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Using SmartScore 3
The default view is the "split screen" view immediately following recognition. An alternative view is the floating "Zoom Window".
b. To increase or decrease zoom view of the window, choose a zoom magnification from View > Zoom Window selection. Available zoom levels are Normal (1x), 2x and 3x magnification.
Use the scroll bar and up/down arrows to the right of the ENF window. You may also use the arrow keys located on your computer keyboard to scroll up, down, left, and right in an ENF document.
Use the "Next page" / "Previous page" buttons located in the Main Toolbaror push the double paging arrows at the lower right-hand corner of the SmartScore window.
While editing, you can quickly jump to any page or measure in ENF file.
d. Checking the Open Target in New View box will open a new ENF at the targeted Part, Page or Measure. Push OK to jump.
All notation objects used in SmartScore can be selected from one of several Tool Palettes. By default, up to 3 palettes remain open at one time. Palettes "recycle" by default, but you may have all open at once.
TIP: To quickly select an alternative Tool Palette, right-click on any open Tool Palette. (Mac: Ctrl + click). All Tool Palettes become available to select. Notice the open palette becomes replaced with the selected palette when in the Recycle mode.
While selecting an alternative palette, you may choose one of 4 modes.
Recycle (Default) changes the secondary open palette when a Quick Key is activated. The Notes palette remains open and does not cycle.
You may also use the function keys along the top of your computer keyboard to choose any of the available Tool Palettes. F1 will reset the palettes to their default display settings.
Hold down the "Shift" key, click on and drag a note head up or down to shift its vertical position in the staff.
TIP: To adjust vertical placement of a rest, hold the SHIFT key down, click and drag the rest up or down.
TIP: Refer to your Quick Keys card for a graphic depiction of all SmartScore keyboard shortcut keys.
The fastest way to choose any object for inserting and changing is to QuickSelect it. Ctrl + Click on any object inside the active staff and the cursor inherits all of that object's attributes.The mouse pointer becomes any object that is QuickSelected.
To insert a note or rest anywhere in the active staffline,
To change the rhythmic value of an existing note or rest,
NOTE: When you QuickSelect (Ctrl + Click) on any object inside the active staff, the palette associated with the object will open.
Press the "X" key of your computer keyboard to toggle between the Delete by Group and Delete Any modes.
In the Delete by Group mode, the cursor becomes an arrow with the selected object type in grey. In the Delete Any mode the cursor becomes an arrow with an "X" next to it.
Delete by Group mode removes any object clicked on that is found in the active Tool Palette but no other object.
NOTE: This delete will remove an entire chord. To remove a single note from a chord, hit the "X" then "Z" (cluster) key. Click a note.
To delete any object in the active staff,
TIP: For the occasional object that does not respond to normal click-to-delete action, use the Select tool. Hit the Delete key to remove all selected objects.
Use the Select tool (letter "O" key) to highlight more than one object. Many functions including mass delete, mass pitch shift, vertical alignment, voice splitting, flipping stem directions and copy/paste work with the Select tool. Its button can be found in the SmartScore toolbar.
To delete a group of objects including notes, rests and symbols,
a. Use the Select tool (O) to select only the range of objects to delete. Do not highlight an entire system.
Occasionally, you might find an area full of incorrectly recognized ties and/or slurs or hairpins. Use this tool to "mass-delete" these objects.
a. Use the Select tool (O) to select an entire region for cleanup. Edit > Select All (Ctrl + A) will select everything on the current page.
b. Hit the "G" key. Only articulations will be deleted. All other notation objects remain unaffected.
b. Hit the Delete key. The system will be deleted. All subsequent systems will scroll upwards replacing the gap.
A group of selected notes on the same staff can be transformed into one beamed group if they are flagged or they can be pitch-shifted at once.
To move a selected group of notes upwards or downwards in pitch,
a. Use the Select tool (O) to select an entire region for cleanup. Edit > Select All (Ctrl + A) will select everything on the current page.
b. Hit the "G" key. Only articulations will be deleted. All other notation objects remain unaffected.
