In the Sibelius Keypad, there are preset symbols for microtonal accidentals (6th keypad). There are separate symbols for “Quarter sharp”, “Quarter flat” as well “Three quarter sharp” and “Three quarter flat”. While keypad entry allows you to graphically display the accidentals, they do not play back automatically.
Microtonal playback (or to create “blue” notes for expressive jazz playback) for an individual note can be created using a MIDI pitch bend command. In Sibelius, MIDI controller commands like pitch bend can be created using hidden Technique text.
Only one MIDI pitch bend command per instrument is possible at a time, so, for instance, different notes in a chord cannot be tuned differently from each other in the same staff.
You’ll also need a second pitch bend command at the start of the following note to “center” the pitch back to normal tuning.
Using Technique Text (which only affects one specific staff / instrument), select the note or beat where you want the tuning change to occur. The syntax is tilde, B (for Bend) zero, comma, then the value. The text string ~B0,64 is normal tuning or returns the affected staff to normal tuning.
Note that the tilde character will hide the text after entry. If you want to see this text, be sure to check Hidden Objects in View.
Basically, add or subtract 16 from the “centered” value of 64 for each additional quarter tone, sharp or flat:
- ~B0,64 = normal tuning
- ~B0,80 = quarter-tone sharp
- ~B0,96 = half-step (semitone) sharp
- ~B0,112 = three quarter-tone sharp
- ~B0,64 = normal tuning
- ~B0,48 = quarter-tone flat
- ~B0,32 = half-step (semitone) flat
- ~B0,16 = three quarter-tone flat
However, in Sibelius, it’s important to note that the visible microtonal accidentals are already set for playback to what might be considered the “closest” interval by default:
- A sharp or a diatonic sharp and a three quarter-sharp sound the same pitch.
- A natural and a quarter-sharp sound the same pitch
- A flat or a diatonic flat and a quarter-flat sound the same pitch
- A double flat and a three quarer-flat sound the same pitch.
What this means is that you always sharpen a note with a quarter-tone accidental to get the playback pitch. So if the value in the edit box is 16, the correct midi message is always ~B0,80.
Of course, to display a regular diatonic pitch and sound a quarter-tone or three quarter-tone up or down, you’ll need to refer to the chart above.
Sibelius has a shipping plugin called “Quarter-tone playback” which automates the process of creating playback for microtonal accidentals.
Note that while the tuning will be correct with the internal Sibelius sound sets, the actual tuning result depends on the value of pitch bend range on your sound source, so you may need to adjust the pitch bend range on third party sound sets or devices.
microtonal, microtone, quarter-tone, quarter tone
Music scores, whether orchestral, concert band, big band, or a pop chart etc. typically contain a variety of differently pitched instruments. Because factors like instrument length, size and acoustical properties affect each instrument’s range / tessitura, certain instruments need to be written transposed, in a different octave, or both to produce pitches in common with other instruments.
This system of written pitch notation allows the music to remain largely within the staff for each part as well as the transposing score. Instruments written in a different octave than where they sound are referred to as octave-displaced instruments.
Additionally, it is common practice in Concert Scores to show octave-displaced instruments at written (rather than concert) pitch. This allows these instruments to be notated largely within the staff. (For Finale users, more on this later.)
TRANSPOSING INSTRUMENT TYPES
Regardless of whether a pitched instrument produces its sound by vibrating metal, membranes, strings or air, it falls into one of the following four transposition / octave displacement types:
Q: I play Alto Sax in a (small) big band. We’ve purchased Superstition by Stevie Wonder, arranged by Mike Tomaro. It’s a nifty piece of work and quite a challenge. I used Photoscore to enter my Alto Sax part into Sibelius 6, which appeared to go quite smoothly. But, Photoscore apparently didn’t spot the fact that it was a transposed part.
Is there a way that I can correct this in Sibelius and not lose all my sharps and flats? When I play it, I hear the correct notes but not at the right pitch. It would be nice to be able to change them, without having to alter each sharp or flat by hand. I’ve been trying to find an anwser but I have not been successful so far. Can you help me? Thanks very much.
A: Fortunately, this one is pretty easy to set right by (a) first making sure that the score in concert pitch is set to the correct key signature (in this case, your “score” can also be a single part) and (b) transposing the notes to the corresponding concert / transposed pitches. You can do both operations from within the Transpose dialog in Sibelius.
Let’s say you have a chart in three flats concert. The corresponding Alto Sax part is going to appear as C maj / A minor:
UPDATE: If you have updated to Finale 2014, take a look at the new Keyless Scores feature which is related to the issues covered in this post.
