IntroductionWelcome| 00:04 | Hi! I'm Jenny Amaya, and I'd like to
welcome you to Sibelius 7 Essential Training.
| | 00:09 | In this course, I'll walk you through
how to create and edit your music in
| | 00:12 | Sibelius, from score creation, and
note entry, all the way through printing a
| | 00:16 | professional looking score in parts.
| | 00:19 | I'll start by giving you a broad
overview of the Sibelius interface, so that you
| | 00:23 | can quickly and easily make
your way around the program.
| | 00:26 | Next, I'll show you how to create a
score, and we'll explore several different
| | 00:29 | ways of inputting notes, and other score objects.
| | 00:32 | I'll also give you some advanced
insight into how to set up the default
| | 00:35 | positions, and styles of text, and
other score objects, so that they appear
| | 00:39 | where you want them, and so that they look
exactly how you want them to look on the page.
| | 00:43 | And finally, I'll demonstrate how to
format your score, and its parts, so that you
| | 00:47 | can print and share your
professional looking music with the world.
| | 00:50 | Let's get started with the
Sibelius 7 Essential Training.
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| Using the exercise files| 00:00 | If you are a premium member of the
Lynda.com Online Training Library, or if
| | 00:04 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:09 | files used throughout this title.
| | 00:11 | The Exercise Files folder contains
folders for each chapter of this course.
| | 00:16 | Inside each chapter folder, you'll
find the folders for each video within the
| | 00:19 | chapter that have exercise
files associated with them.
| | 00:23 | Inside the folder, you can double-click
on any of the Sibelius files to
| | 00:27 | open them in Sibelius.
| | 00:29 | When you open an exercise file, you
might notice that your screen, and your view
| | 00:33 | of the score look different from mine.
| | 00:35 | This is because our screens might
be set to a different resolution.
| | 00:39 | You can adjust the zoom of the score
in the bottom right-hand corner with the
| | 00:42 | Zoom slider to make your
screen look more like mine.
| | 00:45 | You may also have a slightly
different view of the Sibelius Ribbon,
| | 00:49 | but don't worry; everything
will work out just the same.
| | 00:52 | If you're a monthly subscriber, or annual
subscriber to Lynda.com, you don't have
| | 00:57 | access to the exercise files, but you
can follow along from scratch by creating
| | 01:01 | your own scores, or by using any of the
example scores that are provided to you
| | 01:05 | when you purchase and install Sibelius.
| | 01:07 | Now let's get started using Sibelius.
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1. Getting StartedInstalling and launching Sibelius| 00:00 | Whether you're new to Sibelius, or
installing version 7 for the first time, it's
| | 00:05 | very important that you install the
program, and its sampled sounds properly.
| | 00:08 | After you insert your Sibelius 7
installer CD, make your way to the install
| | 00:13 | disc menu, and choose your preferred language to
arrive at the window pictured here on my screen.
| | 00:18 | You'll want to start your
installation by installing Sibelius 7.
| | 00:21 | Click on that option, and follow
the directions on your screen.
| | 00:25 | After the program is installed, you'll
want to install all of the Sibelius 7
| | 00:28 | sounds, but don't let the installer fool you.
| | 00:31 | The sounds reside on a
total of four separate discs:
| | 00:34 | your install disc, and three content discs.
| | 00:38 | To install all of the sounds properly,
you'll need to start the install of the
| | 00:41 | sounds here with your install disc.
| | 00:44 | When your computer is finished
installing the first set of sounds, you'll want
| | 00:48 | to quit out of this disc, insert
content disc number one, and follow the
| | 00:52 | instructions, allowing the
content to load onto your computer.
| | 00:55 | When content disc number one is
finished, continue installing the sounds from
| | 00:59 | content disc number two, and
content disc number three.
| | 01:03 | You should be aware that these discs
contain a large amount of files, so it may
| | 01:06 | take a while to load all the
sounds from the discs to your computer.
| | 01:10 | When all of the sounds have been
loaded from the install disc, and all three
| | 01:13 | content discs, you'll want to return to
the install CD, and back to this window.
| | 01:18 | Next, you'll want to install all of the
add-on features that are packaged with Sibelius.
| | 01:22 | Run the installer separately for
PhotoScore Lite, AudioScore Lite, and Scorch.
| | 01:29 | When you're finished installing all of
the options on your installer disc, you
| | 01:32 | can exit installation.
| | 01:34 | If you allow the installers to
place shortcuts on your Desktop, you can
| | 01:37 | double-click on the purple Sibelius 7
icon to launch and register Sibelius.
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| The Sibelius Quick Start window| 00:00 | When you launch Sibelius, the first
window you'll see is the Quick Start window.
| | 00:04 | The Quick Start gives you several options
for getting to work quickly in Sibelius.
| | 00:09 | There are five main tabs that help
you navigate through the Quick Start.
| | 00:13 | The Learn tab has instructional videos
for taking a quick tour of the software,
| | 00:17 | discovering what is new in version 7,
and a video for those of you who are
| | 00:21 | switching to Sibelius from
another notation program, like Finale.
| | 00:24 | There's also some link to
Online Support down at the bottom.
| | 00:28 | This launches your Web browser, and
takes you to the Sibelius Knowledge Base.
| | 00:32 | There's some Sibelius
Documentation on the right-hand side; links to
| | 00:36 | project-based tutorials, the Sibelius
7 Reference Guide, and a document about
| | 00:40 | everything new that can be found in version 7.
| | 00:43 | The New Score tab is where you'll
choose the manuscript paper from which you'll
| | 00:47 | build your new score,
| | 00:48 | and we'll explore this portion of the
Quick Start later when we create a new score.
| | 00:51 | Now, if you've already been working in
Sibelius, if you click on the Recent tab,
| | 00:56 | you'll see your most recent scores
listed here, for an easy way to reopen them to
| | 00:59 | continue working on them.
| | 01:01 | In the Import tab, you can launch
PhotoScore, where you can scan existing sheet
| | 01:07 | music, and prepare it for
importing into Sibelius.
| | 01:10 | You can launch AudioScore, where you
can sing music into the computer with a
| | 01:13 | microphone, or transcribe audio tracks
that can later be imported into Sibelius.
| | 01:18 | You can also open a browser window that
searches for MIDI files to import MIDI
| | 01:22 | files into Sibelius.
| | 01:24 | And you can open a browser window that
searches for MusicXML files to import
| | 01:28 | music into Sibelius from other notation
programs that allow for MusicXML export.
| | 01:34 | The last tab, Latest News, is an
updated stream from the Sibelius blog run by
| | 01:39 | Daniel Spreadbury;
Sibelius' Senior Product Manager.
| | 01:42 | If you'd rather have the blog delivered
to you via e-mail, you can sign up for
| | 01:46 | the blog at www.sibeliusblog.com.
| | 01:50 | Now, in addition to the tabs, there are
a few options at the bottom of the Quick
| | 01:54 | Start dialog that are always available to you.
| | 01:57 | On the bottom left, Open Other opens a
browser window so that you can search for
| | 02:02 | and open any Sibelius file that
resides anywhere on your computer.
| | 02:05 | I'm going to go ahead
and cancel out of that.
| | 02:08 | The Show Quick Start when Sibelius 7
starts checkbox; if you keep this box
| | 02:13 | checked, every time you launch Sibelius,
you'll be greeted by the Quick Start window.
| | 02:17 | If you uncheck this box, Sibelius will
launch with a default blank document.
| | 02:22 | Now, if you do uncheck this box, and later
decide that you'd like to get the Quick
| | 02:26 | Start back, you can check the Show
Quick Start dialog box on the Other page of
| | 02:31 | Sibelius Preferences.
| | 02:33 | Now, the next checkbox, Show Quick
Start again after closing last score; this
| | 02:38 | checkbox affects Windows
systems and Mac systems differently.
| | 02:42 | On either system, with this box checked,
when you close all of your open scores,
| | 02:46 | Sibelius will greet you
with the Quick Start window.
| | 02:48 | If you uncheck this box on a Windows
system, then closing your last open score
| | 02:53 | will cause the application to quit.
| | 02:56 | If you uncheck this box on a Mac system,
when you close your last open score,
| | 03:00 | Sibelius will continue to run in the
background, in the Dock, until you officially
| | 03:05 | quit the application from there.
| | 03:07 | To reopen the Quick Start on Mac,
you'd have to go to the File menu, and
| | 03:10 | choose Quick Start.
| | 03:11 | Now, the Zoom slider affects the size of
the icons in the New Score and Recent tabs.
| | 03:17 | So let's go ahead and go
back to the Recent tab here.
| | 03:21 | And if we move the Zoom slider to the
right, the icons get larger, and if we
| | 03:25 | move it to the left, the icons get smaller.
| | 03:28 | The Exit Sibelius 7 button quits Sibelius 7.
| | 03:32 | The Close button, on Windows systems;
it's no different from exiting.
| | 03:36 | It closes the Quick Start,
and exits the program.
| | 03:39 | On Mac systems, Close will close the Quick
Start, leaving Sibelius running in the Dock.
| | 03:44 | So now that we've had a thorough look
at the Quick Start window, in our next
| | 03:48 | video, we'll use the Quick
Start window to open a score.
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| Opening a score| 00:00 | Opening a score in Sibelius is simple.
| | 00:03 | When you launch the program, you can
use the Quick Start window to open recent
| | 00:06 | documents that you've worked on, as
well as to open other documents that
| | 00:09 | reside on your system.
| | 00:11 | If you have access to our course
example files, you can use the Open Other
| | 00:15 | button at the bottom left of the Quick
Start to navigate to the directory where
| | 00:19 | you've saved those files.
| | 00:21 | I've saved them on my Desktop,
so I'm going to check Desktop.
| | 00:24 | I'm going to scroll down to my Exercise
Files, and we'll go into Chapter 01, number 3;
| | 00:32 | the woodwind fugue.
| | 00:34 | We can double-click on this to
open it, or select it, and click Open.
| | 00:39 | Give Sibelius a moment, and the Quick
Start will go away, and the score will appear.
| | 00:42 | Now, if you don't have access to our
course files, when you choose Open Other,
| | 00:47 | it will hopefully direct you to
Sibelius's example files folder, and you'll be
| | 00:50 | able to choose the file to open from there.
| | 00:53 | In case you need to search for
Sibelius files on your system, the Sibelius 7
| | 00:56 | file extension is .sib.
| | 00:59 | Once you open a Sibelius file, the Quick
Start goes away, and you're left with a
| | 01:03 | full screen view of that file's score page.
| | 01:06 | If you already have a score open in
Sibelius there are two other ways for you to
| | 01:09 | open another Sibelius file without
having to go back to the Quick Start window.
| | 01:14 | So, with the score open, you can go
to the Score's File tab, where you can
| | 01:17 | choose to open another
file, or open a recent file.
| | 01:21 | To exit out of the File
menu, you can hit Escape.
| | 01:24 | Now, you can have
multiple scores open in Sibelius.
| | 01:28 | Opening a second score will not close
the first score that you were working on.
| | 01:32 | Each score will have its own
independent window, complete with its own set
| | 01:35 | of tools and features.
| | 01:36 | So now that you know a few different
ways to open a Sibelius file, in our next
| | 01:40 | video, we'll take a look at saving your work.
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| Saving| 00:01 | A Sibelius document is really no
different than a word processing document.
| | 00:04 | It's very easy to save, and keep
track of, as long as you have some
| | 00:07 | basic computing skills.
| | 00:09 | Let's take a look, now, at the
options that Sibelius gives us for saving.
| | 00:13 | In the File tab, we have three
options for saving our scores.
| | 00:17 | Save; this is your standard save command,
which rewrites your file to save all
| | 00:21 | of your existing changes.
| | 00:23 | Typing Control+S on PC, or Command+S on Mac,
will accomplish the same type of save as
| | 00:29 | if you choose this Save
command from the File tab. Save As;
| | 00:33 | Sibelius also provides you with
a traditional Save As command.
| | 00:37 | If you choose Save As, Sibelius will
prompt you with a dialog box, so that
| | 00:40 | you can assign a new name to your document,
and/or save your document to a new location.
| | 00:45 | If you make your way down to Export,
this is a way to save your Sibelius
| | 00:49 | document in different formats, so that you
can open it in a variety of software programs.
| | 00:54 | We'll have more about some of the
exporting options in future videos.
| | 00:57 | Although, I should point out that
Sibelius 7 does come with the ability to
| | 01:01 | export your score as a MusicXML, and
that's a feature that was missing from
| | 01:06 | previous versions of the software.
| | 01:08 | Additionally, exporting is the way
to back-save your Sibelius 7 files
| | 01:12 | to previous versions,
| | 01:14 | so that they can be opened in
previous versions of the software.
| | 01:17 | Let's go ahead and exit out of
the File tab, using the Escape key.
| | 01:20 | Now, you should be aware that outside
of the traditional saving options that
| | 01:25 | we've just seen in the File tab, in the
background, Sibelius is always working to
| | 01:29 | save your work for you, just in case
something catastrophic should happen.
| | 01:33 | Sibelius actually has not only one,
but two automatic background processes
| | 01:37 | working to save your score:
Auto-save, and Auto backup.
| | 01:41 | When you install Sibelius, it is preset to
automatically save your work every 10 minutes.
| | 01:46 | This setting is found in the File tab,
in Preferences, down toward the bottom, and
| | 01:52 | it's on the Files page.
| | 01:54 | So you can make your way to the
Files page here, and all the way to the
| | 01:57 | right-hand side, here's Auto-save right there.
| | 02:00 | You can choose your own desired
interval of time for Auto-save, or you can
| | 02:03 | uncheck the feature to turn it off.
| | 02:06 | With Auto-save on, if Sibelius, or your
computer were to crash, the next time you
| | 02:10 | launch Sibelius, it will search in a
special folder, and if it finds any scores
| | 02:14 | in that folder, you'll be
asked if you want to restore them.
| | 02:17 | You should know that if Sibelius shuts
down normally, all of the files in the
| | 02:20 | Auto-save folder will be deleted.
| | 02:22 | So you'd never want to save your
work directly to the Auto-save folder, and
| | 02:25 | in fact, it's best that you don't even
know where that folder resides on your system.
| | 02:29 | Now, the second automatic save
feature in Sibelius is called Auto backup.
| | 02:34 | Every time you save your score, Sibelius
saves a second copy of it with a version
| | 02:38 | number in your backup
scores folder on your computer.
| | 02:42 | The backup scores folder is
located in the same path as your default
| | 02:47 | save location, which is this location
that you see here in Preferences.
| | 02:50 | If you ever accidentally delete, or mess
up a score, you can look in your backup
| | 02:54 | folder to get the latest version
of your score that you had saved.
| | 02:57 | Sibelius saves different versions of the
last 200 scores that you've saved yourself.
| | 03:02 | So, as you can see, not only is
saving your score simple, but Sibelius has
| | 03:05 | some great built-in features to save
you, should something go wrong while
| | 03:08 | you're working.
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| Setting essential preferences| 00:00 | In this video, we are going to
discuss some of Sibelius's preferences.
| | 00:04 | Preferences are settings that are global to
the software application on your computer.
| | 00:09 | The preferences that we are about to
set in Sibelius will affect every score
| | 00:12 | that you open in Sibelius on your computer.
| | 00:14 | If you have multiple computers
running Sibelius, you will need to set your
| | 00:17 | preferred preferences
separately on each machine.
| | 00:21 | To locate Sibelius Preferences, visit
the File tab, and click on Preferences.
| | 00:28 | As you can see, there are a lot
of categories and features in
| | 00:30 | Sibelius's Preferences.
| | 00:32 | We could spend an entire
course going through them.
| | 00:34 | For now, I'll point out and suggest
changes to your preferences that are
| | 00:37 | specific to the needs of this course, so
that your version of the software will
| | 00:41 | work exactly like mine.
| | 00:43 | We'll revisit Preferences occasionally
throughout this course to look at some of
| | 00:46 | the options we are skipping over in this video.
| | 00:49 | Others still are best left for
discussion in more advanced courses.
| | 00:52 | First, let's visit the Files page, and
that's already selected here for me.
| | 00:57 | If you're using our course example files,
be sure that the option to open files
| | 01:01 | at a specific zoom level is not checked.
| | 01:04 | Below that, make sure both options for View
last used for score are selected; here, and here.
| | 01:11 | In the bottom right-hand corner, make sure
that your Default Page Size is set to US sizes.
| | 01:16 | If you're outside of the US, you'll want
to remember to go back to this setting
| | 01:19 | after this course to change your
Default Page Size back to European sizes.
| | 01:24 | I should point out that if you're on a
Windows system, and you have different
| | 01:26 | versions of Sibelius loaded on your
machine, if your scores are launching in
| | 01:30 | the incorrect version of the software, the
Repair button should fix that problem for you.
| | 01:35 | Next, let's visit the Mouse page, so we'll
go over here, and click on the word Mouse.
| | 01:40 | We'll use the mouse for some note
entry and object creation, so it's important
| | 01:44 | that your Mouse preferences page matches mine.
| | 01:46 | All of my settings are the default
settings for Sibelius, so if you haven't
| | 01:50 | changed them, they should match.
| | 01:51 | When you create objects, your preference
should be set to have the object appear
| | 01:55 | near the current selection.
| | 01:57 | Copying with the mouse
should be enabled or checked.
| | 02:00 | This allows us to complete a fancy
copy/paste action if we have a two button
| | 02:04 | mouse, or a mouse with a center button.
| | 02:05 | Dragging the Paper should be set to Drag.
| | 02:08 | This allows you to click with the
mouse, and drag your manuscript paper around
| | 02:11 | on the screen, without having to hold
down any other shortcut modifiers. And
| | 02:16 | under Mouse Note Input, when the note
input caret is visible clicking the mouse
| | 02:20 | should input notes.
| | 02:22 | Okay, now let's go to the Note Input page.
| | 02:25 | In Sibelius 7, there are so many
different ways to customize note entry that
| | 02:29 | we could set Sibelius up to function quite
differently from how it's worked in the past.
| | 02:34 | We can actually set Sibelius up to
enter notes like we would in Finale, which is
| | 02:37 | a great tool for those of you who
are converting to Sibelius from Finale.
| | 02:41 | I'm going to have you set the
preferences for this course as the Sibelius
| | 02:44 | defaults to teach you note
entry in classic Sibelius style,
| | 02:48 | but I'll point out a few other
options to you, and if any of them spark your
| | 02:52 | interest, you can experiment with them
after this course, until you find the note
| | 02:55 | entry method that works best for you.
| | 02:57 | First, your note entry preset
should read Duration before pitch.
| | 03:01 | If you're converting from Finale, you
may wish to eventually change this to
| | 03:05 | Pitch before duration.
| | 03:07 | Also, if you're converting from Finale,
you may want to check the box Move caret
| | 03:11 | with arrow keys here.
| | 03:13 | However, in classic Sibelius style,
we won't be selecting that just yet.
| | 03:17 | The checkbox for Show
shadow note should be checked.
| | 03:20 | This allows you to see a grayed out
note on the screen when you're trying to
| | 03:23 | place a note the staff with your
mouse. And for this course, when inputting
| | 03:27 | notes, we are going to specify
duration, and then pitch, because that's the
| | 03:31 | classic Sibelius style.
| | 03:33 | Down at the bottom, To enter a quarter
note, we'll be using numeric keypad number
| | 03:37 | 4, and those of you converting from
Finale, again, will eventually probably want to
| | 03:41 | change this to number 5.
| | 03:43 | On the right-hand side, under Editing, I
have unchecked Play notes as you edit,
| | 03:48 | but this is one preference that
you'll probably not want to copy me on.
| | 03:52 | It's generally desirable to
hear the notes as you edit them.
| | 03:55 | I'm only unchecking this for the
duration of the course, so that I won't have to
| | 03:58 | talk to you over the sounds of my notes.
| | 04:01 | However, unchecking this option can
make Sibelius editing a bit faster for you,
| | 04:05 | especially if you're using large
professional sound libraries, with several
| | 04:08 | different playing techniques available.
| | 04:11 | If you have Play notes as you edit
checked, you may also wish to check Play all
| | 04:15 | notes in chord when any note is selected.
| | 04:17 | That way, if you select one note in a
chord, you will hear the entire chord.
| | 04:20 | However, this is a personal preference,
| | 04:22 | and remember that you can go
back here and change it at any time.
| | 04:26 | The final Note Input preference I'd
like you to change is the Snap Position.
| | 04:30 | Sibelius defaults this to a quarter note.
| | 04:32 | Go ahead and set your preference now, so that
your rhythmic snap position is in eighth note.
| | 04:37 | So you are going to go in here, click
this little drop down arrow, and select an
| | 04:41 | eighth note, and make sure that you
have an eighth note readout in that field.
| | 04:45 | You will understand the importance
of this when we get into note entry.
| | 04:48 | Now let's go ahead and
head to the Playback page.
| | 04:51 | So we'll click on Playback.
| | 04:53 | For the sake of training, let's
choose a Default Playback Configuration of
| | 04:57 | General MIDI (basic). So you can click
on here, and choose General MIDI (basic).
| | 05:02 | You will want to make sure that
Sibelius lets you choose whether to change to
| | 05:05 | the new configuration, so make
sure this bubble here is selected.
| | 05:08 | Both of the Sample Player
Options should remain checked.
| | 05:11 | Under Sibelius Player Options, go
ahead and uncheck Use convolution reverb.
| | 05:17 | This will preserve CPU resources while
we train, and this is another preference
| | 05:22 | you may wish to reinstate
after your training is complete.
| | 05:25 | Everything else in the Playback
preferences should be okay at the default settings.
| | 05:29 | So let's go ahead and select the
Score Position page, and make sure your
| | 05:33 | page looks like mine.
| | 05:34 | Specifically, make sure that Follow
selection During Input and Editing, and Use
| | 05:39 | different zoom During Play
and Flexi-time are unchecked.
| | 05:43 | You may also wish to have Sibelius
change its view a few beats early during play
| | 05:48 | in real-time recording, so
that you don't miss a beat.
| | 05:50 | I have set mine here to two beats early,
and you can set your to whatever you'd
| | 05:55 | like, and remember, again, you can come
back and change it if you don't like it.
| | 05:59 | Now, for a little fun, let's go ahead and
look at Textures, so we'll go on over to
| | 06:02 | the left, and click on Textures.
| | 06:05 | Texture preferences allow you to
change both the Paper texture, and the
| | 06:08 | background, or the Desk texture of your score.
| | 06:11 | This is a preference that can be a lot of fun.
| | 06:13 | For example, you could
choose a coffee-stained paper.
| | 06:17 | So we can select here where it says
Paper, white cotton, and we can choose a
| | 06:21 | coffee-stained paper. And to bring out
your wild side, you can choose Tiger skin
| | 06:26 | as your background texture.
| | 06:27 | So we can click here, and let's scroll
down -- it's in alphabetical order for you --
| | 06:32 | choose Tiger skin, and if we click OK,
you will see what that looks like, and
| | 06:37 | there is our coffee-stained, and our tiger skin.
| | 06:40 | Now, if you'd like to get the default
Paper, and Desk textures back, you actually
| | 06:43 | have to remember them, so I
have done that work for you.
| | 06:46 | You can go back to the File menu, and
down to Preferences, and the default Paper
| | 06:50 | is Paper, white cotton, so we
can turn that back on here.
| | 06:53 | Scroll down just a little.
And the default Desk texture is Purple
| | 06:58 | gradient, so we'll go here
and select Purple gradient.
| | 07:02 | Now let's head to the Versions page,
so over here, and click on Versions.
| | 07:06 | Now, for the sake of training in this
Sibelius Essentials Course, and to not
| | 07:10 | confuse you with extra dialog boxes
when you save or close a score, we're going
| | 07:15 | to be turning the Sibelius Versions
feature off, and how we do that is we just
| | 07:20 | need to uncheck Create a new
version when closing the score.
| | 07:23 | So make sure that your page matches
mine, and there's no checkbox there.
| | 07:27 | Finally, make your way to the Other
page of Preferences, and for now, pay
| | 07:32 | attention to the bottom right-hand
corner, where it says When Sibelius 7 starts.
| | 07:36 | I have unchecked Play music when
Sibelius 7 starts, and you'll probably want to
| | 07:40 | uncheck that as well.
| | 07:42 | This will save your expensive monitor
speakers, and your ears, when you forget
| | 07:46 | that you have them turned
up when you launch Sibelius.
| | 07:49 | This is also where you would go to
check Show Quick Start dialogue, if you were
| | 07:53 | to uncheck that feature on
the Quick Start window itself.
| | 07:57 | And finally, if you don't want Sibelius
to check for updates automatically for
| | 08:01 | you, you can uncheck that checkbox,
although I recommend leaving it checked,
| | 08:04 | and keeping up to date.
| | 08:06 | So we've only just touched the
surface of Sibelius's Preferences, but we'll
| | 08:09 | visit them again, and learn more
about them throughout the course.
| | 08:12 | I encourage you to revisit the
Preferences menu from time to time again on your
| | 08:16 | own to see if there's anything you
can change that might help speed up, or
| | 08:20 | improve your personal
performance within the program.
| | 08:22 | You can now click OK to save your new
settings, and continue with your training.
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| Setting up a MIDI keyboard| 00:00 | If you have a MIDI keyboard, or other
MIDI device connected to your computer, and
| | 00:04 | you'd like to use it with Sibelius, you
will want to make sure that Sibelius is
| | 00:07 | recognizing it, and that it is working properly.
| | 00:10 | To do that, you'll need to visit the
Input Devices page of File > Preferences, and
| | 00:15 | we'll go to Input Devices here.
| | 00:19 | If your MIDI device is properly
interfaced with your computer, and if it is
| | 00:23 | plugged into your computer, and turned
on before you launch Sibelius, then your
| | 00:27 | MIDI device should show up
here in the Input Devices list.
| | 00:31 | You'll want to select your device -- I am
going to use the Axiom keyboard -- and if all
| | 00:36 | is well, you can hit a key on the device,
and here in the Test field, you'll see a
| | 00:39 | little green light, like that.
| | 00:43 | Now, a green light in that field means that
Sibelius is recognizing your MIDI input
| | 00:47 | device, and your device is ready to use.
| | 00:49 | Now, if you don't see your device in the
list, you may wish to try selecting the
| | 00:54 | Find New Input Devices button.
| | 00:56 | We can scroll down here, and this is it
here, and that will search your system
| | 01:00 | for the device, and you may
see it show up then in the list.
| | 01:03 | Now, if that doesn't work, you may need
to quit Sibelius, plug in or turn on your
| | 01:07 | device again, and relaunch Sibelius.
| | 01:10 | Sometimes it even takes a restart of
your computer, but as long as you have
| | 01:14 | installed the most recent drivers
for your MIDI device, and as long as you
| | 01:17 | have interfaced it properly with
the computer, Sibelius should have no
| | 01:20 | problem finding it.
| | 01:21 | So now that your MIDI keyboard is
detected and working in Sibelius, you are ready
| | 01:25 | to continue with your training.
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|
|
2. Navigating the InterfaceUnderstanding the single-document interface| 00:00 | Sibelius 7 has a new, modern,
single document interface.
| | 00:04 | What this means is that every score
that you open in Sibelius will open in its
| | 00:08 | own top-level self-contained window, complete
with its own set of features, tabs, and tools.
| | 00:13 | Every score also has its own entry in
the taskbar, making it easy to see the
| | 00:17 | scores you have open, and
easy to switch between them.
| | 00:20 | So if go down to my taskbar, I can see
that I have two documents open, and if I
| | 00:25 | want to switch from one document to the
other, I can switch to my twodocuments
| | 00:29 | document, click there, and now
we're in a different document.
| | 00:34 | Within the single document window,
Sibelius now employs a tabbed document
| | 00:38 | interface, similar to what you may be
used to when using modern Web browsers.
| | 00:43 | Each tab and each window can contain a
full view of the score, a dynamic part,
| | 00:48 | or even a different version of the score or
parts, if you are using the Versions feature.
| | 00:53 | A tab cannot contain a different score, however,
as it would, of course, open in its own window.
| | 00:59 | To open a new tab, you can click the plus
button at the right hand side of the tab bar.
| | 01:04 | A menu appears, where you can choose
between the Score, the Parts, and again, if
| | 01:10 | you're using the Versions feature,
you will be able to choose between
| | 01:12 | different versions.
| | 01:14 | I am going to go ahead and open the
Viola, and there it is in its own tab.
| | 01:19 | You can also open a part in a new tab by
selecting an object, or a bar on a staff
| | 01:24 | in the score, and hitting W, so let's try that.
| | 01:27 | We'll go to the Full Score, select this
bar here in the Harp, and hit the letter
| | 01:32 | W, and now the Harp is open in its own tab.
| | 01:36 | Another thing you can do is
open a part in its own window.
| | 01:39 | First you have to have that tab as
your active, or visible tab, and with it
| | 01:45 | visible, like the Harp is here, go
back to that plus sign, go all the way
| | 01:49 | down to the menu, and choose New Window, and now
that part, or that tab is open in its own window.
| | 01:56 | So if you do this -- if you open a
dynamic part in an entirely new window, away
| | 02:00 | from your open score, as I've done here --
if you make any changes to the part,
| | 02:04 | even though it's in its own window,
those changes will link back to the tabbed
| | 02:08 | part, and to the score.
| | 02:09 | So I am going to hit Escape to make this
selection go away, and let's change this
| | 02:15 | note C to a G. So I'm going to click on
the C, and drag it up to a G, and now if I
| | 02:20 | close this window in the upper right
corner with the X, you'll notice now here's
| | 02:25 | the Harp tab; it's adjusted, and made
that change, and if we go to the Full Score,
| | 02:31 | it has also made that change for us.
| | 02:33 | Now, you can maneuver through the tabs by
clicking on them, of course; that's the easy way.
| | 02:38 | There is also a shortcut to help you
move through the tabs, and it is Control+Tab,
| | 02:44 | and that will move you right, and Control+
Shift+Tab will move you to the left.
| | 02:51 | To close a tab with it as the active tab --
so let's go ahead and click on Harp again --
| | 02:57 | to close this, I can simply click the
little red X, or if you'd like to use a
| | 03:02 | shortcut, you can use Control+
W on PC, or Command+W on Mac.
| | 03:09 | To close all tabs, and the entire document
window, you can type Control+Shift+W on PC,
| | 03:15 | or Shift+Command+W on Mac, or select the
large X in the upper right-hand corner,
| | 03:20 | and Sibelius will ask you if you'd like
to save any of the changes you've made.
| | 03:24 | I don't for this particular
one, so I'm going to click No.
| | 03:28 | If you close all of your open
documents on a Windows machine, the Quick Start
| | 03:32 | will reappear, and closing the Quick
Start by exiting or closing would then quit
| | 03:38 | the application. And of course, on Mac,
Sibelius will continue to run in the
| | 03:43 | background until you select
it, and quit it in the Dock.
| | 03:46 | As you open and close scores, keep
in mind that when you reopen a score
| | 03:49 | in Sibelius, all of the windows
and tabs will be restored to their
| | 03:52 | previously opened state.
| | 03:54 | So if I reopen this document by double-
clicking on it, you'll see when it opens
| | 03:59 | up that all of those tabs that were
open when I closed it are still open now.
| | 04:02 | So now that you have an understanding
of the new single document or tabbed
| | 04:07 | interface, in the next video, we'll
take a look at the main Sibelius window
| | 04:11 | in more detail.
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| Exploring the Sibelius window| 00:00 | The interface of a software program
consists of everything you can see on the
| | 00:04 | screen, including the buttons and
tools that make the program work for you.
| | 00:08 | So let's take a look, now, at the main
Sibelius window to help familiarize you
| | 00:12 | with the main components and
features, before you need to work with them.
| | 00:16 | First, in the upper left-hand corner
is the quick access toolbar, and this is
| | 00:20 | only available on Windows systems.
| | 00:23 | It provides quick access for saving
your Score, undoing and redoing any changes
| | 00:28 | that you make, and it's also where you
can close Sibelius, or minimize its window.
| | 00:34 | This is the title bar, and of course, it
tells you what the name of your score is,
| | 00:38 | and on the right-hand side, we have
window button for minimizing, resizing, and
| | 00:44 | closing the Sibelius window.
| | 00:46 | The ribbon is the wide band of command
buttons that appears at the top of the
| | 00:49 | Sibelius window, that houses all
of the features of the program.
| | 00:53 | The features that are housed in the ribbon
are organized into 11 ribbon tabs up here.
| | 00:58 | There is a Find box on the right-hand
side for searching for features within
| | 01:03 | the ribbon, and a Minimize ribbon button here,
should you want to show and hide the ribbon.
| | 01:09 | Next to the Minimize
ribbon button is a Help button.
| | 01:12 | If you click the Help button, the
Sibelius 7 Reference Guide will open.
| | 01:16 | It's an interactive PDF document, so you
will need to have the latest version of
| | 01:20 | Adobe Reader installed on your system to
view and work with the Reference Guide.
| | 01:24 | Below the ribbon are the document tabs
here, and to the right of those is the
| | 01:30 | open new tabs plus button, and the
switch tab button, and clicking on this
| | 01:35 | will switch you between the different tabs.
| | 01:41 | Now, a majority of our screen, of course,
is filled with the most important of all
| | 01:44 | things in the interface: the score page.
| | 01:47 | The score page has both vertical and
horizontal scrollbars, so you can maneuver
| | 01:52 | up, and down, and right, and left
through your score, but you can also find any
| | 01:57 | blank or white area in the score, and
click and drag the paper, if you'd rather
| | 02:00 | move it around that way.
| | 02:02 | Below the score page is a horizontal
status bar, at the very bottom of
| | 02:06 | the screen down here.
| | 02:08 | On the right-hand side, we have a zoom
slider, and that will change the zoom
| | 02:11 | level of your score --
| | 02:12 | to the right zooms you in; to the left
zooms you out -- and a zoom reader, telling
| | 02:17 | you what level of zoom you are at.
| | 02:19 | To the left of the zoom level readout
is another option that toggles you in and
| | 02:22 | out of Sibelius's panorama view, and this
is a seamless linear view of your score,
| | 02:28 | from left to right, with no pages, and
clicking on that button will toggle you
| | 02:33 | back into page view.
| | 02:34 | Next to this panorama button are four
buttons that change the way your pages
| | 02:39 | are displayed on the screen, and we'll
discuss all of these buttons and features
| | 02:45 | in more detail in future videos.
| | 02:47 | Finally, the bottom left-hand side of
the status bar down here; this shows you
| | 02:51 | some information readouts.
| | 02:54 | The readouts will tell you good
information about where you are working in your
| | 02:57 | score, such as the page, the bar
number you are working on, maybe the total
| | 03:02 | number of pages, or bars in your score.
| | 03:04 | There is very specific information it
can give you about selections as well.
| | 03:08 | So if you make a selection -- I am just
going to click here in the first bar of
| | 03:11 | the Oboe -- you will notice it
tells me that I'm selecting Bar 1.
| | 03:16 | It might read out the timecode for you,
and it's telling me it's an edit passage.
| | 03:20 | In other words, my selection I've made
is a passage that I can edit, and also
| | 03:24 | that I'm looking at a
transposing score, as opposed to a C score.
| | 03:28 | So there are many more things the
status bar can tell you, depending on what
| | 03:31 | you're doing, so it's a good
reference for you as you work.
| | 03:34 | And a final note for both Mac and
Windows users: Sibelius 7 now includes Full
| | 03:38 | Screen mode on both platforms.
| | 03:40 | To enter Full Screen mode, you can use
the shortcut Control+U or Command+U on Mac,
| | 03:46 | and using Full Screen mode, in conjunction
with hiding the ribbon -- remember, up
| | 03:50 | here, in the upper right corner, we can
hide the ribbon -- and that allows you the
| | 03:54 | largest possible view of your score page.
| | 03:57 | We can reshow the ribbon by clicking
that button again, and get out of Full Score
| | 04:02 | view by using Control+U
or Command+U again.
| | 04:06 | So that's a quick look at the main
Sibelius window, and an overview of
| | 04:09 | the Sibelius interface.
| | 04:11 | Next, let's take a deeper look at
the contents of the ribbon, and its
| | 04:14 | overall organization.
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| Overview of the ribbon| 00:00 | The ribbon is the wide band of
command buttons that appears at the top of
| | 00:03 | the Sibelius window.
| | 00:05 | You may be familiar working with ribbons
in many of the Microsoft Office programs.
| | 00:09 | The ribbon in Sibelius 7 is a very
powerful new tool that houses all of the
| | 00:13 | features of the program.
| | 00:15 | For now, I'm going to give you a simple
overview of the ribbon, so that you will
| | 00:18 | have an idea of how it is organized.
| | 00:20 | And we will get into the details
of the features within the ribbon
| | 00:23 | throughout this course.
| | 00:25 | First, the ribbon has a very
specific hierarchical arrangement, starting
| | 00:29 | with tabs, which contain related sets of
commands that are organized into named groups.
| | 00:35 | The groups contain the actual
buttons, or commands. There are 11 tabs.
| | 00:40 | The first tab is the File tab.
| | 00:42 | You may notice that it's colored purple.
| | 00:44 | It's very different from all of the other tabs.
| | 00:47 | When you click on the File tab, you're
temporarily removed from your score, and
| | 00:51 | taken to an expanded list of traditional
File menu options, including options for
| | 00:56 | saving your score, opening and closing
score files, and printing, and exporting.
| | 01:01 | You can also visit the
program's preferences from here.
| | 01:04 | To the right of the File tab is the Home tab.
| | 01:07 | The Home tab is designed to give you
access to basic editing commands, such as
| | 01:11 | copy, and paste; basic score setup
options, such as adding and removing
| | 01:16 | instruments, or adding and deleting bars;
options for selection, which includes
| | 01:21 | simple bar and system selection, and
other editing options you may find useful,
| | 01:25 | such as hiding, and showing, and
applying color to objects in the score.
| | 01:30 | On the far right of most tabs in the
ribbon, you will see a button for Plug-ins.
| | 01:34 | If you click on the button, it
produces a list of plug-ins related to the main
| | 01:38 | tab that they are housed in, and in
case you are unfamiliar with plug-ins, they
| | 01:42 | are features that are added to a
program, often by third parties, to extend the
| | 01:46 | functionality of the program.
| | 01:47 | Sibelius comes with many useful
plug-ins, and additional plug-ins can be
| | 01:51 | downloaded from the Sibelius Web site.
| | 01:54 | To the right of the Home
tab is the Note Input tab.
| | 01:58 | It's no secret that the Note Input tab
contains features of the program devoted
| | 02:02 | to all methods of note entry.
| | 02:04 | The tab also includes working with
voices, intervals, and cross staff notes.
| | 02:09 | You can access Sibelius's complex
Arrange feature from within this tab, as well
| | 02:13 | as some more advanced note editing
features that Sibelius calls Transformations.
| | 02:18 | And once again, you have access to a
list of plug-ins that are related to the
| | 02:22 | topic of Note Input.
| | 02:24 | The next tab in the ribbon is the
Notations tab, which contains all of the basic
| | 02:28 | markings you would expect to find in a
score, including very important and basic
| | 02:32 | notations, such as clefs, key
signatures, time signatures, and barlines.
| | 02:38 | It also contains all of the lines
and symbols you may expect to see in a
| | 02:42 | score, and there's a very comprehensive
collection of lines and symbols, as
| | 02:45 | you'll eventually see.
| | 02:47 | You can also find access to
different styles of noteheads, different ways
| | 02:51 | to beam your notes,
| | 02:53 | you have the ability to add graphics
to your scores, and access to important
| | 02:56 | brackets and braces for
grouping your staves together.
| | 03:00 | The Notations tab is quite complex, and
you will probably visit it often as you
| | 03:04 | complete your score.
| | 03:05 | The Text tab is next.
| | 03:07 | It's another obvious tab that contains
everything having to do with any text you
| | 03:11 | may add to your score.
| | 03:12 | Here, you can format existing text, you
can add text from the list or collection
| | 03:17 | of text styles, you can add and work
with lyrics, Chord symbols, rehearsal
| | 03:22 | marks, and bar numbers.
| | 03:23 | The Play tab contains
everything having to do with playback.
| | 03:27 | This includes setting up your playback
devices, or your configuration, working
| | 03:32 | with your mixer, basic transport
controls for playing back your score, controls
| | 03:37 | and settings for recording a tempo map,
and settings for more advanced playback
| | 03:42 | properties to make your
score sound more realistic.
| | 03:45 | There are also settings
here for working with video.
| | 03:48 | The Layout tab contains very important
options that will help you fit your music
| | 03:52 | on the page, from a simple document
setup, to showing and hiding staves, to more
| | 03:57 | advanced features, such as staff
spacing, and magnetic layout options.
| | 04:01 | The Appearance tab takes the overall
look of your score to the next level.
| | 04:06 | It is perhaps the most
advanced of all of the tabs.
| | 04:09 | It includes options for designing and
maintaining your score's House Style, which
| | 04:13 | defines how everything in
your score looks and behaves.
| | 04:16 | This includes things like Sibelius's
note spacing algorithm, how Sibelius
| | 04:20 | handles your instrument names, and the
overall design and position of objects on the page.
| | 04:25 | The Parts tab is a simple collection of
features for setting up, laying out, and
| | 04:29 | printing all of the parts in your score.
| | 04:31 | The Review tab is sort of a fun little
tab where you can find sticky notes that
| | 04:36 | they call Comments, and also a
highlighter for highlighting parts of your score,
| | 04:41 | and settings for working with, and
comparing the different versions of your score
| | 04:44 | that you may have saved separately.
| | 04:46 | And finally, the View tab is where you
will toggle on and off a wide variety of
| | 04:50 | different view features to help
you work better in the program.
| | 04:53 | These features include the same
document view settings here that we saw in the
| | 04:58 | previous video, which are also appearing
here at the bottom right of your screen.
| | 05:02 | It also includes an array of zooming
options, a show and hide section called
| | 05:08 | Invisibles, which are options you
wouldn't necessarily print, but which you can
| | 05:12 | toggle on and off to help
you work more efficiently.
| | 05:15 | If you're using Sibelius's Magnetic
Layout feature, you can toggle some of the
| | 05:19 | features options on and off from here,
you can show and hide Rulers, you can
| | 05:23 | toggle between different Note Color
options, and you can show and hide any of
| | 05:27 | Sibelius's floating windows,
or what Sibelius calls Panels.
| | 05:31 | You can also adjust the position of
multiple windows, should you have more
| | 05:34 | than one score opened.
| | 05:36 | You may have noticed that many of the
groups in the tabs also contain small
| | 05:40 | buttons in their lower right-hand corner.
| | 05:42 | If we go to the Layout tab on the left-hand
side, to the Document Setup, there is
| | 05:47 | a little button here, and these are
called dialogue launcher buttons, and they
| | 05:51 | open advanced windows full of
additional features related to that group.
| | 05:56 | You can cancel out of that.
| | 05:58 | On the far right-hand side of
the ribbon is a Find in ribbon box.
| | 06:03 | This feature is mostly used by
Sibelius users who have upgraded from previous
| | 06:07 | versions, who might be a bit lost
within the new ribbon interface.
| | 06:11 | It provides you with a way to search
within the ribbon for very specific program
| | 06:14 | features that you're able to type in by name.
| | 06:17 | For example, if I wasn't sure what
tab in the ribbon contained the link to
| | 06:21 | Sibelius's House Style feature, I
could simply type in House Style, and it
| | 06:27 | would tell me where to find House
Style features, and also allow me to click,
| | 06:31 | and jump to those features.
| | 06:33 | So you have just had an overview of all
of the features found within the ribbon,
| | 06:37 | which is actually all of the
features you'll find within Sibelius.
| | 06:41 | It's okay, if you're a bit disoriented
right now; it will all become easier, and
| | 06:45 | you will be a lot more comfortable once
you start using all of these features.
| | Collapse this transcript |
| Accessing the ribbon| 00:01 | Besides using your mouse, there's one
other way to visually access the features
| | 00:04 | that reside within the ribbon.
| | 00:06 | You can access every command from the
ribbon via your QWERTY keyboard, using
| | 00:10 | shortcuts called key tips.
| | 00:12 | Before we use key tips, let's make a
selection in the score -- I am just going
| | 00:16 | to click here in this bar -- and then we'll use
key tips to add a feature near that selection.
| | 00:21 | So to show the key tips, you simply
hit the Alt key on PC, or the Control key on
| | 00:27 | Mac, and you will see the one or two
stroke key tips available for accessing
| | 00:32 | each tab in the ribbon.
| | 00:34 | Usually, the key tip is the first
letter or two in the name of the tab or
| | 00:38 | feature it's assigned to.
| | 00:40 | To select a tab with the key tip
showing, type in the letter or letters
| | 00:44 | assigned to that tab.
| | 00:45 | So if we are going to go to the
Notations tab, we'll type in the letter N.
| | 00:50 | Sibelius will navigate you to that tab,
and will then show you the key tips for
| | 00:54 | accessing the various
features housed within that tab.
| | 00:58 | To select a feature once again, simply
type in its one or two letter key tip.
| | 01:03 | I'm going add a barline,
so I am going to type in BL.
| | 01:07 | You will either be able to toggle a
feature on and off this way, or in this case,
| | 01:11 | you'll be able to display feature's
dropdown list to make selections from it
| | 01:15 | using your arrow keys, and then the
Enter or Return key on your QWERTY keyboard.
| | 01:19 | So I am going to use my arrow
key down, and over to the right.
| | 01:24 | Let's put an invisible barline.
| | 01:25 | So I have selected Invisible,
and click Enter, and there it is.
| | 01:30 | Still looks like it's shown here,
but if we hit Escape, we can see that
| | 01:34 | the barline is gone.
| | 01:36 | Key tips are not always the fastest way
to work in Sibelius without your mouse.
| | 01:40 | Sibelius has a wide variety of simple,
standard shortcuts for you to use, which I
| | 01:45 | will teach you in this course in
order for you to bypass having to navigate
| | 01:49 | through the ribbon all of the time.
| | 01:51 | However, not all features within the
program have standard shortcuts assigned to
| | 01:54 | them, like the barlines.
| | 01:56 | So in some cases, it may actually be
easier for you to use key tips to access
| | 02:00 | certain features in the
ribbon, instead of using your mouse.
| | 02:03 | So throughout the remainder of your
training, I will do my best to point out to
| | 02:07 | you when you may want to navigate and
select from the ribbon using key tips, but
| | 02:10 | ultimately, it's your decision
how you want to work in Sibelius.
| | 02:14 | If you prefer using key tips within
the ribbon, you most certainly can.
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| Showing and hiding panels| 00:00 | Now that you're familiar with the score
window, and ribbon, I'd like to make you
| | 00:04 | aware of the few floating windows that
are available for your use in Sibelius.
| | 00:08 | The floating windows are called panels, and
you will find them under the View tab, here.
| | 00:13 | Now, depending on your screen resolution,
you may already see a list of panels, or
| | 00:18 | you may have to click on the
Panels button to show the panels.
| | 00:23 | You can show and hide each panel,
toggling them on and off by using the checkbox
| | 00:27 | next to their names in the ribbon.
| | 00:29 | So we can click on the navigator, and
bring that up here, go back to the Panels,
| | 00:34 | and bring up the Mixer, and there is
the Mixer. And to toggle them off, you go
| | 00:40 | back to the ribbon, and uncheck them.
| | 00:42 | Now, the most important panel, and the
one that you're probably going to use the
| | 00:48 | most, is the Keypad; this here.
| | 00:50 | It will be used primarily for note
entry, and we are going to discuss each panel
| | 00:55 | in more depth later in the course.
| | 00:58 | Another way to show and hide
the panels is by using traditional
| | 01:01 | keyboard shortcuts.
| | 01:02 | If you've never used shortcuts
before, or if you're afraid to use them, I
| | 01:06 | encourage you to give them a try in
Sibelius, because they're extremely
| | 01:09 | intuitive, and user-friendly.
| | 01:12 | To see an assigned shortcut, if you
hover your mouse over any of the buttons, or
| | 01:16 | controls in the ribbon, including the
names of the panels -- so if we go here, and
| | 01:21 | hover our mouse over the Keypad -- Sibelius
shows you a pop-up box called a screen tip.
| | 01:26 | The screen tip will show you the
shortcut for that feature or control, as well as
| | 01:30 | an extended description of the feature.
| | 01:33 | To make memorizing shortcuts easier,
Sibelius has themed the modifier keys in
| | 01:38 | its shortcuts for grouped or similar items.
| | 01:40 | For example, if you move through the
screen tips belonging to the panels, you'll
| | 01:45 | see that each of the panels has a
shortcut that begins with the modifiers
| | 01:49 | Control+Alt on PC, or Command+Option on Mac.
| | 01:55 |
| | 01:55 | After the modifier, or modifiers, the
shortcut is completed, usually with the
| | 01:59 | first letter of the
command that you want to use.
| | 02:02 | So in the case of the Keypad, for
example, the shortcut is Control+Alt+K, or
| | 02:08 | Command+Option+K on Mac, while for the
navigator, the shortcut is Control+Alt+N, or
| | 02:14 | Command+Option+N on Mac, and so on.
| | 02:18 | Now, in cases where a shortcut letter has
already been used, an alternate letter is chosen.
| | 02:23 | For example, to pop up the Keyboard
panel, instead of using K, which would be
| | 02:27 | the shortcut for Keypad, the
shortcut for Keyboard is Control+Alt+B, or
| | 02:32 | Command+Option+B on Mac.
| | 02:34 | So you have barely gotten started
working in the program, and if you can remember
| | 02:38 | the simple modifier theme for popping up
the panel windows, then you may already
| | 02:43 | not even need to visit the View tab to
show and hide the panel of your choice.
| | 02:46 | So if we escape -- use the Escape key --
out of the ribbon, if we want to bring
| | 02:52 | up let's say the Navigator window,
instead of going to the View tab, and
| | 02:56 | going to the Panels group, I can
simply use Control+Alt+N, or Command+Option+N,
| | 03:01 | and get the Navigator.
| | 03:04 | And that's the beauty of knowing
and using Sibelius's themed shortcuts.
| | Collapse this transcript |
| Working with the score page and undoing actions| 00:01 | Working with the score
page in Sibelius is simple.
| | 00:03 | In a moment, I'm going to ask you to go
crazy, clicking and dragging on anything
| | 00:07 | and everything in the score,
without any worry of messing it up.
| | 00:10 | The idea is that you need to give
yourself a chance to become comfortable
| | 00:14 | interfacing with the score page.
| | 00:16 | Now, before I turn you loose to experiment,
I want to point out a few interesting
| | 00:19 | things that you may notice while you're
clicking and dragging on the score, and
| | 00:23 | the score's objects.
| | 00:24 | You can click and drag a note.
| | 00:26 | I am going to grab this note right here,
click on it, and with my mouse button
| | 00:30 | still pressed in, I'm going to drag
that note up, and I can drag that note down.
| | 00:34 | What you will notice is you can
change the pitch of the note, but you can't
| | 00:38 | really change the position
of the note within the bar.
| | 00:41 | So if I wanted to move this note to a
different beat, I couldn't do that by dragging it.
| | 00:45 | If I drag it to the right or left, it
just changes the spacing of the bar, and
| | 00:49 | this applies to rests as well.
| | 00:51 | Some score text has limitations,
like the title, and the composer name.
| | 00:56 | I can drag the title up or down, but
I can't drag the title to the left or
| | 01:00 | the right, and the same thing for the
composer name; I can drag it up and
| | 01:04 | down, but not left or right.
| | 01:06 | And obviously, those texts are locked
into a horizontal position for a good reason.
| | 01:10 | You can also move the staves up and down.
| | 01:12 | I can grab one staff here by just
clicking in it, and I can move it up and down
| | 01:17 | on the score page, and all of the other
staves will adjust to keep all of the
| | 01:21 | spacing on the page.
| | 01:22 | But I can't really grab this bar itself,
and drag it to the left, or to the right.
| | 01:27 | Sibelius won't allow me to do that.
| | 01:29 | To get the contents of that bar to the
left, or to the right, I'd have to use
| | 01:32 | a copy/paste feature.
| | 01:34 | You can also click on barlines, and
drag those. Here is a barline here; if I
| | 01:38 | click, it will be highlighted purple, and
I can drag it to the right, or to the left.
| | 01:43 | It may do some weird things to your bar spacing.
| | 01:45 | What you can't do is overlap barlines,
so I can't drag this all the way to the
| | 01:50 | left; Sibelius will stop me, and it
won't let me do that, for good reason.
| | 01:54 | You can also click and drag on note
head markings, like a staccato marking.
| | 01:58 | Let's find a staccato; there is one in
this bar, so I am going to click on this
| | 02:02 | bar, and let's zoom in just a little bit.
