Steinberg Cubase 6 Manual

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Creating tablature
About this chapter
In this chapter you will learn:
• How to create tablature, automatically and manually.
• How to control the appearance of the tablature notes.
• How to edit tablature.
Cubase is able to produce score in tablature format. This 
can be done automatically, by “converting” recorded MIDI 
information. You can also create a tablature staff from 
scratch and enter the notes “by hand”.
Creating tablature automatically
This assumes you have a regular score on screen already. 
We also suggest you perform basic editing like quantizing 
to make the score as legible as possible as regular notes 
before converting into tablature.
1.Make sure that the notes in the score are inside the 
range of the instrument.
Notes with a pitch lower than the open tuning of the lowest string cannot 
be converted.
2.Open the Score Settings dialog on the Staff page and 
select the Tablature tab.
3.Activate “Tablature Mode”.
4.Select one of the predefined instruments from the 
pop-up menu.
•If you are not using one of the predefined instruments, 
set the open tuning of each string using the value fields.
You can create tablature for up to 12 strings. To disable a string, set it to 
Off, the lowest value.
5.If you want to use a capodaster, e.g. on the forth fret, 
enter the corresponding value in the Capo field.
The tablature changes accordingly.
6.Make the desired settings for “No Stems/Rests” and 
“MIDI Channel 1–6”.
No Stems/Rests gives you a score where the notes have no stems and 
where all the rests are hidden. The “MIDI Channel 1–6” feature is de-
scribed below.
7.Click Apply.
The tablature appears. You get as many note lines as you have activated 
strings. All the notes now have a fret number instead of their regular note 
heads. 
Before and after activating tablature mode.
8.Edit the score, if needed.
You can make Display Quantize settings, add symbols, etc. as usual. How-
ever, editing the actual notes is a bit different from regular note editing, see 
below.
Using “MIDI Channel 1–6”
This feature makes notes automatically appear on the cor-
rect string according to their MIDI channel value.
Normally, the program automatically decides on which 
string to display a note, by looking at the pitch and then 
putting the note at the lowest possible string. You can 
then either manually move a note to the correct string, or 
use the “MIDI Channel 1–6” option to let the program 
move the notes automatically.
!Even though we use the term “converting” in this 
chapter, please note that tablature is a mode. You 
can switch between regular notation and tablature at 
any time. 
						

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Creating tablature
1.Many guitar synthesizers are able to transmit each 
string on a different MIDI channel. If you have such an in
-
strument, set it up so that the high E string transmits on 
MIDI channel 1, the B string transmits on MIDI channel 2, 
etc.
This feature can be used for MIDI string instruments with up to six strings.
2.Record the project. Quantize and edit it as desired.
3.Make sure that the “MIDI Channel 1–6” option is acti-
vated and convert the notes into tablature, as described 
above.
4.The notes are automatically placed on the right strings. 
For example if you played a “B” on the low E-string, it appears as a “7” on 
that string, not as a “2” on the A-string.
Creating tablature manually
To set up an empty system for inputting tablature, proceed 
as follows:
1.Double-click on the clef symbol in the score to open 
the Edit Clef dialog.
2.Change the clef to the tablature symbol.
3.Open the Score Settings dialog on the Staff page and 
select the Options tab.
4.Set the “System Lines” to as many strings as the in-
strument you are scoring for has.
5.Raise the Add Space value to 1 or 2.
You need a little extra space between note lines to make room for the 
numbered note heads.
Suggested system line settings for guitar tablature
6.On the Tablature tab, activate “Tablature Mode”.
7.Set up whatever other parameters you need in the 
dialog, and click Apply.
8.Select the Insert Note tool and move the pointer over 
the score.
9.Press the mouse button and drag up and down until 
the note appears on the desired string with the correct fret 
number (you can also verify the pitch on the toolbar, as 
usual).
When you drag up and down, the program automatically selects the low-
est possible string. If you want a fret number higher than 4 on a guitar 
tablature, for example, you have to use “Move To String”, see below.
Setting the correct pitch. Use the Mouse Note Position display in the 
status line as an additional guide.
10.Release the mouse button.
The note is displayed.
Tablature number appearance
In the Score Settings dialog on the Project–Text Settings 
subpage, you can find text settings for the tablature num
-
bers. In the “Font For” pop-up menu, select “Tablature” 
and then select the desired font, size, and style for the 
number note heads. 
						

