Very cool video! Hope to see part two! Another issue I've noticed is that when time signatures change precisely at the same time the page does, they don't look big in the end of the previous page.
Oh yeah - on second thoughts I should have included that. This was actually easier to deal with in MS3 as well, because you could just make the courtesy time signature transparent, and paste a large one right on top of it. Much more of a headache in MS4 because of the regression with transparent text. The workaround of making it invisible doesn't work because that also makes the staff lines invisible. Annoying! So this is what I do: select the courtesy time sig, uncheck auto-place, and drag it downwards. So that it's in the space BELOW the staff (if you drag it to the side, it'll change the length of the staff lines in that "bar"). Change the text colour to white. And then you can paste a large time signature onto the last note or rest of the previous bar, and adjust its position as usual. It's pretty irritating (and subject to get messed up if other formatting elements change position). So i'd recommend, if possible, to use page breaks wisely to avoid the situation entirely.
Thank you so much! I never need full scores nor do I work on film music, but there are some advanced layout settings explained here that are so useful in lead sheets as well. Please make more videos like this 🙂
This is an amazing crash course for formatting and especially for the time signature plugin, thank you so much! Musescore really needs to make the large time signatures a basic aspect of the software. Studying film scoring myself I'm really glad i came across this and have shared it with my peers :) 2 other things as well: at 4:30 when you widen the distance between the first system and the title, this can actually be done by dragging the title text frame! You can also adjust it in more detail via properties, as well as have it automatically scale with the staff size (something I found out in my most recent score). Lastly, question about single time signatures in orchestral scores: my most recent piece is about a minute long and is only in 4/4 (plus a 2-beat anacrusis). Is it necessary to make it a large time signature or would it be fine in a regular format? _I'mmoresoaskingthisbecauseI'vealreadysubmittedthe scorewithoutdoingLTSbecauseIdidn'tknowaboutthepluginandneedreassurance..._
You are cutting off a Hydras head in the spacing chapter. The score started out so nice and every note was readable, until you reduced the scaling, just to literally compensate for every issue this causes (tempo text size, spacing, page breaks) and to increase the scaling again afterwards. I dont know whether film conductors prefer that, but I wouldnt to be honest
Film scores look a specific way, and this kind of formatting is standard. The settings I used are just suggestions - if I printed this out on tabloid paper and it still looked too small, I would increase it. The point of this video was to show you where the settings are, so that you can set the sizes for yourself.
I don't quite understand why it is a good idea to first alter things that you only want changed in the main score and then reset them one by one for all the parts. Wouldn't it be a lot simpler to make the parts first and then alter the main score?
Because the main score is the source from which the parts are derived. If you do the parts first, elements on the main score may change or move around - and then you'll have to keep track of that and constantly hunt down where any unwanted changes came from. This guide is specifically for formatting, not composing / arranging - that side of things is ideally already finished by this stage.
@@ferizsolnai Yes that's what I said. Nothing in the music is changing here. It's only sizes, symbols, text, things like that. Why do you think it would be easier to do the parts first?
@@shireenisanokapi1142 I already wrote it down. in the video, you change certain things (like the time signature) in the main score, only to change it back manually on each part to its original look, doing the same thing over a dozen times. if you make the parts first, and then go back to the main score, you only have to change these things once. is it really unclear?
@@ferizsolnai changing elements on the score will change things on the parts automatically. Eg. with the time signature - it will be normal on the parts, until you change it on the score. If you did the parts first, you'd have to format them, then format the score, then go back into the parts again, because changing the score would change the parts. Try doing it both ways and see for yourself. You'll understand why the score comes first.
There is no way this thing is this hard I think you are not aware of a better way of doing this perhaps …if it is this hard I am gonna go back to Dorico
Incredible. This is so helpful!!!! Thank you a ton! Definitely saves me so much time. You rock!
Very cool video! Hope to see part two!
Another issue I've noticed is that when time signatures change precisely at the same time the page does, they don't look big in the end of the previous page.