Hit the "D" key. This toggles between Insert a dot and Delete a dot modes. Notice how the cursor alternates between a solid insert dot and grayed-out delete dot.
Any note or rest may be selected with dots of prolongation assigned to it. Select a note or rest from the appropriate palette, then click on the single or double-dot button inside the palette. In Insert mode, the new note/rest will have a dot. In Change mode, a clicked note/rest will acquire a dot.
Hit the "V" key. This toggles you between the solid Insert tie and grayed-out Delete tie modes. To tie two contiguous notes of the same pitch, click on the first note. The "V" tie tool will also insert multiple ties from one chord cluster to the next as long as note pitches match.
NOTE: To over-ride default arc direction, insert ties with a right-click (option + click for Mac). Inserted ties will have reversed arc directions.
To insert only one tie at a time, select the "single tie" button from the "Notes" palette.
With any single flagged note chosen, hit the "A" key. This toggles between Begin beam, Middle beam and End beam note configurations.
The "F" key toggles between flag and beam note attributes of any clicked note. Flag/beam toggle works in both Insert or Change modes.
The "S" key changes the default note stem direction. In Insert mode, toggling the "S" key reverses the default stem direction of an inserted note.
Default stem direction of an inserted note is determined by its vertical position on the staff. Stem direction of inserted notes automatically changes when the cursor crosses the middle line of any staff.
Hit the "S" key before inserting any given note. Or right-click (Windows) while inserting (option + click for Mac).
TIP: To reverse the stem directions of several notes at one time, press the "O" key, drag to select a group of notes. Then press the "S" key to reverse the stem direction of all selected notes.
In Change mode, an existing note stem can be reversed by right-clicking (Windows) on any existing notehead (Option + click for Mac).
Select an accidental from the "Notes" palette. Toggle the "C" key until a white arrow appears and click on a notehead to change.
Press the "X" key with any accidental active in cursor and click on a notehead to remove its associated accidental.
A courtesy accidental is bounded by parentheses and acts as a reminder that a note has an accidental; normally used when notation becomes dense. MIDI playback ignores these "redundant" accidentals.
Press the "R" key to automatically select a quarter rest for editing. "Shift" + "R" will select an eighth rest.
Hit the "I" key to select a standard barline for editing. The "Barlines and Repeats" palette will open as the secondary palette.
The "Dynamics" palette will open as the secondary palette.
The "T" key opens the tuplet (Rhythmic Groups) Palette. Triplet is selected as the default. Drag the mouse to box in the notes/rests to become the selected tuplet. Drag downwards to insert the tuplet above the selected notes/rests. Drag upwards to insert the tuplet below selected notes/rests.
Press the "U" key to automatically open the Unify Score window. Unify the clefs, key and time signatures throughout the entire score. Refer to "Unify Key, Time and Clefs (U)" for details on using this tool.
Push to open any SmartScore-compatible file. Select SmartScore (ENF), Image (TIFF, BMP, PCX), or MIDI file from "Files of Type" pull-down menu. Same as File > Open.
Push to initiate scanning. Same as File > Scan Music > Acquire.
Push to initiate recognition on any pre-scanned image. Same as File > Recognize.
Push to initiate Unify Key, Time and Clefs. Same as Edit > Unify Signatures. See "Unify Key, Time and Clefs (U)" for details.
Push to create ENF score from scratch. Choose ENF score template from "System Type in Score" pull-down menu. Same as File > New > New ENF. See "Creating a New ENF Score from Scratch" for details.
Push Record button to initiate MIDI Recording. All open ENF documents are closed when MIDI recording is launched. A MIDI Piano Roll view opens with Track 1 staged for MIDI recording through an
external MIDI device. Identical to Realtime > Record in MIDI View.
Push to enter Karaoke playback environment.
Push MIDI button to view score in MIDI environment.
Viewing several displays of your score can be extremely useful. It is possible to view several MIDI and ENF views simultaneously.
