5

Music Production Software

>> Version 5.0, January 2002
Score Tutorial
>> English Edition by Johannes Prischl
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Development Gerhard Lengeling Jan Cordes
Chris Adam Niko Gerteis
Clemens Homburg Gunter Mensch
Felix Bertram Carsten Schulz
Markus Fritze Jens Altfelder
Michael Haydn Markus Sapp
Steffan Diedrichsen Christoph Buskies

Product Management Andreas Dedring Thomas Sauer

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User Manual Jan-Friedrich Conrad Jan-Hinnerk Helms

and Online Help Dave Bellingham Thomas Sauer
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Special thanks to the betatest-team:

Thorsten Adam, Michael Adamietz, Chris Adams, Ryeland Allison, Alo Ami, Buelent Aris, Jay Asher, Ron,
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 Table of Contents
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Preface

Chapter 4 Score Display

1.1 The Display Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Chapter 5 Real-time MIDI Recording as a Method for Note Input

2.1 Real-time MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
2.2 Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.3 Score Display of Real-time Recordings . . . . . . . . . . . . . . . . . . . . . . 32

Chapter 6 Mouse Input and Copying

3.1 Creating an Empty Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
3.2 Defining the Key Signature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
3.3 Display Parameter Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
3.4 The Partbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
3.5 Note Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
3.6 Bar Position and Length Format . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
3.7 Correcting Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3.8 Automatic Rest Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
3.9 Copying Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
3.10 Changing the Length of a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
3.11 Copying Notes Using the Copy & Paste Functions . . . . . . . . . . . . . . 49
3.12 Triplet Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
3.13 Let’s Copy Some More… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
3.14 Changing the Enharmonic Display of Notes . . . . . . . . . . . . . . . . . . 56

Chapter 7 What to Do with Loops and Aliases in the Score

4.1 Alias. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
4.2 Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
4.3 Looped Aliases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
4.4 Bar Repeat Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

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 Table of Contents

Chapter 8 Polyphony, Piano Notation

5.1 Voice Separation by MIDI Channel . . . . . . . . . . . . . . . . . . . . . . . . . 66
5.2 Explode Polyphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
5.3 The Voice Separation Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
5.4 Copying Score Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
5.5 Editing Score Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
5.6 Polyphonic Display in Single Staves . . . . . . . . . . . . . . . . . . . . . . . . . 74

Chapter 9 Swing Notation

6.1 Swing Eighth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
6.2 Sixteenth Note Swing/Shuffle Funk. . . . . . . . . . . . . . . . . . . . . . . . . 84
6.3 Creating Continuous Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Chapter 10 Symbol Input

7.1 Inserting Symbols from the Partbox . . . . . . . . . . . . . . . . . . . . . . . . 90
7.2 Fast Input with Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
7.3 Global Symbols—Double Bar Lines etc. . . . . . . . . . . . . . . . . . . . . . 96
7.4 Tempo Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
7.5 Inserting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
7.6 Header Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 11 Score and Part Extraction

8.1 Score/Instrument Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
8.2 Part Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
8.3 Page Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
8.4 Global Text—Headers etc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
8.5 Details, Hints and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

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Preface

Dear Logic user,

This score tutorial is designed to provide a quick, practically-
oriented introduction to Logic’s scoring functions. Most of the
basic score functions are covered through the use of several
Logic song files found on the program CD-ROM or on
Emagic’s website. These song files were created for use in
conjunction with the text, following the written instructions
step by step. While working through the score tutorial, you will
see (and hear) the consequences of each action when working
directly with Logic’s scoring functions.
To make the most of this tutorial you should load the accompa-
nying tutorial song files when instructed to do so. Please take
your time, and follow the instructions in the text step by step.
That said, however, you don’t need to limit your learning to
only following the steps. As you discover how the scoring facil-
ities operate, you can (and should!) try experimenting further
with the song material. You can’t “break” anything, and, as
you’ll observe, there is much more to uncover in the tutorial
songs than we will discuss here…

Requirements/What You Should Know

before You Start
We recommend that you print this PDF-File, in order to avoid
switching back and forth between overlapping windows which
contain the tutorial text and the Logic tutorial song files.
The various window configurations of the tutorial songs are
designed for a screen resolution of 800 × 600 pixels. This is a
relatively low resolution for 17 inch monitors, or a standard/
medium resolution on 15 inch monitors. You should possibly

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set your monitor to 800 × 600 or a higher resolution (i. e. 1.024
× 768) while working with the tutorial songs.
There are eight chapters found here, which contain interre-
lated information. If you’re in a hurry, chapters 1 and 2 cover
the essential topics which will provide you with an under-
standing of Logic’s basic score concepts. You should definitely
work through these two chapters first. The other chapters may
then be followed in either their order of appearance (which
makes most sense), or in any order you prefer according to your
personal interest(s).
Before commencing the score tutorial, you should be familiar
with the basic functionality of Logic. Of particular importance:
file, window and mouse handling techniques, selection tech-
niques, the basic use and navigation of the Arrange window, use
of the essential transport functions—Play, Stop and Record—
and an understanding of the Screensets concept and their prac-
tical use. (The latter is easily explained: Simply press the corre-
sponding numerical key on your computer’s keyboard.)

MIDI Settings
The following instructions apply equally to each tutorial song
and need to be considered every time one is loaded.
Load the tutorial song, and press ) on your computer
keyboard’s numeric keypad, which will launch Screenset 9.
This environment layer contains several objects, including this
one, which represents a virtual MIDI output port:

This object is used to define the MIDI output for the currently
loaded song. You need to select a corresponding physical MIDI
output in your computer system: Click once on the “port”
object and its parameters will be displayed in a box to the left of

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the window. The port setting (in the line above the channel
setting) displays the words “No driver”.
Click-hold on the “No driver” text and a flip menu listing all
MIDI drivers (and their ports) currently available on your
computer system will be displayed. Browse to the desired
driver/port which is assigned to the instrument, module or
sound card you wish to use for playback. Release the mouse
button.
From here, you have two possibilities:

If you own a General MIDI compatible instrument

If a GM instrument is connected to the modem, printer or USB
port (directly with a serial cable or through a MIDI interface),
you don’t need to change anything in these songs. Just make
sure that your synthesizer and MIDI interface is switched on,
then change back to screenset 1 (by pressing the !-key) and
choose menu Options > Send to MIDI > Used Instruments MIDI
Settings to trigger the necessary MIDI program changes. (Alter-
nately, use the default z Key Command.)

Using a synthesizer which is not GM compatible

Still within Screenset 9 in the tutorial song, you will see an
orange field with the words “GENERAL MIDI SYNTH”
written in it. Click once on the field with the mouse. The text
display will change to “OTHER SYNTHESIZERS” (this is a
switch which filters all program changes). Now adjust the sound
programs for the different MIDI channels (as outlined in the
text of the particular tutorial) directly on your instrument/
sound module. MIDI channels which are not mentioned in the
text are unused, so there’s no need to worry about them. Once
the patches have been set up in your synth/sound module,
return to Screenset 1 by pressing the ! key on your computer
keyboard.

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Things to Consider…
Always listen to the MIDI playback before working with a file
and also while you work with it. To start MIDI playback from
any position, you can (while the sequencer is stopped) simply
click on an empty spot in any staff while holding down ç.
This moves the Song Position Line (= the current bar position)
to that spot. If you press PLAY, playback will start from that
position.
Always save your work through use of the Save as… function in
the File menu, just as you should when creating your own
music. Ensure that you give the song a new and unique name,
when saving. This approach allows you to complete the tuto-
rials in segments—i. e. stop when you’re halfway through, save
the song as, take a break, and reload when you’re ready to
continue.
If you make a mistake, simply select Undo from the Edit menu.
This, in most cases, cancels the last editing step. If you’ve
made a really big mistake, but only realize the error later, you
should return to the last saved version of the song file via the
File > Revert To Saved function.
In some sections of the text you may find that some functions
are not explained in detail. We took this approach to provide
you with enough information to be able to understand and deal
with the particular situation in the current song, rather than
blinding you with science. If you wish to know all the details
about a certain function, look it up in the index of the Logic
Reference manual.

At this point, you should be ready to begin. I hope this tutorial

and the song files prove useful to you and wish you a great deal
of fun working with the songs and with Logic!
Johannes Prischl
Vienna, Austria, 1997—2001

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Transliteration: Dave Bellingham, Sydney, Australia 2001

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Chapter 1
Score Display

Please load the “Score Tutorial Song 1” file.

MIDI sounds used:
• Channel 3: Oboe
• Channel 4: Acoustic guitar
This short song will introduce you to Logic’s display parame-
ters. You will see the different ways in which a particular MIDI
sequence can be displayed in the Score editor, through the use
of different display settings.
Listen to the song first: Press the PLAY button in the Transport
Window, or use the PLAY Key Command (by default, this func- X
tion is assigned to the Enter key). During playback, the Song
Position Line (abbreviation: SPL) always moves along the
current bar position in the piece. If Catch (the “walking man”
symbol in the upper left corner of the window) is activated (=
blue), the window content is scrolled, ensuring that you will
always see the current bar position displayed in the window.
If the sequencer is not running, clicking on a staff anywhere
(except directly on notes or symbols) while holding down ç,
moves the SPL to the clicked spot. Pressing PLAY will start
playback directly from the specified position.

1.1 The Display Parameters

While listening to this piece, you may notice that the note
lengths you hear are often different from what is displayed in
the Score window. This difference is intentional, and this situ-
ation, as you probably know, is also quite common in live music
performances.

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 Chapter 1
Score Display

Always keep in mind that the display parameters have abso-

lutely no effect on MIDI playback, just on the way that the Important!
MIDI data is displayed in the Score window.
Within this song, two of the most important display parameters
are active on the guitar part: No Overlap and Interpretation.
Click on the guitar staff (not directly on a note, but elsewhere in
the staff). This selects the sequence containing the guitar part.
You can see that this sequence is now displayed with blue
stavelines, which indicate that it is selected. As the guitar
sequence is selected, its display parameters are shown in the
Display Parameters Box, on the left-hand side of the Score
window. The top line in the Display Parameters Box shows the
name of the currently selected sequence. Always refer to this
line before changing any parameters to ensure that the correct
sequence is actually being adjusted.

No Overlap
Now let’s talk about the No Overlap parameter in the Parame-
ters Box: It is currently set to On. Click on the word On which
will deactivate (display “off”) the No Overlap function for the
guitar sequence. Switch back and forth several times and watch
the changes in the guitar part’s score display as you do this:
• When set to off, the score display shows the lengths of the
notes fairly precisely. The music is definitely harder to read
this way, however.

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This kind of notation is very confusing, and is almost never

used.
• No Overlap On prevents Logic from displaying notes in such
a way that they overlap. The displayed length of notes will
be truncated (shortened) to the beginning of the next note
(unless a polyphonic Score Style is used—see Reference
Manual for details). Notes beginning simultaneously (i. e.—
chords) are displayed with the (note)length of the shortest
note within the chord.
In this example, No Overlap On creates an easy-to-read
display:

If you give this printout to a guitar player, he or she will gener-

ally let all notes sound longer (like the MIDI playback), as most
players perform arpeggiated guitar and keyboard parts in this
fashion. If you wish to make it a hundred percent clear, you can
add the word “arpeggio” (see chapter 6 for information on text
input) to the score.
Conclusion: With the exception of a few very rare instances, the Tip
No Overlap function should always be set to On.

Interpretation
Ensure that No Overlap is set to On. Select the guitar sequence,
if not selected and switch off Interpretation. The display will

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 Chapter 1
Score Display

update, and rather than the continuous quarter note rhythms

shown previously, you will now see some shorter notes and
sixteenth rests.

Reminder: This guitar part has been recorded in real-time, with

a MIDI keyboard. In live playing, notes are often held a little
bit shorter or longer, even when basically playing quarter notes.
What you see here are examples of these shorter notes. (The
resulting sixteenth rests are displayed automatically in Logic).
Logic’s Interpretation mode, as you’ve probably deduced,
displays “simplified” note lengths, resulting in a clearer and
easier to read score. It is highly recommended that Interpreta-
tion be switched On when notating and printing sequences
which were recorded in real-time.
There is a further parameter in the Display Parameters Box,
which also (among other things) affects the appearance of note
lengths:

Display Quantization (Qua)

Let’s try something else with the guitar sequence. Switch off
Interpretation for this sequence. Qua is set to 16. This setting
means that no note or rest values shorter than a sixteenth will
be displayed (in the selected sequence). Click-hold on the
value (16): A flip menu appears, containing all available display
quantizations
Select a value of 8 from the menu: The sixteenth rests disap-
pear and the score displayed is almost identical to that shown
before, although Interpretation is deactivated. One exception
is in bar 8, where you’ll see a dotted quarter note and an eighth

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rest, rather than a half note. (If you cannot see bar 8, grab the
scroll bar at the bottom of the Score window and move it to the
right. Watch the bar ruler above the yellow working area to
orient yourself.)
Now set the Qua parameter to a value of 32. This makes a big
difference: Not only do note lengths change and become hard
to comprehend, but you can now see where the timing during
recording was not quite exact. As an example: the second note
in the first bar (G) no longer starts on the second beat, but 1/
32nd later.

Reactivate Interpretation, and note lengths are displayed in a

simplified manner and the display of rests is minimized. The
timing mistakes, however, are still shown. The reason for this is
that the Qua parameter not only visually affects note lengths,
but also the overall display quantization (and therefore the
displayed starting points of the notes).
None of these parameter changes affect MIDI playback. They
only affect the score display. Every time you change the settings Important!
in the Display Parameters Box, Logic recalculates the score
display based on the MIDI (playback) data.

 Rather than changing the display parameters, you could also change
the playback quantization for the guitar part in the Arrange window. If
you set this to 1/4, all notes will be quantized to quarter notes for play-
back (which of course sounds more static and machine-like). This quan-
tized playback then forms the basis for Logic’s internal calculation of
the score display.

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 Chapter 1
Score Display

Please experiment with other combinations of the three param-

eters covered so far, and watch what happens in the score
display.
The ideal parameter values for this particular sequence are:
Interpretation On, No Overlap On, Qua = 16, 8 or maybe even 4,
as no values smaller than quarter notes appear. (These settings
can be different for every individual sequence.)
Now try to find the ideal settings for the same three parameters
in the oboe sequence. Select the sequence first by clicking on
the oboe staff, so that its display parameters are shown in the
Display Parameters Box.
Listen to the piece once more, and try to imagine how you
would like to see those notes displayed in the score. Consider
the following aspects:
• What is the shortest note or rest value which should be
displayed? This value should be chosen for the display quan-
tization parameter (Qua). In this example, it’s eighth notes,
so set Qua to 8. If you are not sure about this, just try
different settings.
• No Overlap always should be activated (On). In fact, it would
be quite hard to find a real-life situation where you would
switch off No Overlap.
• Interpretation: For most sequences recorded in real-time,
Interpretation should be On. Try switching it off for the oboe
sequence, and take note of the changes in the score display:
All notes which were played short and previously shown as
quarter notes are now displayed as eighth notes, followed by
an eighth rest. This makes it harder to read the part.

 The decision as to whether Interpretation should be on or off is a matter

of personal preference. Usually, Interpretation will be set to On, and
additional symbols like staccato, tenuto, slurs etc. will be inserted to
indicate the proper phrasing. (Chapter 6 deals with the insertion of
these symbols.)

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As with the guitar sequence, you should also try other combina-
tions of values for these three parameters to see their effect on
the score display. Once you’ve completed your experimenta-
tion, return to the following settings before continuing with this
tutorial: Qua = 8, Interpretation and No Overlap On. (Alternately,
you can make use of the Revert To Saved function in the File
menu, and select Revert in the ensuing dialog box to return to
the saved version of this song file.)
There are some details in this oboe part which are well suited
for demonstrating the effect of the other parameters in the
Display Parameters Box:

Syncopation
Move the visible score excerpt with the horizontal scroll bar
until you can see the last four bars of the piece. Ensure that the
oboe sequence is still selected, set Syncopation to off, and watch
the resulting display change in bar 14:

The notes C, A and F in this bar are no longer displayed in their

syncopated form (i. e.—as one graphical note), but each is
displayed as two tied eighth notes.
As with Interpretation, you will often set Syncopation to On as a
default setting. This, as you can see, makes the overall score
display much more legible.
But let’s say you want the C and F to be displayed as synco-
pated, but not the A, where it should be possible to see the

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 Chapter 1
Score Display

middle of the bar, which is the third beat. The display should
be as shown:

It is possible (not only for Syncopation, but also for Interpretation

and some other parameters) to apply these settings to single
notes, rather than to an entire sequence:
• Leave Syncopation switched On.
• Select the A by clicking once on it (you should hear the note
when you do this).
• The note will flash, indicating that it’s selected.
• Now click-hold on the Attributes menu and highlight Synco-
pation. A submenu will open.
• Select Defeat, and release the mouse button.

