1.1 Note input

The rest button on the Keypad now correctly switches itself off after inputting a rest using the mouse. The initial volume used by Sibelius when clicking on a note in the score, or inputting a note via the Keyboard or Fretboard windows, before the score has been played back is now correct. When auditioning a sound via MIDI thru (i.e. select a note or bar on a staff, hit Esc, and play on your MIDI keyboard), Sibelius now correctly takes into account the prevailing instrument change at the position you selected, so that it will use the correct sound. When Sibelius creates extra bars during step-time input in a staff that contains at least one instrument change, the first note of each newly-created bar no longer sounds with the wrong sound. Deleting the last rest in a tuplet no longer causes a crash when a score contains multiple staves (Windows only).

1.3 Keyboard window

Middle C (C4) is now labeled in the Keyboard window. When following the score during playback, notes in tuplets no longer appear to overlap on the Keyboard window.

1.5 Scanning

Key signatures in scores created by importing from PhotoScore and AudioScore are now correctly created for the entire system, so that any new instruments added to the score after import will inherit the existing key signature. * Chord symbols that are not recognized are no longer always imported from PhotoScore and AudioScore at the start of the bar in which they appear. 1st- and 2nd-ending lines are no longer incorrectly imported from PhotoScore files attached to a particular staff rather than to the system. *

1.8 Fretboard window

It is now possible to click on the Fretboard window to hear pitches without entering notes in the score (i.e. MIDI thru).
1.9 Selections and passages
The keyboard shortcuts for navigating between notes and chords in different voices and on different staves have been thoroughly revised, as follows:
Changes in Sibelius 6.1 o Alt+3/2 selects the next highest or lowest note in the chord. If the highest or lowest note of the chord is selected, typing Alt+3/2 selects any tremolos on the stem (if present), typing Alt+3/2 again selects the handle at the end of the stem (if the stem is pointing in that direction), and typing it again selects the articulation nearest to the note, if any are present. o Shift+Alt +3/2 selects the highest or lowest note in the next used voice (so if you have selected, for example, the bottom note of a chord in voice 1 and type Shift+Alt +2, Sibelius will select the highest note in voice 2, if present; if not, the highest note in voice 3, or voice 4). o Ctrl+Alt+2 selects the highest pitch or rest in the lowest numbered voice on the staff below; Ctrl+Alt+3 selects the lowest pitch or rest in the highest numbered voice on the staff above. If there is no note or rest at the same rhythmic position in the next voice or staff, Sibelius will select the note or rest at the nearest rhythmic position earlier in the same bar. Voices that are not present are simply skipped, and when moving between staves, hidden staves are likewise skipped. Navigation left and right through notes and chords, accidentals, articulations, ties and rhythm dots, by typing Alt+0/1, has also been improved. The order of selection from left to right when typing Alt+1 is now as follows: o Arpeggio line o Scoop or plop o Accidental o Notehead o Rhythm dot o Fall or doit o Tie left-hand end o Tie o Tie right-hand end. Sibelius attempts to select the note nearest in chromatic pitch to the last-selected note when hopping the selection between notes left and right. When you select notes, the rules for which notes are sounded via Play notes as you edit (on the Note input page of Preferences) have been improved, as follows: o 0/1 plays all of the notes in the chord in that voice, so that moving through notes and chords on a staff quickly allows you to hear the selected note in context. o Alt+0/1 plays only the selected notehead. o Alt+3/2 plays only the selected notehead. o Clicking on a single notehead within a chord now plays only that note; double-clicking a selected chord plays all of the notes in that chord. o Ctrl+click or X-click to select multiple notes within a chord now plays only the selected notes. o Adding or removing an accidental (either by deleting a selected accidental, or by adding one from the Keypad) now plays the affected note. o If you would prefer Sibelius to play the whole chord when selecting any note of a chord, rather than the new behavior of playing only the selected note, switch on Play all notes in chord when any note selected on the Note Input page of Preferences. Sibelius no longer crashes when pasting material at the start of a score where the first item in the top staff of the selection would need to be pasted before the start of the first bar. Moving an object immediately after copying it without first moving the mouse now causes the object to reattach to new rhythmic positions correctly.

Changes in Sibelius 6.1 Selection mode To enable Selection mode, press F1: the display will show the function of each of the encoder knobs. To select a staff, press the corresponding slider button (e.g. to select the top staff in the system, press the slider button below the first slider). You can press another slider button to select a different staff, or hop the selection to the staff below with F3 or the staff above with F2. To extend the selection to include the staff below, turn the fourth encoder knob to the right; to remove a staff from the selection, turn it to the left. By default, Sibelius selects the first bar on the page that is closest to the center of the view: the Axiom Pros display will show the name of the selected staff, and the bar number at the start of the selection. To select the next bar, turn the second encoder to the right, and to select the previous bar, turn it to the left. To select the first bar on the next page, turn the third encoder to the right, and to select the first bar on the previous page, turn it to the left. The fifth encoder scrolls the view up/down (equivalent to Page Up/Page Down), and the sixth encoder zooms: turn to the right to zoom in, and turn to the left to zoom out. You can use the numeric keypad on the Axiom Pro for note input when in Selection mode: simply select the bar in which you want input to begin, hit the appropriate button on the keypad, and start playing notes and chords on the MIDI keyboard. To start Flexi-time input, select the bar in which you want input to begin, and extend the selection to the staff below by turning the fourth encoder to the right: then hit the record button on the Axiom Pros transport controls to start recording. Leaving HyperControl mode When Sibelius exits, the Axiom Pro is reset back to its default, non-HyperControl mode.

2.1 Accidentals

Sibelius will no longer incorrectly show automatic cautionary accidentals on repeated notes within the same bar when Restate accidentals when seen in a new voice is switched on.

2.2 Arpeggios

Squiggles in note-attached arpeggio lines on grace notes and normal notes adjacent to one another now appear at the correct size.

2.3 Articulations

Sibelius now accommodates the convention whereby if a staccato is combined with another articulation on the same side of the note, the pile of articulations should be centered on the notehead, even when it is on the stem side. This is achieved by way of two new checkboxes that provide exceptions to the standard Center staccatos on stem rule:
Switching on at same end means that staccatos will be centered on the stem, except when they are combined with other articulations that appear on the same side of the note as the staccato (e.g. beats 2 and 3 in the above examples), in which case they will be centered on the notehead. Switching on at opposite end means that staccatos will be centered on the stem, except when they are combined with other articulations that appear on the opposite side of the note as the staccato (e.g. beats 1 and 4 in the above examples), in which case they will be centered on the notehead. The two common conventions are to always center other articulations on the stem when a staccato is present, on either the same or opposite sides of the note (Sibeliuss default), or to always center other articulations on the notehead even when a staccato is present on either the same or opposite sides of the note (which is

Changes in Sibelius 6.1 achieved by choosing Center staccatos on stem and switching on both the exceptions for other articulations at same end and at opposite end). Where an articulation is on the opposite side of the note to a staccato marking, that articulation is now always centered on the notehead. A new row of checkboxes has been added to the Articulations page of House Style > Engraving Rules, allowing you to determine which articulations should go within the curvature of a slur and which should go outside. These new checkboxes, labeled inside middle of slur act as counterparts to the existing inside slur checkboxes, now renamed as inside start or end of slur. These checkboxes only take effect if Layout > Magnetic Layout is switched on, and if slurs are set to automatically avoid collisions with objects under their arcs. In existing scores, all of these checkboxes are switched on, to maintain as closely as possible the behavior of previous versions of Sibelius. In newly-created scores, all articulations except for the upbow, downbow and fermatas (pauses) are allowed within the curvature of the slur. In cases where both a slur and a tuplet are present, the settings prescribed by the inside tuplet row of checkboxes will take precedence over the inside middle of slur settings, because tuplets are typically closer to notes than slurs and therefore should have a naturally higher priority. New Allow articulations below the middle of a tuplet bracket to be split checkbox on the Articulations page of House Style > Engraving Rules. This option is switched off in existing scores, and switched on in newly-created scores. When this option is switched on, Sibelius will allow those articulations that have the corresponding inside tuplet checkbox switched on to appear inside the middle of a tuplet bracket (i.e. not on the first or last note of a tuplet bracket). This corrects a number of problems where, for example, an upbow on the first note of a tuplet would be positioned outside the tuplet bracket, but a downbow on the next note of the tuplet would be positioned inside (or colliding with) the tuplet bracket. When Magnetic Layout is switched on, articulations are now allowed to move vertically in order to avoid collisions with ties and accidentals. You can also switch off Magnetic Layout for a pile of articulations above or below the note by selecting them and choosing Edit > Magnetic Layout > Off, or freeze their Magnetic Layout position by choosing Layout > Freeze Magnetic Layout Positions. Articulations that were flipped below the staff on a tab staff in the attached Sibelius 4 score now appear above the staff in Sibelius 6.

