In the previous →"Basics" chapter you learned how to enter notes and interact with the palettes. The "Notation" chapter describes the different types of notation in more detail, including more advanced music notation.
See also →"Advanced topics".
A range of barline symbols for most ordinary purposes can be found in the Barlines palette (Basic workspace); repeat barlines, only, are also available in the Repeats & Jumps palette (Basic and Advanced). Additional symbols can be found in the Barlines palette of the Advanced workspace. It is also possible to create your own custom barlines (see below).
To change an existing barline, use one of the following:
To change a non-single to a single barline:
To hide a barline:
To insert a new barline between existing ones, either:
You can insert a barline in order split a measure. Use one of the following methods:
Note: As of version 3.1 (or earlier), all barlines entered this way are entered as Normal Barlines. See also Split a measure.
It is possible to create custom barlines by selecting one or more barlines, and adjusting the properties in the "Barlines" section of the Inspector:
See also Mensurstrich.
Changes to color and horizontal/vertical offset can also be made in the Inspector.
Barlines may extend over multiple staves, as in the grand staff of a piano, or in an orchestral score to join instruments in the same section. To join barlines:
Double-click on a barline to enter Edit mode.
Click on the lower blue handle and drag it down to the staff you wish to connect to. The handle snaps into position so there is no need to position it exactly.
Press Esc to exit edit mode. This will update all other relevant barlines as well.
Commonly used Clefs (Treble, Bass, Alto, Tenor) can be found in the Clefs palette in the Basic workspace. For a more complete range, see the Clefs palette in the Advanced workspace (see image below).
Method 1: Add clef to beginning of a measure, whether or not it is the first measure in a system
Method 2: To change the clef at the start of a system
Note: If the clef is not the first in the system, it will be drawn smaller.
In this image, the top staff starts with a treble clef and switches immediately to bass clef, then after a note and a rest, changes back to treble clef.
Note: Changing a clef does not change the pitch of any note. Instead, the notes move to preserve pitch. If you want, you can use Transposition in conjunction with a clef change.
When a clef change occurs at the beginning of a system, a courtesy clef will be generated at the end of the previous system.
To show or hide all courtesy clefs:
It is also possible to show/hide courtesy clefs on a case-by-case basis:
Note: This option may be useful to TAB users who do not want the clef to repeat on every subsequent line.
Standard key signatures are available in the Key Signatures palette in the Basic or Advanced workspaces. It is also possible to create custom key signatures (below).
Use any of the following methods:
If you wish to change the key signature of only one staff line, leaving others unchanged:
Use any of the following methods:
If you wish to replace the key signature of only one staff, leaving others unchanged:
Use any of the following methods:
By default, MuseScore only shows cancelling naturals when the key signature changes to that of C Major/A minor (no sharps or flats). In all other cases, it simply shows the new key signature without cancellations:
However, you can opt to display cancelling naturals for all key signature changes:
From the menu, select Format → Style... → Accidentals. You'll see the options:
Select one of the three options.
For example, selecting the option "Before key signature if changing to fewer ♯ or ♭" gives:
And the option "After key signature if changing to fewer ♯ or ♭. Before if changing between ♯ and ♭" gives:
Multi-measure rests are interrupted if there is change of key signature:
To turn off the display of a particular courtesy key signature:
To turn off the display of all courtesy key signatures:
Note: Courtesy key signatures are not displayed at section breaks.
To create a custom key signature:
Press Shift+K to display the Key signatures section of the Master palette.
In the Create Key signature panel, drag accidentals from the palette onto the staff above to create the desired key signature. Note: The treble clef is only decorative—custom key signatures for any type of staff can be created here.
Note: A limitation of custom key signatures is that they cannot be transposed in the usual way. If a transposition is needed, or where there is a clef change, you will need to create a new custom key signature.
To move a key signature from the Master palette to a custom palette:
To apply a key signature to the score directly from the Master palette, use one of the following methods:
The most common types of accidentals are provided in the Accidentals toolbar above the score and in the Accidentals palette in the basic workspace
A more comprehensive range can be found in the Accidentals palette in the advanced workspace.
Accidentals are automatically added to a note, as appropriate, when you increase or decrease its pitch:
To add either (i) a double flat or double sharp, (ii) a courtesy (also known as cautionary or reminder) accidental, or (iii) a non-standard accidental, use one of the following options:
If you wish to add brackets to a cautionary accidental, use one of the following:
If required, accidentals can be deleted by clicking on them and pressing Del.
To change the enharmonic spelling of a note, or notes, in both written and concert pitch views:
To change the enharmonic spelling in the written pitch view, without affecting the concert pitch view, or vice versa:
Note: If the pitches of selected notes are not all the same, the effect may be unpredictable.
Time signatures can be found in a Palette of the same name in both the Basic and Advanced workspaces.
Use any of the following methods:
If the time signature you require is not available in any of the existing palettes, it can be created as follows:
This can be saved to a custom palette for future use, if desired.
