was not recognized.

Click on the Note palette and select the semiquaver from the fly-out palette. Next click on the correct beam
on the Property palette, or use this shortcut:
12 capella-scan 7

Drag a frame around the adjacent semiquaver. When you release the button the note
should be completely pink, i.e. selected. Press ÁÍCÍtÍrÍlÉ+ÁÍDÉ to duplicate the note and
drag and drop it over the missed semiquaver.

Second line of music (system), first bar, second and third stave
Two natural signs are missing. Get a natural sign from the Sign palette and drag
and drop it into place. You can get a second natural to drag and drop by clicking
on the natural which will have appeared at the end of the main Objects palette. A
quicker way is to right mouse click on the white background area and the pointer
will reset to the last inserted object in this case the natural. You can cancel the
symbol by pressing ÁÍEÍsÍcÉ.

Second line of music, second stave, stave end

The quaver was not recognized. You can drag and drop a quaver from the Objects
palette or you can use shortcuts as below:

Press ÁÍnÉ for "Note". (Ensure that you enter a lower case ”n”. The Caps Lock function should be switched off.) A
note will appear at the mouse pointer. It will look like the last one you have inserted.
If necessary press ÁÍ8É for "quaver".
If necessary press ÁÍdÉ for "stem down".
If necessary press ÁÍiÉ for "flag".
Now insert the note as you normally would do.
All the shortcut key combinations are shown in the yellow tooltip windows that appear if you rest the mouse
cursor over a toolbar icon. In addition you will find the shortcut indicated in the status bar next to the keyboard
symbol . As a reminder, the current status of the Num Lock and the Caps Lock is indicated as well.
A complete list of all shortcuts can be found at the end of this manual.

Second line of music, second stave, beginning of last bar

The tie was not recognized. Get a tie from the palette with downward bow. The
mouse pointer will now have a grey tie "held" at its right end. Place the tie so that
the left end is in the correct place. Add it to the score with a mouse-click, but keep
the mouse button pressed. Now you can drag the right end to the correct position.
When it is in position release the mouse button.
Both ends of the tie are anchored to a note. This ensures that when the score is opened in capella the tie auto-
matically re-sizes to match the space between the notes. You can identify whether the bow is a slur or a tie by
the style of the bow line and by the anchor symbol, see page 47.
In the middle of the second last bar of the last stave, the tie was not recognized. You can add it as described
above.
 Lesson 2: Correct Recognition Errors 13

Exporting to capella
You have now repaired all the recognition errors. From the FILE menu select SAVE NOTATION. The name intro.cap
will be suggested. Before you click on SAVE, activate the option OPEN IN CAPELLA to load the file automatically into
capella. (This feature only works in capella versions 2002 and up. If you have an older version of capella installed
on your PC, you must manually open the file intro.cap in capella.) The result is shown here:

capella-scan has exported not only the note objects but also the vertical distances between the staves, the
braces in front of the staves, as well as the barline mode (single barline for violin, joined barlines for piano).
You can play back the recognized notes in capella-scan by clicking on . NB: You may have to select and config-
ure a sound card via menu EDIT → OPTIONS → PLAYBACK if the playback is not working the first time you use capella-
scan.

Saving the Current Level of Recognition

If you have not completed your work on a score before you exit capella-scan, you can save the current
level of recognition and re-load it later. Use the appropriate command in the file menu.
If you try to close capella-scan before you have saved the recognized file as a capella file you will be asked if you
want to save the level of recognition.

Lesson 3: Edit Text

In lesson 3 the text functions and voice recognition are explained.
Start lesson 3 by clicking on HELP → TUTORIAL → LESSON 3. The image marcia.bmp from the Examples folder will be
loaded. Do not instruct capella-scan to recognize it, as the results would not exactly match up with the lesson.
The example shows an extract from the piano part of the opera "The Marriage of Figaro".

Types of Text Objects

• Normal text objects, such as the word "Marcia" above the first bar, are anchored to a note or rest. You can
see the anchor by clicking once on the text.
• Lyrics (song text) are identifiable by the coloured bar behind them. The coloured bar identifies the voice
that the lyrics belong to in the same way that notes are linked to a voice visually by a coloured back-
ground. In this example the lyrics all belong to the same voice, so only one coloured background is used.
Each syllable is a separate text object in capella-scan and must be anchored individually to a note.
14 capella-scan 7

• Text, which occurs before a stave, like the "F" in our example, is interpreted as instrument/voice descrip-
tion. It is anchored to the start of the stave and used to identify voices. You can find more on this at the
end of the lesson.
• For a complete list of text types see page 51.

Beginning of the second and third staves

The brace at the start of the staves was not recognized – instead a pair of diagonal
strokes was inserted as text objects. In addition the pp was integrated into the text.

Select the diagonal stroke "/" with a single mouse click. You will see that the text "Fl" is shown as belonging to
the same text object. Press the ÁÍÊÉ key to enter edit mode. A flashing text cursor will appear and you can now edit
the text in this object. Delete the diagonal and the "Fl" will move to the left. You can push it back to the right by
entering spaces. Press the ÁÍÊÉ key to accept the changes.

Now delete the second "\" and the pair of "pp". Get a new pianissimo symbol from the palette and drag and
drop it into place.

First stave, third bar, lyrics

"Ec-co" was recognized as "Se-co". Select "Se-" and press ÁÍÊÉ to go into edit mode or double click on the syllable.
Correct the two letters. For further corrections you can remain in edit mode, i.e. move along the lyrics with the
arrow keys.
Look at the word "marcia". The continuous coloured bar indicates that this word was recognized as a continuous
song syllable. For the song text to be handled correctly in capella the two syllables in "marcia" must be separ-
ated, since they belong to different notes. Place the cursor between "mar" and "cia" and click on in the
Property palette or press ÁÍCÍtÍrÍlÉ+ÁÍSÍpÍaÍcÍeÉ.
NB: If you have a small screen or run capella-scan in a narrow window, the whole of the Property palette may not be visible. In this
case click on the selected text with the right mouse button. Now the Property palette will open as a context menu alongside the selec -
ted object and all properties will be visible.

Separate the syllables "Fest" and "zug", and on the line above "so", "gehn" and "wir". With ÁÍCÍtÍrÍlÉ+ÁÍâÉ or
ÁÍCÍtÍrÍlÉ+ÁÍêÉ you can easily jump between the syllables.

First stave, second last bar, lyrics

In the second last bar the syllable 'siri' was wrongly recognized, but it is difficult to see what the original text
looks like. Select the syllable and press ÁÍCÍtÍrÍlÉ+ÁÍÊÉ or click on the syllable with ÁÍCÍtÍrÍlÉ+double click. Alongside the
text you will now see a small editing window which will contain the text. The overlaid text will have been re-
moved making it easier to read the original. Correct the error in the text. ÁÍCÍtÍrÍlÉ+ÁÍÊÉ will switch between the win-
dowed edit mode and the direct edit mode. Even from within the edit window you can jump with the cursor keys
to the next syllable.
You can correct the errors in the rest of the line for practice or you can go on to the next step in the lesson.

Second line of music, above the last bar

If you click on the text 'Alle gehn ab...' you will see that it consists of several separate text objects. This is a result
of the wide spacing of the text.

Double-click on the word 'ausgenommen' to go into edit mode. Move the text cursor to the beginning of the
word. A grey bracket will appear under the selected text and the text to the left. This indicates that the two text
objects can be combined. Press ÁÍâÍ Í É (above the Enter key) to combine the texts. Now move the cursor to the
 Lesson 3: Edit Text 15

end of the pink text. Again a grey clip will appear. From this position you can combine the text by pressing the
ÁÍdÍeÍlÍeÍtÍeÉ key.

You will also see that "und die Gräfin" are three separate text objects. You can combine them as above or you can
use the faster method described in the following. Select the three objects together either by holding down the
ÁÍCÍtÍrÍlÉ key and clicking on each object or by dragging a box around all three objects. The box must completely en-
close the objects. Now click on in the Property palette. Visually not much changes, but you will see that the
comment in the status bar changes from showing three selected objects to one object.
We have now joined up the individual words into two continuous lines, but they should be further joined be-
cause they are actually a single block of text. The two lines can be joined (concatenated) in capella-scan but are
still handled as two objects. When the score is read into capella it will be treated as a single block of text.
Select the text line "Alle gehen ab...". A red anchor will appear. Pull the anchor with the mouse to a note or rest
in the line below. Now select the text "und die Gräfin". Pull its anchor to the beginning of the first text line. The
text lines are now joined (concatenated).
Part of the text was recognized as bold. To correct this, select the text and click on the bold question mark twice
to change it to a released button showing "B". The alignment of the recognized text will be lost, but this will not
matter as the text will be repositioned in capella.

Second line of music, first stave, last bar

The text "Hier ist er!" has been recognized as normal text and not as lyrics. You can tell this by the absence of a
coloured bar behind them. To turn the text into lyrics, select the text and click on . The text will be converted
to lyrics and breaks up into single syllables. Select and delete the text "[275)".
In the text below, the "E" was not recognized. Select the "c" and press ÁÍÊÉ to enter edit mode. Change it to "Ec-"
and press ÁÍÊÉ again to accept the change. Use the mouse to drag the text to the correct position. Add the hyphen
in "co-lo!" and convert both text objects into lyrics.

Second line of music, third stave, beginning

Correct errors in the text and change "Plätze" and "Gib mir den Arm..." to lyrics. Split the word "Plätze" into two
syllables.
In the second bar delete the incorrectly recognized trill symbol and insert a correct one from the Objects palette.

Last line of music, beginning

In "schäm-te!" the "t" was recognized as "l". In addition spaces were inser-
ted before and after the "e". Correct these errors and turn the text objects
into lyrics.
Delete the nonsense syllable "TÌ{ ". Before you enter a new syllable, select the existing syllable "ra -", so that the
new text object receives the same character font and size. Now select in the lyrics symbol . At the
mouse pointer a symbolic "L" will appear. Place the "L" at the beginning of "ri!" and click with the mouse. The
flashing text cursor appears. Enter the text and save the entry by pressing the ÁÍÊÉ key. Check the position of the
anchor . If the anchor is in the piano voice, drag it into the vocal line.
16 capella-scan 7

The first quaver chord was double dotted. Select the notes and select single
dotted in the Property palette. The red line at the end of the bar will disap-
pear because the bar is now correctly filled. In the next bar delete the large
"I" over the minim chord. Change the next quaver chord into a semiquaver
chord.

Correct the remaining text recognition errors or continue with the next step in this lesson.

Stave identification
Before exporting the score to capella, capella-scan must determine which maximum set of instruments appears
within the score. For this purpose a template system is created. The dark red number at the beginning of each
stave indicates to which stave in the template system the recognized stave is assigned.
Staves with voice or instrument names can be identified easily. For staves without names different criteria can be
used such as the stave's bracket, brace or clef. You can specify, which criteria to use, in menu EDIT → TEMPLATE
SYSTEM. Now select the following options in the template system dialogue:
CREATE AUTOMATICALLY
FROM? → ALL STAVES
WHEN? → CONTINUALLY DURING MUSIC EDITING
STAVE IDENTIFICATION CRITERIA. → BRACKET { [
STAVE IDENTIFICATION CRITERIA. → STAVE DESCRIPTION
After clicking OK you see, that the piano voice has received the numbers 3 and 4 in the first system while it is 6
and 7 in the second system. This means that capella-scan has wrongly assigned the piano voice to different
voices of the template system. The reason is, that the brace in front of the first system has not been recognized
and by activating the bracket criteria we have just told capella-scan not to combine voices with different bracket
settings.
Below numbers 6 and 7 you see a blue information symbol . This symbol appears wherever a new voice has
been created for the template system. Click on the symbol. A message window opens with an explanation why
the stave does not fit to the previous system and why, as a consequence, the template system had to be exten-
ded.
Close the message window. Select the second stave (piano right hand) by clicking in front of the stave. Click
on the Property bar and select the brace continuing downwards . Now the piano voice has been alloc-
ated the same numbers (5 and 6) in all systems.
In the second system the text "S." meaning Susanna has been interpreted as "Soprano". Select the stave by click-
ing in front of the stave. Click into in the Property bar and type in "S.".

Exporting to capella
From menu FILE → SAVE NOTATION save the file as marcia.cap and have a look at the result in capella.
You may wish to reduce the stave size in the capella template system to make more space for lyrics or text. The
cursive Italian lyrics will appear non-cursive in capella because capella requires that all lines of lyrics are of a uni-
form font and size.
If you did not correct text errors in capella-scan they will obviously be present in capella. It is particularly import-
ant that you separate all lyric syllables correctly in capella-scan as they will need to be correctly placed in capella.
You will notice that the quality of text in this example is rather poor, and therefore error free text recognition has
not been possible. You can expect better results from most printed scores. In this case however, you could im-
prove recognition by increasing scanner resolution (page 24) and by changing the settings for recognition lan-
guages (page 69).
 Lesson 4: Analyse Rhythm, Polyphony 17

Lesson 4: Analyse Rhythm, Polyphony

In Lesson 4 a rhythmically complex score is used to demonstrate problems which can occur in the course of
rhythmic analysis with multiple voices.
Start lesson 4 by clicking on HELP → TUTORIAL → LESSON 4. The image arabeske.bmp from the Examples folder will
be loaded. Do not instruct capella-scan to recognize it, as the results would not exactly match up with the lesson
due to the much improved capabilities of this version of capella-scan.
The example shows the last section of the Schumann piano piece Arabeske.

First stave, beginning

Firstly, consider the multicoloured result of the recognition. All notes of the
cross stave beaming belong to a single stave, as is required in capella. In our
case they belong to the upper stave, which is indicated by the dark red lines
leading up to the treble stave. The treble stave has three voices in total, rep-
resented by the colours dark yellow, pale lilac and pale red. The bass stave
has two voices, represented by dark yellow and pale red.

The rhythmic analysis has made correct decisions, even for the dotted note with two stems (indicating that it be-
longs to two voices). Click on the first downward pointing stem in the bass stave and right mouse click to view
the Property palette. You will see that the stem is dotted. Now click on the upward pointing stem and right
mouse click to look at the palette. The stem is not dotted. If you select the note head you will see that this is also
dotted, but this is not relevant in this case. The stems carry the relevant information for rhythmic recognition.

First line of music, end of stave

In the lower stave the red barline indicates that the bar is overfilled. The last quaver note
was recognized as a crotchet. Select the stem and press ÁÍ8É. The red barline does not disap-
pear immediately because a further error is present. The minim note was dotted. Select
the note stem and in the Property palette, click on the symbol for no dotting, or press the
ÁÍ0É key.

Second line of music, beginning of stave

An incorrect tenuto sign has been identified above the minim. Select it and delete it.

The long slur, which stretches across the entire stave, should be more curved. Select it, and drag the small grey
boxes that appear at either end until you get a curve that avoids other objects and looks more pleasing. If you
want the curve to be symmetrical hold down the ÁÍAÍlÍtÉ key while dragging one of the small boxes.

Second line of music, second bar

The pale red background block of the crotchet in the second voice is
longer than the two beamed quavers of the first voice. This is due to
the crotchet not being recognized as a triplet, whereas the equivalent
pair of quavers in the voice above was. A triplet bracket affects the
notes between the anchors within a voice. Select the crotchet and from
the Property palette select menu 1 REGULAR and chose triplet. The bar
now looks like this:
18 capella-scan 7

Since the crotchet rest is missing, the remaining three notes in the bar
can only be interpreted in succession. Insert the crotchet rest and
everything is fine.

Finally get a crescendo sign from the palette. Move the left (closed) end into position and then press and
hold the mouse button, drag the right end into position and release the mouse button. Finally, while the cres-
cendo is still selected (pink), press the ÁÍ+É key sufficient times to arrive at the correct opening angle. The ÁÍ–É key
reduces the angle.

Third line of music, first bar, above

A tenuto sign has been wrongly recognized. Delete it.

Third line of music, second last bar

Instead of two minims a natural sign was recognized. Delete the natural sign and get
a minim with the stem down from the Object palette. Drag the note into one of the
positions. Right mouse click to attach another minim to the mouse pointer and drag
this to the other position.

The cross stave beamed group was allocated to the lower stave, since there would have been insufficient notes
to fill the bar otherwise. The solution chosen by capella-scan worked given the missing minims. To move the
cross stave group to the upper stave where they belong (as you can see from looking at the other bars) select
one of the stems which are in the upper stave and click on in the Property palette. Now the entire beamed
group is assigned to the second voice of this stave.
Repeat this operation in the following bar where the same recognition error is present.

Last line of music, second bar

The beam is not continuous. First delete the small line (a slur) that was recog-
nized within the area of the missing beam. Select the crotchet and change it to a
quaver. Finally click on in the Property bar in order to connect the stem to
the main beam.

The acciaccatura was recognized as a normal note and included in the beamed group as
a quaver. Select the stem of this note and select in menu of the Property
bar. Pull down the upper end of the stem slightly and delete the dotting.
Delete the short line in the hand-written text area of the score.
Finally, add the missing piano and forte symbols, and change the small note in the
lower stave to an acciaccatura .
 Lesson 4: Analyse Rhythm, Polyphony 19

Looking at the results in capella

Save the result as a capella file. Use the capella 2000 or capXML format – otherwise the cross stave beaming can-
not be saved.

Look at the result in capella. Essentially everything should be correct. With the cross stave beams you may need
to adjust stem lengths and the beam slope.
The acciaccatura note in the second last full bar, was integrated into the beam by capella, because in capella an
acciaccatura cannot appear within a beam group with flags. It must be in another voice. In this example you can
copy the acciaccatura into the voice with the crotchet rest.
At the beginning of the last stave two notes have been given a # by capella as they are both sharpened. This is
unnecessary, therefore in capella you can select the minim and make the # invisible.
If the ties are shown as slurs or vice versa it is easier to correct in capella-scan, see page 47. In order to control all
slurs systematically you can highlight them in capella-scan, see page 37.

Lesson 5: Assign Voices, Template System

Lesson 5 explains how capella-scan generates a template system from a comprehensive score and how the user
can control the assignment of individual staves to the template system.
Select menu HELP → TUTORIAL → LESSON 5 to open the sample score zauberfl.tif which shows a well-defined level of
recognition. Do not start recognition to prevent the result from conflicting with this tutorial.
The Example shows the first five pages of the orchestra score of Mozart’s Za-
uberflöte. The mini-preview shows all five pages side by side. The red square in-
dicates the currently displayed detail. If you want to display a different section,
just click on the relevant spot in the mini-preview or click the red square on its border and drag it to where you
want it to be. If instead of clicking the border of the red square, you click in its centre, you can move that entire
page to a new location in the score.
20 capella-scan 7

Overall view
Select menu VIEW → VIEW FULL PAGE HEIGHT to get an overall view of the first page of the sample scan. It contains a
large system made up of twelve staves. Drag your vertical scrollbar down to slowly display the following pages.
The second page also contains only one large system, while the third page contains only two systems, each made
up of two staves. At this point in the score, all other voices rest and have been left off the score to save space.
This presents capella-scan with the problem to decide to which voices the two staves belong.

Classification Criteria
capella-scan evaluates each system to see whether the staves belong to the previous system. Various criteria are
used in this assessment, like keys, brackets, and voice names found in the scan. If a particular stave cannot be as-
signed to a prior system, a new voice will be generated. The totality of all voices in a score generates the tem-
plate system in the same way as capella does it.
The dark red numbers and descriptions at the beginning of each stave indicate the classifications of the staves.
By way of trial you should now deactivate all criteria for stave classification at menu EDIT → TEMPLATE SYSTEM → STAVE
IDENTIFICATION CRITERIA. Classification of voices now follows only the sequence of the staves. Each system begins with
voice ”1 Flauto” followed by ”2 Oboe” etc. The numbers indicate the position in the template system.
Now select menu VIEW → VIEW FULL PAGE WIDTH and scroll to the end of page three. Alternatively you may click on
this position in the mini-preview. As in the two previous systems, you find that ”Flauto” and ”Oboe” have been
assigned to the two staves, although ”Violin” should have been selected. Select menu EDIT → TEMPLATE SYSTEM and
set the criteria ”bracket” and ”staff description” to correctly assign violins to the two staves.

Abbreviation List
The violin voices at the end of page three are labelled ”VI” while the system on page one shows the full descrip-
tion of ”Violino”. How does capella-scan know, that both descriptions refer to the same instrument? The answer
can be found in the instrument database. Select menu EDIT → TEMPLATE SYSTEM → INSTRUMENT DATABASE. On the right
hand side of the dialogue you see a long list of instrument names and their abbreviations in many languages. You
may edit this list or add new entries to meet your personal requirements. For now please close the dialogues and
return to the score.

Correction of Classification Errors

When correcting classification errors, you should always start at the beginning of the score and work your way
through to the end. This way some errors further down the score might be corrected automatically.
Scroll to the beginning of the score. Step through the score stave by stave and compare capella-scan’s red voice
classifications with those on your original copy. In case the red descriptions cover up too much of the scan, you
can either zoom in or with your mouse drag the red descriptions aside.
On page one, all classifications are correct.
At the bottom of page two, the last two voices are labelled with a blue in-
formation symbol. Click the symbol next to ”Via”. A detailed description ap-
pears in a message box. You see a list of all previously recognized voices and
an indication why the current ”Via”-voice would not match. Next to the
voice ”Viola” you see ”description” as a non-match.
The explanation is quite simple: capella-scan’s text recognition engine has identified the lower case ”L” in ”Vla”
as ”i” and ”Via” is not a common abbreviation for Viola. Double-click the text ”Via” and correct the spelling to
”Vla” and touch the enter key. The voice can now be correctly classified.
On the following stave, ”Vc” has been recognized as ”Ve”. You might have to move the red text to see the under-
lying text. Correct ”Ve” to ”Vc”.
On page three, stave three of the first system, the abbreviation for ”Fagott” was incorrectly identified. You could
correct this error in the same way as the two previous errors, but there is an easier way: Select the stave by click-
ing in the open area to the left of the stave. The stave turns pink and the property toolbar shows this drop-down
list:
 Lesson 5: Assign Voices, Template System 21

Open the list and select ”Fagott”. The red voice description is now underlined, indicating
that you have assigned this description explicitly. This assignment overrules all other criter-
ia, like the wrongly recognized ”Faff”.
Now also correct the two voices at the end of the system (Viola and Cello).
Correct the errors on page four, first system.
On page four, second system, the Fagott has been recognized as Fagott, and yet
a new voice has been assigned (No 1)! Why? Click the information symbol to
find the answer: For the previous Fagott (No 6) ”square brackets” are indicated
as non-matching recognition criterion. In the current Fagott voice the square
brackets haven't been recognized and we have just told capella-scan not to ig-
nore square brackets by activating this criterion under EDIT → TEMPLATE SYSTEM.
Select the stave. In stave properties you can now set square brackets. Alternatively you can explicitly select Fag-
ott from the drop-down list in the property toolbar. In this case, the setting of brackets is irrelevant.
Now proceed to correct all other voice classifications in the same way. Once all blue information symbols have
been eliminated in this way, you should be left with 12 voices in the template system. You can verify this number
in menu edit → template system. This option will also indicate at the bottom of each tab on which page and in
which system voices have been generated. In case of a wrongly generated voice you have to check for recogni-
tion errors at this specific position in the score. The blue information symbols in the score serve as eye-catcher
and source of information.

Transposing Instruments
Finally, we want to explain capella-scan’s handling of transposing instruments. Scroll to the beginning of the
score. You will see that the clarinets have the addition ”in B”. This means, that a B flat should sound when a C is
noted. If you now select this stave, you will find in the stave properties, that capella-scan has correctly recog-
nized this addition and has accordingly adjusted the transposition. Similar adjustments have been made for the
horns (Corni) and the trumpets (Trombe). Because of this transposition, the keys shift and both these instru-
ments do not require accidentals.
If you now play back your recognized scan, you may find it still sounds rather odd, the reason being the kettle-
drums (Timpani). The description for this instrument is given as ”Timpani in Es – B”. In this case it does not
mean, that these instruments must be transposed but rather that two drums are required with E flat and B flat
tuning respectively. The fact that no accidentals have been set for the kettle drums is incorrect and appears to be
an oversight of the original notation editor. For kettle drums the tone E should always be E flat. You therefore
need to add the accidentals at the beginning of the kettle drum voice, i.e. 3 flats for E flat major. (In this case also
another trick would help. In the stave properties you could select a transposition of a semitone downward, that
is "B basso".)

Lesson 6: Improve Recognition

Lesson 6 explains how to optimize capella-scan’s recognition results via grey-scale settings.
Select menu HELP → TUTORIAL → LESSON 6 to open the sample score scans.tif. This sample file contains a collec-
tion of four individual cuttings and segments that are not related to each other. The actual notation is irrelevant
for this exercise. We are only concerned with the quality of the original and how to get capella-scan to extract
the optimum recognition level.

