Igor Engraver Manual

More documents

Recommendations

Info

CHAPTER 2 “espressivo” 60 You have created a musician, who is called “Violin”, who plays the violin, and who automatically gets a part created (which is shown by the Violin part icon in the Layouts field). Now double-click the Violin Part in the Layouts field (shown below) to enter the Part layout window. 2.5 The Layout Window and Input (Macintosh) As you see, <strong>Igor</strong> <strong>Engraver</strong> has now created a part layout for your musician.
61 CHAPTER 2 “espressivo” Since the parts use consolidated bars as default (or “multibar rests”), you may want to “unconsolidate” the layout. This is achieved by selecting Unconsolidate from the Layouts menu or pressing A-u. This operation results in thirty-two unconsolidated bars, which cover a few pages. The top of the first page should now look like this (notice the bar numbers that have been created for you): Find the Note Tool on the Tool Palette. Click and choose a note duration. By clicking in the first bars you enter notes of the value you have specified. If you choose the augmentation dot from the note
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 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 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 102 and 103: 98 CHAPTER 5 The Piece Window and t
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:
Page 160 and 161:
Page 162 and 163:
Page 164 and 165:
Page 166 and 167:
Page 168 and 169:
Page 170 and 171:
Page 172 and 173:
Page 174 and 175:
Page 176 and 177:
Page 178 and 179:
Page 180 and 181:
Page 182 and 183:
Page 184 and 185:
Page 186 and 187:
Page 188 and 189:
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 206 and 207:
Page 208 and 209:
Page 210 and 211:
Page 212 and 213:
Page 214 and 215:
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 248 and 249:
Page 250 and 251:
Page 252 and 253:
CHAPTER 15 Settings Windows and Hou
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
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

Create successful ePaper yourself

Delete template?

Save as template?