To display the Time Signature Properties dialog:
To adjust note-beaming for a particular time signature:
Checking the box for "Also change shorter notes," means that any beam changes at one level are applied automatically to shorter durations as well. The Reset button cancels any changes made in that session.
Additive (or composite) time signatures are sometimes used to clarify the division of beats within a measure. To create an additive time signature:
Note: The Time Signatures section of the Master palette also allows you to create additive time signatures (see above).
In certain cases a score may show staves with different time signatures running at the same time. For example, in Bach's 26. Goldberg Variation:
In the above example, the global time signature is 3/4, but the time signature of the upper staff has been set independently to 18/16.
To set a local time signature for just one staff:
Occasionally you will need to decrease or increase the duration of a measure without changing the time signature—for example, in a pickup measure (anacrusis) or in a cadenza etc. See Measure operations: Measure duration.
Multi-measure rests are interrupted when a time signature change occurs. Also, a section break will prevent a courtesy time signature being shown at the end of the previous measure.
Arpeggio and Glissando symbols can be found in the "Arpeggios & Glissandi" palette in the advanced workspace. This palette also includes strum arrows, an arpeggio bracket, wind instrument articulations, and slide in/slide out symbols.
To add an arpeggio, glissando etc. to the score, use one of the following methods:
To adjust the length and height of a symbol:
After selecting a symbol, various useful properties can be adjusted in the "Glissando" or "Arpeggio" section of the Inspector.
Glissando
Arpeggio
If needed for future use, you can save the result in a custom palette.
When an arpeggio or strum arrow is added to the score, it initially spans only one voice. To change the height, see Adjust dimensions (above). Playback of the symbol can be turned on or off in the Inspector.
A Glissando or, more informally, a slide, spans two consecutive notes. It may be wavy or straight, with or without text. E.g.
To move an end handle vertically or horizontally, from one note to the next:
Use this command to create cross-staff glissandi. Or to correct the positions of end handles when applying multiple glissandi to chords.
Fall, Doit, Plop and Scoop symbols are provided. To change the length and curvature, select the symbol, enter edit mode and adjust the handles as described in Edit mode: Lines.
Slide in and Slide out lines can also be found in the "Arpeggios & Glissandi" palette. To edit the length and angle of a line, double-click on it and drag the handle (or use the Inspector or keyboard arrows for finer adjustment).
A comprehensive set of symbols can be found in the Articulations palette in the Advanced workspace:
and the Ornaments palette (Advanced workspace):
There is also an abbreviated version of Articulations in the Basic workspace.
Articulations are the symbols added to the score to show how a note or chord is to be played. The principal symbols in this group are:
Specialist articulations are also included for bowed and plucked strings, wind instruments etc.
Ornaments include:
Note: Appoggiaturas and acciaccaturas can be found in the Grace Notes palette.
Use either of the following methods:
To apply an accidental to an existing ornament, such as a trill:
A fermata can be applied directly to a barline by selecting the barline and double-clicking the fermata from a palette. This does not affect playback though.
Keyboard shortcuts can be customized in MuseScore's Preferences.
Immediately after adding an articulation or ornament from a palette, the symbol is automatically selected: It can then be moved up or down from the keyboard as follows:
To enable adjustments in all directions from the keyboard:
You can also change the horizontal and vertical offset values in the Inspector. To position more than one symbol at a time, select the desired symbols and adjust the offset values in the Inspector.
Note: The symbol can also be repositioned by clicking and dragging, but for more precise control, use the methods above.
These can be edited from the Articulation section of the Inspector and may include:
For Bend properties, see Bends.
You can find additional global style settings for articulations and ornaments under Articulations, Ornaments.
A variety of simple and complex (multi-stage) bends can be created with the Bend Tool , located in the Articulations palette of the Advanced workspace. Any bend applied to the score can be customized in the Bend section of the Inspector.
To apply one or more bends to the score, use one of the following options:
Various font properties, and line thickness, can be edited in the Bend section of the Inspector. Text and line Properties applying to all bends in the score can be edited in Format→Style...→Bend
Select a bend symbol in the score and press "Properties" in the Bend section of the Inspector.
Preset options are available, if needed, on the left hand side of the Bend properties window. The current bend is represented by a graph consisting of gray lines connected by square, blue nodes (see image above). The slope of the line indicates the type of bend:
The vertical axis of the graph represents the amount by which the pitch is bent up or down: one unit equals a quarter-tone: 2 units a semitone, 4 units a whole-tone, and so on. The horizontal axis of the graph indicates the length of the bend: each gray line segment extends for 1 space (sp) in the score.
A bend is modified by adding or deleting nodes in the graph:
Adding a node lengthens the bend by 1 sp; deleting a node shortens the bend by 1 sp. The Start and End points of the bend can be moved up and down only.
The height of the bend symbol is automatically adjusted so that the text appears just above the staff. This height can be adjusted, if necessary, with a workaround:
To adjust position use one of the following:
After a bend has been created in the score it can be saved for future use by dragging and dropping the symbol to a palette while holding down Ctrl+Shift (Mac: Cmd+Shift). See Custom Workspace.