Page 1, Magic Flute (Zauberflöte)

The first page of Mozart’s Magic Flute score is shown. This example originates from a pocket score from the
1920s. The page was scanned using grey-scale mode. In grey-scale view the yellowing of the paper is clearly vis-
ible as well as several pencil marks.
Select menu VIEW → SHOW BLACK AND WHITE or click the relevant icons on the grey-scale toolbar. All grey
parts above a certain threshold are turned white, while those below the threshold are turned black.
22 capella-scan 7

You can set the threshold with the brightness slider. Practice with this slider, to see
how the black and white picture changes. Lines change from thicker to thinner and
notes and symbols melt into thick black blobs or fade out completely.
Important: Only the black and white image is used for recognition. To achieve a high level of recognition it is therefore vitally import-
ant to maximise the clarity of the black and white image.

So, why do we need a greyscale image? If you scan in black and white mode, you need to set all brightness para -
meters in the scan dialogue and changes to these settings only take effect with a new scan. Using grey-scale
scans, you need to scan only once and then optimize the result with the brightness and contrast settings in
capella-scan.

Optimising the Black and White Image

To optimize the black and white image you can use two sliders.
The brightness slider influences the absolute brightness.

The contrast slider assess the relative brightness in relationship to the surrounding
area. This facilitates strengthening of faded lines.
Following here, we demonstrate these two sliders:
Important: Whenever you work with the brightness and contrast settings, you must select black and white view to see the results. It is
also recommended that you select 100% zoom factor.

Set the contrast slider to 0. Only the absolute brightness will now be considered. Looking at the thickness of the
note stems, a brightness setting of 120 will give you a good result. With this setting however, the stave lines in
the third stave are broken. At a setting of about 140 these lines are unbroken but note stems and flags are get-
ting very thick.
Set the brightness back to 100 and slowly increase the contrast. More and more stave lines will appear without
causing the note stems to thicken. At a contrast setting of about 230 the score will be covered with lots of black
speckles. These are a result of the paper’s own structure which was visible in the previous grey-scan display.
The optimum setting for our example would be brightness at 100 and contrast at 190. You may want to try differ-
ent settings and each time start the recognition process to see the effect of these settings. But please restrict the
recognition to this first page only by right-clicking this page on the mini-preview and selecting SELECTED PAGE(S) →
RECOGNIZE. Otherwise the recognition runs across all pages which we haven't optimized yet. You can clear the re-
cognition result by selecting the menu RECOGNIZE → DELETE RECOGNITION OF SELECTED PAGES.

Page 2
Scroll down until the second page is displayed. As the blue frame around page one jumps to
page two in the mini-preview the second page is marked as selected and the brightness
and contrast sliders will now have a bearing on this page only.
Tip: When you do a multi-page scan of similar origin, it is usually sufficient, to optimize the brightness and the
contrast for the first page only. The slider settings can then be applied to the other pages by right-clicking one of
the two sliders and selecting the appropriate command. For our example this is not applicable as the four pages
are from vastly differing source material.
On page two you find a small score that is covered in black speckles and spots when you select black and white
view. Whenever you get this sort of result, you need to check whether the contrast slider might have been set
too high. As you move this slider to the left, the speckles will gradually disappear without negatively influencing
the overall image. In this example you can even set this slider to 0.

Page 3, Beethoven Symphony No 5

Scroll down to page three. This page has not been scanned but was photographed with a digital camera. As a res-
ult, the image is distorted and shows uneven brightness.
Look at the bottom left corner of this image. In grey-scale view you can see the very dark paper while in black
and white view the paper is entirely black in this area. Moving the brightness slider to the left will reveal the
notes in this area, but the notes in the centre of the page fade out to be unrecognisable.
 Lesson 6: Improve Recognition 23

Change back to grey-scale view and select menu PAGE → REMOVE SHADOWS. This will even out the background bright-
ness of the image.
Now switch back to black and white view and try several brightness settings. You will find that the optimum res-
ult is achieved with a setting of 150. If you increase this value further, speckles will start to appear on the image.
With this example, the contrast slider is of minor relevance. It should however remain below 160 to prevent the
paper grain from showing.
Right-click page three in the mini-preview and select SELECTED PAGE(S) → RECOGNIZE.
The key and time signatures in the top left section of the score were not recognized correctly due to lack of con-
trast in the original image. Distorted stave lines and barlines have however been correctly recognized.

Page 4, "O komm, Emanuel"

Scroll to page four. This page has also been photographed. Again select menu PAGE → REMOVE SHADOWS to even out
the background brightness. Please take care that this page is selected, which would be indicated by the blue
frame in the mini-preview. If not, click on this page in the mini-preview.
Switch to black and white view and try different brightness settings. This image appears difficult to recognize be-
cause its note heads are only partially filled and covered with white speckles. These notes are either not recog-
nized at all or are seen as half notes. To see this inadequate result you can run a trial recognition by right-clicking
the page in the mini-preview. Select menu RECOGNIZE → DELETE RECOGNITION OF SELECTED PAGES to return to the original
view of the image.
Now select menu PAGE → SPECKLE SIZE → 2 PIXEL and then menu PAGE → REMOVE WHITE SPECKLES. Watch the note heads in
the centre of the second stave. They are now evenly filled with black. Select menu EDIT → UNDO to return to the
original image. Set the speckle size to 3 pixel and again watch the image. You will find that many characters and
the B at the beginning of each stave are now filled with black. Again, undo this step and try 1 pixel and see what
happens. The optimum size of pixel depends on the resolution of the scan and on the type of speckles en-
countered and usually requires some trial and error exercise. For our sample file, the best setting was at 2 pixel.
Apply this setting and remove the speckles.
Set the brightness to 160 to make sure that the note heads in the centre of the second stave are filled. Set con-
trast to 0 to avoid a dark background at the bottom right corner.
24 capella-scan 7

Reference
Scanning and Recognition
Scanning
➔ How to start scanning

• Select FILE → SCAN... or ÁÍCÍtÍrÍlÉ+ÁÍNÉ to start the TWAIN interface. The TWAIN interface controls the scan-
ner settings and the actual scanning. If you do not know how to change settings such as dots per inch etc.
you will find information in your scanner manual. If you have more than one scanner attached, select one
in the scanning options, see page 68.
If you want to scan several pages, these will be added to the current score window. See also multipage scores,
page 65.

• If you want to start with a new score, select menu FILE → SCAN INTO NEW WINDOW or ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍNÉ.

Colour format
capella-scan requires Black and White or 256 step Greyscale images, see page 27. The Black and White setting is
called Line Art or Text on some scanners. Do not use any Dithering or Half Tone mode. These modes emulate
greyscales by a mixture of black and white pixels. This is not at all suitable for recognition purposes. capella-scan
tries to tell the TWAIN interface to offer only suitable settings but not all TWAIN drivers will follow the restric-
tions.

Correct Correct Wrong!

Black & White Grey scale Half tone
Line art Grey, Grey values Fax copies
Text Black & white photo Dithering
In principle, capella-scan also accepts colour scans, but they have no advantage, as they would be converted to
greyscale anyway.

Resolution
The resolution in terms of dpi set on the scanner should be 300 for normal size staves and possibly 400 dpi for
miniature size scores, especially when cue notes and text must be recognized. The maxim ”the higher the resolu-
tion the better the result” does not necessarily apply here. You may find a lower dpi sometimes helps, and a res-
olution much above 300 dpi will overload the program with too much detail. capella-scan works best when a
scanned stave‘s height is between 40 and 60 pixels, which usually equates to 300 dpi.

Brightness
Select a brightness setting to achieve a stave line weight of one to two pixels with a minimum of breaks along the
lines. If you are having trouble with a score because of too many breaks along the stave lines, you can scan in as
greyscale and use the greyscale slider to darken (thicken) the lines. See page 27.
 Scanning and Recognition 25

Too bright Optimal Too dark

The stave lines are Score elements
broken too often. are blending.

Loading an Image
➔ How to load an image which has already been scanned

• Select FILE → OPEN IMAGE... or ÁÍCÍtÍrÍlÉ+ÁÍOÉ to load an image of a score that you scanned and saved earlier.
You may also select several files and open them together.
capella-scan can open the following file formats: BMP, GIF, JBG, JPEG, PDF, PNG, PCX, PGX, PNM, RAS, RAW
(some), SKA, TIFF (also multiple pages), TGA, WBMP, WMF/EMF. Coloured graphics are automatically converted
into greyscale.
For multi page images (TIFF and PDF) you may choose to open all or only certain pages.
In general PDF files can contain two different types of graphics: vector and pixel graphics. Pixel graphics originate
from scanned sheets of music whereas vector graphics are created by music notation software.
capella-scan can read pixel graphics directly from PDF files. No re-sampling is necessary and the image quality is
fully preserved. Please ensure the option SEARCH PDF FILES FOR EMBEDDED BITMAPS is selected in the file open dialogue.
If this option is not selected or if only vector graphics are contained in the PDF file, then capella-scan automatic-
ally calls the program Ghostscript, in order to convert the PDF file into pixel graphics. In this case the resolution
you have specified in the file open dialogue applies. We recommend a resolution of approximately 300 dpi. The
converted files are stored in the memo folder (see page 69) and are deleted as soon as they are no more needed.
Ghostscript is not contained in the package of capella-scan. However Ghostscript is available for free on the inter-
net and can be downloaded and installed.
➔ How to install Ghostscript

1. Download the file gs???w32.exe. The question marks represent the current version number. Thus the
complete file name reads e.g. gs864w32.exe. You can use any version with capella-scan. Die file can be
found at one of the following addresses:
http://mirror.cs.wisc.edu/pub/mirrors/ghost/GPL/current/
http://sourceforge.net/project/showfiles.php?group_id=1897&package_id=108733
In case these addresses are out of date please have a look at http://www.ghostscript.com/ .
2. Start the file gs???w32.exe and follow the instructions of the installation wizard.

Saving an Image
➔ How to save a scanned image

1. Select FILE → SAVE IMAGE AS... or ÁÍCÍtÍrÍlÉ+ÁÍBÉ and select folder and file name where you want to save the
scanned image file.
2. If you have loaded or scanned a greyscale image you can select under COLOUR FORMAT, whether you want to
save a black-and-white or a greyscale image.
3. Under FILE TYPE you can select the image format to save under. capella-scan can save in the following file
formats: BMP, GIF, JPEG (greyscale only), PDF, PNG, TIFF.
Multi-page scores can be saved completely in one TIFF file. With all other formats, you have to create a separate
file for each page. capella-scan will do this automatically, if you select one of these formats. If for example, you
want to save a 3-page score with the name score.bmp, capella-scan will create three individual files: score.b-
26 capella-scan 7

mp; score_§001.bmp; score_§002.bmp. When you want to open the score later on, you only need to open
file score.bmp. capella-scan will automatically load the additional pages as well.
If you only want to save individual pages of a multi-page score, you need to copy these into their own window
and then save them there. See also page 65.
The recommended format however, is TIFF, since these files are compressed without loss of quality. (For power
users: capella-scan uses ZLib deflate compression for greyscale files and CCITT group 4 for black-and-white files.)
The ever-popular JPEG format is less suitable for text and music recognition since JPEG compression results in
loss of quality. JPEG turns sharp edges into fuzzy transitions and thereby hampers the recognition. In addition
only greyscale files can be saved in JPEG format and not black-and-white files.
The resolution for the saved image files can be specified in the page settings, see page 66. For PDF files you can
additionally select paper format and margins and the alignment of the image within the page.

Inserting an Image
➔ How to paste an image from the clipboard

• Use menu EDIT → PASTE IMAGE FROM CLIPBOARD or ÁÍCÍtÍrÍlÉ+ÁÍJÉ to insert images of scores that have previously
been saved to the clipboard from other Windows applications.

• The command EDIT → PASTE IMAGE INTO NEW WINDOW is similar but creates a new document window in
capella-scan instead of a new page in the current window.
You can also copy notation displayed in other applications straight off the screen by pressing ÁÍPÍrÍiÍnÍtÉ. This will
copy the image to the clipboard. But keep in mind that these notation images might be too small for proper re-
cognition, since they are transferred at the relatively low screen resolution of 96 dpi.

Inverting, Rotating and Mirroring Images

The following operations affect all selected pages, see page 65.
➔ How to invert a page

• Use PAGE → INVERT or ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ5É to invert an image where the background is black and the notes are
white. capella-scan requires normal black notes on a white background.

➔ How to rotate a page

• Use PAGE → 180° ROTATE, 90° LEFT and 90° RIGHT or ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ6É, +ÁÍFÍ7É and +ÁÍFÍ8É to rotate the im-
ages to display in the proper left to right format. capella-scan requires normal left to right staves.

➔ How to mirror a page

• Use PAGE → MIRROR VERTICALLY und PAGE → MIRROR HORIZONTALLY or ÁÍCÍtÍrÍlÉ+ÁÍFÍ7É and +ÁÍFÍ8É if rotation alone
does not place the image into the correct left to right format

➔ How to reduce resolution

• Use PAGE → REDUCE RESOLUTION if you are loading images scanned elsewhere at resolutions above 300 dpi. You
can reduce the dpi of any imported image down to a fifth of its original scanned rate. If you are scanning
the score yourself you should set your scanner to 300 dpi and this step will not be necessary. Note that
300 dpi is the optimum resolution producing the best results in recognition.

Recognition Area and Clipping

You can restrict the recognition to a certain area of the scanned image.
➔ How to set the recognition area

1. Select RECOGNIZE → LIMIT RECOGNITION AREA, or press ÁÍCÍtÍrÍlÉ+ÁÍEÉ.

2. The mouse-pointer changes shape. You can now set the upper, lower, left and right borders to where you
want them to be. Either drag them into position with the mouse or click on the position, where they
 Scanning and Recognition 27

should be. The border nearest to the mouse-pointer will react accordingly. All areas outside the selected
recognition area will be shaded.
3. To exit this function, select again the menu command or press ÁÍEÍsÍcÉ.
➔ How to transfer the recognition area to other pages

This function is intended to exclude certain page areas from all pages of a score, e.g. the header line of all pages
of a PDF file.
• Use the appropriate commands from menu RECOGNIZE → COPY RECOGNITION LIMITS or from the context menu that
opens up when you right-click the page during limit setting.
➔ How to release recognition limits

• Select RECOGNIZE → CANCEL LIMITATION or press ÁÍCÍtÍrÍlÉ+ÁÍXÉ. The recognition area will be extended to the
whole page and the shading of the outer area will disappear.
➔ How to cut off margins

You can clip marginal areas of the image which don't contain any music in order to save disk and memory space.

• Use the command RECOGNIZE → LIMIT RECOGNITION AREA in order to mark the areas to be clipped. Then se-
lect RECOGNIZE → REMOVE SHADED AREA or press ÁÍCÍtÍrÍlÉ+ÁÍDÍeÍlÉ to remove the shaded area.

➔ How to cut a page into half

• Use the commands PAGE → CUT VERTICALLY and PAGE → CUT HORIZONTALLY or ÁÍCÍtÍrÍlÉ+ÁÍFÍ1Í1É and +ÁÍFÍ1Í2É to cut
a page into two separate pages. This might be useful in special situations. However, if you have scanned a
double page into a single image, this would be no problem for capella-scan, see page 33.

➔ How to erase areas

• Select PAGE → ERASE or ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ3É to erase areas by dragging a rectangle over it. Press ÁÍEÍsÍcÉ to exit
erase mode.

Greyscale Images
capella-scan needs a black and white image for recognition. When you scan or load a greyscale image capella-
scan will automatically create a black and white version. The advantage of starting with greyscale is that you can
optimize the brightness and contrast values even after scanning. This can often improve recognition of a poorly
recognized black and white image.
➔ How to toggle between greyscale and black and white view

• By selecting VIEW → SHOW GREYSCALE / BLACK AND WHITE or pressing ÁÍFÍ2É you can switch between the
two display modes (provided that you have started with a greyscale image). See also page 68.
During conversion of greyscale into black and white images, all greyscale values darker than a certain threshold
will become black and lighter values will become white.
➔ How to change the brightness

• Use the brightness slider to set the threshold value up to which capella-scan
interprets dark greyscale value as black. Switch into black & white view to see the effect of changes.
Keyboard shortcuts: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍFÍ7É and +ÁÍFÍ8É.
28 capella-scan 7

Original greyscales Black & white images created with different brightness levels

too bright too dark optimal

Stave lines are Score elements bleed
broken too often into each other.
➔ How to change the contrast

• With the contrast slider weak lines can be strengthened.

Keyboard shortcuts: ÁÍCÍtÍrÍlÉ+ÁÍAÍlÍtÉ+ÁÍFÍ7É und +ÁÍFÍ8É.

Original greyscales Black & white images created with different contrast levels

without contrast, bright without contrast, dark optimal

The stems almost The stems are clear but
disappear the beams are too thick
➔ How to copy brightness and contrast levels to other pages

Brightness and contrast changes only apply to the currently selected page. If you have many pages with the same
density levels, you optimize the settings on the first page and then transfer them to the other pages.
• The appropriate commands are found under PAGE → BRIGHTNESS AND CONTRAST.
• Alternatively, right click one of the sliders and select the commands from the context menu.
When Saving the picture you can choose whether the greyscale or black & white picture is to be saved.
To save memory space, you can close the greyscale images as soon as you have found the optimal brightness and
contrast values. Use menu FILE → CLOSE GREYSCALE IMAGE or ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ4É.

Remove Shadows
Use menu PAGE → REMOVE SHADOWS or ÁÍCÍtÍrÍlÉ+ÁÍFÍ1Í1É to even out background brightness on all selected pages
(see page 65). This is most often an issue with images from digital cameras. The function is available only
on greyscale images, see page 27.

Original After removing shadows

Remove Speckles
Poor quality photocopies often show white speckles on black areas. Use menu PAGE → REMOVE WHITE
SPECKLES or ÁÍCÍtÍrÍlÉ+ÁÍFÍ2É to solve this problem. For best results, you need to enter an approximate speckle
size. A value of 2 or 3 pixel is usually sufficient.
 Scanning and Recognition 29

Original Speckle removed, size 2 Speckle removed, size 3

In the second and third picture, the white speckles have been replaced with different grey values. Select a suit-
able greyscale threshold when converting such an image to black-and-white, to change these grey areas to solid
black.
Please note, that in the third picture the lower half of the first flat has been filled as well. This will hamper cor-
rect recognition. Only trial and error will ultimately give you the best acceptable result for your particular prob-
lem image. Use undo to revert to the original image, see page 38.
This function is available only on greyscale images, see page 27.

Starting the Recognition

Recognition is started with ÁÍFÍ5É or from menu RECOGNIZE → START RECOGNITION. For multi-page scores, the recog-
nition includes all pages that are either selected or have not yet been recognized.
In order to let only a single page be recognized, right-click the page in the mini-preview (see page 65) and select
the command RECOGNIZE from the context menu.
At menu RECOGNIZE → RECOGNITION OPTIONS (see page 68) you can choose between different types of recognition.
30 capella-scan 7

Which Features are Recognized?

Fast Extended Manual
Recognition Recognition Additions
Staves and systems including braces and brackets × × ×
Single-line percussion staves ×
1)
Notes, flags and beams (even cross stave beaming ) × × ×
Single and double dotting × × ×
Tremolo bars ×
Appoggiaturas, cue notes, grace notes × ×
Cross heads × ×
Other special heads (diamonds, triangles, ...) ×
Rests × × ×
Multi bar rests, repeat signs for bars and note groups × ×
Flats and sharps, key signatures × × ×
Double sharp, parenthesis around accidentals × ×
Double flats, quarter tone accidentals ×
Treble, alto, tenor and bass clef × × ×
Percussion clef, octave signs on clefs × ×
Other clefs ×
Time signatures, alla breve symbols × × ×
Barline, repeat signs × × ×
Dashed barlines ×
Triple brackets, repeat box brackets (first and second ending) × ×
Triplet note values ×2) ×
Ties and slurs × ×
Dashed slurs ×
crescendo and decrescendo × ×
2)
Dynamic symbols × ×
Segno and coda (navigation markers) × ×
Tenuto, staccato, normal and strong accent × ×
Other articulation marks ×
Down bow and up bow sign × ×
3)
Arpeggio, pedal beginning and end × ×
Other performance marks ×
Trills and ornaments ×
Guitar chord diagrams × ×
2)
Text (voice descriptions, bar numbers, rehearsal letters, metro- × ×
nome marks, chord descriptions, lyrics, fingerings, other text)
Text in Gothic font ×2) ×
1)
Stems with heads in two different staves cannot be processed
2)
With text recognition turned on
3)
The pedal end sign must be in the same stave as the pedal beginning
Poor original score quality and unusual font and symbol styles in type setting can lead to recognition errors which
should be corrected directly in capella-scan in order to avoid consecutive errors. Tracking down of errors is as-
 Scanning and Recognition 31

sisted by the coloured display (page 31) of recognized notes and the option to instantly play back the recognized
score (page 33). Powerful editing tools (page 34) let you finish your corrections in no time.
You can set recognition to run as a background operation, see page 68. This will allow you to start checking and
possibly editing the first page as soon as it is recognized, while the other pages are still being processed.
While recognition proceeds, a small window displays a progress bar with status messages. You may cancel the re-
cognition process at any time. Click on to enlarge the window and gain access to the most important recogni-
tion options.
With ÁÍAÍlÍtÉ+ÁÍDÍeÍlÉ or from menu RECOGNIZE, you can delete the recognized objects on the selected pages and
start over. This is useful for example if you try different settings of the greyscale sliders and want to control
the line weight in the image. If you simply intend to change recognition settings then you do not need to remove
the recognized objects, as they are automatically removed when recognition re-starts.

Use of Colour in capella-scan

The recognized objects are displayed in colour directly on top of the black image of the score. Any missed notes
therefore stand out.
If you want to view details of the scanned image which are covered by the recognized notes, you can put
the original image temporarily back on top by selecting menu VIEW → SHOW OBJECTS BEHIND THE IMAGE or pressing
ÁÍFÍ1Í2É. See also page 68.

Behind the note heads you can see coloured rectangles. The colour indicates which voice the note belongs
to and the width of the rectangle indicates the duration of the note, see page 32. To toggle this view on and
off select VIEW → SHOW VOICES or press ÁÍFÍ1Í1É. See also page 68.

Colours of scanned image:

white background, "paper"
black notes

Colours of recognized objects:

bright green recognized objects
dark green invalid objects
pink selected objects
violet selected invalid objects
red search results
grey notes and rests of surplus voices
Invalid objects are objects that are recognized as being valid music objects but cannot be fitted into the score. Ex-
amples include accidentals that cannot be assigned to a note head or a key signature, stems without heads and
heads without stems (except semibreves). These objects and surplus voices are not saved.

Colours of voices and rhythmic analysis blocks:

Recognized notes are given a coloured rectangular background. The colour identifies the voice and the width of
the rectangle indicates the duration.
dark yellow 1st voice
pale red 2nd voice
pale lilac 3rd voice
pale blue 4th voice
light grey surplus voice

Lyrics also have coloured bar backgrounds indicating which voice they belong to.
Incorrect filling of a bar causes a coloured barline at the end of the bar. If the bar is incomplete capella-scan com-
pares it to the other voices (if they exist) and tries to figure out where the ”rhythmic hole” is.
bright yellow The bar is incomplete or there is a ”rhythmic hole”.
red The bar is overfilled.
32 capella-scan 7

Other colours:
dark red Position number of the stave in the Template System and anchors
petrol Background behind score page
dotted Object being inserted or moved
You can change these standard colours, see page 71. In order to assign different colours to certain classes of ob-
jects, see page 37.

Rhythmic Analysis and Multiple Voices

In capella-scan recognized notes are assigned a coloured rectangle. The colour identifies the voice within the
stave that the note belongs to, and the width of the block identifies the duration of the note in the rhythmic con-
text. capella-scan can handle up to four voices per stave. Note the difference between chords and voices. You
can have up to 15 note heads in a chord and the whole chord exists in a single voice.
In the stave properties you can limit the number of voices, see page 57. Notes in surplus voices are grey with
light grey backgrounds. This is also the case where notes cannot be accommodated in a voice. An example would
be where notes cannot be inserted because a whole bar rest has been recognized.
When more notes are recognized than the time
signature allows, then the notes are accepted but
a red barline is displayed at the end of the bar.
The cause is usually wrongly recognized notes or,
as in the illustration, a missed triplet which must
be corrected manually.

When there are too few notes in a bar, capella-

scan will try to figure out where the notes are
missing by comparing the bar with adjacent bars
in other staves. These positions will be marked
with yellow rectangles and filled with (invisible)
rests in capella. If no missing rests or notes can
be identified, the bar is marked with a yellow bar-
line at the end. This does not necessarily imply an
error if the bar is for example an anacrusis. In this
case the yellow barline can be safely ignored.

➔ How to correct a wrongly recognized rhythm

• Delete wrongly recognized notes or rests, see page 38.

