In general, these modifications are applied ‘on-the-fly’ so that any changes made to the underlying MIDI recording will bubble up to the Score Editor in the correct way. Layers of adjustmentĬubase’s Score Editor acts as a sort-of visual layer that sits over the top of the music, and that allows all sorts of modifications to the appearance of notes on the stave without those changes impacting the underlying MIDI recording. The practical upshot of all of this is that you can’t just open the Score Editor and expect to see notation that accurately reflects what you had intended – the initial appearance is often more like a page of spider’s footprints! You may think of using quantisation to accurately align note-on events and note lengths, but hard quantising would kill the nuances of the performance, whilst iterative quantising is unlikely to solve problems caused by over-accuracy, because some timing subtlety will remain. This issue can then be compounded by notes that are played slightly off-time, and which therefore result in unintended rests being created to ‘pad’ the note start positions and/or length. a 1/4 note), but is in fact a smidgen shorter or longer than a quarter of a bar as measured by a super-accurate computer, then it may end up being drawn as a series of tied notes whose lengths add up to what was actually played. When Cubase can’t work out what was intended, it falls back on pure accuracy, which isn’t as desirable as you may think.įor example, where a note is played as a crotchet (i.e. Cubase does try to notate what you intended rather than exactly what you have played, but there are limits to what this can achieve, especially when it comes to complex polyphonic parts. If you are coming at things from the other direction, aiming to notate something you’ve already performed and recorded as MIDI data, the computer’s lack of innate human empathy and understanding can create other complications. It will lack the ‘feel’ – the pushing and pulling against the beat, the dynamic fluctuations, the performance nuances – that a musician would introduce if performing the exact same music. You can hear this for yourself: If you were to take a printed score and use Cubase’s Score Editor to slavishly copy-in each note, and using the intended instrumentation for each part, the resulting performance will hit all of the correct notes, but will also sound mechanical and soulless. Ultimately it falls to the performer to decipher the composer’s intended meaning, as computers – modern advanced AI aside – are not the best at interpreting things that are so… well… human. But music notation is a much more interpretive form of script, and whilst it is perfectly capable of defining a specific pitch without any ambiguity, the timing, feel, fingering, dynamics and so-on can be much more open to interpretation. When writing a spoken language such as English there is not much room for ambiguity in how you represent each word – you either spell a word correctly so that it can be understood, or you dot’n, and it ins’t. Unfortunately, things are rarely as straightforward as they may appear! “Fabulous!” we all thought back in 1989 when we witnessed our improvised keyboard noodles being instantly converted into notation, “No more spending hours with pen and expensive manuscript paper writing out parts for ‘the talent’ to perform”. Cubase has been able to convert MIDI recordings into such notation, as well as allow the user to enter music in notated form that can then be played as MIDI notes, ever since the very first version. You can always change the initial specification and add or delete instruments.Printed music, notation, scoring, ‘the dots’ – call it what you will, this method of representing music in a visual form has existed for hundreds of years, and remains the principal written language of music. Similarly, if you input a pitch beyond the range of samples in the assigned VST instrument, the pitch does not sound in playback. However, in the piano roll editor in Play mode, only pitches that fall in the MIDI note range 0-127 can be represented. Instruments in Dorico do not have limited ranges it is possible to notate any pitch in any register on every instrument. However, you can add further instruments to ensembles. If you add ensembles, it is by default not necessary to add any instruments, since these are already included when you select the type of ensemble. In Dorico, you can assign multiple instruments to solo players, as solo players often play multiple instruments, such as an oboist doubling the cor anglais.īefore you can assign instruments, you must add players or ensembles, which may in turn also be assigned to groups if needed. You can assign instruments to solo and section players as well as to ensembles.
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