Igor Engraver Manual

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CHAPTER 10 More About Music Input and Editing 156 10.3 Tweaking All of the musical elements in the layouts can be “tweaked” in a number of ways: A note or rest can be dragged sideways, a mezzo-forte marking can be moved upwards, and so forth. Though not necessary to use (Igor Engraver will create a proper layout for you), tweaking is an important concept for publishers and musicians who are concerned with making small adjustments. 10.3.1 Normal Tweaking Tweaking is as simple as dragging an element to its desired position. On most occasions, this method will only affect the graphics: playback will not be affected if you drag one note to the other side of another note. In most cases, you are also able to use the arrow keys to move selected objects. All tweaking can be undone by choosing Undo from the Edit menu. Tweaked objects may also be “untweaked” by choosing Untweak from the contextual menu that appears if the object in question is Control or Right-clicked. If untweaked, Igor Engraver puts the object back to its’ default position. Below is an example of the tweaking of a crotchet/quarter note. A passage, before and after dragging to the right: A note or rest can be tweaked sideways or up an down (in this sense, “tweaking” means moving an entry). You will notice, that if rests are dragged they snap to a grid. Macintosh: If you would like to move a rest smoothly, B-drag. Noteheads can be dragged away from their stems by B-dragging. The length of a stem can be tweaked by dragging the end of the stem.
157 CHAPTER 10 More About Music Input and Editing Windows: If you would like to move a rest smoothly, Alt-drag. Noteheads can be dragged away from their stems by Alt-dragging. The length of a stem can be tweaked by dragging the end of the stem. 10.3.2 Special Tweaking Some objects can be tweaked in special ways to obtain certain effects not used by all objects. These objects are examined below. 10.3.3 Tweaking Slurs and Ties Slurs and ties can be tweaked in interesting ways. For instance, both the height and angle of the slur’s arc can be altered, as well as the starting and end notes. How this is achieved is easy to understand after taking a look at the example below. The two treble parts in the example above are notated identically (apart from the pickup bars). The slurring differs, however. In the lower part, the slur above the first group of four quavers is selected, and the draggable square handles are shown. The next slur has been tweaked and is now higher than the previous one. The tweaking procedure has been executed by dragging the slur’s two middle handles. The slur further to the right has been extended, and now includes the last two slurs. This has been achieved by dragging the slur’s rightmost handle to the last note. Igor Engraver has then automatically redrawn the slur. If B for Macintosh or Alt for Windows is pressed while dragging the slur’s handles, the shape of the slur will be preserved when attached to a new entry instead of getting reformed. The same is true for ties.
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Igor Engraver 1.6 Manual NoteHeads
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Brief Table of Contents Thanks, Con
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Detailed Table of Contents Thanks,
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5.1.3 Working With More Musicians .
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10.3.1 Normal Tweaking ............
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12.2.5 Out-of-limit highlighting ..
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15.2.1 Piece Setting the Template a
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Basic Spacing .....................
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Thanks, Congratulations, and Welcom
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microtones accurately, and plays st
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CHAPTER 1 Installation and Setup In
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CHAPTER 1 Installation and Setup 20
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CHAPTER 2 “espressivo” The obje
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CHAPTER 2 “espressivo” 46 “Bo
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CHAPTER 2 “espressivo” 48 Since
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CHAPTER 2 “espressivo” 50 Now p
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CHAPTER 2 “espressivo” 52 click
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CHAPTER 2 “espressivo” 54 • I
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CHAPTER 2 “espressivo” 56 Now i
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CHAPTER 2 “espressivo” 58 2.4 T
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CHAPTER 2 “espressivo” 60 You h
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CHAPTER 2 “espressivo” 62 palet
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CHAPTER 2 “espressivo” 64 Perha
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CHAPTER 2 “espressivo” 66 until
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CHAPTER 2 “espressivo” 68 Key(s
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CHAPTER 2 “espressivo” 70 the f
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CHAPTER 3 Purcell In this tutorial,
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CHAPTER 3 Purcell 74 In the Default
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CHAPTER 3 Purcell 76 The first few
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CHAPTER 3 Purcell 78 3.4 Adding Lyr
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CHAPTER 3 Purcell 80 3.5 Cosmetics
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CHAPTER 3 Purcell 82 changed. (Due
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CHAPTER 4 “impressivo” Now that
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CHAPTER 4 “impressivo” 86 which
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CHAPTER 4 “impressivo” 88 Liste
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CHAPTER 5 The Piece Window and the
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92 CHAPTER 5 The Piece Window and t
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98 CHAPTER 5 The Piece Window and t
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CHAPTER 6 The Layout Window In cont
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CHAPTER 6 The Layout Window 104 6.1
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Page 114 and 115: CHAPTER 7 Input Mode Now that you a
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Page 130 and 131: CHAPTER 7 Input Mode 126 Trills and
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Page 136 and 137: CHAPTER 8 The Palettes In Igor Engr
Page 138 and 139: CHAPTER 8 The Palettes 134 The two
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Page 150 and 151: CHAPTER 9 The Contextual Menus Rega
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Page 190 and 191: CHAPTER 11 Text Entry There are sev
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Page 198 and 199: CHAPTER 11 Text Entry 194 (As shown