2.10 Chord symbols

Sibelius now supports chord symbols that consist only of a slash and an altered bass note. This is a commonly-used shorthand denoting that the previous chord symbol continues, but the bass note changes. o To create such a chord symbol, simply type e.g. /F# as the chord symbol, and Sibelius will automatically work out what the chord is based on the previous chord symbol. o To hide or show a chords root and type, choose Edit > Chord Symbol > Add/Remove Chord Text Root. It is now possible to specify that an individual instrument type (e.g. bass guitar) should not show chord diagrams even when they are set to display in Engraving Rules. You can switch off Show guitar chord diagram by default for any instrument type in the New/Edit Instrument dialog. New After numbers checkbox below the Use # / b alterations radio button on the Chord Symbols page of Engraving Rules, which allows you to show e.g. 9b or 11# instead of b9 or #11 in chord symbols. Chord symbols can now be made left-aligned on noteheads rather than using the default centered alignment. To change this: o Choose House Style > Edit Text Styles o Select the Chord symbol text style o Click Edit, and go to the Horizontal Posn tab o Choose Left from the Align to note options, and click OK 7

Changes in Sibelius 6.1 o Sibelius will tell you that the default position of chord symbols should also be adjusted, and offer to do this for you: click Yes to let Sibelius do this for you now. Should you choose not to have Sibelius change the default positions for you, you will need to do this yourself: o Choose House Style > Default Positions, and choose the Text radio button o Select Chord symbol in the list at the left-hand side o Set Horizontal position relative to note n spaces to 0 for both Score and Parts o Choose the Other objects radio button o Select Chord Symbol in the list at the left-hand side o Set Horizontal position relative to note n spaces to 0 for both Score and Parts o Click OK. Newly-created chord symbols will thereafter be left-aligned, but existing chord symbols in your score will not become left-aligned until you select them and choose Layout > Reset Position. In bars where there are few or no notes, chord symbols now snap to appropriate rhythmic positions when dragged left and right through the bar. Note that some chord symbols using new, improved suffix appearances (see 8.13 Edit Chord Symbols below) may not appear the same when the score is opened in Sibelius 6.0 or Sibelius 6.0.1. To ensure that chord symbols appear the same when sharing files with other Sibelius users, it is strongly recommended that all parties who are sharing files update to Sibelius 6.1. Typing (say) C2 or C4 for chord symbol input will now correctly be recognized as Cadd2 or Cadd4. The Text input name for a chord symbol can now begin with a lower-case b if required. Sibelius now automatically switches to Roman alphabet input when inputting chord symbols if using an Input Method Editor set to another script, e.g. Japanese. Chord diagrams with custom chord names created in earlier versions of Sibelius now correctly transpose in Sibelius 6 and Scorch 6 when the score is transposed.

2.11 Clefs

New sub-bass F clef, which is like a normal bass clef positioned on the top line of the staff, with pitches two octaves below a treble clef. Create > Clef now includes a read-out of the name of the selected clef. Deleting a clef on one page now always ensures that the clef at the start of the next system on the following page updates immediately, without requiring the next page to be edited or redrawn.
2.15 Guitar notation and tab
The default shape of bend lines on notation staves is now much improved by default. * It is now possible to adjust the position of the mid-point of bends on notation staves, making it possible to change their angle individually. Guitar bend lines now show handles when selected or when View > Handles is switched on. The positions of the end points of bends on both notation and tab staves on either side of a system or page break can now be edited independently. When a bend crosses a system or page break, Sibelius ensures that the continuation of the bend on the new system starts above the tab staff, so its easy to see. Guitar bends no longer flip incorrectly over page breaks. *

2.16 Guitar scale diagrams
The default scale diagrams for G major pentatonic are no longer incorrect.

2.18 Instruments

When instrument changes are made cue-sized, any music text font characters in the instrument change text are now spaced correctly (Windows only). * The transpositions of the Wagner Tuba in Bb and Wagner Tuba in F instruments have been corrected in newly-created scores. * Creating an ossia staff with a system selection no longer causes Sibelius to crash. * An obscure problem whereby instrument changes at the start or end of an ossia could not always be dragged to the end of the system has been fixed. *

2.20 Key signatures

Creating a key signature in a dynamic part no longer causes Sibelius to crash.

2.21 Lines

Create > Line (and House Style > Edit Lines) now includes a read-out of the name of the selected line. Non-magnetic lines no longer perform the look-ahead associated with the new slur direction rule for magnetic slurs, resulting in a small performance increase in scores with many lines.

2.23 Manuscript paper

Changes to some manuscript papers: Concert band: revised substantially. Concert band, small: revised substantially. School band 9-12: changed Bass Clarinet and Baritone Sax to use bass clef in concert pitch, treble clef in transposed pitch; switched Notes > Transposing Score on; moved trumpets above horns. School band 6-8: changed Baritone saxophone to use bass clef in concert pitch, treble clef in transposed pitch; switched Notes > Transposing Score on. Orchestra, Romantic: changed bass clarinet to use bass clef in concert pitch, treble clef in transposed pitch. Marching band 1: changed baritone saxophone to use bass clef in concert pitch, treble clef in transposed pitch. Big band: changed baritone saxophone to use bass clef in concert pitch, treble clef in transposed pitch. Brass band: switched on Notes > Transposing Score.

2.25 Noteheads

Slash noteheads now correctly remain in the same position when Notes > Transposing Score is switched on and off for instruments that use different clefs at sounding and transposed pitch.

2.27 Repeat bars

New Number 2-bar repeat bars and Number 4-bar repeat bars checkboxes on the Bar Rests page of House Style > Engraving Rules, switched off by default. When switched on, Sibelius replaces the bold 2 or 4 digits above 2- and 4-bar repeats with numbers that show how many times the bars are repeated, analogous with the existing option to number 1-bar repeats. New Count repeat structures when numbering repeat bars, and show as checkbox on the Bar Rests page of House Style > Engraving Rules, switched off by default, and only available if any of the options to number repeat bars are switched on. This option allows you to show the actual number of repetitions of a series of repeat bars in a passage that is itself repeated (by way of repeat barlines). When switched on,

Changes in Sibelius 6.1 A problem whereby slurs in scores created in certain previous versions of Sibelius would be erroneously converted to guitar bends when opening the score in Sibelius 6 has been fixed, and any scores that exhibit this problem are fixed up when opened in Sibelius 6.1. Switching on Slur left curve or Slur right curve on the Lines panel of Properties for a slur on a small staff no longer incorrectly changes the shape of the slur.

