Q: How do I select individual objects in Sibelius 7 (or Sibelius 6) without selecting everything in between? For instance, I want to just select every other note to add staccatos or select just the downbeats of every bar so I can add a bunch of accents at once?
Elision is defined as the omission of a vowel, consonant, or syllable while pronouncing or writing something, sometimes as a natural shortening, as in “he’s,” sometimes for literary or poetic effect, as in “’tis”.
In vocal music, elision slurs are the curvy ligatures used to connect two lyric syllables under one note. This type of markup is quite common in vocal music in a language other than English:
In Finale, the process to show two elided syllables on the same note should be very straightforward. One could ideally type a specific keystroke to produce the elision (it’s a underscore in Sibelius) and you could type these in on the fly.
In Finale, you use a single keystroke to create the elision character; SHIFT-I. But even in Finale 2012, the process described in the User Manual requires several steps:
One of the most powerful features in Sibelius 6 was the Parts Window. The Sibelius 6 Parts Window acted as a central hub for everything to do with part creation. From one location within the program, you could perform a comprehensive list of tasks related to parts:
- Set the page size, margins, staff size, page breaks and other layout rules for all parts, one part, or any subset of parts (Multi Part Appearance).
- Import a house style to quickly change the look of one part, all parts, or any subset of parts.
- Print one part, all parts, or any subset of parts
- Save a PDF file of one part, all parts, or any subset of parts.
While Sibelius 7 hasn’t lost any of these capabilities, Multi-Part Appearance, Import House Style, PDF creation and printing have all been moved away from the v6 centralized Parts Hub design onto separate operations in the Ribbon UI. Even though these operations are clearly labeled in the various tabs on the Ribbon, the above parts editing / printing processes are no longer consolidated into one location, which by definition means that workflow for Parts preparation isn’t as efficient. This was obviously a conscious decision by Sibelius – a tradeoff in workflow efficiency for clarity in the UI.
For professional level users, the new design has a further subtle, but extremely important limitation. Sibelius 7 requires that in order to make any house style changes to any Part, it must first be OPEN. For instance, instead of simply selecting individual part names from the Parts Window list to make house style edits, you must now select either “Current Part”, “All Parts” and “All Open Parts”. This means that to perform a House Style related edit for a specific group of parts without affecting all the parts, you must first close any parts you don’t want affected, then open the parts you *do* want affected before you can actually apply Multi Part Appearance or House Style edits to just the string parts.
By comparison, in Sibelius 6, this was only two steps, done right in the Parts Window: (1) CNTRL-Click (CMND-Click) the individual Parts you want to edit. (2) use Multi Part Appearance or Import House Style to change formatting for the selected parts only, in many cases, without even having the parts open.
That said, the casual Sibelius user will probably never get deep enough into Sibelius to experience the drop in efficiency here. If you’ve never done anything to change the “look” of the built-in Manuscript Papers, you have nothing to worry about.
In summary, while the Ribbon UI design makes it easier for new users to understand Sibelius while encouraging experimentation and exploration, some users, particularly professional music copyists working under tight deadlines, may find the less centralized workflow for parts inefficient compared to the Parts Window in Sibelius 6. Consider it a tradeoff for all the improvements.
Typically, a score and its parts show identical information. Sometimes, however, it is necessary for the score and parts to show the same notation in different ways. A transposing part is a good example of this. Enharmonic pitches in the part is another.
Finale has a great Enharmonic feature which allows you to create an enharmonic unison for specific notes. The same pitches are enharmonically spelled differently in the part to allow the part to be read more easily.
In the Part, enter the Speedy Edit frame, select the pitch you want to change, and type 9 on the keypad to change the pitch to its enharmonic equivalent without changing it in the score.
Occasionally, it is necessary for significantly different notation to represent identical passages between the score and parts.
Q: Which program is faster / simpler for jazz lead sheets – Finale or Sibelius? Also, which program is better at complex chord extensions and chord placement?
A: In order to really determine which program is “faster”, I think it is necessary to look at four main areas of interaction: Document Setup, Note Entry, Page Layout and Editing.
My friend and colleague Bruce Munson of Bruce Munson Music Services and Consulting recently shared this tutorial with me for how to create your own keyboard shortcuts. His tutorial shows how to create an advance caret keyboard shortcut in Sibelius 6 or 7, which allows you to go from Edit back to Create.
You can use the same basic steps to create any custom keyboard shortcut for Sibelius.