So I am going to use Control+Plus a few times,
| | 02:08 | that would be Command+Plus on Mac, and
Escape to get rid of that selection, and you
| | 02:14 | can go in and grab a staccato marking,
like that, and you can click and drag a
| | 02:18 | staccato marking up and down. Not
left and right, because it's attached and
| | 02:21 | centered to that note.
| | 02:23 | You can also grab accidentals.
| | 02:25 | You can drag the paper by clicking
anywhere in the white area on the page, and
| | 02:29 | clicking, and dragging up with your mouse.
| | 02:31 | There are some accidentals down here.
| | 02:35 | The accidentals, you can move
left and right, like this, but you can't
| | 02:40 | move them up and down, because they're
centered with the note that they're attached to.
| | 02:43 | You can also move slurs, if
there are any slurs here.
| | 02:47 | Now, that's a bar selection;
you've got to be careful of that.
| | 02:49 | If I want to just select like slur, I have to
be very specific, like that, with my selection.
| | 02:55 | So I can grab that slur,
and I can move it around.
| | 02:59 | You can move any text in the score.
| | 03:00 | Here's an expression marking; I
can move it left, right, up, or down.
| | 03:05 | So basically, you can click and drag
on anything in the score, and move it
| | 03:08 | around with your mouse.
| | 03:09 | Now, if you're going to make a mistake,
or in this case, intentionally mess up
| | 03:14 | a score, you should probably know how to
undo all of those changes that you're making.
| | 03:18 | Sibelius has a virtually limitless
undo feature that will allow you to undo
| | 03:22 | all of your changes to return
the score to its original state.
| | 03:26 | You can undo your changes
in a few different ways.
| | 03:29 | You can use the shortcut Control+Z on PC, or
Command+Z on Mac, and that will step you
| | 03:36 | through all of those things that you've done.
| | 03:38 | If you are on PC, you can click the
Undo arrow button in your quick access
| | 03:43 | toolbar up in the upper left-hand
corner of your screen, and that will step you
| | 03:47 | through everything that you've done.
| | 03:50 | Next to the Undo button,
there is a little dropdown menu.
| | 03:53 | You can click on that, and now you can
actually go through your Undo history, and
| | 03:57 | tell Sibelius where you'd like to undo back to.
| | 04:01 | If you're on Mac, the Undo command, and your
Undo history are both found in the Edit menu.
| | 04:06 | Sibelius will undo through the
selection process, so you can see virtually
| | 04:10 | everything that you've done as you are undoing.
| | 04:13 | You can also hold down the Undo shortcut --
Control+Z, or Command+Z -- for speedy undo,
| | 04:20 | and watch everything in your score
transform back to its original state quickly.
| | 04:24 | Sibelius will also let you know when
there are no more processes to undo.
| | 04:28 | When you get this dialog box,
you can go ahead and click OK.
| | 04:32 | Now, if you'd like to redo something that
you've undone, you can use the shortcut
| | 04:36 | Control+Y on PC, or Command+Y on Mac, or
select the appropriate button on the PC's
| | 04:43 | quick access toolbar, or the Redo
option from the Edit menu on Mac.
| | 04:47 | So now it's time for you to become
comfortable interfacing with the score, and
| | 04:52 | maneuvering around it.
| | 04:54 | Feel free to just go crazy enough, and
mess up this score, and then when you're
| | 04:58 | done, and it looks terrible, try
using undo to get the score back to its
| | 05:02 | original condition.
| | Collapse this transcript |
| Playing back the score and stopping all actions| 00:00 | In this video, we're going to take a
look at some common playback settings
| | 00:03 | and options.
| | 00:05 | First, let's go ahead and
launch the exercise file, playback.
| | 00:08 | Going to open an other file here, to
my Exercise Files folder, and this is
| | 00:14 | Chapter 2, and number 7, and I'm
going to double-click on playback.
| | 00:20 | Now, you'll notice when you open some
scores in Sibelius that Sibelius will
| | 00:24 | present you with a warning box
telling you that the score uses a different
| | 00:27 | playback configuration, and asking you
if want to switch to that configuration.
| | 00:32 | You may remember from our earlier video,
Setting Essential Preferences, that in
| | 00:36 | Sibelius's preferences, we chose to
have Sibelius always open our scores with a
| | 00:40 | General MIDI sound set.
| | 00:42 | That way we don't have to wait for the
higher quality sample Sounds to load, or
| | 00:45 | take up unnecessary
processing power while we learn.
| | 00:49 | If you're using our playback exercise
file, it has previously been saved using
| | 00:53 | the playback configuration Sibelius 7 Sounds.
| | 00:56 | So the dialog box is asking you if you
want to switch away from your preferred
| | 01:00 | configuration -- in our case, General
MIDI -- to the different configuration
| | 01:04 | that the file was saved with;
| | 01:06 | in this case, Sibelius 7 Sounds.
| | 01:09 | If we click No, then Sibelius
will open this file with our
| | 01:11 | preferred configuration:
| | 01:13 | General MIDI.
| | 01:14 | If we click Yes, then Sibelius will
open the file with its saved configuration:
| | 01:19 | Sibelius 7 Sounds.
| | 01:21 | Let's go ahead and click Yes, and open
this file, so that we can hear it play
| | 01:24 | back with the higher quality Sibelius 7 Sounds.
| | 01:27 | Now, if you're not using our
exercise file, and you would like to switch
| | 01:32 | your configuration to Sibelius 7 Sounds,
with a file open, you can go to the
| | 01:36 | Play tab, on the left hand side,
click on the Configuration button, and
| | 01:41 | choose Sibelius 7 Sounds.
| | 01:44 | To play and pause the score,
you can use the Spacebar.
| | 01:47 | But if you're using Sibelius 7 Sounds,
the first time you do this, you'll have
| | 01:50 | to wait for Sibelius to load the sounds.
| | 01:53 | Depending on your system, and the
number of instruments in your score, this
| | 01:57 | could take a few seconds, or possibly
a few minutes, but once the sounds are
| | 02:00 | loaded, Sibelius will begin playback.
| | 02:04 | (music playing)
| | 02:15 | And you can use
Spacebar or Escape to pause playback.
| | 02:18 | You may have noticed in my
score a solid green line;
| | 02:21 | here it is at bar six.
| | 02:23 | This indicates where playback is taking place.
| | 02:26 | This is called the playback line.
| | 02:28 | If you don't see the playback line,
you can show it by visiting the View tab;
| | 02:33 | in the Invisibles group, there it is there:
| | 02:36 | Playback Line, and just
make sure that that's checked.
| | 02:39 | For additional playback controls and
parameters, you can visit the Play tab.
| | 02:43 | In addition to being able to choose
the playback configuration for your score
| | 02:47 | from here, you also have access
to all of your transport controls:
| | 02:51 | the buttons that allow you to play, stop,
rewind, and fast-forward your score.
| | 02:55 | As you can see, there are many more
playback features available, such as Live
| | 02:58 | Tempo, the ability to tap and record
an interpretive tempo for your score;
| | 03:03 | Live Playback, which is Sibelius's
ability to play back the entire performance
| | 03:07 | of your score, if you've played it in
live, or imported it in from a MIDI file
| | 03:10 | that had been recorded live.
| | 03:12 | Then there are features that help with
the interpretation of your score, which
| | 03:16 | is why things like dynamics, note head
markings, slurs, hairpins, and trills
| | 03:20 | will play back for you.
| | 03:22 | And finally, the Playback tab also
includes a Video group devoted, of course,
| | 03:25 | to setting up your video playback,
should you be preparing to score music to
| | 03:29 | picture.
| | 03:30 | Your transport controls might be a bit
condensed in the Play tab, but they're
| | 03:34 | also available as a floating panel.
| | 03:36 | You may remember from our video on
panels that the themed shortcut modifier for
| | 03:40 | bringing up the panels is Control+Alt,
or Command+Option if you're on Mac.
| | 03:45 | Now all we need to know is that one
letter that will allow us to bring up
| | 03:48 | the transport controls.
| | 03:50 | If you don't remember a shortcut,
you can always go back to the ribbon to
| | 03:53 | find out.
| | 03:54 | So let's go to the View tab, to Panels,
and hover our mouse over the Transport,
| | 04:00 | and we'll see that the shortcut for
bringing up the Transport is Control+Alt+Y,
| | 04:04 | or Command+Option+Y on Mac.
| | 04:07 | Or, of course, you can just click on
Transport in the Panels group, and the
| | 04:11 | Transport window pops up on the screen.
| | 04:14 | So with the Transport controls, we can
play back the score with the Play button,
| | 04:19 | we can rewind the score, and you'll
notice, if you watch my screen, the green
| | 04:23 | playback line will rewind.
| | 04:25 | We can actually rewind all the way to
the beginning, so if I click this button,
| | 04:28 | my green line will go all the
way to the beginning of my score.
| | 04:31 | We can stop playback, we can fast-
forward slowly, or fast-forward all the way to
| | 04:37 | the very, very end of the score.
| | 04:39 | I am going to bring this
back to the beginning here.
| | 04:43 | There are also some
buttons over here for recording.
| | 04:45 | So doing your Flexi-time Input:
| | 04:47 | that means recording with your MIDI
keyboard, and also that feature for
| | 04:51 | recording your live tempo;
| | 04:52 | you can turn on and off from here as well.
| | 04:54 | And these blue buttons here are the Live
Playback and Live Tempo options that we
| | 04:58 | saw in the Play tab;
| | 05:00 | these are engaged from here.
| | 05:01 | You can turn them on and off if you'd like.
| | 05:04 | There's also a Metronome button, so
if you'd like to hear your click, you
| | 05:06 | can engage that from here, and if you
don't want to hear the click, you can
| | 05:10 | just turn it off.
| | 05:11 | The big slider underneath all of
the buttons is the location of your
| | 05:14 | playback line.
| | 05:16 | So if I grab this slider, and move it
to the right, you'll notice on my screen
| | 05:19 | that my playback line
will be moving to the right.
| | 05:21 | Sibelius also gives me a readout of
where my playback line is located.
| | 05:26 | Additionally, it tells me the tempo of
my score where my green playback line
| | 05:29 | is located.
| | 05:30 | If I'd like to temporarily speed up or
slow down the playback of my score, I can
| | 05:35 | use this slider here on the right.
| | 05:37 | To slow it down, I can drag the slider
to the left, and to speed it up, I can
| | 05:40 | drag the slider to the right.
| | 05:42 | Just remember, this is a temporary
change of tempo, and you'll always want to go
| | 05:46 | back and center this slider -- it'll
lock right into place -- to make sure that
| | 05:50 | the tempo on your score
matches where your playback line is.
| | 05:55 | So you now know that Spacebar
will play and pause your performance.
| | 05:58 | Spacebar will always begin playback
from the location of that playback line.
| | 06:03 | There is one other shortcut for
playback that works a little bit differently,
| | 06:06 | and that's the letter P. There are two
ways to use the letter P for playback.
| | 06:10 | If you have a specific location in
mind for where you would like playback to
| | 06:14 | begin, you can simply select an object
at that location by clicking on, let's
| | 06:18 | say, a note, for example, and then hit
the letter P, and Sibelius will play back
| | 06:23 | the score from your selection.
| | 06:25 | (music playing)
| | 06:30 | And you can use
Spacebar or Escape to stop playback.
| | 06:33 | Be aware that your selection makes a
difference with what Sibelius will play
| | 06:37 | back for you when you use the letter P.
If instead of selecting a note, I were
| | 06:41 | to select a bar, and hit the letter P
-- let's select this bar right here --
| | 06:46 | Sibelius will begin playing back from
that point, however, it will only play
| | 06:50 | back the one staff that I have
selected -- in this case, the flute -- rather
| | 06:54 | than playing back all of
the instruments together.
| | 06:56 | So I am going to hit the letter P.
| | 06:58 | (music playing)
| | 07:02 | And Spacebar will
stop, and we only heard the flute.
| | 07:06 | If you want to start playback from the
beginning of the score, regardless of
| | 07:10 | where the playback line is located, a
quick way to do that is by having no
| | 07:13 | selection in the score at all, and
hitting the letter P. To deselect everything
| | 07:18 | in the score, you are going use to use
the Escape key on your QWERTY keyboard.
| | 07:21 | I would actually suggest striking the
Escape key two or three times to make sure
| | 07:25 | that everything in your
score becomes unselected.
| | 07:27 | And once you've escaped out of your
score, if you hit the letter P to play,
| | 07:31 | Sibelius will begin playback of all of
the staves from the very beginning of
| | 07:34 | the score.
| | 07:36 | (music playing)
| | 07:41 | And again, you can use
or Spacebar or Escape to stop playback.
| | 07:45 | One more final note about playback:
| | 07:47 | if you'd like to adjust the mix, or the
output levels of your score, you can do
| | 07:51 | that in the Sibelius Mixer.
| | 07:53 | The easiest way to show the Mixer
is by hitting the letter M on your
| | 07:57 | QWERTY keyboard.
| | 07:59 | You can also show the Mixer from the
View tab, in the Panels group, and there it
| | 08:06 | is there, and I can uncheck it, or
check it from here to toggle it on and off.
| | 08:10 | There is one more place you find the
Mixer, and that of course is in the
| | 08:14 | Play tab;
| | 08:15 | the button here.
| | 08:19 | The Mixer shows all of your staves in blue;
| | 08:21 | here is my flute, oboe, clarinet, and bassoon.
| | 08:24 | It also includes a Click track, which
is automatically created for you in all
| | 08:27 | of your scores.
| | 08:29 | Your virtual instruments -- in this
case, the Sibelius Player for Sibelius 7
| | 08:32 | Sounds -- will appear in green.
| | 08:35 | Sibelius also gives you four FX
buses to work with, which appear in a
| | 08:39 | maroon light color.
| | 08:40 | There is also master fader, which
appears in gray, and that controls the overall
| | 08:45 | output of your entire mix.
| | 08:47 | Sibelius will also group all of your
instruments into families, and you will
| | 08:50 | have some of those faders as well.
| | 08:52 | In this case, since all I have are
woodwinds in this score, it's given me
| | 08:55 | a woodwind group.
| | 08:57 | You can show and hide the color-coded
groups of channel strips using their
| | 09:01 | color-coded buttons on the left.
| | 09:03 | So if I don't want to see the FX
tracks, for example, I can simply click on
| | 09:07 | them to hide them.
| | 09:09 | You can also expand the Mixer with the
button just below the CPU read out here.
| | 09:15 | There are four levels to the Mixer, so
you can use the button three times before
| | 09:18 | the Mixer view collapses back down.
| | 09:21 | The first and second levels of the
Mixer are probably the easiest to work with
| | 09:24 | if you've never worked with a Mixer
before, as those levels contain basic
| | 09:28 | channel faders, which allow you to
raise or lower the output signal coming from
| | 09:32 | that staff or device.
| | 09:34 | You also have Solo and Mute buttons for
each staff or device, and pan knobs for
| | 09:37 | each staff or device.
| | 09:40 | So we've just scratched the
surface of the many playback features
| | 09:43 | within Sibelius.
| | 09:44 | Obviously, there are many more options
and features to learn, but hopefully this
| | 09:47 | overview will get you playing
back in the right direction for now.
| | Collapse this transcript |
| Zooming in and out| 00:00 | Zooming is a very important
action that beginners often overlook.
| | 00:04 | It's a good idea to learn how to zoom
in and out, to pick the process that works
| | 00:07 | best for you, and to always
use it to your advantage.
| | 00:10 | You need to get to the point where you don't
have to think about zooming; you just do it.
| | 00:14 | Sibelius makes it pretty easy for
everyone to zoom in and out by giving us a lot
| | 00:18 | of different simple options for zooming.
| | 00:20 | I'll show you some of my favorite ways
to zoom, as well as every other way to
| | 00:24 | zoom, so that you can pick the
option that works best for you.
| | 00:27 | You may recall that one of the ways
to zoom in and out is by using the Zoom
| | 00:30 | slider that appears on the bottom
right-hand side of your status bar.
| | 00:34 | You can simply drag the slider to the
left to zoom out, or to the right to zoom in.
| | 00:40 | You can also click along this slider
to get different increments, or an even
| | 00:44 | easier way is by using the plus
and minus buttons to the right and
| | 00:47 | left of the slider.
| | 00:49 | The minus will zoom you out,
and the plus will zoom you in.
| | 00:52 | Now right in the center of the slider,
if you click there, you'll get to a 100%
| | 00:56 | zoom level, and don't let
this zoom level fool you:
| | 00:59 | it's not a representation of how
your score will look when it prints.
| | 01:03 | There's actually another
setting available for that.
| | 01:05 | 100% is what Sibelius considers to be
a convenient average size for editing.
| | 01:11 | There're many other zoom options
located in the Zoom group of the View tab.
| | 01:15 | So if we go up to the ribbon, to the View
tab, toward the left-hand side is zooming.
| | 01:20 | If you click on the lower part of the
Zoom button, where the little arrow is, you
| | 01:23 | get a list of zoom presets to choose from.
| | 01:26 | In addition to the zoom percentages,
you can choose from other options at the
| | 01:30 | bottom, including Actual Size, and this
is the option that should represent how
| | 01:35 | your score will look when it prints,
| | 01:37 | although what you see on your screen
ultimately depends on the size of your monitor.
| | 01:41 | There're also some buttons in the
ribbon for quick access to three of the most
| | 01:45 | popular preset zoom levels.
| | 01:47 | This button up here is for 100%, below
that is Fit Page, so you're going to see
| | 01:52 | an entire page view, and below that is
Fit System Width, so an entire system fits
| | 01:58 | in the width of your screen.
| | 02:00 | You can also use the shortcut Control+1 on
the QWERTY keyboard, or Command+1 on Mac,
| | 02:05 | for zoom level of 100%, or Control or
Command+0 on the QWERTY keyboard for Fit Page.
| | 02:13 | I encourage you to spend some time
experimenting with the different presets
| | 02:16 | to become familiar with them.
| | 02:18 | The Zoom tool itself
provides two options for zooming.
| | 02:21 | So first you'll have to select
the tool from the ribbon here.
| | 02:24 | With the tool selected, hover your
mouse over the score page, over an area
| | 02:28 | where you'd like to zoom in on, and all
you have to do is click a few times to
| | 02:32 | zoom in on that area.
| | 02:34 | You can use the Zoom tool
to zoom out as well.
| | 02:36 | All you have to do is right-click
with your mouse to zoom out.
| | 02:40 | If you're on Mac, and you don't
have a right-clicking mouse, you can
| | 02:43 | Option+Click to zoom out.
| | 02:44 | You can also use the Zoom tool to
click, drag, and select an area of your
| | 02:48 | score to zoom in on.
| | 02:49 | Sometimes this is called Lassoing.
| | 02:51 | To do this, with the Zoom tool still
selected, I'm going to click and drag across
| | 02:56 | the score, and when you let go,
Sibelius will fill your window with that
| | 03:00 | selection. You'll have to use a
different option to zoom back out, like
| | 03:04 | right-clicking, because you can't
lasso a selection, and zoom it out.
| | 03:08 | To deselect the Zoom tool, you can hit
Escape, and remember that Escape stops all
| | 03:13 | actions in Sibelius, and deselects
anything that is selected, including any tools
| | 03:18 | that you may have activated in the ribbon.
| | 03:19 | Now, there're two more ways to zoom in
Sibelius, and these two are my favorite ways.
| | 03:24 | First, you can use the very simple shortcut
Control+Plus to zoom in, and Control+Minus to zoom
| | 03:30 | out, and that is Command+Plus,
and Command+Minus on Mac.
| | 03:34 | So Control+Plus, and if you keep selecting
it, it zooms you further and further in,
| | 03:40 | and Control+Minus or Command+Minus
will zoom you out.
| | 03:43 | Now, you can also hold these shortcuts
down to zoom way in very quickly, or
| | 03:47 | way out very quickly.
| | 03:49 | Your final option for zooming is using the
scroll wheel on your mouse, if you have one.
| | 03:53 | To zoom using the scroll wheel, simply
hold down the modifier Control on PC, or
| | 03:58 | Command on Mac, and scroll up to
zoom in, and scroll down to zoom out.
| | 04:04 | Again, I hope you spend some time
becoming very comfortable with zooming.
| | 04:09 | Remember, if you're straining to see
something on the score page, you're not
| | 04:12 | working correctly in the software.
| | 04:14 | Don't forget to zoom.
| | Collapse this transcript |
| Introducing Magnetic Layout| 00:01 | There's a feature in
Sibelius called Magnetic Layout.
| | 00:03 | You can toggle it on from the Layout tab --
there it is there -- and if you're not
| | 00:07 | familiar with Magnetic Layout, you
might feel a bit overwhelmed by the amount
| | 00:11 | of information that appears on your
screen when you simply click on an object,
| | 00:14 | like an expression mark.
| | 00:16 | What you'll notice when you have an
object selected with Magnetic Layout turned
| | 00:19 | on is that similar objects are grouped,
or connected to each other, with a dashed
| | 00:24 | horizontal or vertical line.
| | 00:26 | You may also see some shadow
objects appearing on the screen.
| | 00:29 | Now, the reason you're seeing these
gray dashed lines and shadows is not only
| | 00:33 | because Magnetic Layout is on, but also
because the Magnetic Layout options are
| | 00:37 | checked under the View tab.
| | 00:38 | So if you go the View tab,
here are the Magnetic Layout options.
| | 00:42 | If you try to move an object around
with Magnetic Layout turned on, you'll
| | 00:46 | start to see, and hopefully understand
a little bit about what this feature is
| | 00:49 | trying to do for you.
| | 00:50 | Now, you may notice that objects
will not collide with one another.
| | 00:54 | So if I move this expression mark up
here to this expression mark, you'll notice
| | 00:57 | I can't put it on top of
the other expression mark.
| | 01:00 | There are also some fancy features
built in to Magnetic Layout, like how an
| | 01:04 | expression marking can be placed in
the middle of a hairpin, like that.
| | 01:08 | You may also notice that if you push the
limits of Magnetic Layout, some objects
| | 01:12 | on your score may turn red in color, like this.
| | 01:16 | This means that Sibelius has no better
choice for you, other than a collision.
| | 01:20 | It colors the collision red to make you
aware of it, so that you can go in and
| | 01:24 | make manual adjustments.
| | 01:26 | So at its core, Magnetic Layout is
an automatic anti-collision feature.
| | 01:30 | It's like autopilot for formatting in Sibelius.
| | 01:33 | But just like autopilot for flying
airplanes, it's a complex feature that
| | 01:37 | requires a good understanding of many
aspects of the software, and a bit of study
| | 01:41 | in order to fully understand,
and appreciate it.
| | 01:43 | Now, it's my opinion that in order to
learn Sibelius properly from the ground
| | 01:47 | up, you should first learn how to be
your own pilot; how to drive or fly the
| | 01:51 | program on your own.
| | 01:52 | So I'm going to ask you to disable
Magnetic Layout just for the time being.
| | 01:56 | We will come back to it later in the course.
| | 01:59 | To disable it, you go to the Layout tab,
here's the Magnetic Layout section, and
| | 02:04 | this yellow button here: just click on
that, and move your mouse away, and it will
| | 02:07 | be gray, and Magnetic Layout will be off.
| | 02:10 | With Magnetic Layout off, you'll have
more freedom of movement, and a bit less
| | 02:14 | confusion on the screen when
you click and drag on objects.
| | 02:17 | And you'll notice, you'll be able to make
collisions of objects, and basically put
| | 02:21 | objects anywhere on the page
that you'd like to put them.
| | 02:24 | So it gives you the freedom to do
whatever you'd like to do, graphically,
| | 02:27 | within the interface.
| | 02:30 | Learning how to use Sibelius with
Magnetic Layout off, in the long run, will help
| | 02:33 | you learn how to get the most of
Magnetic Layout when you turn it back on again.
| | 02:37 | And we will be turning it back on
again; you just have to be patient.
| | 02:40 | I promise the wait will be well worth it.
| | Collapse this transcript |
| Personalizing the view| 00:00 | In this video, I'll give you a better
understanding of all of the viewing options
| | 00:04 | in Sibelius that are found in the View tab.
| | 00:06 | So let's go ahead and click on the View tab.
| | 00:09 | Now, we've passed by the Document
View options a few times already in our
| | 00:12 | training, so let's really take a look
at them this time, so that you can make a
| | 00:15 | decision about how you would
prefer your score pages to be displayed.
| | 00:18 | I've already zoomed this example file
out for you, so that you can see more
| | 00:21 | pages on your screen.
| | 00:23 | There are two options for viewing
your score pages horizontally: Spreads
| | 00:26 | Horizontally, and Pages Horizontally, and
notice the only difference is that the
| | 00:30 | pages separate with Pages Horizontally.
| | 00:34 | Similarly, you can show Spreads
Vertically, or Pages Vertically.
| | 00:38 | Now I'm going to put my score back to
Pages Horizontally -- that's my preferred
| | 00:43 | view -- and let's drag this back here, so
we can see the beginning of it again.
| | 00:47 | Just click and drag with
your mouse, and there it is.
| | 00:50 | I've also briefly mentioned the
next button here: Panorama view.
| | 00:53 | I'm going to go ahead and click that to
turn it on, and let's go ahead and zoom
| | 00:58 | in a little bit: Control+Plus,
or Command+Plus on Mac.
| | 01:02 | We'll see a little bit about
what Panorama view does for us.
| | 01:05 | So Panorama view displays your score
as a single continuous system on an
| | 01:10 | infinitely wide page.
| | 01:12 | It actually does a little
bit more, as you can see;
| | 01:14 | it turns on these little bar
numbers for you, and the staff names.
| | 01:18 | That's here in this
Invisibles group under Bar Numbers.
| | 01:21 | If I uncheck that, they'll turn off,
and if I turn that back on, you'll see
| | 01:25 | them again in your view.
| | 01:26 | A good rule to follow when you're
working in Panorama is to not do any layout or
| | 01:30 | formatting of your score or parts.
| | 01:32 | You're not seeing your score at the
proper size to fit within the pages,
| | 01:36 | so if you make any layout, or formatting
changes, like if I grab this, and drag it
| | 01:40 | down a little bit, and change the
position of the staves, when we switch back to
| | 01:45 | Page view, I might be sorry that I've done that.
| | 01:48 | You can edit and input notes in
Panorama, and everything will be just fine.
| | 01:52 | Let's go ahead and toggle Panorama view off;
| | 01:54 | Shift+P is the shortcut for Panorama.
| | 01:57 | Since we've already discussed zooming
in great detail, we're going to skip over
| | 02:01 | that, and move in to the Invisibles group.
| | 02:03 | Now, we've already seen the Bar Numbers
option, and that can be turned on and off
| | 02:08 | when you're not in Panorama as well.
| | 02:11 | Another option that I like
to turn on is Page Margins.
| | 02:14 | I'm going to zoom in again, so that
you can see this a little bit better;
| | 02:16 | Control+Plus, or Command+Plus.
| | 02:18 | There's a little dashed blue line
here surrounding the score, and those
| | 02:22 | are my page margins.
| | 02:24 | If any of your staves, text, or objects
appear outside of the page margins on this
| | 02:28 | screen, they will not print.
| | 02:30 | So personally I like to work with the
page margins visible, just to ensure that
| | 02:33 | my score is always formatted well,
within the printable area of the page.
| | 02:38 | We can also view Layout Marks
if we click on that option there.
| | 02:41 | You'll notice this score has quite a
few layout marks in it, and basically these
| | 02:45 | are locking our bars together, creating
what we call system breaks, so that this
| | 02:49 | bar line here is always at the end of a
system, and also page breaks, so that this
| | 02:53 | bar line here is always at the end of
this page, and up there starts a new page.
| | 02:58 | What all of this means is that the score
is pretty well locked into place, in terms
| | 03:01 | of its overall layout, and we'll get
into most of those layout features I just
| | 03:05 | mentioned later in the course.
| | 03:07 | We can also view
something called Attachment Lines.
| | 03:10 | That's here, and it's already checked.
| | 03:12 | We'll want to go ahead and
click on an object in the score.
| | 03:14 | I'm going to select this mezzo forte
marking here, and I'm going to zoom in;
| | 03:17 | Control+Plus, or Command+Plus.
| | 03:19 | And the attachment line is this dashed
gray line here with little arrow on the end.
| | 03:26 | Now, I don't always recommend this,
but if you drag the expression with your
| | 03:29 | mouse, you'll notice that the
attachment line will stay attached to that note,
| | 03:33 | but only for a little while before it
attaches to a different place on the bar.
| | 03:38 | If we keep moving, it will
continue attaching to a different place.
| | 03:42 | It's important for objects to be
attached to the proper item in the score. In
| | 03:46 | terms of expression marks, for example,
the playback of the expression mark will
| | 03:50 | begin at the note that the expression
mark is attached to, or at the position in
| | 03:54 | the bar where it is attached to.
| | 03:56 | So sometimes your expression mark might
look like it's correctly positioned, but
| | 04:00 | you don't really know for sure
until you look at its attachment line.
| | 04:03 | So if you're the type of person who
likes to drag objects around with the
| | 04:06 | mouse, it might be a good idea for you to
leave the attachment lines visible in your score.
| | 04:11 | I'm going to skip some of the Invisibles, as
some of them are not as essential as others.
| | 04:15 | We've also turned some features off in
the program, like Versions, for example, so
| | 04:19 | we don't need to worry
about their view items for now.
| | 04:22 | I should mention that all of the
features in the Invisibles group are only
| | 04:25 | available to you on the
screen; they do not print.
| | 04:28 | Even if you've turned them off, and
you see them on the screen, they will be
| | 04:31 | invisible when you print.
| | 04:34 | Since we've discussed the Magnetic
Layout view features, we're going to skip
| | 04:37 | that for now, and you're welcome to
experiment with viewing the different Rulers here,
| | 04:42 | although these really only come in
handy in advanced layout and formatting
| | 04:45 | situations, so we'll skip them for now.
| | 04:48 | Another view option I like to
point out is the Note Colors.
| | 04:51 | There are two ways to view Note
Colors, and if you click on the button
| | 04:54 | here, you'll see them.
| | 04:55 | By default, Sibelius shows you the
notes that are out of range by coloring
| | 04:59 | them in shades of red.
| | 05:00 | So let's go into score here, I'm going
to click on this note, and let's choose
| | 05:05 | Control+Minus, or Command+Minus,
to zoom out just a little bit.
| | 05:08 | As I drag this note up in the staff,
you'll notice it'll start changing color;
| | 05:14 | right there, it turns one shade of red,
and if I click out, you can see it's kind
| | 05:18 | of a dark shade of red.
| | 05:19 | I'm going to drag this down,
so we can make sure we see this.
| | 05:21 | If I click on it again, and continue
moving it up, it will eventually turn a
| | 05:26 | little brighter shade of red.
| | 05:28 | If I click out, we'll see
it's a nice bright shade of red.
| | 05:30 | Now, we like to say that this is sort
of like the color of the person's face
| | 05:34 | who's trying to play the note.
| | 05:35 | Basically, Sibelius is telling you,
first, that the note is getting more
| | 05:39 | difficult for the instrument, and
second, that the notes are entirely out of
| | 05:43 | range for that instrument.
| | 05:45 | Another option for viewing Note
Colors is viewing them by Voice Color.
| | 05:48 | So if we go back to the Note Colors
group, and click on Voice Colors, you'll
| | 05:53 | notice all of the notes in
my score have turned blue.
| | 05:55 | A voice is a single line of
notes on one staff.
| | 05:59 | You can think of an SATB arrangement,
where you have lines of notes with stems up,
| | 06:03 | and lines of notes with stems down.
| | 06:05 | Now, in Sibelius terminology, that staff
has two separate voices on it, and each
| | 06:10 | voice would be color coded.
| | 06:12 | Voice 1 is blue, Voice 2 is green,
Voice 3 is orange, and Voice 4 is purple.
| | 06:17 | Now, in this course, we'll be
working all in Voice 1, the blue voice,
| | 06:21 | so viewing note colors
isn't all that important for us.
| | 06:23 | So if either of the Note Color options bothers
you, you can turn them off by selecting None.
| | 06:29 | So we go back to Note Colors, and select
None, and this is my preferred way to work.
| | 06:34 | Finishing up with this View tab, we've
already discussed the Panels here, and
| | 06:37 | the last group, Windows, gives you options for
viewing multiple Sibelius windows on one screen.
| | 06:42 | So we can click here, and we can actually
create a new window, and this duplicates
| | 06:46 | the window that we're already viewing.
| | 06:49 | And with more than one Sibelius window
open, we can go back to the View tab, to
| | 06:54 | the Windows group, and we can tile them
either vertically or horizontally if we'd like.
| | 06:59 | You may notice when we do this that
the ribbon has less space on the screen,
| | 07:02 | so it's condensed itself, and you'll get
more dropdown menus in the ribbon this way.
| | 07:06 | Now, if we go back to the Window group,
and choose Horizontally, the ribbon can
| | 07:11 | expand back to its usual state.
| | 07:13 | Another option in the
Window group is for Full Screen.
| | 07:16 | We can check that there, and now we
have a full screen view of our score.
| | 07:21 | There's one more option I think I
should mention that's not in the View tab.
| | 07:24 | It's a button found in the Home tab.
| | 07:26 | So let's go to the Home tab, and
it's this bright yellow button there
| | 07:29 | called Transposing Score.
| | 07:31 | With Transposing Score turned on, or
highlighted yellow like it is, you are
| | 07:35 | viewing a transposing score.
| | 07:37 | You're viewing the notes as the performer
on the instrument would need to view them.
| | 07:40 | Now, with it turned off -- if we click on
it, and toggle it off -- with it turned off,
| | 07:46 | you're viewing C score, or sounding
pitch. Be careful, because unlike the View
| | 07:50 | tab options, this option will actually print.
| | 07:53 | So if I'm viewing C score, and I print
my score, it's going to print a C score,
| | 07:57 | and if I'm viewing Transposing Score, and I print
my score, I'll be printing the Transposing Score.
| | 08:02 | So now that you have a good idea of how
to set your own customized view options,
| | 08:07 | it's important for you to
learn how to get around the score.
| | 08:10 | You may already know how to drag the
score paper around, but there are several
| | 08:13 | more ways you can maneuver through
Sibelius, and in the next video, I'm going
| | 08:16 | to show you how.
| | Collapse this transcript |
| Navigating through notes, bars, and pages| 00:00 | Sibelius gives you several options for
navigating through the score, from using
| | 00:04 | the mouse, and clicking and dragging, to
using shortcut keys to navigate note by
| | 00:08 | note, or page by page.
| | 00:10 | In this video, I will introduce you to
all of the ways you can navigate through
| | 00:13 | the score, so that you can find the
option or options that work best for you.
| | 00:17 | First, the most obvious way to move
around the score is by using the mouse, and
| | 00:21 | we've probably figured this out already.
| | 00:23 | You can simply click anywhere on an
empty space in the page, anywhere where
| | 00:26 | there's no object, and
just drag the page around.
| | 00:29 | If you accidentally do click an object,
like a note, and move it by accident, you
| | 00:34 | can always use Undo -- Control+Z or Command+Z --
to get the object back to where it used to be.
| | 00:39 | If you've made any selections, don't
forget to hit Escape a few times to
| | 00:42 | undo that selection.
| | 00:45 | Another way to use the mouse to
navigate is by using the Navigator panel.
| | 00:49 | Let's use the shortcut key
to pop up the Navigator panel.
| | 00:52 | It is, of course, Control+Alt, and the
letter N on PC, and that will be
| | 00:56 | Command+Option+N on Mac.
| | 00:59 | If you don't like using the shortcuts,
you can always go to the View tab,
| | 01:02 | and to the Panels group.
| | 01:04 | The Navigator panel gives you a super
zoomed out view of your score, showing you
| | 01:07 | all, or many of the pages, depending
on your score's current zoom level.
| | 01:11 | You'll notice, if I zoom out, the
Navigator will show me more of my pages, and
| | 01:16 | if I zoom in, using Control+Plus, or Command+Plus,
then the Navigator will show me less of the pages.
| | 01:23 | If you want to jump to a place in your
score quickly -- perhaps, maybe the bottom
| | 01:27 | of Page 3 here -- I can go to the Navigator,
and just click at the bottom of Page 3,
| | 01:32 | and now that is what I am
viewing on my Score page.
| | 01:35 | You can also click, hold, and drag to
shuffle through the score's pages in the
| | 01:38 | Navigator, like this. You may have
noticed that white box in the Navigator
| | 01:44 | window. That white box is showing you
the portion of the score that you are
| | 01:47 | viewing on your main score page.
| | 01:49 | Another way to use your mouse to get
around the score is by using the scroll
| | 01:52 | wheel on your mouse.
| | 01:53 | If you scroll up, the score will
scroll up, and if you scroll down, the
| | 01:58 | score page scrolls down.
| | 02:00 | You can also use your scroll wheel on your
mouse to scroll the score left and right.
| | 02:04 | All you have to do is hold down the
modifier Shift. So Shift, scrolling up, it's
| | 02:08 | moving us to the left, and holding Shift, and
scrolling down moves us back to the right.
| | 02:14 | So those are the ways you can use the
mouse to navigate through your score.
| | 02:18 | But using the mouse is not always the
best or fastest way to work, so let's look
| | 02:21 | at some shortcut key navigation.
These are my favorite ways to navigate.
| | 02:25 | First, you can navigate page by page,
using the Home, and End keys in the
| | 02:29 | navigation section of your computer keyboard.
| | 02:31 | The End key will move you through the
score to the right, or from the start
| | 02:35 | to the end, and the Home key will move you
to the left, or from the end to the beginning.
| | 02:41 | You can also use the Page Up
and Page Down keys to navigate.
| | 02:44 | Page Up will move you up
to the top of the page;
| | 02:47 | Page Down will move you
to the bottom of the page.
| | 02:51 | Another way to navigate through the
score is by going note by note. So if we
| | 02:55 | simply select a note on the staff,
like this one here, we can use our arrow
| | 02:59 | keys in the navigation section of the
keyboard to move right and left through
| | 03:03 | the notes on the staff.
| | 03:04 | So the arrow right moves us through
the notes, and through the rests, and
| | 03:09 | the arrow to the left.
| | 03:12 | You want to avoid using the Up and
Down arrow keys, as they'll actually change
| | 03:16 | the pitch of your notes.
| | 03:17 | If you want to jump down or up from one
staff to another, you will need to hold
| | 03:22 | down the modifiers Control and Alt on PC,
or Command and Option on Mac. Control+Alt,
| | 03:29 | and then use your arrow down or
up to jump between the different staves.
| | 03:35 | For an even finer increment of note by
note navigation, you can use the Tab key.
| | 03:39 | Let's select a note, like this one here,
and instead of using the arrows, I am
| | 03:44 | going to use the Tab key, and it's
going to tab me through the notes. You'll
| | 03:48 | notice now it'll also tab me
through all of the other objects that are
| | 03:52 | attached to the staff.
| | 03:56 | So basically, Tab key navigation is
object by object navigation on the staff.
| | 04:01 | You can also use Shift+Tab to
navigate backwards through a staff.
| | 04:06 | There are two more ways that you can
navigate through the score using shortcut keys.
| | 04:09 | You can jump to a specific bar, or to
a specific page number. In Sibelius, we
| | 04:14 | call it going to a bar, or going to a
page, and the reason we say it that way is
| | 04:18 | because the shortcut for going to a bar is
Control+Alt+G on PC, or Command+Option+G on Mac.
| | 04:26 | Once you use the shortcut, you can
then type in the bar number -- let's say I
| | 04:30 | want to jump to bar 4 -- and click Enter, or click
OK, and Sibelius highlights that bar for you.
| | 04:37 | Similarly, if you'd like to go to a
specific page, you can use the shortcut
| | 04:41 | Control+Shift+G, or Command+Shift+G on Mac,
type in a page number, like page 3, and
| | 04:48 | click OK, and it jumps us to page 3.
| | 04:52 | So, I would recommend practicing all of
the different ways to navigate through
| | 04:55 | the score, but I would focus on
learning the shortcut navigation.
| | 04:58 | It might not come as naturally to you
at first, but in the long run, it'll be a
| | 05:02 | faster, easier way for you to work.
| | Collapse this transcript |
|
|
3. SelectionBar and staff selection| 00:00 | Before I begin discussing selection,
there are few terms I am going to use
| | 00:03 | throughout this course that
I'd like to define for you.
| | 00:06 | First, I'll use the word bar to
describe any single measure of music.
| | 00:10 | Bar is the term used in the Sibelius
literature in place of the word measure,
| | 00:14 | and it's a word that I've adopted from
them as part of my Sibelius vocabulary.
| | 00:19 | Next, you need to clearly understand the
difference between a system, and a staff.
| | 00:23 | These two terms are often
confused or misused, even by the most
| | 00:27 | educated musicians.
| | 00:29 | It's easiest to learn the difference
between a system and a staff by
| | 00:31 | looking at a score.
| | 00:32 | So let's zoom out on this score a little bit;
Control+Minus or Command+Minus. So you
| | 00:37 | can see that we have four staves:
Flute, Oboe, Clarinet, and Bassoon, and
| | 00:41 | together they make up one system.
| | 00:43 | So a system is a group of staves.
| | 00:45 | If we zoom out a little bit more; Control
+Minus or Command+Minus, and I am going to
| | 00:50 | scroll up just a little bit
so we can see the whole page.
| | 00:54 | You can see on this page that we
have three systems on the page.
| | 00:58 | Now, sometimes some of the staves in
the system will be hidden, so instead of
| | 01:01 | having four staves in this system, we
only have two, and they are hidden because
| | 01:05 | those staves are empty.
| | 01:07 | There are no notes in them.
| | 01:09 | Recognizing a staff versus a system is
important for almost everything we do in
| | 01:12 | Sibelius. You will see this as a
recurring theme built into the program, and I
| | 01:16 | will have more information for you
on the system versus staff theme as we
| | 01:19 | progress through the training.
| | 01:21 | So with the vocabulary out of the way,
it's now time to learn about basic bar,
| | 01:25 | or measure selections.
| | 01:26 | So let's zoom back in;
Control+Plus, or Command+Plus.
| | 01:31 | Selecting one bar in a
single staff is very simple.
| | 01:34 | We have pretty much done this already.
| | 01:35 | If you just click somewhere in the bar
where the staff lines are, where there
| | 01:39 | are no objects, then Sibelius puts a
nice blue color around the bar, and that
| | 01:43 | means it's selected.
| | 01:44 | The purpose of this type of
selection is to edit the contents of the bar.
| | 01:48 | We'll get into the specifics of how you
can edit objects later, but as a quick
| | 01:51 | preview, with a bar selected like this,
if it has notes in it, you can use your
| | 01:55 | arrow keys on your computer
keyboard to move the notes up and down.
| | 02:00 | You can even use some of the buttons
over on your keypad to add note head
| | 02:03 | markings to the notes, and
those will toggle on and off.
| | 02:07 | You can also use your Delete key,
or your Backspace key on PC, to delete
| | 02:11 | the contents of the bar,
returning the bar to a bar rest.
| | 02:15 | And remember, to unselect or deselect
the bar, just like stopping all action, and
| | 02:19 | deselecting anything in Sibelius,
you will use the Escape key.
| | 02:23 | You can also select a range of bars.
| | 02:25 | To select a contiguous range of bars,
you are going to select the first bar that
| | 02:30 | you'd like to have in the selection,
make your way to the last bar that you'd
| | 02:34 | like to have in the selection, and then
hold down the shortcut modifier Shift,
| | 02:38 | and select that bar.
| | 02:40 | Holding Shift will allow you to
select both of those bars, and everything in
| | 02:43 | between them, contiguously.
| | 02:45 | And you can also do this up and
down the system, across several staves.
| | 02:48 | If I hold Shift, and click in the
Flute, it selects across the system, and
| | 02:53 | escape out of that.
| | 02:55 | You can select one staff across an
entire system very quickly by simply
| | 02:59 | double-clicking in a bar on the staff;
one, two, and that selects the whole Oboe
| | 03:03 | part for that entire system, and escape
out of that. And if we triple-click -- one,
| | 03:08 | two, three -- then we will select that
staff for the entire piece of music.
| | 03:13 | Let's escape out of that again, there
is another way that you can select bars,
| | 03:18 | and that's by using the Select Bars command.
| | 03:20 | There are two ways to use the Select
Bars command: either by selecting it in the
| | 03:24 | ribbon, or by using its shortcut.
| | 03:26 | To find the command in the ribbon,
navigate to the Home tab, and to the Select
| | 03:30 | section here, and click on Bars.
| | 03:34 | Once you click on Bars, Sibelius will
give you this dialog box, and you can tell
| | 03:38 | it to select from, let's say, bar 5 here,
to bar 8, and click OK, and Sibelius will
| | 03:45 | make that selection for you. And with
nothing selected in the score, Sibelius
| | 03:49 | will select those bars for
all instruments on that system.
| | 03:52 | If you have a note, or other object,
selected in one of the parts prior to running
| | 03:56 | the Select Bars command, then the
selection will only be made in that staff, and
| | 04:00 | not across the entire system.
| | 04:02 | So let's try that; I'm going to hit
Escape, I'll make a selection here
| | 04:05 | in the Oboe, and let's use the shortcut
Control+Alt+A, or Command+Option+A on Mac, to
| | 04:11 | go to Select Bars, and tell Sibelius
from bar 5, to bar 7, and click OK, and it
| | 04:18 | only makes that selection in the Oboe.
| | 04:20 | So you have seen how bar selection
works, and you know that it can be used to
| | 04:23 | edit the contents of the bars.
| | 04:25 | Another thing I should mention is
that if you triple-click on a staff, and
| | 04:28 | select that staff for the entire
duration of the score -- and we can do that here;
| | 04:32 | one, two, three, on the Oboe -- then you
can actually delete the staff from the
| | 04:36 | score entirely by hitting the
Backspace key, or Delete. And when you do this,
| | 04:40 | Sibelius will ask you if you want
to delete the staff from the file.
| | 04:43 | If you click No, the staff will remain,
and its contents will be deleted. If you
| | 04:48 | click Yes, the staff, and all of its
contents, will be removed from the score.
| | 04:51 | So let's go ahead and remove the Oboe
from the score by clicking Yes, and there
| | 04:56 | you have it, and if you drag the paper
down, you will notice that there is no
| | 04:58 | more Oboe in the score.
| | 05:00 | Now, any time you see a warning dialog
box like that in Sibelius, take it very
| | 05:04 | seriously. There aren't too many of
them, but usually they will ask you an
| | 05:07 | important question, so it's
good to pay attention to them.
| | 05:10 | All right; in the next video, you will
learn how to select bars in a little
| | 05:13 | different way, so that you can
actually delete the bars, and not just their
| | 05:17 | content, from the score.
| | Collapse this transcript |
| System selection| 00:00 | One thing you will learn as you continue
working in Sibelius is that Sibelius is
| | 00:03 | extremely sensitive when it comes to selection.
| | 00:06 | You have to be very specific with
your selection in order for Sibelius to
| | 00:10 | respond correctly to your commands.
| | 00:12 | Selecting bars is a great example of this.
| | 00:15 | In the last video, you learned that if
you click in one bar, Sibelius will color
| | 00:18 | that bar light blue on just that one
staff, and then you will be able to edit
| | 00:21 | the contents of the bar.
| | 00:23 | But now you are going to learn that if
you hold the modifier Control, or Command on
| | 00:27 | Mac, before you make a bar selection,
or before clicking in the bar with your
| | 00:31 | mouse, then Sibelius will create an
entirely different type of selection.
| | 00:35 | So when you hold Control, and make a bar
selection, Sibelius automatically expands
| | 00:40 | your selection to include all of the
staves in the system, and it colors your
| | 00:43 | selection purple instead of blue.
| | 00:46 | So with the modifier added into
the mix, you end up creating a
| | 00:49 | system-based selection.
| | 00:50 | In short, you end up selecting a lot more
than if you just click to select a bar,
| | 00:54 | and again, Escape stops all action,
and deselects everything for you.
| | 00:58 | Similar to bar selection, if you hold
Control, or Command on Mac, and double-click
| | 01:03 | with the mouse, then you will select
all of the bars in one entire system, and
| | 01:07 | if we Escape, and if you hold Control, or
Command, and triple-click -- one, two, three --
| | 01:12 | then you end up selecting the entire
piece of music, and everything in it.
| | 01:16 | It's essentially the same thing as
using the Select All command, or using the
| | 01:20 | shortcut Control or Command+A. Now, I
don't expect you to remember all of the
| | 01:24 | shortcuts that I throw at you, but if
you like shortcuts, there is one more fancy
| | 01:28 | system selection shortcut
you can add to your arsenal.
| | 01:31 | First, you will need to make a simple
bar selection; select Escape, and select a
| | 01:35 | bar, and then use the shortcut Shift+Alt+A,
or Shift+Option+A on Mac, to turn your
| | 01:42 | simple blue bar selection into a
complex purple system selection.
| | 01:46 | Now, why do we have this type of
selection; this system selection?
| | 01:50 | There are two reasons to
make a system selection.
| | 01:53 | You will notice that if you just make a
basic bar selection on a staff in bar 1 ---
| | 01:57 | so if I escape, and just make a selection
like this, and Shift+Click down here -- you
| | 02:02 | will just select the contents of bar 1.
| | 02:04 | But if we escape, and if we Control or
Command+Click in bar 1, you're not only
| | 02:09 | selecting the contents of the bar
for each instrument, but you are also
| | 02:12 | selecting all of the bar's additional
attached objects, like the title, and
| | 02:16 | the composer name, and tempo, and this comes
in handy in a variety of editing situations.
| | 02:21 | Let's say I needed to delete bar 1, for example.
| | 02:24 | I would know, because of this selection,
that if I deleted the bar, I would also
| | 02:28 | be deleting all of that highlighted
text that's attached to the bar.
| | 02:31 | So I know that before I delete the bar,
I am going to have to take care of my
| | 02:34 | text. I would need to copy and paste it
into another bar, so I can delete bar 1,
| | 02:38 | and then have that text still in my score.
| | 02:40 | And that's just one example of many
where this type of selection is very helpful.
| | 02:44 | The other reason we would use this type
of selection is to delete the entire bar,
| | 02:48 | and remove it from the score.
| | 02:50 | I get this question a lot when students
are trying to delete the extra bars that
| | 02:53 | they end up with at the end of their score.
| | 02:55 | So let's try that. I am going to
escape, use the End key in the navigation
| | 03:00 | section to get to the end of this
piece, and if you remember, adding bars is
| | 03:05 | Control+B, or Command+B. We don't see them,
so let's do a Page Down here to see them,
| | 03:10 | and End, and Page Up;
there they are, and Escape.
| | 03:14 | Now, often you'll end up with these
extra bars at the end of your piece.
| | 03:17 | So if you Control or Command+Click in them,
and select them, and then you can use a
| | 03:22 | range selection -- so holding Shift, and
clicking over here -- then if you delete,
| | 03:27 | you actually end up deleting all of those bars.
| | 03:30 | There is one other way you can
delete bars. You can select that bar, using a
| | 03:34 | simple bar selection like this, and then
within the Home tab of the ribbon, in the
| | 03:39 | Bars group here, you can select Delete.
| | 03:42 | When we do this, you will notice that
Sibelius will ask you, do you want to
| | 03:45 | delete this bar from the score?
| | 03:46 | It also makes that system-based purple
selection for you, and you can go ahead
| | 03:51 | and click Yes, and it's been deleted
from the score, as you can see here.
| | 03:55 | So you're going to be using bar and
system selections quite often as you edit
| | 03:59 | your work in Sibelius.
| | 04:00 | Sometimes you'll want to be even more
specific with your selection, so in the
| | 04:04 | next two videos, we will discuss
additional contiguous and noncontiguous
| | 04:07 | selection options.
| | Collapse this transcript |
| Making contiguous selections of objects| 00:00 | Making a contiguous, or a range selection
of objects means selecting from point A,
| | 00:04 | to point Z, and everything in between.
| | 00:07 | As you've seen while working with bar
selection, a contiguous selection can be
| | 00:10 | made horizontally, vertically, or
both, and you also know that the shortcut
| | 00:14 | modifier for working with
range selections is Shift.
| | 00:18 | Range selection is not limited to bars.
| | 00:20 | You can select any object in the score --
let's say we select a note here -- and you
| | 00:25 | can maneuver to any other object, like
another note, hold down Shift, click on
| | 00:29 | that, and Sibelius will make that
range selection from object to object.
| | 00:34 | Another way to make a contiguous, or
range selection is by lassoing the selection.
| | 00:38 | So let's hit Escape first.
| | 00:39 | Now, you may remember lassoing from the
Zoom video, when we held down Shift before
| | 00:44 | we clicked with the Zoom tool.
| | 00:46 | Lassoing a selection is exactly the same,
except we won't be doing it with the Zoom tool.
| | 00:50 | We'll be making the
selection with our mouse arrow.
| | 00:52 | Now, before lassoing a selection, make
sure you escape out of the score, so
| | 00:56 | nothing is selected, then you'll
hold down Shift if you're on PC, and its
| | 01:00 | Command if you're on Mac.
| | 01:02 | Note the difference in the
keyboard modifier for this command.
| | 01:05 | And then click with your mouse over a
blank area of the score. Not on top of a
| | 01:09 | bar or a staff; somewhere where
the white area is of the paper.
| | 01:13 | Holding Shift+Click, and drag across, and
you'll see that Sibelius will make that
| | 01:18 | range selection for you.
| | 01:19 | When you let go, there's the selection.
| | 01:22 | You can also use keyboard
shortcuts for range selection.
| | 01:25 | Let's go ahead and hit Escape again.
