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There are many night schools where people who cannot go to the day schools for some reason or other can continue their studies. And, the government of Singapore is still doing its best to make further improvements in the city for the benefit of the people. During my stay in Singapore, I went out every day with my father to see the beautiful and interesting places and things in the city. One day we went to the Tiger Balm Garden where I saw several statues of people, animals and other strange creature beautifully made and kept.

The sea near this garden makes this a pleasant place to visit. We spent almost half of the day at this place. Another day we visited the museum where I saw hundreds of curious things preserved for scholars and others. It was indeed an education to see all those things. There is so much to learn here that every visit by any person is sure to add to his knowledge. I also visited some of the harbours and saw the large ships anchored there. The sight of the ships aroused a desire in me to cross the oceans and go round the world.

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I was indeed deeply impressed by the activities at the harbour. Then every night, I went round the town and visited some of the parks and other places of interest. The numerous sights and the constant stream of traffic kept the city alive. I visited a few of the cinemas as well. In short, I enjoyed every moment of my stay in this famous city of Singapore. I, however, had this opportunity one day when I went with my father into a forest in search of some wild plants.

I had never been to a forest before. Therefore, whatever I saw in the forest interested me greatly. I saw the activity of some of the wild creatures, such as snakes, squirrels and insects. Occasionally, I heard the cry of some strange animal in pain, perhaps while being eaten by a larger animal. I also heard some rustling noises in the undergrowth; but I was not afraid of all these. Such things, I knew, were natural to the forest. My father whose only interest was in the type of plants he wanted for my mother's garden, however, paid little attention to the sounds and movements in these green depths.

He continued his search for more and more of those plants until we reached one of the banks of a large river in the forest. There we stopped for a while to enjoy the sights around. The scene was peaceful. Then, to our surprises and honor, we saw a tiger on the other side of the river. It was moving quietly and cautiously towards the water for a drink. A hush fell upon the jungle. My father and I were now too frightened to move from there. However, as the tiger put its mouth into the river there was a sudden swirl of the waters, and before the tiger could rush out, it was seized by a huge crocodile.

The tiger's howl of pain and anger filled me and my father with terrors. Yet we waited there to see the end of the struggle between these two lords of the forest and the river. The crocodile had the advantage from the beginning. It used all its strength to pull the tiger deeper into the water, and the tiger too fought desperately to free itself from the jaws of the merciless reptile; but the tiger soon gave up the struggle and all was quiet again. I now felt pity for the tiger which had died just to slake its thirst. Then, my father reminded me of the narrow escape that we had ourselves had.

If the tiger had been on this side of the river, one of us might have died in the way the tiger did, a victim of animal appetite. And as we were returning home, I began to think of the struggle for life and savagery that lurks beneath peaceful scenes. Thus, it has a peculiar fascination for scholars, and all those whose thirst for knowledge is instable. The usefulness of libraries in the spread of knowledge has been proved through the years. The field of knowledge is so extensive and life is so brief that even the most avid reader can never expect to absorb it all.

Those who have a love for knowledge, therefore, try to master only a small fraction of it. Even this requires reading of hundreds of books, cheap and expensive, new and old. But few people are able to buy all the books on the subject in which they wish to attain proficiency. It is therefore necessary for them to visit a good library, where they can read a great variety of books on the subject they love. Besides, many old and valuable books on certain subjects are found only in a good library.

Even the original manuscript of an author, who died several years ago, can be found in it, sometimes. Today, men everywhere have discovered the benefits of learning. More and more books are being written to extend human knowledge and experience. Governments and individuals throughout the world are, therefore, opening more and more libraries to enable people to read as many books as possible.

Libraries have been opened even in the remotest regions of the earth, so that people who are unable to buy books from the towns can still gain access to the various sources of knowledge. Mobile libraries serve the people in various parts of the earth. The importance of libraries, however, is felt most acutely by students in schools and universities, where most students are engaged in deep studies. The number of books that a student has to study, especially at a university, is so large that unless he comes from a rich family, he can hardly buy them all.

Besides, many of the books may not be available in the book-shops within his reach. It is therefore to his advantage to visit a good library. Some people even have then own private libraries in which they spend their leisure, reading the books that they have collected over the years and drive great intellectual benefit and pleasure. In short, libraries have contributed so much to the extension of knowledge that they have become almost indispensable to all literate men.