Multiple notes of less than a quarter note (crotchet) are usually connected with beams. The overall beam pattern is established automatically according to the time signature.
You can overrule the default beaming of any note using beam symbols in the Beam Properties palette of the "Basic" or "Advanced" workspaces:
To change one or more note beams (except feathered beams, below), use one of the following methods:
To apply feathered note beams, use either of the following methods:
Notes: (1) Feathered beams may use 2 or 3 lines depending on the tempo and the desired rate of the change; (2) To create a 2-line feathered beam, you need to start with a continuous run of beamed sixteenth notes; (3) To create a 3-line feathered beam, you need to start with continuous run of beamed thirty-second notes; (4) Playback of feathered beams is not supported.
Icon | Name | Description |
---|---|---|
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Beam start | If the note is beamed to a previous note, break the beam. |
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Beam middle | Create a beam from the selected note to the previous note (if applicable). This applies to Beam 16th sub and Beam 32nd sub as well. |
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No beam | Break beams before and after the selected note. |
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Beam 16th sub | Start a second level beam at this note. |
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Beam 32nd sub | Start a third level beam at this note. |
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Automatic Beam | Apply default beaming as determined by the current time signature (see above). |
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Feathered beam, slower | Start feathered beam to indicate gradually slower tempo. |
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Feathered beam, faster | Start feathered beam to indicate gradually faster tempo. |
Note: Be aware that the beam between two notes/rests is determined by both of the note/rests. For example: Two consecutive notes with a status of start beam here will not have a beam between them. If the two consecutive notes are willing to connect to each other they will beam, if one of them is not willing, the two notes will not beam.
To adjust with the keyboard or mouse:
To adjust with the Inspector:
To adjust with the keyboard or mouse:
To adjust with the Inspector:
Note: "Force Horizontal" in the "Beam" section of the Inspector can only be selected if "Custom position" has been deselected previously. This setting overrides the Custom Position values and automatically sets the horizontal bar to its original height.
If you want all note beams in the score to be horizontal there is a "Flatten all beams" option in Format→Style…→Beams. If this option is not selected, automatically inclined beams will be set according to the pitch of the connected notes. This global setting can be overridden for individual beams according to the methods described above.
To adjust feathered beams:
MuseScore spaces notes according to their time values, allowing for accidentals, lyrics etc. In systems where there is more than one staff, this may result in irregular note spacing, as in the following example:
Local relayout is a tickbox option in the Inspector allowing you to specify those passages in the score where you want the note spacing to be independent of other staves in the system. Applying "Local relayout" to the note beams in the top staff of the previous example results in a more even distribution of notes:
To do a local relayout:
To flip a beam from above to below the notes, or vice-versa:
To restore beams to the mode defined in the local time signatures:
MuseScore provides brackets and a curly brace in the Brackets palette (Advanced workspace).
When a new score is created using a template, MuseScore automatically sets the correct brackets.
To add a bracket or brace to systems, use one of two methods:
When you first apply a bracket it only spans one staff. To extend to other staves:
The default thickness and distance from the system of brackets and braces can be adjusted in Format→ Style... → System.
In the System Brackets section, you can set the properties for the brackets in the two boxes on the left, and the properties for the braces in the two boxes on the right.
Breath and pause markings are available in the Breaths & Pauses palette (Advanced workspace).
To add a breath, or pause (aka caesura / "tram lines" / "railroad tracks") to the score, use one of the following options:
The symbol is placed after the note. Its position can be adjusted by editing the X and Y offsets in the Inspector, or, in edit mode, using the arrow keys.
You can adjust the pause length (in seconds) of the added symbol in the Inspector.
A grace note is a type of musical ornament, usually printed smaller than regular notes. The Short grace note, or Acciaccatura, appears as a small note with a stroke through the stem. The Long grace note, or Appoggiatura, has no stroke.
Grace notes can be found in the "Grace notes" palette in the Basic or Advanced workspace.
Use one of the following methods:
This will add a grace note of the same pitch as the regular note. To add a sequence of grace notes to a regular note, simply repeat the above actions as many times as required. See also, Change pitch (below).
Note: When a grace note is added to the score, a slur is not automatically created with it, so the latter needs to be added separately. See Slurs.
Grace note chords are built up just like regular chords:
You can also create a grace note chord by using the add interval shortcut in step 2: Alt+1...9 for intervals from a unison to a ninth above.
The pitch of a grace note can be adjusted just like a regular one:
To adjust the horizontal space between a grace note and its regular parent note, use one of the following:
Various other properties of the grace note can be adjusted in the Inspector (see "Element," "Chord", and "Note" sections)—such as vertical position, size, stem properties etc. The exception is "Leading space" which only applies to standard notes.
Hairpins are symbols used to indicate gradual changes in volume in the score. There are two kinds: crescendo (getting louder) and decrescendo (getting quieter).
