SCORE 4.0 Music Data Entry Reference Manual
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Other things to keep in mind when dealing with the input stage data entry:
- input is case insensitive (i.e., E and e mean the same thing)
| Pitch Stage: | tr/3 4/e4/m/cu/aj/m/f/d/m/bj/b/cu/d/e/m/c/aj/eu/m/cu/aj/m/ f/e/m/ds/d/e/fs/d/m/e/r/ml; |
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| Rhythm Stage: | q/h/q/h/q/q/e/e/e/e/q/q/q/h/q/h/q/q/e/e/e/e/q/q; | |
| Mark Stage: | p 1; | |
| Beam Stage: | 2b1; | |
| Slur Stage: | 2 3/4 5/7 10/11 12/14 15/16 17/19 22; |
PITCH STAGE ITEMS
This stage is the most complex for user data entry. The same musical data can be entered in many different ways.
The backbone of pitch stage input are the pitch names of notes on the stage. The general structure of a pitch name is:
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pitch class name - accidental - octave number
The pitch class names are: A, B, C, D, E, F, G.
accidentals:
| s = sharp | ss = double sharp | |
| f = flat | ff = double flat | |
| n = natural |
cautionary accidentals are in the form "(x", where x is the accidental code to place in parentheses, e.g: b(f4 is the pitch b-flat 4.
alternate accidental notation:
| flats: | double pitch class name, e.g.: BB = Bf = B-flat |
| sharps: | triple pitch class name, e.g.: CCC = Cs = C-sharp |
| naturals: | quadruple pitch class name, e.g.: EEEE = En = E-natural |
octave number:
This is the most variable item in the pitch stage. The basic form is a number indicating the octave set from c through the b above that c. The octave starting at middle C is assigned to be octave 4. The C octave beyond the middle C octave is octave 5 and the octave below middle C is octave 3. Here are the notes of a C triad starting on middle C and going upwards:
C4/E4/G4
The standard convention in pitch input is to leave off the octave number for successive pitches in the same octave, so the previous octave can be written more succinctly as:
C4/E/GThis will be interpreted by the computer as:
C4/E4/G4
The default standard shorthand method of octave specification is called the "ordinary mode", you can explicitly indicate the ordinary mode by placing the letter "o" before the note that starts in ordinary mode, so the previous example can also be written as:
C4/oE/G
Another method of octave number shorthand is called "proximity mode" which is indicated by the letter "p" preceding the first note to use this mode, for example:
C4/pE/Gwill be interpreted as
C4/E4/G4-- not to interesting yet. "Proximity mode" means that the nearest note the the last note will be chosen rather than the note in the same octave. For example, here is an example that shows the difference between ordinary and proximity modes:
C4/oB/E/G ---> C4/B4/E4/G4
C4/pB/E/G ---> C4/B3/E4/G4
Note that the second note in the example (B) is different in each type of octave mode. In ordinary mode, the note is B4 since the previous note's octave was 4. In proximity mode the note is B3 because B3 is only a minor second away from C4, while B4 would be farther away with an interval of a major seventh.
You can temporarily escape from the active octave mode with the "u" and "j" commands which follow a note name:
"u" means to jump up to the next pitch class away from the last note. For example:
pC4/A ---> C4/A3
but pC4/Au ---> C4/A4
"j" means to jump down to the next note down from the last note. Remember this command by thinking of "j" as pointing downwards. For example:
oG4/A ---> G4/A4
but oG4/Aj ---> G4/A3
The "u" and "j" commands will not exceed one octave, so if the interval is greater than an octave, you must specify the octave number of the following note.
oE5/Dj ---> E5/D5 (not E5/D4)
Cue notes:
You can input cue notes in the pitch stage by adding a Q+ item into the input string. Q- or Q0 will restore the size of notes to normal.
| Q+ | start creating cue-sized notes |
| Q- | stop creating cue-sized notes |
| Q0 | stop creating cue-sized notes |
Alternative forms of note name input:
You can input note names by clicking with the mouse on the input staff. Also, you can use a MIDI keyboard can be used to input note names. This method is especially useful for chord entry. See the Score 3.11 manual addition for more information about MIDI data input.