If all steps were followed as described, the score display should

now be identical to the illustration above. To explain what
happened: You determined that Syncopation should be deacti-
vated (defeat-ed) for the selected note, independent of the
Syncopation setting used in the Display Parameters Box for the
entire sequence.
Detailed information on this topic can be found in the Note
Attributes section of the Score chapter in the Logic Reference
manual.

Max. Dots

This parameter (range 0 to 3) determines the number of dots

allowed for the display of notes and rests. While still viewing

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the last four bars of the oboe part, change the value for
[Link]:
If you set it to a value of 0, you will see that the dotted notes
displayed earlier are now replaced by several tied notes, and no
dotted notes are shown. If set to a value of 2, you will see a
change in bar 15, where the dotted half note tied to an eighth
note has become a double dotted half note.

This comparison also demonstrates one of the basic principles

of Logic’s score display: Ties are inserted automatically when- Important!
ever it is necessary to display MIDI notes which are held longer
than they can be displayed with one graphical note.
It is not possible to insert ties manually. Where the display of
ties is necessary, simply change the length of the desired MIDI
note in the Event Parameters Box, the Event Float, or in the
Event List Editor window (for more details about this, see
Chapter 3).
There is one display parameter that has not been covered yet:
Style, which stands for Score Style.

Score Styles
Let’s suppose that the melody in this piece should not be
played by an oboe, but by another instrument. For flute or
violin you would not need to change anything, as these instru-

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ments also play from non-transposed parts written in treble

clef. But if, for example, a cello or a trombone were to play the
melody, you’d need a part written in bass clef. Beyond just
changing the clef directly in the score, there is a more effective
method for handling this in Logic:
Ensure that the melody sequence is selected. Alongside the
word Style, shown in the Display Parameters Box, you will see
the word Treble. Click-hold on it: a flip menu appears, which
contains all available Score Styles. Select the entry named Bass
(first entry in the list), and release the mouse button. In the
score, the melody part is now displayed in bass clef. The notes,
however, are still written in the octave where they sound, which
is too high for instruments such as cellos or trombones. To
transpose the MIDI playback an octave down, switch to the
Arrange window (which is directly below the Score window in
Screenset 1). If the melody sequence is still selected, you
should see its name (Oboe / Melody) in the top line of the
Sequence Parameters Box. Set the Transpose parameter in this
box to −12:

Now listen to the song once more: The melody sounds an

octave lower now. This change in the MIDI playback also has a
bearing on the score display. The melody, you’ll notice, is now
notated in the octave where it sounds—one octave lower. This
register is now appropriate for the range of instruments such as
cellos and trombones.
Now try to assign some other Score Styles to the melody. If you
select Viola, the sequence will be displayed in alto clef, which is
usually the way viola parts are written. As such, if you ever need

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to write something for viola, but have never used an alto clef,
you’ll find this facility exceptionally convenient. Just use treble
or bass clef (or rather their corresponding Score Styles) during
input, and change to the Viola Score Style for layout work and
printing.

Display Transposition
In the Score Style list, there are some other entries which make
the Score Style concept even more useful: try assigning some of
these to the melody and watch what happens in the score
display:
Try Clarinet in Bb, Alto Sax, Baritone Sax, Horn in F: All of these
instruments are “transposing” instruments. If you use a trans-
posing Score Style, both the notes and the key signature are
transposed automatically.
Listen to the song again, and change the Score Style assign-
ment during playback: the playback remains unaltered, just the
score display changes.
Score Styles not only determine clef and transposition for the
display, but also the size of the staff, the distance to the staves
above and below, and many other things.
Try the following: set the melody part’s Score Style to Viola
small, and the accompaniment part’s Score Style to Piano. The
accompaniment is now displayed as a two-staff piano system,
and the melody much smaller, using an alto clef. This would be
the typical form in which the piano part for a viola and piano
duet would be written for the piano player. The melody part is
written in a smaller scale above the piano part, for the accompa-
nist’s benefit.
The special thing about the Score Style functionality is that you
aren’t required to change all the settings for clef, transposition,
size, distance etc. every time you need a different display.
Rather, you can do all of these things at once by simply
assigning a different Score Style to a sequence.

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Score Styles can do much more than you have seen so far. You
can learn more in the Logic Reference manual (in the Score
Styles section of the Score chapter). Among other things, you
will find information on how to create and edit your own Score
Styles, and how to copy them into other song files.
There is one special Score Style feature that can be demon-
strated very well with this tutorial song:

Guitar Tablature
For this example, return to the original settings by simply
selecting Revert To Saved from the File menu. You will once
again see (and hear) the original instrumentation of oboe and
guitar.
Select the accompaniment sequence, and set its Score Style to
Guitar TAB. The guitar notation now looks completely
different. If you’ve never encountered this kind of notation
before, here’s a brief explanation:
• In place of the regular five-line staff, a system with six lines is
used. These lines represent the strings of the guitar.
Numbers, rather than regular note heads, are used to indi-
cate which fret (number) on which string (line) is to be used
to play the note. The rhythm is written in the same way as
with standard notation.
The conversion to tablature notation is handled automatically
by Logic, as soon as a corresponding Score Style is used. Given
that most notes can be played in several ways (different posi-
tions on different strings) on stringed instruments, there are
several assignable modes for tablature notation in Logic. For
details, please read the Guitar Tablature section in the Logic
Reference manual.
Before moving on to the next topic, please change the Score
Style for the guitar to Guitar Mix: This Score Style uses both
notation methods, one below the other. This can be useful for
beginner guitar students. If you change a note in either staff (by

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dragging it with the mouse), the change is immediately shown
in the other.

Page View And Printout

Switch to Screenset number 4. Up to this point, you’ve only
seen the score in its linear view. If you will, imagine this as a
long piece of tape, of which you only see a small section in the
Score window. Screenset 4 displays the score in page view. Page
view shows what will appear on the printout. (It should be
noted that the screen resolution is much lower than the resolu-
tion of a printout, so the screen can only approximately show
the printed result.)
Why not create a printout now?
As we’re only dealing with a single page, it won’t take long.
Printing is achieved via the File > Print… menu, or by pressing
çp. When activated, a dialog box will appear. This dialog
varies slightly from printer to printer. Dependent on the printer
used, there may be some additional options, such as which
pages you would like to print, paper type etc.
Almost all functions work identically in linear and page view.
These include the transport functions (Play, Stop, Record etc.),
the bar position indication by the Song Position Line, Catch
mode, selecting sequences, changing display parameters, and a
lot more.
You can toggle between linear and page view independently in
every opened Score window. The easiest way to do this is by
clicking on the Page View button. You can find it in the upper
left corner, as the last of the five buttons. Switch back and forth
with it. If you would prefer to use a Key Command for this, you
can define one in the Key Commands window (please read the
corresponding section in the manual).

 In small song files such as this, you will not notice any particular differ-
ence in the performance of your computer between page and linear
view. If you work on large files (long pieces with many tracks), however,

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it is usually faster to work in linear view, as Logic does not need to recal-
culate the entire page layout after each editing step.

Scrolling, Zooming
You can’t see the whole page in the Score window on screenset
4. With the vertical scroll bar, you can scroll to the bottom of the
page. In longer pieces, you can scroll to the subsequent pages
with this method.
If you wish to see a scaled-down view of the entire page, you
can use the zoom function: Click on the zoom barto the bottom
right of the Score window):

Depending whether you click on its top or bottom end, the

display becomes larger or smaller. Reducing the zoom level
(zooming out) is good for working on page layout, line breaks
etc., and zooming in is useful for working on layout details, such
as adjusting slurs and other symbols.
In page view, you can now see some additional aspects which
were not previously visible:
• The text elements outside the margins and in the header
area. These are known as Global Text objects, which only
appear in Page view. The position of these objects is not
determined by bar position as is the case with local text
objects, such as the ritardando in the last bar, but by their
position on the page (see the Global Text section in the Refer-
ence manual for details).
• The instrument names. Their appearance is determined in
two other windows: The Numbers & Names dialog window
(open with menu Layout > Numbers & Names) and the Instru-
ment Set Window, which brings us to the next topic:

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Instrument Sets
Return to Screenset 1 now. In the upper left part of the Score
window, you can see a box containing the words “Oboe +
Guitar”. This is the Instrument Set Box.
Click-hold on this box. A flip menu will appear. Select the
topmost entry ALL INSTS (= all instruments). In new song files,
this is the only Instrument Set, as Logic cannot possibly know
which instruments you are going to use in advance. You will
need to create any additional Instrument Sets yourself.
You will probably have noticed the additional staff which has
appeared in the score display, which until this point has been
hidden. Maybe you had been wondering what the Chord
Symbols track in the Arrange window was all about?
Well, here’s the answer: this sequence had not been displayed
until now, because Instrument Sets were chosen for display
which did not include this track. In the ALL INSTS Instrument
Set you always see all tracks of a song (depending on the display
level—see the Reference manual). Click-hold on the Instru-
ment Set button to switch to the other two Instrument Sets:
Oboe, and Melody + Chords.
Switch to Screenset 4, and try the same in page view. By the
way: you can see here that Global Text objects are always
visible in all Instrument Sets (page view), regardless of the rest
of the display.
Remember that each of these display variations can be printed
at any time and that the printout always corresponds to what is Tip
currently displayed in the active Score window.
How can you determine what is shown in an Instrument Set?
As mentioned previously, there is an Instrument Set window,
which you can open via the Layout > Instrument Sets… menu
option or (far more quickly) by double-clicking on the Instru-
ment Set Box. Try this and take a look at the Instrument Set
window. Here, you can choose between existing Instrument
Sets using the same method as in the Score window itself. A
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detailed explanation would be overkill at this point, so please

read the corresponding pages in the Logic Reference manual.

 Instrument Sets, and their uses for score and part printing, are also
covered in chapter 7 of this tutorial.

Beat Slashes
At this stage, you may be wondering how the chord symbols
and the slashes in the Chord Symbols track were created. The
chord symbols were inserted using the mouse and the
computer keyboard (for a detailed description, see the Refer-
ence manual). The Beat Slashes shown replace the rests which,
as you know by now, are usually displayed automatically. This
depends on the settings of the selected Score Style, and is
determined by its Rest parameter. Again, a detailed description
would be too much for this tutorial, and is included in the Logic
Reference manual at any rate. If you’re the curious type, open
the Score Style window and take a look at the settings of the
Score Styles used in this song. This can be done by either
selecting the Layout > Score Styles menu, or by simply double-
clicking on the name of the currently selected Score Style in
the Display Parameters Box. Feel free to experiment a little. As
long as you don’t save the song, nothing bad can happen…
To reiterate an important concept covered at the beginning of
this chapter: none of the functions which you have learned
about thus far change MIDI playback at all. The only exception
being the octave transposition in the Arrange window, which
was necessary to make the melody playable by lower sounding
instruments. Everything else you did only affected the way the
MIDI data was displayed.

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Chapter 2
Real-time MIDI Recording as
a Method for Note Input

The next two chapters are an introduction to note input in

Logic’s Score window. Basically there are four methods avail-
able to insert or record notes in the Score window:
• MIDI real-time recording
• MIDI step input
• Step input using key commands
• Mouse input
These methods can be combined, of course, which is useful
and flexible. As an example; the use of the mouse for post-
recording correction of small mistakes in a real-time perfor-
mance.
Also, you can save a lot of time and work if you take advantage
of the many copy functions which are available in Logic. This
applies not only to the Score window, but to the other editors as
well.

2.1 Real-time MIDI Recording

For now let’s begin with a little real-time MIDI recording.
Please load “Score Tutorial Song 2”.
MIDI sounds used:
• Channel 2: E-Piano (Rhodes)
• Channel 6: Acoustic Bass
• Channel 10: Drums (GM)

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• Channel 11: Jazz guitar or any wind instrument for the

melody
• Channel 12: Clarinet or same as channel 11
Real-time MIDI recording is basically the fastest way to input
notes in Logic. Recording is usually done in the Arrange
window, but it is also possible to record MIDI while working in
the Score window—provided that the track you wish to record
to is selected in the Arrange window as the recording and
MIDI-Thru track. As tracks are not displayed in the Score
window (only sequences are shown), it is recommended that you
use a Screenset where both a Score and an Arrange window are
visible (In this example: Screensets 1 or 3). If the desired track
is not selected, there are two possibilities for selection:
• If a sequence exists on the desired track and is displayed in
the Score window (as a staff), simply click on the desired
staff. This selects both the sequence and the track it is on.
• If no sequence exists on the desired track (as is the case with
this song), you need to open or browse to the Arrange
window and select the desired track in the Track List.

The rhythm section parts in this song are already recorded. The
only thing still missing is the melody. Please try to record the
following melody:

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If you would like an idea of how this should sound, click on the
mute button in track 5 (Arrange window, the highlighted M next
to the track number) to unmute this track (“Melody prere-
corded”):

You should be able to hear the melody with a clarinet sound.

After listening, please mute that track by clicking on the (gray)
M button a second time (or leave it on as a guide track for your
own playing).
While still in the Arrange window, record the melody on track 1.
If sight reading is not a strength, you may wish to listen to the
accompaniment a few times, and record your own improvised
melody.

2.2 Recording
First, click on the instrument name in the Track List to select
the desired track (in this case, track 1):

To start recording, click on the Record button in the Transport

Window, or use the corresponding Key Command (default X
assignment: *). You will hear a two-bar count-in (8 beats), after
which you can start playing.

A Few Hints for Recording

• For recording, set a slower tempo than for playback. After
you have finished recording, you can reset the tempo to its

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original value (unless the song already contains audio

regions). There is a very useful function for this in Logic, the
Tempo Alternatives (see the Reference manual). This song
already contains two alternative tempos: Tempo 1 = 132,
tempo 2 = 96. You can switch back and forth between these
using the Set Tempo Alternative Key Command. X
• Don’t try to record the whole melody at once. If you make a
mistake in the third bar, for example, stop the recording.
Don’t delete the entire sequence you’ve just recorded, but
(in the Score window) only the last few notes where you
made the mistake. Once the offending notes have been
deleted, start recording again from this point onwards. You
may wish to do this on another track which uses the same
instrument (To create such a track select the original track
first, then, with the Arrange window as the active window,
select the Functions > Track > Create menu option. If the
recording results in a number of short sequences, spread over
different tracks, you can use the Merge function (see the
Reference manual) to combine them all into one long
sequence once you have completed your recordings.
• If you played a wrong note (pitch) at the right time, you can
easily correct this by dragging the note to the correct pitch
with the mouse in the Score window.
• Feel free to use the Quantize functions in the Arrange
window, if the timing of your recording sounds a bit “shaky”.
• Combine all the possibilities: if a difficult phrase appears
twice in a piece, and you played it perfectly the first time,
simply copy that phrase (see chapter 3).

2.3 Score Display of Real-time

Recordings
Regardless of whether you played the melody printed above, or
a melody of your own, you now need to define appropriate
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display parameters for the sequence(s) you recorded (for
details, refer to chapter 1).
To make the decisions as to which combination of display
parameters would result in the most legible score display, you
should see as much of the recorded sequence as possible. Make
use of Screenset 2. It was designed for this purpose. It contains
a large Score window and a small Transport window.
Double-click on the melody staff (not on a note), to change to
single sequence view, and switch to page view (page view button
or the View > Page View menu item). The score display now
should look fairly similar to the melody as printed on page 30.
Ensure that the melody sequence is selected (does its name
appear in the Display Parameters Box?), and try to find display
parameter settings that match the character of the recorded
melody.

 Remember: These settings do not affect MIDI playback, but only the
way Logic interprets it for the score display.

For real-time recordings like this, you should always activate

Interpretation (“On”). Also try switching it off, to see the effect
the Interpretation function has on the display of your recording.
No Overlap should almost always be On.
The Syncopation setting is a matter of personal preference, and
the style of the music. Watch the changes in the score when you
switch it On and Off, and settle on whichever seems to make
the score easier for you to read.
Display quantization (Qua) should be set according to the
smallest note or rest value which should be displayed. If you

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played the melody given above, these are eighth notes, so set
Qua to 8. If you played another melody, you need to consider
what you played and what this should (approximately) look like
in the score display:
• If you played in the same relaxed Bossa Nova Style as the
rhythm section, Qua = 8 will probably work well.
• 8,12 is rather unlikely to fit, since eighth note triplets (“12”)
are hardly ever played to this type of rhythm. If you played
quarter note triplets, try setting Qua to 8,6.
• If you played double time passages, Qua should probably be
set to 16.
As you can see, it is necessary to at least have an idea of what the
passage you are playing should look like in a score.
The Score Style (in this case Treble) is chosen automatically, as
determined by the default setting in the bottom line of the corre-
sponding Instrument Parameters Box (Arrange window). You can
change this to another Score Style at any time if, for example,
you wish to print out the melody for a transposing instrument.
[Link] can probably (as in most cases) remain set to 1.