Most of them are caused by young drivers who are long of speed. The recklessness has caused the death of even careful drivers. What I am about to relate concems the death of some young people, resulting from the reckless driving of a young man. On the day in question, I was travelling with my brother to Ipoh. As my brother's car was old, he had to drive slowly. We left Singapore, our hometown, very early in the morning, so that we could reach our destination before. The slow journey soon made me so tired that I fell asleep. However, we broke our Journey at Yong Peng, a small town in Johore for some refreshment.

When we resumed our journey, we saw a number of badly damaged vehicles in front of the Police Station of that town. My brother then began to talk about the various accidents that he had seen on that road. I began to grow uneasy about the rest of the journey. My brother had told me that most of the accidents occurred within a few miles of that town.

I now began to fear for our own safety. Then, suddenly, a car, running at great speed, outtook our car. My brother then predicted that the car would be involved in an accident soon. After that my heart began to beat fast. The car was soon out of sight. My brother, however, assured me that I would have an opportunity to see a very bad accident, and sure enough, we soon arrived at a distressing scene.

The car that had overtaken our car was in a ditch and four young girls were lying dead on the road-side. Their faces and clothes were covered with blood. Some people were trying to extricate the other occupants, including the young driver, who were still alive in the car. But all of a sudden, the car was on fire, and their efforts failed. Thus, the occupants in the car were burnt alive, and it was indeed heart-rending to hear their last screams. Soon a fire engine and the police arrived with an ambulance, but it was too late.

This was indeed a horrible sight, and even today the mention of accidents reminds me of those piteous screams of the dying ones in that car. In several aspects, it is the most important thing in life. It is therefore much sought after. Without money we could not buy our food, clothes and all the other things that we need to live comfortably.

We require money to travel, to buy medicine when we are ill and also to pay for the services rendered to us by others. In truth, money is almost indispensable to our survival. Most of our activities are therefore directed towards earning as much money as possible. We use money not only to meet the basic needs of life but also to pay for our own advancement.

We use it for education which helps us to live a better life. Thousands of students are unable to attend school or continue their studies for want of money. Lack of money also causes great hardship and sorrow in hundreds of families. Thousands of people are dying everyday throughout the world because they are not able to pay their doctors fee or because they cannot buy nutritious food. As money is so important, many crimes are committed everyday in all parts or the world to gain possession of it. Some are driven by hunger and desperation to steal, rob, and even kill to get at least what they require to keep body and soul together.

Others commit the most serious crimes out of sheer greed for money. Such people cause much trouble and unpleasantness in society, and to bring them to justice, large sums of money are spent by every government. Today, millions of dollars are being spent by the various governments in the world for the betterment of the people. Numerous schools and hospitals are being built, and hundreds of acres or land are being cultivated to produce more food for the growing population of the world.

As a result, the world is gradually becoming a better place to live in. At the same time, however, much money is being wasted in producing deadly weapons of war. Countries which have more money than the others have become more powerful by strengthening their armed forces. This has led to rivalries among the powerful nations, and several parts of the world are in turmoil. All this shows what an important part money plays in human affairs. Building on the foundation laid by the predecessors, the scientists of today are carrying their investigation into ever-widening fields of knowledge.

Modern civilization depends largely on the scientist and inventor. We depend on the doctor who seeks the cause and cure of disease, the chemist who analyses our food and purifies our water, the entomologist who wages war on the insect pests, the engineer who conquers time and space, and a host of other specialists who aid in the development of agriculture and industry. The advance of science and technology has brought the different parts of the world into closer touch with one another than ever before.

We are able to reach distant lands within a very short time. We are also able to communicate with people far away by means of the telephone and the wireless. The invention of the printing machine has made it possible for us to learn from books and newspapers about people in other lands. Indeed, man's curiosity and resourcefulness have been responsible for the steady stream of inventions that have created our civilization.

At the same time, however, there have been harmful effects. Our machine civilization is responsible for numerous accidents and industrial rivalries among nations. Everyday hundreds of people are dying from serious wounds and injuries. Further, the rapid tempo of modern life results in wide-spread nervous disorder. Moreover, science, which has helped man to secure control over nature, has also made it possible for him to develop more deadly weapons or war. More and more countries are competing with one another in the production of war material.

Science is admittedly the dominating intellectual force of the modern age. Among the rights enjoyed by the citizen in a democracy are the right to pursue his own affairs as he prefers;. The citizen is considered so important that his rights are protected by the law of the state, and whenever they are infringed, he can secure redress. But in a totalitarian state, the rights of the citizen are so restricted that he has practically no freedom. The citizen is supposed to exist for the state. His interests are always subordinated to those of the state.