To create a hairpin:
Alternatively, use one of the following options:
A hairpins is a type of Line with playback properties, and its length is adjusted similarly:
Double-click on the hairpin to enter edit mode. Then click on the end handle that you want to move:
Use one of the following shortcuts:
This method of extending or shortening the hairpin maintains playback integrity and allows it to cross line breaks:
To fine-tune the horizontal position of an end-handle (without changing playback), use the following shortcuts:
To change the height of a hairpin:
In addition to hairpins, there are cresc. _ _ _ and dim. _ _ _ lines with the same function in the Lines palette. You can adjust the text, if desired, in the Text Line Core section of the Inspector.
To turn a hairpin into its equivalent text line:
From version 3.1, a hairpin can be cut, copied and pasted just like a text element: see Summary of cut / copy / paste commands.
For versions prior to 3.1, you can only duplicate a hairpin: see Copying lines.
Properties of the hairpin can be edited in the Inspector, as follows:
Prior to version 3.1 crescendo and diminuendo lines only affected playback from one note to the next: they had no effect on the playback of a single note or a series of tied notes.
As of version 3.1, hairpins affect single notes and tied notes on instruments that support single note dynamics. For example, a piano cannot have a crescendo on a single note, but a trumpet can.
By default, hairpins will affect playback only if dynamics are used before and after the hairpin. For example, a crescendo spanning notes between p and f dynamics will cause a dynamic change on playback. However, between any two successive dynamics only the first appropriate hairpin will have effect: a diminuendo between p and f will be ignored; if two or more crescendos are between p and f, all but the first will be ignored.
A hairpin may be used without dynamic marks, by adjusting "Velocity change" in the Inspector (values in the range 0 to 127).
The Lines palette of the Advanced workspace contains the following lines:
As you can see, the palette includes: Slurs, Hairpins, Volta brackets, Octave lines, and many others.
Most lines (except Slurs, Volta brackets and the Ambitus) can be applied from a palette in the following ways:
Use any of the following methods:
Some lines, such as Hairpins, Voltas, Ottavas etc., have a playback effect as well as being indicative. Each end handle is connected by a dotted line to an anchor on the staff (visible in Edit mode). These anchors indicate the extent of the playback effect.
In Normal mode, apply one of the following methods:
Note: You can also adjust the vertical position in Edit mode.
Apply one of the following shortcuts:
Note: This method allows the line to span systems when required, and ensures that playback coincides with the line's visual extent.
if you wish to change the position of an end handle without changing the position of its anchor, apply one of the following:
Note: You can also drag the endpoint handles with a mouse.
A text line is a line that has text embedded within it—such as a volta, ottava, guitar barre line etc.
When you apply a text line to the score from a palette, the line properties always remain unchanged, but the text properties may, under certain circumstances, assume those of the current style for text lines. For details, see Behavior of applied text and lines.
Any line in the score can be customized by adjusting its properties in the Inspector, as follows:
Once applied to the score, lines cannot be copied using the usual copy and paste procedures. However, you can duplicate lines within a score:
To add an accidental to an extended ornament, such as a trill line, select the line and double-click a symbol from the Accidentals palette.
A whole rest, centered within a measure (shown below), is used to indicate that an entire measure (or a voice within a measure) is silent, regardless of time signature.
Use the following method if all selected measures are "standard"—i.e. with no custom durations:
1 Select a measure, or range of measures.
2. Press Del.
If one or more of the measures contains a custom duration, use the following method instead:
A Multimeasure rest indicates a period of silence for an instrument: the number of measures is shown by the number above the staff.
Multimeasure rests are automatically interrupted at important points, such as double barlines, rehearsal marks, key- or time signature changes, section breaks etc.
To turn multimeasure rests on or off:
Alternatively:
Note: It is recommended that you enter all notes in the score first before enabling multi-measure rests.
You may want to have a multi-measure rest divided into two multi-measure rests:
See also: Measure operations: Break multimeasure rest.
Octave (Ottava) lines are used to indicate that a section of music is to be played one or more octaves above or below written pitch: The line may be dotted or solid. Ottavas are available in the Lines palette of the Basic and Advanced workspaces.
8─────┐or 8va─────┐: Play one octave above written pitch
8─────┘or 8va─────┘: Play one octave below written pitch
8va alta/bassa lines are particularly common in piano scores, though they are sometimes used in other instrumental music.1 15ma alta (2 octaves above) and 15ma bassa (2 octaves below) are also occasionally used.
MuseScore automatically adjusts playback of the score under the ottava to the correct pitch.
See Applying lines to the score.
And to adjust the vertical position, see Lines: Adjust vertical position.
See Lines: Change length.
Ottavas can be customized just like any other line. See Custom lines and line properties.
Properties unique to Octave lines can be adjusted in the Ottava section of the Inspector:
Gerou/Lusk. Essential Dictionary of Music Notation (Internet Archive). ↩︎
A slur is a curved line between two or more notes indicating that they are to be played legato—smoothly and without separation. Not to be confused with Ties, which join two notes of the same pitch.