Push Tile button to display all open TIF/ENF views along with any open MIDI Overview, Piano Roll or Event List views. This is identical to selecting the Window > Tile menu.
SmartScore offers several types of transposition depending on your needs. You can transpose by key, the most common type of transposition. Transposing by clef is useful for transforming parts to instruments written in another clef sign. It is also most helpful for rewriting transposed instrument parts for other transposed/non-transposed instruments. You can also choose to transpose by altering note pitches only, either considering the active key signature or by ignoring the active key signature. Using the Limit option, you can choose a specified range, part or voice to transpose.
NOTE: It is recommended that you carefully edit your score before transposing. If your score contains incorrect change-of-key signatures and/or guitar fret and chord symbols, they will be transposed to "who-knows-where". Remember too that it may become difficult to refer to the original score for visual editing clues after transposing.
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 SmartScore Toolbar or select Transpose from the Edit menu. The window in Transposition always displays the key signature or clef sign of the active staff. This is your source key.
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.
You can choose two "strategies" for transposing your scores: Link Accidentals to Key and Keep Line-space.
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.
This choice will retain exact relationships between intervals after transposition is completed. Accidentals will generally remain fixed. No attempt will be made to swap harmonic equivalents of accidentals. For example, c and d# may transpose up to c# and d double-#.
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.
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.
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.
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.
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 Transpose Limits.
TIP: To shift the pitch of a small range of notes, it is easier to use the Select tool (O). Click-drag to highlight the range of notes. Then, while holding the Shift key down, drag the selected notes up or down.
You may limit transposition to a part or voice or to a selected range within the ENF score.
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.
Use the System Manager to add or delete parts, change part names, apply visibility to parts and voices, extract parts and voices, assign MIDI instrument sounds to parts and voices and to control staff and system spacing. The System Manager displays information about what is found in the active system (the highlighted system). A special display called the Super System which is a sort of "mother system" is also accessible. (See "Active System vs. Super System" on page 104 for more details). Changes made can be applied to the current system, current and following systems, active Score-Part or to the entire score.
b. Press (Ctrl+M / Cmnd+M) or select Edit > System Manager from menu. All parameters of the active system will be displayed including part name, visibility, instrument and staffline, staff and system spacing.
Parts run vertically along the left column along with checkmarks that identify whether they "exist" in the active system. Voices run horizontally.
Part Names in System Manager are directly linked to instrument Names in Instrument Templates. When a Part Name is selected in the System Manager, all playback parameters are derived from Instrument Templates. See "Instrument Templates" for additional information.
a. Highlight a part by clicking on the black dot next to its name. Choose a desired instrument in Part Name column. Notice that MIDI instruments for each voice become updated.
b. If you wish to add a new part name with a unique MIDI instrument assignment, select "Add New Part" from the top of the pull-down list. This will open Instrument Templates and allow you to add a new template, name it and assign any MIDI instrument to it.
Voices inherit MIDI instrument assignments from Instrument Templates initially. You can change MIDI instrument assignment for voices (in Voice mode) or parts (Part mode) in the System Manager or Playback Console.
TIP: Assigning each voice a different MIDI instrument adds richer sound texture and helps in hearing "inner voicings" of the music. Highly recommended for classes in composition.
NOTE: Playback Console and System Manager are linked. Changes made to MIDI instruments in one environment will update the other. MIDI instrument assignments in Instrument Templates are not changed automatically. They can only be changed manually.
In System Manager, click on any voice of any part and select a new MIDI instrument in the pull-down menu.
NOTE: In Playback Console, select a channel (voice color and number) and choose a new MIDI instrument from pull-down menu.
Checkmarks along the far left column identify which parts SmartScore thinks are visible in the active system; they can be turned on or off. Individual parts and/or voices can be isolated or they can be "removed" from a score by selective use of Visibility. Selected parts or removed (un-selected) parts can be extracted to new files without altering the original document.
a. Check or uncheck the Visibility box next to a Part Name to restore or remove visibility of that Part.
b. Select Visibility in the Apply field and choose a scope from the "Apply To" pull-down menu. See "Applying changes to the score" for details on "Apply To" options.
c. Push Apply to apply to the current document or Apply to New to extract part(s) to or remove part(s) from a new ENF document.