Click on your first object, like a note here.
| | 01:29 | I'm going to zoom in just a little
bit for you; Control+Plus, or Command+Plus.
| | 01:33 | Now, with that object selected, hold
down Shift, and then you can use your right
| | 01:38 | arrow to select from your selected
object to the right. And if you use your left
| | 01:43 | arrow, rather than undoing what you
just did with your right arrow, because you
| | 01:47 | have undo for that, Sibelius will
allow you to select from your originally
| | 01:51 | selected object to the left.
| | 01:54 | Now, similarly, you can go up and down from
there as well, using your up and down arrows.
| | 01:59 | So now that we've learned all about
range selection, the next two videos
| | 02:03 | will focus on noncontiguous selection,
or making a selection of objects that
| | 02:07 | are not next to each other.
| | Collapse this transcript |
| Making non-contiguous selections of objects| 00:00 | Noncontiguous selection means selecting
objects that are not next to each other.
| | 00:05 | For example, if I wanted to select this
note, and that note, and maybe this note,
| | 00:09 | without selecting all of the notes in
between them, and you'll see this type of
| | 00:13 | selection is very powerful
during the editing process.
| | 00:16 | Now, how did I do that?
| | 00:17 | How did I make that noncontiguous selection?
| | 00:19 | Go and hit Escape, and first, you
select a single note, or a single object, and
| | 00:24 | that's simple; just by clicking on it. And
instead of holding Shift for contiguous
| | 00:28 | selection, you're going to hold down
the modifier Control on PC, or Command on Mac,
| | 00:34 | and then make the rest of your selections.
| | 00:37 | Now, a good reason for wanting to do
this is if you wanted to add the same
| | 00:40 | articulation, let's say, to several notes at once.
| | 00:43 | And we can do that;
| | 00:43 | once those notes are selected, we
can go to our keypad, and then add an
| | 00:47 | articulation to them, and don't forget to
escape out of the selection when you're done.
| | 00:51 | Examples of objects that you can
select noncontiguously like this are notes,
| | 00:57 | even articulations, text, and hairpins;
basically anything on the score page.
| | 01:04 | As a side note, it's very helpful that
Sibelius will undo through your selection
| | 01:08 | process, and a really good example of why
that is important is when you're making
| | 01:12 | a noncontiguous selection.
| | 01:14 | Let's say we're making this
noncontiguous selection, and I'm clicking a few other
| | 01:18 | objects, and I accidentally clicked
somewhere in the white page, and it deselects
| | 01:23 | all of those objects for me.
| | 01:24 | Now, if you do that, Sibelius has
gotten rid of your entire selection, so it
| | 01:29 | can be frustrating, because you'll have to
start all over again, making your selections again.
| | 01:33 | But not in Sibelius. If this happens
to you, simply use the Undo command --
| | 01:38 | Control+Z, or Command+Z -- and you'll get all
of those selections back, and then you
| | 01:42 | can continue from there, holding down Control or
Command, and finishing up with your selection.
| | 01:48 | Using noncontiguous selection of
objects in your score is a very
| | 01:52 | powerful editing tool.
| | 01:53 | You'll appreciate this feature more and
more as you begin editing notes in Sibelius.
| | 01:57 | Next, you'll learn about noncontiguous
selection of staves, and how it can help
| | 02:01 | you simplify your workflow.
| | Collapse this transcript |
| Making non-contiguous selections of staves and using Focus on Staves| 00:00 | We saw on the previous video how
noncontiguous selection of objects can be a
| | 00:04 | very powerful editing tool.
| | 00:06 | In this video, we'll see how the
noncontiguous selection of staves opens up a
| | 00:10 | powerful view feature in Sibelius
that can help speed up your workflow.
| | 00:13 | Now, this is a pretty large score, so I've
zoomed in a bit to help us get started.
| | 00:18 | First we need to decide what
staves we might want to edit together.
| | 00:21 | An idea might be to select the staves
that share the same rhythmic figures,
| | 00:25 | like selecting instruments in a solely
section of a large work, or something like that.
| | 00:29 | Now in this piece, let's
focus on editing the bass line.
| | 00:32 | So we're first going to select the
Bass Clarinet by making a simple bar
| | 00:35 | selection on its staff in
the first bar of the score.
| | 00:39 | We already know that the modifier key
that helps us with noncontiguous selection
| | 00:43 | is Control on PC, and Command on Mac.
| | 00:47 | So hold that modifier down, move your
mouse straight down the page, and click in
| | 00:50 | the empty area in the
bari saxes first bar, here.
| | 00:53 | Now, we're going to continue working
down the page until all of the bass
| | 00:57 | instruments that share
that same rhythm are selected.
| | 01:00 | Now, you can let go of the modifier,
and then you can use your scroll wheel on
| | 01:04 | your mouse to move down, or you
can drag the paper if you'd like.
| | 01:07 | I'm going to reemploy the modifier Control,
or Command, click here in Trombone 2, and
| | 01:13 | again here at the Tuba.
| | 01:15 | Now alone, noncontiguous selection of
staves doesn't really do much, but it
| | 01:20 | becomes a very powerful tool when it's
combined with Sibelius's Focus on Staves feature.
| | 01:24 | Now, the Focus on Staves button is found
in the Layout tab, in the Hiding Staves
| | 01:30 | group; here it is right there.
| | 01:32 | If you click on the button, Sibelius
will hide all of the unselected staves,
| | 01:36 | and it will give you a view of just
your selected staves, and you may need to
| | 01:39 | scroll up to see them.
| | 01:41 | Now we'll probably want to zoom in a
little bit to see the staves better, once
| | 01:44 | they're in focus, using Control+Plus,
or Command+Plus, and Esc.
| | 01:50 | Now, when you're in Focus on Staves,
the dashed blue lines between the staves
| | 01:54 | indicate that there are staves hidden
in between the staves that are shown.
| | 01:58 | While in Focus on Staves, all states
will play back, even if they're not in view.
| | 02:03 | Now that we're here, we could easily
edit these parts together to ensure that
| | 02:07 | they're accurately notated and marked.
| | 02:08 | Now, there are few things to be careful
of when using Focus on Staves. You do not
| | 02:13 | want to make any layout or formatting
changes while your score is in Focus.
| | 02:17 | Your score page is not showing you the
correct view of each page, so making the
| | 02:20 | page look right when it's in Focus is going
to make it look wrong when it's out of Focus.
| | 02:25 | Focus on Staves is not the appropriate
way to permanently hide empty staves from
| | 02:29 | your score page either.
| | 02:31 | It's a temporary viewing option, and you
should always use it in that capacity.
| | 02:35 | Now, be warned that hidden staves can
and will be selected, and affected, if you
| | 02:40 | make a range selection
across the blue dashed lines.
| | 02:43 | So if I select here, and hold down Shift,
and select here, I'm also selecting all
| | 02:48 | of those instruments in between.
| | 02:50 | So be careful, or you may
end up with unwanted editing.
| | 02:52 | Now, when you wish to return to your score --
I'm going to go ahead, and hit the Escape first --
| | 02:57 | you can simply toggle Focus on Staves
off. So I'm going to go back up to the
| | 03:01 | ribbon, and click that button.
| | 03:03 | Or you can use the shortcut Control+Alt+F
on PC, or Command+Option+F on Mac, and
| | 03:08 | Sibelius returns you to your score
page, and we can zoom out, and see that.
| | 03:13 | Sibelius will remember your last focus group.
| | 03:16 | So if I escape out, and have nothing
selected, and wish to return to the same
| | 03:20 | focus group as before, all I have to do
is toggle Focus on Staves back on again
| | 03:24 | with nothing selected.
| | 03:26 | So I'll click the button again,
and that is my previous focus.
| | 03:30 | So Focus on Staves is a temporary view of
a selected number of staves in your score.
| | 03:34 | It's primarily used for editing,
working with solely sections, or when arranging
| | 03:38 | music for a small group of
instruments within a large score.
| | 03:42 | I highly suggest becoming comfortable
with this feature, as it can help you keep
| | 03:45 | focused while you work.
| | Collapse this transcript |
|
|
4. Creating a New ScoreCreating a new score| 00:00 | To create a new score in Sibelius, you
need to access the New Score tab in the
| | 00:04 | Sibelius Quick Start window.
| | 00:06 | If you're already working in Sibelius,
you can simply close all of the scores
| | 00:09 | you're working on, and as long as you
haven't changed any of the Quick Start's
| | 00:12 | Preferences, then the
Quick Start should appear.
| | 00:15 | Another option, if you have a score
already open, is to go to the File tab, and
| | 00:19 | choose New, or to use the shortcut
Control+N on PC, or Command+N on Mac.
| | 00:25 | Once the Quick Start window appears,
you can click on the New Score tab at the
| | 00:29 | top to begin creating your new Score.
| | 00:32 | Sibelius gives you several
manuscript papers to choose from, and they are
| | 00:35 | arranged in alphabetical order by category.
| | 00:38 | So as you scroll down, you will see there
is a Band category, and a Chamber Groups
| | 00:42 | category, and Choral, and Song, and so on.
| | 00:46 | So you can find a manuscript paper that
will work for you, or if you'd like to
| | 00:50 | create your own manuscript paper, we
can scroll all the way back up to the top,
| | 00:55 | where it says No category, and choose Blank.
| | 00:58 | To choose or select the manuscript,
simply click on it once with your mouse, and
| | 01:02 | then Sibelius will continue you
through the score setup process.
| | 01:05 | If you find that you've chosen the
wrong manuscript paper, in the bottom
| | 01:09 | right-hand corner, you can select the
Back button, and then you can choose
| | 01:12 | a different preset.
| | 01:14 | Once you've selected the right
manuscript paper, Sibelius gives you a chance to
| | 01:17 | set up some important Score
options on the right-hand side.
| | 01:21 | First, the page size, and the orientation
of your score, and we will discuss this
| | 01:26 | in greater detail later.
| | 01:28 | If you know what a House style is, and
you have a preference, you can choose a
| | 01:31 | House style for your score from here.
| | 01:33 | A House style can really change
the look and feel of your Score.
| | 01:36 | For example, you could choose a House
style that uses a Jazz, or a handwritten font.
| | 01:41 | And when you're feeling up to it, you
should experiment with the different House
| | 01:44 | styles that come with Sibelius
until you find one that suits you.
| | 01:47 | For now, let's go ahead and choose Unchanged.
| | 01:50 | This is a generic House style that suits
a variety of different styles of music.
| | 01:54 | If you need to change, add, or delete
instruments, you can click the Change
| | 01:57 | Instruments button, and this
opens the Instruments dialog.
| | 02:02 | You will want to start in the upper
left-hand corner of the Instruments dialog.
| | 02:05 | In the Choose from dropdown menu, you
can choose from All Instruments, or Common
| | 02:11 | Instruments, or different groups of
instruments to narrow down your choices.
| | 02:15 | So if you're looking for something a
bit crazy, like a didgeridoo, you are going
| | 02:19 | to have to choose All
Instruments to find something like that.
| | 02:22 | Another thing you can do is type the
name of the instrument up in the Find box;
| | 02:27 | there it is, and select it from
there, and Sibelius will take you to it.
| | 02:32 | If your instruments are fairly common,
then I would suggest using the Common
| | 02:35 | Instruments option. It's going to
narrow down the choices for you.
| | 02:39 | Now, the individual instruments are
listed below, and they are organized by family.
| | 02:44 | You can click on the disclosure triangle
next to the family name to disclose the
| | 02:48 | instruments within it.
| | 02:50 | To add an instrument to your score, you
can just double-click on the instrument.
| | 02:54 | So if I am going to add a Piano, I can
just double-click, and it adds the piano
| | 02:58 | over on the right-hand side.
| | 02:59 | Maybe I want a Clarinet.
| | 03:01 | You can also double-click on the
family to reveal the instruments in it,
| | 03:04 | and there's a Clarinet.
| | 03:06 | Let's add a Trumpet, and maybe a
Trombone, and how about a string instrument
| | 03:12 | down here at the bottom; a Violin 1.
| | 03:15 | You can adjust the order of the
instruments by selecting them in the list on the
| | 03:18 | right, and then using the Up or
Down buttons to move them up or down.
| | 03:25 | If you are going to move an instrument
like a Piano, you need to make sure that
| | 03:28 | you select both of the staves, and then
move the instrument up and down. And you
| | 03:33 | can select both by using
Control+Click, or Shift+Click.
| | 03:36 | So once you have your instruments all
sorted out, you can click OK to exit the
| | 03:40 | instrument dialog box, and you
will see a preview of your Score.
| | 03:45 | Next, on the right-hand side, you can
choose your score's starting time signature.
| | 03:48 | We are going to scroll this down
a little bit to see all of this.
| | 03:52 | Sibelius gives you a list of common
time signatures to choose from, or you can
| | 03:55 | click Other here, and type in your own.
I will show you more about time
| | 04:00 | signatures in a future video.
| | 04:01 | Now, the small numbers below the time
signature define how eighth notes, and smaller
| | 04:06 | values, are going to be
automatically beamed within the bar.
| | 04:09 | So in this case, if we choose 4, 4,
our eighth notes are going to be beamed in
| | 04:13 | groups of four, and our sixteenth notes as well.
| | 04:16 | Scrolling down to continue.
| | 04:18 | If you're going to want a pick-up bar,
make sure that you check the box next
| | 04:21 | to Start with bar of length of, and then you
have to choose the value of the Pick-up Bar.
| | 04:27 | So we can choose here from the dropdown
list; maybe you want an eighth note pick-up
| | 04:31 | bar, so you choose eighth note.
| | 04:33 | You will notice that it added the
eighth note to the quarter note value.
| | 04:36 | So what we need to do is select those
two values, and delete them, and then go
| | 04:42 | back and choose the eighth note value.
| | 04:43 | Now, as beginners, setting up a pick-up
bar here is your best bet for ensuring
| | 04:47 | that you have a pick-up bar in your score.
| | 04:50 | It's possible to add a pick-up bar
later, but it can be a bit tricky.
| | 04:53 | Next, you will want to set the
starting tempo of your score.
| | 04:57 | You can choose from a variety of texts --
I like Largo -- or you can add a metronome
| | 05:03 | mark, and you can change the
value of the metronome mark.
| | 05:07 | Continue scrolling down on the right-hand
side of the dialog box, and we are
| | 05:11 | going to set up the
score's opening key signature.
| | 05:13 | You can choose between major and minor
keys, or you can have no key signature at all.
| | 05:18 | I am going to go ahead and choose F major.
| | 05:22 | And finally, if we keep on scrolling down
here, we can type in the title of our piece.
| | 05:28 | This is going to be My First Score,
and the composer name, and a little tip
| | 05:34 | from me: you can hit two spaces after
your name, and that will keep it off the
| | 05:38 | margin just a little bit, and you can fill
out any other information you would like here.
| | 05:43 | When all of your settings are correct,
you can click Create, and your score will
| | 05:46 | open as a Sibelius file.
| | 05:47 | Now, once your score is open,
you will probably want to save it.
| | 05:51 | Sibelius does not save it for you.
| | 05:53 | To save, you can go to the
File tab, and click on Save.
| | 05:58 | You can type the name of your document, or
Sibelius will write your title in there for you.
| | 06:02 | We can put it on the Desktop.
| | 06:05 | So once you have it where you want
it, and your file name is correct, go
| | 06:08 | ahead and click Save. Okay.
| | 06:10 | So creating your score's
manuscript paper is quick and easy, but you
| | 06:14 | probably have a few questions and concerns
about how the staves and bars look on the page.
| | 06:18 | In the next video, I will answer a few
of the most common questions I've been
| | 06:22 | asked by new users immediately after
they have created their first Score.
| | Collapse this transcript |
| Exploring score layout| 00:00 | I'm commonly asked a variety of
questions immediately after a new score is
| | 00:04 | created, specifically related
to the score's layout on the page.
| | 00:07 | In this video, I will answer some of
those questions for you, hopefully to ease
| | 00:11 | your mind as you begin working in your score.
| | 00:14 | The most common question I'm asked
after score creation is, why are there only a
| | 00:17 | few bars on the screen,
and how can I add more bars?
| | 00:20 | So if we do zoom out a little bit --
Control+Minus, or Command+Minus -- and I am
| | 00:24 | going to use Page Up, so we can
see this page a little bit better.
| | 00:27 | Now, the simple answer to the question
about bars is, don't worry; Sibelius will
| | 00:32 | create bars for you as you
go along and input notes.
| | 00:35 | But if you'd still like to create
more bars ahead of time, before you begin
| | 00:39 | inputting notes, it's very simple to do.
| | 00:42 | To add bars to the end of your score, you
can use the simple shortcut, Control+B, or
| | 00:46 | Command+B on Mac, and that is B for Bars.
| | 00:51 | And you can hold down the shortcut to
add multiple bars to your score quickly, to
| | 00:56 | see how your scores layout is going to
appear across several systems and pages.
| | 01:00 | If you prefer to work from the ribbon,
you can add bars from the Home tab, in
| | 01:04 | the Bars group, with that picture of the bar
where the little green plus is, where it says Add.
| | 01:09 | Another common question I get after
creating a new score is, what if you want to
| | 01:13 | add another instrument to the score?
Or what if you need to delete an
| | 01:16 | instrument from the score?
| | 01:18 | You can always get back to the instrument
dialog window by hitting the letter I
| | 01:21 | on your QWERTY keyboard, and it is
that simple; the letter I for Instrument.
| | 01:26 | The instrument dialog should look
familiar to you; it's the same window that you
| | 01:29 | used to add instruments
during the score creation process.
| | 01:32 | I am going to select both of my piano
staves on the right-hand side -- and you can
| | 01:36 | use Control+Click, or Shift+Click, to do that --
and I am going to go ahead and delete
| | 01:39 | these from the score.
| | 01:40 | So with them selected, choose Delete
from Score, and Sibelius will warn you, and
| | 01:45 | ask you if you really want to do that.
| | 01:46 | I'm going to go ahead and click Yes,
and you will see the adjustment.
| | 01:50 | There are no more piano staves here, and if I
click OK, now my score has no piano staves.
| | 01:56 | Another question I often hear is,
why does my music not fill the page?
| | 01:59 | You can see, there's a lot of
space here, for example, on Page 1.
| | 02:02 | And this is a very good question to ask.
| | 02:05 | Fitting the music on the page is
really one of the most important things that
| | 02:08 | you need to do while using a notation program.
| | 02:10 | So I am going to provide you with two
steps that you can take to ensure that you
| | 02:14 | get your score off to a good start.
| | 02:15 | First, do not go in and drag the staves around.
| | 02:18 | Don't think that you have to fill
the space up by clicking here, and
| | 02:21 | dragging these down.
| | 02:22 | That's not the best way to work.
| | 02:24 | So if you've dragged your staves around,
please undo those changes using Control+Z,
| | 02:28 | or Command+Z, and we will see if we
can get Sibelius to make the adjustments
| | 02:31 | automatically for you.
| | 02:32 | Now, the two features that you should
work with initially to get your music to
| | 02:37 | fit on the page are
justification, and staff size.
| | 02:40 | Now, before we continue let's go to
the View tab, into Invisibles, and
| | 02:45 | let's check Page Margins.
| | 02:47 | That way we will have a better idea of how our
music is going to fit within the page margins.
| | 02:53 | Okay.
| | 02:53 | Now we are ready to discuss justification.
| | 02:55 | Now, in printing to justify means to
fit something exactly into a desired
| | 02:59 | length. In this case, it means that we
are going to fit our staves exactly into
| | 03:03 | the length of the page.
| | 03:05 | Think of it this way:
| | 03:06 | we are going to anchor the bottom staff
down here to the bottom page margin, and
| | 03:12 | the top staff to the top page margin,
and then equally spread out our staves and
| | 03:16 | systems across the page, essentially
filling out the page with our score.
| | 03:20 | In order to see justification at work,
make sure that your view of the score
| | 03:24 | includes a page in the
score that's not justified.
| | 03:27 | In other words, a page that has a
lot of blank or white area on the paper
| | 03:30 | showing at the bottom.
| | 03:31 | So if we go to the very end of the score --
and I'm going to use the End button to
| | 03:35 | get there -- you will see that I have a
Page 2 that's pretty well filled out.
| | 03:38 | If you add a couple of bars to that --
Control+B, or Command+B -- we will end up with a
| | 03:42 | Page 3 -- and the End key here.
| | 03:45 | We will end up with a Page 3 that's
not very full, so now we have got a lot
| | 03:50 | of space down here.
| | 03:51 | In other words, the bottom staff is
not justified to the bottom margin.
| | 03:56 | We find the Justification settings in
the Engraving Rules window, which you can
| | 03:59 | find on the left-hand side of the
Appearance tab, in the House Styles group.
| | 04:04 | Here it is here, and you can use
Control+Shift+E, or Command+Shift+E, to bring
| | 04:08 | up Engraving Rules.
| | 04:10 | With Engraving Rules open, you will
need to make your way to the Staves
| | 04:13 | page here, and in the middle of the Staves
page is a section devoted to Justification.
| | 04:18 | To get started with Justification, you
will only need to be concerned with the
| | 04:21 | first percentage value here, where it
says Justify staves when the page is at
| | 04:25 | least 65% full, which is the
default percentage value in Sibelius.
| | 04:30 | And what this means is that in order
for my staves to justify to the bottom
| | 04:33 | margin, my page needs to be at least 65% full.
| | 04:37 | So let's cancel out of Engraving Rules to
examine the last page to see how full it is.
| | 04:41 | So we Cancel, and we might need to zoom
out just one level here; Control+Minus.
| | 04:48 | You can see, from this page margin, to this
page margin, we are not quite 65% of the way down.
| | 04:53 | Now, you can force your staves to
justify by clicking and dragging them down. So
| | 04:57 | if I grab the Violin, let's say, and I
start dragging it down, when the page
| | 05:01 | becomes 65% full, then Sibelius
will justify those staves for me.
| | 05:06 | So now you have an answer to another
common question; why, when I drag my staves
| | 05:11 | around, do they jump up, and
down, and go a little bit crazy?
| | 05:14 | It's justification trying to work for
you, and you are working against it by
| | 05:18 | dragging your staves around,
and confusing the process.
| | 05:20 | So again, don't drag your staves around, and
if you do, use Control+Z or Command+Z to undo.
| | 05:26 | So let's go back to Engraving Rules,
and change the Justification percentage;
| | 05:30 | Control+Shift+E, or Command+Shift+E. And
you will see that if we set Justification
| | 05:34 | to a lower value, like 30% -- let's type in
30, and click OK -- the last page of your
| | 05:41 | score will justify down to the bottom
margin automatically, and that's because
| | 05:45 | the page is more than 30% full.
| | 05:47 | Now, obviously this is not desirable
either, as you have too much space now in
| | 05:51 | the middle of the page.
| | 05:52 | So let's go back to Engraving Rules,
Control+Shift+E, and let's set the percentage
| | 05:56 | to a higher number; let's set it to 100%.
| | 05:58 | Now, a value of 100% or higher
essentially turns the justification feature off,
| | 06:04 | because your page cannot be 100% full.
| | 06:06 | So when we click OK, you will not
only notice that the last page is not
| | 06:10 | justified, but the other pages
are no longer justified as well.
| | 06:14 | With Justification off, nothing
snaps appropriately to the bottom margin.
| | 06:18 | Also with Justification off, or set to
100%, you do have more freedom to drag
| | 06:24 | your staves around, so we can drag
these around with a little bit more freedom,
| | 06:27 | without things jumping around.
| | 06:29 | But you'll see, if I continue doing this,
that I can't drag it to the next page,
| | 06:33 | because I end up with a bunch of space up here.
| | 06:35 | So there's going to be other
problems that arise as we do this.
| | 06:38 | Again, I am going to undo all of those
changes I just made with the dragging.
| | 06:41 | So the short lesson to learn here is
that justification is necessary, and you'll
| | 06:45 | have to work with the Justification
percentage to get the setting right for
| | 06:48 | every score that you work with.
| | 06:49 | Now, let's visit Engraving Rules one more
time -- Control+Shift+E, or Command+Shift+E --
| | 06:55 | and let's set the Justification
percentage to something that we know works for
| | 06:58 | this score; somewhere around
the default of 65%, and click OK.
| | 07:03 | It's obvious by looking at the score
that even when your systems are justifying
| | 07:06 | properly to the bottom margin, your score
may still not look correct and publish-ready.
| | 07:10 | You may have two systems with a lot of
empty space in the middle of one page,
| | 07:14 | like we do on Page 1.
| | 07:16 | You may have three systems, and they
might even be a little squished together.
| | 07:19 | You may have two systems at the end,
with a lot of space on the bottom.
| | 07:22 | So we need to make a decision for
ourselves: do we make everything on the page
| | 07:25 | larger, and keep a two system per page
layout, or do we make everything on the
| | 07:30 | page smaller, and fit three
systems on the page?
| | 07:33 | Whatever you choose to do, you will
accomplish it by adjusting the score's staff
| | 07:36 | size, and you can find the Staff Size,
and adjust it in the ribbon, in the Layout
| | 07:41 | tab's Document Setup.
| | 07:42 | So go to the Layout tab, here is the
Document Setup, and this is your Staff Size.
| | 07:48 | The size of everything on the page in
Sibelius is relative to the Staff Size.
| | 07:52 | So if I increase the Staff Size by
clicking this little upward arrow, we are
| | 07:56 | not only going to increase the size
of the staves, but we're also going to
| | 08:00 | increase all of the font sizes, and the sizes of
everything else that you would see on the page.
| | 08:05 | And you will see the effect this has on
the score, and this is what we would do
| | 08:09 | if we wanted only two systems per page.
| | 08:12 | Now, if we want to fit more music on the page,
we will have to decrease that Staff Size.
| | 08:17 | So if we decreased it enough, we will
end up with three systems on each page.
| | 08:21 | And when adjusting the Staff Size, pay
special attention to the first page, as
| | 08:25 | it's often the most difficult page to
work with, because of all of the headers,
| | 08:29 | like the title and composer name
that are taking up valuable space.
| | 08:33 | And don't worry about getting the
Staff Size perfect right now. You'll end
| | 08:36 | up going back later for a final
adjustment when you prepare your final score
| | 08:39 | for printing anyway.
| | 08:40 | For now, make sure you have enough space
on the page, so that you can comfortably
| | 08:43 | see the division between the systems and staves.
| | 08:46 | And don't get staff size confused with
zooming. The page may appear to be too
| | 08:50 | small for me to work with right now,
but I can always use Control+ or Command+
| | 08:54 | Plus, or Minus, click
here, and I can zoom in to work.
| | 08:58 | Now, if you really want to check to see
if you like the staff size that you have
| | 09:01 | chosen, you will need to
print a page of the document.
| | 09:04 | If you print this, and it's too small
for your liking, then you may wish to
| | 09:07 | increase the staff size, and fill
the page with only two systems.
| | 09:10 | But you may print a large two system copy of
this score, and then decide that it's too big.
| | 09:14 | So as you begin working in Sibelius, it
will take you a little while to interpret
| | 09:17 | what a size 6 Staff Size is, versus a
size 9 Staff Size, but printing will put it
| | 09:22 | into perspective for you.
| | 09:24 | A final note about staff size; there
is one situation you may get into where
| | 09:28 | Sibelius offers to
adjust the Staff Size for you.
| | 09:31 | It does this for you when you add
a lot of instruments to your score.
| | 09:34 | So let's go back to the instruments
dialog -- I for Instruments -- and just for fun,
| | 09:39 | I am just going to click a lot here on
the piano a couple of times. We will add
| | 09:42 | a lot of piano staves, and click OK, and
then Sibelius is going to ask me if it's
| | 09:47 | okay to decrease the size of
the music to fit it on the page.
| | 09:51 | And what Sibelius is really asking you is
if it can decrease your Staff Size for you.
| | 09:55 | So if this ever happens, it's probably a
good idea for you to go ahead and allow
| | 09:58 | Sibelius to do this by clicking Yes.
| | 10:01 | And if I zoom out, you will see how
many staves it's now fit on the page, and
| | 10:05 | you will notice, I have
a very small staff size.
| | 10:07 | I am going to undo that, because I don't
want that many staves; Control+Z, and we
| | 10:12 | can zoom in a little bit,
and get back to our score.
| | 10:14 | The only other immediate option you
have for adjusting the page layout of your
| | 10:18 | score is to change the orientation of
the page from Portrait to Landscape,
| | 10:21 | and you can do that in the Layout
tab, in the Documents Setup group also.
| | 10:26 | Here is the button for Orientation. If I
click on that, I can choose Portrait, or Landscape.
| | 10:31 | And remember, if you adjust the
Orientation, you may need to once again
| | 10:34 | work with Justification and Staff Size to
get the nice layout that you're looking for.
| | 10:38 | Okay.
| | 10:38 | So your score should look much better
now than it did when we originally created
| | 10:42 | it, and you should have a better
understanding as to why justification and staff
| | 10:46 | size are important features for
setting up an initial score layout.
| | 10:49 | Obviously, there are many more layout
features in play here, and we will discuss
| | 10:53 | many of them before this course comes to an end.
| | Collapse this transcript |
| Creating objects| 00:00 | Before you begin adding notes and other
objects to your score in Sibelius, you
| | 00:04 | should take a moment to become aware
of the appearance of your mouse pointer,
| | 00:07 | because its appearance directly
affects how the software behaves when you
| | 00:10 | click with the mouse.
| | 00:12 | To begin, hit Escape a few times, and
allow your mouse to hover over the score page.
| | 00:17 | Normally, if you're using a PC, your
arrow pointer will be white in color, and
| | 00:21 | pointing to the left.
| | 00:22 | On Mac, your arrow pointer will be
black in color, and pointing to the left.
| | 00:26 | In this state, the mouse works as a
basic navigation and selection tool, and
| | 00:31 | you're already familiar with how this works.
| | 00:32 | You can click and drag the paper, or
you can select an object, or a bar, and
| | 00:37 | Escape unselects that.
| | 00:39 | If your arrow pointer turns blue, or
any other color, that is Sibelius' way of
| | 00:43 | warning you that the mouse is loaded,
and if you click with a loaded mouse, you
| | 00:47 | will expel the contents of
the mouse onto the score page.
| | 00:51 | This is how you create and
place objects in Sibelius.
| | 00:54 | You can load the mouse, and we'll
discuss how to do that in a moment, but it
| | 00:57 | could be as simple as clicking on a note
value in the keypad, and then you click
| | 01:01 | the contents onto the score page.
| | 01:04 | It's very important that you become
sensitive to the appearance of your mouse
| | 01:07 | pointer, because you can accidentally
load the mouse with an object, and then
| | 01:11 | you'll end up placing the
object on the page unintentionally.
| | 01:14 | If you notice that the mouse is
loaded, and you're not sure why or how it
| | 01:17 | became loaded, or what it's loaded with, you
can unarm or unload the mouse by hitting Esc.
| | 01:22 | Now, I've mentioned this in previous
videos: the Escape key is your friend, and
| | 01:27 | you should never be afraid of pushing
Escape several times in a row to stop all action.
| | 01:31 | It deselects all objects,
and it unloads your mouse.
| | 01:34 | Sometimes hitting Escape
once is not even enough.
| | 01:37 | Let's zoom in on this note
here again, Control+Plus, and Escape.
| | 01:45 | If I grab a note from the keypad, and
enter it in here, you'll notice if hit
| | 01:49 | Escape once, that the note is still selected.
| | 01:52 | I'd have to hit Escape again to
have the object no longer selected.
| | 01:56 | I'd be entirely escaped out of my score now.
| | 01:59 | So again, don't be afraid; you won't hurt
anything by hitting Escape a few extra times.
| | 02:04 | One thing to remember as you're
approaching the beginning stage of note entry is
| | 02:07 | that if you pair Escape with Undo, they
can get you pretty much out of any mess
| | 02:11 | that you've gotten yourself into.
| | 02:13 | Many beginners will get stuck into a
situation where they're entering a bunch of
| | 02:17 | notes, and maybe Sibelius doesn't
quite do what you want it to do,
| | 02:21 | so the response is to keep clicking,
and clicking, and then you end up with a
| | 02:25 | big mess of notes on the page.
| | 02:27 | If this happens to you, I'm going
to encourage you now to just stop.
| | 02:31 | Escape a few times, take a deep
breath, and then Undo, and you can undo
| | 02:36 | step by step, using Control+Z or Command+Z,
until you get the score back to a point
| | 02:40 | where you're comfortable
starting over, and trying again.
| | 02:42 | Now, one final thing to be aware of
with your mouse is the color of your arrow
| | 02:47 | pointer when it is loaded.
| | 02:48 | You've seen it as a blue color, and
that's the color you should be working with
| | 02:52 | throughout this course.
| | 02:54 | There are a couple of
other colors to watch out for.
| | 02:56 | Let's take a look at the Keypad.
| | 02:58 | There are some numbers on the
bottom that are color coded.
| | 03:00 | These are your voice numbers;
| | 03:02 | Voice 1 is blue, Voice 2 is green,
Voice 3 is orange, and Voice 4 is purple.
| | 03:10 | So these indicate different voices, or
the independent lines of music that you
| | 03:13 | can put on one single staff together.
| | 03:15 | So we can have up to four different
voices, or musical lines, happening on one
| | 03:20 | staff, at one given time, which is
mostly helpful when you're writing drum set
| | 03:24 | parts, or complex keyboard music.
| | 03:26 | Now, for the sake of this course, and
for the sake of learning, make sure that
| | 03:30 | you're always using Voice 1, or that
your arrow pointer is always blue.
| | 03:34 | If you get into any of the other
colors unintentionally, return to the
| | 03:39 | Keypad, click the number 1, and you'll
need to Escape, because you'll notice it
| | 03:44 | may jump you back into that other color.
| | 03:47 | Hit the number 1 again, Escape, and you may
need to do that a few times, and then it
| | 03:52 | will get you back to where
that blue color is locked in.
| | 03:55 | So being aware of the appearance, and
especially the color of your mouse pointer,
| | 03:59 | is important for your
success working in Sibelius.
| | 04:02 | Now that you're armed with some good
knowledge about the mouse pointer, you're
| | 04:05 | ready to start adding objects to your score.
| | Collapse this transcript |
| Adding key signatures| 00:00 | Now that we understand a little bit
about how the loaded mouse works in
| | 00:03 | Sibelius, let's put our knowledge to work by
adding some key signatures to the score page.
| | 00:08 | To make this easy, I've got a simple flute
part here, with some scales written out on it.
| | 00:12 | We're going to add some key signatures to it.
| | 00:14 | But the process for adding key
signatures would be the same, whether you're
| | 00:17 | working with a simple flute part like
this, or a full orchestral score, or
| | 00:21 | whether you already have
the notes on the page, or not.
| | 00:23 | So we've got some scales here.
| | 00:26 | We've got a B flat major scale, a D
major scale, G major, back to D major, and
| | 00:32 | then an F major scale.
| | 00:34 | To begin entering key signatures for
the scales, we're going to start, of course,
| | 00:37 | by hitting Escape a few times, so that
nothing is selected in the score, and
| | 00:41 | then we're going to hit the
letter K for key signature.
| | 00:44 | Again, it doesn't get much easier than that.
| | 00:47 | Sibelius will jump you to the
Notations tab in the ribbon, and will expand the
| | 00:51 | key signature list for you.
| | 00:53 | You have every key to choose from,
organized by major and minor, and whether they
| | 00:57 | contain sharps or flats.
| | 01:00 | Since our first scale is B flat major,
let's go ahead, and select B flat major,
| | 01:05 | and now you'll notice that
your mouse is colored blue.
| | 01:07 | So it's loaded with the B flat major
key signature, and you can click and place
| | 01:12 | that key signature anywhere on the
score page. And we're going to go ahead and
| | 01:15 | put it at the beginning, right
here before the B flat major scale.
| | 01:19 | And if you're clicking in at the
beginning of a score, you can actually click a
| | 01:22 | key signature right on top of
the clef if you'd like, like that.
| | 01:26 | What Sibelius has done is it's applied
the new key signature to all of the notes,
| | 01:31 | all the way through the end of the piece.
| | 01:33 | So any time there's a B flat, or an E flat,
it's taken the accidental away from those notes.
| | 01:38 | And anytime there's a B natural,
or E natural, Sibelius has added
| | 01:42 | those accidentals for us. Okay.
| | 01:44 | Let's work on the second
line now; the D major scale.
| | 01:47 | Once again, we're going to Escape;
make sure nothing is selected.
| | 01:50 | I'm going to hit K for key signature, and
this time, we're going to choose D major.
| | 01:57 | It's loaded in our mouse, and we're
going to click it on the page, right next
| | 02:01 | to the D, like that.
| | 02:03 | You'll notice that Sibelius automatically
adds your cautionary key signature at
| | 02:07 | the end of the previous line for you
to warn you that a key change is coming.
| | 02:11 | Now, for our G major scale, let's go
ahead and enter the key signature in a
| | 02:14 | little different way.
| | 02:16 | Because we're going from D major to G
major, and then back to D major, we're
| | 02:20 | going to use a feature in
Sibelius called Restorative Objects.
| | 02:24 | To do this, we're going to select
the passage where we want to apply the
| | 02:27 | G major key signature.
| | 02:28 | So I'm going to select from here, and
hold down Shift, and I'll go all the way
| | 02:32 | down to this bar here.
| | 02:33 | And what's going to happen is, when we
create this key signature, it'll put the
| | 02:37 | key signature at the beginning of
our selection, and it will restore the
| | 02:40 | original key signature, D major,
to the end of our selection.
| | 02:44 | So K for key signature, and we're going
to choose G major, and there we have it!
| | 02:50 | We've got a G major key signature here,
and Sibelius has restored the D major
| | 02:54 | key signature there for us.
| | 02:56 | Now, another way that you can enter a
key signature is by selecting an object
| | 03:00 | first, then selecting the key
signature, and Sibelius will place the key
| | 03:03 | signature near the object.
| | 03:05 | I prefer to select the bar line
before my key change, and then Sibelius will
| | 03:08 | place my key change after the bar line.
| | 03:11 | So let's go ahead down
here by the F major scale.
| | 03:13 | Let's zoom in a little bit.
| | 03:14 | I'm going to select that bar, and then
Control+Plus or Command+Plus, and Escape, and
| | 03:21 | just select that bar line right there;
| | 03:23 | so click on it, and it'll turn purple.
| | 03:25 | Now let's go ahead and add the key
signature, K for key signature, and you can
| | 03:29 | actually use your arrow keys if
you don't want to use your mouse.
| | 03:32 | So I can use my arrow down to select F
major, and just hit Enter or Return on
| | 03:36 | your QWERTY keyboard, and
Sibelius adds that in there for you.
| | 03:40 | Now, I have one final word, and
this is about deleting key signatures.
| | 03:44 | You can go in and select and deselect
any key signature change that you've
| | 03:48 | created after the initial key signature.
| | 03:50 | So we can actually go in here and select
the actual accidentals that make up the
| | 03:54 | key signature change.
| | 03:56 | And then you can go in, and you can
delete, or use your Backspace key, and
| | 04:00 | Sibelius will remove that key signature for you.
| | 04:02 | So I've selected this D
major key signature change.
| | 04:05 | I'm going to hit Backspace
or Delete, and it goes away.
| | 04:08 | But what it doesn't do is it doesn't
remove that double bar line for you.
| | 04:12 | So what you have to do is select the
double bar line also, and then hit Delete or
| | 04:17 | Backspace, and Sibelius will turn
that back into a normal bar line for you.
| | 04:20 | Now, you cannot delete any of the key
signatures that show up on the left-hand column.
| | 04:26 | Those are permanent.
| | 04:27 | In order to change them, you'd have to
go back, and find the key signature change.
| | 04:31 | Like in this case, if I wanted to
delete this, I'd have to go here, and delete
| | 04:36 | that change there, and then Sibelius will
apply the previous key signature down the page.
| | 04:42 | If you do not want a key signature --
let's scroll up to the top here.
| | 04:46 | Let's say I wanted to get rid of this,
and just make it in C major, or atonal,
| | 04:50 | I am going to hit Escape again, K for
key signature, and you would choose one
| | 04:54 | of these choices here.
| | 04:55 | Let's choose Atonal/No key, click that in
there, and now there's no key signature there.
| | 05:02 | So that's a little bit about the
various ways to create, and change key
| | 05:04 | signatures in Sibelius.
| | 05:06 | Just be very specific, and
Sibelius will do what you need it to do.
| | 05:10 | In the next video, we'll take a look
at creating time signatures, which is a
| | 05:13 | very similar process.
| | Collapse this transcript |
| Adding time signatures| 00:00 | Adding time signatures in Sibelius is just as
easy as adding key signatures, and other objects.
| | 00:06 | Similar to adding key signatures,
there are several ways to input time
| | 00:09 | signatures into your score.
| | 00:11 | If you get a chance to play the score,
you'll notice how the music transitions
| | 00:14 | primarily between 3,4 and 4,4, and it
could also work in other meters, and you
| | 00:18 | can actually see this on the page as well.
| | 00:20 | So this score needs some time signatures.
| | 00:22 | Let's escape out of the score, and
then hit the letter T for time signature.
| | 00:28 | Once again, Sibelius
makes that very simple for us.
| | 00:32 | Sibelius automatically takes you to
the Time Signature list in the Notations
| | 00:35 | tab of the ribbon, where you can
either type in your desired time signature,
| | 00:40 | using the Numerator and Denominator
fields, or you can choose from a time
| | 00:44 | signature in the list.
| | 00:46 | If you do not want to use your
mouse, you can tab into the list of
| | 00:49 | time signature choices.
| | 00:50 | So you have some basic time
signatures that you can choose from.
| | 00:55 | For now, we're going to put a 3,4
bar at the very beginning of the score.
| | 00:58 | So go ahead and select the 3,4.
| | 01:01 | Sibelius will load the
time signature in your mouse.
| | 01:04 | You can click the time signature on
the staff, just after the initial clef, and
| | 01:09 | Sibelius inserts the time signature, and
automatically rewrites all of the bars,
| | 01:13 | so that they fit within the new time signature.
| | 01:16 | Go ahead and hit Escape to deselect the passage.
| | 01:18 | Now, the second bar looks like it would
be good in 4,4, so let's do this again.
| | 01:22 | T for time signature, maneuver down to
4,4, click on that, place your loaded
| | 01:28 | mouse just to the left of the first
note in the second bar here, and go ahead,
| | 01:33 | and click. And Sibelius rewrites the
music to the right of the time signature,
| | 01:38 | all of it in 4,4, and hit
Escape to deselect the passage.
| | 01:43 | Just like when we worked with key
signatures, you can select an object or a bar
| | 01:47 | line before choosing a time signature,
and Sibelius will put the time signature
| | 01:50 | after your selection.
| | 01:52 | So let's select the left-hand bar line
of bar 3 here, and turn that purple, and
| | 01:58 | let's do something a little more
complex with the time signature.
| | 02:00 | Let's try putting the music in 7,4. So T
for time signature, and we can type 7, and
| | 02:07 | it'll put that in the Numerator field,
and tab, and type 4 in the Denominator
| | 02:13 | field, and go ahead and hit Enter.
| | 02:14 | So Sibelius enters that 7,4 meter for us,
and rewrites the music in 7,4 after that.
| | 02:22 | Go ahead and hit Escape to deselect the passage.
| | 02:24 | Now, in the next bar, bar 4, let's go
ahead and enter a 6,4 time signature.
| | 02:30 | T for time signature, type in 6, and
you can even use your mouse if you'd like.
| | 02:36 | Click there, and type in 4, and hit Enter.
| | 02:40 | I've loaded the mouse with that.
| | 02:41 | I'm going to go down to the beginning
of bar 4 here, just before the first note,
| | 02:44 | and click, and Sibelius writes that in for us.
| | 02:48 | And you'll notice that it puts the
cautionary time signature on the line
| | 02:51 | before for us, and hit Esc.
| | 02:55 | Now we're going to put another 7,4
bar in here, but we're going to do it a
| | 02:58 | little bit different, and a
little more specific this time.
| | 03:01 | So T for time signature, and in the Numerator
field, instead of typing 7, let's type 3+4.
| | 03:08 | So 3, Plus, 4; I am going to hit Tab, and put that
over 4. Hit Enter, and it's loaded my mouse.
| | 03:17 | I'm going to drag it down here, and
click it in right there at the beginning of
| | 03:20 | bar 5, and Sibelius writes that in there for us.
| | 03:23 | So it doesn't get much easier than that.
| | 03:26 | Now, let's finish this piece up with
one more bar of 4,4, so escape out of the
| | 03:31 | selection; T for time signature.
Before we leave this video, I should
| | 03:35 | mention, those smaller numbers that you
see below the time signatures, those are
| | 03:39 | telling you how the eighth notes and
smaller note values are going to be grouped
| | 03:43 | and beamed together within the bar.
| | 03:45 | So in this case, for 4,4, you can see that
it's telling you that the eighths and sixteenths
| | 03:50 | will be beamed in groups of four.
| | 03:51 | Now, you can change the beaming by
going into More Options here, and you can
| | 03:56 | select Beam and Rest Groups,
| | 03:57 | but it's a more advanced feature that
would be best covered in a more advanced course.
| | 04:02 | So let's complete the process of
adding our final 4,4 time signature.
| | 04:05 | Let's grab it here, and we'll put it
in right here at the beginning of bar 6.
| | 04:11 | You probably have noticed that we've
ended up with a bit of a mess at the end of
| | 04:14 | the score, and this can happen if you
add time signatures after you've already
| | 04:17 | got notes on the page.
| | 04:19 | So let's do some quick
cleanup to make this look correct.
| | 04:21 | I am going to hit Escape.
| | 04:22 | We probably want this to be a
whole note at the beginning of bar 6.
| | 04:26 | So I'm going to select that first note
in bar 6, and all I have to do to make
| | 04:30 | that a whole note is go to my Keypad, and
select the whole note picture, and there it is.
| | 04:35 | Now, we can select each leftover
bar independently. We hit Escape,
| | 04:39 | we can select here, and use Backspace
to turn those into bar rests for us;
| | 04:45 | select, and hit Backspace.
| | 04:47 | And real quick, to show you that you
can add time signatures to empty bars, as
| | 04:52 | if you were starting out with a blank score,
you can run the same process as before.
| | 04:57 | So let's change the next bar
here in to 6,8 very quickly.
| | 05:00 | T for time signature,
choose 6,8, click that in here.
| | 05:07 | And it may not look like it's in 6,8,
but if I change this whole rest here by
| | 05:11 | selecting it, into, let's say, an eighth note rest,
you'll see that it definitely is in 6,8. Okay.
| | 05:17 | So this video just touches the
surface of working with time signatures in
| | 05:20 | Sibelius, and it should
give you a very good start.
| | 05:23 | In the next video, we're going to
take a look at working with another major
| | 05:26 | score object: clefs.
| | Collapse this transcript |
| Adding clefs and using the Worksheet Creator| 00:00 | For this video, I thought I'd give
you a quick introduction to Sibelius's
| | 00:03 | Worksheet Creator by opening a piece
of music from the Worksheet Creator's
| | 00:07 | selected repertoire,
| | 00:08 | and once we open the piece, we'll
experiment a little bit with some clef changes.
| | 00:12 | To open the Worksheet Creator, you'll
need to have a score open, so that you can
| | 00:15 | access the File menu.
| | 00:17 | You can either open a score from your
compute,r or quickly create a new score
| | 00:21 | that you can discard later.
| | 00:22 | I'm going to go ahead and just click
on the Treble clef manuscript, and real
| | 00:26 | quickly, just click Create.
| | 00:31 | Once you have a score open, go to the
File tab, go down to Teaching, and click on
| | 00:37 | the Worksheet Creator.
| | 00:40 | The Worksheet Creator includes over
1700 Sibelius documents, in the form of
| | 00:44 | worksheets, exercises, projects,
songs, posters, and standard repertoire.
| | 00:51 | You can open these documents
in Sibelius, and print them.
| | 00:53 | You can use them in a student computer
lab to have your students complete them.
| | 00:57 | You can play them back, or teach with them,
and because they are Sibelius documents,
| | 01:02 | you can do whatever you'd like to them.
| | 01:03 | You can make changes to them, so
that they work better for your needs.
| | 01:07 | The Worksheet Creator also includes
templates for you, so that you can create
| | 01:10 | your own teaching materials, without
having to do all of the formatting work.
| | 01:15 | For this exercise, we're going
to be looking for repertoire.
| | 01:17 | So let's go ahead and leave that
top bubble selected next to Teaching
| | 01:20 | and learning materials.
| | 01:22 | On the right side of the dialog,
there are some options that you can add to
| | 01:25 | worksheets, like a place for the students
names, or the date, and things like that.
| | 01:29 | Since we're just searching for a piece
of repertoire, we're going to go ahead and
| | 01:32 | uncheck all of these options for now.
| | 01:35 | Once you've done that, go ahead and click Next.
| | 01:38 | Now you need to filter through the
different types of material that Sibelius has.
| | 01:42 | For example, Sibelius has worksheets
that can be completed by individuals, or
| | 01:46 | small groups, or even groups of any size.
| | 01:49 | So you can filter your search to
tailor the results that you need.
| | 01:53 | We'll leave that set to Any for now, and
you can also filter out worksheets based
| | 01:58 | on how you plan on using them.
| | 01:59 | Since we're searching for repertoire, we
can check that they can be completed by
| | 02:04 | performing, and we can uncheck On Paper.
| | 02:07 | Now, if we had left both of these
options set to Any, Sibelius would've loaded
| | 02:11 | all 1700 worksheets for us to choose from.
| | 02:14 | So you can do that if you'd like to
search through all of them to see what
| | 02:17 | Sibelius has to offer.
| | 02:19 | Finally if you know the file name that
you're searching for, you can check that
| | 02:22 | box, and then type in the name, and search
for it specifically. Go ahead and click Next.
| | 02:28 | Now, the first time that Sibelius
does this, it will be searching and
| | 02:31 | uncompressing all of the files
that fit into your search parameter,
| | 02:35 | so it may actually take a considerable
amount of time, especially if you're
| | 02:38 | having it search through all
1700 worksheets, so just be patient.
| | 02:42 | Even if that status bar hangs at the end of
the screen for a little while, just wait.
| | 02:47 | After you've already accessed the
worksheets once, like I have on my system, the
| | 02:50 | next time you go to access them, the
wait time will be considerably shorter.
| | 02:54 | So once Sibelius has found and
uncompressed all of the files that match your
| | 02:58 | search parameters, you'll see a list
of categories on the left, and Sibelius
| | 03:02 | will tell you the number of worksheets
within that category that fit into your search.
| | 03:06 | Let's go ahead and choose Selected
Repertoire, and click the Next button.
| | 03:10 | Sibelius then gives you subcategories
to choose from within that main category.
| | 03:14 | Let's select the top subcategory, Selected
Bach Keyboard Repertoire, and click Next.
| | 03:21 | And now we're faced with a list of all
of the individual pieces of music that we
| | 03:24 | have to choose from.
| | 03:25 | So let's scroll down, and we're going to
select Two-Part Invention 1. When you
| | 03:31 | select a file from the Worksheet
Creator, Sibelius will give you some
| | 03:34 | information about that file on
the right-hand side of the dialog.
| | 03:37 | Let's go ahead and open this file, so
click Next, and we get to see a preview
| | 03:41 | of the file to ensure that that's what we
want before we open it, and this is what we want,
| | 03:45 | so let's go ahead and click Finish.
| | 03:48 | And when you do that, Sibelius opens
the file, just like any other Sibelius
| | 03:52 | document, so that you can begin to work in it.
| | 03:54 | And there appears to be an awful lot
of hidden objects in this score, and those
| | 03:58 | are all the little grayed
out objects that you see here.
| | 04:01 | So let's go ahead and go to the View
tab, to the Invisibles section, and uncheck
| | 04:06 | Hidden Objects, and now the
score looks a lot better.
| | 04:09 | Now, I'm going to use the Page Down
key, because I know there's a clef change
| | 04:13 | down there to look at.
| | 04:14 | So Page Down. I'm going to actually do
that twice; there we go. And we have a
| | 04:18 | clef change happening right
over here on the right-hand side.
| | 04:22 | Any time you see a clef just sort of
hanging out in the middle of a staff like
| | 04:25 | this, and not permanent over on the left
hand side, that means there's some sort
| | 04:29 | of clef change happening.
| | 04:30 | So we can click on the clef change,
and you can actually click and drag it
| | 04:35 | around. This is one of my most
favorite things to do when I'm showing the
| | 04:38 | program to someone.
| | 04:40 | Most people are amazed at how the notes
just adjust so quickly to a clef being
| | 04:43 | dragged across them.
| | 04:45 | You can even drag the clef up
into other staves if you want to.
| | 04:50 | You can also delete a clef change, so
you can select it, and use the Backspace
| | 04:54 | or Delete key to delete it. And
you'll notice, Sibelius has now made the
| | 04:58 | adjustmen,t since it was in bass clef,
and we deleted the treble clef here, we're
| | 05:03 | back in bass clef here.
| | 05:04 | Okay, so let's hit Escape to make sure
no objects are selected in the score, and
| | 05:08 | let's learn how to enter our own clef changes.
| | 05:11 | To get to the clef list, we can't use
the letter C. The shortcut letter C is
| | 05:15 | taken up by the note letter C, and since
K is for key signature, Sibelius has used
| | 05:20 | the next best letter for clef:
Q. So let's hit the letter Q.
| | 05:25 | The Clefs list is just like the key
signature, and time signature lists.
| | 05:29 | Its gives you a list of clefs
that is longer than you can imagine.
| | 05:33 | There are more clefs here than
you've probably seen in your life.
| | 05:37 | Let's select the Treble clef in the
upper left corner, and we'll put that clef
| | 05:42 | back where we deleted it from.
| | 05:43 | So I'm going to go over here
to the right, and click that in.
| | 05:47 | And again, the clef change is flexible,
so you don't have to have perfect aim
| | 05:50 | when you point and click it in;
you can always go back and adjust it.
| | 05:54 | Notice how Sibelius updates the
permanent clef on the following system for us.
| | 05:59 | And it is that simple.
| | 06:00 | Now, we can put in another clef
change somewhere if we'd like.
| | 06:03 | Hit Escape first, Q for clef, and
let's enter an Alto clef; select that.
| | 06:09 | Sibelius has loaded it in the mouse,
and I can click that anywhere I'd like on
| | 06:13 | the score page, and Sibelius
makes that adjustment for us.
| | 06:15 | Now a quick note about deleting clefs;
you cannot delete a clef from the
| | 06:20 | permanent position on the left-hand side
of the system. You can't even select those.
| | 06:25 | So to delete a clef change, you have to
find where the clef change takes place,
| | 06:29 | like here, select it, and delete it from there.
| | 06:33 | You also can't delete the first initial clef.
| | 06:35 | So if we use Page Up to go to the top
here, and this is our initial clef, if you'd
| | 06:40 | like a staff with no clef, you'll have
to choose No Clef from the Clefs list.
| | 06:44 | So Esc, Q for Clefs, choose Blank
clef, and click that in there, and Escape.
| | 06:53 | So as you can see, working with both the
Worksheet Creator, and basic clef changes
| | 06:57 | in Sibelius is simple and fun.
| | Collapse this transcript |
|
|
5. Note EntryEntering notes and rests using the mouse| 00:00 | By now you should be fairly
comfortable working with the mouse in Sibelius,
| | 00:04 | so we are going to start learning
about note entry the most obvious way,
| | 00:07 | which is by using the mouse.
| | 00:09 | To begin, from the Quick Start's New
Score tab, let's go ahead and scroll all
| | 00:13 | the way down, and we're going
to select the Piano manuscript.
| | 00:17 | Click once on that, and let's
finish setting up this score quickly.
| | 00:20 | We're going to choose a Time
Signature of 4,4, and scroll down.
| | 00:25 | We don't need a pick-up bar.
| | 00:26 | We'll go ahead and give it a tempo, or a
metronome marking; we will select that
| | 00:30 | and we can leave it at 100, and scroll down.
| | 00:34 | And I am going to put my piece in F
major, so I am going to go here, and select
| | 00:38 | Major flat keys, and click on F major,
and let's scroll down again, and let's
| | 00:43 | give it a little title. I am going to title
mine Note Entry 1, and that's good enough for now.
| | 00:49 | Let's go ahead and click
Create, and there is our score.
| | 00:53 | I am going to zoom in just a little
bit here, Control+Plus, and I am going
| | 00:57 | to move this over to center it on the
screen a little, so we can see the whole system.
| | 01:02 | Now, if you don't see your Keypad -- this
floating window or panel here -- go ahead
| | 01:07 | and bring that keypad up.
| | 01:08 | You can use Control+Alt+K, or Command+
Option+K, or you can go to the View tab, to
| | 01:14 | Panels, and select Keypad from there,
and Escape will get me out of there.
| | 01:19 | Once you have the keypad on your screen,
you can go ahead and move it around.
| | 01:22 | You can just click on top of the word
Keypad there, and make sure that it's in a
| | 01:26 | comfortable place for you.
| | 01:28 | To begin note entry with a mouse, you
are going to go to the Keypad. You're just
| | 01:31 | going to grab a note value with the
mouse, and load that value into the mouse.
| | 01:36 | Make your way back to bar 1, to the
farthest left-hand position that you can in
| | 01:39 | bar 1, and you will see a shadow note
on the staff to help you aim properly to
| | 01:43 | get the right pitch.
| | 01:45 | And this is something that we set up
ahead of time in Sibelius' Preferences;
| | 01:49 | this ability to see this shadow note.
| | 01:51 | So place the note in the score, aim, and
just click, and Sibelius will write that
| | 01:55 | note into your score for you, and you
should hear that note when you input it.
| | 01:59 | You're not hearing my notes, because I
have turned that feature off in Preferences.
| | 02:03 | Once you've entered that note,
Sibelius launches you into a Note Entry mode.
| | 02:07 | So you will see a solid blue vertical
note input line to the right of the
| | 02:11 | note that you just entered, and the note
that you just entered will be highlighted blue.
| | 02:14 | Now, the idea with note entry, in order
to progress forward through the bar, is to
| | 02:19 | stay just to the right of the note entry line.
| | 02:22 | You should still have a note value
loaded in your mouse, and so you can go to the
| | 02:26 | right of that entry line, and
just click, and put in some more notes.
| | 02:29 | If you want to change the value, you
can go back to the Keypad, select a
| | 02:33 | different value, and then, to the
right of the input line, go ahead and
| | 02:37 | insert some more notes.
| | 02:38 | Now you may notice, if you drag your
mouse across a bar from left to right
| | 02:43 | slowly, that there are few invisible
positions within the bar that your
| | 02:47 | note is snapping into.
| | 02:48 | Now, these are called snap positions, and
we set this resolution up in Preferences.
| | 02:53 | So I have mentioned Preferences;
let's go ahead and take a look quickly.
| | 02:57 | Let's go the File menu, down to Preferences,
and go to that Note Input page of Preferences.
| | 03:04 | At the top left, you will see the
checkbox up here for Show shadow note, and
| | 03:09 | that's why we are seeing that shadow note
when we go to enter notes with our mouse.
| | 03:13 | On the right, under Editing, there is
a checkbox for Play notes as you edit,
| | 03:17 | and yours is probably checked, and that's why
you're hearing the notes as you enter them.
| | 03:21 | And down on the bottom right, you
will see the section for Snap Positions.
| | 03:24 | You should have an eighth note value in the box.
| | 03:27 | If you don't, I encourage you to go ahead
and change that value to an eighth note.
| | 03:31 | Let's go ahead and click OK to exit
Preferences, and I will show you what that
| | 03:34 | eighth note snap position means.
| | 03:36 | And your mouse should be loaded; you
will notice mine is not. I am going to go
| | 03:40 | ahead and hit Escape again, and grab an
eighth note from my Keypad, and let's go
| | 03:44 | ahead and hover the mouse over one of
these bars that we've inputted notes into.
| | 03:49 | So with that eighth note snap position
set up in Preferences, if I am in 4,4, I
| | 03:53 | should I have eight positions, or eight
eighth note positions in the bar, in which
| | 03:57 | I can snap in a note.
| | 03:59 | So let's take a look.
| | 04:00 | This is the first position, and if I
drag to the right, there is two, three,
| | 04:05 | four, five, six, seven, and eight.
| | 04:09 | So if I click right now, I have
entered an eighth note on that last eighth
| | 04:14 | note beat in the bar.
| | 04:16 | And just so we can clearly understand
the snap position, let's go ahead and try
| | 04:19 | to enter an eighth note on the up beat,
or the and of beat 1 in the next bar.
| | 04:23 | So I am going to hover my mouse to the
right here, there is position 1, to the
| | 04:28 | right again, position 2, and click,
and there is a note on the and of beat 1.
| | 04:33 | So you have a lot of flexibility for
entering notes, and in many cases, you don't
| | 04:38 | have to physically enter a rest; you
can just skip over it, and then put your
| | 04:41 | note, and Sibelius will input that rest for you.
| | 04:44 | That eighth note snap position value
tends to be the best to work with overall.
| | 04:48 | Now obviously, if I needed to input a
note on the second sixteenth note position
| | 04:53 | in the bar, I would have to insert a
sixteenth note rest on the downbeat of beat
| | 04:57 | 1 first, and then you would be able to reach that
second sixteenth note position. So let's try that.
| | 05:03 | I am going to go ahead and hit Escape.