There are a number of ways to add a slur to a score, and all may be useful depending on the context (adding a slur from the lines palette is also possible but not recommended).
Select the note where you want the slur to start:
Press S to add a slur extending to the next note:
(Optional) Hold Shift and press → (right arrow key) to extend the slur to the next note. Repeat as required:
(Optional) Press X to flip the slur direction:
Press Esc to exit edit mode:
If you only want to adjust the position of a slur:
To adjust all the properties of a slur (length, shape and position):
Note: The two outer handles adjust the start and end of the slur, whilst the three handles on the curve adjust the contour. The middle handle on the straight line is used to move the whole slur up/down/left/right.
A slur can span several systems and pages. The start and end of a slur is anchored to a note/chord or rest. If the notes are repositioned due to changes in the layout, stretch or style, the slur also moves and adjusts in size.
This example shows a slur spanning from the bass to the treble clef. Using the mouse, select the first note of the slur, hold down Ctrl (Mac: Cmd) and select the last note for the slur, and press S to add the slur.
X flips the direction of a selected slur.
Dotted slurs are sometimes used in songs where the presence of a slur varies between stanzas. Dotted slurs are also used to indicate an editor's suggestion (as opposed to the composer's original markings). To change an existing slur into a dotted or dashed slur, select it and then in Inspector (F8) change Line type
from Continuous
to Dotted
or Dashed
.
A tie is a curved line between two notes of the same pitch, indicating that they are to be played as one combined note (see external links below). Ties are normally created between adjacent notes in the same voice, but MuseScore also supports ties between non-adjacent notes and between notes in different voices.
In note-input mode, if you specify a tie immediately after entering a note or chord, the program automatically generates the correct destination notes to go with the ties. Or, you can simply create ties "after the fact," between existing notes.
Note: Ties, which join notes of the same pitch, should not be confused with slurs, which join notes of different pitches and indicate legato articulation.
In Normal mode:
Ties will be created between the selected note(s) and the following note(s) of the same pitch.
In Note input mode:
Note: This shortcut works, as described above, only if there is no chord following the selected note. If there is, then the duration is ignored and the tied note is added instead to the following chord.
In Normal mode:
Ties will be created between all the notes in the selected chord and the following notes of the same pitches.
In Note input mode:
Note: This shortcut works, as described above, only if there is no chord following the selected note. If there is, then the duration is ignored and the tied notes are added instead to the following chord.
Occasionally you may need to return to an existing tied chord in order to add one or more extra tied notes. In this case a different command is used. For example:
1. Add the extra notes to the first chord. e.g.
2. In Note input mode, and with any of the notes in the first chord selected, press Alt++. Corresponding notes are added to the following chord and the extra notes are tied:
A workaround is required to create ties between unison notes:
X flips the direction of a selected tie, from above the note to below the note, or vice-versa.
Tremolo is the rapid repetition of one note or chord, or a rapid alternation between two notes or chords. Tremolo symbols can be found in the Tremolo palette in the advanced workspace: both one note and two note tremolos are possible.
A one-note or one-chord tremolo is indicated by strokes through the stem of the note or chord (or above/below if a whole note). E.g.
In a two-note or two-chord tremolo, bars are drawn between the notes. E.g.
Tremolo symbols are also used to notate drum rolls.
Alternatively, you can drag the tremolo symbol onto the applicable note.
Alternatively, you can drag the tremolo symbol onto the applicable note.
Example: To enter a two-note tremolo with the duration of a half note (minim), enter two normal quarter notes (crotchets). After applying a tremolo symbol to the first note, the note values automatically double to half notes.
You can create a simple repeat by placing a start and an end repeat barline at the beginning and end of a passage. These can be applied from the Barlines or Repeats & Jumps palette.
Note: If the start of a repeat coincides with the beginning of a piece or section, the start repeat barline can be omitted if desired. Similarly, an end repeat barline can be omitted at the end of a score or section.
First create a simple repeat (as shown above), then apply the first and second time endings—see Voltas.
To hear repeats during playback, make sure the "Play Repeats" button on the toolbar is selected. Likewise, you can turn off repeats during playback by deselecting the button.
To set the number of times that a repeat section plays back:
Text and symbols related to repeats are located in the "Repeats & Jumps" palette (in the Basic and Advanced workspaces). This palette contains:
To add a repeat symbol to the score use either of the following:
Jumps are symbols in the score which tell the musician, and playback, to skip to a named marker (see below). Jumps include the various kinds of D.C. (Da Capo) and D.S. (Dal Segno) text.
Just like with simple repeats, make sure the "Play Repeats" button on the toolbar is selected so the jumps are honored. Likewise, you can turn off jumps during playback by deselecting the button.
Note: Jumps are taken only after all simple repeats are done.