Try printing this page after adjusting these parameters, espe-

cially if you came up with your own melody (for printing see
chapter 1).

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Chapter 3
Mouse Input and Copying

Please load the “Score Tutorial Song 3” file.

MIDI sounds used:

• Channel 6: Acoustic bass
• Channel 10: Drums (GM)
• Channel 11: Saxophone/alto saxophone
• Channel 12: Clarinet
• Channel 15: Trombone
The percussion and bass parts are already recorded. It’s up to
you to create the following saxophone and trombone parts—
exactly as they are notated here—using mouse input and
several different copying methods:

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If you wish to hear an approximation of how this should sound,

click on the Mute Buttons of tracks 5 and 6 in the Arrange
window’s (“Sax/prerecorded” and “Tb/prerecorded”) Track
List. The Mute Button is the highlighted blue “M” button
beside the track number. If these buttons are dark (gray), you
have deactivated the muting for these tracks. If you start the
song now, you will hear the parts shown above played with a
clarinet sound.

 This melody was not recorded in real-time, but inserted with the
mouse, so it sounds relatively static.

After listening to them at least once, mute tracks 5 and 6 again.

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3.1 Creating an Empty Staff
Let’s start with the saxophone part. First—just as when you
write on paper—you need an empty staff into which the notes
can be inserted. A staff in Logic always represents a sequence. In
the Arrange window you can see that there are no sequences on
the saxophone and trombone tracks (1+2). As no sequences
exist, it therefore logically follows that no staves for these
instruments exist in the Score window.
As such, you’ll need to create an empty sequence on the saxo-
phone track in the Arrange window. Ensure that the Arrange
window is the active window: Select the pencil tool from the
Toolbox (or press ™ to open a floating Toolbox, and select the
tool) by clicking on the pencil icon. Click on the first track close
to the beginning of bar 1 (keep an eye on the Info Line).

 Rather than retrieving the pencil tool from the Toolbox you can also
simply click with the right mouse button which (in this case) equals a
regular mouse click with the pencil tool.

A one-bar sequence will appear in both the Arrange and Score

Windows.
If you inserted the sequence at the wrong position by mistake,
you can simply move it by grabbing it with the mouse (in the
Arrange window). The cursor becomes a flat hand during this
procedure. The current position of the sequence is always
shown in the Info Line during this process. (This is the line
which appears at the bottom of the main program window-
during input and editing actions):

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As our piece is 16 bars long, one bar will not be enough. To

change the length of the sequence (and the corresponding
staff), grab its lower right corner with the mouse and pull it to
the right, until it is the desired length (16 bars). The cursor will
take on the form of a hand with a pointing index finger. Again,
you can monitor the editing process in the Info Line:

The first track in the Arrange window should now show a

sequence which is exactly the same length as the sequences on
the tracks below it. In the Score window, this empty sequence
is displayed as a staff which is 16 bars long, containing whole
rests.

 In case you’re wondering why tracks 4, 5 and 6 are not visible: the score
display for these sequences has been disabled in order to avoid confu-
sion.

3.2 Defining the Key Signature

The saxophone and trombone parts on page 35 are written with
an E flat major key signature (three flats). In the tutorial song no
key signature has been defined yet. By default, a C major signa-
ture is used. To define the key signature, double-click in any
staff between the clef and the time signature. A dialog window
opens, where you can set the key:

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Change the key to E flat major using the flip menu in the top
line, and close the window by pressing R or by clicking on OK.
Three flats as a signature are now shown in all staves.

 Please note: the key signature does not change the MIDI playback or
the notes themselves, but only the way they are displayed.

3.3 Display Parameter Settings

First let’s find appropriate display parameter settings for the
sequence.
If you use mouse input throughout a whole sequence, you
should switch off Interpretation (for that sequence). Don’t forget
to select the sequence in order to change its display parameters.
The name of the sequence has to appear in the top line of the
Display Parameters Box).
Set the display quantization (Qua) to the shortest note value
which you intend to use—sixteenth notes, in this case. In our
example, 16 would seem the obvious choice for display quanti-
zation. The selection of this value, however, would mean that
the triplet in bar 15 would not be displayed automatically. Give
16,12 or 16,24 a try.
Syncopation and No Overlap are not that important in this partic-
ular case. [Link] can be left on 1. The Score Style used should
be decided by the range of the melody you wish to insert. In
this case (Treble) it can be left unchanged.

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While actually inputting notes, you should work in a Screenset

which allows the viewing of as much of the Partbox as possible.
Go to Screenset 2, which is well configured for this purpose.

 Please note: the Display Parameters Box in this screenset’s Score

window is reduced to just its title bar, in order to allow more of the
Partbox to be displayed. If you wish to see the contents of the Display
Parameters Box, click on the small triangle next to the name.

In this Score window (Screenset 2) you can see two staves: the
empty sequence which you just created, and the bass part. If
you only wish to see one staff, double-click on it (not on a note).
To return to the full score view from a single sequence view,
double-click above or below the staff. Try changing back and
forth between these display levels a few times, and decide for
yourself which one you prefer. For note input it does not matter
which display level you are on.

3.4 The Partbox

The Partbox consists of two areas. In the lower area, all avail-
able score symbols and notes are arranged in groups. With the
exception of the largest screens and multi-monitor computer
systems, it’s unlikely that you’ll ever see all of these symbols at
once. This screen space problem, however, can be overcome by
the upper part of the Partbox, the overview:

The Partbox overview contains a number of small squares with

an icon which represents each partbox group. The icon shows
one or more symbols of the group it represents. If you briefly
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click on one of these squares, the group it represents is moved
to the top of the lower area, allowing easy access to the symbols
contained in the group. The square which represents notes is
divided into three parts as there are three different Partbox
groups for notes with regular, dotted and triplet note values.
And now… let’s get to actually inserting some notes.

3.5 Note Input

Insert the first few notes of the saxophone part exactly as shown
on page 35:
Move the cursor to the Partbox. Grab the half note symbol with
the mouse, and drag it to the desired bar position and pitch in
the empty staff. Again, the Info Line will appearat the bottom of
the main program windowwhile you insert notes or symbols.
Watch the Info Line in order to insert the note at the intended
bar position ([Link] in this case) and pitch. Before you release
the mouse button, you should ensure that the Info Line indi-
cates the following:

In addition to this visual control, there is also an audible indica-

tion: during the input procedure you will hear (via MIDI) the
pitch of the note when you release the mouse button. (To deac-
tivate this behavior, click on the MIDI Out symbol.)

To continue, grab a quarter note from the partbox, and insert it

at position [Link] with a pitch of G#3.
Please note that although this piece is notated in E flat major,
the note A flat will be shown as G sharp (G#) in the Info Line, Tip
and in the Event Edit window. Don’t let this confuse you. In
the Info Line and in the Event Editor and Event Float
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windows, Logic displays all notes which are not in the C major
scale as “sharps”, regardless of key signature and score display.

A Useful Shortcut Tip

The next note is a quarter note again. Although you could get it
from the Partbox again as described above, there is a faster
method:
Press and hold the right mouse button. You are now, in effect,
“holding” a quarter note which you may move to the desired
position and pitch ([Link]., G3), before releasing the mouse
button. (Pressing the right mouse button is identical to using
the “alternate” tool—in this case the pencil tool—while
pressing the left mouse button.)
If you use the pencil tool in the Score window, a mouse click
“brings” the note or symbol which is currently selected in the
Partbox to the position of the tool. This is useful in situations
where several equal note values or symbols need to be inserted.
For insertion of the half note at position [Link] you need to “go
to the Partbox” again to select it. The insertion of the following
three eighth notes should not be a problem for you now.

3.6 Bar Position and Length

Format
If the numeric system Logic uses for indicating bar positions is
not yet clear to you, here is an explanation. It is based on four
numbers separated by periods, for example [Link].
• The first number indicates the bar number.
• The second one refers to the beat in that bar (which also
depends on the time signature).
• The third one stands for the subdivision of the beat according
to the global format value, which you can see (and edit) in the
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Transport window, below the time signature. If this value is
/16, for example, the third number in bar position values
indicates sixteenth note subdivisions of the beat.
• The fourth number indicates ticks: One tick is the shortest
possible time unit in Logic. Each quarter note is divided into
960 ticks, one sixteenth note therefore has a length of 240
ticks. (At a tempo of 120 BPM, one tick equals approxi-
mately 0.0005 seconds).
Back to our example: position [Link] for a note means that
this note begins seventeen ticks after the third sixteenth on the
second beat of bar twelve. Since ticks are very short time units
and 17 ticks is too short a time span to be considered for regular
music notation, this note in the score would be displayed on the
offbeat of beat two in the twelfth bar.

3.7 Correcting Errors

Have you made a mistake while inserting the notes? No
problem:
• Deleting notes: Pressing the B key (Backspace) erases
everything which is currently selected. Notes and symbols
are selected by clicking on them (in the case of notes, you
need to click on the note head). They flash when selected. If
you wish to select several notes and/or symbols at once, you
can use the rubber band selection technique (see the Copying
Notes section below).
• You don’t need to delete a note if you inserted it incorrectly.
You can simply move it to the correct position. To do so, just
grab the notehead with the mouse, and drag it to the desired
position. During this procedure you can change both pitch
and/or bar position. Again, watch the Info Line, it always indi-
cates the current position and pitch as you move a note or
symbol.

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• If the pitch of a note seems right, but the wrong accidental

precedes the note (i. e. an E with a natural instead of an E
flat), don’t try to erase the accidental (it’s not possible). In
this scenario, drag the note vertically with the mouse, as if
the E were graphically higher than an E flat. Watch the Info
Line, listen to the MIDI output, and release the mouse
button as soon as you hear the right pitch, or see the desired
pitch indicated in the Info Line.
• The length of a previously inserted note can also be changed.
We will talk about this a little bit later.

3.8 Automatic Rest Display

Did you insert an eighth rest on the third beat in the second
bar? If so, this rest is superfluous. Select the rest and delete it
(by pressing B). Note that there is no difference in the display.
Logic automatically displays rests wherever there are no notes.
The combination of inserted notes and automatic rests always
results in rhythmically complete bars. As such, you only need to
insert the notes at the right positions and need not worry about
the rests, as this is handled automatically by Logic.

3.9 Copying Notes

The first two bars in our example should be complete now, and
look like in the score shown on page 35. Have you noticed that
the following four notes are exactly the same as in bars 1 and 2?
This is definitely a situation perfect for copying. There are four
different copying methods available in the Score window, but
for now we’ll stick with the simplest, and most intuitive of
them: copying with the mouse:
• Select all of the notes which you wish to copy. The fastest
way to do this is via the “rubber band selection technique”,
which is used in many computer programs. Drag the mouse
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across all notes which you wish to select, while keeping the
mouse button pressed:

• When you release the mouse button, all of the rubber-

banded notes flash to indicate that they are selected. Drag
the first note (B flat) to the right, while holding down ç to
the position at which you wish to copy this note. In our
example, this is bar position [Link], pitch A#3. Ensure that
bar position and pitch are correct (Info Line). Release the
mouse button, then ç. You should now see the following
result (the copied notes will continue to flash):

• By selecting several notes and dragging one of them while

pressing ç, you have copied all of the selected notes.
The relative distance between these notes (pitch intervals
and time/rhythm) is retained during the copy procedure.
Let’s try something similar. The next step is to insert two
eighth notes (E flat and F) at [Link] and [Link]. There is an
interval of one whole step between these notes, and the second
one directly follows the first. Would it be possible to copy this
from anywhere else? At first glance the answer seems to be no,
but on closer inspection:
• Select the eighth notes F and G in bar 2.

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• These are one whole step apart and directly follow one
another, so you can use these and copy them to other pitches
in bar 4. Following the selection of these notes, hold down
ç and drag them to position [Link]. Rather than retaining
the same pitch this time, insert the F one whole step lower.
(The Info Line should display D#3, and you will also hear the
note output via MIDI). The second note you copied is now
an F on [Link]. As you can see, you can copy one, or several,
notes at a time to other bar positions and/or to other pitches.
(If you do the same without ç depressed, you will move the
notes to other positions and pitches, without copying them).
Bars one to four should now be finished. Now for bar 5: insert a
half note at [Link]. Once done, resist the temptation to insert
the tied eighth note that follows on the third beat.
Why? Because the half note on beat one and the eighth note on
beat three together represent only one (longer) MIDI note. The
score display only indicates that the note beginning on beat one
is held for two and a half beats, not that there is a new note
beginning on beat three.
To complete this bar, inserting a note on the third beat would
be a mistake. You need to change the length of the previous note,
to make it half a beat longer. Following this change, the eighth
note on the third beat and the tie connecting the two notes will
be displayed automatically.

3.10 Changing the Length of a

Note
Select the note you wish to edit (G3, [Link]) by clicking on its
head. At the left of the Score window—below the Display
Parameters Box—you will see the Event Parameters Box. It
displays the parameters of the currently selected MIDI
event(s). In this particular case that MIDI event is note G3, at
position [Link].

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The bottom line in the Event Parameters Box displays the

length of the selected note. It can be edited directly here:
Its current length is _,1, 3, 232. This means: 0 bars (the under-
lined space), 1 beat (quarter notes in this case), 3 global format
units (currently sixteenth notes) and 232 ticks. This equals (to
simplify things a bit) two beats or one half note.

 At this point, you might reasonably ask: Why doesn’t the display show
“_,2,0,0” if the note length is supposed to be two beats? If you take a
look at the notes you’ve already inserted, you’ll see similar length indi-
cations. Each of these notes is eight ticks shorter than its “actual”
length (at this tempo, 8 ticks equal approximately 0.003 seconds…).
This length difference prevents the MIDI notes from overlapping.
It must be said, however, that in this particular case the overlapping of
MIDI notes wouldn’t really matter. It becomes important in arrange-
ments with numerous MIDI tracks with multiple notes sounding at the
same time. As synthesizers and samplers can only play a limited number
of voices (notes) at a time, it is important to avoid unnecessary overlaps.
Even the shortest overlaps (a few ticks long) can cause other notes to
be cut off if the maximum number of notes has already been reached.

Place the cursor on the middle number (3) of the note length:

Now click-hold the mouse button while slowly moving the

mouse vertically (upwards) until the value changes to 1 (so the
complete length should be displayed as _, 2, 1, 232). Release
the mouse button and look at the score display. There is now an
eighth note tied to the half note on beat one:

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The note length (and all other parameters of a note) can also be
edited in the Event Edit window. On Screenset 7 in this song,
there is an Event Edit window (also called the Event List) below
a Score window, where you can do this. When you select a note
in the Score window, you can also see this selection in the
Event Edit window. After experimenting a little with the Event
Editor, please return to Screenset 2.

 Did the length display in the score change directly from a half note to
a dotted half note? If so, then Interpretation is probably still activated
for this sequence. Reminder: when using mouse input, always turn off
Interpretation.