Thus, his duties exceed his rights. Even in a democracy, however, the citizen is expected to exercise his rights within the limits of the law. He should not do or say anything that may affect the rights of others. In exercising his right to act as he pleases, for example, he should not try to elope with another man's wife or say anything slanderous about her or anyone. In the same way, his actions should not cause injury or damage to any individual or his property. He cannot kill as he pleases. If his conduct infringes the rights of others, then those who have been affected by his misconduct could take legal action against him and he will be punished according to the law of the state.

In this way, the state protects its citizens and their rights from the thoughtlessness of any individual in the state. This means, of course, that every citizen in the state is expected to do his duty to his fellow citizens. The citizen is also expected to give his services for the protection of the state in times of war, and to maintain law and order in his state, at all times. Thus every citizen who is conscious of his rights should also be conscious of his duties to the state and his fellow citizens. I was then about seven years old. I had been playing with the children living around my house for some years.

I had no thought of ever going to school. I enjoyed playing to catch fish from the shallow streams near by.

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Sometimes we went to the forest to catch birds and squirrels, and I had always thought that life would continue to be the same for me. But, one day, to my great sorrow, my parents suddenly announced that I was no longer to play about and that I was to go to a school. Words can hardly describe how sad I felt at the thought of having to go to a school. I had often heard that school teachers were very strict and cruel.

I had also been told that there were many difficult subjects to learn in school and I could not bear the thought of being compelled to learn them. But everything had been decided for me and I had no choice but to go to school. Soon after I was admitted to school, however, I discovered to my great joy that learning in school was a pleasure. I began to learn about the people and other wonderful things spread throughout the world. The teachers were very kind and friendly and they often told many interesting stories.

Johns Hopkins Applied Physics Laboratory. Busse, F. Icarus 29 2: New York Times. Fletcher, Leigh N. Icarus 1: The New York Times. Go, C. Bulletin of the American Astronomical Society Graney, C. Baltic Astronomy Guillot, T. Hammel, H. Harrington, J. Heimpel, M. Nature Hockey, T. Galileo's Planet: Observing Jupiter Before Photography. Bristol, Philadelphia: Institute of Physics Publishing. Ingersoll, A. Trong Bagenal, F. The Planet, Satellites and Magnetosphere. Journal of the Atmospheric Sciences 26 5: Clefs are created or changed by dragging a clef symbol from the Clefs palette into a measure or onto another clef.

Use F9 Mac: Drag a clef from the palette into an empty part of a measure - this creates a clef at the beginning of the measure. Drag a clef onto a particular note to create a mid-measure clef - if the measure is not the first in the staff, it is drawn smaller. An example is a piano score, in which the top staff starts with a G clef and switches immediately to an F clef, then after a note and a rest, back to a G clef.

To see whether the change will apply to the note or the measure, check what changes color when you drag it. You can also select the note, or measure first, and double-click the clef on the palette to make sure it affects the right one. Time signatures are available in the main palette sidebar. You can drag and drop the time signatures onto the score see Palette for general information on working with palettes in MuseScore. If a time signature is needed that is not found in the corresponding workspace palette, open the Master Palette directly to the Time Signature section Shift T to create your own.

You can edit the numerator and the denominator in the Create Time Signature Panel by pressing the Add button. Once added, just drag and drop the time signature to the score from the window where you created it. Be aware that it will not appear in the workspace palette. If you want to add it in the palette, read Custom Palette. For example: Don't forget to do it for the other two subdivisions. To edit the third one drag an icon from to the right note. In this example, the "beam start" icon got dragged to the 9th note and the Beam 16th sub icon to the 13th note. In most cases, you'll only need to edit the first of the upper numbers.

The additional upper numbers are for additive meters , which contain multiple upper numbers separated by a plus sign. There are occasions when the actual duration of a measure is different from the duration specified by the time signature. Pickup measures and Cadenzas are a common example. To change the actual duration of a measure without displaying a different time signature, see Measure operations: Properties, Measure duration. Time signatures can be different for different staves.

An example here is Bach's Goldberg Variation:. MuseScore has the concept of a global time signature and an actual local time signature. To change the global time signature drag and drop a palette object to a staff. The global time signature is used to count beats as shown in the status line and is the reference for tempo markings. The global time signature is the same for all staves and normally identical to the actual time signature. A local time signature is set by dropping a time signature symbol while holding the Ctrl key. The local time signature is set only for one staff.

