Is that my problem? Why there is no "Gb" key.

[bunny minaj]

i just bought Studio one 7. And when I use score view function. Why there is no "Gb" key. Is that something wrong?? TAT

 

[Doc McCoy]

For some reason the devs decided to opt to view all the "normally" flat keys (like Gb) as their sharp equivalent. So Gb is F# and Eb is D#. This is one of the great mysteries of life, but S1 is cool enough that you'll get used to it.

 

[Trucky]

Welcome to the Forum!

Please note that the "G flat choice missing from Score Track Transposition dropdown" issue has been reported.

 

[Lukas]

For some reason the devs decided to opt to view all the "normally" flat keys (like Gb) as their sharp equivalent. So Gb is F# and Eb is D#

But neither Gb nor F# are in the list

Why there is no "Gb" key. Is that something wrong?? TAT

What you're showing is not the key signature - it's the transposition setting. The key (as Trucky said) is set in the key selector in the transport bar - or in the signature track if you need to change the key in your song.

 

[dominicperry]

So, you're in a "flat" key (F has one flat) and you want to pick a flattened 2nd - i.e. Gb - and you can't? You have to change the key of the piece in order to write a perfectly reasonable (if marginally unusual) accidental?
All notes are allowed. They have been since at least 1920!

Dominic

 

[Trucky]

Change the key here in the song...

 

[daw stew]

The reason why Gb doesn't exist as a key is because you can't have both Bb AND B in the same key. It would be easier for it to be F# so that in the written music it would be A# then B

 

[dominicperry]

Drivel.
Any and all accidentals are legitimate in any key signature. The score editor should support that. You don't need to change the key signature on the stave to move into a different key which needs alternative accidentals and you should be able to notate whatever dissonances you want in whatever key you want.

 

[apessino]

Drivel.
Any and all accidentals are legitimate in any key signature. The score editor should support that. You don't need to change the key signature on the stave to move into a different key which needs alternative accidentals and you should be able to notate whatever dissonances you want in whatever key you want.

Geezus - are you all kidding now? The score editor does support all key signatures, of course, as it has been pointed out in this very thread THREE TIMES ALREADY, or as it takes about 30 seconds to go verify for yourself.

The OP was looking at the INSTRUMENT TRANSPOSITION option for the staff, NOT the key signature. The keys there are shortcuts for the transpositions used in musical instruments, such as a HORN IN F or a CLARINET IN Eb. There is no instrument that transposes to Gb (or F#) so neither is in that menu. Notice the label that says TRANSPOSITION right above the popup, or the further octave transposition options right next to it? There is your hint.

Key signatures are entered in the dedicated track, and they show up in the score just fine.

Seriously, take 5 minutes to research something before you catapult yourself here all outraged about imaginary shortcomings.

 

[dominicperry]

Geezus - are you all kidding now? The score editor does support all key signatures, of course, as it has been pointed out in this very thread THREE TIMES ALREADY, or as it takes about 30 seconds to go verify for yourself.

The OP was looking at the INSTRUMENT TRANSPOSITION option for the staff, NOT the key signature. The keys there are shortcuts for the transpositions used in musical instruments, such as a HORN IN F or a CLARINET IN Eb. There is no instrument that transposes to Gb (or F#) so neither is in that menu. Notice the label that says TRANSPOSITION right above the popup, or the further octave transposition options right next to it? There is your hint.

Key signatures are entered in the dedicated track, and they show up in the score just fine.

Seriously, take 5 minutes to research something before you catapult yourself here all outraged about imaginary shortcomings.

Fair enough. I missed the point somewhere along the line. But, if this discussion has nothing to do transposition, it should also have nothing to with the key signature - which will often remain consistent through a long peried of a piece, even if it modulates. If you can enter all the accidentals you need under any circumstances (which you are saying is possible), then the point is moot and my rantings are unnecessary.

 

[apessino]

Fair enough. I missed the point somewhere along the line. But, if this discussion has nothing to do transposition, it should also have nothing to with the key signature - which will often remain consistent through a long peried of a piece, even if it modulates. If you can enter all the accidentals you need under any circumstances (which you are saying is possible), then the point is moot and my rantings are unnecessary.

