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7.2 Transposition

SmartScore offers several types of transposition options depending on your needs. You can transpose by key, the most common type of transposition. Transposing by clef is use- ful for transforming one instrument to another written in another clef sign. You can also choose to transpose by altering note pitches only, either considering the active key signa- ture or by ignoring the active key signature. Using the Limit option, you can choose a specified range, part or voice to transpose.

To Transpose your entire ENF document to a new key,

a. Position your cursor inside the first staffline of the score. Press Ctrl + T / Cmnd


+ T for Mac or select the Transpose button in the Toolbar or select Transpose from the Edit menu. The window in Transposition always displays the key signa- ture or clef sign of the active staff. This is your source key.


FIGURE 7 - 7: Transposition window

b. Select a new target key or target clef for the score by selecting either the Key or

Clef tab. Scroll up or down to select a target key signature or target clef.

c. Closest allows SmartScore to automatically choose up or down based on the least number of intervals. To choose the direction manually, select either Up or Down.

NOTE: It is recommended that you fully edit your score before transposing. If your score contains incorrect change-of-key signatures and/or guitar fret and chord symbols, it may be hard to Undo properly. Also, the scanned score won’t transpose and visual checking of pitches will be difficult after transposition.

7.2.1 Transposition Strategy

You can choose two “strategies” for transposing your scores: Link Accidentals to Key

and Keep Line-space.

• Link Accidentals to Key

This choice will consider the target key signature during transposition. If the target key belongs to the opposite class than that of the source key (e.g. transposing from a key with sharps to a target key with flats), then accidentals may be swapped to their harmonic equivalents.

• Keep Line-Space

This choice will retain exact relationships between intervals after transposition is com- pleted. Accidentals will generally remain fixed. No attempt will be made to swap har- monic equivalents of accidentals. For example, c and d# may transpose up to c# and d double-#.

• Transpose Symbols

To transpose guitar fret and chord symbols to match the new target key, check this box. This selection will also move articulations, such as slurs, up or down along with notes and rests. If necessary, guitar fret and chord symbols may move up to avoid collisions with upwardly-transposed notes.

• Ask For New Chord Symbol

This option allows you to accept or change each transposed guitar fret and chord symbol during transposition. Use this option when you know you won’t accept default fretboard patterns or when you know you will need to add new fret and chord symbols to the library.

• Adjust Stems

Stem directions will be maintained unless this box is checked. It is important to remember, however, that adjusting the direction of stems may create voicing problems. Automatic voiceline recognition relies heavily on stem directions. Flipping stems as they cross the mid-staff point can create unexpected results. Best Bet: Adjust Stems = Off. Use Undo (Ctrl + Z / Cmnd + Z for Mac) if necessary.

• Move Notes

Uncheck this box to leave the notes in their original positions. This will transpose only key signatures, leaving notes unchanged... good for mental games, but not much more.

• Change Pitch

This transposes notes without changing the key signature. Select the number of half-steps to move selected notes (harmonic pitch shift). Pitches are moved by a uniform interval while considering the key signature. Change Pitch can be used in conjunction with Limits tab.

TIP:To shift the pitch of a small range of notes, it is easier to use the Select tool (O). image Hold the Shift key down, drag the selected notes up or down.

7.2.2 Limit Transposition

You may limit transposition to a part or voice or to a selected range within the ENF score.

To limit transposition by part, voice or range,

a. Click on the Limit tab at the top of the Transposition window.


FIGURE 7 - 8: Limit Transposition

b. Choose All Parts, or select individual parts by name to transpose. If you select a single part, you may also limit the scope of transposition to a single voiceline. In the Part Voice box, select the voice to transpose.

c. To limit transposition by range, choose Selected Area (range must already be highlighted by the Select tool) or by Measure number.

d. Click OK to transpose with selected limits applied.