TIP:Part and voice extraction/removal can also be controlled in an entirely different way by using the Score Structure feature. See "Score Structure" for more details on how to isolate, recombine and/or remove parts and voices from a score.
Changes you make to System Manager will apply to the area of interest you select in the "Apply To" pull-down menu:
Applies the change to all systems of the score (including Super System). Used when you want a change to be globally applied.
Creates and opens a new ENF document with changes applied to it. This action does not affect the original document which remains open behind the newly-created ENF document (Minimize window of topmost document to view other open ENF files.)
TIP: Apply to New is useful when you want to extract parts or voices to a new ENF document without affecting the original.
Controlling System will determine whether selected values apply to the active system or to the Super System. Since the active and the Super System may have completely different values, changes you make to the score are controlled by which you controlling system you select.
Controlling System = Super is used to add or remove parts from the score. See "Active System vs. Super System" on page 104.
b. To make added part visible, change Controlling System to Active. Insert Visibility check mark next to Part Name and in the Apply region below the parts matrix.
c. When the Apply To option = Score, the part will be visible in all systems. When System is selected, part is visible only in active system. Visibility in subsequent systems = System + . Push OK.
a. Inserting or removing parts may affect continuity of instrument playback. See "Re-link Parts" for more information.
Basic characteristics of all parts (ENF staves) are inherited from Instrument Templates. These include name, abbreviation, MIDI instrument, playback transposition and color (when Color = Part mode). When an instrument is selected from the Part Name pull-down menu in the System Manager, it is directly linked to the same name and its assigned characteristics in Instrument Templates. Any or all of these characteristics can be changed at any time.
b. Instrument color can be changed by double-clicking in its color field. When Part = Color in Options > Color Mode, notation for parts associated with this instrument will inherit this color.
e. Click and select a different MIDI instrument from the Instrument list to change default MIDI instrument assignment.
f. Transpose displays the default playback transposition for selected instruments. The MIDI representation will reflect the transposed shift in pitch.
g. Various sets of MIDI instruments can be selected in Instrument Settings pull-down menu. Instrument sets acquire their names by clicking on the Instrument Settings button and selecting a set.
Because ensemble instruments have such wide pitch ranges, it is necessary for transcribers to notate certain instruments in key signatures that are remote from others in the ensemble. Players of transposed instruments "read" and "transpose" naturally without worrying that the part they are reading is actually out of tune! In order for an ENF score with transposed instruments to play back correctly, transposition of playback by specified amounts must be set. This is accomplished for preset instruments in the Instrument Templates but it is also possible to compensate for transposed instruments in the Playback Console.
SmartScore uses 2 main color modes for viewing your music as well as for controlling how MIDI data is handled: Color by Part or Color by Voice. Each mode will change certain characteristics of how the notation is displayed and how parts and voices are assigned to MIDI channels. Changing the color mode of an open ENF document can be done at any time. Nothing is lost by switching back and forth between color modes.
NOTE:To quickly toggle between viewing voices in different colors or all in black, push the Voice Color button in the SmartScore toolbar or select Options > Define Colors > Voices.
The following table describes the relationships between color modes and how parts and contrapuntal voices are assigned to MIDI channels.
In Voice mode, each contrapuntal voiceline is assigned a unique MIDI channel. This allows you to control each voice's Volume, Balance and MIDI instrument in the Playback Console.
Voice colors are assigned automatically, but can be manually overridden.
TIP: When editing a measure containing multiple voices, voice colors may change to green and blue as you insert or delete notes and rests. Ignore these changes until the entire measure is fully edited. Once edited correctly, colors should appear normal; that is, mostly black (Voice 1) and red (Voice 2).