In the Keypad, select a sixteenth note,
| | 05:07 | and instead of entering a note,
we're going to go ahead and enter a rest.
| | 05:10 | To do that, we're going to
select this Rest key right here.
| | 05:13 | Now, it doesn't just give you a quarter
note, and an eighth note rest; it gives
| | 05:17 | you whatever value you
have selected in the Keypad.
| | 05:19 | So select that value, select that key,
and now let's go ahead and put that
| | 05:24 | sixteenth note rest at the
beginning of the next bar.
| | 05:27 | Go ahead and click that in.
| | 05:29 | Okay, and now that we have that second
sixteenth note position showing up, we
| | 05:34 | can go to the right of the note entry
line, and click a sixteenth note in there,
| | 05:37 | and now we have a sixteenth note on
that second sixteenth position in the bar.
| | 05:41 | So go ahead and practice mouse note
entry with different values, notes, and rests.
| | 05:47 | You can also attach note
head markings to your notes.
| | 05:50 | So if we go back to the Keypad, and
select, let's say, a Quarter Note, you can go
| | 05:54 | up to the top of the Keypad and select
an Accent, and that attaches the accent to
| | 05:58 | the note, go over to the page, and
click that note in, and now you have an
| | 06:02 | accented note on the page.
| | 06:04 | Notice that Sibelius does
not toggle that accent off,
| | 06:07 | so if you want to enter another note
next without an accent, you'd have to go
| | 06:10 | back to the Keypad, toggle that Accent
off, and then go back and enter a note.
| | 06:15 | You can also enter ties with your mouse.
| | 06:17 | You do this just like you would
if you were writing notes by hand.
| | 06:20 | First, you enter the first note, so I
will enter a C here at the end of the bar,
| | 06:25 | then you would draw in the tie.
| | 06:26 | So instead of drawing it in, we're
going to click that tie in there.
| | 06:29 | So go back to the Keypad, and this
button right here on the right-hand side
| | 06:33 | is a Tie. Click that button, Sibelius
draws the tie in there, and now we can go
| | 06:39 | and enter the next note that the note is tied
to, and now we have a tied note over the bar.
| | 06:44 | Keep in mind that the Tie button on
the Keypad is not a slur, or a phrase
| | 06:47 | marking. Don't use it as
a slur; it's only a tie.
| | 06:50 | And finally, we can also add rhythm dots.
So if I wanted the next note to be a
| | 06:55 | dotted half note, I can select a half
note. Now this dot up here is the staccato
| | 06:59 | marking; we don't want that.
| | 07:00 | We want to go down here to the Rhythm
Dot, add that to the half note, and go
| | 07:05 | back to the screen, and insert a note
by clicking, and now we have a dotted
| | 07:08 | half note on the screen.
| | 07:10 | Okay, so there's one thing I have left
out of the discussion on note entry, and
| | 07:13 | that is entering accidentals.
| | 07:15 | In the next video, I will show you a
few things to look out for when using
| | 07:18 | accidentals in Sibelius to hopefully
give you a more positive experience with
| | 07:22 | them from the start.
| | 07:23 | For now, I suggest that you practice
mouse note entry with all these different
| | 07:27 | values, and notes, and rests.
| | 07:29 | Make sure you're practicing
with ties, and rhythm dots as well.
| | Collapse this transcript |
| Entering accidentals using the mouse| 00:00 | Before working with accidentals, I
should mention that there is a House Style
| | 00:03 | setting in Sibelius that will cause
cautionary accidentals to automatically
| | 00:07 | appear in your music.
| | 00:09 | Even though there may be a good
reason to use the automatic cautionary
| | 00:12 | accidental feature, it can be very
frustrating if you're new to Sibelius, and
| | 00:15 | learning note entry,
| | 00:17 | especially if you are unaware of
the setting, and you don't know how to
| | 00:19 | change it, or turn it off.
| | 00:20 | So first I'm going to show you how to
attach an accidental to a note, then I'll
| | 00:25 | show you what to look out for, and if
this feature is turned on in your score, and
| | 00:28 | you'd like to turn it off, then
I will show you how to do that.
| | 00:31 | To enter an accidental, you are going
to attach that accidental to your note
| | 00:34 | value in the Keypad, just like
attaching a note-head marking.
| | 00:38 | So we are going to go over to
the Keypad; select a Quarter note.
| | 00:41 | Let's go ahead and add a sharp sign to
that, and if we go back to the score --
| | 00:45 | let's go to bar 7 here -- and click in a C,
you will notice that I have a C sharp.
| | 00:50 | In Sibelius, we call it a sharp C.
| | 00:52 | Now, you will notice that Sibelius
will toggle that accidental off for me.
| | 00:56 | So if we go back to the Keypad,
the sharp is not selected.
| | 01:00 | So if I enter another note in bar 7,
it won't have a sharp attached to it.
| | 01:03 | If I want to enter a flat -- let's say a D
flat -- I can go to the Keypad, attach a
| | 01:09 | flat to my note, put it on the
D line, and now I have a D flat.
| | 01:13 | Now, within the key signature, if I
want a B flat, I don't have to go attach
| | 01:17 | that flat to my note.
| | 01:19 | If I enter a B here, it will be a B
flat, because it's in the key signature.
| | 01:24 | Now, you will see that automatic
cautionary accidental feature in play if I
| | 01:28 | enter a C here in the next bar.
| | 01:30 | If I click, you will notice that
Sibelius writes it as a natural C. Now,
| | 01:35 | I didn't tell it to put that natural sign
there, so that can be a little bit confusing.
| | 01:39 | It will do the same thing
if I enter a D in this bar.
| | 01:42 | There is a natural D. So that's the
automatic cautionary accidental feature in play.
| | 01:47 | The other time Sibelius will add a
cautionary accidental is when you enter a
| | 01:51 | note in one bar that is
outside of the key signature.
| | 01:54 | So if I attach a natural sign here, and
enter a B natural, and then if you go to
| | 01:59 | the next bar, and enter that note again,
Sibelius will remind you that you're in
| | 02:04 | the key of F, and you have a B flat there.
| | 02:07 | So when you are working with note entry,
this can become very frustrating, or if
| | 02:11 | you're working in any sort of atonal
type of music, you will end up getting all
| | 02:14 | of these accidentals on the
page that you might not want.
| | 02:17 | So how do we fix this problem?
| | 02:19 | This is part of what we
call a house style for a score.
| | 02:22 | And a house style is a bunch of global
preferences for each individual score.
| | 02:27 | So where Sibelius' Preferences are
global to the application, and they affect
| | 02:31 | every score that you open in the
application, Sibelius' House Style is global to
| | 02:37 | each individual score.
| | 02:39 | Now, in Sibelius, this Cautionary
Accidental feature is turned on in all of the
| | 02:43 | House Styles, so we need to go into
this House Style, and change its setting.
| | 02:47 | So let's go to the Appearance tab, on
the far left to the House Style group, and
| | 02:52 | we are going to go back into Engraving Rules.
| | 02:54 | If you remember, the shortcut for
bringing up Engraving Rules is Control+Shift+E on
| | 02:58 | PC, or Command+Shift+E on Mac.
| | 03:01 | When you open Engraving Rules, you
will need to make your way to the
| | 03:04 | Accidentals and Dots page.
| | 03:06 | You will notice down at the bottom of
the page, there is a huge section devoted
| | 03:09 | to Cautionary Accidentals.
| | 03:11 | To turn all of those Cautionary Accidentals
off, you need to uncheck all of the boxes.
| | 03:17 | And now that you know where they are at,
you can always turn them back on again
| | 03:20 | if you want to get them back.
| | 03:22 | Go ahead and turn them off, and click OK.
| | 03:25 | Now you will notice that Sibelius
has removed all of the automatic
| | 03:27 | cautionary accidentals from your
score, and it won't add them in
| | 03:31 | automatically for you anymore either.
| | 03:33 | So if I enter, let's say, a B natural
here in this bar, and I go and enter a B in
| | 03:39 | the next bar, it won't put that
automatic flat sign in there for me.
| | 03:42 | So now we have got Sibelius doing
exactly what we want it to do, with no automatic
| | 03:47 | feature getting in our way.
| | 03:48 | But remember, if you start a new
score, it's quite possible that those
| | 03:52 | settings will return.
| | 03:53 | You can always go back to Engraving
Rules, and adjust the Cautionary Accidental
| | 03:57 | settings at any time,
| | 03:58 | and I encourage you to work with
them also, to find the best setting that
| | 04:02 | works for you.
| | Collapse this transcript |
| Using the computer keyboard for alphabetic note entry| 00:00 | To begin working with alphanumeric
note entry, you'll need to familiarize
| | 00:03 | yourself with how the onscreen Keypad is
mapped to your computer's numeric keypad.
| | 00:08 | So make sure your Keypad is on the screen.
| | 00:10 | If not, remember, you can bring it up
from the Panels group of the View tab, or
| | 00:13 | use the shortcut Control+Alt+K, or
Command+Option+K. Now, let's go ahead and
| | 00:18 | adjust the screen, so that we can see
some empty bars; I am just going to use
| | 00:21 | the Page Down button.
| | 00:23 | The first step toward alphanumeric note
entry is mapping the onscreen keypad in
| | 00:27 | your mind to your computer's numeric keypad.
| | 00:30 | So to practice with the keypad, without
messing up the score, press Escape a few times.
| | 00:35 | Don't worry about your mouse; you can
even push it aside, or put it way up on the
| | 00:39 | top of the screen. We are going to
look at the Keypad on the screen, and in
| | 00:42 | our minds, we need to map that to that
keypad that's on your QWERTY keyboard.
| | 00:46 | So as a reference point, the quarter
note on the screen is the number 4 on
| | 00:50 | your numeric keypad.
| | 00:51 | So if I type in number 4 on my
numeric keypad, you will see that Sibelius
| | 00:56 | selects that quarter note for me.
| | 00:58 | So experiment with this a
little bit; you can't hurt anything.
| | 01:00 | Go ahead and hit a few of these other
buttons on your keypad, and get a sense for
| | 01:04 | how this feels, and how you can even
attach, let's say, an accidental to a note,
| | 01:08 | and toggle that off.
| | 01:09 | Remember, that Rest button is going to
be the 0 on your numeric keypad, and you
| | 01:13 | can toggle that on and off as well.
| | 01:15 | So once you are comfortable working
with your right hand on that numeric
| | 01:18 | keypad, the next step toward
alphanumeric note entry is using the letters A
| | 01:22 | through G on your QWERTY keyboard with your left
hand to represent the musical notes A through G.
| | 01:27 | So we are going to hit Escape a few
times, and you can practice using your
| | 01:32 | left hand with A through G. The first
time you hit a note, if I hit A, Sibelius
| | 01:36 | is going to pop up a
warning box, and that's okay.
| | 01:38 | Just leave that warning box on the
screen, and just get comfortable with your
| | 01:42 | left hand, typing A, B, C, D, E, F,
and G. Now, when you're ready to begin
| | 01:46 | alphanumeric note entry, go ahead and
hit Escape, and we have to tell Sibelius
| | 01:50 | where we are going to start.
| | 01:51 | Now, you can click in a bar if you'd like.
| | 01:54 | I suggest not making a bar selection like that.
| | 01:56 | You can hit Escape if you do that.
| | 01:58 | I suggest selecting the
bar rest itself, like that.
| | 02:02 | Now, if you don't want to use your
mouse, you can hit Esc, move the mouse up
| | 02:06 | to the top of the page, and the Tab
key on your QWERTY keyboard will actually
| | 02:10 | tab you into the score.
| | 02:12 | It tabs you into the topmost staff, in
the upper left-hand side of your view.
| | 02:17 | So in this case, I'm seeing bar
15 in the upper left of my screen.
| | 02:21 | So if I hit Tab, Sibelius tabs me into bar 15.
| | 02:25 | Okay, so to begin entering
notes, it's value, and then note.
| | 02:30 | It's kind of like right hand,
and then left hand.
| | 02:32 | So I'm going to select the value with
the keypad on my right hand, so number 4
| | 02:37 | gives me a quarter note. Don't worry
about what's happening on the screen; we
| | 02:41 | are going to change that quarter
note rest that it entered into a note.
| | 02:45 | So we're going to use a letter now on
our left hand, A through G. I am just going
| | 02:48 | to strike the letter A, and now I
have a quarter note A, and Sibelius has
| | 02:52 | launched me into note input.
| | 02:54 | And just like before when we used the
mouse, we are going to continue entering
| | 02:57 | notes to the right of that blue input line.
| | 02:59 | So I have still got a quarter note
selected; I don't have to select it again.
| | 03:03 | I can just type the letter B, C, D, and so on.
| | 03:07 | If I want to change a value --
let's go to an eighth note --
| | 03:10 | I'm going to go to my right hand, hit
the number 3 on my keypad, change it to an
| | 03:15 | eighth note, and then A, B, C, and so on.
| | 03:19 | A half note is the number 5, so number 5, and E
| | 03:23 | gives us an E half note.
| | 03:24 | Now, if you want to enter a rest, it's
going to be the value, and the Rest key.
| | 03:29 | So we are going to choose, let's say, an
eighth note with the number 3, and then the
| | 03:32 | rest key in the keypad is the number 0.
| | 03:35 | So select 0, and Sibelius
enters the rest for us.
| | 03:38 | Now, I have still got an eighth note
selected, so the letter C, and we can
| | 03:42 | continue going: D, E.
| | 03:43 | Now, let's go ahead and enter another
half note, so number 5, and another E here.
| | 03:50 | Let's say I wanted that
note to be down an octave.
| | 03:53 | Sibelius will continue, in alphanumeric
entry, writing to the closest octave.
| | 03:57 | So if you need to make a big jump of
an interval, then you are going to have
| | 04:00 | to do that manually.
| | 04:02 | So I've entered that note, and now I'm
going to have to jump it down an octave.
| | 04:05 | So to do that, you're going to use the
modifier Control on PC, or Command on Mac,
| | 04:11 | and then your arrow key up or down.
| | 04:13 | So Control+Down, and now I have that E in
the octave below. Control+Up, and you can
| | 04:19 | keep doing this up and down
to get those octave jumps.
| | 04:23 | Now that I'm down in that octave, let's
say I select, now, a quarter note, I can
| | 04:27 | continue working -- here
is F and G -- in that octave.
| | 04:31 | Now, let's say that you've messed up.
| | 04:33 | Let's say I want to enter an eighth note
rest next, so I select an eighth note, and I
| | 04:38 | forget to hit the Rest button,
and instead I hit a letter, like A.
| | 04:42 | First thing you need to do is just
stop, and remember that you can always
| | 04:46 | undo. So Control or Command+Z gets me back to
right where I was before I entered the note.
| | 04:52 | Now, I can just select the eighth note value,
and the Rest key, and there is my rest.
| | 04:57 | Now, another quick way to fix an
inputted mistake -- let's say I input a
| | 05:01 | quarter note E, and it should have been,
let's say, an eighth note E -- another way to
| | 05:06 | fix that, instead of using undo, is to
just use Backspace on your QWERTY keyboard.
| | 05:11 | Then I can enter the note that I
really wanted to enter, like an eighth note E.
| | 05:16 | Okay, so that is basic
alphanumeric note and rest entry.
| | 05:19 | Before moving on to a more complete
version of alphanumeric note entry, using
| | 05:23 | accidentals, ties, and note-head
markings, I highly suggest spending a lot of
| | 05:28 | time practicing with just the
basic rhythms, notes, and rests.
| | Collapse this transcript |
| Advanced alphabetic note entry| 00:01 | Hopefully by now, you're comfortable
with basic note and rhythm input, using
| | 00:03 | alphanumeric shortcuts.
| | 00:05 | In this video, we will add to
that operation by working with ties,
| | 00:09 | accidentals, and note-head markings;
basically everything that we have left in
| | 00:13 | that first Keypad layout.
| | 00:15 | To begin, I am going to move
the score down a little bit.
| | 00:17 | I am actually going to scroll with my
mouse a couple of times; there we go.
| | 00:21 | Let's tab on into bar 22.
| | 00:23 | So I'm going to hit Tab, and there we go.
| | 00:26 | And you can select that with
your mouse if you'd like to.
| | 00:28 | Now, we already know how to get started.
| | 00:30 | So I'm going to select a note value
with my right hand on my keypad; number 4
| | 00:34 | for a quarter note, and then the
letter A. And if I want a rest, then I just
| | 00:38 | select that value -- let's say a quarter
note rest -- so I select a quarter note, and
| | 00:42 | then the 0 key, or the rest key
on the Keypad, to enter a rest.
| | 00:46 | Of course, we already know if we mess up,
we can immediately use Backspace, or
| | 00:50 | Control+Z or Command+Z to undo, and then
continue on. Here's the letters C, D, and E.
| | 00:54 | Now, the next step for alphanumeric note
entry is to practice working with ties.
| | 01:00 | So let's go ahead and tie
this E over the bar line.
| | 01:03 | So once you input that note, all you
have to do now is draw in that tie, and
| | 01:07 | to do that in Sibelius, we select the
Tie button, which is the Enter key on
| | 01:11 | your numeric keypad.
| | 01:12 | So I'm going to hit that Enter key,
and there's our tie, and now let's tie it
| | 01:16 | over to an eighth note.
| | 01:17 | So I'm going to select an eighth
note value, and then the letter E. Let's
| | 01:21 | do that one more time.
| | 01:23 | Let's do a C eighth note to a quarter
note C. So we have an eighth note value
| | 01:27 | selected; the letter C gives me a C.
I will go in to strike that Enter
| | 01:32 | key on my keypad, which gives me a tie,
and then the number 4 on the keypad is
| | 01:37 | going to give me a quarter note,
and the letter C gives me a C.
| | 01:40 | Next, let's work with adding some accidentals.
| | 01:43 | In Sibelius, we attach the
accidental before we enter the note.
| | 01:47 | So instead of entering an A flat, you
are going to enter a flat A, because
| | 01:52 | that's the order in which
you are going to type it in.
| | 01:54 | So let's go ahead and do that.
| | 01:55 | Let's do a half note A flat.
| | 01:58 | So let's select number 5 on the keypad --
that's a half note -- and now we need to
| | 02:02 | toggle on that flat sign, and
that's going to be the number 9.
| | 02:06 | So there is our flat, and now all we need
to do is hit the letter A on our QWERTY
| | 02:10 | keyboard, and we have a flat A.
| | 02:12 | Let's go ahead and do another one.
| | 02:13 | Let's enter an F sharp, or a sharp F. So
let's go back to quarter note, number 4;
| | 02:18 | sharp sign, number 8, and then the
letter F. Now, keep in mind as you work with
| | 02:23 | accidentals that accidentals
toggle themselves off.
| | 02:26 | So you will notice now on my Keypad,
even though I just entered a sharp F, I no
| | 02:31 | longer have the sharp selected.
| | 02:33 | If my next note was a sharp G, I would
have to select the sharp again with the
| | 02:36 | number 8, and then use a
letter G, and now I have a sharp G.
| | 02:40 | The final step toward mastering
alphanumeric note entry is to work with
| | 02:44 | note-head markings, or articulations.
| | 02:46 | Now, be aware that some numeric keypads
will map the articulations differently.
| | 02:51 | So you will need to spend some time
working with your computer's keypad to know
| | 02:54 | exactly what button you need to press
on your keypad to select the articulation
| | 02:59 | that's on the screen.
| | 03:00 | Now, once you figure that out, you
can insert an articulation just like you
| | 03:04 | insert an accidental.
| | 03:05 | So we are going to add it to the note first.
| | 03:07 | Let's do a half note accented C. So I'm
going to change to a half note; number 5.
| | 03:13 | And I know that just above the 5, about
two spaces up on my keypad, I'll engage
| | 03:17 | that accent like that, and now all I
have to do is enter the note name.
| | 03:21 | So C, and now I have a half note accented C.
| | 03:24 | Now, notice that Sibelius does
not toggle off the articulation.
| | 03:28 | So if I was to enter another note right now,
like a D, it's going to be accented as well.
| | 03:33 | If I don't want that accent, I have
to toggle that off, so go back to that
| | 03:37 | button on my Keypad, toggle it off,
and then insert the next note.
| | 03:41 | Let's do a couple of other articulations.
| | 03:42 | Let's work with the staccato marking.
| | 03:44 | So I'm going to change to an eighth
note; number 3 on my keypad. A couple
| | 03:48 | of buttons above that,
| | 03:49 | I'm going to select the key that maps
to my staccato marking, and then the
| | 03:53 | letter A, B, C, etcetera.
| | 03:56 | Again, I can toggle that staccato off,
and next to that is the tenuto marking.
| | 04:00 | So I'm going to select a half note,
number 5, add that tenuto line, and then
| | 04:06 | let's do a letter, like D.
| | 04:07 | So now you know how to do just about
every note entry function without the
| | 04:11 | mouse, as you learned how to do with the mouse.
| | 04:14 | It does take some practice to get good
at alphanumeric note entry, but it's a
| | 04:18 | very efficient way to work.
| | 04:19 | It's a method that many professionals
use to enter notes in Sibelius.
| | 04:23 | Now, if you find yourself always using
the mouse as a crutch, there is a way to
| | 04:27 | disable mouse entry to force
yourself to choose a better, faster method.
| | 04:30 | You can go to the File menu, down to
Preferences, and make your way to the Mouse page here.
| | 04:37 | And under Mouse Note Input on the
right-hand side, when the note input caret
| | 04:41 | is visible, it defaults to Inputting notes;
that means you can input notes with your mouse.
| | 04:47 | Now, you can choose one of the
other options, and that essentially
| | 04:50 | disables mouse note entry.
| | 04:51 | Now, I am going to leave it at the
default for now, for the sake of learning.
| | 04:55 | But in my opinion, using one of the
other settings for the mouse during note
| | 04:58 | input is much easier and more effective.
| | 05:01 | So that is the process of using
alphanumeric keys for note entry in Sibelius.
| | 05:05 | Like all of the note entry methods,
you'll need to spend some time practicing to
| | 05:09 | get up to speed, but in the long run,
it will be worth your time and effort.
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| Using the computer keyboard to create intervals and chords| 00:00 | The final step toward learning total
note entry is creating harmonic intervals
| | 00:04 | in chords, or adding more
than one note per stem.
| | 00:07 | Now to begin, let's go
ahead and get comfortable here.
| | 00:09 | So I'm going to scroll down with my
mouse, and I'm going to select that bar rest
| | 00:13 | right there to begin in bar 29.
| | 00:15 | Let's go ahead and add a note.
| | 00:16 | I'm going to select a half note, number 5,
and the letter C. Now, once you're here in note
| | 00:21 | entry with that input line, you have
the ability to go back and edit that note
| | 00:25 | that you just entered in a variety of ways.
| | 00:27 | You already know one way that you can
edit that note, and that's by changing
| | 00:31 | its octave position in the staff, so Control or
Command, and then the arrow up, or the arrow down.
| | 00:37 | You can also move the note
diatonically up or down by using the arrow keys
| | 00:40 | without the Control or Command modifier,
so just the arrow keys up and down.
| | 00:45 | Another thing you know is that
you can add a tie to the note.
| | 00:47 | So if you use the Enter key on your
keypad, it ties that note over, and then the
| | 00:52 | letter C will tie that note to another C.
| | 00:55 | You might not know that that tie
actually toggles on and off, so I can hit
| | 00:58 | the Enter key, and if I didn't mean to
do that, I can hit the Enter key again,
| | 01:02 | and toggle the tie off.
| | 01:04 | Next, if you enter a note with an accidental --
so let's go ahead and insert a sharp C,
| | 01:08 | so adding the sharp, number 8, and the letter
C -- what you might not know is that you
| | 01:13 | can use your Return or Enter key on
your QWERTY keyboard to immediately change
| | 01:17 | the accidental to its enharmonic equivalent.
| | 01:19 | So the Enter key changes the C sharp to a D flat,
and again Enter, changes it back to C sharp again.
| | 01:26 | Let's go ahead and do another one.
| | 01:28 | I can enter a flat E, and the Enter key
changes that to a D sharp, or back to an E flat.
| | 01:34 | Now, the last editing process that you
can apply to a note that you just input
| | 01:38 | in Sibelius is adding an interval to the note.
| | 01:41 | So let's start with a simple note, like
a C, and if your mouse is engaged for
| | 01:45 | note entry in Preferences, you can
use your mouse one step behind the input
| | 01:49 | caret to add intervals above and
below the note that you just input.
| | 01:52 | So I can go back here, and start stacking
intervals above or below that note, but
| | 01:58 | that's actually the slow way
of working, using your mouse.
| | 02:01 | Sibelius makes this even easier for us.
| | 02:03 | So let's go ahead and add another note C.
I'm going to move my mouse away first;
| | 02:07 | type the letter C. And the more musical
way of adding intervals is by using the
| | 02:11 | numbers on your QWERTY keyboard.
| | 02:13 | The numbers correspond to interval numbers.
| | 02:15 | So if I wanted to enter a third above
the C, all I have to do is go to my QWERTY
| | 02:20 | keyboard, I hit the number 3,
and I have a third above the C.
| | 02:23 | Again, with the E now selected, I can hit the
number 3 again, and now I have a G above the E.
| | 02:30 | You can also add intervals below
the note that you just entered.
| | 02:32 | So let's enter another note C, and
let's move it up an octave, Control+Up or
| | 02:36 | Command+Up, and how you add intervals below
a note is by employing the modifier Shift.
| | 02:41 | So if I hold down Shift, and I hit the
number 4 on my QWERTY keyboard, I get a
| | 02:46 | G below the C, or a fourth below the C, and
again, Shift+3 gives me the E below the G.
| | 02:52 | Now, so far Sibelius has been
adding all diatonic intervals.
| | 02:56 | To input intervals that contain
altered pitches, you first input the first
| | 03:00 | note, so C, and just like in note entry,
you'll choose the accidental on the keypad first.
| | 03:06 | So if I want, let's say, an F sharp above
that C, I'm going to choose the sharp
| | 03:10 | first, number 8 in my keypad, and
then the number 4, which gives me the
| | 03:14 | sharp fourth above the C.
| | 03:16 | Let's try that one more time. Let's
use letter C again, and we'll move that up
| | 03:20 | an octave, Control+arrow up, and let's say I want
a flat third below that, or an A flat below that.
| | 03:26 | So I'm going to choose the flat, number 9,
and then Shift+3 to get the third below.
| | 03:32 | So you can continue stacking notes
to produce all sorts of intervals,
| | 03:36 | chords, and clusters.
| | 03:37 | Now, one thing to be aware of when
stacking intervals is that you cannot
| | 03:40 | override the key signature with a natural
sign, and let me demonstrate this for you.
| | 03:45 | If you're in a key signature like F
major, and you enter the note G, so letter
| | 03:49 | G, and you want to stack a natural B
above the G, you would normally select
| | 03:54 | the number 7, the natural sign, and then
on you QWERTY keyboard, number 3 should
| | 03:59 | give you that B natural above the G.
| | 04:00 | Now, if this happens to you, you can
simply hit Esc, and with that B still
| | 04:05 | selected, go ahead now and add the
number 7, or the natural sign to it.
| | 04:09 | And this is a little peek into note editing.
| | 04:12 | And as a side note, I'm always asked,
well, how do I get back into note entry
| | 04:16 | from here? And there is a really simple way.
| | 04:18 | You can just use your arrow key to the
right to select that bar rest, and it's
| | 04:22 | just like starting over again.
| | 04:24 | We would choose a value, like a
quarter note, and a note, like A.
| | 04:29 | I know this is a lot to digest, but
now that you know how to stack intervals,
| | 04:33 | you can add chord building to your
note entry skills, both with or without
| | 04:37 | the mouse.
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| Step-time note entry with the MIDI keyboard and the Keyboard panel| 00:00 | Building on what we've learned so far
about note entry, another simple way to
| | 00:04 | input notes is by using a
combination of your MIDI keyboard with your
| | 00:07 | computer's numeric keypad.
| | 00:09 | This type of note entry is commonly
referred to as step-time note entry.
| | 00:13 | And if you're coordinated enough to
work with one hand on the numeric keypad,
| | 00:16 | while your other hand is on the MIDI
keyboard, this style of note entry can
| | 00:20 | potentially be the fastest
way to work in Sibelius.
| | 00:23 | To begin, let's go ahead
and tab into the score.
| | 00:26 | You can see I have the bar rest
selected in bar 1, and the good news is, the
| | 00:30 | process is very much the same as
it was with alphanumeric note entry.
| | 00:33 | Once you tell Sibelius where you'd like
to begin, you can select a note value in
| | 00:37 | your numeric keypad, like number 4 for
a quarter note, and instead of using the
| | 00:42 | letters A through G to input notes with
your left hand on the QWERTY keyboard,
| | 00:46 | you're going to use the
keys on your MIDI keyboard.
| | 00:48 | So I'm going to select a few notes
on my MIDI keyboard.
| | 00:50 | (music playing)
| | 00:53 | And make sure you move slow enough so that
Sibelius doesn't think you're playing a chord.
| | 00:56 | You need to move step by step, and
that's why it's really called step-time.
| | 01:00 | There are several advantages of
working in step time instead of
| | 01:03 | alphanumeric note entry.
| | 01:05 | First, you don't have to
think to add an accidental;
| | 01:07 | you just play the note, and
Sibelius writes it for you.
| | 01:10 | So if I play an F sharp,
Sibelius writes an F sharp.
| | 01:14 | You can also enter all of the notes
of a chord or cluster together at once.
| | 01:18 | So if I play,like, a C major chord,
Sibelius writes that in for me.
| | 01:23 | And you can also enter notes
in all of the correct octaves.
| | 01:26 | So I can play a very low note, or a very
high note, and Sibelius will write those
| | 01:31 | notes immediately into the right octave.
| | 01:33 | Now, to enter rests in step time, you'd
enter them just as you did before with
| | 01:37 | alphanumeric entry; with the 0 key.
| | 01:40 | So if I wanted to enter this quarter
note rest, I have a quarter note selected,
| | 01:43 | and I just hit the rest key on my keypad.
| | 01:46 | You also enter ties just like you did before.
| | 01:49 | So I have a quarter note selected, I'm
going to play the note C on my keyboard,
| | 01:52 | and if I'm going to tie it that to an
eighth note, I would hit the Tie key, or
| | 01:57 | the Enter key on my keypad, maybe
select an eighth no value now, and then play
| | 02:01 | that C again on my MIDI
keyboard, and now it's tied over.
| | 02:05 | You also attach articulations
just like you did before.
| | 02:08 | So if I want a couple of eighth notes
with staccatos on them, I have the eighth
| | 02:11 | note value selected. In my keypad, I'm
going to select the staccato to add that
| | 02:16 | to it, and now just play a few
notes on the keyboard.
| | 02:18 | (music playing)
And they'll have the staccatos on there.
| | 02:23 | And again, don't forget to toggle
off the articulation in your keypad.
| | 02:26 | So using the MIDI keyboard and step-time can
be a very fun and quick way to enter notes.
| | 02:31 | There's one other way you can use the
MIDI keyboard to input notes, and that's in
| | 02:35 | real-time with a click.
| | 02:36 | And I'll introduce you briefly to
that option, which we call flexi-time, in
| | 02:40 | the next video.
| | Collapse this transcript |
| Entering notes in real time with Flexi-time| 00:00 | Using the MIDI keyboard to input notes
in Sibelius in real-time is a feature
| | 00:04 | that takes quite a bit
of knowledge and practice.
| | 00:06 | In this video, I'll give you a brief
introduction to this feature, which
| | 00:10 | Sibelius calls flexi-time.
| | 00:12 | To start working with flexi-time
choose a simple piece of music.
| | 00:15 | You'll need to practice with the
feature and get comfortable with it before
| | 00:18 | tackling more advanced notations.
| | 00:21 | For this example, I've chosen
Minuet in G, and I've found this in
| | 00:24 | Sibelius's Worksheet Creator.
| | 00:26 | Before recording, you'll need
to visit Flexi-time options.
| | 00:29 | Those are found in the Note
Input tab, in the Flexi-time group.
| | 00:33 | You can launch the Flexi-time Options
dialog by clicking on the dialog launcher
| | 00:37 | button, or by using the shortcut Control+
Shift+O on PC, or Command+Shift+O on Mac.
| | 00:43 | In the Flexi-time Options dialog box,
you'll be asked to choose a level for the
| | 00:47 | flexibility of your tempo, or your click
track, and this is why Sibelius calls it
| | 00:51 | flexi-time: because your metronome, or
your click, will have the ability to adjust
| | 00:55 | itself to your performance.
| | 00:57 | If you set your Flexibility of tempo
to anything other than None, then if you
| | 01:01 | play a little bit faster than the click,
the click will speed up to meet you,
| | 01:05 | and if you play a little too slow at points,
the click will slow down to adjust to you.
| | 01:09 | Now, why is this important?
| | 01:11 | It drastically increases the accuracy
of notation, because it will seem as
| | 01:15 | though you were never off of the click.
| | 01:16 | So you can choose a Low, a Medium, or a
High setting, and I suggest trying this
| | 01:21 | out with the Low setting first, even if
you're very good at playing with a click.
| | 01:25 | You probably won't notice anything if
you're a good player playing a simple
| | 01:28 | passage. However, you could potentially
notice a big change in the tempo if you're
| | 01:32 | slightly click challenged.
| | 01:34 | For many of you, the Medium and High
settings will be much too sensitive, but you
| | 01:37 | can always go back to Flexi-time
Options at any time to change this setting, or
| | 01:41 | to try out another level.
| | 01:42 | So we're going to go
ahead and choose Low for now.
| | 01:46 | Next you'll need to set the
number of Introduction bars.
| | 01:48 | This determines the number of clicks that
you'll hear before Sibelius starts recording.
| | 01:52 | I'm going to go ahead and change this
to 2 bars, because I'm in 3,4, and that
| | 01:56 | gives me a little bit more of a
warning before it starts recording.
| | 02:00 | In the Voices section, we're going
to go ahead and uncheck recording
| | 02:03 | into multiple voices.
| | 02:05 | That way Sibelius will just
record into Voice 1 for us.
| | 02:09 | Next let's go to the Notation tab,
and this is where we set up our minimum
| | 02:12 | duration, or some people
call it a quantization value.
| | 02:16 | To do this, you need to take a look
at the piece that you're going to be
| | 02:19 | recording, or at least be able
to visualize it in your mind.
| | 02:22 | In this piece, our minimum note duration
in an eighth note; that's the smallest note
| | 02:26 | value that we're going to want to record.
| | 02:28 | So we'd want to make sure that we
have an eighth note selected in the
| | 02:31 | dropdown field here.
| | 02:32 | Now, I don't like even Sibelius writes
in my articulations for me, so I'm going
| | 02:38 | to go ahead and uncheck Staccato here,
and I can always put the Staccato and
| | 02:41 | Tenuto markings back in myself later.
| | 02:44 | At the bottom, in the Keyboard Staves
section, flexi-time allows you to record
| | 02:48 | into two adjacent staves at once,
like into a keyboard grand staff.
| | 02:53 | And this is where you'd set a split
point for those two staves, or you can
| | 02:56 | leave it set to Automatic, and let
Sibelius determine that split point for you
| | 03:01 | on a note by note basis.
| | 03:03 | If the piece you're recording has no
tuplets, be sure to select None in all of
| | 03:07 | the Tuplet fields in the upper right corner.
| | 03:11 | And finally, Sibelius will record all
of your MIDI Messages along with your
| | 03:14 | performance, unless you
uncheck those options here.
| | 03:18 | So with the settings all set, go ahead
and click OK to close this dialog box, and
| | 03:23 | remember, you'll have to go back to
Flexi-time Options if the music you're
| | 03:26 | recording changes; particularly if
your minimum note duration changes.
| | 03:31 | Before we begin recording, I'm going to
show you what I've done to this score to
| | 03:34 | prepare it for the recording.
| | 03:35 | Go ahead and click M for Mixer, and
you can see that I've muted the existing
| | 03:40 | treble clef piano part, so that all
you're going to hear is the bass clef staff.
| | 03:45 | That way you can record the top line,
while listening to the bottom line, without
| | 03:49 | the original top line getting in your way.
| | 03:50 | I'm going to hit M again to close the Mixer.
| | 03:53 | Let's go ahead and focus on
the two treble clef staves.
| | 03:56 | So I'm going to select the top staff
here, and using Control or Command, I'm going
| | 04:01 | to click in this treble staff, and
Focus on Staves is in the Layout menu; up to
| | 04:05 | Layout, and we can check Focus on
Staves, or you can use Control+Alt+F, or
| | 04:10 | Command+Option+F. Also, before we get started,
let's go ahead and turn those Layout Marks off.
| | 04:15 | So let's go to the View tab, and uncheck
Layout Marks. Then our score page looks
| | 04:20 | a little bit cleaner.
| | 04:21 | Now, just like in all other note input
methods, you need to tell Sibelius where
| | 04:25 | you're going to begin.
| | 04:27 | And there's not too much confusion in
flexi-time if you just a select a full bar.
| | 04:31 | So let's go ahead and Escape, and I'm
going to tell Sibelius that I'm going to
| | 04:34 | begin in this bar, so just select the bar.
| | 04:36 | Now, to record, it's probably easiest
if you have your Transport controls up.
| | 04:41 | And these are my Transport controls here.
| | 04:44 | If you don't see them, you can go to
the View tab, and under Panels, make sure
| | 04:47 | you check Transport.
| | 04:50 | To begin recording, you'll click the red
record button in the Transport controls.
| | 04:55 | Then you'll get two bars of that click,
and then you'll need to begin playing along.
| | 04:58 | So I'm going to go ahead and click Record.
| | 05:01 | (music playing)
| | 05:13 | And Spacebar to stop.
| | 05:14 | Now, it's pretty common to have a few
mistakes showing after flexi-time input, but
| | 05:19 | we can go in and fix those.
| | 05:20 | Let's go ahead and hit Escape, and
this eighth note right here, we might want to
| | 05:24 | select that, and go to our keypad, and turn
that into a quarter note. And maybe we'll
| | 05:28 | want to add staccato
markings to these quarter notes.
| | 05:31 | So we can go ahead and use Control, and
click on this G here, and in the keypad,
| | 05:37 | select the Staccato.
| | 05:39 | And we can do the same thing in bar 4;
select this note, turn it into a quarter
| | 05:43 | note, add a Staccato, and
select that note, and add a Staccato.
| | 05:47 | Okay; so you can see how flexi-time
made that note entry very easy for us.
| | 05:52 | I'd also like to show you how you can
record into more than one staff at once.
| | 05:56 | So let's go ahead and
toggle out of Focus on Staves.
| | 05:59 | So back to the Layout tab,
and uncheck Focus on Staves.
| | 06:03 | And if you did want to start recording
into more than one staff at once, you can
| | 06:06 | simply select the first staff, hold
down Shift, and select the second staff. And
| | 06:11 | then this process would
be pretty much the same.
| | 06:13 | You'd start recording, and Sibelius
would apply that automatic split point, and
| | 06:17 | write those notes into both staves for you.
| | 06:19 | So that's a brief introduction to flexi-time.
| | 06:21 | It's not a perfect technology for note
entry, but if you approach it the right
| | 06:25 | way, and set it up properly, you can
have quite a bit of success with it.
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| Entering tuplets| 00:00 | Regardless of the method you use to
input notes, there really is only one quick
| | 00:04 | and easy way to input tuplets.
| | 00:06 | In this video, I'll show you the quick
way to input tuplets: using shortcuts.
| | 00:11 | First, as a quick note entry review,
let's go ahead and start at the beginning
| | 00:14 | of this score, and input all of
the notes up to the first Tuplet.
| | 00:17 | So let's go ahead and start here. I am
going to select that rest, and with that
| | 00:21 | value selected in the keypad, I can
simply hit the letter C on my QWERTY
| | 00:25 | keyboard to begin note entry. And let's
continue on; the letter F, change to a
| | 00:29 | half note, number 5 in the keypad, the
letter A, and then the number 3 in the
| | 00:34 | keypad for the eighth note, G, and F, and
number 4, which is a G, and then number 5,
| | 00:40 | the half note, B. So we've
made it to that first triplet.
| | 00:43 | Now, the first thing you need to do
before entering a tuplet is decide on the
| | 00:47 | note value that defines the tuplet.
| | 00:49 | Is it an eighth note
tuplet, or a quarter note tuplet?
| | 00:52 | In this case, this is an eighth note tuplet.
| | 00:55 | After you figure out the correct note value
for the tuplet, you need to enter that value.
| | 01:00 | In this case it's easy. I am going to
enter an eighth note, letter G. So an
| | 01:04 | eighth note, number 3 on
my keypad, and the letter G.
| | 01:07 | Now we need to tell Sibelius that this
is a tuplet, and tell Sibelius the number
| | 01:12 | of eighth notes that the tuplet will contain.
| | 01:14 | We can't just hit the number 3 to turn
this into a tuplet, because that will just
| | 01:17 | put a third above our last inputted note.
| | 01:19 | So to input a tuplet, you need to hold
down the modifier Control on PC, or Command on
| | 01:25 | Mac, and then select the number of notes
in the tuplet; in this case, the number
| | 01:29 | 3. And you will do that on your QWERTY keyboard.
| | 01:32 | And you can see, once you use Control+3, that
Sibelius turns that eighth note into a triplet.
| | 01:38 | And now you can continue entering the
rest of the notes in the tuplet as usual,
| | 01:42 | so the letter A, and the letter B.
| | 01:44 | Let's continue on to the next tuplet,
so quarter note C, and a half note F, and
| | 01:50 | let's drop that down an octave with
Control+down or Command+down, and now we have an
| | 01:55 | eighth note A, and again, we need to use
Control or Command number 3 on the QWERTY
| | 02:00 | keyboard, turn that into a tuplet, and
continue on with a G, and an F. Let's
| | 02:06 | continue to the next tuplet; a quarter note G,
and a C, and let's drop that down an octave.
| | 02:12 | And now we are going to be
working with a quarter note tuplet.
| | 02:14 | So we are going to insert that quarter
note first, letter C, and then turn that
| | 02:19 | into a triplet, Control or Command+3, and
finish that off with D, and E. Okay, and
| | 02:26 | let's continue on to the next tuplet in
bar 5. So we have a quarter note value,
| | 02:30 | letter F, change it to a half
note value, and then the letter A.
| | 02:35 | Now, the next tuplet is tricky, because it
does not begin with the note value that
| | 02:39 | makes up the tuplet.
| | 02:40 | It's an eighth note tuplet
that begins with a quarter note.
| | 02:43 | So you have to think here.
| | 02:45 | We first need to input an eighth note,
so I am going to choose an eighth note,
| | 02:49 | and then the letter G, and now we
need to turn that eighth note G into a
| | 02:53 | triplet, so Control or Command+3, but we
need to back-step one now, and turn that
| | 02:58 | eighth note into a quarter note.
| | 03:00 | So I am going to Escape once, so we are
out of note entry. We are just going to
| | 03:04 | be editing that eighth note by
turning it into a quarter note.
| | 03:07 | So on the keypad, choose the quarter
note, or the number 4, and a real simple way
| | 03:12 | to continue going here is to move your
arrow key to the right one, and just enter
| | 03:16 | the letter F. And now we can continue
moving forward; go ahead and select the
| | 03:21 | quarter note value, and the letter G,
and the half note value, and the letter B.
| | 03:25 | And now we have arrived at a quintuplet,
and this is a sixteenth note value tuplet.
| | 03:30 | So first we are going to choose a
sixteenth note value, and input the first note,
| | 03:35 | G. And instead of using Control or
Command+3, this time we are going to use
| | 03:40 | Control or Command+5. So I am on PC; Control+5,
Command+5 on Mac, and we can continue
| | 03:47 | working. So I am going to add the sharp, and
the letter G, A, B, the natural sign, and the B.
| | 03:55 | Let's go ahead and Escape. I am going to
scroll down the page a little here with
| | 03:58 | my scroll wheel on my mouse.
| | 04:00 | Let's start here in bar 7.
| | 04:01 | Go ahead and start with that quarter note,
so a quarter note C, then a half note
| | 04:06 | C, and we are going to drop that down on
octave with Control or Command+arrow down.
| | 04:12 | Now we've arrived at a situation where
we have more than one tuplet in a row, and
| | 04:16 | there is a new feature in Sibelius 7
that allows us to lock ourselves into some
| | 04:20 | sort of tuplet mode; it's
actually called sticky tuplets.
| | 04:24 | To use sticky tuplets, input the first
note of the first tuplet as usual. So we
| | 04:28 | are going to use an eighth note G, and
let's move that up an octave, Control or
| | 04:32 | Command+up. We are going to turn that
first tuplet into a tuplet as usual, so
| | 04:37 | Control or Command+3. And before
continuing, we are going to use the shortcut
| | 04:42 | Shift+Alt+K on PC, or Shift+Option+K
on Mac, and you will notice when you do
| | 04:49 | that that Sibelius will put a bold
number 3 above the tuplet, and that's
| | 04:53 | indicating that you are in sticky tuplets.
| | 04:55 | So go ahead and continue on; the
letter F, E, and you'll see if you just
| | 05:01 | continue entering your note names now --
letter F, and E, and D -- that Sibelius has
| | 05:06 | kept us in sticky tuplets.
| | 05:08 | Now, to get out of sticky tuplets, you'll
need to run the quick key one more time:
| | 05:13 | Shift+Alt+K on PC, or Shift+Option+K on
Mac, and let's finish that off with a
| | 05:18 | nice half note F, and Escape.
| | 05:21 | So sticky tuplets is a very cool new
feature in Sibelius 7 that has been highly
| | 05:25 | requested for a long time, so we
are absolutely thrilled to have it.
| | 05:28 | So now you know almost everything
you need to know about note entry.
| | 05:32 | We will finish up this note entry
chapter next, with some information about
| | 05:36 | working with a simple guitar tab.
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| Working with tablature staves and the Fretboard window| 00:00 | Not everyone is going to want to input
notes directly into a tablature staff in
| | 00:04 | Sibelius, but if you are not a
guitarist, you never know when you may have to
| | 00:08 | prepare a guitar part in
tablature for a performer.
| | 00:11 | And if you are a guitarist, you
may prefer writing into guitar tab.
| | 00:15 | And fortunately, Sibelius makes
guitar tab simple for everyone.
| | 00:19 | First, if you're not a guitarist, and
you don't know anything about tablature,
| | 00:22 | Sibelius makes it very easy for you by
allowing you to copy and paste music from
| | 00:26 | a standard clef staff into a tablature staff.
| | 00:29 | Now, we will discuss methods for
copying and pasting in the next chapter, but
| | 00:33 | here's a quick preview.
| | 00:34 | Go ahead and select all of the
music in the Electric Guitar staff by
| | 00:38 | triple-clicking on it; one, two, three.
| | 00:40 | We can copy that selection to the Clipboard;
Control or Command+C. Select the first
| | 00:46 | bar of the first tab staff here, and
go ahead and paste the notes into the
| | 00:50 | guitar staff using Control or
Command+V, and it's that simple.
| | 00:55 | Now, if you'd rather input directly
into a tablature staff, you can do that.
| | 01:00 | You want to start by telling Sibelius
where you're going to begin, as usual. So I
| | 01:03 | am going to hit Escape, and I am going
to select this bar rest right there.
| | 01:08 | Next, you can choose a note value in
the keypad, so I am going to select number
| | 01:12 | 4 to choose a quarter note, and
now it gets a little bit different.
| | 01:15 | You can use your up and down arrow to
position the input caret on a string.
| | 01:19 | So I use my up arrow, and then using
the QWERTY numbers, input the fret number
| | 01:24 | for that string that triggers the desired note.
| | 01:26 | So I am just going to hit the number one
on my QWERTY keyboard, and there we go.
| | 01:31 | To move to the next beat,
you'll use your right arrow.
| | 01:34 | So there's the right arrow, and I'm on
the next beat. And then continue working
| | 01:38 | the same way, so I'm going to use my
arrow down to move to that string down
| | 01:41 | there, and number 4, and then the right
arrow, and I am going to move my mouse
| | 01:45 | out of the way here just a little, and
the number 2 on my QWERTY keyboard, and
| | 01:50 | the right arrow, and the number 4.
| | 01:53 | Again, the right arrow gets us to the
next beat, the arrow key up, to the next
| | 01:56 | string, and the number 1,
and the right arrow again.
| | 02:00 | And if you need to indicate chords, I
can type a number 1 here, move my arrow
| | 02:04 | down, type 2, and down again,
and type 2 again.
| | 02:08 | Now, to change rhythms, or note values,
you'll move to the beat, using the arrow
| | 02:13 | keys, and then change the value in the keypad.
| | 02:15 | So we're going to move to the right,
with the right arrow, and before we write
| | 02:19 | this in, we're going to change to a half
note, so the number 5 on our keypad, and
| | 02:24 | then the number 2, arrow up,
number 2, arrow up, and number 1.
| | 02:29 | Now, you can also use an
interactive fretboard to input notes.
| | 02:33 | You can show the Fretboard panel by
going to the View panel, and checking on the
| | 02:37 | panel's dropdown list,
and choosing the Fretboard.
| | 02:41 | You can resize the fretboard with this
button here, and click on it to change
| | 02:45 | its size, and now let's use the
fretboard to input some of these notes.
| | 02:50 | So let's use the Page Down key, so we
can see where we're working, and I am
| | 02:54 | going to use the arrow to the
right to begin working in the next bar.
| | 02:57 | I need to change my value back to a
quarter note, so number 4 in the keypad.
| | 03:01 | To use the fretboard to input notes,
you need to locate the string and fret
| | 03:05 | where the note you're inputting would
normally be played, and just click on that
| | 03:09 | position on the fretboard with your mouse.
| | 03:11 | So I am going to go down here, and click
right there, and Sibelius writes that in for us.
| | 03:16 | Now, if you need to input a chord,
you can engage Chord mode here, which is
| | 03:21 | already engaged for us.
| | 03:22 | And you can actually type in a
few other notes if you'd like.
| | 03:26 | If you are in Chord mode, you can use this
arrow to the right to move to the next beat.
| | 03:30 | So it's simple to work with tablature
staves, and Sibelius even makes it kind of
| | 03:34 | fun for you by allowing you to
work with an interactive fretboard.
| | 03:37 | There's also an interactive keyboard for
those of you who'd like to work with an
| | 03:40 | onscreen keyboard, and you can give
that a try from the Panels group as well.
| | 03:44 | So now that we know all there is to
know about note entry, it's time to move on
| | 03:48 | to editing all of these
notes that we've entered.