• Insert notes and rests missed by the recognition, seepage 34.
• Correct note values, dottings, irregular divisions (triplets), see page 40.
• Set acciaccaturas to "no value", see page 41.
• Whole bar rests may have the value "whole bar" or "semibreve", see page 41.
• Densely packed notes may need to be rhythmically split or joined, see page 41.
• To analyse the problem, note the display of rhythmic position of selected notes, see page 32.
Rhythmic analysis of the notes is based upon bars. This can pose a problem with early music, where note values
extend beyond barlines.
 Scanning and Recognition 33

In this case delete all barlines which are "crossed" by note values. You will then need to carefully check notes and
voices as without barlines capella-scan will miss an important piece of information when processing the rhythmic
analysis. Please also note that capella itself cannot handle notes crossing barlines and may display automatic
barlines at incorrect positions.

Playback
➔ How to start playback

1. In order to start playback at a certain position select a note at this position. In order to play from the be-
ginning deselect all notes by clicking somewhere in the background.

2. Select FILE → PLAY ALL VOICES or press ÁÍCÍtÍrÍlÉ+ÁÍFÍ9É to start playback.

3. During playback the notes on the beat are shown in pink. In order to continue playback somewhere else
select a note at the desired position.
4. Press ÁÍEÍsÍcÉ or toggle the playback icon to end playback.
➔ How to start playback of selected voices

1. Select a note of each voice to be played back.

2. Select FILE → PLAY SELECTED VOICES or press ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ9É to start playback.

In the template system you may choose different instruments for different voices, see page 62. For general sound
settings see page 70.

Multiple Column Scores, Broken Staves

The recognition process of capella-scan automatically detects scanning of double-pages. A grey/green vertical
line indicates the border line between the two pages. Separation of broken staves is indicated as well.

You can move the border line sideways, although this is only relevant for selecting staves, where you click to the
left of a stave to select it. To bridge broken staves, or to split a stave into two sections, use the commands for in-
serting and cutting staves, see page 59 and page 60.
capella does not support broken staves. Two parts of a broken stave are therefore saved into two consecutive
systems with suppressed justification. With single-stave systems, you can create a broken stave in capella by set-
ting the distance between systems to zero and moving the second part to the right of the first part. Another
method would be, to join the two systems, set a place-holder in the centre and cover it with a white rectangle.
34 capella-scan 7

Editing
Why Edit in capella-scan?
Initially capella-scan recognizes all of the music symbols as independent objects. Before these are saved in
capella format, capella-scan links them together into logical music patterns. This includes
• Determining the keys
• Calculating note pitch in the context of the clef, key and position of the note heads
• Separating multiple voice staves into individual voices
• Rhythmically classifying the notes
• Identifying staves and their sequence in order to create a score template

It is important to correct errors in capella-scan so that they do not lead to sequence errors during the conversion
to capella format. An incorrect clef or key will result in notes being saved at the wrong pitch, and a missing note
can result in the disruption of capella-scan’s rhythmic understanding of the whole line of music. The result of this
could be fragmentation of a single voice into upper and lower voices.
That's why capella-scan provides a comprehensive set of editing tools in order to make the correction of errors
as easy as possible. An introduction can be found in the tutorial in the first part of this manual, see page 9.

Inserting Objects
➔ How to insert an object

1. Click on the object that you want

to insert from the Object palette.
In order to save space on the
screen the Object palette consists
of sub-palettes which fly out as
soon as you move the mouse
pointer over the main button. The
yellow tooltip boxes display key-
board shortcuts for even quicker access to the desired objects. In this case one could retrieve the object
by pressing n for note, 8 for quaver and d for stem down.

2. When you have selected the ob-

ject it appears as a grey object
next to the mouse pointer. Drag
the object into position by mov-
ing the mouse pointer.

3. Click to insert the object. The new

object is selected and therefore
shown in pink until you click away
from it to unselect it.
If you want to remove the object
from the pointer press ÁÍEÍsÍcÉ or
toggle the pressed button in the
Object palette.
You can further edit the newly inserted object (see page 38), e.g. to obtain a dotted note. Alternatively you can
edit the grey object attached to the pointer before it is inserted. In that case the setting will be re-used if you in-
sert the same object again. This is very useful if you have a number of similar objects, e.g. many dotted notes.
All objects and object properties can be accessed by shortcut keys, see page 89. To see them, pass the mouse
pointer over an object on the Object palette and watch the yellow tooltips or the status bar at the bottom right
of the screen.
 Editing 35

Inserting Objects of Variable Size

(Slurs and ties, triplet brackets, repeat box brackets, crescendo signs, guitar chord diagrams)
➔ How to insert objects of variable size

1. The object appears in a standard size and is attached to the mouse pointer by
its right end. Move the mouse pointer so that the left end of the object is po-
sitioned where you want it to be.

2. Now press and hold down the left mouse button. Drag the right end to the re-
quired position and release the mouse button.

3. The shape of the slur can be changed by dragging the tiny grey boxes. The an-
chors indicate the notes to which the object has been attached. You can drag the
anchors to other notes if required. See also page 36.

Inserting Text Objects

➔ How to insert a text object

1. On the Object palette click "T" for normal text or one of the symbols for spe-
cialized text objects, see page 51. Because the appearance of the text object
is unknown before entering the text, a symbolic T (or L for lyrics) appears at
the mouse pointer, indicating the current font settings.

2. Move the T to where you want to enter the text and click. The T will disap-
pear and a normal flashing text cursor will appear.

3. Type the text and confirm its entry by pressing the ÁÍÊÉ key.

With the text properties font size, snap to position, inter character spacing, and text slope (see page 53) you can
align and position the text object exactly over the original black text. However, these settings affect only the ap-
pearance in capella-scan and are irrelevant for the result in capella.
See also page 53.
Tip: If you want to re-use the font characteristics of an existing text object for another one, you should select the
existing one first and then start the input process for the new text.

Characteristics of lyrics
Each syllable must be a separate text object so that the lyric text can be aligned correctly in capella. If you press
the space bar during the lyric text input, the syllable will be finished and the cursor will jump to a new text object
under the next note. Hyphens and underscore extensions can be entered with "-" and "_". The position of the hy-
phen and the length of the under score extension can be changed after finishing the input by moving the small
36 capella-scan 7

grey box at the syllable end with the mouse. Note that this only affects the visual appearance in capella-scan.
capella repositions these automatically.

Repeat Inserting
After you have inserted an object you will find a copy of it on the far right end of the Object palette ready for re-
peated use. You can also right mouse click the white page background or press ÁÍIÍnÍsÉ or ÁÍSÍpÍaÍcÍeÉ. With repeated
clicking or key pressing you can retrieve the last three objects you have inserted.
In addition the last three notes, stems, heads and rests are saved separately and can be retrieved by repeatedly
pressing the shortcut keys ÁÍnÉ, ÁÍsÉ, ÁÍhÉ and ÁÍeÉ respectively.

Assigning Objects to Staves

All objects except barlines are assigned to a specific stave. Barlines are always assigned to all staves of a system.
The current stave that an object is assigned to is the one over which the object lies,
or the one to which it is linked through ledger lines. Also rests and accidentals are
shown with ledger lines in capella-scan to make their stave assignment clear. Ledger
lines for these two objects are removed in capella as they are not shown in scores.
If you insert an object between two staves it will be assigned to the closest stave. If
you want to reassign it to the other stave you will need to move it over that stave
and then drag it back into the gap between the staves. Pay attention to the grey
ledger lines during inserting.
The assignment of symbols, text etc. to a stave is based on the notes that they are
anchored to.

Anchors
Text objects and music symbols (e.g. dynamics and performance marks) are
anchored to specific notes so that they move correctly with any editing of
the score in capella. Anchors become visible as soon as you select an ob-
ject.
After recognition all symbols are automatically anchored to the nearest
note or rest. The same applies to symbols you have inserted or moved
manually. If necessary you can move the anchors to different notes, see be-
low.
Slurs, triplet brackets, repeat boxes and crescendo hairpins get an anchor at
both ends. In multi voice staves capella-scan ensures that both anchors are in the same voice. If you drag an an-
chor from one voice to another the other anchor will follow.
Special anchor shapes exist for certain text types (see page 51), ties and slurs (see page 47) and articulations
signs (see page 50).
➔ How to move an anchor

• Click the red anchor symbol and drag it to the desired position. The anchor becomes visible as soon as its
object (and no other object) is selected.

Selecting Objects
In order to edit an object it must be selected first.
➔ How to select an object

• Click on the object with the left mouse button. Selected objects are displayed in pink. To deselect any ob-
jects click on an empty area of the score.
➔ How to select several objects together

• Either drag a box around the objects or hold down the ÁÍSÍhÍiÍfÍtÉ or ÁÍCÍtÍrÍlÉ key and click on each object. Al-
ternatively, hold down the mouse button and move the mouse pointer over the objects. To remove a
 Editing 37

single object from a selected group hold down the ÁÍSÍhÍiÍfÍtÉ or ÁÍcÍoÍnÍtÍrÍoÍlÉ key and click on the object. You can
select a maximum of 100 objects simultaneously. See page 92.
➔ How to select a group of connected objects

• Press and hold the ÁÍAÍlÍtÉ key and click one of the objects. This way you can select all notes of a group of
beamed notes, all accidentals of a key signature, all text lines of a text block, all syllables of a line of lyrics
and a guitar chord grid together with all chord points.
➔ How to select a stave

• Click in the area to the left of the start of the stave. Alternatively you can click on an individual stave line.
➔ How to select several staves

• Click to the left of the stave in the same manner, as if selecting one stave, but hold down the ÁÍCÍtÍrÍlÉ key. To
select several consecutive staves you can also click the first one and then while pressing the ÁÍSÍhÍiÍfÍtÉ key
click the last one. Alternatively you can select the first one and drag the mouse to the last one while hold-
ing down the mouse button.

Search
➔ Hot to search for objects of a certain type

1. Open the search dialogue with EDIT → SEARCH or ÁÍCÍtÍrÍlÉ+ÁÍFÉ.

2. Select the type of object from the list.

3. Select HIGHLIGHT ONLY and click SEARCH.
Now all objects of the selected types will be displayed in red. You can select the colour in the options, see
page 71.

4. With ÁÍTÍaÍbÉ and ÁÍSÍhÍiÍfÍtÉ+ÁÍTÍaÍbÉ or with the commands in the edit menu you can step through all red
objects and select them one after the other. Each time a flashing red circle appears around the object and
serves as an eye-catcher for small objects. To turn off the flashing see page 69.
➔ How to cancel the highlighting

• Press ÁÍEÍsÍcÉ.
➔ How to turn the highlighting on again

• Select EDIT → SEARCH AGAIN or press ÁÍFÍ3É.

➔ How to delete all objects of a certain type

1. Open the search dialogue with EDIT → SEARCH or ÁÍCÍtÍrÍlÉ+ÁÍFÉ.

2. Select the type of object from the list.

3. Select ALSO MARK FOR EDITING and click SEARCH. Now all objects to be deleted are selected.
4. Select EDIT → DELETE or press ÁÍDÍeÍlÉ.
➔ How to create profiles for frequently used searches

1. Open the search dialogue with EDIT → SEARCH or ÁÍCÍtÍrÍlÉ+ÁÍFÉ.

2. Choose a tab you want to save the search on.

3. Set your search options as described above.
4. Enter a name for your search in the top left corner of the tab. The name will help you to organize your
searches.
➔ How to display certain object types in different colours

1. Open the search dialogue with EDIT → SEARCH or ÁÍCÍtÍrÍlÉ+ÁÍFÉ.

2. Choose a tab for every class of objects you want to display in a special colour.
38 capella-scan 7

3. Select the type of object on each tab.

4. Select HIGHLIGHT PERMANENTLY and click the colour button to select the colour on each tab.
See page 31 for a list of standard colours which are already in use. The standard colours can be adjusted in
the options, see page 71.

Moving Objects
➔ How to move an object

• Click the object and drag it while holding down the mouse button.
NB: To minimise the risk of accidentally moving an object that you wish only to select and not to move there is a half second delay be-
fore the selected object turns into a grey moveable object. An object already selected (i.e. pink) can be moved immediately.

You can select and move multiple objects provided they are assigned to the same stave. (Barlines have to be in
the same music system.) Complete staves cannot be moved.
Be careful to watch the stave assignment if you move objects in between two staves, see page 36.
➔ How to change size and shape of objects

• Some objects show small grey boxes when being selected, e.g. stems, barlines, staves, slurs, brackets,
(de-)crescendos, guitar chord diagrams, stave ends. By clicking and dragging these boxes you can change
the size or shape of the objects. Note that this can automatically relocate the anchors, but you can re-ad-
just the anchor's position afterwards.

Editing
In the EDIT menu and in the right-click context menu of single objects, you will find the usual editing commands
such as:
Delete, ÁÍDÍeÍlÉ: Selected objects are deleted.

Cut, ÁÍCÍtÍrÍlÉ+ÁÍXÉ or ÁÍSÍhÍiÍfÍtÉ+ÁÍDÍeÍlÉ: Selected objects are copied to the clipboard and deleted from the score.

Copy, ÁÍCÍtÍrÍlÉ+ÁÍCÉ or ÁÍCÍtÍrÍlÉ+ÁÍIÍnÍsÉ: Selected objects are copied to the clipboard.

Paste, ÁÍCÍtÍrÍlÉ+ÁÍVÉ or ÁÍSÍhÍiÍfÍtÉ+ÁÍIÍnÍsÉ: Objects that have been copied to the clipboard will show as grey objects
at the mouse pointer. Left mouse clicking will insert them.
Duplicate, ÁÍCÍtÍrÍlÉ+ÁÍDÉ: Selected objects are copied to the mouse pointer and can be pasted by left mouse
clicking. This corresponds to the copy-and-paste procedure, but without using the clipboard. Therefore ex-
isting clipboard content is not overwritten and an additional paste instruction is not required.

NB: Restrictions for cutting, copying and duplicating: If multiple objects are selected all have to belong to the same stave. (Barlines
have to belong to the same system.) In addition these commands cannot be applied to staves.

Undo
Editing steps can be undone with menu EDIT → UNDO or ÁÍCÍtÍrÍlÉ+ÁÍZÉ or ÁÍAÍlÍtÉ+ÁÍâÍ Í É. capella-scan remembers up
to 250 steps. (If you select and edit multiple objects together each object allocates a separate entry in the
undo list.)
The menu command EDIT → REDO or ÁÍCÍtÍrÍlÉ+ÁÍYÉ will redo steps that you had undone.

Editing Object Properties

As soon as you select an object, all of the possible attributes that the object can have will appear on the Property
palette along the top of the screen. If you select more than one object then only attributes common to all of the
selected objects are shown. When you insert an object the Property palette appears in the same way but refers
to the grey object on the mouse pointer.
If you feel the Property bar on top of the screen to be rather far away from the object you want to edit, right-
click on the object and the properties will pop up in a small window alongside the object. This feature may also
 Editing 39

be necessary if the Property palette is too wide to fit in its entirety across the screen. The popup window can
either work like a dialogue box or as context menu. The context menu closes after each use while the context
dialogue box remains open allowing you to add several attributes to an object until you click on the Close button.
You can switch between menu and dialogue box behaviour in the toolbar options (see page 71).
All object attributes can be changed using shortcut keys, see page 89. You can see what these are by moving the
mouse over any of the objects or object attribute icons. The shortcut key is then shown in the status bar at the
bottom of the screen and in the yellow tooltip window.
The properties for the different object classes are explained in the following sections.

Notes, Stems and Heads

Note heads and stems are treated as separate objects because a stem may have a number of heads in a chord
and a head may have two stems (upwards and downwards) where two voices overlap. If you want to insert an or-
dinary note consisting of a single head and stem you can drag it from the Notes palette. Chords must be com-
posed of an ordinary note with additional heads from the Heads palette.

Shortcut ÁÍnÉ followed by

ÁÍ2É ÁÍ4É ÁÍ8É ÁÍ6É ÁÍ3É ÁÍ9É ÁÍ7É ÁÍ1É ÁÍ5É

ÁÍuÉ

ÁÍdÉ

Shortcut ÁÍhÉ followed by

ÁÍ5É ÁÍ1É ÁÍ2É ÁÍ4É

Shortcut ÁÍsÉ followed by

ÁÍ4É ÁÍ8É ÁÍ6É ÁÍ3É ÁÍ9É ÁÍ7É

ÁÍuÉ

ÁÍdÉ

The note value of a flagless stem is determined only by its head (minim or crotchet). The shortcut sequence ÁÍsÉÁÍ4É
is therefore equivalent to ÁÍsÉÁÍ2É. Stems without heads are invalid. They are displayed in dark green (see page 31)
and are not saved.

When you drag stems or heads towards each other, they snap together to help positioning. You can prevent this
by holding down the ÁÍAÍlÍtÉ key while dragging the stem or head.
Selected notes can be moved step by step upwards or downwards by using the shortcuts ÁÍAÍlÍtÉ+ÁÍôÉ/ÁÍûÉ.
➔ How to adjust the length of a stem

• Click and drag one of the grey boxes at either end of the stem. At the head end it will snap to the next pos-
ition of pitch. At the flag end you can leave it anywhere. If you move the head vertically the stem length is
adjusted automatically.
40 capella-scan 7

Properties Note value page 40, Dotting page 40

Irregular division page 40, Small notes page 41

Voice page 41, Rhythmic position page 41

Without value page 41, Rhythmic separation page 41, Tremolo bars page 42

Head shape page 43, Stem orientation page 42

Beaming page 42

Dotting
Property of notes, heads, stems, rests and metronome marks

Not dotted, ÁÍ0É

Single dot, ÁÍ.É

Two dots, ÁÍ:É

Note Value
Property of notes, heads, stems, rests, metronome marks and time signatures

ÁÍqÉ

ÁÍ5É

ÁÍ1É

ÁÍ2É

ÁÍ4É

ÁÍ8É

ÁÍ6É

ÁÍ3É

ÁÍ9É

ÁÍ7É

Irregular Division
Property of notes, heads, stems, rests
Irregular division is indicated by a small num-
ber above or below the note. For clarity, the
number is shown at each note. When read into
capella, this is changed back to the normal dis-
play of a single number and bracket.
The irregular division is automatically trans-
ferred from triplet brackets to the notes in the
range of the bracket. You can cancel this auto-
matic mode in the Editing options, see page
69.
If you need to manually set missed triplets
values you will find it useful to select blocks of
 Editing 41

notes and edit them together, see page 36. A group of beamed notes can be selected by holding
down the ÁÍAÍlÍtÉ key and clicking on one note.
An irregular division can be cancelled by selecting the notes and pressing ÁÍAÍlÍtÉ+ÁÍ1É or ÁÍAÍlÍtÉ+ÁÍ0É.

Size
Property of notes, heads, stems, rests, accidentals, triplet brackets, dynamic and performance
marks, trills & ornaments, navigation marks

Normal size, ÁÍzÉ

Small (acciaccatura, grace and cue notes), ÁÍzÉ
See also Without value page 41 and Tremolo bars page 42.

Voice Identification
Property of notes, heads, stems, rests

Voice 1, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ1É
Voice 2, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ2É
Voice 3, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ3É
Voice 4, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ4É
Notes always belong to a specific voice. Only rests without concurrent notes can be assigned to
several voices. Multiple bar rests are always assigned to all voices of the stave.
Beamed groups that cross between staves (cross stave beams) are completely assigned to one
stave. You can change the assignment to the other stave by selecting one of the notes within the
new stave and setting the voice property.
See also page 32.
Rhythmic Position
Property of notes, heads, stems, rests and clefs, length of the bar preceding a barline

The rhythmic position of a note is the sum of the preceding note values within the bar.
It is displayed just for information and helps analysing wrongly recognized rhythms. It can only
be modified indirectly, see page 32.
NB: Why isn't it shown as beat counting? Beats may be ambiguous because they depend on the time signature. In addition the posi-
tions between the beats cannot be precisely defined.

With/Without Value
Property of notes, heads, stems, rests

Note value is not counted (grace note), ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍCÉ

Note value is counted, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍCÉ
With breve and semibreve rests you can specify whether they should be taken as their actual
value or as whole bar rests. Depending on the time signature they may not be the same.

Exact rest value, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍEÉ

Rest interpreted as whole bar rest, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍEÉ

Rhythmic Separation/Joining
Property of notes, heads, stems, rests
For clarity, notes are sometimes shown consecutively although they are to be played simultan-
eously. For example notes of the same pitch occurring in different voices on a stave are some-
times shown adjacent to each other rather than superimposed. In most cases capella-scan re-
cognizes this situation. In difficult cases you can edit the setting for the note at the back (!).
42 capella-scan 7

Separate beat, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍSÉ

Same beat, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍSÉ
If this setting does not work, you have to drag the notes closer to each other to join them or
apart from each other to separate them.

Tremolo Bars
Property of notes and stems

No tremolo bar, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ0É

1 tremolo bar, quaver, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ8É
2 tremolo bar, semiquaver, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ6É
3 tremolo bar, 32nd, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ5É
4 tremolo bar, 64th, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ9É
5 tremolo bar, 128th, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ7É
Acciaccatura, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍYÉ
Tremolo bars are automatically centred on note stems and cannot be moved. On notes without
stems such as semibreves you can drag the bars to above or below the note.
The command Acciaccatura creates a note of small size, no value and flagged.

Stem Orientation
Property of notes and stems

Upwards, ÁÍuÉ
Downwards, ÁÍdÉ

Beaming
Property of notes and stems

Flag, ÁÍiÉ
Beams to left, ÁÍlÉ
Beams to left and right, ÁÍjÉ
Beams to right, ÁÍrÉ
Beams are created automatically if the beaming of the individual stems is set appropriately and
if the stem ends are approximately aligned to a straight line.
Beam groups can stretch over two staves. It may be necessary to adjust the vertical position and
slope of such beams in capella.
In the Save options you can specify whether the beam setting should be saved for capella, see
page 70.

Separating Heads from Stems

Property of heads
capella-scan automatically links heads and stems together to form a note. If a note head has a
stem pointing up and one pointing down, it may be stretched or squeezed to reach both stems.
If one of the stems does not belong to the head you can split it manually.

Allow two stems, ÁÍiÉ

Separate left stem, ÁÍlÉ
Separate both stems, ÁÍjÉ
Separate right stem, ÁÍrÉ
 Editing 43

Head Shapes
Property of heads

Normal, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍOÉ
Diamond, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍDÉ
Thin cross, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍCÉ
Thick cross, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍXÉ
Cross / diamond, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍZÉ
Triangle, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍTÉ
Square, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍXÉ
Dash, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍSÉ

Rests

Shortcut ÁÍeÉ followed by

ÁÍ8É ÁÍ6É ÁÍ3É ÁÍ9É ÁÍ7É

ÁÍ4É ÁÍ2É ÁÍ1É ÁÍ5É ÁÍqÉ

ÁÍ/É ÁÍ%É ÁÍ\É ÁÍwÉ Multiple bar rest, ÁÍ+É/ÁÍ–É = Counter

Combinations of whole bar rests, double bar rests and four bar rests are combined to a multi bar rest in tradi-
tional style when saved for capella.
Selected notes can be moved step by step upwards or downwards by using the shortcuts ÁÍAÍlÍtÉ+ÁÍôÉ/ÁÍûÉ.

Properties Note value page 40, Dotting page 40

Irregular division page 40, Small notes page 41

Voice page 41, Rhythmic position page 41

Without value page 41, Repeats of groups and barspage 43

Properties of multiple bar rests

Counter, Counter position, Rhythmic position page 32

Repeats of Groups and Bars

Normal rest, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍOÉ
Repeat chord or group of beamed notes, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍGÉ
Repeat bar, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍBÉ
Repeat two bars, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍTÉ
Note that this setting changes the appearance of the rest only. The note value must be put in
separately as it is not clearly defined by the repeat stroke. When the new repeat stroke is
entered, the default value will be minim, semibreve and breve respectively.

Counter of Multiple Bar Rest

ÁÍ+É/ÁÍ–É
44 capella-scan 7

Counter Position
Counter above, ÁÍuÉ
No Counter, ÁÍiÉ or ÁÍ0É
Counter below, ÁÍdÉ
A multiple bar rest without a number is not meaningful. This may occur, if capella-scan does not
recognize the number from the original score. You should enter the number manually.

Accidentals

Shortcut for
ÁÍ#É, digit ÁÍ#É ÁÍxÉ ÁÍ#ÉÁÍuÉ ÁÍ#ÉÁÍdÉ ÁÍ#ÉÁÍqÉ ÁÍ#ÉÁÍlÉ ÁÍ#ÉÁÍrÉ
Inserting
ÁÍ=É ÁÍ=ÉÁÍuÉ ÁÍ=ÉÁÍdÉ ÁÍ=ÉÁÍlÉ ÁÍ=ÉÁÍrÉ ÁÍbÉÁÍrÉ

ÁÍbÉ ÁÍbÉÁÍbÉ ÁÍbÉÁÍuÉ ÁÍbÉÁÍdÉ ÁÍbÉÁÍqÉ ÁÍbÉÁÍlÉ ÁÍbÉÁÍjÉ

ÁÍbÉ, digit

Properties Small notes page 41

Change accidentals with ÁÍ+É/ÁÍ–É

Quarter tones, ÁÍuÉ, ÁÍdÉ, ÁÍqÉ, ÁÍlÉ, ÁÍrÉ (see table above)

Number of accidentals (key) ÁÍ1É … ÁÍ7É , Parenthesis ÁÍjÉ

The assignment of accidentals, whether belonging to notes or being part of key signatures, is recognized auto-
matically. Accidentals that are not assigned are shown in dark green (see page 31) and are not saved for capella.