In Part mode, all notes within a staffline become assigned to a single MIDI channel; stem directions, vertical events and other characteristics that differentiate contrapuntal voicelines are ignored. In Color by Part mode, each staff assumes a unique color as defined in Instrument Templates. This is most useful in orchestral scores that contain one part per staff, allowing for quick visual referencing of each instrument by its color.
b. Instrument Templates will open. Double-click the color of a given part and choose a new color you want associated with that part. Push OK.
TIP: Music ministers and choir directors: Use this handy tool to split two-note clusters into 2 voices (e.g. hymnals). Assign each voice a unique instrument or extract each voice to a separate file.
TIP: If you wish to split clusters containing three or more notes, select and delete the least desirable notes until you are left with two notes in each cluster. Only two note clusters will split.
Occasionally, notes of one voice may "visit" an adjacent staff. Technically, visiting notes belong to their "home" staff. But they obtain their pitch information from the visiting staff line. In order to maintain voice continuity, cross-staff (visiting) notes must be handled in a special way.
a. If the visiting note is part of a beamed group, use the Shift button to click and drag the notehead up (or down) into the adjacent staff. Then drag to the line or space you to position it.
NOTE: Notes that "visit" adjacent staves do not display any ledger lines. They inherit their pitch from the space or line of the "visited" staff.
b. To create a cross-staff note with a flipped stem, create a two-note beam. Toggle the "C" key to Change mode, then right-click (option + click for Mac) on the note you wish to flip. Drag the flipped note head into the desired staff and position it to the desired line or space. Once in place, you may insert any additional beamed notes using the middle-beam tool in "Notes" palette.
c. If the visiting note is stand-alone (not part of a beamed group), choose whether you want the cross-staff indicator lines to be solid or dotted (View > Cross-staff Voicing > Solid or Dotted).
d. Drag the notehead up (or down) to an adjacent staff and position it over the desired line or space.
e. To edit a cross-staff note, position the mouse pointer over the home staff of the visiting note. Hold the Ctrl button down and Shift + drag the notehead of the visiting voice to alter its pitch.
TIP: Holding the Ctrl button down always keeps the active staff and its system selected. This is useful when accessing the Edit menu to add / remove staves and systems or to open the System Manager.
Two notes in different voices can share the same pitch at the same time. You can choose whether note heads of different voices should overlap one another or become horizontally offset. To allow overlapping note heads, check off "Overlap Notes" in the Options / Overlap menu. Playback will not be affected whether note heads are offset or overlap.
The relative orientation of offset notes can be swapped if necessary.
a. Use the Select tool to highlight two offset notes belonging to different voices in the same vertical event.
The Playback Console controls tempo, transposition, muting, soloing, volume, panning and MIDI Instrument assignments to parts (when Options > Color Mode = Part) or to voices (when Options > Color Mode = Voice).
Select the speaker button from the SmartScore Toolbar. Or hold down Ctrl+9 (Win) / Cmnd+9 (Mac) or select Console from Playback menu.
The first column, Track, lists the MIDI track assigned. The second column, Ch/V lists the MIDI channel number within a colored box representing one of 4 possible voices (black, red, green and blue). When Options > Color Mode = Part only tracks will be displayed. If Options > Color Mode = Voice is selected, all tracks and all voices will be displayed.
TIP: When Color Mode = Voice, each voiceline becomes assigned to a discrete MIDI channel. That is why you may see many channels within one MIDI track. To reduce the number of channels to equal the number of stafflines found in ENF, change Options > Color Mode to Part.
If changes are made to MIDI instrument assignments the System Manager will become updated. Changes to other parameters will be stored as MIDI data for the ENF file.
The default MIDI instrument sets are General MIDI Instruments and General MIDI Drums.