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|
|
6. Editing NotesEditing notes| 00:01 | I expect that if you've been practicing
note entry, that you probably have a
| | 00:03 | document in front of you that
looks and sounds pretty terrible.
| | 00:07 | Maybe it's something like what I
have open on my screen right now.
| | 00:10 | No matter how good you are at note entry,
there will always be times when you'll
| | 00:13 | have to go back and edit your work.
| | 00:15 | So in this video, I'll give you a
summary of some of the most simple note
| | 00:18 | editing features available to you in
Sibelius, and I think you'll be surprised
| | 00:22 | to find out that you probably
already know most of them already.
| | 00:25 | First, what does edit mode
look like? What is edit mode?
| | 00:29 | It's very simple;
| | 00:30 | edit mode is when something is selected on
the score page without an input line present.
| | 00:35 | So if I just select a note,
that's edit mode.
| | 00:39 | And what can we affect in edit mode?
| | 00:40 | You already know the answer to this, so
I'll summarize what you can do, and I'll
| | 00:44 | throw in a few extra options for you.
| | 00:46 | First, you can use the arrow keys
to move selected notes up and down.
| | 00:52 | You can also use Control or Command with those
arrow keys to move the notes by an octave.
| | 00:56 | Now, what you might not know -- let's go
ahead and select a lot of these notes --
| | 01:01 | you can also use a shortcut to move
selected notes up and down chromatically.
| | 01:05 | So if you hold down Shift, and
use Page Up, the notes will move up
| | 01:10 | chromatically, and Shift+Page Down will
move the notes down chromatically. And
| | 01:16 | you can hit Escape to deselect.
| | 01:18 | You can toggle ties on and off.
| | 01:20 | Let's say you already inputted a tie,
and that was a mistake. You could go back
| | 01:23 | to that first note, select it, and
then just hit the Enter key on your keypad
| | 01:28 | to toggle the tie off.
| | 01:30 | You also know that you can add intervals
to the notes using your QWERTY numbers,
| | 01:34 | and you can add those intervals
below the notes if you hold down Shift.
| | 01:38 | So select a note, hold down Shift,
and use a QWERTY number to input
| | 01:43 | the intervals below.
| | 01:45 | You can also add or remove articulations
or note heads. So if we wanted to
| | 01:49 | accent every note in this bar, I
could select the bar, go to my keypad, and
| | 01:54 | click on the Accent.
| | 01:55 | Similarly, if I had added an accent, and
needed to remove it, I could select that
| | 01:59 | note, and then toggle the Accent off.
| | 02:02 | Now, there is another keypad layout
full of additional notehead markings.
| | 02:07 | It's keypad layout number 4, and these are
all of the different keypad layouts up here.
| | 02:11 | So if we go over to number 4, Articulations,
you'll see that you'll have a marcato accent.
| | 02:16 | So with that note selected, I can
attach a marcato accent to it, and you have
| | 02:20 | some other articulations and symbols
that you can add to your notes as well.
| | 02:25 | There is also a button to remove all
articulations, and that's this button down here.
| | 02:29 | So if I select this bar, and then hit
that button to remove all articulations,
| | 02:34 | all of them will go away.
| | 02:36 | You can also edit accidentals.
| | 02:38 | So here we have a bar
selected with some accidentals in it.
| | 02:41 | Remember that the Enter or Return key
on your QWERTY keyboard will swap the
| | 02:44 | enharmonic spellings. I hit Escape.
| | 02:48 | If you go to keypad layout number 6,
so it's this one here, you also get some
| | 02:53 | more accidental options, so
quarter tones, and things like that.
| | 02:57 | So I can select a note, and change
it into a double flat, or use any of
| | 03:02 | these other symbols here.
| | 03:04 | You can also change the rhythms of notes.
| | 03:06 | So if we go back to our normal keypad
layout -- keypad layout number 1 here -- I
| | 03:10 | can select a group of notes, and I can change
them into any value that I choose in the keypad.
| | 03:15 | So we'll select eighth note,
and turn those into eighth notes.
| | 03:18 | Notice that it doesn't move
the start time of the note;
| | 03:21 | it just changes the note value itself.
| | 03:23 | Now, we haven't really discussed
deleting notes, so here's a little bit
| | 03:26 | about deleting notes.
| | 03:29 | If you select a single note, let's say
this eighth note right there, and if you
| | 03:33 | delete that single note using the
Backspace or Delete key, it turns that note
| | 03:37 | into a rest. And if you delete that
rest by using Delete or Backspace, it
| | 03:42 | actually hides the rest.
| | 03:44 | You can see it there, it's kind of grayed
out, but if you hit Escape, you'll notice
| | 03:47 | that you don't see it.
| | 03:48 | Now, you can view hidden objects, and
we've see this in the course already;
| | 03:53 | if we go to the View Menu, and select
Hidden Objects under Invisibles, we can see
| | 03:57 | that that rest is still there.
| | 03:58 | If I continue to delete that rest, so
let's select it again, and hit Delete or
| | 04:03 | Backspace again, Sibelius will warn me,
and remember to pay attention to these
| | 04:08 | warnings, and this one is extremely important.
| | 04:11 | Especially if you're just beginning in
Sibelius, you'll never want to formally
| | 04:15 | delete a rest by clicking
Yes in this warning box.
| | 04:19 | If you delete a rest in Sibelius,
Sibelius will still leave space where that
| | 04:23 | rest should be, so it gets terribly confusing.
| | 04:25 | So do not delete rests.
| | 04:27 | If you see this warning,
go ahead and click No.
| | 04:30 | You can always undo also to get that rest
back if it's hidden; Control+Z or Command+Z.
| | 04:36 | Now, a final word about deleting notes;
| | 04:38 | if you need to remove or delete a tuplet --
let's input a tuplet first. So I am
| | 04:43 | going to select this rest here, and let's
do the note letter G, and then Control+3
| | 04:48 | to turn it into a tuplet, and let's
finish it off with F, and E, and Escape.
| | 04:53 | So if I need to delete that tuplet, I
can't just select a note in the tuplet, and
| | 04:59 | hit Delete or Backspace.
| | 05:01 | In order to fully delete the tuplet,
you actually have to select the number of
| | 05:05 | the tuplet, and delete that.
| | 05:08 | So what we've discovered is that you
don't have to be perfect during note entry,
| | 05:12 | and you certainly don't have to worry
about entering every bit of information
| | 05:15 | all at once when you enter a note.
| | 05:17 | We've just covered more than enough
ways to edit notes after you've input
| | 05:20 | them, and I'll continue to show you
even more ways to edit notes in the next
| | 05:23 | few videos.
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| Transposing notes| 00:00 | This lesson is on the
transpose feature in Sibelius.
| | 00:04 | Transposing is the process of
changing a selected passage of music into a
| | 00:08 | different key by changing all of the
selected pitches by exactly the same
| | 00:12 | interval, at the same time.
| | 00:14 | The best way to do this in Sibelius
is by using Sibelius' Transpose feature,
| | 00:18 | which is found up in the Note
Input tab, in the Note Input group.
| | 00:22 | Here it is right here: Transpose.
| | 00:24 | You can also get to it by using Shift+T.
| | 00:28 | Before we do that, let's
go ahead and escape.
| | 00:31 | It's best to make a specific selection
to tell Sibelius exactly what notes, or
| | 00:35 | what passage of notes, you would like
to transpose, and there are two ways to
| | 00:38 | make a selection, and how you make
that selection will directly affect the
| | 00:41 | options that Sibelius makes
available to you in the Transpose dialog box.
| | 00:46 | First, if you want the ability to
transpose not only the notes, but also the
| | 00:50 | key signature of a passage, then you
would need to make a system selection; one
| | 00:55 | of those Control+Click or Command+Click type of
selections that turns the bar into a purple color.
| | 00:59 | Or if all you want to do is make a
simple transposition of notes, then you will
| | 01:04 | need to make a simple bar selection,
and that will transpose the notes in the
| | 01:07 | selection, but not the key
signature of the passage.
| | 01:10 | So let's start with a simple passage of
notes that need to be transposed, and I
| | 01:14 | have highlighted some of those
notes here in the second system.
| | 01:17 | So I am going to select these bars here
that I have highlighted, click, and then
| | 01:21 | hold down Shift, and click again.
| | 01:24 | Let me zoom in on that a little bit;
Control+Plus. And I indicated that These Notes
| | 01:29 | Were Inputted a Major 3rd Too High.
| | 01:31 | It's an honest mistake that anyone can make
while copying printed music into Sibelius.
| | 01:35 | So in this situation, we need to
transpose the notes, but not the key signature,
| | 01:40 | which is why we've made
this simple bar selection.
| | 01:43 | To transpose the notes, let's use Shift+
T to open the Transpose dialog. And you
| | 01:48 | have two options at the
top of the Transpose dialog:
| | 01:51 | you can Transpose by key or
you can Transpose by interval.
| | 01:55 | For this example, we know that we need
to lower those notes by a major 3rd, so
| | 01:58 | we are going to choose the Transpose
by interval, and we are going to choose
| | 02:02 | Down, by a Major 3rd.
| | 02:07 | Go ahead and click OK, and
Sibelius does the work for us.
| | 02:12 | Next, let's change the entire key of
this entire movement, transposing both the
| | 02:16 | notes, and the key signature.
| | 02:17 | So let's go ahead and Escape, and I am
going to zoom out using Control+Minus
| | 02:21 | or Command+Minus.
| | 02:24 | Before we transpose, as a side note,
this piece has a B flat major key
| | 02:28 | signature, but it actually appears
that it might be in the key of F.
| | 02:32 | So let's first adjust the key signature
to match the notes on the page. And I am
| | 02:36 | doing this to show you that changing
the key signature does not transpose the
| | 02:40 | piece; it just changes the key signature.
| | 02:43 | So we are going to Escape a few times,
use the letter K for key signature,
| | 02:48 | choose F Major, and then just click F
Major in at the beginning of the piece.
| | 02:54 | None of the notes have changed,
but the key signature did.
| | 02:57 | So the first step toward transposing a
piece of music with its key signature is
| | 03:01 | making the proper type of selection.
| | 03:03 | If it were just a passage in the middle
of this piece, you would hold down Control
| | 03:07 | or Command, and make a
system-based selection like that.
| | 03:10 | In this case, I'm going to transpose the
entire piece, so we are just going to use
| | 03:14 | the editing feature called Select All,
or Control+A, or Command+A. So now we can
| | 03:20 | change the key of this entire piece,
and transpose its notes at the same time.
| | 03:24 | We have got the right type of selection,
so we will use Shift+T to go to the
| | 03:29 | Transpose dialog box, and this time we
are going to be transposing by key, so
| | 03:34 | let's go ahead and click that. And you
will notice down at the bottom that we do
| | 03:38 | have some other options available to us now.
| | 03:40 | We need to decide what key we want to
transpose the passage into, and in what direction.
| | 03:45 | So we will take this piece down to E flat major.
| | 03:47 | I'm going to choose Down, and choose E flat.
| | 03:51 | And you want to always make sure that Transpose
key signatures is selected at the bottom.
| | 03:57 | That way, Sibelius will put that
key signature in there for you.
| | 03:59 | So go ahead and click OK,
and there you have it.
| | 04:03 | Sibelius has transposed the piece
down into E flat major, and all of the
| | 04:07 | notes have moved with it.
| | 04:08 | You can Escape to see that
a little bit better.
| | 04:11 | And one last note here: just for good
practice, after transposing, you may want
| | 04:15 | to go back, and double check your enharmonic
spellings, and ranges of your notes.
| | 04:18 | So now you have learned how to do
some basic note and key transpositions in
| | 04:22 | Sibelius. I encourage you to spend some
time transposing everything you can, in
| | 04:26 | any which way you can, so that you
can become very comfortable with the
| | 04:29 | transposition feature.
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| Editing beams| 00:00 | In this video, you'll learn how to
change the appearance of any of the beams
| | 00:04 | that you see on your score page.
| | 00:05 | To do that, you need to
bring up the Keypad.
| | 00:08 | If you don't see the Keypad on your
screen, then you can use Control+Alt+K, or
| | 00:12 | Command+Option+K, or select it from
the Panels group of the View tab.
| | 00:16 | Once you have the Keypad on the screen,
you need to make your way to the third
| | 00:19 | Keypad layout, and again, those layouts
are those tabs at the top of the Keypad.
| | 00:24 | You can click on them with your mouse,
or you can use your Function buttons
| | 00:27 | F7 through F12 to select them.
| | 00:30 | And the third keypad layout,
F9, is for beams and tremolos.
| | 00:34 | The buttons at the top of the layout
are dedicated to beaming, specifically the
| | 00:37 | buttons that map to number 7, 8,
and 9 on your numeric keypad.
| | 00:41 | When you use the Keypad to rebeam the
notes in your score, the stem and beam
| | 00:45 | picture that you see in the Keypad buttons
is what you're going to get in your score.
| | 00:49 | So let's go ahead and
select a note in the score.
| | 00:52 | I'm going to drag my Keypad over, so we
can see this a little bit better here,
| | 00:55 | and now we can see kind of
how the beaming is working here.
| | 00:59 | So the picture in our score shows a stem
going up, and a beam going through that
| | 01:03 | stem, and the same picture
is in our Keypad.
| | 01:06 | We have a stem coming down,
and a beam going through it.
| | 01:09 | Now if you change the beaming arrangement
in the Keypad, you'll see that the
| | 01:13 | beam will adjust accordingly in the score.
| | 01:15 | So if you want the note to have a stem
with the beam that points only to the
| | 01:18 | right, we can select the button here with the
stem with the beam pointing to the right, and
| | 01:23 | now you'll notice that the selected note
has a stem with a beam pointing to the right.
| | 01:27 | If I want the note in the score to have
a stem with the beam that points to the
| | 01:30 | left, I would select this button here in
the Keypad, and now we have a note with
| | 01:35 | a stem and a beam pointing to the left.
| | 01:38 | And again, if I want a note in this
score to have a stem with the beam that
| | 01:40 | goes through the stem, that would be
this button here that maps to number 8 on
| | 01:44 | your numeric keypad.
| | 01:46 | And finally, if I don't want that note
to have any beam at all, I can select
| | 01:50 | the button in the Keypad with the picture
of the note that does not have a beam,
| | 01:53 | and then the note's beam will go away, and
you'll be left with a single note, with just a flag.
| | 01:58 | Another thing we can do is beam over bar lines.
| | 02:00 | I'm going to select this note here next
to the bar line, let's move the keypad
| | 02:04 | over, and right now we have a stem with
a beam pointing to the left, and if we
| | 02:09 | want a beam over the bar line, then
we want a through beam, or a stem with a
| | 02:14 | beam going both directions.
| | 02:16 | So with that selected, I'm going to
come down to the Keypad, click this button
| | 02:19 | here, and now we have that beam
going through and across that bar line.
| | 02:23 | We can also beam over rests.
| | 02:25 | Let's go ahead and scroll this up a
little bit here, and move the Keypad over.
| | 02:29 | The best way is to select
the rest, and beam through the rest.
| | 02:33 | So I'm going to select this rest here,
and pretend like it has a stem, and then we
| | 02:37 | want a beam that goes through that stem.
| | 02:39 | So we want this button here in
the Keypad, and there we have it.
| | 02:44 | So getting all of the beams in your
score to look exactly like you want them to
| | 02:47 | all of the time is very simple, but
you really only want to use the Keypad to
| | 02:51 | rebeam notes when you absolutely have to.
| | 02:54 | Most of the work should actually be
done automatically by your time signature.
| | 02:58 | For a quick look at how that works,
let's escape, hit the letter T for time
| | 03:02 | signature, and remember that all of
these little numbers here underneath each
| | 03:07 | time signature refer to the way that
Sibelius is going to automatically beam the
| | 03:11 | groups of eight notes in smaller values.
| | 03:13 | Now, in the case of 4,4, you can see
that Sibelius is set to beam the eight
| | 03:17 | notes in groups of fours, and you can see
this arrangement at work in the second to
| | 03:21 | last bar of our example here.
| | 03:22 | If you'd rather have Sibelius beam
your eighth notes in groups of twos, then you
| | 03:27 | would need to adjust the Time Signature's
Beam and Rest Groups. To do that,
| | 03:31 | you can click on More Options, choose your
Time Signature -- here's 4,4 -- and then click
| | 03:36 | on Beam and Rest Groups.
| | 03:38 | You can see that the eighth notes are
grouped in 4s, but if you'd like to group
| | 03:42 | them in 2s, then you can type 2s into the field.
| | 03:44 | So I'm going to erase the 4s, and type 2s,
put a comma in between them, and just
| | 03:49 | make sure that they add up to
the total in the bar, which is 8.
| | 03:51 | Now, you will see that Sibelius will
automatically adjust the smaller values
| | 03:56 | for you, but if you want to specify those, you
can check on those, and specify those as well.
| | 04:01 | Go ahead and click OK, and click OK
again, and Sibelius will load your mouse
| | 04:05 | with that time signature. And now we're
going to replace this old time signature
| | 04:09 | with the new one, with the
new Beam and Rest Groups.
| | 04:12 | So we're going to click on that, and
Sibelius makes that adjustment for you.
| | 04:16 | You can hit Escape to unselect.
| | 04:18 | So remember to always start with
a good Beam and Rest Group in your
| | 04:21 | Time Signature setting.
| | 04:22 | Then when you need to make a local
adjustment, select the note or rest, go into
| | 04:27 | the third keypad layout, select the
picture for the note, and Sibelius will make
| | 04:32 | that change for you.
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| Editing with the Cut, Copy, Paste, and Repeat commands| 00:00 | Sibelius allows you to use all of the
traditional editing commands, such as cut,
| | 00:04 | copy, paste, and repeat.
| | 00:07 | And as you're about to see, these
commands, if you execute them properly, can be
| | 00:10 | very powerful, time-saving, score editing tools.
| | 00:14 | To begin with this example, let's go
ahead and add another staff below the
| | 00:17 | staff that's on the page.
| | 00:19 | That way we'll have a place to copy into.
| | 00:21 | So this is a little refresher.
| | 00:22 | We're going to hit the letter I
on the QWERTY keyboard for the
| | 00:25 | Instruments dialog.
| | 00:27 | And I'll show you how to find a
basic treble clef staff here, down in the
| | 00:31 | left-hand corner, in the Others
category, and you may have to double-click on
| | 00:35 | your Others category to show the instruments.
| | 00:37 | There is an Unnamed treble and bass staff.
| | 00:40 | I'm going to double-click on the
treble staff to add it to the score.
| | 00:44 | So this is where you would go if you
ever wanted to just find a plain old treble
| | 00:47 | clef or bass clef staff, with
no instrument associated with it.
| | 00:50 | So now that that's added to the score,
let's go ahead and click OK, and Sibelius
| | 00:53 | will add it in there for us.
| | 00:56 | When you edit in Sibelius,
particularly when you use cut, copy, and paste,
| | 01:00 | selection is very important.
| | 01:02 | You have to be very
specific with your selection.
| | 01:05 | So let's go ahead and copy a bar of music,
using a traditional editing command for Copy.
| | 01:10 | Go ahead and select the first bar of
music here by just clicking in it, and
| | 01:13 | you can locate the traditional Copy
command in the Home tab, in the Clipboard
| | 01:17 | section here, or of course, you can use the
traditional shortcut Control+C, or Command+C on Mac.
| | 01:23 | So I have got that selected, I am going
to use Control+C, and Sibelius leaves a
| | 01:30 | copy of that on your score, and
puts a copy in the Clipboard for you.
| | 01:33 | So now we are going to make a
selection to tell Sibelius where we're going to
| | 01:36 | paste the contents of the Clipboard, and
since it's just the full bars worth the
| | 01:40 | material, we can just make
another full bar selection here.
| | 01:44 | And to paste, you can use the
button in the ribbon, or use the shortcut
| | 01:47 | Control+V on PC, or Command+V on Mac.
| | 01:51 | And that's very simple, and
you can Escape to deselect.
| | 01:55 | Now, sometimes you may want to offset
where you paste the material, so you might
| | 01:59 | want, let's say, the whole note A here,
and the half note C, you might want to
| | 02:03 | select that, and maybe instead of
pasting it starting on beat 1 down here, you
| | 02:07 | might want to paste it starting on beat 3.
| | 02:09 | Now to do this, we need to show beat 3.
| | 02:12 | So I am going to select that whole rest
there, and let's go ahead and change it
| | 02:16 | into a half rest by just selecting the
half note value in the Keypad, and let's
| | 02:21 | go up and select the whole note, and
the half note to copy it to the Clipboard,
| | 02:24 | so let's copy these notes, let's click
on the A, hold down Shift, and click on
| | 02:29 | the C, and Control+C to
copy it to the Clipboard.
| | 02:33 | Now we're going to select beat 3 down here,
clicking on that half note there, and paste;
| | 02:38 | Control+V or Command+V. And Sibelius
makes that adjustment for us, tying over
| | 02:43 | that whole note as two half
notes, and Escape will deselect.
| | 02:47 | You can also copy material for
more than one staff at a time.
| | 02:51 | So if we wanted to copy the material
from both staves in bars 1 through 3, we
| | 02:55 | would first need to make that selection,
so clicking up here in the top of bar
| | 02:59 | 1, hold down Shift, and click in the
bottom of bar 3, and let's go ahead and
| | 03:04 | copy that to our Clipboard, Control+C
or Command+C. And another thing you need
| | 03:08 | to know about pasting in Sibelius is
that the material that you paste will
| | 03:12 | delete anything that's in its path.
| | 03:14 | So if I select the top of, let's say,
bar 7 here, and if I was to paste those
| | 03:20 | three bars worth of material into the
top of bar 7, you'll see that all of this
| | 03:24 | material in its way will
be deleted, or replaced.
| | 03:27 | So let's go ahead and paste that,
Control+V, and there you go.
| | 03:32 | So be aware that when you paste over
existing material, the existing material
| | 03:36 | will be replaced by the
contents of your Clipboard.
| | 03:39 | Now, if you do need to insert material
into your score, and squeeze it in, in
| | 03:43 | between existing material, you can do that.
| | 03:46 | You can add a bar in between them.
| | 03:47 | So let's go ahead and undo
this paste that we just made;
| | 03:50 | Control+Z. And maybe we want to squeeze
these three bars in between these two bars here.
| | 03:56 | So let's take a look;
| | 03:57 | we have a descending eighth note
pattern here in bar 8 that we don't want to
| | 04:01 | delete, so we need three
bars before the existing bar 8.
| | 04:04 | So to do that, we're going to insert three
bars in between the existing bar 6, and bar 7.
| | 04:10 | Let's go ahead and select bar 7, and we'll
tell Sibelius to add these bars after bar 7.
| | 04:15 | So you can make your way up to the
Home tab again, to the Bars section;
| | 04:19 | this little downward facing arrow here.
| | 04:21 | Now, what we've been doing to add bars
is we've been adding bars at the end,
| | 04:25 | which is that Control+B command, or
Command+B. What we want to do this time
| | 04:29 | is add single bars.
| | 04:30 | This is kind of like inserting bars,
this next selection here. There it is:
| | 04:34 | Control+Shift+B, or Command+Shift+B on Mac.
| | 04:37 | So if I click it once, Sibelius will
add one bar, and then I can use the
| | 04:41 | shortcut Control+Shift+B to
add two more bars in there.
| | 04:44 | So now I've made the space for those
three bars worth of material, and if I
| | 04:49 | make a selection here, and paste
Control+V or Command+V, now I have not
| | 04:54 | replaced the existing material.
| | 04:55 | There is my descending eighth note line.
| | 04:57 | Now, one more note about pasting.
| | 05:00 | I said that your insertion
point needs to be specific.
| | 05:02 | Now, I still have these two staves
worth of material on my Clipboard.
| | 05:07 | So if I go down here, let's say I go
into the bottom staff this time, instead of
| | 05:10 | the top staff, and I make a selection
and I paste, Control+V, Sibelius will only
| | 05:16 | paste in the top staff's material for me.
| | 05:19 | So again, selection and insertion points
are important to think about before you
| | 05:23 | copy and paste, because pasting is a
left to right, and top-down process.
| | 05:27 | Now, another way to copy material is to
cut it out first, and we can just use a
| | 05:31 | traditional Cut command for that either
by selecting it up here in the ribbon,
| | 05:35 | or using Control+X or Command+X. So
let's select the contents of a bar;
| | 05:41 | let's do these
descending eighth notes in bar 11.
| | 05:43 | Select those, Control+X or Command+X
will remove them from the file, and then we
| | 05:49 | can paste them in, let's say, in
the staff below, make a selection, and
| | 05:52 | Control+V or Command+V to paste them back in.
| | 05:55 | We don't always have to use bar selections;
| | 05:58 | we can select individual notes or
objects to cut, copy, and paste.
| | 06:02 | So let's take a look at these
two accident notes here, maybe.
| | 06:05 | Let's select the first one, hold down
Shift, and select the second one, and
| | 06:09 | let's copy those to our Clipboard;
| | 06:11 | Control+C or Command+C. And maybe we
want to paste those starting on beat 4
| | 06:16 | of this bar down here.
| | 06:17 | So again, we need to show beat 4, let's
select that half note rest, turn it into
| | 06:22 | a quarter note in our Keypad, so now we
have the quarter note beat 4 here, and
| | 06:26 | make that selection.
| | 06:27 | We're going to tell Sibelius to
paste those two notes right there.
| | 06:31 | So with it selected, Control+V or Command+V,
and there are our two notes on beats 4 and 1.
| | 06:36 | Now, there is another way to copy and
paste in Sibelius that's even faster than
| | 06:41 | using traditional shortcuts.
| | 06:43 | So let's go ahead and copy a selected
bar or two from the top staff down to
| | 06:47 | the bottom staff again.
| | 06:48 | So I am going to use my mouse scroll to
scroll down here, and make a selection
| | 06:51 | of these two bars using Shift+Click.
| | 06:53 | Now, this time, instead of using the
traditional commands, let's do this:
| | 06:58 | we've made the selection, and if you're
on PC, go ahead and hold down the Alt key.
| | 07:02 | If you're on Mac, hold down Option.
| | 07:04 | Move your mouse over to the position where
you want the start of the paste to begin.
| | 07:09 | In this case, I've put it
at the beginning of a bar.
| | 07:11 | I am still holding that Alt or Option button;
| | 07:13 | all you have to do is just click with
your mouse, and Sibelius will copy the
| | 07:17 | material over for you.
| | 07:19 | And if you have a two-button mouse,
instead of holding Alt or Option, you can
| | 07:22 | just aim and click with both mouse buttons at
the same time to perform the same operation.
| | 07:28 | And again, remember, if you want to
offset where the material is pasted, you
| | 07:31 | have to create the beat first.
| | 07:33 | So with this same selection, if I
wanted to paste the same material, let's say,
| | 07:37 | over here in this bar, but instead of
beginning on beat 1, let's say we want to
| | 07:40 | begin on beat 2, I'd have to
make that beat show up first.
| | 07:44 | So I've selected that bar, and change
it to a quarter note, make my selection,
| | 07:50 | and this time, with no modifiers or
anything pressed down, with just that
| | 07:54 | selection, I'm going to move my mouse
to beat 2 here, and using both of my
| | 07:58 | mouse buttons, I'm going to click, and
Sibelius has adjusted the rhythm, and
| | 08:02 | made that paste for me.
| | 08:04 | And you can escape out of that.
| | 08:06 | Now, there is one more editing command
that's very easy and fun to use, and it
| | 08:10 | will definitely save you a
lot of time, and that is Repeat.
| | 08:14 | So let's scroll up here, I am going to
use my mouse scroll, and I am going to
| | 08:17 | drag this paper over, so
we can see the last page.
| | 08:21 | And let's add some bars to the end,
so Control+B, or Command+B, and Escape.
| | 08:28 | To use the Repeat command, you need to
make a selection of material that you'd
| | 08:31 | like to repeat, so I am going to
select all three of these bars here.
| | 08:35 | And then all you have to do
is hit the letter R to repeat.
| | 08:38 | Now notice, when you repeat, it
will copy and paste the selection
| | 08:42 | immediately after itself.
| | 08:44 | So in this case, this G at the start of
the selection is going to be right here
| | 08:48 | on beat 1 at the end of the selection.
| | 08:50 | So the letter R, and it repeats.
| | 08:53 | So those are your copy, cut,
paste, and repeat commands.
| | 08:56 | We didn't work with any transposing
staves, but rest assured, if you copy and
| | 09:00 | paste from any staff into any
other, Sibelius will always get the
| | 09:03 | transposition correct for you.
| | 09:05 | In the next video, I'll give you a
real life example of how using all of your
| | 09:09 | editing commands in the proper order can
help you create a simple piece of music
| | 09:12 | out of a single notated musical line.
| | Collapse this transcript |
| Combining editing techniques for creativity| 00:01 | Most of you should be able to recognize
this melody, even though there are some
| | 00:03 | rhythmic errors that I've highlighted.
| | 00:06 | This happens all of the time.
| | 00:07 | You enter notes with a shortcut key
without looking at the screen, you move
| | 00:10 | through a whole bunch of bars, and you
stop and look up, and you realize that
| | 00:13 | you've made a few mistakes,
particularly with the rhythms.
| | 00:17 | Sometimes rhythms aren't
the easiest problems to fix.
| | 00:19 | You actually have to know quite a bit
about editing in Sibelius in order to fix
| | 00:23 | all of the rhythmic problems
that can arise during note entry.
| | 00:26 | For example, if you need to make a note
value shorter, like the first note in bar
| | 00:31 | 2, if I select this note, if we know
this is melody, then we know that that
| | 00:36 | note actually should just be a quarter note.
| | 00:38 | Now, I can go ahead and remove the
rhythm dot on that note in my Keypad by
| | 00:42 | toggling it off, and now I have the
proper note value: the quarter note.
| | 00:46 | But the problem is, I have an eighth note
rest to the right of that note, when I
| | 00:50 | should have this eighth note E
in that position.
| | 00:52 | Let's go ahead and delete this
highlight, in the upper right corner of the
| | 00:56 | highlight, select it, and
hit Backspace or Delete.
| | 01:00 | So we need to move this
material from this E forward,
| | 01:03 | we need to move it back one step.
| | 01:05 | So let's go ahead and make this selection.
| | 01:08 | So select the E, hold down Shift,
and select all the way to the end of
| | 01:12 | that passage. So we need to cut that
out, and paste it one eighth note beat earlier.
| | 01:17 | So with it selected, Control+X or Command+X,
and now we're going to tell Sibelius to
| | 01:23 | paste that passage starting on this beat here.
| | 01:25 | So select that eighth note rest, and
Control+V or Command+V to paste it in.
| | 01:30 | So we've fixed that first rhythmic error.
| | 01:33 | Next, in bar 6, we have
too many F sharp eighth notes.
| | 01:36 | So let's go ahead and Escape, and
we have one to many F sharps here.
| | 01:42 | You may initially think that it's
easy as simply deleting the note, but of
| | 01:46 | course. it's not that simple, because
when you delete a note, Sibelius turns
| | 01:49 | that note into a rest.
| | 01:51 | You may then think that
deleting the rest is the solution,
| | 01:55 | so if I delete the rest, but that's
not the solution either, because deleting a
| | 01:59 | rest only hides the rest.
| | 02:01 | You can see that it's a
little but grayed out.
| | 02:03 | Now, deleting a hidden
rest is such a bad move,
| | 02:06 | if I hit Delete again, that Sibelius
warns you, and tells you not to do it.
| | 02:09 | So you never should do that.
| | 02:10 | I'm going to hit Escape, and let's go
ahead and undo, Control+Z, to get that rest back.
| | 02:16 | So after you delete that extra note, and
end up with this rest, you have to, once
| | 02:20 | again, select all of the material to the
right, cut it out, and paste it back into
| | 02:26 | that position where that rest is.
| | 02:28 | So, I'm going to select the D here,
hold down Shift, go to the end of the
| | 02:31 | passage, and select the whole passage,
and let's go ahead and cut that out: Control+X
| | 02:36 | or Command+X. Again, I'm going to delete
this highlight, so in one of the one of
| | 02:40 | the upper corners of the highlighter,
you can just select it there, and hit
| | 02:44 | Backspace or Delete.
| | 02:45 | So now I need to take that cut out
portion of the music, and paste it right back
| | 02:49 | in on that eighth note beat.
| | 02:51 | So I'm going to select that eighth note beat, Control+V
or Command+V, and paste it in, and hit Escape.
| | 02:56 | Now, our last rhythm editing scenario
involves correcting a rhythm that is too short.
| | 03:03 | In this case, this note A should actually
be a quarter note, and not an eighth note.
| | 03:07 | Now, when the rhythm is too short, you
usually will not have enough space to the
| | 03:12 | right of it to change it into a longer
value without overriding the note to its right.
| | 03:16 | So if I select this A, and turn it
into a quarter note, for example, we're
| | 03:21 | going to lose that eighth note G. So change
it into a quarter note, and now our G is gone.
| | 03:25 | So we don't want to do that.
| | 03:27 | Let's go ahead and undo; Control+Z. So
instead of changing the rhythm first, this
| | 03:32 | time we have to cut out all of the
information to the right of the note first,
| | 03:36 | make room for the larger note value,
change the rhythm to a larger value, and
| | 03:41 | then paste the remaining notes back in.
| | 03:42 | So let's go ahead and make this
selection, and cut this out first.
| | 03:46 | From the G to the end, Shift+Click there,
cut that out; Control+X or Command+X. Now
| | 03:53 | let's make that note value
larger, since we now have room for it.
| | 03:56 | I'm going to delete this highlight here.
| | 03:58 | So selecting that A, make it a quarter
note like it should be, and now the rest
| | 04:03 | of the notes need to be
pasted from that point forward.
| | 04:06 | So we select that rest, and Control+V
or Command+V to paste that in.
| | 04:10 | And again, you may have to fix some of
the rhythms after you do some of this
| | 04:14 | fancy copying and pasting.
| | 04:16 | So Escape will deselect, and in this last
bar, this really should be a dotted half note.
| | 04:20 | So I'm going to select the first
beat here, the eighth note, change it in my
| | 04:24 | Keypad to a half note with a dot. And we
can do that up here as well, in bar 4.
| | 04:29 | There's a half note here; add the dot.
| | 04:32 | And even in bar 2, here's a quarter
note and we can just add a dot to that
| | 04:36 | instead of having that tie over.
| | 04:37 | So now that the first statement of
this musical theme is rhythmically correct,
| | 04:42 | since this is a round, we could copy
the music from the top staff into some of
| | 04:46 | the other staves, and offset it as we paste it
back in to create the round on our score page.
| | 04:51 | But before you do that, you would want
to make sure that you include everything
| | 04:54 | in the original copied music that you
might want to include later in the round.
| | 04:58 | So if you wanted to put some articulations,
let's say, on the eighth notes -- maybe you
| | 05:02 | want all of the eighth notes to be staccato
eighth notes -- you'd want to do that first.
| | 05:06 | So I'm going to use some
noncontiguous selection.
| | 05:08 | Select that eighth note there, holding
down Control or Command, and select some of
| | 05:12 | these other eighth notes, and on the
Keypad, add some Staccato markings.
| | 05:17 | And for all of these eighth notes, we
could use a simple range selection, and add
| | 05:21 | some staccatos to them. And then these
eighth notes here, again, noncontiguous
| | 05:26 | selection, using Control or
Command, and add a staccato.
| | 05:29 | Now, as long as you put these markings
in first, then they will copy and paste
| | 05:33 | for you, so that you don't have to add
the markings to the other copies that you
| | 05:36 | pasted on the score page.
| | 05:38 | So once the musical line is all marked
up the way you want it, it's time to
| | 05:41 | complete the score using
copy, paste, and repeat.
| | 05:44 | So let's complete this round.
| | 05:46 | Go ahead and select the statement, and
you can Shift+Click through the entire
| | 05:49 | statement, and let's go ahead and
repeat it two more times in the top staff.
| | 05:53 | So I'm going to use R to
repeat twice; there's R, and R again.
| | 05:58 | Now, let's copy this entire top staff.
| | 06:00 | So I'm going to triple click up here in
the top staff -- one, two, three -- to select
| | 06:04 | it for the entire piece.
| | 06:05 | Let's go ahead and copy that to the
clipboard; Control+C or Command+C. And let's
| | 06:10 | paste the material into the second
staff, but instead of starting in bar 1,
| | 06:13 | let's go ahead and start here in bar 3.
| | 06:15 | So, select bar 3, Control+V to paste,
and now let's paste the material into
| | 06:22 | that third, or bottom staff. And this
time, instead of starting at bar 3, we'll
| | 06:25 | start it in bar 5.
| | 06:26 | So make a selection down here in bar 5,
and Control+V or Command+V. Now, the
| | 06:31 | notes might be a bit high
for the bass clef instrument.
| | 06:34 | So with the notes still selected, let's
use Control+arrow down or Command+arrow
| | 06:37 | down to move them down an
octave, and go ahead and Escape.
| | 06:40 | So now if you play this back, you'll see
that it's a perfect round, and everything
| | 06:45 | will work out great.
| | 06:46 | So this has been a very simple example
of using editing commands in Sibelius to
| | 06:50 | save you a lot of time
while you create your music.
| | Collapse this transcript |
|
|
7. Adding Lines and Symbols to a ScoreChoosing and adding lines| 00:00 | After entering and editing
the notes in your score,
| | 00:02 | you'll probably want to
add some lines to the score.
| | 00:05 | Lines in Sibelius include everything
from slurs and hairpins, to trills,
| | 00:09 | glissandi, arpeggios, and tempo changes.
| | 00:12 | You can access all of the lines
from their group in the Notations tab.
| | 00:15 | So let's go ahead and click on Notations
and here are the lines here and
| | 00:19 | you can use the Arrow buttons here to scroll
through them, or an even easier way is
| | 00:25 | by pressing the letter L on your
QWERTY keyboard; L for Lines.
| | 00:29 | So let's take a look at
this Line's dropdown menu.
| | 00:32 | The Lines Menu is organized into categories,
| | 00:34 |
from some of the most common lines that you'll
see in your score, like slurs and hairpins,
| | 00:39 |
to some more uncommon lines
and graphics, if we scroll down,
| | 00:44 | like arrows and dashed lines.
| | 00:45 | Let's go ahead and escape out of the
Lines Menu, and just like entering anything
| | 00:50 | on the page, there are two
ways to input your lines;
| | 00:52 | you can either load them in your mouse
and then click them onto the Score page
| | 00:57 | or you can make a selection first and
then select your line and have Sibelius
| | 01:00 | put the line near your selection.
| | 01:02 | So let's go ahead and load a line in our mouse.
| | 01:05 | Let's load up a trill line.
| | 01:06 | So we've escaped out, let's go ahead
and hit L for the Lines Menu.
| | 01:10 | Let's select the Trill with our mouse up here
by clicking, and Sibelius has loaded that
| | 01:16 | trill into our mouse for us and now all we
have to do is click above a note in the score.
| | 01:20 | So let's go down into the Clarinet part and
above this half note here, go ahead and click,
| | 01:26 |
and Sibelius connects the line to the note and
extends the line for the duration of that note.
| | 01:30 | And most of the lines also do playback.
| | 01:33 | So if we select the Clarinet part here and
hit the letter P to play--
| | 01:37 | (music playing)
| | 01:38 | --and Escape to stop, you can hear that trill.
| | 01:40 | Now, another way to input a
line is to make a selection first.
| | 01:45 | Let's scroll down to the bottom of this score,
I'll use Page Down, and let's go ahead and
| | 01:49 |
add a first ending here
in the second to last bar.
| | 01:52 | So let's make that selection first.
| | 01:54 | I'm going to select this bar, then let's
go L for Lines Menu, and we can select
| | 01:59 | the first ending here and
Sibelius puts that in above that bar.
| | 02:02 | Now if you're new to Sibelius, you'll discover
that there are actually two categories of lines;
| | 02:07 | there are Staff lines and System lines.
| | 02:10 | You can actually see this division if you visit the
Dialog Launcher button for the Edit Lines Menu.
| | 02:15 | So back up into the Ribbon, this
Dialog Launcher here, click on that,
| | 02:19 | and you'll see the arrangement of
Staff lines versus System lines.
| | 02:23 | Staff lines are lines that attach to
an object or a note in a single staff or
| | 02:26 | instrument and they only
show up in that particular part.
| | 02:30 | The trill that we inputted into the clarinet
part is a good example of a Staff line.
| | 02:34 | It'll only show up in the clarinet part and
it will not affect any other parts in our score.
| | 02:39 | System lines also attach to an object
or a note in a bar, but System lines,
| | 02:43 | while they may only appear to be
connected to one staff in the score,
| | 02:47 | they'll end up showing up in all of the parts.
| | 02:49 | So the first ending line that we inputted into
the score is a good example of a System line.
| | 02:54 | It would be extremely important for that
line to show up in all of the parts and
| | 02:57 | not just in the Clarinet part.
| | 02:59 | Let's go ahead and escape out of this
dialog and let's take a look at the parts.
| | 03:04 | So to the right-hand side of your
score, this little Plus (+) button here,
| | 03:07 | click on that, and let's click on the
Clarinet part, and you'll see that the
| | 03:11 | Clarinet has its trill or its Staff line and
it also has the System line for the first ending.
| | 03:16 | Let's go back to that little Plus (+)
button and let's pull up the Trumpet,
| | 03:21 | and you'll notice there's
no trill in the Trumpet part,
| | 03:23 | but we do have that System line, that first ending.
| | 03:25 | Let's go ahead and go back to
our score now, click on Full Score.
| | 03:29 | Now let's go ahead and add one more line
into the score, and I'll show you an
| | 03:32 | easy way to adjust the lines
after they've been inputted.
| | 03:36 | Let's go ahead and add a
Tempo line like an accelerando.
| | 03:39 | So I'm going to Esc, and let's go
ahead and select a passage for this.
| | 03:43 | So down at the bottom of the screen here,
Bar 15, I'm going to select Bar 15.
| | 03:48 | Hold down Shift and select all the way
to the first ending, L for Lines Menu,
| | 03:53 | and let's go ahead and select the
accelerando line, and Sibelius inserts that
| | 03:58 | line across my entire selection for me.
| | 04:01 | Now, you may notice immediately after
entering a line that you can see a little
| | 04:05 | small purple box, or what Sibelius
calls a handle, attached to the line.
| | 04:10 | You can actually grab that handle and
retract and expand the line if you'd like to.
| | 04:15 | Now, if you Esc, you won't
be able to see those handles,
| | 04:19 | and even though you can click and
kind of guess where they're at,
| | 04:22 | sometimes you might be
lucky enough to find them,
| | 04:24 |
but there's a little better way if
you'd like to get those handles back.
| | 04:28 | You can either use Ctrl+A or Command+A
to select all in the score,
| | 04:32 | which shows the handles and then you
can grab them and move them around,
| | 04:35 | or you can go up to the View tab, in Invisibles,
and you can tell Sibelius to show the Handles,
| | 04:42 | and now I can grab like the first ending,
I can drag it and reposition it,
| | 04:46 | and my accelerando line as well.
| | 04:49 | And the length of the line does
affect the playback of the line.
| | 04:52 | So the accelerando is going to begin
here, where it's attached to this bar,
| | 04:57 | and it will continue increasing tempo all
the way through to the end of the line
| | 05:01 | here before the first ending.
| | 05:03 | So go ahead and spend some time
experimenting with all of the different
| | 05:06 | lines that Sibelius has to offer you.
| | 05:08 | Enter them, play them back,
and have a little fun with them.
| | 05:12 | And in the next two videos, we'll focus
on working specifically with two of the
| | 05:15 | most commonly used staff
lines: slurs and hairpins.
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| Creating and extending slurs and phrase marks| 00:00 | One of the most commonly used Staff
lines in Sibelius is the Slur line
| | 00:04 | which is also the same line that we
use to create large phrase markings.
| | 00:08 | Because we use slurs and phrase
markings so often in our music,
| | 00:11 | Sibelius has assigned some extra
built-in features to the slur line
| | 00:15 | that make it very easy to create and position.
| | 00:17 | So it's important to learn the
right way to input and extend the slur.
| | 00:20 | There are several ways to
enter a slur in Sibelius.
| | 00:23 | If you already have notes on
the page, you have two options.
| | 00:27 | The first option involves selecting a
note where the slur or phrase marking
| | 00:30 | is going to begin, so we can
select the note in Bar 1, and
| | 00:34 | then using the simple shortcut, S,
to add the slur into the score; so S.
| | 00:39 | Now if you'd like a longer slur or phrase
marking, once you add the slur to the score
| | 00:45 | using S, then you can immediately
use your Spacebar to extend the slur.
| | 00:49 | So I'm just going to hit Spacebar and
let's turn this into a big phrase marking.
| | 00:56 | If you go too far, you can use
Shift+Space to backspace the slur.
| | 01:01 | So holding Shift and backspacing moves it
backwards and Spacebar by itself moves it forward.
| | 01:07 | When you're done, you can hit Esc.
| | 01:09 | The second option involves making a
selection that covers the duration of
| | 01:13 | the slur or phrase marking first and
then using the letter S to input the slur.
| | 01:18 | So let's say I wanted these two notes
to be slurred together, I can make a
| | 01:21 | selection here using Shift+Click and
then the letter S to add the slur, and Esc.
| | 01:28 | If you ever need to re-space
a slur or phrase marking,
| | 01:31 | you'll have to find and select
that slur's rightmost handle.
| | 01:34 | You can't just click on the slur to
select it and hit Spacebar to expand it,
| | 01:39 | (music playing)
| | 01:41 | because the score will start playing back.
| | 01:43 | Instead, you can click on the slur and
you'll see the rightmost handle,
| | 01:47 | it'll be a little bit grayed out up
there, and with it highlighted,
| | 01:51 | you can select it there and highlight it,
then you can use Spacebar to re-extend
| | 01:56 | or Shift+Space to retract the slur.
| | 02:00 | And that is the proper way
to extend and retract a slur.
| | 02:03 | You do not click and drag on a slur.
| | 02:05 | Slurs are intelligently positioned
with their notes to ensure that
| | 02:09 | they'll appear correct on the screen no matter
what happens with the formatting of your score.
| | 02:13 | If you drag them and disconnect them
from their default positions,
| | 02:16 | you may end up with a slur or phrase
marking that looks a little bit
| | 02:18 | out of position when you finish
your score's final layout.
| | 02:21 | Let's go ahead and Esc.
| | 02:23 | Now you can also input
slurs as you input notes.
| | 02:27 | Let's go to the end of this document;
I'm going to use the End key,
| | 02:31 | a few times here, there we go.
| | 02:33 | Let's go ahead and input some notes
and some slurs at the same time.
| | 02:36 | So I'm going to select here into Bar 33 and
let's do a quarter note with a dot (.) on it,
| | 02:42 | and the letter D. So if I want a slur
here from this D to the next note,
| | 02:46 | I can just enter S now while I'm in note entry
and then I can just continue in note entry,
| | 02:51 |
so let's say the letter E here,
and the slur will keep going.
| | 02:55 | So if I go into the letter F,
the slur will continue.
| | 02:58 | Now when you want the slur to stop, the way
to stop it from advancing, is to use Shift+S.
| | 03:06 |
Now if I enter the next
note, G, the slur has stopped.
| | 03:10 | So adding slurs or phrase markings in
Sibelius is very simple,
| | 03:13 |
whether you add them while you're entering
notes, or if you wait and add them later.
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| Creating and extending hairpins| 00:00 | Another very common Staff
line in Sibelius is a hairpin.
| | 00:04 | If you've never heard that term before,
| | 00:06 | hairpins are the Sibelian word for
crescendo and decrescendo markings.
| | 00:11 | Similar to slurs, hairpins should be
entered and extended with shortcut keys
| | 00:14 | and should rarely if ever
be handled with the mouse.
| | 00:18 | You can enter a hairpin
just like you enter a slur.
| | 00:20 | If you already have notes on
the page, you have two options.
| | 00:24 | You can select a note where the
hairpin is supposed to begin,
| | 00:26 | so if we select this F here and then you
can use the letter H to input the hairpin.
| | 00:32 | To expand the hairpin with its handle
still active, you can use the Spacebar,
| | 00:36 | that advances you by beat or by note,
| | 00:40 | and to backspace it or retract the
hairpin, you can use Shift+Spacebar.
| | 00:46 | To enter a decrescendo, you'll
need to use the modifier shift.
| | 00:50 | So let's go ahead and Esc, select the
note where you'd like the hairpin to begin,
| | 00:54 | let's select that F this time, and then
use Shift+H to enter a decrescendo,
| | 01:02 | and again that will space out just like a
normal hairpin, and Shift+Space to retract it.
| | 01:09 | Let's go ahead and Esc.
| | 01:10 | Now the second option for entering
the hairpin is, of course,
| | 01:13 | to make a large selection
first and then hit H or Shift+H
| | 01:17 | for a large crescendo or decrescendo that
extends along the length of our selection.
| | 01:21 | So let's go ahead and make a selection here,
| | 01:26 | and with that selected if I hit H, Sibelius
puts a hairpin across that selection.
| | 01:31 | And same idea here if I make a
selection here, using Shift+Click,
| | 01:35 | if I use Shift+H, Sibelius adds a decrescendo.
| | 01:39 | Now just like with a slur if you
enter a hairpin and hit Escape
| | 01:43 | and later wish to go back and
extend or retract the hairpin,
| | 01:47 |
you should never, ever
drag it with your mouse.
| | 01:50 | Now unfortunately, selecting
a hairpin by clicking on it
| | 01:53 | does not show you where its handles are,
| | 01:55 | so you'll have to use the Select All command,
Ctrl+A or Command+A, to see those handles,
| | 02:01 | there they are there, and grab them,
or again you can go up to the View tab,
| | 02:05 | in Invisibles and show the handles,
and then you'll be able to see them,
| | 02:09 | and once you grab them, then you can use
Shift+Space to retract it or Space to extend it.
| | 02:17 | And finally just like entering slurs, you can
enter hairpins as you go along in note entry.
| | 02:22 | So again let's go to the end of this score;
I'm going to use the End key a few times,
| | 02:26 | and I'm going to select the top of bar 33 here.
| | 02:30 | Let's do a dotted quarter note, so
in my keypad a quarter note with a dot
| | 02:35 | and the letter A, and if I wanted a
hairpin to begin here, I would hit H
| | 02:40 | and then we can continue
entering the rest of the notes
| | 02:44 |
and as we do that that hairpin will expand.
| | 02:47 | Now to stop the hairpin, this is a
little bit different from the slur,
| | 02:50 | you're not going to use Shift+H,
you're going to use Shift+L.
| | 02:55 | So Shift+L will stop that hairpin,
| | 02:57 |
and then I can continue in note entry
without the hairpin moving along with me.
| | 03:01 | If I wanted to add a decrescendo,
I'm still in Note Entry,
| | 03:04 | I would use Shift+H,
continue along in Note Entry;
| | 03:08 | let's switch to an eighth note here,
and to stop the advancement of that
| | 03:13 | decrescendo, Shift+L and
continue in Note Entry.
| | 03:18 | Shift+L is actually a global shortcut
for stopping the forward progression
| | 03:22 | of most of the lines in Lines menu.
| | 03:24 | So you'll find that you'll be able
to add other lines during note entry
| | 03:28 | just like the slur and hairpin.
| | 03:30 | You can enter a note, select the line
from the Lines menu,
| | 03:32 | and you continue entering
notes while that line expands
| | 03:35 | until you use Shift+L to
stop its forward progression.
| | 03:40 | So our quick overview of working with
hairpins has also given you some good
| | 03:43 | workflow information for inputting other
lines from the Lines menu during note entry.
| | 03:48 | I encourage you to practice the
different ways of inputting lines,
| | 03:50 | and find the method that works best for you.
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| Working with keypad symbols and lines| 00:01 | As you know, Sibelius has a large library of
symbols and lines that you can add to your score.
| | 00:06 | As a general rule of thumb, if any
of those symbols or lines appears
| | 00:09 | in any of the keypad layouts, it's a
good idea to input them from the keypad.
| | 00:14 | The keypad symbols and lines are the
most intelligent of the lines and symbols.
| | 00:18 | They attach to their notes carefully
and they play back appropriately.
| | 00:22 | So let's take a quick look at some additional
symbols that you can find in the keypad
| | 00:26 | and also in some other windows in Sibelius.
| | 00:29 | You're already familiar
with the notes and symbols
| | 00:32 | that appear here in
Keypad Layout number 1.
| | 00:34 | Let's go ahead and move to Keypad Layout
number 2 by clicking on this tab here.
| | 00:38 | Now, this gives you some
additional rhythms to choose from,
| | 00:41 | including some extra rhythm dots
and also some grace notes up here.
| | 00:46 | And you can see a grace note in use in
this score, in the Harp here in Bar 4.
| | 00:50 | And if I select that you will be
able to hear that grace note play back.
| | 00:54 | I'm going to hit the letter P.