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Page 204 and 205: CHAPTER 12 Guitar Fingering & Tabla
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CHAPTER 12 Guitar Fingering & Tabla
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CHAPTER 13 The Menus 13.1 The File
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CHAPTER 13 The Menus 214 If Igor En
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CHAPTER 13 The Menus 216 13.2 The E
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CHAPTER 13 The Menus 218 section of
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CHAPTER 13 The Menus 220 13.2.6 MID
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CHAPTER 13 The Menus 222 nesting va
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CHAPTER 13 The Menus 224 is to be u
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CHAPTER 13 The Menus 226 13.2.8 Ant
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CHAPTER 13 The Menus 228 13.2.12 Ap
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CHAPTER 13 The Menus 230 appear or
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CHAPTER 13 The Menus 232 In the abo
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CHAPTER 13 The Menus 234 The Show/H
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CHAPTER 13 The Menus 236 • adapts
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CHAPTER 13 The Menus 238 13.4 The W
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CHAPTER 13 The Menus 240 13.6 The F
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CHAPTER 14 Printing and Exporting 1
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CHAPTER 15 Settings Windows and Hou
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CHAPTER 16 MIDI and NIFF MIDI (Musi
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CHAPTER 16 MIDI and NIFF 266 The re
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CHAPTER 16 MIDI and NIFF 268 layout
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CHAPTER 16 MIDI and NIFF 270 Note v
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CHAPTER 16 MIDI and NIFF 272 In the
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CHAPTER 16 MIDI and NIFF 274 The Ex
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CHAPTER 16 MIDI and NIFF 276 16.4 N
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CHAPTER 16 MIDI and NIFF 278 Now, c
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CHAPTER 17 E-Commerce 17.1 The Igor
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CHAPTER 17 E-Commerce 282 If you mo
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CHAPTER 17 E-Commerce 284 in a pre-
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CHAPTER 17 E-Commerce 286 again. Th
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CHAPTER 17 E-Commerce 288 17.5 Gene
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APPENDIX A Settings As mentioned ea
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APPENDIX A 292 Dedication: If the p
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APPENDIX A 294 cians included in th
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APPENDIX A 296 Score names, First s
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APPENDIX A 298 Break double barline
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APPENDIX A 300 Text Fonts 1 In the
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APPENDIX A 306 Allotment Table Defa
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APPENDIX A 308 Basic Spacing In the
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APPENDIX A 310 Staff & Leger Lines
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APPENDIX A 312 Space between accide
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APPENDIX A 314 The different settin
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APPENDIX A 316 Max after dampening:
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APPENDIX A 318 Beamed grace notes,
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APPENDIX A 320 Horizontal offset: T
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APPENDIX A 324 Lines In the Lines p
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APPENDIX A 326 Lyrics In the Lyrics
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APPENDIX A 328 Rhythmic grouping: I
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APPENDIX A 330 Initial vertical off
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APPENDIX A 334 Bar Numbers In the B
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APPENDIX A 336 Rehearsal Marks dire
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APPENDIX A 338 • The radius speci
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APPENDIX A 340 Jazz Chords In the J
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APPENDIX A 342 Centered tab frets:
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APPENDIX A 344 MIDI Input In the MI
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APPENDIX A 346 MIDI Quantisation In
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APPENDIX A 350 Publishing Info In t
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APPENDIX A 352 Measurements units:
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APPENDIX A 354 Brace together ident
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APPENDIX A 356 Instrument Names Pag
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APPENDIX A 358 Bar Numbers The diff
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APPENDIX A 360 Bar Grouping In the
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APPENDIX A 362 Name: Here, the name
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APPENDIX A 364 Since the number in
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APPENDIX A 366 one piece, it is eas
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APPENDIX B Reference Chart On the n
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Trills, Tremolandos, and Tremolos A
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Igor Engraver Reference Chart Macin
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Stems and beams: CF Flip stem BF Fr
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377 APPENDIX C Exact tempo indicati
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379 APPENDIX C
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381 APPENDIX D Questions I can’t
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383 APPENDIX D Questions My Roland
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385 APPENDIX D Questions I am exper
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387 APPENDIX E
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389 basic spacing 308-309 beam 315-
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391 flipping slur Input mode 123, 1
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393 key signature changing 75, 164,
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395 ordering of instruments 95, 365
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397 format, default 293 icon 45, 58
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399 hiding 165 reservation of space
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