If you click on a jump, some text boxes and a checkbox are displayed in the Jump section of the Inspector. These have the following effects on playback:
Note: The tags start and end, referring to the beginning and end of a score or section, are implicit and don't need to be added by the user.
Markers are the places referred to by the jumps. A list of markers (in addition to the implicit "start" and "end") follows:
If you click on a marker, the following properties appears in the Marker section of the Inspector:
Note: The properties (i.e. the tag names) of jumps and markers can be set via the Inspector. You need to modify them if using multiple jumps and markers.
Tuplets are used to write rhythms beyond the beat divisions usually permitted by the time signature. For example, a triplet consists of three notes in the time of two:
And a duplet consists of two notes in the time of three:
The exact method of tuplet entry depends on whether you are starting off in Note input mode or Normal mode. We'll start off with a simple example: the creation of an eighth note triplet.
Select a note or rest that specifies the full duration of the desired triplet group. In the case of an eighth note triplet, you will need to select a quarter note or rest—as in the example below:
Press the keyboard shortcut for a triplet, Ctrl+3 (Mac: Cmd+3); alternatively use the menu, Add→Tuplets→Triplet. This will give the following result:
The program automatically changes to note-input mode and selects the most appropriate duration—in this example an eighth note. Now enter the desired series of notes/rests. For example:
To create other tuplets substitute one of the following commands at the relevant step above:
For more complex cases, see below.
To create other tuplets than the default options (e.g. 13 sixteenth notes in the space of one quarter note):
Select the desired number ratio (e.g. 13/4 for thirteen sixteenth notes in the space of a quarter note) under "Relation" in the "Type" section. Specify "Number" and "Bracket" using the radio buttons in the "Format" section;
Click OK to close the dialog:
Enter the desired series of notes/rests.
Use either of the following:
To change the display properties of tuplets in the score, select the tuplet numbers/brackets, and adjust the desired properties in the "Tuplet" section of the Inspector:
To make fine adjustments to the way that all tuplets in the score are displayed: from the menu, select Format → Style...→Tuplets.
The legend below illustrates some of the properties that can be adjusted in the Tuplets style dialog:
(2) Vertical distance from stem.
(3) Vertical distance from note head.
(5) Distance before stem of first note.
(6) Distance after stem of last note.
Volta brackets, or first and second ending brackets, are lines used to mark different endings for a simple repeat. Score playback automatically follows the repeat indications.
Use one of the following methods:
Note: When you select a start or end handle, a dashed line appears connecting it to an anchor point on the staff (see diagram, below). This anchor shows the position of the playback start/end points of the Volta. The Shift commands change the anchor point so playback always remains in sync with the visual start/end points. To make fine adjustments to the visual start or end points, without affecting playback, use other keyboard arrow commands, or drag the handles with a mouse.
To make changes to Volta text:
Select the volta, and edit the properties in the Text Line Core section of the Inspector.
To specify the order of repeats:
For example, a first ending shows the number "1"; a second ending, the number "2" and so on. More complex repeats are also possible: e.g. a "Repeat list" displaying "1, 2, 4, 5, 7" indicates that the volta is to be played during repeats 1, 2, 4, 5, and 7, and so on.
Note: Each volta section, except the final one, needs to end with an end repeat barline.
Sometimes a repeat plays more than two times. If you want to change the number of times MuseScore plays a repeat, go to the measure containing the end repeat barline and change its "Play count". See Measure operations: Other properties.
Transposition is the act of raising or lowering the pitch of a selection of notes by the same interval. You can chose to transpose notes either manually or by using the Transpose dialog.
MuseScore's Transpose dialog gives you more options for transposing notes.
Note: By default this dialog opens from the Tools menu, but you can also chose to open it using a keyboard shortcut (see Preferences).
To transpose notes up or down to the nearest key:
To transpose selected notes up or down in semitone increments:
To transpose selected notes up or down by a diatonic interval:
Transposing instruments, such as the B-flat trumpet or E-flat alto sax, sound lower, or higher than their written pitch. MuseScore has a number of features to facilitate the scoring of these instruments.
MuseScore's default viewing mode shows the musical notation in written pitch, but you can chose to display the score in concert pitch instead. In the latter mode, the musical notation of all instruments matches the actual pitches that you hear on playback.
You should ensure that the Concert pitch button is OFF before printing the main score or any parts.
Instrument transpositions are already set up in MuseScore. However, if you want a rare instrument or transposition that is not available in MuseScore, you may need to edit the instrument transposition manually.
You can also use the Change Instrument… button in the Staff/Part Properties window to automatically change the transposition to that of a different standard instrument.
Entering percussion notation is somewhat different to entering notation for pitched instruments (such as the piano or violin).
When you create a percussion staff using the New Score Wizard or the Instruments dialog, MuseScore automatically choses the most appropriate staff type (1-, 3-, or 5-line) for the instrument: this can be changed, if required, using the "Staff type" column on the Choose instruments / Instruments page. Any additional changes (e.g. to a 2-line staff) can be made from the score itself (see Advanced Style Properties).