(music playing)
| | 01:00 | And Escape. Now we also use Keypad Layout
number 3; let's go ahead and click on that.
| | 01:06 | We use that in our beaming video, and you
can also access tremolo symbols from here.
| | 01:10 | So if you would like to enter a tremolo,
let's go ahead and scroll back up,
| | 01:15 | I'm going to use my scroll mouse here,
and let's add a tremolo to the Viola.
| | 01:18 | So I'm going to select
the note here in the Viola,
| | 01:21 | and you can just select the picture of the
tremolo that you'd like here in the keypad,
| | 01:25 | and we can do that to both
of these notes if we'd like,
| | 01:27 | and when we play this back,
you'll hear that tremolo.
| | 01:31 |
(music playing)
| | 01:34 | And Escape. Now the fourth Keypad
layout gives us additional articulations,
| | 01:39 | including a Marcato accent
and a traditional Fermata,
| | 01:43 | and the Fermata also plays
back if you attach it to a note.
| | 01:47 | The fifth Keypad layout here, this
gives us some Jazz articulations,
| | 01:52 | like Falls and Scoops, and those
don't play back, but they look great,
| | 01:56 | so I encourage you to use
them when you need them.
| | 01:59 | There are some Repeat Bar indicators
which do play back, these guys here,
| | 02:04 | and there are some Arpeggio lines and
arrows up here in the upper right corner,
| | 02:08 | and those also do play back, and you
can see in here an Arpeggio symbol
| | 02:12 | that I've entered from the keypad,
here in Bar 5 of the Harp part.
| | 02:16 | If we hit P for Play,
(music playing)
| | 02:20 | So entering it here from the keypad is
the best way to go,
| | 02:23 | because it positions it
appropriately and it plays it back.
| | 02:26 | Now, finally the sixth Keypad layout,
we'll go here, that gives you some
| | 02:31 | additional accidentals that you can add to
your score, and these are great to use
| | 02:34 | because they attach appropriately to their
notes and most of them play back as well.
| | 02:38 | Now in addition to all of the
wonderful lines and symbols
| | 02:41 | that you can find in the Keypad
layouts and in the Lines Menu,
| | 02:45 | Sibelius has a library of
additional symbols that are found
| | 02:48 | in what I like to call the Symbols Menu,
and I pronounced that with a Z because
| | 02:52 | the shortcut key for accessing
the Symbols Menu is the letter Z,
| | 02:57 | and it also is found in the Notations
tab, just next to the Lines Group.
| | 03:00 | Now the one thing you should always
keep in mind about the Symbols Menu
| | 03:04 | and the symbols within it, are that
these symbols are not intelligent.
| | 03:08 | In most cases they do not attach to
objects as perfectly as they should,
| | 03:12 | and in all cases the symbols
do not play back.
| | 03:15 | So ideally the Symbols Menu is your
last resort for finding a symbol or line
| | 03:19 | that you cannot find in
either the keypad or the Lines Menu.
| | 03:23 | For example, this is not where you would
go to enter an articulation, even though
| | 03:29 |
the Symbols Menu has a wide variety
of articulations for you to choose from.
| | 03:34 | You wouldn't want to choose them from here
because these symbols will not play back
| | 03:38 |
and they also won't attach
to your notes appropriately.
| | 03:41 | And one of the reasons I use symbols
is because I'm an accordion player,
| | 03:45 | and if I scroll up a little bit here, you'll
see that I can find all of my accordion
| | 03:50 | read indications here in the Symbols Menu.
| | 03:53 | So you should definitely look through
the Symbols Menu and be familiar with the
| | 03:56 | symbols that it offers you, but use
all of the symbols with caution and with
| | 04:00 | the understanding that they really are
like true graphics that you're going to
| | 04:03 | place within the program.
| | 04:05 | To input a symbol, it's just like any
other object, you can load into your mouse
| | 04:10 | and then you can click it onto the screen.
| | 04:13 | You can also make a selection first and
then enter the symbol next to your selection.
| | 04:18 | So as you can see, between the keypad,
the Lines Menu, and the Symbols Menu,
| | 04:22 | Sibelius gives you access to virtually
any musical symbol or line
| | 04:25 | that you will ever need.
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|
|
8. Using ShortcutsIntroducing modifier key themes| 00:00 | At this point in your training, I think it
might be helpful to point out a few themes
| | 00:03 |
that occur in Sibelius in regard to two of
the most commonly used shortcut modifiers.
| | 00:09 | First, you may not have noticed a theme
developing with the shortcut modifier Ctrl,
| | 00:13 | or Command if you are on Mac, but it'll probably
help you if you keep this phrase in mind:
| | 00:18 | Ctrl does more, and for those
of you on Mac, Command does more.
| | 00:24 | So how does it do more?
| | 00:25 | Here are a few examples that we've
already covered. First with bar selection.
| | 00:30 | If I just click in a bar, I
make a simple blue bar selection.
| | 00:34 | If we escape, and if we hold down Ctrl
or Command and click in a bar,
| | 00:38 | we end up with a system selection,
so we end up selecting more.
| | 00:43 | Another example is when you're moving
selected notes with your arrow keys.
| | 00:47 | So let's select bar 2 here, and
if we just use our arrow keys,
| | 00:50 | we'll move the notes diatonically up and
down, but if we apply Command or Ctrl,
| | 00:55 | and use the arrow keys, then
the notes move by an octave.
| | 00:59 | Now this is stretching it a little bit,
but creating Tuplets is kind of in this
| | 01:04 | category as well. So if we hit Escape,
I will select this note down here.
| | 01:09 | When you create a normal
note you just create the note.
| | 01:12 | But in order to do a little bit more
than that, in order to create a Tuplet,
| | 01:15 | you can use Ctrl or Command plus a number
in your QWERTY keyboard to create a Tuplet.
| | 01:21 | So you'll end up getting a little
bit more out of your note entry,
| | 01:25 | if you're using Ctrl and a number.
| | 01:27 | You can also navigate a bit
more using Ctrl or Command.
| | 01:31 | You know that you can navigate
through pages in your Score
| | 01:33 | by using the Home, End,
Page Up and Page Down keys.
| | 01:37 | What you don't know is that if you use
Command or Ctrl with those keys,
| | 01:42 | you can do things like, Ctrl+End, will jump
you to the very, very end of the Score,
| | 01:47 | Ctrl or Command+Home will jump you immediately
to the very beginning of the Score.
| | 01:54 | And the same thing with the Page Up and Page
Down keys; if I hold down Ctrl or Command
| | 01:57 | and use Page Down, I immediately
jump to the very bottom of the page and
| | 02:02 | Ctrl or Command+Page Up, immediately
jumps you to the very top of the page.
| | 02:07 | The other modifier in Sibelius that
has a theme associated with it is Shift.
| | 02:11 | What you need to remember about
Shift is that Shift does the opposite.
| | 02:15 | So how does it do the opposite?
| | 02:17 | Here are a few examples
that we've already covered.
| | 02:20 | First, scrolling with the mouse.
| | 02:22 | If you have a Scroll Wheel on your
mouse and you scroll up and down,
| | 02:26 | then the page scrolls up and down.
| | 02:27 | If we use Shift+Scroll, then we get
the opposite; we scroll left and right.
| | 02:34 | Tabbing is another feature where
Shift can do the opposite for you.
| | 02:38 | So if I escape and I use Tab to tab
into the Score, you can see here in bar 1,
| | 02:43 | if I continue using Tab, I move to the right
through all of the notes and objects in my Score.
| | 02:49 | But if I hold Shift and Tab, then I
do the opposite, I move backwards.
| | 02:55 | Another example of when Shift does the opposite
is when we're adding intervals to notes.
| | 02:59 | So with the note selected if we
just hit a QWERTY number like 4
| | 03:03 | we end up with a fourth above the note.
| | 03:05 | But if we select a note and hold Shift
and hit the number 4, we get the opposite;
| | 03:11 | we get the fourth below the note.
| | 03:13 | Creating and spacing at
our lines is another example.
| | 03:16 | H will insert a hairpin as a crescendo,
and Spacebar will advance that.
| | 03:23 | If we want the opposite of that, a
decrescendo, we can select a note
| | 03:27 | and use Shift+H, and Spacebar will
advance that. I'm going to escape.
| | 03:32 | Now the Spacebar will extend the line
like a slur, so if I insert a slur here,
| | 03:37 | select a note and hit S, Spacebar
will extend the line to the right,
| | 03:43 | and Shift will do the opposite.
| | 03:45 | So if we hold down Shift and use Spacebar,
it retracts the line back to the left.
| | 03:50 | So remembering these simple modifier themes,
will change your experience in Sibelius.
| | 03:54 | Chances are that you'll find
yourself guessing how to do something
| | 03:57 | and if it involves getting a
little more out of a feature,
| | 04:00 | you may try using Command or Ctrl as a
modifier, and it may just work for you,
| | 04:05 | or if you need to do
the opposite of something,
| | 04:06 |
you may try using Shift and
that might work for you as well.
| | 04:10 | So keep these themes in mind as
you continue working in the program,
| | 04:13 | and hopefully they'll become handy.
| | Collapse this transcript |
| The Sibelius ABCs| 00:00 | Now that you've had a chance to work
with a variety of functions and shortcuts
| | 00:04 | in Sibelius, I'd like to share with you
what I think are the best of the shortcuts,
| | 00:07 |
what I call the Sibelius ABCs.
| | 00:10 | They are the simple one letter keys on
your QWERTY keyboard that make Sibelius run.
| | 00:14 | It's fun to point these out to you at
this point in your Sibelius education
| | 00:18 | because you'll not only enjoy putting these
shortcuts into perspective and into use,
| | 00:22 |
but you'll be pleasantly surprised to find out
that you actually know most of them already.
| | 00:26 | So let's take a look at the Sibelius ABCs.
| | 00:30 | First we know that the letters A through G
are the note names A through G,
| | 00:34 |
so if we start note entry here in
this bar, I'll click on that bar rest
| | 00:37 | and I'll choose a value in my keypad, a quarter
note, and the letters A, B, C, D, E, F and G.
| | 00:46 | Those are our notes A through G.
I'm going to go ahead and Escape.
| | 00:51 | Next in the ABCs is H, and
we know this one already also.
| | 00:55 | If we select a note and
use H, we get a hairpin.
| | 00:59 | I is for the Instruments dialog box.
| | 01:03 | So letter I gives us instruments, and let's
go ahead and add a guitar tab staff here.
| | 01:08 | So I'm going to go to the Guitars category
and let's do an Acoustic Guitar tab,
| | 01:13 | I'm going to add that to
the Score there and click OK.
| | 01:16 | So I for instruments.
| | 01:18 | J is a guitar bend.
| | 01:21 | It's actually shaped like the letter
J when you put it into tablature.
| | 01:25 | So let's go ahead and put some of
these notes into the tablature staff.
| | 01:28 | I'm just going to select these here and
copy and paste them into the tab, Ctrl+V.
| | 01:34 | I'm going to drag this down just a
little bit here, there we go, and Escape.
| | 01:40 | So let's put a guitar bend in, the letter J.
I'm going to load that in my mouse,
| | 01:44 |
then I can just click it in here, and it's
kind of shaped like the letter J, and Escape.
| | 01:50 | The letter K is for key signatures;
that brings up our key signature menu.
| | 01:54 | And we can Escape out of that, and the
letter L is our Lines menu, and Escape.
| | 02:01 | The letter M is our Mixer, there it is there,
| | 02:04 |
and the letter M will
toggle that Mixer on and off,
| | 02:07 | And the letter N is actually for Note.
| | 02:09 | It's a shortcut that can get you into note entry,
if you'd like to use a shortcut to do that.
| | 02:15 | So if I select this bar rest here and normally
I can just select a value and a note,
| | 02:19 | but if I'd like to get that input
carat first, I can select the letter N
| | 02:23 | and now I'm in note entry, and this
becomes more important for you later
| | 02:27 | when you start working with multiple voices.
| | 02:29 | I'm going to escape.
| | 02:31 | The letter O is an Open shortcut.
| | 02:33 | It's actually not assigned and you can
assign your own shortcuts in Preferences.
| | 02:38 | So if I go to the File tab, down to Preferences
and make our way to the Keyboard Shortcuts,
| | 02:45 |
and this is where you can assign
your own shortcuts if you'd like to.
| | 02:48 | Let's go ahead and cancel out of Preferences.
| | 02:52 | Moving on from the letter O is the letter
P and we know the letter P is for Play,
| | 02:56 | so if I hit P--
(music playing)
| | 03:00 | and Escape, Sibelius plays
from the playback line.
| | 03:03 | The letter Q is for Clefs, and we'll
escape out of the Clefs menu.
| | 03:10 | The letter R is for Repeat, so if we
select anything and hit the letter R,
| | 03:13 | it gets repeated in the Score.
| | 03:15 | The letter S of course is for a Slur, so
select a note and the letter S gives you a Slur.
| | 03:21 | The letter T opens the Time Signature
menu, so it's T for Time Signature,
| | 03:26 | and we'll escape out of there.
| | 03:28 | The letter U, like the letter O, is
unassigned. The letter V is also unassigned.
| | 03:34 | I like to think that the letters O, U
and V are kind of shaped similarly,
| | 03:39 | which makes it easy to remember that
they're all unassigned shortcuts.
| | 03:43 | The letter W will swap you between your
Score and your most recently viewed Part,
| | 03:47 | so if I select the Acoustic Guitar here,
and hit the letter W, we'll go to that Part,
| | 03:53 |
and W again will toggle
us back to the Score.
| | 03:56 | The letter X will flip things.
Now this is a fun one.
| | 03:59 | It's almost like its own
little theme, it's got going on.
| | 04:02 | So if I select a slur, let's
escape and select a slur here.
| | 04:07 | If I use the letter X it will flip that slur.
| | 04:11 | The letter X will also flip stems, so if
I select a note, I'm going to hit Escape and
| | 04:15 |
select a note, the letter X
will flip the stem of that note.
| | 04:20 | Another cool thing that X does, if we have
an accent or a note-head marking on a note,
| | 04:25 | so let's go ahead and put
an accent on this note.
| | 04:28 | If I select that accent, let's go ahead
and zoom in on that with Ctrl++ (Plus),
| | 04:33 | if I use X now, it will flip the
position of that note-head marking.
| | 04:39 | Let's go ahead and escape from there and I'll
zoom back out with Ctrl or Command+- (Minus).
| | 04:44 | The letter Y and most of the
shortcuts that use the letter Y
| | 04:48 | have something to do with playback.
| | 04:50 | So for example, bringing up the Playback
Controls is the shortcut Ctrl+Alt+Y
| | 04:56 | or Command+Option+Y on the Mac.
| | 04:59 | And if you want to move the green playback line
to any selection that you make in the Score,
| | 05:03 |
you can make a selection by clicking on
a note and just use the plain letter Y
| | 05:08 |
to move the playback line to your selection.
| | 05:12 | Also if you're not sure where the playback
line is, you can use Shift+Y to jump to it.
| | 05:17 | So if we move it off the screen, I'm
going to use my Bracket key here to move
| | 05:21 | this line off the screen a little bit,
that's the bracket to the right of the
| | 05:26 | letter P on your QWERTY keyboard.
| | 05:28 | If we don't know where it is, then
you can use Shift+Y to jump to it.
| | 05:33 | And finally the letter Z of
course is our Symbols menu.
| | 05:38 | So as you can see there were only
a few ABCs you hadn't learned yet.
| | 05:41 | These shortcuts are very easy to use and
they're also very intuitive and easy to remember.
| | 05:46 | So I encourage you to practice
your ABCs every time you use Sibelius.
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|
|
9. Working with TextGetting to know text styles| 00:01 | Before working with text in Sibelius
you should take a moment to understand a
| | 00:04 | little bit about what a Text Style is.
| | 00:06 | A Text Style in Sibelius consists
of several different elements.
| | 00:10 | Each Text Style may use a different font.
| | 00:12 | They may have different font
formatting like Bold, Italic or Boxed.
| | 00:16 | Text Styles might have a
different justification setting,
| | 00:18 | whether they're placed to the left, right
or centered, above or below a note or object.
| | 00:23 | And each Text Style might have a different
positioning or a certain number of spaces
| | 00:26 | where they appear above or below a staff
or object when they're placed on the page.
| | 00:31 | Let's take a quick look at some
different Text Styles in this Score,
| | 00:34 | so that you can see these different
elements and settings at work.
| | 00:38 | To show you some of the basic properties
of the Text Styles in this Score,
| | 00:41 | let's click on the Text tab.
| | 00:43 | The Text tab's formatting
group gives us local control
| | 00:46 | of some of the basic Text Style elements.
| | 00:49 | It also is a great tool to use
for finding out information
| | 00:52 | about any text that you select in your Score.
| | 00:55 | If you click on the text object in the Score,
we can go ahead and click on the title here,
| | 00:59 | you'll see the properties of that text,
here in the Text tab in the Format group.
| | 01:03 | So you can see that this is a title
using Times New Roman, Size 17.6 Font.
| | 01:09 | You can also make local
changes to the font from here,
| | 01:12 | including setting its
Style to Bold or Italic.
| | 01:16 | If you click on a different Text Style,
let's go ahead and click on the Composer name.
| | 01:20 | Now you'll see that Text Styles
properties in the Text tab,
| | 01:23 | and you can Escape to deselect the text.
| | 01:27 | You can see a preview of all
of Sibelius's Text Styles
| | 01:29 | in the Text Styles group of the Text tab.
| | 01:31 | We can go ahead and click
on the word Styles here
| | 01:35 | and the name of the Text Style is in
plain font, just below its preview.
| | 01:39 | So this is the Tempo text and that's what it
would look like if you placed it on the Score.
| | 01:43 | You can use the Scrollbar to scroll on
through all these different Text Styles,
| | 01:48 | and by looking at the long list of Text Styles,
| | 01:49 | you can see that each Text Style
has a very different appearance.
| | 01:52 | But what you'll find out is
that the look of a Text Style
| | 01:55 | is only one of the many
properties associated with it.
| | 01:59 | To see all of the properties
that make up a Text Style,
| | 02:01 | you'll need to visit the
Edit Text Styles window.
| | 02:03 | So let's go ahead and Escape out of here.
| | 02:06 | Go back up to the Ribbon and right here
where it says Styles, we're going to click
| | 02:11 | on that Dialog Launcher button and
that's the Edit Text Styles window.
| | 02:15 | The Edit Text Styles window gives us an
alphabetical list of all of the Text Styles
| | 02:19 | that are available to us in our Score.
| | 02:21 | Let's go ahead and scroll down and
click on the Tempo text and go ahead
| | 02:26 | and click Edit, and now we're seeing all
of the properties of the Tempo Text Style.
| | 02:32 | There are several tabs across the
top of the system Text Style window.
| | 02:36 | The Font tab gives us the general
properties of the Text Style including
| | 02:40 | many of the same properties that we saw in
the format group of the Text tab in the Score.
| | 02:45 | The Border tab allows us to set a visual
border around the text, if we prefer.
| | 02:50 | The Indents tab gives us the option to
set paragraph indentations
| | 02:54 | for different lines of texts that
we might type into one text field.
| | 02:58 | The Horizontal Position tab defines
whether the text attaches itself
| | 03:01 | to a note on the staff or to the page itself.
| | 03:05 | And then it defines the alignment
of the text, to its attachment point.
| | 03:09 | So you can see that the Tempo text is
attached to a note on the staff,
| | 03:13 | and it justifies to the left of that
note and if you can remember that,
| | 03:17 | then when we go back to the Score in just
a moment, I'll show you what that means
| | 03:20 | and you'll be able to see what this type of
attachment looks like on the page.
| | 03:25 | Some Text Styles like Copyright, and other
Headers and Footers will obviously be
| | 03:29 | better off aligned to the page, instead
of to a note or object on the staff.
| | 03:33 | So you'll see the horizontal
position alignment change,
| | 03:36 | depending on the Text Styles
function within the Score.
| | 03:39 | The Vertical Position tab is getting
us into more and more advanced features,
| | 03:43 | but in general you'll notice that the
System Text Styles like Tempo text,
| | 03:46 | will be set to appear in
Multiple system object positions.
| | 03:50 | That means that they may appear above or below
a few different staves within one system,
| | 03:54 | and we'll discuss how all of
that works later in this chapter.
| | 03:57 | Page justified text like copyrights,
headers and footers will end up
| | 04:01 | snapping to the top or bottom of the page.
| | 04:04 | So those Text Styles will
have that bullet selected
| | 04:06 | and their information would be
filled out in the boxes to the right.
| | 04:10 | And finally the Repeat tab.
| | 04:12 | This allows you to adjust settings
for any Text Style that repeats
| | 04:15 | on multiple pages of your Score,
such as headers and footers.
| | 04:18 | Let's go ahead and cancel out of this
dialog box and go ahead and click Close,
| | 04:24 | and before we go I told you I'd show
you what that Text Style alignment
| | 04:27 | looks like on the Score page.
| | 04:29 | To see the alignment of a Text Style
with its attachment point, you first need
| | 04:33 | to go to the View tab, to the Invisibles
group and select Attachment Lines.
| | 04:39 | Now let's go ahead and select
the Tempo text here, Medium Ballad.
| | 04:43 | So if I zoom in on that a little bit,
using Ctrl+Plus,
| | 04:48 | you can see its attachment line, how
it's attached here to a note on the staff
| | 04:52 | and that it's aligned
to the left of that note.
| | 04:55 | So hopefully this video has given you a good,
solid understanding of what a Text Style is.
| | 05:00 | You should now be able to see why
choosing the appropriate Text Style
| | 05:03 | for your text objects is important.
| | 05:05 | The Text Style you choose will affect
how the text automatically looks,
| | 05:09 | where the text is placed
and positioned on the page,
| | 05:11 | and also how the text will
function within the Score.
| | Collapse this transcript |
| Defining the four categories of text| 00:00 | Sibelius organizes all of its text
styles into one of four large categories.
| | 00:05 | The easiest way to see this organization
is by visiting the Create menu.
| | 00:09 | In Sibelius 7 the only way to see
the good old fashioned Create menu
| | 00:12 | is by right-clicking with your mouse
over an empty area in the Score page.
| | 00:17 | If you're on a Mac and you don't
have a right-clicking mouse,
| | 00:19 | you can Ctrl+Click to
bring up the Create menu.
| | 00:21 | Once you have the Create
menu showing on your screen,
| | 00:24 | hover your mouse over the Text field,
so that you can see a list of texts
| | 00:29 | organized into four different categories.
| | 00:30 | At the top you have Staff Text.
| | 00:33 | Staff Text is any text that you would
insert on a single staff in the Score.
| | 00:37 | Similar to Staff Lines, you only want
Staff Text to appear in the instrumental
| | 00:41 | or vocal part that it's attached to.
| | 00:44 | Examples of Staff Text include
Expressions like dynamic markings,
| | 00:47 | Techniques or Performance indications
like arco or pizzicato, and Lyrics.
| | 00:52 | If you're not sure what other Text
Styles fit into the Staff Text category,
| | 00:56 | you can take a look at the
list under Other Staff Text.
| | 00:59 | In the middle of the Text Create menu,
you have a list of System Text Styles.
| | 01:03 | System Text is text that might appear
only once at the top of your score page
| | 01:08 | or possibly at several
different vertical locations,
| | 01:10 | but regardless of where it appears, it will
always appear in every individual part.
| | 01:14 | So the beauty of using a System Text Style in
Sibelius is that Sibelius does the hard work
| | 01:19 |
placing that text in all
of your Parts for you.
| | 01:22 | Examples of System Text include your
Title and Subtitle, Composer and Lyricist,
| | 01:27 | and your Tempo and Metronome marks.
| | 01:30 | Again, if you're not sure what other
System Text Styles are available to you,
| | 01:33 | you can choose Other System Text and
see a list of additional System Text
| | 01:37 | that you can choose from.
| | 01:39 | Staff and System Text are the two
main categories of text from which
| | 01:42 | you'll choose most of your text styles for your Score.
| | 01:45 | There're two other categories
that you'll use less often.
| | 01:48 | Blank Page Text is a list of text styles
that are only usable on blank pages
| | 01:53 | of your Score where there are
no staves or instruments.
| | 01:56 | If you create a title page for your
Score in the New Score dialog for example,
| | 01:59 |
you would use Blank Page Text on that title
page instead of using a Staff or System Text.
| | 02:05 | The last category of text, Special Text,
actually contains a mixture of both
| | 02:09 | System and Staff Text styles.
| | 02:11 | This category is more for the advanced user,
| | 02:13 | as it contains Text Styles that
require some special handling.
| | 02:17 | A good example is the
Time Signature Text Styles.
| | 02:20 | You obviously wouldn't use this Text Style
to insert a Time Signature into your Score,
| | 02:23 | but if you needed to input a fake Time
signature that visually looks like a
| | 02:27 | Time signature in your Score, then
you could use this special Time Signature
| | 02:30 | Text Style to do that.
| | 02:31 | So, now that we know about the
different categories of Text Styles
| | 02:35 | and a little bit about how they should be
used in the Score,
| | 02:38 | it's time to start
creating text on your own.
| | 02:40 | We'll start by inputting
some very common Staff Text,
| | 02:43 | like Techniques and Expression
Markings, and we'll move on
| | 02:45 | to more complex Text Styles
like Lyrics and Chord Symbols.
| | Collapse this transcript |
| Entering and editing text using Technique text| 00:00 | Let's begin entering and editing text by
working with one of the most common
| | 00:04 | and simple Text Styles to
work with: Technique Text.
| | 00:08 | Technique Text is a simple
Staff Text that you would use
| | 00:10 | to indicate performance directions for
the individual staves in your Score.
| | 00:14 | The Textile defaults to a position above the
staff and it uses a very simple plain font.
| | 00:20 | For this example, I've rearranged
our previous Row Your Boat exercise
| | 00:24 | for three-stringed instruments and
I've used some editing techniques to
| | 00:27 | clean the Score up a little bit.
| | 00:29 | Let's listen to the last three bars to
hear what this sounds like with the strings.
| | 00:35 | (music playing)
| | 00:43 | So I thought it might be fun to indicate,
using Technique Text, for the strings to
| | 00:47 | play the final bars of the
arrangement with a Pizzicato technique.
| | 00:50 | So we're going to enter a Pizzicato
indication in both violin parts in Bar 39
| | 00:55 | and also at the very end for
the last note in the cello.
| | 00:58 | When we're done, we'll be able to hear
those bars played back with Pizzicato.
| | 01:02 | First, let's go ahead
and zoom in on these bars.
| | 01:04 | So let's go to the View tab,
let's grab the Zoom Tool,
| | 01:08 | and let's click and drag a
big lasso around these bars.
| | 01:11 | So I'm going to click right up here and
hold the mouse button and drag across,
| | 01:14 | and when you let go, Sibelius
will center that in your view.
| | 01:17 | Go ahead and Escape to
deselect the Zoom Tool.
| | 01:20 | Now since this is your first time
entering text in Sibelius,
| | 01:23 | I'll run you through a few different
ways that you can input text
| | 01:26 | so that you can decide
what works best for you.
| | 01:28 | You already know that one of the
ways to input an object in the Score
| | 01:31 | is by loading it into the mouse, so let's try
loading the Technique Text into our mouse.
| | 01:35 | Go ahead and hit Escape a few times,
make your way to the Text tab,
| | 01:40 | and click on Styles, and the
Technique Text is right here,
| | 01:45 | we'll click on that and
load that into our mouse.
| | 01:48 | And now you can aim and click above the
note that you want the text to affect.
| | 01:51 | So let's put it right
here above the A in Violin 1.
| | 01:54 | I'm going to click right there,
and by clicking above the note,
| | 01:57 | Sibelius connects the
Technique Text to that note.
| | 02:01 | Any time you enter a Text Style on the page,
Sibelius will give you a flashing cursor,
| | 02:04 | similar to a cursor you would
see in a word processor,
| | 02:07 | and all you have to do now, as if you
were in a word processor, is type.
| | 02:11 | So I'm going to move my mouse
out of the way so you can see this.
| | 02:14 | So let's go ahead and type pizz.,
| | 02:18 | and when you're done typing, hit Escape
once and you can see how the text is
| | 02:21 | positioned and what it's attached to, and hit
Escape again to completely deselect the text.
| | 02:27 | So now let's run through another option
you have for inserting text on the page,
| | 02:31 | and that is by first selecting an
object and then having Sibelius insert
| | 02:35 | the text attached to that object.
| | 02:37 | So let's go ahead and select
the A in the second Violin part,
| | 02:41 | and instead of selecting
the text from the ribbon,
| | 02:43 | let's use the shortcut for Technique
Text, which is Ctrl+T or Command+T.
| | 02:48 | Once you have the flashing cursor,
you can type pizz., and Escape twice.
| | 02:54 | Now, there's one more way
we can input text on the page.
| | 02:58 | So let's select the last note in
the cello down here at the bottom,
| | 03:01 | and use the shortcut Ctrl+T or
Command+T for Technique Text,
| | 03:06 | and instead of typing the
word into the text field,
| | 03:09 | this time let's choose the word from a menu.
| | 03:12 | Every Text Style has a
word menu associated with it.
| | 03:15 | To access a Text Style's word menu,
first you need to insert the text
| | 03:19 | so that you see the flashing cursor, and then
you need to right-click near the flashing cursor.
| | 03:25 | Now, if you're on a Mac or if your
screen resolution is different from mine,
| | 03:28 | your word menu might be shaped a
little differently on your screen,
| | 03:30 | but all of the contents of
the menu will be the same.
| | 03:33 | If you don't see all of the contents,
you may have to position your mouse
| | 03:36 | at the bottom of the menu to allow
the menu to scroll through more choices.
| | 03:40 | So find the text that you want.
| | 03:42 | I'm going to go up here
and choose Pizzicato (pizz.),
| | 03:44 | and click on that, and then Escape twice.
| | 03:49 | So creating text is very easy,
but what if you make a mistake?
| | 03:52 | You can always go back and edit
your text once it's on the screen,
| | 03:55 | by just double-clicking on it.
| | 03:57 | So if I meant for this to be arco,
I could double-click on that,
| | 04:00 | backspace through it, and retype and Escape.
| | 04:04 | But of course, I meant for
that to be Pizzicato (pizz.).
| | 04:07 | So I'm going to go back in there again and
delete that and type in pizz. and Escape twice.
| | 04:13 | Now if you want to delete a text object,
you already know that you can do that by
| | 04:17 |
just selecting the object and then using
the Delete or the Backspace key to delete it.
| | 04:21 | And if you didn't mean to do that, you can
always Undo, Ctrl+Z or Command+Z to get it back.
| | 04:27 | So creating and editing
Technique Text is very simple;
| | 04:30 | it's a Text Style that you can use
for a variety of instrumental or vocal
| | 04:33 | directions on individual
Parts within your Score.
| | 04:36 | Technique Text will also play
back many of your Score directions.
| | 04:39 | So if you've given a stringed instrument a
Pizzicato indication, as I have in this
| | 04:43 | example, you may want to play back those
bars to hear the text take effect.
| | 04:47 | Let's go ahead and click in the
cello and the letter P for play.
| | 04:51 | (music playing)
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| Creating Expression text| 00:00 | The Expression Text Style in Sibelius is
a Staff Text Style that is used for all
| | 00:04 | dynamic markings and other words of
expression, such as Espressivo and Legato.
| | 00:09 | The Expression Text Style defaults
to a position below the staff.
| | 00:13 | It is italicized and it has a simple
built-in way for you to create bold fonts
| | 00:17 | for your dynamic markings.
| | 00:19 | To input an expression, let's go ahead
and start in Bar 1 with the Violin 1.
| | 00:23 | Select the note that you're going to
have that dynamic appear underneath
| | 00:28 | and then you can select the Expression
text from the Text Styles groups
| | 00:32 | or you can also use its shortcut for
Expression which is Ctrl+E.
| | 00:35 | So in the Text tab, here's the Styles,
you can go down and there's Expression.
| | 00:40 | So you can select it from there, and then
Sibelius gives you that flashing cursor.
| | 00:45 | Once you have the flashing
cursor, you can right-click
| | 00:47 | and choose the Dynamic or Expression
from the Expression text word menu,
| | 00:51 | and you'll notice that this word
menu is quite different from the
| | 00:53 | word menu that we had with Technique Text.
| | 00:56 | I'm going go ahead and select Piano
here and then you can Escape once and
| | 01:01 | it's still selected and
Escape again to deselect.
| | 01:04 | So now let's go ahead and insert a dynamic
marking on the Violin 2's entrance,
| | 01:08 | down here on Bar 5.
| | 01:09 | I'm going to select that note first.
| | 01:11 | This time let's use that shortcut Ctrl+E
or Command+E. We have a flashing cursor
| | 01:16 | and this time let's just
type the dynamic marking in.
| | 01:19 | So the letter P and Escape twice and you'll
notice there's a little bit of a problem here.
| | 01:24 | If you compare this expression marking to
our first expression mark, you'll notice
| | 01:29 | that this new expression mark is not the
pretty bold style that the first one is.
| | 01:32 | And this is the difference in what
Sibelius calls a Character Style and
| | 01:37 | you can see the difference in the text tab's
readout when you select each of these individually.
| | 01:42 | So let's go ahead and select this one
here and up in the Text tab under Format,
| | 01:47 | this dropdown menu here
is for the Character Style
| | 01:50 | and you'll notice that
this expression has none.
| | 01:52 | Now if we select the other expression,
the piano marking there,
| | 01:58 | you'll notice that its Character
Style is Music Text.
| | 01:59 | Now a Character Style is used to apply
a specific type of font or formatting
| | 02:04 | to only one part of the text object.
| | 02:06 | It's like a secondary font you're
allowed to have within a single Text Style
| | 02:10 | that already has its own established font.
| | 02:13 | In this example with expressions,
they're going to be expressions that
| | 02:17 | you'll want to have in the italic
non-bold style, like this one down here,
| | 02:20 | if you were typing cresc, for example,
to indicate a crescendo.
| | 02:25 | But you'll also use Expression
text for dynamic markings,
| | 02:28 | so you also need the ability to have
a pretty bold music type of font,
| | 02:32 | and that's where that Character
Style comes in handy.
| | 02:35 | So to fix the second expression
marking, you can select it,
| | 02:38 | go to the Text tab in the Ribbon and
select Music Text as a Character Style,
| | 02:43 | and Sibelius will make that
change on the Score for you.
| | 02:45 | There is a little simpler way to do
this, let's go ahead and scroll down
| | 02:50 | to select the cello's entrance in bar 9,
that D right there and Ctrl+E or
| | 02:55 | Command+E to get into Expression text
and if you right-click for the word menu,
| | 03:00 | you'll notice that there's a modifier
theme going on for the dynamics.
| | 03:03 | You can hold Ctrl and
then type in the letters
| | 03:06 | and you'll end up with
this pretty bold font.
| | 03:08 | So I'm going to Escape once, and we still
have our flashing cursor down there.
| | 03:13 | So this time, instead of just typing P,
I'm going to hold down Ctrl or Command
| | 03:18 | if you're on Mac and type P and it gives me
that nice, pretty bold font. Escape twice.
| | 03:25 | So that's how you type in a dynamic marking.
| | 03:27 | You hold down Ctrl or Command
and then type the letters.
| | 03:30 | Now instead of entering all of your
dynamic markings by typing them in,
| | 03:33 | you can copy and paste them into your
Score as well, and this works great
| | 03:37 | if you have a lot of different instruments
that need the same dynamic or expression.
| | 03:40 | So let's put some forte markings
at the end of this piece.
| | 03:44 | Let's choose Ctrl+End or Command+End to
jump to the end and let's go ahead
| | 03:49 | and insert a forte marking
in the Violin 1 part.
| | 03:51 | So we're going to select the A in
the Violin 1 part on Bar 39,
| | 03:56 | Ctrl+E or Command+E for Expression and
holding down Ctrl, the letter F for Forte,
| | 04:03 | and Escape once this time to keep it selected.
| | 04:06 | Now we're going to copy that
dynamic to the clipboard,
| | 04:09 | so Ctrl+C or Command+C,
and we have two choices.
| | 04:14 | We can select each of
the other parts separately
| | 04:16 | and paste that forte marking
into them separately.
| | 04:19 | So I can select this A
here and Ctrl+V to paste
| | 04:23 | and this A here in the
cello, and Ctrl+V to paste.
| | 04:26 | Now I'm going to go ahead and Undo that.
| | 04:29 | There's another option that we have.
| | 04:31 | So with that forte marking still on
the clipboard,
| | 04:33 | you can make a range selection
of both of these notes,
| | 04:37 | in the Violin 2 and the Cello
Part and then only paste once.
| | 04:40 | So with the A selected, I'm going to
hold down Shift and make a range selection.
| | 04:45 | It only works with that range
selection like that and then paste,
| | 04:48 | Ctrl+V or Command+V, and it pastes that forte
marking into both of those Parts for me.
| | 04:54 | So hopefully that gives you a
good start with Expression text.
| | 04:57 | Now if these were my piece of music,
I'd want to go back and enter dynamics
| | 05:01 | after each of the hairpins and
possibly in some other locations.
| | 05:04 | So let that be your assignment.
| | 05:06 | Finish entering dynamic
markings throughout this piece.
| | Collapse this transcript |
| Working with lyrics| 00:01 | Entering lyrics in Sibelius
can be a very fun exercise;
| | 00:04 | it's actually one of my
favorite features to demonstrate.
| | 00:07 | There are some built-in features to this
Text Style that make it quite different
| | 00:10 | from other Text Styles and I think
you'll be amazed at how intuitive it is.
| | 00:14 | As a Text Style, lyrics default below the Staff,
centered under a note with a plain text font.
| | 00:20 | As usual, there are many ways to input lyrics.
| | 00:22 | In this video, I'll show you the most
obvious way which is by typing them in.
| | 00:27 | First, I've made some adjustments to our Score.
| | 00:29 | I've added some vocal staves for us so that
we can enter the lyrics on vocal staves,
| | 00:32 | rather than in the instrumental
parts. So let's get started.
| | 00:36 | Go ahead, and select the Soprano part,
I'm just going to click in bar 1 here,
| | 00:40 | and we're going to go ahead
and focus on the Soprano part.
| | 00:42 | So we're going to go up to the Ribbon,
to the Layout tab, and on the right here
| | 00:48 | where it says Hiding Staves, there is
Focus on Staves right there, go ahead
| | 00:51 | and select that, and now we've
focused on that Soprano part.
| | 00:54 | I'm going to zoom in just a
little bit, so we can see it better,
| | 00:58 | and hit Escape to deselect.
| | 01:00 | Just like entering an expression marking,
the best way to begin entering lyrics
| | 01:04 | is by selecting the note where
the lyrics are going to begin.
| | 01:07 | So I'm going to go ahead and
select the first note in the Soprano.
| | 01:11 | And the lyrics have their
own group in the Text tab.
| | 01:14 | So let's go to the Text tab, and here's
the Lyrics group and to bring up the
| | 01:18 | Text Style, go ahead and click on
this, right here where it says Lyrics.
| | 01:23 | There are a couple of different lyric Text Styles;
the main lyric Text Style is Lyrics line 1.
| | 01:27 | So let's go ahead and select that, and
Sibelius gives us our flashing cursor.
| | 01:33 | I think we all know the words to this
tune, but just in case you don't,
| | 01:36 | I'll go ahead and walk you through them.
| | 01:38 | All we have to do is begin typing the lyrics.
| | 01:40 | The first word is Row.
| | 01:42 | So I'm going to go ahead and type "Row,"
and now if I use the Spacebar,
| | 01:47 | Sibelius will advance me to the next note.
| | 01:49 | So Spacebar, "row," comma, Spacebar, and
we can continue going on with the lyrics,
| | 01:57 | "row your boat," and again Spacebar
continues to advance me note by note.
| | 02:04 | Now, we've arrived at a
multisyllabic word: gently.
| | 02:08 | So what we can do now is we can type in
the first syllable, let's do "gent",
| | 02:13 | and instead of using Spacebar, now we'll use
the hyphen to advance us to the next note.
| | 02:18 | So the hyphen key, and finish the word, and
Spacebar now, and continue on "down the stream."
| | 02:27 | Spacebar will continue moving us to the
next system, and now we have another
| | 02:31 | multisyllabic word merrily,
so I'm going to type-in "Mer"
| | 02:35 | hyphen advances me to the
next note, "ri-" and "ly".
| | 02:42 | At the end of that word, we need to hit
Space and continue typing merrily again.
| | 02:49 | If you make a mistake, you can just
use Backspace as if you're in a
| | 02:53 | word processor, and then type again,
here we go, "-ly" and Spacebar
| | 03:00 | and let's finish this up
with "life is but a dream."
| | 03:05 | When you're done typing,
go ahead and hit Escape.
| | 03:07 | Now, it didn't happen in this example,
but sometimes you'll have a single word
| | 03:11 | that needs to be held across several notes.
| | 03:13 | So let's start typing in
these lyrics again from bar 9.
| | 03:16 |
I'm going to select the D right there.
| | 03:19 | Now, instead of going up to the
Ribbon this time, I'm going to use
| | 03:22 | the shortcut for the basic line of
lyrics which is Ctrl+L or Command+L,
| | 03:26 | I have my flashing cursor, and I
can start typing these lyrics again.
| | 03:32 | Now, in bar 10, let's pretend
that the next word row needs to be
| | 03:35 | stretched across all three of these notes.
| | 03:39 | So I'm going to type in row and put
in the comma, and hit Spacebar,
| | 03:43 | and instead of doing anymore typing, I'm
just going to continue hitting Spacebar
| | 03:47 | through those three notes, and Sibelius
will draw in that underscore for me.
| | 03:52 | And then you can begin typing
the next syllable in bar 11.
| | 03:56 | So, if this was gently, we would type
the first syllable, and the hyphen,
| | 04:01 | and then we could finish
off the word gently.
| | 04:03 | But, let's pretend in bar 11 now that we
have that first syllable of the word gently
| | 04:07 | that's going to be sung through
all four of these notes in the bar.
| | 04:11 | So we've got the first syllable
in there, we've hit the Hyphen key,
| | 04:15 | We're going to continue hitting that
Hyphen key all the way through that bar
| | 04:18 | until we arrive at the final note where
we're going to put that last syllable in there.
| | 04:22 | So now I can type ly, period
(.), and go ahead and Escape.
| | 04:27 | Obviously, our third system of
lyrics is entirely incorrect.
| | 04:31 | So sometimes you'll have to go back
in and make corrections to lyrics just
| | 04:34 | like you make corrections to other text, and
you can edit lyrics just like any other text.
| | 04:40 | If you had one word wrong, you could go
in and double-click on that one word
| | 04:44 | and then you're in Word Processor
mode, so you can Backspace and retype,
| | 04:48 | and get it correct, and then hit Escape.
| | 04:51 | You can also delete a single lyric by
clicking on it, and using Backspace or Delete.
| | 04:57 | But if you need to delete an entire
line of lyrics, the easiest way to do that
| | 05:00 | is by using an Edit command called Select More.
| | 05:03 | So to do that, we're going to select
one member of the line of lyrics that
| | 05:07 | we need to edit or delete, so I'm going to select
one of these words here in the third system,
| | 05:12 |
we're going to go to the Home tab,
into the Select group here, and
| | 05:17 | we're going to select More, so we're
going to choose the More button
| | 05:21 | and you'll notice that Sibelius has selected
all of the lyrics in our third system for us.
| | 05:26 | Now, we can do things like use our
arrow keys to move them up and down,
| | 05:30 | or if they're entirely incorrect,
we can just delete them all at once.
| | 05:34 | The next step working with
lyrics is to copy and paste them.
| | 05:37 | For this piece, the lyrics
just continue to repeat.
| | 05:40 | So instead of continuing to type them in
over and over again, it would make a lot
| | 05:44 | more sense to type them in once and then
to copy and paste them in as we need them.
| | 05:49 | So let's do that.
| | 05:50 | First, we need to make a
selection of all of the lyrics.
| | 05:53 | Now we could use the Select More command, but
since we have more than one line of lyrics,
| | 05:57 |
let's try this a different way.
| | 06:00 | Select all of the bars containing all of
the lyrics that you're going to be copying.
| | 06:03 | So I'm going to click in bar 1 and hold
down Shift, and click here in bar 8.
| | 06:09 | Now, we're going to ask
Sibelius to filter out these lyrics.
| | 06:13 | So we're going to go to the Home tab,
again to the Select group, and this time
| | 06:18 | we're going to click on the
Filter icon above the word Filter.
| | 06:22 | And since we're working with lyrics, we're
going to ask Sibelius to filter out lyrics.
| | 06:27 | So go ahead and select that.
| | 06:29 | And now Sibelius has filtered out and
selected all of those lyrics from the passage.
| | 06:34 | Now we can copy the lyrics to our
clipboard, Ctrl+C or Command+C,
| | 06:39 | and we're going to select the note where
we want Sibelius to paste them in at.
| | 06:42 | So I'm going to scroll down a
little bit here with my Scroll Wheel,
| | 06:45 | and select the D here in
bar 9, and now we can paste,
| | 06:50 | Ctrl+V or Command+V, and Sibelius
does all of that hard work for us.
| | 06:55 | So we really have just touched the
surface of working with lyrics,
| | 06:57 | but hopefully you're already having
a little bit of fun with them.
| | 07:01 | If you're working with this Exercise
File, go ahead and finish the lyrics
| | 07:04 | for the remaining bars, and
the remaining vocal staves.
| | 07:07 | It will be a very good practice
for you, and we'll see you
| | 07:10 | and your completed vocal
staves in the next video.
| | Collapse this transcript |
| Creating tempo and metronome marks| 00:00 | One of the most common System Text Styles
that you'll use in Sibelius is Tempo Text,
| | 00:06 |
and closely related to the Tempo Text
Style is the Metronome Mark Text Style.
| | 00:10 | In this video, we'll take a
look at both of those Text Styles
| | 00:13 | and I'll offer you a helpful hint or two
for using both styles together in one score.
| | 00:18 | First, let's take a look at Tempo Text.
| | 00:21 | The Tempo Text Style is used to
display a text indication of tempo,
| | 00:25 | such as writing out the words allegro or largo.
| | 00:28 | The Text Style defaults to a position above
the staff and it's assigned to a plain bold font.
| | 00:33 | Because it's a System Text Style,
you may see your Tempo Text appear
| | 00:36 | in multiple vertical positions within
the system, meaning that it may appear
| | 00:40 | above more than one staff in
the system, but no matter what,
| | 00:43 | it will always appear in every part
that you print from the Score.
| | 00:47 | Inputting Tempo Text is very simple.
| | 00:49 | Because it's a System Text and because
you normally link your tempo indications
| | 00:53 | to the beginning or the first beat of
a bar, it's easiest I think to start
| | 00:58 | by just selecting a bar where you'd
like your Tempo Text to appear.
| | 01:01 | So let's go ahead and select Bar 1.
| | 01:04 | You could go to the Styles Group to
select the Tempo Text, but this time
| | 01:08 | let's use the Create menu to select the text.
| | 01:11 | So I'm going to right-click anywhere
blank on the score page, go down to Text,
| | 01:16 | and here is our Tempo Text right here,
and the shortcut is Ctrl+Alt+T,
| | 01:21 | or Command+Option+T if you're on Mac.
| | 01:23 | Go ahead and select Tempo and
Sibelius will give us our flashing cursor.
| | 01:28 | Now if we want to, we can right-click
and choose from a list of Tempo Texts,
| | 01:34 | or if we Escape out of that, we
can go ahead and type in our text.
| | 01:38 | I'm going to go ahead and type
in Moderato and hit Escape twice.
| | 01:44 | And now you can see how the Tempo Text
appears in multiple positions within the system.
| | 01:48 | You can see that it's above the top staff,
above the Tenor and down below the cello,
| | 01:54 |
and we'll discuss all of those
positions in a little while,
| | 01:56 | you can leave them all alone for now.
| | 01:59 | Closely related to Tempo Text is
Metronome Text, which most everyone uses
| | 02:03 | in order to input a Metronome
marking into the Score page.
| | 02:07 | Inputting a Metronome mark is very
similar to inputting Tempo Text,
| | 02:10 | except there's no shortcut key
assigned to Metronome Text.
| | 02:13 | Let's go ahead and select
Bar 1 again, and this time,
| | 02:17 | let's select the Metronome Mark Text Style
from the Styles group in the Ribbon.
| | 02:20 | So go up to the Text tab, click on Styles,
and there's a Tempo category down here.
| | 02:25 | So let's go ahead and scroll
down and select Metronome mark,
| | 02:30 | and Sibelius gives us the flashing cursor.
| | 02:32 | Now when you get the flashing
cursor for a Metronome mark,
| | 02:35 | you're going to want to right-click,
| | 02:37 | because then you can get that quarter
note symbol that you're looking for.
| | 02:41 | Here's the quarter note symbol here, select
that, and since we're in six eighth,
| | 02:46 | we actually need a rhythm
dot attached to that quarter note.
| | 02:49 | So let's right-click again and here's the
rhythm dot, go ahead and choose that,
| | 02:54 | and now you can finish off your
Metronome mark by just typing Spacebar,
| | 02:58 | the equal sign (=), and then the Tempo,
I'm going to use 100, so 100, and Escape.
| | 03:05 | I know it's difficult to
see that Metronome marking,
| | 03:08 | because it's landed right on top of my Tempo.
| | 03:10 | So with it still selected, I'm going
to use my arrow keys to move it up,
| | 03:14 | and you can use Command or Ctrl to do more.
| | 03:17 | So Ctrl+Arrow Up or Command+Arrow Up
will make it move in larger increments.
| | 03:22 | Go ahead and hit Escape and now
you can see the Metronome mark.
| | 03:26 | Now, it's normally not a good practice
to manually move anything with your mouse
| | 03:30 | or with your arrow keys, but
for now, this is going to be okay.
| | 03:33 | Now eventually we're going to have
Sibelius change the default position
| | 03:37 | of these two Text Styles, so that
they can cohabitate with one another
| | 03:41 | without automatically landing on
top of one another in the Score.
| | 03:44 | For now, we'll just leave
these alone like this.
| | 03:47 | So that's how you input both Tempo Text
and Metronome markings into your Score.
| | 03:51 | Now, just as a quick reminder,
remember that you can also use lines
| | 03:55 | to input Tempo changes that occur over time.
| | 03:58 | So let's go ahead input a Linear Tempo change
at the end of the Score starting in Bar 37.
| | 04:03 | To do that, we need to jump to or Go To
Bar 37, and let's use that Go To Bar command;
| | 04:08 | Ctrl+Alt+G or Command+Option+G,
type in 37, and hit Enter,
| | 04:17 | and Sibelius jumps us to Bar 37, and you
can go ahead and hit Escape to deselect it.
| | 04:20 | Now let's go ahead and make this piece slow
down all the way from Bar 37 to the end.
| | 04:24 | So we're going to make that selection,
select Bar 37, hold down Shift,
| | 04:29 | and select the last bar, and let's go ahead
and bring up our Lines menu, L for Lines,
| | 04:35 | and select the ritardando (rit.) line,
| | 04:38 | and Sibelius puts a nice linear tempo
change across the last system for you.
| | 04:42 | Notice how the line also appears in
multiple positions across the system.
| | 04:46 | Now that is because like Tempo and
Metronome text, the line is a system line
| | 04:51 | and again, we'll discuss more about
system object positions later in this chapter.
| | 04:57 | So that gives you a good start
working with Tempo and Metronome text.
| | 05:00 | Remember that these text styles do play back,
| | 05:03 | so you may want to have a little
fun now by going back and
| | 05:06 | listening to your score to hear all
of your tempo changes taking effect.
| | Collapse this transcript |
| Adding repeat text styles| 00:00 | One of the most commonly
misunderstood Text Styles in Sibelius
| | 00:03 | is the Repeat Text Style and it's a very
important Text Style to know and understand
| | 00:08 | because it allows you to type in
Score directions like DC al Coda
| | 00:12 | and then have Sibelius
play them back correctly.
| | 00:15 | The Repeat Text Style is not only
easily missed in the list of Text Styles,
| | 00:20 | but it can also be a little bit testy.
| | 00:22 | So in this video, I'll show you how to
successfully use Repeat Text to create
| | 00:26 | a complex playback map in your score.
| | 00:29 | First, let's take a look at how we're
going to map the playback of this score.
| | 00:34 | The playback of the score needs to begin at
the very beginning of the green highlight.
| | 00:38 | I want Sibelius to play through
the score all the way to this
| | 00:41 | orange highlight here where we're going
to tell it to go back to the top using
| | 00:46 | a DC al Coda indication.
| | 00:48 | From there I want Sibelius to go
back to the top, play through,
| | 00:52 | and at the purple highlight, I'm going
to tell Sibelius to jump to the Coda.
| | 00:56 | So we're going to put an
indication for To Coda right there.
| | 01:00 | Sibelius will play to that point, jump to
the Coda, and our Coda is going to be here,
| | 01:05 | where the blue highlight is.
| | 01:06 | Now to get Sibelius to run through the piece
correctly, we're going to have to use Repeat Text.
| | 01:11 | And here's how we're going to do that.
| | 01:14 | Let's go to Bar 32 first.
| | 01:16 | So I'm going to use Ctrl+Alt+G
for Go, type in 32, and hit Enter.
| | 01:22 | I'm going to zoom in on this, I know
it's off the screen but it'll come back,
| | 01:25 | I'm going to move this up into our view
for us, and Escape to deselect the bar.
| | 01:32 | Bar 32 is where we're going to place
our first indication, the DC al Coda.
| | 01:38 | So first we're going to select the
double bar line here the end of Bar 32,
| | 01:43 | and when it's colored purple,
that means it's selected.
| | 01:46 | So it's from that point that we need
Sibelius to jump back to the top
| | 01:48 | or repeat back to the beginning.
| | 01:50 | So with that double bar line selected,
we're going to insert the Repeat Text Style.
| | 01:55 | So let's go on up to the Text tab, click
on that, to Styles and click on that,
| | 02:01 |
and we'll probably need to scroll down
a little bit until we find the Repeat text.
| | 02:05 | Here it is here, and go
ahead and click on that.
| | 02:08 | And now we have our flashing cursor
and let's go ahead and right-click
| | 02:12 | and we're going to choose D.C. al Coda
and you can Escape once to enter that,
| | 02:18 | and another time to deselect it.
| | 02:20 | That text alone is going to tell Sibelius that
the first time it plays through the piece of music,
| | 02:25 |
when it reaches the end of Bar 32,
here where this text is connected,
| | 02:30 |
Sibelius will need to repeat back to the
beginning and then search for Coda information.
| | 02:35 | So next we need to input the direction To Coda.
| | 02:39 | Let's go ahead and jump to Bar 16,
Ctrl+Alt+G or Command+Option+G,
| | 02:44 | and type in 16 and hit Enter or click OK.
| | 02:47 | I'm going to go ahead and drag that into
our view here and Escape to deselect it.
| | 02:53 | And once again, let's go ahead
and select the bar line at Bar 16
| | 02:57 | and go back up to the Text tab to
Styles, scroll on down, and click Repeat.
| | 03:03 | Once you have the flashing cursor, go
ahead and right-click and scroll on down
| | 03:07 | to choose To Coda and Escape twice again.
| | 03:12 | So now we've asked Sibelius to play from the
beginning to Bar 32 where our D.C. al Coda is,
| | 03:19 |
to jump back to the beginning from there,
and then go to this point at Bar 16,
| | 03:23 | where we're asking it to jump to the Coda.
| | 03:26 | So our next step is to give
Sibelius a Coda to jump to.
| | 03:29 | Our Coda will begin at the top
of Page 5, so let's go to Page 5
| | 03:33 | and the shortcut for going to a page
is Ctrl+Shift+G or Command+Shift+G
| | 03:39 | and you can type in the number
5 and hit Enter or click OK.
| | 03:43 | Normally the beginning of a
system with a Coda is indented,
| | 03:47 | so let's go ahead and grab the
left-hand bar line of this top system here,
| | 03:50 | you can just move your mouse
over to that bar line and click,
| | 03:53 | and it'll become purple when it's
selected and you can just click and
| | 03:57 |
hold and drag to the
right to indent the system.
| | 04:00 | Go ahead and leave that bar line
selected after you do that,
| | 04:03 | and with the bar line selected, let's go
ahead and enter our Coda sign.
| | 04:07 | So once again, back to the Text tab, to Styles,
scroll on down to Repeat, and click on that.
| | 04:15 | With the flashing cursor we can
right-click, and here's the Coda sign,
| | 04:18 | go ahead and click on that and Escape twice.
| | 04:22 | Now everything appears to be inputted
correctly and you've done everything
| | 04:25 | that you would think you would need to do in
order to get the score playing back correctly.
| | 04:29 | However, if you pause this video and
play back your score from the beginning,
| | 04:33 | you'll notice one little problem.
| | 04:35 | Sibelius will follow all of your
repeat text all the way through the
| | 04:38 | repeat back to the top of the score, but
when it gets to the To Coda indication
| | 04:43 | at bar 16, playback will stop.
| | 04:45 | Now I told you this Text Style
could be a little bit testy,
| | 04:48 | so let me show you how you can fix this.
| | 04:51 | What's actually happening is Sibelius is
stopping because it's looking for the
| | 04:55 | actual word Coda, not just
for the symbol for Coda.
| | 04:59 | So what we actually need to do is go
ahead and delete this Coda symbol here,
| | 05:04 | select it and Backspace or Delete.
| | 05:07 | Let's go ahead and load the
Repeat text into our mouse,
| | 05:09 | so click on Styles and scroll down to Repeat.
| | 05:14 | Sibelius has loaded that in my mouse
and I'm going to go ahead over here
| | 05:17 | and click it into the score.
| | 05:19 | And this time instead of
choosing the Coda symbol first,
| | 05:22 |
we're going to go ahead and type
in Coda and you can put a space
| | 05:27 | and then right-click and choose
the symbol for Coda and Escape twice.
| | 05:32 | And now the playback should work just fine.
| | 05:34 | If you play this all the way through, Sibelius's
map will take you from the beginning of the
| | 05:39 |
piece to the D.C. al Coda at Bar 32,
back to the beginning of the piece.
| | 05:44 | And when it gets to the To Coda
indication that Bar 16,
| | 05:48 | it will jump you here to the Coda and
play through to the end of the piece.
| | 05:53 | So you should have a fairly good grasp
on working with the Repeat Text Style
| | 05:56 | and you should have an excellent
understanding of how Sibelius thinks
| | 06:00 | when it's mapping through its playback
using Repeat Text within the score.
| | 06:03 | Remember that you'll always want to use the
Repeat Text Style for this type of playback.
| | 06:08 | If you're tempted to use the symbols from
the Symbols menu for Coda and segno signs,
| | 06:12 |
you'll be very disappointed with them because
they will not affect the playback in your score.
| | 06:17 | The Repeat Text Style is
definitely the way to go.
| | Collapse this transcript |
| Understanding text playback and the playback dictionary| 00:00 | Just about anything you type
into Sibelius as a text object
| | 00:03 | can affect the playback of your score.
| | 00:06 | This is an incredible feature that
allows you to create a score
| | 00:08 | as if you would if you
were writing it out on paper
| | 00:10 | while being able to hear
everything play back appropriately.
| | 00:14 | Text playback can be
a fairly complex topic,
| | 00:17 | but it's important to be aware
of a few essential components.
| | 00:21 | When I gave you an overview of Text
Styles at the beginning of this chapter,
| | 00:24 | I gave you a brief overview of
the Edit Text Styles window.
| | 00:27 | Let's go back there now so that I can
point out an important checkbox for you
| | 00:31 | that will affect the playback of your text.
| | 00:34 | So we're going to make our way to
the Text tab, to the Styles group,
| | 00:38 | and click the dialog launcher
button for Edit Text Styles.
| | 00:41 | Let's go ahead and scroll down to
Tempo, click on that, and click Edit.
| | 00:48 | In the bottom right-hand corner of
the Font tab there's an Other section.
| | 00:52 | The checkbox for Interpret during playback
must be checked in order for your
| | 00:56 | Text Style to affect the playback of your score.
| | 00:58 | Now this is one reason why Tempo
Text plays back in your score.
| | 01:03 | This is also why some Text
Styles will not play back.
| | 01:06 | For example, your title will not play
back and this is probably for a good reason.
| | 01:11 | What if you wrote a piece of
music with a very fast tempo,
| | 01:14 | but you ironically titled it walking slowly?
| | 01:17 | If Sibelius was interpreting your title,
it may play back your music slowly.
| | 01:22 | So now you're probably wondering why
some words play back while others don't.
| | 01:26 | The playback dictionary is where you
need to go in order to figure that out.
| | 01:29 | So let's go ahead and cancel out;
| | 01:31 |
let's go ahead and use Escape to
cancel out of these two dialog boxes.
| | 01:35 | You can Escape twice and let's go
ahead and search the Ribbon this time
| | 01:39 | for the playback dictionary.
| | 01:41 | So up in Find in Ribbon, I'm going to type
playback dictionary and go ahead and hit Enter,
| | 01:48 |
and Sibelius takes us to the Play tab
and shows us where the dictionary is.
| | 01:53 | Go ahead and click on the
Playback Dictionary to open it up.
| | 01:56 | The Playback Dictionary lists all of
the words and symbols in Sibelius
| | 02:00 | that will affect playback and it tells you
specifically how those items will affect playback.
| | 02:05 | The first tab is for Staff
Text and you can select a word,
| | 02:09 | like we've been working with pizzicato, so let's
scroll down here and choose pizzicato and
| | 02:15 | you'll find out that it affects playback by
changing the instrument's Sound ID to pizzicato.
| | 02:21 | The second tab is for System Text
and if you select the word Allegro,
| | 02:27 | you'll see that it affects playback by
changing the tempo to 120 beats per minute.
| | 02:32 | But the beauty of the Playback Dictionary
is that you can change any of these values
| | 02:35 | to affect playback exactly how
you want to affect playback.
| | 02:39 | So if I want my score to play Allegro
at 130, I can change 120 to 130,
| | 02:46 | and now my score, when I type in
Allegro, will play back at 130.
| | 02:50 | The third tab is for Staff Lines, so let's
go ahead and click on that, and you can
| | 02:54 | see that something like an Arpeggio will
change the sound by spreading a chord upward.
| | 03:00 | Next there is an Articulations
tab, let's click on that,
| | 03:04 | and this is why articulations
like a Fermata, if we click on that,
| | 03:08 | will extend the duration of your written notes.
| | 03:11 | There's even a tab for Noteheads, and this
is why noteheads like a Cross notehead,
| | 03:17 | will mute the sound.
| | 03:19 | And finally, there's a Symbols
tab which explains why some of the
| | 03:22 | symbols play back the way they do.
| | 03:23 | So the Playback Dictionary is a very powerful
and highly advanced playback tool in Sibelius.
| | 03:28 | You've just been given a very brief overview.
| | 03:31 | It's important to know why your text
and symbols are affecting playback,
| | 03:35 | and this window gives you those answers.