A global time signature is replicated for all staves. Multimeasure breaks 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. Bar lines are changed by dragging a bar line symbol from the bar line palette to a bar line in the score. To hide a bar line entirely, select the line and untick Visible in the Inspector F8. To extend bar lines over multiple staves, double-click on a bar line see Edit mode. The staff bar line updates appear after leaving edit mode.

A comprehensive set of symbols can be found in the Articulations and Ornaments palette in the Advanced 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:.



Appoggiaturas and acciaccaturas can be found in the Grace Notes palette. 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:.

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. The symbol can also be repositioned by clicking and dragging, but for more precise control, use the methods above. Other properties i. A variety of simple and complex multi-stage bends can be created with the Bend Tool , located in the Articulations and Ornaments palette of the Advanced workspace.

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: The horizontal axis of the graph indicates the length of the bend: 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 it appears just above the staff. This height can be reduced, if necessary, with a workaround:. See Custom Workspace. Hairpins are line objects.

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To create a hairpin, select a note to mark the start point. Double click switches to edit mode. Then select click on the end point to move:. Tuplets are used to write rhythms beyond the beat divisions usually permitted by the time signature. For example, triplet eighth notes quavers in a time signature divide the quarter note crotchet beat into three instead of two.

To create a triplet , first select a note on the score that specifies the full duration of the triplet group. For example, a group of triplet eighth notes quavers has a "full duration" of one quarter note crotchet. This creates a triplet by dividing the full duration into three equal parts. Tuplet entry works slightly differently in note input mode than the method outlined above.

You must select the duration first, and enter pitches afterward. Below are step-by-step instructions for making triplet eighth notes. To change the display properties of a tuplet, select the tuplet number, or bracket, and use the Inspector F8. If neither the number nor the bracket is shown, select a note from the tuplet, then use the Tuplet button in Inspector to see the above dialog.

For Direction , choose Auto to place the bracket on the same side of the note heads as the stem, or beam. Choose Up , or Down to explicitly place the bracket above or below the note heads, respectively, regardless of the stem, or beam position. For Number type , choose Number to show an integer, Relation to show a ratio of two integers, or Nothing to show no number at all. For Bracket type , choose Automatic to hide the bracket for beamed notes and show the bracket if the tuplet includes unbeamed notes or rests.

Choose Bracket , or Nothing to explicitly show, or hide the bracket, respectively. If you move the bracket, or tuplet number, you can see vertical and horizontal offset being updated default offsets are 0sp for both. It enables you to change all tuplet properties. A slur is a curved line between two or more notes that indicates they are to be played without separation.

If you mean to join two notes of the same pitch, see Tie. The handles displayed in the images for steps above can be adjusted with the mouse. The two outer ones adjust the start and end of the slur, whilst the two inner handles adjust the contour. A slur can span several systems and pages. 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 resp. 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. To place a breath symbol, drag it from the breath palette from the Advanced workspace to a note in the score. The breath symbol is placed after the note. Caesura informally called tram lines or railroad tracks work the same way. When an entire measure is devoid of notes, a full measure full bar rest is used. A full measure rest looks like a whole note semi-breve rest, except it is centered in the middle of a measure.

To create a full measure rest, select a measure and press Del. All notes and rests in this measure are then replaced by a full measure rest. Multi-measure multi-bar rests indicate a long duration of silence for an instrument and are frequently used in ensemble sheet music.

They are automatically interrupted at important points, such as double bar lines, rehearsal marks, key- or time signatures, etc. Multi-measure rests have a number above the staff indicating the duration of the rest by the number of measures. The style option automatically creates multi-measure rests throughout the score. Therefore, it is recommended that you enter all your notes first and then turn on multi-measure rests afterward. Note that multi-measure rests are interrupted if there is a rehearsal mark not a simple text , section break , key or time signature change, or double bar line.

A tie is a curved line between two notes of the same pitch. If you want a curved line that spans multiple pitches, see Slur. Note input mode must not be enabled. Beams are set automatically, but they can be altered manually. Drag a beam symbol from the "Beam Properties" palette to a note in order to change its behavior. Alternatively, you can first select a note, and then double-click the appropriate symbol in the palette. Start a beam at this note. Do not end a beam at this note. Do not beam this note. Start a second level beam at this note. Start a third level beam at this note.