On a 5-line percussion staff, each instrument is assigned a vertical staff position (line or space) and a notehead shape. For a drumset, one or two voices can be used. If the latter, voice 1 (the upper voice) usually contains (up-stem) notes played by the hands while voice 2 (the lower voice) usually contains (down-stem) notes played by the feet (see image below).
You can add notes to a percussion staff from any of the following:
These methods can be used in any desired combination:
To add notes to a percussion staff from a MIDI keyboard:
Ensure that the MIDI keyboard is connected and functioning correctly.
Note: If you click on the percussion staff without entering note input mode, you can demo the percussion instruments from the MIDI keyboard.
Click on the note or rest where you want to start.
Note: Refer to a GM2 drum map for details about which MIDI keyboard key corresponds to which percussion instrument. Some keyboards (e.g., Casio) display percussion symbols next to the keys as an aid to the user.
To add notes to a percussion staff from the virtual Piano Keyboard:
Ensure that the Piano keyboard is displayed. Press P (or select it from the menu, View → Piano Keyboard).
Note: If you click on the percussion staff without entering note input mode, you can demo the percussion instruments from the Piano keyboard.
Click on the note or rest where you want to start.
Note: Refer to a GM2 drum map for details about which piano key corresponds to which percussion instrument.
By default, the piano keyboard is docked at the bottom of the screen—to the left of the Drum input palette. However you can undock it by dragging, then dock the panel in several ways:
To enter notes on a percussion staff using your computer keyboard:
Note: Voice allocation is determined by the color of the note in the drum input palette: blue for voice 1, green for voice 2.
To add a note to a percussion staff
Use the following method to add a new note or to replace an existing chord.
To add a note to an existing chord in the percussion staff
Note: Voice allocation is determined by the color of the note in the drum input palette: blue for voice 1, green for voice 2.
When a percussion staff is selected and note input mode is ON, a window opens at the bottom of the screen called the Drum input palette. This window is essential for mouse input, and displays shortcuts for computer keyboard input, but can be ignored if using a MIDI keyboard or the virtual Piano Keyboard.
Each note in the palette represents a percussion instrument: hovering the mouse pointer over the note displays the instrument name.
The letters A–G (shown above certain notes in the palette) are designated as shortcuts for entering particular instruments (bass drum, snare, closed hi-hat etc.), rather than referring to note pitches. They can be changed or reallocated as desired in the Edit Drumset window.
When the Drum input palette is open, double-clicking a note in the palette or entering a shortcut letter will add that instrument note to the percussion staff. The color of the note in the palette shows the voice allocated for that note—blue for voice 1, green for voice 2. This can be changed in the Edit Drumset dialog if required.
This voice allocation applies only to keyboard and mouse entry of notes: entry via a MIDI keyboard or the virtual Piano keyboard allows any voice to be used.
To open the Edit Drumset window, use one of the following options:
The Edit Drumset dialog displays the percussion instruments available and the MIDI notes/numbers to which they are allocated. It also determines how each instrument is displayed on the staff— its name, position, notehead type and note-stem direction. Any changes made here are automatically saved in the parent MuseScore file.
Clicking on a row in the left-hand column allows you to edit the display properties for that note as follows:
Name: The name you want displayed in the Drum input palette when you mouse over the note.
Notehead group: Choose a notehead for that instrument from a drop-down list of options (Note: chosing "Custom" activates "Edit noteheads" (below).
Edit Noteheads: Allows you to customize the display further by specifying the noteheads for particular note durations.
Default voice: Assign to one of four voices. This does not affect input from a MIDI keyboard or the virtual Piano keyboard.
Staff line: This number indicates the staff line/space on which the note is displayed. "0" means that the note is displayed on the top line of the 5-line staff. Negative numbers move the note upwards step by step, while positive numbers move it downwards in the same way.
Shortcut: Assign a keyboard shortcut to enter that note.
Stem Direction: Auto, Up or down.
The customized drumset can be saved as a .drm file by pressing Save As.... You can also import a customized drumset using the Load... button.
To enter sticking symbols (R, L):
To create a drum roll, use a Tremolo.
Music for fretted, stringed instruments is commonly notated using tablature, also known as tab, which provides a visual representation of the strings and fret numbers:
Tablature can also be combined with traditional staff notation:
If you wish to create tablature as part of a new score, use the New Score Wizard. If you want to add tablature to an existing score, use the Instruments dialog. Or, alternatively, you can convert an existing standard staff. See below for details.
To create tablature in a new score (for combined staff/tablature systems see → below):
Note: If the desired tablature is not available in the Choose Instrument list, add a tablature staff anyway at step 4 (above). Then edit the tablature to your exact requirements using the Staff/Part properties dialog.
To add a single tablature staff to an existing score (for combined staff/tab system see below):
To convert an existing standard staff to tablature, or tablature to a standard staff:
Note: If you only want to view (rather than change) the instrument tuning, follow steps 1 and 2 only.