At this stage, you should know the basic functions well enough
to finish the note input for the saxophone part. Please do so to
practice these techniques, but only up to bar 8, and exactly as
displayed on page 35.
Once you have finished inserting the note data, listen to the
result via MIDI. For control purposes you can unmute track 5,
which should be identical to your version. (To unmute the
track, you need to change to a Screenset with an Arrange
window, such as Screenset 1.)
You may wish to save the song file at this point, in case anything
“goes wrong” during the next steps. (Don’t forget that if you
make a mistake you can almost always use the Undo function in
the Edit menu to cancel the last editing step).
If you listen to the second part (bars 9 to 16) in the MIDI play-
back, and look at the score on page 35, you will hear and see
that there are many phrases which already appeared in the first
eight bars. You can use copy functions for much of the subse-
quent material, saving you the effort of inserting everything
again. Before beginning with this… we’ll do something a little
different:
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At the moment you only need to see the saxophone part. As
such, it would be helpful to limit what you see to only include
this part, and as much of it as possible. Switch to Screenset 4,
and select page view (you will remember this from chapter 1,
click on the page view symbol). You will instantly see much
more at once, but can also (unfortunately) see the bass
sequence. To limit the display to the saxophone sequence,
double-click on any empty spot in its staff. (To return to “full
score” view, double-click on any empty spot outside the saxo-
phone’s staff.)
Now that you can only see the saxophone sequence, search for
phrases that you can copy. As is the case so often in music,
whole sections are identical and can be copied: The melody
from position [Link] to [Link] is identical to bars [Link] to
[Link].
To copy the notes, you could use the same method as before
and drag all selected notes across the staves to their destination
position(s), using the mouse while holding ç.
But as this a tutorial, let’s try another method…

3.11 Copying Notes Using the

Copy & Paste Functions
Select all notes that you wish to copy (= all notes between bar 3
and the next-to-last note in bar 7). One rubber band selection
won’t be sufficient here, so select bars 3 and 4 using rubber
band selection, and make an additional selection for the rest (5
to 7) while holding down S. This adds the second selection to
the first one.
Now select the Edit > Copy menu item. If you’ve ever worked
with word processing software, you already know this proce-
dure. You’ll also know that there are Key Commands for this
which are identical in all software programs:

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• To “Copy” (which copies the selection to the clipboard) use

çc.
• To “Paste” (which pastes the clipboard’s contents into the
file) use çv.
Prior to pasting the copied notes from the clipboard, you need
to set the current bar position (shown in the Transport window) Important!
to the destination position. The destination position is where
the first of the copied events (notes) should be pasted. The
current bar position is not only indicated in the Transport
Window, but also directly in the score by the vertical Song Posi-
tion Line. Set the current position to [Link] now, using any of
the following methods:
• Grab the Song Position Line with the mouse, and drag it to
the destination position (watch the bar position indicator in
the Transport window to ensure exact placement).
• Use the Go to… Key Command (default definition: g), and X
enter the numerical position with the computer keyboard.
• Use the Forward and Rewind Key Commands. X
• Change the bar position directly in the Transport window
with the mouse.
Too many options? Well, just pick the one you are most
comfortable with, and forget about the others for now…
Once the bar position display reads [Link], ensure that the
“Alto Saxophone” sequence is selected. Now select Paste from
the Edit menu, or use the çv Key Command. X
Did it work? If not, select Undo (from the Edit menu), or çz
and try it once more. Be very careful about the following things: X
• All notes to be copied need to be selected (and therefore
flashing), before you select Copy.
• When you select the Paste command, the destination
sequence needs to be selected (even if it’s the same
sequence that you copied the notes from): Click on the staff

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to select it. The name of the sequence must be displayed in
the Display Parameters Box.
• The current bar position in the Transport window needs to
be set to [Link], which is the destination position for the first
copied note.
Inserting the remainder of the notes should be a straightfor-
ward exercise for you now (with one small exception). You can
do this either in page view, or Switch to Screenset 2 where you
can work in linear view, whichever you prefer. The one new
item is the triplet in bar 15.

3.12 Triplet Input

To create this triplet, you need to assign the corresponding
triplet note values from the Partbox (quarter note with a 3
above it), and drag it into the score. Insert the first of these
three notes precisely on the third beat (position [Link], watch
the Info Line). This can be a little bit confusing the first time
you do it, due to the fact that you’ll see a dotted eighth note,
rather than a triplet. (The triplet will only be displayed after all
three notes are inserted correctly.) Insert the second triplet note
by placing it exactly on the (sixteenth) rest which follows the
first note. The third note needs to be placed exactly on the rest
following the second note. (The Info Line will display position
[Link] for the second, and [Link] for the third note).

 This principle also applies to shorter and longer triplet values. Interpre-
tation should be switched OFF while inserting triplets, or the first note
will be displayed with a longer value with no rests, as described above.

To check your results, listen to the part in conjunction with

track 5. Be sure to unmute track 5 first.
You have now finished the first part of this chapter. Save the file
now. You can continue later with the second part (inserting the
trombone).

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If you wish to continue practicing the functions introduced in

this chapter, and pick up a few new things, continue with the
insertion of the trombone part (as written on page 35) now.

Is reading bass clef not “your thing”? No problem, we have it

covered… Switch to Screenset 21 (you need to press A while
typing 21”). This screenset displays the trombone part,
but written in an octave-transposing treble clef (with an 8 at the
lower end of the clef, indicating the octave transposition).
As you might have suspected when you saw the word Clarinet at
the beginning of this part, this is the—otherwise invisible—
clarinet sequence from track 6, which is identical to the trom-
bone part. Don’t change anything here, just print out this page
for use in the following part of the tutorial. (For a description of
the printing procedure, see Chapter 1) Remember that Logic
always prints whatever is displayed in the currently active Score
window. In this case it’s only one sequence, although the song
consists of much more than this.

3.13 Let’s Copy Some More…

The first seven bars of the trombone part are the same as those
in the saxophone part, although the trombone plays one octave
lower. Again, you should use copy functions, but in this situa-
tion you will work directly in the Arrange window, as it is a
much faster way of achieving the same end result. Switch to
Screenset 3.
In the Arrange window, simply copy the whole saxophone
sequence to the trombone track (drag with the mouse while
holding down ç—just like copying in the Score). Cut this
copied sequence in half at position [Link], where the two
instruments begin to play different notes:
Select the Scissors Tool from the Toolbox (briefly click on its
icon in the Toolbox), move it over the sequence on track 2, and
click-hold the mouse button. Be sure to keep it pressed. The
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cursor (scissors) will change into a crosshair icon. Move the
mouse horizontally, until the Info Line displays the following:

Now release the mouse button and the sequence on track 2 is

divided. Both parts will remain selected. Select the Arrow tool
from the Toolbox, and click anywhere in the background of the
Arrange area to deselect all parts. Select the second sequence
on the trombone track and delete it (press B). What remains is
a seven bar sequence on the track, which is still named “Alto
Saxophone”. Select it and rename it, by clicking on the top line
in the Sequence Parameters Box (still in the Arrange window).
This opens a text entry field. Type in the desired name. In this
case, let’s call it “Trombone 1-7”. Once done, press R.
While still in the Sequence Parameters box, set the Transpose
parameter to −12 (remember, bars 1 to 7 are an octave lower
than in the saxophone part).

This immediately affects the Score display, and the MIDI play-
back of this sequence. The only thing which is not correct yet is
the clef for this sequence in the Score window. The sequence
should still be selected. If not, click on it, either in the Arrange
or Score window. Now change the Score Style assignment for
the sequence in the Display Parameters Box (in the Score
window). Select the Bass Score Style from the Score Style flip
menu and the sequence will be displayed in bass clef.

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Congratulations, you’ve finished the input of the first seven

bars of the trombone part. Return to the Arrange window and
create an empty sequence on track 2, starting at position [Link]
and ending at position [Link]. The technique was described
at the beginning of this chapter. Name this sequence “Tb 8-
16” (in the Sequence Parameters Box), to avoid any confusion
later on.
Switch to Screenset 4, where you will probably still see the
saxophone part in page view. Double-click anywhere outside the
staff, to switch to full score view—alto saxophone, trombone,
and bass. For our purposes, you only require the first two instru-
ments. An Instrument Set called Sax + Tb is already available in
this song file. Select this Instrument Set from the flip menu,
which opens when you click on the Instrument Set Box
(currently displaying ALL INSTS) at the upper left of the Score
window.
The saxophone and trombone parts will be visible in page view
mode, as in the following illustration:

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 Please note: Although the trombone part actually consists of two

sequences, the border between these sequences (at the beginning of
bar 8) remains invisible. (The two sequences need to directly follow
each other to display a continuous staff in the score). Ensure that Inter-
pretation is switched off and Qua is set to 16,12 in the Display Param-
eters Box for the “Tb 8-16” sequence.

If you are not working with the trombone part from page 35, but
with the treble clef printout from Screenset 21, you should also
assign another Score Style to this sequence. Select Treble−8
from the Score Style flip menu. The first seven bars are
displayed in bass clef, but the second sequence is displayed
with the octave-transposing treble clef. Insert the remainder of
the trombone part into this sequence.

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3.14 Changing the Enharmonic

Display of Notes
There are two details to be considered for the note you need to
insert next, the F sharp on the “and of three” in bar 8:
• You first need to insert an eighth note, and then change its
length.
• When you insert the note (Info Line: F#3), it will be
displayed as a G flat. To change its enharmonic display to F
sharp, select the Attributes > Accidentals > Enharmonic Shift: #
menu item. The note must be selected while performing
this function.
Inserting the remainder of the trombone part should present no
problem for you. Once done, you can reset the Score Style
assignment for the Tb 8-16 sequence back to Bass. In doing so,
the entire trombone part will be displayed in bass clef (if you
worked with the Treble −8 Score Style in an earlier example).
As in the first tutorial song, and in every other Logic song, you
can print the different parts for transposing instruments
without having to change the MIDI playback: As an example:
should track 1 be played live by an alto saxophonist, and track
2 (the trombone part) by a tenor saxophonist, you can simply
change the Score Style assignments for the corresponding
sequences (i. e. to Alto Sax, Clarinet, Tenor Sax etc.). The key
signature is transposed automatically in each of these cases.

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Chapter 4
What to Do with Loops and
Aliases in the Score

Please load “Tutorial Song 4”. This song is identical to song 2,

but features a pre-recorded guitar melody which is doubled by
a clarinet part. The MIDI sounds used are the same as in
chapter 2.
When sequencing in Logic, you will often work with Loops, if a
motive or pattern is repeatedly played, like an ostinato. If a
musical phrase is to be played by several instruments, or is used
several times during an arrangement, using Aliases can speed up
the workflow.

4.1 Alias
Alias is a term used for an object in the Arrange Window which
is not actually an independent sequence, but only “mirrors”
another sequence at a different position and/or track. Wherever
an Alias exists, its original sequence is played back. An Alias,
however, can have different playback parameters to its parent
sequence. These parameters can be defined in the Sequence
Parameters Box. An Alias is somewhat like a copy, but if some-
thing in the original is changed, that change also affects the
playback of the Alias.
In the Arrange Window, Aliases look much like MIDI
sequences, but are identified by names written in italics. If
zoomed vertically, you will also see a reference to the original
sequence mirrored by the Alias (as seen in the Arrange Window
on Screenset 7).
In the Score Window, Aliases can be displayed and printed like
regular sequences, however, this is not the default setting in
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new songs. To make Aliases appear in the Score Window and in

the printout, select menu Layout > Global Format and activate
the option Show Alias in that dialog window.
After you did this, you will now see an Alias of the “Melody”
sequence on track 2, which doubles the guitar melody with a
clarinet sound. The only indication that you see an alias and not
an independent sequence are the grey staff lines. In the
printout, the staff lines are printed black, so there will be no
difference between Aliases and regular MIDI sequences.
If anything is changed in the original sequence, that change
will also be reflected in the Alias. An Alias can be assigned a
different Score Style to that of the original sequence.
Try this with the Alias on track 2. It’s supposed to be for a clar-
inet, so assign it an according Score Style: Select the Alias by
clicking on its staff in the Score Edit Window. (You did activate
Show Alias in the Global Format window before, didn’t you?) In
the Display Parameters Box, click-hold on the word Treble (next
to Style) and select the Clarinet in Bb entry in the flip menu. The
Alias will be displayed as a transposed clarinet part, two semi-
tones higher than it sounds.

4.2 Loops
Looped sequences (or simply: Loops) are used wherever a short
phrase (= a sequence) is repeated several times in a row. The bass
sequences in bars 1/2 and 9/10 are looped, and therefore are
repeated over and over until the next sequence on the same
track starts. In the Arrange window, these loop repeats are
displayed as horizontal grey bars following the original
sequence, labeled with the sequence name.

In the Score Window, Loop repeats are not displayed at all, you
will only see the original sequence, with no indication that the
instrument actually continues playing the sequence repeatedly.
If you want the score to reflect these loop repetitions, you need
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to convert them to “real” sequences or to Aliases. Fortunately,
this is quite easy to do. As an example, let’s prepare the printout
for the bass part in this song:
1. In the Arrange window, select all sequences on the bass
track (track 3) by clicking on the instrument name in the
Track List.
2. Select the Functions > Sequence Parameters > Turn Loops
to Real Copies menu option.
And you’re done! In the linear score view you will see a new
clef every two bars, as the track now consists of several two-bar
sequences. When you change to page view (as in Screenset 6)
however, the bass part is displayed as one continuous staff.
If you listen to the song now, you won’t hear any difference
when compared to the original.

 If you would prefer not to have several two-bar sequences on the bass
track, you can merge them into one sequence Switch to Screenset 1,
select all sequences on the track again (see step 1 above), and select
Functions > Merge > Objects, or use the “glue” tool from the Toolbox.

Alternative Method: Converting Loops to Aliases

Instead of proceeding as described above, you can also convert
Loops to Aliases, using the Functions > Sequence Parameters
> Turn Loops to Aliases menu item. This has the advantage that
any changes in the original sequence will be reflected in the
Aliases—which is not the case when using the method
described above.

4.3 Looped Aliases

Aliases can also be looped, just like regular sequences. As
already mentioned, Aliases are displayed in the score when
Show Alias is activated in the Global Format window, Loops are
not displayed. If you want a score display (and printout) that

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reflects looped Aliases, you first need to convert Aliases to real

sequences, then do the same with their Loops. Let’s try that:
Switch to Screenset 3 and double-click on the Percussion folder
in the Arrange Window (track 4) in order to see its contents in
the Arrange and Score Edit Windows.
This folder contains looped Aliases in bars 9 and 10, on tracks 1,
2 and 3. To attain a complete score display of these tracks,
proceed as follows. It is very important that you follow these
steps in the exact order described below:
1. Select all objects in the Folder using either the rubber band
selection technique, Edit > Select all menu function, or the X
ça Key Command.
2. Select Functions > Alias > Turn to Real Copy
3. Select Functions > Sequence Parameters > Turn Loops to
Real Copies
Basically you’re done, and should now see four percussion
tracks containing a number of short sequences. In the linear
score view you will see a new clef every two bars, as the track
now consists of several two-bar sequences. If you want all this
information in a single drum staff, proceed as follows:
• Select all sequences in the folder and select the Functions >
Merge > Objects menu option.
• The Score Window will now display the newly merged
sequence. Within the Display Parameters Box, assign the
Score Style named #Drums to the sequence (near the bottom
of the pop-up menu). This is a Mapped Score Style—indi-
cated by the “#” character at the beginning of its name. For
further details about drum notation with mapped Score
Styles, please consult the Logic Reference manual.
• Switch to Screenset 4, where you will see a Score Window
displaying all instruments. The drum part, however, is still
displayed as a folder (this is because the merged sequence is
inside a folder).

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• Now activate Explode Folders from the View menu, and all
instruments will be displayed.
In this Screenset, you will now see continuous staves for all
instruments, regardless of whether linear or page view is
selected. Again, the audible result is as before.

 For all menu functions mentioned, you can define and use your own
Key Commands (see the Key Commands section in the Reference
manual) which accelerates this (and other) procedure(s).

4.4 Bar Repeat Signs

In parts like the bass in this song, it is common practice to use
bar repeat signs to make it easier for other musicians to read.
Switch to Screenset 6. The symbols for bar repeats (one and
two bars) can be found in the same Partbox group as the user
rests. Grab the two-bar repeat symbol with the mouse, and drag
it to bar 3 in the bass part. The Info Line should indicate posi-
tion [Link] when you insert the symbol.

Now do the same in bars 5, 11 and 13. This should result in the
following score display:

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Now listen to the song once more. Again, you won’t hear any
difference. The bar repeat signs are only a graphical replace-
ment for the notes in these bars, but the notes are still played
back via MIDI. If you delete a bar repeat sign, the notes will
become visible again.

 Please note: If you decided to convert the Loops to Aliases rather than
real sequences as described above, you won’t be able to insert bar
repeat signs.

You can, of course, use bar repeat signs in the drum part as well
(again, two-bar repeats at bars 3, 5, 11 and 13). Insert these in
linear view, in Screenset 4. Use the horizontal scroll bar to
access all desired positions while inserting the repeat symbols.