Start feathered beam slower at this note. Start feathered beam faster at this note. To change the beam angle, or the distance of the beam to the notes i. Hit Esc to get out of edit mode, once done with the changes. To move a beam from above to below the notes, or vice-versa, flip the direction of the stems by using the button along the second top row before the voice indicators that shows a note with stems attached above and below or use the X key.

Edit, or delete the text of a glissando by right-clicking it and select "Glissando Properties" in menu or in the Inspector. If there isn't enough room between two notes, MuseScore will not display the text. Drag a bracket symbol from the bracket palette to an empty space in the first measure of a system. Double-click on a bracket to enter edit mode.

In edit mode , you can drag the height of a bracket to span arbitrary staves of a system. Short grace notes Acciaccatura appear as small notes with a stroke through the stem. Long grace notes Appoggiatura have no stroke. Both are placed before the normal-sized main note. Create a grace note by dragging a grace note symbol from the Grace Notes palette to a regular note on the score.

It's also possible to create a grace note by selecting a note head and double-clicking a grace note symbol from the grace notes palette. If you want to change the duration of a previously created grace note, select it and choose a duration from the toolbar or enter with one of the keys 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.

Play one octave below written pitch. Octaves can be customized just like any other line. See Lines: Custom lines and line properties. Tremolo is the rapid repetition of one note, or a rapid alternation between two or more notes. It is indicated by strokes through the stems of the notes. If the tremolo is between two or more notes, the bars are drawn between them. Tremolo symbols are also used to notate drum rolls. The tremolo palette contains separate symbols for one note tremolos shown with stems below and for two note tremolos shown with no stem below.

To add tremolo to the stem of a single note, select the note head and double-click the desired symbol in the tremolo palette. In a two note tremolo, every note has the value of the whole tremolo duration. To enter a tremolo with the duration of a half note minim , enter two normal quarter notes crotchets , and after applying a tremolo symbol to the first note, the note values automatically double to half notes.

The Lines palette , like other palettes , works via "drag-and-drop". Use the mouse to drag an item from the palette and drop it onto the score. If you change the length of a line using the mouse, the anchor positions the notes or measures they apply to do not change. Therefore, the following method is recommended for adjusting the start or end points of a line. The start and end of simple repeats can be defined by setting appropriate bar lines. For instructions on first and second ending measures, see Volta.

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. In the last measure of a repeat, you can set the property " Repeat count " to define the number of played repeats. Text and symbols related to repeats are located in the Repeats palette. The repeats palette contains the symbols for measure repeat, segno and coda.

It also contains 'D. To add an object from the repeats palette, drag it onto not above the desired measure so the measure changes color , then drop. The object will then appear above that measure in your score. Tags are names you give to certain measure positions. Two tags "start", "end" denote the start and end of the score and don't need to get added explicitly. At the jump instruction Da Capo the playback jumps to the start and plays the entire score again up to the implicit end tag.

At the jump instruction Da Capo al Fine the playback jumps to the start and plays the score up to the tag Fine. Dal Segno al Fine or D. Dal Segno al Coda jumps to the Segno tag and then plays up the first Coda tag. Playback then continues at the second Coda tag. The properties of jumps can get set via a right-click at the D. Volta brackets, or first and second ending brackets are used to mark different endings for a repeat. To place a volta bracket on the score, drag-and-drop the item from the Lines palette.

The brackets can span more than one measure. Double-click the volta to enter edit mode , and move the handles with:. These commands move the "logical" start or end of the volta bracket, which determines playback in MuseScore and layout over multiple systems. Moving the handles using the left or right arrows keys only, or using the mouse allows finer adjustments, but does not change how the repeat is played. You can change the text and many other properties of a volta bracket using the line properties dialog.

Right-click on a volta bracket and choose Line Properties The figure below shows the volta text as "1. You can also right-click on the volta and bring up the volta properties dialog. From here, you can change both the displayed Volta text the same from the line properties above and the repeat list. If you want one volta to be played only on certain repeats and another volta on other repeats, enter the repeat times in a comma separated list.

In the example below, this volta will be played during repeat 1, 2, 4, 5 and 7. Another volta will have the other ending, like 3, 6 and possibly other higher numbers like 8, 9, etc. Sometimes a repeat plays more than two times. In the figure above, the volta text indicates that it should play five times before it continues.