Right-click on the staff and select Staff/Part Properties….
Press the Edit String Data… button at the bottom of the dialog box. The String Data dialog opens:
Click on a string pitch and select Edit String…. Or, alternatively, just double-click the string pitch.
Notes: (1) If tuning is changed when the tablature for that instrument already contains some notes, fret marks will be adjusted automatically (if possible); (2) Any change of tuning to a particular instrument applies only to the score at hand, and does not change any program default settings.
Note: After adding a tablature string you will need to adjust the number of lines in the Staff/Part properties dialog.
Note: After deleting a tablature string you will need to adjust the number of lines in the Staff/Part properties dialog.
This feature is used to mark a (bass) course as unstopped (i.e. like a harp string, only played in the open position): as on a Baroque lute or Theorbo etc. This means that only "0" (zero) or "a" is accepted as a fret mark: any other fret mark will be converted to 0/a.
This property defines the maximum fret number which can be entered on a tablature staff.
You can customize both the appearance of a tablature staff and the way that it displays the fret marks. To access these options:
Plucked-string instruments—such as the guitar—are commonly notated using both a music staff and tablature (TAB) together. MuseScore gives you the option of having the two staves either unlinked or linked:
Unlinked Staves: The advantage of using this option is that each staff can be edited independently. To transfer music notation from one staff to the other, select the desired range and copy and paste it onto the other staff.
Linked Staves: The staves are "mutually updating": i.e. any change you make to the notation in one staff is immediately applied to the other staff as well.
A note on fret mark conflicts: When the same note is entered in two different voices, MuseScore tries to ensure that the fret marks do not overlap on the same string. Any overlaps which do occur are marked with red squares: these appear only in the document window and not on any printed copy. In almost all cases (e.g. frets 0 to 4 on the 6th string), overlapping is the desired result and no further adjustment is required. You can hide the red marks by selecting "View" and unticking "Show Unprintable."
Note: To create unlinked staves with separate mixer channels, instead of step "5" (above), select a Tablature staff in the left-hand column and click Add. Then continue with steps 6 and 7.
To add tablature to a plucked-string staff in the score (or vice versa):
Press 0 to 9 to enter a fret mark from 0 to 9 on the current string; to enter numbers with several digits press each digit in sequence. Keys A to K (skipping I) can also be used: convenient when working in French tablature. For L , M, N, use the alphanumeric keyboard and type respectively 10, 11, 12... (Note: You cannot enter a number higher than the "Number of frets" value set in the Edit String Data dialog).
Press ; (semicolon) to enter a rest of the selected duration.
You can enter notes in different voices if required—just as you would in a standard staff.
See also, Edit notes (below).
Period notation for bass strings (lutes and sim.) is supported:
French tablature: letters with prefixed slash-like strokes right under the tab body: i.e. 7th string: "a", 8th string: "/a", 9th string: "//a" and so on, all in the first position below the tab body.
Italian tablature: numbers with 'ledger line'- like segment of string above the tab body: i.e. 7th string: "0" one position above the tab body with one 'ledger line'; 8th string: "0" two positions above the tab body with two 'ledger lines' and so on.
Input of fretmarks is via computer keyboard only: by moving the note entry cursor below (French) or above (Italian) the tab body, 'shadow' slashes or ledger lines will indicate the target string to which the fret mark will be applied; pressing one of the fret keys, will enter (and lay out) the note on that string.
To enter notes into tablature with a mouse:
See also, Edit notes (below).
In note input mode, you can use any of the following methods to set note duration in tablature:
To edit an existing fret mark in note-input mode:
To edit an existing fret mark in Normal mode:
Note: The fret mark cannot be higher than the "Number of frets" value set in the Edit String Data dialog.
To change a fret mark to a crosshead note:
Type: | to get: |
---|---|
↑ | Select above string as current. |
↓ | Select below string as current. |
Shift+1 to Shift+9 | Select a duration (128th note to a longa) |
NumPad 1 to NumPad 9 | Select a duration (128th note to a longa) |
Q | Decrease current input duration. |
W | Increase current input duration. |
0 to 9 | Enter a fret digit / letter. |
A to K | Enter a fret digit / letter (I excluded). |
Alt+Shift+↑ | Increase current fret mark. |
Alt+Shift+↓ | Decrease current fret mark. |
; (semicolon) | Enter a rest |
Type: | to get: |
---|---|
0 to 9 | Change duration of selected note or rest (128th note to longa) |
Alt+Shift+↑ | Increase the pitch of the selected note (MuseScore chooses the string). |
↑ | Increase the pitch without changing string. |
Alt+Shift+↓ | Decrease the pitch of the selected note (MuseScore chooses the string). |
↓ | Decrease the pitch without changing string. |
Ctrl+↑ (Mac: Cmd+↑) | Move note to above string, keeping the pitch. |
Ctrl+↓ (Mac: Cmd+↓) | Move note to below string, keeping the pitch. |
Shift+X | Toggle the ghost notehead on/off. |