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Chapter 5
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Logic users who are new to its notation features often ask how
it is possible to notate two rhythmically different phrases in the
same staff.
The key to this is the use of appropriate Score Styles, and the
adaptation of Score Styles to one’s individual requirements.
The basic idea behind Score Styles was covered in the first
chapter of this tutorial. Full documentation on all Score Styles
features can be found in the Logic Reference manual, where
topics such as; polyphony and independent rhythmic move-
ment within the same staff are covered extensively. This tuto-
rial chapter will give you a hands-on introduction to this topic.
As always, this is through the use of an example song file and by
stepping you through the processes involved.
Please load “Score Tutorial Song 5”.
MIDI sounds used:
• Channel 2: Acoustic Piano
• Channel 3: Violin
The violin track is muted—please ignore it for now. We will
talk about it later. For now, we’ll only concern ourselves with
the notation of the short piano part.
Listen to this piece while looking at the score shown below.
This part of the tutorial is aimed at recreating the image below
in the score display on your computer screen:

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As you can see, there are some instances where longer notes are
held while shorter notes are played: Bars 1 to 4, 6 and 7 in the
upper staff, bars 5 to 7 in the lower staff.
Switch to Screenset 5 and compare the score display on your
screen to the music shown above: There are, as you can see,
quite a few differences. We assure you that both versions
displayed are, in fact, the same MIDI sequence. Your onscreen
version still shows the sequence as if you had just recorded it,
and obviously needs a little work.
After recording this sequence, it was automatically assigned to
the Piano Score Style. Double-click on the name of this Score
Style in the Display Parameters Box (i. e., the word Piano in the
Style line) to open the Score Style Window

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The following window will appear, displaying the parameter
settings of the Piano Score Style:

The most important details to focus on (for our purposes) are:

• Each line in the yellow area represents a Voice. In this case,
the term Voice indicates notes which are interpreted as having
a common rhythmic flow. This can be a melodic line or a
chord progression. It should be noted that a single Voice
cannot display rhythmically independent movements as
required to achieve the score display shown above—that will
require more than one Voice.
• On the far left, the numbers 1 and 2 indicate the numbering
of the staves in the Score Style. The Score Style shown has
two staves, with one Voice per staff. We will see later that this
is not the general rule.
• To the far right—under the Assign header—there are two
columns whose settings determine which system is used for
assigning the notes of a sequence to its Voices. In this
example, the Channel column is empty and the Split column
shows C3.
What we have here is a simple two-staff Score Style that uses a
split point (C3) for Voice separation. This means, that any pitch
below C3 will be treated as part of the second Voice and will
therefore be displayed in the bottom staff. Notes with pitches
of C3 and higher will be displayed in the upper staff. In this
case (but only here), Voices and staves are identical.

 Change the split point pitch by using the mouse as a slider on the pitch.
Watch how the score display in the Score Edit Window changes after
you release the mouse button. Reset the split point to C3 after experi-
menting with this.

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It won’t be possible to achieve the score display shown above

using this Score Style. For this task, we’ll require two Voices
per staff in order to display the different rhythms simulta-
neously.

5.1 Voice Separation by MIDI

Channel
First up, you’ll need to assign a different Score Style to this
sequence: Click on one of the staves to select the sequence,
and then click-hold on the Score Style name (Piano) in the
Display Parameters Box. In the ensuing flip menu, select the
Score Style named Piano1+2/3+4. Although the initial result in
the score display looks rather strange (all notes are displayed in
the upper staff, requiring lots of leger lines), this is the way to
go…
Before you proceed, take a look at the settings of this Score
Style. Reopen the Score Style window and you’ll see the
following settings:

Note the following details:

• There are now four lines in the yellow part of the window.
These indicate four Voices.
• There are only two staves, as indicated by the numbers 1 and
2 in the far left column. Therefore, each staff has two Voices.
• There is no split point to determine the Voice separation, but
rather Channel settings for the Voices (1 to 4).

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Different MIDI channel settings for the notes provide a much
more flexible way of Voice separation than would be possible
using a split point. This system allows each note to be assigned
to any Voice. This is also the reason why all notes are currently
shown in the upper staff on your screen—they are all assigned
to MIDI channel 1 and therefore “belong” to the first Voice.

 Please note: The MIDI channel setting of individual notes has nothing
to do with the playback MIDI channel and therefore the sound of these
notes—this is determined by the channel setting of the corresponding
Track Instrument in the Arrange Window. As the MIDI channel settings
of individual notes are generally not needed for their original purpose,
they can be used for other functions like Voice separation.

The MIDI channel settings for individual notes are visible in

the Event List Window (Screenset 2), and also in the Score
Edit Window. Whenever a note is selected, the Event Parame-
ters Box displays its Channel in the second line. The channel
setting can be changed directly here.
Apart from the MIDI channel setting itself, there are two
display mode options which are very useful for Voice separation
tasks.
In the View menu (also available as Key Commands):
• View > Explode Polyphony. This displays each Voice in a
separate staff, regardless of the Score Style settings.
• View > Colors > Show Voice Assignment. If this display
mode is activated, the notes of each Voice are displayed in a
different color. These colors can be edited in the Layout >
Colors window.

It is also possible to use both options simultaneously.

5.2 Explode Polyphony

Use the first of these options in our tutorial song now: Switch to
Screenset 1 and select View > Explode Polyphony or the corre-

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sponding Key Command. Four staves will be visible, rather

than two—one for each Voice. All notes, however, are still
displayed in the top staff / Voice, as they are assigned to MIDI
channel 1.
To roughly distribute the notes to the treble and bass clef
according to their pitch, use the Functions > Note Events > Split
to Channels menu option. This will cause all notes below C3 to
be assigned to the first Voice of the bottom staff (referring to the
original Score Style)—these notes are assigned to MIDI
channel 3. The result is already much clearer and more usable,
but still has to be processed further. For this purpose, there is a
very useful utility called the Voice Separation Tool.

 Please note: C3 is the default setting for the split point in the channel
separation function described above. You can globally change this via
Options > Score Preferences under the Auto Split Notes at…
option.

5.3 The Voice Separation Tool

Select Screenset 1 if not already active.

Select the Voice Separation tool by clicking on it in the Toolbox
of the Score Edit Window.
The basic function of this tool is to draw lines in the score
display which separate adjacent Voices by assigning them to
different MIDI channels.

 This tool can only be applied to sequences using Score Styles which use
MIDI channels for Voice separation.

Start with the first few bars of the top staff, using the illustration
on page 64 for reference. Work in linear view, and place the
Voice Separation tool just below the time signature of the top
staff. Press and hold the mouse button and begin to draw a

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line—from left to right—between the notes of the first and
second Voice, keeping the mouse button depressed at all times:

On release of the mouse button, the notes below the line you
just drew are assigned to MIDI channel 2 and therefore to the
second Voice, which—in this display mode—is displayed in the
second staff. Note that these notes are now displayed with their
correct length, as whole notes and half notes:

If you make a mistake when drawing the line, just move the
mouse back to the left while keeping the mouse button
depressed. This erases the line, allowing you to continue from
the point where the error was made by dragging back to the
right. Note that a mistake can easily be corrected after releasing
the mouse button by simply drawing another short line at the
point required. This method works between all staves. Use the
scroll bar at the bottom of the window to move through the
whole piece.

 The Info Line, which appears above the bottom margin of the window
during this procedure, indicates which Voices are currently being
processed by the Voice Separation Tool. Pressing the S-button
switches the function to the next pair of Voices.

An easy and effective separation method for individual notes is

to simply click between the note heads to be separated with the
Voice Separation Tool. i. e.—click without drawing a line. Try
this in bar 4: The three notes of the second Voice are currently

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assigned to the first and third Voice (C3 and B2). Use the Voice
Separation Tool and click between the notes to be reassigned
(and the notes above or below them). This moves these notes
to the second Voice. Repeat this procedure for the notes on the
first beats of bars 5 and 6 in the top staff.
Complete the Voice separation task between the first and
second Voices now, either by drawing lines or by clicking
between the desired notes.
Following this, you will still need to work on bars 5, 6 and 7 in
the third Voice. Here, the low notes D1, C1 and D1 (again)
need to be assigned to the fourth Voice:

In bars that only contain one Voice per staff it may seem to be
unimportant which of the two Voices the notes belong to. As an
example, bars 1 to 4 in the bass clef staff. You will soon realize,
however, that this is not necessarily true.
Deactivate the Explode Polyphony mode now, or switch to
Screenset 5, where you’ll see the score in the regular page view
mode.

 The Voice Separation Tool operates in the regular view mode—both in

linear and page view—so you don’t need to activate the Explode
Polyphony mode every time you wish to use it.

On your screen, you should see the following score displayed

(please take a close look at the rests):

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It’s obvious that there are too many rests. The reason, once
again, is the Score Style used. Unfortunately, you won’t find
one that is better suited in this song, so it will be necessary to
create a new Score Style that is derived from this one.

5.4 Copying Score Styles

Still on Screenset 5, select the piano sequence. Ensure that the
name Piano is displayed in the title bar of the Display Parame-
ters Box. Now click and hold on the Score Style name and
select the bottom entry, ****DUPLICATE****:

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On release of the mouse button, the Score Style originally used

in this sequence has been copied and automatically assigned to
the sequence. This—in other songs—prevents you from unin-
tentionally editing a Score Style that might be used by other
sequences in the same song.
The name of this new Score Style is Piano 1+2/3+4*copied. Its
name is (partly) shown in the Display Parameters Box. Double-
click on the name to open the Score Style window in order to
adjust this new Score Style’s parameters.

5.5 Editing Score Styles

Among the Score Style parameters is one named “Rest” that
determines whether or not rests are automatically displayed in
a Voice. In most situations, it works well if the automatic rest
display is only activated for one Voice per staff. The question is:
which one? In our example, deactivate the automatic rest
display for the second and fourth Voices: Click-hold on the
word Show in the second and fourth lines of the Rest column and
change the setting to Hide.

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You’ll see that the score display instantly looks much better. On
the second beat in bar 5 of the second Voice, however, it would
actually be necessary to notate a rest (compare with the version
shown at the beginning of this chapter). This is a situation
where User Rests would typically be employed.

User Rests
When inserting a user rest, it often helps to activate the Explode
Polyphony mode (View menu or Key Command).
Look for the rests in the Partbox, grab a quarter rest and drag it
to bar position [Link] in the second Voice. Check the bar posi-
tion in the Info Line while inserting the rest. Now deactivate
Explode Polyphony to see the result. If the newly inserted
quarter rest overlaps the eighth rest in the first Voice, just grab
it and pull it down slightly. Note: This movement of rests is
something that can only be done with user rests, but not with
automatically displayed rests.

Stem Direction
Another disturbing detail are the stems in bars 1 to 4 of the bass
clef staff—they all point up, regardless of their pitch. This is
caused by a setting in the Score Style used. Open the Score
Style Window again and change the Stem setting of the third
Voice from Up to Auto.
On doing this, you’ll note that this creates another unwanted
result in bars 5 and 7—the stems of the eighth notes in these
bars all point down, but they should point up. This situation is
ideally dealt with by making use of the Note Attributes. Note
Attributes are settings for individual notes that have priority
over the corresponding Score Style settings.
Select all eighth notes in bar 5 (bass clef staff only) using the
rubber band technique, then select the Attributes > Stems > Up
menu option. Repeat this for the eighth notes in bar 7.

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At this point, the score on the screen should look the same as
the one at the beginning of this chapter.

There Are Many Ways to Solve a

Problem…
You could have achieved this result using other approaches.
The display parameters of the Score Styles can be combined
with Note Attributes (there are many of them) and User Rests
in several different ways. Deciding on which approach to take
will always depend on the musical content and on personal
preference as to which settings are the “best”. This is espe-
cially true for the rest display and stem direction of particular
Voices.
Also important for the layout of polyphonic music are the Score
Style and Note Attribute settings for tie direction and the direc-
tion of tuplet brackets.
Please take the time to read the Score Styles and Note
Attributes sections in the Logic Reference manual—there is a
great deal more to learn and know than has been covered in this
tutorial.

5.6 Polyphonic Display in Single

Staves
Switch to Screenset 4 now, where you’ll see a part for two
violins. This contains notes identical to the upper staff of the
piano example we just looked at. If you wish to listen to this
part, unmute the violin track by clicking the mute button on
track 2 in the Arrange Window. You can also mute the piano
part, if you wish to hear the violins in isolation.
The task here is to create one part that contains two completely
independent Voices. This is often the way wind instrument
parts are shown in orchestral scores. The approach to this task is
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quite similar to the one taken above, but no suitable Score Style
exists at this point.
First up, duplicate the Score Style used by the violins as
described in the previous section. Open the Score Style
window, which displays the settings for the newly created
Treble*copied Style.
You’ll need a second Voice in the same staff. To create it, click in
the right part of this window with the right mouse button,
below the Voice settings. You’ll see the following:

Voice Separation by means of a split point won’t work here, so

assign channels 1 and 2 to the two Voices, using the mouse as a
slider in the empty Channel column fields. The split point will
disappear while doing this.
Now adjust the Stems, Ties and Tuplets parameters: First Voice
Up, second Voice Down.

 Although there are no ties and tuplets in this short example, you would
usually define these settings for this type of scoring situation.

You may, as a final step, wish to rename this Score Style.

Double-click the name box on the left side and—in the
ensuing text entry box—type the new name. As an example—
Vl. 1+2.

At this stage, you could activate the Explode Polyphony mode

in the Score Edit window to work on the Voice separation. On

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this occasion, however, use the Voice Separation Tool directly

in the regular (single-staff) display: Draw a line between the
two Voices. Refer to the upper staff of the piano part we looked
at earlier in this chapter. Don’t try to do everything in one go—
proceed in small steps.
If it makes things simpler for you, you can activate the View > Tip
Colors > Show Voice Assignment option to have the Voices
displayed in different colors.

Adjusting the Rest Display

Once you’ve completed the Voice Separation, you will notice a
basic difference to the piano score: Here, both Voices are
displayed with rests in order to appear “complete” for the indi-
vidual players. Some of the rests, however, should be moved
vertically in order to avoid overlapping the notes of the other
Voice. This is especially true for bars 5 and 6:

At this point, you could deactivate the automatic rest display for
one of the Voices as with the Piano part, and insert user rests at
the desired positions. Alternately, you can change the existing
rest display…
As you already know, automatically displayed rests cannot be
moved, but User Rests can be. Simply replace the automatic
rests by inserting user rests at the desired positions. They can
then be moved freely.
Insert a half rest from the Partbox on the third beat of bar 5. To
ensure that this rest will be assigned to the second Voice, you
can either; activate Explode Polyphony and insert the rest into
the second staff, or set the default channel in the Event Param-
eters Box to MIDI channel 2 before inserting the rest:

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It is important that no notes or symbols are selected while you

adjust this setting—just click somewhere on the background of
the score display to deselect all events. The title bar of the
Event Parameters Box will change to read Insert Defaults. The
Insert Defaults settings will—wherever possible—be applied to
all notes, rests and text objects that are inserted using the
mouse.
The inserted half rest has been assigned to MIDI channel 2 and
belongs to the second Voice. Following insertion, it can be
moved vertically with the mouse.

Repeat this procedure in bar 6. If you would also like to move

the quarter rests on the second beat in these bars, insert addi-
tional user rests. The result will look like this:

Further extensive information about this topic can be found in

the Score Styles section of the Score Edit Window chapter in the
Logic Reference manual.

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Chapter 6
Swing Notation

Please load “Score Tutorial Song 6”.

MIDI sounds used:
• Channel 6: Acoustic Bass
• Channel 8: Vibraphone
• Channel 9: Blown bottle, pan flute or similar sound
• Channel 10: Drums (GM)
In this chapter, your task is to find appropriate display parame-
ters for several sequences which were recorded in real-time,
and played with a swing or shuffle “feel”.
Listen to the song first, paying special attention to the melody
instruments—the vibraphone and “blown bottle”—on tracks 1
and 2. These sequences have not been quantized. You will hear
them exactly as they were recorded. They sound quite “laid-
back”, which is typical for these kinds of styles. As such, finding
the proper display parameters is really important here. Interpre-
tation and No Overlap should be switched On—as you usually
would for sequences recorded in real-time. The main problem
here is to find settings for the display quantization parameter
(Qua).
There are two different types of swing used here, alternating
every eight bars:

6.1 Swing Eighth Notes

Let’s take a look at the sequences on track 1 (Vibraphone): In
bars 1 to 8 and 17 to 25, both the melody and rhythm sections
are played with a “typical” swing feel. It has become a standard

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to use regular eighth notes when notating swing rhythms, and

to indicate that these should be played as “swing eighth notes”
(symbols for this can be found in the “tempo symbols” group of
the Partbox) at the beginning of the piece. The relationship
between notation and interpretation could be defined as
follows:

If you set the Qua parameter to 8, such unevenly played eighth

notes will be notated as regular eighth notes. Swing melodies
and rhythms, however, often contain eighth note triplets, such
as the first three notes in the vibraphone part. This triplet will
not be displayed when the Qua parameter is set to a value of 8,
so you’ll need to set it to 8,12. This type of quantization is
known as a hybrid display quantization: Two (unevenly played)
notes during one beat will be displayed as eighth notes,
whereas three notes during one beat (if they are approximately
the same length) will be notated as an eighth note triplet.
For now, we’d like you to set the display quantization param-
eter (Qua) to 8,12 for all vibraphone sequences. Remember that
you can select all sequences on a track, by clicking on the
instrument name in the column to the left of the Score display
area. You can always see how many sequences are currently
selected by looking at the top line of the Display Parameters
Box:

In this Display Parameters Box, you can simultaneously change

the settings for all selected sequences (two, in this example).
There are two sections within the two selected vibraphone
sequences, however, where Qua = 8,12 will not provide a satis-
factory result for the score display:
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In bars 20 and 21, the vibraphone plays with a double time
feeling. You’ll need to use sixteenth notes to notate this, but
16ths cannot be displayed when the Qua value is set to 8,12.
The obvious course of action would be to change this setting to
16, but this is problematic. When Qua = 16, the swung eighth
notes won’t appear as eighth notes, but rather as dotted eighth
and sixteenth notes. This is generally regarded as the “corny”
way of notating a swing feel, and is something that everybody
tries to avoid.
The solution: Divide the sequence and use different display quan-
tization parameters for the resulting shorter sequences. Dividing
the sequence is accomplished through use of the Scissors tool
in either the Arrange window (as described in chapter 2 of this
tutorial), or directly in the Score window. Look for the begin-
ning and end of the double time passage in the vibraphone part.
It begins at bar 20 and ends on the first beat of bar 22.
In the bar ruler the “double time” marker indicates where the Tip
sequence has to be cut.
Cut the vibraphone sequence twice, at bar positions [Link]
and [Link]. To do so; Select the Scissors Tool from the Toolbox.
Click-hold on the staff with the tool at the approximate cut
position, and watch the Info Line, adjusting to the precise posi-
tion by moving the mouse left or right. Do not release the
mouse button until the correct cut position is indicated in the
Info Line. If you make a cut at the wrong position, select UNDO
from the Edit menu and try again.