If you want to change the number of times MuseScore plays a repeat, go to the measure containing the end repeat bar line and change its Repeat count see Measure operations: Other properties for details. Transposition moves a selection of notes higher, or lower on the staff. MuseScore supports several kinds of transposition. Chromatic transposition moves notes up or down in semitone increments. Tick "By Interval", select the interval from the popup menus and whether to transpose up or down. Diatonic transposition also known as scalar transposition moves notes up, or down the current scale according to the key signature.

You can move a single note by dragging it up, or down. Certain instruments such as B-flat trumpet or alto sax are known as transposing instruments. These instruments sound lower, or higher than their written pitch. MuseScore has built-in support for transposing instruments. Concert pitch helps composers and arrangers because it displays every instrument in the same key, so the notes on the staff match their sounding pitches.

When concert pitch is turned off, the notes on some instrument staves may not match their sounding pitches, but they are ready for an instrumentalist to play from. If you use concert pitch during your session, remember to turn off concert pitch before printing the 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. Right-click an empty part of the instrument staff and choose Staff Properties At the bottom of the Staff Properties window, you can select the interval of transposition, any octave shifts, and whether the interval is "Up" sounds higher than written or "Down" sounds lower than written. Notation for drumsets often includes simultaneous upstem and downstem notes. If you are unfamiliar with editing multiple voices in a single staff, see Voices for an overview.

See below for instructions specific to percussion notation. The easiest way to add drum notation to your score is via MIDI keyboard. Some MIDI keyboards have percussion markings above each key. If you press the key for high hat, then MuseScore will add the correct notation to the score.

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MuseScore automatically takes care of the stem direction and type of note head. If you wish to enter a new drum note at the same position as an existing note - for example if you wanted the snare and hi-hat to sound simultaneously - and you were entering the new note via the computer keyboard you would need to hold Shift when entering the new note so as not to overwrite the existing note. This is the same method as used when entering chords for tuned instruments under MuseScore.

Note input for unpitched percussion works differently than for other instruments, so here are the special steps:. 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:. 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. On the Instruments page, select one or more tablature options under "Plucked strings" in the left-hand column see image below. Then click Add. You can use the dropdown list above the Instrument list to change the category displayed. Alternately you can search for the instrument using the "Search" field below the Instrument list.

If you subsequently need to make further adjustments to the staff e. Other adjustments to the staff e. If you only want to view rather than change the instrument tuning, follow steps 1 and 2 only. 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. After adding a tablature string you will need to adjust the number of lines in the Staff properties dialog. After deleting a tablature string you will need to adjust the number of lines in the Staff properties dialog.

This feature is used to mark a bass course as unstopped i. This means that only "0" zero or "a" is accepted as a fret mark: 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: You can enter, delete or edit notation in one staff without affecting the other. To transfer music notation from one staff to the other, select the desired range and copy and paste it into the other staff.

Linked Staves: Any changes you make in one staff are automatically applied to the other staff as well "mutual translation". 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: In almost all cases e. As of version 2. 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 create unlinked staves with separate mixer channels, instead of step "3" above , select a Tablature staff in the left-hand column and click Add. Then continue with steps 4—6. To create unlinked staves with separate mixer channels, instead of step "3" above , select an appropriate staff in the left-hand column and click Add. 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: For L , M , N , use the alphanumeric keyboard and type respectively 1 0 , 1 1 , 1 You cannot enter a number higher than the "Number of frets" value set in the Edit String Data dialog. French tablature: Italian tablature: Input of is via computer keyboard only: The fret mark cannot be higher than the "Number of frets" value set in the Edit String Data dialog.

MuseScore has "Sound and playback" capabilities built-in. This chapter covers the playback controls and ways to extend the instrument sounds beyond the built-in piano sound. When a musician is required to double on a different instrument for a section of a piece, the instruction to switch instruments is generally placed above the staff at the beginning of that section. A return to the primary instrument is handled in the same manner. MuseScore enables users to insert a special class of text called Change Instrument text for this purpose.

This class of text is different from either Staff or System text in that it links the text to the playback and changes the sound to the new instrument. Version 2. There are still some limitations that need to be considered prior to using it. Mid-staff instrument changes are limited to the same type of staff. For example, you cannot change between a percussion staff and a pitched instrument staff or vice versa. The instrument name is not changed in the mixer.