Hidden symbols displays every possible object in the ENF display. Certain markings such as the range of a 8va, 8vb, ritard, accelerando or decelerando are only visible when Hidden Symbols is active. You may want certain notation objects to be applied to playback, but at the same time, you may not want these symbols to be visible. For example, you may need to insert rests to "fill out" a given voiceline in a measure, but you do not want these "placeholder" rests to be printed.
a. Push the Hide/Show Symbol button in the Text and Controllers toolbar. Insert any notation object normally. Symbols entered in Hidden Symbols will appear as a brown color.
a. Push the Hide/Show Symbol button. Dynamics or tempos which were applied to a range of notes will appear as follows:
Push again to exit Hidden Symbols mode. "Hidden" symbols do not appear in normal mode and will not print.
You may find that it is necessary to change the assigned voice color (and number) of a hidden symbol after it is entered. If so, simply use the Voice Color tool found in the SmartScore toolbar. Notes and rests with changed voice assignments will remain invisible after you exit Hidden Symbols.
NOTE: In Hidden Symbols mode, voice colors display differently than in normal edit mode:
Voice #1 = Grey, Voice #2 = Purple, Voice #3 = Yellow, Voice #4 = Aqua
NOTE: Dynamic, Articulation and Tempo markings affect ENF playback and change the resulting MIDI file. Playback properties of individual markings may be adjusted singly or globally with the use of the Properties Tool. See 9.12 on page 155.
Dynamic markings affect the volume of a range of notes in the active staff (MIDI track) to which they are entered.
Articulation markings, such as trills, staccatos, tenutos, arpeggios, glissandos and mordents are note-specific.
NOTE: Inserting a tempo marking is generally used as a "change-of-tempo" indicator. Default tempo is normally set by going to the Edit > Tempo menu or to the Playback Console See "Tempo" on page 66 for more details.
a.Select a preset tempo marking in the "Tempo" palette or select a custom tempo by pushing the Metronome Mark button at the bottom of the palette.
b. If using a metronome mark, select a new tempo and baseline note value. Preset tempo markings ranges from 30 bpm (Lento) to 240 bpm (Prestissimo).
c. In Insert mode, click anywhere above the topmost staff of a system to insert mark. Tempo will adjust accordingly at that point.
c. Using the horizontal slider, select a new tempo for the mark. Choose whether to apply the change to just the single mark, all similar marks or permanently apply the change for that mark.
b. Click anywhere above the active staff. A change in playback volume (MIDI Volume) for that particular active staff (MIDI track) then will apply.
mf = 85 / f = 95 / ff = 105 / fff = 115 / ffff = 125.
NOTE: Dynamics apply only to the active staffline. To apply dynamics and/or dynamic markings to more than one staff, enter the dynamic in each part in which you want the effect to apply. If you do not wish to have multiple dynamics visible, you may enter dynamics in the Hidden Symbols mode. For more details see "Hidden Symbols".
b. Select a dynamic hairpin from the "Dynamics" palette or hit Shift + "," for crescendo hairpin and Shift + "." for decrescendo.
d. Dragging downward will insert the hairpin above the active staff. Dragging upwards will insert the hairpin below the active staff.
b. In Insert mode, click and drag the mouse to highlight the range of notes over which you wish to apply the dynamic change.
c. Dragging downward while selecting the range of notes will insert the marking above the staffline. Dragging upward will insert the marking below the staffline.
NOTE: Playback properties of articulations and dynamics may be changed using the Properties tool. See "Properties Tool".
Press the "X" key and click on the marking. An alternative to using the X key is to use the Select tool ("O" key), highlight the mark and hit Delete.
Articulations affect the playback of selected notes. These include slurs, turns, fermatas, mordents, trills, accents and tremolos. For a complete description of each articulation's playback function, turn to "Articulations", Section 11.2.2, on page 200.
b. Drag to select range of notes to be associated with the legato. Dragging downward places the legato above notes. Dragging upward positions legato under the notes.
Turns, fermatas, accents and mordents can be positioned near the top of a note head or near the tip of note stem.
Select the articulation to delete. Press the "X" key, and click on the notehead or stem of the associated note.