Rests:
Rests are entered in the pitch stage with the symbol "r". An exception occurs with whole rests that are supposed to be centered in the measure. This type of whole rest is input as "rw". This type of whole rest is not necessarily 4 quarter notes long. You will have to enter the correct performance duration later in the rhythm input stage that follows the pitch input stage.
Here are the types of rests that can be input:
| R | rest (shape will be assigned in rhythm stage) |
| RF | rest with fermata |
| RU | rest shifted upward on staff above normal position |
| RD | rest shifted downward on staff below normal position |
| Rx | rest with the number x placed above it |
| RI | invisible rest |
The following items have special requirements in the rhythm stage. These items must have a duration equal to one measure since they are to be centered in a measure.
| RW | centered measure whole rest |
| RP | centered measure repeat sign |
Clefs:
| TR | = | treble clef |
| BA | = | bass clef |
| AL | = | alto clef |
| TE | = | tenor clef |
Other clefs cannot be entered in input mode. Clef changes in a line of music will automatically be given a smaller size.
If you don't read a particular clef you can superimpose a temporary input clef by adding a minus sign before the input clef. For example:
BA/-TR/C4/E/G
will result in music on the bass clef, but positions which are the same as for the notes C4/E4/G4 on the treble clef. The above example will be converted to this form by the computer:
BA/E2/G/B
Key Signatures:
For sharp key signatures, use KxS, where x is the number of sharps in the signatures. For example:
K1S = G major key signature K2S = D major key signature
For flat key signatures, use KxF, where x is the number of flats in the signatures. For example:
K1F = F major key signature K2F = B-flat major key signature
Cancellation signatures:
| KxSN = cancellation signature in the form of a sharp key signature. |
| KxFN = cancellation signature in the form of a flat key signature. |
Time Signatures:
| COM = common time |
| CUT = cut time |
| 4 4 = 4/4 time signature (numerator denominator) |
| 3 4 = 3/4 time signature |
| 12 8 = 12/8 time signature |
| 4 = single centered number as the time signature |
compound time signatures can only be created in edit mode.
Measures:
| M | = | single barline |
| MD | = | double barline (two thin lines) |
| MH | = | final barline (measure heavy) |
| ML | = | left pointing repeat barline |
| MR | = | right pointing repeat barline |
| MRD | = | double repeat barline |
| MS | = | dashed barline |
| MI | = | invisible barline |
System braces such as { or [ are created from measure items in the edit mode.
Multi-staff barlines are specified on the bottom staff only. The number of staves to span with the barline is given by a number following the measure type. A staff span number is remembered from measure to measure like octave numbers in pitch name items. For example:
m2/c/e/g/m ---> m2/c/e/g/m2
Stem Directions:
Note stem directions can be controlled with the following pitch stage commands which are separate items in the input. Forcing the stems in a particular direction is useful for multiple voices on a single line, such as an in an orchestral score, or in a 4-part choral piano reduction.
| SU | force stems upwards for notes following this command |
| SD | force stems downwards for note following this command |
| So | return to the ordinary stem direction method |
Staff placement of notes:
For keyboard music, it is common to indicate hand assignment to notes by staff. This is one case in which the staff placement might be useful. These command are separate input items:
| S+ | following notes are displayed on staff above the current one. |
| S- | display following notes on staff below current one. |
| S0 | return notes to normal staff |
Chords:
C4:E:G is a major chord. It is a single input item, so it is separated from other items in the input line with slashes (/). The octave numbers are assigned in the same manner as consecutive note items. "j" and "u" commands also work inside of chords.
