Professional Documents
Culture Documents
Overture 4 Manual
Overture 4 Manual
Overture 4 Manual
Sonic Scores is a registered trademark. Overture and the Sonic Scores logo are trademarks of Sonic
Scores. Other company and product names are trademarks of their respective owners.
Table of Contents
Table of Contents
1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Learning Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Using the User’s Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Overture Manual Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Mouse Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Tear Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Choose vs. Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
PC and Macintosh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Overture Help (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Overture Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Symbol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Numerical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Overture Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Tool Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Tracks Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Graphic Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Step Input Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Overture Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
VST/AU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Sonic Scores Technical Support Information . . . . . . . . . . . . . . . . . . . . . . . . . . 12
iv
Chord Name Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Table of Contents
Setting Up The Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Setting Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Setting Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Pre-Made Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
8 Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Status Bar: Page View and Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Turning Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Turning to a Specific Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Turning to a Specific Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Turning to the First Page and Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Turning to the Last Page and Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Selecting a Page View Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Scrolling a Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Arranging Staves and Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Adjusting Vertical Staff Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Adjusting Horizontal Staff Placement . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Placing Systems Side by Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Creating a Default File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Selecting Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Viewing Selected Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Selection Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
v
Selecting a Voice to Enter or Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Editing Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Editing Stems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Editing Beams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Editing Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Editing Other Notation Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Adjusting Note Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Dragging Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Nudging Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Using Beat Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Changing Bar Widths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Automatic Justify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Locked Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Cursors in the Score Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
vi
Mouse Entry Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Entering Notes in the Clef Above or Below the Track . . . . . . . . . . . . . .130
Keyboard and Mouse Entry Method . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Grace Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Cautionary Accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Changing Existing Note Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Effect of Changing Note Values on MIDI Duration . . . . . . . . . . . . . . . .134
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Editing Ties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Editing Slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Editing Glissandos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Editing Tuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Complex Tuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
The Harp Pedal Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Ottava Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Editing Brackets and Braces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
vii
Using the Articulations Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Articulating Multiple Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164
Editing Notes with Attached Articulations . . . . . . . . . . . . . . . . . . . . . . .164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Editing Articulation Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Deleting Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Using the Arpeggio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Using the Tremolo Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Using the Pause Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
viii
Using Absolute Dynamics Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Inserting Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196
Repositioning Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Copying Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Playback of Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Using Crescendos and Decrescendos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Crescendo Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Inserting a Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Editing a Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201
Copying a Hairpin
To copy the hairpin: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
The Edit Dynamic Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Table of Contents
The Edit Hairpin Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204
Playback of Hairpins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
ix
Using the Graphics Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Select Font Symbol Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
x
Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Moving the Transport Controls from the Tool Bar . . . . . . . . . . . . . . . . .268
Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Historical Origins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
General Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Punch Recording in Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Thru Device Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Thru Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Count Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Real Time MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273
Setting Metronome and Record Options . . . . . . . . . . . . . . . . . . . . . . . . .274
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Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277
xi
To Select and Erase Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
To Scrub the Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
Percussion, Drum Notes, and Note Names . . . . . . . . . . . . . . . . . . . . . . .294
The Controller Pane View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Using the Controllers Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
To Display Different Types of Data . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
To Insert a Controller Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
To Draw a Linear Series of Controllers . . . . . . . . . . . . . . . . . . . . . . . . .299
To Draw a Series of Controller Value Changes . . . . . . . . . . . . . . . . . . .299
To Remove or Erase Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
xii
Chord Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Anatomy of the Chords Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Entering Chord Names with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Entering Chord Names with the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Step Entering Chord Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Step Entering Chord Names with the Computer Keyboard . . . . . . . . . .353
Guitar Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Entering Guitar Frames with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Moving Chord Names/Guitar Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Moving Chord Names Globally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359
Moving Chord Names Individually . . . . . . . . . . . . . . . . . . . . . . . . . . . .360
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33 Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Anatomy of the Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362
Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
Lyric Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
Lyric Editing Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Using the Lyrics Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Adding Lyrics to a Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Editing Existing Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366
Advanced Lyric Entry Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . .367
Applying Different Fonts To Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . .370
Moving Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370
xiii
Part V Menu Reference . . . . . . . . . . . . . . . . . . . . . . . . . . 403
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36 Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Merge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Paste Special... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Paste and Paste Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .463
Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Table of Contents
Find Item... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Find Next Item.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Make Invisible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Make Visible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Set Color... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Disable Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Enable Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Playback Time... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Modify Controller... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
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Track Name Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .491
Instrument Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .492
Staff Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .500
Action Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .502
Using the Setup Track Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .502
GM Equivalent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Updating Old Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Setting Attributes for all Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .511
Respace Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Respace Staves Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Recalc Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Redraw Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Allotment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Changing the Allotment Table Dialog Box . . . . . . . . . . . . . . . . . . . . . .514
Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
About the Articulation Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .516
Engraver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Font Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Placing Mapped Font Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521
Clearing Replacement Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521
Saving Font Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .521
Loading Font Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
The Title Page Text Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .522
Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
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About the Set Tempo Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .550
Using the Set Tempo Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555
Editing Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555
Set Codas, Segnos, etc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
About the Set Codas, Segnos, etc. Dialog Box . . . . . . . . . . . . . . . . . . . .556
Set Measure Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
About the Set Measure Numbers Dialog Box . . . . . . . . . . . . . . . . . . . . .560
Using the Set Measure Numbers Command . . . . . . . . . . . . . . . . . . . . . .563
Rebar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Multi Measure Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Using the Multi-Measure Rest Command . . . . . . . . . . . . . . . . . . . . . . .566
Fill in Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Table of Contents
Justify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
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Ottava . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .590
Tuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .591
Glissando ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
Glissando - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
The Edit Glissando Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .593
Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Enharmonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Sharps to Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Flats to Sharps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Stem Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Step Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Hide Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Show Stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595
Set Stem Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .596
Display on Prev Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Display on Next Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Move to Prev Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Move to Next Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Notate Notes As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Notate Notes as Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .600
Notate Notes As Reduced Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .601
Notate Notes as Swing Eighths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .602
Notate Notes as Trill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .603
Notate Notes as Triplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .604
Notate Notes as Turn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .604
Notate Notes as Cue Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .605
Notate Notes as Grace Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .605
Notes/Notate Notes as/Single Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . .606
Notes/Notate Notes as/Two Tied Notes . . . . . . . . . . . . . . . . . . . . . . . . .606
Transcribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Notes to Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Notes to Tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
The Tablature Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .610
Editing the Tablature Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .611
Set Guitar Frame Capo... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Set to Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Set Playback Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
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Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Beat Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .616
Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Margin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Symbols in Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Invisibles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Incorrect Rhythms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Range Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
Tracks Transposed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .618
Tracks Voice Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619
Filled Measure Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619
Table of Contents
System Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619
Chord Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .620
Lyric Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .621
Slash Note Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .622
Dynamic Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .622
Time Code Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .623
Auto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624
Correct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624
Justify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .624
Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625
Transcribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625
Wrap Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .625
Keyboard Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
What is Keyboard Thru and Why is it Useful? . . . . . . . . . . . . . . . . . . . .626
The Solution: Keyboard Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .627
Hold Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Click in Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Click in Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Click in Count Off Only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Metronome Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631
Play Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
As Recorded . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633
In Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633
As Written . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .633
Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .634
Record Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
About the Record Options Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .634
Using the Record Options Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . .635
MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
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Instruments (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
General Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .641
Engraver Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .644
Layout Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .644
Element Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .646
Line Thickness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .646
Fonts Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .647
Libraries Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .649
Playback Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .651
Dynamics Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .652
Colors Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .653
Save Window Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
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Part VI MIDI Facilities . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Table of Contents
To Delete an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
To Save an Instrument Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
Creating Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
To Manage Name Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672
Copying Name Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .673
Assigning the Bank Select Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
To Change the Bank Select Method . . . . . . . . . . . . . . . . . . . . . . . . . . . .674
Assigning Patch Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .675
To See the Assignment of Patch Name Lists to Banks . . . . . . . . . . . . . .675
To Add a Bank or Change the Patch Names for a Bank . . . . . . . . . . . . .675
To Remove a Bank or Patch Name List . . . . . . . . . . . . . . . . . . . . . . . .676
To Set or Clear the Drum Flag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .676
Assigning Note Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .676
To See the Assignment of Note Name Lists to Patches . . . . . . . . . . . . .677
To Change the Note Names for a Patch . . . . . . . . . . . . . . . . . . . . . . . .677
To Remove a Note Name List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .677
To Set or Clear the Drum Flag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678
Assigning Controller Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678
To See the Controller Name List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678
To Change the Controller Name List . . . . . . . . . . . . . . . . . . . . . . . . . . .678
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
xxi
xxii
Part I
Getting Started
1 Introduction
Learning Overture
Sonic Scores provides a manual and a Quick Reference Card with Overture:
• Sonic Scores Overture 4 Quick Reference Card—contains a quick reference for toolbar functions,
support windows, keyboard shortcuts, the tool palettes, and menus.
Introduction
Overture is a very intuitive program but its power, flexibility and sophistication may seem slightly
daunting if you try to learn it without reading the manuals. Sonic Scores recommends that you work
through the tutorials before using the rest of the User’s Guide.
• Part One: Getting Started. This part introduces fundamental concepts and presents tutorials for
getting you up and running quickly.
• Part Two: The Score Window. This part discusses Overture’s Score window and how to use it.
• Part Three: The Tool Bar. This part discusses Overture’s Tool Bar and all its various tools and
palettes.
• Part Four: Other Overture Windows. This part discusses each of Overture’s remaining windows.
• Part Five: Menu Reference. This part discusses each Overture menu item.
• Part Six: MIDI Facilities. This part discusses the use of MIDI instruments with Overture.
Note:
Individual notation needs are as varied as individuals. For this reason, it’s impossible for this manual to
cover every possible notation technique in detail. Overture is a very powerful program—generally it
allows most any symbol to be selected, moved or modified. If you don’t see a specific notation detail
covered in this manual, simply use the general techniques outlined within it and try it for yourself.
Mouse Actions
This manual uses the following terms to describe various mouse actions:
• Click. When this manual instructs you to click, position the mouse where you’re told and press once
on the mouse button, then immediately release it.
• Double-click. When this manual instructs you to double-click, position the mouse where you’re told
and rapidly press and release the mouse button twice.
• Press and hold. When the manual instructs you to press and hold, position the mouse where you’re
told, press the mouse button and hold it down.
• Release. When a manual instructs you to release, let up on the mouse button (which you were
probably holding down because of an earlier press and hold instruction).
• Drag. When this manual instructs you to drag, position the mouse where you’re told, then press the
mouse button and hold it down as you move the mouse.
• Move. When this manual instructs you to move the mouse, simply move it to another location on the
screen without pressing its button.
Tear Off
This manual uses the term tear off to describe the action of making a button palette into a floating palette.
Press and hold on a toolbar button to display its palette. Drag beyond the edges of the palette to tear it off
of its place in the toolbar and make it a floating palette. See the descriptions of the toolbar buttons for
further information on the palette.
• Select. When this manual tells you to select something, it stays selected. This is the case with most
Overture tools and with some menu options.
• Choose. When this manual tells you to choose something, you perform a one-time action. This is the
case with most menu commands, you choose a command, and it performs its chosen action only
once.
Menu Commands
This manual uses a form of verbal shorthand to describe the choosing of menu items. For instance, this
manual might say:
“Choose Notes>Group>Slur”
What this means in plain English is “choose the Slur command from the Notes menu’s Group
submenu.” This is easier to read and decipher than a complete sentence because it displays the menu’s
hierarchical structure plainly and simply.
Introduction
PC and Macintosh
Since this book covers both the PC and Macintosh versions of Overture, and the versions are slightly
different, we’ve done the following to make it easy for you to find the material you need. Most of it is
common to both platforms, so it looks like this.
We distinguish different keystrokes by displaying them slightly shaded and enclosed in brackets. Fo
example: Control[Command]. PC users will press the control key and MAC users the command key.
When a section or chapter is relevant for only one platform, its title says (Mac) or (PC) as well.
Where the functionality and discussion are close to identical, we provide a mix of Mac and PC pictures.
Where one is a superset of the other, pictures show the more encompassing. Where they differ
substantially, we provide pictures of both.
Chapter 1: Introduction 5
Overture Help (PC)
You have several ways to see on-line Help about a particular topic:
• about a dialog box and its parts when a dialog box is active
The Help button. Click the help button in any dialog box to get help about that dialog box.
The Help menu. Choose Help>Contents to see the entire on-line help system. You can navigate it by
contents, by topic, and by index.
Overture Terms
Overture uses terms common to both standard musical notation and MIDI sequencing. Overture requires
this mix of terminology because of its immense power to both notate and play a musical score. You must
know these terms before proceeding with the remaining chapters in this manual.
Symbol
This term is applied loosely to any note, rest, beam, tie, ornament, etc. included in a musical score.
Staff
A staff is a set of horizontal lines on which symbols are placed to represent music.
Most musical instruments require only a single staff to notate their lines, like this violin solo.
Organs often use three staves (adding the third for the bass pedals).
Track
A track is very closely related to a staff. Staves notate the MIDI data contained in tracks. Overture notates
each track on a single staff, so any instruments that require multiple staves also require multiple tracks.
Voice
A voice is a single rhythmic line within a track. Some tracks require more than one voice to notate and
playback correctly. Specifically:
Introduction
• If you notate more than one instrument per staff, you’ll need to use multiple voices to distinguish
between the multiple instruments.
• If you notate a polyphonic instrument (such as a piano) that plays different rhythmic lines
simultaneously, you’ll need to use multiple voices to distinguish between the multiple rhythmic
lines.
If you score an instrument such that it plays only a single melodic line, you’ll need to assign only one
voice to the staff.
Single Voice
Chapter 1: Introduction 7
If you assign two or more instruments to a single staff (or notate a polyphonic instrument playing
different rhythmic lines), you’ll need to assign different voices to each instrument or rhythmic line.
Voice 1
Voice 2
Overture allows you to assign up to eight voices to a single track—this supports even the most
complicated rhythmic intricacies.
System
A system is a group of staves, each of which is played at the same time as all the other staves in the
system. All staves in a system are joined by a single vertical line connecting their left sides.
Tool
Tools allow you to perform very specific Overture functions. Different tools allow you to insert notes and
other symbols, to group various notes, to add staves, alter noteheads, create lyrics, and to perform many
other useful tasks. You use Overture’s tool bar to access individual tools.
Numerical
Numericals are variables that you can edit on the screen. Numericals usually contain numeric data.
Numericals
Introduction
There are a couple ways to edit the value of a numerical:
To change a numerical in this way, press and hold the mouse button over the numerical, then drag
the mouse in a vertical direction. Pushing the mouse up increases values and pulling the mouse
down decreases values
Click the numerical, then type the desired value. The numerical changes to reflect the new value.
You will not be allowed to enter invalid values.
Overture Windows
Overture groups related functions together and places them in separate windows. The following sections
present a brief overview of each Overture window.
Score Window
The Score window displays a traditional music score complete with notes, symbols, lyrics, staves,
systems, and anything else you want in your printed musical score. Use the Score window to enter, view
and modify your musical score. We describe the Score window in Part II, “The Score Window.”
Chapter 1: Introduction 9
Tool Bar
The Tool Bar contains buttons that open all of Overture’s Tool palettes. Use the Tool Bar to select tools
for entering and modifying music in the Score window. The Tool Bar is discussed in Part III, “The Tool
Bar.”
Transport Window
The Transport window contains buttons to control MIDI recording and playback, and a pop-up menu to
select the MIDI Thru Instrument.
Tracks Window
The Tracks window defines the characteristics of all the tracks in your Overture score. Use the Tracks
window to
• name tracks
• enable tracks
Graphic Window
The Graphic window graphically displays the MIDI data in a selected track using a piano roll and strip
chart display. Use the Graphic window to edit any MIDI data in any track. Overture applies any changes
you make in the Graphic window to the Score window and vice versa.
Chords Window
The Chords window contains a list of possible chord suffixes (as specified by the user in the Chord
Symbol library) as well as root and bass names. Use the Chords window to insert chord names into your
score.
Lyrics Window
The Lyrics window is like a miniature word processor that you use to enter and edit lyrics. Use the Lyrics
window to type or modify lyrics and assign them to specific notes in the score.
Overture Menus
Overture has numerous menus under which it groups related commands and options. The following
sections present a brief overview of Overture’s different menus.
File
Use the File menu commands to save, create, open, export, and print the various scores you create with
Overture.
Edit
Use the Edit menu commands to cut/copy/paste symbols, lyrics, MIDI data, or other elements of an
Overture score. Edit commands use a Clipboard concept common to most Macintosh and Windows
programs. Overture uses both an internal Clipboard and the Macintosh or Windows Clipboard depending
on the type of data.
Score
Introduction
Use the Score menu commands to perform score-related tasks like staff location and appearance, system
groupings, and page setup.
Measures
Use the Measures menu commands to perform measure-related tasks like inserting and deleting
measures, wrapping measures, setting key, meter and tempo, and justifying symbols in a measure.
Notes
Use the Notes menu commands to perform many common Overture tasks like modifying notes,
transposing, beaming, grouping, and converting between traditional notation and raw MIDI data.
Options
Use the Options menu to set numerous Overture operating, editing, and display options like auto
beaming and positioning, metronome values, and recording choices.
VST (Win32)
Use the VST menu commands to open the VST rack and setup the Audio Engine. You must be running
Windows 2000 or XP to use VST instruments.
Windows
Use the Windows menu commands to open (or make active) any Overture window.
Chapter 1: Introduction 11
Help
Use the Help menu to see help available for Overture.
• Check the Forum and Support page of our World Wide Web site (www.sonicscores.com) for updated
technical information and answers to frequently asked questions.
• Post messages to the Overture user community using one of the Sonic Scores forum. For more
information about the forum, visit www.sonicscores.com.
You can also get technical support directly from Sonic Scores. In order to get technical support, you must
register your product on our website. You can get technical support for this product in the following ways:
• E-mail your questions to support@sonicscores.com. Be sure to include your serial number in your e-
mail.
• Call Sonic Scores Technical Support at (843) 637-4477 on weekdays, 11:00AM to 4:00PM, Eastern
time. Be sure you have registered at www.sonicscores.com and to have your serial number ready
when you call.
Technical support hours, policies, and procedures are subject to change at any time. Check our web site
for the latest support information.
Tool Bar
Score
Window
1. Launch Overture and choose File>New if the New Score dialog does not appear
automatically.
2. Click on the Single Staff radio button to choose Treble Clef Staff.
Do not choose any other option. You will set these manually in the tutorial.
2. Click somewhere in the first measure, so that the insertion point is positioned within
that measure.
4. Click the up arrow twice to move the key up to D Major, then click the OK button.
3. Click OK.
• Press and hold the note palette’s icon in the Tool Bar, choose a note from the pop-up menu, and
release the mouse button. The note palette vanishes.
Key Function
1. Since the first note in the melody is a half note, type the number 2. The cursor
becomes a half note.
If the Notes palette is on the screen, the half note icon highlights. The note icon in
the tool bar also changes to a half note.
Note icon
A D appears in the score, and immediately moves to the left end of the measure. (If
it doesn’t move, make sure that the Options>Auto Justify menu item is checked.)
Also, if Options>Auto>Rests is checked, a quarter note rest will be added to fill
the measure.
3. Position the cursor on the F space over the quarter note rest position and click.
Repeat the steps of selecting the duration and placing notes on the score until your window looks like the
melody on page 18.
Changing Pitch
To change the pitch of a note, move the pointer over it so that it becomes a Drag Cursor, then click.
The note head becomes red, indicating that it is selected for editing.
You can drag the note up and down to change its pitch, or press the up or down arrow keys.
Changing Duration
The eighth note in the last measure should actually be a half note. Here’s how to fix it:
1. Position the pointer over the erroneous note (so that it becomes a Drag Cursor) and
click.
2. Now change the duration by typing the number 2 (for half note).
The note instantly becomes a half note. You may have to adjust any remaing rests.
3. Choose Measures>Insert.
Now that you added the measure, you must tell Overture that it is a pickup measure.
4. Click OK.
Now, add the pickup note. Using what you learned in previous sections, place a quarter-note A in the
measure.
The score doesn’t look quite right, because the newly-added measure has space for many notes, yet there
is only one note in it. To fix this, you need to move the barline to the left, reducing the space used by the
measure. Here’s how:
You’ll notice small boxes appearing to the left of the staff and on top of the barlines.
These are called handles.
Handles
3. To move the barline, position the pointer over the barline handle and drag it to the
left.
4. Choose Options>Show>Handles again to uncheck the option and hide the handles
in the score.
Notice that the spacing of the other measures on the staff are now too wide.
You can probably fit another measure on the first line, so...
Overture wraps measures to the left, stealing the first measure of the second line
and making it the last measure of the first line.
When you release the mouse button, a slur appears, joining the selected notes.
You can alter the shape of the slur by dragging either the slur or its handles. If you
like, try dragging the different handles now to see their effects on the slur.
Entering Symbols
Overture has palettes of ornaments, articulations, noteheads, tablature, dynamics, text and clefs,
collectively known as symbols. This section introduces you to the basics of placing and moving symbols
on the score.
You can pull the palette down temporarily from the Tool Bar, or you can tear off
the palette for repeated uses.
2. Position the pointer under the first note of the score and click.
A mezzo-piano symbol appears where you click. If you didn’t place it in the proper
position, move the pointer over the symbol so that it becomes a drag cursor, and
drag the symbol to the right place.
Some dynamics symbols, like the crescendo hairpin, are resizable. To see how this works, add a
crescendo and diminuendo to the score.
As you move the mouse, you should see the crescendo symbol appear and grow.
Now add a diminuendo in the third measure, using what you learned above. Drag from right to left, using
the same open hairpin symbol. When you are done, your score should look like this
Ornaments
You add ornaments to the score in the same way you add dynamics, except that you can attach ornaments
to specific notes. To do so click the note or select a group of notes to ornament. Try adding a fingering
mark to the score.
...and click...
You don’t have to place ornaments one at a time: you can add the same ornament to many notes at once
by dragging over them when the ornament tool is selected.
You can drag an attached ornament wherever you please, but it remains attached to the original note for
playback purposes.
Adding Voices
Now it’s time to add a second voice to the score. For an explanation of voices, see “Voice” on page 7.
1. Set the note duration to dotted half notes using the note palette.
Click the half note icon, then the augmentation dot icon to add the dot to the half
note.
Notice when you select Voice 2 that the notes belonging to Voice 1 dim:
Dimmed
notes
indicate
non-active
voice
3. Position the cursor at the beginning of the second measure and click F to add an F#.
Don’t worry about the stems—they will automatically be adjusted to the appropriate
direction as you enter in a second voice.
New note
inserted in
Voice 2
4. Add more notes, one per measure: another F#, then a G, then another final F#.
New notes
entered in
Voice 2
Using the Arrow Cursor, drag the fingering to the desired location in the score.Your
score should look like this when you’re finished:
Adding Staves
At the end of the last chapter, the score consisted of two voices in the treble clef. The next task is to add
some left-hand accompaniment.
1. To create the bass clef use the Score>Insert Track menu command.
Now add a brace so the staves appear as conventional left-hand/right-hand piano notation (known as a
grand staff.)
1. Select the Group With Brace tool from the Staves palette.
Barline
Staves that are played together are known as Systems. Overture has many features that can affect all the
staves or measures in a system at once. See Chapter 8 of the User’s Guide for full details.
Shortcut:
Double-clicking a staff’s selector handle or the main clef in the first measure also opens this dialog box.
This causes the instrument name to be displayed to the left of the staff.
5. Click OK.
Using the Setup Track dialog box, you can change many properties of each track including
Setting Up MIDI
Before you can start recording via MIDI, you must have a MIDI interface connected to your computer
and a MIDI keyboard connected to the interface. [You must also enter the layout of your studio into the
Audio MIDI Setup application if you are running under OS X].
A detailed explanation of these procedures is beyond the scope of this tutorial, so if you haven’t yet
defined a Studio Setup document, you should read the manuals that came with your MIDI keyboard(s)
and interface(s).
You won’t be able to proceed with this tutorial until you have done this.
Recording MIDI
There are a few program options to set up before you can start recording. This section discusses these
options.
Metronome
Before you start playing, you’ll probably want to have some sort of metronome to guide your playing.
You can set the device, note, velocity and duration for accented and unaccented
metronome strikes. If you have a sound module in your MIDI studio with drum kits
or percussive sounds, you’ll probably want to use that.
2. Change the Note number until you hear a sound you like.
Each change causes the new note to be played on the instrument, so you can hear
how each note sounds as you scroll through the list of values.
This plays one measure’s worth of metronome sound, so you can hear what the
metronome will sound like when you’re actually recording. What you hear has
nothing to do with the meter or tempo of your score.
Transcription Quantize
When you enter data from a MIDI keyboard, Overture records it with a high degree of rhythmic
sensitivity. Many times you don’t want such an accurate transcription of what you play. For example,
perhaps you’re only interested in entering quarter notes. If you don’t play with computer-precision, you
could wind up with something like this:
1. Click anywhere in the treble clef, so that it becomes the currently active staff.
2. Choose Windows>Tracks.
Each line in this window represents a staff in the score. If you have a multi-timbral
synthesizer (one that plays more than one note at a time), you can play each staff
over a different synthesizer sound, if you like. For simplicity’s sake, assign both
staves to the same sound.
3. Click in the Device column. A pop-up menu appears listing all of the currently
available instruments.
Overture is now configured to play back the right and left hand parts on the
Recording
Look at the left hand part for “Amazing Grace”:
You are going to play this into Overture from a MIDI keyboard. While you are playing the new part, you
will hear the metronome and the already-entered right-hand part.
Rewind
Button
Play from Thru Device
Beginning
Button
Stop Play Record
Button Button Button
This sets all notes played on the controller keyboard to echo on the Thru device.
There is a one-measure count in during which the metronome plays but no MIDI
data is recorded.
6. When you’ve played it, press the return key to stop recording, or click the stop
button.
Notice that as soon as you stop, the score window draws in the newly entered data. Your score should
look like the one on page 41. If you made mistakes, you might want to try cleaning them up using the
editing techniques introduced earlier in this manual.
To hear what you played, click the Play button or press the spacebar. Overture plays back your notes and
continues playing the silent parts afterwards, so click the Stop button or press the Return key to stop
playing.
Remember to use transcription quantize; regardless of how the performance sounds (within reason), it
should be notated correctly.
Type area
Note Size
pop-up menu Size area
Duration
area
Velocity
area
In this exercise, you use the Step Entry window to add more notes to the left hand part.
1. Position the insertion point at the beginning of the first full measure of the bass
clef.
2. Select the dotted half note symbol from the Note Size pop-up menu.
The counter advances this much time after you enter each note.
Notice that the default percentage is 90%. This tells Overture that step-entered
notes have a playback duration equal to 90% of a dotted half-note. Playback
duration does not affect the way the score is notated; it only affects what you
hear when you tell Overture to play the data over MIDI devices.
Note that unlike real-time record, which erases everything in the track (overwriting it with what you play)
step entry adds its data to the track. That is, if you put the insertion point where there is already some
information and step-enter some notes, they are merged with the existing data.
1. Choose the Chord Entry icon with the Input Select button.
The duration and velocity sections of the Step Entry window disappear.
2. Using the note size pop-up menu, set the duration to dotted half note, if it isn’t
already.
You can do this by clicking the note size icon and typing a 2 followed by a period
(dot).
3. Click the mouse at the start of the first full measure of the treble staff.
Overture identifies the chord and places its name above the staff.
Notice that the counter in the Step Entry window advances by the currently
selected note duration — in this case, one bar.
There are two facets to every Overture score: what you see and what you hear. So far we’ve been
primarily concerned with making a score look good. This chapter is a small detour to the MIDI Data
mode and Graphic Window, which can affect not only a score’s appearance, but the way it plays back.
This chapter touches lightly on a few aspects of the Graphic window; for a complete description of all
Graphic window elements, see Chapter 30, “Graphic Window (PC)” [Chapter 31, “Graphic Window
(Mac)” ]
The Graphics window differs on the two platforms so we provide procedures for the PC below, then
procedures for the Mac starting on page 57.
The MIDI Data mode displays a graph above each measure showing the data except
when “Normal Score” is chosen for data type. The data values runs vertically.
2. Choose the Controller from first the pop-up menu on the tool strip.
3. Draw any data you like into the MIDI Data area. Hold the shift key down while
dragging to draw staright lines. Score symbols such as dynamics that also send this
type of data are shown with a handle that can be dragged vertically.
When you release the button, the data area shows the new data you’ve drawn:
Assuming your MIDI device is set up to respond to controller 7, you hear the effects
of this data on the track when you play it back.
1. While in MIDI Data mode choose Choose Tempo from first the pop-up menu on the
tool strip.
The MIDI Data mode displays a graph above each measure showing the beats based
on the current meter and the tempo changes within each measure. The tempo data
values runs vertically.
In the Graphic window, the notes you entered appear on a piano-roll display. Each box in the window
indicates a note’s start point (by where it is located on the X axis), pitch (by where it is located on the Y
axis) and duration (by the length of the graphic box).
Any notes you select in the Graphic window are also automatically selected in the Score window as well.
You can select notes by clicking them one at a time, or shift-clicking multiple notes, or dragging a
selection box to select many at once.
1. Make sure the insertion point is in the treble staff at the score.
5. Switch back to the Score window to see that the corresponding notes have been
selected.
If you aren’t concerned with playback control, you can skip the rest of this chapter.
1. Choose Control from the first popup menu at the top of the Graphic window, then
choose Volume from the second popup menu.
When you release the button, the Controllers Pane fills in the area under the shape
you’ve drawn:
Assuming your MIDI device is set up to respond to volume data, you hear the effects of this data on the
track when you play it back.
Any notes you select in the Graphic window are also automatically selected in the Score window as well.
You can select notes by clicking them one at a time, or shift-clicking multiple notes, or dragging a
rectangle to select many at once.
1. Make sure the insertion point is in the treble staff at the score.
5. Switch back to the Score window to see that the corresponding notes have been
selected.
If you aren’t concerned with playback control, you can skip the rest of this chapter.
1. Open the strip chart by clicking on the Strip Chart button at the bottom of the
graphic window and selecting “Modulation Wheel” from the pop up menu.
3. Choose the Free tool from the pop-up menu at the bottom of the window.
When you release the button, the strip chart fills in the area under the shape
you’ve drawn:
Assuming your MIDI device is set up to respond to modulation wheel data, you hear the effects of this
data on the track when you play it back.
This chapter teaches you how to set margins, spacing, page size and other items associated with printing.
It also discusses Overture templates.
Setting Margins
A gray line appears around the score, outlining where the margins lie.
You can change the margins by adjusting the numbers in the margin boxes.
Setting Size
You can enter the page width and height in the boxes provided.
You can drag the slider to change the scaling factor for the entire score to allow more staves on a page.
For example, if you are printing to a regular sheet of 8.5” x 11” paper, and have set the slider to 50%, a
17” x 22” score is created. This is because a 17” x 22” score printed at 50% is 8.5” x 11”.
Use the portrait or landscape button to allow for horizontal or vertical scores. Use the Page buttons to
view different pages in your score.
2. Click the Title tab if necessary and type Amazing Grace on the top title line.
You have a choice of many different text styles, but the defaults are fine for now.
3. Click OK.
If you want to change the font style of the Title, do the following: Layout and Printing
1. Choose Score>Title Page to display the Title Page Text dialog box again.
5. Click OK.
Overture closes the Title Page Text dialog box.
You can now go back and enter Composer’s name, Instructions, Copyright,
Headers, and Footers, in the same manner.
Templates
If you have a complicated score configuration that you’ll be using more than once, you might want to
make a template out of it. A template can store staff configurations, page dimensions, instrument names,
clef configurations, fonts for titles and more. To create a template:
2. Save the file in the Templates folder inside the Overture folder.
Pre-Made Templates
Overture comes with a number of pre-made templates, covering a wide variety of scoring formats. These
reside in the “Overture Templates” folder. Open them up and look at the staff and page settings to get a
feel for how some of them were designed. One of the best ways to learn is by example, so don’t be shy!
Page
Page View
Controls
Score Window
General
The Score window displays one or more pages of a traditional music score complete with staves, notes,
symbols, lyrics, chords, text and anything else you want in your printed musical score. Use the Score
window to enter, view and modify your musical score.
Status Bar: Page View and Track Controls
The bottom of the Score window contains several controls that determine and illustrate which page is
displayed and the zoom level at which it’s displayed.
Track Voice pop-up menu Page numerical Next Page button CPU Meter
• View. Use this pop-up menu to select both the size at which you want to display the score and a page
view option. For more information, see “Auto>Zooming” command on page 72 and
“Auto>Selecting a Page View Option” command on page 75
• Track control. Use this pop-up menu to change tracks. Overture puts the cursor in the track you
select. The track control always shows the track the cursor is in, a convenience if you are not
showing names and abbreviations.
• Voice pop-up menu. Use this pop-up menu to select the voice you want to display and edit in the
Score window. For more information, see “Auto>Selecting a Voice to Enter or Edit” command on
page 96.
• Bar numerical. Use this numerical to quickly move the cursor to a specified bar number. Overture
displays the page containing the active measure. For more information, see “Auto>Turning to a
Specific Bar” command on page 71.
• Page numerical. Use this numerical to quickly move to a specified page. Overture displays the
selected page, but the cursor remains in the currently active measure. For more information, see
“Auto>Turning to a Specific Page” command on page 71.
• Previous Page button. Click this button to display the previous page in the score.
• Next Page button. Click this button to display the next page in the score.
• MIDI Activity. Led lights blink when MIDI data is being received and sent.
• CPU Meter. Shows the amount of time the CPU is spending while processing audio data.
Each of the following sections discuss various actions you can perform with the page view and track
controls.
If you have an extended computer keyboard, you can also turn pages by typing Control[Option]-PgUp or
Control[Option]-PgDn.
Page Numerical
Bar Numerical
When you turn to a specific bar, Overture automatically positions the cursor in that bar, thus making it the
active measure.
Terminology Note:
Score Window
When the cursor is in a particular measure, that measure is called the active measure. This manual will
often ask you to activate a particular measure. This means to place the cursor in a particular measure
either by clicking in it, or by using the bar numerical.
Zooming
You can zoom in on a score to see tiny details or zoom out to display more of the score. Also, you can size
a score to fit completely in the Score window.
1. Click the Zoom Level pop-up menu to see a list of zoom levels.
• Zoom In. Select this zoom level to zoom in on the score. When you zoom in, Overture displays all
notes and symbols larger than actual size, allowing you to see more detail in a single portion of a
score. You can choose this command repeatedly to zoom in closer and closer.
• Zoom Out. Select this zoom level to zoom out on the score. When you zoom out, Overture displays
all notes and symbols smaller than actual size, allowing you to see more of a score. You can choose
this command repeatedly to zoom out further and further.
• Fit in Window. If you select this zoom level, Overture automatically selects a zoom level that
displays an entire page within the confines of the Score window.
• Fit Page Width. If you select this zoom level, Overture automatically selects a zoom level that
displays an entire page width within the confines of the Score window.
• Fit Page Height. If you select this zoom level, Overture automatically selects a zoom level that
displays an entire page height within the confines of the Score window.
• 100%. Select this zoom level to display the score at its normal size.
• 250%, 200, 150%, 125%, 75%, 50%. Select one of these zoom levels to set the zoom level to the
indicated percentage.
• X%. Choose this zoom level to open the zoom level dialog box. Use the View at numerical to select
a zoom level between 10% and 800%. Click the OK button to apply the chosen zoom level.
Selective Zooming
Overture lets you zoom in on a specific area of the score. To do so:
Zoom Cursor
Drag an area
to zoom in on
Overture zooms the selected area to the largest size that will fit within the Score
window.
There are three different ways to view pages in the Score window:
• Single Page. If you select this option, Overture displays only one page at a time in the Score
window.
Score Window
• Vertical Pages. If you select this option, Overture places your pages top to bottom vertically down
the Score window.
• If the physical page size of your score is larger than your monitor screen and you wish to view the
score at full size (100%), you’ll need to scroll the Score window to see any portions of a page that
don’t fit within the window’s confines.
• If you view a score at some magnified level (>100%), you’ll need to scroll the Score window to see
the entire page (even if you have a 1- or 2-page monitor).
The most intuitive way to scroll the Score window is to use the standard scroll bars located both to the
right and the bottom of the Score window.
Scroll Bars
You can also scroll a Score window by using the Hand tool (press ‘h’) within the window. This converts
the cursor to a hand for dragging the Score window.
Score Window
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
won’t need to select this option. Handles are always available—they’re just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
Staff Handle
Score Window
Dragging this
staff down...
Dragging this
staff down...
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
won’t need to select this option. Handles are always available—they’re just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Hold down the Alt[Option] key and drag a staff handle up or down to change the
spacing between it and the staff (or margin) above it.
Score Window
By Alt[Option]-dragging, you tell Overture to apply the same spacing to all remaining
systems on a page.
Option-dragging
Alt-dragging this
Alt[Option]-
dragging this
staff down...
...affects staff
spacing this way.
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
won’t need to select this option. Handles are always available—they’re just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
2. Hold down the Control[Command] key and drag a staff handle up or down to
change the spacing between it and the staff (or margin) above it.
Score Window
By Control[Command]-dragging, you tell Overture to apply the same spacing to all
remaining systems in a score.
Control[Command]-dragging affects system and staff spacing just as Alt[Option]-dragging does. The
only difference is that Overture applies any new spacing throughout the remaining score, not just the
active page.
For example, assume your score contains the page below, and that you want to re-space the staves
according to your Engraver preferences.
Overture re-spaces the staves according to the Engraver preferences set in the
Preferences dialog box.
Score Window
For example, assume your score contains the page below, and that you want to indent the top system.
1. In the top system, drag any staff’s left selection handle to the right.
You can also drag a staff’s right selection handle to change a system’s width. Here is what happens when
you drag a staff’s right selection handle to the left.
Score Window
1. Adjust the width of each system you wish to place side by side.
2. Drag the lower system up until it’s parallel with the system above it.
You may also split a system into two side by side systems using “Auto>Split System” command on page
534.
You may save the DefaultFile, including specific parts. For example, a commonly used basic drum track
can be saved in the DefaultFile.
Note:
Choosing File>New does not automatically load DefaultFile. Choosing File>Open to open DefaultFile
opens the actual file for editing, not an untitled copy. Double-clicking the file launches Overture files
directly.
Score Window
Selected Note
Unselected Note
When you select a note with a beam, Overture displays only the notehead in red. You can select beams
separately, so as to edit their position and angle. Editing handles appear on all selected beams. For
information about editing beams, see “Auto>Editing Beams” command on page 101.
When you select most other types of symbols, small, rectangular editing handles appear on or around the
symbol. These handles allow you to move or reshape the selected symbol.
Editing Handles
For more information about editing selected symbols, see “Auto>Editing Notation Symbols” command
on page 97.
Selection Techniques
You may select notes and symbols either individually or in groups. To select notes or symbols in the
Score window, Overture must be in Score mode and the Arrow Cursor tool must be active. The following
sections discuss numerous selection techniques.
1. Click the Arrow Cursor button in Overture’s tool bar to select the Arrow Cursor tool.
When you position the cursor over a symbol, it changes into a Drag Cursor ( ).
The Drag Cursor always appears when you move the Arrow Cursor over an editable
portion of a musical symbol.
We discuss this and other Score window cursors in “Auto>Cursors in the Score
Window” command on page 109.
1. Using the Arrow cursor, move the mouse over the first symbol you wish to select.
Score Window
Alternately, you could select discontiguous symbols by dragging rectangles around the individual notes or
symbols as you hold down the Control[Command] key.
1. Using the Arrow Cursor, move the mouse over the first symbol you wish to select.
Overture selects all notes and symbols between the first selection and the point
where you shift-clicked.
Alternatively, you could select contiguous symbols by dragging a rectangle around all the desired
symbols—the selection includes any symbol that the rectangle either touches or encloses.
Using the Arrow Cursor, double click on any blank space in a measure.
Score Window
1. Using the Arrow Cursor, double-click any blank area in one of the measures.
You can also use this technique to select discontiguous measures on different staves.
Using the Arrow Cursor, double-click any blank area in the first measure of a staff.
Shift-double click the last measure on the staff.
Double-clicking
in the margin...
...selects all
notes in the
entire track Score Window
1. Click Voice in the Score Window’s page view controls to open the Voice pop-up
menu.
2. From the pop-up menu, select the voice you want to enter or edit.
You may also select the All option to edit all voices simultaneously.
2. Select a voice from the
pop-up menu
When you select a particular voice, all other voices already in a score are grayed out.
In the example, you can edit only those notes and symbols that are assigned to the selected voice (the
black one).
Note:
When you select All, Overture lets you edit all the voices, but automatically puts any new notes in
Voice 1.
Raise Pitch
Lower Pitch
When you position the cursor over a notehead, it changes into a Drag Cursor ( ). The Drag Cursor
always appears when you move the Arrow Cursor over an editable portion of a musical symbol.
You can choose whether you want dragged notes to change chromatically (according to the twelve-tone
scale) or diatonically (according to the key of the measure). To drag notes diatonically:
1. Choose Options>Preferences.
2. In the Preferences dialog box, select General from the Preference Type pop-up
menu.
1. Choose Options>Preferences.
2. In the Preferences dialog box, select General from the Preference Type pop-up
Score Window
menu.
1. Select the note (or notes) whose pitch you want to change.
2. Press the up arrow key to nudge notes up the scale. Press the down arrow key to
nudge notes down the scale.
You can change a note’s value (such as turning a quarter note into an eighth note) by first selecting it, then
typing the key equivalent for a new note value. This is described in detail in “Auto>Changing Existing
Note Values” command on page 134.
You can duplicate a note (or most any musical symbol) by Control[Option]-dragging it.
• Select the Eraser tool and click the notes you wish to remove. See “Auto>Eraser Button” command
on page 119.
• Using the Arrow Cursor, select those notes you wish to remove (as discussed in “Auto>Selecting
Notation Symbols” command on page 89) and type the delete key, or use the Edit>Cut command.
Copying Notes
You can Control[Option]-drag any note to make a copy of it.
If you Control[Option]-drag a note vertically, Overture creates a new note of the same duration and at the
same time, but at a new pitch (thus creating a chord).
You can also copy notes by selecting them and using standard copy and paste commands. For more
information, see Chapter , “Edit Menu.”
Editing Stems
To change a stem’s length:
Drag Cursor
dragging stem up
Score Window
1. Select the notes whose stems you wish to reset to their default length.
To hide a stem:
This is a particularly useful feature for tablature notation. For more information
about tablature notation, see Chapter , “Tablature Button.”
Score Window
• Select the Eraser tool and click the beams you wish to remove. See “Auto>Eraser Button” command
on page 119.
• Using the Arrow Cursor, select those beams you wish to remove (as discussed in “Auto>Selecting
Notation Symbols” command on page 89) and press the delete key.
• Using the Arrow Cursor, select those beams you wish to remove and use the Notes>Delete>Beams
menu command.
You can use one of the Notes>Beam commands to change how notes are beamed, and you can even beam
across barlines and across staves. For more information, see “Auto>Beam” command on page 583.
Editing Rests
Drag any rest to move it. You can even move rests up and down on a staff—this is particularly useful
when you notate more than one voice on a single staff.
Move Up
Move Down
1. Select the rest (or rests) whose position you want to change.
2. Press the up arrow key to nudge rests upward. Press the down arrow key to nudge
rests down. Press the left arrow key to nudge rests left, and press the right arrow
key to nudge rests to the right.
• Select the Eraser tool and click the rests you wish to remove. See “Auto>Eraser Button” command
on page 119.
• Using the Arrow Cursor, select those rests you wish to remove (as discussed in “Auto>Selecting
Notation Symbols” command on page 89) and type the delete key (or choose Edit>Cut or
Edit>Clear).
• Drag notes (or groups of notes) to change their position relative to other notes.
• Nudge notes (or groups of notes) with the arrow keys to make small changes in their position
relative to other notes.
• Change the bar width to expand or contract the spacing of notes in a measure.
•automatically align them with existing Beat Charts upon entry (using the Options>Auto>Justify
option).
•automatically calculate new Beat Charts and align existing notes (using the Measures>Justify
Score Window
command).
•automatically adjust measure width and spacing based on the current Allotment Table and on the
existing Beat Charts (using the Score>Recalc Layout command).
Note:
You must disable Auto>Justify in the Options Menu or the measure must be locked by
Control[Command] clicking on the meausure’s handle to allow notes to be dragged horizontally. If not,
they will automatically be repositioned.
Before dragging
Drag a note
to change its spacing
relative to other notes
After dragging
Also, you can drag any note in a chord to change the horizontal spacing of the entire chord.
You can select and drag notes and chords, as well as dynamics, hairpins, text repeats, and Graphics palette
objects as a group.
Nudging Notes
You can nudge notes either left or right in small increments. To do so:
2. Type the left arrow key to nudge the notes to the left. Type the right arrow key to
nudge the notes to the right.
Each horizontal nudge moves the symbol approximately a single pixel. Overture
prints at a resolution of 1/72 of an inch so, at 100% scaling, you can nudge
symbols at a resolution of 1/72 of an inch on the printed page.
1. Using the Arrow Cursor, click anywhere in the desired measure to make it the
active measure.
The upper row of the Beat Chart contains small square handles that represent
each beat in the measure. The measure shown above is in 4/4 time, so it contains
four handles—one at the start of each beat.
3. Drag one of the beat handles to a new position.
Notice that the sixteenth notes in the third beat are now closer together, and that there is now more space
between the second and third beats.
Score Window
1. Using the Arrow Cursor, click anywhere in the desired measure to activate it.
Note:
Overture actually displays pulses. Measures usually contain the same number of beats as pulses, but you
can use the Set Meter dialog box to set a number of pulses that’s different from the number of beats. See
“Auto>Set Time Signature” command on page 541 for more details.
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
won’t need to select this option. Handles are always available—they’re just normally
invisible. Selecting this option shows you where to click a staff or barline to edit it.
The figure shows the middle bar dragged to the left. This results in tighter spacing in
the first measure and wider spacing in the second.
Note:
Bar widths also change when you use the Measures>Increase Measures on System or
Measures>Decrease Measures on System commands since these actions place a different number of
bars on a single, fixed width line. For more information about wrapping measures, see “Auto>Increase
Measures on System” command on page 530 and “Auto>Decrease Measures on System” command on
page 532.
• Options>Auto>Justify: When you select this option, Overture automatically spaces any new notes
that you enter. Overture spaces notes according to the measure’s existing Beat Chart without
changing the width of the measure.
Beat Chart
Beats
• For more information about Beat Charts, see “Auto>Using Beat Charts” command on page 104. For
a detailed discussion of the Options>Auto Justify option, see “Auto>Justify” command on page
624.
• Measures>Justify: When you choose this command, Overture calculates a new Beat Chart based on
the note values and the amount of space allocated to them in the current Allotment Table. It then
spaces notes accordingly (without changing the width of the measure).
Beat Chart
Beats
For more information about Beat Charts, see “Auto>Using Beat Charts” command on page 104. For a
brief description of Allotment Tables, see “About Allotment Tables” below. For a detailed discussion of
the Measures>Justify command, see “Auto>Justify” command on page 568.
Beat Chart
Beats
For more information about Beat Charts, see “Auto>Using Beat Charts” command on page 104. For
a brief description of Allotment Tables, see “About Allotment Tables” below. For a detailed
discussion of the Score>Recalc Layout command, see “Auto>Recalc Layout” command on page
513.