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| Editing text style appearance| 00:00 | You can change the appearance of any
text in Sibelius any time you wish.
| | 00:04 | All you have to know is where to go in
order to make the right kind of change.
| | 00:08 | There are two options for changing
the appearance of text in Sibelius.
| | 00:12 | First, if you want to edit a text object
locally, meaning just one instance of
| | 00:17 | one object within the score, then all
you have to do is select it to affect it.
| | 00:22 | So we're going to select a lyric
here and we can zoom in on that,
| | 00:26 | Ctrl++ or Command++ and then go to
the Text tab and in the Format group,
| | 00:32 | make whatever adjustments you
want to make to your selected text.
| | 00:36 | So I can change it and make
this lyric a little bit larger,
| | 00:40 | or I can change its style to
something like Bold or Italic.
| | 00:43 | Now what you need to understand about
using the Format group of the Text tab
| | 00:47 | is that the changes you're
making are just local changes.
| | 00:50 | They only affect that one, single instance of
that one selected text object in your score.
| | 00:56 | By editing a text locally, you are
not editing the actual text style.
| | 01:01 | If I was to input another
lyric, for example,
| | 01:03 | it would not look like that
one that I just adjusted.
| | 01:06 | It would look more like the others, because
it would be set to the Text Styles
| | 01:09 | Global Setting, which is
set in Edit Text Styles.
| | 01:12 | If I want to get my lyric
back to its global design,
| | 01:16 | Sibelius actually gives
us a command for that.
| | 01:19 | First make sure that the text is selected.
| | 01:22 | Let's go to the Appearance
tab, to Design and Position
| | 01:26 | and we are going to reset the design of
that text that I just locally changed.
| | 01:32 | So click on Reset Design and Sibelius
resets that selected text to its original
| | 01:37 | default design, and now it
matches all of the other lyrics.
| | 01:41 | So the second way we can change the
appearance of our text in Sibelius is
| | 01:45 | by changing the global setting of our text
style and we do that in Edit Text Styles
| | 01:50 | and if you remember, that's
in the Text tab, under Styles,
| | 01:53 | and it's the Dialog Launcher
button for Edit Text Styles.
| | 01:57 | Let's go ahead and adjust the lyrics.
| | 01:59 | Now since I have the lyrics selected
when I went into Edit Text Styles,
| | 02:04 | Sibelius has actually selected
that text style for me,
| | 02:07 | and that's just your basic first
row of lyrics, Lyrics line 1.
| | 02:10 | Let's go ahead and click Edit.
| | 02:12 | So we can adjust the appearance of
all of the lyrics in our score,
| | 02:15 | by making our adjustments here.
| | 02:17 | Let's go ahead and make
them all a little bit larger
| | 02:21 | and we can adjust their size in
the score as well as in the parts.
| | 02:25 | So let's go ahead and make that
adjustment in the parts as well,
| | 02:28 | and then let's do something a little fun.
| | 02:30 | Let's go ahead and change their style
to something like italic and go ahead
| | 02:34 | and click OK and Sibelius
has made that adjustment.
| | 02:37 | You can click Close to
exit out of Edit Text Styles
| | 02:41 | and now we have larger
lyrics that are italicized.
| | 02:45 | And at this point, if I was to input any
new lyric using the Lyrics line 1 text style,
| | 02:50 | they would appear just like these lyrics,
slightly larger than before and italicized.
| | 02:54 | So now you know where to go in
order to edit the appearance
| | 02:57 | of a text object or text style,
both locally and globally.
| | 03:01 | Next, we'll take a look at editing
the global or automatic position
| | 03:05 | of text on the score page.
| | Collapse this transcript |
| Editing the default positions of text| 00:00 | The default position of text styles in Sibelius
is determined by the settings in two locations.
| | 00:06 | First, the basic alignment or
justification of the Text Style is set in that
| | 00:11 | Horizontal Position tab in Edit Text Styles.
| | 00:14 | So let's go ahead and select a Tempo
Text in the score, I'm going to click on
| | 00:18 | Moderately and let's go to the Text tab,
to Styles, and we've been here before.
| | 00:23 | Go ahead and click on this
Launcher button for Edit Text Styles.
| | 00:27 | Sibelius should select the Tempo Text for us.
| | 00:30 | Go ahead and click Edit, and go
to the Horizontal Position tab.
| | 00:34 | Now again, we've been here before;
| | 00:37 | this shows the basic alignment of the text in
relation to the object that it's attached to.
| | 00:42 | So this is a reminder that Tempo Text
is aligned to the left of a note and you
| | 00:46 | can see that in the Score because
the attachment lines are showing.
| | 00:49 | So if I hit Escape, we can hit
Escape twice, and if we zoom in on this
| | 00:55 | here, again you'll see that the Tempo was
attached to the note to the left of the note.
| | 01:01 | Now the next step in understanding how
Sibelius positions the text on the page,
| | 01:06 | is by figuring out where and how
Sibelius defines the very specific location of
| | 01:11 | the text or the precise distance
numerically that the text style resides in
| | 01:16 | that general direction from its
attachment point, and this is called its
| | 01:20 | default position, and that information
is found in the Appearance tab and it's
| | 01:26 | the Dialog Launcher button under the Design
and Position group here, Default Positions;
| | 01:32 | go ahead and click on that and when
you launch Default Positions, you have a
| | 01:36 | few options in the upper left-hand
corner, you can choose between textiles,
| | 01:41 | lines or other objects.
| | 01:43 | Since we're dealing with text right now,
let's go ahead and leave it set to Text
| | 01:46 | Styles and that gives us a list of
all of the Text Styles to choose from.
| | 01:50 | Let's go ahead and scroll down and select Tempo.
| | 01:54 | You can see at the bottom of the
Template Text Properties that Tempo Text is
| | 01:59 | always created above the top of the staff.
| | 02:01 | This also means that it will be
measured from above the top of the staff.
| | 02:06 | Go to the top of the dialog now and
locate the Horizontal Position relative
| | 02:10 | to Note field here.
| | 02:11 | -3 means that the Tempo text is
positioned 3 spaces to the left of the note
| | 02:18 | that it's attached to;
| | 02:19 | that's what the negative number
means it's positioned to the left.
| | 02:23 | Now let's look at the vertical
position relative to the staff here.
| | 02:26 | 3 spaces here means that the text is 3
spaces above the top of the staff, as
| | 02:33 | indicated down here, and all Text
Styles have settings just like these.
| | 02:39 | So if it's been bothering you that
your Tempo text and your Metronome text
| | 02:42 | always land on top of each other, then
this dialog box should be able to tell
| | 02:46 | you why, and it's from here where
you'll be able to fix that problem.
| | 02:50 | Now my guess is that if we look at the
Metronome Mark settings, they're probably
| | 02:54 | going to be exactly the same as the
Tempo settings, so let's try that.
| | 02:58 | Let's scroll up, click on
Metronome Mark and you'll see that yes,
| | 03:03 | they're exactly the same.
| | 03:05 | The Horizontal position is -3,
and the Vertical position is 3.
| | 03:09 | So to globally fix this colliding
Metronome Mark in Temple problem, all we have
| | 03:14 | to do is adjust them here and give them their
own space to exist on the page; so let's do that.
| | 03:19 | Let's go back to Tempo, and I'm
going to position my Tempo words above
| | 03:25 | my Metronome marks.
| | 03:27 | So let's go to the Vertical position
here and instead of having it only 3
| | 03:31 | spaces above the staff, let's increase
that to 6, and you can do this in the
| | 03:36 | Score and in the Parts.
| | 03:39 | Go ahead and click OK, and now your
Tempo text is up above your Metronome mark,
| | 03:44 | and we can adjust the Default
Positions of other texts as well.
| | 03:48 | First let's go ahead and bring up Page
Margins and I'm going to zoom out first
| | 03:51 | here, and go to the View tab, bring up
Page Margins, and you'll see that the
| | 03:58 | title is outside of the Page Margin.
| | 04:01 | So let's reel in the title a little bit.
| | 04:04 | Go to the Appearance tab to Design and
Position here, click the Dialog Launcher
| | 04:08 | button for Default Positions, click on
Title, and let's go ahead and change its
| | 04:14 | vertical position relative to the
staff to a smaller number to bring it down.
| | 04:18 | I'm going to change it to 9,
both in the Score and in the Parts.
| | 04:22 | Go ahead and click OK, and now
your title is inside your Page Margin.
| | 04:27 | And let's do one more;
| | 04:28 | let's move the lyrics up a little bit.
| | 04:30 | So again let's go to the Appearance tab,
down to Design and Position, to the
| | 04:36 | Default Positions Launcher
button and click on that.
| | 04:39 | Let's go ahead and move the scroll
up to Lyrics line 1 and select them.
| | 04:44 | And if we're going to move them up a
little bit we're going to go to the
| | 04:47 | vertical position and instead of being
at 4, let's decrease that number to about
| | 04:53 | 3.5 and we can do that in the
Score again and in the Parts.
| | 04:57 | Now I'm going to move this dialog
over a little bit so you can watch what
| | 05:01 | happens here when we click OK;
| | 05:03 | let's move it down maybe.
| | 05:04 | I'm going to go ahead and
hit Enter, and nothing happens;
| | 05:09 | the lyrics just sort of sit there.
| | 05:11 | So some of the changes you
make in Default Positions will not
| | 05:14 | update immediately.
| | 05:16 | In order to get everything updated to their
default positions you need to select them.
| | 05:21 | So let's go ahead and use Ctrl+A or
Command+A to Select All and then you can go
| | 05:27 | to the Appearance tab to the Design
and Position and reset their positions.
| | 05:32 | So this resets them to their default positions.
| | 05:35 | Go ahead and click on that, and now the
lyrics have moved up a little bit for us.
| | 05:40 | Now I should mention to you that I spent
some time ahead of time deciding on all
| | 05:44 | of these numbers and spaces for us, but
when you're working on these positions
| | 05:48 | in your own scores it does take
some trial-and-error to get them right.
| | 05:52 | Let's go ahead and Escape and let's
take a quick look now at the default
| | 05:55 | position of a line in the Score.
| | 05:58 | I'm going to use the End key to move
over to Page 2, and let's go ahead and
| | 06:02 | scroll down and I think there should
be a Crescendo down here for us, and
| | 06:07 | go ahead and click on that Crescendo and
let's make our way back to Default Positions.
| | 06:12 | So back up to the Appearance tab, to
the Dialog Launcher there, click on that,
| | 06:16 | and now in the upper left corner let's
select the bullet for lines and in the
| | 06:21 | list of lines choose Crescendo.
| | 06:25 | Let's move the line down a little bit,
so let's set its Vertical position
| | 06:29 | instead of to -4.5, let's set it to -5.5,
and go ahead and click OK, and leaving
| | 06:37 |
| | 06:39 | that selected let's reset its position,
and now the hairpin is a little further
| | 06:44 | below the staff than it used to be.
| | 06:47 | So every text style and line in
Sibelius, and even some other objects, have
| | 06:51 | these default positions, the exact
number of spaces that they reside in a
| | 06:55 | specified direction away
from their attachment points.
| | 06:59 | You just saw how easy it can be to
edit an object's default position.
| | 07:03 | Our Score still does not look perfect,
but we fixed many of our issues already
| | 07:07 | and we're now well on our way to
having a very nicely engraved Score.
| | Collapse this transcript |
| Setting system object positions| 00:00 | The final obstacle toward automatically
positioning your text the way that you
| | 00:04 | want it to appear on the Score Page in
Sibelius is mastering what Sibelius calls
| | 00:08 | System Object Positions.
| | 00:11 | You've probably noticed that a single
system object or a system text style
| | 00:15 | will sometimes appear in more than one
vertical location within a single system,
| | 00:19 | or above or below more than
one staff in a single system,
| | 00:22 | just like we have here in our score,
with our Tempo and our Metronome markings
| | 00:26 | appearing above the Soprano,
the Tenor, and below the Cello.
| | 00:30 | And you're not alone if you're
confused by this phenomenon.
| | 00:33 | So why do system objects and text appear at
these multiple positions within a single system?
| | 00:39 | Let's visit the System Object
Positions menu to find out.
| | 00:42 | So make your way to the Appearance tab
and click on System Object Positions.
| | 00:47 | So this dialog box is showing us why
right now our System Objects are appearing
| | 00:52 | above the Soprano part, the Tenor
part and below the bottom of the Staff,
| | 00:57 | because those positions have been selected here.
| | 01:00 | You can select up to five different
positions in this dialog box,
| | 01:03 | and if you have a large score, I would highly
suggest going in and selecting all five positions.
| | 01:08 | You can select multiple positions in this
dialog box by using the modifier Ctrl or Command.
| | 01:13 | But you will notice that you
cannot select more than five positions.
| | 01:19 | You can toggle positions off by
just clicking on them with your mouse.
| | 01:25 | So what positions do you choose?
| | 01:27 | You always have to have the top Staff
selected, in this case the Soprano,
| | 01:32 | because you're always going to have some
sort of system object appearing above the Staff.
| | 01:36 | You never know when you may want a
system object below the bottom Staff,
| | 01:40 | so I suggest always selecting
that option as well.
| | 01:43 | For the other three positions,
you'll need to look at your score.
| | 01:46 | It'll be different for
every score that you work in
| | 01:49 | unless you're always working
with the exact same instrumentation.
| | 01:52 | Now for my score, it appears that it
would make the most sense to have the
| | 01:55 | potential for a system object to
appear above the Violin 1 Staff.
| | 01:59 | So I'm going to make sure that I have
that selected in System Object Positions.
| | 02:03 | Once you have your System Object
Positions set, go ahead and click OK,
| | 02:08 | and you can see now that my system objects
have adjusted to their new positions.
| | 02:12 | In reality, we probably wouldn't want our
Tempo and our Metronome marks to appear
| | 02:16 | below the bottom staff, and we can correct
that setting in a variety of ways.
| | 02:20 | First, you can go in, and select and
delete any of the repeated system objects
| | 02:24 | as they appear down the page.
| | 02:26 | So I can go in and click on
this metronome mark and hit Delete.
| | 02:30 | That will remove the object from the repeated
position, but not entirely from the score.
| | 02:35 | You don't want to delete the object from the
top staff up here because if you do that,
| | 02:40 | and hit Delete, then the object
goes away from the score entirely.
| | 02:44 | I'm going to Undo to bring
those back, and Escape.
| | 02:49 | Now, the problem with always having to go in
and delete the multiple system objects
| | 02:53 | is that it's a lot of extra work for you.
| | 02:56 | Every time you enter a Tempo, you'll have to
delete a few of its multiple positions.
| | 03:00 | So how do you get Sibelius to do this for you?
| | 03:03 | First, remember where your positions
are, and number them from the top down.
| | 03:07 | Now, this is fairly easy with a small
score like this, but in a larger score,
| | 03:11 | you may have to write this information
down so you that can remember it.
| | 03:14 | Let's go back to System
Object Positions real quick.
| | 03:17 | For this score, my first position,
or the top staff, is the Soprano.
| | 03:22 | This is always referred to as top staff.
| | 03:25 | My second position is above the Violin 1.
| | 03:28 | So I'm going to remember
that as second position.
| | 03:30 | Now, if I had made any other choices,
they would be my third and fourth positions.
| | 03:35 | Position five is always
referred to as Below bottom staff.
| | 03:39 | It's never a numbered position.
| | 03:41 | So with that in mind, go ahead and click OK.
| | 03:44 | And why are we keeping track of these positions?
| | 03:46 | Let's go back to Edit Text Styles.
| | 03:49 | First, I'm going to select the
Tempo here, go to Text, and to Styles,
| | 03:54 | and click on the Edit Text Styles Launcher
button, with the Tempo selected,
| | 03:58 | click Edit, and make your way
to the Vertical Positions tab.
| | 04:03 | The Multiple system object position
checkboxes in Edit Text Styles corresponds
| | 04:08 | to the System Object Positions
that you have set for your score.
| | 04:12 | So why is the Tempo text showing up in
all of my Score System Object Positions?
| | 04:17 | Because all of these boxes here
are checked in its Text Style.
| | 04:22 | How do I get the Tempo to only
appear above the top staff in my score?
| | 04:26 | I simply uncheck the other
positions in Edit Text Styles.
| | 04:32 | And if I do this, and click OK, and
close, you'll notice that Sibelius
| | 04:36 | has made that adjustment now
on the score page for me.
| | 04:39 | Let's go ahead and try to get this
Metronome marking now to only appear above
| | 04:43 | the Soprano and Violin and
not below the bottom staff.
| | 04:46 | So let's select it, go to Edit Text Styles,
and with the Metronome mark selected,
| | 04:52 |
click Edit, go to the Vertical Positions tab,
| | 04:56 | and this time we don't want
it below the bottom staff.
| | 04:59 | We already know that we don't
have a fourth or a third position.
| | 05:01 | So now it's going to
appear above the top staff,
| | 05:04 | and above the second position
which is the Violin 1.
| | 05:07 | Click OK, and click Close, and Sibelius has
made that adjustment on the score page for us.
| | 05:14 | Let's take a look at one
more of our Text Styles.
| | 05:16 | Let's use Ctrl+N or Command+N
to get to the end of the score,
| | 05:21 | and we have our Repeat Text here,
| | 05:23 | So let's select that, and maybe we
just want that above the top of the staff.
| | 05:27 | So back to Edit Text Styles,
Repeat is selected, click Edit,
| | 05:32 | go to the Vertical Positions tab and uncheck
all of the positions except for the top staff,
| | 05:38 | click OK, and close, and now our Repeat
text is above the top of the staff only,
| | 05:45 | and you can Escape to deselect that.
| | 05:47 | So you can go in, and you can define
all of these Text Styles differently,
| | 05:51 | so that they look just like you
want them to look on the score page.
| | 05:54 | And the best part is, from now on
anytime I add any of those Text Styles
| | 05:58 | to my score, they're going to
automatically behave like I want them to.
| | 06:02 | So let's go ahead and add
another Tempo text for example.
| | 06:04 | I'll select here, go to Styles, choose
Tempo, and let's just right-click and
| | 06:12 | put a Tempo in there real quickly, and
Escape, and you'll notice that the Tempo
| | 06:16 | no longer appears down the system;
it only appears up at the top.
| | 06:20 | Unfortunately, while this feature
does affect system text perfectly,
| | 06:23 | it does not affect system lines.
| | 06:25 | There's really no place that you
can go to edit the vertical position of
| | 06:29 | individual system lines
like you can with the text.
| | 06:32 | Let's scroll down and look at our Tempo line.
| | 06:34 | Now, the good news is that the lines
tend to behave like you want them to.
| | 06:39 | They don't appear below the staff and
they appear in all of the other positions.
| | 06:44 | If you don't want them in the other
positions, just select them, and hit Delete.
| | 06:49 | So as you can see we're just about to a
point where our score and text objects
| | 06:52 | are behaving and appearing exactly
like we want them to all of the time.
| | 06:56 | The score still needs to be
laid out a little bit better.
| | 06:59 | But before we move on to lay out,
there are a few more Text Styles
| | 07:02 | that are in need of some attention.
| | 07:03 | I've saved them for the end of this
chapter, because they work a little bit
| | 07:06 | differently compared to the
other text that we've seen.
| | Collapse this transcript |
| Adding rehearsal marks| 00:00 | Rehearsal marks in Sibelius appear to
be just like any other text on the page.
| | 00:05 | They default to a position above the
top of the staff, they justify to the
| | 00:09 | left-hand side of the bar, their default
font is fairly large, bold and boxed,
| | 00:14 | and they can appear in multiple
system object positions.
| | 00:17 | However, you do not create rehearsal marks
like a normal text from the Text Styles group.
| | 00:22 | Instead, they have their own button and
settings in the Text tab of the Ribbon.
| | 00:26 | So let's go ahead and select the
Text tab and on the right-hand side
| | 00:30 | you'll see Rehearsal Marks.
| | 00:32 | The easiest way to input a rehearsal
mark is to select the bar where you want
| | 00:35 | the rehearsal mark to appear.
| | 00:37 | So let's go ahead and select Bar 10
and then you can just click the button
| | 00:41 | in the Ribbon and Sibelius adds
the rehearsal mark in for you.
| | 00:45 | So there's no flashing cursor,
you don't need to type them in;
| | 00:49 | they just default in alphabetical order for you.
| | 00:52 | Let's add another one at Bar 11, so
click on Bar 11, and this time let's use
| | 00:56 | the shortcut Ctrl+R or Command+R
to add the rehearsal mark,
| | 01:02 |
and you can Escape to deselect those.
| | 01:04 | Now if you delete a rehearsal marking,
then the other rehearsal markings will adjust.
| | 01:09 | So if we delete the rehearsal mark at
Bar 10, the letter B, we can select it
| | 01:14 | and then use Backspace or Delete and
you'll notice that Sibelius will update the
| | 01:18 | next rehearsal mark so that they're
always in the correct order.
| | 01:21 | Similarly, if you enter a rehearsal mark
in between two existing rehearsal marks,
| | 01:26 |
then you'll see that they will automatically
renumber or reletter themselves as well.
| | 01:30 | So let's put another rehearsal mark
back into Bar 10, selecting Bar 10,
| | 01:34 | Ctrl+R or Command+R, and Sibelius
makes all those adjustments for us.
| | 01:39 | You can edit the basic properties of
Rehearsal Marks in Engraving Rules.
| | 01:42 | So let's go to the Appearance tab and on
the far left-hand side Engraving Rules,
| | 01:47 | go ahead and click on that.
| | 01:50 | And with the Rehearsal Marks selected,
Sibelius takes us to Rehearsal Marks page,
| | 01:54 | and this is where you can adjust their
appearance, how they're numbered or lettered.
| | 01:59 | You can also edit their Text Style from here.
| | 02:01 | You can click this button which takes
you to Edit Text Styles,
| | 02:04 | where you can change its Font and its Style.
| | 02:06 | Let's go ahead and Cancel out of that.
| | 02:10 | The other thing you can do in
Engraving Rules with rehearsal marks
| | 02:13 | is add a Prefix or a Suffix.
| | 02:16 | Go ahead and click OK to exit Engraving Rules.
| | 02:18 | Now you can also edit the default position
of rehearsal marks in Default Positions.
| | 02:24 | So let's go back to the Appearance tab
and go down to Design and Position
| | 02:29 | and the dialog launcher for Default Positions.
| | 02:32 | Make sure that you have Text Styles
selected in the upper left-hand corner
| | 02:36 | and then scroll down to Rehearsal marks.
| | 02:38 | Select Rehearsal marks and then you
can adjust their setting from here.
| | 02:43 | So if I'd like them to appear a
little bit higher above the staff,
| | 02:46 | I can go to the Vertical Position setting
here and let's change this from 3 to 4.
| | 02:51 | If we increase it, they'll move up,
| | 02:53 | and go ahead and click OK and
our rehearsal marks have adjusted.
| | 02:59 | You can also change the rehearsal marks
of vertical system object positions
| | 03:03 | just like any other system object.
| | 03:05 | So let's go to the Text tab, down to
Styles here and click on the launcher
| | 03:09 | for Edit Text Styles, scroll down to
Rehearsal marks, select Rehearsal marks
| | 03:15 | and click Edit, and go to
the Vertical Position tab.
| | 03:19 | So if I want my rehearsal marks to
only appear above the top staff,
| | 03:23 | I can uncheck all of the other
positions and click OK, and Close.
| | 03:28 | So Rehearsal Marks are special objects that
require a bit more knowledge than regular text
| | 03:32 | styles, but you can see that you can input
them and edit them in many of the same ways.
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| Editing instrument names| 00:00 | The Instrument Names Text Styles in
Sibelius is another text style that
| | 00:04 | takes a bit of practice in getting used to.
| | 00:07 | The first thing you need to know is
that Instrument Names usually have two,
| | 00:10 | but can have up to three different
presentations within one score.
| | 00:14 | We'll be taking a look at the two most
common of the three different appearances
| | 00:18 | of Instrument Names.
| | 00:19 | First, you've probably noticed that
you have full instrument names at the
| | 00:23 | start of the score and you've probably
also noticed that you have abbreviated
| | 00:28 | or short instrument
names on subsequent systems.
| | 00:31 | Let's take a look at why this is.
| | 00:33 | Let's head to the Appearance tab to the left-
hand side to Engraving Rules and click on that.
| | 00:39 | Go ahead and click on the Instruments
page and this is why your instrument names
| | 00:44 | appear the way they do.
| | 00:45 | You can see that you're set to have
Full names at the start of the score
| | 00:49 | and Short names on subsequent systems.
| | 00:52 | If you'd like full names throughout
your score you can change the setting for
| | 00:55 | Subsequently to Full and if you click OK,
Sibelius will make that adjustment for you.
| | 01:01 | Now, if you don't want any
instrument names on your score,
| | 01:04 | what you don't want to do is
select them and delete them.
| | 01:08 | If you delete your instrument
names you will not get them back.
| | 01:11 | So, let's go ahead and undo
that, Ctrl+Z or Command+Z.
| | 01:14 | So if you don't want any instrument names,
the best way to make that change is to
| | 01:18 | go back to Engraving Rules to the
Instruments page, and change these to None,
| | 01:26 | and when you click OK you will
not have any instrument names.
| | 01:31 | Now, the best thing about doing it that
way is that you can always go back to
| | 01:34 | Engraving Rules to bring them back.
| | 01:36 | So let's bring them back at their defaults.
| | 01:38 | Go to Engraving Rules. At
Start, let's choose Full,
| | 01:42 | and Subsequently let's
choose Short and click OK.
| | 01:47 | You can also change the appearance
of your instrument names
| | 01:50 | and you can do that
in Edit Text Styles.
| | 01:52 | So, let's go to the Text tab to the
Styles group, to the launcher button
| | 01:57 | for Edit Text Styles, scroll down and
select Instrument names and click Edit,
| | 02:04 | and you should be pretty
familiar with this by now.
| | 02:06 | We can go in and change the
Size of the instrument names.
| | 02:09 | I can make them larger here
in the score and in the parts
| | 02:12 | and we can also change the
Style, so I can make them Bold.
| | 02:16 | Click OK and Close and Sibelius
has made those adjustments.
| | 02:21 | You can also edit the names themselves.
| | 02:24 | You can do this locally on the score
page by double-clicking on them
| | 02:27 | and typing a new name in.
| | 02:28 | So, let's go ahead and
change the Soprano to a Solo.
| | 02:32 | Double-click on the Soprano.
| | 02:34 | We can Backspace through some of these
letters here and change it to Solo and hit Esc.
| | 02:40 | But if you do that don't forget
to change the short name as well.
| | 02:43 | So, we'd want to go over to one of the
subsequent systems and we could go in and
| | 02:47 | change this also and hit Esc.
| | 02:50 | So now that you know how to
adjust your instrument names,
| | 02:53 | you can change your scores to
reflect the make up of your ensemble.
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| Creating chord symbols| 00:00 | Creating chord symbols in Sibelius can
take a bit of getting used to at first,
| | 00:04 | but once you understand the
intelligence and power behind the feature,
| | 00:08 | you will absolutely love it.
| | 00:10 | Before entering chord symbols, let's take
a look at the chord symbol feature's brain
| | 00:14 | by visiting the Appearance tab, Engraving
Rules, and clicking on the Chord Symbols page.
| | 00:22 | Here you can see the basic
appearance of chord symbols.
| | 00:25 | By default, Sibelius will show
chord text on all of the staves
| | 00:29 | except for notation staves belonging to
guitars and other fretted instruments,
| | 00:34 | which will instead receive
guitar chord diagrams by default.
| | 00:38 | Next, you have Suffix Elements;
| | 00:41 | this is where you personalize your score's
chord symbol text so that it will use the
| | 00:44 | desired symbols on the page
to represent chord types,
| | 00:48 | such as using M for Major,
or maybe MA or ma for Major.
| | 00:54 | Now, these settings are very personal
and you may set up your score's chord
| | 00:58 | symbol appearance however you wish,
| | 01:00 | and this is certainly a place
to explore later on, on your own.
| | 01:04 | Down at the bottom of the dialog
we have the Parentheses section,
| | 01:07 | and this is where you tell
Sibelius when and how to handle
| | 01:10 | Parentheses written
into your chord symbols.
| | 01:13 | So again, this would be a dialog window
that you would want to come back to and
| | 01:16 | visit often as you continue getting
comfortable in putting chord symbols.
| | 01:21 | Let's go ahead and click OK, we'll
use the default settings for now,
| | 01:26 | and like rehearsal marks, chord symbols have
their own button in the Text tab of the Ribbon.
| | 01:30 | So let's go ahead and click on the
Text tab and you'll see Chord Symbols
| | 01:34 | right here to the right.
| | 01:35 | Now, once again, the easiest way to
begin inputting a chord symbol
| | 01:40 | is not to select them from the menu,
but to go in and select a position
| | 01:43 | where you'd like to start inputting them.
| | 01:45 | So let's go ahead and
select Beat 1 of Bar 1.
| | 01:50 | To insert the chord symbol, you could go
up to the Ribbon and click on the
| | 01:53 | Chord Symbol button, and Sibelius will
launch you into Chord Symbol Entry Mode.
| | 01:58 | You can also use the shortcut,
Ctrl+K or Command+K.
| | 02:01 | When you get the flashing cursor,
all you have to do is just type.
| | 02:06 | Let's type A minor into Beat 1.
| | 02:08 | So I'm going to use capital A and
I'm going to use lowercase mi for minor.
| | 02:14 | Spacebar will advance you to
the next beat or to the next note.
| | 02:17 | So I'm going to hit Spacebar, and you'll
notice now that Sibelius has changed my A minor;
| | 02:24 | instead of mi, we just have a lowercase m,
| | 02:26 | and that matches the
settings in Engraving Rules.
| | 02:30 | My next chord symbol is
going to appear on Beat 3.
| | 02:32 | So let's go ahead and hit Spacebar
again, now we're on Beat 3,
| | 02:36 | and let's type in capital
C and the number 6 for C6.
| | 02:40 | Hit Spacebar and Sibelius will adjust that
to make it look like a chord symbol for you.
| | 02:45 | Let's hit Spacebar one more time to get
to Beat 1 of Bar 2 and let's type in a D7,
| | 02:51 | capital D number 7, and hit Spacebar.
| | 02:56 | Let's put one more chord symbol in Bar 2.
| | 02:58 | So let's Spacebar one more
time, capital F and 2,
| | 03:02 | and you'll notice when I hit Spacebar,
Sibelius will change that to F(add2)
| | 03:06 | for me and, again, that's
reflected in Engraving Rules.
| | 03:10 | To move quickly to the next bar, instead
of using Spacebar, you can use Tab.
| | 03:14 | So if I tab, I'll move to the next bar.
| | 03:17 | In Bar 3, let's try writing A minor 7.
| | 03:19 | So I'm going to use capital A,
lowercase mi and 7, and you'll notice
| | 03:24 | when I hit Spaecbar, Sibelius will
adjust that for me, to Am7.
| | 03:31 | You can Escape out of Chord
Entry at any time that you'd like.
| | 03:34 | So I'm going to Escape, and you might
want to use that twice. There we go.
| | 03:39 | To get back into Chord Entry, you can
double-click on a chord symbol at any time.
| | 03:44 | So I'm going to double -click on the
Am7 and now I can use Spacebar to advance
| | 03:48 | through the notes and beats.
| | 03:50 | If you have a chord symbol with a flat
sign in it, all you have to do is just
| | 03:54 | type a lowercase b. So let's
put a b flat chord symbol here.
| | 03:58 | Capital B with a lowercase b and Spacebar,
and Sibelius adjusts it to look like a flat.
| | 04:04 | Same thing with the sharp (#) sign;
| | 04:06 | let's put F#, capital F and then the
sharp (#) sign, which is the number sign
| | 04:10 | above the number 3 and hit Spacebar
and Sibelius adjusts that to a sharp.
| | 04:16 | If you make any mistakes if you're in
Chord Entry, you can just use Backspace
| | 04:21 | to delete and go backwards through the chord
symbols, and Escape gets you out of all that.
| | 04:27 | So again, you can type the flavor of
your chord, the major and the minor,
| | 04:30 | however you'd like to type it in, and
Sibelius is going to update your entry
| | 04:34 | based on what you've set up in that chord
symbol brain center in Engraving Rules.
| | 04:40 | You can even go in and change the settings after
you've entered chord symbols. So let's try that.
| | 04:44 | Let's go back to Engraving Rules,
up to Appearance, Engraving Rules,
| | 04:50 | the Chord Symbols page.
| | 04:51 | I have a few minor chords
that look like this right now.
| | 04:54 | Let's go ahead and change that so that
my minor chords will look like this,
| | 04:57 | with a lowercase m and a lowercase i. Go
ahead and click OK and Sibelius will make
| | 05:02 | that adjustment on your score page.
| | 05:04 | So as you can see, the chord symbol
text style is highly advanced in Sibelius,
| | 05:08 | but it's still very simple to use.
| | 05:11 | You have a lot of flexibility and a
lot of settings available to you to make
| | 05:14 | your chord symbol experience very personal.
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|
|
10. Engraving and FormattingPreparing for a final layout| 00:00 | In this video I'll fill in the gap between
the creative process of composing and
| | 00:04 | the technical process of formatting
your score to create a final layout.
| | 00:08 | Before we began let's make sure
that you're seeing your page margins
| | 00:11 | to ensure that your music is
fitting properly on the page.
| | 00:13 | So go to the View tab, to
Invisibles, and check Page Margins.
| | 00:18 | Now hopefully during the composition
process you spent some time,
| | 00:21 | as we have in this course, adjusting
many of Sibelius's default settings,
| | 00:25 | so that you didn't have to do a lot of
clicking and dragging with the mouse.
| | 00:28 | That way of working will
always yield the best result
| | 00:31 | and will make the final layout
process much easier for you.
| | 00:34 | But regardless of how you
work, I always suggest running
| | 00:36 | a few housekeeping processes before
finalizing your score's format.
| | 00:40 | Here are some ideas for you, and you'll
need to Select All before running
| | 00:44 | each of these processes.
| | 00:46 | So let's go ahead and Select All,
Ctrl+A or Command+A.
| | 00:49 | First, in preparation for a final layout,
I always unlock my score's format.
| | 00:53 | To do that, go to the
Layout tab, to the far right,
| | 00:57 | and choose Unlock Format or
the picture of the unlocked lock.
| | 01:01 | You may recall seeing some layout
marks in some of our Exercise Files.
| | 01:05 | What Unlock Format does is, it
removes all of those layout marks,
| | 01:08 | returning your score to its
default layout and spacing.
| | 01:12 | When you run Unlock Format you're
giving Sibelius the chance to look at
| | 01:15 | your entire completed score to lay it out as
nicely as it can automatically for you.
| | 01:20 | Your score might not look perfect or
may even look terrible right now,
| | 01:24 | but we've still got a long way to go
with our formatting, so hang in there.
| | 01:27 | Go ahead and hit Escape.
| | 01:28 | So next we're going to run Reset Note Spacing.
| | 01:32 | You will find the Reset Note
Spacing button in the Appearance tab.
| | 01:36 | Before you run it go ahead and Select
All again, Ctrl+A or Command+A,
| | 01:40 | and the Reset Note Spacing button
is right here in the Ribbon.
| | 01:43 | Go ahead and click the button and
Sibelius will reset your note spacing
| | 01:47 | algorithm to its default setting,
and entirely re-space your score.
| | 01:51 | Go ahead and hit Escape. Now if you had
dragged any notes or bar lines right or
| | 01:55 | left during the score creation
process, the unnatural spacing that you
| | 01:59 | created would now be reset
back to its original setting.
| | 02:02 | Running Reset Note Spacing will also
readjust your score for your lyrics,
| | 02:06 | which is probably why Sibelius made
quite an adjustment here for us.
| | 02:10 | Next, we're going to reset the position of every
object in your score to its default position.
| | 02:15 | So again let's go ahead and
Select All, Ctrl+A or Command+A,
| | 02:18 | and choose Appearance and Reset Position here.
| | 02:22 | Go ahead and click on that.
| | 02:23 | Now running Reset Position ensures
that every object page is positioned
| | 02:28 | precisely in its defined default position.
| | 02:30 | You can go ahead and hit
Escape to see those results.
| | 02:33 | If you have dragged any objects around
or moved any objects with your arrow keys,
| | 02:37 | Reset Position will fix them for you.
| | 02:39 | As you can see, this makes the appearance
of all of your objects very uniform
| | 02:42 | across all of the pages in your score.
| | 02:45 | Another feature I like to run is something
called Reset Design and that will reset
| | 02:48 | your fonts to their default font size
and style as defined in Edit Text styles.
| | 02:53 | So if you've made any local changes to any
text in your Text tab, then Reset Design
| | 02:57 | will end up resetting that
text back to its default.
| | 03:00 | So you need to be careful with this one.
| | 03:02 | If you've made any intentional local
changes to the design of text or objects,
| | 03:06 | then you would not want to run this
feature with those objects selected.
| | 03:10 | So I would suggest waiting to make
local changes until after you run this
| | 03:13 | process before your final layout.
| | 03:15 | Go ahead and Select All, and again
from the Appearance tab we're going to
| | 03:19 | choose Reset Design, and Escape.
| | 03:22 | Now the last process I run before formatting is
resetting the space above and below my staves.
| | 03:28 | So if I've done any dragging of staves,
let's say I was composing and I wanted
| | 03:32 | some more space, so I clicked
on a staff and dragged it down.
| | 03:35 | And that's fine, you can do
that while you're composing.
| | 03:38 | But when you're done you want to make
sure that you reset those staff spacings
| | 03:41 | and start with the best, most uniform
layout of staves that you can.
| | 03:45 | So again, let's Select All, Ctrl+A or
Command+A and I usually run two process here.
| | 03:50 | Go to the Layout tab, we're going
to Reset the Space Above the staff
| | 03:54 | and Reset Space Below, and Escape.
| | 03:58 | So this sets the spacing between the
staves back to the default spacing which
| | 04:01 | is actually defined in the
Staves page of Engraving Rules.
| | 04:05 | And again, if your score's not automatically
laying out quite how you expected it to,
| | 04:08 | that's okay; we still have a long
way to go toward our final layout.
| | 04:12 | So you can start to see in this
score that working with Sibelius's global
| | 04:15 | default settings while you compose can save
you an enormous amount of time in the long run.
| | 04:20 | Being able to reset everything in your
score and ending up with an overall
| | 04:24 | good looking layout, makes
finalizing your score much easier.
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| Formatting with Document Setup| 00:00 | Formatting is the process of spreading
out your music to fill systems and pages
| | 00:04 | so that you end up with a good looking layout.
| | 00:06 | As you're working and composing,
Sibelius automatically formats your score
| | 00:10 | for you every time you add an
object or a note on the page.
| | 00:12 | But when it comes to completing a final
layout for printing, you'll need to take
| | 00:16 | charge and format your score yourself.
| | 00:19 | The first step of course, is having an eye for
what a good layout of your score looks like.
| | 00:23 | Once you have that in mind, the following
are some features you'll need to work with
| | 00:26 | to get that perfect score layout
that you're envisioning.
| | 00:29 | Document Setup is the main place to go if
you need to fit music on the page in Sibelius.
| | 00:34 | It's found on the left-
hand side of the Layout tab.
| | 00:37 | Go ahead and click the Dialog Launcher
Button here to open the Document Setup window.
| | 00:42 | There are four main options in
this dialog that you must work with:
| | 00:45 | Page Size, Page Orientation, Staff Size,
and down at the bottom the Staff Margins.
| | 00:52 | First, the Page Size.
| | 00:54 | Make sure that your Page Size is set to
the size of paper that you'll be printing on.
| | 00:58 | This would be a very big mistake
to make right from the start.
| | 01:01 | Next, the Page Orientation and Staff
Size pretty much have to be taken into
| | 01:05 | consideration together, because
they really fit hand in hand.
| | 01:09 | With those two options you make the
decision to format your score page, depending
| | 01:12 | on the number of staves and bars you
want to see on each page, and depending on
| | 01:16 | how large or small you want the print to be.
| | 01:18 | There really isn't a right or wrong answer here;
| | 01:20 | it's a personal preference.
| | 01:21 | But sometimes the number of staves in
each system can help you make this decision.
| | 01:25 | For example, if you have a large orchestral
score, you know that you're probably going
| | 01:30 | to have to choose a Portrait
orientation with a smaller Staff size.
| | 01:34 | Smaller Staff size helps you fit all
of the staves on one letter-size paper.
| | 01:39 | I can say from my personal experience,
that when I have a score with
| | 01:41 | approximately 7-12 staves per system,
I seriously consider using a landscaped
| | 01:47 | orientation and one system per page.
| | 01:50 | And you may be able to increase the
Staff size a bit and get a good layout.
| | 01:54 | If I have a score with 2-4 staves per
system, I also consider using landscape
| | 01:59 | but with two systems per page instead of one.
| | 02:02 | So my Staff size would
probably have to be a bit smaller.
| | 02:07 | Now in this case with our score, we're kind of
right in between with six staves in the system.
| | 02:11 | So you need to experiment a little
bit and figure out what you like best.
| | 02:15 | Now my opinion is, it would be difficult
to fit two of our systems on one
| | 02:18 | landscaped page like this, because the
music would have to be sized very small
| | 02:23 | and it would probably be much too squished.
| | 02:25 | It is also difficult in our example to fit
one system on a landscape page if we increase
| | 02:30 |
this here because you'd have to increase
the Staff size to fill in the empty space
| | 02:34 |
and you'd probably end up with a giant big
note Staff size, which is not very pleasing.
| | 02:39 | So for this score, I would probably choose
a Portrait orientation with a smaller
| | 02:44 | Staff size to fit two systems on each page.
| | 02:48 | For this document, a Staff size of
approximately 5.6 millimeters will probably
| | 02:52 | yield a very good result.
| | 02:54 | And where am I getting millimeters from?
| | 02:56 | Well, we have 5.6 here and we're
measuring that up here in millimeters.
| | 03:00 | One thing you do want to make sure of is
that you have enough empty space on the
| | 03:03 | page so that you can complete more
formatting tasks and spread things out a
| | 03:07 | little bit more if you need to.
| | 03:09 | But you don't want so much empty space
on the page that the page looks bare.
| | 03:12 | Now setting the Staff size is an art form.
| | 03:15 | No one can guess a number here.
| | 03:17 | That's why there's a preview for you.
| | 03:19 | This will always be something that
you'll work back and forth with until
| | 03:22 | you find the number that works
best for your score.
| | 03:24 | And also don't forget to check Page
1 here and also the subsequent pages.
| | 03:28 | You can change the page and just make
sure that all of the pages are looking good.
| | 03:33 | So we've set our Staff size to 5.6
and let's go ahead and click OK
| | 03:37 | and we'll see what that
looks like on our screen.
| | 03:39 | I'm going to go ahead and zoom
out for you, Ctrl+- or Command+-
| | 03:43 | and let's move this up a little bit,
zoom in one more here. Alright.
| | 03:46 | So you can see that we've got a
nice layout going here already.
| | 03:50 | The last thing we need to be concerned about
in Document Setup is the Staff Margins section.
| | 03:55 | Now we can get back into Document Setup
using the shortcut Ctrl+D or Command+D.
| | 04:00 | Staff Margins are the distance of the
staves inside the page margins,
| | 04:04 | so the distance from the top staff to the
top page margin and the distance from the
| | 04:09 | bottom staff to the bottom page margin.
| | 04:11 | And then there are several different
settings on the left-hand side here for
| | 04:15 | the left-hand margin, depending on the
appearance of your instrument names.
| | 04:18 | You can, and you usually will, have a
different top and bottom margin setting
| | 04:22 | for the first page versus the subsequent
pages because again, there will be a lot
| | 04:26 | more space taken up on Page 1 with its headers
and possibly with additional footers.
| | 04:31 | So you'll almost always have
the After first page box checked
| | 04:35 | and separate settings assigned there.
| | 04:37 | Now looking at this score, we're
looking at Page 1 in the preview,
| | 04:41 | the title is a little bit close to the staff.
| | 04:44 | We may eventually want a little more
space between the title and the staff.
| | 04:47 | So that means we'll also need additional space
between the top staff and the top page margin.
| | 04:52 | So we need to increase
the Page 1 top staff margin.
| | 04:55 | Let's go ahead and change it from 20 to 26.
| | 04:59 | Again, I've worked out some of
these numbers ahead of time.
| | 05:02 | This would not be something you would
normally be able to guess and get right;
| | 05:05 | it takes a little bit of trial and error.
| | 05:07 | Now the bottom staff margin is
actually a bit large for our score.
| | 05:10 | We don't have any footers on Page 1,
so we can probably decrease the bottom
| | 05:14 | staff margin and move our music a
little bit closer to the bottom of the page.
| | 05:18 | So let's go ahead and decrease the
bottom staff margin on Page 1 slightly,
| | 05:23 | maybe just by 1 point or so.
| | 05:24 | Let's go ahead and make it 13.
| | 05:26 | And since the other pages don't have footers
either, the bottom staff margins can match.
| | 05:31 | So let's go ahead and make the bottom
staff margin 13 on the subsequent pages.
| | 05:35 | The last setting we need to look out for is
the top staff margin on the pages after Page 1.
| | 05:40 | Now if you look back to the right
here to this score, you'll see that there
| | 05:43 | isn't much room between the top
staves and the top page margin.
| | 05:48 | So the top staff margin after
Page 1 needs to be increased.
| | 05:51 | Let's go ahead and go into this field and
make the top staff margin after Page 1 set to 20.
| | 05:56 | Let's go ahead and click OK and we'll see all
of those changes take effect on the score page.
| | 06:02 | So within Document Setup we've worked
with the Page Size and Orientation,
| | 06:06 | the Staff Size and the Staff Margins to
format the score so that we're now
| | 06:09 | well on our way to a good-looking layout.