A quick method for writing chord is to use the "+" or "-" signs to indicate an octave dyad. For example:
C4+ ---> C4:C5
C4- ---> C4:C3
There are two types of shorthand for entering repeated chords that have an intervening measure or rest between the repeated chords. The first case deals with repeated chords which are repeated over barlines or after intervening rests:
c:ef:g/m/./ ---> c:ef:g/m/c:e:g/
c:ef:g/r/./ ---> c:ef:g/r/c:e:g/
For the second case, a double dot item would repeat the accidentals of the previous chord:
c:ef:g/m/../ ---> c:ef:g/m/c:ef:g/
c:ef:g/r/../ ---> c:ef:g/r/c:ef:g/
The apostrophe (') can be used instead of the colon
(:) for marking notes in the chord:
c'e'g <---> c:e:g
RHYTHM STAGE ITEMS
For every item entered in the pitch stage which requires a duration, you muse enter a rhythm value. Rhythm values can be entered with character mnemonics, or as the inverse value of the rhythm in relation to the whole note.
Here are the character values for rhythms:
| D | double whole note |
| W | whole note |
| H | half note |
| Q | quarter note |
| E | eighth note |
| S | sixteenth note |
| Tx | triplet, e.g., TE = triplet eighth note |
| . | dot of prolongation, e.g., H. = dotted half-note |
For more complex rhythmic values, the inverse value of the duration with respect to the whole note are used, for example:
| 1 | whole note |
| 2 | half note |
| 3 | triplet quarter note |
| 4 | quarter note |
| 5 | quintuplet quarter note |
| 6 | triplet quarter note |
| 7 | septuplet quarter note |
| 8 | eighth note |
| 16 | sixteenth note |
| 32 | 32nd note |
| 64 | 64th note |
| 128 | 128th note |
Dots of prolongation can also be used with the numeric rhythmic values:
| 4. | dotted quarter note |
| 4.. | doubly dotted quarter note |
Note that the rest "rw" is displayed as a whole rest, but it actually takes the duration of a full measure, which may be a dotted half note duration in 3/4 meter.
Grace notes:
Grace notes are given a rhythmic value of "g" to indicate that they do not take up any time for spacing of the page.
| G | grace note |
Shortcut methods for the pitch and rhythm stages
There are several shorthand techniques that can be used to input pitch an rhythm data into SCORE.
The first short-cut method is to add an extra slash after an item. This will cause SCORE to repeat the previous item:
A4// ---> A4/A4/
Q/// ---> Q/Q/Q/
X method:
Another method for repeated items is to add an "x" and then the number of times to repeat that item:
Ex4 ---> E/E/E/E/
Cx2 ---> C/C/
You can repeat phrases by having an "x" as a separate input item followed by the number of previous note entries to repeat without space, then a space and the repetition number. For example:
fs4/e/df/c/x4 2/ ---> fs4/e/df/c/f4/e/d/c/
Chord spellings can be either repeated or removed when duplicating a chord. By default, the chord accidentals are not repeated when using the x character:
c:ef:gx3 ---> c:ef:g/c:e:g/c:e:g/
If you want to maintain the accidentals, use "z" instead of "x":
c:ef:gz3 ---> c:ef:g/c:ef:g/c:ef:g/
Macros:
The final type of shorthand is called macros. Macros are defined by enclosing input data between square brackets, []. The name of the macro is given by a single letter preceding the open bracket. The macro can then be invoked by typing an "@" symbol and then the name of the macro:
z[c4/g/e]/a/a/@z/ ---> c4/g/e/a/a/c4/g/e/Note that it is wise to add the octave number of the first pitch in a macro so that no unusual register placements occur.
You can give a number following a macro invocation. The meaning of the number depends on the particular stage that is being used. For pitch stage macros, the following number is used to transpose the pitch motive by steps. For example:
z[a4/b/gs]/@z-1/@z2/ ---> a4/b4/gs4/g4/a4/fs4/c5/d5/bs4/
In the rhythm stage, the number represents a diminution or augmentation of the motive rhythms.
Marks, Beams, and Slur Stages.
After the rhythm stage is complete, numbers will be temporarily displayed above each note that was entered in the pitch stage. These numbers are for referencing notes in the next three stages.