To create an "extended" trill, toggle the "C" key to enter Change mode. Click and drag horizontally to select a region. The length of the extension is determined by how far you drag the mouse.
a. As described above in To insert a trill, insert a trill on the first note of an extended trill sequence.
b. Hit the "C" key to enter Change mode. With the right mouse button down (alt key down for Mac), right-drag a box extending from the trill along the length you wish extended trills to play.
Trills can play back either up from the source note or downwards from the source note.
d. Dragging the mouse in the downward direction will cause the notes to arpeggiate in a downward scale. A down arrow is added.
b. Clicking on any single (non-chord cluster) note will insert a glissando to the following note belonging to the same voice. During play back, the glissando will be heard.
Select the specific articulation to delete from the "Articulations" palette. Press the "X" key, and click on the object itself or on the note associated with the articulation.
NOTE: To delete any articulation that is not note-specific, use the Select tool ("O" key) to highlight it and hit the Delete key.
Any articulation can be applied to multiple notes at one time.
a. Use the Select tool ("O" key) to drag a box around the area from which you wish to remove articulations.
The "Properties" tool displays and alters playback values of dynamic and articulation markings. Changes can be applied to the marking itself or globally to all similar markings and applied as new defaults.
To activate the Properties window of an object:
Apply (changed property) to All:
Selecting this option will update playback properties of the same mark throughout the score.
Apply Setting(s) to All Future Files:
Selecting this option will permanently reset the default value for the selected property to its new values for all future ENF files.
NOTE: To view the selected range of accelerando/descelerando, push the "Hidden Objects" button. Range is shown with dotted line.
Variable duration: Move the slider to the a number which well represent the fraction of the note value to be trilled (1 to 1/32).
Fixed number of divisions: Move the slider to increase or decrease the number of permutations. The more permutations are generated, the shorter the duration of the trills. (1 to 32 permutations).
When either a Tempo or Rhythmic group marking is clicked with the Properties Tool, their basic edit windows will open.
Many of these markings are recognized automatically. All will be interpreted during playback as described below:
Toggle the "C" key to enter Insert mode. Select any repeat or symbol from "Barlines & Repeats" palette and click to place the symbol.
Toggle the "C" key to enter Change mode. Click on any existing barline to change it to the selected repeat barline.
All notation present in the previous measure will automatically repeat itself during playback.
a. Select the Start Alternate Repetition button from the "Barlines & Repeats" palette. Toggle the "C" key to enter the Change mode.
b. Click on the barline that begins the first ending. Select the number of times you want the section to repeat. The barline will change into a start-of-ending bar. The cursor then switches to an end-of-ending barline with a left repeat bar as default. Click on the barline that terminates the first ending.
c. This "closes out" the first ending and stages the cursor to enter another (second) ending section.
d. Select the Start Alternate Ending button. Select the number of repeats and click the barline of the first measure of the second ending (usually the same repeat barline that ends the first ending).
NOTE: If the last barline is not a repeat ending, it can be changed. Choose an appropriate barline from the "Barlines and Repeats" palette and Change the barline type.
A Coda sign marks the conclusion of a piece. A Coda is generally used to repeat a theme or variation outside repeated endings.
a. Select Coda sign from the "Barlines and Repeats" palette. In Insert mode, click on the barline where the coda is to begin, usually at the end of a repeated section or numbered ending.
b. Select the To Coda sign and in Insert mode, find the point in the last passage or ending where playback is to "jump" to the Coda and click the barline where the jump is to occur.
Segno means "sign". It marks the beginning of a final repeat or ending. Segnos are usually positioned early on in the piece, after a repeat.
c. To stop a final repeat or ending, return to the Segno and continue on to the Coda, select d.s. al Coda (meaning "from the sign to the Coda").
To have a final repeat or ending return to the beginning of the piece and terminate at the Segno sign,
Select d.c. al Segno (meaning "from the beginning up to the sign") and insert it by clicking on the barline in the last ending or repeat where playback is to return. The repeated section will return to the beginning of the score and play through to the Segno.
NOTE: To Coda, Segno, d.s. al Coda, D.S., D.C. and d.s. al Fine signs are all ignored until an ending or repeat is played once.