Locked Measures
When you’ve manually spaced notes in a measure, it is sometimes useful to exclude that measure from
being justified or affected by a Score>Recalc Layout command. Overture allows locked measures that
maintain their spacing. To lock a measure:
1. Select Options>Show>Handles.
Arrow Cursor: The Arrow Cursor is Overture’s basic operating cursor. It may change
form when you move it over various tools, symbols, staves, or text. Select the Arrow
Cursor by clicking the Arrow Cursor tool in the Tool Bar or by typing the letter c
(unless you’re in a text entering mode). For more information, see “Auto>Arrow
Cursor Button” command on page 119.
Drag Cursor: The Drag Cursor appears automatically any time you move the Arrow
Cursor over any symbol’s edit handle. It indicates that you can edit or drag the
symbol.
Eraser Cursor: Use the Eraser Cursor to delete musical symbols by clicking them.
Select the Eraser Cursor by clicking the Eraser Cursor tool in the Tool Bar or by typing
the letter e (unless you’re in a text entering mode). For more information, see
“Auto>Eraser Button” command on page 119.
Scale Cursor: Use the Scale Cursor to resize notes, staves, clefs and dynamics by
clicking them. Select the Scale Cursor by clicking the Scale Cursor tool in the Score
mode Tool Bar. For more information, see “Auto>Scale Button” command on page
121.
I-beam Cursor: The I-beam Cursor appears over any editable text.
Crosshair Cursor: The Crosshair Cursor appears over the Score window whenever you’ve selected
a symbol to insert. There are three types of crosshair cursors:
This crosshair appears when the cursor is directly over a staff and indicates that the
action you’re about to perform applies to this staff.
This crosshair appears when the cursor is above a staff. It indicates that the action
you’re about to perform applies to the staff immediately below the cursor.
This crosshair appears when the cursor is below a staff. It indicates that the action
you’re about to perform applies to the staff immediately above the cursor.
There are numerous other cursors associated with Overture’s Graphic window. For more information
about these cursors, see Chapter , “Graphic Window (PC)” Chapter , “Graphic Window (Mac).”
Score Window
• Cursor buttons
• Palette buttons
Read the following sections for an overview of each of the three button groups.
Cursor Buttons
Use these Six buttons to change the operational mode of the cursor. Use the Arrow Cursor to select
symbols and on the MAC to capture PICT and EPS graphics. Use the Eraser Cursor to delete symbols.
Use the Scale Cursor to scale symbols. Use the Hand cursor to drag the entire score around inside the
score window. Use the Zoom cursor to Zoom in or Out. Use the Scrub to listen to a passage as you drag
the mouse.
See Chapter 10, “Cursor Buttons,” for detailed information about each of these buttons.
Palette Buttons
The next fifteen Tool Bar buttons are called palette buttons.
2. While still holding the mouse button, move the cursor over the desired tool
(highlighting it), then release the mouse button.
The icon shown in each palette button changes to show the most recently selected tool.
2. Continue to hold down the mouse button and drag the cursor outside the boundary
of the original menu.
When you do so, an outline of the menu appears and moves along with the cursor.
Once you tear off a menu, it becomes a floating palette. Palettes float in front of any open windows on
your computer screen. Because of this, they never get hidden by any open windows and their tools are
always accessible.
To select one of the tools in a floating palette, move the cursor over the desired tool and click it.
vertical toolbar
horizontal toolbar
To close a floating palette, click its close box or button. If the close box isn’t visible, tear a new copy off
the toolbar button. This removes the old copy. Then click the close button of the new copy.
Each Palette button is discussed in its own chapter beginning with Chapter 11, “Notes Button,” and
ending with Chapter 26, “Barlines Button.”
See Chapter 27, “Transcription Quantize Amount Button,” to learn how to use this button.
Cursor Buttons
Click the Arrow Cursor button to select the Arrow Cursor tool. Use the Arrow Cursor ( ) to select or
drag musical symbols, staves and text.
Note:
You can type the letter c (for “Cursor”) to activate the Arrow Cursor (unless you’re in one of Overture’s
text entering modes). If you type the letter c and the Arrow Cursor is already active, Overture selects
the last tool you used before selecting the Arrow Cursor tool. This is a great way to toggle between the
Arrow Cursor and a specific tool during editing. If you type Esc the cursor will default to the Arrow
Cursor.
Eraser Button
Click the Eraser button to select the Eraser tool. The cursor becomes an eraser ( ) when you move it
over the Score window. Use the Eraser tool to delete musical symbols by clicking them.
Shortcut:
You can type the letter e (for Eraser) to activate the Eraser tool (unless you’re using one of Overture’s
text-entering tools).
When you delete a note using the Eraser tool, the note is turned into a rest. If you then delete the rest, the
timing for notes later in that measure changes by the amount of time in the deleted rest. You alter note
timings when you delete a note in either the Score or Graphic Windows.
For example, deleting the third quarter note in a measure with four quarter notes converts the third quarter
note into a rest. Deleteing the rest moves the last quarter note earlier by one quarter note. The Graphic
Window reflects the altered timing immediately after the deletion; the changed timing is not evident in
the Score Window until you justify or transcribe the measure. The figure below illustrates the changed
timing after retranscribing the measure.
Overture changes note timings after you delete a note except when
• you enter notes with the mouse in the Graphic Window but they have not yet been transcribed
• you record notes in real time but they have not yet been transcribed
In the first two cases, the notes appear in the Score Window as bars. Deleting the middle note has no
effect on the timing of the third note because the note timings are raw and have not been transcribed. The
third case doesn’t require editing because there are no notes later in the measure to encroach on the time
deleted with the note.
Click the Scale button to select the Scale tool. The cursor becomes a percent sign ( ) when you move it
over the Score window. Use the Scale tool to resize notes, staves, clefs and dynamics.
To use the Scale tool:
2. In the Score window, select the staff, notes, clef or dynamics you wish to scale.
Cursor Buttons
Overture produces the Set Scale Factor dialog box.
3. Enter the desired scale factor in the dialog box and click the OK button.
Staff handles are located at either end of the staff on the middle line.
2. Select a scale factor in the Scale Factor dialog box, then click the OK button.
Overture scales the selected staff (and all musical symbols on that staff) by the
indicated factor.
Cursor Buttons
staves by 75%).
3. Overture scales
all selected staves by
the desired amount.
Scaling Notes
Sometimes alternate passages aren’t notated on a separate staff, but on the same staff as the main score.
This is common in popular vocal music when repeated sections have slightly different melody lines. To
indicate the alternate passage, use small notes. Overture allows you to scale notes from 25% to 250% of
their normal size. To do so:
1. Using the Scale tool, click a note or drag a rectangle around a group of notes.
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Scaled notes
to indicate
alternate
passage
Scaling Clefs
To scale clefs:
You cannot scale the first clef in a score; you can only scale clefs in the middle of
a score.
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Scaling Dynamics
Sometimes different voices on a staff have different dynamics levels. You can scale the various dynamic
markings to indicate more clearly which dynamics refer to which voice. To do so:
1. Using the Scale tool, click a dynamics marking (or draw a rectangle around a
group of dynamics).
2. Select a scale factor in the Scale Factor dialog box and click the OK button.
Hand Button
Click the Hand Cursor button to select the Hand Cursor tool. Use the Hand Cursor ( ) to drag the score
within the score window. If the hand is over a staff the cursor changes to a drag staff cursor and the staff
can be moved horizontally or vertically.
Click the Zoom Cursor button to select the Zoom Cursor tool. Use the Zoom Cursor ( ) to Zoom in or
Out in the score. If you single click, the score will be zoomed in. If you press the Control key, the cursor
is used to Zoom Out. If you click and drag a selection rectangle, the score will be zoomed to show just the
area within the rectangle.
Scrub Button
Cursor Buttons
Click the Scrub Cursor button to select the Scrub Cursor tool. Use the Scrub Cursor ( ) to audition a
passage in a track. Click and drag on a staff to hear the notes play as the mouse moves over the note.
The Notes button always contains the icon of the most recently selected tool.
Notes Button
Press and hold the mouse on the Notes button to open the Notes pop-up menu. To create a floating palette,
tear it off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Notes Button
Notes
Tuplet
Augmentation Dot
Rests Double
Augmentation Dot
Triple
Augmentation Dot
Grace Note
Accidentals
Shortcut:
If you’re not in one of Overture’s text-entering modes and you type the letter p, Overture opens the
Notes palette and places it directly underneath your cursor. If the Notes palette is already open, typing p
moves the open palette directly under your cursor, no matter where it is on the screen.
Tool Overview
The Notes palette above contains the following tools:
• Notes: Select one of these tools to insert a note of that value. The palette contains (from left to right):
double whole note, whole note, half note, quarter note, 8th note, 16th note, 32nd note, 64th note,
128th note.
• Rests: Select one of these tools to insert a rest of that value. The palette contains (from left to right):
double whole rest, whole rest, half rest, quarter rest, 8th rest, 16th rest, 32nd rest, 64th rest, 128th
rest.
• Accidentals: Select one of these tools to insert an accidental. The palette contains (from left to
right): sharp, flat, natural, double sharp, double flat, courtesy sharp, courtesy flat, courtesy natural,
courtesy double sharp, courtesy double flat.
Control[Command]-click a note with an Accidental tool to apply that accidental to all notes of the
same pitch for the remainder of the measure.
• Augmentation Dots: Select one of the three augmentation dot tools to turn the selected note or rest
tool into a dotted note or rest.
• Tuplet: Use this tool to turn the selected note or rest tool into a tuplet whose value was last defined
in the Tuplets dialog box. The default tuplet value is a triplet. We discuss the Tuplets dialog box in
“Tuplet” on page 591.
• Grace Note: Use this tool to insert a grace note into your score. See “Grace Notes” on page 133 for
more information.
1. Select the voice you’d like to enter from the Voice pop-up voice menu at the bottom
of the Score window.
2. Select the desired symbol from the Notes palette (or pop-up menu).
Here are three examples: note selection; rest selection; and accidental selection.
When you select an accidental, the note remains selected if Attach Note Palette
Accidentals is checked in the Preferences dialog. This is used to insert a note with
an accidental at the same time.
Notes Button
Selecting a Note Tool
The cursor becomes a note (with accidental if also selected) when you move it over
the Score window. We discuss all the different cursor types in “Cursors in the Score
Window” on page 109.
Position rests horizontally within the staff. If you have checked Auto>Justify in the
Options menu, then Overture automatically justifies horizontal placement according
to the measure’s Beat Chart and might not insert the rest exactly where you click.
The current Allotment Table determines spacing within beats.
Overture provides a method for entering notes that are displayed on another staff:
• Enter all the notes on one track and then select the notes to be displayed on another track.
• Choose the Notes>Display on Prev Staff or Note>Display on Next Staff menu command.
Understanding the distinction between where notes appear and which track owns them is crucial when
you edit a track. For example, double-clicking to select all notes in a track’s measure does not select a
note that appears in that track but is owned by the track above or below.
Key Function
Notes Button
r Toggle between note or rest
1. Select the voice you’d like to enter from the Voice pop-up voice menu at the
bottom of the Score window.
2. Type the number key corresponding to the duration of the note you wish to enter.
1. Type the number key corresponding to the duration of the note you wish dotted,
then type the period key.
1. Type the number key corresponding to the duration of the rest you wish to enter.
You can enter dotted rests by typing the period key as described previously.
2. Type r.
Overture converts the note to a rest of the same duration.
1. Type the keyboard equivalent for your desired accidental: s to select an accidental
sharp, f to select an accidental flat, n to select an accidental natural.
Overture enters the accidental next to the note. MIDI playback recognizes
accidentals and plays them at their proper pitch.
1. From the Notes palette, select the note tool that corresponds to the playback
duration of the grace note you wish to enter.
For example, if you want your grace note to play as though it were a 128th note,
select the 128th note tool. Obviously, if you select a note of greater duration (like
an eighth note or quarter note), the grace note will not actually sound like a grace
note in MIDI playback.
3. Move the cursor to the desired position in the score and click.
Overture enters a standard grace note in the score and inserts a MIDI note of the
selected value into the track.
or:
Notes Button
2. Type g.
Overture changes the note to a grace note both in the score and in the MIDI track.
Cautionary Accidentals
Normally, an accidental affects only the pitch to which it’s assigned and only for that measure. Because of
this, Overture does not insert accidentals before any other affected pitches in the measure. If, however,
you wish to apply cautionary accidentals to other affected notes:
2. Alt[Option]-click the note to which you wish to apply the cautionary accidental.
Move the Arrow Cursor over the desired note in the score.
The cursor changes into a Drag Cursor when positioned over a note.
If you want to change more than one note, you can shift-click multiple notes to
select them.
Type the keyboard equivalent for the note value to which you wish to change the
selected note(s).
In this example, you would type 8 to change the selected note into an eighth
note.
• If you recorded the note in real-time or imported it from a MIDI file or Vision file, Overture does not
change the MIDI duration of the altered note, thus preserving the feel of the piece.
• If you entered the note in any other way, for example from the Notes palette or using the Step Input
window, Overture changes the MIDI duration of the note to 90% of its new notated value.
To adjust the MIDI note duration manually, use either the Graphic window (as discussed in “Common
Selection and Editing Techniques” on page 313) or Notes>Modify Notes (as discussed in “Modify” on
page 575).
The Groups button always contains the icon of the most recently selected tool.
Groups Button
Press and hold the mouse on the Groups button to open the Groups pop-up menu. To create a floating
palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Groups Button
parenthesized brace
full pedal sign notes
half pedal harp pedal
sign sign
Tool Overview
Overture groups notes differently depending on the type of tool you selected. The following describes
each of the tools in the Groups palette:
• Slur. Use this tool to create a slur across a selected group of notes. Using this tool is the same as
grouping notes and choosing Notes>Group>Slur.
• Dotted Slur. Use this tool to create a dotted slur across a selected group of notes.
• Tie. Use this tool to tie together any notes of common pitch within a selected group. Using this tool
is the same as grouping notes and choosing Notes>Group>Tie. MIDI playback recognizes tied
notes and plays them properly.
• Dotted Tie. Use this tool to tie together any notes of common pitch within a selected group. MIDI
playback recognizes tied notes and plays them properly.
• Insert Straight Glissando. Use this tool to create a straight line glissando between two adjacent
notes. Using this tool is the same as selecting two notes and choosing Notes>Group>Glissando -.
• Insert Wavy Glissando. Use this tool to create a wavy line glissando between two adjacent notes.
Using this tool is the same as selecting two notes and choosing Notes>Group>Glissando ~.
• Group as New Tuplet. Use this tool to group selected notes into a tuplet of any kind. This tool
produces a Tuplets dialog box in which you define the value, style, and characteristics of the tuplet.
We discuss the Tuplets dialog box in “Tuplet” on page 591. Using this tool is the same as grouping
notes and choosing Notes>Group>Tuplet.
• Reapply Tuplet to Group. Use this tool to group selected notes into the type of tuplet last defined
by the Tuplets dialog box. This tool makes it easy to apply common tuplet values quickly to many
groups of notes.
• Half Pedal Sign. Use this tool to instruct the pianist to press the damper pedal down at the beginning
of the sign and release it halfway at the half pedal mark (the raised bump). Move the half pedal mark
by placing the cursor over the mark (the drag cursor appears), and dragging it to the desired location.
• Ottava va Sign. Use this tool to insert an ottava sign over the selected notes. An 8va ottava sign
indicates that notes under the sign are to be played one octave higher than written.
• Ottava vb Sign. Use this tool to insert an ottava sign under the selected notes. An 8vb ottava sign
indicates that notes above the sign are to be played one octave lower than written.
• Full Pedal Sign. Use this tool to tell the pianist to press the damper pedal down at the beginning of
the sign and release it at the end. Move the pedal mark by putting the cursor over the sign. The drag
cursor appears. Drag the sign to the new location.
• Harp Pedal Sign. Use this tool to enter and edit Salzedo Harp pedal positions.
You can also double-click the harp pedal symbol to open the Harp Pedal Settings dialog box. See
“The Harp Pedal Settings Dialog Box” on page 144.
• Parenthesized Notes Sign. Use this tool to enclose selected notes and chords in parentheses.
• Bracket Sign. Use this tool to group notes where you have written some information about them.
1. Select the type of group you want from the Groups palette.
The group symbol has editing handles so you can move or reshape the symbol
immediately after inserting it.
4. Click elsewhere in the score or select another tool to hide the editing handles.
Groups Button
2. Drag the center vertically to change the arc of the tie symbol.
1. Move the Arrow Cursor over the center of a tie or either of its endpoints.
Overture selects the tie and displays its three editing handles.
3. Choose Notes>Flip>Direction.
Overture selects the tie and displays its three editing handles.
Groups Button
3. Press an arrow key (left, right, up, or down) to nudge the arc in the indicated
direction.
Editing Slurs
You can reshape and reposition any slur in a score. Each slur has four editing handles that allow you to
bend a slur into most any shape. This section discusses how to edit slur symbols in a score.
Slurs have four editing handles: one at each end of the slur and two control points positioned away from
the curve.
You can change the slur’s curvature by dragging anywhere else along the arc.
Overture reshapes the slur as though you had actually dragged its control point.
1. Drag anywhere along the slur to
change its curvature. Overture
reshapes the curve as if you had
dragged the nearest edit handle.
You can even create S-shaped slurs by pushing and pulling on the slur and its
endpoints.
Overture selects the slur and displays its four editing handles.
3. Choose Notes>Flip>Direction.
Editing Glissandos
You can change the length and slope of any glissando. Editing methods are identical for both the straight
glissando and the wavy glissando.
2. Drag the end either vertically or horizontally to change the slope and/or length of the
Groups Button
glissando.
Editing Tuplets
Overture allows you to insert many different styles of tuplets, but all can be repositioned and reshaped by
dragging their editing handles.
Editing handles for straight-line tuplet markers are positioned on the corners and immediately below the
number.
Editing handles for curved tuplet symbols are positioned around the curve and are used like slur editing
handles.
Complex Tuplets
Overture has two complex tuplet figures:
• nested tuplets
1. Enter one eighth note, three sixteenth notes and one eighth note.
2. Use the tuplet tool to convert the three sixteenth notes into a three-in-the-time-of-
two tuplet figure (conventional triplet).
3. Use the tuplet tool again to convert the eighth notes and the sixteenth note triplet
figure into a three-in-the-time-of-two tuplet figure.
The nested tuplet pattern results. The three sixteenth note triplets occupy the same
amount of time as one eighth note of the triplet figure because the sixteenth notes
were already a triplet when they were nested into the enclosing eighth note triplet
figure.
Overture calculates the resulting durations as if each duration were the only duration being converted. For
example:
Groups Button
1. Enter one eighth note, two sixteenth notes and one eighth note.
2. Use the tuplet tool to convert the entire four note passage into a three-in-the-time-
of-two tuplet figure (conventional triplet).
The two sixteenth notes occupy the same amount of time as one eighth note of the
triplet figure because they were not triplets prior to their inclusion in the eighth note
triplet figure.
Display Type:
Pedal Settings:
The string pitches are, from left to right: D, C, B, E, F, G, A. The vertical line divides the first three pitches,
controlled by the left foot, from the last four, controlled by the right foot.
You can move the Insert Ottava dialog box around the desktop by dragging its title bar.
The left half of the dialog box has three radio buttons where you can select the type of ottava sign you
wish to insert:
• 8va. Select this type to insert an ottava sign over the selected notes. An 8va ottava sign indicates that
notes under the sign are to be played one octave higher than written.
• 8vb. Select this type to insert an ottava sign under the selected notes. An 8vb ottava sign indicates
that notes over the sign are to be played one octave lower than written.
• 15ma. Select this type to insert an ottava sign over the selected notes. A 15ma ottava sign indicates
that notes under the sign are to be played two octaves higher than written.
The right half of the dialog box has a series of check boxes and radio buttons that you use to determine
the appearance of the inserted ottava sign:
Groups Button
• Courtesies (8va). If an ottava sign extends across more than one line, checking this option causes a
“courtesy” mark to be placed in parentheses at the beginning of each additional line.
• va, vb, ma. Checking this option places the va, vb, or ma indications after the transposition number
in the inserted ottava sign.
• Brackets. Checking this option places a bracket after the ottava sign that extends all the way to the
end of the selected region, where it ends in a downstroke to indicate the end of the passage.
Use brackets when an ottava sign extends over more than one note. If your ottava sign applies to
only a single note, do not check the brackets option.
There are two types of brackets: Dashed and Dotted. Select the dashed option if you want your
bracket to be a dashed line. Select the dotted option if you want your bracket to be a dotted line.
1. Drag over the notes you wish to group and release the mouse.
to create
2. Drag the control points to change the slope and/or length of the bracket.
1. Click on the top note of the group ( or in white space) and release the mouse.
2. Drag the control points to change the slope and/or length of the bracket.
to create
Note:
When dragging notes, the bracket end points will move relative to the note’s position.
The Ornaments button always contains the icon of the most recently selected tool.
Ornaments Button
Press and hold the mouse on the Ornaments button to open the Ornaments pop-up menu. To create a
floating palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right
edge].
Ornaments Button
Tool Overview
The following describes each of the tools in the Ornaments palette:
• Insert Trills. There are six trill tools. Use the trill 1 and trill 2 marks to indicate a trill (some scores
use different trill marks to indicate different trill directions or trill intervals). Use the Trill Section
tool to insert a scalable trill section. Use the three Trill Accidental tools to indicate accidentals in a
trill mark. “Using the Trill Tools” on page 149 discusses all of these tools in detail.
• Insert Mordents. There are three Mordent tools. Although there are sometimes different schools of
thought, generally the short mordent indicates that you play the first three notes of a downward trill;
the inverted mordent indicates that you play the first three notes of an upward trill; and the inverted
long mordent indicates that you play the first five notes of an upward trill. Select the appropriate tool
to create the desired mordent.
• Insert Turn. Use this tool to create a turn (similar to the concluding four notes in a trill).
• Insert Fingerings. There are five fingering tools that you can use to indicate which finger should
play a particular note.
2. In the Score window, click the note to which you want to add the ornament.
If you click a note and immediately release the mouse button, Overture places the
ornament in its default position.
If you press and hold the mouse on a note, you can manually place the ornament by
dragging it before you release the mouse button.
Deleting Ornaments
There are two ways to delete ornaments:
• Select notes with ornaments attached to them and choose Notes>Delete>Articulations. For more
information, see “Delete” on page 582.
1. Select one of the two Trill tools from the Ornaments palette.
You can force a trill mark to go above a note by holding down the Alt[Option] key when you insert it. You
can force a trill mark to go below a note by holding down the command key when you insert it.
MIDI Note:
Trill marks affect MIDI playback. Double click on the inserted trill to change its settings box.
1. Select one of the two Trill tools from the Ornaments palette.
5. Release the mouse button when the trill section is the desired length.
2. Move the cursor over the note to which you wish to add the trill section.
4. While still holding the mouse button, drag the mouse to the right or left to
lengthen or shorten the trill section.
Ornaments Button
To move a tr mark:
If you move a tr mark with a trill section beside it, your edits affect both the tr
and the trill section. Specifically, if you move the tr mark vertically, the trill
section also moves vertically. If you move the tr mark horizontally, the length of
the trill section changes.
If you want to move a trill section up or down without moving the tr mark:
1. Move the Arrow Cursor over either the right or left end of a trill section.
Ornaments Button
2. Move the cursor over the note to which you wish to add the accidental mark.
1. Select the Arrow Cursor and move it over the left end of the trill section.
This produces a bigger gap between the tr and the trill section.
Interval Section
Use this section to set the interval to Diatonic, Half Step, or Whole Step. If you wish to have the second
note played first, set the Auxiliary First check box.
Rate Section
Use this section to choose the rate the trill is played.
• Don’t Trill - Use this to disable playing the trill.
• 1/8 - 1/64 Use this to set the duration of each note in the trill.
• Clocks - Use this to set of the actual number of clocks for each note.
Send Options
Use the Send Options portion of the Articulation dialog box to send controller data and key switches to
the output device, or even change to another voice within the track.
Ornaments Button
• You can send controller data to changes MIDI settings or access effects in VST instruments.
• You can tell Overture to use the playback charactersitics of another voice within the Tracks Window.
This is useful for sample libraries that do not use keyswitches.
2. In the Score window, click the note to which you want to add the mordent marking.
If you click a note and immediately release the mouse button, Overture places the
mordent in its default position.
If you press and hold the mouse on a note, you can drag the mordent to position it
manually.
You can force a mordent to go above a note by holding down the Alt[Option] key when you insert it. You
can force a mordent to go below a note by holding down the Control[Command] key when you insert it.
Playback Section
Use this to set the pattern of notes to be played. If you want the mordent/turn to play, set the Play check
box. If you wish to have the second note played first, set the Lower Mordent/Turn check box.
Send Options
Use the Send Options portion of the Articulation dialog box to send controller data and key switches to
the output device, or even change to another voice within the track.
• You can send key switch data to VST players to switch instruments or modes.
Ornaments Button
• You can send controller data to changes MIDI settings or access effects in VST instruments.
• You can tell Overture to use the playback charactersitics of another voice within the Tracks Window.
This is useful for sample libraries that do not use keyswitches.
2. In the Score window, click the note to which you want to add the finger marking.
If you click a notehead and immediately release the mouse button, Overture places
the fingering in its default position.
If you press and hold the mouse on a note, you can drag the finger mark to position
it manually.
You can force a finger mark to go above a note by holding down the Alt[Option] key when you insert it.
You can force a finger mark to go below a note by holding down the Control[Command]l key when you
insert it.
Articulations But
The Articulations button always contains the icon of the most recently selected tool.
Articulations Button
Press and hold the mouse on the Articulations button to open the pop-up Articulations menu. To create a
floating palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right
edge].
Heavy Attack/
Sforzando
Full Duration
Heavier Attack/
Sforzando with Staccato
Full Duration
Inverted Sforzando Inverted Sforzando with Staccato
Staccatissimo Staccato
Tenuto Up Bow
Tremolo 1 Tremolo 2
Tremolo 3 Tremolo 4
Plus Fermata
Inv. Fermata Down Petal
Up Petal Pause
Heel-to-Toe
Articulations But
• Tenuto. Use this symbol to indicate a pressure accent.
• Staccatissimo. Use this symbol for exaggerated staccato. This marking indicates a stronger effect
than simple staccato, though is still a light accent.
• Marcato. Use this symbol for moderate accents. This is stronger than a Staccatissimo.
• Marcato with staccato. Use this symbol for short, moderate accents.
• Sforzando. Use this symbol for heavy accents. This is stronger than a Marcato.
• Inverted Sforzando. This symbol has the same effect as the Sforzando, but is used below notes.
• Sforzando with staccato. Use this symbol for very strong, short, percussive accents (hammered).
This is stronger than a Sforzando.
• Inverted Sforzando with staccato. This symbol has the same effect as the Sforzando w/staccato,
but is used below notes.
• Heavy Attack/Full Duration. Use this symbol for very strong, full duration accents. This is
stronger than Sforzando w/staccato.
• Heavier Attack/Full Duration. Use this symbol for excessively strong, full duration accents. This
is the strongest accent.
• Down Bow. Use this symbol in string notation to indicate down bows.
• Inverted Down Bow. This symbol has the same effect as the Down Bow, but is used below notes.
• Up Bow. Use this symbol in string notation to indicate up bows.
• Inverted Up Bow. This symbol has the same effect as the Up Bow, but is used below notes.
• Natural Harmonic. Use this symbol to indicate that the note is to be played as a natural harmonic.
• Artificial Harmonic. Use this symbol to indicate that the note is to be played as an artificial
harmonic. For example, use this symbol to indicate changing nut position with the first finger while
holding harmonic with the fourth finger.
• Plus. Use this symbol with different instruments to indicate different articulation effects. For
example, use this symbol with woodwinds to indicate notes are to be played with a key click; use it
with brass to indicate hand stopping; use it with strings to indicate pizzicato notes played with the
left hand; or use it in jazz scores to indicate a du.
• Tremolo 1. If indicating a measured tremolo, place this symbol on a note to indicate an eighth note
tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a very fast
passage.
• Tremolo 3. If indicating a measured tremolo, place this symbol on a note to indicate a thirty-second
note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a
moderate tempo passage.
• Tremolo 4. If indicating a measured tremolo, place this symbol on a note to indicate a sixty-fourth
note tremolo. If indicating an unmeasured tremolo, use this symbol to indicate a tremolo in a slow
passage.
• Down Pedal. Use this symbol in piano notation to mark the depression of the damper pedal. MIDI
controller for sustain on will be sent.
• Up Pedal. Use this symbol in piano notation to mark the release of the damper pedal. MIDI
controller for sustain off will be sent.
• Toe Pedal. Use this symbol in organ notation to indicate use of the toe.
• Heel Pedal. Use this symbol in organ notation to indicate use of the heel.
• Toe-to-Heel. Use this symbol in organ notation to indicate switching from toe to heel.
• Heel-to-Toe. Use this symbol in organ notation to indicate switching from heel to toe.
• Pause (Comma). Use this symbol to indicate a very brief pause (such as the length of a breath).
Articulations But
• Fermata. Use this symbol to indicate a long held note or a long pause.
• Inverted Fermata. This symbol has the same effect as a Fermata, but is used below notes.
MIDI Note:
Any of the symbols inserted with the articulation tools can affect MIDI playback. To set the playback
double click on the symbol. The default playback settings are found in the ‘Score>Articulations” on page
516 menu.
2. In the Score window, click the note to which you want to add the articulation.
If you click a note and immediately release the mouse button, Overture places the
ornament in its default position.
If you press and hold the mouse on a note, you can manually place the ornament by
dragging it before you release the mouse button.
If you hold down the Alt[Options] key when you click a note, Overture forces the articulation to go above
the note. If you hold down the Control[Command] key when you click a note, Overture forces the
articulation to go below the note.
You can also apply an articulation to any set of selected notes. To do so:
This is very important. The feature only works when the palette has been torn off.
For example, assume you had the music shown below, and you wanted to flip the stem direction of the
first two notes.
Articulations But
2. Choose Notes>Stem>Stem Down.
Notice that Overture not only flips the stem direction, but moves the staccato
articulations to the correct side of the note head.
Please read the section on ‘Score>Articulations” on page 516 to learn about the settings.
Deleting Articulations
There are two ways to delete articulations:
• Select notes with articulations attached to them and choose Notes>Delete>Articulations. For more
information, see ‘Score>Delete” on page 582.
Articulations But
1. Select the arpeggio tool from the Articulations palette.
The cursor becomes a crosshair when you move it over the Score window.
Overture places an arpeggio mark to the left of the chord that spans the entire
length of the chord.
3. If you need to move the arpeggio symbol, drag the top of it to a new location.
Overture repositions the arpeggio wherever you release the mouse button.
4. If you need to resize an arpeggio, drag the bottom of it to the desired length.
Overture lengthens or shortens the wavy arpeggio line when you release the mouse
button.
If you add notes to or delete notes from an arpeggiated chord, Overture automatically resizes the arpeggio
to span the entire length of the chord.
Overture offers four different tremolo tools. We discuss these four tools in
‘Score>Articulations Palette Tools” on page 161.
2. In the Score window, click the note to which you want to add the tremolo.
If you click a note and immediately release the mouse button, Overture places the
tremolo in its default position.
If you press and hold the mouse on a note, you can manually place the tremolo by
dragging it before you release the mouse button.
MIDI playback is affected by tremolo symbols. Single slashes result in 8th note tremolos. Double slashes
result in 16th note tremolos; triple slashes in 32nd note tremolos, and quadruple slashes in 64th note
Articulations But
NOTATION MIDI PLAYBACK
2. In the Score window, press and hold the mouse on the note you want to pause
after.
3. While still holding down the mouse button, drag the pause to the right to position it
in the score.
Commas go above the staff to the right of the note. Grand pauses go through the
top space of the staff to the right of the note.
Noteheads Button
The Noteheads button always contains the icon of the most recently selected tool.
Noteheads Button
Press and hold the mouse on the Noteheads button to open the pop-up Noteheads menu. To create a
floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right
edge].
Closed Do Open Do
Open Re
Closed Re
Closed Mi Open Mi
Closed Fa Open Fa
Closed Ti Open Ti
Tool Overview
The following describes each of the tools in the Noteheads palette:
• Standard Head. This is a standard note head. Use this tool if you want to convert a shaped head
back into a standard head.
• Invisible Head. Use this tool to make noteheads invisible. The stem and flags remain; only the
notehead disappears.
• Rhythmic Slash Head. Use this head to notate guitar or other strummed instrument parts.
Generally, this head is used to indicate strumming with a specific rhythm. This head usually has a
stem, but no pitch indication.
• Open & Closed Rhythm Heads. Use these heads to notate rhythm parts. Open rhythm heads
represent whole notes and half notes; closed rhythm heads represent quarter notes and smaller.
• Open & Closed Slash Heads. Use these heads to notate guitar or other strummed instrument parts.
Generally, these heads are placed without stems or pitch, in the center of a staff. The open slash head
represents whole notes and half notes; the closed slash head represents quarter notes and smaller.
• Picture Music Heads (Do, Re, Mi, Fa, Sol, La, Ti). Use these shaped notes to indicate pitch. Open
symbols represent whole notes and half notes; black symbols represent quarter notes and smaller.
This notation system is most commonly used in gospel music.
Noteheads Button
2. Position the cursor over the note whose head you wish to change.
The cursor becomes a crosshair when you move it over the Score window.
Click here to change notehead
This is very important. The feature only works when the palette has been torn off.
The Tablature button always shows the number of the most recently selected fret.
Tablature Button
Press and hold the mouse on the Tablature button to open the pop-up Tablature menu. To create a floating
palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
Tablature Button
Tool Overview
Each tool in the Tablature palette corresponds to a guitar fret number, where 0 is an open string, 1 is the
first fret, 2 is the second fret, etc.
This is very important. The feature only works when the palette has been torn off.
The next few sections outline a step-by-step procedure for creating tablature notation for the figure above.
1. Click on the staff where you want the Tablature staff to follow and then choose the
Score> Insert Track menu command.
Tablature Staff
Tablature Button
2. Click on the Tablature radio button. Click on the After current track radio button if
you want the tablature staff to appear below the current staff.
Each line in a tablature staff represents a guitar string. The lowest line represents the low E-string, the
next line up represents the A-string, and so on.
Alternatively, if your score contains an unused staff, you can click within it to select it, choose
Score>Setup Track, then use the Setup Track dialog box to select an Instrument Name of Tablature. See
“Setup Track” on page 490.
Also, you can create tablature staves for instruments such as four-string and five-string bass guitars by
designing custom staves (as discussed in “Staff Display Options” on page 500).
1. Using the Notes palette, enter all the notes onto the tablature staff using the
correct durations. When you click on the guitar string, a note will be entered with
with no stem and a ‘0’ for the note head indicating an open string. Continue to
hold the mouse button down and drag up to increase the number until you reach
the desired fret number. To enter a rest, choose the desired rest duration and click
on the staff. The rest will automatically be hidden.
Remember to place notes on the line that represents the guitar string on which
you want the note played.
Tablature Button
2. If you want to show note stems and beams, select the notes and choose
Notes>Stem>Show Stem. Then select the notes and choose Notes>Beam.
3. You can also change a fret number by selecting a fret number from the Tablature
palette, and then clicking the notes you wish to change.
Overture replaces standard noteheads with the fret number you select.
Note:
MIDI playback does not play tablature staves, nor do MIDI transpose commands change their pitch. If
you want MIDI playback of a tablature staff, you must create an additional staff that contains traditional
notation. If desired, you can then hide the traditionally notated staff in your printed score by using the
Score>Hide/Show Staves command as discussed in “Hide/Show Staves” on page 485.
The Guitar button always contains the icon of the most recently selected tool.Press and hold the mouse on
Guitar Button
the Tablature button to open the pop-up Guitar menu. To create a floating palette, tear off the menu. To
change a palette’s orientation, drag an edge [Mac:bottom right edge].
Guitar Button
Tool Overview
The Guitar palette contains symbols to accurately notate guitar music. The finger markings and string
numbers suggest the finger or string used to play the notes to which they are applied. The vibrato marking
pops up to allow selection of symbols to denote other effects related to vibrato. You must tear the palette
off to see the pop-up menu
finger markings
string numbers
pre-bend bend up
pre-bend,
bend up/release
release
pre-bend, release
over time bend up/release over
tremolo vibrato (or other effects) pop-up menu
barre at fret number continue until
...then
Alt[Command]-
dragged to 1 1/4 steps
Edit the shape of the bend by dragging the edit handles. You can move selected bend markings using the
arrow keys. Position the mouse over the left end of the bend until you see the drag cursor and
Alt[Command]-drag to move the bend marking. You can move the bend range number independently of
the bend marking by positioning the cursor over the number until you see the drag cursor and dragging
the number.
• Pre-bend, release. Bend the string prior to sounding the note, then release it to its normal pitch
during the note’s duration.
• Pre-bend, release over time. Bend the string prior to sounding the note, then release it to its normal
pitch during the time contained within the dotted marking.
• Bend up/release. Bend the string up and then release it during the note.
• Bend up/release over time. Bend the string up and then release it during the time contained within
the dotted marking.
Guitar Button
Window.
Use the Barre Settings dialog box to create bar at fret number symbols similar to the one shown below
Fret Number
Dashed Line
Amount
Bracket
Type
Type
These radio buttons represent different conventions for showing barre and fret positions. The three barre
settings options in the Type section represent different notation conventions. Showing the B, C, or no
letter differentiates the options in the Type section; the 1/2 is an example of the Amount (number of
strings barred), and II is an example of the fret number referenced. You can edit the actual barre Amount
and fret numbers in the Score Window, as described below.
Show
Barre markings that are extended over time appear with a line that can be Solid, Dashed, or Dotted.
Selecting the Brackets option ends the line with a downward pointing bracket. Alt[Command]-dragging
the bracket end in the Score Window toggles Brackets on and off. If you deselect Brackets, the line still
appears with its selected attribute but with no ending bracket.
Amount
The barre symbol can reference the following groups of strings:
Alt[Command]-dragging the barre at fret mark vertically changes the Amount setting. It does not change
the fret number.
The direction first Alt[Command]-dragged constrains which function you are editing. This eliminates
inadvertent changes to either setting. For example, Alt[Command]-dragging first in a vertical direction
changes only the Amount setting, even if you also drag horizontally.
Guitar Button
The Drums button always contains the icon of the most recently selected tool.
Drums Button
Press and hold the mouse on the Drums button to open the Drums pop-up menu. To create a floating
palette, tear off the menu. To change a palette’s orientation, drag an edge[Mac:bottom right edge].
Circle Plus
Ghost Note
Rudiment
Ornaments Button
Tool Overview
The following describes each of the tools in the Drums palette:
• Ghost Note. Use this tool to indicate that the note is a ghost note.
• Circle. Use this tool to place a circle on the head side of the note.
• Plus. Use this tool too place a plus on the head side of the note.
• Left Sticking. Use this tool to indicate to use the left hand for the stroke.
• Right Sticking. Use this tool to indicate to use the right hand for the stroke.
• Down Stroke Arrow. Use this tool to indicate to use a down stroke.
2. In the Score window, click the note to which you want to add the drum rudiment or
articulation.
If you click a note and immediately release the mouse button, Overture places the
drum rudiment or articulation in its default position.
2. Drag a rectangle around all the notes you wish to place the drum
rudiment or articulation on.
• Select notes with articulations attached to them and choose Notes>Delete>Articulations. For more
information, see “Delete” on page 582.
Ornaments Button
4. To change the number of strokes for the rudiment, click and hold on the rudiment
tool to open the popup menu and choose the number of strokes.
MIDI Note:
Drum rudiments affect MIDI playback and are played as grace notes.
1. Select the desired drum articulation tool from the Drums palette.
2. In the Score window, click the note to which you want to add the drum articulation
marking.
If you click a note and immediately release the mouse button, Overture places the
drum articulation in its default position.
You can insert the opposite sticking without changing tools by holding down the Alt[Option] key when
you insert it.
Ornaments Button
The Jazz Articulations Palette always contains the icon of the most recently selected tool.
Jazz Button
Press and hold the mouse on the Jazz Articulations button to open the pop-up Jazz Articulations menu. To
create a floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom
right edge].
Tool Overview
The Jazz Articulations palette contains symbols commonly used for jazz notation. You can drag some of
them to encompass more than one note; you can reposition all. The pop-up menu contains line textures
and shapes to designate different intensities you can associate with their articulations.
Most of the signs have more than one name and meaning. Consult a jazz notation text to learn more about
the terminology and use of jazz articulations. Here is a brief summary of terms:
• Lift. Enter note via chromatic or diatonic scale beginning about a third below
• Flip. Sound note, raise pitch and drop into following note
• Smear. Slide into note from below; reach correct pitch before the next note
• Plop. Slide rapidly down diatonic scale before sounding the note
• Shake. Vary the tone upwards, much as you do for a trill. Sustain note with vibrato, tremolo, or
feedback effect.
Dynamics Button
The Dynamics button always contains the icon of the most recently selected tool.
Dynamics Button
Press and hold the mouse on the Dynamics button to open the pop-up Dynamics menu. To create a floating
palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
pianissississimo pianississimo
pianissimo piano
mezzo-piano mezzo-forte
forte fortissimo
fortississimo fortissississimo
sforzando forzando
• Absolute Dynamics tools. use these tools to mark absolute levels of the dynamic scale (such as pp,
mf, ff).
• Hairpin tools. use these tools to mark gradual changes in the levels of the dynamic scale (the hairpin
crescendo and hairpin decrescendo).
1. Select the desired absolute dynamics tool from the Dynamics palette.
The cursor becomes a crosshair pointer when you move it over the Score
window.
2. Position the cursor at the point where you wish to insert the dynamic marking and
click.
Overture places the selected dynamic marking at that horizontal point and at the
Dynamics baseline (see “Dynamic Positions”).
1. Select the desired absolute dynamics tool from the Dynamics palette.
Dynamics Button
2. Control[Command]-click the score.
Overture adds the selected dynamic mark to all displayed staves in the system.
Control[Command]-click here...
To insert a dynamic mark into all displayed staves in a system as long as they have notes in that measure:
1. Select the desired absolute dynamics tool from the Dynamics palette.
Overture adds the selected dynamic mark to all displayed staves in the system as
long as that measure has notes in it.
Alt[Option]-click here...
1. Click the Arrow Cursor button to select the Arrow Cursor (or type C on the
keyboard).
You can select dynamics, as well as text, hairpins, repeats, chords, and Graphics palette objects, as a group
and then drag them all to a new position.
You can drag dynamics anywhere, but they retain their track assignments. To change the track
assignments, delete and reinsert them.
Dynamics Button
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the keyboard).
Control[Command]-click to select more than one dynamic mark on the same track.
1. Choose Options>Preferences.
Crescendo Text
You can display crescendo and decrescendo signs as words instead of as symbols. Choose the appropriate
expression from the Expressions palette or the Dynamics palette
Inserting a Hairpin
To insert a hairpin crescendo or decrescendo:
The cursor becomes a crosshair pointer when you move it over the Score
window.
2. Move the cursor to where you want the hairpin to start, then press and hold the
mouse.
3. Drag the mouse left to right to the point where you want the hairpin to end, then
release the mouse.
OR
3. Drag the mouse from right to left.
Dynamics Button
The cursor becomes a crosshair pointer when you move it over the Score window.
The cursor becomes a crosshair pointer when you move it over the Score window.
Editing a Hairpin
To move or reposition the hairpin:
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the
keyboard).
or...
5. Drag either open ended hairpin handle to open or close the opening of the hairpin.
Alt[Command]-drag either of the open ended hairpin handles to move just that stem
of the hairpin.
or... Alt[Command]-drag
a handle to move just one
hairpin stems
6. Drag anywhere within the open part of the hairpin to reposition it in the score.
Drag within the open part
to move the entire hairpin
You can select hairpins, as well as dynamics and rehearsal notes and drag them as a group.
You can drag hairpins anywhere, but they keep their track assignments. To change track assignment, delete
and reinsert them.
Dynamics Button
1. Click the Arrow Cursor button to select the Arrow Cursor (or type c on the
keyboard).
4. Control[Option]-drag anywhere within the open part of the hairpin to copy it to the
place you want.
In the Edit Dynamic dialog box, press and hold the mouse on the Dynamic field to open a pop-up menu
showing all the dynamics settings. Set the Value field to the desired setting. Set the type of playback to
Velocity or Controller. For Controller, choose the Controller Type in the popup menu. Set the Use Voice
to switch to another voice (channel). Select the Play option to use the selected setting during playback.
Select on all voices to have the dynamics playback on all voices. This is useful for Piano Tracks, where the
dynamic is between the two staves and applies to both staves. Select the Change all of this type option to
change other dynamics of the selected type to the selected settings.
Set the type of playback to Velocity or Controller. Set the Value fields to start, middle, and ending values
to be used during playback. Optionally choose a Dynamic to be displayed at the start or end of the hairpin.
Select the Play option to use the settings during playback. Select the Change all of this type option to
change other hairpins of the selected type to the selected Values setting. Overture plays hairpins by
sending the MIDI controller data or by changing the note velocities over the duration of the hairpin.
Dynamics Button
note velocities over the duration of the hairpin. In the example below using the values of 50, 60, 70, 80,
90, 100, and 110, if Controller>Volume is selected, the following MIDI volume values will be sent at the
shown measure positions. If Velocity is selected, each note will be played with the velocity shown.
MIDI Volume
50 60 70 80 90 100 110
50 70 90 100 110
Note Velocity
If the type is Velocity, Overture changes the velocity of the notes covered by the range of the hairpin. If the
type is Controller, Overture plays the hairpin by sending these values for the specified controller over the
range of the hairpin. Overture interpolates values between the specified values to give a smooth transition.
Note:
If you choose Score>MIDI Data Mode and the type is Controller, the hairpin values are shown as
straight lines with control points. To change a value, drag the value’s control point vertically.
The Text button always contains the icon of the most recently selected tool.
Text Button
Text Button
Press and hold the mouse on the Text button to open the pop-up Text menu. To create a floating palette,
tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
The Text Style toolbar becomes available whenever you’ve selected one of the Text tools. Use this
standard toolbar to assign a font to the selected text and to define its size and style.
Font Style Font Alignment Transparent & Font and Size Verse Popup
Buttons Buttons Opaque Button Popup Menus Menu
See “Title Page” on page 522 of your Overture User’s Guide for a more automated way to put various
kinds of text on your score.
Tool Overview
The following describes each of the tools in the Text palette:
• Insert Bar Text. This tool inserts text anchored to a specific measure on a specific staff.
• Insert System Text. This tool inserts text anchored to the top of a system and to a specific measure.
If you re-arrange a system, the text always stays at the top of the system.
• Insert Rehearsal Mark. This tool inserts rehearsal marks in your score. Rehearsal marks are
enclosed in boxes and are anchored to a specific measure and a relative staff location.
• Insert Page Text. This tool inserts text anchored to a specific page. This is useful for titles, headers
and footers.