The score editor in S1 is, by DAW standards, one of the best featured - short of avant-garde, Penderecki level of non-standard notation, and if you have the patience, you can notate pretty much anything.

Of course it is still a DAW first, so for more advanced workflows (and for much faster results if you need publication level of engraving) you'd be better off exporting to Dorico or MuseScore (or at least Notion), but you ABSOLUTELY can notate any combination of accidentals, key/time signatures, intervals, instruments, etc. your heart desires. Often it is all you need for session players and even for orchestral parts, especially if you write in score-friendly ways in the first place, such as using articulation sets instead of "raw" key switches, applying delays at the track level, etc. That will make the transition from MIDI data to score much easier for S1 to perform.

 

[dominicperry]

The score editor in S1 is, by DAW standards, one of the best featured - short of avant-garde, Penderecki level of non-standard notation, and if you have the patience, you can notate pretty much anything.

Of course it is still a DAW first, so for more advanced workflows (and for much faster results if you need publication level of engraving) you'd be better off exporting to Dorico or MuseScore (or at least Notion), but you ABSOLUTELY can notate any combination of accidentals, key/time signatures, intervals, instruments, etc. your heart desires. Often it is all you need for session players and even for orchestral parts, especially if you write in score-friendly ways in the first place, such as using articulation sets instead of "raw" key switches, applying delays at the track level, etc. That will make the transition from MIDI data to score much easier for S1 to perform.

Thanks for the calm response. Apologies - I failed to get what the problem was or what the responses meant. I agree that the Score view is pretty good for a DAW - I've compared it to Pro Tools, MuseScore, Reaper and Logic and generally prefer the output from S1. But I only use it for one specific thing - I improvise on an external keyboard and simultaneously record the midi, and then print out the midi as a score to work out what I did. So the biggest issue I have is how the DAW chooses to interpret the timing. The same midi file creates a wildly different set of scores from the applications listed - Logic always seems to have 1000 pedal markings per bar, Reaper turns everything into hundreds of tied notes bunched together, MuseScore, PT and S1 are of different opinions on key and time signature.
S1 does produce slightly mental chords with sharps and flats in (see image), which I'm happy to read and play, but that was what made me surprised by the comments above. And then I went off on one.....

 

[daw stew]

I think I wasn't clear in how I described GB as a key. If you are sight reading the music then in Gb the key signature would show that every B note would be flattened to Bb unless indicated in the music as a B natural, but this is tedious to write and unnecessarily confusing to the reader. To simplify this would be to use F# rather than Gb. By doing so the notes would be A#, B. That's much easier to read as you automatically know that all A notes are A Sharp and B is always B. Of course music doesn't always stick to the key signature, after all music theory is a guide not a rule .

 

[SwitchBack]

I'd love to see some AI in this area, transcribing midi to notation. Provide a little extra info (key, resolution, w/wo trebles, w/wo intended swing, ...) and have the AI suggest a cleaned up version of the piece. That would save sooo much time

 

[ozinga]

I think I wasn't clear in how I described GB as a key. If you are sight reading the music then in Gb the key signature would show that every B note would be flattened to Bb unless indicated in the music as a B natural, but this is tedious to write and unnecessarily confusing to the reader. To simplify this would be to use F# rather than Gb. By doing so the notes would be A#, B. That's much easier to read as you automatically know that all A notes are A Sharp and B is always B. Of course music doesn't always stick to the key signature, after all music theory is a guide not a rule .

In the key of Gb there is Cb, so no need to write B Natural since when pleyers sees a C they will play Cb.
In any case as Trucky replied it is a reported issue to be corrected.

 

[daw stew]

In the key of Gb there is Cb, so no need to write B Natural since when pleyers sees a C they will play Cb.
In any case as Trucky replied it is a reported issue to be corrected.

But that's the thing, there is no Cb, it's B. Same with saying it's E#, no it's F.
If you were to write the F# scale you would see
F#, G#, A#, B, C# as the first 5 notes in the scale

 

[ozinga]

But there is Cb and it is in the Gb Key Signature
Otherwise it would not exist. Also it is not uncommon to use Cb Fb or double sharps, flats etc in scores.