MARK STAGE ITEMS
The symbol x in the table below usually indicates a note index or range of notes on which to place the specified mark. Score automatically numbers the notes during the mark stage for this purpose. You can add a fractional part to the note index to give an offset to the mark from the note to which it is attached.
you can add marks to several notes by continuously entering the note numbers after a mark that requires only one value to place an item. For example:
/s 3 5 12 14/ ---> /s 3/s 5/s 12/s 14/
Crescendos are followed by two numbers, the first indicates the note that starts the crescendo, and the second number indicates the ending note of the crescendo. Floating-point numbers can be used to position the ending points of a crescendo between notes. Here are the marks with two end points:
| C+ x y | crecendo from note x to note y |
| C- x y | decrecendo from note x to note y |
| TRW x y | trill with a wavy line from note x to note y |
| TRFW x y | flat trill with a wavy line from note x to note y |
| TRSW x y | sharp trill with a wavy line from note x to note y |
| TRNW x y | natural trill with a wavy line from note x to note y |
Marks have a default placement either above or below a note or staff. You can move the mark to the other size of the note or staff by adding a minus sign before the mark:
| -x | place mark on reverse position of note, where x is a mark item. For example /-s 1/ would place a staccato on the stem side of note 1. |
Shorthand for indicating a range of note indices:
You can specify a range of notes to apply a mark to by giving the starting note and then ending note separated by a colon (:). For example, to add staccatos to all notes between notes 5 and 12 (inclusive), you could enter:
/s 5:12/ ---> /s 5 6 7 8 9 10 11 12/
Less common symbols:
You can input any code 9 symbol in the mark stage. To do so, input an "N" then the number of the code 9 symbol without spaces, then a space and any notes to attach the symbol to. Here is a list of some possible code 9 symbol marks:
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BEAM STAGE ITEMS
Automatic beam grouping:
You can specify automatic beaming with the for xB, where x is the number of eighth note durations in a beaming group. For example, to beam an input staff by quarter notes you would type:
2B;
If a staff starts with pickup notes, then you must specify that number of notes in the pickup beat(2) that are to be skipped with automatically beaming. For example, if there is one quarter note pickup, and the rest of the notes are beamed by quarter note, type:
2B1;Note that the pickup number following the "B" is not a duration but is the count of notes to skip before automatically beaming. If there are two sixteenth note pickups, then you would type:
2B2;This would beam automatically by quarter notes, skipping the first two notes (which would not be beamed).
No other beaming information can be given on the line if using automatic beaming.
Forcing the beaming direction
To force any beaming to be done above the notes, precede either the start or ending note index with a "+" sign.
To force any beaming to be done below the notes precede either the start or ending note index with a "-" sign.
Automatic beaming can also use "+" or "-" to force the directions of beaming. For example:
+2B;would beam by quarter note with all beaming done above the notes.
SLUR STAGE ITEMS
The input format for a slur is:
/BEGIN_NOTE END_NOTE/For example, to slur note 1 and note 2 on the input staff, you would type:
/1 2/
There is a shorthand method for slurring between two adjacent notes. If you repeat a number for the termination number of a slur, then it is assumed that you want the slur to go to the next note. For example:
/1 1/ ---> /1 2/
Slur direction:
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You can force a slur to arc upwards by placing a + sign
before the start of the slur:
/+1 2/
You can force a slur to arc downwards by placing a - sign before the start of the slur:
/-1 2/
Slurring to/from previous/next system:
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You can specify that a slur continues from the left or right of
a staff by using value 0 as an item starting on the far left of the
staff, or item 99 as an item ending on the far right of the staff.
For example, to carry over a tie to the next staff from note 12, this
is what you would type:
/12 99/
To carry over a tie from the previous staff would do something like this:
/0 1/which would tie to note 1 on the current staff.
Tuplet brackets:
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Tuplet brackets are indicated by adding two digits to the starting
index of a slur. The initial slur number of a tuplet slur is in the
form X0Y where X is the displayed tuplet value, and
Y is the actual starting index of the slur, with a 0
used to separate the two values. For example, to indicate a
quintuplet slur over notes 13 through 17 on a staff, you would enter:
/5013 17/
Mouse input:
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You can click with the left mouse button to start a slur and the right
mouse button to end a slur.
Item Dictionary for Score Input Mode
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