2.29 Staves

Changing the thickness of staff lines etc. in Engraving Rules now updates the score display immediately, rather than waiting until after you make an edit that forces a redraw.
2.30 Stems and leger lines
The default width of leger lines on half note (minim), whole note (semibreve) and bar rests has been improved. Furthermore, a new Leger lines extend beyond rest by n% of its width option on the Notes and Tremolos page of House Style > Engraving Rules now allows precise control over the width of leger lines on such rests. *

2.32 Ties

Hitting Esc to deselect the handle at the start of the second half of a tie after a system break now correctly updates the visual appearance in the score. Restoring the default position of ties with Reset Position now updates the score immediately, without requiring you to force a redraw.
2.35 Triplets and other tuplets
Tuplet numbers and brackets are now positioned above notes by default, unless all of the stems of the notes in the tuplet point downwards, or if the implied beam encompassing the notes in the tuplet would force the stems to point downwards. This new rule is enabled by setting the radio button Position tuplets as if all notes were beamed together on the Tuplets page of House Style > Engraving Rules. This rule is used in newly-created scores, but is not used in existing scores (to avoid changing their appearance). The positions of the ends of tuplet brackets relative to the first and last notes of the tuplet have also been overhauled: The old Full duration option in the Create > Tuplet dialog has been replaced by a pair of radio buttons. Extend to first note after tuplet is the new name for the old Full duration option, and the default option is now called Extend to last note in tuplet. It is now possible to switch the duration of an existing tuplet between Extend to last note in tuplet and Extend to first note after tuplet using a drop-down in the Notes panel of Properties. The Horizontal distance from note control on the Tuplets page of House Style > Engraving Rules has been replaced with four new controls that allow you to specify the position of the left- and right-hand ends of tuplet brackets more precisely:

In the image above, n spaces from head of first note and n spaces from head of last note are both set to 0.5 spaces for illustrative purposes; by default, both these settings are set to 0 spaces, because conventionally tuplet brackets are aligned with the edge of the notehead. The n spaces from stem of first note and n spaces from stem of last note are set to 0.5 spaces by default (the same value as shown above), to avoid the hook of the tuplet bracket at the stem end appearing to run into the stem. The new n spaces from first note after tuplet control allows you to specify how far from the next note after the tuplet the tuplet bracket should end, when using the Extend to first note after tuplet duration option. Finally, the behavior of auto-brackets for tuplets has been improved. A new Hide tuplet bracket when notes joined by secondary beam option has been added to the Tuplets page of House Style > Engraving Rules. This option is switched off by default. When switched on, and when a tuplet is using an auto-bracket, Sibelius will now hide the bracket when: the entire tuplet is contained within the beam; the last note before the start of the tuplet must be an eighth note (quaver), or the first note of the tuplet must have the Start secondary beam option set via the Keypad; the first note after the tuplet must be an eighth note (quaver), or must have the Start secondary beam option set; all of the notes in the tuplet must be the same or shorter in duration than the first and last notes of the tuplet, and none may have Start secondary beam set. When tuplets are flipped, the tuplet number is now correctly centered within the tuplet bracket.

3.1 Working with text

The Word Menus page of Preferences has been improved. Instead of displaying the plain text equivalents of each of the words in Sibeliuss word menus, the words are now displayed as they appear in the word menus themselves. Because of this change, the Apply button now applies to both the Text and Shortcut fields (in previous versions it applied only to the text field), so dont forget to click Apply after changing the keyboard shortcut for a word menu item. Clicking Cancel in the Preferences dialog after changing one or more word menu items now correctly undoes the changes made to word menus in that dialog session. * Sibelius now measures PostScript (Type 1) fonts at a single zoom level; unfortunately Windows is unable to measure PostScript fonts accurately, and you are recommended to use TrueType fonts wherever possible (Windows only). Deleting page-aligned text (e.g. headers) no longer leads to Sibelius crashing. Text objects beginning with many carriage returns no longer appears with the wrong line spacing and in the wrong place vertically on the page (Mac only). Fonts that may have previously appeared with trailing hyphens in the various menus in which font names appear in Sibelius will no longer show trailing hyphens (Mac only).

4.3 Mixer

The volume level for Sibelius Player (and other virtual instruments) is now correctly restored if Sibelius has to switch to the playback configuration used by a score when the score is opened. It was possible for Mixer redraws to cause a crash under some obscure circumstances; this bug has now been fixed (Mac only). Sibelius no longer marks a score as dirty if it has to change which categories of Mixer strips are visible when opening the score. Sibelius no longer sometimes crashes when switching between scores with the Mixer visible. Clicking the speaker icon in a staff strip to audition a sound now correctly sends the appropriate controllers to ensure that the sound can be heard (e.g. for sustaining instruments in Sibelius Sounds Essentials, which require a modulation controller message to be sent in order to produce a default volume).
4.4 Sibelius Sounds Essentials
A number of minor improvements to the sounds in the Sibelius Sounds Essentials library: The Harpsichord 8' patch is no longer incorrectly velocity sensitive. The default timbre values for the ensemble string patches has been reduced. The balance of the bass drum roll in the VDL concert percussion patch has been improved.

4.6 Repeats

The old Play repeats checkbox in Play > Performance has been moved to a new Play > Repeats dialog, which now has the following options: Dont play repeats: when this option is chosen, Sibelius will ignore all repeats in the score (the equivalent of switching off the old Play repeats option). Automatic repeats playback: when this option is chosen (as it is by default in new scores), Sibelius will play back repeats in the score according to its own automatic interpretation of repeat barlines, 1st- and 2ndending lines, and jump instructions such as D.C. al Coda. (This is the equivalent of switching on the old Play repeats option.) Manual repeats playback: when this option is chosen, Sibelius will play back the bars in the score in the order specified in the text control below. This allows you to specify the exact order in which the bars in the score are played back by typing ranges of bar numbers in a comma separated list. Sibelius displays the current automatic playback sequence to get you started, and you can go back to the automatic sequence by clicking Restore Default Order. This is useful for complex repeats sequences that cannot be played back automatically (e.g. songs with more than one coda). If you have multiple songs, pieces or movements within the same score, leave a blank line between each set of bar numbers corresponding to a single song, piece or movement to tell Sibelius to play a gap there. When Automatic repeats playback is chosen, you can also switch on Play repeats after a D.S. or D.C. jump, which is switched on by default in newly-created scores (but switched off in existing scores to avoid changing their playback). When switched on, Sibelius will play back all the previous repeats in full following a D.S. or D.C. jump, rather than always taking the last time ending after a jump as in previous versions. Sibeliuss handling of nth-ending lines has also been improved. In previous versions, it was necessary for the last time ending in any repeat structure to have an open right-hand end (i.e. no vertical line at the right-hand end of the bracket). Failure to use an appropriate last time ending line could result in a number of problems in playback (e.g. infinite repeats, bar numbers disappearing and bars not playing, or subsequent nth-ending lines getting skipped). Sibelius is now forgiving of these situations, and now interprets any nth-ending line as a last time ending line if it is not followed in the next bar by another nth-ending line (with an open right-hand end). System text instructions of the form Play n times no longer incorrectly apply to all subsequent repeated sections; they now apply only up to the next end repeat barline.

Changes in Sibelius 6.1 Recording Live Tempo using tap points Having created some tap points, choose Play > Record Live Tempo to record your performance. In bars containing tap points, Sibelius will expect you to tap at particular points, and it will wait for you at each tap point rather than allowing the flywheel to continue without you as it ordinarily would. You can freely mix passages in which you provide specific tap points, and passages where Sibelius will automatically interpret your tapping: after a passage of tap points, when Sibelius encounters a full bar that contains no tap points, it will start interpreting your taps in the usual way. Scores that begin with a pick-up (upbeat) halfway through a beat now respond correctly when starting Live Tempo recording. New count-in display Live Tempo now also includes a new count-in display, which appears above the playback line when you initiate Live Tempo recording. The display shows the number of beats, and the beat denomination, that Sibelius expects you to provide before Live Tempo recording begins.