Key Signatures
There are no specific objects forming a whole key signature in capella-scan. Instead, key signatures are seen as
groups of accidentals. However, capella-scan provides special tools to simplify editing and inserting of key signa-
tures.
➔ How to insert a key signature

• Open the Accidentals palette and chose the key signature from the sub-palette. Now you have the whole
group of accidentals at the mouse pointer and can move it into position. The accidentals snap automatic-
ally to the correct pitch for the current clef.
➔ How to replace a key signature

• Simply drop, as described above, a new key signature over an old one. The latter is deleted automatically.
➔ How to change a key signature

• For changing the number of accidentals of a key signature, select (at least) one of them and chose the new
number from the Property palette. The group of accidentals is extended or shortened accordingly.

Clefs

Shortcut ÁÍgÉ ÁÍcÉ ÁÍfÉ ÁÍ"É

Properties Rhythmic position page 41

 Editing 45

Size of Clefs
small, ÁÍzÉ
big, ÁÍzÉ
This setting is used only to improve the visual clarity in capella-scan by better matching of recog-
nized and scanned symbols. It has no relevance for the result in capella.
capella always puts large clefs at the start of the stave and small ones within the stave.
Octave Clefs

Octave higher, ÁÍuÉ

No octave change, ÁÍiÉ or ÁÍ0É
Octave lower, ÁÍdÉ

Clefs can be moved vertically for obtaining non standard clefs.

Time Signatures

Shortcut ÁÍaÉÁÍaÉ The last used time signatures are shown here

ÁÍaÉ ÁÍmÉ followed by

ÁÍ1É ÁÍ2É ÁÍ4É ÁÍ8É ÁÍ6É ÁÍ3É ÁÍ9É ÁÍ7É ÁÍ+É/ÁÍ–É = Numerator
Properties of alla breve symbols

Common time ÁÍ4É, cut time (alla breve) ÁÍ2É

Properties of time signatures and alla breve symbols

Numerator ÁÍ+É/ÁÍ–É, Denominator: see page 40

The c symbol is equivalent to 4/4 time. The alla breve symbol ¢ can be set to 2/2 or 4/2.

Barlines

Shortcut ÁÍkÉ followed by

ÁÍ1É ÁÍ2É ÁÍ3É ÁÍ7É

ÁÍ6É ÁÍ5É ÁÍ4É

Barlines always belong to all staves of a system, although they may be shown interrupted in the gap between
staves depending on the settings, see page 58. Only the first barline is always drawn through staves and gaps.
Double barlines and repeat barlines consist of several single barline objects. The barline combinations shown
above are available for inserting. These groups are combined into a single object, when the file is saved as a
capella file.
46 capella-scan 7

➔ How to move a barline within a stave

• Barlines can be out of plumb in case the score was scanned with a slant. To adjust the slant you can move
the barline within a single stave by dragging the grey boxes that show when the barline is selected. You
can drag as far as the next barline. If you drag the very first or last barline of a stave, the stave length is
automatically adjusted, see page 61 .
➔ How to move the whole barline

• The whole barline is moved by clicking the barline outside the grey boxes and dragging. The barline's slant
automatically adapts to the nearest existing barline. The same applies to inserting a barline, which may be
done anywhere along the stave.

Properties Bar length: see page 41

Weight of Barline

dashed, ÁÍoÉ or ÁÍ–É

thin, ÁÍoÉ or ÁÍ0É
thick, ÁÍoÉ or ÁÍ+É

Repeat Dots
No dots, ÁÍiÉ
Repeat dots on left, ÁÍlÉ
Repeat dots left and right, ÁÍjÉ
Repeat dots on right, ÁÍrÉ

Slurs and Brackets

Shortcut
ÁÍ<É ÁÍ(É ÁÍ[É or ÁÍ]É
ÁÍ>É ÁÍ)É ÁÍvÉ

ÁÍ&É ÁÍVÉ ÁÍVÉÁÍVÉ

NB: If no objects are selected you may also use ÁÍ7É and ÁÍ8É for inserting slurs.

Properties of (de-)crescendo signs

Direction and opening, Transform into accent

Direction of (de-)crescendo Signs

Decrescendo, opening left, ÁÍlÉ
Crescendo, opening right, ÁÍrÉ

Opening size of (de-)crescendo Signs

Smaller opening, ÁÍ–É
Larger opening, ÁÍ+É

Transform decrescendo and accent into Each Other

Transform accent into decrescendo, ÁÍoÉ
 Editing 47

Transform decrescendo into accent, ÁÍoÉ

Properties of triplet brackets

Irregular division page 40, Small notes page 41

Properties of repeat box brackets (first and second endings)

Number: ÁÍ+É/ÁÍ–É

Orientation of Triplets and Repeat Box Brackets

Bracket above notes, ÁÍuÉ
Automatic orientation depending on position, ÁÍiÉ
Bracket below notes, ÁÍdÉ
No bracket, ÁÍ0É (only triplet brackets)
If set to automatic, the opening always faces towards the notes the bracket is anchored to.

Open Ends of Repeat Box Brackets

Both ends open, ÁÍiÉ
Left end closed, ÁÍlÉ
Both ends closed, ÁÍjÉ
Right end closed, ÁÍrÉ

Properties of slurs and ties

Rotate & mirror slurs, Dashing, Transform slurs & ties

You can change the shape of slurs by dragging one of the small grey boxes. If you hold down ÁÍAÍlÍtÉ while dragging,
you create a symmetric shape.

Rotate & Mirror Slurs/Ties

Rotate slur by 180°, ÁÍuÉ or ÁÍdÉ
Mirror slur, ÁÍlÉ or ÁÍrÉ

Dashed Slurs
Solid, ÁÍ0É or ÁÍ+É
Dashed, ÁÍ–É
Dotted, ÁÍ.É
In the saving options you can specify the gap values for dashing and dotting, see page 70.

Distinguishing between Slurs and Ties

capella-scan recognizes from the context whether the bow is a slur or a tie. You can see what
has been recognized from the type of line used and by checking the anchor symbol. Slurs have
the usual ship's anchor, while ties have a minim note head with a small bow next to it. For addi-
tional labelling ties are shown with a thicker line with tiny holes.
48 capella-scan 7

If a slur has been wrongly classified, as might happen when the symbol is at the end of a stave
and continued on the stave below, you can correct this by right mouse clicking on the bow and
selecting the slur or tie icon.

Automatic classification, tie if possible, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍSÉ

Always slur, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍSÉ
If a classification as tie is refused, it may be that the bow was not close enough to the heads.
You can pull the bow nearer to the heads or use the method above. The rules for creating ties
are, that both notes must be of the same pitch, in the same voice and not separated by a note of
different pitch.

Dynamic Symbols

Shortcut ÁÍIÉ ÁÍPÉ ÁÍXÉ ÁÍRÉ

ÁÍJÉ ÁÍFÉ ÁÍGÉ ÁÍHÉ

ÁÍ¦É ÁÍSÉ ÁÍZÉ ÁÍ{É

Properties Small notes page 41

Change type with ÁÍ1É to ÁÍ9É, ÁÍlÉ, ÁÍjÉ, ÁÍrÉ or ÁÍ+É/ÁÍ–É
The effect of dynamic symbols on playback can be set in the capella-tune dialogue, see page 78.

Section Repeat Signs

Shortcut ÁÍ$É ÁÍ@ÉÁÍ@É ÁÍNÉ ÁÍEÉ

ÁÍ@É ÁÍOÉ ÁÍDÉ

Properties Small notes page 41

Repeat signs are anchored to notes or rests. The symbol is provided in two versions, one freely moveable
and one sticking to the stave lines.
Whether or not section repeat signs are taken into account during playback, can be selected in the playback op-
tions, see page 70. The playback of section repeats is described in more detail in the capella-tune chapter, see
page 84.

Trills and Ornaments

Shortcut ÁÍWÉ
The shortcuts for inserting
ÁÍTÉ
the various subtypes are
ÁÍLÉ given in the following.
ÁÍXÉ

ÁÍ}É
 Editing 49

Properties for turns

Small notes page 41, Variants ÁÍ1É, ÁÍ2É, ÁÍ3É, ÁÍ4É

Properties for mordents

Small notes page 41

Upper and Lower Mordent

Upper mordent, ÁÍlÉ
Lower mordent, struck out, ÁÍrÉ

Number of Zigzags
Two, ÁÍ2É
Three, ÁÍ3É
Four, ÁÍ4É

Variants
Without Acciaccatura, ÁÍiÉ
Acciaccatura from above, ÁÍuÉ
Acciaccatura from below, ÁÍdÉ
With accent, ÁÍjÉ
Double acciaccatura, ÁÍuÉ

Properties for arpeggio

Direction
Upwards, ÁÍuÉ
Not indicated (played upwards), ÁÍiÉ or ÁÍ0É
Downwards, ÁÍdÉ

Wavelength
Squeeze, ÁÍ–É
Stretch, ÁÍ+É
This setting is used only to improve the visual clarity in capella-scan. It has no relevance for the
result in capella.
The length of the arpeggio line is adjusted by clicking and dragging the small grey boxes on
either end.
The playback of trills and ornaments can be turned on and off in the playback options, see page 70. The inter-
pretation of individual types of ornaments can be set in capella-tune, see page 81.
50 capella-scan 7

Performance Marks

Shortcut ÁÍ_É ÁÍ,É ÁÍ^ÉÁÍ1É ÁÍ`ÉÁÍ1É ÁÍ`ÉÁÍ2É ÁÍ`ÉÁÍ3É ÁÍ`ÉÁÍ4É

ÁÍ;É ÁÍ'É ÁÍ^ÉÁÍ2É ÁÍ?É ÁÍ!É ÁÍAÉ ÁÍBÉ

ÁÍUÉ ÁÍ^ÉÁÍ4É ÁÍ^ÉÁÍ3É ÁÍ~ÉÁÍ1É ÁÍ~ÉÁÍ2É ÁÍ~ÉÁÍ3É ÁÍ~ÉÁÍ4É

Some performance marks, referred to as articulation marks, can be saved either as note attribute or as separate
graphic object, see below. In addition you can easily set them with a number of notes in a single click.
➔ How to set articulation marks to a number of notes

• Select the notes and from the Object palette click one of the articula-
tion marks which is now framed in pink. Each selected note will receive
that articulation mark at standard position. If necessary you may select
individual articulation marks afterwards and correct their position.

Properties Small notes page 41

Orientation of Performance Marks

Performance mark above notes, ÁÍuÉ
Automatic orientation depending on position, ÁÍiÉ
Performance mark below notes, ÁÍdÉ

If set to automatic, the orientation depends on the position of the performance mark in relation
to the note it is anchored to.

Note Attribute or Text Object

Normally articulation signs are saved in capella as note attributes. In capella they are edited via
menu FORMAT → NOTES/RESTS → NOTES. In that case capella automatically positions them. If you
want to freely position them, you can enter them as text objects.
capella-scan interprets articulation signs as note attributes if they are positioned directly above
or below a note. If you add a second sign this will be treated as a text object because capella al-
lows just one sign per note (with the exception of the tenuto+staccato combination).
The current classification is indicated by the type of anchor which is shown if you select the ar-
ticulation mark. Text objects use ship type anchors while note attributes have a note with accent
as anchor.

In this example the staccato dot is anchored as a note attribute and the accent is anchored as a
text object.
You can correct this:

Note attribute if possible, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍAÉ

Text object, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍAÉ
 Editing 51

Text

Shortcut ÁÍtÉ followed by

ÁÍuÉ ÁÍaÉ ÁÍoÉ ÁÍcÉ ÁÍlÉ ÁÍhÉ

Properties Text type page 51

Style page 52, Frame page 52

Font page 52, Bold & italic page 52

Font size page 52, Sub-/Superscript page 53, Text field page 53

Character spacing page 53, Slope page 53, Snap page 53

Text block page 54, Join and split page 54, Edit page 53
If individual characters are selected within a text object (see page 54) then the text format properties apply to
these characters, otherwise they apply to the whole text object.
➔ Difference between text type and text style

• The text type describes what the text is used for, e.g. bar number, lyrics or normal, unspecified text. The
text type defines where the text can be anchored to, how it is saved in capella and whether is has other
additional properties. The current text type is indicated by the anchor symbol which appears as soon as
you select the text.
• The text style refers to a set of parameters (font, size, italic, bold, frame) and is used to give all text objects
of a certain type a uniform appearance.
Each specified text type has its own style. Only for normal, unspecified text objects you can choose the
style. All styles are managed from the Fonts dialogue, see page 54.

Text Types
• Normal text, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍTÉ

Normal text objects are anchored to notes or rests. A text object has uniform formatting it is saved as
plain text in capella, otherwise as text field. More details are given in the capella manual.
In text blocks of several lines, each line is represented by a separate text object in capella-scan.
The first line is anchored to a note or a rest and each subsequent line is anchored to the pre-
ceding line. The position of the anchor corresponds to normal paragraph formatting (left justi-
fied, centred, right-justified). All lines are stored together in one capella text object.
• Voice description, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍVÉ
Text objects in front of a stave are anchored to the beginning of the stave and are interpreted as voice
descriptions. See page 61.
• Bar number, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍUÉ
Bar numbers are anchored to barlines or the beginning of staves. Barnumbers are not saved as indi-
vidual objects in capella but serve to adjust capella's automatic bar numbering.

Bar number: ÁÍ+É, ÁÍ–É

• Rehearsal mark, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍAÉ

Rehearsal marks differ only in their style from normal text objects. Multiple line text blocks are not .
• Metronome mark, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍOÉ
52 capella-scan 7

Metronome marks are anchored to notes or rests. They are saved in capella as text objects but also
define the playback tempo.
Note value page 40, Dotting page 40
Beats per minute: ÁÍ+É, ÁÍ–É
• Transposable chord symbols, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍCÉ
Chord symbols are saved as transposable objects in capella. Thus, if you transpose the
score in capella, all note names within the chord symbol are replaced by the name of the
transposed note. For clarity, note names are underlined by small triangles in capella-scan.

Note naming scheme (uniform for the whole score)

• Lyrics, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍLÉ

Lyrics are anchored to notes. Each syllable is a separate text object and has a coloured rectangle behind
it indicating which voice it belongs to. All syllables in a line/stanza are linked to the same voice.

Voice page 41.

• Fingering, shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍFÉ

This text type is intended for fingering and numbered bass notation. Multiple line blocks are possible,
see normal text objects.

Styles
Styles define the parameters font, font size, bold, italic and frame.
For normal text objects you can freely choose the style or select individual font parameters in
the object's Property palette.
For specified text objects the style is fixed. If you change the font parameters in the Property
palette you automatically change the style for all other objects of the same text type.
Use the Font dialogue to change styles or to create new ones, see page 54. In addition you can
choose for each style and each parameter if it should adapt to the recognition result or maintain
a constant value.

Frame of Text Objects

No frame, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ0É
Frame, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍXÉ
Round Frame, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍGÉ

Bold & Italic

Bold, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍFÉ
Italic, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍKÉ

Font
The drop down list lets you select a font. The list contains three sections:
1. Fonts which are already used somewhere in the score
2. All other text fonts
3. All other symbol fonts such as the capella font

Font Size
Larger, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ+É
Smaller, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍ–É
 Editing 53

Sub-/Superscript
Higher, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍôÉ
Level, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍHÍoÍmÍeÉ
Lower, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍûÉ
After recognition some characters may be raised or lowered a little bit in order to improve the
appearance in capella-scan. Note that small values are set to zero when saving to a capella file.

Save Text as Text Field

on/off, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍXÉ

capella distinguishes between text fields and plain text. Text with varying fonts and attributes
(bold, italic, etc.) can only be saved in text fields. If capella-scan detects varying text parameters,
it will automatically save text as text field. If you de-select this option the text object is format-
ted uniformly and will be saved as plain text.

Character Spacing
Closer, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍâÉ
Wider, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍêÉ
To change spacing continuously, make sure to de-select the option Align text to scanned text.
This setting is used only to improve the visual clarity in capella-scan by better matching of recog-
nized and scanned symbols. It has no relevance for the result in capella.

Sloping Text
Upwards, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍPÍaÍgÍeÍ ÍUÍpÉ

Downwards, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍPÍaÍgÍeÍ ÍDÍoÍwÍnÉ

This setting is used only to improve the visual clarity in capella-scan. It has no relevance for the
result in capella.

Align Text to Scanned Text

on/off, ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍSÉ

With this option turned on capella-scan tries to align each single character to a scanned black
character. The setting is used only to improve the visual clarity in capella-scan and has no relev-
ance for the result in capella.

Editing Text
There are two editing modes for text:
➔ How to access the direct editing mode

• Select the text object and press ÁÍÊÉ or double click the text object. Text is now edited directly on the
page. If possible the text is aligned to the recognized character positions.
➔ How to access the windowed editing mode

• Select the text object and press ÁÍCÍtÍrÍlÉ+ÁÍÊÉ or double click the text object while holding down ÁÍCÍtÍrÍlÉ. A
separate editing window pops up below the text. The old text object is hidden in order to open up the
view of the black scanned text.
• Press ÁÍCÍtÍrÍlÉ+ÁÍÊÉ to switch between the two editing modes.
➔ How to exit editing mode

• When you have finished working on the text press ÁÍÊÉ to save or ÁÍEÍsÍcÉ to discard changes.
54 capella-scan 7

➔ How to select characters within the text

• Drag the mouse over the characters or hold down the ÁÍSÍhÍiÍfÍtÉ key while moving the cursor with the cursor
keys.
• If no individual characters are selected then the text formatting options in the Property toolbar apply to
the whole text object.
➔ How to include music symbols in text

• While being in editing mode click the required music symbol in the Object palette. It is inserted at the
cursor position.
➔ How to navigate quickly between text objects

• The cursor jumps to the next text object if you move the it beyond the first or last character of a text ob-
ject.
➔ How to split text objects

• Move the editing cursor to the position where you want to split and click this symbol on the Property
bar or press ÁÍCÍtÍrÍlÉ+ÁÍSÍpÍaÍcÍeÉ. The text object is divided into two independent objects.
➔ How to join adjacent text objects

• Move the editing cursor to the end of the first object or to the be-
ginning of the second object. If joining is possible a grey bracket appears
below both objects. Click the button in the Property bar or press ÁÍDÍeÍlÉ at the end of the word or ÁÍâÍ Í É at
the beginning of the word.
• Outside editing mode you can select two (or more) adjacent text objects and combine them by clicking on
the icon shown above.
➔ How to create multiple line text blocks

• Each line of text is represented by a separate text object. The first line is anchored to a note while each fol-
lowing line is anchored to its preceding line, see page 36.
• To speed up this operation, you can select all lines of text at once and combine them with one of the fol-
lowing commands:

Create left justified text block, ÁÍlÉ

Create centred text block, ÁÍiÉ or ÁÍjÉ
Create right justified text block, ÁÍrÉ

Styles and Default Fonts

The menu command EDIT → STYLES & FONTS or ÁÍFÍ4É shows a dialogue window for setting the styles and default
fonts for all different text types. The dialogue settings apply to the current score and are saved with the
level of recognition. Click AS DEFAULT to use the settings for future scans.
The list STYLES contains all text parameters (font, italic, bold, size, frame) for each text type (page 51). Right click
on any parameter to choose one of the following commands:
• CONSISTENTLY FIXED VALUE: Chose this option if you want a certain value to be used for the result in capella, re-
gardless of the original appearance in the scanned music. Select the value from the sub-menu.
• CONSISTENT RECOGNITION: Chose this option if you want to copy the appearance of the scanned music and apply
it consistently throughout the score.
• INDIVIDUAL SETTING: Chose this option if the individually recognized values should be used for each object. You
can adjust them in the object's properties.
➔ How to create new styles

• Right click into the column TEXT TYPE and select NEW STYLE. Choose the parameters of the new style.
User defined styles can be used only for normal, non-specific text objects.
 Editing 55

The list FONT RECOGNITION contains the default fonts for newly recognized objects. While it is impossible for the text
recognition to determine the original font of printed text, it is however possible to recognize the basic font char-
acteristics, which are italic, bold and the use of serifs. For all combinations of these characteristics you can select
which font should be used to display the recognized text in capella-scan and further on in capella. In addition you
can select the font used for Gothic text.
In the list CHARACTER REPLACEMENT you can define characters of a certain font to be replaced by other characters im-
mediately after text recognition. This feature is intended mainly to handle the two different letters for 's' in Goth-
ic fonts. You will have to extend this list only if you want to use other Gothic fonts than the two listed below.
Text recognition delivers the round s as normal s and the long s as Unicode character 0x017f. Most Gothic fonts
do not use Unicode and therefore store the long s on some other character code, e.g. character '#', or they store
the long s as normal s and the normal s on another character. The default entries in the character replacement
list are the settings for the two Gothic fonts shipped with capella-scan:
Plakat-Fraktur: 0x017f='#'[$];
F Breitkopf-Fraktur: 0x017f='s'[$];'s'=0xa8[s];
This means: With font "Plakat-Fraktur" the long s is displayed by character '#' and can be entered in capella-scan
with key ÁÍ$É. With font "F Breitkopf-Fraktur" the long s is displayed by character 's' and the round s is displayed by
code 0xa8.

Guitar Fret Diagrams

Shortcut ÁÍpÉ ÁÍpÉÁÍoÉ ÁÍpÉÁÍpÉ see Staves page 56

ÁÍ*ÉÁÍ*É ÁÍ*É
Guitar fret diagrams

➔ How to create a fret diagram

1. Select the fret diagram from the Object palette or press ÁÍ*ÉÁÍ*É. Move the diagram into place, drop it
with a mouse click and adjust its size if necessary.

2. Select a fret point from the Object palette or press ÁÍ*É. Move the point to the correct place in the dia-
gram.
3. You can create Barré chords by inserting a single chord point and extending it with the mouse. This also
applies if you want to display the Barré chord with by two points connected by a slur instead of a thick bar.
The Barré style is a property of the fret diagram, see page 56.

Properties of fret diagrams

Orientation
Horizontal strings, ÁÍrÉ
Vertical strings, ÁÍrÉ

Number of Strings
2 to 12 strings, ÁÍuÉ/ÁÍdÉ

Number of Frets
2 to 12 frets, ÁÍ+É/ÁÍ–É
56 capella-scan 7

First Shown Fret

1 to 11, ÁÍ1É … ÁÍ9É

Fret Number Display

Arabic numerals, ÁÍiÉ
Roman numerals, ÁÍiÉ
Ordinal numbers, ÁÍiÉ
Number with "fr", ÁÍiÉ
➔ How to set fret numbers

• Select the fret diagram. Next to the grid you see a black dot for each fret. Click the dot to turn the number
display on and off.

Saddle Thickness
Thick saddle, ÁÍlÉ
Thin saddle, ÁÍlÉ

String Ends
Open string ends, ÁÍoÉ
Closed string ends, ÁÍoÉ

Fingering
Fingering inside the chord points, ÁÍyÉ
Fingering outside the grid, ÁÍyÉ

Barre Chords
Barré bars, ÁÍjÉ
Barré slurs, ÁÍjÉ

Properties of fret points

Filling
Filled circle, ÁÍoÉ
Empty circle, ÁÍoÉ
Cross, ÁÍoÉ

Fingering
In the drop-down list you find the numbers 1 to 5 which you can also select via keyboard short-
cuts ÁÍ1É to ÁÍ5É. Delete the fingering with ÁÍ0É. In addition you can enter any other character in the
edit field, e.g. "M" for middle finger.

Staves
Inserting, extending and joining staves: see page 59
Deleting and splitting staves: see page 60
Moving stave ends: see page 61
 Editing 57

Properties Starting time: Numerator ÁÍ+É/ÁÍ–É, Denominator page 40

Allocation of voices page 57, Stave size page 57, Percussion page 57

Link staves page 57, Braces & brackets page 58, Barlines page 58

Transposition page 59, Stave description page 58

Stave Size
You can tell capella-scan whether a specific stave is to be of normal size or small size. This is usu-
ally recognized automatically, but where the difference in the original score is small or there are
more than two sizes of staves it may need to be done manually.

Small, ÁÍzÉ
Large, ÁÍzÉ
This setting can be used for automatic stave identification, see page 61.

Percussion Staves
Here you can toggle between a single line percussion stave and a normal stave with five lines.

Normal / Percussion, ÁÍpÉ

This setting can be used for automatic stave identification, see page 61.

Allocation of Voices to Staves

capella-scan can recognize up to four voices per stave. You can reduce this number or let certain
voices be saved in separate staves.
How many voices per stave should be recognized? In this ex-
ample three voices are specified. Click on the number that will
be used as the maximum.