• Insert Lyric Text. This tool inserts lyrics anchored to notes. Lyrics move with the notes they are
attached when the measure is being justified or you drag a note horizontally.
Original Line
2. In the Score window, drag a rectangle where you want to position the bar text.
Text Button
3. Type the desired information into the text box.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font
toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
Note:
If you extract parts from a score that contains system text, each and every extracted part displays the text,
since system text applies to all instruments in a system. For more information about extracting parts, see
“Extract Parts” on page 453.
2. In the Score window, drag a rectangle where you want to position the system text.
3. Type the desired information into the text box at the cursor.
To resize the text box, drag its lower right corner. To reposition it, drag its upper left
Text Button
corner.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font
toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
You can select and drag text, as well as dynamics, hairpins, repeats, chords, and Graphics palette objects,
as a group.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
2. In the Score window, drag a rectangle where you want to position the rehearsal
mark.
To resize the text box, drag its lower right handle. To reposition it, drag its upper
left handle.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus Font
toolbar.
5. To complete the insertion, select a different tool or click outside the text box.
Text Button
Repositioning and Editing Rehearsal Marks
To reposition a rehearsal mark:
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
You can drag a rehearsal mark anywhere, but it keeps its track assignment. To change its track
assignment, delete it and reinsert it.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
Use Page text to insert any addtional text to be displayed on the page. You can position Page Text
anywhere on the page.
2. In the Score Window, drag a rectangle where you want to position the Page Text.
3. Select the type of Page Text you want, as well as specific pagination options.
4. To assign a font, drag across the text with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus.
5. To complete the insertion, select a different tool or click outside the text box.
The cursor changes into a Drag Cursor unless one of the text tools is selected, in
which case, the cursor becomes an I-beam.
You can select and drag text, as well as dynamics, hairpins, repeats, chords, and Graphics palette objects
as a group.
The cursor changes into a Drag Cursor unless one of the text tools is selected, in
which case, the cursor becomes an I-beam.
Text Button
1. Move the Arrow Cursor over the page text.
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
To edit page text characteristics by reopening the Page Text dialog box:
The cursor changes into a Drag Cursor. If you use one of the text tools instead of
the Arrow Cursor, the cursor becomes an I-beam when you move it over the text.
3. Configure the Page Text dialog box as desired and click the OK button.
2. Click below the note to receive the first lyric. A blinking cursor will appear under the note you
clicked. If the blinking cursor is to close to the note head, drag the lyric position indicator at the
left edge of the staff. While dragging the indicator a horizontal dotted line will appear for
reference After adjusting the lyric position indicator you will need to click again near the starting
note for your lyrics.
Blinking Cursor
Lyric Position Indicator
4. To assign a font, drag across the lyric with the I-beam cursor.
Select the desired font characteristics from the Font, Size, and Style menus on the
Text Style Toolbar.
5. To complete the insertion, select a different tool or click outside the staff where
there are no notes.
2. Change the Verse on the Text Style Bar to Verse 2. Click below the note to receive
the next verse. A blinking cursor will appear under the note below the first verse.
4. To complete the insertion, select a different tool or click outside the staff where
there are no notes.
Text Button
The Font, Size, and Style menus become available whenever you’ve selected one of the Text tools. Use
the Text tool bar to assign a font to the selected text, and to define its size and style.
Transparent Text
Text entered with any text tool can be either transparent or opaque. You can select which style you prefer
by choosing either Style>Transparent or Style>Opaque. The differences between the two text styles are
outlined as follows:
• Transparent Text: Select this style if you want staves and musical symbols to be visible behind the
text.
• Opaque Text: Select this style if you want the text to completely cover the staves and musical
symbols behind it.
The Expressions button always contains the icon for the Expression tool.
Expressions Button
Press and hold the mouse on the Expressions button to open the pop-up Expressions menu. To create a
floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right
Expressions Button
edge].
Using the Expressions Palette
The Expressions button contains a palette of commonly used musical terms. You can enter expressions
anywhere in the Score Window and do not need to apply them to notes as you do other palette tools.
Expressions are, however, owned by the track in which you enter them. Moving an expression to another
track changes its ownership. When you finish moving or entering an expression, the track indicator (see
“Status Bar: Page View and Track Controls” on page 70) shows the track that owns the expression.
You can create additional Expressions libraries or edit the existing library. Store additional Expressions
Libraries in the Libraries folder, located in the folder that contains Overture. Specify the library to load
when launching Overture in Libraries Preferences. Load another library during an Overture session by
choosing File>Load Library.
You can play expressions by assigning them a controller and value, tempo, or patch.
Expressions Button
Appearance
The options in the top half of the dialog box determine how the expression appears. Set the Font, Size,
and Style attributes in the same manner as in other Overture dialog boxes. Select text style attributes by
using the Style pop-up menus. You can change the text for that expression in the Edit Expression dialog
box without affecting future uses of that expression from the palette. You can use this technique to create
an expression that doesn’t exist in the library by changing the text to the new expression. You can
permanently alter the text for that expression in the Expression Library by choosing File>Edit
Library>Expressions and changing the text in the library. You can also insert to add expressions or
delete expressions from the library.
Select Extract On All Tracks to include that expression with any extracted track. Select Print Text to
print the expression when that track is selected for printing.
Click an expression to select it and shows its handles. Drag the handle at the end of the line to change its
length.
Double-clicking the expression in the palette that has been torn off, opens a similar dialog box without the
Print Text, Line Type, and End Cap options. Those options are specific to either the track in which you
enter the expression or the type of line present in the expression; you don’t know either attribute until you
actually enter the expression in the Score Window.
Playback
You can play expressions in Overture by assigning them an appropriate tempo, patch, program change,
controller and value, key switch, or use the expression to switch playback voice. For example, if an
expression denotes a staccato sound for a guitar, changing the patch to a muted guitar sound might sound
better than creating short note durations. Note: You can’t realistically play all expressions you specify.
If you double-click an expression in the Expressions palette, the Patch section contains program change
numbers instead of patch names because Overture doesn’t know which track will eventually contain the
expression and to which device the track will be assigned.
• None. Choose this option if you do not want this expression to affect playback.
• Tempo. Choose this option if you want the expression to change the tempo across a range of
measures. Once the expression is entered you can drag its extension line to the exact position in a
measure, where the tempo range ends.
• Patch. Choose this option if you want the expression to send MIDI data that changes the sound in a
track.
• Playback Voice. Choose this option if you want the expression to force a track to use the playback
setting for a different voice. Ex. If voice 1 (in Track’s List window) is a normal violin sound on
channel 1 and voice 2 is a pizzicato sound on channel 2, an expression entered on voice 1 could force
all notes in voice 1 to start play using voice 2 settings. In other words, send all voice 1 notes out on
channel 2 instead of channel 1. Another expression later on, could force all notes to be played using
the original settings for voice 1.
Expressions Button
The Graphics button always contains the icon of the most recently selected tool.
Graphics Button
Press and hold the mouse on the Dynamics button to open the pop-up Dynamics menu. To create a
floating palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right
edge].
rounded
rectangle rectangle
oval line
curve wedge
Graphics Button
symbol tool solid, dashed, or
dotted
line thickness
opaque or transparent
line beginning and
ending attributes
Using the Graphics Palette
The Graphics palette provides standard drawing tools. You can put the shapes anywhere in the Score
Window. Although this does not connect them to notes, it connects them to a track. The track containing
the cursor when you finish drawing or moving a graphic owns that graphic. The track indicator also
shows the track that owns the graphic. See “Status Bar: Page View and Track Controls” on page 70.
Overture extracts graphics only with the track that owns them.
The solid, dashed, dotted, and thickness attributes affect lines (straight and curved), and borders for the
rectangles and oval. Shift-dragging to create a rectangle (rounded or regular) or oval constrains the shape
to a square or circle, respectively.
• Select and drag graphics objects as a group, together with dynamics, hairpins, text, repeats, and
chords
• Right[Control] click and Choose Set Symbol Color, Playback, etc. to modify the symbol.
• Double-clicking a character previously entered in the Score Window opens the Edit Playback dialog
Graphics Button
box.
• Clicking a symbol onto a note or rest attaches the symbol to that note or rest.
• Clicking a symbol onto blank space attaches the symbol to the measure where you put the symbol.
The Clefs button always contains the icon of the most recently selected tool.
Clefs Button
Press and hold the mouse on the Clefs Button to open the pop-up Clefs menu. To create a floating palette,
tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right edge].
Clefs Button
Tool Overview
The following describes each of the tools in the Clefs palette.
• Insert Treble Clef. Select this tool to insert a treble clef at the insertion point.
• Insert Bass Clef. Select this tool to insert a bass clef at the insertion point.
• Insert Moveable C-Clef. Select this tool to insert a C-clef at the insertion point. It defaults to an alto
clef (center line), though you can drag it up or down to create a tenor clef, mezzo-soprano clef, or
soprano clef.
• Insert Percussion Clefs 1 & 2. Select either tool to insert a percussion clef at the insertion point.
Percussion clefs are used for notating instruments of indefinite pitch (such as drums).
• Insert Modern Tenor Clef. Select this tool to insert a modern tenor clef at the insertion point. Notes
following a modern tenor clef sound one octave lower than written. This is particularly useful for the
tenor voice.
• Insert 8va Bassa Clef. Select this tool to insert an 8va bassa clef at the insertion point. Notes
following an 8va bassa clef sound one octave lower than written. This is particularly useful for such
transposing instruments as contrabassoon and double bass.
• Insert Modern Baritone Clef. Select this tool to insert a modern baritone clef at the insertion point.
Notes following a modern baritone clef sound one octave higher than written. This is particularly
useful for high bass parts that normally would not move to another clef (such as bass voice, baritone
voice, and tuba).
• Insert Modern Piccolo Clef. Select this tool to insert a modern piccolo clef at the insertion point.
Notes following a modern piccolo clef sound one octave higher than written. This is particularly
useful for such high transposing instruments as piccolo and xylophone.
• You cannot replace one type of clef with another by simply selecting a new clef and clicking the old
clef. Rather, you must click the old clef with the Eraser cursor, then enter a new clef in its place.
• Exception: You can change the very first clef in the very first measure by clicking it with any clef
tool.
• When a clef change is to occur at the beginning of a measure, you must insert the clef at the end of
the preceding measure, before the barline.
• Exception: You can insert a clef change at the beginning of the very first measure because there is no
measure prior to it.
• Exception: You can change the very first clef in the very first measure by clicking it with any clef
tool.
• You can insert new clefs in the middle of measures as well as at the ends.
• When you insert a new clef, Overture uses it to define the pitch of all notes on that staff until it
comes across another inserted clef.
• When you insert a new clef, Overture always shifts the vertical positions of the notes that follow, so
that they maintain their correct pitches.
1. Select the type of clef you want from the Clefs palette.
2. In the Score window, click where you desire the new clef.
Overture inserts the clef and automatically shifts the vertical position of any notes
that follow it.
Click here...
...to insert the selected clef here.
Clefs Button
1. In the Clefs palette, click the moveable C-clef tool to select it.
2. In the Score window, press and hold the mouse at the desired point.
3. While still holding the mouse button, drag the mouse up or down to change the
position of middle C.
4. Release the mouse when the moveable C-clef is in the desired position.
Overture automatically shifts the vertical position of any notes that follow the
inserted clef.
Original score
Score after
inserting an
alto C-clef
C Tenor clef
Staves Button
The Staves button always contains the icon of the most recently selected tool.
Staves Button
Press and hold the mouse on the Staves button to open the pop-up Staves menu. To create a floating
palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right corner].
Tool Overview
The following describes each of the tools in the Staves palette:
• Insert Bass Staff. Select this tool to add a single bass staff to your score.
• Insert Treble Staff. Select this tool to add a single treble staff to your score.
• Insert Tenor Staff. Select this tool to add a single tenor staff to your score.
• Insert Alto Staff. Select this tool to add a single alto staff to your score.
• Insert Tablature Staff. Select this tool to add a single, six-string tablature staff to your score.
• Insert Percussive Staff. Select this tool to add a single percussive staff to your score.
• Insert Piano & Melody Staff. Select this tool to add three staves to your score. The top staff is a
treble staff for a melody line. The bottom two staves (one treble and one bass) are braced for piano
accompaniment.
• Insert Piano Staff. Select this tool to add a piano staff (two braced staves—a treble and a bass) to
your score.
• Group With Bracket. Select the bracket ([) to connect independent staves into a loose grouping (for
example, bracketing the four staves of a string quartet).
• Group As System. Select the system line (|) to connect all the staves in a system.
• Group With Brace. Select the brace ({) to connect the different staves representing a single musical
instrument (like the two staves of a piano score).
Inserting Staves
Use the Staves palette to create and insert new staves. To do so:
1. From the Staves palette, select the tool for the type of staff you wish to insert.
2. In the Score window, either click the top part or an existing staff to add the
selected staff(s) above it or click the lower part of an existing staff to add the
selected staff(s) below it.
Staves Button
1. Click here with Piano Staff tool.
Important:
When you add a staff to a system, Overture adds the staff to all systems, but automatically hides it in all
systems above the current system. This lets you create staves in the middle of the score without having to
hide them manually (as discussed in “Hide/Show Staves” on page 485).
Staves Button
For example:
1. Select Options>Show>Handles.
This is an optional step. Once you learn where to click on a staff or barline, you
won’t need to select this option. Handles are always available—they’re just
normally invisible. Selecting this option shows you where to click a staff or barline
to edit it.
2. Using the Eraser Cursor, click the editing handle of the staff you want deleted.
Grouping Staves
Use the Staves palette to create new staff groupings. To do so:
1. From the Staves palette, select the tool for the staff grouping you wish to create.
Staves Button
1. Drag a rectangle around 2. Overture applies the grouping
those staves you want grouped. across the selected staves.
Staves Button
Click here with
the Eraser Cursor...
The Barlines button always contains the icon of the most recently selected tool.
Barlines Button
Barlines Button
Press and hold the mouse on the Barlines button to open the pop-up Barlines menu. To create a floating
palette, tear off the menu. To change a palette’s orientation, drag an edge [Mac:bottom right corner].
• Insert Standard Barline. Select this tool and click a barline in your score to insert a standard
barline. Use the standard barline to separate the music into measures.
• Insert Double Barline. Select this tool and click a barline in your score to insert a double barline.
Use a double barline to partition separate sections of music.
• Insert Close Repeat. Select this tool and click a barline in your score to insert a close repeat. Use a
close repeat to indicate the end of a repeating section of music. The close repeat affects MIDI
playback only if you check Options>Play Style>Repeats (as discussed in “Repeats” on page 634).
If you check the Repeats option and Overture encounters a close repeat, it searches backward
through the score for an open repeat that doesn’t have a matching close repeat. It then repeats that
section once. If it doesn’t find an un-mirrored open repeat, it repeats from the top of the score. For
more information, see “Using the Close and Open Repeat Tools” on page 247.
• Insert Open Repeat. Select this tool and click a barline in your score to insert an open repeat. Use
an open repeat to indicate the beginning of a repeating section of music. The open repeat affects
MIDI playback as discussed in the previous paragraph (but only if you check Options>Play
Style>Repeats).
• Insert Dotted Barline. Select this tool and click in your score to insert a dotted barline. Dotted
barlines are commonly used to subdivide measures of complex rhythm.
• Insert Fine. Select this tool and click a barline in your score to insert a Fine. Use a Fine to indicate
the end of a composition or of a movement within it.
• Insert Single Measure Repeat. Select this tool and click in your score to insert a single measure
repeat symbol. This symbol means that you’re to repeat the preceding measure in its entirety. This
symbol affects MIDI playback.
• Insert Double Measure Repeat. Select this tool and click in your score to insert a double measure
repeat symbol. This symbol means that you’re to repeat the preceding two measures in their entirety.
This symbol affects MIDI playback.
• Insert First Endings. Select this tool and drag across your score to insert a first ending. Overture
automatically names the first ending and inserts a close repeat at the end of it. Use first endings for
any ending in your score except for the final ending. MIDI playback recognizes first endings in your
score only if you check Options>Play Style>Repeats. For more information, see “Using the Ending
Tools” on page 249.
• Insert Final Ending. Select this tool and drag across your score to insert a final ending. MIDI
playback recognizes final endings in your score only if you check Options>Play Style>Repeats.
For more information, see “Using the Ending Tools” on page 249.
The cursor turns into a crosshair when you move it over the Score window.
Overture changes the existing barline into the type selected in the Barlines palette.
Overture always changes the barline closest to where you click.
Click within this area... ...to change this barline.
Barlines Button
...to change this barline.
Click within this area...
Expert Tip:
You cannot change an existing barline into a dotted barline. Dotted barlines are used within existing
measures to subdivide complex rhythms. See “Using Dotted Barlines” below for more information.
The cursor turns into a crosshair when you move it over the Score window.
3. To reposition the barline, simply click its handle (at the top of the barline) and drag it
where you want it.
• Use this symbol to indicate the performer is to repeat the entire previous measure.
• Use this symbol to indicate the performer is to repeat the entire previous two measures.
This symbol sometimes indicates the repetition of mixed value beats within a measure.
1. Select either the Single or Double Measure Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
3. To reposition a repeat, select the Arrow Cursor and drag the symbol to the desired
position.
The following examples illustrate how to use repeats and how Overture plays them back.
Single Repeats
To insert and playback a single repeat:
Barlines Button
The cursor turns into a crosshair when you move it over the Score window.
2. Click anywhere in the measure to the left of the barline you wish to change.
...to insert a
Close Repeat
here.
If you don’t check this option, MIDI playback ignores all repeats in an Overture
score.
Overture recognizes the repeat sign after measure 2 and causes MIDI playback to
jump back to measure 1.
1->2->1->2->3->4-> etc...
Nested Repeats
To insert and playback nested repeats:
Expert Tip:
Double click on a repeat to add winged repeats. See section below on winged repeats.
1. Select the Close Repeat tool from the Barlines palette.
The cursor turns into a crosshair when you move it over the Score window.
...to insert a
Close Repeat here.
The cursor turns into a crosshair when you move it over the Score window.
4. Click anywhere in the measure to the right of the barline you wish to change.
...to insert an
Open Repeat here.
If you don’t check this option, MIDI playback ignores all repeats in an Overture
score.
Overture recognizes the repeat sign after measure 3 and causes MIDI playback to
jump back to measure 2.
1->2->3->2->3->4->...
Winged Repeats
To insert winged repeats:
Barlines Button
3. Check the Winged repeat box and choose OK.
Winged Repeat
• First Endings: Use this for the first ending in a song and for any endings other than the song’s final
ending.
...to here...
... and notice that Overture automatically
wraps endings across staves
You can place any text you want in an ending. To do so, double-click the upper right corner of an ending
to open the Set Ending dialog box.
Double-click here...
Use the Set Ending dialog box to put text into an ending. Generally, endings contain only numbers to
identify them, but Overture lets you type any text you want into an ending. You may find it fastest to use
the numbered checkboxes to name endings. For example, if you want the same ending for 1, 3, and 5,
simply check the 1, 3, and 5 checkboxes—Overture automatically puts the numbers into the Set Ending
dialog box’s Text field.
You can also define the ending’s font. Click the font button to open the Font dialog box, which is
discussed in “Font Button” on page 563.
First Endings
To create a first ending:
Barlines Button
2. Move the cursor over the Score window.
3. Press and hold the mouse at the left edge of the first measure in the ending and
drag to the end of the last measure in the ending.
Overture inserts a first ending, names it 1 and inserts a Close Repeat sign in the
final measure of the ending.
Drag from here... ...to here
If you don’t check this option, MIDI playback ignores all repeats in an Overture
score.
Overture recognizes the repeat sign after measure 2, causing MIDI playback to jump
back to measure 1. After re-playing measure 1, playback jumps to measure 3.
1->2->1->3->4->5->...
Middle Endings
Middle endings are identical to first endings, except they’re notated with an ending number other than 1.
To create a middle ending:
3. Press and hold the mouse at the left edge of the first measure in the ending and
drag to the end of the last measure in the ending.
Overture inserts an ending, gives it the default name of 1 and inserts a Close Repeat
sign in the final measure of the ending.
Double-click here...
Barlines Button
...to open the
Set Ending
dialog box
5. Since this is the second ending in the score, check the 2 checkbox and uncheck the
1 checkbox.
The Text area shows the exact text that will appear in the ending.
If you don’t check this option, MIDI playback ignores all repeats in an Overture
score.
Overture recognizes the repeat signs after measure 1 and measure 2. Specifically,
Overture plays the measures in the following order:
1->2->1->3->1->4->5...
3. Press and hold the mouse at the left edge of the first measure in the ending and
drag to the end of the last measure in the ending.
Since this is actually the third ending, you’ll need to change its number from 2 to 3.
To do so:
Barlines Button
7. Make sure Options>Play Style>Repeats is checked.
If you don’t check this option, MIDI playback ignores all repeats in an Overture
score.
Overture recognizes the repeat signs after measure 1 and measure 2. Specifically,
Overture plays the measures in the following order:
1->2->1->3->1->4->5->6
Deleting Barlines
You can delete dotted barlines by clicking their edit handles with the Eraser Cursor. Similarly, you can
convert any type of barline (except dotted) into a standard barline by clicking its edit handle with the
Eraser Cursor.
The Barline edit handle is located at the top of the barline, where the barline crosses the top line in the
staff.
Edit handles are always available, but normally hidden unless you select Options>Show>Handles. The
edit handle does not have to be visible in order for you to click it. For more information about editing and
moving barlines, see “Changing Bar Widths” on page 106.
If you choose Options>Show>Invisibles, Overture displays the hidden barlines in grey (though they still
are invisible when printing).
The cursor turns into a crosshair when you move it over the Score window.
Transcription Quan
Note:
This button does not quantize the actual MIDI data—rather it quantizes the transcribed notation of the
MIDI data. MIDI data is unaffected by this button.
Overture interprets triplets of any value equal to or greater than the selected quantize amount. For
example, if you select a sixteenth note quantize value, Overture recognizes and transcribes not only
sixteenth note triplets but also eighth and quarter note triplets.
To select a transcription quantization value:
2. While still holding the mouse button, drag the cursor over the desired quantize level
(highlighting it), then release the mouse button.
Overture sets the transcribe quantization to the selected level and displays your
selection as the button’s icon.
Important:
Overture’s smallest transcription quantize amount is the straight (non-tuplet) value of the selected
quantize note. Therefore, it is necessary to select a smaller quantize amount when transcribing tuplets.
For example, if you select a transcription quantize amount of a sixteenth note, the smallest triplet note
value Overture transcribes correctly is an eighth note triplet.
Follow through this example to see how to record and manually transcribe raw MIDI data:
2. Make sure the Auto Transcribe option is unchecked, then click the OK button.
5. Type the space or enter key on number pad key to stop recording.
You select raw MIDI data exactly as you select standard music notation symbols.
Transcription Quan
7. Select a note value from the Transcription Quantize Amount pop-up menu.
8. Choose Notes>Transcribe.
Overture transcribes the highlighted MIDI data into standard music notation using
the selected transcription quantize amount. See “Transcribe” on page 606 for more
information about the Transcribe command.
For example, assume your score contains the transcription quantization error below.
2. Press and hold the mouse on the Transcription Quantize Amount button.
Overture converts the notes into raw MIDI data (as though you chose the Notes to
Raw command), then transcribes them back into standard music notation using a
sixteenth note transcription quantize amount.
Notes re-transcribed
using sixteenth note
transcription quantization
Transcription Quan
The Transport window contains buttons to control MIDI recording and playback, and a pop-up menu to
select the MIDI Thru Instrument.
Transport Window
Transport Controls
The five buttons to the left of the Transport window are Overture’s Transport Controls.
Use these buttons when you want to play a score using MIDI sound modules, or when you want to record
MIDI data in real-time.
The table below shows the function of each Transport Control button as well as its key equivalent. Typing
a key equivalent has the same effect as clicking the respective button.
To put the transport controls in the tool bar, drag the palette by its title area to the tool bar.
The window shrinks to its four controls and appears in the tool bar. You can put it below the buttons or to
the right of them.
General Procedure
Punch recording begins by rewinding the tape to the beginning of the section that needs modification.
When the tape starts playing, the musician begins playing as if he or she were recording, in order to get
into the flow of the music. Recording does not actually begin, however, until the engineer punches in to
activate recording. The musician continues playing, blissfully unaware of the mechanics of the process
until the tape arrives at the end of the section being replaced. The engineer then punches out to stop
recording.
You enable punch recording by first defining a punch region bounded by Punch In and Punch Out points
and then pressing the Punch Record button in the Transport Window. With the cursor located prior to the
Punch In point, press the Record button in the normal manner. Overture begins playback the number of
Countoff Bars (see page 273) prior to the Punch In point but begins recording at the Punch In point.
Overture stops recording at the Punch Out point.
Punch recording lets you improve sections or fix mistakes without either over-writing music outside the
Punch Region or interrupting your performance to punch in and out at the correct times.
Transport Window
In the following sections we discuss three useful methods for setting punch points.
Whichever method you use, Overture enables Punch recording only when you highlight the Punch
Record button.
Important:
In previous versions of Overture, the [ and ] keys reversed and advanced through the chords in the
Chord Input Window. With the addition of Punch recording to Overture the [ and ] keys now set the
Punch In and Punch Out points, respectively, to the current cursor location.
1. In either the Score or Graphic Window, identify the Punch In point by putting the
cursor at the desired place.
Alternatively, press the [ key. The Bar, Beat and Units numericals reflect the
location of the cursor.
3. In either the Score or Graphic Window, locate the Punch Out point by placing the
cursor at the desired location.
Alternatively, press the ] key. The Bar, Beat and Units numericals reflect the
location of the cursor.
1. Set the Punch In point by clicking in the top row of the Bar, Beat and Units
numericals.
2. Set the Punch Out location by operating on the lower row of the Bar, Beat, and
Units numericals.
3. Press the Stop button in the Transport Window when playback reaches the Punch In
point.
The Bar, Beat, and Units numericals reflect the location of the cursor.
6. When the Punch Out point is reached, press the Stop button.
7. Press the Punch Out button to set the Punch Out point.
You can also combine the methods described above to set the Punch points. For example, if playback
stops at a location that is close to, but not at, the desired Punch In point, either adjust the Punch In
Transport Window
numerical fields directly, or click the cursor at the precise Punch In point.
If Options>Keyboard Thru is checked (as discussed in “Keyboard Thru” on page 626), MIDI data
received by Overture gets sent to the device displayed in the Thru Device button. Overture watches for
This feature allows your master MIDI keyboard to play any device in your studio.
Overture opens a pop-up menu of all the devices in your current studio setup.
2. Release the mouse over the device you wish to use as a Thru Device.
Overture selects the device as the Thru Device and displays its name in the Thru
Device button.
If you check the MIDI Through Follows Tracks option in the Preferences dialog box (as discussed in
“MIDI Through Follows Tracks” on page 651), and you select a different track or voice in the Score
window, Overture automatically changes the Thru Device to the device assigned in the Tracks window.
See Chapter 29, “Tracks List Window.”
Thru Patch
You need to understand Keyboard Thru to use Thru Patch correctly. See “Keyboard Thru” on page
626.
The Thru Patch pop-up menu selects a patch on the Thru Device.
This feature lets the MIDI controller play different patches and devices thru the computer without
permanently changing the track’s patch setting. For example, if you’ve already assigned an instrument
that has the correct device and patch settings to the current track and you want to search for a sound to use
for a new track, you can experiment using the Thru pop-up menus without over-writing the patch or
device settings for the current track.
Expert Tip:
You must select Options>Keyboard Thru to transmit the changes made in the Thru pop-up menus to the
MIDI device. You must turn Local Control Off on the MIDI controller (if it generates sound) to use
Keyboard Thru correctly.
You can put changes made using the Thru Patch and Thru Device pop-up menus permanently into the
track by holding down the Control[Command]-key when choosing a new patch and/or device.
Basic Setup
Before you record your first track, you need to make sure that your hardware is connected and that all the
software is configured properly. To do so:
1. Make sure you have a MIDI controller and sound source connected to a MIDI
interface, and that the interface is connected to your computer properly.
[On the Mac: Make sure your Audio MIDI Setup document is properly configured.]
3. Select your MIDI controller as an input port in the MIDI Devices dialog box.
4. Click OK.
Transport Window
1. From the Options>Metronome submenu, select if and when you want the
metronome to click.
If you select Click in Record, Overture’s metronome clicks for the number of
countoff bars and throughout the entire recording. If you select Click in Countoff
Only, Overture’s metronome clicks only during the count off measure. If you don’t
select either option, Overture does not play a one-bar countoff before recording and
the metronome will not click at all while Overture records.
3. Use the Metronome dialog box to assign a click sound to the metronome.
To learn more about the metronome and its related options, see “Metronome” on
page 630.
4. Decide whether you want the recorded music to be auto beamed, auto positioned,
or auto transcribed by checking the appropriate options in the Options menu.
Transport Window
5. If you decide you want Overture to automatically transcribe the music, select a
transcription quantize value with the Tool Bar’s Transcription Quantize Amount
button.
This feature allows you to play a master MIDI controller and hear the output from
any sound module in your studio. Generally, you should select this option if your
MIDI controller and sound module are separate instruments (or you use a
multitimbral keyboard synth with its Local Control turned off). You should uncheck
this option if you’re using a single keyboard synthesizer and its Local Control is
turned on. For more information, see “Keyboard Thru” on page 626.
We discuss the Record Options dialog box in “Record Options” on page 634.
1. Using the Transport Window’s Thru Instrument button, select the MIDI device on
which you wish to record.
2. In the Score window, click the measure and staff at which you want recording to
begin.
3. In the Transport window, click the Record button, or press the number pad Enter
key.
Transport Window
If you checked either the Click in Record or Click in Countoff Only options in the
Options>Metronome submenu, Overture counts off the number of selected
measures, then begins to record. If you didn’t check any count off options, Overture
begins to record immediately.
Overture records the MIDI data and transcribes it in the Score window. If you
selected Options>Auto Transcribe, Overture automatically transcribes the music
using the transcription quantize amount set with the Tool Bar’s Transcription
Quantize Amount button.
The Tracks window defines the characteristics of all the tracks in your Overture score.
Track name
Specify the set of patch
names for the track
Click to solo
Click triangle to
show/hide all voices Select number of
Set a transposition voices per track
Click to mute
level (in semi-tones) with this numerical
with this numerical
• enable tracks
• arrange tracks
• assign MIDI playback devices, programs, volume, pan, channels and transposition values to tracks
See “The Instruments Library and the Tracks Window” on page 446 for a way to automate some of these
tasks.
About Voices
Each Overture track may contain as many as eight separate voices. A voice is defined as a single rhythmic
line within a track. Some tracks require more than one voice to notate and playback correctly.
Specifically:
• If you notate more than one instrument per staff, you’ll need to use multiple voices to distinguish
between the multiple instruments.
• If you notate a polyphonic instrument (such as a piano) that plays different rhythmic lines
simultaneously, you’ll need to use multiple voices to distinguish between the multiple rhythmic
lines.
See “Voice” on page 7 for more information about voices and how to use them.
If a track uses only one voice, set the numerical to 1. If a track uses three voices, set the numerical to 3.
You can assign up to eight voices per track. When you look at a track’s voice assignments, you’ll see only
as many voices as are defined in the Voices column.
Note:
Tracks Window
If you assign an Instrument name in the Setup Track dialog box, Overture automatically assigns a default
number of voices to that track corresponding to the type of instrument selected. You can override this
default by using the Voices numerical. We discuss the Setup Track dialog box in “Setup Track” on page
490.
• Auto Stem: Overture determines stem direction based on staff position. Stems point down for any
notes below the middle line and point up for any notes on or above the middle line.
• Down Stem: Overture makes all stems point down regardless of staff position.
To switch between them, simply click the icon in the Stem column until it shows the desired stem
direction.
Auto Stem
Overture determines stem direction
based on staff position
(click) (click)
(click)
Down Stem Up Stem
Overture makes all stems point down Overture makes all stems point up
regardless of staff position regardless of staff position
Important:
Setting a direction in the stem column does not change the stem directions of any existing notes in a
track. Rather, it sets the direction for any newly entered notes. If you want to change stem direction of
existing notes, use the Notes>Stem>Stem Up or Notes>Stem>Stem Down commands as discussed in
“Stem” on page 595.
In general, you’ll use the Auto Stem direction for either single-voice tracks or for multi-voice tracks that
notate multitimbral instruments, that is, instruments that make more than one sound at a time. For tracks
notating two or more instruments, you’ll probably want to define a stem direction for each voice so as to
distinguish which instrument plays which voice.
If you check the MIDI Through Follows Tracks option in the Preferences dialog box (as discussed in
“MIDI Through Follows Tracks” on page 651), and you select a different track or voice in the Score
window, Overture automatically changes the Thru Instrument to the device assigned in this column.
Tracks Window
When Overture plays a track, it sends the patch message to your MIDI device. If you don’t want Overture
to change your MIDI device’s internal program, set the patch to None.
You can also use Overture’s Graphic window to insert MIDI patch information into a score. For more
information about how to insert this and other types of MIDI data, see “Using the Controllers Pane” on
page 296 [“The Strip Chart” on page 326 on the MAC].
When Overture plays a track, it sends the MIDI volume message to your MIDI device. If you don’t want
Overture to set your MIDI device’s volume, set the numerical to -.
You can also use Overture’s Graphic window to insert MIDI volume changes into a score. For more
information about how to insert this and other types of MIDI data, see “Using the Controllers Pane” on
page 296 [“The Strip Chart” on page 326 on the MAC].
Press and hold on the space to open a pop-up menu of possible choices. Select a number between -64 and
+63 to specify a default left-right balance for the track or voice. 0 balances both sides equally.
This is the same as the Transpose:Playback Numerical in the Setup Track dialog box. It does not affect
the staff; it affects playback only.
When Overture plays a track, it transposes the MIDI data before sending it to your MIDI device. If you
don’t want Overture to transpose a track’s MIDI data, set the numerical to 0.
Tracks Window
All muted tracks are indicated by the letter M. To unmute a track, simply click the M in the Mute column.
You can also mute individual voices.
Note:
Overture ignores muted tracks when exporting to a MIDI file. Therefore, if you want to export an
Overture file but don’t want all the tracks included in the exported file, mute those tracks in this
window. For more information, see “Export” on page 453.
Soloing a Track
You can solo the playback of any one or more tracks by clicking in the corresponding Solo column.
All soloed tracks are indicated by the letter S. To un-solo a track, click the S in the Solo column. You can
also solo individual voices.
Rearranging Tracks
You can change the order of tracks by dragging them to new locations. When you change track order in
the Tracks window, the staves also change order in the Score window.
1. Press and hold the mouse over the far left of the track you wish to move.
Make sure the cursor is in the far left column, underneath the up/down arrow
indicator ( ).
Outline indicates
Track being moved
3. Release the mouse button when the track is in the desired location.
Overture moves the track in the Tracks window and the corresponding staff in the
Score window.
Tracks Window
Repositioned Track
Double-click here...
This is the same as clicking a staff selection handle in the Score window and choosing Score>Setup
Track. To learn about the Setup Track dialog box, see “Setup Track” on page 490.
Graphic Window
Overture lets you edit the events in your songs in dozens of different ways. The Graphic Window lets you
add and edit notes, controllers, and automation data interactively, using a graphic display. Overture’s
many editing commands can improve the quality of recorded performances, filter out certain types of
events, and modify the tempos and dynamics of your songs.
The Graphic window displays all notes and other events from a single track in a grid format that looks
much like a player piano roll. Notes display as horizontal bars, and drum notes as diamonds. Pitch runs
from bottom to top, with the left vertical margin indicating the pitches as piano keys or note names. Time
runs left to right with vertical measure and beat boundaries. The Graphic window facilitates adding,
editing, and deleting notes.
The Graphic window has two main panes: the Piano Roll view pane and the Controllers pane. When you
first open a Graphic Window, the Piano Roll pane is at the top and the Controllers pane is at the bottom.
Drag the gray splitter bar up or down to display more or less of each pane.
The Piano Roll View
The Piano Roll is so named because it resembles the old rolls of paper used by player pianos. The Piano
Roll consists of a grid—the vertical lines represent bar lines and the horizontal lines indicate pitch. Notes
are represented on the Piano Roll as black, rectangular blocks. The length of the block represents the
duration of the note.
Controllers menu Snap Grid button Snap Grid menu Tracks menu
Note pane
Splitter bar
Controllers pane
Zoom tools let you change the vertical and horizontal scale of the view. Hold the Shift key and click the
zoom tool to jump to the largest or smallest scale.
The Snap Grid button snaps note start times and durations to the snap grid resolution. You can set the
resolution to any note length in the Snap Grid pop-up menu.
Or
Shift-click to add notes to the selection and Control-click to toggle between adding to or removing from
the selection.
Graphic Window
You can add notes to your score by clicking in the Note pane with the draw tool . Overture remembers
the velocity, duration, and channel of the note that you most recently moved, edited, or deleted, and uses
these same characteristics for new notes automatically. You can edit notes freely, using the mouse to
change the start time, pitch, or duration. You can move and copy notes anywhere in the track.
You can scrub the current track. The Scrub tool lets you drag a vertical bar over the view so that you
can hear the notes in the track. You can scrub forward or backward at any speed. Scrubbing can be handy
when you want to locate a bad note or listen to the effects of changes you have made without playing
back at normal speed.
To do this Do this
Select several notes at once Drag a rectangle around the notes you want to
select
Add to the selection Hold the Shift key while selecting notes
Toggle the selection Hold the Control key while selecting notes
Selected notes are highlighted in the Note Pane view, and the time selection is set to the
range of note start times.
Click the piano keys or note names on the left side of the Note pane as shown in
the table:
To do this Do this
Select all notes of a single pitch Click on the piano key or note name
Select all notes of several pitches Drag across the keys or note names
Toggle the selection Hold the Control key while clicking on a piano
key or note name
To Edit a Note
To do this Do this
Change the start time Drag the left edge of the note in either
direction. The note duration stays the same,
but the start time is shifted.
Change the duration Drag the right edge of the note in either
direction.
If the snap grid is enabled, the start time of each note is restricted to points on the snap
grid, and the length of each note is restricted to multiples of the snap grid. For example,
if the snap grid is set to quarter-note resolution, you can move notes only to quarter-
note boundaries, and you can increase or decrease the duration only by quarter notes.
Graphic Window
2. Select Velocity in the popup menu.
To Move Notes
To Copy Notes
To Add a Note
2. Press and hold the left mouse button in the Notes pane. Overture adds a new note
with the duration and velocity of the last note you edited.
2. Press and hold the left mouse button in the Notes pane. Overture displays a vertical
line and plays any notes that are underneath the line.
Graphic Window
The Controllers pane, the lower half of the Graphics window, lets you edit MIDI, controller, velocity, and
pitch wheel data.
MIDI hardware and software use controllers, special types of events, to control the details of how MIDI
music is played. They use automation data to adjust volume, pan, and other parameters of MIDI and
audio tracks on the fly while playback is in progress.
Overture lets you enter or edit controller and automation data using the Controllers pane in the Graphic
window.
Controllers
Controllers are the pedals, knobs, and wheels on your electronic instrument that you use to change the
sound while you're playing. For example, a sustain pedal and a modulation wheel are two controllers
commonly found on keyboards.
Controllers let you control the detail and character of your music. Say you’re playing a guitar sound on
your synthesizer, but it sounds lifeless and dull. That’s partly because a guitar player doesn’t just play
notes one after another — he often bends or slides on the strings to put emotion into his playing. You can
use controllers in the same way, creating bends, volume swells, and other effects that make sounds more
realistic and more fun to listen to.
Your computer can work the controllers on your electronic instrument by sending MIDI Controller
messages. The MIDI specification allows for 128 different types of controllers, many of which have
standard usages. For example, controller 7 is normally used for volume events, and controller 10 is
normally used for pan. Every controller can take on a value ranging from 0 to 127.
The Graphic window toolbar contains two drop-down lists, Data type and Controller, that let you choose
the controller or data you want to see and edit. The contents of these lists depend on the port and channel
settings and on the instrument assigned to that port and channel. Different instruments use controllers in
different ways. Overture lets you use instrument definitions to define the names that go with each
controller number. For more information on instrument definitions, see Chapter 43, “Instrument
Assignments and Definitions (PC).”
Note:
Overture has automatic searchback for all continuous controller data to ensure that the correct
controller values are in effect regardless of where you start playback. Suppose you start playback
halfway through a song. Overture searches back from that point to find any earlier controller values that
should still apply.
Note velocity is an attribute of each note and not a completely separate event. You cannot add or remove
velocity events in the Controllers pane, but you can use the draw and straight line tools to adjust the
velocity values for existing notes. You can also edit velocities with the Notes>Modify Notes command.
To use this command, see “Modify” on page 575.
Graphic Window
in the scrollbar. To zoom all the way in or out in a single step, hold the Shift key while you click on the
tool.
Selection methods in the Controllers pane are similar to those in other views. Here is a summary:
When you use the Draw tool, the speed with which you drag the mouse determines the density of
controller events. To insert a larger number of controller events with relatively small changes in value,
move the mouse slowly. To insert a smaller number of controller events with relatively large changes in
value, drag the mouse quickly.
Creating a change that sounds smooth does not always require making the value change by one on each
unit. Bigger jumps may sound very gradual if the tempo is fast. Also, many devices round off the
controller values. For example, many instruments respond to volume controller values of 100 and 101
with exactly the same loudness. Using too high a density of controller events can backfire by making the
computer work so hard during playback that it is unable to keep up. This will usually cause hiccups or
poor timing during playback.
1. Select the track whose controller data you want to see by clicking the track number
Graphic Window
in the Track view.
3. Choose the data you want to see. For controllers also choose the controller number.
1. Choose the data type and controller (if applicable) from the toolbar menus.
3. Click in the Controllers pane view at any desired time point and value.
1. Choose the data type and controller (if applicable) from the toolbar menus.
3. Drag a line in the Controllers pane from the starting time and value to the ending
time and value.
Overture adds a series of controllers and erases any existing controller values in the same
time interval.
1. Choose the data type and controller (if applicable) from the toolbar menus.
3. Drag the cursor across the Controllers pane, adjusting the value as you move left to
right.
Overture adds a series of controllers and erases any existing controller values in the same
time interval.
1. Choose the data type and controller (if applicable) from the toolbar menus.
3. Drag the mouse over the desired region to highlight the region you want to erase.
4. Release the mouse button when you have highlighted the desired region.
Overture deletes all controllers of the selected type. You cannot delete velocity events
in the Controllers pane. You must delete the notes that have those velocities.
Ruler
(displays
bar & beat)
Cursor Position
Display Mute and Solo
Piano Roll Buttons
Notes (displayed
in raw MIDI form)
Zoom Buttons
Track Select Button
Use this button to select which track Overture displays in the Graphic window. The button always shows
the name of the currently displayed track (as does the window’s title bar).
Track Select
pop-up Menu
To change the track whose MIDI data is displayed in the Graphic window, select a different track from the
Track Select pop-up menu. Specifically:
1. Press and hold the mouse button on the Track Select pop-up menu.
2. While still holding the mouse button, move the cursor over the track you wish to
view.
The graphic window now shows the MIDI data contained in the selected track.
• The first is a C3 (indicated by its vertical position), and it occurs on the second beat of the first bar
(indicated by its horizontal position) and lasts for two beats (indicated by its length). The second is a
G3, and it occurs on the third beat of the second bar and lasts for one beat.
Cursor
Clock number
Beat number
Bar number
• The bar number displays the measure number containing the cursor.
• The beat number displays how many beats the cursor is into the measure.
Overture records and plays notes with a resolution of 480 clocks per quarter note, so an eighth note
equals 240 clocks; a sixteenth note 120 clocks, and so on.
The cursor position above indicates that the cursor is at 2 • 4 • 240. This means the cursor is in the second
measure and midway through the fourth beat.
Cursor
• Cursor Quantize On/Off: Click this button to turn cursor quantization on and off. Cursor
Quantization is ON when the button is highlighted.
• Cursor Quantize Value: Press and hold this button to select the cursor quantization value. This
button always displays the active cursor quantization value.
2. Select a quantization
value from the pop-up
menu.
The following discussion tells why you may wish to turn off cursor quantization:
• When cursor quantization is off, the cursor moves at its maximum resolution of 1/480th of a
quarter note. Turning cursor quantization off allows you to move notes with maximum accuracy,
slightly adjusting their timing and, therefore, their feel. Turning off cursor quantization also lets you
select precise, non-quantized editing regions (such as 1•1•225 to 1•3•390).
• When cursor quantization is on, the cursor moves across the Piano Roll in discrete increments
equal to the Cursor Quantize value. For example, if the cursor is quantized to quarter notes,
selections will only begin or end upon times like 1•1•0, 1•2•0, 4•3•0, or any others with a clock
value equal to zero. Similarly, if the cursor is quantized to eighth notes, selections will only begin or
end upon times like 1•2•240, 1•4•0, 5•1•240, or any others with a clock value equal to either zero or
240. If you’re not sure what these numbers mean, please read “Horizontal Cursor Position” on page
304.
Zoom In button
Zoom Out button
Note:
Overture only zooms horizontally; showing more measures as you zoom out or fewer measures as you
zoom in. You cannot change the Graphic window’s vertical scaling—if you need to see notes that are
outside the pitch range of the window, either use the scroll bar or resize the window.
There are two Zoom buttons. These are discussed in the following two sections.
Zoom In Button
Click this button to zoom in on the MIDI data displayed in the Piano Roll. You can click the button
numerous times to zoom closer and closer to specific areas of the Piano Roll.
Using this button is like using a zoom lens on a camera—you have a narrower field of view, but you see
more details within that field of view. Look at the figure below. The top illustration shows the original
Piano Roll—notice that it displays five full measures. The bottom illustration shows the Piano Roll after
Beats Measures This Piano Roll is “zoomed out” to show five measures.
Using this button is like using a wide angle lens on a camera—you have a wider field of view, but the
objects within that field are less detailed. In the figure above the bottom illustration shows the original
Piano Roll—notice that it displays only a single measure. The top illustration shows the Piano Roll after
zooming out. Notice that you can see more measures, but that you see less detail about the individual
notes within the measures.
Note:
Overture only zooms horizontally (the time axis). You cannot change the Graphic Window’s vertical
scaling—if you need to see a greater pitch range of notes, resize the window using its grow box.
For example, assume you have the track below and you want to display only the data in measures 6 and 7.
To do so:
By default, this button displays the MIDI device assigned to the corresponding track in the Tracks
window (as discussed in “Device Selection for a Track or Voice” on page 283). Selecting a new device
from the Graphic window’s MIDI Instrument pop-up menu automatically updates the Tracks window.
Overture opens a pop-up menu of all the devices in your current Studio Setup
document.
2. Release the mouse over the device you wish to use as a MIDI Instrument.
Overture selects the device as the MIDI playback Instrument for the indicated
track, displays its name in the MIDI Instrument button, and updates the
assignment in the Tracks window.
These buttons have the same effect as checking the corresponding column in the Tracks window (as
discussed in “Muting a Track” on page 286 and “Soloing a Track” on page 286).
When you mute a track, it’s ignored during MIDI playback. When you solo a track, only it and any other
soloed tracks play during MIDI playback.