							683
Creating tablature
Editing
Tablature can be edited like any other score. You can 
move notes, handle beaming, stem direction, etc.
Moving notes to another string
If you want for example a “C” to appear as a “8” on the low 
E-string rather than a “3” on the A-string on a guitar, pro
-
ceed as follows:
1.Select one note or a number of notes that you want to 
move to a new string.
2.Right-click on one of the selected notes and, from the 
“Move to String” submenu, select the desired string.
The Fret number is automatically adjusted according to the tuning of the 
instrument (as set up on the Tablature tab of the Staff page in the Score 
Settings dialog).
Moving notes
Moving notes in pitch in a tablature score is working the 
same way as entering notes manually, see above.
Editing on the info line
You can change the pitch of notes on the info line as usual. 
The string and fret number are updated automatically in the 
score.
Note head shape
If you only want to enter a fret number for your notes (Tab-
lature mode off), you can use the Set Note Info dialog on 
regular notes.
1.Double-click on the head of a note.
The Set Note Info dialog appears.
2.Activate the Tablature option and set a fret number in 
the value field to the right.
3.Click Apply. 
						

							16
The score and MIDI playback 
						

							685
The score and MIDI playback
About this chapter
In this chapter you will learn:
• How to use the Arranger mode to have the playback follow the 
structure of the score.
• How to use the “mapped” Dynamics symbols.
ÖCubase only: You can also play back articulations in 
the Score using the Expression Map and Note Expression 
functions, see 
“Expression maps (Cubase only)” on page 
419 and “Note Expression (Cubase only)” on page 428.
Scores and the Arranger mode
Repeats (bar lines) appear in all layouts, as well as Project 
symbols like Segnos, Codas, Da Capo, endings, etc. To 
have the playback in Cubase follow these directions, pro
-
ceed as follows:
1.Add the desired repeats and project symbols to the 
score.
2.Right-click the toolbar in the Score Editor and make 
sure that “Arranger” is ticked.
This adds the Arranger buttons to the toolbar.
3.Click the “Activate Arranger Mode” button on the tool-
bar and start playback.
Playback follows the repeats and Project symbols in the score – sections 
within repeat symbols are repeated, the playback position jumps to the 
beginning when encountering a Da Capo symbol, and so on.
Working with mapped dynamics
Apart from the dynamics symbols found on the Dynamics 
tab, you can also use 12 “mapped” Dynamics symbols. 
These make use of the Note Expression functionality in 
Cubase, see the chapter 
“Note Expression (Cubase only)” 
on page 428. Mapped Dynamics symbols can be played 
back using three different methods: by modifying the ve-
locity values in percentages, by sending volume controller 
messages or by sending additional generic controllers. 
These methods can also be combined.
Setting up the symbols
You can make settings for the symbols in the Dynamics 
Mapping Setup dialog. On the left in the upper section, 
the available symbols are listed.
•To open the dialog, right-click on one of the symbols on 
the Dynamics Mapping tab in the Symbols Inspector and 
select “Dynamics Mapping…”.
When mapped dynamics symbols have been added to the score, you 
can also double-click on a symbol to open the dialog. 
						