 In the Score window, you can only cut at the first beat of every bar. It
is possible to override this behavior if you press ç while cutting. This
will allow you to cut at other positions within the bar (depending on
the global format value in the Transport window).

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Don’t forget to reselect the arrow tool once you’ve completed

the cutting procedure. In the Arrange window, you will see
three shorter sequence objects in place of the original
sequence. In the Score window (linear view), new clefs and key
signatures at positions [Link] and [Link] indicate the begin-
ning of new sequences. It is likely that all three sequences
which were “created” in this way are currently selected. Click
anywhere on the Score window’s background to cancel their
selection. Select each, one-by-one, and adjust their Qua param-
eters as follows: The first and last sequence should be set to
8,12. The middle sequence (bars 20 and 21) requires a value of
16 or 16,24.

 You can also select the sequences in the Arrange window, and view
their display parameters in the Score window, where you can edit them.
Event (or sequence) selection is not limited to the window in which the
selection was made. It is valid for all windows in Logic.

The score display from bar 16 to 25 should be correct at this

stage. There is another situation, however, where the regular
swing display quantization (8,12) is inappropriate. The first
three notes in bar 6 (vibraphone) are not notated correctly.
When you use a Qua value of 8,12, this bar is displayed like this:

If you listen to the MIDI playback, you’ll realize that this

display is not correct. The bar should look like this:

You could repeat the approach taken in the previous situation—

i. e. cut the sequence etc.—but that would be too much hassle
for such a short phrase, which only spans one quarter note. In

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situations like this, another method is used. Namely, “Artificial”
N-tuplets to bypass display quantization:
Switch to Screenset 2, and use the horizontal scroll bar until bar
6 is clearly visible. Select the N-tuplet symbol from the Partbox
(it is the last symbol in the triplet note group—the bracket with
the “n”), and place it over the first note in bar 6 (The Info Line
should indicate the note—A4). After releasing the mouse
button, a dialog box opens, where you should adjust the
settings to match those shown in the following illustration:

Click on OK to close this dialog box and you’ll see the following
score display onscreen:

 The N-tuplet dialog box can be reopened at any time by double-clicking

on the N-tuplet number.

In following the example, you have inserted a quadruplet (4:4

sixteenth notes), but suppressed the display of its bracket and
its number (by checking Hide Bracket and Hide Number in the
dialog box). In hiding these, nothing indicates that the inserted
quadruplet is actually a quadruplet—the number (4) will not
appear in the printout (that’s why it is written in parentheses).
In the printout, you will see the quadruplet as an eighth note
and two sixteenth notes.
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Under normal circumstances, use of a quadruplet over one beat

in 4/4 time does not make sense, as this would be identical to a
regular sixteenth note. In situations where a display quantiza-
tion setting that does not allow the display of sixteenth notes is
used, however, this is the way to override the setting.
It would also be possible to display four sixteenth notes this
way. Further use of this method is not solely limited to swing
rhythms. It is possible (and recommended) in any situation
where the display quantization should be overridden for a
particular (small) group of notes within a sequence.

Now let’s move on to the sequences on track 2 (Blown Bottle).

Switch to Screenset 1.

6.2 Sixteenth Note Swing/

Shuffle Funk
From bars 9 to 16 and 25 to 32, you will hear another type of
groove in both the melody and rhythm sections. You can hear
that the sixteenth notes are played unevenly and with a swing-
like feel, not unlike Shuffle Funk, Hiphop and other styles and
rhythms:

Much like our eighth note swing example, it will necessary to

notate both sixteenth notes and sixteenth note triplets. The
most appropriate display quantization value is therefore 16,24.
Select all sequences on track 2 and set the Qua parameter to
this value. If you scroll to bars 9 and 10, you can see that both
sixteenth notes and sixteenth note triplets are displayed.
Listen to the part and compare it to the score display.
There is one detail that needs to be fixed in Bar 28—i. e. the
notes marked with an arrow below:
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If you listen to this part, you can hear that these two notes are
NOT played at the same time (as the score display would
suggest), but one after the other. As such, you’ll need some
shorter note values here. Specifically, thirty-second notes.
Setting the Qua value to 32, will result in a score which looks
like this, which is not what we have in mind:

The solution, once again, is the use of an “artificial” N-tuplet:

Switch to Screenset 2, and scroll to bar 28. Select the N-tuplet
symbol from the Partbox, and drag’n drop it on top of the D4
(watch the Info Line). In the resulting dialog box, adjust the
settings as below:

After closing the dialog box, you will see the following score
display:

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Swing Notation

Remember that the number 2 is not visible in the printout, only

on the screen. The printout will look like this:

You have basically finished this chapter. Save the result, should
you wish to continue with the following section. You may also
wish to delete the sequences on tracks one and two, and record
some new material to practise finding display parameters with.

And now for something completely different…

6.3 Creating Continuous Staves

Let’s suppose you wish to print the two “melody instruments”
of this song (tracks 1 and 2). Switch to Screenset 4, where you
will see a score window set to page view mode, and displaying
the sequences of all instruments.
Let’s stay with tracks 1 and 2, as you only wish to see and print
these two (in our fantasy scenario). Since this is neither a full
score or single instrument view, you will need an Instrument Set
containing only these two track instruments. For your conve-
nience, this Instrument Set has already been prepared (for details
on how to create Instrument Sets please refer to the Logic
Reference manual). Click-hold on the Instrument Set Box (the
box which currently displays “ALL INSTS” in the upper left
corner). A flip menu containing two entries will pop up.
Select the Vibes + Synth entry and release the mouse button.
At this point, only tracks 1 and 2 will be displayed, but not in a
fashion that one would usually notate music: The length of the
staves is determined by the length of the sequences in the
Arrange window. To turn the existing staves into continuous
staves, you need to change the length of the sequences in the

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Arrange window: They need to follow one after the other
(compare chapter 4 / bass and drum parts) with no “gaps”
between them. Switch to Screenset 5, where both an Arrange
and a Score window (with Instrument Set “Vibes + Synth”) are
open.
Select all sequences on tracks 1 and 2 in the Arrange window by
clicking on the instrument name in track 1 (“8 Vibraphone”),
then holding down S and clicking on the instrument name in
track 2 (“9 Blown Bottle”). The top line in the Sequence Parame-
ters Box to the left should display “6 selected” to indicate that all
6 sequences on the two tracks are selected:

The Transport window—among other things—displays the

Locator Positions. These are important in Cycle mode, when a
part of the song (the section between the locators) is repeatedly
played. We need the locators for another purpose.
Set the left (upper) locator to position [Link] and the right
(lower) one to [Link]. There are several methods for doing
this, such as double-clicking on the locator fields and entering
the numeric positions with the computer keyboard. In this
case—when a locator is set to the beginning of a bar—it is suffi-
cient to simply type in the bar number. After entering the posi-
tion, press R to close the entry field.

 In this particular case, there is an even faster method for setting the
locators. As all of the sequences on tracks 1 and 2 are already selected,
select the Functions > Object > Set Locators by Objects menu item. This
function sets the left locator to the beginning of the first selected
sequence, and the right locator to the end of the last selected
sequence.

Now select the Functions > Object > Tie Sequences within Locators X
menu item. (Note: you can also define a Key Command for this
function). It is important that all sequences on tracks 1 and 2 are
still selected, as only selected sequences between the current
locator positions are affected by this function.
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At this stage, the sequences on tracks 1 and 2 should directly

follow one another, from the beginning to the end of the piece.
In the score, you should see continuous staves for the first two
tracks. It should be noted that you will still see clefs and key
signatures where new sequences begin in the linear score view
mode, but these won’t be visible in the page view mode. Switch
to Screenset 4 to see the difference. You may print the result
now, if desired.

 If you wish to print the full score, you must reselect the “ALL INSTS”
Instrument Set.

 The bass and drum tracks contain looped sequences and aliases, so you
will need to activate the alias display and convert the loops into “real”
sequences as described in chapter 4. Following this, you will need to
adjust the lengths of the sequences and Aliases on those tracks, as
described earlier in this chapter.

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Chapter 7
Symbol Input

Please load “Score Tutorial Song 7”.

MIDI sounds used:
• Channel 3: Oboe
• Channel 4: Acoustic guitar
You will recognize this piece from the first chapter. Nonethe-
less, we ask that you listen to it once more and watch the oboe
part while doing so. To see the oboe part in its entirety, switch
to Screenset 5.
If you wish to ensure that a musician play this oboe part the way
you hear it via MIDI playback, you will need to insert symbols
for phrasing, dynamics etc. Information about phrasing cannot
be indicated by the notes alone. On occasion, you may even
need to include some short written remarks (text).
In this chapter, you will insert articulation and dynamic
symbols, tempo indicators and headers. You can either do this at
your own discretion, or try to exactly reproduce the version
shown on the following page (we recommend the latter for the
purposes of the tutorial).

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7.1 Inserting Symbols from the

Partbox
In general, it can be said that all symbols visible in the Partbox
can be dragged to the desired position in the score, using the
mouse. The basic method for selecting and inserting these

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symbols is the same as described in chapter 2 for the input of
notes. To ensure that the majority of the Partbox is visible, it is
advisable to work with a large Score window. Switch to
Screenset 5.
As with notes, the various symbols are arranged in Partbox
groups. For each of these groups, a small square field in the top
part of the Partbox shows one or several symbols of the group it
represents. A short click on any of these fields moves the asso-
ciated Partbox group to the panel directly below the Partbox
overview. This allows easy access to the symbols within the
selected group. Try this out with the dynamic symbols by
clicking on the field marked with the “fortepiano” symbol:

On selection of the “fortepiano” icon, the group containing the

dynamic symbols is visible directly below the Partbox over-
view. This works in the same fashion for all Partbox groups.
Please take a few moments to look at all of the Partbox groups
using this method. This will give you a good overview of which
symbols are available. When done, reselect the dynamic
symbols.
Insert a Mezzopiano symbol below the first note in the oboe part
by grab and dragging it to the desired position in the score. On
release of the mouse button, the symbol is inserted. (It will
remain selected—it flashes—so if you’ve accidentally inserted
the wrong symbol, you can delete it by simply pressing B.)
OK, let’s try another symbol now—the staccato. This belongs to
a group of symbols that are usually directly attached to a partic-
ular note.

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Select the staccato symbol from the Partbox, and drag it to the
first note in the second bar. Resist the temptation to drag it
above or below the note (where it should be displayed after
inserting), and drop it directly onto the notehead itself. While
doing so, keep an eye on the Info Line. When it displays Attach
Symbol, and shows the correct note (pitch and position), you can
release the mouse button. The staccato dot will automatically
be placed at the proper position. (If MIDI Out is activated, you
will also hear the note to which the staccato is assigned). The
input procedure outlined here works identically for all symbols
in this Partbox group. Repeat the procedure for the following
note, the G at position [Link].
As the staccato symbol is already selected, you don’t need to
reselect it from the Partbox: If you click-hold the right mouse
button, the most recently selected Partbox symbol (or note)—
the staccato symbol, in this case—will still be active. Drag it
onto the head of the desired note (G), and release the button.
The symbols in this group will be assigned to all currently
selected notes. Use the rubber band technique to select all
notes in bar 4 and drag the staccato symbol onto one of the
selected notes: After you release the mouse button, all selected
notes (three, in this case) will feature a staccato dot.

 Please note: All symbols in this Partbox group are directly assigned to
particular notes. As such, they will automatically be moved with the
associated note should you change the pitch or position of the note.
This also applies to display transposition.

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7.2 Fast Input with Key
Commands
Logic offers a much faster method for inserting many of the
symbols from this partbox group, namely Key commands. This
requires some preparation, but you’ll only need to do it once. As
with most of the Key Commands in Logic, these scoring short-
cuts are user-definable. Open the Key Command Window by
selecting Screenset 6. The names of the relevant scoring Key
Commands are as follows (they are listed at the end of the
“Score window” section in the Key Command List):
• Attach Symbol: Fermata Up
• Attach Symbol: Fermata Down
• Attach Symbol: Staccato
• Attach Symbol: Staccatissimo
• Attach Symbol: Accent
• Attach Symbol: Strong Accent
• Attach Symbol: Long Accent
• Attach Symbol: Tenuto
• Attach Symbol: Up-Bow
• Attach Symbol: Down-Bow
• Attach Symbol: Flageolet
• Attach Symbol: Pizzicato
• Attach Symbol: Left Hand
• Attach Symbol: Right Hand
• Attach Symbol: Soft
• Attach Symbol: Heavy
Simply define the Key Commands that you think will be
needed most often for your work. Please read the Key Command
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Window section in the Logic Reference manual for a description

on how to define Key Commands. While you’re in the Key
Commands window, you should also define commands for the
following functions: Insert Slur Up, Insert Slur Down, Insert
Crescendo and Insert Decrescendo.

 You will want to develop a logical system for Key Commands that suits Tip
your needs. If you’re unsure as to which keys you should use for these
commands, just define three easy-to-remember commands for the
moment: For this tutorial you’ll only need staccato, tenuto and accent.
You can change these, or define more Key Commands later on. In
taking your time, you’ll slowly develop your own system.

Let’s continue with our tutorial song by switching to Screenset

5. In the first and third bars, slurs need to be inserted: The best
way to do this is to use the Insert Slur Up Key Command: The
slur in the first bar must begin at the first note and end at the
last note.
You can either; select only the two notes (with S-click) or
(with rubber band selection) select all notes from the first to the
last. After selecting the notes, use the Insert Slur Up Key
Command. Logic will automatically insert a slur over these
notes, beginning at the first and ending at the last note. This
slur will be selected, as indicated by the fact it is flashing. You
can freely edit its shape by grabbing and dragging any of the
five black square “handles”, which are visible as long as the slur
is selected. In order to get to know the possibilities available for
manipulation of the slur, try dragging each of these “handles”,
or editing points:

• Grabbing the first editing point (far left) allows you to move
the slur in its entirety (higher, lower, or horizontally along
the bar position). Its length and shape are unaltered.

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• Grabbing the last editing point (far right), allows you to
change the slur’s length, and the height of its end point.
• The three middle points let you change the shape itself. To
get an impression of the way this works just experiment a bit.
When you’ve completed your experimentation with the slur,
click anywhere in the Score window’s background to deselect
it. If you wish to make further changes now, or at a later stage,
simply grab and move one of the five points again. The points,
as mentioned, are not visible when the slur is not selected. To
reselect the slur click on either of its ends.
When inserting another slur with the same Key Command, it is
automatically assigned the same settings (shape etc.) as the
previously inserted one.
Please insert all remaining slurs and phrasing symbols (staccato,
tenuto, accent) exactly as displayed on page 89. Use Key
Commands to do this.

 The thickness of all slurs and ties in a song file can be set in the
Extended Layout Parameters dialog box, which is accessed via the Layout
menu.

To position slurs precisely, it is practical to work at high zoom

levels. You can quickly switch between the standard viewing
size and high zoom levels through use of the rubber band selection Tip
technique while holding down A. The cursor will switch to the
Magnifying Glass tool and you will immediately see the selected
part at its maximum zoom setting. The maximum zoom level is
determined by the size of the current window. Perform your
layout editing, and return to the regular zoom size by clicking
on the window background while holding A.

If you make a mistake, you can erase any of these symbols by

pressing B after selecting them.

