Igor Engraver Manual

More documents

Recommendations

Info

CHAPTER 12 Guitar Fingering & Tablature 204 The commands above are handy as you enter music but Igor also provides some special commands for music that has already been entered. Mark a passage of fret numbers in your music and Control-click for Macintosh or Right-click for Windows one of the numbers to try the Refret… command. Refret… allows you to apply a new minimum fret to a selection of notes. The Allow open strings checkbox specifies whether open strings are allowed (that is, if the fret number zero is allowed even if there is a minimum fret limit), and Keep overrides tells Igor whether to keep the tab pins (string overrides) or to throw the pins away and let Igor run the auto-tab logic on all notes instead. The Allow open strings checkbox is also available in the piece settings together with, for example, the Collide double stops checkbox. Collided double stops means that notes with identical pitches may share the same string while uncollided double stops causes the tab logic to reserve one string, for each of two simultaneously sounding notes, even if they have identical pitches. See Appendix A where you will find all the four panes of guitar and tablature settings, including fonts, placements of the different guitar indications and appearance of glissandi and bendhats etcetera, described.
205 CHAPTER 12 Guitar Fingering & Tablature Igor Engraver understands alternative tuning too. Below is the standard guitar tuning. In Igor Engraver you can have any number of strings; you may tune any string any way you want; have the strings in any order you want; you may set the register for each string separately; and you may even work with non-chromatic fret boards, such as dulcimer—the auto-tab will keep on working equally well. Control-click the tab staff to enter the Adjust tab/string tuning dialog. The first text field uses MIDI pitches to specify the tuning of each string of the instrument—E1, A1, D2, G2 H2 (B2) and E3 for an ordinary guitar as above. But each pitch entry must be immediately followed by a parenthesis, an integer and an ending parenthesis before the separating blank space (or end). The integer indicates the number of frets which can be used by that string—for example, electrical guitars sometimes have some extra frets for the higher pitched strings and the classical guitar often has a sound hole which limits the middle strings to have one fret less than the upper and lower strings. (Igor uses this information to
Page 1 and 2:
Igor Engraver 1.6 Manual NoteHeads
Page 3 and 4:
Brief Table of Contents Thanks, Con
Page 5 and 6:
Detailed Table of Contents Thanks,
Page 7 and 8:
5.1.3 Working With More Musicians .
Page 9 and 10:
10.3.1 Normal Tweaking ............
Page 11 and 12:
12.2.5 Out-of-limit highlighting ..
Page 13 and 14:
15.2.1 Piece Setting the Template a
Page 15 and 16:
Basic Spacing .....................
Page 17 and 18:
Thanks, Congratulations, and Welcom
Page 19 and 20:
microtones accurately, and plays st
Page 22 and 23:
CHAPTER 1 Installation and Setup In
Page 24 and 25:
CHAPTER 1 Installation and Setup 20
Page 26 and 27:
Page 28 and 29:
Page 30 and 31:
Page 32 and 33:
Page 34 and 35:
Page 36 and 37:
Page 38 and 39:
Page 40 and 41:
Page 42 and 43:
Page 44 and 45:
Page 46 and 47:
Page 48 and 49:
CHAPTER 2 “espressivo” The obje
Page 50 and 51:
CHAPTER 2 “espressivo” 46 “Bo
Page 52 and 53:
CHAPTER 2 “espressivo” 48 Since
Page 54 and 55:
CHAPTER 2 “espressivo” 50 Now p
Page 56 and 57:
CHAPTER 2 “espressivo” 52 click
Page 58 and 59:
CHAPTER 2 “espressivo” 54 • I
Page 60 and 61:
CHAPTER 2 “espressivo” 56 Now i
Page 62 and 63:
CHAPTER 2 “espressivo” 58 2.4 T