Do you want the voices to be saved in separate staves (also

MIDI-tracks)? In this example voices one and three are alloc-
ated to one stave and voice two is allocated to a second stave.
Drag the voice number to the required stave.

Click here if you wish to return to the default settings.

Click here if you wish to employ these settings as the new de-
fault values. They will then apply to all staves using the default
setting.

In the Property palette the current setting is shown in a short form. A pre-
ceding "D" signifies the default setting.

Link Staves to Systems

When consecutive staves are selected (see page 37):
Separate staves, ÁÍyÉ+ÁÍiÉ
Link staves, ÁÍyÉ+ÁÍiÉ
When a single stave or several non-contiguous staves are selected:
Separate staves
Link to staves above
58 capella-scan 7

Link to staves above and below

Link to staves below
Link to / separate from stave above: ÁÍyÉ+ÁÍuÉ
Link to / separate from stave below: ÁÍyÉ+ÁÍdÉ
When a stave is linked to another stave capella-scan synchronizes all barlines. If one stave had
more barlines than the other the surplus barlines are deleted.

Braces & Brackets

When consecutive staves are selected (see page 37):
Delete brace, ÁÍjÉ+ÁÍiÉ Delete bracket, ÁÍrÉ+ÁÍiÉ
Add brace, ÁÍjÉ+ÁÍiÉ Add bracket, ÁÍrÉ+ÁÍiÉ

When a single stave or several non-contiguous staves are selected:

Delete brace Delete brace
Brace across stave only Bracket across stave only
Brace to staves above Bracket to staves above
Brace to staves above and below Bracket to staves above and below
Brace to staves below Bracket to staves below
Shortcut: ÁÍjÉ+ÁÍuÉ Link / separate above Shortcut: ÁÍrÉ+ÁÍuÉ Link / separate above
ÁÍjÉ+ÁÍdÉ Link / separate below ÁÍrÉ+ÁÍdÉ Link / separate below

This setting can be used for automatic stave identification, see page 61.

Barlines Through Staves and Spaces

When consecutive staves are selected (see page 37):
Barline through staves only
Barline through staves and spaces
Barline through space between staves only (early music)
When a single stave or several non-contiguous staves are selected:

Barline through the stave

Barline through the stave and space above
Barline through the stave and space above and below
Barline through the stave and space below
Barline through the space above (early music)
Barline through the space above and below (early music)
Barline through the space below (early music)
Barline through space above (on/off): ÁÍlÉ+ÁÍuÉ
Barline through stave (on/off): ÁÍlÉ+ÁÍiÉ
Barline through space below (on/off): ÁÍlÉ+ÁÍdÉ
This setting can be used for automatic stave identification, see page 61.
Stave Description
You can enter a description for a stave or apply an existing description
from the list. The shortcut key to enter a description is ÁÍAÍlÍtÉ+ÁÍIÉ. This setting can be used for
automatic stave identification, see page 61.
 Editing 59

Transposition of a Stave

You can tell capella-scan to transpose specific instruments during playback. With this feature you will get a cor-
rect sound for transposing instruments such as trumpets and clarinets that play at a different pitch to the written
notes. It is only necessary to specify the transposing interval on one stave. All the other staves for the instrument
will be played back using this setting.
The green text in the right hand column indicates the number of flats or sharps by which the key of the transpos-
ing instrument differs from the non-transposing voices. The two buttons at the bottom snap in and offer addi-
tional octave shifts up or down.
Shortcuts for shifting transposition up and down: ÁÍuÉ and ÁÍdÉ
Shortcuts for resetting transposition to zero: ÁÍ0É or ÁÍiÉ

NB: capella-scan does not derive the transposition automatically from the key signature for several reasons:
1) Which voices are the non-transposing ones?
2) Was the key signature recognized correctly in the first place?
3) Is it in the correct octave, or should the pitch be higher or lower?
4) When changing the transposition in one stave, should the position of the stave in the template system be changed, or should the trans -
position of all corresponding staves be changed?
Consequently, only the key signature may be used for stave identification and not the transposition.

Inserting, Extending and Joining Staves

➔ How to insert a stave that has not been recognized

1. Click in the Object palette or press ÁÍpÉ.

2. Look for a small area on the stave with very clean

lines and then draw a square across this area from
the upper to the lower line. Keep holding down
the mouse button. capella-scan will take a closer
look at the selected area and attempt to find the
stave lines.
3. If the line recognition is successful, the stave will
be extended left and right as far as the lines go.
Thick grey lines represent the recognized section
of the stave
60 capella-scan 7

4. As soon as you let go of the mouse button, recog-

nition will start and the new stave will be
searched for notes.

➔ How to insert a percussion stave line

1. Click in the Object palette or press ÁÍpÉÁÍoÉ.

2. Draw a rectangle across the line as described above.

Important: The height of the rectangle must approximately equal the height of a normal stave. It is used as
measure to calculate the expected note size for recognition.
➔ How to extend a stave

1. Click in the Object palette or press ÁÍpÉ.

2. If the stave has not been recognized through to

the end, you need to manually extend the stave.
Use the mouse to draw a square across the end of
the recognized stave ...
3. ... and drag the square all the way to where the
actual end of the stave should be. You may adapt
the slope of the dragged lines to that of the
scanned image.

4. As soon as you let go of the mouse button, recog-

nition will start and the extended stave will be
searched for notes.

If you only want to marginally extend a stave without searching for notes, you should select it and drag the small
grey boxes displayed at either end, see page 61.
➔ How to create a stave without line recognition

If the line recognition does not start up on inserting the stave and if the stave has a substantial slant you should
do the following:
When you insert a stave, and recognition of lines does not automatically start, then capella-scan creates a stave
only within the drawn square. The height of this new stave will be the same as that of the square and all lines will
be exactly horizontal. To create a sloping stave, first create a very short section of stave and then extend this sec-
tion as described above.
1. First create a very short section, e.g. at the beginning of the stave. If no lines are recognized the height of
the dragged rectangle is taken as stave height. So far all lines are horizontal, you have not been able to
define a slant yet. That's why we have started with a short section where this problem is not severe.
2. Extend the stave up to its end as described above. During extension you can adjust the slant with the
mouse, because the stave height is already determined by the first section.
➔ How to join two stave fragments

• If a stave is broken into two sections and you want

to join them, draw a square across the facing ends
of both sections.

Deleting and Splitting Staves

➔ How to delete a whole stave

• Select the stave and click or press ÁÍDÍeÍlÉ.

 Editing 61

➔ How delete part of a stave

1. Click in the Object palette or press ÁÍpÉÁÍpÉ.

2. Draw a square across the area of the stave, which

you want to delete. All objects and the lines of the
stave will be deleted within this area. This way
you can shorten staves at either end or split them
into halves.
If you only want to marginally shorten a stave without
deleting any objects, you should select the stave and drag the small grey boxes displayed at the ends, see page
61.

Moving Stave Ends

When you select a single stave, small grey boxes appear at either end of the stave. You can click these boxes and
drag them either right or left. If you lengthen the stave beyond the recognized length, the added section will be
horizontal, even if the scanned image shows slanted staves. Shortening the stave is only possible up to the first or
last object on the stave. If you want to shorten beyond these objects, you must first delete them. Only barlines
will be moved together with the stave end, and only if they are placed right at the end of the stave.

Stave Identification
To ensure that individual instruments and voices can be linked from one system (line of music) to the next, each
stave has to be identified. This is an easy task if all voices are present throughout the entire score. In this case the
first stave of a line of music is always the first voice, the second stave is the second voice and so on. But if instru-
ments come and go throughout the score, capella-scan has to decide which voices the remaining staves belong
to. This can be achieved in accordance with the criteria below:
• Number of note lines (5 or 1 for percussion)
• Stave size
• Braces and brackets in front of the staves
• Through barlines
• Key signature
• Clef
• Stave description (name of the voice or instrument)
You can chose in the editing options (see page 62) which criteria are used. If no criteria are selected capella-scan
will use the stave order only.
The key signature can be used to identify transposing instruments. However, the transposition setting is irrelev-
ant for identification purposes as it only influences the pitch for playback.
The dark red numbers at the beginning of each stave indicate the current
identification. Staves with the same number are linked together. If any of the
numbers are preventing you from seeing a part of the score you may drag
them aside. If a stave has a description, the description is shown together with
the red number. It is underlined if it was defined in the stave and it is not un-
derlined if it was transferred automatically from one system into the next.

A new voice will be added to the template system, whenever a stave cannot be assigned to an existing
voice. In this case a blue information symbol is displayed next to the stave description. Click the information
symbol to see an explanation why no classification was possible. This feature allows you to search for specific re-
cognition errors or to adapt the classification criteria.
If automatic extension of the template system is turned off (see page 62) then staves which could not be
identified are marked by a red warning symbol. This may also happen with large scores containing many re-
cognition errors. Unidentified staves are not saved for capella. Click the warning symbol to see an explanation as
well as suggestions how to solve the problem.
62 capella-scan 7

Text objects in front of the stave which are anchored to the stave, are used to create the stave description.
You may control end edit the stave descriptions in the template system, (see page 62). Full and abbreviated in-
strument names are assigned to each other with the help of an abbreviation table.
NB: Description vs. name of stave: In capella the name of a stave may be printed in front of it, either full or abbreviated. The descrip -
tion is used only internally by the program to identify the stave.

Descriptions can also be edited in the Property palette of a stave. Select the stave and click
into the drop down list shown here or press ÁÍAÍlÍtÉ+ÁÍIÉ. Either type in a new description and
press return, or select an existing description from the list. Any explicit assignment of descriptions overrules all
other pre-defined criteria.
If two voices are never shown together in any line of music, it may not be clearly defined
which voice should come first in the template system. In this case you can control and
change the order by dragging the descriptions around in the drop down list.

The stave identification criteria will also be used to fit the recognized staves into an existing template system of a
capella template file, see page 64. The same is true for appending subsequent pages to an existing capella file. If
you do not like the result in capella, you can un-append pages and change the criteria in capella-scan before re-
appending.

Template System
With menu EDIT → TEMPLATE SYSTEM or ÁÍFÍ7É you open up a dialogue window for editing the current template
system. The template system gives an overview over all staves (voices) that can be found throughout the
score.

Create Manually
Select CREATE MANUALLY if you want to load a template system from a capella-File (IMPORT) or if automatic creation
does not yield a satisfying result.
➔ How to add staves to the template system

1. Select CREATE MANUALLY or select AUTOMATIC CREATION and WHEN? ONCE AFTER RECOGNITION.
2. Click the three dots ... on the very left between the two staves where you want to insert a new one. Open
the context menu by either right-clicking the three dots or clicking on the drop-down button or pressing
ÁÍSÍpÍaÍcÍeÉ, ÁÍFÍ2É or the Windows context menu key.

3. Select INSERT EMPTY VOICE or select an instrument from the voice list. The voice list contains all entries from
the instrument database.
➔ How to delete staves

1. Click the red number on the very left and right-click to open the context menu.
2. Select DELETE VOICE.
➔ How to edit Internal Description, Instrument and Abbreviation

• Select the cell and click again, or press ÁÍFÍ2É. You can edit the text item on the spot.
➔ How to create braces, brackets and barlines

1. Click in the column of brace, bracket or barline onto an area which does not yet contain a brace, bracket or
barline. A blue preview of what you are about to insert will appear.
2. Click a second time to confirm the preview and make the change final.
If you want to draw a brace or bracket over several staves you can either start with a short brace or brack-
et and extend it from one stave to the next, or you can select the whole range and insert the brace or
bracket at once. To select a range of staves hold down ÁÍSÍhÍiÍfÍtÉ while clicking each of them or use ÁÍSÍhÍiÍfÍtÉ
plus the arrow keys.
 Template System 63

➔ How to delete braces, brackets and barlines

1. Click the brace, bracket or barline you want to delete. It will first be crossed out by a blue line to indicate
what you are about to delete.
2. Click a second time to confirm the preview and delete the crossed out object.
➔ How to change the other settings (clef, stave height, transposition, MIDI instrument, volume)

• Click the item, open the context menu and select the appropriate command.

Create Automatically
With this option capella-scan analyses the recognized score and draws up the template system from it.

From?
Select ALL SYSTEMS, if the first system does not contain all voices, i.e. if new voices are introduced later on, in other
systems. Otherwise select FIRST SYSTEM in order to avoid additional staves being created due to possible recognition
errors.

When?
Select ONCE AFTER RECOGNITION, if you want to edit and correct the automatically created template system on the spot
in this dialogue. Select CONTINUALLY DURING MUSIC EDITING, if your corrections in the score should be taken into account
immediately for optimizing the template system. This way you can correct an incorrect template system indir-
ectly by fixing all the recognition errors in the score which have caused the errors in the template system.

Stave identification criteria

If all voices of your score are present throughout the whole score you can simply deselect all criteria. But if there
are lines of music where some voices are missing, capella-scan has to decide which voices the remaining staves
belong to. Chose here which criteria are to be taken into account. Please bear in mind that you must take extra
care of all recognition errors which affect the selected criteria.
With criterion STAVE DESCRIPTION selected, capella-scan analyses all text objects in front of staves which are formatted
as voice description, see page 51. capella-scan even allocates abbreviated instrument names to their full names,
thanks to the instrument database.

Instrument Database
Open the instrument database with menu EDIT → TEMPLATE SYSTEM → INSTRUMENT DATABASE.
The list INSTRUMENTS contains names and abbreviations for each instrument in the languages German, Italian, Eng-
lish and French. In addition, the default clef and MIDI instrument are defined, which are used when you select
the instrument as a new stave in the template system editor.
In the list CLASSIFICATION the instruments are grouped into instrument families. This structure is used to create the
popup menu for selecting instruments in the template system editor. Some instruments may appear several
times, e.g. because they might be transposed differently.

Saving
Saving Level of Recognition
This option allows you to stop work at any given point of editing and continue later from where you left off.
➔ How to save the level of recognition

• Select FILE → SAVE LEVEL OF RECOGNITION FOR ALL WINDOWS or press ÁÍCÍtÍrÍlÉ+ÁÍMÉ. All open windows are saved.
Previously stored levels of recognition are overwritten or deleted in case you have already closed the cor-
responding window. The data is stored in the memo folder, see page 69.
➔ How to restore the last level of recognition

• Select FILE → RESTORE LEVEL OF RECOGNITION or press ÁÍCÍtÍrÍlÉ+ÁÍRÉ.

64 capella-scan 7

➔ How to activate automatic saving

• With FILE → SAVE LEVEL OF RECOGNITION AUTOMATICALLY… you can set a time interval for automatic backup of
your currently open files. This can minimise lost work in case of computer crashes.
➔ How to save the level of recognition for a single window

• Select FILE → SAVE LEVEL OF RECOGNITION FOR SINGLE WINDOW… or press ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍMÉ. You will be asked for
folder and file name where to save the current window. If you have started your work with scanning rather
than loading an image file you will also be asked where to save the scanned image. These files will not be
deleted, once you have completed the project. By copying these files, you can easily transfer your project
to another PC.
➔ How to restore the level of recognition for a single window

• Select FILE → LOAD LEVEL OF RECOGNITION FOR SINGLE WINDOW… or press ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍRÉ, and select the file
you have previously saved.

Saving Notation Files

➔ How to save music

1. Select FILE → SAVE NOTATION... or press ÁÍCÍtÍrÍlÉ+ÁÍSÉ. A file dialogue window will pop up.

2. Under file type select, whether you want to save a capella, MusicXML or MIDI file.
• File type: capella score
Notes are stored in the capella file format. Under FILE → SAVE NOTATION… → TEMPLATE → CHOICE you can select
one of the following file formats:

Format capella 1000 Format capella 2000 Format CapXML 1.0

used by used by used by
capella compact capella 1200 capella 1200
capella professional 2.x LaboraCapella capella 2004
capella 1000 capella 2000 capella 2008
Programs in the right columns can capella 2002 capella professional
also read this format but some at- capella 2004
tributes are not saved in this capella 2008
format: small stave, cross stave capella professional
beaming and multiple bar rests
etc.

Alternatively you can select any existing capella file as a template. The template file provides additional in-
formation like printer settings or sound configurations and capella-scan will build up the score structure
on the basis of this score template. If necessary, the template system will be expanded to accommodate
the new score, see page 62. Page format and page margins can be set in the page settings, see page 66.
NB: If you do not select a template, capella-scan uses default values and generates a new template from scratch. Default val -
ues for the various file types are stored in the files capscan1.cap, capscan2.cap, capXml10.capx and located in your capella-
scan folder. You can edit these files with capella.

To save scans from several windows into a single capella file, use the APPEND NOTATION option.
Since capella 2002 there is a direct interface between capella and capella-scan. Files which are saved in
capella-scan can automatically be opened or updated in capella. Just activate the option OPEN IN CAPELLA in
the file dialogue window.
• File type: MIDI file
The music is saved as MIDI file.
• File type: capella score plus MIDI file
 Saving 65

The music is saved as a capella score and afterwards converted to a MIDI file. That way you can utilise the
full editing functionality of capella, such as appending notation and starting with template scores, with the
final capella file then being converted to MIDI.
• File type: MusicXML
The music is saved as MusicXML file which can be imported into many other notation programs.
• File type: capella-score plus MusicXML
The music is saved as a capella score and afterwards converted to a MusicXML file. That way you can util-
ise the full editing functionality of capella, such as appending notation and starting with template scores,
with the final capella file then being converted to MusicXML.

Appending Notation
This function allows pages from separate document windows to be joined.
➔ How to append music to an existing capella file

• Use FILE → APPEND NOTATION... or ÁÍCÍtÍrÍlÉ+ÁÍTÉ to open a dialogue box for selecting an existing capella score
to which you can add the pages of the current window.
The existing file can have any of these formats: capella 1000, capella 2000 or capXML, see above. Appending to a
file will not change the format of the existing file.
The new staves are appended in accordance with the template system and stave identification criteria, see page
61. The template system is automatically extended to accept new instruments etc. if necessary.
Before the new page is appended, capella-scan makes a backup copy with the extension *.csbak. See below
how to undo an append.
capella-scan cannot append scores to MIDI and MusicXML files. To solve this problem, you should select the file
type capella score plus MIDI or capella score plus MusicXML when saving the first section and when appending
the following sections. This will convert the saved capella score every time into MIDI or MusicXML files.
Since capella 2002 there is a direct interface between capella and capella-scan. Files which are saved in capella-
scan can automatically be opened or updated in capella. Just activate the option OPEN IN CAPELLA in the append dia-
logue window.

Undoing an Append
If you append a page to an existing score and you are not happy with it when you see it in capella, you can re-
store the original file. This allows you to re-edit it in capella-scan and try again. To facilitate this, capella-scan cre-
ates a backup copy of the capella file with the extension *.csbak (capella-scan backup) before appending the
page.
➔ How to undo an append

• Select FILE → UNDO APPEND... or press ÁÍCÍtÍrÍlÉ+ÁÍUÉ. In the resulting dialogue box select a file with the ex-
tension *.csbak and click OK to re-create the original file.

Using and Customizing capella-scan

Windows
You will find the usual windows control options in the WINDOW menu. To step from one window to the next you
can use the shortcut keys ÁÍCÍtÍrÍlÉ+ÁÍFÍ6É or ÁÍCÍtÍrÍlÉ+ÁÍTÍaÍbÉ. Adding the ÁÍSÍhÍiÍfÍtÉ key reverses the direction.
To toggle between a maximised window and a reduced size window use the shortcut keys ÁÍCÍtÍrÍlÉ+ÁÍFÍ3É. The
program window can be toggled with ÁÍAÍlÍtÉ+ÁÍFÍ3É.

Multipage Scores
In capella-scan each document window can contain any number of pages. The mini-preview gives an overview of
the entire score:
66 capella-scan 7

A blue frame indicates selected pages. A red square indicates the currently displayed section. The mini-preview
can be toggled on and off by clicking the small arrow on the left side. You can move the window by dragging the
vertical line of grey dots on the left. You can re-size it by dragging the lower edge.
➔ How to navigate using the mini-preview

• Click on the spot you want to see.

• Or drag the red selection square by the border to the required spot. See also page 67.
➔ How to zoom using the mini-preview

• Drag the lower right corner of the red selection square to the required size. See also page 67.
➔ How to select pages

• Select a single page by clicking it.

• To select several pages, hold down ÁÍCÍtÍrÍlÉ while you click the pages.
• To select several consecutive pages select the first page with one click and then hold down ÁÍSÍhÍiÍfÍtÉ while
clicking the last page.
• Keyboard shortcut: ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍPÍaÍgÍeÍ ÍUÍpÉ/ÁÍPÍaÍgÍeÍ ÍDÍoÍwÍnÉ or ÁÍCÍtÍrÍlÉ+ÁÍAÉ to select all pages.
➔ How to rearrange pages

• Click and drag the required page to the new position. You may also select several pages and drag them to-
gether.
➔ How to move pages to another window

• Ensure that the mini-previews of both windows are visible, e.g. via menu WINDOW → TILE or WINDOW → STACK.
Drag the pages from one mini-preview to the other.
➔ How to move pages to a new window

• Ensure that a section of background of the CAPELLA-SCAN window is visible and drag pages from the mini-pre-
view onto the background.
• Alternatively, right-click the required page inside the thumbnail view window and select the appropriate
command from the fly-out context menu.
➔ How to copy pages

• Proceed as with moving pages, but hold down ÁÍCÍtÍrÍlÉ before you release the mouse button.
➔ How to delete pages

• Right-click the required page in mini-preview and select the appropriate command from the fly-out con-
text menu.

Page Settings
Right-click a selected page in the mini-preview and select PAGE SETTINGS... from the context menu. The dialogue
window shows page related settings, which are used when saving the scanned image (see page 25) and the score
(see page 64).
PAGE FORMAT: Select paper size and orientation for PDF files.
 Using and Customizing capella-scan 67

RESOLUTION: Chose the image size in mm. You can specify either width or height or the resolution in dpi. The other
values are adjusted accordingly. This setting is used for all image files.
MARGINS: Enter the page margins for PDF files. This setting is ignored if you select centre alignment.
ALIGN IMAGE: For PDF files select whether the image is centred or aligned to any of the borders.

Navigation
➔ How to navigate with the keyboard

ÁÍCÍtÍrÍlÉ+ÁÍPÍaÍgÍeÍ ÍUÍpÉ/ÁÍPÍaÍgÍeÍ
One page backward / forward
ÍDÍoÍwÍnÉ
ÁÍCÍtÍrÍlÉ+ÁÍHÍoÍmÍeÉ First page
ÁÍCÍtÍrÍlÉ+ÁÍEÍnÍdÉ Last page
ÁÍPÍaÍgÍeÍ ÍUÍpÉ/ÁÍPÍaÍgÍeÍ ÍDÍoÍwÍnÉ One screen backward / forward or to nearest page break
ÁÍCÍtÍrÍlÉ+ÁÍôÉ/ÁÍûÉ One screen backward / forward regardless of page breaks
ÁÍCÍtÍrÍlÉ+ÁÍâÉ/ÁÍêÉ One screen left or right within the page
ÁÍHÍoÍmÍeÉ/ÁÍEÍnÍdÉ Left or right margin of the page
ÁÍâÉ/ÁÍêÉ/ÁÍôÉ/ÁÍûÉ Scroll in small steps
➔ How to navigate with the mouse

• Use the scroll bars.

• Use the mouse wheel, if available.
• Press and hold the mouse wheel or the middle mouse button (if available) and drag the page with the
mouse.
• Click on the required spot in the mini-preview, see page 65.
• Drag the red selection square in the mini-preview by the border to the required spot.

Zoom
The following commands change the magnification of the score on the screen.
➔ How to magnify a certain area

1. Select VIEW → ZOOM AREA or press ÁÍCÍtÍrÍlÉ+ÁÍGÉ. The mouse pointer will turn into a magnifying glass.

2. Click and drag diagonally across an area. That area will be magnified to fill the screen. To cancel the magni-
fying lens either press ÁÍEÍsÍcÉ or select the menu again.
➔ How to change the magnification with the mouse wheel

• Hold down ÁÍCÍtÍrÍlÉ and turn the mouse wheel to zoom in and out of the display. The centre of the display
will be maintained at the mouse pointer's position.
➔ How to access common magnifications

• With VIEW → FULL PAGE WIDTH or ÁÍCÍtÍrÍlÉ+ÁÍWÉ the score is magnified to fill the window from left to right.

• With VIEW → FULL PAGE HEIGHT or ÁÍCÍtÍrÍlÉ+ÁÍHÉ the score is magnified to to fill the window from top to bot-
tom.

• Use menu VIEW → ZOOM or ÁÍCÍtÍrÍlÉ+ÁÍ+É and ÁÍCÍtÍrÍlÉ+ÁÍ–É to zoom in or out to the next standard magni-
fication.