• Marquee tool—use this tool to drag a rectangle around those notes you wish to select.
• I-beam tool—use this tool to select all notes in either a time range or a pitch range.
The following section discusses common note selection techniques (regardless of which selection button
you click). The sections following that discuss each of the two selection tools in detail.
When you move the cursor over the left portion of a note in the Piano Roll, the cursor turns into a Move
cursor ( ). Drag the note to the left or right to change its beginning point.
Move Cursor
Transpose Cursor
When you select more than one note (see below) and option-drag a note in the selection vertically,
Overture transposes the entire selection.
When you move the cursor over the right portion of a note in the Piano Roll, the cursor turns into a
Duration cursor (+<>). Drag the end of the note left or right to change its duration.
Duration
Cursor
To select a note, click it (it doesn’t matter which cursor appears when you move it over the note). To
select more than one note, hold down the shift-key as you click each additional note. Selected notes
appear hollow rather than solid.
Any notes you select in the Graphic window are automatically selected in the Score window. Similarly,
any notes you select in the Score window are automatically selected in the Graphic window.
2. Press and hold the mouse at one end of the desired pitch range
and drag to the other end.
Drag the
cursor in the
Overture selects all notes that fall within the selected pitch range.
Selected notes
within the
specified
pitch range
Click a note in
the left margin
to select
all notes of that
pitch in the track
Marquee Tool
Click the Marquee tool to select it.
Marquee tool
When you select the Marquee tool, Overture’s cursor turns into a cross-hair when you move it over the
Piano Roll.
1. With the Marquee tool selected, press and hold the mouse at one corner of the
desired rectangular selection.
I-beam Tool
Click the I-beam tool to select it.
I-beam button
When you select the I-beam tool, Overture’s cursor turns into an I-beam when you move it over the Piano
Roll.
Note:
Do not confuse this I-beam tool with the Select tool in the Strip Chart. We discuss the Strip Chart’s
Select tool in “The Strip Chart Select Tool” on page 331.
1. With the I-beam tool selected, press and hold the mouse at the desired start time
anywhere within the Piano Roll.
I-beam Cursor
(vertical placement
is unimportant)
Overture selects all notes that begin within the time range.
Note:
You can use the Strip Chart to view and edit all the various types of non-note MIDI data. The Strip
Chart is located just below the Piano Roll in the Graphic window. To learn to use the Strip Chart, see
“The Strip Chart” on page 326.
Pencil button
Note:
Do not confuse this Pencil tool with the Pencil tool in the Strip Chart. We discuss the Strip Chart’s Pencil
tool in “The Strip Chart Pencil Tool” on page 332.
2. Set the note size, duration and velocity of the note you wish to enter.
We discuss this Insert window in detail in “About the Insert Window” below.
4. Move the cursor to the desired pitch and start time of the note you wish to insert.
You may find it helpful to use the Cursor Position Display (as discussed in “Cursor
Position Display” on page 304) or to use a quantized cursor (as discussed in
“Quantize Cursor Buttons” on page 306).
Note:
You can select individual notes when the Pencil tool is active. Move the cursor over a note and one of
the Move, Transpose, or Duration cursors appears, depending on where you position the cursor. For
more information about selecting notes this way, see “Common Selection and Editing Techniques” on
page 313.
• Size parameters
• Duration parameters
• Velocity numerical
Size Parameters
Use this portion of the window to set the size of the note you wish to insert. Select a note size from the
pop-up menu or set the size (in clocks) using the Clocks numerical.
If you wish to insert a tuplet, check the Tuplet option and use the numericals to set the “X in the time of
Y” value of the tuplet.
Duration Parameters
Use this portion of the window to set the actual length of the note you will enter.
A note’s duration is different from its size. The duration is the actual length of the note, and the size is the
Gap
Duration
You can specify a Duration either as a Percent of note size or as a Constant Gap by selecting it from the
Duration pop-up menu.
Duration parameters in
Percent Mode
If you select Constant Gap from the Duration pop-up menu, this window shows a Gap size pop-up menu
and a Gap size numerical (in clocks).
Duration parameters in
Constant Gap Mode
Velocity Numerical
Use this numerical to set the key velocity of the inserted note. MIDI velocity values can be between 1
(softest) and 127 (loudest).
Velocity numerical
• key velocity
• note duration
• pitch bend
• program changes
• sustain pedal
• aftertouch
• Click the Strip Chart toggle at the bottom of the window—the Strip Chart opens showing the data
type last displayed in the Strip Chart.
Or...
MIDI Data
Events
Strip Chart
Select Tool
Pencil Tool
Edit Shapes Strip Chart Density Setting
Variable Tool pop-up Strip Chart pop-up Controller Type
pop-up menu Toggle menu pop-up
menu menu
Your Strip Chart may look different from the one above since not all Strip Chart elements are applicable
to all data types. The following sections discuss how to use the Strip Chart and its various elements.
Note:
The text displayed in the Strip Chart pop-up menu indicates the type of data currently displayed in the
Strip Chart. The pop-up reads “Strip Chart” only if no Strip Chart is present.
1. Move the cursor over the Strip Chart pop-up menu at the top of the Graphic
window.
The Strip Chart changes (or opens) to display data of the selected type. The Strip
Chart is blank if no data exists.
The Strip Chart displays information for only one track. Inserting events in the Strip Chart places the
events in the displayed track.
If you choose No Strip Chart from the pop-up menu, Overture hides the Strip Chart in the Graphic
window, giving more room to the Piano Roll display.
Note:
Overture disables the Edit Shapes pop-up (discussed in “Edit Shapes Pop-up Menu”
on page 339), since it has no effect on the use of this tool.
Notice that only Strip Chart events are selected. The Select tool does not select
MIDI notes in the Piano Roll.
You can also select a range of Strip Chart values by dragging the I-beam cursor vertically in the Strip
Chart’s left margin.
We discuss this pop-up menu in detail in “Edit Shapes Pop-up Menu” on page 339.
In this example, the pencil draws a straight line because the Straight shape is
selected. You can select other shapes.
Overture sets the Strip Chart data to the values drawn by the mouse.
When you use the Pencil tool to edit any continuous event (except Tempo, which is generated every
eighth note), you must also set a density value (as discussed in the following section).
Using the pencil tool with Patches selected in the Strip Chart works the same as using the Patch pop-up
menu in the Tracks Window.
Density Setting
When the Strip Chart displays continuous data (such as pitch bend or volume) and you select either the
Pencil tool or the Thin tool, the Density setting appears below the Strip Chart.
Density setting
Drawing in a Strip Chart with a low Density setting inserts very few continuous events. Drawing in a
Strip Chart with a high Density setting inserts numerous continuous events. Generally, it’s best to keep
the Density setting as low as possible without hearing individual steps in your continuous data.
MIDI is capable of communicating about one thousand events per second. If you drew a pitch bend line
from 0 to +1000 over the course of 1 second, MIDI would be so busy transmitting pitch bend events that
For example, if you are drawing pitch bend for a patch whose pitch bend range is one whole step, you
will probably find that a density of 1% gives satisfactory results. If you’re pitch bending across 2-3
octaves, you may want to increase density to 20%. Use your ears to set the lowest possible density value
without hearing individual steps.
Scale
Use the Scale tool to scale Strip Chart data to between 25% and 400% of its present value. The Strip
Chart’s left margin shows the scaling factor. Overture multiplies the value of each MIDI event by the
scaling factor shown.
Note:
Overture respects the limits of each type of Controller to avoid creating invalid MIDI data.
Add Amount
Use the Add Amount tool to add to or subtract from the present Strip Chart data value.
2. Overture subtracts 20
from all intersected data
If you use the Maximum Limit tool to draw a straight line at a Key Velocity of 80, then Overture sets each
note over the limit to 80, but does not change the value of any notes less than 80.
Legato is grayed out when the Strip Chart displays anything other than note duration.
Thin
Use the Thin tool to decrease the amount of controller data in a track. This saves memory and frees up the
MIDI data stream for other types of MIDI events.
For example, if you have a track with dense MIDI volume data, you can thin it as follows:
1. Make sure the Strip Chart shows the data you want to thin.
Overture automatically thins the controller data down to the indicated Density
setting.
You can also thicken data by setting the Density setting to a value greater than the current density of the
events.
Click here...
Use the Edit Shapes pop-up menu to tell Overture how to draw data in the Strip Chart. The following
sections discuss each of the Edit Shapes tools.
Straight
When you select the Straight shape, you can drag a line in any direction and make linear changes to Strip
Chart events.
Free
When you select the Free shape, you can drag a freehand line through the Strip Chart. This is especially
useful when using the Pencil, Minimum Amount, and Maximum Amount tools.
Parabola
When you select the Parabola shape, you can draw a parabola that gets steeper at the end. You can also
use the parabola to draw a curve in the opposite direction, giving you a curve that’s steeper at the
beginning.
4. Drag a parabola from the top of the Strip Chart to the bottom, starting at the time
you wish to begin fading, and stopping at the time your track ends.
Flat
Use the Flat shape to draw straight, horizontal lines. All selected data will either become the same value,
or be added to or scaled by the same amount. This is especially useful with the Percent tool to scale
everything by the same amount.
Random
Use the Random shape to randomize data within a rectangle that you draw in the Strip Chart. To use the
Random shape:
Overture randomly chooses values within the limits of that box and applies the
changes to the selected events.
Use the Chords window to put chord names and guitar frames in the Score window. To open the Chords
window, choose Windows>Chords.
Toggle to
Guitar Frames
Chords Window
Symbol list
Note:
The Chords window cannot be open at the same time as the Lyrics window. If the Lyrics window is
open when you choose Windows>Chords, the Lyrics window closes automatically.
Chord Terminology
It’s important to understand the different terminology associated with naming chords. Specifically:
• Chord. This is the actual notation of multiple notes as shown on the staff in a score.
• Chord Name. This is the alphanumeric name of the chord as written above a staff to indicate which
chord to play.
• Chord Root. This is the fundamental note of the chord, or its root position.
• Chord Bass. This is an additional pitch added to a chord name that indicates a note other than the
root is the lowest pitch in the actual chord.
• Chord Suffix. This is the portion of the chord name that describes the actual pattern of notes that
make up the chord, without regard for the root or alternate bass. Examples of suffixes are “mi7” or
“sus4”.
• Chord Symbol. In standard music notation, this term is synonymous with “chord name” but in
Overture it describes a generic suffix/root/bass pattern as defined in the Chord Symbol library
(discussed in “Chord Symbols” on page 413). For example, “CMa7/G” is a different chord name
than “EMa7/B”, but they’re based upon the same chord symbol since both use the identical pattern of
notes.
• Root button. Click the root button to set the root of a chord name.
• Bass button. Click the bass button to set the bass of a chord name. Bass notes (and their
corresponding sharp or flat) are displayed when they differ from the root name.
Chords Window
• Symbol list. Overture gets this list of symbols from the current Chord Symbol library (as discussed
in “Chord Symbols” on page 413). Click one of the symbols to select it. If a symbol isn’t visible, use
the scroll bars to scroll the list.
• Guitar Frames and Bass on Bottom. Click the Guitar Frames button to toggle between guitar
frames and chord names. Click the Bass on Bottom to plass bass notes below the chord name.
You can use the Chords window to enter chords names in a score using one of the following techniques:
• Entering chord names with the mouse. Create chord names by clicking a symbol, root and
alternate bass in the Chords window, then click the Score window to insert the chord name.
• Entering chord names with the computer keyboard. Create chord names by using the computer
keyboard to select a symbol, root and alternate bass, then click the Score window to insert the chord
name.
• Step-entering chord names with the computer keyboard. Create chord names using either mouse
or keyboard selection of symbol, root and alternate bass, then step-enter the chord name into the
Score window.
Overture provides a fourth method for entering chord names, step-entering them with a MIDI keyboard.
This method does not use the Chords window. We discuss it in “Step Entering Chord Names with a MIDI
Keyboard” on page 398).
Each of the three chord name entry methods that use the Chords window are discussed in the following
sections.
• 2nd measure: G7
2. Choose Windows>Chords.
Since your first chord is a Dmi7, clicking “D” sets the root of the chord.
Click here... ...to set the root
Since your first chord is a Dmi7, selecting “mi7” sets the correct chord symbol.
Overture gets the root of the chord (in this case, a “D”) from the Root popup menu.
NOTE: Because Overture gets the chord symbols for this window from the Chord
Symbol library, your chord symbol list may look different from the one shown in this
example if you’re using a different Chord Symbol library. Chord Symbol libraries are
discussed in “Chord Symbols” on page 413.
Chords Window
Click here... ...to select the symbol
5. Move the cursor into the Score window at exactly the spot you wish to insert the
chord name.
The cursor becomes a crosshair pointer, pointing at the staff where you want to
attach the chord name.
To enter the G7 chord name, set the dialog box as shown below, then click the
score in the desired location.
Click here to
add a bass note
to the chord
Chords Window
Note:
If, while the Chords window is open, you select a tool from the Tool Bar, then that tool becomes active
and chord insertion is disabled. To continue inserting chords, click in the Chords Window’s symbol list.
s Sets root to one half step higher Shift-s Sets root to one half step higher
w Sets root to one half step lower Shift-w Sets bass to one half step lower
[ or left arrow Selects previous chord symbol ] or right arrow Selects next chord symbol
Assume, as in the previous section, that you want to enter the following chord names:
• 2nd measure: G7
2. Choose Windows>Chords.
4. Type either [ or ] or repeatedly until Overture highlights the mi7 chord symbol.
The cursor becomes a crosshair pointer, pointing at the staff to which Overture will
attach the chord name.
Chords Window
7. Select a G7 chord name by typing a g, then typing [ one time to step backwards to
the previous chord symbol in the list.
Because Overture gets the chord symbols for this window from the Chord Symbol
library, your chord symbol list may look different than the one shown in this
example if you’re using a different Chord Symbol library. We discuss Chord Symbol
libraries in “Chord Symbols” on page 413.
9. Select an Ami7/F chord name by typing an a to set the root, then typing shift-f to
add an F bass, then typing ] one time to step to forward to the next chord symbol in
the list.
Because Overture gets the symbols for this window from the Chord Symbol library,
your chord symbol list may look different from the one shown in this example.
Assume, as in the previous sections, that you want to enter the following chord names:
Chords Window
• 2nd measure: G7
We discuss this and all other elements of the Step Input window in Chapter 34,
“Step Input Window.”
3. In the Score window, click in the measure where you want to begin step-entering
chord names.
4. Select a step size of a whole note from the Note Size pop-up menu.
Alternatively, you can type a 1 on the computer keyboard to set the step size to a
whole note. See the table on page 380 to see how number keys correspond to step
durations.
5. Choose Windows>Chords.
6. Using either the mouse or the computer keyboard, select a Dmi7 chord name.
7. Type return.
Overture enters the Dmi7 chord name and advances the cursor one measure (since
the step size is a whole note and this example is in 4/4 time).
Overture enters the G7 chord name and advances the cursor one more measure.
Overture enters the Ami7/F chord name and advances the cursor one more
measure.
Guitar Frames
Chords Window
To enter Guitar Frames click on the Guitar Frames check box. in the Chords Window.
• Suffix button. Click the suffix button to choose the desired frame suffix. This is the same list of
suffix names found in the Guitar Frames library.
• Tuning button. Click the tuning button to choose the Guitar tuning. This is the same list of tunings
found in the Guitar Frames library.
• Text Only check box. Click the text only box if you want to display only the guitar frame name.
• 2nd measure: G7
3. Type m then 7 to choose minor 7 or by clicking on the suffix button and choosing
minor 7.
4. Type either [ or ] or the left and right arrow keys repeatedly until Overture highlights
the desired frame in the symbol list.
5. Move the cursor into the Score window at exactly the spot where you want to
insert the guitar frame.
The cursor becomes a crosshair pointer, pointing at the staff to which Overture will
attach the guitar frame.
Chords Window
7. Select a G7 guitar frame by typing g then 7 or choose them by clicking on the root
button and the suffix button.
The table below shows additional key equivalents for selecting guitar frames view in the Chords window.
Key Action
m Selects minor suffix
6 Selects 6 suffix
7 Selects 7 suffix
9 Selects 9 suffix
+ Selects next item in last button
- Selects previous item in last button
Tab Displays popup of all suffixes
Chord Position
Indicators show
vertical position
of chord names
on a staff.
Drag any position indicator up or down to change the vertical position of all chord names for that system.
Chords Window
1. Drag a position indicator down... 2. Notice that chord names move only
for the system whose indicator you dragged.
Alt[Option]-drag a position indicator up or down to change the vertical position of all chord names for all
remaining systems on that page.
Control[Command]-drag a position indicator up or down to change the vertical position of all chord
names for every remaining system in the score.
Shift-click the indicator to reset all chord names to the baseline position. The shift-click also works in
combination with the Alt[Option] and Control[Command] keystrokes.
To constrain movement to vertical or horizontal while dragging a chord name, shift-drag it. Overture
constrains the movement to the direction you moved the mouse when you began shift-dragging. That is, if
you begin to drag horizontally, the chord name moves only in the horizontal direction. If you begin to
drag vertically, the chord name moves only in the vertical direction.
Use the Lyrics window to add or change lyrics and assign them to specific notes.
Lyric Locator
Lyric Editing
Area
Note:
The Lyrics window cannot be open at the same time as the Chords window. Opening the Chords window
will close the Lyrics window automatically.
Anatomy of the Lyrics Window
The Lyrics window is split into four areas:
• Buttons. The right side of the window has buttons for inserting and deleting lyrics in the Lyrics
window, and putting them in the score. The botton of the window has buttons for inserting non-
breaking spaces and non-breaking dashes.
• Font characteristics. Use the top area of the window to specify the look of the lyrics.
• Lyric Locator. Use this middle area to load and assign where lyrics are placed in the score.
• Lyric editing area. The bottom area of the window functions as a standard text editing area. It has
its own scroll bar so you can move through long lyrics.
Note:
Lyric phrases are determined by using any barline other than a normal barline. When you open the Lyrics
window Overture includes all lyrics from the current measure to a the first non-normal barline or the end
of the score. If you change the locator fields and press the Load button, all lyrics from the measure
indicated in the Locator section to the first measure with a non-normal barline are loaded into the editing
area. You can override this rule by checking the EOS check box. This tells Overture to ignore barlines and
load the lyrics from the current measure through the end of the score.
The following sections discuss each of the main areas of the Lyrics window.
Buttons
Use the buttons to add and delete lyrics and to apply lyric changes to a score. There are four buttons.
They are:
• Apply. Click this button to apply any lyric changes to the score. When you click this button,
Overture reflows the lyric, beginning in the specified measure on the designated verse and voice.
• Delete. Click this button to delete the selected lyric. All lyrics from the specified measure to the first
non-normal barline on the designated verse and voice are deleted.
• Insert Non-Breaking Space. Click this button to assign multiple words to a single note.
• Insert Non-Breaking Dash. Click this button to assign multiple syllables to a single note.
Lyric Locator
• Include Verse Number. Use this box to include the verse number to the left of the first word in the
lyric line.
• Track box. Use this box to assign each lyric to a specific track.
• Measure box. Use this box to assign a starting measure for each lyric. Overture automatically flows
lyrics beginning on the first note in the starting measure.
• Voice box. Use this box to assign each lyric to a specific voice. Overture supports 8 voices.
• Verse box. Use this box to assign each lyric to a specific verse. Overture supports 8 verses.
• Load button. Use this button to load the lyrics starting at track and measure on the designated verse
and voice.
1. Choose Window>Lyrics.
2. In the Locator area, type the number of the track, measure, voice, and verse to
which you want to assign the Lyric.
For now, type only single syllable words. If your lyric extends beyond the width of
the window (or if you prefer to view your lyrics as poetic verse), you can press the
return key at the end of each line. Overture treats returns exactly like spaces.
2. Choose Window>Lyrics.
The location fields will be filled appropriately and the edit area will be filled with the
lyric line text. You can change these fields and press the Load button to edit another
phrase.
For now, type only single syllable words. If your lyric extends beyond the width of
the window (or if you prefer to view your lyrics as poetic verse), you can press the
return key at the end of each line. Overture treats returns exactly like spaces.
Overture assigns
each word to
an individual note
1. In the Lyrics window, set the location fields to the beginning of the lyric phrase.
1. Drag across any syllable or word, word or group of words in the Lyrics window.
2. Select the font you want from the Font drop-down list.
3. Select the font size you want from the Size drop-down list.
4. Select the font style you want from the Style drop-down list.
Moving Lyrics
You can move lyrics either individually or by line (verse).
Drag any position indicator up or down to change the vertical position of all remaining verses for that
staff in that system.
1. Alt-drag the Verse 2 indicator down... 2. Notice that Verse 2 and Verse 3 move
down by the amount you drag
for all remaining systems on the page.
Control[Command]-drag a position indicator up or down to apply the vertical change to the same verse in
every remaining system in the score.
Shift-click the indicator to reset all lyrics to the baseline position. The shift-click also works with the
Alt[Option] and Control[Command] keystrokes.
Type area
Size area
Duration area
Velocity area
• Type area. Use this top portion of the window to define the type of symbol you want to input and
any related options. This area also contains a counter, showing exact metrical location and pitch.
• Size area. Use this portion of the window to set the amount of time the counter advances each time
you play a note. Size appears as both an actual note value and as a number of clocks (480 clocks =
one quarter note).
• Duration area. Use this portion of the window to set the actual duration of the MIDI note you enter.
This area is not available if you’re entering chord names.
• Velocity area. Use this portion of the window to set the actual velocity of the MIDI note you will
enter. This area is not available if you’re entering chord names.
Type Area
Use this area to define the type of symbol you want to input, to set options related to that symbol, and to
view pitch and meter placement of any step-entered data.
Input Select
button
Options Pitch
pop-up menu Counter Indicator
• Counter
• Pitch indicator
Use the pop-up Options menu to select various step-entry notation options:
• Force Stems Up. When you select this option, Overture makes the stems of any step-entered notes
point upward, regardless of staff position. Select this option to enable it (put a check beside it); select
it again to disable it.
• Force Stems Down. When you select this option, Overture makes the stems of any step-entered
notes point downward, regardless of staff position. Select this option to enable it (put a check beside
it); select it again to disable it.
• Force Accidentals to Sharps. When you select this option, Overture notates any accidentals as
sharps, regardless of the key. Select this option to enable it (put a check beside it); select it again to
disable it.
• Tie Previous Two Notes. This is actually a command, not an option. When you choose this
command, Overture automatically ties together the two notes immediately to the left of the input
point. This command allows you to step-enter tied notes easily.
• Duplicate Previous. This command is enabled only when you are step-entering slashes. Use it to
copy the previous measure’s slash pattern into the active measure.
• Duplicate Previous to End. This command is enabled only when you are step-entering slashes. Use
it to copy the previous measure’s slash pattern into all remaining measures in the score.
Counter
The Counter displays (in bars, beats and clocks) the location of the step you’re about to enter.
Unit number
Beat number
Bar number
The bar number displays the measure number containing the insertion point. The beat number displays
how many beats the insertion point is into the measure. The clock number displays how many clocks the
insertion point is into the beat. Overture records and plays notes with a resolution of 480 clocks per
quarter note, so an eighth note would equal 240 clocks; a sixteenth note would equal 120 clocks, and so
on.
The counter display shown above indicates that the cursor is at 8 • 2 • 240. This means the insertion point
is in the eighth measure and midway through the second beat.
8•1•0 8•2•0
8 • 1 • 240 8 • 2 • 240 (insertion point)
Size Area
This area sets the amount of time the counter advances each time you play a note. Overture displays the
step size as both a note value and as an exact number of clocks (480 clocks = one quarter note).
As shown in the table below, you can type keys on your computer keyboard to set the step size.
Key Function
Tuplet Checkbox
You can also define the size as a tuplet by clicking the Tuplet checkbox. This lets you create complex
timing divisions, like five notes in the space of one quarter note.
Use the mouse or keyboard to set tuplet fields. Overture automatically calculates the clocks and updates
the note size pop-up.
The duration is different from the size; the duration is the length of the note, and the size is the amount of
time the counter advances each step. The space between notes is called the gap.
Size
Gap
Duration
Duration + Gap = Size. These are MIDI notes as shown in the Graphic window. See Chapter 31, “Graphic
Window (Mac)” for more information.
You can select one of three possible duration modes, which you select from the Duration Mode pop-up
menu.
• Constant. Select this duration mode to create notes of identical duration, regardless of the step size.
Constant Durations
Set the constant duration amount by selecting a value from the Note Size pop-up menu or changing
the value in the clocks field. Changing either of these values updates the other one.
Clocks field
Note Size
pop-up menu
• Constant Gap. Select this duration mode to create a uniform amount of space between all step-
entered notes, regardless of the step size.
Constant Gaps
Set the constant gap amount by selecting a value from the Gap Size pop-up menu, or change the value in
the Units field. Changing either of these values updates the other one.
Units field
Gap Size
pop-up menu
Set the percentage by entering it in the Percentage Amount field, which appears below the Duration
Mode pop-up menu when you select Percent mode.
Velocity Area
Velocity is the parameter that defines how hard you struck a note.
Note:
The Velocity area is not available when you step-enter chord names.
• Constant. Select this velocity mode to insert notes of a set velocity, regardless of the actual velocity
you play.
Set the desired constant velocity value by entering it into the Constant Velocity field.
• As Played. Select this velocity mode to insert notes at exactly the velocity you play them.
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of
the Score window.
4. In the Score window, click where you’d like to begin entering music.
5. If desired, select a stem direction and accidental naming scheme from the pop-up
Options menu.
You need to do this only if you want to override Overture’s default stem direction
and accidental naming algorithms.
See the table on page 380 to see how computer number keys correspond to note
(or rest) durations.
Alternatively, you can select a size from the Note Size pop-up menu, but you’ll
probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size button changes to show the value of the
note you’re about to enter.
7. On the computer keyboard, type the letter of the scale tone you wish to enter (c, d,
e, f, g, a, b). Type lower case o to raise an octave and shift-o to lower it an octave.
Notice that when you type a letter, the Pitch Indicator changes to show the pitch of
the note you’re about to enter.
Overture enters the note as specified and moves the cursor to the next step.
1. On the computer keyboard, type a number to set the step size of the rest you wish
to enter.
See the table on page 380 to see how computer number keys correspond to note
(or rest) durations.
2. If desired, select the voice you’d like to enter from the Voice pop-up menu at the
bottom of the Score window.
Pressing space inserts rests without actually toggling the Step Input window to Rest Entry mode. This
allows you to step-enter the occasional rest quickly while performing the more common task of step-
entering notes. If you actually wish to enter Rest Entry mode, select the rest icon from the Input Select
pop-up menu.
When in Rest Entry mode, select rest values from the Note Size pop-up menu. To insert a rest into the
score, press either return or space on your computer keyboard.
You can toggle back and forth between Rest Entry mode and Note Entry mode by typing either r or = on
your computer keyboard.
1. Type a lower case o to raise the step-entry range one octave. Type an upper case O
to lower the step-entry range one octave.
This change affects the current step and all steps after it.
Notice that when you change the octave range, the Pitch Indicator changes to show
the octave of the note you’re about to enter.
If the original octave was 3 and you type
a small o, the Pitch Indicator changes to
show that the octave is raised to 4.
Next, if you want to enter an eighth note at high C, you have to shift octaves. Type 8, then c, then o, then
press return:
Any note you enter next is placed in the octave beginning with high C. So, if you type 8, g, then press
return, you’ll enter an eighth note at high G.
1. After typing the letter of the scale tone you wish to enter, press up arrow to raise
its pitch a half step, or press down arrow to lower its pitch a half step.
You can step up and down through all note values using the up arrow and down
arrow keys.
Pressing Enter on the number pad enters the note into Overture but does not
advance the cursor to the next step.
3. Type the next note in the chord, then press Enter on the number pad.
Overture enters the second note at the same cursor location as the first.
5. After entering the last note in your chord, press Enter[return] to advance the cursor
to the next step.
Alternatively, you can select Tie Previous Two Notes from the Tool Bar’s pop-up
Options menu.
Overture ties together the two notes immediately to the left of the insertion point.
Auto-Tied Notes
Overture automatically splits any step-entered note across a barline.
For example, assume you’ve step-entered the music below, and you now want to enter a quarter note.
There is only room in the measure for an eighth note, so when you step-enter a quarter note, Overture
automatically creates two eighth notes tied across the barline below.
To start step recording in the middle of a measure (to enter a different voice, for example), or to skip a few
steps without entering any actual music:
Overture steps forward by the amount indicated by the Note Value selector in the
tool bar. It does not enter any notes or rests.
Overture steps backward by the amount indicated by the Note Value selector in the
tool bar. It does not erase any notes or rests.
Enter on number pad Enter a note or rest, but don’t step forward (use for
step-entering chords)
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of
the Score window.
4. In the Score window, click in the measure where you want to begin entering music.
5. If desired, select a stem direction and accidental naming scheme from the pop-up
Options menu.
You need to do this only if you want to override Overture’s default stem direction
and accidental naming algorithms.
6. On the computer keyboard, type a number to set the step size of the note you wish
to enter.
See the table on page 380 to see how computer number keys correspond to note
(or rest) durations.
Alternatively, you could select a size from the Note Size pop-up menu—however,
you’ll probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size pop-up menu changes to show the value of
the note you’re about to enter.
Overture enters the note and moves the cursor to the next step.
You can enter a rest by pressing a space or you can type r or = to toggle to Rest Entry mode, then play
any note on your MIDI keyboard. As with step entry of notes from the keyboard, you can delete the
previous step by pressing delete and you can move forward or backward through a score by pressing
right arrow or left arrow. For more information, see “Stepping Through a Score” on page 390. Also,
you can enter tied notes as discussed in “Step Entering Tied Notes” on page 389.
1. Type a number to set the duration of the rest you wish to enter.
This is the same as selecting the rest icon from the Input Select pop-up menu.
Notice that when you type r or =, the Input Select button changes to show that
you’re about to enter a rest.
Input Select button show a rest icon
when you step-enter rests
Overture enters the rest and moves the cursor to the next step.
Alternatively, you can simply press space on your keyboard to enter a rest without toggling to Rest Entry
mode.
2. Press and hold the mouse on the Input Select button, then select the slash icon
from the pop-up menu.
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of
the Score window.
4. In the Score window, click the measure where you want to begin entering slashes.
5. On the computer keyboard, type a number to set the Step Size of the slash you
wish to enter.
See the table on page 380 to see how number keys correspond to step sizes.
Generally, you use one slash per quarter note.
Alternatively, you can select a note value from the Note Size pop-up menu. You’ll
probably find it quicker to use the keyboard equivalents.
Notice that when you type a number, the Note Size button changes to show the
value of the slash you’re about to enter.
Overture enters the slash and moves the cursor to the next step. Slashes do not
have stems because they do not actually indicate any rhythm. They also do not
indicate pitch. The played pitches may be different from what the score shows.
The position at which the slash note is displayed is independent from the played pitch (or pitches if a
chord has been entered). Slash symbols may be transposed, affecting the played pitch, without changing
the displayed position.
You can enter a rest by pressing a space, or you can type r or = to toggle to Rest Entry mode, then play
any note on your MIDI keyboard. As with step entry of notes, you can delete the previous step by
pressing delete and you can move forward or backward through a score by pressing right arrow or left
arrow. For more information, see “Stepping Through a Score” on page 390.
Note:
You can step enter slashes using only the computer keyboard. The technique is
identical to that used for entering notes and rests from the keyboard. For more
information, see “Step Entering Notes and Rests with the Computer Keyboard” on
page 384.
This section discusses how to use Overture’s Step Entry mode to enter rhythmic slashes in a score
quickly. See “Step Entering Chord Names” on page 398 to learn how to step-enter chord names.
2. Press and hold the mouse on the Input Select button, then select the rhythmic slash
icon from the pop-up menu.
3. Select the voice you’d like to enter from the Voice pop-up menu at the bottom of
the Score window.
4. In the Score window, click in the measure where you want to begin entering
rhythmic slashes.
5. On the computer keyboard, type a number to set the step size of the slash you wish
to enter.
See the table on page 380 to see how number keys correspond to step sizes.
Alternatively, select a note value from the Note Size pop-up menu, but you’ll
probably find it quicker to use the keyboard equivalents.
Notice that when you type a number, the Note Size button changes to show the
value of the slash you’re about to enter.
Overture enters the rhythmic slash and moves the cursor to the next step.
You can enter a rest by typing a space, or you can type r or = to toggle to Rest Entry mode, then play any
note on your MIDI keyboard. As with step entry of notes, you can delete the previous step by pressing
delete and you can move forward or backward through a score by pressing right arrow or left arrow. For
more information, see “Stepping Through a Score” on page 390.
Note:
You can step enter rhythmic slashes using only the computer keyboard. The
technique is identical to that used for entering notes and rests from the keyboard.
For more information, see “Step Entering Notes and Rests with the Computer
Keyboard” on page 384.
3. In the Score window, click in the measure where you want to begin step-entering
chord names.
4. On the computer keyboard, type a number to set the step size you wish to enter.
See the table on page 380 to see how number keys correspond to step durations.
Alternatively, select a note value from the Note Size pop-up menu, but you’ll
probably find it quicker to use the keyboard equivalents.
When you type a number, the Note Size button changes to show the value of the
chord you’re about to enter.
Overture searches the current Chord Symbol library for a matching chord. If it finds
a matching chord, it enters the chord name above the staff and moves the cursor to
the next step.
Overture alerts you if it doesn’t find a matching chord in your chord library and gives
you the option of opening the current chord library to add the chord.
For more information about how Overture recognizes chords, see “About Chord
Recognition” below. For more information about Chord Symbol libraries, see “Chord
Symbols” on page 413.
As with step-entry of notes, you can delete the previous step by pressing delete and you can move
forward or backward through a score by pressing right arrow or left arrow. For more information, see
“Stepping Through a Score” on page 390.
1. If you want to enter a chord name without an alternate bass note, play the chord
such that its root is the lowest note.
For example, if you play F-A-C, Overture assumes F is the root, then searches the
Chord Symbol library and matches the note pattern with a major chord. Overture
then enters a chord name of F.
2. If you want to enter a chord name with an alternate bass note, play the chord so
that the bass note is the lowest note and the root is the second lowest note.
For example, if you play E-F-A-C, Overture assumes E is the root, then searches the
Chord Symbol library for that four-note pattern. When it doesn’t find a match, it
assumes that E is an alternate bass and that F is the root. It then searches the
Chord Symbol library for the remaining three-note pattern. It matches the major
chord. Overture then enters a chord name of F/E.
6. Overture finds a match (a major chord) and names your chord F/E.
The figure below illustrates how Overture interprets chords played on a MIDI controller.
Chord recognition always references the current Chord Symbol library. For more information about
Chord Symbol libraries, see “Chord Symbols” on page 413.
Menu Reference
35 File Menu
Use the File menu commands to save, create, open, import, export, and print Overture files, MIDI files File Menu
and support libraries. The following sections discuss each command in detail.
New...
Choose this command to open a new, untitled Overture score.
When you choose the new command, a New Score dialog box appears. Use the dialog to enter your new
score attributes.
There are three areas in the New Score dialog box. These are described below:
• Score Type. Use this area to choose the type of instruments/tracks for your score. You may choose a
single instrument from the Instruments Library, or Piano, or Piano and Voice, or Guitar and
Tablature, or a template from the Templates folder.
• Title Page. Use this area to enter title page text. You may add more text, footers, and headers later by
choosing Score>Title Page. See “Title Page” on page 522 for more information
• First Measure. Use this area to enter the score’s initial settings such as Time Signature, Key
Signature, etc..
To use the Jazz Font (if installed on your computer) for the default music font, check box labeled “Jazz
Font” at the bottom of the dialog.
To prevent this dialog from appearing at startup, disable the check box labeled “Open this dialog at
startup” at the bottom of the dialog.
Note:
If you save a score named DefaultFile in the Overture folder, Overture will open this file at startup and
skip the New Score Dialog. Also, you can have as many open Overture scores as memory allows. To
switch between open Overture scores, select the appropriate score from the Windows menu.
You can have as many open Overture scores as memory allows. To switch between open Overture scores,
select the appropriate score from the Windows menu.
File Menu
Opening a Score Template
Overture ships with numerous score templates saved as Read Only files. A score template contains staff
and page setups for particular types of music and are stored in the Templates folder within the Overture
folder. Alternatively, you can open a score template by double-clicking its icon in the finder.
Close
Use this command to close the active Score window. Choosing the Close command is the same as
clicking the active window’s Close box.
The contents of any open support windows depend on whether or not there are any other open Overture
scores:
• If, when you close a Score window, you have other open Score windows, the open support windows
fill with data from the frontmost Score window.
Save
Use this command to save the active Overture score in the same folder you last saved it in. This command
always saves Overture scores in the Overture file format. If you want to save a score using a different
format, use the Export command. If you choose the Save command for a score that has never before been
saved, Overture prompts you to name and file the score using the standard Save As dialog box. We
discuss the Save As dialog box below.
Save As...
Choose this command to either save an existing score under a new name, or save a new score. When you
choose the Save As command, Overture produces a standard Save As dialog box.
Note:
Overture scores are cross-platform compatible between the PC and Macintosh. To open a score on the
other platform, just save the score on a disk and open it with Overture on the other platform.
Revert
Choose this command to cancel any changes you have made to the active Overture score since the last
File Menu
time you saved it and open the most recently saved version.
Edit Library
Choose File>Edit Library to produce a submenu of library types.
From the submenu, choose the type of library you wish to edit. Overture contains five types of libraries:
• Allotment Table. Overture uses the Allotment Table to determine the default horizontal spacing of
notes on a staff. Choosing this submenu opens the current Allotment Table for editing.
• Chord Symbols. Overture uses the Chord Symbol library to name chords using the Chords window,
or to recognize chords played on a MIDI keyboard. Choosing this submenu opens the current Chord
Symbol library for editing.
• Drum Map. Overture uses the Drum Map to assign names, noteheads and staff positions to MIDI
notes. Choosing this submenu opens the current Drum Map for editing.
• Expressions. Overture uses the Expressions library to organize sets of expressions, their appearance
in the Score window, and their sound during playback. Choosing this submenu command opens the
current Expressions library for editing.
• Instruments. Overture uses the Instrument Library to define instruments, including the following
track attributes: name, abbreviation, clef, device, patch, output transposition, pitch, range, transposed
clef, transposed steps, and number of voices. Choosing this submenu command opens the current
Instruments library for editing.
Allotment Table
Choose this command to modify Allotment Tables and create new ones. When you choose
File>Edit Library>Allotment Table, Overture opens the Allotment Table dialog box.
You can move the Allotment Table dialog box around the desktop by dragging its title bar. The dialog box
displays the name of the active Allotment Table just underneath the title bar.
The Allotment Table dialog box also contains three buttons. These are:
• Save As button. Click this button to save the edited Allotment Table to disk. When you click this
button, Overture opens a standard Save As dialog box. Use the dialog box to name the new
Allotment Table and to tell Overture where to save it.
• Cancel button. Click this button to close the Allotment Table dialog box and restore the Allotment
Table to its original state. Clicking this button does not save or apply any of your changes to the
current Allotment Table.
• OK button. Click this button to activate your changes. When you click this button, Overture uses the
modified Allotment Table. Clicking the OK button does not save the new Allotment Table to disk—
• If the Auto Save Changed Libraries option is checked in the Preferences dialog, Overture
automatically saves the changes to disk upon quitting the program.
• If the Auto Save Changed Libraries option is not checked in the Preferences dialog, Overture
asks if you want to save the changes to disk before quitting the program.
• It automatically positions any notes entered either by MIDI input or by importing MIDI files
according to the Beat Chart derived from the current Allotment Table.
• If you check Options>Auto Position, it places any notes entered by mouse according to the Beat
Chart derived from the current Allotment Table.
File Menu
• If you choose Measures>Justify, it aligns any notes in the active measure according to the Beat
Chart derived from the current Allotment Table.
Overture opens the Allotment Table dialog box. This dialog box shows all the
assignments for the current Allotment Table. If you want to edit a different
Allotment Table, choose File>Load Library and select a different Allotment Table.
See “Load Library” on page 448 for more information.
2. Use the numericals in the eighth note column to decrease the number of spaces
allotted to all versions of eighth notes.
In this example, decrease the normal eighth note spacing to 1.7; the dotted eighth
note spacing to 2.8; and the triplet eighth note spacing to 1.6.
In this example, increase the normal thirty-second note spacing to 1.4; the dotted
thirty-second note spacing to 1.6; and the triplet thirty-second note spacing to 1.3.
5. Name and save your new Allotment Table in the Libraries folder.
You’ve now created a new Allotment Table that minimizes the spacing differences between eighth,
sixteenth, and thirty-second notes. When you justify a measure, Overture spaces notes using the Beat
Chart derived from the new Allotment Table. The figure below shows the difference between note
spacings for the two Allotment Tables discussed in the previous example.
There is now less of a space difference between eighth notes and sixteenth notes in the bottom music
sample than in the top.
Chord Suffix
Suffix Element Area Editing Area
File Menu
Symbol Viewing Area File Buttons
You can move the Chord Library dialog box around the desktop by dragging its title bar.
The dialog box displays the name of the active Chord library just underneath the title bar.
Active
Chord Symbol Library
The Chord Library dialog box consists of four separate areas. We describe these areas beginning with
“Suffix Element Area” on page 415.
• Chords window: All suffixes stored in this library appear in the Chords window. For more
information about the Chords Window, see Chapter 31, “Chords Window.”
• MIDI Chord Entry: Overture uses this library when you enter chords in step-entry mode using a
MIDI keyboard. Overture searches the library for a matching note pattern and, if it finds one, enters
a chord of the appropriate root in the Score window. For more information about step-entering
chords with MIDI input, see “Step Entering Chord Names with a MIDI Keyboard” on page 398.
When you enter a chord name into the Score window, Overture gets the suffix information from the
current Chord library. It gets the root either from the Root buttons in the Chords window or by analyzing
the pattern played on a MIDI keyboard (as discussed in “About Chord Recognition” on page 400).
For example, if you want to enter an F mi chord name into the score window, either:
• Use the Chords window to select a C mi symbol. Then click the F root button. Then click the Score
window to insert the chord name (as described in “Chords Window” on page 343).
Or
• Step-enter an F mi chord from a MIDI keyboard. Overture recognizes the minor chord pattern from
the Chord library and applies the correct root name, F, by analyzing the MIDI input (as described in
“Step Entering Chord Names with a MIDI Keyboard” on page 398).
The Chord library also contains information about the fonts, sizes, and styles used by chord names in an
Overture score. When you change the Chord library that an Overture score references, the appearance of
any existing chords in the score changes to that defined by the new library.
• File buttons
Place chord suffix elements in the Chord Suffix editing area (described below) either by double-clicking
elements or by dragging them into the Chord Suffix display.
Some elements (such as majors, minors, diminished, and augmented chords) have numerous acceptable
File Menu
spellings. To open a pop-up menu of alternate spellings for a suffix element, Alt[Option]-click the
element. The alternate spelling you select applies every time you use that element in the future.
Alt[Option]-click to
open pop-up menu
of spelling alternatives
[To create a symbol not in the Suffix element area, scroll to the end of the list and double-click on the ?.
Overture opens the standard Choose Symbol dialog box. Choose the font and symbol you want.]
To learn how the Suffix element area works in conjunction with other elements in the Chord Library
dialog box, see “Editing Chord Symbol Libraries” on page 420.
Root display
Insert button
Replace button
Trash
• Chord Suffix display. Use this to edit a chord suffix. You can click any suffix element to select it
and you can drag any suffix element to reposition it. You can nudge a symbol using the arrow keys
and, if you Alt[Option]-nudge, all elements after the nudged element move the same amount.
• Show Axis checkbox. Check this to show the vertical and horizontal axis lines in the Chord Suffix
display. Uncheck this box to hide the axis lines.
• Font button. Click this to set the font used for the currently selected suffix element(s). Clicking this
button opens the font dialog box discussed in “Font Button” on page 563. This is different from both
the Root Font and the Accidental Font buttons in the Symbol viewing area—Overture allows roots,
suffixes, and accidentals all to have completely different fonts. Clicking the Replace button saves
this font together with the chord suffix
If you Control[Option]-click the Font button, Overture changes the font for all suffixes in the library,
not just the selected suffix.
• Insert button. Click this to insert the suffix shown in the Chord Suffix display into the Symbol
viewing area (discussed in “Symbol Viewing Area” below) and into the Chord library itself.
Overture inserts the suffix immediately to the left of the highlighted suffix in the library.
• Replace button. Click this to replace the highlighted suffix in the Symbol Viewing Area (discussed
in “Symbol Viewing Area” below) with the suffix shown in the Chord Suffix display.
• Root display. This shows the root of the chord that you select or play. If you play a chord on a MIDI
keyboard, the Root display shows the root of the chord you played. If you select a chord suffix from
the Symbol Viewing Area (as discussed in the following section), the Root display shows C, since all
symbols stored in the Chord Symbol library are displayed with a root of C.
• Trash. You can remove suffix elements from the Chord Suffix Editing Area by dragging them to the
trash. Similarly, you can remove chord symbols from the Symbol viewing area by dragging them
into the trash. We describe the Symbol viewing area in “Symbol Viewing Area” below.
File Menu
Upper Root pop-up menu
Scrolling Symbol Library
• Miniature Keyboard display. Use this to enter or view the notes in a chord symbol. All displayed
chord symbols are based on the root selected in the Root pop-up menu. There are two ways to enter
the notes in contained in a chord symbol:
• Manually. On the miniature keyboard, click each key that makes up the chord. If you enter a
chord using a root other than C, Overture automatically transposes it to the root of C when you
add it to the Chord library.
• From a MIDI Controller. Play a chord on a MIDI controller. Overture automatically enters
the notes on the miniature keyboard display and selects the Root based on the lowest note
played. You can change this root if you want the chord named some other way, for example
with an added bass note as discussed in “Example 2: Creating a Chord Symbol with an
Alternate Bass” on page 422.
The C with the box around it indicates middle C on the miniature keyboard.
Overture uses the notes shown in the miniature keyboard display to recognize chords that you play
on a MIDI keyboard. For more information, see “Step Entering Chord Names with a MIDI
Keyboard” on page 398.
To delete a chord
symbol from here...
• Root Font button. Click this button to set the font for the chord symbol’s root. Clicking this button
opens the Font dialog box discussed in “Font Button” on page 563. This is different from both the
Font button in the Chord Suffix Editing Area and the Accidental Font button—Overture allows
roots, suffixes, and accidentals all to have completely different fonts.
• Accidental Font button. Click this button to set the font for any accidental that appears in a chord
symbol. Clicking this button opens the Font dialog box discussed in “Font Button” on page 563. This
is different from both the Font button in the Chord Suffix editing area and the Root Font button—
Overture allows roots, suffixes, and accidentals all to have completely different fonts.
14 pt. Times Bold as set by Root Font button 9 pt. Helvetica Plain as set by Root Font button
To learn how the Symbol viewing area works in conjunction with other elements in the Chord library
dialog box, see “Editing Chord Symbol Libraries” on page 420 below.