4.9 Playback dictionary

The behavior of the Sound ID change control in Play > Dictionary has been improved. *

4.12 Playback Devices

Sibelius now fully supports the ARIA sample player used by the new version of Garritan Personal Orchestra (GPO4), including automatic loading of sounds without showing a progress bar, just as is possible with the built-in Sibelius Player. Sibelius now only displays sound sets in Play > Playback Devices for the built-in Sibelius Player if the sound library specified in the sound set is installed. A minor problem with the Essentials Choral Combo sound set (for users of Sibelius Sounds Choral for Sibelius 6) has been corrected. It is now possible to tab through all of the controls in Play > Playback Devices (Windows only). If you happen to give a new playback exactly the same name as an existing playback configuration, Sibelius will now automatically rename the new playback configuration to avoid silently failing to create the new configuration. * Virtual instruments and effects windows launched from Play > Playback Devices can now correctly be brought in front of the Playback Devices dialog (Mac only). Sibelius no longer crashes on exit if it was in the middle of loading sounds into the Sibelius Player. The Test button in Play > Playback Devices now works more reliably when testing sounds loaded into the Sibelius Player.

4.16 ReWire

Sibelius is now compatible with Cakewalk Sonar and Cakewalk Music Creator; if you do not set up your ReWire track correctly in Sonar or Music Creator, Sibelius will now provide a message as it starts up, informing you of the change in settings you need to make in your Cakewalk product (Windows only). Sibelius is now compatible with Adobe Audition (Windows only). A problem whereby it was not possible to quit Cubase when running Sibelius as a ReWire device has now been fixed (Mac only). Hitting Esc to stop playback in Sibelius now also correctly stops in the ReWire mixer application (e.g. Garageband, Pro Tools). Setting the playback position by clicking or dragging the timeline control in the Playback window now works correctly in ReWire mode. Flexi-time input can now be used when Sibelius is running in ReWire mode; note that you cannot alter the tempo of recording in this instance. 16

5.5 Comments

It is now possible to use Layout > Hide Empty Staves on staves that contain comments.

5.7 Filters and Find

A problem whereby Sibelius would not filter anything if filtering for a range of pitches where one end of the range is specified as Any pitch has now been fixed.

5.11 Ideas

Under some circumstances, capturing an idea, closing a score, then re-opening the same score in the same session of Sibelius could cause a crash; this has now been fixed (Mac only). * The editable combo box at the top of the Ideas window now works correctly once more (Mac only).

5.12 Menus and shortcuts

It is now possible to define function keys plus modifiers as keyboard shortcuts (Mac only). Two blank entries no longer appear at the top of the list of text styles on the Menus and Shortcuts page of Preferences (Mac only).

5.13 Panorama

A problem whereby beams over barlines can cause bars to disappear when scrolling through the score in Panorama has been fixed.

5.17 Properties

New Rest Y parameter on the Notes panel of Properties, which makes it possible once more to move rests vertically by small amounts. Before Sibelius 6.0, this was achieved by adjusting the Y parameter on the General panel of Properties, but that parameter now edits the notional stem length of a rest (in the same manner that it has always edited the stem length of a note). The Fermata checkbox on the Playback panel of Properties is no longer incorrectly disabled when Play > Live Playback is switched off. It is now always possible to open the Playback panel of Properties, even when other panels are open.

5.19 SibeliusMusic.com

File > Publish on SibeliusMusic.com now goes directly to a page on the web site rather than opening a local web page.

5.20 Transposing

When transposing a system passage that begins with an Open key/atonal key signature but which later uses a regular key signature, the Transpose key signatures option in Notes > Transpose is no longer disabled, so it is possible to transpose subsequent regular key changes in the same operation. If you uncheck Transpose key signatures in Notes > Transpose, the next time you enter the Transpose dialog, Transpose key signatures is no longer incorrectly disabled.

5.22 Versions

Comparing two versions of a score, or two separate scores, is now up to five times faster than before. Line breaks are now included in the Rich Text Format log exported via the Export Log dialog. When exporting a version log, Sibelius now always compares the versions in chronological order from oldest to newest. Sibelius no longer crashes if you attempt to navigate between bars in a read-only version using e.g. Ctrl+0/1.

8.2 Magnetic Layout

Tuplets on guitar tab staves that do not show rhythms no longer cause other objects to move out of the way of where the tuplet bracket would normally appear. The hidden part of rit./accel. lines no longer incorrectly act as if they are visible, forcing other objects to move out of the way. Magnetic Layout will no longer attempt to avoid collisions with hidden beams, accidentals or note-attached arpeggios. 21
Changes in Sibelius 6.1 If the Timecode text style is made boxed, timecode is no longer forced outside of its own box by Magnetic Layout. It is no longer possible to adjust settings for slurs in Layout > Magnetic Layout Options; if you previously adjusted the settings for slurs in this dialog, you are recommended to click Restore Defaults to use the most up-to-date default settings. Pedal lines now have a more appropriate grouping behavior, and are no longer shown as colliding (i.e. colored red) when they abut. Lyrics are no longer unexpectedly shown as colliding when they do not appear to collide, particularly when multiple verses of lyrics are present. Trill lines, octave lines, etc. are no longer shown as colliding when they cross a barline. Percussion stickings now have their own settings in Magnetic Layout Options and will be grouped across the width of the system. A new option, Use precise Magnetic Layout bounding boxes, on the Beams and Stems page of House Style > Engraving Rules, has been added to improve the accuracy of Magnetic Layout for irregularly shaped and angled objects, e.g. beams, tuplet brackets, hairpins, etc. This option should be switched on if you intend to make use of the improvements to magnetic slurs and collision avoidance for articulations. No bar number bar number changes no longer cause other objects to move out of their way. The hidden target notes for bends on guitar tab staves no longer cause other objects to move out of their way. The text part of an instrument change is now allowed to move to avoid collisions. Hairpins are no longer truncated by hidden objects (e.g. hidden dynamics, or other hairpins that are hidden). Layout > Optimize Staff Spacing no longer sometimes fails to move any staves, even when there are obvious collisions, if the staves must be moved more than c. 15 spaces to resolve the collisions.

8.4 Auto Breaks

2-bar and 4-bar repeats are no longer treated as one bar for the purposes of auto system breaks. The new behavior is that auto system breaks are allowed at the end of a 2-bar or 4-bar repeat, but never in the middle, and if Sibelius exceeds the desired width of a system due to one of these repeats (or due to use of Make into system or Keep bars together), then it will put in a break as early as possible. Previously Sibelius would have waited until the next multiple of the desired system width, but the new behavior is better.