Page 64 and 65:
CHAPTER 2 “espressivo” 60 You h
Page 66 and 67:
CHAPTER 2 “espressivo” 62 palet
Page 68 and 69:
CHAPTER 2 “espressivo” 64 Perha
Page 70 and 71:
CHAPTER 2 “espressivo” 66 until
Page 72 and 73:
CHAPTER 2 “espressivo” 68 Key(s
Page 74 and 75:
CHAPTER 2 “espressivo” 70 the f
Page 76 and 77:
CHAPTER 3 Purcell In this tutorial,
Page 78 and 79:
CHAPTER 3 Purcell 74 In the Default
Page 80 and 81:
CHAPTER 3 Purcell 76 The first few
Page 82 and 83:
CHAPTER 3 Purcell 78 3.4 Adding Lyr
Page 84 and 85:
CHAPTER 3 Purcell 80 3.5 Cosmetics
Page 86 and 87:
CHAPTER 3 Purcell 82 changed. (Due
Page 88 and 89:
CHAPTER 4 “impressivo” Now that
Page 90 and 91:
CHAPTER 4 “impressivo” 86 which
Page 92 and 93:
CHAPTER 4 “impressivo” 88 Liste
Page 94 and 95:
CHAPTER 5 The Piece Window and the
Page 96 and 97:
92 CHAPTER 5 The Piece Window and t
Page 98 and 99:
Page 100 and 101:
Page 102 and 103:
98 CHAPTER 5 The Piece Window and t
Page 104 and 105:
Page 106 and 107:
CHAPTER 6 The Layout Window In cont
Page 108 and 109:
CHAPTER 6 The Layout Window 104 6.1
Page 110 and 111:
CHAPTER 6 The Layout Window 106 6.3
Page 112 and 113:
CHAPTER 6 The Layout Window 108 The
Page 114 and 115:
CHAPTER 7 Input Mode Now that you a
Page 116 and 117:
CHAPTER 7 Input Mode 112 the sectio
Page 118 and 119:
CHAPTER 7 Input Mode 114 7.3.1 Movi
Page 120 and 121:
CHAPTER 7 Input Mode 116 Key(s): Ac
Page 122 and 123:
CHAPTER 7 Input Mode 118 Hiding one
Page 124 and 125:
CHAPTER 7 Input Mode 120 N Change n
Page 126 and 127:
CHAPTER 7 Input Mode 122 7.3.4 Dyna
Page 128 and 129:
CHAPTER 7 Input Mode 124 Finally, a
Page 130 and 131:
CHAPTER 7 Input Mode 126 Trills and
Page 132 and 133:
CHAPTER 7 Input Mode 128 Once inser
Page 134 and 135:
CHAPTER 7 Input Mode 130 7.3.12 Bar
Page 136 and 137:
CHAPTER 8 The Palettes In Igor Engr
Page 138 and 139:
CHAPTER 8 The Palettes 134 The two
Page 140 and 141:
CHAPTER 8 The Palettes 136 8.1.3 Dy
Page 142 and 143:
CHAPTER 8 The Palettes 138 8.1.7 Th
Page 144 and 145:
CHAPTER 8 The Palettes 140 (picture
Page 146 and 147:
CHAPTER 8 The Palettes 142 By dragg
Page 148 and 149:
CHAPTER 8 The Palettes 144 8.2 The
Page 150 and 151:
CHAPTER 9 The Contextual Menus Rega
Page 152 and 153:
CHAPTER 9 The Contextual Menus 148
Page 154 and 155:
CHAPTER 9 The Contextual Menus 150
Page 156 and 157:
CHAPTER 10 More About Music Input a
Page 158 and 159: CHAPTER 10 More About Music Input a
Page 190 and 191: CHAPTER 11 Text Entry There are sev
Page 192 and 193: CHAPTER 11 Text Entry 188 A-ve Ma-r
Page 194 and 195: CHAPTER 11 Text Entry 190 To make t
Page 196 and 197: CHAPTER 11 Text Entry 192 • In th
Page 198 and 199: CHAPTER 11 Text Entry 194 (As shown
Page 200 and 201: CHAPTER 11 Text Entry 196 11.2.1 Pa
Page 202 and 203: CHAPTER 11 Text Entry 198 11.2.5 Re
Page 204 and 205: CHAPTER 12 Guitar Fingering & Tabla
Page 216 and 217: CHAPTER 13 The Menus 13.1 The File
Page 218 and 219: CHAPTER 13 The Menus 214 If Igor En
Page 220 and 221: CHAPTER 13 The Menus 216 13.2 The E
Page 222 and 223: CHAPTER 13 The Menus 218 section of
Page 224 and 225: CHAPTER 13 The Menus 220 13.2.6 MID
Page 226 and 227: CHAPTER 13 The Menus 222 nesting va
Page 228 and 229: CHAPTER 13 The Menus 224 is to be u
Page 230 and 231: CHAPTER 13 The Menus 226 13.2.8 Ant
Page 232 and 233: CHAPTER 13 The Menus 228 13.2.12 Ap
Page 234 and 235: CHAPTER 13 The Menus 230 appear or
Page 236 and 237: CHAPTER 13 The Menus 232 In the abo
Page 238 and 239: CHAPTER 13 The Menus 234 The Show/H
Page 240 and 241: CHAPTER 13 The Menus 236 • adapts
Page 242 and 243: CHAPTER 13 The Menus 238 13.4 The W
Page 244 and 245: CHAPTER 13 The Menus 240 13.6 The F
Page 246 and 247: CHAPTER 14 Printing and Exporting 1