• On the toolbar you always see the current zoom percentage. You can click and edit the percent-
age value. The shortcut ÁÍAÍlÍtÉ+ÁÍZÉ will put the cursor into the percentage field. Press ÁÍÊÉ to apply the new
value. The valid range for the percentage value is 10% to 990%. Up to the value of 100 you can enter any
value. Above that, the value is changed to a multiple of 2, then 5 and finally 10.
68 capella-scan 7

• The drop down list next to the percentage field offers all standard magnifications. With keyboard shortcuts
ÁÍCÍtÍrÍlÉ+ÁÍ1É to ÁÍCÍtÍrÍlÉ+ÁÍ9É you can directly select the values 100%, 200%, 300%, 400%, 50%, 600%, 75%, 800%
and 25%.
➔ How to return to the last magnification

• Select VIEW → UNDO LAST ZOOM or ÁÍCÍtÍrÍlÉ+ÁÍLÉ to return to the last displayed magnification.

View
With menu VIEW → SHOW GREYSCALE / BLACK AND WHITE or ÁÍFÍ2É you can toggle between the two views of the
score if you initially scanned the score as greyscale. See page 27.
With menu VIEW → SHOW ANCHOR CHAINS or ÁÍFÍ8É you turn on and off the display of dashed lines indicating
where text objects and music symbols are anchored. See page 36.
With menu VIEW → REFRESH VIEW or ÁÍFÍ9É the screen is redrawn.

With menu VIEW → SHOW VOICES or ÁÍFÍ1Í1É you turn on and off the coloured blocks that are shown behind note
heads to identify the notes, voice and rhythmic position in the bar. See page 32 and page 31.
With menu VIEW → SHOW OBJECTS BEHIND THE IMAGE or ÁÍFÍ1Í2É you can show the recognized objects either in front of
the image (default) or behind. See page 31.
With menu VIEW → STATUS BAR or ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ1Í0É you can toggle the status bar on and off. See also page 71.
With menu VIEW → SCROLLBARS or ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ1Í1É you can toggle the scrollbars on and off if you prefer to use the curs-
or or mouse wheel for scrolling, see page 67.
With menu VIEW → THUMBNAILS or ÁÍSÍhÍiÍfÍtÉ+ÁÍFÍ1Í1É you can toggle the mini-previews of the document windows on or
off. You may also click on the small arrow in the mini-preview bar.

Options
Use menu EDIT → OPTIONS... or ÁÍFÍ6É to open the options dialogue at the most recently used tab

Options → Scanning
With menu FILE → SCANNING OPTIONS... or ÁÍAÍlÍtÉ+ÁÍFÍ6É you open a dialogue box to select your scanner. For com-
patibility reasons you can also use the TWAIN Standard dialogue to select the scanner.
CLOSE SCANNER WINDOW AFTER EACH PAGE: If this checkbox is ticked, the scanner window is closed after each scan. Other-
wise it remains open and you can scan several pages without re-starting the scanner interface each time. De-
pending on your scanner driver, capella-scan may be blocked until you close the scanner dialogue.
TRANSFER IMAGE IN SEVERAL BLOCKS: Normally this is not necessary. Try this if scanning crashes.
RESTRICT SCAN FORMATS: capella-scan can restrict the scanning options available, making it less time consuming to set
the scanner, however some scanner interfaces malfunction with this setting. Remove the ticks from the boxes
if you suspect, this is causing scanning problems.
TWAIN VERSION: In principle it should not make any difference which version you select. However the older version
1.7 turned out to be more stable, because old scanner drivers may have problems with the new version 2.0.
The TWAIN-Manager is the vital link between capella-scan and the scanner. When you install capella-scan, it
checks for an existing version on your PC and, if necessary,updates it with the one from the capella-scan package.
See also page 24.

Options → Recognition
With menu RECOGNIZE → RECOGNITION OPTIONS... or ÁÍAÍlÍtÉ+ÁÍFÍ7É you open the options dialogue for recognition op-
tions. Changes only take effect when you next start recognition.
 Using and Customizing capella-scan 69

Recognition
FAST: Very quick, but recognizes only basic notation. See page 29.
EXTENDED: Recognizes most symbols as well as notation and text.
COMBINED: Both methods are run and the results combined to give the highest possible recognition level. However,
contradicting results may not always be adequately resolved .

Cue notes and appoggiatura

RECOGNIZE: Recognize as being different from full size notes (default).
RECOGNIZE AS NORMAL NOTES: Select this if your normal notes have smallish heads and are easily confused with cue
notes. With this setting all notes will be recognized as normal notes.
IGNORE: Small notes are not recognized at all. This is useful in ”dirty” scores where smudges and scribble are being
recognized as small notes.

Background recognition
You can set recognition to run as a background operation. This will allow you to start checking and possibly edit-
ing the first page as soon as it is recognized, while the other pages are still being processed.

Acoustic signal
Set this option to play a sound, when recognition is complete. The standard Windows warning sound is played.

Text Recognition
NB: The currently selected option for text recognition is always indicated by the small red symbol in the centre of the recognition
icon. Thus you can always control it easily when starting the recognition.

Without text recognition neither text nor dynamic symbols are recognized.
RECOGNIZE TEXT: Text objects are recognized (e.g. titles, chord symbols, performance directions, fingering etc.) as
well as dynamic symbols.
RECOGNIZE LYRICS: In addition, lyric text is recognized. Sometimes it is difficult to decide whether text is lyric or
normal. In case your score is purely instrumental and does not contain any lyrics, you should therefore de-se-
lect recognition of lyrics in order to prevent wrong text classification.
GOTHICS: Select this option if the text in your score is printed in Gothic fonts. Unfortunately it is not possible
so far to obtain satisfying results with scores containing both Gothic and normal fonts.
LANGUAGES: Select the languages used in the score. This will improve the text recognition performance. Don't activ-
ate too many languages as this slows down the recognition process.
NB: The file musicvocabulary.txt located in the capella-scan program folder contains a list of the most common musical terms, like
cresc., dim, etc. Using an ordinary text editor, you can add other terms to this file, to further improve quality of recognition.

FONTS: See page 54

Options → Editing
Press ÁÍAÍlÍtÉ+ÁÍFÍ7É to open the options dialogue for editing options.
TRANSFER TRIPLET VALUE FROM BRACKET TO NOTES: When this option is activated, all notes between the anchors at either end
of a triplet bracket take the triplet value of the triplet bracket. In multiple voice staves, the bracket affects
only one voice.
LET FOUND OBJECTS FLASH WHEN SELECTED BY [TAB] KEY: After a search command (see page 37) you can step through all found
objects with the ÁÍTÍaÍbÉ key. Chose here if a short flash should help highlighting each newly selected object.
FOLDER FOR SAVING THE LEVEL OF RECOGNITION: Here you may chose the folder where capella-scan saves the files for the re-
cognition level (see page 63) and other temporary files. The default folder location became so complicated in
recent versions of Windows, that it was hard to find even for experienced users. That's why the button OPEN
FOLDER was added, to open an Explorer window showing the currently selected folder.
70 capella-scan 7

Options → Saving
Press ÁÍAÍlÍtÉ+ÁÍFÍ8É to open the options dialogue for saving options.

Options concerning notation

MAKE ADDED RESTS INVISIBLE: To synchronise the appearance of separate voices in a line of music, it may be necessary to
add rests as place-holders (see page 32). You can specify here, whether these rests should be visible in
capella or not. NB: You can still see invisible notes in capella by selecting the capella menu command VIEW →
COLOUR INFORMATION. They will show pale yellow on your computer screen to indicate that they are in the score,
but they will not be printed.
SAVE BEAM SETTINGS: You can save the beaming patterns copied from the scanned score by selecting ”save beam set-
tings”. Otherwise capella will re-calculate the beaming.
SAVE STEM DIRECTION: You can set this option to force capella to adopt the recognized direction of stems. Otherwise,
capella will automatically recalculate the direction of stems.
SAVE STAVE SPACING: Tick if the spacing between the staves is to be transferred to capella.
SAVE STAVE INDENTATION: Tick if the indentation at the start of a stave is to be transferred to capella.
SOLID SLUR / DASHED SLUR / DOTTED SLUR: Adjust the graphics' parameters for different kinds of slurs in capella.

Options for MIDI files

SAVE LYRICS
SPELL-OUT REPEATS
SUSTAIN NOTES: This setting allows you to define the duration of a tone. Possible entries are 80% to 100%.

MusicXML-File
MusicXML export is implemented via a Python script. The relevant parameter settings therefore are also adjusted
via a Python script. A text window prompts you to adjust the various options one by one. More details are avail-
able in the text window. You can cancel this procedure any time by closing the window.

Page orientation
Select whether capella and/or MusicXML files are saved in landscape or portrait page orientation. Select AUTOMATIC
if the orientation of the scanned sheet should be maintained (only the orientation, not the size).
NB: Further parameters of capella files, e.g. the paper size, can be adjusted by opening and editing one of the files capscan1.cap,
capscan2.cap or capXML10.capx in the capella-scan program folder with capella. Which file you have to edit depends on the file
format in which you want to save the music, see page 64

Options → Playback
Select FILE → PLAYBACK OPTIONS... or press ÁÍAÍlÍtÉ+ÁÍFÍ8É to open the dialogue for playback options. This dialogue
summarizes only the most important settings. If you click one of the DETAILS buttons you will be redirected to
the more detailed dialogue of capella-tune, see page 73.
OUTPUT & SOUND: Here you can chose your sound card or any profile you have previously defined in capella-tune at
the INSTRUMENTS tab, see page 73.
VOLUME: Here you can set the basic volume and decide whether dynamic symbols should be taken into account.
The volume levels of individual dynamic symbols can be adjusted under DETAILS, see page 78.
NB: For volume and tempo adjustment you can also use the sliders in the capella-scan toolbars.

TEMPO: Set the playback tempo and turn on or off special rhythms, e.g. swing rhythms. The details for special
rhythms can be found at DETAILS, see page 80.
TRILLS & ORNAMENTS: Here you can turn on and off the playback of trills and ornaments. The interpretation of indi-
vidual ornament can be fund at DETAILS, see page 81.
REPEATS: Here you can select which types of repeats and jumps should be played back. A detailed description of
how these are executed is given in the capella-tune chapter, see page 84 and page 84.
 Using and Customizing capella-scan 71

AUTOMATIC SCROLLING: Automatic scrolling during playback.

PLAY PAGE BY PAGE: Each page is played back as an individual score, if you activate this option. Advantage: The play-
back starts faster for large scores because capella-scan does not have to prepare all pages for playback. Disad-
vantages: Repeats and jumps can only be performed within single pages. If the playback position jumps to the
next page a small delay may be noticeable.
See also page 33.

Options → View
With menu VIEW → COLOUR SETTINGS... or ÁÍAÍlÍtÉ+ÁÍFÍ1Í1É you open the dialogue for viewing options.

Colours
In principle you can change all colours used by capella-scan but bear in mind, that if you change them substan-
tially the help file will no longer be a useful guide to the colours! You can return to all the default colours by
clicking on the button SET TO DEFAULT. See page 31.
➔ How to change colours

• To change a colour, click on the colour button. The Windows default dialogue for colour selection appears.
Select hue and saturation within the big colour map. Select the brightness on the right vertical slider.
NB: To change black or white colours you may have to move the brightness slide on the right of the window before you can select a
new hue.

NB: In low-colour screen modes an increased range of colours is obtained by dithering. In capella-scan only pure colours can be used.

The object, which is attached to the mouse pointer during inserting is drawn by inversion of the background col-
our. Only on white backgrounds will you get the colour you have chosen. However if you select dark grey or black
and tick the option dithered then the mouse pointer object will always be grey.
You can also let certain types of objects be displayed in different colours. See page 37.

Other Settings
OPEN OBJECT PALETTES WITHOUT MOUSECLICK: If this checkbox is ticked the flyout palettes will appear automatically when
you move the mouse pointer over the object icon. Otherwise you have to click the icon.
SHOW ATTRIBUTES' CONTEXT MENU AS DIALOGUE: If this option is ticked the context menu functions like a dialogue box. You
can change several settings and then click on CLOSE when you have finished. Otherwise the context menu
closes immediately whenever you change any option. The context menu is opened by right clicking the ob-
ject.
SHOW TOOLTIPS: Here you can chose whether small yellow info boxes pop up whenever the mouse pointer hovers on
a toolbar button.
WINDOW BUTTONS ON THE RIGHT: In capella-scan the menu bar is interrupted in order to provide more space for toolbars.
You can chose whether the window buttons are displayed next to the help menu or – as usual – in
the upper right corner of the window.

Toolbars
With VIEW → TOOLBARS... or ÁÍAÍlÍtÉ+ÁÍFÍ1Í0É or a right mouse click on the toolbar docking area you can open a
popup menu to select which toolbars and which buttons are to be displayed. To close the menu click some-
where outside the menu or press ÁÍEÍsÍcÉ.
In addition to the standard toolbars, representing the menu commands, capella-scan provides two special tool-
bars:
• The Object palette is a little higher than the standard toolbar. It contains icons representing all objects you
can insert into a capella-scan score (see page 34). Click on the appropriate icon and a flyout palette of re-
lated objects will appear.
72 capella-scan 7

• The Property palette shows all the available attributes for the currently selected object and allows the at-
tributes to be modified, see page 38. If you right click an object, the Property palette appears alongside
the object like a context menu.
➔ How to arrange toolbars

• Toolbars can be dragged to any position on the screen by clicking and dragging the vertical dotted line at
the left end of the toolbar. You can leave them to float in the middle of the screen, or if you move them to
any of the edges they will snap into position along the edge. See also page 9.
 capella-tune 73

capella-tune
capella-tune is used by capella-scan and other programs in the capella suite to play back capella scores or to con-
vert them into MIDI files. This process takes into account numerous settings from within the capella file, e. g. ac-
cidentals, dynamics, piano pedal marks, trills and ornaments, repeats, swinging rhythms, historic tunings and
many more. These features are configured on the various tabs of the capella-tune dialogue.
Furthermore capella-tune provides an interface to VST plug-ins. This interface provides you with access to the
wide world of sample libraries like the capella Vienna orchestra. Sample libraries contain the recorded sounds of
genuine instruments. As a result the quality of playback via such a sample library is far better. Sample libraries
also include special sounds for the different performance marks, e. g. legato/staccato, sforzato, pizzicato/arco,
tremolo, with/without damper, drum roll etc. capella-tune can evaluate the performance instructions and auto-
matically assign the correct sounds from the library. For more details about the VST interface see page 87.
➔ How to select the playback device

• Select menu: EXTRAS → OPTIONS → SOUND → PLAYBACK and click OPTIONS.

• Select the Instruments tab and open the drop-down list at the bottom of the dialogue to select a profile.
NB: You can assign a different playback device to each instrument of your capella score. By selecting your MIDI soundcard profile, all
instruments will be set to that soundcard.

Brief Introduction to the Tabs in the capella-tune Dialogue:

• Instruments: Define which instruments have which articulations and which sounds must be used for
these. For sounds you can assign those of your MIDI sound card and those from your VST plug-in. See page
73.
• Articulations: Define how the various articulations are represented in the score. See page 75.
• Playback Devices: Install and configure your VST plug-ins. See page 76.
• Dynamics & Rhythm: Define the volume for various dynamics and tone duration for various articulations.
Define special rhythms e. g. swing or Viennese Waltz. See page 78.
• Trills & Ornaments: Define how the various trills and ornaments must be played back. See page 81.
• Tunings: Activate and sample various historic tunings or switch on Hermode Tuning. The latter is a special
method that automatically tunes chords for correct playback. See page 85.

Instruments tab
The Instruments tab is used to determine how the individual capella instruments will sound during playback by
setting the playback device (see page 74) and the sound (see page 74) for each instrument. Furthermore, you can
create individual articulation entries (see page 74) for each instrument, to define which specific sounds should be
used for the various articulations. In columns VOL (volume) (see page 74) and PAN (panorama) (see page 74) you
can individually set volume and stereo position respectively.
Example: You want to play back the score of a violin sonata. You have set the instrument in the SystemTemplate
of capella to “violin”. This setting points to the entry “violin” in the column capella Instrument. On the same row
of this instrument select a playback device and a suitable sound for the violin. You can create additional entries
via the right-click context menu of the violin for special articulations, e. g. for pizzicato. Thus you can select a suit-
able sound for the plucked violin. During playback, capella-tune will then automatically use the pizzicato sound
whenever it encounters the relevant articulation symbol in the score. The Articulations tab (see page 75) is used
to define which instruction symbol will switch on/off the pizzicato sound. You can also define completely new ar-
ticulations there.
➔ How to mark several fields to apply a common value

• To select several individual fields click the fields while holding down ÁÍCÍtÍrÍlÉ.
74 capella-scan 7

• To select a continuous list click the first field and while holding down ÁÍSÍhÍiÍfÍtÉ click the last field.
• To select an entire column click the column heading.

Column: capella Instrument

Click the “+” sign in front of an instrument group name to display the list of corresponding instruments. Then
right-click an instrument name to open a context menu which offers the following options:
• Option NOTATION RANGE allows you to determine whether an instrument refers to an individual voice or all
voices on a stave or even several staves in a capella score. This setting influences the range that is affected
by articulation instructions.
• Option NEW ARTICULATION ENTRY creates an initially blank entry for the marked instrument. Right-click this new
entry to select one or more articulations from the context menu. The list of available articulations can be
edited on the ARTICULATIONS tab (see page 75).
• You can also remove an articulation entry via the context menu.
• Option OPTIMIZE FOR re-sets all sounds and articulations for the marked instrument to the optimum value of
the playback device.
NB: To optimize the entire list of instruments for a particular playback device simply select the relevant device under PROFILES at the
bottom of the INSTRUMENTS tab (see page 74).

• At the bottom of the capella-instruments list you find the percussion channel, where the context menu
offers an option to ADD PERCUSSION SOUND. Here you can add your own entries for specific percussion tones to
assign your own sounds to these tones. The main entry PERCUSSION CHANNEL determines the settings for all
percussion tones that do not have their own entries.

Column: Playback Device

Use the context menu to select the playback device for each marked entry. You can select from all MIDI devices
(soundcards) and VST plug-ins (see page 87) that are installed on your PC. You can register additional VST plug-ins
with capella-tune on the Playback Devices tab (see page 76).

Column: sound
Use the context menu to select the sound for the marked entries. For MIDI devices you have a choice of the
standard MIDI sounds. For VST plug-ins the choice depends on the range of options of the plug-in.

Column: vol
Right-click the displayed value for each instrument to access a volume slider. You can also click the value and
press ÁÍFÍ2É to enter a numerical value. The volume setting in this column is a percentage of the volume setting in
the capella System Template (see page 62), i. e. you can increase or decrease the volume of individual instru-
ments. The default value is 100%.

Column: pan
Right-click the displayed value for each instrument to access a stereo panorama slider. You can also click the
value and press ÁÍFÍ2É to enter a numerical value for left or right. The default value is 0.

Use only Default Sound for Playback

This setting will deactivate the Instruments tab. Use this setting to achieve a uniform sound for all voices without
considering the different instruments and articulations. The sound to be used is set on the PLAYBACK DEVICES → TEST
→ DEFAULT SOUND tab (see page 77).

Pre-set Profiles on Instruments Tab

Open the Profiles drop-down list to load one of the pre-set profiles. Beside user defined profiles all standard
playback devices are listed. Select a device in order to optimize the complete list of instruments for this device.
Click ORGANIZE... to open a menu with options to create and administer your own profiles.
 Instruments tab 75

Select COPY to copy an existing profile. If you copy a standard profile it will appear in the list with the original
name plus the addition “(modified)”. If you copy it again a number will be added at the end of the name. You can
rename or delete all user defined profiles. You can also export a profile or import a previously exported profile
from another capella-tune user. When you export a profile you have to give it a file name. This file name is not
the same as the profile name, unless you enter it as such.
Click ACCEPT to save your changes or select RESET TO PREVIOUS STATE from the organize menu to undo your changes be-
fore saving.
Click OK to save the current settings on all tabs, or click CANCEL to dismiss those changes that have not yet been
saved.

Articulations tab
This table lists how the different articulations are identified in the score. The identification can be by note attrib-
utes, capella symbols or text objects.
Some articulation signs have to be anchored to each affected note (i. e. tenuto ties), while others can be set to
indicate the beginning and end of a section (i. e. the text object “pizzicato”, which means plucked).
You can define any number of identifications for each articulation. The articulation will be activated as soon one
of the identifications is present in the score.
The entries in the articulation list are required for the following features:
• Distinction of articulations on Instruments tab (see page 73).

• Generation of special rhythms on the Dynamics & Rhythm tab (see page 80).
The settings for Attack Intensity and Note Shortening on the Dynamics & Rhythm tab are not affected by the ar-
ticulation list.

Column: name
Right-click on any entry to open the context menu, which allows you to create, delete, rename and reorder artic-
ulations.
The sequence of articulations in this table is of relevance when no entry can be found that exactly matches the
identifications presented in the score.
Example: Let's assume you have created two articulation entries, pizzicato (plucked) and marcato (emphasized),
for instrument violin in the list of instruments and you have assigned specific sounds to both of them. As capella-
tune reads a capella score it encounters an emphasized pizzicato, but no specific sound has been defined for this
combination. capella-tune therefore has to decide which of the two sounds to use. This is where the sequence of
entries in the articulation list is of importance. In our example it is obviously preferable to use the pizzicato
sound than the marcato sound, which is only bowed. That's why the pizzicato setting must be higher up in the list
than the marcato setting.

Column: articulation sign

Define the articulation sign that must be present at all relevant notes. You can define several identifications per
articulation via the context menu. For each entry you can choose the type of identification marks from the con-
text menu (see page 76).
You can also define a grouping symbol like a bracket or a wavy line. This will extend the articulation across the
entire group.
The entry BRACKET in the sub-menu GROUPING refers to both repeat box brackets and tuplet brackets. When entering
these brackets in a capella score you need to deactivate the number.
The context menu option ENTRY DEFINES EXCEPTION allows you the exclude specific notes within an articulation section.

Section Start and Section End

Set the beginning and end of an articulation section. You may define several entries via the context menu. For
each entry you can define any of the possible entry types from the context menu (see page 76). The Start and
End instructions are not paired, i. e. any type of entry may start the articulation, while any non-related type may
76 capella-scan 7

end the instruction. Simply put, any instruction in the second column will end any instruction from the first
column.

Types of Articulation Marks

• Text: Enter the text that you have previously inserted as a text object into a capella score. You may add an
underscore "_" as the last character to enable finding text objects that are longer than the entry, i.e. pizz_
will respond to text objects like pizzicato, pizzikato, pizz, etc.
• Special Note Heads: Select rhombus heads, triangular heads, etc.
• Articulation Signs: Select any of the signs from the sub-menu. These can be entered into the capella score
either as note attributes or as music symbols.
• Ornamentation Signs: Choose any symbol from the sub-menu.
• All capella Symbols: For the sake of completeness we include this option, although all common symbols
are included in the above options.
• Tremolo Bars: Select numbers 1 to 5.

Pre-set Profiles on Articulations Tab

Open the Profiles drop-down list to load one of the pre-set profiles. Initially only one default profile is listed.
Click ORGANIZE... to open a menu with options to create and administer your own profiles.
Select COPY to copy an existing profile. It will appear in the list with a number added to the original name. You can
rename or delete this copied profile. You can also export a profile or import a previously exported profile from
another capella-tune user.
When you export a profile you have to give it a file name. This file name is not the same as the profile name, un-
less you enter it as such.
Click ACCEPT to save your changes or select RESET TO PREVIOUS STATE from the organize menu to undo your changes be-
fore saving.
Click OK to save the current settings on all tabs, or click CANCEL to dismiss those changes that have not yet been
saved.

Playback Devices tab

This dialogue box assists you in administering your playback devices. It lists your MIDI playback devices as well as
any VST plug-ins (see page 87) that have been registered with capella-tune. In order to select any of these for
playback please refer to the tab INSTRUMENTS, see page 73.

MIDI and VST Playback

This table lists all MIDI devices installed in your PC and all VST plug-ins that have been registered with capella-
tune.
➔ How to register a new VST plug-in with capella-tune

• Right-click in column MIDI and VST Output and select ADD VST PLUG-IN from the context menu.
• Select the plug-in file from the PLUG-IN-DLL dialogue. All VST plug-ins have a DLL file extension. However
not all files ending in .DLL are VST plug-ins. Therefore you need to watch where the plug-ins are placed
during installation of the plug-in software. Alternatively you can select a capella-tune configuration file
which is named like ..._captune.ini.
• Once you have selected a particular plug-in capella-tune will verify the installation. Any errors or incom-
patibilities will be indicated.
NB: capella Vienna orchestra is automatically registered with capella-tune during installation.
 Playback Devices tab 77

Column: delay
With every MIDI or VST device there is a delay between a note being touched and the sound being played back.
This delay usually amounts to only a few milliseconds and should not pose a problem. However, as soon as you
use several playback devices simultaneously for separate voices of a capella score you may find that some voices
drag behind others, if the delay of the different devices is not identical. To synchronize all devices you can modify
the delay. There are no known rules to this, only trial and error will lead you to an acceptable result.