File Buttons
This area contains the following buttons:
File Menu
• Clear All button. Click this button to clear all chord symbols from the existing library. Use this
when you want to create a Chord Symbol library from scratch. Generally, you’ll find it easier to
modify an existing library than to create a new one.
• Save button. Click this button to save changes to the file immediately. This lets you:
• Know the state of your libraries as you edit them without having to remember at the end of the
Overture session which changes you’d like to keep.
• Save the changes to the file but press Cancel to restore your working copy to the state it was in
before the current editing.
• Press the OK button without pressing Save to use the current state of the library for the
duration of the Overture session without saving the changes to the file. This button does not
save changes to the chord suffix or its font. Use the Replace button to save these elements.
• Save As button. Click this button to save the edited Chord library to disk. When you click this
button, Overture opens a standard Save As dialog box. Use the dialog box to name the new library
and to tell Overture where to save it. This button does not save changes to the chord suffix or its font.
Use the Replace button to save these elements.
• Cancel button. Click this button to close the Chord library dialog box and restore the Chord Library
to its original state. Clicking this button does not save or apply any of your changes to the current
Chord library.
• OK button. Click this button to activate your changes. When you click this button, Overture uses the
modified Chord library. Clicking the OK button does not save the new Chord library to disk—it
only affects the Chord library that’s loaded into RAM. If, when you quit the program, your Chord
library has unsaved changes, Overture performs one of two actions:
• If the Auto Save Changed Libraries option is not checked in the Preferences dialog box,
Overture asks if you want to save the changes to disk before quitting the program.
This button does not save changes to the chord suffix or its font. Use the Replace button to save
these elements.
You may have to scroll to the end of the list. This example shows a Chord Symbol
library that has been emptied using the Clear All button (as discussed in “File
Buttons” on page 419).
File Menu
4. In the Suffix Elements area, double-click the add element to insert it in the Chord
Suffix display, then double-click the 9 to insert it.
Overture automatically enters the notes into the miniature keyboard display.
If you don’t have a MIDI controller connected to your computer click each key in the
C(add 9) chord using the miniature keyboard display.
Overture replaces the empty chord symbol with a C(add 9) chord symbol.
Overture automatically enters the notes into the miniature keyboard display and
File Menu
shows the upper root as “C#”.
If you don’t have a MIDI controller connected to your computer click each key in the
chord using the miniature keyboard display.
Overture changes the upper root from C# to D and changes the chord symbol to
Dmi/C#.
C# now appears as an
alternate bass note
Overture replaces the empty chord symbol with the newly created symbol,
transposing it so that the lowest note in the chord is a C.
File Menu
You can move the Drum Map dialog box around the desktop by dragging its title bar.
The dialog box displays the name of the active Drum Map library just underneath the title bar.
Active
Drum Map
Library
You can create and store as many Drum Map libraries as you wish, but Overture can only refer to one
Drum Map at a time. That one map is called the current Drum Map and is defined in the Preferences
dialog box. You can load a different Drum Map by choosing File>Load Library (see “Load Library”
on page 448 for more information).
Tracks use Drum Maps to create percussion notation. To learn to use Drum Maps in a track, see
“Percussive Tracks” on page 497.
• Pitch. This column shows each of the 128 MIDI pitches to which you assign a name, head and staff
position. Click those pitches you want included in a default percussive track and Overture places a
small triangle next to them. Since a percussive track can record, play and notate up to sixteen
different drums, you can select up to sixteen pitches to include in the default percussive track. For
more information about percussive tracks, see “Percussive Tracks” on page 497.
File Menu
• Head. Press and hold the note icon to open a pop-up menu. From the menu, select the notehead you
want to use for the MIDI note.
• Name. Use this column to type the name of the sound that’s assigned to each MIDI note.
The Drum Map dialog box also contains four buttons. These are:
• Save button. Click this button to save changes to the file immediately. This lets you
• know the state of your libraries as you edit them without having to remember at the end of the
Overture session which changes you’d like to keep
• save the changes to the file but press Cancel to restore your working copy to the state it was in
before the current editing
• press the OK button without pressing Save to use the current state of the library for the duration
of the Overture session without saving the changes to the file
• Save As button. Click this button to save the edited Drum Map to disk. When you click this button,
Overture opens a standard Save As dialog box. Use the dialog box to name the new Drum Map and
to tell Overture where to save it.
• Cancel button. Click this button to close the Drum Map dialog box and restore the Drum Map to its
original state. Clicking this button does not save or apply any of your changes to the current Drum
Map.
• If the Auto Save Changed Libraries option is checked in the Preferences dialog, Overture
automatically saves the changes to disk upon quitting the
program.
File Menu
Assume, for this example, that your drum machine plays a kick drum on C1, a snare on D1, and low, mid
and high toms on G1, A1, and C2 respectively. Also, assume you want Overture to display all drum notes
with an X head and that you want the kick drum assigned to the lowest space, the snare in the next space
up, the low tom in the space above that, the mid tom in the top space, and the high tom in the space above
the top line.
Overture opens the Drum Map dialog box. This dialog box shows all the
assignments for the current Drum Map. If you want to edit a different Drum Map,
choose File>Load Library and select a different Drum Map (see “Load Library” on
page 448 for more information).
4. In the Position column, drag the C1 note’s staff position to the lowest space.
File Menu
6. Assign MIDI note D1 to the snare as shown below.
You’ve now created a simple Drum Map containing a kick, snare and three toms. To see how to use a
Drum Map in a score, see “Percussive Tracks” on page 497.
File Menu
The Expression library lets you specify and store information about expressions. The definition of each
expression includes name, font, size, style, and playback information.
The Expression library dialog box lists all the expressions in the currently loaded Expression library.
Columns in the dialog box allow you to manipulate the expressions in the Expression palette and change
their information:
• Ex. (Extract). Click to put a bullet in the column or to remove it. Putting a bullet in the column tells
Overture to extract this expression in all parts when you extract parts. See “Extract Parts” on page
516.
• Name. Click and type to change the name of an expression. The new name appears on the palette,
where you can choose it and put it on the score.
• Font. Press and drag to choose a font from the pop-up menu. The expression appears in the score in
the font you specify.
• Size. Click and type to change the font size. The expression appears in the score in the size you
specify.
• Style. Click and choose the style characteristics you want. Choose multiple times to specify multiple
characteristics. Your choices are Normal, Bold, Italic, and Underline. The expression appears in the
score with the style characteristics you specify.
• Playback. Click to display the Expression Playback dialog box for an expression. This dialog box
lets you specify options for MIDI playback of the expression in your score. See “Expression
Playback dialog box” below.
Buttons in the Expression Library dialog box let you manipulate the Expressions palette further.
• Insert. Select a row and press the Insert button to add an empty row above the selected row. You can
fill in the row with a new expression. This adds the new expression to the palette after you click OK.
• Save. Click this button to save the changes you have made as part of the current Expressions library.
• Save As. Click this button to save the current Expressions library with a new name (creating a new
Expressions library) or to another place. The Save As dialog box appears. Specify the new name and
location and click Save.
File Menu
Choose one of these options:
• None. Click to tell Overture not to provide MIDI playback for this expression.
• Tempo. Click the radio button to specify a tempo. Click and type a number to specify the tempo you
want.
• Patch. Click the radio button to specify a patch for MIDI playback. Press and hold to display the
Patch pop-up menu. Drag and release to choose a patch. The patch name or number appears on the
menu button.
• Controller. Click the radio button to specify a controller for MIDI playback. Press and hold to
display the Controller pop-up menu. Drag and release to choose a controller. The controller name or
number appears on the menu button.
• Use Voice: Choose the voice (channel) to to send MIDI data out for this expression.
• Also Send: Check this box and choose a value if you want to send a key switch.
Buttons Area
When you enter a guitar frame into the Score window, Overture gets the frame information from the
current Guitar Frames library. You choose the root, bass, suffix, and tuning in the Chords window.
For example, if you want to enter an Fmi guitar frame into the score window:
• Open the Chord window and switch to Guitar Frames (if needed) using the check box. Choose F
from the root menu and minor from the Suffix menu. Click on the desired fingering and then click
the Score window to insert the guitar frame (as described in Chapter 31, “Chords Window”).
• Buttons area
File Menu
Chord Type Area
Use this area to choose the type of guitar frame you wish to edit.
To place guitar frame in the Frame Editing Area (described below), set the Root, Suffix, Bass, and
Tuning menus to the desired chord. This displays the different fingerings for this chord. Now click on a
fingering to place it into the Frame Viewing Area.
Type the suffix name in the given area. You may type anything you wish for a name. Overture displays
non-alpha numeric characters as a superscript. For Example: A C9 chord will have the 9 displayed in a
slightly smaller font and raised.
Click on the fingering you wish to edit. The current frame being editited will be shown in red. You may
also reposition the frames by clicking and dragging them to a new position. To delete a frame, drag it to
File Menu
the Trash Can.
Note:
You can copy the current frame by typing Control[Command]-c and then paste it into the Frame Editing
Area by typing Control[Command]-p.
Buttons Area
Use this area to set change the spellings for suffix names. To change a spelling click on the menu button
and choose a different spelling.
• Font button. Click this button to choose the default font for the suffix names.
• Insert button. Click this button to insert the frame in the edit area into the viewing area and into the
current Guitar Frames library.
• Replace button. Click this button to replace the hilited frame in the viewing area with the frame in
the editing area.
• Save button. Click this button to saves changes to the file immediately.
• Save As button. Click this button to save the edited library to disk under a different name. Overture
opens the standard Save As dialog to allow you to specify a different name.
• OK button. Click this button to activate your changes. This does not save them to disk - it only
affects the current Guitar Frames library.
• Cancel button. Click this button to restore the library to its original state.
Instruments Library
Choose File>Edit Library>Instruments Library to change instruments and create new ones. Overture
opens the Instruments library dialog box.
Assigning an instrument to a track automatically enters the instrument’s information into the track. There
is, however, no dynamic link between a track that has been assigned an instrument and the Instrument
library that contains that instrument. Editing an instrument in the Instruments library has no effect on
tracks that have already been assigned that instrument. Once the track has been assigned an instrument,
the instrument’s attributes belong to that track. The track’s attributes are still editable in the Setup Track
dialog box, the Tracks Window, or the Score Window.
Assigning instruments to tracks is a much faster, more efficient way to use Overture than individually
entering each attribute. We recommend using the Instruments library as much as possible to configure
instruments; override the assignments in the track only when necessary.
Orchestral Instruments contains a list of the most commonly used orchestral instruments and loads as the
default Instruments library when you first launch Overture. Although the name, abbreviation, clef, pitch
range, number of voices, and transposed steps attributes of each instrument are accurately defined, you
need to select the devices and patches to use for your MIDI setup.
GM Instruments contains a complete list of General MIDI instruments. Since these instruments are
designed to work with General MIDI devices, the patches are accurately specified. You need to select the
device they’ll play through in your MIDI setup, however.
It’s a good idea to make copies of the GM and Orchestral Instruments libraries. Making backups prevents
any mistakes from overwriting these important starting libraries.
You can derive your own libraries from those Sonic Scores provides or create your own from blank
entries. Although GM Instruments is intended for General MIDI devices, you can select patches different
from those predefined, or devices that don’t conform to General MIDI. You can add non-orchestral
instruments to Orchestral Instruments.
File Menu
Since most composers use a smaller set of instruments than are contained in the libraries we provide, it is
not necessary to define all instruments in the library. You can either delete instruments you don’t need or
just define the instruments you’d like to use and ignore the others. Once they have defined the relevant
instruments, most composers do not need to make frequent changes to the Instruments library.
To begin editing the currently loaded Instruments library, choose File>Edit Library>Instruments. This
opens either:
Or
• the Instruments library that was last loaded by choosing File>Load Library.
Choosing File>Load Library is the only way to edit and use a library different from the currently
loaded library.
Pressing the OK button after editing the library saves those changes while you use that library (think of it
as a working copy) without saving them permanently in the library file. This allows you to experiment
with different settings without committing them to the file.
If you select the Auto Save Libraries option in Libraries Preferences, however, Overture saves the
changes in the current library file every time you click the OK button. This is a shortcut method for those
users who prefer to keep the working copy and the library file in sync with each other without the extra
Save
Pressing the Save button saves any changes you make in the current library to the current library’s file
name. Pressing the Save button permanently changes the library file but doesn’t save the changes to the
working library until you press the OK button.
Note:
You can edit the library, press Save to store the changes in the library file, and then press Cancel to avoid
working with the changes.
Save As
Pressing Save As opens the standard Save As dialog box. Locate the Libraries folder (in the folder that
contains Overture) and assign the library a new name. The name appears in the upper left of the library
window. If you’d like to use the current changes to this library, press OK. If you are merely making a
copy of the library under a different name and would like to return to the previous library’s state before
editing, press Cancel.
It’s important to understand that using Save As does not load that library file as the current Instruments
library. The next time you choose File>Edit Library>Instruments, you’ll be editing the currently loaded
library, not the file you named when you used the Save As button. The only way to change the
Instruments library while Overture is running is by choosing File>Load Library to load a different
library.
File Menu
Pressing Insert copies the selected instrument’s attributes to a new, un-named entry above the selected
instrument. It’s helpful to select an instrument whose attributes are similar to the instrument you’d like to
create. Then you can edit those fields in the new instrument that differ from those in the original
instrument.
Clear
Pressing the Clear button creates a new library with unspecified fields. This is the easiest way to create a
new library from scratch.
Instrument Section
Name and Abbreviation
You can name and abbreviate each instrument. Selecting Show Name in the Setup Track dialog box
displays the instrument’s name in the left margin of the first system in the Score Window. Selecting Show
GM #
When you open an Overture file in a MIDI setup different from the one used to create the file, the devices
assigned to tracks may differ. This commonly occurs when you exchange Overture files with a friend or
co-composer. Overture uses the number specified in the GM # field of the Instruments library in which
the file was created to search the Instruments library in the new environment for an instrument that uses
the same GM #. If it finds a match, Overture uses the device and patch from that instrument if the current
MIDI Setup knows that device. The GM# links MIDI devices in different setups; it is not the actual patch
used for the track.
If Overture doesn’t find a match, it uses the device you select in the General Preferences option Remap
Unknown Devices To. You still need to specify the patch for that track for the new device to play the
correct sound. If you don’t select Remap Unknown Devices To, Overture warns you that it will not
remap the device(s) and that any tracks using them will not play. Use the Tracks Window to specify
devices and patches for these tracks.
Clef
Tracks you assign to this instrument use the clef you select.
Drum Section
When first launched, Overture automatically loads a default General MIDI Drum Map. See “Drum Map”
on page 426 for more information on Drum Map libraries.
Sonic Scores would like to thank Dr. Norman Weinberg for giving us a standard. His article “Guidelines
for Drumset Notation” in Percussive Notes, June 1994 was very useful. We have made our best effort to
match the notehead and staff positions of the various drum notes to his suggestions. Because of the vast
numbers of drums, we occasionally had to make slightly different choices.
Drum Maps specify names and clef positions for drum notes. You can store multiple Drums Maps in the
Libraries folder but only one Drum Map is active at a time. Select a different Drum Map by choosing
File>Load Library and select the new Drum Map from the standard File dialog box that appears. There
are sixteen pitches in each Drum map, each of which is assigned a position on the percussive clef.
Map
Click the Map column to open the current Drum Map. Clicking OK saves the changes made to that Drum
Map, not to the currently active Drum Map’s file. A dot to the left of the Map field (in the Dot field) shows
that the pitches for tracks using that instrument are designated by the notes and clef positions you specify
in that instrument’s Drum Map. You can edit a different Drum Map for each instrument but each
instrument begins with the current Drum Map.
Click the dot in the Dot field to remove the dot and use conventional note pitches instead of the Drum
Map. Click the Dot field when there is no dot to activate the current Drum Map for that instrument.
Think carefully about how you allocate the devices in your MIDI setup to instruments. Consider how
many MIDI channels, notes, and multi-timbral parts each device can play before assigning the same
device to instruments that play simultaneously. Sometimes you may have to use a device that doesn’t
have the best sounding patch in order to play all the tracks with the correct instrumentation. See
“Resolving Device Conflicts” on page 502 for a detailed discussion about assigning devices in the
Instruments library.
Trans
File Menu
Set the output transposition in the Trans numerical field. This field affects playback only, not the
appearance of notes in the Graphic or Score Windows.
Range Section
Low and High
The Low and High fields specify the lowest and highest notes, respectively, in the instrument’s pitch
range.
Voices
The Voices field specifies the number of voices the instrument is capable of generating. For example, an
alto sax generates only a single voice but a guitar can generate up to four voices.
Transpose Section
Clef
The Clef field shows the clef displayed in the track if you select Options>Show>Tracks Transposed.
Steps
The Steps field shows the instrument’s transposition. You can edit this field, but each transposing
instrument in Overture’s libraries already has the correct transposition.
This is different from the Output Trans field that transposes the output for playback only.
Although you can explicitly set the Track, Voices, Device, Patch, and Trans fields, it is easier to set them
automatically by selecting an instrument that encapsulates these attributes. Control[Command]-clicking
the Device field opens a pop-up menu with the instruments in the current Instruments library. The normal
pop-up menu displays the devices known to the current MIDI setup. When you select an instrument,
Overture assigns all the instrument’s attributes to the track. This includes the attributes displayed in the
Setup Track dialog box but not in the Tracks window, namely clef, pitch, range, steps transposed, and
GM#.
Note:
The instrument’s name appears in the Track field. The Trans field of the Tracks window displays the
Output Trans attribute from the instrument, not the Steps attribute from the Transpose section.
Give careful thought to which devices have the best patches to play specific sounds. It’s also important to
think about which instruments you most commonly use in a particular type of composition. For example,
if a piece uses horns, piano, drums, bass, and guitar all mapped to a single device, you may run out of
MIDI channels, multi-timbral parts, or notes on that device. Overture and the Instrument Definitions
Manager cannot help you in resolving these issues.
As you select patches and devices for the many instruments in the library, it is difficult to anticipate how
and when those instruments will be used. For example, consider the following situation:
File Menu
If you assign Proteus/2-1 and Oboe as the device and patch to an
oboe instrument
and you assign Proteus/2-1 and Harp as the device and patch to a harp
instrument
then what happens if you assign the harp and oboe to tracks that play
simultaneously?
Both tracks request different patches on the same device. Overture resolves the conflict by assigning the
next available MIDI channel to the second of the two tracks. For example, if the Proteus/2 from the
previous example were enabled to receive on channels 1-8, Overture would assign Proteus/2-2 for track
2.
This automatic device mapping brings up another interesting possibility: since Overture solves device
conflicts, why go to the trouble of specifying the precise MIDI channel for each device for every
instrument?
The answer is that you don’t have to specify the precise MIDI channel. You can simply select the device’s
first enabled channel for an instrument. As long as you don’t assign a single device for too many
instruments that play simultaneously, you really don’t have to worry about which MIDI channels
Overture uses, as long as the correct patch plays on the selected device.
This automatic device mapping has an interesting implication for grouping instruments in the library. If
you group instruments in your library based on the device they play through, rather than alphabetically,
you can Alt[Option]-click the Devices pop-up menu when selecting the device for the first instrument in
the group to assign that device to all instruments below that instrument.
By starting at the top of the library and moving down, you can assign the first channel of the device for
that group to the first instrument in the group. Then move on to the first instrument of the next group and
perform the same operation. Each succeeding assignment overrides the preceding assignment for the
instruments below the instrument you Alt[Option]-click. Overture then assigns specific MIDI channels
for the devices as the instruments are used in tracks.
Note:
Selecting an instrument from the Setup Track dialog box does not enter the device and patch into the
Track List. See “Instrument Pop-up Menu” on page 556 to learn why this is the case.
Load Library
Choose this command to load any of Overture’s six library types from disk into Overture’s local memory.
We discuss Overture’s library types in “Edit Library” on page 466.
When you choose File>Load Library, Overture opens a standard Open dialog box. Use the dialog box to
find the library you wish to open. When you load a library into Overture, it replaces the library previously
in use.
You can edit any loaded library by choosing its type from the File>Edit Library submenu.
When Overture launches, it automatically loads the Chord library, Drum Map, Allotment Table,
Expressions library, Instruments, and Guitar library selected in the Preferences dialog box. For more
information, see “Preferences” on page 704.
Import
Choose this command to import either a standard MIDI file, MusicXML file, Encore™. or MusicTime™
file, and convert it into standard music notation.
Importing Files
To import a files into Overture:
1. Choose File>Import.
3. For MIDI files an Import dialog box appears. Enable those tracks you wish to import
and select the desired voicing, split, quantization and transcription options for each
track.
Overture creates a new Score window. Its staves show either standard music
notation or raw MIDI data (MIDI files only) depending on the transcription option you
selected in the Import MIDI File dialog box.
File Name
File Menu
Transcribe Mode
Track Name
Track Selector
There are numerous elements in the Import MIDI File dialog box. These are described below:
• File Name. This area of the dialog box displays the name of the MIDI file you’re importing into
Overture.
• Transcribing Status. Once you click the OK button, this reporting box displays the import status on
a measure-by-measure, track-by-track basis.
• Track Name. This column shows the name of each track in the selected MIDI file.
• Voices. Use this column to tell Overture whether you want the corresponding track imported as a
single voice or a multiple-voice track. For a definition of voices, see “Voice” on page 8. Simply click
the word Single or Multiple to switch between the two choices.
• Clef. Use this column to assign the type of clef you want for the imported track. Change the clef type
by clicking the Clef field. Each click changes the type between treble, bass, alto, tenor, and perc.
Percussive Tracks. Tracks imported with the perc. (percussive) clef type display with respect to the
current drum map. Overture plays the imported pitches, but displays them on the percussive clef in
the positions you have specified in the drum map.
• Split Point. Use this numerical if you want Overture to split a track into two separate tracks. Press
and hold the mouse in this column and drag it up to set a split point. Overture imports split tracks as
two tracks—it places any notes equal to or higher than the split point in one track and notes below
the split point in another. If you select None, Overture imports the track as is. Split points are
particularly useful for importing piano parts that were recorded on one track, but that you want
notated on two staves.
• Transcription Quantization. Use this column to set the quantization level for each imported track.
Press and hold the note, then choose a new note from the pop-up menu.
Overture’s smallest transcription quantize amount is the triplet value of the selected note. For
example, if you select a transcription quantize amount of an eighth note, the smallest note value
Overture transcribes correctly is an eighth note triplet.
• Transcribe Mode. Use this column to tell Overture whether you want the corresponding track
transcribed directly (Auto), or if you want the track transcribed as raw MIDI data (Manual). Click the
word Auto or Manual to switch between the two choices.
• Score Order. Use this options to reorder the tracks to match the standard order of classical
instruments.
• Optimize Staves. Use this option to suppress the display of staves containing no track data.
• Use Jazz Font. Use this option to have Overture use the Jazz Font for musical symbols. This
requires that the Jazz Font be installed.
Overture justifies all measures and recalculates the score for each imported track. It uses information
about the highest and lowest note in each staff to adjust the space between staves accurately.
File Menu
have specified an abbreviation for this instrument name, Overture automatically uses the appropriate
abbreviation.
For example:
The Remap Unknown Devices To field in the General Preferences dialog box assists the remapping
process by assigning unknown devices to successive, valid channels on the selected device. Choose
Options>Preferences. The General Preferences dialog box opens. When you select the Remap Unknown
Devices To checkbox and select a device from its pop-up menu, Overture uses available channels for that
device (as determined from your MIDI setup) to remap unknown devices during import.
Markers
Sequencers or notation tools often use markers to designate important events. These may include cues in
film or video scores or the verse, chorus, and bridge sections in a song. Overture imports markers from
standard MIDI files and puts them above the top staff as system text.
1. Choose File>Import.
Note:
Not all of the notation will be imported. Overture imports the basic page layout, most MIDI information,
and essential notation elements. You may need to adjust the page layout and some element positions.
Sonic Scores will continue to improve Overture’s import capabilities, so check the website for updates.
If your score contains tracks that you don’t want included in the exported MIDI file, disable them by
muting them in the Tracks window. For more information, see “Muting a Track” on page 286.
Extract Parts
Choose this command when you want to create separate instrument parts from a complete score. When
File Menu
you choose the Extract Parts command, Overture produces the Extract Parts dialog box.
Multi-bar rests
check box
Split Field
Track Name
Parts
• Track Selector. Use this column to select those tracks you want extracted. Overture extracts all
tracks that are marked with a small filled triangle. Click a selector triangle to turn it into a filled
triangle (enabling it for part extraction). Shift-click to make multiple selections.
• Parts. The dotted lines between tracks indicate part divisions. The number of tracks between dotted
lines indicates the number of staves (tracks) that Overture extracts into a single part.
For example, if there are two tracks between dotted lines (as with the two Piano tracks), then the
extracted part will contain two staves (one for each track).
• Split Field. Use this column to control the number of voices extracted into each part.
Part extraction for multiple splits (options 2-4 above) proceeds in order of the voices in the track. For
example, a four voice track with the Split value set at 2, extracts voices one and two into one part and
voices three and four into another.
• Track Name. Use this column to rename tracks, or to drag them around to change their order or part
assignment.
For example, assume the vocalist in your band is also the bass player and you want to extract her
parts into a single score. As shown in the figure below, you select the two tracks to extract, then drag
1. Click the name of the track you 2. Drag an outline of the track to
want to move. the desired destination.
File Menu
3. Release the mouse.
The bass track now shares a part with
the vocal track.
If you Alt[Option]-click a track name, Overture automatically groups it with the track immediately
below it.
• Left Edge Barline Check Box. Check this box to have Overture display the barline at the left edge
of each system. Single instrument parts usually do not display the barline at the left edge of the
system.
• Multi-Bar Rests Check Box. Check this box to have Overture create multi-bar rests. Extracted
parts use multi-bar rests to indicate many consecutive blank measures as a single bar. Use the
Minimum field to set the minimum number of consecutive empty bars required before Overture
notates them as a single multi-bar rest. Use the Maximum field to set the maximum number of
consecutive empty bars that Overture notates as a single multi-bar rest.
Overture recognizes rehearsal marks and double barlines, and never creates a multi-bar rest that
spans such symbols.
• Reduction. Use this to scale the size of the individual extracted parts.
The Extract Parts dialog box appears. (See the previous section.)
For example:
and the track is extracted with the Split field value set to 2,
then Overture creates two parts with two voices each with the
following names: Counterpoint-piano 1&2 and Counterpoint-piano
3&4.
Note:
Extracted parts derive their page layout from the Engraver Preferences dialog box, not from the Layout
Page dialog box settings.
File Menu
Save
There are several areas in the Print Setup dialog box. These are described below:
There are several areas in the Print dialog box. These are described below:
• Name Area. Use this popup menu to choose your printer.
Normal - Prints one music page on one sheet of paper. Use the Odd pages Check Box to print only odd pages. Use the Even
pages Check Box to print only even pages.
Booklet - Prints two pages of music side-by-side. Each music page is scaled to fit two pages on one sheet of paper and the
page order is changed to produce a booklet when the printed sheets are folded in half. Use the Start on Inside Check Box if
you want the top of the booklet to be blank.
2-Up - Prints two pages of music side-by-side. Each music page is scaled to fit two pages on one sheet of paper.
Manual Duplex Printing - Check this if you want to print on both sides on the paper and your printer does not offer this
option. After the top of each sheet is printed, you’ll be prompted to flip the sheet of paper over to print on the other side.
• Print. Sends your score to the printer when you are satisfied with it.
File Menu
• Zoom In. Magnifies your score
• Close. Closes the print preview and returns you to the score window.
Exit/Quit
Choose this command to exit the Overture application. If any scores contain unsaved changes, Overture
prompts you to save those changes before quitting.
Edit Menu
Use the Edit menu commands to cut, copy, and paste symbols, lyrics, MIDI data, or other elements of an
Overture score.
Undo
Choose this command to undo your most recent action. You can undo most Overture commands. The
Undo command usually describes the reversible action, as in Undo Insertion or Undo Deletion. The
Undo command allows you to examine the results of an action without committing to it.
Redo
Choose the Redo command to make the score appear as it did before you chose Undo. Use the Undo and
Redo commands to toggle between the before and after versions of your most recent action. You can
sequentially undo and redo your last sixteen actions since you started the current Overture session.
Cut
Choose this command to delete the current selection and copy it to the Clipboard. The cut selection
remains on the Clipboard until you cut or copy some other selection to the Clipboard.
Copy
Choose this command to copy the current selection to the Clipboard. Unlike the Cut command, choosing
Copy keeps the current selection in the Overture score. The copied selection remains on the Clipboard
until you cut or copy some other selection to the Clipboard.
Paste
Choose this command to copy the contents of the Clipboard to the insertion point in the current score.
Since the Paste command puts a copy of the Clipboard’s contents into a score, you may use the Paste
command repeatedly to insert multiple copies.
When you choose Edit>Paste in the Score window, Overture pastes all note and note-related events from
the Clipboard into the score, replacing the events currently in that time range. It does not paste some
symbols like meters, beat charts, or tempo changes. This is so you can copy and paste notes between
different sections of a score without disturbing the rhythmic flow of the composition. If you do want to
paste any of the above-mentioned attributes, use the Paste Special command (discussed in “Paste
Special” on page 467).
[Mac:If the Clipboard contains a PICT file and you paste it into a score, Overture attaches the PICT to the
active measure and puts a white background behind it (obscuring any other symbols in that region of the
score).]
Clear
Choose this command to delete the current selection from the Overture score. The contents of the
Clipboard are not altered since the Clear command does not place a copy of the selection on the
Clipboard.
Merge
This command merges the symbols on the clipboard with the symbols already in the score. It does not
replace the symbols like the Paste command.
[Mac:If you merge a PICT file into score, Overture attaches the PICT to the active measure and puts a
transparent background behind it (so you can still see any other symbols in that region of the score).]
Paste Special...
Edit Menu
Choose this command to perform a more complete and user-definable paste operation than is possible
using simply the Paste command. Overture’s Paste command does not copy all symbols from the
Clipboard into the score. Overture’s Paste Special command pastes all gives you the option of pasting
meters, beat charts, tempo changes, lyrics, chord names, or measure text.
To maintain the tempo pattern you’d already established in the second measure:
1. Copy the selected notes and symbols from the first measure.
3. Choose Edit>Paste.
Overture pastes all notes and symbols from the first measure into the third (as
shown in the following figure). Notice that measure 3 maintains the tempo set in
measure 2.
To have measure 3 change tempo so that it matches the tempo in the first measure:
1. Copy the selected notes and symbols from the first measure.
4. Check the Notes and Tempo Changes options, then click the OK button.
Overture pastes all notes and symbols from the first measure into the third. In
addition, it also pastes the tempo from the original measure into measure #3.
• All: Choose this command to select all musical symbols in the active score.
• Current Track: Choose this command to select all musical symbols in the active track.
• By Filter: Choose this command to select or deselect specific music symbols in the score. If you
have a range selected, the filter will use the selected range to find items, otherwise the entire score
will be used. Use the Note Filter to choose notes by MIDI and graphical parameters. Use the Data
filter to choose notes and other symbols by MIDI parameters. For example, in the dialog below
every quarter note on the second and fourth beat with a velocity of 80 or greater will be selected.
MIDI parameters
describing the notes.
Edit Menu
Starting position
and pattern in bar.
Articulations
describing notes
Find Item...
Choose this command to find musical symbols and MIDI data in the active score.
• Voices: You can hide rests that you might not want to appear as part of a multi-voice staff.
• Trills: If you want the trill to playback as intended, you enter all the MIDI notes. You do not,
however, want to notate all the notes in the trill—only one of the notes. Use the Make Invisible
command to hide all the other trill notes in your score. Overture can also perform this function
automatically by choosing Notes>Notate Notes as>Trill. For more information, see “Notate Notes
as Trill” on page 602.
• Turns: If you want a turn to playback as intended, you enter all the MIDI notes. You do not, however,
want to notate all the notes in the turn—only one of the notes. Use the Make Invisible command to
hide all the other turn notes in your score. You can also cause Overture to perform this function
automatically by choosing Notes>Notate Notes as>Turn. For more information, see “Notate Notes
as Turn” on page 604.
You can view all the invisible symbols in your score by checking the Options>Show>Invisibles option
(discussed in “Invisibles” on page 615). Also, any invisible symbols can be made visible by selecting the
desired symbols and choosing Edit>Make Visible.
Editing operations affect invisible notation symbols exactly as they do visible symbols. For example,
when you drag to select multiple symbols (or use double-click or shift-click selection methods),
Overtures selects all invisible symbols as well as all visible ones. Copy, cut, paste, and edit invisible
symbols exactly as if they were visible.
Make Visible
Choose this command to make visible all currently selected invisible symbols. For more information, see
the previous section.
Set Color...
Choose this command to set the color for all currently selected symbols.
Disable Playback
Choose this command to disable playback on all currently selected symbols. To enable playback, select
the symbol and choose the Enable Playback command.
Playback Time...
Choose this command to offset the time a symbol plays within a measure. This command is also used to
create rolled chords.
MIDI Data
Choose this command to enable the MIDI Data mode. This allows you to edit MIDI Data directly on the
active score. For more information see the tutorial on “Editing MIDI Data.” in Chapter 6.
Modify Controller...
Choose this command to reassign one controller to another or to change any controller’s value.
Edit Menu
Score Menu
Use the Score menu commands for such score-related tasks as specifying staff location and appearance;
grouping systems; and setting up pages. The following sections discuss each command in detail.
Insert Page
Choose this command to add one or more pages to the current Overture score. When you choose
Score>Insert Page, Overture opens the Insert Page dialog box.
You can move the Insert Page dialog box around the desktop by dragging its title bar.
Delete Page
Choose this command to delete one or more pages from the current Overture score. When you choose the
Delete Page command, Overture displays the Delete Page dialog box.
You can move the Delete Page dialog box around the desktop by dragging its title bar.
Enter the number of pages you want to delete, then click the OK button. Overture deletes pages beginning
with the current page.
You can move the Layout Page dialog box around the desktop by dragging its title bar.
• Systems per Page. Use this numerical to enter the number of systems you want displayed on the
current page.
If you add staves to systems such that the requested number of systems no longer fits within the
current page, Overture automatically increases the length of the page by adding tiles, if Auto>Wrap
Measures is not check. Overture automatically tiles printed pages (as discussed in “Metric
Measurements” on page 473). If you don’t want to have your pages tiled, decrease the value of the
Systems per Page numerical to prevent staves from extending beyond the bottom of the page.
If Auto>Wrap Measures if checked, the systems that would extend be below the bottom of the
Score Menu
page are wrapped to the next page.
• Measures per System. Use this numerical to enter the default number of measures you want in each
system on the current page.
• All Remaining Pages. If you check this option, Overture applies the Systems per Page and
Measures per System choices to every remaining page in your score. It also generates new measures
to fit existing pages. If you leave this option unchecked, Overture applies your choices only to the
current page and does not change the number of measures in the score.
You can move the Page Dimensions dialog box around the desktop by dragging its title bar.
Metric Measurements
You can specify either inches or centimeters for measurement units. Click the Inches or Centimeters radio
button to set the type of units to display.
Score Menu
Page Size Controls
Use the page size controls to set the width and height of a page (up to a maximum of 34” x 44”).
Margin Controls
Use the margin numericals to set all four margins on a page.
The easiest way to understand the Use Tiles option is by example. Assume that your printer is loaded with
8.5” x 11” paper (the physical page) and that you want to create actual score pages that are 16” x 20” (the
virtual page). To do so:
2. Using the Page Size numericals, enter a page width of 16” and a page height of
20”.
Overture’s Score window contains the entire 16” x 20” virtual page (you’ll have to
zoom out to see all of it). The score has dotted lines to illustrate exactly what prints
on each physical page.
Score Menu
Overture opens the Print dialog box (your print dialog box may look different from
this one).
In this dialog box, you tell the printer how many virtual pages to print, not how
many physical pages. Therefore, to print the first page of a 16” x 20” tiled score,
tell the dialog box to print from page 1 to page 1. Because of the tiling option, the
printer knows that it must produce four physical pages to make one virtual page.
Overture prints four 8.5” x 11” physical pages that you can tape together to create
a single virtual page.
Score Menu
When you use the score size slider the printed output will fill a piece of paper no matter what the scaling.
Since using this slider changes the size of the printing area on a page, you generally want to choose
Score>Layout Page and change the number of measures in a system and number of systems on a page.
Increase Systems
Choose this command to move a system from the top of the following page to the bottom of the current
page, thereby increasing the number of systems on the current page. Overture does not change the default
number of systems for any remaining pages, so systems continue to wrap throughout the score (that is, the
For example, assume your score has three pages with four systems on each of the first two pages and two
systems on the third page.
Score Menu
1. Click in any measure on the first page to make Page 1 the active page.
Overture adds a system to the bottom of the first page by taking it from the top of
the second page. The top system on the third page wraps to the bottom of the
second page. This is because Overture maintains the default number of staves per
page (as set in the Page Layout dialog box) for all pages except the last page.
3. Click in any measure on the second page to make Page 2 the active page.
Overture adds a system to the bottom of the second page by taking it from the top
of the third page. Since the third page no longer contains any systems, Overture
drops it from the score.
Decrease Systems
Choose this command to move a system from the bottom of the current page to the top of the following
page, thereby decreasing the number of systems on the current page. Overture does not change the default
number of systems for any remaining pages, so systems continue to wrap throughout the score (that is,
the bottom system on each page moves to the top of the following page).
If the final page in the score contains fewer systems than the default Systems per Page value (as set in
Score Menu
the Layout Page dialog box), Overture increases the number of systems on that final page. If the final
page in the score contains the same number of systems as specified in the Layout Page dialog box,
Overture adds a new page containing a single system.
1. Click in any measure on the first page to make the first page the active page.
Overture takes a system from the bottom of the first page and moves it to the top
of the second page. It then shifts all the remaining systems down the page and
takes the bottom system from the second page and moves it to the top of a third
page. This is because Overture maintains the default number of staves for the
second page.
3. Click in any measure on the second page to make Page 2 the active page.
Score Menu
Overture takes yet another system from the bottom of the second page and moves
it to the top of the third page and then shifts the other systems down the page.
You can move the Hide/Show Staves dialog box around the desktop by dragging its title bar.
Score Menu
About the Hide/Show Staves Dialog Box
The Hide/Show Staves dialog box selects which tracks to display in the current system. Visible tracks are
marked with a bullet; hidden tracks are not bulleted. Click the Show column next to the desired track to
toggle between visible and hidden.
1. Set up your score so that it contains four measures in each of the first two systems.
4. Click the Show column next to the Vocal track to uncheck it.
This means you hide this staff in both the active system and the system below it.
Overture hides the vocal staff from the first two systems.
Score Menu
You can tell Overture to perform part of this procedure automatically. Click the Auto Hide checkbox.
Overture automatically hides systems starting at the cursor and continuing for as many systems as you
specify in the Apply to x systems box. It does this even though you have the staves marked Show, for any
tracks with no data in them.
Note:
Choosing Measures>Justify has no effect on hidden staves.
1. Click on the track where you want to insert the new track.
In this example we choose to insert a single track. If you choose Piano, Overture
will insert a Grand Staff and if you choose Tablature, Oveture will insert a Tablature
Track.
4. Click either the Before current track or After current track radio buttons.
If you select Before current track, Overture places the new track immediately before
the active track (the track that contains the insertion point).
If you select After current track, Overture places the new track number immediately
after the active track.
Delete Track
Choose this command to delete the current track beginning with the active track (the track that
contains the insertion point).
Score Menu
Instrument Options
Track Name
Options
Staff Display
Options
Action Buttons
You can also open the Setup Track dialog box by double-clicking either the clef at the beginning of any
staff system or the staff selector handle. You don’t actually see the handle unless you select
Options>Show>Handles. You can double-click in the location of the handle whether it’s visible or not.
You can move the Setup Track dialog box around the desktop by dragging its title bar.
The Setup Track dialog box has four main editing areas. We discuss these in the following sections.
There are numerous elements in the Track Name Options portion of the Setup Track dialog box. These
are:
• Main field. Type the full name of the track in this field. If you check the Show Main option, this
name appears next to the first staff. Using a comma (,) forces a carriage return in the track name—
this is particularly useful for long track names.
Chorus
Analog
Synth
If you select something from the Instrument Name pop-up menu (as discussed in “Instrument
Options” on page 492), Overture automatically fills this field with the name of the selected
Instrument. Typing a new name replaces the old one.
Score Menu
• Abbreviated field. Type the abbreviated name of the track in this field. If you check Show
Abbreviation, this text appears next to all staves after the first. If you select something from the
Instrument Name pop-up menu (as discussed in “Instrument Options” below), Overture
automatically fills this field with the abbreviated name of the selected Instrument. Typing a new
abbreviation replaces the old one.
• Show Main option. If you check this option, Overture shows the name of the selected track in the
score. All displayed track names center around the widest name in a system.
If you hold down the Alt[Option] key when you check Show Main, Overture automatically shows
the names of all tracks in the score (not just the selected track). Similarly, if you hold down the
Alt[Option] key when you uncheck Show Main, Overture automatically hides the names of all
tracks.
• Font button. Click this button to open the Font Select dialog box. Use the dialog box to select the
font with which to display track names in the score. For more information, see “Font Button” on
page 563.
Instrument Options
Use this portion of the dialog box to assign a particular type of notation to a track.
1. Press and hold the mouse on the Instrument Name pop-up menu.
Score Menu
• Normal. These are instruments that Overture notates using standard music notation, for example,
Cello, Guitar, Soprano, and Trumpet in Bb. For more information, see “Normal Tracks” below.
• Percussive. These are instruments that Overture notates using percussion notation, for example,
non-pitched instruments like Bass Drum, Drums, and Percussion. For more information, see
“Percussive Tracks” on page 497.
• Tablature. These are instruments that Overture notates using tablature notation. Select this type of
instrument by selecting Tablature from the Instrument Name pop-up menu. For more information,
see “Tablature Tracks” on page 499.
Instrument Name
pop-up menu GM Equivalent
pop-up menu
Range numericals
Playback numerical
Transpose numerical
Starting Clef
Transposed Clef
pop-up menu
pop-up menu
There are numerous elements in the Instrument Options section of the Track Setup Dialog Box. These
are:
• Instrument Name pop-up menu. Use this pop-up menu to select an Instrument Name for the track
from the Instruments library. When you select an Instrument Name from this pop-up menu, Overture
automatically fills in the Range, Transpose, and Playback numericals, selects a Starting Clef and
Transposed Clef, and supplies Main and Abbreviated track names to the Track Name options in the
dialog box.
• GM Equivalent pop-up menu. The appropriate patch appears here when you select an instrument
Score Menu
name. If you need to, change the patch here.
• Range numericals. Use these numericals to set the range of the Instrument notated by the track. The
left numerical sets the lowest note in the range. The right numerical sets the highest note in the
range. You can search your score for notes that are out of an instrument’s specified range by
choosing Options>Show>Range Errors (as discussed in “Range Errors” on page 617).
• Transpose numerical. If you’re notating a transposed instrument (such as many trumpets, clarinets,
english horns, and so on) and you want Overture to transpose an extracted part into the correct key,
use this numerical to set the transposition amount. This numerical does affect MIDI playback
pitch—it’s used strictly to transpose a track when you extract it. To display the transposition in the
current score, choose Options>Show>Tracks Transposed.
For example, if the extracted track is to be played by a Bb trumpet, set the numerical to 2. Since a Bb
trumpet sounds a major second lower than written, a value of +2 indicates that the extracted trumpet
part needs to be transposed two half-steps higher than in the conductor’s score.
For an example of how to set up and use a transposing track, see “Transposing Instrument Track
Example” on page 503.
• Playback numerical. Use this numerical to set the playback offset for instruments that sound
differently from how they are written. This does not affect the extracted part.
For example, if you’re notating a Guitar, set the Playback numerical to -12. Guitar parts are written
an octave above where they actual sound..
Overture sets this numerical automatically when you select an Instrument Name from the Instrument
Name pop-up menu. For more information about extracting parts, see “Extract Parts” on page 453.
For an example of how to set up and use a transposing track, see “Transposing Instrument Track
Example” on page 503.
• Starting Clef pop-up menu. Use this pop-up menu to select which clef Overture uses to notate the
track in the current score.
Overture sets this numerical automatically when you select an Instrument Name from the Instrument
Name pop-up menu.
• Transposed Clef pop-up menu. Use this pop-up menu to select which clef Overture is to use to
notate the track in a transposed extracted score. This pop-up menu has no effect on the current score,
only on the score containing the extracted part.
Overture sets this numerical automatically when you select an Instrument Name from the Instrument
Name pop-up menu.
For an example of how to set up and use a transposing track, see “Transposing Instrument Track
Example” on page 503.
You must understand Drum Maps in order to understand percussive tracks. Percussive tracks refer to the
current Drum Map for pitch names, default noteheads and default staff positions. To learn about Drum
Maps, see “Allotment Table” on page 410.
The percussive track options are arranged in a grid. There are sixteen rows in the grid. Each row
corresponds to a single percussion instrument (called a part). If you need to notate more than sixteen
drum parts, you’ll need to use more than one percussive track.
• Pitch/Name pop-up menu. Press and hold the Pitch/Name cell to open a pop-up menu. From the
Score Menu
menu, select the Pitch (or pitch name) to be played by the corresponding part. The pop-up menu
displays all the MIDI notes as defined by your current Drum Map. If you want the menu to display
only those pitches to which you’ve assigned names, hold down the Alt[Option] key when you click
the Pitch/Name cell. When you select a new Pitch/Name, Overture automatically changes the
corresponding Head and Position to match those assigned to that pitch in your current Drum Map.
You can also select a different pitch by dragging across it, then playing a note on your MIDI
controller.
• Head pop-up menu. This column displays the notehead with which Overture notates the
corresponding drum. When you select a different drum in the Pitch/Name column, Overture
automatically changes the head to match the one assigned to that pitch in your current Drum Map.
You can use this column to override your Drum Map’s default head by pressing and holding the
notehead icon and selecting a new head from the pop-up menu. When you override a Drum Map’s
• Position popup menu. This column displays the staff position on which Overture notates the
corresponding drum. See “About the Drum Map Dialog Box” on page 426 to learn about position
numbers. When you select a different drum in the Pitch/Name column, Overture automatically
changes the position to match the one assigned to that pitch in your current Drum Map.
You can use this column to override your Drum Map’s default position by entering a different
position. When you override a Drum Map’s position assignment, you do not change the Drum Map;
only the percussive track. This allows you to create numerous percussive tracks that reference the
same Drum Map, but that use different positions.
• Voice popup menu. This column displays the default voice on which Overture notates the
corresponding drum.
For example, you may want to put the bass drum on a different voice from the snare.
Once you’ve assigned parts in a percussive track, Overture uses your assignments to record, notate, and
play drum parts. When you record into a percussive track, Overture automatically maps each part’s MIDI
note to the selected staff position and assigns the selected notehead. When you play a percussive track,
Overture automatically maps the displayed notes to their correct MIDI pitch so that it plays the correct
drum sounds.
For an example of how to set up and use a percussive track, see “Percussive Track Example” on page 505.