D.C. (da capo) means "from the beginning" or "return to the beginning".
D.S. (dal Segno) means "from the sign" or "return to the sign".
Fine means ending. It is usually placed in the middle of a repeated ending and terminates the song.
b. Select d.s. al Fine (meaning "from the sign to the end") from the "Barlines and Repeats" palette.
c. Insert either the d.s. al Coda or d.s. al Fine mark by clicking the barline where the last repeat is to begin.
Place the Fine sign at the appropriate barline. Select and insert d.c. al Fine in a measure following the Fine sign.
Unify updates key and time signatures as well as clef signs throughout the score based on choices made in the dialog window.
Hit the "U" key, press the Unify button on the Navigator, or select the Unify Signatures button in the SmartScore Toolbar or go to Edit menu and select Unify Signatures.
NOTE: Changing a clef sign does not reposition notes. Note pitches alone are updated by a change in clef. To alter note position by selecting a different clef, use Transpose (by Clef) function. See "Transposition" for more details.
If your ENF score contains collapsing and expanding systems, it is recommended to perform Part Linking before Unifying. Unifying signatures and clefs will maintain part linkages as set in Logical Part Linking. Refer to "Re-link Parts" for more details.
All key and time signatures for every part are updated based on signatures found in the first system on the first page. Any changes in key or time signatures are read in and subsequent systems are updated as they are encountered. Use when systems have a consistent number of parts.
All key and time signatures for every part are updated based on signatures found in the first staffline of each system. Any change-of-key or time signatures found in the topmost staffline will update subsequent stafflines of each system. Use when systems do not have a consistent number of parts.
Clefs are updated on a line-by-line basis. Any change of clef encountered in a given staff updates that staffline until another change of clef is encountered. Use when many change of clefs are written into the original score.
All clef signs are updated based on clefs found in the first measure of the first system. Overwrites any change of clef found. Use if many false change-of-clefs were recognized or if very few change-of-clef signs are found in the original.
SmartScore accepts any Standard MIDI file and converts it to an ENF file.
a. Select File > Open and change the filetype pull-down menu from SmartScore Files to MIDI Files. All MIDI files in the given directory will appear in the selection window. Double-click on a selected MIDI file to open.
b. The Playback Console window will appear with a MIDI Overview representation in the background. To hear the file playback, push the Play button in the console.
c. To convert the MIDI file into SmartScore notation, push the Close button in the Playback Console. Closing the console will begin the conversion process.
Measures per System determines the number of evenly spaced measures per system. Automatic is recommended.
SmartScore can quantize the MIDI file that will be converted. Each note event will "snap to" the nearest beat boundary eliminating fluctuations in the timing of a MIDI performance.
Be forewarned, however, that MIDI files created with "free tempo" (rubato) will probably have many irregular note divisions and odd-looking timing as SmartScore attempts to "compartmentalize" notes "off-the-beat".
Use Note On/ Note Off to determine the smallest rhythmic values used to when spelling note start times (Note On) and end times (Note Off) in the ENF document.
Use Note On/ Note Duration to determine the smallest rhythmic values used to when spelling note start times (Note On) and the minimum length of each note (Note Duration) in the ENF document.
If the resulting ENF file has many stand-alone flagged notes, try reducing the Quantization value (e.g. to 1/8th notes).
Divide By Beats: When ON, resulting ENF file will interpret measure lengths by number of beats and insert change-of-time signatures if beats of each measure do not correspond to the default time signature. Turn OFF to lock default time signature.
Smooth Voices: When ON, contrapuntal voices will be interpreted as continuous lines whenever practical. When OFF, contrapuntal voice will be interpreted loosely.
9.16 Troubleshooting ENF Problems
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Pitch shift (Shift + drag)
Toggle the "
To Transpose your entire ENF document to a new key, 
Insert a right-beam note and a left-beam note on either side of a barline.
Select the Properties tool from the SmartScore toolbar.
Repeats and repeat symbols