VST Special Effects

This list shows all special effects that have been registered with capella-tune. VST special effects are filters that
can – for example – apply cathedral type acoustics to the otherwise dry studio recordings of the sample library.
➔ How to register a VST special effect with capella-tune

1. Right-click in column VST effect to open the context menu and select ADD VST PLUG-IN.
2. From the File Open dialogue select the required plug-in file. All VST plug-ins have a file extension of .DLL,
which is not to say that all .DLL files are VST plug-ins. When you install any additional VST plug-in software
you must record in which folder the software is installed in order to find it again for this capella-tune regis-
tration.
3. After selecting the file capella-tune will verify the plug-in. Any errors or incompatibilities will be reported.
At the right margin of this list you can switch the plug-ins on or off. Special effects will always affect the overall
sound, i. e. all voices of your score. If you activate more than one special effect these will be applied in the se-
quence in which they are listed in this table. You can re-arrange this sequence via the context menu where you
can shift the plug-ins up or down in this list.
NB: VST special effects are only applied if you play back using your sample library. If you play back via your MIDI soundcard the special
effects will not be utilized.

Double click the name of the special effect in the list to open the effect's own control dialogue, where you can
set certain parameters. If the plug-in offers a list of pre-defined settings then these can be selected from the con-
text menu: LOAD VST PROGRAM that opens when you right-click the plug-in name in the VST Effect column.

Recommended Echo Effect Plug-ins

We have looked around for some affordable yet good quality plug-ins. We recommend:
• FreeverbToo: This plug-in is freeware and is automatically installed by capella-tune. Publisher:
http://www.sinusweb.de/freetoo.html
• Ambience: This plug-in is donationware and can be downloaded for a donation from: http://mag-
nus.smartelectronix.com.

Test box
You can test your selected device in this section of the dialogue box. You may either use the keyboard display or
connect a genuine MIDI keyboard. Select a default sound of your choice from the drop-down list of instruments.
This setting will also be used in other parts of capella-tune, i. e. on the Trills & Ornaments and Tunings tabs. You
can shift the range of the keyboard (up or down by up to two octaves) by setting the Shift octave option on the
TUNINGS → RELATION TO KEY tab.
MIDI RESET: Click this button to set the MIDI interface to its default values.

Test Tuning
TEST TUNING: If you work with historic tunings or Hermode Tuning (see page 85), the pitch of each tone has to be
slightly modified. Several MIDI and VST instructions are available for this purpose, but not all of them are equally
supported by all devices. We therefore recommend that you test the tuning for each device so that capella-tune
knows what options are available.
The following instructions will be tested:
• Pitch Bend (MIDI command E0): This instruction should be understood by all devices. The disadvantage of
this instruction is that individual notes cannot be corrected. A device can only be tuned higher or lower in
78 capella-scan 7

its entirety. Therefore a chord can only be tuned properly if each note of the chord is played back on a dif-
ferent device. capella-tune can circumvent this problem on MIDI devices by splitting the notes across sep-
arate MIDI channels.
• Single Note Tuning: This option allows you to tune individual notes. Unfortunately very few devices sup-
port this instruction.
• VST: This option also allows you to tune individual notes. However this instruction is only available on VST
devices, and only in the non-real-time version.
• Real-Time: In this context real-time means that sounding notes can be retuned afterwards.
• Non-Real-Time: Notes can be struck at any pitch, but cannot be retuned afterwards. This will be sufficient
for historical tuning. Dynamic Hermode Tuning however requires real-time functionality.

Wave Output for VST Devices

VST devices are virtual devices that compute Wave sounds. Once computed, a sound is sent to a real Wave-out
device which you can select here.
• Block size: This is the size of data packets into which the Wave-sound will be divided. The smaller this
value is, the less delay will be experienced. If you hear a crackling noise you need to increase this value.
• Number of Blocks: This setting determines the number of data packets that should be calculated in ad-
vance. The smaller this value is, the less delay will be experienced. If you hear crackling noise you need to
increase this value.
• Threads: This setting determines the number of threads that are deployed to calculate a data packet. Us-
ing more than one thread facilitates parallel calculation of voices/instruments. This can be an advantage
with dual core processors and with streaming based plug-ins that continuously load samples from the
hard disk.
• Wave out: Select the output device. You can choose between MME and ASIO devices. MME is the slightly
outdated Windows Sound Engine. MME devices require higher values for block size and number of blocks
to prevent crackling. We therefore recommend that you use ASIO devices instead of MME devices. Most
soundcards are equipped with ASIO drivers. If you cannot find such a driver in this drop-down list we sug-
gest that you download and install the free tool Asio4all from this website: http://www.asio4all.com. It
will provide you with an ASIO interface to your soundcard and yields much improved results over the
MME driver.
• ASIO...: Once you have selected an ASIO device this button will access the configuration dialogue of the
ASIO driver.
• L and R: If you select an ASIO device this setting allows to determine the soundcard channels for left and
right stereo output.

Configure VST Plug-in

See page 87.

VST Volume
This slider allows you to set a factor by which the Wave sounds will be multiplied before playback.

Dynamics & Rhythm Tab

You can set the attack intensity for all dynamics from to . Attack intensity will also influence tone qual-
ity, contrary to the volume setting in the capella SystemTemplate and on the Instruments tab.
will be played back as forte at the beginning with a subsequent decrescendo to piano.

Articulation Sign
You can set the Attack Change and Note Shortening for selected articulation signs.
 Dynamics & Rhythm Tab 79

Attack change is a relative value in percent referring to the current dynamic setting in the Dynamic/Attack In-
tensity sub-dialogue on the left.
Example:
• Set Attack Intensity on the left for piano ( p) to 67 and for forte ( f ) to 110.
• Set Attack Change for sforzato (sf) to 150%
• Now a note marked sforzato will be played back with an attack intensity of 100.5 in a piano section (67 *
150% = 100.5). In a forte section the sforzato note would be played with an attack intensity of 165 = 110 *
150%. However, the latter value would be reduced to 127 as this is the maximum value.
Note Shortening can be set via its right-click context menu either as a relative value or as an absolute value. The
relative value refers to the note value, while the absolute value indicates the rest in milliseconds before the next
note. This is particularly useful for broad articulations like tenuto and portato.
If an arpeggio sign has been assigned to a chord the notes will not be played back simultaneously, but in succes-
sion. Therefore the Note Shortening setting for “arpeggio” indicates the time between the successive sounds.
Setting the value to “0” switches the arpeggio function off.

crescendo and diminuendo (decrescendo)

Crescendo hairpins and text instructions like cresc. and dim. will be considered. You may define additional in-
structions with the crescendo and diminuendo entries on the Articulations tab.
The length of the hairpin is irrelevant. De/crescendo will always be stretched from the start of the hairpin to the
next dynamic sign or to the next reverse hairpin. In cases where no target volume is indicated in the score you
can set the number of dynamic gradations required.
Changes in volume for sustained notes will be considered by capella-tune as far as the respective instrument is
capable of doing so. Naturally, changes of volume within a sustained note are not possible for pianos, plucked in-
struments and percussion instruments, while string instruments and wind instruments are capable of changing
the volume. In cases where a sustained note contains two opposing hairpins the note will be split into two tied
halves.

Scope
This setting allows you to determine which groups of voices should be affected by dynamic signs. If you de-select
all options a dynamic sign affects only the voice to which it is assigned.
You can increase the scope of effect step by step:
• All voices on a stave

• All voices that are grouped with {

• All voices that are grouped with [
• The entire system
It is irrelevant in which voice of a group of voices the dynamic sign is placed. Contradictions will be resolved at
random.

Include Dynamics during playback

This option switches the inclusion of dynamics control on or off.

Pre-set Profiles on Dynamics & Rhythm Tab

Open the Profiles drop-down list to load one of the pre-set profiles. Initially only one default profile is listed.
Click ORGANIZE... to open a menu with options to create and administer your own profiles.
Select COPY to copy an existing profile. It will appear in the list with a number added to the original name. You can
rename or delete this copied profile. You can also export a profile or import a previously exported profile from
another capella-tune user.
When you export a profile you have to give it a file name. This file name is not the same as the profile name, un-
less you enter it as such.
80 capella-scan 7

Click Accept to save your changes or select RESET TO PREVIOUS STATE from the organize menu to undo your changes
before saving.
Click OK to save the current settings on all tabs or click CANCEL to dismiss those changes that have not yet been
saved.

Special Rhythms
Distinctive rhythms like swing or Viennese Waltz are defined in this list.
Column: Articulation. Right-click to open the context menu and select one of the articulations (see page 75) to
define how this special rhythm is indicated in the capella score. From the context menu's sub-menu NOTATION SCOPE
you determine the scope of voices that this articulation should affect.
Column: Group of Notes. Define the size of the group of notes whose rhythm must be modified. Right-click the
number and/or the duration of the note to pick a suitable value from the context menu.
Column: Proportion of Note Duration. For each note of the rhythm group you find a numeric value. These values
indicate the duration relationship between the individual notes, which is also indicated by the length of the
green bars. The numeric values can be edited via their context menu or by pressing ÁÍFÍ2É. It is irrelevant whether
you specify the relationship as 2:1 or as 200:100. The sum of all numeric values does not have to amount to a
specific value. If you want to compare the tone durations with their original duration we recommend that you
start off with e. g. 100:100 and maintain the total sum. 120:80 would then indicate that the first note will be
lengthened by 20% while the second note will be shortened by 20%.
Example: Swing Rhythms
A swing rhythm is usually notated with normal quavers, where the first quaver is played a little longer and the
second quaver is played a little shorter, approximately in a ratio of 2:1.

The identification of swing in the capella score is defined on the Articulations tab. You can switch on swing
rhythm with the text object swing and switch it off with another text object, e. g. straight. To interpret individual
pairs of quavers as swung you might also attach a triplet bracket in the score.
NB: Do not format the quaver as triplet, attach a triplet bracket as a graphic object to the notes. To interpret individual pairs of
quavers within a swung section as normal you can attach a duplet bracket.

Example: Viennese Waltz

With a Viennese Waltz the second beat is a little early, while the third beat is a little late. You will get usable res-
ults with a setting of 75:130:95 or – more moderate – 85:115:100. These values have been selected to total 300.
This helps to interpret each number as a percentage in relation to a uniform 3/4 measure with the values
100:100:100.
There is no specific notation for the Viennese Waltz rhythm. It is usually applied intuitively, mostly in the accom-
paniment rather than in the melody voice. It is a lot of work to properly set up a capella score for this rhythm.
We have defined the text objects WrW (derived from the Austrian Wiener Walzer) and NrW (normal Waltz) on
the Articulations tab as on/off instructions. You can insert these text objects into your capella score. To hide
them from view format them with text colour white.

Include Dynamics During Playback

This option switches the inclusion of dynamics control on or off.

Include Special Rhythms During Playback

This option switches the inclusion of special rhythms on or off.

Pre-set Profiles for Dynamics & Rhythm Tab

Open the Profiles drop-down list to load one of the pre-set profiles. Initially only one default profile is listed.
Click ORGANIZE... to open a menu with options to create and administer your own profiles.
 Dynamics & Rhythm Tab 81

Select COPY to copy an existing profile. It will appear in the list with a number added to the original name. You can
rename or delete this copied profile. You can also export a profile or import a previously exported profile from
another capella-tune user.
When you export a profile you have to give it a file name. This file name is not the same as the profile name, un-
less you enter it as such.
Click ACCEPT to save your changes or select RESET TO PREVIOUS STATE from the organize menu to undo your changes be-
fore saving.
Click OK to save the current settings on all tabs, or click CANCEL to dismiss those changes that have not yet been
saved.

Trills & Ornaments Tab

These symbols belong to the group of trills and ornaments: , , , , as well as grace notes and
passing appoggiaturas, i. e. miniature notes without value. There are certain conventions on how to play these
ornaments, depending on the epoch and the composer, but ultimately taste and skill of the musician will influ-
ence the interpretation.
For each trill and each ornament you find a list of options, e. g.:

The current setting can be played back by clicking the respective button on screen.
The displayed note values should not be seen as absolute values, in that they depend on the playback tempo.
With faster tempos the note values will increase to avoid fast trills that cannot be played back any more. The
note values will be shortened only if an ornament does not fit into the value of the main note:

Tempo indicated 16th will be played as...

crotchet = 40 to 80 32nd
crotchet = 81 to 160 16th
crotchet = 161 to 320 8th

Trills
Accidentals for the auxiliary note can be placed as a text symbol above the trill symbol:

You have 5 options to indicate when and how the trill should begin with the auxiliary note:
• with grace note
• preceding note is higher
• preceding note has same pitch as auxiliary note
• preceding note has same pitch as principal note
• preceding note is lower

capella allows you to indicate a trill by setting either a trill symbol or a wavy line. You can decide for both cases
whether the trill should be sustained along the entire note. Otherwise only two trill beats will be played.
82 capella-scan 7

Combinations with passing appoggiaturas are also possible:

Upper mordent, mordent

Turn, Inverted Turn

With a normal turn the ornament is first placed above and then below the principal note. The opposite applies to
inverted turn. The inverted turn is either marked with a single line or a mirrored symbol.
Accidentals for the upper auxiliary note are positioned above the turn symbol, accidentals for the lower auxiliary
note are placed below:

In this example the turn symbol is not positioned above the note, but above the gap to the next note. These
cases are dealt with separately in the trill dialogue.

Single Grace Notes

Single grace notes can have three different functions:

Acciaccatura before the beat: The preceding note is shortened. The grace
note is played before the stroke.

Acciaccatura on the beat: The grace note is played on the beat and the main
note is shortened accordingly.

Passing appoggiatura: The grace note assumes half the value of the main
note (or more if the main note is dotted).

There are no general rules as to how to notate which grace note. You may therefore set the interpretation indi-
vidually for the following notations:
• crossed out quaver

• normal quaver (or longer note values)

• semiquaver note (or shorter note values)
 Trills & Ornaments Tab 83

In the drop-down list of each symbol you will find that the execution before the beat is symbolized by a barline.

For two or more grace notes you can determine whether the notes should be played before or on the beat.

Include Trills and Ornaments During Playback

This option will switch on or off the inclusion of trills and ornaments during playback.

Pre-set Profiles on Trills & Ornaments Tab

Open the Profiles drop-down list to load one of the pre-set profiles. Initially only one default profile is listed.
Click ORGANIZE... to open a menu with options to create and administer your own profiles.
Select COPY to copy an existing profile. It will appear in the list with a number added to the original name. You can
rename or delete this copied profile. You can also export a profile or import a previously exported profile from
another capella-tune user.
NB: When you export a profile you have to give it a file name. This file name is not the same as the profile name unless you enter it as
such.

Click ACCEPT to save your changes or select RESET TO PREVIOUS STATE from the organize menu to undo your changes be-
fore saving.
Click OK to save the current settings on all tabs, or click CANCEL to dismiss those changes, that have not yet been
saved.

Repetitions & Tremolo Bars

Tremolo bars are used to indicate rapid repetition of notes. The number of bars indicates the note value of a
single note, which will be repeated until the overall note value is reached.

= =
Triplet note repetitions can be achieved by placing a triplet bracket above the note.
Example: A crotchet with one tremolo bar and triplet bracket above will generate three triplet quavers. The
crotchet itself must be either a regular crotchet or a triplet crotchet with a dot. It depends on the context, which
notation is more suitable.

= or =
NB: Tremolo bars are also used to indicate tremolos and drum rolls see roll on the Articulations tab. If the roll articulation has been
assigned to an instrument on the Instruments tab (e. g. timpani for capella Vienna orchestra) capella-tune will play back a sustained
note with roll sound.

Repeat Signs
Repeat signs indicate the repetition of the last group of notes ( ), or last bar ( ), or the last two bars ( ). In
capella these signs are text objects without note value. For capella-tune to interpret these correctly during play-
back they must be anchored to a rest, which is then formatted as invisible. These rests are shown in grey in the
following illustrations.
84 capella-scan 7

The repeat sign for the last group of notes must be attached to a rest that - through its value - indicates the
length of the group.

Bar repeat signs must be attached to a whole-bar rest.

Double bar repeat signs may be attached to the first or second whole-bar rest.

Repeating Sections
Repetitions are played back as usual. Nesting is possible.
If the opening repeat sign is omitted, repetition starts at the beginning, or – if present – at the last final double
barline .
Repetitions in a da-capo section are usually not repeated. If this is still required the jump instruction must be
supplemented with con rep. This is derived from the Italian con repetizione = with repetitions. Example: da capo
al fine con rep. = repeat from the head (beginning) to the end with repetitions.
Repeat brackets with 1. are acknowledged. If you de-activate repeats on the playback dialogue of capella-tune
you can decide whether the first repeat box should be skipped.

da capo and dal segno

There are repeat marks (e. g. segno) and repeat instructions (e. g. dal segno). Both are defined in text objects,
either as text or using music symbols.

Repeat Marks
The chronological position of repeat marks corresponds to the beginning of the note to which they are anchored.
The following repeat marks are available:

as text: capo segno coda fine

as music symbol:

capo is usually defined as the beginning of the file or the movement but may be placed in a different position if
so required. The text mark segno can basically be used for both symbols. If in doubt it will be identified with the
first symbol.

Repeat Instructions
The chronological position of repeat instructions corresponds to the end of the note to which they are anchored.
Therefore these instructions must be anchored to the last note of the old section.
• Repeat instruction da <mark>: The section between <mark> and repeat instruction is repeated. The fol-
lowing example creates the sequence A-E, B-F.

Repeat instructions can begin as follows:

 Repetitions & Tremolo Bars 85

da ... Abbreviation for Abbreviation for

as text: d. ... da capo: dal segno:
dal ... d.c. d.s.

as music symbol:

• Repeat instruction da <mark1> al <mark2>: The section between <mark1> and <mark2> is repeated. Af-
terwards continuation begins after the repeat instruction. The following example creates the sequence A-
E, B-C, E-F.

Repeating the second repeat mark will create the following sequence: A-E, B-C, D-F.

All parts of a repeat instruction da ... al ... must be placed inside the same text object. Concatenation of several
text object will not be recognized. Repeat instructions that are a combination of text and symbols therefore must
have the form of a Freeform text.
• Examples: al , D. al

Tunings Tab
What are Tunings?
Modern musical instruments (and computers) divide an octave into 12 equal semitone steps. The advantage is
that any given interval or chord will always sound alike, regardless of the starting note. The disadvantage is that
except for the octave, no interval sounds perfect. Minor beatings will always be audible. This tuning is called
equal temperament tuning.

When is an Interval Perfect?

All string instruments, wind instruments and the human voice have a harmonic overtone spectrum. In this case
harmonic means that the frequencies of the overtones are integral multiples of the tonic. We sense an interval to
be perfect when many overtones match precisely without any friction. It follows that the frequencies of the ton-
ics or roots must also relate to each other in integral proportions.

Where is the Problem?

With equal temperament tuning the integral frequency proportions are relatively well approximated, though not
exactly met. To properly tune a chord the individual pitches need to deviate slightly from the equal temperament
tuning. All qualified musicians will do this automatically as far as their instrument allows. Hermode Tuning takes
this into consideration (see page 86).

Select and Test Tuning

Select the tuning in the left part of the Tunings tab. To create your own tunings you can right-click any of the lis-
ted items and from the context menu administer the tunings. On the right part of this tab you see the scale with
the individual notes. To play back a specific chord you need to click the required notes and then press ÁÍFÍ5É or click
PLAY CHORD at the bottom left of the dialogue. The default sound as set on the Playback Devices tab is used. To
listen to individual notes you can right-click their respective button. As you flip through the various pre-defined
tunings, watch the area below the tab label between Pitch Display and Absolute Tuning change its function from
Purity (Hermode Tuning) to Enharmonic to not available.

Pitch Display
Pitch can be shown in cent or as frequency ratio. For cent values you can set the number of decimals from 0 to 5.
86 capella-scan 7

• Frequency ratios are of special interest for natural harmonic tunings, where the intervals are determined
by integral ratios. The reference note is defined as 1:1, the octave as 2:1. Therefore the higher note has
double the frequency of the lower note. To add or subtract intervals you need to multiply or divide the fre-
quencies.
• The cent display runs linear with our sense of pitch and is useful to compare different tunings or intervals.
The reference note is defined as 0 and the octave as 1200. An equal-tempered semitone step is equal to
exactly 100 cent. To add or subtract intervals you need to add or subtract the cent values.
Conversion of a frequency ratio to per value is achieved as follows:
cent value = 1200 * log(numerator / denominator) / log(2)
Conversion of cent value to frequency ratio is achieved as follows:
frequency ratio = 2^ (cent value / 1200)
There is no explicit solution to further break apart the frequency ratio into numerator and denominator. capella-
tune achieves the best result by trial and error.

Intonation Display
Click the Intonation display button to open a small window to show which notes are currently (when you click on
Play Chord) sounding with which intonation. This is particularly useful for Hermode Tuning (see below) because
the intonation display is continuously adapted.

Hermode Tuning
With Hermode Tuning the intonation of individual notes is automatically optimized to match the musical context.
Therefore there is no static tuning scale and the values in the right part of the tab are of no relevance.
Hermode Tuning usually provides the best sounding results. This method fits the technique of good musicians
with instruments without any intonation restrictions. The list of tunings on the left offers several different Her-
mode variants. The differences are explained in the small window below the list. The following additional options
are available for the four pre-set Hermode Tunings:
• Purity: Set the purity of the tuning. 100% is equivalent to absolute purity, while 0% corresponds to equal
temperament tuning.
• Include mute voices: If you play back only a single voice out of several, and this option is set, capella-tune
will take into account the harmonies of the mute voices when calculating the intonation.

Historical Tunings
In the course of the history of musical instruments there were numerous attempts to improve the tuning of in-
struments. This tuning problem was particularly pressing with keyboard instruments, in that their intonation can-
not be corrected during play. Historical tunings are working from a static tuning scale where each note of the
scale has a fixed pitch. There are twelve-part scales that correspond to a normal keyboard instrument, and exten-
ded enharmonic scales that differentiate between sharps and flats. The latter can really only be accessed via the
computer, although there have been instruments with split black keys in the past.
You can activate the Enharmonic option to extend the twelve-part scale. However some tunings have been
defined for the twelve-part scale only and therefore do not offer this option.

Relation to Key
With historical tunings the purity of an interval depends on the starting note, and thereby also on the key. Click
the Relation to Key tab to define in which way the key should be handled:
• Key: Select a key to experiment with; playback of a capella score uses the key from the score.
• Begin scale with: Decide whether you want to always use c Major or whether the displayed list of notes
on the right should match the scale of the selected key.
• 0 Cent = 1:1: Decide whether the numerical values in the list of notes should be displayed relative to c or
to the tonic of the key. This setting only affects the display on screen. The notes' pitch is not affected.
• Relate tuning to: If you select c this setting will correspond to a piano. The individual notes are perman-
ently tuned, regardless of which key you play in. Therefore the different keys can acquire different charac-
 Tunings Tab 87

teristics depending on the tuning. If you select TONIC OF THE KEY, the setting will provide the following scen-
ario: A trumpeter plays a c-Major piece on a c-trumpet and a b-Major piece on a b-trumpet. Utilizing the
natural harmonic tuning, in the first case the interval c – e will produce a pure Major third, in the second
case an interval b – d.
• Absolute tuning: Decide which note should maintain its pitch when you change the tuning.
• Use sounding key with transposing voices: Decide whether the sounding or the noted key should be used
with transposing instruments. Because the sounding key is calculated you still have to determine whether
sharp or flat keys should be used when in doubt. This option is only relevant if you relate the tuning to the
tonic of the key.
• Shift octave: Shift the displayed scale up or down by up to two octaves. This setting will also influence the
pitch on the Playback Devices tab. It shifts the range of the piano keyboard in the test section.

Absolute Tuning
This option allows you to shift the entire scale up or down. You can either enter a frequency for concert pitch,
e. g. 430Hz, or an interval that sets the tuning relative to the standard concert pitch of 440Hz. The interval may
be entered either as frequency ratio, in our case 43:44, or as cent value, in our case -39. This will lower the tun-
ing of the tone scale by 39 cent.
Bear in mind that the frequency specification for a' is only symbolic and is only correct, if you set Absolute tuning
to a' in the Relation to Key dialogue box on the left. If you set the Absolute tuning to c, for example, and the
concert pitch is set to 430Hz, then capella-tune will first calculate the interval between 440Hz and 430Hz as a
cent value. Next, the c will be tuned lower by this interval than it would sound in equal temperament 440Hz tun-
ing. Finally, the a will be calculated depending on the selected tuning style.
The settings for absolute tuning are saved with each tuning style separately.