Please insert the other dynamic symbols now. The Mezzopiano

in bar 1 and the Mezzoforte in bar 13 are handled in the same
way.
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Now to insert the Decrescendo in the last bar:

There is a Key Command for Insert Decrescendo, which works in
the same way as the Insert Slur commands. On this occasion,
however, select the decrescendo symbol from the Partbox. You
will find it in the group that contains the slurs and lines:

Insert the decrescendo symbol at the beginning of the last bar

(position [Link] in the Info Line). Directly after insertion, it
will be quite short. Make it longer by dragging its end to the
right. By grabbing it on the right-hand end, you can change the
vertical position of the entire symbol.

At the upper left-hand end, you can edit the opening angle.
The lower left-hand end adjusts the inclination of the entire
symbol.

7.3 Global Symbols—Double Bar

Lines etc.
Switch to Screenset 4 again to see both instruments. We still
need to insert a double bar line at the end of the second line,
and an end line at the very end of the piece. These symbols are
found in the Partbox group which contains the repeat signs:

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Grab the double bar line and insert it. It is very important to
watch the Info Line. The insert position has to be [Link] exactly.
It doesn’t matter whether you insert the symbol in the oboe or
the guitar part. All symbols in this group are global symbols,
which means that they are always displayed in all staves of a
song. (The same—with a few small exceptions—applies to
time and key signature changes.)
Insert the end line at position [Link].

 Most of the global symbols can not be moved or selected like the other
symbols. Similarly, they can not be deleted with B. If you have made
a mistake by inserting the double bar line at the wrong position, the
only way to delete it is by clicking on it with the Eraser tool:

7.4 Tempo Symbols

A tempo symbol needs to be inserted above the first bar.

This is easy. Simply select the appropriate symbol from the

Partbox (last group in the overview section), and drag it to the
desired position. You will notice that there are different tempo
symbols available for use with different key signatures. The
Tempo symbol automatically displays the current sequencer
tempo at the insert position (see the Transport window).

 Please note: The tempo field in the Transport window always refers to
quarter notes, even if another time signature like 6/8, 2/2 etc. is in use.

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7.5 Inserting Text

Now let’s create the short text objects shown in the first and last
bars (“arpeggio” and “ritardando”).
Text input in Logic works much like the input of other
symbols. Again, you need to insert something from the Partbox,
namely a Text Object. If you click on the icon representing the
Text Objects in the Partbox overview, the following Partbox
group appears below it:

Only the first of these objects is relevant at the moment: TEXT

Grab this word (object), and drag it to the position where the
text should begin. In this case, it will be the beginning of the
first bar above the guitar staff. When you release the mouse
button, you will see a flashing text cursor. Just type in the word
“arpeggio” on your computer keyboard.
The text cursor can be handled as in most word processing soft-
ware. The left and right arrow keys allow you to move the
cursor, B erases the character to the left of the cursor etc.
Once all text has been entered, press R, or click anywhere
outside the text. Now the inserted text will flash, which indi-
cates that this text object is selected. You may freely move it (with
the mouse), delete it (with B), or copy it with the regular copy/
paste commands.
In the reference score shown on page 89, the text is a fraction
smaller than that displayed onscreen, and is written in italic
letters. Although possible, it is not necessary to adjust the size,
font and style settings for every text object individually. Much
like Score Styles, Logic features Text Styles to handle this. While
the text is still selected (flashing), you will see the parameters
of this text object in the Event Parameters Box to the left:

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Next to Style, you will see the name of the Text Style used here,
Plain Text. Click-hold on it. In the resulting flip menu, which
displays all available Text Styles (in this song), select the last
entry, Tempo Changes. You will notice that the word arpeggio is
now displayed differently.
Insert the word ritardando in the last bar. This time you won’t
need to change the Text Style, as Logic always uses the most
recently used Style for new text objects.
If you notice a typing error after text input, you can always
double-click directly on a text object: The (flashing) text cursor
will reappear, allowing you to edit the text.

7.6 Header Text

Both text objects inserted so far are bound to particular bar posi-
tions, and each belongs to a sequence. If you work in page view, and
insert a Text Object into the header area, or somewhere outside
the dotted page margins, this text is treated as Global Text.
Global Text elements are visible in every situation where the
score (or a part of it) is displayed in page view mode. Global
Text object positions are not determined by bar position, but by
their graphical placement on the page.
Let’s insert the header: Insert a TEXT-object approximately in
the middle of the header area. Now type in the name of the

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piece (“Oh, How Charming”) and press R. In the Event

Parameters Box, set the Style parameter to Header.
For a detailed description of all text functions (including song
lyrics) please read the corresponding sections in the Score
window chapter of the Logic Reference manual.

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Chapter 8
Score and Part Extraction

Please load the “Score Tutorial Song 8” file.

If you don’t use a General MIDI compatible MIDI instrument
or sound card, please adjust the sound settings of your synthe-
sizer as follows:
• Channel 1: Flute
• Channel 2 and 3: Oboe
• Channel 4 and 5: Clarinet
• Channel 6 and 7: Bassoon
• Channel 8 and 9: French Horn
• Channel 12, 13 and 14: Strings
• Channel 15: Cello
• Channel 16: Double bass (arco)
This “song” is the first movement of W. A. Mozart’s Symphony in
G minor (second version, KV551). Mouse input and MIDI step
input were used to create this song file.
As you will no doubt notice, this is quite a large song file. This
makes it ideal for demonstrating Logic’s layout functions for
full scores and instrumental parts. One of the nicest things is
that it is unnecessary to save the full score and individual parts
as separate files—they can all be saved in one file. Should you
make changes to an arrangement after printing, the changes
will appear in both the full score and all affected parts, allowing
you to print the edited version(s) immediately.
Another remarkable feature is how easy it is to extract indi-
vidual parts in Logic. This will be demonstrated in this chapter.

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Finally, at the end of this chapter we’ll take a look at some

interesting details in the notation of this piece.

8.1 Score/Instrument Sets

Let’s start with the full score. Switch to screenset 4, where you
can see all instruments in linear view. Activate Page View mode
now, by clicking on the page view symbol towards the upper
left of the Score Edit window:

The selected paper format for this piece is A4. This has been
set in the Page Setup dialog (File menu), where you can change
the paper size, for example to US letter size (11 × 8.5 inches), if
necessary. As you will note, the stave system is too large to
vertically fit on the page when using one of these paper formats.
This is because the size of the staves has been selected in order
to be appropriate for printing parts. Stave size is set in the Score
Style window individually for each Score Style—in this piece
all Score Styles have a size of 7.

Adjusting the Score to Fit the Paper

It is unnecessary to change the Size setting of each of the Score
Styles used in this piece. You can simply reduce the size of the
entire score by scaling it down. To do this, you need an Instru-
ment Set which contains all the instruments that are to be
displayed in the score. To create this Instrument Set, open the
Instrument Set window, via the Layout > Instrument Sets…menu
item, or by double-clicking on the Instrument Set Box—that’s
the box displaying ALL INSTS. in the upper left part of the
Score Edit window:

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Move the Instrument Set window to the side, in order to be

able to see the Score Edit window behind it. In the Instrument
Set window, select New > Complete Set to create an Instrument
Set with all the track instruments that are currently used in the
Arrange window. In this example, these are all of the instru-
ments that should be displayed in the full score. They are
displayed in a list.
Rename the new Instrument Set. In the Instrument Set
window, double-click on the box currently displaying the words
*Complete Set at the left of the window. A text entry box will
open. Type the words “Full Score” and close the box by
pressing R.
Switch back to the Score Edit window and select the newly
created “Full Score” Instrument Set from the Instrument Set
Box. Following this, switch back to the Instrument Set window,
where the settings for this set will be displayed.
Now edit the Scale parameter below the Instrument Set’s name
(currently 100%): Click on it and use the mouse as a slider:

As you do this, watch the score display in the Score Edit

window. Its size will change according to the Scale value.
Choose a scaling factor that allows the full score to fit on the
page, and that leaves some space beneath the bottom staff. The
“ideal” value will probably be somewhere between 70 and 80
percent.

 If your monitor is not large enough to display a full page, switch to a

smaller zoom level in the Score Edit window, by clicking on the upper
end of the zoom bar.

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Page Margins
If the page margin settings are not to your taste, change them
by directly dragging the green margin lines in the score window
with the mouse. The same applies to the blue line which marks
the bottom (and therefore the height) of the Header zone.

Connecting Brackets and Bar Lines

In scores, it is common practice to visually organize the
different instrument groups (woodwinds, brass, vocals, strings,
percussion etc.) by vertically connecting their staves with
brackets and barlines. In Logic, this is defined in the Instru-
ment Set window. Try setting up barline and bracket connec-
tions for the different instrument groups in the “Full Score”
Instrument Set which you just created:
As a default, all staves are connected with barlines and brackets
in newly created Instrument Sets. This is indicated graphically
in the four columns at the far right. To edit these settings, grab
the lower end of the bracket (third column from the right) and
drag it up to the Bassoon 2 line. The display of the bracket will
change accordingly, both in the Instrument Set window and in
the Score Edit window. The bracket will now span the top
seven staves.
To create a bracket for the two french horns, position the mouse
in the same column, aligned with the “French Horn in Bb”. Now
depress the mouse button and drag downwards to the second
French Horn line. To create a bracket for the stringed instru-
ments, drag the mouse from Violins 1 down to Cello & Double
Bass.
Repeat this process in the far right column to create corre-
sponding barline connections:

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If desired, you could also try also to connect pairs of identical

instruments (oboes, clarinets, violins) with braces (fourth
column from the right, same principle).
You might wish to save the result now, in order to be able to
return to this stage after trying some of the functions described
in the remainder of this chapter.

Instrument Names
Let’s say you want the score to be printed with the Italian
names of the instruments, as in Mozart’s original score.
The instrument names displayed in the score are defined in the
Instrument Set window. The left column (Instrument) lists the
track instruments which are part of the Instrument Set. Their
names match those displayed in the Arrange window.
Click on the word “Flute” in the first line of the next column
(below the Full Name header), and a text entry box opens,
displaying “@reference”. Type the word “Flauto” to overwrite
this default entry. After you close the text entry box (by
pressing R or clicking anywhere in the background), you will
see the updated name in the first staff of the score.
If you do not edit the “@reference” entry, the track instrument Tip
name (as defined in the Arrange window) will be displayed as

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the instrument name in the score. This is the default setting for
all instruments.
To continue with the Italian names: insert Clarinetto instead of
Clarinet, Fagotto instead of Bassoon, Corno instead of French
Horn, Violino instead of Violin.
To illustrate another function, enter abbreviations for all instru-
ment names in the Short Name column: Fl., Ob., Cl. etc. These
“short names” will then be displayed in front of the staves on
each page, except the first one.

 Please note that if none of your efforts result in any visible change in
the score display, you’ve probably forgotten to switch to the newly-
created “Full Score” Instrument Set in the Score Edit window.

Instrument Names—Appearance
Open the Layout > Numbers & Names dialog window. Here, you
will find the settings for instrument names (as the last of three
groups of parameters): In addition to font, size and style, you
can determine if, where and how (full or short name) instru-
ment names will be displayed in the first and all following stave
systems or lines. Experiment with the different settings to
explore the available options.

Other Instrument Sets

Using the Instrument Set function, you can create as many
Instrument Sets as you wish. As examples; to display a certain
part of the ensemble, such as all string instruments, all wood-
winds or whatever. You can even create Instrument Sets which
contain a single instrument, which may be used to print a part
which is scaled down or enlarged. For part extraction in general,
however, it is not necessary to create Instrument Sets, as there
is a much simpler and faster method available.
Please note: in the Logic Reference manual, you can find
further detailed information about Instrument Sets.

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Printing
Score printing is simple. The printout always corresponds to
the current display in the active Score Edit window. You can
immediately create printouts of the currently displayed Instru-
ment Set or extracted part. As a “test run”, print out the first
two or three pages of the score, using the “Full Score” Instru-
ment Set which you created earlier.

8.2 Part Extraction

The extraction of parts for single instruments is a straightfor-
ward procedure. In the Score Edit window, click-hold on the
Instrument Set Box while holding ç. A flip menu will appear,
which lists all track instruments that are currently used in the
Arrange window. Select the desired instrument (for example
Oboe 1) by moving the cursor over its name and releasing the
mouse button. This function is also called Instrument Filter.

After following the step above, the Score Edit window will
display the oboe part, which can be printed immediately, if
desired.
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To sum it up: clicking on the Instrument Set Box without

holding any modifier key allows you to select one of the
existing Instrument Sets from the flip menu (note that if no
Instrument Sets exist, there is no flip menu…). Holding ç
during this procedure provides direct access to the single parts
of all instruments. Any of these can be printed immediately, so
try to print out the oboe part now.

Layout of Extracted Parts

For parts, there are a number of layout settings which can be set
independently of those used for the score. Open the Global
Format dialog window (via the Layout menu, or with a double-
click on one of the margin lines in page view). There are two
columns of value fields for some of the parameters, labeled
Score and Part. If you also open the Instrument Set window, you
will see a Format parameter below the Scale parameter. A click
on this setting will switch back and forth between Score and
Part, meaning that the corresponding parameters (as defined in
the Global Format dialog) are used for the display of that partic-
ular Instrument Set.

This makes it possible to define independent score and part

settings for the page margins, the height of the header zone, for
an additional vertical distance between stave systems and for
the maximum number of bars per staff or stave system (more
about this below).

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Additionally, the following principles apply:
• If the default ALL INST. setting is used for the score display,
rather than a particular Instrument Set, the Score parameters
are applied automatically.
• If a single sequence is displayed, the Part parameters are
applied automatically.
• Single instrument parts which were extracted using the
Instrument Filter method described above, will also always
use the Part parameters.
• For Instrument Sets, both options are available. The desired
setting can be selected in the Instrument Set window, as
described above.
• The Scaling function is only available in Instrument Sets. All
other display modes (ALL INST., extracted parts, single
sequence view) are always displayed at their original size
(100%). Therefore, you should always use stave size settings
in Score Styles which are suitable for printing parts (usually
size 7 or 8). In addition, you should create an Instrument Set
for the full score which is scaled down in order to fit on the
page. This is exactly what has been done in our example.

Page Margins
As mentioned above, the page margin and header height
settings can be changed in the Global Format window. They can
also be adjusted by directly dragging the green and blue margin
lines with the mouse in page view mode. These actions will
only affect the settings which are currently used for the display:
If you drag the margins in an extracted part, you are changing
the Part settings, if you do the same in ALL INST. mode, you
will change the Score settings.
To try this, extract the first oboe part as described above. Now
pull down the blue header line a little, and drag the green
margin lines fractionally towards the center of the page. If you
change to another instrument’s part now (viola, for example),

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you can see that this part is also displayed with the same margin
settings. If you switch to full score view (selecting the Full Score
Instrument Set which you created before), you will see that the
margins are different here, as the Score settings are unique to
this particular Instrument Set.

8.3 Page Layout

The following page layout options are available for both scores
and parts.

“Line Distance”
With the Line Distance parameter in the Global Format window,
you can create additional vertical distance between stave lines
of a part, or between stave systems in scores.
In scores, this is useful if you wish to put more than one stave
system on each page. In this case, Line Distance can be used to
move the systems further apart.
For extracted parts, the line distance option can be useful if the
distance between the staves in the score is small. In this situa-
tion, a part might appear too crowded, as in our example. Edit
the Line Distance parameter, and watch the resulting changes
in the Score window with an extracted part displayed.
In our example, it would not make sense to set an additional
line distance for the score, as there is only one stave system per
page in this piece.
Here are two general recommendations concerning the use of
this parameter: Tip

• When creating scores for large ensembles, use rather small

distance parameter values in the Score Styles and use the
Line Distance/Part parameter to create an appropriate
distance between staves in parts.

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• The Line Distance/Score parameter should only be used if
more than one stave system fits on a page in score view
(which can be achieved by creating an Instrument Set for the
score and defining a corresponding Scale value).

Use of Multiple-Bar Rests

Extract the part of the first french horn by holding ç and
clicking on the Instrument Set Box. Keep the mouse button
depressed, and in the resulting list, move the cursor to the
desired instrument entry (French Horn in Bb). Once high-
lighted, release the mouse button.
You will note that there are numerous rests spread over several
bars in this part, as is common in french horn parts. To make
this part look clearer, insert some multiple-bar rests:
• In the top section of the Partbox, click on the small square
with the quarter rest on it. The Partbox group which
contains all of the rest symbols, including multiple-bar rests,
will appear directly below.