Page 252 and 253: CHAPTER 15 Settings Windows and Hou
Page 258 and 259:
CHAPTER 15 Settings Windows and Hou
Page 260 and 261:
Page 262 and 263:
Page 264 and 265:
Page 266 and 267:
Page 268 and 269:
CHAPTER 16 MIDI and NIFF MIDI (Musi
Page 270 and 271:
CHAPTER 16 MIDI and NIFF 266 The re
Page 272 and 273:
CHAPTER 16 MIDI and NIFF 268 layout
Page 274 and 275:
CHAPTER 16 MIDI and NIFF 270 Note v
Page 276 and 277:
CHAPTER 16 MIDI and NIFF 272 In the
Page 278 and 279:
CHAPTER 16 MIDI and NIFF 274 The Ex
Page 280 and 281:
CHAPTER 16 MIDI and NIFF 276 16.4 N
Page 282 and 283:
CHAPTER 16 MIDI and NIFF 278 Now, c
Page 284 and 285:
CHAPTER 17 E-Commerce 17.1 The Igor
Page 286 and 287:
CHAPTER 17 E-Commerce 282 If you mo
Page 288 and 289:
CHAPTER 17 E-Commerce 284 in a pre-
Page 290 and 291:
CHAPTER 17 E-Commerce 286 again. Th
Page 292 and 293:
CHAPTER 17 E-Commerce 288 17.5 Gene
Page 294 and 295:
APPENDIX A Settings As mentioned ea
Page 296 and 297:
APPENDIX A 292 Dedication: If the p
Page 298 and 299:
APPENDIX A 294 cians included in th
Page 300 and 301:
APPENDIX A 296 Score names, First s
Page 302 and 303:
APPENDIX A 298 Break double barline
Page 304 and 305:
APPENDIX A 300 Text Fonts 1 In the
Page 306 and 307:
Page 308 and 309:
Page 310 and 311:
APPENDIX A 306 Allotment Table Defa
Page 312 and 313:
APPENDIX A 308 Basic Spacing In the
Page 314 and 315:
APPENDIX A 310 Staff & Leger Lines
Page 316 and 317:
APPENDIX A 312 Space between accide
Page 318 and 319:
APPENDIX A 314 The different settin
Page 320 and 321:
APPENDIX A 316 Max after dampening:
Page 322 and 323:
APPENDIX A 318 Beamed grace notes,
Page 324 and 325:
APPENDIX A 320 Horizontal offset: T
Page 326 and 327:
Page 328 and 329:
APPENDIX A 324 Lines In the Lines p
Page 330 and 331:
APPENDIX A 326 Lyrics In the Lyrics
Page 332 and 333:
APPENDIX A 328 Rhythmic grouping: I
Page 334 and 335:
APPENDIX A 330 Initial vertical off
Page 336 and 337:
Page 338 and 339:
APPENDIX A 334 Bar Numbers In the B
Page 340 and 341:
APPENDIX A 336 Rehearsal Marks dire
Page 342 and 343:
APPENDIX A 338 • The radius speci
Page 344 and 345:
APPENDIX A 340 Jazz Chords In the J
Page 346 and 347:
APPENDIX A 342 Centered tab frets:
Page 348 and 349:
APPENDIX A 344 MIDI Input In the MI
Page 350 and 351:
APPENDIX A 346 MIDI Quantisation In
Page 352 and 353:
Page 354 and 355:
APPENDIX A 350 Publishing Info In t
Page 356 and 357:
APPENDIX A 352 Measurements units:
Page 358 and 359:
APPENDIX A 354 Brace together ident
Page 360 and 361:
APPENDIX A 356 Instrument Names Pag
Page 362 and 363:
APPENDIX A 358 Bar Numbers The diff
Page 364 and 365:
APPENDIX A 360 Bar Grouping In the
Page 366 and 367:
APPENDIX A 362 Name: Here, the name
Page 368 and 369:
APPENDIX A 364 Since the number in
Page 370 and 371:
APPENDIX A 366 one piece, it is eas
Page 372 and 373:
APPENDIX B Reference Chart On the n
Page 374 and 375:
Trills, Tremolandos, and Tremolos A
Page 376 and 377:
Igor Engraver Reference Chart Macin
Page 378:
Stems and beams: CF Flip stem BF Fr
Page 381 and 382:
377 APPENDIX C Exact tempo indicati
Page 383 and 384:
379 APPENDIX C
Page 385 and 386:
381 APPENDIX D Questions I can’t
Page 387 and 388:
383 APPENDIX D Questions My Roland
Page 389 and 390:
385 APPENDIX D Questions I am exper
Page 391 and 392:
387 APPENDIX E
Page 393 and 394:
389 basic spacing 308-309 beam 315-
Page 395 and 396:
391 flipping slur Input mode 123, 1
Page 397 and 398:
393 key signature changing 75, 164,
Page 399 and 400:
395 ordering of instruments 95, 365
Page 401 and 402:
397 format, default 293 icon 45, 58
Page 403:
399 hiding 165 reservation of space
show all

Igor Engraver Manual

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?