Oh yeah - on second thoughts I should have included that. This was actually easier to deal with in MS3 as well, because you could just make the courtesy time signature transparent, and paste a large one right on top of it.
Much more of a headache in MS4 because of the regression with transparent text. The workaround of making it invisible doesn't work because that also makes the staff lines invisible. Annoying!
So this is what I do: select the courtesy time sig, uncheck auto-place, and drag it downwards. So that it's in the space BELOW the staff (if you drag it to the side, it'll change the length of the staff lines in that "bar"). Change the text colour to white. And then you can paste a large time signature onto the last note or rest of the previous bar, and adjust its position as usual.
It's pretty irritating (and subject to get messed up if other formatting elements change position). So i'd recommend, if possible, to use page breaks wisely to avoid the situation entirely.
This was video was so helpful you have no idea!! Thank you so much for all the info!
Thank you so much!
I never need full scores nor do I work on film music, but there are some advanced layout settings explained here that are so useful in lead sheets as well.
Please make more videos like this 🙂
I first approached Music Copying when it was all on paper; it's amazing how facile it is with computer engraving.
Excellent, great info, thanks very much.👍
This is an amazing crash course for formatting and especially for the time signature plugin, thank you so much! Musescore really needs to make the large time signatures a basic aspect of the software. Studying film scoring myself I'm really glad i came across this and have shared it with my peers :)
2 other things as well: at 4:30 when you widen the distance between the first system and the title, this can actually be done by dragging the title text frame! You can also adjust it in more detail via properties, as well as have it automatically scale with the staff size (something I found out in my most recent score).
Lastly, question about single time signatures in orchestral scores: my most recent piece is about a minute long and is only in 4/4 (plus a 2-beat anacrusis). Is it necessary to make it a large time signature or would it be fine in a regular format?
_I'mmoresoaskingthisbecauseI'vealreadysubmittedthe scorewithoutdoingLTSbecauseIdidn'tknowaboutthepluginandneedreassurance..._
so cool and informative and COOL!!!
I found this totally confusing. But I appreciate your efforts.
You are cutting off a Hydras head in the spacing chapter. The score started out so nice and every note was readable, until you reduced the scaling, just to literally compensate for every issue this causes (tempo text size, spacing, page breaks) and to increase the scaling again afterwards. I dont know whether film conductors prefer that, but I wouldnt to be honest
Film scores look a specific way, and this kind of formatting is standard. The settings I used are just suggestions - if I printed this out on tabloid paper and it still looked too small, I would increase it. The point of this video was to show you where the settings are, so that you can set the sizes for yourself.
I don't quite understand why it is a good idea to first alter things that you only want changed in the main score and then reset them one by one for all the parts. Wouldn't it be a lot simpler to make the parts first and then alter the main score?
Because the main score is the source from which the parts are derived. If you do the parts first, elements on the main score may change or move around - and then you'll have to keep track of that and constantly hunt down where any unwanted changes came from.
This guide is specifically for formatting, not composing / arranging - that side of things is ideally already finished by this stage.
@@shireenisanokapi1142 you do formatting after the main score has been finalised, no? if it changes after your made the parts, it wasn't done.
@@ferizsolnai Yes that's what I said. Nothing in the music is changing here. It's only sizes, symbols, text, things like that.
Why do you think it would be easier to do the parts first?
@@shireenisanokapi1142 I already wrote it down. in the video, you change certain things (like the time signature) in the main score, only to change it back manually on each part to its original look, doing the same thing over a dozen times. if you make the parts first, and then go back to the main score, you only have to change these things once. is it really unclear?
@@ferizsolnai changing elements on the score will change things on the parts automatically.
Eg. with the time signature - it will be normal on the parts, until you change it on the score. If you did the parts first, you'd have to format them, then format the score, then go back into the parts again, because changing the score would change the parts.
Try doing it both ways and see for yourself. You'll understand why the score comes first.
There is no way this thing is this hard I think you are not aware of a better way of doing this perhaps …if it is this hard I am gonna go back to Dorico
No one is stopping you from using Dorico. Feel free to make a video of your own if you think you know better,