• Grab this symbol with the mouse, and drag it onto the first
bar of the french horn part. As you do this, watch the Info Line
at the bottom margin of the main program window. Before
releasing the mouse button, ensure that the Info Line is
displaying the correct bar position—[Link] in this instance.
• The length of this rest will be calculated and displayed auto-
matically—it will extend across all ensuing empty bars until
the next note, symbol, double bar line or repeat symbol

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appears. The first staff of the french horn part should now
look like this:

• Continue to insert multiple-bar rests at other appropriate

locations in this part, following the same principle. In doing
so, you can reduce the size of this part from four to three, or
perhaps even two pages.
If you switch back to the full score display (Instrument Set
“Full Score”), the multiple-bar rests won’t be visible. In general,
this wouldn’t be appropriate anyway. The only (very rare) situ-
ation where multiple-bar rests are visible in a score is if they
have been inserted into all instrument parts at the same posi-
tion.
If you wish to define the length of a multiple-bar rest manually Tip
(suppressing the automatic length adjustment), just double-
click on the symbol and set the length in the resulting dialog
window.

Note Spacing and Line Breaks

Extract the first violin part (Violins 1) in order to test the func-
tions described below. Also open the Global Format window
(via the Layout menu, or by double-clicking on one of the green
margin lines).

Note Distance and Line Break Calculation

Logic automatically calculates how many bars are displayed in
each line. This calculation is dependent on the following
factors:
• On the “musical density”—how many notes and other nota-
tion symbols are in each bar? Naturally, more bars will fit into

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a line if they only contain whole notes rather than bars full of
shorter note values. Compare the french horn and violin
parts in this piece to see an example of this principle.
• On the Constant Spacing and Proportional Spacing parameters
in the Global Format window. A detailed description of these
can be found in the Logic Reference manual. Change both
parameters, and watch the changes in the display of the
violin part.
• On the [Link]/Line parameter, which can also be found in
the Global Format dialog window, and can be set differently
for score and parts. This parameter determines the maximum
number of bars which Logic will allow in each staff or stave
system. It should be noted that this maximum number of bars
will only be placed in a line if the two conditions above will
allow it. Change this parameter (in the Part column), and
compare the setting with the display in the Score Edit
window. Keep in mind that this is a maximum value—if you
continue to increase it you will eventually come to a point
where no further change is possible.

 Note: in the Global Format window there is also a Spacing parameter

for slashes. This parameter only affects parts which display beat slashes
instead of rests, as is common in rhythm section parts with chord
symbols.

As all of these factors affect Logic’s calculation of note distances Tip

and line breaks, it is advisable to find appropriate settings for
the Spacing and [Link]/Line parameters before working on
other layout details. Try to adjust these parameters in a way that
produces the best possible result. Here are some hints:
• In most cases, setting the Proportional Spacing parameter
value noticeably higher than that of Constant Spacing will
result in a satisfactory score and part display. In our example
file, these settings are 32 and 4. Using higher values can
deliver usable results—it always depends on the musical
style and purpose of the printouts (orchestral, educational,
lead sheet etc.).

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• When using very small spacing values, you can avoid an

overly cluttered display by using a Max. Bars/Line setting,
which limits the number of bars per staff. This can (and
should) be set independently for score and parts. (Keep in
mind that multiple-bar rests count as one bar here.)
• Don’t be afraid to try different combinations of these param-
eters. Experimentation is the best way to learn how, what,
and where to use Logic’s scoring facilities. To keep things
simple, this should be done after the input of the music, and
when you don’t expect the notes themselves to change
further.
In situations where the automated or global parameters don’t
do the trick, the line breaks which result from Logic’s spacing
calculation can also be edited manually. This editing can be
done independently for all parts and all Instrument Sets:

Editing Line Breaks

Try editing the automatically calculated line breaks in the
Violins 1 part. You will need the Layout Tool for this. It’s the
“hollow” arrow in the Toolbox.
™ opens the Toolbox, and % selects the layout tool from the Tip
open Toolbox.
Let’s suppose you’d like to move the last bar of the first staff
down into the second staff. Click-hold anywhere in this bar
with the layout tool (except directly on a note head or a
symbol), and move the mouse downwards. The mouse cursor
will initially be shaped like an open hand, and will then become
a hand with the thumb pointing down, as in the following illus-
tration:

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As soon as the cursor looks like this, you can release the mouse
button. The bar will now be moved to the lower staff.
It is also possible to move bars between staves in the other
direction. Drag the first bar of the third staff up to the second
staff. Click in this bar with the Layout tool, and drag the mouse
towards the upper staff. When the cursor becomes a hand with
the index finger pointing up, you can release the mouse button.
And now, a cautionary tale… If you move more bars into a staff
than Logic will allow according to its spacing settings, the notes
and symbols in the line may overlap slightly, especially when
using very small spacing values.
It is also possible to move several bars at once. To do this, posi-
tion the Layout tool in the next-to-last bar of a staff, for example.
The line break editing function is available when editing parts,
the full score, or any other Instrument Set. It does not matter
which staff of the score you click to move bars between stave
systems.
To finish off, here are some recommendations concerning this Tip
function:
• Start editing line breaks only after all musical input (notes
and symbols) has been finished, all note lengths are
displayed properly, all Score Styles and Text Styles have
been set as desired, and all instruments have been named
correctly. Any small change can result in a completely
different distribution of bars in the staves…

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• Always (in each part and in the score) work from the begin-
ning to the end. Consider this: if you don’t manually change
the line breaks in a staff, because you like it the way it is
(which happens quite often), it is calculated automatically.
Should you change anything in a preceding staff, everything
will be recalculated from that point to the end of the song/
part
• There is, however, a method which allows you to move a bar
from one staff to the next, without affecting subsequent
staves. Simply hold down A while moving a bar with the
Layout tool.
• If the very last staff of a part or score only contains a small
number of elongated bars, there are three possibilities:
- Change the line breaks of the preceding staves, in order to
move more bars into the last staff, and to evenly distribute
the bars across the last few staves.
- Grab the right end of the last staff with the Layout tool
(just inside the page margin), and drag it to the left until it
looks satisfactory.
- In the Global Format window, deactivate Justify Last Staff.
Note that this may result in a shortened staff, especially
where smaller spacing values are used. In this scenario,
the previous method will work better.

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8.4 Global Text—Headers etc.
Did you print some pages of the full score earlier?
Good. If not, get to it.
We’d also like you to print out an instrument part now—it
doesn’t matter which one—or to open two large Score Edit
windows side-by-side. These should show the full score and an
instrument part, both in page view. This will allow you to
compare the two, and to directly see the details which are
described in the following section.
On these printouts (and also onscreen), you can see some text
elements in the header zone, and outside the green margin
lines. Despite only being inserted once, these text elements are
visible on each part and in the score, with some of them shown
on every page. In Logic, this type of text is called Global Text.
Note that Global Text is only visible in page view.
A text object automatically becomes “global” if you insert it
outside the green margin lines, or into the header zone. You can
find more related information in this tutorial under “Inserting
Text” on page 98, and “Header Text” on page 99. Needless to
say, you’ll also find a wealth of information in the Global Text
section of the Logic Reference manual.
The appearance of these Global Text objects is dependent on
the chosen Text Style, which can be assigned in the Event
Parameters Box (Style parameter) of the Score Edit window,
while the text object is selected.
The instrument names are not text objects. As described above,
they are defined in the Instrument Set window. Their position
and appearance is defined in the Numbers & Names dialog
(found in the Layout menu), which we will discuss shortly.
For now, let’s take a closer look at these Global Text objects. As
an exercise, you can delete and reinsert them, if you wish:
• To create the header, sub-header, tempo indication (“Molto
Allegro”) and composer’s name, the TEXT object (Partbox)

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was dragged directly into the header zone. The text itself
was then typed in, and finally, the text position was adjusted
as required.
• The (very small) “W. [Link] / Symphony in G Minor” text in
the lower right corner of all pages was also created this way.
• In the lower left corner of all pages, you can see the “Score
Tutorial Song 7” text. This is an automatic text object, derived
from the SOnG object found in the text objects Partbox
group. This object always displays the current file name. So
if you saved this file under another name, the other name
would be displayed here.
• Beginning on the second page, the instrument name is
displayed at the top of every page (centered). This is another
automatic text object, namely the INST. In extracted parts,
the name of the currently displayed instrument is shown. In
scores, the name of the Instrument Set (“Full Score” in our
example) is displayed. This effective method labels all
instrument parts automatically.
We’d like you to select each of these objects one by one, to see
their position parameters in the Event Parameters Box. Start
with the tempo indicator, “Molto Allegro”. Here are the param-
eters for this object:

Some of the following parameters only exist for Global Text

elements. Here’s an explanation of the most important features

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(more detailed information can be found in the Global Text
section of the Logic Reference manual):
• The Pages parameter determines if a text object will be
displayed on all pages, on even or odd-numbered ones, only
on the first page, or on all pages except the first page.
“Molto Allegro” should only be visible on the first page, so “1”
is selected here.
A typical example for “2…” is the automatic INST text
object, which displays the current instrument (or Instrument
Set) name. This is centered at the top of all pages, starting on
page 2 of every part and the score.
• The Zone and [Link]. parameters determine the horizontal
position of the text object on the page. The Zone setting
defines the basis which the [Link]. setting refers to.
• The vertical position is measured by the Align and [Link].
parameters. Here, Align defines the basis (centered, left,
right etc.) which [Link]. refers to.
• Although it is possible to alter the appearance of a text object
by changing the Font and Size settings here, it is recom-
mended that you use different Text Styles for this purpose.
Text Styles can be edited in the Text Style window (Text > Text
Styles menu), where you can also create new Text Styles.
Newly created Text Styles are added to the list of available
styles. This list appears when you click next to the Style
parameter in the Event Parameters Box.
• Please note that the Stave and Lyric parameters do not affect
Global Text at all.

Page and Bar Numbers

Both page and bar numbers are automatic functions. Settings
for these parameters can be found in the Number & Names dialog
window. This dialog window can be accessed via the Layout
menu, or with a double-click on any bar or page number:

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Comprehensive information about all of these parameters can

be found in the Logic reference manual. Please note the
following details in our example:

Bar Numbers
• Bar numbers are only displayed at the beginning of every
staff or stave system, as is common practice in classical
music. The Step parameter has to be set to line for this (line
appears instead of zero).
• The Show at Double Bars option also places bar numbers
above all double bar lines and repeat signs, as in bar 101.
• If Top/Bottom Staff only is activated, bar numbers will only be
displayed once in the score—above the top or below the
bottom staff. If you deactivate this option, bar numbers will
appear in all staves where the barlines don’t connect to the
staff above.

Page Numbers
• The automatic page numbering option is activated here.
The position is defined as 0.2 centimeters above the bottom
of the page, and centered.

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• As Hide 1st Page Number is activated, the automatic
numbering begins on page 2, which is the same in all parts,
and in the score.
• The “page” prefix makes all page numbers appear as
“page 2”, “page 3”, “page 4” etc.

8.5 Details, Hints and Tricks

Although unrelated to the main topics of this chapter, there are
some details in the notation of this piece which are worth taking
a closer look at.

Transposed Parts
As is usual, the transposed parts in this piece (i. e. the clarinet
and horn parts) use Score Styles with transposition parameters
(Trp) set accordingly. To see an example, open the Score Style
window (via the Layout menu, or with a double-click on the
Score Style setting in the Display Parameters Box), and select
the Horn in Bb Score Style:

Take a look at the transposition (Trp) and Key parameters: Trp is

set to +2, as the french horn in Bb is written a whole step (or 2
half steps) higher than it sounds. Key is set to Show here, which
is the default setting. Consequently, the key signature is also
transposed according to the transposition setting: G minor (2
flats) becomes A minor, which has no accidentals at all. The
same transposition principles apply to the clarinet parts.
There is a special situation, however, in the staff of the French
horn in G: The Horn in G Score Style transposes up a perfect
fourth, which is +5 semitones. This would result in a C minor
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key signature or three flats. To avoid this, the Key parameter in

this Score Style is set to Hide, so this part is displayed without
any key signature.
This is quite a special situation, which usually only happens
with french horn parts. If all transposing instruments in a score
be notated without a key signature (for instance in atonal
music), it is better to open the Clefs & Signatures dialog (Layout
menu), and deactivate Automatic Key Transposition.
This was just a quick glance at some concepts—comprehensive
information about Score Styles can be found in the Logic
Reference manual.

Editing Ties
Switch to Screenset 6, where the flute part is displayed. Take a
look at bars 34 to 36:

If several notes are tied to each other, it actually means that one
note is held over the length indicated by all of the tied notes. As
you know, Logic’s score display is based on MIDI notes, so the
same principle applies here: As soon as it’s necessary to notate
a held note as several tied notes, Logic will do so automatically.
This said, only one note is played and saved in the song file in
these situations.
The illustration above is a good example of this. Each bar only
contains two MIDI notes: the E on the first beat and the eighth
note, the F. The second visible E only lengthens the E on beat
one, because this note can only be notated properly as two
graphically tied notes.
The three bars we’re looking at are actually musically identical.
The second and third bars, as you can see, are notated differ-

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ently. Why is that? By default, Logic displays this rhythmical
cadence the way it’s written in the second and third bar—as a
dotted half note tied to an eighth note. If you prefer the way it’s
written in the first bar, there is a simple method to achieve this.
Try the following method in the second bar (bar 35):
• Select an eighth rest symbol from the Partbox. Drag it
exactly to the second beat of bar 35 in that flute staff (note:
the time signature is 2/2, so we are talking about the second
half note beat). To avoid mistakes, watch the Info Line as you
insert the rest symbol. The bar position has to be [Link]. As
soon as the Info Line shows this position, release the mouse
button to insert the rest.
• The rest will disappear, but the note display has changed.
The E is now displayed as a half note tied to a dotted quarter.
• So, what happened? By inserting a user rest (i. e. a rest from
the Partbox), the insert position of that rest becomes visible.
If (as in our example) a note is held at this position, the
display of the note will change. The bar position of the
inserted rest is now displayed as a graphical note which is
tied to other notes. The overall note length remains the
same. This is the standard method to use in Logic to change
automatically displayed ties.
• The rest itself remains invisible. If you accidentally inserted
it at the wrong position, you would need to edit its position
(or delete it) in the Event Edit window.
Repeat this process to edit the tie display in bar 36 of the flute
part. The result should look like this:

You may also wish to utilize this method at other locations in

this piece. You can always revert to the original display by
deleting the User Rests in the Event Edit window.
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Trill Notation
Still in the flute part on screenset 6, take a look at bar 65:

Both the trill symbol and the trill line are graphical symbols,
which have no effect on the MIDI playback. Bizarrely, if you
listen to the playback, you will actually hear a trill. To under-
stand the solution to this “mystery”, take a look at the list
display in the Event Edit window, which is partially visible
behind the Score Edit window.
In the Score Editor, click on the C (first beat of bar 65) to select
it. This note is also selected in the Event Editor. If you bring
this window to the front, you will see that bar 65 contains many
more notes than are shown in the score:

Compare the display in both windows, and the MIDI playback

in the bar. To get this score result the following method has
been used:

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• Bar 65 has been isolated as an independent sequence, by
cutting it out of a longer sequence with the Scissors tool. This
sequence is one bar long.
• A new Score Style (called “Treble Ch.1 only”) has been
created especially for this sequence, using the ***DUPLI-
CATE*** entry in the Score Style flip menu. A copy of the
original style (“Treble”) was made while the sequence was
selected. A single detail was changed in the settings of this
newly created Score Style (in the Score Style window):

• The difference from the original style is the channel setting

(Chan): This parameter was changed to “1”. As a result, notes
with other MIDI channels will not be displayed when using
this Score Style. (This does not affect MIDI playback, as the
playback channel is determined by the channel setting of
the Track Instrument in the Arrange window’s Track List.)
• The MIDI channel of the short trill notes was changed to
“2”, and therefore, these notes don’t appear in the score
display.
• Finally, it was necessary to insert a long note on the first
beat—the dotted half note tied to an eighth which you see in
the score display. This note—the C at bar position [Link]—
was inserted with the mouse. Its MIDI channel is set to 1,
because it has to be visible. Its note, however, has to be inau-
dible, since the playback (= the trill) is already correct. To
achieve this, the velocity value for this “C” was set as low as
possible, which is 1. To filter this (already almost inaudible)
note from the MIDI playback, the lower one of the VLim
range parameters in the Instrument Parameters Box of the flute
(Arrange window, screenset 2) was set to “2”: Consequently,
notes with a velocity of 1 on this track are filtered.

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• Eventually, the two graphical symbols (trill and trill line)

were inserted.
The same method was used in bar 65 of the oboe and first violin
staves, in bar 253 of flute, oboe 1 and violins 1, and similarly in
bars 247 to 250 of the first violins.

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