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The score and MIDI playback
In the dialog, you can make the following settings:
Change Velocities
You can create dynamics by defining different velocities 
for the different symbols. Proceed as follows:
1.Activate the “Change Velocities” checkbox in the 
lower section of the dialog. 
2.Set up a percentage value (positive or negative) in the 
Velocity column to specify by how much the correspond
-
ing symbol will raise or reduce the current velocity value of 
a note.
Send Volume
You also have the possibility to define the dynamics by 
sending Volume controller values. Proceed as follows:
1.Activate “Send Volume” in the lower section of the di-
alog, and select whether you want to use the MIDI control-
lers 7 or 11 or the VST 3 parameter Volume (if the 
instrument you are using is compatible with VST 3). 
2.Set up a percentage value (positive or negative) in the 
Volume column to specify by how much the correspond
-
ing symbol will raise or reduce the current volume of a 
note.
ÖWhen “Send Volume” is activated and set to VST 3 
Volume, the VST
 3 volume events in the notes are being 
merged with the volume specified for the Dynamics sym
-
bols, according to the Merge Mode setting, see below. 
However, make sure that the edited part does not contain 
events for MIDI controller 7 (Main Volume) or 11 (Expres
-
sion) on the controller lane.
The Merge modes
When you use the parameter VST 3 Volume in the notes 
and for the dynamics symbols, the result depends on the 
Merge Mode. The following modes are available: 
Send Controller
You can also send an additional MIDI controller (except 
MIDI controllers 7 and 11, which are used for the “Send 
Volume” function). 
If you combine this with the “Send Volume” function, you 
can set up a sound which gets brighter as it gets louder, 
which is useful when working with strings or woodwind 
and brass instruments.
To set up an additional controller, proceed as follows:
1.Activate “Send Controller” and specify the controller 
you want to use in the pop-up menu.
You can select any of the available MIDI controllers, but also VST 3 pa-
rameters (except Volume, Pan, and Pitch).
2.Set up a percentage value (positive or negative) in the 
Controller column to specify by how much the corre
-
sponding symbol will raise or reduce the controller value 
of a note.
Initializing the Dynamic Range 
You can specify the dynamic range for the work with 
mapped dynamics symbols using the pop-up menu in the 
middle section of the dialog.
If you select “pp-ff”, the extreme Dynamics symbols 
(pppp, ppp, ffff, and fff) do not have an effect. If you select 
“pppp-ffff”, the whole dynamic range will be used.
Using dynamics symbols in the Score Editor
Inserting dynamics symbols
Once you have set up the dynamics as desired, you can 
use the symbols in the Score Editor.
•Select the desired symbol on the Inspector tab and 
click at the position in the Score Editor at which you want 
to insert the symbol.
Note that the “mapped” dynamics symbols have a different color scheme 
than the regular dynamics symbols.
ModeDescription
AverageWhen this is selected, the average of the two vol-ume messages will be used for the notes.
MergeWhen this is selected, the VST 3 Volume setting 
for the Dynamics symbols modulates the existing 
VST
 3 Volume setting of the notes. Higher settings 
increase the volume and low settings decrease the 
volume set for the note. 
						

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The score and MIDI playback
•Crescendi and Decrescendi are updated intelligently, i. e. 
when you have inserted a crescendo between two dynam
-
ics symbols and the order of these symbols is reversed, the 
decrescendo automatically becomes a crescendo.
•When you insert a crescendo symbol which is not pre-
ceded by a Dynamic symbol, the “assumed” start value is 
mezzo forte (mf). 
•Likewise, if a crescendo symbol is not followed by a dy-
namic symbol, an end value will be calculated automatically. 
For a crescendo, this is one value above the start value, and for a decre-scendo one value below the start value.
Modifying/Editing dynamics symbols
You can change the settings for the dynamics symbols at 
any time in the Dynamics Mapping Setup dialog, as de
-
scribed above.
•You can step between the available dynamics symbols 
by using the commands “One up” and “One down” on the 
context menu, by using the corresponding key commands, 
or by clicking the “+” and “-” buttons on the toolbar.
When several dynamics symbols are selected, they will all be modified 
accordingly. 
						