VST Plug-ins Explained

VST stands for Virtual Studio Technology and was developed by Steinberg®. VST is an international standard to
generate and filter Wave sounds. A VST system consists of a host – in our case capella-tune – and a number of
plug-ins, for example capella Vienna orchestra.
VST is a registered trademark of Media Technologies GmbH.
There are basically two different types of plug-ins:
• Virtual Instruments (VIs): These receive MIDI instructions from the host and in return supply Wave sounds.
These Wave sounds can then be forwarded to the soundcard or saved in a file. Sample libraries are an ex-
ample of VIs.
• Effects: These follow the virtual instruments and can modify the Wave sounds further, e. g. add echo.
Depending on the plug-in the calculation of wave sounds can require major processor power, large working
memory (RAM) and a fast hard disk.

Configure Plug-ins
The extent of functions of virtual instruments can vary considerably. Some plug-ins specialize in just one instru-
ment while others offer a full range of instruments including articulations, like capella Vienna orchestra does. Un-
fortunately there is no common standard to describe the extent of functions of any given plug-in. That is the
reason why capella-tune requires a configuration file that describes which sounds can be generated and which
MIDI and VST instructions are used to activate these sounds.
NB: Our capella Vienna orchestra's configuration has been optimized for capella-tune.

If you want to utilize other sound libraries you will have to create your own configuration file.
The most important steps are done via a configuration dialogue. Beyond these settings there are some special
settings, like release samples or velocity modes, that can only be set directly in the configuration file. For further
details please see the technical documentation captune-VST-config.pdf.
88 capella-scan 7

➔ How to configure a sound library that has its own control dialogue

Please ensure that the sample library has been registered with capella-tune (see page 76).
1. Access the capella-tune configuration dialogue at menu: EXTRAS → OPTIONS → SOUND → PLAYBACK OPTIONS...
2. Select the Playback Devices tab and click on VST Plug-in CONFIGURE... at the bottom right of the dialogue.
3. Open the Plug-in drop-down list and select the required plug-in.
4. Click OPENED PLUG-INS and select OPEN NEW INSTANCE.
5. The control dialogue of the plug-in will open.
6. Let's assume you want to set the violin in the control dialogue.
7. Click CREATE CHUNK FILE and give it a meaningful name. Click SAVE. All settings of the control dialogue will be
saved in this file.
8. In the Sound Settings group of the dialogue enter a Description for your instrument. This description will
be listed in the Sound column of the Instruments tab in the capella-tune dialogue. You can group various
instruments into sub-menus. Sub-menus are indicated by a vertical bar. For this example enter “Strings |
Violin”.
9. In the Usage group at the bottom left of the dialogue right-click into the capella Instrument column and
select STRINGS → VIOLIN from the options. This setting determines that this sound will be used whenever a vi-
olin is set in capella's SystemTemplate.
10.Click SAVE (NEW ENTRY). For each sample library capella-tune creates a separate configuration file where the
individual instrument assignments are stored.
11.Repeat steps 4 to 8 for all instruments of the sample library.
Existing settings can be loaded by clicking LOAD SETTINGS in the Configure VST Plug-ins dialogue. You can then modi-
fy certain parameters and save the file again. To test the current settings click LOAD PARAMETERS INTO PLUG-IN.
Most instruments provide their own articulations. In this case you should create a new Sound Setting for each
articulation. Do not change the description but enter a relevant name for each articulation into the respective
field. In this case you could also leave the chunk file unmodified and instead enter relevant values for MIDI con-
troller or MIDI key switch. These values depend on the plug-in and should be well documented by the publisher.
➔ How to configure a sample library that does not come with its own control dialogue

The same principle as before applies, with the only difference that you cannot create your own chunk file. You re-
quire detailed documentation from the publisher about which parameters or which chunk files activate the indi-
vidual sounds. Set the required parameters for each sound and save the sound settings as described above.
 Keyboard Shortcuts 89

Keyboard Shortcuts
Take care to enter the correct upper or lower case!

Inserting Objects
ÁÍaÉ ÁÍaÉÁÍaÉ ÁÍbÉ ÁÍbÉÁÍbÉ ÁÍcÉ ÁÍeÉ ÁÍfÉ ÁÍgÉ ÁÍhÉ ÁÍkÉ ÁÍmÉ ÁÍnÉ ÁÍpÉ ÁÍpÉÁÍoÉ ÁÍsÉ ÁÍtÉ ÁÍvÉ

ÁÍwÉ ÁÍxÉ ÁÍ”É ÁÍ/É ÁÍ%É ÁÍ\É ÁÍ@É ÁÍ@ÉÁÍ@É ÁÍ$É ÁÍ<É ÁÍ>É ÁÍ(É ÁÍ)É ÁÍ[É ÁÍ]É ÁÍ=É ÁÍ#É

ÁÍ,É ÁÍ_É ÁÍ;É ÁÍ'É ÁÍ`ÉÁÍ1É ÁÍ`ÉÁÍ2É ÁÍ`ÉÁÍ3É ÁÍ`ÉÁÍ4É ÁÍ~ÉÁÍ1É ÁÍ~ÉÁÍ2É ÁÍ~ÉÁÍ3É ÁÍ~ÉÁÍ4É ÁÍ^ÉÁÍ1É ÁÍ^ÉÁÍ2É ÁÍ^ÉÁÍ3É ÁÍ^ÉÁÍ4É ÁÍ&É

ÁÍ*É ÁÍ*ÉÁÍ*É ÁÍ!É ÁÍ?É ÁÍAÉ ÁÍBÉ ÁÍDÉ ÁÍEÉ ÁÍFÉ ÁÍGÉ ÁÍHÉ ÁÍIÉ ÁÍJÉ ÁÍLÉ ÁÍNÉ ÁÍOÉ ÁÍPÉ

ÁÍXÉ ÁÍRÉ ÁÍSÉ ÁÍTÉ ÁÍUÉ ÁÍVÉ ÁÍVÉÁÍVÉ ÁÍWÉÁÍ1É ÁÍWÉÁÍ2É ÁÍWÉÁÍ3É ÁÍWÉÁÍ4É ÁÍXÉ ÁÍYÉ ÁÍZÉ ÁÍ{É ÁÍ¦É ÁÍ}É

ÁÍIÍnÍsÉ or ÁÍSÍpÍaÍcÍeÉ: Insert last object again.

Additional variants of objects are obtained by editing the object's properties.

Editing Object Properties

These shortcuts can be applied to both selected objects and mouse pointer objects during inserting.

ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍAÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍSÉ ÁÍzÉ ÁÍoÉ

Accent as note attribute: Tie: Large: Accent:

As individual object.: Slur: Small: Decrescendo:

ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍl
ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍSÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍEÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍCÉ ÁÍXÉ
É+
Join rhythmically: Exact value: With value: Text field:
Split rhythmically: Whole bar: Without value:

ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍOÉ ÁÍDÉ ÁÍCÉ ÁÍXÉ ÁÍZÉ ÁÍTÉ ÁÍXÉ ÁÍSÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍOÉ ÁÍGÉ ÁÍBÉ ÁÍTÉ
Head shapes: Group repeats:

ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍTÉ ÁÍVÉ ÁÍUÉ ÁÍAÉ ÁÍOÉ ÁÍCÉ ÁÍLÉ ÁÍFÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍ0É ÁÍXÉ ÁÍGÉ
Text type: Text frame:

ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ ÁÍHÍoÍmÍ
ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍ+É ÁÍ–É ÁÍBÉ ÁÍIÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ÁÍôÉ eÉ
ÁÍûÉ
+
Text size: bold/italic: Super- /Subscript:

ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍPÍaÍgÍeÍ
ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍSÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍâÉ ÁÍêÉ /ÁÍPÍaÍgÍeÍ ÍDÍoÍwÍnÉ
ÍUÍpÉ
Snap: Character spacing: Slant of text line:
90 capella-scan 7

ÁÍuÉ ÁÍdÉ ÁÍiÉ ÁÍlÉ ÁÍjÉ ÁÍrÉ ÁÍqÉ ÁÍ1É ÁÍ2É ÁÍ3É ÁÍ4É ÁÍ5É ÁÍ6É ÁÍ7É ÁÍ8É ÁÍ9É ÁÍ0É ÁÍ.É ÁÍ:É ÁÍ–É / ÁÍ+É

Notes:
Stems:
Heads:
Rests:
Time signatures: ...
c symbol / alla breve:
Multiple bar rests: ...
Repeat box brackets: ...
Triplet brackets: ...
Performance marks:
Clefs:

Sharps: key with n sharps ...

Flats: key with n flats ...

Naturals: ...

Dynamics: ...
Mordent:
Turn:
Arpeggio:
de-/crescendo:
Slur:

Barline:
Create text block:
ÁÍuÉ ÁÍdÉ ÁÍiÉ ÁÍlÉ ÁÍjÉ ÁÍrÉ ÁÍqÉ ÁÍ1É ÁÍ2É ÁÍ3É ÁÍ4É ÁÍ5É ÁÍ6É ÁÍ7É ÁÍ8É ÁÍ9É ÁÍ0É ÁÍ.É ÁÍ:É ÁÍ–É / ÁÍ+É

Stave: ÁÍuÉ ÁÍdÉ ÁÍiÉ ÁÍAÍlÍtÉ+ ÁÍ0É ÁÍ1É ÁÍ2É ÁÍ3É ÁÍ4É ÁÍ5É ÁÍ6É ÁÍ7É ÁÍ8É ÁÍ9É

Transposition: Irregular note values: regular

ÁÍyÉ+ ÁÍuÉ ÁÍdÉ ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ+ ÁÍ0É ÁÍ1É ÁÍ2É ÁÍ3É ÁÍ4É ÁÍ5É ÁÍ6É ÁÍ7É ÁÍ8É ÁÍ9É + ÁÍYÉ
Join staves: Voice:
ÁÍjÉ+ ÁÍuÉ ÁÍdÉ Tremolo bars:
Braces:
ÁÍrÉ+ ÁÍuÉ ÁÍdÉ ÁÍiÉ Fret diagrams: ÁÍrÉ ÁÍrÉ ÁÍuÉ/ÁÍdÉ ÁÍ+É/ÁÍ–É ÁÍ1É...ÁÍ9É

Brackets: Orientation: Strings: Frets: 1st fret:

ÁÍlÉ+ ÁÍuÉ ÁÍdÉ ÁÍiÉ ÁÍlÉ ÁÍoÉ ÁÍjÉ ÁÍyÉ

Through barlines: Open Finger-

Neck thickness: Barré:
ends: ing:

Fret point: ÁÍoÉ ÁÍoÉ ÁÍoÉ ÁÍiÉ ÁÍiÉ ÁÍiÉ ÁÍiÉ

Filling: Style of fret numbers:

 Program Control 91

Program Control
Standard shortcuts are shown with darkened background.
With ÁÍCÍtÍrÍlÉ With ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ With ÁÍAÍlÍtÉ
ÁÍAÉ Select all pages Text type, anchor type
ÁÍBÉ Save image as Bold, bar repeat
Count value, text type,
ÁÍCÉ Copy to clipboard About capella-scan..
head shape
ÁÍDÉ Duplicate Head shape

ÁÍEÉ Limit recognition area Exact value Menu Edit

ÁÍFÉ Search Text type Menu File

ÁÍGÉ Select magnification Group repeat, Text frame

ÁÍHÉ Zoom to full page height Menu Help

ÁÍIÉ italic Edit voice description
ÁÍJÉ Paste page from clipboard open capella-tune
ÁÍKÉ

ÁÍLÉ Last magnification Text type Language

Save level of recognition
ÁÍMÉ Save level of recognition
for single window
ÁÍNÉ Scan image Scan image into new window

ÁÍOÉ Open image Text type, head shape

ÁÍPÉ no repeat sign Menu Page
ÁÍXÉ Release recognition limits Text frame, head shape
Restore level of recognition
ÁÍRÉ Restore level of recognition Menu Recognize
for single window
Snap, slur, head shape,
ÁÍSÉ Save music
split/join rhythm
Text type, head shape,
ÁÍTÉ Append music to capella file
two bar repeat
ÁÍUÉ Undo append Text type

ÁÍVÉ Paste from clipboard Text type Menu View

ÁÍWÉ Zoom to full page width Menu Window

ÁÍXÉ Cut Text field, head shape

ÁÍYÉ Redo Acciaccatura

ÁÍZÉ Undo Head shape Edit zoom factor

ÁÍ+É Increase magnification Increase text size

ÁÍ–É Decrease magnification Decrease text size

Cursor Keys
No other key With ÁÍCÍtÍrÍlÉ With ÁÍSÍhÍiÍfÍtÉ+ÁÍCÍtÍrÍlÉ
ÁÍôÉ/ÁÍûÉ Scroll step up/down Scroll screen up/down
ÁÍâÉ/ÁÍêÉ Scroll step left/right Scroll screen left/right
ÁÍPÍaÍgÍeÍ ÍUÍpÉ Scroll screen up or Scroll page up Select previous page
to beginning of page
ÁÍPÍaÍgÍeÍ ÍDÍoÍwÍnÉ Scroll screen down or Scroll page down Select next page
to end of page
ÁÍHÍoÍmÍeÉ Scroll to left edge Scroll to first page
ÁÍEÍnÍdÉ Scroll to right edge Scroll to last page
92 capella-scan 7

Function Keys, Miscellaneous Keys

No other key With ÁÍSÍhÍiÍfÍtÉ With ÁÍCÍtÍrÍlÉ With ÁÍAÍlÍtÉ
Context sensitive
ÁÍFÍ1É Help Contents About help
help
Toggle greyscale / Remove shadows
ÁÍFÍ2É Remove speckles
black & white
Restore / Maximize Restore / Maximize
ÁÍFÍ3É Repeat search Erase pixel
document window program window
Close greyscale im-
ÁÍFÍ4É Styles & fonts Close document Close program
age
Recognition
ÁÍFÍ5É Start recognition Invert image
options
Next document
ÁÍFÍ6É Options Rotate image 180° Scan options
window
Rotate image Mirror image
ÁÍFÍ7É Template system Editing options
90° left vertically
Rotate image Mirror image
ÁÍFÍ8É Show anchor chains Saving options
90° right horizontally

ÁÍFÍ9É Refresh screen Play selected voices Play all voices Playback options

ÁÍFÍ1Í0É Menu Show status bar Customize toolbars

Toggle rhythm and Cut image

ÁÍFÍ1Í1É Show scrollbars Customize colours
voice assignment vertically
Toggle scanned im- Cut image
ÁÍFÍ1Í2É Show mini-preview
age in front horizontally

ÁÍâÍ Í É Undo

Delete selected ob- Remove shaded

ÁÍDÍeÍlÉ Cut Delete recognition
jects area

ÁÍIÍnÍsÉ Repeat insert Paste Copy

Select next found Select previous Next document Next application

ÁÍTÍaÍbÉ
object found object window window
Exit inserting, limiting mode, zoom mode, playback, Windows Next application
ÁÍEÍsÍcÉ
search highlighting Start Menu window

Mouse
No other key With ÁÍAÍlÍtÉ With ÁÍCÍtÍrÍlÉ With ÁÍSÍhÍiÍfÍtÉ
Click object Select single object Select object group (de-)select additional (de-)select additional ob-
jects
and drag Move object objects

Click background Deselect all (de-)select additional ob-

and drag
Right click object
Right click background
Mouse wheel
Click with mouse wheel or middle
mouse button and drag
jects by dragging over
Draw rubber band around objects to select
Open property palette as context menu at current mouse position
Enter insert mode with last inserted object. Repeat clicking to recall the last three inserted objects.
Scroll vertically Zoom in and out Scroll vertically
Scroll by dragging

Index
Abbreviations, playback..........................................83
Absolute tuning.......................................................87
Acciaccatura............................................................82
Accidentals..............................................................44
Activation..................................................................8
Alla breve................................................................45
Allocation of voices to staves..................................57
Anchor chains.........................................................68
Anchors...................................................................36
Appending notation................................................65
Appoggiatura..........................................................82
Arpeggio.................................................................49
playback............................................................79
Articulation.................................................................
name.................................................................75
profiles..............................................................76
sign..............................................................75, 78
symbols in score................................................75
tone duration.....................................................78
Assigning objects to staves......................................36
Attack intensity.......................................................78
Bar numbers...........................................................51
Barlines...................................................................45
through staves and spaces.................................58
Beaming..................................................................42
Bit notes..................................................................41
bold.........................................................................52
Braces & brackets....................................................58
in template system............................................62
Brackets..................................................................46
Brightness...............................................................27
Brightness...................................................................
for scanning.......................................................24
Broken staves..........................................................33
capella instrument..................................................74
capella-tune............................................................73
Character spacing....................................................53
Chord symbols........................................................52
Clefs........................................................................44
Clip image...............................................................27
Colour format.............................................................
for scanning.......................................................24
Colours....................................................................31
adjust.................................................................71
for special objects..............................................37
Index 93
Combined recognition.............................................69
Contrast..................................................................28
Copy........................................................................38
Crescendo...............................................................46
playback.............................................................79
Cut..............................................................................
image.................................................................27
object................................................................38
da capo, dal segno..................................................84
Dashed barlines......................................................46
Dashed slurs............................................................47
Decrescendo...........................................................46
playback.............................................................79
Delete.....................................................................32
object................................................................38
Diminuendo, playback.............................................79
Dotted slurs............................................................47
Dotting....................................................................40
Double stroke..........................................................82
Duplicate.................................................................38
Dynamic symbols....................................................48
Dynamics....................................................................
set volume.........................................................78
Dynamics & rhythm................................................78
Echo........................................................................77
Editing.....................................................................34
Editing options........................................................69
Editing text..............................................................53
Erase...........................................................................
area...................................................................27
Extended recognition..............................................69
Extending staves.....................................................60
Fast recognition......................................................69
File formats.................................................................
graphics.............................................................25
File type......................................................................
capella score......................................................64
Fingering.....................................................................
for guitar chords................................................56
text object.........................................................52
Flags........................................................................42
Font............................................................................
defaults..............................................................54
select.................................................................52
size.....................................................................52
Frame......................................................................52
94 capella-scan 7
Ghostscript.............................................................25
Grace notes.............................................................82
Greyscale images....................................................27
show..................................................................68
Group of voices.......................................................79
Guitar Fret Diagrams...............................................55
Hairpins...................................................................79
Head shapes...........................................................43
Heads......................................................................39
Hermode tuning......................................................86
Historical tunings....................................................86
Image..........................................................................
clip.....................................................................27
cut.....................................................................27
erase area..........................................................27
insert.................................................................26
invert.................................................................26
mirror................................................................26
open..................................................................25
open (tutorial).....................................................9
rotate.................................................................26
save...................................................................25
Insert..........................................................................
image.................................................................26
object of variable size........................................35
objects...............................................................34
percussion stave................................................60
staves.................................................................59
text objects........................................................35
Installation................................................................8
Instrument..................................................................
in template system............................................63
playback device & sound definition...................73
profiles..............................................................74
Instrument database...............................................63
Intonation display...................................................86
Inverting images......................................................26
Irregular division.....................................................40
italic........................................................................52
Joining staves..........................................................59
Key signatures.........................................................44
Level of recognition....................................................
restore...............................................................63
save...................................................................63
Licensing...................................................................8
Link staves to systems.............................................57
Loading an image....................................................25
lyrics.......................................................................35
Lyrics.......................................................................52
Margins...................................................................67
Metronome marks..................................................51
MIDI........................................................................77
MIDI............................................................................
keyboard............................................................77
reset..................................................................77
MIDI file......................................................................
options..............................................................70
save...................................................................64
MIDI instrument.........................................................
in template system............................................63
Mirroring images.....................................................26
Mordent..................................................................82
Mouse.....................................................................92
Move..........................................................................
barline...............................................................46
complete barline................................................46
objects...............................................................38
stave ends..........................................................61
stem ends..........................................................39
Multipage scores.....................................................65
Multiple bar rest.....................................................43
Multiple column scores...........................................33
MusicXML...................................................................
options..............................................................70
save...................................................................65
Navigation...............................................................67
Note value..............................................................40
Notes......................................................................39
Object.........................................................................
find....................................................................37
insert.................................................................34
insert repeatedly...............................................36
move..................................................................38
properties..........................................................38
select.................................................................36
Objects behind image.............................................68
Octave clefs.............................................................45
Opening an image...................................................25
Options...................................................................68
editing...............................................................69
playback.............................................................70
recognition........................................................68
saving................................................................70
scanning............................................................68
view...................................................................71
Ornament...................................................................
insert.................................................................48
playback.............................................................81
Output device.............................................................
ASIO...................................................................78
wave..................................................................78
Page format................................................................
PDF file..............................................................66

Page orientation.........................................................
capella files........................................................70
Page settings...........................................................66
Panorama................................................................74
Paste from clipboard...............................................38
PDF file........................................................................
open..................................................................25
options..............................................................66
save...................................................................25
Percussion staves....................................................57
Performance marks.................................................50
Pitch bend...............................................................77
Pitch display............................................................85
Playback..................................................................33
arpeggio............................................................79
delay..................................................................77
dynamics........................................................79p.
options..............................................................70
repeating sections.............................................84
special rhythms..................................................80
trills & ornaments..............................................83
Playback device.......................................................76
Playback device...........................................................
for all voices.......................................................73
for individual instruments..................................74
Plug-in.........................................................................
configure for VST...............................................87
registration........................................................76
Profile.........................................................................
dynamics & rhythm........................................79p.
trills & ornaments..............................................83
Properties of objects...............................................38
Recognition.................................................................
correct errors (tutorial)......................................10
improve (tutorial)..............................................21
language options...............................................16
options..............................................................68
start...................................................................29
start (tutorial)....................................................10
Recognition area.....................................................26
Rehearsal marks......................................................51
Repeat........................................................................
dots...................................................................46
instructions........................................................84
marks.................................................................84
of groups and bars.............................................43
playback repeats................................................70
sections, playback..............................................84
signs, playback...................................................83
Repeat box brackets................................................47
Repetitions..............................................................83
Resolution...................................................................
for Ghostscript...................................................25
Index 95
for scanning.......................................................24
reduce...............................................................26
save...................................................................67
Rests.......................................................................43
Reverberate............................................................77
Rhythm...................................................................32
example.............................................................17
show..................................................................68
special................................................................80
Rhythmic position...................................................41
Rhythmic separation/joining...................................41
Rotating images......................................................26
Save............................................................................
image.................................................................25
level of recognition............................................63
notation.............................................................64
Saving options.........................................................70
Scanning.................................................................24
options..............................................................68
restrict formats..................................................68
tutorial.................................................................9
Screen refresh.........................................................68
Search.....................................................................37
Section........................................................................
end....................................................................75
repetitions.........................................................84
start...................................................................75
Section repeat signs................................................48
Selecting.................................................................36
Separating heads from stems..................................42
Shadows.....................................................................
remove..............................................................28
Shortcuts.................................................................89
Sloping text.............................................................53
Slurs.....................................................................46p.
Small notes.............................................................41
recognize...........................................................69
Sound......................................................................74
Special rhythms.......................................................80
Speckle........................................................................
remove..............................................................28
Standard sound.......................................................74
Stave.......................................................................56
broken...............................................................33
delete................................................................60
description.........................................................58
extend............................................................60p.
identification.....................................................61
insert.................................................................59
join.................................................................59p.
percussion stave................................................60
shorten..............................................................61
96 capella-scan 7
size.....................................................................57
split....................................................................60
Stem orientation.....................................................42
Stems......................................................................39
Styles..........................................................................
define................................................................54
select.................................................................52
Subscript.................................................................53
Superscript..............................................................53
Swing rhythm..........................................................80
Template system.....................................................62
Tempo for playback.................................................70
Test box...................................................................77
Text.........................................................................51
aligning..............................................................53
blocks................................................................54
editing...............................................................53
field...................................................................53
frame.................................................................52
insert.................................................................35
join....................................................................54
recognition........................................................69
split....................................................................54
types..................................................................51
Threads...................................................................78
Ties.........................................................................47
Time signatures.......................................................45
Toolbars......................................................................
customize..........................................................71
tutorial.................................................................9
Transposable chord symbols...................................52
Transposition..............................................................
in template system............................................63
of a stave...........................................................59
Tremolo bar.......................................................42, 83
Trills & ornaments.......................................................
activate..............................................................70
insert.................................................................48
playback.............................................................81
tr........................................................................81
Triplet brackets.......................................................47
Triplet values...........................................................40
Tunings....................................................................85
absolute.............................................................87
Hermode........................................................85p.
historical............................................................86
select.................................................................85
test playback device...........................................77
Turn........................................................................82
Tutorial......................................................................9
TWAIN.....................................................................68
Undo.......................................................................38
Undoing an append.................................................65
Viennese Waltz.......................................................80
Voice descriptions...................................................51
Voice identification.................................................41
Volume..............................................................70, 74
consider dynamics.............................................79
crescendo, diminuendo.....................................79
in template system............................................63
set for dynamics................................................78
setting for VST...................................................78
VST....................................................................77, 87
configure plug-ins..............................................87
device................................................................78
effects................................................................77
register plug-ins.................................................76
Wave output...........................................................78
block size...........................................................78
number of blocks...............................................78
Weight of barline....................................................46
Without value.........................................................41
Zoom.......................................................................67
Index 97