Instrument Name
pop-up menu GM Equivalent
pop-up menu
Range numericals
Playback numerical
Transpose numerical
Starting Clef
pop-up menu Transposed Clef
pop-up menu
Use tablature notation to indicate guitar music by string and fret number, rather than with a traditional
musical staff. For information about setting up and using a Tablature track, see Chapter 16, “Tablature
Button.”
Note:
MIDI playback does not play tablature tracks, nor do MIDI transpose commands change their pitch. If
Score Menu
you want MIDI playback of a tablature track, you must create an additional staff that contains traditional
notation. If desired, you can then hide the traditionally notated staff in your printed score by using the
Score>Hide/Show Staves command as discussed in “Hide/Show Staves” on page 485.
• Scale numerical. Use this numerical to set the scale of the selected staff. Unlike the Scale tool, which
scales a single staff in a single system, the Scale numerical scales every occurrence of this staff in
every system.
If you hold down the Alt[Option] key while setting this numerical, Overture sets the scaling of every
staff in every system to the new value.
• Show Clef option. Select this option if you want Overture to display a clef on the staff. You normally
leave this option checked unless you’re notating some types of non-pitched instruments or a strum
pattern on a lead sheet.
• Show Barlines option. Select this option if you want Overture to display barlines. You normally
leave this option checked unless you’re notating music with no set meter or a strum pattern on a lead
sheet.
• Show Ledger Lines option. Select this option if you want Overture to display any needed ledger
lines above or below the selected staff.
• Show Key Signature option. Select this option if you want Overture to display the key signature of
the selected staff. You normally leave this option checked unless you’re notating a non-pitched
instrument, tablature notation, or a strum pattern on a lead sheet.
• Show Time Signature option. Select this option if you want Overture to display the time signature
of the selected staff. You normally leave this option checked unless you’re notating music with no
set meter, or unless you’re notating a tablature staff or a strum pattern on a lead sheet.
• Filled Rests option. Use this option in conjunction with the Options>Show>Filled Measure Rests
command. Select this option if you want Overture to fill empty measures in the current track with
whole measure rests. Deselect this option if you want Overture to leave empty measures in the
current track.
Selecting Flat Beams affects the beams entered subsequently and does not replace slanted beams
previously entered in the track. In order to turn previously entered slanted beams in a track into flat
beams:
1. Select the Flat Beams option in the Setup Track dialog box for the
track whose beams you’d like to flatten.
The beaming rules specified in the Set Meter dialog box create
groups with flat beams for all selected notes. These same rules
create beams if you select Options>Auto Beam. Be careful,
because this will override any manual beaming you’ve performed
on selected notes.
Note:
Percussion tracks default to flat beams. For example, selecting drums from the Instrument pop-up menu
in the Setup Track dialog box automatically uses the percussion clef and selects the Flat Beams option.
Score Menu
• Staff Clefs option. Select this option to display clefs after the first clef in the track. You usually hide
clefs when creating charts for a single instrument that doesn’t require restatement of the clef. Be
careful when hiding clefs because it’s easy to get confused when multiple staves are displayed.
If you insert a clef after the beginning of the piece, Overture displays the first new clef but none
thereafter.
• Key Signatures option. Select this option if you want Overture to display the current key signature
at the beginning of each staff.
• Staff Design area. Use this area to design a custom line arrangement for any staff. Traditional staves
use five lines, but some instruments (particularly percussion) use staves with a different number of
lines. Click the small squares to the right of the Staff Design area to show or hide any of up to
sixteen staff lines. You can even create staves with no lines (these are particularly useful for
The following example shows three staves. The top staff hides the meter, key signature, barlines, clef, and
all lines—it’s used for notating a strum pattern. The second staff contains standard music notation and
shows the meter, key signature, barlines, clef, and 5 lines. The bottom staff is a tablature staff, so it has 6-
lines. As you can see, Overture covers a wide range of notation needs.
Action Buttons
Use this portion of the dialog box to step through staves in a system; cancel your changes; or apply your
changes to the selected staff.
• Previous button. Click this button to apply the changes to the selected track, then step up to display
the attributes of the track immediately above it.
• Next button. Click this button to apply the changes to the selected track, then step down to display
the attributes of the track immediately below it.
• Cancel button. Click this button to close the Setup Track dialog box without applying any of the
changes to the selected track.
• OK button. Click this button to apply the changes to the selected track and close the Setup Track
dialog box.
For the sake of example, assume you’re writing a score for piano and Bb trumpet.
You’ve written both instruments to show their actual pitch, but you want some provision for Overture to
transpose the Bb trumpet part automatically when you extract it. To do so:
1. Double-click the clef or selector handle of the staff you wish to use as the Bb
trumpet track.
Overture opens the Setup Track dialog box for that staff.
Alternatively, click anywhere in the desired staff and choose Score>Setup Track.
Score Menu
Overture displays normal track options and automatically assigns default values
based on your Instrument Name selection.
This indicates that, if you extract this track, Overture will transpose it up two
half-steps (since it’s a Bb trumpet).
Overture changes neither the existing score nor its MIDI playback pitch. In fact, you won’t see any
change at all until you extract the trumpet part. To do so:
Overture saves the extracted part in a file named “<Title> Parts” (where <Title>
is the name of the Overture file from which the parts are extracted) and places it in
the same folder as the application.
The part is transposed such that, when the instrumentalist performs this written
score, he or she actually plays the pitches shown in the figure on page 503.
Note:
General MIDI percussion tracks default to channel 10 for playback. If you change an existing track to a
percussion track and plan on using General MIDI drums, you may need to set the track’s channel to 10
using the Tracks Window.
To do this:
1. Double-click the clef or selector handle of the staff you wish to use as a percussive
track.
Score Menu
Overture opens the Setup Track dialog box for that staff.
Alternatively, click anywhere in the desired staff and choose Score>Setup Track.
3. In the top row (Part 1), select a bass drum sound on pitch C2 from the Pitch/Name
pop-up menu if it is not currently selected and in the second row (Part 2), select a
snare drum on pitch D2 if it is not currently selected.
NOTE: Your Drum Map may contain different drum names from the ones in this
example.
Overture automatically fills in the Head and Position fields with the selections from
the current Drum Map.
Score Menu
4. In the top row, press and hold the mouse on the note head and select the triangle
head from the Head pop-up menu and in the second row, press and hold the mouse
on the X head and select the triangle head .
This sets the kick and snare drum’s notehead to a triangle and X.
5. In the first row, drag the Position indicator to the bottom space.
6. In the second row, drag the Position indicator to the second space from the bottom.
This sets the staff position of the snare to the second space from the bottom.
Overture makes the selected staff a percussive track and changes its clef to a
neutral clef.
To do so:
Score Menu
Overture assigns the new notes standard heads and standard MIDI note numbers
(meaning they won’t play using the expected MIDI sound).
3. In the Graphic window, drag the notes you just entered to the desired pitch.
Overture automatically assigns the correct notehead to the new notes, and they
play the correct sound on your drum module.
Note:
GM stands for General MIDI. The GM # and GM Equivalent describe the same attribute. To save
space, the Instruments library refers to GM #, while the Setup Track dialog box refers to GM
Equivalent.
Specifying a GM Equivalent patch for a track allows it to play correctly in a MIDI setup that doesn’t
include that track’s device. This commonly occurs when Overture files are exchanged between
composers in different environments. For example, a track created on a Proteus/1 would automatically
play correctly on a Kurzweil K2000 using a different Instruments library if the libraries from both
environments correctly used GM Equivalent fields.
The track’s GM Equivalent patch lets Overture search the Instruments library in the new environment
for an instrument that uses the same GM #. If it finds a match, Overture uses the device and patch from
that instrument if that device is known in the current setup. It’s important to realize that the GM# links
MIDI devices in different setups. It is not the actual patch used for the track.
If Overture doesn’t find a match, it uses the device you select in the pop-up menu of the General
Preferences option Remap Unknown Devices To if you select that option. The patch for that track still
needs to be specified so the new device can play the correct sound. If you don’t select Remap Unknown
Devices To, tracks using them will not play. Use the Tracks Window to specify devices and patches for
these tracks.
Score Menu
and assign instruments to your tracks. See “The Instruments Library and the Tracks Window” on page
446 to learn how to do this. This makes the process of updating your files much easier. It also enables you
to take advantage of the Instruments library for your future compositions.
The spaces between staves, spaces between systems, and spaces between groups fields are identical to
the first three Engraver Preferences fields. These fields acquire their initial values from the Engraver
Preferences when Overture is launched and when a new document is opened. Otherwise, they selectively
override the Engraver Preferences.
• Avoid collisions. Selecting this option insures that notes on neighboring staves do not collide with
each other. Overture does this by overriding the staff, system and group spacing when necessary.
• Fill to bottom of page. Selecting this option uses the available space on a partially full page to space
the staves evenly. Overture does this by overriding the staff, system and group spacing.
• All remaining pages. Selecting this option applies the specifications set in the Respace Staves
dialog box to the current page and all remaining pages.
Recalculating a layout causes some measure widths to expand and others to contract. This has the effect
of changing the number of measures in many of the systems and even changing the number of systems
and pages in a score. This greatly improves legibility since it eliminates the collision of note heads, but it
can play havoc with a carefully tweaked score. For this reason, you should recalculate a score before you
fine tune it.
Beat Chart
Beats
Overture calculates new measure widths for all measures in the score based on the
number of measures per system you specify in the Score>Layout Page dialog box.
Beat Chart
Beats
Score Menu
Compare the measures shown in the two figures above. Notice the modified widths and subsequent
increase in note spacing. Notice also that the proportional spacing of beats is the same for both figures.
To protect a measure from the Save>Recalc Layout command, see “Locked Measures” on page 108.
Allotment
This command displays the Allotment table exactly as File>Edit Library>Allotment Table does. Choose
this command either to edit the Allotment table for the current score or to create a new one. See
“Allotment Table” on page 410.
Overture opens the Allotment Table dialog box. This dialog box shows all the
assignments for the current Allotment Table. If you want to edit a different
Allotment Table, choose File>Load Library and select a different Allotment Table
(see “Instruments Library” on page 439 for more information).
In this example, decrease the normal eighth note spacing to 3.0; the dotted eighth
note spacing to 3.4; and the triplet eighth note spacing to 2.8.
3. Use the numericals in the thirty second note column to increase the number of
spaces allotted to all versions of thirty second notes.
In this example, decrease the normal thirty-second note spacing to 2.0; the dotted
thirty-second note spacing to 2.5; and the triplet thirty-second note spacing to 2.2.
You’ve now changed the Allotment Table to minimize the spacing differences between eighth, sixteenth,
and thirty-second notes. When you justify a measure, Overture spaces notes using the Beat Chart derived
from the new Allotment Table.
Score Menu
You can open the Articulation dialog box for individual articulations by double-clicking on them.
Track Option
Use this popup menu to choose which track’s articulations you wish to edit.
Articulation Option
Use this section to choose which articulation you wish to edit.
• Normal - Use this to select the set of standard articulations
Change velocity
value settings
• You can use the attack and duration settings to create rolled chords.
• Use the tremolo settings for creating measures and un-measured tremolos.
Send Options
Use the Send Options portion of the Articulation dialog box to send controller data, program changes, and
key switches, to the output device, or even change to another voice within the track.
Score Menu
• You can tell Overture to use the playback charactersitics of another voice within the Tracks Window.
This is useful for sample libraries that do not use keyswitches.
• You can send key switch data to MIDI or VST devices to switch instruments or modes.
• You can send key program changes to MIDI or VST devices to switch instruments or modes.
• You can send controller data to changes MIDI settings or access effects in MIDI or VST devices or
VST instruments.
This command displays the Engraver dialog box just as Options>Preferences>Engraver does. Choose
this command to edit default layout spacing, element spacing, and line thickness in the score. See
“Engraver Preferences” on page 644.
Note:
The settings in this dialog only affect the current score. The settings in the
Options>Preferences>Engraver dialog are used for defaults in new scores.
offsets
adjustment box
mapping
box
You can move the Music Font Map dialog box around the desktop by dragging its title bar.
The following section describes the elements of the Music Font Map dialog box and how they work
together.
Score Menu
You can use the mapping feature two ways:
• To replace every symbol in one set with the corresponding symbol in another.
To replace chosen symbols in your score with symbols from another music font:
Overture displays the Font Symbol dialog box with the corresponding symbol
highlighted.
Font Name pop-up menu Symbol set
3. If you want the replacement symbol to be other than the highlighted one, select the
one you want.
It highlights.
4. Click OK.
Overture closes the Font Symbol dialog box and displays the replacement symbol in
the box above the symbol to be replaced.
You can use a variety of replacement fonts, if you want, and you are not limited to
symbols whose numbers match exactly.
6. When you are finished, click OK in the Music Font Map dialog box.
Overture closes the box and displays your score with all substitutions as you
specified them.
2. In the new symbol set, click a symbol you want to place precisely.
Overture highlights the symbol and puts an enlarged copy of it into the adjustment
box. A gray copy of the replaced symbol lets you place the new symbol as you
want it with respect to the old symbol.
3. Adjust placement either by pressing and dragging the symbol in the adjustment box
or by changing the numbers in the Offset boxes.
Changes you make in either place affect both, so you can use both methods freely
until you have placed the symbol as you want.
The font mappings disappear. This command has no Undo, so use it with care.
Score Menu
3. Click OK.
Overture saves your font map automatically when you save your score. If you haven't saved it previously,
Overture requests a name as above.
Title Page
Choose this command to specify all the text for your score. You can put a title, instructions, composer,
copyright notice, headers, and footers on your score. When you choose Score>Title Page, Overture
displays the Title Page Text dialog box.
You can move the Title page Text dialog box around the desktop by dragging its title bar.
All the tabs make use of the standard Font dialog box, where you can choose the font, style, and size for
each line of each kind of text you put on your score.
The Instructions tab also provides four lines where you can give whatever instructions you want
(including tempo markings like vivace, for example. Instructions appear above and to the left of the first
system, lined up with the left margin of the page’s systems (ignoring the first system, which you may
have placed differently). You can specify font characteristics and a vertical and horizontal offset for the
instructions.
Score Menu
The Composer tab provides you with four lines for composer information, which appears at the top right
of the title page, right justified to the right margin of the page’s systems. You can specify font
characteristics and a vertical and horizontal offset for the composer information.
The Copyright tab provides you with four lines for copyright information, which appears at the center
bottom of the title page. You can specify font characteristics and a vertical and horizontal offset for the
copyright information.
To put in a copyright symbol ©: On the PC be sure the Num Lock key is on, then hold down Alt while
typing 0169. On the Mac type option g.
To put in a registered sign ®: On the PC be sure the Num Lock key is on, then hold down Alt while typing
0174. On the Mac type option r.
These tabs supply a line for each header or footer. Click the radio button for Header 1/2 or Footer 1/2 to
put in and display the information for that header or footer.
Header 1 appears above the title, at the left margin. Header 2 appears above the title, at the right margin.
Footers appear below the music at the left and right margin. You can line each one up left, center, or right.
Further, you can specify that they reverse positions. You might want that feature if your score is going to
Use the Starting Page field to specify that headers or footers start, not on the first page, but on some other
page, usually the second. This is conventional in books, for example. Use the Page Offset field, then, to
specify how many pages to add or subtract to make pagination as you want it.
You can specify font characteristics for each header and footer.
Use the codes as header or footer text to specify automatic page headers or footers. Overture supplies the
correct text in the header or footer you specify.
Time Code
Where to display
time code on score
Display using
this format
Score Menu
This command displays the Time Code dialog box. Choose this command to show the SMPTE Time
Code for each measure on the display.
Use the Measures menu commands to perform measure-related tasks like inserting and deleting
measures; wrapping measures; setting key, meter and tempo; and justifying symbols in a measure.
Most of these commands are not available until you actually activate a measure. To activate a measure,
click any blank area in the measure.
The following sections discuss each Measures menu command in detail. Measures Menu
Insert
Choose this command to insert one or more blank measures into the score. When you choose the Insert
command, Overture opens the Insert Measure dialog box.
You can move the Insert Measure dialog box around the desktop by dragging its title bar.
1. Decide where you want to insert the blank measures, then click in the measure that
either immediately precedes or follows that location.
2. Choose Measures>Insert.
3. Use the numerical to enter the number of blank measures you wish to insert.
4. Click either the Before current measure or After current measure radio buttons.
If you select Before current measure, Overture places the requested number of
blank measures immediately before the active measure (the measure that contains
the insertion point).
If you select After current measure, Overture places the requested number of blank
measures immediately after the active measure.
Overture inserts the requested number of blank measures in the requested position.
The inserted measures retain the tempo, meter, and key signature of the measure
immediately preceding them.
Delete
Choose this command to delete one or more contiguous measures beginning with the active measure. The
active measure is the measure that contains the insertion point. When you choose the Delete command,
Overture opens the Delete Measure dialog box.
You can move the Delete Measure dialog box around the desktop by dragging its title bar.
3. Use the numerical to enter the number of measures you wish to delete.
Overture deletes the requested number of measures beginning with the active
measure.
Choosing Measures>Increase Measures on System moves a measure from the left of the following
system to the right of the active system, thereby increasing the number of measures in the active system.
Overture does not change the default number of measures for any remaining systems, so measures
continue to wrap throughout the score (that is, the left measure in each system moves to the right of the
preceding system).
If the final system in the score contains more than one measure, Overture simply decreases the number of
measures in that final system. If the final system in the score contains only one measure, Overture moves
it to the right of the previous system and deletes the final system from your score.
1. Using the Arrow Cursor, click any blank spot in the top system to make it the active
system.
Measures Menu
All measures after the active system wrap to the left. Compare the figure below
with the one above.
Choosing Measures>Decrease Measures on System moves a measure from the right of the active
system to the left of the following system, thereby decreasing the number of measures in the active
system. Overture does not change the default number of measures for any remaining systems, so
measures continue to wrap throughout the score (that is, the right measure in each system moves to the
left of the following system).
If the final system in the score contains fewer measures than the default Measures per System value (as
set in the Layout Page dialog box), Overture simply increases the number of measures in that final
system. If the final system in the score contains the same number of measures as are specified in the
Layout Page dialog box, Overture adds a new system containing a single measure.
For example, assume that your score contains eight measures arranged into three systems, and that you
want to change it so that the top system contains only two measures.
1. Using the Arrow Cursor, click any blank spot in the top system to make it the active
system.
Measures Menu
All measures after the active measure wrap to the right. Compare the figure below
with the one above.
Split System
Choose this command to break a system at the current measure.
Region Area
Key Setting
Transpose Options
System Break
Warning Option
You can move the Set Key Signature dialog box around the desktop by dragging its title bar.
Region Options
Use the Region Options portion of the Set Key Signature dialog box to define the measure range covered
by the new key signature. Press the End of Score button to set the through field to the last measure.
Starting Measure
Ending measure
Measures Menu
You can also use the scroll up and down arrows to change the key signature in the Set Key Signature
dialog box:
• The down arrow moves towards fewer sharps and more flats.
Transpose Options
Check the Transpose option if you want Overture to transpose any music affected by the new key
signature automatically.
Original measure
Original measure
If you check the Transpose option, use the Up and Down radio buttons to tell Overture whether to
transpose notes up or down in pitch.
If you transpose a staff that contains chord names, Overture automatically transposes them, as well.
If you click the None button, Overture changes keys without showing any cancellations from the
previous key.
Measures Menu
If you click the Only Changed button, Overture changes keys and shows only those cancellations that
are different from the previous key.
Measures Menu
Color
Click on the color box to choose the color for this key signature.
1. Using the Arrow Cursor, click in a measure to make it the active measure.
Overture applies the key signature to the active measure and all remaining measures
up to the next key signature change.
Quick Meter
Main Meter Select Buttons
Options
Composite Meter
Options
You can move the Set Time Signature dialog box around the desktop by dragging its title bar.
Region Options
Use the Region Options portion of the Set Time Signature dialog box to define the measure range covered
by the new time signature. Press the End of Score button to set the through field to the last measure. Measures Menu
Starting Measure
Ending measure
When you click a Meter Select button, Overture automatically selects a default number of pulses and a
beaming pattern.
Show option
Numerator
numerical
Parentheses option
Pulses
numerical Denominator numerical
Check the Show option if you want Overture to show the inserted time signature. Generally, you want
Overture to show the time signature unless you’ve created a composite meter and are showing it instead
of the main meter.
Check the Parentheses option if you want Overture to place the time signature in parentheses.
Use the time signature’s Numerator numerical to set the number of beats per measure.
Use the time signature’s Denominator numerical to set the note value that receives one beat.
Use the Pulses numerical to set the number of pulses in a meter. The pulses numerical determines how
many pulses (beats) Overture’s beat chart displays (see “Using Beat Charts” on page 104). It also affects
the number of clicks the metronome plays and the beaming pattern used by the measure.
Beat Chart
Pulses
You can play that same 6/8 measure as though it were two groups of three eighth notes. The two groups
make the measure feel as if it has two pulses.
Beat Chart
Pulses
Obviously, pulses are closely related to the measure’s beaming pattern (as discussed in “Beam Pattern
Options” on page 544).
Show option
Parentheses option
Composite Numerator
numericals
Composite Denominator
numericals
Check the Show option if you want Overture to show the specified composite time signature. Often,
Measures Menu
you’ll want to hide the main time signature when showing a composite time signature. Do this by
unchecking the Main Meter Show option.
Check the Parentheses option if you want Overture to place the composite time signature in parentheses.
Use parentheses if you’re also going to show the main time signature.
For example, if you create a 4/4 score, but want each measure performed in an unorthodox manner (such
as 3/8 + 2/8 + 3/8), you can create a composite meter.
You need a special beaming pattern to convey the rhythmic feel of the composite meter. We discuss
beaming patterns in the following section.
Secondaries option
Use the four Primary beam group numericals to set the pattern in which notes are beamed. For example,
in a 4/4 measure, a pattern of 4+4 automatically beams together the first four eighth notes, then the last
four eighth notes.
You don’t have to enter every element of a steady beaming pattern. For example, to enter a beaming
pattern of 2+2+2+2, you only have to enter the first 2.
Secondary beams are the additional beams used to indicate 16th notes, 32nd notes, and so on.
Secondary Beam
Primary Beam
Check the Secondaries option if you want secondary beams to break at a specified number of notes, thus
giving a more accurate picture of the internal rhythm of a measure.
Measures Menu
The figure below illustrates the difference between enabling and disabling this option. When the option is
disabled (top example), the top system gives no warning of the impending change in meter. In the bottom
example, it does.
Important:
Unlike other elements in the Set Time Signature dialog box, the Is Pickup option applies only to the
active measure. This way you can define one measure as a pickup measure without defining the
following measure as standard.
When you define a measure as a pickup measure, the following things occur:
• When Overture plays a pickup measure, it plays the measure exactly as written.
For example, if you created a pickup measure in 4/4 time that had only two quarter notes, Overture
would play the two quarter notes, then play the next measure immediately without waiting two
additional beats.
• Overture ignores pickup measures when searching for incorrect rhythms. To learn how to search an
Overture score for incorrect rhythms, see “Incorrect Rhythms” on page 617.
Note:
Rebarring scores destroys pickup measures. To learn about rebarring a score, see “Rebar” on page 564.
To change the default Alternate Meter Font for new scores, use the Meter’s font button in the Font’s tab
of the Preferences dialog. See “Fonts Preferences” on page 647.
The Settings button opens the Hollywood Lines dialog box which provides options for choosing which
staves the lines should pass through, line thickness, location of endpoints, and vertical placement of upper
and lower meter characters.
1. Using the Arrow Cursor, click within a measure to make it the active measure.
3. Use the dialog box (discussed earlier) to define the meter and its beaming options,
Measures Menu
then click the OK button.
Overture applies the new meter to the active measure and all remaining measures
up to the next meter change.
Region Options
Playback Options
Show Options
You can also open the Set Tempo dialog box by double-clicking on a tempo marking.
You can move the Set Tempo dialog box around the desktop by dragging its title bar.
You can also use the dialog box to apply the tempo to MIDI playback and to show the tempo in your
score, either as a metronome value or as a text description.
There are numerous elements in the Set Tempo dialog box. These are described in the following sections.
Starting Measure
Ending measure
Playback Options
Use the Playback Options portion of the Set Tempo dialog box to define a tempo.
Beat Value
Select Buttons
Use the Beats Per Minute numerical to enter the number of beats you want in a minute.
Click one of the Beat Value Select buttons to define the value of a beat. For example, 100 quarter-note
beats per minute is twice the tempo of 100 eighth-note beats per minute.
Show Options
Use the Show Options portion of the Set Tempo dialog box to determine if you want Overture to display
the tempo and, if so, how you want it displayed.
Show Option
Show Text Option
Check the Show Metronome option if you want to display the tempo in your score.
Check the desired option for displaying the number as a decimal or whole number.
Check the Parentheses option if you checked Metronome and you want to display the metronome
marking in parentheses.
Check the note options radio button if you checked Metronome and you want to change the time
signature but keep the pulse constant and represent it by a different note duration. For example, if the
meter changes from 2/4 to 6/8, you can represent the change as quarter note=dotted quarter.
Check the Show Text option if you checked Show and you want Overture to display the tempo as user-
specified text.
If you selected the Show Text option, use the Tempo Text Field to enter the text you want displayed in
your score.
Measures Menu
You can drag either type of tempo marking independently of the other. In the figure below, the
metronome marking was dragged to the right to make space for it in the Text area.
Font Buttons
There are two font buttons:
• Text Font button: Use this button to open a dialog box in which you select the font that Overture
uses to display the desired Tempo Text in the score.
• Metronome Font button: Use this button to open a dialog box in which you select the font that
Overture uses to display metronome (beats per minute) markings in the score.
For a detailed discussion of the Select Font dialog box, see “Font Button” on page 563.
1. Using the Arrow Cursor, click within a measure to make it the active measure.
3. Enter a tempo and select viewing options, then click the OK button.
Overture applies the tempo to the active measure and all remaining measures up to
the next tempo change.
Editing Tempo
To reposition any tempo mark in the Score window:
1. Move the Arrow Cursor over the tempo mark you wish to move.
1. Move the Arrow Cursor over the tempo mark you wish to move.
To open the Set Tempo dialog box and change an existing tempo:
Measures Menu
Alternatively, if the tempo appears in the score, you can double-click the tempo
mark to open the Set Tempo dialog box.
Repeat Text
Repeat Type
You can move the Set Codas, Segnos, etc. dialog box around the desktop by dragging its title bar.
• Repeat Type. Use this area to select among the most commonly used repeats.
• Repeat Text. Use this area to modify the text used by one of the selected Repeat Types.
Repeat Type
Overture offers eight default repeat notation options.
When you select one of these options, Overture enters default text into the Text area (described in “Text
Editing” on page 558). The following list describes each Type option:
• To Coda . Use this notation in conjunction with either the D.S. al Coda or D.C. al Coda option.
Overture places this symbol at the end of the active measure. When the performer sees this symbol,
he or she knows to jump immediately to the Coda section.
• Coda. Use this notation in conjunction with the To Coda symbol. Overture places the Coda
symbol at the beginning of the active measure. When the performer sees a To Coda symbol in the
score, he or she knows to jump to the beginning of the measure containing the Coda symbol.
• Fine. Use this notation in conjunction with either the D.C. al Fine or D.S. al Fine options. Overture
places the Fine symbol at the end of the active measure. The Fine indicates that this measure is the
final measure in the score.
• D.C. al Coda. Use this notation to indicate that, when the performer finishes the measure, he or she
should jump back to the top of the piece and play to the To Coda sign; at which point, he or she
needs to jump to the Coda section (indicated by the Coda notation).
• D.C. al Fine. Use this notation to indicate that, when the performer finishes the measure, he or she is
to jump back to the top of the piece and play to the Fine sign.
• D.S. al Coda. Use this notation to indicate that, when the performer finishes the measure, he or she
should jump back to the measure containing the segno, then play through to the To Coda sign; at
which point he or she should jump to the Coda section (indicated by the Coda notation). Measures Menu
MIDI Note:
If the Options>Play Style>Repeats option is checked, Overture recognizes and plays all default repeat
markings discussed above. You must enter all the necessary repeat markings in all the required
measures, just as you would for live performers.
Text Editing
When you select one of the eight default Type notations, Overture automatically fills the Text area with
default text. This is the text that appears above the top staff of the active measure when you click the
dialog box’s OK button.
Overture attaches any text from this area to the active measure. Additionally, Overture allows you to enter
either a Segno symbol or a Coda symbol by typing #1 or #2, respectively.
For example:
Text box says “D.S. #1 al Coda #2” Text box says “D.S. al Coda”
Click the Font button to open the Font dialog box. Use the Font dialog box to select the font used to
display repeat text. For more information about the Font dialog box, see “Font Buttons” on page 554.
Starting Measure
Numerical
Color Button
Interval Options
Font Button
Character Options
You can move the Set Measure Numbers dialog box around the desktop by dragging its title bar.
Measures Menu
Note:
Overture doesn’t include pickup measures in the measure numbering sequence. For more information
about pickup measures, see “The Is Pickup Option” on page 547.
Position Setting
Use the Position Setting to position measure numbers. Overture places all measure numbers in the same
relative position in the score (later, you can drag individual measure numbers to change their positions).
Use the two gray lines for reference. Drag the small number 1 to show Overture where you want it to
place all measure numbers.
Interval Options
Use this set of radio buttons to tell Overture how frequently you want measure numbers to appear
throughout your score.
If you click the Page button, Overture places measure numbers over the first measure at the top of the
first system on each page.
If you click the System button, Overture places measure numbers over the first measure at the top of each
system.
If you click the n Measures button, Overture places measure numbers at the interval you specify. Use the
Measures Menu
corresponding numerical to specify the desired interval between measure numbers.
If you click the None button, Overture puts no measure numbers into a score. Select this option to stop
displaying measure numbers (or to hide them for a while).
Use the Prefix numerical to enter up to two characters to use as a prefix for the active measure.
Select one of the Justify options to tell Overture whether you want to place measure numbers to the Left,
Center or Right of the Position Setting.
Character Options
Use this portion of the Set Measure Numbers dialog box if you want Overture to number measures with
letters rather than numbers.
Check the Starts with option if you want Overture to indicate measures with letters rather than numbers.
Use the text entry field to type the letter you want applied to the active measure.
If you click the AA, BB, CC button, Overture follows measure Z with measure AA, then measure BB,
etc.
Font Button
Click this button to open the Font dialog box. Use the dialog box to select the font that Overture uses to
display measure numbers.
Font List
Font Size Field
• Font Style List. Click here to select the font style from the list.
• Font Size List. Click here to select a font size from the list.
• Font Size Field. Use this numerical to enter a font size not included in the Font Size Pop-Up Menu.
1. Using the Arrow Cursor, click a measure to make it the active measure.
Overture numbers measures as requested, beginning with the active measure and
continuing until it sees a measure requesting a different numbering format.
Rebar
Choose this command to rebar the score beginning with the active measure and continuing to the end of
the score. Use the Rebar command to assure that your score contains the correct number of beats in every
measure.
When you choose the Rebar command, Overture analyzes the active measure and, if necessary, moves
the barline so that the measure contains the correct number of beats as defined by its meter. It then
analyzes each of the following measures until the end of the score. Any leftover beats are, therefore,
confined to the final measure in the score.
If, for example, the first measure has too few notes or rests, Overture moves the necessary number of
beats from the beginning of the second measure to the end of the first measure. On the other hand, if the
first measure has too many notes or rests, Overture moves the necessary number of beats from the end of
the first measure to the beginning of the second measure.
Overture always divides any notes or rests as required. For instance, if a measure is short an eighth note,
and the first note in the next measure is a quarter note, Overture splits the quarter note into two tied eighth
notes; the first eighth note appears at the end of the first measure, and the second eighth note appears at
the beginning of the second measure.
Note:
The Rebar command does not affect MIDI playback, but the Graphic window updates to show the new
position of bar lines.
You can move the Set Multi-Measure Rest dialog box around the desktop by dragging its title bar.
There are numerous elements in the Set Multi-Measure Rest dialog box:
• End Cap. Select the type of end cap for the solid line.
• Combine Numerical. Use this numerical to enter the number of measures you wish to group into a
multi measure rest.
• Fill Numerical. Use this numerical to enter the percentage of the measure’s width you wish the solid
line to fill.
• Font Button. Click this button to open the Font dialog box. Use the dialog box to select the font that
Overture uses to display multi-measure rest numbers.
Measures Menu
1. Using the Arrow Cursor, click the first measure you wish to group into a multi
measure rest.
3. In the dialog box, enter the number of measures you want to group into a multi-
measure rest (including the active measure).
In the example below, you want the multi-measure rest to be four bars long (the
current measure plus the three measures following it).
3. In the dialog box, enter the number 1 then click the OK button.
Overture expands the multi-measure rest to show all measures in the score.
To display the number of measures in a multi-measure rest below rather than above the staff, check
Below Staff.
To switch from a normal to a jazz style of rest, click the Jazz radio button.
To change the style of end caps on the rest, click the radio button for Thin, Thick, or None.
Measures Menu
For example, assume you had the music example shown in the following figure, and that you wanted to
fill in the rest of the measure with rests.
To do so:
This is also a quick way to insert rests into any blank measures.
Justify
When you choose this command, Overture calculates a new Beat Chart based on the note values
contained in the measure(s) and on the spacings assigned to them by the current Allotment Table.
Justifying a measure causes the notes within it to change their relative spacings by calculating a new Beat
Chart (based on the current Allotment Table). This greatly improves legibility, though some collision of
note heads may still occur depending on the settings in the Allotment Table.
The example below contains auto-positioned notes (that is, they align with the
existing Beat Charts) that have not yet been justified.
Beat Chart
Beats
2. Activate the measure you wish to justify by clicking a blank space within it.
3. Choose Measure>Justify.
Overture calculates new Beat Charts based on the note values and the spacing
assigned to them by the current Allotment Table.
Beat Chart
Beats
Compare the two Beat Charts above. Notice the modified spacing of the beats and the consequent change
in note spacing.
To protect a measure from the Measures>Justify command, see “Locked Measures” on page 108.
If you need to brush up on your knowledge of Beat Charts, see “Using Beat Charts” on page 104. For a
detailed discussion about Allotment Tables, see “Allotment Table” on page 410.
Notes Menu
Use the Notes menu commands to perform many common Overture tasks like modifying notes,
transposing, beaming, grouping, and converting between traditional notation and raw MIDI data. You
must select notes to activate most of the notes commands. The following sections discuss each command
in detail.
Transpose
Choose this command to transpose a selection of notes. When you choose the Transpose command,
Overture opens the Transpose dialog box.
You can move the Transpose dialog box around the desktop by dragging its title bar.
Note:
The Transpose command does not transpose staves that notate tablature or percussive tracks.
• Chromatic. Transposes selected notes up/down the selected interval without respect to the current
key signature.
• Diatonic. Transposes selected notes up/down the selected interval based on the current key
signature.
The right half of the dialog box has two radio buttons to select transposition direction.
Notes Menu
Interval menu for
Diatonic transposition
For example:
then The resulting transposition raises both the A and C two scale
steps up in F major but different absolute intervals. Overture
transposes the A a minor third to C and the C a major third to
E.
2. Choose Notes>Transpose.
3. Click the radio button next to the type of transposition you desire.
4. Click the radio button next to the direction you want to transpose.
If you perform a chromatic transposition, Overture automatically spells all notes and
accidentals correctly with respect to the key signature.
Notes Menu
Operation Note property Value setting
You can move the Modify Notes dialog box around the desktop by dragging its title bar.
Note:
This command affects only the MIDI playback of notes, not their appearance in the score.
The Modify Notes dialog box always reads like a sentence. For instance, the dialog box shown above
reads “Set duration to 240 units.”
The following note properties are available in the Modify Notes dialog box:
• Duration. Selecting this causes the Modify Notes command to change the durations of selected
notes an amount determined by the Operation pop-up menu and the Value setting.
• Key Velocity. Selecting this causes the Modify Notes command to change the key velocities of
selected notes an amount determined by the Operation pop-up menu and the Value setting.
• Release Velocity. Selecting this causes the Modify Notes command to change the release velocities
of selected notes an amount determined by the Operation pop-up menu and the Value setting.
The following operations are available in the Modify Notes dialog box:
• Set. Select this operation to set the note property of all selected notes to the exact value indicated in
the Value Setting.
For example, if the note property is Key Velocity and the Value Setting is 64, then selecting Set
changes all selected note velocities to 64.
For example, if the note property is Duration and the Value setting is 50%, then selecting Scale
Notes Menu
changes all selected note durations to half their current value.
• Add Amount. Select this operation to add or subtract the Value setting from the note property of the
selected notes. The Value setting ranges from -127 to 127 when you select this operation.
For example, if the note property is Key Velocity and the Value setting is +10, then selecting Add
Amount increases the velocity of all selected notes by a value of 10.
To set whether you want to add or subtract the indicated amount, click to toggle + and -.
• Max Limit. Select this operation to restrict the note property of all selected notes to the maximum
limit indicated in the Value setting. Overture lowers any note properties with values above the
specified limit to the limit and leaves unchanged any note properties with values below the specified
limit.
For example, if the note property is Key Velocity and the Value setting is 100, then selecting Max
Limit limits the maximum velocity of any selected note to a value of 100. Overture sets any notes
with original velocities greater than 100 to a value of 100, and leaves unchanged notes with original
velocities less than 100.
• Min Limit. Select this operation to restrict the note property of all selected notes to the minimum
limit indicated in the Value setting. Overture raises any note properties with values below the
specified limit to the limit and leaves unchanged any note properties with values above the specified
limit.
For example, if the note property is Key Velocity and the Value Setting is 50, then selecting Min
Limit limits the minimum velocity of any selected note to a value of 50. Overture sets any notes with
original velocities less than 50 to a value of 50 and leaves unchanged any notes with original
velocities greater than 50.
• Legato. This operation works only when you set the note property to Duration. Select this operation
to set the duration of each selected note so that it extends a certain percentage of the way to the next
note. Use the Value setting to set the percentage.
For example, if the note property is Duration and the Value setting is 50%, selecting Legato changes
all selected note durations to half their natural values. Quarter notes have the duration of eighth
notes (240 units), eighth notes have the duration of sixteenth notes (120 units), and so on.
The Value setting changes depending on which operation and which note property you’ve selected. See
“Operation Pop-Up Menu” on page 576 for more information about how various operations and note
properties affect the Value setting.
3. Select the desired note property from the Note Property pop-up menu.
5. Use the Value setting numerical to set the desired value for the selected operation.
Humanize
Choose this command to humanize selected notes, that is, to alter their start times, durations and
velocities to give a human playback feel. When you choose the Humanize command, Overture produces
the Humanize dialog box.
1. Using the Arrow cursor, click the first note in the passage to select it (highlighting
Notes Menu
it).
2. Shift-click the final note in the passage to select it (highlighting all the notes
between).
3. Choose Notes>Humanize.
This command affects the velocities, start and end times of notes only, not the notated note value. To
change note value, see “Transcribe” on page 606.
Quantize
Choose this command to quantize selected notes, that is, to round off their start times and durations to
even beats so they can display reasonably on a staff or play back with precision, rather than with
irregularities, the way humans play them. When you choose the Quantize command, Overture produces
the Quantize dialog box.
Change
In this section of the Quantize dialog box, choose to move the start times of notes, their durations, or both.
Options
In this section specify how, exactly, you want the selected notes quantized, in several dimensions.
Strength. The human ear is tuned to the slight imperfections we hear from most musicians. If you quantize
a song so that all notes are perfectly in position, it may end up sounding mechanical or rigid. To avoid
this, Overture lets you adjust the strength of the adjustment. A strength of 100 percent indicates that all
notes are moved so that they are in perfect time, while a strength of 50 percent means that all notes are
moved half-way towards the desired position. This lets you tighten up the timing as much as you want,
without going too far.
Swing. Many songs do not have notes positioned perfectly evenly. For example, songs with a swing feel,
though they may be written all using eighth notes, are often played more like eighth note triplets, with the
first note extended and the second one shortened. The swing option lets you distort the timing so each pair
of notes is spaced unevenly, giving the quantized material a swing feel.
A swing value of 50 percent (the default) means that the timing is even. A value of 66 percent means that
the time between the first and second evenly spaced notes is twice as long as the time between the second
and third. The figure below illustrates the effect of the swing setting on the timing.
Swing = 50%
Swing = 66%
Swing = 33%
Window. When you quantize some portion of a song, notes that are very far from the specified timing
should probably not be moved at all. The window, or sensitivity setting, lets you choose how close to the
resolution a note must be for quantize to move it.
Offset. Normally, the resolution grid is aligned evenly with the start of measures and beats. As an option,
Notes Menu
you can shift the grid earlier or later by any number of clock ticks. If the resolution is a quarter note, and
you’ve set the offset to +3 ticks, then a note that is originally near the beat would be moved three ticks
beyond the beat boundary.
1. Using the Arrow cursor, click the first note in the passage to select it (highlighting
it).
2. Shift-click the final note in the passage to select it (highlighting all the notes
between).
3. Choose Notes>Quantize.
4. Click the radio button next to the resolution note size you need.
5. Click one or both check boxes to specify whether you want to quantize start times,
note durations, or both.
6. Specify percentages for the options Strength, Swing, and Window, and ticks for the
Offset option.
This command affects start and end times of notes only, not the notated note value. To change note value,
see “Transcribe” on page 606.
Redo Pitches
Select this command to replace notes with pitches played from a MIDI keyboard. The selected note will
be replaced with the pitches played on a MIDI keyboard and the note’s duration will be preserved. The
next note will then be selected and will be replaced with any notes from the MIDI keyboard, and so on.
When you are done, select this command to disable Redo Pitches.
Delete
Choose the Delete command to produce a submenu of delete options.
From the Delete submenu, choose the type of note-related symbol you want deleted from the selected
notes. Each delete option is discussed in the following sections.
Beams
Choose this command to remove the beams from all selected notes. For example:
1. Select some beamed notes.
2. Choose Notes>Delete>Beams.
Overture deletes all beams attached to any of the selected notes.
Articulations
Choose this command to remove all articulations and ornaments from the selected notes. For example:
1. Select some notes with attached articulations and ornaments.
Notes Menu
Duplicate Notes
Choose this command to remove duplicate notes from all selected notes. For example:
1. Select some duplicate notes.
Beam
Choose the Beam command to produce a submenu of beaming options.
To beam notes:
Overture beams the selected notes according to one of the options. We discuss
beaming options below.
Based on Meter
Choose this command to beam the selected notes and group them based on the meter of the measure(s).
Define beam groupings in the Set Time Signature dialog box (accessed by choosing Measures>Set Time
Signature). See “Set Time Signature” on page 541 for more information about the Set Time Signature
dialog box.
Manually
Choose this command or press Control[Command]-shift-b to beam all selected notes as a single group
regardless of the meter of the measure(s). This command beams over any selected rests and across
barlines if requested. See “Cross-Bar Beaming” on page 586 for more information. This command
overrides previous beam commands, including the Options>Auto Beam toggle.
Break in Middle
Choose this command to break the beam in the middle. Only the first and last notes will show with a
partial beam on each side. This is used to create glissandos in harp notation.
Normal Beam
Beam broken
in middle
Tremolo Beams
Choose one of the tremolo beam commands to place a tremolo beam across the grouped notes. Tremolo
beams connect only two notes.
• Tremolo 8ths. Choose this command to create an eighth note tremolo beam.
• Tremolo 16ths. Choose this command to create a sixteenth note tremolo beam.
• Tremolo 32nds. Choose this command to create a thirty-second note tremolo beam.
• Tremolo 64ths. Choose this command to create a sixty-fourth note tremolo beam.
Notes Menu
Primary Beam
Secondary Beam
If you create a tremolo beam between quarter notes or larger, Overture automatically indents the primary
beam.
To change the indentation of a secondary beam, drag it with the Arrow Cursor.
To create an indentation for the primary beam, Control[Command]-drag it with the Arrow Cursor.
Beaming Examples
The following are specific examples of some common beaming techniques.
Cross-Staff Beaming
This example shows how to beam across staves:
If you wanted to beam to a lower staff, you would choose Notes>Display on Next Staff. Notes that are
part of a cross-staff beam can be up to two staves above or below the current staff.
MIDI Note:
The Display on Prev Staff and Display on Next Staff commands do not actually move MIDI data from
one track to another; they only change which staff displays the notes.
Cross-Bar Beaming
This example shows how to beam across bars:
Beams that cross barlines wrap to the next system if necessary. Also, Overture can notate simultaneous
cross-bar and cross-staff beams. Simply combine the two techniques.
Notes Menu
1. move the cursor over the end 2. hold down the Control[Command]
of a beam key and drag the beam
to create a feathered beam
For example, when creating a tuplet from six 16th notes you want to be played in the space of one quarter
note, you can either tell Overture to group them as one sextuplet, or as two triplets. Either way, the notes
will share a primary beam, as expected.
• Select the notes using the Tuplet tool, and enter 6 over 4
To create two groups of triplet 16th notes displayed under one "3" bracket, do either of the following:
• Select the notes using the Tuplet tool, and enter 3 over 2
To create two groups of triplet 16th notes displayed with one primary beam but two "3" symbols, one
above each group, perform one of the two steps above, and then do the following:
• Select the Eraser, and click on the bracket surrounding all six notes (this only removes the bracket,
and does not change the notes from triplets to regular notes)
To change the grouping of a group of six 16th notes in a tuplet, do any of the following:
• Select the beam using the Selection (arrow) tool; be sure to click the beam rather than the bracket or
slur (if any)
Group
Choose the Group command to produce a submenu of grouping options.
Overture groups the selected notes according to one of the options in the Group submenu.
Tie
Choose this command to tie together any notes of the same pitch within the selected group. To create a tie
in your score:
2. Choose Notes>Group>Tie.
If you draw a rectangle around a contiguous group of notes, then choose the Tie command, Overture ties
together any notes of the same pitch within the selected group.
You can select a single note and attach a tie mark to it—this lets you create a note that’s tied to a different
place in the score (such as an ending, coda, etc.).
MIDI Note:
Notes Menu
MIDI playback recognizes tie markings. For instance, if you tie two quarter notes together, then your
MIDI module plays the tie as though it were a half note.
Slur
Choose this command to create a slur across all notes in the selected group. To create a slur in your score:
2. Choose Notes>Group>Slur.
If you wrap measures containing slurs (as discussed in “Increase Measures on System” on page 530 and
“Decrease Measures on System” on page 532), Overture keeps all slurs over all notes even if you wrap a
measure onto another system (as shown below).
This slur...
...automatically
wraps when you
change Overture’s
measure layout
Ottava
Choose this command to insert an ottava mark to indicate that the selected notes should be played an
octave higher or lower than written.
1. Using the Arrow Cursor, click the first note in the passage to select it (highlighting
it).
2. Shift-click the final note in the passage to select it (highlighting all the notes
between).
3. Choose Notes>Group>Ottava.
4. Click the radio button next to the type of ottava sign you need.
5. Use the check boxes in the right half of the dialog box to determine how you would
like the ottava sign to appear.
You can remove an ottava mark by clicking it with the Eraser cursor. MIDI playback recognizes the
removal of ottavas and shifts playback pitch accordingly.