9.6 Opening MusicXML files
MusicXML 2.0 files are now validated against the MusicXML 2.0 W3C XML schema definition. Sibelius also continues to validate against the MusicXML 2.0 DTDs. Dashed and dotted slurs are now imported from MusicXML files. The placement and orientation parameters are not currently imported for slurs: slurs from MusicXML files will always follow Sibeliuss default positioning rules. A wide variety of nth-ending lines are now correctly imported. If the MusicXML file specifies an ending line that does not exist by default in Sibelius, a new line style will be created to match the appearance and behavior of the ending line specified in the MusicXML file. Complex repeat structures including segnos, codas, D.C. and D.S. jumps are now imported from MusicXML files. Where Sibelius detects a repeat event in a MusicXML file, it will use the default text or symbol required by Sibelius for correct playback, rather than reproducing exactly the appearance of the original MusicXML file. Breath marks and caesura symbols are now imported from MusicXML files. Scoop, plop, doit and fall articulations are now imported from MusicXML files. Upbow and downbow articulations are now imported from MusicXML files. Guitar bends, hammer-ons and pull-offs are now imported from MusicXML files. Pedal lines (for piano etc.) are now imported from MusicXML files. Quarter-tone accidentals are now imported from MusicXML files. Colored objects are now imported from MusicXML files. Arpeggio lines are now imported from MusicXML files. Feathered beams are now imported from MusicXML files. Sub-bass F clefs are now imported from MusicXML files. The directive element, used for system markings such as tempo indications, is now imported from MusicXML files.
Changes in Sibelius 6.1 Sibelius now attempts to detect page numbers in credit elements that recur on multiple pages, and if possible it creates a single header text object with a page number wildcard, rather than individual header text objects on each page. The other-direction element, used for miscellaneous (and typically non-printing) text, is now imported from MusicXML files as comments. The part-group element, which describes bracket, sub-bracket, brace and barline groupings, is now imported from MusicXML files. Changes of text formatting in the middle of a text object (e.g. a change to bold or italic) are now imported from MusicXML files. Metronome marks imported from MusicXML files now include changes of font and/or style, as appropriate. The default text and music fonts used in MusicXML files are now imported, if possible. Sibelius now imports instrument names with music text font characters where appropriate for MusicXML files exported from Dolet 5 for Finale.! If instrument names on all staves of a system after the first system of an imported MusicXML file are specified not to appear, Sibelius now sets the options on the Instruments page of Engraving Rules appropriately such that instrument names do not appear after the first system of the resulting Sibelius score. The heuristic used to determine whether or not an instrument should be treated as an octave-transposing instrument has been improved. Stem directions for notes on transposing instruments in MusicXML files have now been improved. Lyric lines on melismatic syllables are now created at the correct length when importing MusicXML files. * Up-beat (pick-up) bars are now imported from MusicXML files with the correct length. * The horizontal positioning of chord symbols imported from MusicXML files where there are chord symbols at rhythmic positions where there are no notes has been improved. * It is now possible to open a MusicXML file when not connected to the Internet. * In certain complex multi-voice cases, Sibelius now ensures that appropriate voices are used for notes, on the basis that the highest pitches should use voices with stems pointing up, and the lowest pitches should use voices with stems pointing down. * Octave lines no longer affect the pitches of both staves of grand-staff instruments (e.g. piano).

9.7 Opening files from previous versions
New Extend tuplet brackets to last note in tuplet checkbox on the More Update Score Options dialog (accessed by clicking More Options on the Update Score dialog that appears when you open a score created in a previous version of Sibelius), which if switched on resets the duration of tuplet brackets to use the new improved positioning in Sibelius 6.1 (see 2.35 Triplets and other tuplets above).

9.8 Exporting graphics

New Anti-aliased checkbox in File > Export > Graphics to determine whether or not exported color or grayscale bitmap graphics should be anti-aliased. When exporting EPS files, to export any embedded TIFF files in the score as 8-bit grayscale images, switch off Include colored objects in File > Export > Graphics. When this option is switched on, all TIFF files will be exported as 24-bit color images, even if they are monochrome or grayscale. It is now possible to export bitmap graphics of whole pages at high resolutions, e.g. 600dpi or greater (Windows only). * Page number wildcards in text are now correctly substituted when exporting graphics, both via copy and paste and via File > Export > Graphics. *

9.9 Exporting MIDI files

New Export pick-up bars as full bars padded with rests checkbox in the Export MIDI File dialog, switched on by default. Sibelius has always exported pick-up (upbeat) bars at the start of the score as a full bar padded with rests at the start of the bar, which works well for playback. However, if you are exporting a MIDI file from Sibelius for the purposes of using it as a tempo track in a sequencer or DAW for ReWire sync, it is more useful to export an initial pick-up bar as a short bar with a different time signature than the first full bar. To do this, switch off this new option.
9.10 Exporting audio files
It is now possible to type filenames including characters like on a German keyboard into the Export Audio dialog (Mac only). Attempting to switch between scores while exporting audio files will no longer cause Sibelius to crash.
9.12 Exporting to earlier versions
Various small problems related to the appearance and positioning of lines that cross system or page breaks when exporting scores to Sibelius 5 format or earlier have been fixed.

Installing AudioScore Lite
AudioScore Lite is an application that automatically transcribes music that you sing or play an acoustic instrument into a microphone, so that you can send it to Sibelius for further editing. Unless you have purchased AudioScore Ultimate, you should now install AudioScore Lite from your Sibelius 6 DVD-ROM:
* In the main installation window, click Install AudioScore Lite * On Windows Vista or Windows 7, your screen may now go dark and a window titled User
Account Control will appear. Click Continue to tell Windows that you are happy for the installation to proceed. Click Next to see the license agreement for AudioScore Lite. Read it and click Next Youre asked to fill in a few details: type in your Name; the Product ID field is filled in for you. When youve filled in the form, click Next. AudioScore Lite tells you where it will be installed; again, you can change this if you have strong feelings about it. Otherwise, click Next. Click Next once more and AudioScore Lite will be installed, then click Finish.
Installing Sibelius Scorch
You should now install Scorch, the free web browser plug-in for viewing, playing, transposing and printing Sibelius scores on the Internet:
* First, quit any web browsers that are running. * In the main installation window, click Install Scorch * It may take up to a minute or longer for the Scorch installer to start: please be patient. Eventually, a
window appears that says Welcome to the Sibelius Scorch (all browsers) Setup Wizard. Click Next. You are given the opportunity to read the Scorch license agreement. Read it, choose the I Agree radio button, then click Next. You are prompted to choose an installation folder for Scorch. Again, simply click Next. It tells you youre now ready to install Scorch. Click Next. On Windows Vista or Windows 7, your screen may now go dark and a window titled User Account Control will appear. Click Continue to tell Windows that you are happy for the installation to proceed. 15
* Things flash and whizz across the screen as Scorch is installed. This only takes a few moments. * When the installer has completed, click Close.

Reinstalling Sibelius

If you need to reinstall Sibelius, simply insert the DVD-ROM into your computer and proceed as if you were installing Sibelius for the first time. The installer will detect that Sibelius is already installed on your computer and show a dialog with three options: choose Repair and click Next, then Next again to confirm your choice. Wait while the application is reinstalled, then click Finish.

Uninstalling Sibelius

Uninstalling means taking your copy of Sibelius off your computer, probably so that you can install it on another computer. If your copy of Sibelius becomes corrupted for some reason, you can normally just install it again in the same place without uninstalling it first see Reinstalling Sibelius above. Do not attempt to move or rename the Sibelius program folder or the folder of any other program, as the operating system doesnt like this.

If you need to reinstall Sibelius for any reason:
* First, drag the existing Sibelius 6 application icon from your Applications folder to the Trash * You may also want to trash the Sibelius 6 preferences file, which is in both Users/username/
Library/Preferences and /Library/Preferences, called com.sibelius.sibelius6.plist
* Insert the Sibelius 6 DVD-ROM into your computer, then follow the instructions for Installing

Sibelius above.

Uninstalling means taking your copy of Sibelius off your computer, probably so that you can install it on another computer. If your copy of Sibelius becomes corrupted for some reason, you can normally just install it again in the same place see Reinstalling Sibelius above. To uninstall Sibelius for Mac, simply drag the Sibelius 6 icon from your Applications folder to the trash. Likewise, to uninstall PhotoScore Lite or AudioScore Lite, just drag the PhotoScore Lite or AudioScore Lite icon to the trash.

What next?

Now turn to Registering Sibelius on page 21.
Moving Sibelius Sounds Essentials
To move Sibelius Sounds Essentials to another volume, e.g. an external hard disk, after installation:
* Quit Sibelius, if it is running. * In the Finder, go to /Library/Application Support/Sibelius Software/Sibelius Sounds. * You will see at least two folders: Essentials for Sibelius 6 and Libraries. * Drag the Essentials for Sibelius 6 folder to your preferred location. Do not move the Libraries

folder.

* Run Sibelius again: you will be told that Sibelius is unable to find the Essentials sound library.
Click Yes to choose the new location, then click Choose. You will be prompted for your administrator password, so provide it and click OK.