Q: I’m formatting a Timpani part with key signatures hidden. The score contains a number of keys changes / signatures. The timpani part itself is fine with all accidentals in place.
However, I need cued notes from other parts to appear in the Timpani part. The source parts all show key signatures. I used the TG Tools Add Cue Notes… plugin to make the cues, but none of those accidentals appear in the timpani part. For example, the flute is in the key of G major, and has a passage with F-sharp in it. If I cue that passage in the timpani part, Finale doesn’t show the sharp to indicate F#.
I can’t believe this is an uncommon problem. How can I globally make these diatonic accidentals appear in a part without Key Signatures?
A: As you are already aware, historically, Classical scores displayed some instruments without Key Signatures. Timpani and French Horn are probably the most common of these “keyless” instruments, although you will find examples in the repertoire for Trumpet and even Clarinet.
For Timpani, since it is not a transposing instrument, one would think that all you’d need to do to hide the key signature is to uncheck Key Signatures in Items to Display of the Staff Attributes, and any diatonic accidentals would then automatically appear in the staff:
However, to see how this really works (and how it doesn’t), let’s (1) define a Key Signature, then (2) set our Timpani not to display the Key Signature as above:
(3) Now, enter some notes using your MIDI keyboard. If you enter a sequence of non-diatonic naturals, you get (redundant) naturals displaying on every note; if you enter notes that are diatonic to the hidden Key Signature, the accidentals aren’t displayed at all, neither of which is very useful:
So, as you can see, simply hiding the Key Signature isn’t really an ideal solution at all. If you’ve already entered music in the staff with “Items to Display>Key Signatures” unchecked, there is a partial solution for showing accidentals more correctly after the fact, which I will cover at the end of the blog post. But first…
Q: I have been unable to solve the problem whereby Sibelius 7 appears to add numerous measures to the end of my score as I am recording (in Flexi-time) when I input notes via MIDI controller. I am not sure what I am doing to cause the score to expand in that way. This is not a major problem, but having to delete needless measures every so often is a bit of irritation. I would be delighted if you could suggest a solution.
A: By default, the Flexi-time feature of Sibelius 6 and 7 is designed for you to be able to begin recording with no previous sense of the form of the piece – e.g. the idea is that you are simply going to begin recording your recorded ideas into Sibelius, and much the same as you would if you were recording with a tape recorder or DAW, within reason, you will want to be able to record until you make a mistake (or run out of ideas).
To facilitate this, when you first begin recording in Flexitime, Sibelius adds blank bars to form a “container” for the transcription it will create. By default, this is set at 100 bars. The good news is that if you are using Sibelius for a scratchpad to record your ideas, Sibelius will generally capture everything.
But, if your score is past the stage of plunking in thematic ideas on the MIDI keyboard, it’s likely you’ve already determined the “form” of your piece – perhaps you are trying to record the trumpet lines in an existing orchestral score, or a sax line at rehearsal letter B in your big band chart. The last thing you need in an existing score is an extra 100 bars added every time you turn on Flexi-time to record 8 bars in the middle of the piece!
Fortunately, it’s very simple to keep Sibelius from adding these additional bars.
Q: I would like to use three line tremolos for all unmeasured tremolos, and have them always play back correctly. Properly notated (on printed page) three line tremolos for timpani, drum rolls, and mallet percussion play back (somewhat) correctly at faster tempos, but sound like an M1919 Browning machine gun at slower tempos.
The four line tremolo (called “16 tremolos”) typically sounds best for strings, but I want to use the three line tremolo for unmeasured tremolo, which is visually correct. Is there a workaround to achieve (reasonably) proper playback of both, without co-opting an incorrect looking symbol on the printed page? I don’t want to have to use the alternate 16 tremolos (4-line), or 32 tremolos (5-line) for correct playback.
A: Yes. By default, Sibelius plays back three stroke tremolos as “8 tremolos”, which means that it is simply subdividing the note it is attached to 8 times. At faster tempos, this can sound ok, but this quantized “fast measured” effect sounds patently incorrect at slower tempos. I think the percussive 30 caliber M1919 Browning analogy is a good one.
This is a case where the software has introduced a possible bad habit for young composers and arrangers, because in order to get correct playback by default, one has to resort to using the 4 or 5 stroke tremolos.
Elaine Gould, in her book “Behind Bars” (page 224), states “The standard indication for unmeasured tremolo is three tremolo strokes.”
So, how can we get these three stroke tremolos to play back properly? Let’s take a look.