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| Adjusting vertical spacing| 00:00 | Now that we have the basic score
format taken care of, let's fine-tune the
| | 00:04 | vertical spacing of the staves in systems.
| | 00:06 | We do this using a combination of
settings including justification,
| | 00:10 | adjusting the defined space between staves and
systems, and by optimizing our staff spacing.
| | 00:16 | First, justification.
| | 00:18 | We discussed justification in Chapter 4.
| | 00:20 | It's the process of filling out the
page with staves after the page is a
| | 00:23 | certain percentage full.
| | 00:25 | Now in general, if changing the staff
sizes caused your bottom staff to latch to
| | 00:29 | the bottom page margin as we have here,
then you probably don't need to adjust
| | 00:33 | the score's justification.
| | 00:35 | In this case, the score has justified,
it has filled out the entire page.
| | 00:39 | But if the systems on the page have
not locked to the bottom page margin or
| | 00:42 | have not filled out the entire page and
you'd like them to, then you would need
| | 00:46 | to adjust the score's justification setting.
| | 00:49 | And as a reminder, you do that from the
Appearance tab on the left-hand side at
| | 00:53 | Engraving Rules and then
you go to the Staves page.
| | 00:57 | Our score is currently set to
Justify when it's at least 50% full.
| | 01:02 | Since the page is at least 50% full of music,
our staves have justified to the bottom margin.
| | 01:07 | Now if we change the setting to 100%,
typing in 100 there and click OK,
| | 01:13 | if you watch down here at the bottom margin,
you'll notice that the staves are no
| | 01:17 | longer locked to the bottom margin.
| | 01:18 | Now you know from our previous
discussion about justification that
| | 01:22 | it's important for your staves to justify,
so let's go back into Engraving Rules,
| | 01:26 | Ctrl+Shift+E or Command+Shift+E, and
let's change our Justification setting
| | 01:31 | back to a setting that will work.
| | 01:33 | We were originally at 50%, but we can
type in 80% and we'll end up with the same
| | 01:37 | result because our page is at least 80% full.
| | 01:41 | Go ahead and click OK and now we're justified.
| | 01:45 | Once the score is justified, and of
course the staff size is correct and the page
| | 01:49 | orientation is correct, then you can
fine-tune the score's default spacing
| | 01:53 | between its staves and systems.
| | 01:55 | But before we do that, there's one
important process that we need to run.
| | 01:59 | Because we're going to be adjusting
the space between the staves, we will
| | 02:02 | usually end up with our second system on our
first page auto-flowing over to the second page.
| | 02:08 | And you may recall that happening to us
earlier in this chapter when we unlocked
| | 02:11 | our format and reset the note spacing.
| | 02:13 | So what happens is the systems start
feeling a little too squished on the page,
| | 02:18 | especially on Page 1 because of the
title in the headers and they try to escape.
| | 02:22 | So I've gotten into the habit of
locking the first page together so that
| | 02:27 | the second system will not separate from
the first no matter what we do to the spacing.
| | 02:31 | So to lock the first page together,
we're going to make a simple bar selection.
| | 02:35 | I'm going to select Bar 1, hold down Shift,
and then select the last bar on the first page.
| | 02:41 | Now let's go ahead and go to the Layout
tab, to the very far right, next to the
| | 02:46 | Unlock Format button is Make Into Page.
| | 02:49 | Go ahead and click on that and you
won't really notice any difference until
| | 02:53 | you go into the View menu
here and view Layout Marks.
| | 02:57 | And you'll see that Sibelius has
locked those bars into one page for us.
| | 03:01 | Go ahead and hit Escape and we
can turn those Layout Marks off.
| | 03:04 | Go ahead and uncheck that.
| | 03:06 | So with that safety mechanism in place,
let's go back to Engraving Rules to
| | 03:09 | adjust some of our staff and system spacing.
| | 03:12 | So Ctrl+Shift+E or Command+Shift+E. In
this score, you can see on the left-hand
| | 03:17 | side between the two groups of staves
or between the vocal staves and
| | 03:21 | the instrumental stays that we
have a pretty large gap there.
| | 03:24 | There's a lot of extra space.
| | 03:26 | So let's go ahead and adjust that first.
| | 03:28 | Back to the right now into the
Engraving Rules, here is a setting for
| | 03:32 | extra spaces between groups of staves.
| | 03:35 | Let's go ahead and decrease that
number to 1 and we can click OK and
| | 03:39 | you'll notice there's a little bit of an
adjustment that Sibelius has made there.
| | 03:42 | So now that we've taken that large space away
from the groups, we can give it back to the staves.
| | 03:48 | We now have more room on the page to
expand the space between all of the staves.
| | 03:52 | So let's go back to Engraving Rules, Ctrl
+Shift+E or Command+Shift+E,
| | 03:57 | and back up to the top where
it says spaces between staves.
| | 04:00 | We can increase this slightly, so now
let's go ahead and increase this to 6.
| | 04:04 | If you keep your eye on the page behind
the dialog, go ahead and click OK and
| | 04:08 | Sibelius has made some
adjustments to the staves.
| | 04:11 | So depending on the score, you can
work with the different settings on the
| | 04:14 | staves page of Engraving Rules until you
get the exact layout you're looking for.
| | 04:18 | Our third and final stop for vertical
formatting is optimizing staff spacing.
| | 04:22 | Let's go ahead and go to the end of this
score, so I'm going to use Ctrl+End or
| | 04:27 | Command+End on Mac and
let's focus on this last system.
| | 04:31 | So I'm going to select a bar there and
zoom in a little bit on that, Ctrl++, and
| | 04:35 | let's drag it into view a little bit.
| | 04:37 | The Optimize Staff Spacing feature looks
at each system in your score separately
| | 04:42 | and makes automatic vertical adjustments
to the staves within each system
| | 04:46 | separately to get the best layout per system.
| | 04:49 | Now how this really works is it's going to
take empty space on a system from one staff
| | 04:53 | and give it to the staff on that
system that needs more space.
| | 04:57 | For example, this last system has a lot of
vertical collisions or close collisions,
| | 05:01 | right in this area here especially right here
next to the pizzicato and the forte markings.
| | 05:08 | But it also has some vertical space
that could be taken up in other places.
| | 05:12 | We have some extra space here, maybe even there.
| | 05:15 | So to ask Sibelius to make these adjustments
for us, we'll start by selecting all,
| | 05:18 | Ctrl+A or Command+A, we're going to
affect the entire score here but we're
| | 05:23 | just looking at the last system because I
know there's going to be some staves here
| | 05:26 |
that will definitely be affected by this.
| | 05:29 | So let's go to the Layout tab and
there's a button for Optimize,
| | 05:32 | go ahead and click on that and Sibelius
has optimized the staves for us.
| | 05:36 | And if we Esc, you'll see some of those
small adjustments to some of the systems
| | 05:40 |
specifically here, there's a lot more space now
between some of the objects on our last system.
| | 05:46 | So with all of the changes we've just made,
we should have a great overall page layout
| | 05:50 | and our staves and systems should
be fitting well within the pages
| | 05:53 | without too much vertical collision of objects.
| | 05:56 | Next, we'll discuss the ways to adjust
how the music lays out horizontally,
| | 05:59 | from left to right.
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| Adjusting horizontal spacing| 00:00 | After adjusting the vertical spacing
of your Score, you may want to fine-tune
| | 00:04 | the horizontal spacing in your Score.
| | 00:06 | There are advanced ways to adjust note spacing
in other horizontal spacing in your score,
| | 00:10 |
but for the purpose of this course,
the most simple way to change how
| | 00:13 |
your Score lays out horizontally from left
to right is by creating system and page breaks.
| | 00:18 | For this exercise we'll want to make
sure that we view layout marks,
| | 00:21 | so that you can see the changes
that you're making to the layout.
| | 00:24 | Let's go ahead and go to the View tab,
to Invisibles and check Layout Marks.
| | 00:29 | In general, you should try to allow
Sibelius to layout your Score automatically
| | 00:33 | for you and only use system
and page breaks as a last resort.
| | 00:36 | Also, always work from the beginning of
your Score to the end, or from left to
| | 00:41 | right when inputting system and page breaks.
| | 00:43 | Working backwards from the end to the
beginning of the Score can be disastrous.
| | 00:48 | Another tip would be to start
with the most important breaks first.
| | 00:52 | At places where you have double bars,
key changes, rehearsal marks or
| | 00:56 | new sections in your work.
| | 00:57 | Also page breaks work great in Parts when you
need to workout page turns for your performers.
| | 01:03 | So how do we input a System Break?
| | 01:05 | First, we'll find an important place.
| | 01:07 | Working from the left to the right, the
first important place might be at the
| | 01:12 | double bar here at bar 16.
| | 01:15 | Let's zoom in on that area a little bit,
Ctrl++, let's go ahead and select that
| | 01:20 | Bar Line, I'm going to
drag it into our View here.
| | 01:23 | Okay, so we've selected a double Bar
Line and we're going to tell Sibelius that
| | 01:27 | we want that double Bar
Line at the end of our system.
| | 01:30 | So in this case I want the double Bar
Line to be here at the end of the system.
| | 01:34 | We'll put the To Coda at the end of the
system and rehearsal mark B is going to
| | 01:39 | auto-flow down to the beginning
of the next system on the page.
| | 01:42 | So with that Bar Line selected, we're
going to create a System Break,
| | 01:46 | and it's just like creating a Line
Break in a Word Processor.
| | 01:49 | All you have to do is, just hit the
Enter or Return key on your QWERTY keyboard.
| | 01:54 | Sibelius makes the change for you and
indicates your System Break with a little
| | 01:57 | Return arrow in the upper right-hand corner.
| | 01:59 | Let's go ahead and zoom back out and let's
continue to look at the layout of the
| | 02:03 | Score from that point forward
or from that point to the right.
| | 02:06 | I'm going to drag the page over here.
| | 02:08 | Everything is actually looking pretty good.
| | 02:11 | One thing I would do is, I would make
sure to force a Page Break at an area
| | 02:15 | like this with a double bar in
the D.C. al Coda indication.
| | 02:18 | I would do that because right
after that is an indented coda,
| | 02:22 | and I would always want that
coda to be on a separate page.
| | 02:25 | So just in case I do any formatting that
might change this layout, I'm going to
| | 02:29 | go ahead and enter a Page Break at the
D.C. al Coda, let's go ahead and zoom in
| | 02:32 | a little bit, and again we're going
to select that Bar Line, and instead of
| | 02:36 | using the Enter or Return key by itself
which will give us a System Break,
| | 02:41 | we're going to do a little bit more here.
| | 02:42 | So we're going to use our modifier
Ctrl or Command, hold that down and
| | 02:47 | hit Enter or Return to create a Page
Break instead of just a System Break.
| | 02:50 | And you'll notice the layout mark is a
little bit different, it's a Page icon.
| | 02:55 | So we force that to always be a Page
Break. Now just so that you can see what a
| | 02:58 | Page Break really does, since ours was
already naturally breaking there and we
| | 03:03 | didn't really see anything happen, let's put
a Page Break up on the system above this one.
| | 03:07 | So I'm going to scroll up a little
bit here and select this Bar Line and
| | 03:11 | Ctrl+Enter or Command+Enter and
Sibelius put a Page Break there
| | 03:15 | and if we scroll down you'll notice I don't
have a second system on that page anymore
| | 03:19 | because the page broke here.
| | 03:20 | Now what if you don't want a System or
Page Break that you've already inputted?
| | 03:24 | Like, I don't want this Page
Break here that I just inputted.
| | 03:27 | It's really easy to get rid of them;
you simply just toggle them off
| | 03:31 | the same way that you inputted them.
| | 03:32 | So if I don't want bar 26 here to have
a Page Break anymore, with that Bar Line
| | 03:37 | still selected, all I have to
do is re-input the Page Break.
| | 03:40 | So Ctrl+Enter or Command+
Enter, and it goes away.
| | 03:44 | And if we scroll down now, you'll see that we
now have that second system on the page again.
| | 03:48 | So I would suggest spending some time
practicing with system and page breaks
| | 03:52 | so that you can get a good feel for how
they work and how they affect the layout of
| | 03:55 | the music that follows them.
| | 03:57 | Again, use them sparingly only
when you feel that you have to,
| | 04:01 | otherwise you can run into
formatting troubles later.
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| Formatting bar numbers| 00:00 | Sibelius automatically adds bar
numbers to your score for you.
| | 00:03 | They default above the staff at the
beginning of every system in an Italicized font.
| | 00:08 | You can see one there.
| | 00:09 | Chances are, at some point, you'll want to
change the look or location of your bar numbers.
| | 00:14 | In order to do that, you'll need to
adjust their setting in two locations.
| | 00:18 | First, you can control the bar
number positions and their frequency.
| | 00:21 | In the Appearance tab, in the House
Style group, click on Engraving Rules,
| | 00:26 | and go to the Bar Numbers page.
| | 00:28 | Here you can choose the
frequency of your bar numbers.
| | 00:31 | So you can choose to have bar numbers
every certain number of bars, every system
| | 00:35 | which is the default, or you can
choose to have no bar numbers at all.
| | 00:39 | There are some other settings
you can take a look at as well.
| | 00:42 | For our example, let's go ahead and
choose Every 1 bar and let's go ahead
| | 00:46 | and check the box next to Show
on first bar of sections.
| | 00:50 | That will give us a bar number in Bar 1.
| | 00:53 | On the bottom left-hand side down here,
similar to System Object Positions,
| | 00:58 | you can tell Sibelius which staff or staves
you would like the bar numbers to appear on.
| | 01:02 | In this case, the Soprano is selected
which is why we're seeing the bar
| | 01:06 | numbers above the Soprano.
| | 01:08 | I'd like the bar numbers to
be below the bottom staff.
| | 01:11 | So I'm going to choose Below bottom staff,
and make sure nothing else is selected.
| | 01:15 | So I'm going to click on
Soprano to toggle that off.
| | 01:18 | You can adjust your bar numbers' horizontal
position in the middle section here on the right.
| | 01:23 | So if you want bar numbers centered in
the bar, you can check Center in the bar.
| | 01:27 | You can also control your bar
numbers' vertical position from here.
| | 01:31 | This is similar to default positions.
| | 01:33 | For this example, I think three spaces
below the bottom of the staff will be good.
| | 01:37 | So let's go ahead and change this to 3.
| | 01:39 | We'll make sure we do it in both
the Score and the Parts, just in case.
| | 01:44 | At the top of the dialog, we can click the
button to edit the bar numbers' Text Style.
| | 01:48 | Go ahead and click on that, and this is the second
location where you can adjust bar number settings.
| | 01:54 | For this example, let's make
the bar numbers non-italic.
| | 01:56 | So we'll go in here and choose
Italic and let's make it Regular.
| | 02:00 | You can adjust any other font settings
that you'd like for your bar numbers.
| | 02:04 | Go ahead and click OK, and click OK again,
and now you will notice the difference
| | 02:09 | in the appearance of your bar numbers.
| | 02:11 | Here, they are down here
at the bottom of our system.
| | 02:14 | So bar numbers are fairly easy to work with
as long as you know where to go to set them up.
| | 02:18 | And having a nice looking set of bar
numbers can add a pleasant finishing touch
| | 02:22 | to your score's overall layout.
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| Making final score adjustments| 00:00 | Even though you've been making a number
of adjustments to your score, you still
| | 00:03 | may have to go through and fine-tune a
few more object positions before being
| | 00:07 | completely satisfied
with the overall layout.
| | 00:10 | I'll point out a few things in this
score just to keep your mind fresh when
| | 00:13 | it comes to all of the possibilities
that you have at your fingertips.
| | 00:16 | First of all looking at this score,
the title could be a little bit higher;
| | 00:20 | we have a lot of staff margin to work with.
| | 00:22 | So let's go ahead and go to the Appearance
tab and in the Design and Position section here,
| | 00:27 |
let's launch Default Positions.
| | 00:29 | Scroll down in the list and let's
select the Title and let's increase the
| | 00:33 | title's vertical position here to 14.
| | 00:35 | So we're essentially moving it up
above the staff a little bit further.
| | 00:40 | Click OK and now that's perfect because
it's right up against the top page margin.
| | 00:45 | Since we have more room now between
the top staff and the title,
| | 00:49 | we could raise the composer name
up a little bit, this one here.
| | 00:51 | So let's go back to Default Positions,
select the Composer, and let's move it up
| | 00:58 | a little bit, let's set its
vertical position to 9 and click OK.
| | 01:04 | The Tempo and Metronome markings could
be a little bit higher, because they're
| | 01:07 | crowding with the dynamic markings above the
vocal staff, so let's go ahead and fix those also.
| | 01:12 | Back to Default Positions, go ahead and select the
Tempo, we're going to scroll down a little here.
| | 01:17 | And the other thing I noticed about the
Tempo indication is that it's not quite
| | 01:22 | centered over that metronome mark, so
the other thing we can do is move it
| | 01:25 | to the left just a little bit.
| | 01:26 | So let's go ahead and adjust
its horizontal position here.
| | 01:30 | Instead of negative three (-3),
let's make it negative five (-5),
| | 01:33 | moving it to the left a little bit more,
| | 01:35 | and now let's adjust its vertical
position moving it up a little bit,
| | 01:38 | so let's change it from six to eight.
| | 01:40 | Let's make sure we reflect
that in the parts as well.
| | 01:42 | Now before we close out of this, let's
go ahead and make the adjustment to the
| | 01:46 | Metronome mark as well.
| | 01:47 | So scrolling up to Metronome mark, select that
and since we move the Tempo up by two spaces,
| | 01:52 |
let's go ahead and move the Metronome
mark up by two spaces as well,
| | 01:56 | so let's change its
vertical position to five.
| | 02:01 | Go ahead and click OK.
| | 02:02 | Now you may notice that the Tempo marking
moved up, but it did not move to the left.
| | 02:07 | Now sometimes when we make changes in
the Default Positions dialog, we have to
| | 02:11 | reset the positions of the objects in
order for our new settings to take place.
| | 02:15 | So let's go ahead and select that Tempo and go
to the Appearance tab and reset the Position.
| | 02:21 | And now it's nicely centered
over our metronome mark.
| | 02:24 | Next, you may still notice that there is
a lot of space in between the groups of
| | 02:28 | staves where our second
system object position is.
| | 02:31 | So let's do a little bit more adjusting
of staff spacing and Engraving Rules.
| | 02:35 | So up to the top, back to Engraving
Rules and the Staves page here.
| | 02:40 | The extra space between the groups of staves
is already pretty low; we have it set at one.
| | 02:44 | So now let's go and decrease the extra space
above the staff for the system object positions.
| | 02:50 |
It's currently set to three;
let's go ahead and change it to 2.
| | 02:53 | And let's go ahead and click OK
and you'll see that adjustment there.
| | 02:58 | There's a little tighter fit
there in between the groups.
| | 03:01 | So I think you'd agree that the spacing
overall looks much better now on the page.
| | 03:05 | There's one final adjustment I'd like to
make and it's at the end of the score,
| | 03:08 | so let's use Ctrl+End or
Command+End to get to the end,
| | 03:12 | and let's scroll on down to the bottom here.
| | 03:15 | The Ritardando line is appearing
in a third awkward system position.
| | 03:19 | So let's go ahead and select that third position
there and use Backspace or Delete to delete it.
| | 03:24 | So now we've done a lot of work to get this
layout looking beautiful and we're almost done.
| | 03:29 | We still have some minor collisions
of basic score objects on the page,
| | 03:32 | like dynamic markings, colliding with hairpins,
and hairpins colliding with bar numbers.
| | 03:36 | But our efforts have yielded an entirely
default base document with an overall
| | 03:41 | good layout of everything on the page.
| | 03:43 | If we were to reset the design or
position of anything in the score,
| | 03:47 | virtually nothing would move
and that should be your goal.
| | 03:50 | If someone were to mess up this document
by clicking and dragging objects around,
| | 03:54 |
you'd be able to get it back rather quickly, by
selecting all and running those housekeeping tasks.
| | 03:59 | So you should be very proud
right now of your efforts so far.
| | Collapse this transcript |
| Making Magnetic Layout work for you| 00:00 | A few years ago at this point in
the editing of your Scores layout,
| | 00:03 | with only a few minor collisions of objects
left in the Score, you'd be making a lot of
| | 00:07 | painstaking little adjustments
with your mouse or the arrow keys.
| | 00:11 | Then you'd have to be very careful not
to run any reset commands in Sibelius,
| | 00:14 | or all of your little adjustments would
vanish and you'd have to go back and redo them.
| | 00:18 | Today we have a feature in Sibelius
that fixes all of those pesky little
| | 00:22 | final touches for us,
at the push of a button.
| | 00:24 | The feature that has changed our
lives forever is Magnetic Layout.
| | 00:28 | Magnetic Layout is Sibelius's
Automatic Collision Avoidance feature.
| | 00:32 | It's designed to position your
Score objects correctly on a page,
| | 00:36 | by avoiding collisions
with other objects.
| | 00:38 | Magnetic Layout is highly intelligent.
| | 00:40 | It has a brain center of its own, which
you can see if you visit the Layout tab,
| | 00:44 | the Magnetic Layout group, and
click on the Dialog Launcher button
| | 00:48 | for Magnetic Layout options.
| | 00:50 | In Magnetic Layout options, Score objects are
listed in terms of Priority from low to high.
| | 00:56 | The lower the priority,
the higher the precedents,
| | 00:59 | and the closer to the staff
the object will be positioned.
| | 01:02 | Objects can also be grouped together,
which increases their strength.
| | 01:06 | Grouping objects also forces them to stay
in the same horizontal or vertical plane.
| | 01:10 | For example, if we click on a Hairpin here,
you'll notice that it's grouped with dynamics,
| | 01:14 |
and you'd want it that way because you
want your hairpins and your dynamics
| | 01:19 | on the same horizontal plane.
| | 01:20 | Now let's go ahead and cancel out of
this and take a look at our final system.
| | 01:25 | You can see in our final system that
we have a few objects colliding
| | 01:29 | or a few objects that are close to colliding.
| | 01:31 | We've got some bar numbers colliding
with a hairpin down here, some expression
| | 01:36 | marks fairly close to the staff all the way up.
| | 01:39 | Here we have a hairpin that's very
close to the beam of those notes.
| | 01:43 | So let's turn Magnetic Layout on to
see what it can do for us in this score.
| | 01:47 | To turn it on, you go to the
Layout tab and click on Magnetic Layout.
| | 01:52 | And now you'll notice that the bar numbers and
the hairpin at the bottom no longer collide;
| | 01:57 |
we have a lot more space here in between
the staves with our dynamic markings,
| | 02:02 | and it even moved this hairpin up
a little bit away from the beam.
| | 02:05 | I'll turn it off one more
time so we can compare.
| | 02:09 | There it is with the beam very close to
the hairpin, turn it back on again and
| | 02:15 | everything is been fixed.
| | 02:17 | So you can only imagine trying to make all of
these fine tuning adjustments with your mouse.
| | 02:22 | With these kinds of results,
it's a brilliant feature.
| | 02:24 | However, I don't mean to rain on its
parade, but you'll also notice that
| | 02:28 | it can make some questionable decisions for you.
| | 02:31 | If we look at the bottom left-hand
corner of the screen in bars 31 and 32,
| | 02:34 | you'll notice that there is a
hairpin below the bar numbers.
| | 02:38 | But in bars 37 and 38, we have
a hairpin above the bar numbers.
| | 02:43 | So Magnetic Layout has actually created
some inconsistency now in our score's layout,
| | 02:48 | and this is one reason why I've avoided
it in our training up until now,
| | 02:52 | because in my opinion, it works best when you
ask it to make final minor adjustments to
| | 02:56 | a few of your colliding Score objects,
rather than allowing it to make very big
| | 03:00 | decisions with all of your score objects.
| | 03:02 | Now one reason we are having a fairly
successful experience with Magnetic Layout
| | 03:06 | is because we've taken the time already
to define very clear, rarely colliding
| | 03:10 | default positions for all of our Score objects.
| | 03:13 | The one place we didn't do
that was with our bar numbers.
| | 03:17 | We could have dropped them down
further in their default position,
| | 03:20 | to help Sibelius figure out what
we really wanted it to do with them.
| | 03:23 | So, to make this easy for us and to help
Sibelius make the right decision for us,
| | 03:28 | let's go ahead and drop those bar
numbers down a little bit further.
| | 03:31 | So let's go in Engraving Rules, that's
in the Appearance tab, Engraving Rules.
| | 03:37 | Click on the Bar Numbers page, and
in the bottom right-hand corner,
| | 03:40 | let's increase its Vertical Position to 5.5.
| | 03:45 | Go ahead and click OK, and now
you'll notice that Sibelius has made those
| | 03:49 | adjustments and all of our hairpins
are above all of our bar numbers.
| | 03:54 | So Magnetic Layout is not the
answer to all of your spacing problems.
| | 03:58 | But hopefully, by giving you the
foundation for defining your own default
| | 04:01 | positions first and limiting collisions,
when you do go to use Magnetic Layout,
| | 04:06 | you'll have a very
positive experience with it.
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|
11. Working with PartsDefining and working with dynamic parts| 00:00 | In Sibelius, your score and parts
are embedded into the same file.
| | 00:03 | You do not extract parts into separate
unrelated files, unless you want to.
| | 00:08 | Additionally, any change you make to
the part will automatically update in
| | 00:12 | the score and vice versa, with
the exception of layout changes;
| | 00:15 | you'd want those to be
independent for the parts and score.
| | 00:19 | In this video, I'll give you an
overview of the dynamic parts feature,
| | 00:22 | so that you can begin preparing
your parts for printing.
| | 00:25 | First, where do we find the parts?
| | 00:27 | Now the easiest place to find your
parts is up in the Document tab bar,
| | 00:31 | on the far right-hand side,
where the big plus (+) button is.
| | 00:35 | Click on the plus (+) button and
you can choose a part from there.
| | 00:38 | When you click on a part,
it opens up its own tab.
| | 00:41 | Now you'll notice that the parts have a
different paper color and texture than the score.
| | 00:45 | By default, score pages are white
and the parts are cream-colored.
| | 00:49 | In Sibelius, the score and the parts are linked.
| | 00:52 | Let's readjust our view to see this in action.
| | 00:54 | With the Soprano visible, click on the
plus (+) button and let's choose New Window.
| | 00:59 | The Sibelius will put the
Soprano in its own window.
| | 01:02 | From the View tab, go to the Windows
group and let's Tile Vertically.
| | 01:06 | So now we can see the score over here, if we
click on Full Score, and the Soprano part here.
| | 01:12 | Now with this arrangement, you can see that
if I click on a note in the Soprano part,
| | 01:15 | it also selects that note in the score.
| | 01:19 | And if I use my arrow keys to move that note up,
it's adjusting in both the score and the part.
| | 01:24 |
Now there are a few other
things you should keep in mind
| | 01:27 | about the linking of the part to the score.
| | 01:29 | If you add or delete objects in the part,
they update automatically in the score.
| | 01:33 | So let's go into bar 2 here and I'm
going add a technique text, Ctrl+T,
| | 01:38 | and I'll just type in the word Technique and
hit Escape and you'll notice that Sibelius
| | 01:43 | will also put that into the score.
| | 01:45 | If you delete an object from the part then
it will also be deleted from the score,
| | 01:49 | even if it's a system text.
| | 01:52 | So if I select the Tempo here moderately
and hit Delete, you'll notice that
| | 01:56 | Sibelius will also delete that from our score,
and we probably wouldn't want it to do that.
| | 02:00 | So I'm going to go ahead and
Undo, Ctrl+Z or Command+Z.
| | 02:04 | Also if you move an object in the
score, it will move in the part.
| | 02:08 | So in the score, if I grab one of the lyrics
here, the second lyric and I move it way up above
| | 02:14 |
and I let go, you'll notice that Sibelius
will move that lyric in the part as well.
| | 02:19 | However if you move an object in the
part, it does not move in the score.
| | 02:24 | So if I grab the third lyric, and let's
go ahead and move it way up to the top
| | 02:28 | of the staff in the part, if I hit
Escape you'll notice, the Sibelius did not
| | 02:32 | make that change in the score for us.
| | 02:35 | You may also notice that the lyric I just
moved in the part is now colored orange,
| | 02:39 |
and that's because, Sibelius is
showing us the differences in the part.
| | 02:43 | This is an option that you
can turn on in the View tab.
| | 02:46 | So if we go to the view tab and go to Invisibles,
you'll notice that it's selected here.
| | 02:50 | We're showing the differences in the parts.
| | 02:53 | I'm going to escape out of that.
| | 02:54 | So based on how the parts and score
interact, the best way to work with parts
| | 02:59 | is to input music into the score first,
layout the score the best you can and
| | 03:03 | then tweak the position and
design of everything in the parts,
| | 03:07 | as a final adjustment before printing.
| | 03:09 | If you work that way, both of your score
and parts will be laid out beautifully.
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| Formatting dynamic parts using Multiple Part Appearance| 00:00 | In this video, I'll take you through a
quick-step process of formatting all of
| | 00:04 | your parts so that they
all have a good basic layout.
| | 00:06 | You'll see that it takes a bit of
knowledge, but in the long run a lot less
| | 00:10 | effort than you might expect,
to format all of your parts,
| | 00:12 | thanks to Sibelius' brilliant
Dynamic Parts feature.
| | 00:15 | The good news is now that you've learned
how to format the score, you already know
| | 00:19 | all of the key features you'll need
to use in order to format the parts.
| | 00:22 | So let's open up a part from the
Plus (+) menu in the tab here,
| | 00:26 | click on that, and choose Soprano.
| | 00:28 | And the first thing you want to do
is take a brief look at the part,
| | 00:31 | just like you did with the score, and have a
picture in your mind of what you'd like the
| | 00:34 | part to look like when
you're done working with it.
| | 00:36 | Now there are several things in this part
that stand out to me that I'd like to fix.
| | 00:41 | Specifically, I know there are some
issues with the staff margins,
| | 00:44 | the bar numbers, the lyrics, and
the staff size and justification.
| | 00:48 | Now if we look at some of the other parts,
you'll notice some of the very same issues.
| | 00:52 | So let's go ahead and look
at the Alto and the Tenor.
| | 00:55 | Now the beauty of Sibelius' Dynamic
Parts feature is that we can change a
| | 01:00 | variety of settings in one window and
apply those settings to all of the parts.
| | 01:04 | To make global changes that will
affect all of the parts at once,
| | 01:08 | we do that from the Parts tab, click on
the Parts tab and go to Part Appearance.
| | 01:13 | When we click on that, you'll want to choose
All Parts to affect all of the parts at once.
| | 01:18 | And Sibelius opens the
Multiple Part Appearance dialog.
| | 01:21 | Now this dialog contains some of the most common
Sibelius features for layout and document setup.
| | 01:26 | The good news is you should be very
familiar with the settings in this dialog.
| | 01:30 | From here you can adjust the Page Size
and the Orientation, and since our score
| | 01:34 | is letter-sized and Portrait and we want
our parts to be letter-sized and portrait,
| | 01:38 |
we can leave the bullet
selected for Same as score.
| | 01:41 | But if your score was being printed on
11x17 landscape, then you'd want to go
| | 01:45 | here and change the page
settings for your parts.
| | 01:48 | We're going to leave it
as Same as score for now.
| | 01:51 | You can also adjust the margins.
| | 01:52 | Let's go ahead and click on Margins and
you've seen the Staff Margins before
| | 01:56 | in the Score's Document setup.
| | 01:58 | Now it looks as though we may need a little
larger top and bottom staff margin on our parts.
| | 02:02 | So let's go ahead and change
the top staff margin here to 36.
| | 02:05 | Now we don't need to worry about the
pages after Page 1 because it looks like
| | 02:10 | our parts are all going to be on one page.
| | 02:12 | So let's go ahead and change the bottom
staff margin here to 12 and click OK.
| | 02:18 | You can also adjust the Staff size;
let's make the parts a little bit larger;
| | 02:22 | let's change their default Staff size to 7.5.
| | 02:26 | Go ahead and click OK and now you'll
notice, especially if we click on the
| | 02:30 | Soprano part, that it's starting to
lay itself out really nice on the page.
| | 02:34 | It's even justified now, if we
scroll down, to the bottom page margin.
| | 02:37 | So since this is working for us,
let's go ahead and continue.
| | 02:40 | Let's go back to the Parts tab to
Part Appearance, for All Parts,
| | 02:45 | and now let's click on the Layout tab.
| | 02:46 | Now an interesting option that is
checked by default is Keep page breaks
| | 02:52 | but turn them into system breaks.
| | 02:53 | That ensures that any break that you thought
was extremely important in the score,
| | 02:57 |
like the page break we created
intentionally just before the Coda,
| | 03:01 | will continue to be an important break in the part,
converting from a page break to a system break.
| | 03:06 | And this is great because in the case of
our Coda, it ensures that our Coda will
| | 03:09 | begin on its own system in the parts.
| | 03:12 | This is also another reason to use system
and page breaks sparingly in your score.
| | 03:16 | In the upper right-hand corner, you can set
up a new justification setting if you need to.
| | 03:20 | Now since our parts have justified for
us, we don't need to worry about this.
| | 03:25 | But if that Soprano hadn't justified,
we may have needed to adjust this.
| | 03:28 | There are a number of other settings you can
look at, like the appearance of your Multirests,
| | 03:32 | which are the condensed rests that appear
at the beginning of the Alto and Tenor parts.
| | 03:37 | You can adjust how those look if you'd like.
| | 03:39 | And if you don't like the default, you can adjust
the appearance of your part's page numbers.
| | 03:44 | Let's go ahead and click on the House
Style tab, and again, there are familiar
| | 03:47 | settings here for you like Showing the
Instrument Names and adjusting the
| | 03:51 | Bar Numbers, which actually
is something we need to do.
| | 03:54 | For the parts we can set the Bar
Numbers to Every system and
| | 03:58 | let's go ahead and
uncheck Center in bar.
| | 04:00 | That way they'll be out
of the way of the music.
| | 04:02 | You'll probably also want to
change the Bar number text style.
| | 04:06 | From the dropdown list here, we're
going to click on that and let's scroll
| | 04:09 | down one to Bar numbers for
parts and click on that.
| | 04:12 | Now this way we can change our bar
numbers in our parts to look different
| | 04:16 | or have a different style
from those in the score.
| | 04:18 | You can also access Edit
Text Styles from this tab,
| | 04:20 | so let's go ahead and click on Edit
Text Styles and let's go ahead
| | 04:24 | and go in and edit those bar numbers for our parts.
| | 04:26 | So click on Bar numbers for parts and
click Edit and let's go ahead and instead
| | 04:30 | of having Italic bar numbers, let's go
ahead ad change those to Bold Italic and
| | 04:35 | let's make them a little larger.
| | 04:36 | So where it says Size in parts, we're going
to make sure we only deal with this field here,
| | 04:40 | I'm going to increase that a little bit to 13.
| | 04:43 | Go ahead and click OK and let's make
one more adjustment to some text styles.
| | 04:48 | Let's look at the Lyrics
line 1 text style for the parts.
| | 04:52 | Here it is here, Lyrics line 1.
| | 04:53 | Go ahead and click Edit.
| | 04:55 | The lyrics in the parts appear
to be a little bit too large,
| | 04:58 | so let's go ahead and change that,
so here is their size here,
| | 05:02 |
and we'll decrease them to about 10.5.
| | 05:04 | And for fun in the parts, let's go ahead and
make them a Regular font instead of Italic.
| | 05:09 | Go ahead and click OK.
| | 05:12 | And now if we close out of all of these
dialog windows, you'll see that Sibelius
| | 05:15 | has made all of those changes
to all of our parts for us.
| | 05:18 | So there's the Soprano and the Alto and the
Tenor and they're starting to look really nice.
| | 05:24 | So in one dialog box within
just a few minutes,
| | 05:27 | you're able to completely
reformat all of your parts.
| | 05:30 | And with your new formatting, your
parts are now ready for a final layout.
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| Laying out dynamic parts using Copy Part Layout| 00:00 | Now that you have a good-looking format
and overall design or look to your parts,
| | 00:04 | you'll need to lay out each individual
part to ensure that all of the music
| | 00:07 | fits appropriately on each system, and
on each page within each individual part.
| | 00:12 | Sibelius has some tricks up its sleeve
for helping you to lay out your parts,
| | 00:16 | especially when those
parts have similar content.
| | 00:18 | So let's take a look at
the first part, the Soprano.
| | 00:21 | Click on the Plus (+) button and choose Soprano.
| | 00:23 | First, you should know that any time
the part is the active window or tab,
| | 00:28 | meaning that it is the open
window or tab that you're viewing,
| | 00:30 | you can make layout and format
changes to the part by itself
| | 00:34 | and not affect the Score or the other parts.
| | 00:36 | It's if the part is its own independent file.
| | 00:38 | So we can lay out the Soprano
just like we would lay out the Score.
| | 00:42 | Between the automatic Part formatting and the
changes that we made in multiple part appearance,
| | 00:45 |
it might be a good idea to run some housekeeping.
| | 00:48 | Now unlike what we did with the Score, I
probably would not unlock the format of the Parts.
| | 00:53 | They're formatted automatically
for you, usually for a good reason.
| | 00:56 | But let's go ahead and
reset the Parts note spacing.
| | 00:59 | Let's select all, Ctrl+A, go to the
Appearance tab and click Reset Note Spacing.
| | 01:06 | So between the automatic part formatting
and the changes in layout that we made,
| | 01:10 | you can see that it's a good
idea to reset the note spacing.
| | 01:13 | Let's also go ahead and just for
housekeeping purposes, let's reset positions.
| | 01:18 | So again up in the Appearance
tab, click on Reset Positions.
| | 01:22 | And go ahead and hit Escape.
| | 01:23 | You shouldn't have to reset the design; the
design of the objects when you reset them
| | 01:27 |
in the Score should have been enough to ensure
that your parts would have those default settings.
| | 01:32 | Now for the sake of making sure everything
is accurate, let's go ahead and run reset
| | 01:36 | space above staff and
reset space below staff.
| | 01:39 | So let's select all again, go to the
Layout tab and click Reset Space Above and
| | 01:44 | Reset Space Below and hit Escape.
| | 01:47 | In addition to doing some standard
housekeeping, I'm noticing two more things
| | 01:50 | that we've overlooked in this part.
| | 01:53 | The Rehearsal marks are a little bit high, so
let's go ahead and move those down a little bit.
| | 01:56 | Let's go to the Appearance tab and the
Launcher button for Default Positions
| | 02:02 | and select Rehearsal marks.
| | 02:03 | Since we want to move those down in the
Parts column here, instead of having it
| | 02:08 | be four spaces up, let's make it
three spaces and go ahead and click OK.
| | 02:13 | Now if all of the color and the
markings are bothering you on the page,
| | 02:17 | go to the View tab, let's uncheck Differences >
In Parts and let's also turn off the Layout Marks.
| | 02:23 | Now the last pesky little detail appears to be
the Ritardando line, in the bottom system.
| | 02:27 | Let's go ahead and click on this bar
here and I'm going to zoom in a little,
| | 02:31 | you can see it's not
quite where we want it to be.
| | 02:33 | I'm going to hit Escape, you can go ahead
and select the line and try to move it
| | 02:37 | around with your mouse, but you'll
notice that it jumps around a lot,
| | 02:41 | and this is because Magnetic
Layout is turned on.
| | 02:43 | So let's do this, let's go ahead and
keep that line selected, go up to the
| | 02:46 | Layout tab and in the Magnetic Layout
group here, let's turn this Object off.
| | 02:51 | So next to Object, let's click
in the menu and choose Off,
| | 02:56 | and now you should be able
to move that line around.
| | 02:59 | I'll drag and place it here.
| | 03:00 | So if we zoom out and take a look at our
Soprano part, it's looking pretty good.
| | 03:05 | I'm going to scroll up so we can
see up here and zoom out one more.
| | 03:08 | Now when I created the Soprano part, I actually
copied all of its music from the Violin 1 part.
| | 03:13 | Let's go ahead and take a look at the Violin
1 part, (+) Plus button and choose Violin 1.
| | 03:17 | So the Violin 1 part in this score is pretty
much exactly the same as the Soprano part.
| | 03:24 | Any time you have two or more
very similar parts in a Score,
| | 03:27 | you don't want to have to
lay them all out separately.
| | 03:29 | In this case, we want Violin 1
to look exactly like the Soprano.
| | 03:34 | So instead of taking a lot of time to
lay out the Violin 1 part, let's just copy
| | 03:38 | our layout from the Soprano to the Violin 1.
| | 03:41 | So let's go back to the Parts tab
and let's choose Copy Part Layout.
| | 03:46 | Let's tell Sibelius to copy from the
Soprano to the Violin 1, click OK and
| | 03:51 | Sibelius asks if you're sure,
and go ahead and click Yes.
| | 03:55 | And now you can see that the Violin 1
part has been automatically laid out
| | 03:58 | just like the Soprano.
| | 03:59 | So now you can go through and make similar
layout adjustments to all of the other parts.
| | 04:04 | And don't forget to use Copy Part Layout
as often as possible, to avoid having
| | 04:08 | to make the same layout changes to one
part that you've already made to another.
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|
|
12. Printing, Saving, Exporting, and SharingPrinting| 00:01 | Your music sounds great,
your score looks fantastic,
| | 00:03 | and your parts are ready
for your performers.
| | 00:05 | The last step is to print.
| | 00:07 | Printing the score can be as simple
as having the score open and using the
| | 00:11 | basic Print command, Ctrl+P or Command+P or
you can go to the File menu and choose Print.
| | 00:17 | If you're on a Mac, your Print window
might look a little bit different from mine.
| | 00:21 | You also may notice some slight differences
in your Print window on either platform
| | 00:24 |
because you probably don't have the same
printer installed on your system that I have
| | 00:28 |
on mine and you also might be looking
at a screen with a different resolution.
| | 00:32 | Now one thing I want to point out about
the Print window is the section at the bottom.
| | 00:36 | I'm going to have to scroll down to get to it.
| | 00:38 | Let's scroll down here; it's the Add section.
| | 00:41 | This is for including a few options in your printout
that you might not always want to include.
| | 00:45 | Now notice that you can
choose to print the View options.
| | 00:49 | Those are the invisibles
that I told you might not print.
| | 00:52 | Now they will print if you check
the box here in the Print window.
| | 00:56 | You can also Print in color, that will
allow you to print things like note colors,
| | 00:59 | and differences in parts as long as you
have those things showing in the score
| | 01:03 | or part that you're printing.
| | 01:05 | Now the majority of the time you probably
don't want these options to print, so be
| | 01:09 |
aware of this section and make sure everything
is unchecked if you don't want them to print.
| | 01:14 | The Settings section gives you options
for printing all pages, the current page,
| | 01:19 | or printing a range of pages.
| | 01:22 | You can also print Normally, in
Spreads or Booklet or 2 Pages Per Sheet.
| | 01:27 | You can also change the
page orientation from here.
| | 01:30 | If your printer allows, you can print
double-sided, and you can decide whether
| | 01:34 | you print collated or uncollated copies.
| | 01:37 | When your settings are correct in the Print
dialog, you can go back up to the top,
| | 01:40 | indicate the number of copies you'd
like, and click the big Print button.
| | 01:45 | You're going to be printing whatever
you had as the active window or tab
| | 01:48 | when you clicked on Print.
| | 01:50 | If you're ever unsure
of what you're printing,
| | 01:51 | the Preview on the right-hand
side will show you.
| | 01:54 | Let's go ahead and Escape out of
this and let's bring up a part.
| | 01:57 | So clicking the Plus (+)
button, let's choose Soprano.
| | 02:00 | There are some Print buttons
available in the Parts tab.
| | 02:03 | So let's go to the Parts tab,
and here they are here, under Print.
| | 02:06 | You can specify the number of copies
you'll need for each individual part
| | 02:10 | by clicking on Copies.
| | 02:11 | So if I had two Violin 1 players, I
could go in here and double-click on that
| | 02:15 | and change it to 2 copies.
| | 02:17 | Let's go ahead and cancel out of that.
| | 02:19 | You can also jump to the Print
dialog by clicking Print All Parts.
| | 02:23 | Sibelius can print all of your parts at
once or if we scroll down to Settings,
| | 02:29 | you can tell it to just print the Current Page.
| | 02:31 | Another option you may be
interested in is printing to PDF.
| | 02:35 | In Sibelius 7, everyone has
the option to Export to PDF.
| | 02:39 | So back here in the File tab, let's
click Export, scrolling up a little here,
| | 02:43 | and you can export right here to PDF.
| | 02:46 | But of course, if you have a professional
PDF writer, you could still print to PDF
| | 02:49 | by using the Print command, and then
selecting your PDF writer as your printer.
| | 02:54 | So those are the options for printing
your score and parts in Sibelius 7.
| | 02:58 | There are many advanced
printing features available,
| | 03:00 | but Sibelius makes it simple for you.
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| Exporting MIDI| 00:00 | There are several reasons why you may
want to save a MIDI version of your score.
| | 00:04 | Whatever the reason, Sibelius
makes it very easy for you.
| | 00:07 | Once your score is complete,
you can export it as a MIDI file.
| | 00:10 | From the File tab, click on
Export and then click MIDI.
| | 00:14 | If you have a particular virtual instrument
or sound set in mind for your MIDI export,
| | 00:18 |
you can choose it as your Target Device.
| | 00:21 | Otherwise, Sibelius chooses General MIDI
for you, so that your file will be able
| | 00:25 | to play back on most
soundcards and MIDI devices.
| | 00:28 | The MIDI File Type you will most likely
choose is the default, Type1 MIDI file,
| | 00:33 | which is a multi-track MIDI file that
most devices will accept and play back.
| | 00:37 | You'll only choose Type0 if you know that
you have a device that accepts Type0 files.
| | 00:42 | Next, you can choose the Tick
resolution for your MIDI file,
| | 00:45 | so that it will match that of
your player or your sequencer.
| | 00:48 | The checkbox for Export pick-up bars as
full bars padded with rests is an option
| | 00:53 | you may or may not wish to check.
| | 00:55 | It will add beats at the beginning of
your pick-up bars to make them full bars.
| | 00:59 | Finally, if you have any muted
instruments in your score,
| | 01:03 | you can choose to omit them
from the MIDI File Export here.
| | 01:06 | When you click Export, Sibelius will
ask you to select a Save location,
| | 01:11 | and it will also ask you
to name your MIDI file.
| | 01:13 | So we can save it to the Desktop and I'm
going to leave it titled midifile and click Save.
| | 01:20 | So creating MIDI files from your score is
another easy way to get your music out of Sibelius.
| | 01:25 | There are several reasons why you might
want to export a MIDI file of your score,
| | 01:28 | but the days of sharing MIDI recordings
with your friends is almost over.
| | 01:32 | Nowadays, you can share actual audio
recordings of your scores with your friends.
| | 01:37 | So, in the next video, I'll show you how to
export your score's performance as an audio file.
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| Exporting a score as an audio file| 00:00 | Sibelius gives you the ability to export
the playback of your score to an audio file,
| | 00:04 |
so that you can share the recording with anyone,
| | 00:06 | even if they don't have Sibelius.
| | 00:09 | This video will walk you
through the process of exporting
| | 00:12 | and saving an audio recording of your score.
| | 00:14 | The first step is that you must be
using virtual instruments for playback.
| | 00:18 | The Audio Export feature will not
work if you're using General MIDI.
| | 00:22 | Since everyone's system and libraries
are different, for this example,
| | 00:25 | I've saved my Exercise File ahead of time,
so that it's playing back using the
| | 00:29 | Sibelius 7 sounds, which are
able to be exported as audio.
| | 00:32 | To export audio, go to the File tab,
select Export, and then select Audio.
| | 00:39 | Make sure that you choose a Configuration
that you know will sound good for your score
| | 00:42 | and that will work for audio export.
| | 00:45 | If you choose General MIDI here,
let's go ahead and do that,
| | 00:49 | Sibelius will actually stop you.
| | 00:51 | Anytime you see this warning, you want
to make sure that you go back to the
| | 00:54 | Configuration list, and
choose a better sound set.
| | 00:57 | In the Playback Line section, you need
to tell Sibelius if you want the export
| | 01:01 | to begin from your Playback Line location
or from the beginning of your score.
| | 01:05 | Next you can decide on the audio file
properties for Bit depth and Sample rate.
| | 01:09 | And when all of those settings are
correct, go ahead and click Export.
| | 01:13 | Sibelius will ask you to
name and save your audio file.
| | 01:16 | So I'm going to put it on the Desktop, and
call it audio, and go ahead and click Save.
| | 01:20 | You'll need to wait while
Sibelius exports your audio.
| | 01:25 | And when the Export Status window disappears,
| | 01:27 | you'll be able to locate your
file at the saved location.
| | 01:30 | So if I minimize Sibelius, we can see
my audio file right there, and now you'll
| | 01:35 | be able to open and share your score's audio
recording just like any other audio file.
| | 01:40 | So exporting your score's audio
is another simple task in Sibelius.
| | 01:43 | It's fun to be able to share
your recording with your friends.
| | 01:46 | But, what if you want to share your
actual printed score with a friend
| | 01:49 | who does not have Sibelius?
| | 01:51 | The Sibelius people have taken
care of this for you as well.
| | 01:53 | There's one more export and file
sharing feature we need to take a look at,
| | 01:57 | and that is exporting your
score as a Scorch webpage.
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| Sharing a score using Scorch| 00:00 | The final step in our journey is
taking everything you've created,
| | 00:03 | the visual score and the playback of
the score and sharing it with the world.
| | 00:08 | Whether you're sharing your score with
someone who has a copy of Sibelius or not,
| | 00:11 | it doesn't matter, Sibelius gives you
the ability to share your score with
| | 00:15 | anyone using a simple export feature
and a Web plug-in called Scorch.
| | 00:20 | First we need to set up the score.
| | 00:22 | You need to ensure that the score is
playing back correctly and that it's using
| | 00:26 | a general MIDI playback device.
| | 00:28 | That way anyone who plays it back online will be
able to hear it with their own general MIDI device.
| | 00:33 | To switch to a general MIDI configuration,
remember that you can go to the Play tab,
| | 00:37 | and click on Configuration
and choose general MIDI.
| | 00:41 | Next you'll need to make sure that
your score information is correct.
| | 00:44 | Let's go ahead and go to the File tab
and go to Info and fill out as much
| | 00:49 | information in the Info pane as you can.
| | 00:52 | The details that you feel in here will
appear in the web browser window
| | 00:55 | when someone is viewing your score.
| | 00:56 | So I'm going to go ahead and put
myself in here as the Composer.
| | 01:01 | From here let's go to the Export
tab and let's click on Scorch Webpage.
| | 01:07 | At the top you can choose a template
and you'll have to experiment with all
| | 01:10 | of the templates until you
find the one that suits you.
| | 01:12 | You can also specify the size of
the score, if you'd like something
| | 01:15 | different from the default.
| | 01:17 | You can choose whether or not to allow
printing and saving and once you've done
| | 01:21 | that, you can go ahead and click Export.
| | 01:23 | Sibelius will ask you to name and save
your file, so I'll name this Rowboat and
| | 01:29 | I'll put it on my Desktop and click Save.
| | 01:32 | Now you don't know it yet, but Sibelius
has just saved two files for you,
| | 01:37 | an HTML file and a Sibelius file.
| | 01:40 | Let's go ahead and take a look on the Desktop.
| | 01:42 | Let's minimize Sibelius, and here's our
HTML file and here's our Sibelius file.
| | 01:47 | Now the two files are linked and they
must stay together in the same folder
| | 01:51 | or location on your computer's hard drive.
| | 01:53 | If you want to share your score with
someone who does not have Sibelius,
| | 01:57 | you must send them both the HTML file and
the Sibelius file, and instruct them to
| | 02:01 | keep both files in the same folder or
location on their computer's hard drive.
| | 02:05 | To open the Scorch Webpage, double-
click on the HTML file and as long as the
| | 02:10 | Scorch plug-in is loaded on your computer,
you should be able to see the score.
| | 02:14 | If you do not have Scorch installed,
you'll end up seeing the title of the piece
| | 02:18 | with no music, and if that's the case,
you can scroll down to the bottom of the
| | 02:22 | window and click Get the
Sibelius Scorch plug-in here.
| | 02:26 | So as you can see Scorch is very
much like Sibelius, but you
| | 02:30 | have some options at the top of the Scorch
window that you should become familiar with.
| | 02:34 | You can maneuver through the pages left
and right here with the arrow buttons.
| | 02:37 | You can choose a different playback device,
by clicking on the little 8th notes there.
| | 02:43 | You can also play, pause, stop, rewind and
fast forward with some transport controls.
| | 02:49 | You can change the Tempo of the
score here with the Tempo slider.
| | 02:52 | You can transpose the music into a different
key and you can link to the Scorch Webpage
| | 02:56 | for more information about the product.
| | 02:58 | So as you can see, Scorch gives anyone,
anywhere the chance to work with and
| | 03:03 | playback your score in a variety of ways.
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|
ConclusionAdditional resources| 00:00 | Congratulations! You've made it to the end of
Sibelius 7 Essential Training.
| | 00:05 | You should now feel very
comfortable and confident
| | 00:07 | when you create and edit
your music using Sibelius.
| | 00:10 | Now that you've finished the course on
Sibelius, I encourage you to check out
| | 00:13 | other audio titles on the Lynda.com
Online Training Library.
| | 00:17 | You can find more audio
titles here at lynda.com\audio.
| | 00:21 | If you need additional information on
Sibelius, my first recommendation would be
| | 00:25 | to visit the Sibelius website at Sibelius.com.
| | 00:29 | The Community tab here will direct you to a
page full of links to additional resources.
| | 00:34 | If you own a registered copy of Sibelius,
you can login and access all of the
| | 00:38 | additional resources, including
the Tech Support chat pages.
| | 00:42 | If you do not login you can access
many of the same resources as a guest
| | 00:46 | but without being able to post
your own materials or comments.
| | 00:49 | I highly recommend to everyone signing up
for the Sibelius blog at Sibeliusblog.com.
| | 00:55 | Otherwise you can view the blog every
time you launch Sibelius by clicking on
| | 00:58 | the Latest News tab in the Quick Start.
| | 01:01 | Anyone who owns a registered copy of
Sibelius is also able to sign up for
| | 01:05 | an account at scoreexchange.com.
| | 01:07 | This is where you can post your scores
in Scorch format and offer them for free
| | 01:12 | or for sale to the public.
| | 01:13 | Also at the Community page there's
a list to demos and presentations.
| | 01:17 | This gives you a list of current avid
events and you never know, there might
| | 01:21 | be one in your neighborhood soon.
| | 01:22 | There's also a link on the Community
website for professional development and
| | 01:26 | training where you can search for training
events and Sibelius trainers in your area.
| | 01:30 | So that wraps up our
Sibelius 7 Essential Training.
| | 01:33 | I'm so glad you could
join me on this journey.
| | 01:36 | I hope you've enjoyed your time with me
| | 01:38 | and I hope you will continue
to enjoy working in Sibelius.
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