Registering Sibelius

You should register your copy of Sibelius in the first week or two of using it. This is quick and easy to do, and once you have registered, you will be eligible for technical help, future upgrades, and access to online support via the Sibelius web site (www.sibelius.com). To protect us against piracy, and to protect you against having your software stolen, unregistered copies of Sibelius will not save. But so you can use Sibelius before you get around to registering it, you will be able to save for the first 15 days without registering. If you dont register Sibelius in the first 15 days, saving will be temporarily disabled. When you subsequently get round to registering, it will be re-enabled. (Please dont try altering your computers date or reinstalling Sibelius in order to extend the 15 days; this will not work and will instead cause saving to be disabled until you register.)

* Many MIDI devices such as keyboards have USB connections, enabling you to connect your
MIDI keyboard directly to your computer using only one USB cable * You can connect a separate MIDI interface to a USB port on the back of your computer, and plug your MIDI controller into the MIDI interface using MIDI cables * You can connect an external MIDI device directly to the gameport (or joystick port) on your computers soundcard with a special cable. Most Windows computers are supplied with a soundcard that is capable both of General MIDI playback, and also of connecting your computer to external MIDI devices via the gameport. Many computers have both a gameport and a USB port neither option is more preferable than the other, however if you want to upgrade your system in the future, you should probably opt for a MIDI interface or a keyboard that can connect directly to one of your systems USB sockets.
Connecting MIDI devices directly via USB
Most new MIDI keyboards and other devices can connect directly to your computers USB sockets without the need for a separate MIDI interface. To install one of these devices, simply connect a USB cable (which may be provided with your device) to your computer, and follow the on-screen instructions to install the necessary driver software. Once the drivers are correctly installed, you can set up input and playback in Sibelius b 1.10 Input devices in Reference. You should switch on the power on your USB-connected MIDI devices before running Sibelius. Failure to do so may result in Sibelius not correctly detecting your MIDI device when it loads.
Connecting MIDI devices via a MIDI interface
A MIDI interface is a small box that sits between your computer and your external MIDI devices, sending MIDI data back and forth. MIDI interfaces usually connect to a USB port on your computer. You might need a separate MIDI interface if:
* your external MIDI device doesnt have its own USB connection; or if * your soundcard doesnt support full duplex operation (e.g. if you find that Sibelius plays back

through your external MIDI device, but youre unable to play music into Sibelius from your external device); or if * your computer doesnt have a gameport, because its a notebook (laptop). MIDI interfaces usually require additional driver software, which will be supplied by your devices manufacturer. Well assume your MIDI interface connects via USB, and show you some common MIDI setups. Connections between MIDI devices all use standard MIDI cables, pictured on the right. To plug in just a MIDI keyboard, connect its Out socket to the MIDI interfaces In socket. This means that music played on the keyboard will go out of the keyboard, along the cable and in to the computer. To make the computer play back music into the keyboard (e.g. if the keyboard has sounds built into it), also connect the MIDI interfaces Out to the keyboards In. If your keyboard has two In or Out sockets, it usually doesnt matter which you use theyre just convenient duplicates of each other. So connecting up a keyboard alone looks like this:
If you want to connect just, say, a sound module, rather than a keyboard, simply connect the MIDI interfaces Out to the sound modules In. Once youve connected your MIDI devices to your computer, you can set up input in Sibelius
b 1.7 Input Devices in Reference.
Connecting MIDI devices via the gameport
In general, you wont need to buy a separate MIDI interface for your computer, provided you have a soundcard that supports full duplex operation (check with the manufacturer), or if you can use a direct USB connection instead.
Start here Using your soundcards gameport also has the advantage of not requiring any further driver software you can just plug in your MIDI device, and away you go. The gameport is usually found next to the sockets used to connect speakers and microphones to your computer. Typically, it will be on the soundcard, which looks something like this:
The gameport is the rectangular-ish connector, shown here at the far left. To connect this to an external MIDI device, youll need a Y-shaped MIDI-to-gameport cable, which looks something like this:
Note how the two MIDI plugs are labeled In and Out. To connect this cable to, say, a MIDI keyboard, you should connect the plug labeled In to the socket on the back of the keyboard marked Out, and the plug labeled Out to the socket on the keyboard marked In. Thats all there is to it. Provided you have the In and Out plugs in the right sockets on your MIDI keyboard (or sound module), you can now finish setting things up b 1.10 Input Devices in Reference.

MIDI setup for Mac

If you are using Sibelius Sounds Essentials for playback, b Sibelius Sounds Essentials in Reference. To set up MIDI on Mac, simply connect your MIDI devices as described below, use Mac OS Xs Audio MIDI Setup utility, then b Input Devices in Reference to find out how to set up MIDI input in Sibelius.
Connecting MIDI devices to your Mac
MIDI stands for Musical Instrument Digital Interface. It is a standard, not a thing the universal standard for connecting electronic musical instruments together. MIDI keyboards, synthesizers, sound modules, samplers and other electronic music gadgets can all be plugged into one another with MIDI cables, and can also be plugged into your computer. Soundcards and software synthesizers are also MIDI compatible, and as theyre already in your computer you dont need to attach cables at all in order to play music back. On Mac, MIDI devices connect via USB or Firewire ports. In both cases, you often have the choice of connecting a MIDI device either directly (to the computers USB or Firewire ports), or via a MIDI interface. For example, to connect a Roland SC-88 Pro sound module to a new iMac or G4 with USB, youll need to use an external MIDI interface, because its a fairly old model. However, the newer Roland SC-8820 connects directly via USB connection, so no MIDI interface is required.
Connecting MIDI devices directly
This diagram shows how to connect a sound module (shown) or MIDI keyboard directly. There is normally a switch on the back of the keyboard or sound module that determines which of the connections it should send and receive data through, so ensure that this is set correctly (in this case, it should be set to USB). You may have to switch your sound module or keyboard off and on again to make it take notice of changing this setting. Check your module or keyboards manual for precise connection details. Direct connections often require additional driver software, which will be supplied by your devices manufacturer.
A MIDI interface is a small box that connects MIDI devices to your Mac via its USB port. Connect a sound module using a MIDI interface like this:
The MIDI cable is connected from the Out socket on the MIDI interface to the In socket on the sound module. To add a MIDI keyboard or other input device, you should connect your devices as shown below:
The second MIDI cable goes from the Out socket on the keyboard to the In socket on the MIDI interface. MIDI interfaces often require additional driver software, which will be supplied by your devices manufacturer.

Audio MIDI Setup

Once you have connected up your external MIDI equipment, you need to use the Mac OS X utility Audio MIDI Setup to tell the operating system what each of the devices are:

You can delete a rest, which hides it, and leaves the rest of the rhythm still aligned as if the rest were still there. When you first delete a rest, its color changes to a lighter shade to show that its been hidden; when you deselect it, itll disappear altogether. You shouldnt normally hide rests, but it can sometimes be useful for special notations. Other objects can also be hidden for special purposes. To see where hidden objects are, they will be shown in gray if you switch on View > Hidden Objects (shortcut Ctrl+Alt+H or zXH). You can also use Backspace to delete objects, or choose Edit > Delete.
Project 1 Edit > Cut (shortcut Ctrl+X or XX) is similar to Delete, but cuts objects to the clipboard so that you can paste them elsewhere with Edit > Paste (shortcut Ctrl+V or XV). This is not used much in Sibelius, so theres no need to try it now. Remember that you can use Undo and Redo to restore anything you delete.

Deleting bars

Often youll find that you want to remove one or more bars empty or not from your score, so this is a very important function to learn. There are two ways to delete bars in Sibelius. The easiest way is to make a passage selection containing the bars you want to remove from the score (see Selections and passages above), then choose Edit > Delete Bars (shortcut Ctrl+Backspace or XBackspace). Youll be asked if youre sure you want to continue: click Yes, and notice that you can switch on a checkbox labeled Dont say this again if you want Sibelius to stop mollycoddling you (after all, theres always Undo!). If you feel like living dangerously and switching this option on, but later come to regret your rashness, you can make this and other similarly dismissed warning messages appear again by clicking Show All Messages on the Other page of File > Preferences (in the Sibelius menu on Mac). Another way to delete bars is to make a system passage selection, then hit Delete. Try deleting the last three bars of the Scarborough Fair score, then use Undo to restore them again.