See “Ottava Dialog Box” on page 145 for a detailed description of Ottava options.
Notes Menu
Tuplet Value
Tuplet Style
Tuplet Options
• Tuplet Value. Set the tuplet value using the top two fields; the first field sets the number of notes
and the second field sets the duration of the tuplet.
For example, to group three notes into a triplet that would play in the time of two eighth notes, you
would set the Tuplet value to 3/2 (three notes in the time of two).
• Tuplet Style. Click one of the illustrated styles to notate your tuplet in that style.
• Tuplet Options. There are two check boxes for two separate options. Check the Show 2nd Number
check box if you want the second number (the “in the time of” number) to appear in the score. Check
the Change playback durations check box if you want to change the actual MIDI playback times
of the notes you grouped into a tuplet.
Note:
Overture remembers the most recent parameters set in the Tuplets dialog box and opens with these
settings the next time you choose the command.
Overture groups the selected notes into a tuplet of the specified value using the
notation and playback options selected in the Tuplets dialog box.
Glissando ~
Choose this command to connect the selected notes with a wavy glissando. Generally, glissandos connect
two neighboring notes (the highest and lowest in the glissando). If you select more than two notes,
Overture creates a glissando between the first and last notes in the selection.
You can modify the angle and length of any glissando by clicking and dragging either end. You can
modify the vertical or horizontal position of any glissando by clicking and dragging its middle.
Glissando -
Choose this command to connect the selected notes with a straight line glissando. Generally, glissandos
connect two neighboring notes (the highest and lowest in the glissando). If you select more than two
notes, Overture creates a glissando between the first and last notes in the selection.
You can modify the angle and length of any glissando by clicking and dragging either end. You can
modify the vertical or horizontal position of any glissando by clicking and dragging its middle.
Notes Menu
Set the Appearance fields to the desired setting. Use the Display Text Check Box to display text along
the Glissando. Set the type of playback to Diatonic, Chromatic, White Keys, or Last Harp Setting. For
Last Harp Setting, the notes will be determined by the previous Harp Pedal setting found in the score.
Select the Play option to use the Playback setting during playback.
Flip
Choose the Flip command to produce a submenu of flip options.
Overture changes the selected notes according to the command you choose in the Flip submenu.
Original Slur
Note:
Notes>Flip>Direction does not flip articulations or ornaments to the other side of the note. If you wish to
move one of these symbols, drag it with the Arrow Cursor or use the Notes>Flip>Articulations
command.
Enharmonic
Choose this command to change the spelling of a note to its enharmonic. For example, if you select an F#,
then apply the Enharmonic command, Overture changes the note to a Gb.
Sharps to Flats
Choose this command to flip a note from its sharped version to its flatted version. For example, if you
select a G#, this command changes it to an Ab.
Flats to Sharps
Choose this command to flip a note from its flatted version to its sharped version. For example, if you
select Bb, this command changes it to an A#.
Articulations
Choose this command to move all articulations to the opposite side of the note.
Notes Menu
Overture stems the selected notes according to one of the options in the Stem submenu.
Stem Up
Choose this command to make the stems of all selected notes point up.
Step Down
Choose this command to make the stems of all selected notes point down.
Hide Stem
Choose this command to hide the stems of all selected notes.
This is useful when you want to create a tablature staff that shows only frets and strings, but no stems.
Tablature staves are normally used in conjunction with a standard notation staff.
Show Stem
Choose this command to show the stems of any selected notes.
Choose this command to set the stem height to your own specifications. Choosing this item opens the
Stem Height dialog box. Set the numerical field to your stem height or to the default height indicated in
parenthesis.
MIDI Note:
Notes Menu
The Display on Prev Staff command does not actually move MIDI data from one track to another—it
only changes which staff displays the notes. If you wish to move MIDI data to the previous track, use the
Move to Prev Track command (discussed in “Move to Prev Track” on page 598).
Use this command for cross-staff beaming. See “Cross-Staff Beaming” on page 585 for more
information.
MIDI Note:
The Display on Next Staff command does not actually move MIDI data from one track to another—it
only changes which staff displays the notes. If you wish to move MIDI data to the next track, use the
Move to Next Track command (discussed in “Move to Next Track” on page 599).
When you choose this command, Overture actually moves the selected notes to the previous track,
converts them to raw MIDI data, then transcribes them again. This may cause some formatting like beam
adjustments, to be lost.
Use this command to correct split-point transcription errors, for example, when Overture notates a note
played by the right hand as belonging to the left hand.
Note:
The Move to Prev Track command actually moves MIDI data from one track to another. If you wish only
to notate the selected notes on the previous staff (as for cross-staff beaming), use the Display on Prev
Staff command (discussed in “Display on Prev Staff” on page 596).
Notes Menu
1. Select the note you want to
move to the next track.
When you choose this command, Overture actually moves the selected notes to the next track, converts
them to raw MIDI data, then transcribes them again. This may cause some formatting like beam
adjustments, to be lost.
Use this command to correct split-point transcription errors, for example, when Overture notates a note
played by the left hand as belonging to the right hand.
Note:
The Move to Next Track command actually moves MIDI data from one track to another. If you wish
only to notate the selected notes on the next staff (as for cross-staff beaming), use the Display on Next
Staff command (discussed in “Display on Next Staff” on page 597).
Each choice alters the way notes are displayed in a score. This command is particularly useful for altering
the appearance of scores that you’ve entered either by MIDI recording or by importing MIDI files. The
following sections detail each of the notation choices.
Assume, when you recorded a song, that you played a measure containing an arpeggiated C major chord.
But, when you transcribed the song, the chord came out like this:
1. Select the four thirty-second notes and the tied eighth note.
Overture groups the selected notes as an arpeggiated chord and sets the duration of
the chord to the total duration of all the individual notes.
Notes Menu
MIDI Note:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
Assume, when you recorded a song, that you played a short staccato passage. But, when you transcribed
the song, the passage came out like this:
Notice that each note/rest combination is now notated as a single staccato note
with a duration equal to the old note/rest combination.
MIDI Note:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
Assume, when you recorded a song, that you played it using a swing feel. As a result, when you
transcribed the song, eighth note passages came out like this:
1. Select the series of dotted eighth and sixteenth notes you want to re-notate as
swing eighth notes.
Overture notates the selected notes as straight eighth notes. If you wish, you can
add an instruction to your score to play the selected passage in swing time.
Notes Menu
nor does it affect playback unless you select Play Style>As Written or Play Style>In Swing. See “Play
Style” on page 633 for more information about Play Styles.
Assume, when you recorded a song, that you trilled a note. As a result, when you transcribed the song, the
trill came out like this:
MIDI Note:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data.
Assume, when you recorded a song, that you played a triplet. But, when you transcribed the song,
Overture did not notate the triplet correctly (for example, it notated it as an eighth note and two sixteenth
notes.
MIDI Note:
This command changes only the notation of the selected passage; it does not affect the actual MIDI data,
nor does it affect playback unless you select Play Style>As Written. See “Play Style” on page 633 for
more information about Play Styles.
Notes Menu
You’d like to notate these
notes as a turn.
MIDI Note:
This command changes only the notation of the selected passage; it does not affect
the actual MIDI data.
Transcribe
Choose this command to convert the selected raw MIDI data from the Graphic Window or a recording
session into standard music notation. Choose this command also to convert existing notation to a different
appearance after changing the quantization value. Raw data appears in the Score window as long
rectangles. Their vertical position indicates their pitch, and their length indicates their duration.
Overture converts the raw MIDI data into standard music notation.
Notes Menu
This process of converting raw MIDI data into standard music notation happens automatically if you
check the Auto Transcribe option in the Record Options dialog box. (Open this by choosing
Options>Record Options.) While auto transcription may be suitable for simple scores, there are a
couple of reasons you may opt to transcribe raw MIDI data into standard notation manually:
If you select raw MIDI notes individually in the Score window, assign them to a voice, then
manually transcribe them (using the Notes>Transcribe command), you can fine-tune any
complicated voicings in your score.
You can select raw MIDI notes individually in the Score window, select a transcription quantize
amount for just that passage, then manually transcribe the MIDI data into standard music notation
using the Notes>Transcribe command. This eliminates any transcription quantization errors that
may occur from applying a common transcription quantization amount to an entire score. For a
detailed example of this process, see “Transcription Quantization and Manual Transcription” on
page 260.
For more information about auto transcription, see “Record Options” on page 634.
If you don’t like the way Overture voiced a certain passage, you can select it, choose Notes>Notes
to Raw, then selectively transcribe various notes back into standard notation one voice at a time
(using the Notes>Transcribe command).
If Overture transcribes a particular passage incorrectly, select it, choose Notes>Notes to Raw, set a
new transcription quantize amount, then transcribe the raw MIDI data back into standard music
notation using the Notes>Transcribe command. It is easier, however, to use the Notes>Transcribe
command directly on the incorrect passage. For a detailed example of this process, see “Fixing
Transcription Quantization Mistakes” on page 262.
Raw MIDI data appears in the Score window as long rectangles; their vertical position indicates their
pitch, and their length indicates their duration.
Notes Menu
automatically contains four lines to accommodate bass tablature. If you insert the tablature staff below a
treble clef, it automatically contains six lines to accommodate guitar tablature. You can override the
number of lines by configuring the clef in the staff display in the Setup Track dialog box.
Notes to Tablature is enabled only when there is a tablature staff directly beneath the staff containing
selected notes. Create a tablature staff by:
• using the Setup Track dialog box to select the tablature clef. This converts the current staff to a
tablature staff.
Or
• Tuning Parameters. You can assign a pitch to each of the tablature staff lines. You usually assign the
strings to standard guitar or bass tunings if you insert the tablature staff below a treble or bass clef,
respectively. If there are more than six lines in the tablature staff, however, the Tuning section
displays a maximum of eight strings. You can set each string’s tuning field to any valid MIDI note
(C2 to G8), using the mouse or typing the note and octave (i.e. B3).
• Fret Position parameters. Assign the Fret Position by selecting the Floating or Fixed options. Both
options attempt to create tablature in the lowest possible fret position:
- Floating. Overture analyzes each measure in the selection and attempts to create tablature that
stays within the number set in the Finger Span field for each measure.
- Fixed. Overture attempts to create tablature at the fret position entered in the numerical field. If
that fails, Overture attempts to stay within the number set in the Finger Span field.
Assign the fret position relative to a capo position by setting the Capo on Fret numerical field to a
number between 1 and 31. For example, if you set the Capo on Fret field to 4, and the tablature
number for a note is 5, the actual fret number is 9: 5 frets above the capo position. Set this field to 0
if you’re not referencing a capo position.
Notes Menu
Tie
Note:
Since tab notes have durations derived from their source notes in the staff above, deleting the second of
two tied notes creates problems if you justify that measure. If you don’t want to see the second note, make
it invisible
Overture automatically constrains which strings can accommodate a tablature marking. The
tablature marking adopts the appropriate fret number to designate the correct pitch using the
specified string tuning.
Be careful when using this feature because Overture doesn’t prevent you from referencing the wrong
note.
• Show the duration of the tablature note by selecting a note and choosing Notes>Stem>Show Stem.
Before Set Guitar Frame Capo After Set Guitar Frame Capo
(On 3rd Fret and showing
original suffix above frame)
Set to Voice
Choose the Set to Voice command to produce a submenu of Voice selections.
Notes Menu
Choose the Set Playback Voice command to produce a submenu of Playback Voice selections. Choosing
a playback voice tells Overture to play these notes using the settings set in the Tracks’ Window for this
voice. This is useful for instruments that switch to different playing styles within a passage.
For example let’s say we have a violin passage where the first four notes are played legato and the next
four notes are played stacatto.
1. In the Track’s Window set this Track’s voice one set to a legato violin instrument and voice two
to a stacatto violin by specifying different channels (and program changes if needed).
3. Select the second four notes and choose Set Playback Voice>Voice 2.
Overture will play the first four notes using the legato violin intrument and the play the second four notes
using the stacatto violin instrument.
Options Menu
Use the Options menu to set such Overture operating, editing, and display options as auto beaming and
positioning, metronome values, recording choices, and mode selection. The following sections discuss
each option and command in detail.
Show
Press and hold the mouse on the Show command to produce a submenu of show options.
For the most part, the Show submenu contains various visual editing aids. The following sections discuss
each submenu item in detail.
Beat Chart
Select this option to show the beat chart for the active measure (the one containing the insertion point).
Beat charts appear above the top staff in a system and illustrate graphically the location of each beat. You
can change the spacing of notes by clicking and dragging the little square beat handles to new locations.
See ‘Score>Using Beat Charts” on page 104 for more information.
If you select this option when the active measure already shows a beat chart, Overture hides the chart.
You can activate and de-activate beat charts for the current staff by holding down the shift key either
when selecting Options>Show>Beat Charts or when using the keyboard equivalent Alt[Command] /).
Margin
Select this option to show the page margin. You may toggle this option on and off by selecting it
repeatedly. When the option is checked, Overture displays page margins. When the option is not checked,
Overture does not display page margins. To set page margins, use the Page Layout dialog box as
discussed in ‘Score>About the Layout Page Dialog Box” on page 471.
Ruler
Options Menu
Choose this command to display horizontal and vertical rulers on the score. Use them to align staves, text,
and other symbols precisely. Click in the top left corner of the rulers to switch between inches and
centimeters.
Grid
Choose this command to display a grid on the score. This is useful for aligning symbols.
Symbols in Color
Choose this command to display symbols using their assigned color.
Invisibles
Select this option to show any currently invisible music symbols. You may toggle this option on and off
by selecting it repeatedly. When you check the option, Overture’s Score window shows (in grey) any
invisible symbols. When the option is unchecked, Overture hides all invisible notation.
Incorrect Rhythms
When you choose this command, Overture searches your score (beginning with the active measure) for
measures containing either too many beats or not enough beats. If Overture finds an incorrect rhythm, it
beeps and places the insertion point in the offending measure. You may then either correct the measure, or
activate the next measure and continue searching through your score for other incorrect rhythms.
Range Errors
When you choose this command, Overture searches your score (beginning with the active measure) for
any pitches outside specified instrument ranges. If Overture finds a range error, it beeps and places the
insertion point in the offending measure. You may then either correct the error, or activate the next
measure and continue searching your score for other range errors.
Tracks Transposed
When you select this option, Overture displays any transposing tracks (as set in the Setup Track dialog
box) in their transposed keys.
Assume, for example, that you created the conductor’s score shown below, and that the top staff notates a
transposing instrument (in this case, an A Trumpet).
Options Menu
When you select this option, Overture displays the assigned voice names along with the track name to the
left of each system.
System Separations
When you select this option, Overture puts a double-slash mark between one system and the next at the
left side of the score. It doesn’t put a mark between systems if there is only one system displayed. If you
select the command again, Overture will place another separation mark on the right side of the score. If
Chord Positions
When you select this option, Overture displays Chord position indicators in the Score window. You may
toggle this option on and off by selecting it repeatedly. When you check the option, Overture’s Score
window shows a small triangle to the left of the chord names that appear above a score. When the option
is unchecked, Overture hides the Chord position indicators.
Drag a position indicator to adjust the vertical position of an entire line (or lines) of chords.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Shift-click the indicator to reset all chord positions to the baseline position. The shift-click also works
with the Alt[Option] and Control[Command] keystrokes.
For more information, see ‘Score>Moving Chord Names Globally” on page 359.
Note:
Overture cannot display Chord position indicators and Lyric position indicators at the same time.
Options Menu
Lyric Positions
When you choose this option, Overture displays Lyric position indicators in the Score window. You may
toggle this option on and off by selecting it repeatedly. When you check the option, Overture’s Score
window shows a small triangle to the left of each verse in the Score window. When you uncheck the
option, Overture hides the Lyric position indicators.
Drag a position indicator to adjust the vertical position of the entire verse.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
For more information, see ‘Score>Moving Entire Lyric Lines” on page 371.
Note:
Overture cannot display Lyric position indicators and Chord position indicators at the same time.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system
in the score.
Shift-click the indicator to reset all slash note positions to the baseline position. The shift-click also works
with the Alt[Option] and Control[Command] keystrokes.
The position of slash notes on a staff is independent of played pitch (or pitches, if you have entered a
chord). You can transpose slash symbols, affecting the played pitch, without changing their position on a
staff.
Dynamic Positions
Checking this option displays baseline position indicators for dynamics as small triangles to the left of
each staff. Drag a position indicator to adjust the vertical position of dynamics on a staff. When you insert
a dynamic, its baseline will be at this position.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Control[Command]-drag a position indicator up or down to apply the vertical change to remaining system
in the score.
Options Menu
Time Code Positions
Checking this option displays Time Code position indicators as small triangles to the left of each staff.
Drag a position indicator to adjust the vertical position of where Time Code is displayed on a staff.
Alt[Option]-drag a position indicator up or down to apply the vertical change to every remaining system
on that page.
Shift-click the indicator to reset all Time Code positions to the baseline position. The shift-click also
works with the Alt[Option] and Control[Command] keystrokes.
Correct
Select this option if you wish Overture to warn you when you have entered too many notes in a measure
or notes that are out of the instrument’s playable range. The range can be set in the Setup Track dialog.
Justify
When you select this option, Overture automatically spaces any new notes that you enter. When you
check the option, Overture spaces notes according to the measure’s existing Beat Chart, changes the width
of the measure if needed, and respaces the measures along the current system. When you uncheck the
option, Overture displays notes exactly where you enter them. You may toggle this option on and off by
selecting it repeatedly.
For example, the top example below shows some notes entered with the Auto Justify option disabled
(unchecked) and the bottom example shows notes entered with the Auto Position option enabled
(checked).
Auto Position
Disabled
Auto Position
Enabled
MIDI Note:
Overture automatically positions any notes entered by MIDI input or by importing MIDI files regardless
of the status of this option.
If you need to brush up on your knowledge of beat charts, see ‘Score>Using Beat Charts” on page 104.
You’ll find a detailed discussion about allotment tables in ‘Score>Allotment Table” on page 410.
Options Menu
Note:
Overture can automatically space notes using either Options>Auto Justify, Measures>Justify, or
Score>Recalc Layout. All three of these commands affect note spacing differently. To learn the
differences between them, see ‘Score>Automatic Justify” on page 107.
Rests
Select this option to enable Overture’s automatic fill in rests feature. As you enter notes, Overture will fill
in the remaining rests to fill the empty time in the measure. You can replace a rest with a note by clicking
a note at the same horizontal position as the rests.
Transcribe
Select this option to enable Overture’s automatic transcription feature. You may toggle this option on and
off by selecting it repeatedly. When you check Auto Transcribe, Overture automatically transcribes any
recorded MIDI data into standard music notation. When you uncheck the option, Overture displays real-
time MIDI recordings as raw MIDI data, which you can selectively and manually transcribe using the
Notes>Transcribe command.
This menu option duplicates the Auto Transcribe checkbox in the Record Options dialog box. For more
information about auto transcription, see ‘Score>Using the Auto Transcribe Option” on page 636.
Wrap Measures
Select this option when you want Overture to wrap measures to the next system or page when entering
new data. Overture will wrap the measure to the previous system when deleteing data if necessay.
MIDI
In Out
In Out
Computer
MIDI Interface
MIDI Keyboard
When you play the keyboard, its internal hardware produces sound. MIDI information travels from the
keyboard’s MIDI OUT. This path allows communication from the keyboard to the computer.
When MIDI information goes from the computer through the MIDI interface into the keyboard’s MIDI
IN, the synthesizer produces sound. This path allows communication from the computer to the keyboard.
This simple arrangement, allowing both the musician and the computer to play the keyboard, is not
possible for MIDI instruments that don’t produce their own onboard sound, like wind, guitar, drum pad,
and keyboard controllers.
Sound Module
MIDI MIDI
Thru In
MIDI
???
Out
MIDI Controller
MIDI MIDI
Computer In Out
Options Menu
MIDI Interface
When the controller plays, MIDI information goes to the sound module’s MIDI IN causing the module to
create sound. The sound module also routes MIDI information received at its MIDI IN back out its MIDI
Thru to the MIDI interface and computer. This path allows communication from the MIDI controller to
the computer.
The computer can not, however, play MIDI information back to the sound module because the module’s
MIDI IN connection is already in use by the MIDI controller.
Sound Module
MIDI
In MIDI Controller
MIDI MIDI
Thru Out
MIDI MIDI
Computer Out In
MIDI Interface
The controller connects directly to the computer through the MIDI interface. MIDI information travels to
the computer but creates no sound yet. Overture receives the incoming MIDI information but routes it
immediately back to the sound module’s MIDI IN through the MIDI interface. The controller plays the
sound module through the software despite the lack of a direct connection between them. During
Expert Tip:
The preceding discussion intentionally omits more complicated MIDI interfaces and configurations to
illustrate the concept of Keyboard Thru simply.
The Keyboard Thru command lets you to play a master MIDI keyboard, assign a patch, and hear the
output from any sound module in your studio.
For example, assume you have a K2000 keyboard with local control turned off and you want to play it
into Overture while you hear the notes sound on a Proteus/2 set to MIDI channel #1 with a sound. To do
so.
2. Move the mouse over the Thru Instrument button in the Transport window.
3. Press and hold the mouse to open a pop-up menu of MIDI devices.
Options Menu
Overture selects the Proteus/2, MIDI channel #1 as your Thru Instrument and
displays its name in the Thru Device button. For more information about the Thru
Device button, see ‘Score>Thru Device Button” on page 271.
For more information about enabling input devices, see ‘Score>MIDI Devices” on
page 637.
You hear the sound assigned to the Proteus/2, channel #1 since you’ve now told
Overture to send MIDI data from your K2000 to the Proteus/2.
If you delete the rest with Options>Hold Timing selected, the timing of the third and fourth notes will
remain the same, even though the rest has been removed. Use the Hold Timing command to add notes to
a measure without affecting the timing of pre-existing notes and to maintain the timing of the measure
during the editing process.
Note:
The results are unpredictable when transcribing measures that have too many notes.
See ‘Score>Eraser Button” on page 119 for a description of Overture’s behavior when you don’t use the
Hold Timing command.
Metronome
Choose the Metronome command to produce a submenu of metronome options.
Click in Record
Select this option if you want Overture’s metronome to click while you record into Overture. You may
toggle this option on and off by repeatedly choosing it. When the option is checked, Overture’s
metronome plays during recording. When the option is not checked, Overture’s metronome does not play
during recording.
Click in Play
Select this option if you want Overture’s metronome to click whenever Overture plays. You may toggle
this option on and off by choosing it repeatedly. When you check the option, Overture’s metronome plays
Options Menu
during playback. When you uncheck the option, Overture’s metronome does not play during playback.
Metronome Sound
Choose this command to specify the sound used by Overture’s metronome. When you choose the
Metronome Sound command, Overture produces the Metronome dialog box.
Beat Areas
Duration Numerical
Test Button
Velocity Numerical
Note Selection
• Beat Areas. You can set different MIDI note values for different beats. Specifically, you can set a
MIDI note value for the Accented beat (the first beat in a measure), and a different MIDI note value
for the Unaccented beat (the remaining beats in a measure).
• Device Selection. Use this pop-up menu to choose which MIDI device (as defined by your current
setup) to use for the metronome sound.
• Channel Selection. Use this pop-up menu to choose which MIDI device channel to use for the
metronome sound.
• Note Selection. Use this numerical to choose a MIDI note for both accented and unaccented beats.
You can also enter a value by clicking the down-pointing triangle and choosing a note from the pop-
up menu, or by playing the desired note on a MIDI controller.
• Velocity Numerical. Use this numerical to set the MIDI velocity value for both accented and
unaccented beats. You can also enter a value by playing a note with the desired velocity on a MIDI
controller.
• Duration Numerical. Use this numerical to set the MIDI duration for both accented and unaccented
beats.
• Test Button. Click this button to hear a preview of your Metronome sound settings. The tempo and
meter of the test metronome are unrelated to the tempo and meter in your score. This button provides
only a preview of the metronome’s sound.
Overture accents the first metronome click in a measure. The note duration affects
the test metronome’s tempo. The test metronome always allows enough time
between notes for you to hear the entire selected duration.
4. When you’re satisfied with your metronome sound, click the OK button.
Active play styles have a check mark to the left of their names. The following sections describe each play
Options Menu
style in detail.
As Recorded
Select this option if you want Overture to play back your score exactly as recorded. When you select As
Recorded, Overture plays back any timing nuances exactly as you recorded them. It also faithfully plays
any changes you may have made to MIDI data either in the Modify Notes dialog box (as discussed in
‘Score>Modify” on page 575), or in the Graphic window.
In Swing
Select this option if you want Overture to play back your score in swing time. Overture uses a 63% swing
value when you choose this play style.
This means the first half of the beat plays for 63% of the time occupied by the beat, while the second half
plays for only 37% of the beat. For example, if you select the In Swing option and a measure starts with
two eighth notes, the first eighth note will play longer than the second eighth note.
As Written
Select this option if you want Overture to play back your score exactly as written. When you select As
Written, Overture ignores any timing nuances you may have recorded or edited. Basically Overture
plays the start of each note at the exact time as shown on the score.
Record Options
Choose this command to specify various recording options. When you choose Record Options, Overture
produces the Record Options dialog box.
• Split Point is checkbox and value field. Check this option if you want Overture to automatically
split incoming MIDI data into two tracks and notate it on a grand staff. Use the note value field to
define the split point. For more information, see ‘Score>Using the Split Point Option” on page 635.
• Auto Transcribe checkbox. Check this option if you want Overture to automatically transcribe
incoming MIDI data into standard notation. When this box is un-checked, Overture displays raw
MIDI data in the score window. This checkbox duplicates the Options>Auto>Transcribe option.
For more information, see ‘Score>Using the Auto Transcribe Option” on page 636.
• One voice per staff checkbox. You can enable this option only if the Auto Transcribe option is
checked. Check this option if you want Overture to interpret incoming MIDI data as a single voice
• Staccato/Tenuto. Use these checkboxes if you want Overture to automatically place a staccato/
tenuto articulation on notes that are rounded to the nearest quantize value and the duration meets the
set percentage values.
• Record Filters. Use the radio buttons and checkboxes to determine which types of MIDI data you
want Overture to record and which types you want it to ignore.
Options Menu
The Record Options dialog box lets you specify how you want Overture to interpret and assign the MIDI
data it records. To define the recording options:
2. Decide whether you want to check the Split point is, Auto Transcribe, Tuplets,
Staccato/Tenuto on notes, and One voice per staff options.
The Record filters are discussed in ‘Score>Using the Record Filters” on page 637.
Whenever you perform real-time recording, Overture interprets the incoming MIDI
data using the attributes of the Record Options dialog box.
To use this option, your score must contain two adjacent staves; the top staff with a treble clef and the
bottom staff with a bass clef. Overture always assigns the MIDI note value in the split point numerical to
the treble staff. When you record, you can activate a measure in either the treble staff or the bass staff;
Overture correctly divides the notes between the two staves.
If you select the Auto Transcribe option, you also have the choice of transcribing the recorded MIDI
data as single or multiple voices (see “Using the One Voice Per Staff Option” below).
Generally, automatic transcription is useful for most simple recordings. You may find it beneficial to turn
off auto transcription if you’re recording rather complicated tracks with multiple voices. When auto
transcription is off, Overture displays the recorded data as raw MIDI data in the Score window. You can
edit and selectively transcribe sections of raw MIDI data as discussed in ‘Score>Transcribe” on page 606.
Overture notates all auto transcribed data in the Score window using the transcription quantization value
shown in the Tool Bar. For more information about setting a transcription quantization value, see Chapter
27, “Transcription Quantize Amount Button.”
Assume, for example, that you physically play and record the passage below. If you don’t check One
voice per staff, then Overture transcribes the music exactly as shown below.
Voice 1
Voice 2
If, however, you play the passage, but you check One voice per staff, Overture transcribes your input as
a single voice and notates it as shown below.
Options Menu
Unless you choose All, you need to check the selected event types at the bottom of the dialog box. In the
example shown, Overture records all MIDI data except Poly Aftertouch, Old DX7 Aftertouch, and
Portamento Pedal.
MIDI Devices
When you start Overture for the first time, it checks your computer to find all the MIDI input and output
devices you have installed (such as sound cards and MIDI interfaces). However, sometimes you need to
tell Overture exactly which devices you want it to use. If you’re not getting sound from your sound card
or MIDI keyboard, or if you just want to change the MIDI devices that you are using, follow the steps in
this section.
• Input Ports. The left window shows devices on MIDI Input Ports. Make sure that all devices in this
window are highlighted. If a device isn’t highlighted, click on it once to select it for MIDI Input.
• Output Ports. The right window shows devices on MIDI Output Ports. Overture numbers its MIDI
Output Ports by the order of the devices in this window. The device on top is on Port 1, the one
below it is on Port 2, and so on.
Highlight each device in the Output Ports window and click Move Selected Devices to Top to
change its order. Then highlight all the devices that appear in the window to select them for output.
• MIDI Thru Enabled. Check this box if you want the input from your inoput device to be sent to the
output device of the current track.
Options Menu
The top of the Preferences dialog box displays tabs for each of the Preference types. This menu contains
different types of preferences:
• General
• Engraver
• Fonts
• Libraries
• Playback
• Dynamics
• Colors
When you select one of the Preference tabs, the dialog box displays the selected type. The following
sections describe each preference and option in detail.
Options Menu
Use the check boxes to enable (check) or disable (uncheck) various general options. The following
sections discuss these options.
• Checked. When you drag a note vertically in the Score window, its pitch changes chromatically
(according to the twelve-tone scale).
• Unchecked. When you drag a note vertically in the Score window, its pitch changes diatonically
(according to the key of the measure).
• Unchecked. Overture does not remap unknown devices. For example, if someone gives you an
Overture file that references devices that aren’t in your current setup, Overture will not remap the
devices and any tracks using these devices will not play correctly. If you wish, you can open the
Tracks window and assign a device to each unassigned track.
Options Menu
Save folder within the Overture folder.
Middle C is
Use this option to establish how Overture names middle C.
• C3. Overture displays Middle C (MIDI note #60) as C3—a convention adopted by Yamaha and
some other manufacturers.
• C4. Overture displays Middle C (MIDI note #60) as C4—the standard MIDI convention.
• C5. Overture displays Middle C (MIDI note #60) as C5—a convention adopted by some other
manufacturers..
Note Names
Use this option to specify a convention for displaying note names throughout the score:
• Standard. Uses the normal display technique with respect to note names.
Overture identifies pitches by the note name and octave (C#3).
• B = H. Overture identifies pitch B as H and the pitch Bb as B. It identifies other pitches normally.
This convention is prevalent in Germany and other parts of Europe.
• Solfege. Overture identifies pitches based on the Do, Re, Mi, Fa, So, La, Ti, Do convention for the C
major scale. The pitch description includes the octave number and Overture identifies chromatic
pitches as sharp or flat from the C major scale intervals. For example, F#4 is identified as Fa#4.
Spacing
numericals
Page Layout
numericals
• Layout Spacing
• Element Spacing
• Line Thickness
Layout Spacing
When you create a new Overture file, the Spacing numericals (as shown in the figure) define the default
spacing between staves, systems, and groups. Spaces are measured as a number of ledger lines. For
example, if you ask for 5 spaces between staves, Overture will space staves exactly 5 ledger lines apart.
Also, when you choose ‘Score>Respace Staves” on page 512, Overture respaces staves on the current
page according to these numericals (for more information, see ‘Score>Respacing Staves” on page 84).
• spaces between staves. Use this numerical to set the default spacing (in ledger lines) between each
staff.
• spaces between systems. Use this numerical to set the default spacing (in ledger lines) between each
system
Options Menu
Element Spacing
The Element Spacing numericals define default spacing for bar lines, clefs, key signatures, time
signatures and accidentals. A space is the distance between two ledger lines.
• Bar line to clef. Use this to set the default spacing (in quarter spaces) between the initial bar line in
the score and the clef sign.
• Bar line to character. Use this to set the default spacing (in quarter spaces) between each bar line in
the score and the first character in the following measure.
• Clef to note. Use this to set the default spacing (in quarter spaces) between the clef sign and any
note immediately following.
• Clef to other. Use this to set the default spacing (in quarter spaces) between the clef sign and any
other symbol immediately following.
• Key to other. Use this to set the default spacing (in quarter spaces) between the key signature and
any symbol immediately following.
• Meter to other. Use this to set the default spacing (in quarter spaces) between the time signature and
any symbol immediately following.
• Space at End of Bar. Use this to set the default spacing (in quarter spaces) between the the last note/
rest and the barline immediately following.
• Accidental to Note. Use this to set the default spacing (in quarter spaces) between and accidental
and the note immediately following.
Line Thickness
The Line Thickness numericals define default thickness in quarters of a point (where a point is
approximately 1/72 of an inch) for bar lines, beams, staff lines, stems, ties, slurs, and the distance between
beams.
• Bar lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the bar lines.
• Beam lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the beams.
• Stem lines. Use this to set the default thickness (in units of 1/288 of an inch) of all the note stems.
• Beam gap. Use this to set the default distance (in units of 1/288 of an inch) between note beams in
all notes with multiple beams.
• Slur Thickness. Use this to set the default thickness (in units of 1/288 of an inch) at the middle of
the slur.
• Tie Thickness. Use this to set the default distance (in units of 1/288 of an inch) at the middle of the
tie.
Fonts Preferences
To view the font preferences, select Fonts from the Preference tabs.
Options Menu
When you create a new Overture document, it automatically uses the default fonts specified in this dialog
box. There are numerous types of text elements, each of which can have its own default font. Specifically,
you can assign default fonts to:
• Bar numbers
• Endings
• Tempo
• Tablature
• Meter Font. Activate this by checking the Alternate Font option in the Set Tempo dialog box. See
‘Score>The Alternate Font Option and Button” on page 548.
• Page Text
• Rehearsal Marks
• System Text
• Lyrics
• Multi-measure rest. See page 565 to learn how to combine multiple measures of rests into a single
multi-bar rest.
2. Use the dialog box to select the desired default font, size, and style.
The next time you create a new Overture score, the specified element uses this font
as the default.
• Font Pop-Up Menu. Select a new font from the pop-up menu.
• Font Size Pop-Up Menu or List. Select a new size from the pop-up menu.
• Font Size Field. Type a font size not included in the Font Size Pop-Up Menu or List.
• Font Style Options. Check those style options you want applied to the font.
• Font Preview Area. View the effects of your font selections in this area.
Libraries Preferences
To view the library preferences, select Libraries from the Preference tabs.
Options Menu
When Overture launches, it automatically loads the Allotment Table, Chord Symbol Library, Drum Map,
Expressions Library, Instruments Library, and Guitar Frames Library specified in this dialog box.
Note:
The pop-up menu shows only those Libraries stored in the Libraries folder. That folder must be in the
same folder as the Overture application.
Use the Auto Save Changed Libraries checkbox to tell Overture whether or not to save automatically
any changes you may have made to any of the library types. You can either choose to check or to uncheck
this option:
• Checked. If you change any of the five library types without saving them to disk and you quit
Overture, all changes are saved automatically without any warnings or dialog boxes.
• Unchecked. If you change any of the five library types without saving them to disk and you quit
Overture, the libraries will not be saved.
Options Menu
Use the check boxes to enable (check) or disabled (uncheck) various playback options. These playback
options are discussed in the following sections.
• Checked. Whenever you click in a staff, Overture automatically changes the Thru Instrument to
match the Device selected in the Tracks window.
• Unchecked. Overture does not automatically change the Thru Instrument when you click in
different staves—it stays set to the Instrument last selected from the Thru Instrument pop-up menu.
• Checked. When you insert a note or drag it in a score, Overture sends MIDI data to the track’s
output device—this gives you audible feedback of the note’s pitch.
• Unchecked. Overture does not play a note when you insert it or drag it in the Score window,
therefore you receive no audible feedback of the note’s pitch.
• Checked. When you drag a chord, Overture sends the MIDI data for all notes in the chord to the
track’s output device.
• Unchecked. When you drag a chord, Overture sends the MIDI data for just the note the cursor is
pointing to.
Send Sync On
Use this option to specify the device that Overture sends MIDI Start, MIDI Clock, MIDI Continue, and
MIDI Stop, during playback.
Dynamics Preferences
Use the sixteen numericals to specify playback levels for dynamic markings. Each numerical specifies a
MIDI volume level. For more information about Dynamics, see Chapter 20, “Dynamics Button.”
Colors Preferences
Use the radio buttons and popup menus to set default colors for various items in the score.
Options Menu
Use in Playback Option
Options Menu
Use the VST/AU menu commands to load and display VST or AU instruments. The following sections
discuss each option and command in detail.
44.100 khz - The standard sample rate used on most audio CDs.
48.000 khz - A common sample rate, sometimes used on DAT recorders.
96.000 khz - A very high sample rate used for professional audio recordings.
Note: Not all sound cards support all these sample rates.
• Buffer Size. Use this pop-up menu to choose the buffer size. The buffer size also determines the
quality of your sound and recordings. A lower number gives better sound but requires more CPU
usage.
• Audio Driver. Use this pop-up menu to choose which Audio driver to use for your sound card. If
your audio sound card has a dedicated ASIO driver, you should use this driver and not the
Multimedia or DirectX(PC only) drivers .
• 16 Bit and 24 Bit. Set the bit depth for recorded wave files.
Instrument Rack
Select this option to open the VST window. This window allows you to load VST instruments and effects
and adjust the output volume.
• Open and Save Buttons. Use the Save button to save the state of all the instruments and effects in
the rack to a file. Use Open button to load the rack with contents of a saved file.
• Mute. Click on the Mute cell to disable/enable playback for a VST/AU instrument.
• Instrument Popup. Use this pop-up menu to choose a VST/AU instrument to load into the rack or
to remove an existing instrument.
• Instrument Preset. Use this pop-up menu to choose the preset to be used by the VST/AU
instrument. This is only available if the instrument has presets.
• Pre Gain Slider. Use this slider to set the gain(volume) to be sent into the effects rack. Note: The
output from all instruments is sent to this slider
• Effects Popup. Use this pop-up menu to choose a VST/AU effect to load into the rack or to remove
an existing effect.
Options Menu
• Effects Preset. Use this pop-up menu to choose the preset to be used by the VST/AU effect. This is
only available if the effect has presets.
• Master Gain Slider. Use this slider to set the gain(volume) to be sent from the output of the effects
rack to the audio card. Note: The output from all effects is sent to this slider.
Record to File...
Select this option to set the filename for recording and to start the record process. Recording starts when
you press the Space bar or Play button on the Transport. Recording stops when you press the Space bar
again or the Stop button on the Transport.
Windows Menu
Use the Windows menu commands to open (or make active) any Overture window, and to control the
display format of the Score window. A check mark to the left of their names indicates open windows. The
following sections discuss each command in detail.
Tool Bar
Choose this command to produce a submenu of Toolbar windows.
Main Tool Bar
Checking this command displays all of Overture’s notation and other tools. To learn more about the Main
Tool Bar, see Chapter 8, “Part III The Tool Bar”
Transport
Choose this command to open the Transport window. A check mark to the left of the command indicates
an open Transport window. The Transport window (as discussed in Chapter 28, “Transport Window”)
contains buttons to control MIDI recording and playback and a pop-up menu to select the MIDI Thru
Instrument.
Status Bar
Choose this command to display or hide the Status Bar, the bar at the bottom of the Overture window. See
“Status Bar: Page View and Track Controls” on page 70.
Tracks
Choose this command to open the Tracks window. A check mark to the left of the command indicates an
open Tracks window. The Tracks window (as discussed in Chapter 29, “Tracks List Window”) defines the
characteristics of all the tracks in your score.
Graphic
Choose this command to open the Graphic window. A check mark to the left of the command indicates an
open Graphic window. The Graphic window (as discussed in Chapter 30, “Graphic Window (PC)”)
graphically displays the MIDI data in a selected track using piano roll and strip chart displays. You can
use this window to edit any MIDI data in any track. Overture applies any changes you make in the
Graphic window to the Score window and the reverse.
Chords
Choose this command to open the Chords window. A check mark to the left of the command indicates an
open Chords window. Use the Chords window (as discussed in Chapter 32, “Chords Window”) to enter
chord names into a score.
Step Input
Choose this command to open the Step Input window. A check mark to the left of the command indicates
an open Step Input window. Use the Step Input window to enter a score by recording MIDI data one step
at a time. You can enter notes, chords, or rhythmic slashes in the Step Input window.
The Step Input window is particularly convenient if your playing technique is rather poor, or if you want
to quickly enter lead sheet chords and guitar rhythms. For more information about the Step Input window,
see Chapter 34, “Step Input Window.”
Windows Menu
Windows Menu
MIDI Facilities
43 Instrument Assignments
and Definitions (PC)
Assigning Instruments
Use the Options>Instruments command to assign a MIDI instrument definition to each available MIDI
port and channel. The assignments you make determine the MIDI bank names, patch names, note names,
and controller names that you see.
Suppose that you have a Roland GS-compatible synthesizer attached to MIDI port 1. By assigning all
sixteen channels of MIDI port 1 to the Roland GS instrument definition, you ensure that the bank, patch,
note, and controller name lists you see displayed in Overture are the ones that match your synthesizer.
Often, you want to assign a different instrument to channel 10, which is usually used for percussion. For
example, you might assign the Roland GS instrument definition to channels 1 through 9 and 11 through
16, but you would most likely want to assign the Roland GS Drumsets instrument definition to channel
10. If you have several MIDI ports, with a different instrument attached to each one, you would normally
assign a different instrument to each MIDI port.
For convenience, you can assign a block of channels to one instrument and then change the assignment of
one or more of those channels without changing the others. For example, you can highlight all 16
channels of the first MIDI port and assign them to the Roland GS instrument definition. Then, you can
highlight channel 10 of the first MIDI port and assign it to the Roland GS Drumset instrument definition.
Instruments
Channels 1 through 9 and 11 through 16 on the first MIDI port will stay assigned to Roland GS.
You might also want to split channels to different instruments if you have several instruments attached to
a single MIDI port. For example, you might have a Roland synth receiving on MIDI channels 1 through
9, a Roland drum machine receiving on channel 10, and a basic GM-compatible synth receiving on
channels 11 through 16. In this case, you’d use three different instrument definitions for your one and
only MIDI port.
To Assign Instruments to MIDI Ports and Channels
2. Select one or more MIDI ports and channels from the Port/Channel list (use Shift-
click and control-click to select multiple ports and channels).
3. Choose the instrument to which the selected ports and channels should be assigned
from the Uses Instrument list. A black line connects the two lists.
4. To save these changes permanently, check the Save Changes for Next Session box.
From now on, Overture uses the bank, patch, controller, and note names from the
assigned instrument.
2. Select the MIDI ports and channels whose assignments you want to remove from
the Port/Channel list.
3. Choose <default> from the Uses Instrument list. A black line connects the two
lists.
From now on, Overture uses the default bank, patch, controller, and note names.
These instrument definitions are stored in files, organized largely by manufacturer. For example, all the
instrument definitions for Roland gear are stored in the Roland.ins file; all the instrument definitions for
Yamaha gear are stored in the Yamaha.ins file. The file Misc.ins contains miscellaneous instrument
definitions. If you don’t see a file for the manufacturer of your instrument, look in this file to see if it
contains the instrument you are looking for.
When you import an instrument definition, Overture adds it to the master instrument definition file
Master.ins. The contents of this file determines the list of instruments that appear in the Assign
Instruments dialog box.
2. Click Define to display the Define Instruments and Names dialog box.
Instruments
4. Choose the file that contains instrument definitions for your manufacturer, and click
Open. Overture displays a list of all the instrument definitions in the file.
5. Choose one or more instruments from the list, and click OK.
6. Click Close to close the Define Instruments and Names dialog box.
• What are the names of the MIDI Controllers for this instrument?
To collect this information, you need the MIDI documentation for your instrument.
You define instruments in the Define Instruments and Names dialog box.
The Define Instruments and Names dialog box contains two trees:
• The Instruments tree lists all defined instruments and their characteristics
• The Names tree shows all the resources you use to define an instrument
To define an instrument, you drag resources from the Names tree to the appropriate branches on the
Instruments tree. Each resource is color-coded—for example, you can only drag a Names list to an
Instrument tree branch of the same color.
• Create any new name lists that are required for the instrument
• Note names, which are most frequently used to name drum notes, such as kick or snare
The instrument definitions organize all names (patches, notes, controllers, RPNs, and NRPNs) into lists.
You may be able to define a new instrument using existing name lists. For example, two models of
synthesizers made by a particular manufacturer may have identical patch name lists but use different
NRPNs. In this case, you can use the same patch lists for both instruments, but you need to use a different
NRPN list (or perhaps create a new NRPN list) for the second synth.
Instruments
If you want your changes to be remembered the next time you run , check the Save Changes For Next
Session option in the Assign Instruments dialog box before clicking OK. Otherwise, to make only
temporary changes, remove the check from that option.
1. Right-click the word Instruments at the top of the Instrument tree, and choose Add
Instrument from the menu.
The new instrument gets default settings for all of its characteristics
To Delete an Instrument
1. Click Close to close the Define Instruments and Names dialog box.
2. Click OK.
Creating Lists
You can create and edit the various lists that make up each instrument definition. Patch name, note name,
and controller name lists can contain up to 128 entries, numbered 0 through 127. RPN and NRPN name
lists can contain up to 16,384 entries, numbered 0 through 16,383.
1. To create, edit, or work with name lists, follow the directions in the table:
To do this Do this
Create a new name list Highlight a name list and press the Ins (Insert)
key; highlight the folder and press Shift-Insert;
or right-click any folder or name list and choose
Add Names List from the menu. Then enter the
name of the list.
Add the next item in a name list Highlight a name and press the Insert key, or
right-click a name and choose Add Name from
the menu. Then enter the name.
Add a name anywhere in a list Highlight the name of a list and press Shift-
Insert, or right-click the name of a list and
choose Add Name from the menu. Then enter
the name.
Delete names from a list Highlight the Names List or Name, and press
Delete. You can also right-click, then choose
Delete.
Edit a name in a list Highlight the name or name list and press F2, or
right-click and choose Edit from the menu. Then
enter the new name.
• Drag the new list branch onto the General MIDI branch. Overture asks if you want to base NewList
on the General MIDI list.
• Click OK. Overture lists NewList under the General MIDI branch. Any patch names that exist in the
Instruments
General MIDI list apply to NewList, too.
• Add new patch names to NewList. These names override those in the list on which NewList is
based.
If you change your mind about NewList and want to make it a stand-alone, separate list, drag it to the
Patch Names root folder.
Controller 0 only Instruments that only respond to Controller 0 bank select messages
Controller 32 only Instruments that only respond to Controller 32 bank select messages
Patch 100..127 Instruments that let you change banks by sending patch changes between
100 and 127
The bank select method you choose affects the bank numbers that you assign to each patch list, as
described in the following section. Here’s how you compute the bank numbers:
Normal Take the value of Controller 0, multiply it by 128, and add the value of
Controller 32 to derive the bank number. A synthesizer manufacturer
may refer to Controller 0 as the MSB (Most Significant Byte) and to Con-
troller 32 as the LSB (Least Significant Byte).
Patch 100..127 Take the patch number and subtract 100 to derive the bank number.