							17
Tips and Tricks 
						

							689
Tips and Tricks
Overview
This chapter provides useful information about editing tech-
niques and answers to a number of questions that might 
arise when you use the Score Editor. For more information 
about the functions referred to, please use the index and 
check the previous chapters.
Useful editing techniques
Use this section to find out more about some editing tech-
niques that help you to use the score functions more effi-
ciently.
Moving a note without transposing it
If you hold down [Ctrl]/[Command] while moving a note (or 
several notes), only horizontal movements are possible, so 
that you do not have to worry about the notes being trans
-
posed. You can also set up a key command for this. This is 
done in the Key Commands dialog (Nudge category).
Moving and spacing several staves
If you have a number of staves that you want displayed 
with an equal distance (for example, all strings of a grand 
staff in a full orchestra score), this can be done using the 
Position Info window: 
1.Open the Preferences (Scores–Editing page) and de-
activate the “Global staff Spacing with [Alt Gr]/[Option]-
[Command]” option.
2.In the score, select the staves you want to set to an 
equal distance.
3.Open the Position Info window by clicking on the ruler.
4.Use the To Previous Staff or To Next Staff settings to 
specify the desired distance between the staves.
All selected staves are spaced according to your settings.
•If you do this when the “Global staff Spacing with [Alt 
Gr]/[Option]-[Command]” option is activated, all staves in 
the score are affected.
Polyphonic voicing
If you are working on a full score with more than one instru-
ment in one staff (2 flutes, 2 trumpets, etc.), you should use 
polyphonic voices. And even if both instruments play the 
same notes, you should insert notes for both instruments 
(you can mute the notes of the second voice, if playback is 
an issue). If you do this, it is much easier to extract single 
parts later by using the “Extract Voices” command.
Using the bar handles
Double-clicking a bar handle opens the Bar Copy dialog. 
This function is great for copying accents, but you can 
also use it for copying drum phrases, etc. For more infor
-
mation, see “Moving and duplicating with the bar handles” 
on page 631.
•If you hold down [Shift] and double-click on a bar han-
dle, this and the next bar are selected. 
This is handy when copying phrases of two or more bars in one go.
Copying a section with “invisibles”
If you want to copy and paste a section which contains 
hidden elements, adjusted beams and stems, etc., there 
are two ways to proceed:
•Use the filter bar to make indicators appear in the score. 
Then select these indicators together with the notes before 
you copy.
This ensures the notes are copied with their formatting, etc.
•Double-click the bar handle of one of the bars, and make 
sure all relevant event types are activated in the dialog. 
Then select the bars you want to copy by clicking their bar 
handles, and copy them by [Alt]/[Option]-dragging the bar 
handles.
For more information, see “Moving and duplicating with the bar handles” 
on page 631.
Using “Scores Notes To MIDI”
This function converts the score data, as displayed, into 
MIDI data. Let’s say for example that you have set up the 
score so that it is displayed to 99
 % the way you want it to 
be. Yet, that last 1
 % forces you to deactivate some of the 
Staff Settings (like Clean Lengths, No Overlap, or Auto 
Quantize), which makes other parts of the score illegible.  
						

							690
Tips and Tricks
In this case, try using the “Scores Notes To MIDI” func-
tion. Note that you should work on a copy of the track! For 
more information, see 
“Using “Scores Notes To MIDI”” on 
page 572.
Optimizing rests
If you have a number of consecutive empty bars, you can 
replace them with one multiple rest, see 
“Multiple rests” 
on page 667.
Zero system lines
Having no system lines at all might seem like a stupid idea 
to start with. But this option allows you to create chord 
sheets really quickly, see 
“Using Make Chord Symbols” on 
page 642.
A lead sheet created by specifying “0” system lines
Examples and scales
If you are creating scale examples and similar, you can use 
the Real Book option and manually hide all symbols at the 
beginning of the first staff to make the score appear like 
separate unconnected “lines”.
Remember you can also hide the bar lines.
An example scale without bar lines
Controlling the order and appearance of grace 
notes
Normally, grace notes are beamed. Their order under the 
beam is controlled by their order in the track. It is enough 
to put a grace note one tick before the next grace note to 
make them appear in the desired order under the beam.
Initially the grace notes are put in with a 32nd note beam. 
By double-clicking the note and changing the “flag” type 
in the Set Note Info dialog, you can change this.
Complex grace notes
Speeding up inserting key changes
If you have a grand staff with many instruments, inserting 
key changes one by one can take a lot of time.
In this case, activate “Key changes for the entire Project” 
on the Key context menu or in the Score Settings dialog, 
on the Project–Notation Style subpage (Keys category). 
This way, all changes made to the key always affect the 
entire project.
Speeding up inserting staccato and accents
Symbols linked to notes can also be put in for a number of 
notes at the same time, even on different staves, see 
“Adding a symbol to several notes using the Pencil tool” 
on page 622.
Setting the distance between staves in a piano 
score
Drag the first bass staff on the first page. This copies the 
spacing to all staves. Please note that this can only be 
done in Page Mode.
Frequently asked questions
In this section, you can find some answers to questions 
concerning adding and editing of notes as well as the 
handling of symbols and layouts.
I enter a note with one value and it is shown as a note 
with another value.
Set the Rests value for Display Quantize to a smaller note 
value. Try deactivating Auto Quantize, especially if you do 
not have any triplets or triplets only.
Notes are not displayed at the correct positions.
Try changing the Notes value for Display Quantize.