Copying

Copying music between bars, staves, and even different files is very easy in Sibelius. Lets try it; click on the staccato quarter note (crotchet) in the fifth bar of the clarinet staff and then Alt+click or z-click onto a space in the empty sixth bar of the acoustic guitar staff. The note is copied exactly, but ends up at the pitch corresponding to the staff line or space where your mouse pointer was when you clicked. Notice that the staccato dot is copied too; any articulations on a note will be copied in this way. This method works well for copying large chunks of music. Begin by selecting the fifth bar of the acoustic guitar staff:

Using a MIDI device

To use Flexi-time, you must have a MIDI keyboard or MIDI guitar connected to your computer see 1.1 MIDI setup for Windows on page 26 or 1.1 MIDI setup for Mac on page 29. Once your MIDI device is correctly installed, you can set up input and playback in Sibelius. To do this, you should choose File > Preferences (in the Sibelius menu on Mac) and go to the Input Devices page:
1.4 Flexi-time input You should find your devices name in the table at the top of the page (e.g. M-Audio Oxygen 8) and check that the Use checkbox is switched on. If you are using a MIDI guitar, you will need to change the Type value by clicking the drop-down menu and choosing Guitar, rather than Keyboard. For this chapter, were going to be using a MIDI keyboard. To learn more about setting up input and playback with MIDI devices, b 1.10 Input Devices in Reference.

Flexi-time options

The easiest thing to do is to try playing in a single melodic line. Lets do this first you should be looking at the Scarborough Fair score weve been working on. Were going to record one verse of the clarinet part, so to ensure that we get the best results, choose Notes > Flexi-time Options (shortcut Ctrl+Shift+O or xXO). Because were recording in time with other instruments and were only recording one line of music you should choose None (non rubato) from the Flexibility of tempo drop-down list, and switch off the Record into multiple voices checkbox. Click OK to return to the score.

Trying it out

Youll need the printout of the score that we made at the start of this project in order to read the music from it. The Playback window allows you to view and control Sibeliuss playback. If you cant see the Playback window, switch it on by choosing Window > Playback (shortcut Ctrl+Alt+Y or zXY):
Play Rewind Move Playback Line to Start Fast-forward Stop Flexi-time Record Live Live Tempo Playback Play Live Tempo Click (on/off) Timeline slider MIDI in & out indicators
Move Playback Line to End

Timecode readout

Current tempo

Tempo slider

Well start playing in notes using Flexi-time from bar 43 until the end of the verse in bar 61: select bar 43 in the clarinet staff so that it is enclosed in a single light blue box (or select the little bar rest rectangle itself); this tells Sibelius where to start recording from Now brace yourself, because as soon as you choose Notes > Flexi-time Input (shortcut Ctrl+Shift+F or xXF) or click the circular record button on the Playback window, Sibelius will give you one bar count-in, then start recording what you play. Try it now:

The only differences from alphabetic input are:
* You dont need to input accidentals, as Sibelius can of course tell when youre playing a black
note. Sibelius makes an intelligent guess as to how you want black notes spelled e.g. as F# or Gb on the basis of the key signature and the musical context. However, you can ask Sibelius to respell a note after creating it just by hitting Return (on the main keyboard). * Similarly, Sibelius always knows which octave you want * You can input chords instantly just by playing them (you dont have to input one note and then add further notes to it, as you would with alphabetic input). These differences make step-time input somewhat faster than alphabetic input. Try inputting the rest of the missing music onto the acoustic guitar staff from bar 69, using step-time input:
* First, select the bar rest in bar 69 in the acoustic guitar staff (so it goes dark blue) * Next, choose eighth notes (quavers) from the Keypad * Now begin playing in the notes, changing the note lengths from the Keypad as you go.
You can always go back with the arrow keys if you made a mistake, or want to change something. As with alphabetic input, to correct a note or chords pitch you can just select it and re-play it on your MIDI keyboard. Or theres always Undo! It is much faster to use your MIDI keyboard (or MIDI guitar) to create chords than by clicking notes with the mouse or typing using your computer keyboard. For more details, b 1.1 Note input in Reference. Dont forget that you can use Alt-click or z-click to copy music, and R to repeat notes or bars.

Transposing scores

By default, your score is shown at sounding (concert) pitch. To switch to transposing pitch and show the clarinet staff at the correct pitch for the performer to read, simply choose Notes > Transposing Score (shortcut Ctrl+Shift+T or xXT) or click the button on the toolbar (shown above left) try this now. Notice how all of the music and key signatures on the clarinet staff are instantly changed to the clarinets transposing pitch. Sibelius automatically handles all other complications produced by transposing instruments. When playing back a transposing score, Sibelius reads transposing instruments correctly to produce the correct pitch. Sibelius transposes music when you copy it between transposing instruments so that it always sounds the same. (When viewing instrumental parts from a sounding pitch score, Sibelius automatically transposes transposing instruments for you see below.) Sibeliuss note input methods allow you to enter notes into a score with Notes > Transposing Score switched on. If you type notes using the letters AG, then the corresponding written pitches will appear on the staff:

* Click on the drop-down menu on the toolbar that says Full Score; this is the parts menu * Choose Clarinet in Bb from the list the view changes to display one instrument, laid out on
cream-colored paper to help you quickly differentiate between a score and a part. This part is ready for you to give to a performer; it has the same title, the same notes as the score (but at the correct written transposition) in fact, it has everything the instrumentalist needs to perform this part, and nothing that they dont! Try selecting a bar and transposing it up an octave by typing Ctrl+3 or X3, then choose Window > Switch to Full Score (shortcut W) or click the toolbar button on the left. Sibelius has transposed the same passage up an octave in the full score. Type Ctrl+2 or X2, to move the passage back to the original octave. Well learn more about how to work with dynamic parts in the other projects in this Handbook for more details, b 7.1 Working with parts in Reference.

1.6 Playback

If you are starting from this section of the project, you should open the example score called Project 1 and make the 6 Playback version into the Current version, by choosing File > Versions > Edit Versions, selecting this version in the list, and clicking Make current. One of the most powerful features of Sibelius which weve not really seen yet is the ability to play your score back.

Playback controls

Click the Play button on the Playback window, or hit Space to start the music, which should begin to play back (if it doesnt, then see below). You can also find this function in the Play menu, but who needs menus? Sibelius automatically hides the Keypad (and the Properties window, if its open) and zooms to show you a full page of music. Youll see a vertical green line (called the playback line) passing through the music to indicate the position as it plays, and the score moves around to follow the music. Why not listen to the arrangement of Scarborough Fair all the way through? When you want to stop, just click the Stop button on the Playback window, or hit Space again. You can rewind and fast-forward through a score using the appropriate buttons on the Playback window or by using the keyboard shortcuts [ (rewind) and ] (fast-forward). Clicking the Play button or typing Space will tell Sibelius to play again from the point where it left off, i.e. wherever you stopped it playing before, so to play a piece from the start again, you should rewind to the beginning of the score to quickly rewind or fast-forward to the start and end of the score, use Ctrl+[/] or X[/]. To play from a particular point, you can alternatively click on a note to select it, and hit P. So an even quicker way to play from the start of the score is to hit Esc to deselect everything, then hit P to play. If you have problems with playback, see I cant hear anything! below.

I cant hear anything!