Here is an example of the Normal bank select method. According to the documentation for the Roland
JV-1080 synthesizer, the PR-A Bank has a Controller 0 value of 81 and a Controller 32 value of 0. You
compute the bank number that you enter in the instrument definition as follows: (81 x 128) + 0 = 10,368.
You can assign a patch name list to each bank. You can also assign a default patch name list to the
instrument, which is used for all banks for which you haven’t assigned a specific list. The previous
section describes how to compute the bank numbers to which each patch name list is assigned.
You can also assign each bank a special Drum flag, which indicates that all patches in that bank contain
drum sounds. If you set this flag, the Graphic window displays drum notes as diamonds, and the Score
will use percussion notation.
1. Expand the instrument definition by clicking the + sign next to the instrument
name.
2. Expand the Patch Names for Banks folder by clicking the + sign. The list expands to
show the bank numbers and the patch name list that is assigned to each bank.
Instruments
patch name list
1. Drag a patch name list from the Names tree to the Patch Names for Banks folder.
2. Enter a bank number, or enter –1 to indicate that this list of patch names should be
used as the default.
Overture displays the updated banks and patch name lists. If necessary, Overture
adds a new bank to the instrument definition.
1. Highlight the bank and patch names list in the Instrument tree.
2. Press the Del key, or right-click on the bank name and choose Delete from the
menu.
1. Right-click on the bank in the Instrument tree, and choose Drums from the menu.
You can assign a note name list to each patch. You can also assign a default note name list to the
instrument, which is used for all patches for which you haven’t assigned a specific note name list.
You can assign each patch a special Drum flag, which indicates that this patch contains drum sounds. If
you set this flag, the Graphic window displays drum notes as diamonds, and the Score uses percussion
notation.
Diatonic The default MIDI note names (like C4, E5, and so on)
General MIDI Drums The default instrument names for the General MIDI
drum patch
2. Expand the Patch Names for Banks folder by clicking the + sign.
3. Continue expanding the tree by clicking the + sign, until the tree
is fully expanded.
Instrument name
Bank
The * indicates that
this note name list is
the default
Note name lists are
This is the name of defined for three
a note name list different patches
1. Drag a note name list from the Names tree onto the Note Names for Patches folder.
2. Enter a patch number, or enter –1 to indicate that Overture should use this list of
note names as the default.
Instruments
Overture displays the updated patch and note name lists. If necessary, Overture
adds a new patch to the instrument definition.
2. Press the Delete key, or right-click the note name list and choose Delete from the
menu.
• Right-click on the patch in the Instrument tree, and choose Drums from the menu.
• Expand the instrument definition by clicking the + sign next to the instrument
name.
Instrument name
1. In the Names tree, expand the branch containing the Controller name list.
2. Drag the desired name list from the Names tree onto the corresponding branch of
the Instrument tree.
Index
A As Written command 633
Audio preferences 655
Accidental
Augmentation dots
extending to end of measure 128
tools 128
Accidentals
Auto Beam command 624
cautionary 133
Auto Correct command 624
mouse entry 130
step-entering 389 Auto Justify command 624
tools 128 Auto Measures command 625
Aftertouch Auto Rests command 625
data display 296 to 299 Auto Save Changed Libraries option 650
Allotment Table dialog box 410 Auto Save Libraries
Allotment Tables effect on Instruments library 441
auto saving changes 650 Auto Transcribe checkbox 636
editing 411, 514 Auto Transcribe command 625
how used by Overture 411
opening 410
overview 108 B
selecting default 649 Banks
Alto Staff tool 234 assigning 674 to 675
Arpeggio assigning patch names to 675 to 676
inserting 167 Bar numerical 71
notating transcribed notes 600 Bar Text
tool 163 copying 210
Arrow Cursor 119, 124, 125 editing 210
Articulations inserting 209, 216, 217
articulating multiple notes 164 repositioning 209
deleting 166 using 208, 216
deleting w/Delete command 582 Bar Text tool 208
inserting 163 Bar width
Jazz 194 changing 106
smart editing 164 Baritone Clef tool
Articulations button 159 modern 230
Articulations palette 160 Barline
articulating multiple notes 164 Close Repeat tool 244
basic techniques 163 deleting 255
tool overview 161 Dotted 244
As Recorded command 633 Double Barline tool 244
Fine tool 244
hiding 256
C
invisible 256 Cautionary accidentals 133
Open Repeat tool 244 C-Clef
Standard Barline tool 244 moving 232
using dotted barlines 246 tool 230
Barlines button 243 Channel
Barlines palette 243 assigning instruments to 667 to 678
basic techniques 245 Chord Names
tool overview 244 definition 344
Barre Settings dialog box 184 editing Suffix library 420
Based on Meter command 584 entering w/Mac keyboard 349
Bass Clef tool 230 entering w/mouse 346
8va Bossa 230 step-entering w/Mac keyboard 353, 355
Bass on Bottom 345 step-entering w/MIDI keyboard 398
Chord Positions command 359, 620
Bass Staff tool 233
Chord Symbol library 413, 436
Beam command 583
auto saving changes 650
Beams
contents 414, 436
automatic beaming 624 creating chord names w/added bass 422
Based on Meter command 584 selecting default 649
Break in Middle command 584 uses 413, 436
changing angle 101 Chord Symbol Library dialog box 413, 436
Controlling Secondary Beaming Groups in
miniature keyboard 417
Tuplets 587
Scrolling library 417
Creating Groups of Beamed Notes in
Show Axis checkbox 416
Tuplets 587
Suffix Elements 415, 437, 439
Cross-Bar 586
Chords
Cross-Staff 585
deleting w/Delete command 582, 583 copying by option-dragging 99
editing 101 definition 344
feathered 587 entering chord names w/Mac keyboard 349
Hide Tuplet Number 584 entering chord names w/mouse 346
Over Rests & Barlines command 584 MIDI recognition 400
Primary patterns 544 step entering 389
removing 102 step-entering chord names w/Mac
Secondary patterns 545 keyboard 353, 355
setting patterns 544 step-entering chord names w/MIDI
Tremolo commands 584 keyboard 398
Beat Charts Chords window 343
and the Justify command 568 Bass buttons 345, 356
hiding 105 Chord Name display 346
showing 104, 616 key equivalents 349, 358
Booklet 458 Root buttons 345, 356
Suffix list 345
Bow marks
Chromatic dragging of notes 97
deleting 166
Clear command 463
inserting 163
tools 161 Clefs
Brace tool 234 8va Bossa Clef tool 230
Bracket tool 234 Bass Clef tool 230
insertion rules 230
Modern Baritone Clef tool 230
Modern Piccolo Clef tool 230
Modern Treble Clef tool 230
680
Moveable C-Clef tool 230 D.C. al Fine 557
moving a C-Clef 232 D.S. al Coda 557
Neutral Clef tools 230 D.S. al Fine 558
scaling with Scale tool 124 Decrease Systems command 481
Treble Clef tool 230 Decrescendo 200
Clefs button 229
creating 200
Clefs palette 229
Index
editing 201, 203
basic techniques 231 tool 196
tool overview 230 DefaultFile 89
Close command 407 Delete command 489, 529, 582
Coda 557 Delete Measure dialog box 529
Composite meters 543 Delete Page command 470
Controllers 295 to 300 Delete Page dialog box 470
adding series of 299 Delete Track 489
assigning, to instruments 678
Diatonic dragging of notes 97
data display 299
deleting 300 Direction command 594
inserting values 299 Display on Next Staff command 597
pane 296 to 300 Display on Prev Staff command 596
Copy command 462 Documentation
Copy notes by option-dragging 98 conventions 4
Count Off 273 reference manual 3
Crescendo 200 Dotted Barline tool 244
creating 200 Dotted barlines
editing 201, 203 using 246
tool 196 Drag cursor 109
Cross-Bar beam 586 Drag Notes Chromatically option 641
Crosshair cursor 109 Draw Hollywood Lines 548
cross-platform compatible 409 Drawing MIDI controller data 339
Cross-Staff Barline tool 234 Drum Map
Cross-Staff beam 585 auto saving changes 650
Cursor creating 429
Arrow 119, 124, 125 editing 429
Crosshair 109 Instruments library 444
Drag 109 note names 431
Eraser 119 notehead assignments 430
Hand 77 opening 426
I-Beam 109 selecting default 649
locating in Graphic window 304 staff position assignments 430
locating with Bar•Beat•Unit display 304 Drum Map dialog box 426
pitch in Graphic window 305 Head column 427
quantizing in Graphic window 306 Name column 428
Scale 121 Pitch column 427
types in Score window 109 Position column 428
Cursor Position display Drum tracks 497
Bar•Beat•Unit meanings 304 Drums Button 187
Cut command 462 Drums Palette 188
articulation 191
rudiment 190
D tool overview 188
D.C. al Coda 557 Duplicate Previous option 378
Duplicate Previous to End option 378
Index 681
Dynamics limiting MIDI data value (Modify Notes
default volume controller 653 dialog) 577
Edit Dynamic dialog box 203, 204, 205, 593 MIDI data in Modify Notes dialog 575
editing position 198 MIDI note duration in Graphic window 314
inserting 196 MIDI note pitch in Graphic window 314
MIDI playback 199 MIDI playback duration (Graphic
scaling with Scale tool 124 window) 338
tools 196 MIDI playback duration (Modify Notes
Dynamics button 195 dialog) 576
Dynamics palette 195 notes (pitch or position) 97
crescendo 200 page text 214
decrescendo 200 rehearsal marks 213
tool overview 196 rests 102
scaling MIDI data (Graphic window) 335
scaling MIDI data (Modify Notes dialog) 577
E slurs 139
staves 234
Edit Dynamic dialog box 203, 204, 205, 593
stems 99
Edit Expression dialog box 221 symbols (general) 97
Appearance section 221 system text 211
Playback section 222 tempo 555
Edit Library command 409 thinning MIDI data 338
Edit menu ties 138
Clear command 463 tremolo beams 585
Copy command 462 trills 152
Cut command 462 tuplets 142
Make Invisible command 466 velocity (Modify Notes dialog) 576
Make Visible command 466, 467 Encore 448
Merge command 463 Endings
Paste command 462 Final Endings tool 244
Paste Special command 463 First Endings tool 244
Select All command 465 Set Ending dialog box 250
Undo command 462 using the Ending tools 249
Editing Engraver preferences 644
adding to MIDI data value (Graphic Enharmonic command 594
window) 336 Entering Guitar Frames with the Mouse 356
adding to MIDI data value (Modify Notes
Entering notes. See Notes (entering)
dialog) 577
Allotment Tables 411, 514 Eraser cursor 119
bar text 209 Events
barlines 245 selecting controller 298
beams 101 Export command 453
Beat Charts 104 Expressions
C-clefs 232 Edit Expression dialog box 221
chord names 420 palette 220
Chord Symbol Library 420 Expressions button 219
clefs 231 Expressions palette 219
Drum Maps 429 Extract Parts
dynamic positions 198 by voice 454
glissandos 141, 146 naming 456
hairpins (crescendos) 201, 203 Extract Parts command 453
hearing notes when dragging 651 Extract Parts dialog box 454
limiting MIDI data value (Graphic
Split field 454
window) 337
682
F tools 176
Feathered beam 587
Fermata G
deleting 166 General preferences 641
inserting 163 Glissando commands 592
tools 163
Glissandos
Index
File menu
creating w/Glissando tool 137
Close command 407
editing 141, 146
Edit Library command 409
straight tool 136
Export command 453
wavy tool 136
Extract Parts command 453
Gospel notation tools 172
Load Library command 448
New command 406 Grace note
Open command 407 entering 133
Page Setup command 457 tool 128
Print command 458 Graphic 289
Quit command 459 Graphic window 301
Revert command 409 Cursor Position display 304
Save As command 408 I-Beam tool 313
Save command 408 inserting notes 321
Files Marquee tool 313
instrument definitions 669 MIDI Instrument button 312
Fill in Rests command 568 Mute button 312
Fine Pencil tool 321
ending playback at 557 Piano Roll (MAC) 303
tool 244 Piano Roll (PC) 290
Fingerings Solo button 312
viewing cursor pitch 305
deleting 149
viewing different tracks 302
entering w/Fingering tools 148
Zoom to Fit button 310
tools 148
Graphics button 225
Fit in Window zoom level 73
Graphics palette 225
Flip command 593
Group
Flip Direction command 594
Glissando - command 592
Flip Enharmonic command 594
Glissando ~ command 592
Font Slur command 589
Chord Suffix elements 416 Tie command 588
Chord Symbol accidentals 418 Group command 588
Chord Symbol roots 418 Groups button 135
codas, segnos, etc. 558
Groups palette 135
endings 250
Measure numbers 563 basic techniques 137
preferences 647 Harp Pedal Setting dialog box 144
selecting default fonts 647 Harp pedal symbol 136
Tempo markings 554 mixed duration tuplets 143
Track names 492 nested tuplets 142
Font menu 217 tool overview 135
tuplets 142
Force Accidentals to Flats option 378
Guitar 345
Force Accidentals to Sharps option 377
Tablature 609
Force Stems Down option 377 Guitar button 181
Force Stems Up option 377 Guitar Frames 355
Fret Guitar palette
Index 683
barre at fret number marking 184 Duration parameters 323
Barre Settings dialog box 184 Size parameters 322
String bend 182 Velocity numerical 325
Instrument
H
assigning type to Track 492
finding range errors 617
Hairpin naming 495
creating 200 range setting 495
default volume controller 653 selecting for tracks (Graphic window) 312
editing 201, 203 selecting for tracks (Tracks window) 283
playback 205 setting MIDI Thru Instrument 271
tools 196 showing name in score 491
Hand cursor 77 transposing 503
Handles 617 Instrument definitions
Harmonics creating 670 to 678
deleting 166 files 669
inserting 163 importing 669
tools 161 name lists 672 to 673
Harp Pedal Settings dialog box 144 saving 672
Instruments
Harp pedal symbol 136
assigning, to ports 667 to 678
Hide Stem command 595
bank assignments 674 to 675
Hide/Show Staves command 485 defining 670 to 678
Hold Timing 119 deleting 672
Hollywood Lines 548 patch names for 675 to 676
Horizontal Pages view option 76 Instruments library 440
abbreviation 443
I
Clear instruments 443
Delete instrument 443
I-Beam cursor 109 Device 445
Import File dialog box 449, 457 Drum Map 444
Importing editing 441
abbreviations for track names 451 General MIDI equivalent 444
clef 452 GM Instruments 440
Encore and MusicTime Files 452 High field 445
markers 451 Insert instrument 443
MIDI files 448, 452 Low field 445
Optimize Staves 451 name 443
percussive clef 450, 452 Orchestral Instruments 440
Remap Unknown Devices 451 Patch 445
templates 450 re-arranging instruments 445
in real-time 273 Resolving device conflicts 447
Saving and naming 442
In Swing command 633
Transpose 445
Incorrect Rhythms command 617 Voices field 445
Increase System command 478 Invisible noteheads 172
Insert command 488, 528 Invisible symbols 466
Insert Measure dialog box 488, 528
Insert Ottava dialog box 145
Insert Page command 470 J
Insert Page dialog box 470 Jazz Articulations palette 194
Insert Track 488 Justify
Insert window 321 locking measures 108
684
Justify command 568 Make Visible command 466, 467
Manual
K
conventions 4
reference manual 3
Key signature Manual Duplex Printing 458
cancelling previous keys 537 Marcato
setting 535 deleting 166
Index
Keyboard inserting 163
controllers 295 tools 161
Keyboard Thru command 626 Margin
setting 473
showing 617
L Markers 451
Layout Page command 471 Measure
Layout Page dialog box 471 activating first in track 72
Library activating last in track 72
Allotment Table 410 automatic width adjustment 513
auto saving changes 650 decreasing number in system 532, 534
Chord Symbols 413, 436 default number per System 471, 646
Drum Map 426 deleting 489, 529
loading 448 filling with rests 568
selecting default libraries 649 increasing number in system 530
Library preferences 649 inserting 488, 528
justifying 568
Load Library command 448
key signature 535
Loading VST instruments 655 meter 541
Locking Measures 108 multi-measure rests 565
Lyric Positions command 371, 621 numbering 559
Lyrics rebarring 564
adding more lyrics to a score 366 tempo 550
adding verses 369 Measure numbers 559
changing fonts 370 enclosures 561
creating the first lyric 364 measure interval 561
flowing from middle of measure 369 positioning 560
melisma 368 Set Measure Number dialog box 561
moving 370 text of 562
multi-note syllables 368 Measures
multi-syllable words 367 Locking 108
multi-words on a single note 363, 368 Measures menu
Lyrics window Delete command 489, 529
Button bar 363 Fill in Rests command 568
Lyric Editing area 364 Insert command 488, 528
Lyric List 362, 363 Justify command 568
Measure column 363 Multi Measure Rest command 565
Name column 363, 364 Rebar command 564
using 364 Set Key command 535
Verse column 363 Set Meter command 541
Voice column 363 Set Numbers command 559
Set Repeats command 556
M Set Tempo command 550
Wrap Left command 530
Make Invisible command 466 Wrap Right command 532, 534
Melisma 368
Index 685
Menu pitch wheel 296
Edit 461 pitch-bend 296
File 405 Play buttons 268
Font 217 randomizing MIDI values 340
Measures 527 Record button 268
Notes 571 recording in real-time 273
Options 615 remapping unknown devices 641
overview 11 scaling data (Graphic window) 335
Score 469 scaling data (Modify Notes dialog) 577
Size 217 selecting notes w/I-Beam tool 318
Style 217 selecting notes w/Marquee tool 316
Windows 659 selecting playback device for tracks (Graphic
Menus window) 312
Options 119 selecting playback device for tracks (Tracks
Merge command 463 window) 283
Meter soloing a track (Graphic window) 312
beam patterns 544 soloing a track (Tracks window) 286
composite meters 543 step entering notes 391
finding incorrect rhythms 617 Stop button 268
setting 541 tempo 516, 517, 535, 541, 551
setting number of pulses 542 thinning data 338
showing before system breaks 546 Thru Instrument 271
Metric measurement units 473 thruing 626
transcription of MIDI data 606
Metronome command 630
transposition defaults 285
Click in Countoff Only 631 volume level defaults 285
Click in Play 631 MIDI file
Click in Record 631
importing 448, 452
Metronome Sound 631
MIDI Through Follows Tracks option 651
Metronome Sound dialog box 631
Mixed Duration Tuplets 143
Middle C
Modify Notes command 575
Middle C is C4 option 643
naming 643 Modify Notes dialog box 575
MIDI Mordents
adding to data value (Graphic window) 336 creating 148
adding to data value (Modify Notes deleting 149
dialog) 577 insertion tutorial 156
chord recognition 400 playback 157
controller data display 329 Set Mordent/Turn dialog box 157
creating Legato playback (Graphic tools 148
window) 338 Move to Next Track command 599
creating Legato playback (Modify Notes Move to Prev Track command 598
dialog) 577 Multi Measure Rest command 565
display/edit non-note data 326 Multi Measure Rest dialog box 565
drawing controller data 339 Multi-Bar Rests checkbox 455
key aftertouch 296 Music
limiting data value (Graphic window) 337 adding character to 295
limiting data value (Modify Notes dialog) 577 MusicTime 448
modifying notes 575
muting a track (Graphic window) 312
muting a track (Tracks window) 286 N
note velocities 296
Piano Roll display (MAC) 303 Nested Tuplets 142
Piano Roll display (PC) 290 Neutral Clef tools 230
686
New command 406 mouse entry w/palette 129
New Score dialog 406 moving 293
Next page button 71 moving chromatically 97
Normal 458 moving diatonically 97
Notate Notes As command 600 moving to other tracks 598, 599
nudging to change pitch 98
Arpeggio 600
nudging to change spacing 104
Index
Staccato 601
recalculating layout 108
Swing Eights 602
removing 98
Trill 603
scaling with Scale tool 123
Triplet 604
selecting 291
Turn 604, 605
selecting and editing 290 to 294
Note names 643
spacing and bar width 106
drum mode 294 spacing automatically 107, 624
of patches 676 to 678 spacing with Beat Charts 104
Note velocity step entering w/Mac keyboard 384
displaying 296 step entering w/MIDI keyboard 391
Noteheads timing 119
changing types 173 tools 128
invisible 172 transcribing automatically 625, 636
percussive 172 with attached articulations 164
picture music 172 Notes button 127
rhythmic 172 Notes Menu
rhythmic slash 172 Notes to Tablature 609
slashes 172 Stem Height 596
standard 172 Tablature Settings dialog box 610
Noteheads button 171 Notes menu
Noteheads palette 171 Beam command 583
basic techniques 173 Delete command 582
tool overview 172 Display on Next Staff command 597
Notes Display on Prev Staff command 596
adjusting spacing 103 Flip command 593
and Allotment Tables 108 Group command 588
auto positioning 107 Modify Notes command 575
changing properties of 293 Move to Next Track command 599
changing value 98, 134 Move to Prev Track command 598
chromatic vs. diatonic dragging 641 Notate Notes As command 600
converting to raw MIDI data 608 Notes to Raw command 608
copying by option-dragging 98 Raw to Notes command 606
deleting 119 Set to Voice command 612, 613
displaying on other staves 596, 597 Stem command 595
dragging to change spacing 104 Transpose command 572
drum mode 294 Notes palette 127
duplicating 98 keyboard equivalents 131
editing 292 tool overview 128
editing (pitch or position) 97 Notes to Raw command 608
entering 129 to 133, 384 to 394 Notes to Tablature 609
erasing 294
Numerical
hearing while editing 651
Hold Timing 119 definition 9
inserting in Graphic window 321 editing 9
justifying 107
Mac keyboard & mouse entry w/palette 131
Index 687
O Page Text
copying 215
Octaves editing 215
shifting in step-entry 388 inserting 214
Opaque text 217 repositioning 214
Open command 407 using 214
Optimize Staves Page Text tool 208
when importing 451 Page View options
Options Menu Horizontal Pages 76
Hold Timing 119 Single Page 75
Options menu Vertical Pages 76
Auto Beam command 624 Palette buttons
Auto Correct command 624 overview 114
Auto Justify command 624 pop-up menus 115
Auto Rests command 625 Palettes
Auto Transcribe command 625 Articulations 160
Auto Wrap Measures command 625 Barlines 243
Instruments command 639 Clefs 229
Keyboard Thru command 626 definition 9
Metronome command 630 Dynamics 195
Play Style command 633 Expressions 219, 220
Preferences command 640, 653 Graphics 225
Record Options command 634 Groups 135
Show Chord Positions 359 horizontal vs. vertical 116
Show command 616 Jazz Articulations 194
Show Lyric Positions 371 Noteheads 171
Ornaments Notes 127
deleting 149 Ornaments 147
deleting w/Delete command 582 Staves 233
inserting 148 Tablature 175
ornamenting multiple notes 149 tearing off 116
Ornaments button 147 Text 207
Ornaments palette 147 Part
basic techniques 148 extracted clef setting 496
tool overview 148 extracted pitch setting 496
Over Rests & Barlines command 584 extracting 453
Parts
extracting by voice 454
P Paste command 462
Page Paste Special command 463
deleting 470 Paste vs. Paste Special 463
dimensioning 472 Patch
inserting 470 assigning note names to 676 to 678
layout 471 names 675 to 676
turning 71 Pause
turning to first 72 inserting 169
turning to last 72 tools 162
Page Dimensions command 472 Pedal mark
Page Dimensions dialog box 473 deleting 166
Use Tiles checkbox 474 inserting 163
Page numerical 71 tools 162
Page Setup command 457 Percent zoom level 73
688
Percussion 2-Up 458
drum mode 294 order of tiled pages 477
noteheads 172 page dimensioning 472
Percussive Staff tool 234 page layout 471
Percussive tracks 497 Print command 458
Piano Roll (MAC) Pulses 542
editing notes in 313 to 325 Punch points 269
Index
overview 303 manually setting 270
Piano Roll (PC) setting by playing 271
editing notes in 290 to 295 using the cursor 270
overview 290 Punch Recording 269
Piano Staff tool 234 Historical origins 269
Piano/Melody Staff tool 234 setting Punch points 269
Piccolo Clef tool
modern 230
Pickups 547
Q
Picture music tools 172 Quantize
Pitch cursor movements in Graphic window 306
selecting 291 transcription 259
Pitch wheel 296 transcription of imported seq files 450
Quantize Cursor On/Off button 307
Play button 268
Quantize Cursor Value button 307
Play Entire Chord While Dragging option 652
Quit command 459
Play from Beginning button 268
Play Notes While Inserting/Dragging option 651
Play Style command 633 R
As Recorded 633
Range Errors command 617
As Written 633
in Swing 633 Raw to Notes command 606
Repeats 634 Real time recording 273
Playback Rebar command 564
disable symbol playback 466 Recalc Layout command 513
enable symbol playback 466, 467 Record button 268
Playback preferences 651 Record filters 637
Plus Record Options command 634
deleting 166 Recording 273
inserting 163 by "drawing" notes in Graphic window 321
tool 161 by entering notes with a mouse 129
Ports by entering notes with the mouse & Mac
assigning instruments to 668 keyboard 131
Preferences Count Off 273
engraver 644 Punch recording 269
font 647 step recording 375
general 641 Recording audio 656
library 649 Redraw Page command 514
playback 651 Rehearsal Mark tool 208
types 640 Rehearsal Marks
Preferences command 640, 653 editing 213
Preferences dialog box 640, 653 inserting 212
Previous page button 71 repositioning 213
Primary beams 544 using 212
Print Remap Unknow Devices option 641
Index 689
Remap Unknown Devices 444, 451, 511 redrawing 514
Repeat scrolling 77
Double Measure Repeat tool 244 selecting between 664
Single Measure Repeat tool 244 turning pages 71
tools 244 Zoom Level pop-up menu 72
using open & close repeats 247 Scrub tool 294
using Sngl & Dbl Repeats 246 locating bad note with 291
Repeats command 634 Secondary beams 545
Respace Staves command 84, 512 Segno 557
Respace Staves dialog box 512 Select All command 465
All remaining pages 512 Selecting
Avoid collisions 512 all MIDI data (including non-note) in a time
Fill to bottom of page 512 range 320
Rests all symbols in discontiguous measures 94
editing 102 all symbols in measure 93
filling measure with 568 all symbols in staff 94
mouse entry 130 contiguous symbols 92
multi-measure 565 discontiguous symbols 91
nudging 103 MIDI notes w/I-Beam tool 318
removing 103 MIDI notes w/Marquee tool 316
step entering w/Mac keyboard 387 notation symbols 89
step entering w/MIDI keyboard 391 notes in a pitch range (Graphic window) 315
tools 128 notes in a time range (Graphic window) 319
Revert command 409 notes of the same pitch (Graphic window) 315
Rhythm noteheads 172 symbols in entire track 95
Roland gear 669 symbols on different staves 95
RPNs (Registered Parameter Numbers) voice 96
Set Ending dialog box 250
data display 299
Set Key command 535
Set Key dialog box
S arrow keys 536
Save As command 408 Set Measure Number dialog box 561
Save command 408 Set Meter command 541
Scale cursor 121 Set Mordent/Turn dialog box 157
Score menu Set Numbers command 559
Decrease Systems command 481 Set Repeats command 556
Delete Page command 470 Set Tempo command 550
Hide/Show Staves command 485 Set Tempo dialog box 516, 550
Increase System command 478 Set to Voice command 612, 613
Insert Page command 470 Set Trill dialog box 155
Layout Page command 471 Setting the VST Folder 657
Page Dimensions command 472 Setup Track command 490
Recalc Layout command 513 Setup Track dialog box 490
Redraw Page command 514 C3 Offset numerical 496
Respace Staves command 512 Instrument options 492
Setup Track command 490 naming tracks 491
Score window opening from Tracks window 288
Bar numerical 71 option key to set attributes 511
cursors 109 Show Abbreviation 443
overview 69 Show Name 443
Page numerical 71 Staff options 500
page view controls 70 Starting Clef menu 496
690
Transposed Clef pop-up 496 default spacing 644
Sforzando definition 6
deleting 166 grouping 238
inserting 163 hiding 485
tools 161 indenting 87
Show Axis checkbox 416 moving horizontally 86
Show Chord Positions command 359 moving vertically 78
Index
Show command 616 Percussive Staff tool 234
Beat Chart 616 Piano Staff tool 234
Chord Positions 359, 620 Piano/Melody Staff tool 234
Handles 617 placing side-by-side 88
Incorrect Rhythms 617 removing from a score 238
Invisibles 617 respacing 84, 512
Lyric Positions 371, 621 scaling throughout score 500
Margin 617 scaling with Scale tool 122
Range Errors 617 setting number of lines 500
Tracks Transposed 618, 619 showing 485
Show Lyric Positions command 371 space between staves 644
space between systems 644, 645
Show Stem command 595
System tool 234
Single Page view option 75 Tablature Staff tool 234
Size menu 217 Tenor Staff tool 233
Slash Treble Staff tool 233
open & closed 172 Stationery pads 407
rhythmic 172 Staves button 233
step entering 395 Staves palette 233
step entering rhythmic slash 397 basic techniques 234
Slur command 589 tool overview 233
Slur tools 135 Stem command 595
Slurs Stem Down command 595
creating w/Slur tool 137 Stem Height dialog box 596
editing 139 Stem Up command 595
flipping 140
Stems
Space between staves numerical 644
assigning direction to voices 282
Space between systems numerical 644, 645
changing direction 100, 595
Staccatissimo changing length 99
deleting 166 editing 99
inserting 163 hiding 100, 595
tool 161 setting height 596
Staccato showing 100, 595
deleting 166 Step Entering
inserting 163 Accidentals 389
notating transcribed notes 601 Chord Names w/Mac keyboard 353, 355
tool 161 Chord Names w/MIDI keyboard 398
Staff Chords 389
adding to a score 234 notes & rests w/Mac keyboard 384
Alto Staff tool 234 notes & rests w/MIDI keyboard 391
arranging 78 rhythmic slashes 397
Bass Staff tool 233 slashes 395
Brace tool 234 stepping through a score 390
Bracket tool 234 Tied Notes 389
choosing what to show 500 Step Input Duration
Cross-Staff Barline tool 234 Constant 382
Index 691
Constant Gap 382 Swing Time
Percent 383 notating transcribed notes 602
Step Input options playing in swing time 633
Duplicate Previous 378 Symbol
Duplicate Previous to End 378 definition 6
Force Accidentals to Flats 378 duplicating 98
Force Accidentals to Sharps 377 editing 97
Force Stems Down 377 selecting 89
Force Stems Up 377 selecting all in discontiguous measures 94
Tie Previous Two Notes 378 selecting all in measure 93
Step Input Velocity selecting all in staff 94
As Played 384 selecting contiguous 92
Constant 384 selecting discontiguous 91
Step Input window 375 selecting entire track 95
Counter 378 selecting on different staves 95
Duration area 381 System
Input Select button 376 arranging 78
key equivalents 391 default number on page 471, 646
Note Size 379 definition 8
Note Size key equivalents 380 putting fewer on a page 481
Options menu 377 putting more on a page 478
Pitch Indicator 379 System Text
Tuplet checkbox 380 copying 211
Type area 376 editing 212
Velocity area 383 inserting 211
Stop button 268 repositioning 211
Strip Chart using 210
Add Amount tool 336 System Text tool 208
density setting 334 System tool 234
drawing data 332
drawing shapes 339
Flat line drawing tool 340 T
Freehand drawing tool 339 Tablature
hiding/showing 330 dialog box 610
I-Beam tool 331 notating 176
Legato tool 338 tools 176
Maximum Limit tool 337 tracks 499
Minimum Limit tool 337 Tablature button 175
opening 326
Tablature palette 175
overview 326
Parabola drawing tool 339 basic techniques 176
Pencil tool 332 tool overview 176
Randomize tool 340 Tablature Settings dialog box 610
Scale tool 335 Capo on Fret 610
selecting controller data 329 Fret Position 610
selecting data 331 Glissandos, Slurs, Ties option 611
selecting data to view 328 Tuning 610
Straight line drawing tool 339 Tablature Staff tool 234
Thin tool 338 Technical support 12
variable tool 335 Templates 407
Strip Chart Pencil Tool 334 Tempo
Style menu 217 display options 155, 157, 517, 551
Suffix button 356 editing 555
692
MIDI playback 516, 517, 535, 541, 551 dynamics 196
setting 550 Eraser 119
Tenor Staff tool 233 Fermata 163
Tenuto Final Endings 244
deleting 166 Fine 244
inserting 163 fingerings 148
tool 161 First Endings 244
Index
Text frets 176
Bar Text tool 208 Grace Note 128
opaque 217 Hairpins 196
Page Text tool 208 Harmonics 161
Rehearsal Mark tool 208 invisible notehead 172
System Text tool 208 Marcato 161
transparent 217 Modern Baritone Clef 230
using bar text 208, 216 Modern Piccolo Clef 230
using page text 214 Modern Treble Clef 230
using rehearsal marks 212 mordents 148
using system text 210 Moveable C-Clef 230
Text button 207 Neutral Clefs 230
Text Only check box 356 notes 128
Open Repeat 244
Text palette 207
Pause 162
tool overview 208 Pedal mark 162
The 289, 290 percussive notehead 172
Thru Instrument 271 Percussive Staff 234
Tie Piano Staff 234
auto-ties over barlines 390 Piano/Melody Staff 234
creating w/Tie tool 137 picture noteheads 172
editing 138 Plus 161
flipping 139 rests 128
step-entering 389 rhythm noteheads 172
tools 136 rhythmic slash head 172
Tie command 588 Scale 121
Tie Previous Two Notes option 378 Sforzando 161
To 290 Single Measure Repeat 244
To Coda 557 Slash noteheads 172
Tool Slur 135
8va Bossa Clef 230 Staccatissimo 161
accidentals 128 Staccato 161
Alto Staff 234 Standard Barline 244
Arpeggio 163 Standard Notehead 172
augmentation dots 128 Straight glissando 136
Bass Clef 230 System 234
Bass Staff 233 Tablature 176
Bow marks 161 Tablature Staff 234
Brace 234 Tenor Staff 233
Bracket 234 Tenuto 161
Close Repeat 244 Text 208
Cross-Staff Barline 234 Tie 136
definition 8 Treble Clef 230
Dotted Barline 244 Treble Staff 233
Double Barline 244 Tremolo 161
Double Measure Repeat 244 trills 148
Tuplet (new) 136
Index 693
Tuplet (reapply) 136 Tablature 499
tuplets 128 transposing 285
Turn 148 viewing in Graphic window 302
Wavy glissando 136 Tracks window 279
Tool Bar Device column 283
Arrow cursor button 119, 124, 125 Mute column 286
Articulations button 159 overview 280
Barlines button 243 rearranging tracks 286
Clefs button 229 Solo column 286
Dynamics button 195 Stem column 282
Eraser button 119 Transpose column 285
Expressions button 219 Voices column 280
Expressions palette 220 Volume column 285
Graphics button 225 Transcription
Groups button 135 correcting for swing time notation errors 602
Guitar button 181 fixing quantize mistakes 262
Jazz Articulations palette 194 notating arpeggios 600
Noteheads button 171 notating staccato notes 601
Notes button 127 notating trills 603
Ornaments button 147 notating triplets 604
overview 113 notating turns 604, 605
palette button overview 114 quantizing 259
pop-up menus 115 Transcription Quantize Amount button 259
Scale button 121 Transparent text 217
Staves button 233 Transport controls 267
Tablature button 175 Transport window 267
Text button 207
Transpose command 572
Transcription Quantize Amount button 259
Tracks Transpose dialog box 572
abbreviated names 491 Transposing
abbreviation 443 in Graphic window 314
definition 7 to match new key signature 536
displaying MIDI data in Piano Roll 290 with Transpose command 572
displaying MIDI data in Piano Roll Treble Clef tool 230
(MAC) 303 modern 230
drum 497 Treble Staff tool 233
MIDI playback devices (Graphic window) 312 Tremolo
MIDI playback devices (Tracks window) 283 beams 584
MIDI volume defaults 285 inserting bowed tremolos 167
moving notes between 598, 599 modifying beams 585
muting (Graphic window) 312 tools 161
muting (Tracks window) 286 Trills
name 443 adding a trill section 150
naming 491 adding accidentals 153
percussive 497 adding mark to score 150
rearranging 286 deleting 149
selecting all notes 95 editing 152
setting number of voices 281 making invisible 466
setup dialog box 490 notating transcribed notes 603
showing name in score 491 playback 155
showing transposed tracks 618, 619 Set Trill dialog box 155
soloing (Graphic window) 312 tools 148
soloing (Tracks window) 286 Tuning button 356
694
Tuplets W
complex 142
correcting transcription errors 604 Window
creating with Tuplet tool 137 Chords 343
editing 142 Graphic 301
hiding number over beam 584 Insert 321
in Step Input 380 overview of types 9
Index
mixed duration 143 Score 69
tool (new) 136 Step Input 375
tool (reapply) 136 Tool Bar 113
tools 128 Tracks 279
Tuplets dialog box 591 Transport 267
Turn Windows menu
creating 148 active Score windows 664
deleting 149 Arrange Icons command 664
making invisible 466 Cascade command 662
notating transcribed notes 604, 605 Chords command 660
playback 157 Graphic command 660
Set Mordent/Turn dialog box 157 Lyrics command 661
tool 148 Open Score windows 664
Step Input command 661
Tile Horizontally command 663
U Tile Vertically command 664
Tool Bar command 659
Undo command 462 Tracks command 660
Use 659 Transport command 660
Use Tiles checkbox 474 Wrap Left command 530
Wrap Right command 532, 534
V
Velocity X
data display 296 X% Zoom Level 73
Verse
creating additional verses 369
Vertical Pages view option 76 Y
Voice Yamaha gear 669
active 96
assigning in tracks 280
definition 7 Z
inactive 96
Zoom In button 308
making invisible 465, 466
pop-up menu 96 Zoom In command 73
selecting 96, 612, 613 Zoom Level
setting number per track 281 100% 73
setting stem direction 282 Fit in Window 73
Volume Controller Number 653 Percentage 73
VST/AU Menu 655 X% 73
Audio Preferences 655 Zoom In 73
Instrument Rack 655 Zoom Out 73
Record to File 656 Zoom Level pop-up menu 72
Set Folder 657 Zoom Out button 309
Zoom Out command 73
Zooming
Index 695
in Graphic window 308
in Score window 72
selected area in Score window 73
to fit in Graphic window 310
Index
Index 696
SONIC SCORES LICENSE AGREEMENT
YOU SHOULD CAREFULLY READ ALL OF THE FOLLOWING TERMS AND CONDITIONS BEFORE USING THIS PROD-
UCT. INSTALLING AND USING THE PRODUCT INDICATES YOUR ACCEPTANCE OF THESE TERMS AND CONDITIONS.
IF YOU DO NOT AGREE WITH THEM, YOU SHOULD PROMPTLY RETURN THE PRODUCT UNUSED AND YOUR MONEY
WILL BE REFUNDED.
1. GRANT OF LICENSE. In consideration of payment of the license fee, Sonic Scores, ("Sonic scores" or the "Licensor") grants to
you, the Licensee, a nonexclusive license to have one person use the enclosed Sonic Scores software product (the "Product") on one
personal computer at a time. If you want to use the Product on more than one personal computer at a time, or if you want to network the
Product, you must obtain separate licenses from Sonic Scores. This license does not grant you any right to any enhancement or update
to the Product. Enhancements and updates, if available, may be obtained by you at Sonic Scores using current standard pricing, terms
and conditions.
2. OWNERSHIP OF THE PRODUCT. Portions of the Product incorporate certain material proprietary to third parties. Sonic Scores
and licensors of Sonic Scores own and will retain all title, copyright, trademark and other proprietary rights in and to the Product. This
License is NOT a sale of the Product or any copy of it. You, the Licensee, obtain only such rights as are provided in this Agreement.
You understand and agree as follows:
2.1. You may NOT make any copies of all or any part of the Product except for archival copies of the computer software components of
the Product as permitted by law,
2.2. You may NOT reverse compile, reverse assemble, reverse engineer, modify, incorporate in whole or in part in any other product or
create derivative works based on all or any part of the Product.
2.3. You may NOT remove any copyright, trademark, proprietary rights, disclaimer or warning notice included on or embedded in any
part of the Product.
2.4. You may NOT transfer the Product unless you permanently transfer the entire Product (including all components and archival cop-
ies, if any), and the person to whom the Product is transferred is informed of and agrees to the terms and conditions of this Agreement.
2.5 You may not use the documentation for any purpose other than to support your use of the SOFTWARE PRODUCT.
2.6 You may not perform engineering analyses of the SOFTWARE PRODUCT, including performance analyses, or benchmark analy-
ses, without the written permission of Sonic Scores.
3. CONTENT RESTRICTIONS. Unless specified elsewhere in your product package, the following restrictions apply to all digitally
recorded sounds, MIDI or Sonic Scores-format song files or rhythm patterns, and printed or digitally reproduced sheet music contained
in the product package (the “content”):
All content is protected by copyright and owned by Sonic Scores or other parties that have licensed these works to Sonic Scores.
Any duplication, adaptation, or arrangement of the content without written consent of the owner is an infringement of U.S. or for-
eign copyright law and subject to the penalties and liabilities provided therein.
You may not synchronize the content with any videotape or film, or print the content in the form of standard music notation,
without the express written permission of the copyright owner.
The content may not be used for broadcast or transmission of any kind.
You may not resell or redistribute the content “as is” (i.e., stand alone) in any way, including for use in sampling or sample play-
back units, or in any sound library product, or in any radio or television broadcast, soundtrack, film or other commercial product
in any media, whether the works remain in their original form or are reformatted, mixed, filtered, re-synthesized or otherwise
edited.
4. LICENSEE'S RESPONSIBILITIES FOR SELECTION AND USE OF THE PRODUCT. Sonic Scores hopes the Product will be
useful to your business or personal endeavors. HOWEVER, GENEISOFT DOES NOT WARRANT THE OPERATION OF THE
PRODUCT OR THE ACCURACY OR COMPLETENESS OF ANY INFORMATION CONTAINED IN THE PRODUCT. You, and
not Sonic Scores, are responsible for all uses of the Product.
5. WARRANTY.
5.1. Limited Warranty. Subject to the other provisions in Articles 4 and 5 of this Agreement, Sonic Scores warrants to you, the original
licensee, that the media on which the Product is recorded will be free of defects in material and workmanship under normal use for a
period of thirty (30) days from purchase, and that the Product will perform substantially in accordance with the user guide for a period
of thirty (30) days from purchase. Sonic Scores's sole responsibility under this warranty will be, at its option, (1) to use reasonable
efforts to correct any defects that are reported to it within the foregoing warranty period or (2) to refund the full purchase price. Sonic
Scores does not warrant that the Product will be error free, nor that all program errors will be corrected. In addition, Sonic Scores makes
no warranties if the failure of the Product results from accident, abuse or misapplication. Outside the United States, these remedies are
not available without proof of purchase from an authorized international source. All requests for warranty assistance shall be directed
to Sonic Scores at the following address:
Sonic Scores
P.O. Box 22826
Charleston, SC 29483 U.S.A.
843-637-4477
5.2. Limitations on Warranties. THE EXPRESS WARRANTY SET FORTH IN THIS ARTICLE 4 IS THE ONLY WARRANTY
GIVEN BY SONIC SCORES WITH RESPECT TO THE ENTIRE PRODUCT; SONIC SCORES MAKES NO OTHER WARRAN-
TIES, EXPRESS, IMPLIED OR ARISING BY CUSTOM OR TRADE USAGE, AND SPECIFICALLY DISCLAIMS THE IMPLIED
WARRANTIES OF NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE. SONIC
SCORES SHALL NOT BE HELD RESPONSIBLE FOR THE PERFORMANCE OF THE PRODUCT NOR FOR ANY LIABILITY
TO ANY OTHER PARTY ARISING OUT OF USE OF THE PRODUCT.
SOME STATES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMI-
TATION MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO
HAVE OTHER RIGHTS WHICH VARY FROM STATE TO STATE.
6. LIMITATIONS ON REMEDIES. Sonic Scores's liability in contract, tort or otherwise arising in connection with the Product shall not
exceed the purchase price of the Product. IN NO EVENT SHALL SONIC SCORES BE LIABLE FOR SPECIAL, INCIDENTAL,
TORT OR CONSEQUENTIAL DAMAGES (INCLUDING ANY DAMAGES RESULTING FROM LOSS OF USE, LOSS OF DATA,
LOSS OF PROFITS OR LOSS OF BUSINESS) ARISING OUT OF OR IN CONNECTION WITH THE PERFORMANCE OF THE
PRODUCT, EVEN IF SONIC SCORES HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES
SO THE ABOVE EXCLUSION OR LIMITATION MAY NOT APPLY TO YOU.
7. U.S. GOVERNMENT RESTRICTED RIGHTS. If you are a government agency, you acknowledge that the Product was developed at
private expense and that the computer software component is provided to you subject to RESTRICTED RIGHTS. The rights of the gov-
ernment regarding its use, duplication, reproduction or disclosure by the Government is subject to the restrictions set forth in subpara-
graph (c)(1)(ii) of the rights in Technical Data and Computer Software clause at DFARS 252.227-7013, and (c)(1) and (2) of the
Commercial Computer Software -- Restricted Rights clause at FAR 52.227-19. Contractor is Sonic Scores.
8. TERMINATION. This License Agreement will terminate immediately if you breach any of its terms. Upon termination, you will be
required promptly to return to Sonic Scores or to destroy all copies of the Product covered by this License Agreement.
9. MISCELLANEOUS.
9.1. Governing Law. The terms of this License shall be construed in accordance with the substantive laws of the United States and/or
South Carolina, U.S.A.
9.2. No Waiver. The failure of either party to enforce any rights granted hereunder or to take any action against the other party in the
event of any breach hereunder shall not be deemed a waiver by that party as to subsequent enforcement of rights or subsequent actions
in the event of future breaches.
9.3. Litigation Expenses. If any action is brought by either party to this Agreement against the other party regarding the subject matter
hereof, the prevailing party shall be entitled to recover, in addition to any other relief granted, reasonable attorneys' fees and litigation
expenses.
9.4. Unenforceable Terms. Should any term of this License Agreement be declared void or unenforceable by any court of competent
jurisdiction, such declaration shall have no effect on the remaining terms hereof.
9.5.Certain components of this software are the property of Progressive Networks and its suppliers. You are not allowed to distribute
these DLLs to others.
YOU ACKNOWLEDGE THAT YOU HAVE READ THIS LICENSE AGREEMENT, UNDERSTAND IT AND AGREE TO BE
BOUND BY ITS TERMS AND CONDITIONS. YOU FURTHER AGREE THAT IT IS THE COMPLETE AND EXCLUSIVE
STATEMENT OF THE LICENSE AGREEMENT BETWEEN YOU AND SONIC SCORES WHICH SUPERSEDES ANY PROPOS-
ALS, OR PRIOR AGREEMENT, ORAL OR WRITTEN, AND ANY OTHER COMMUNICATIONS BETWEEN YOU AND SONIC
SCORES RELATING TO THE SUBJECT MATTER OF THIS LICENSE AGREEMENT.