It will still be listed under the instrument in the original definition of the staff. The key signature is not automatically updated at the instrument change. You must manually change the Key signature if needed. You can now enter the notes a musician would play once the instrument is changed and the correct key signature is entered if necessary.

Unless you are changing the type of staff, you will always use the Change Instrument text. There are several limitations to this in version 2. Automatic transposition from concert pitch to the appropriate key for the transposing brass and woodwind instruments is not currently supported. To avoid discord on playback, the instrument assigned to that staff should be muted in the F10 Mixer.

If it is necessary to hear the new instrument sound on playback, the Change Instrument text function must be used. However, after a mid-staff instrument change where the two instruments on the staff are not notated in the same key, no attempt should be made to enter new music directly from the keyboard. Instead, the music must be a pasted in, or b entered before the instrument change is affected. New input into measures following an instrument change is subject to two known program bugs, which cannot be resolved in the current 2.

This has been fixed in version 2. As a convenience to the players, a copy of the part may be saved as a separate file and the required sections transposed to the appropriate key before the part is printed. Note that transposing a linked part will affect the score as well. When changing from one concert-pitch instrument to another, or from one transposing instrument to another in the same key Bb trumpet to Bb cornet or Flugelhorn, etc.

Input may be done in the usual manner, and is not affected by the bugs mentioned above. Instrument changes created with version 2. Deleting and reentering the instrument change will fix most incompatibility issues with only minor changes being needed. The Mixer allows you to change instrument sounds and adjust the volume and panning for each staff. Separate reverb and chorus effects for each channel are not yet implemented; use the synthesizer effects unit instead. The name of each mixer channel is the same as the Part name in the Staff properties dialog.

To turn a dial clockwise, click and drag upwards. To turn a dial counter-clockwise, click and drag downwards. You can also hover the mouse pointer over the dial and then move the mouse wheel. Double-clicking on any dial restores it to its default position. The "Sound" drop-down menu lists every instrument supported by your current SoundFont. To find an instrument, click on the "Sound" list and type the first letter of the instrument name. Repeat as required. Some instruments come with multiple channels in the Mixer that can be used to change sounds midway through a score.

For example, a staff for a stringed instrument violin, viola, cello etc. The following instructions use pizzicato strings as an example, but the same principle can be applied to any other instrument staff that allows sound changes. Every note after the staff text you added now sounds pizzicato.

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To return to a normal strings sound later in the piece, follow the same guidelines as above except type "arco" in step 3 and select normal in step 6. Basic playback functions are accessed from the Play toolbar located above the document window:. During playback you can still use keyboard shortcuts to open and close panels , such as Play, Synthesizer, Mixer etc. The Play Panel offers temporary controls over playback, including playback speed labelled 'tempo' , loop playback with specified starting and ending positions , and general volume.

Changes to the parameters in the Play Panel are not saved with the score: Permanent changes to tempo should be made using tempo text. To change the default playback volume of the score, see Synthesizer. You can switch on and off a count-in to be played each time the playback starts.

The count-in plays beats for a full measure according to nominal time signature at playback starting point ; if the starting point is mid-measure or at a 'short' measure anacrusis , it also plays enough beats to fill that measure. The conductor icon in the play panel enables, or disables count-in. You can loop playback of a selected passage in the score using either the Play toolbar see image above or the play panel. Audio playback is provided by MuseScore's onboard synthesizer , which houses a large selection of virtual or software instruments —including percussion and sound effects.

A Soundfont. Older versions of MuseScore are installed with a different Soundfont: MuseScore 2. GM General MIDI is a universal format, so once your score is set up for correct playback using MuseScore's native Soundfont, you should be able to export it in a format of your choice and have it play back on any other user's computer. Many different Soundfonts are available on the Internet: For a list of free soundfonts, see below.

In most cases, the SoundFont file type will already be associated with MuseScore, and MuseScore will start and a dialog will appear asking if you want to install the SoundFont. Occasionally an application other than MuseScore will be associated with the SoundFont file type; if this is the case, you will need to right-click or control-click on the file, so as to display a menu from which you can choose to open the file in MuseScore. In either case, when the dialog appears asking if you want to install the SoundFont, click "Yes" to place a copy of the SoundFont file in MuseScore's SoundFonts directory.

This directory can be viewed or changed in MuseScore's Preferences, but the default location is:. In contrast to user-added SoundFonts, the initial default SoundFont installed with MuseScore is located in a system directory, meant only for that purpose, which should not be modified. This directory and its default SoundFont file is:.