If you press Play but cant hear any noise, there are a number of things you should try before throwing your computer out of the window. First, check that your computer speakers, MIDI keyboard or other playback equipment are plugged in, switched on and have the volume turned up. Next, check to see if your computer operating system is configured to play audio produced by Sibelius. Find your operating system from the list below and follow the instructions. Windows XP:
* Go to the Start menu and choose Control Panel, then double-click Sounds and Audio Devices * Click the Audio tab at the top, then click the Volume button * Make sure the main Volume Control and MIDI Synth/SW Synth are turned up and Mute is
not selected. Windows Vista:
* Go to the Start menu and choose Control Panel, then Hardware and Sound * Select the Adjust system volume link immediately underneath the Sound heading * Make sure the Sibelius volume (under Applications) and the main Device volume are not
muted and are turned up Mac OS X:
* Go to the Apple menu and choose System Preferences * Select Sound and then click on the Output tab * Make sure the Output volume is turned up and Mute is not selected.
If you still cant hear anything during playback, check that Sibelius is correctly configured:
* Choose Play > Playback Devices * Select Sibelius Sounds from the Configuration drop-down menu * Select Sibelius Player in the right-hand column, then click the Test button * If you still cant hear any sound, click Audio Engine Options at the bottom of the dialog * Check that your preferred interface is selected (on Windows, choose ASIO if available; otherwise
choose Primary Sound Driver) and click Close * Select the Sibelius Player entry in the right-hand column, then click the Test button again. If you are still unable to hear Sibelius play your score, please contact technical help. See b 4.12 Playback Devices in Reference for more information.

1.7 Text and dynamics

If you are starting from this section of the project, you should open the example score called Project 1 and make the 7 Text and dynamics version into the Current version, by choosing File > Versions > Edit Versions, selecting this version in the list, and clicking Make current. Other than the notes, many instructions for musicians playing from a score take the form of text. A lot of the text in a Sibelius score is entirely automatic so you dont have to think about adding it, e.g. page numbers, bar numbers and instrument names. But youll also want to add all kinds of other text yourself, from dynamics and lyrics to metronome marks and tempo text. Most text instructions play back, so when you create dynamics or tempo markings, Sibelius understands them and plays back accordingly.

You should now see:

Now add the rest of the missing text dynamics to the vocal, clarinet and acoustic guitar staves in the score, referring to the printout of Scarborough Fair that we made at the start of this project. You can write all the dynamics in this arrangement either by holding down Ctrl or X as you type them to tell Sibelius to use the special bold characters, or by using the word menu.

Tempo text

Tempo text is used at the start of a score and at sections where the tempo of the music changes dramatically. Sibelius follows tempo text during playback and changes the speed accordingly. You may have noticed when playing back the score during the previous chapter that it sounds a little too slow. If you didnt notice, hit Space now to play back your score and listen again! Lets change the tempo by adding some Tempo text:
* Type Ctrl+Home or X4 to go back to the start of the score, and select the first bar (this tells
Sibelius where to put the tempo marking)
* Choose Create > Text > Tempo (shortcut Ctrl+Alt+T or zXT) * A flashing caret appears above the bar Sibelius knows that this type of text should go above the
staff, so it automatically puts it there * Now right-click (Windows) or Control-click (Mac) to display the tempo markings word menu * Choose Allegro from the menu and click it. The menu disappears and the word Allegro appears in your score. * Hit Esc to stop creating text. You should now see:

Allegro

Now, rewind the score to the beginning and hit Space to play back your score (make sure that the tempo slider on the Playback window is set to its middle position to hear exactly the right speed). You could try experimenting with a few of the different tempo suggestions available in the word menu by deleting the Allegro marking and choosing Create > Text > Tempo again see how the score would sound using Prestissimo or Maestoso.

Technique text

To tell a performer to change the sound of an instrument, or to employ a particular instrumental technique or device, use Technique text. Sibelius understands your instructions too, and will play them back (depending on your playback device), so that you can use mutes, pizzicato, tremolo, distortion, and other effects in your score. 62

Time signatures and tempo
The third page of the dialog allows you to choose a time signature and set the tempo of your score.
Project 2 Leave the time signature at the default choice, 4/4, and because we want a pick-up (upbeat) bar, switch on Start with bar of length. Our pick-up bar is one sixteenth note (semiquaver) long, so choose that from the menu. You can, of course, change time signature (and just about everything else) at any point while working on your score, so were just setting the initial time signature here. We need to add a tempo marking, so for Tempo text, type Allegro molto and switch on Metronome mark to add a specific tempo. Our tempo is 132 quarter notes (crotchet) per minute, so choose a quarter note from the menu and type 132. Now click Next.

Key signatures

The fourth page of the dialog allows you to choose a key signature. Choose Minor keys, then select E minor from the left-hand list, and click Next.

Score info

The fifth and final page of the dialog allows you to enter some text, such as the title of the score, the name of the composer/lyricist, and copyright information. The text is automatically added to the first page of music, and if you switch on Create title page, Sibelius will add the title and composer to an extra title page it creates for you, too for now, leave this switched off, since well learn how to add a title page later on. For now, enter Quartet for Strings as the Title, Edward Elgar, Op.83 as the Composer, and click Finish. (As we mentioned earlier, you can in fact skip some of the steps when starting a score by clicking Finish at any earlier point.) A mere blink of an eye later, Sibelius has created your score, ready for you to start adding notes:
One detail to take care of: double-click the Violin instrument name on the first violin staff and edit it to Violin I, then do the same for the second violin staff, changing it to Violin II. There!

Save your score

Editing a text style

When you want to change the properties of a certain type of text, you should edit the text style. This specifies the font, size, position and other characteristics for a type of text. In the worksheet weve set up, lets edit the Title and Subtitle text styles, so that the text is leftaligned on the page:
* Click on the title to select it * Choose House Style > Edit Text Styles (shortcut Ctrl+Shift+Alt+T or xzXT) * In the list of available text styles, Title should be selected; click Edit * On the Horizontal Posn page, choose Left under Align to page and click OK * Select Subtitle from the list of available text styles and click Edit * On the General page, switch on Italic * On the Horizontal Posn page, choose Left under Align to page and click OK * Click Close to return to the score:
Add to worksheet templates
Lets add this score to the other available templates in the Worksheet Creator. This will make it available for you to use in the future, saving you the time it takes to prepare the template.
* Choose File > Add to Worksheet Creator. * Choose Template from the Type options and give your worksheet a name, e.g. Scales and
arpeggios. * If you want to add any other information which would help you identify this template in future, type this into the Description (for teacher) box. * Click OK to add the worksheet to the list of templates and return to the score. Next time you open File > Worksheet Creator and view the list of templates, the Scales and arpeggios template we just created appears in the list.

4.2 Scales and arpeggios

If you are starting from this section of the project, you should open the example score called Project 4 and make the 2 Scales and arpeggios version into the Current version, by choosing File > Versions > Edit Versions, selecting this version in the list, and clicking Make current. In this chapter were going to learn how to use plug-ins to quickly create a set of scales of the same type, ready for practicing, revising or assessing. Well look at respelling pitches as their enharmonic equivalents, e.g. changing G# to Ab, and re-inputting pitches to change scale types; using all of these tools you can quickly produce a vast array of scale sheets with very little effort.

Adding scales

Were going to use one of Sibeliuss powerful plug-ins to create a sheet of scales in all keys in just a few clicks, which will form the basis of the worksheet exercises well create in this project. Lets add major scales in all keys:
* Choose Plug-ins > Other > Scales and Arpeggios * In the dialog that appears, make sure that you choose Add scales and arpeggios to current * *
score and click Next Choose Major Scales from the drop-down menu and click Next A dialog appears with many different options for the scales that will be added to the score; you can choose whether to show ascending or descending scales, the range of octaves spanned, the starting note and note lengths and many more options Make sure that the Scale Type is set to Major and that the Include key signature option is switched on Choose All except octave from the Number of scales or arpeggios drop-down list, and Chromatic from the Interval of start notes drop-down list. This adds major scales starting on all pitches from C through to B. Click Finish and Sibelius will add the scales to your score.