Garritan Personal Orchestra Sibelius Edition User Guide

Sibelius Edition

User Guide

Garritan Personal Orchestra

Edition 1November 2005

User Guide written by Daniel Spreadbury, with contributions by Gary Garritan,Tom Hopkins, Reuben Mitchell and David Harvey.

Project Manager: Bill MartenProducer: Gary GarritanDirector of Programming: Tom HopkinsDirector of Software Development: Jeff HurchallaSibelius sound set programming: Reuben Mitchell and David Harvey

Please email any suggestions you have for improvements to this User Guideto [email protected].

Garritan Personal Orchestra Sibelius Edition User Guide copyright © SibeliusSoftware Ltd. 2005.Published by Sibelius Software Ltd., The Old Toy Factory, 20–22 City North, Font-hill Road, London N4 3HF, UK

All rights reserved. This User Guide may not be reproduced, stored in a retrieval system or transmitted inany form or by any means – electronic, recording, mechanical, photocopying or otherwise – in whole orin part, without the prior written consent of the publisher. Although every care has been taken in thepreparation of this User Guide, neither the publisher nor the authors can take responsibility for any loss ordamage arising from any errors or omissions it may contain.

Sibelius, the Sibelius logo, Scorch, Flexi-time, Espressivo, Rubato, Rhythmic feel, Arrange, ManuScript,Virtual Manuscript Paper, House Style, SoundStage, Opus, Inkpen2, Helsinki, magnetic, multicopy, Opti-cal, Dynamic parts, the blue notes and double helix logos, SibeliusMusic.com, SibeliusEducation.com,‘The fastest, smartest, easiest way to write music’ and ‘99% inspiration, 1% perspiration’ are all trade-marks or registered trademarks of Sibelius Software Ltd. in the USA, UK and other countries. All othertrademarks are acknowledged as the property of their respective owners.

Garritan Personal Orchestra® is a registered trademark of Garritan Corp. Use of the Garritan PersonalOrchestra® library and the contents herein are subject to the terms and conditions of the license agree-ment distributed with the library. You should carefully read the license agreement before using this prod-uct. The sounds presented in Garritan Personal Orchestra® are protected by copyright and cannot bedistributed or copied, whether modified or unmodified. Kontakt™ is a trademark of Native InstrumentsGmbH. Steinway™ is a trademark of Steinway & Sons and is used by permission. VST™ is a trademark ofSteinberg. The information contained herein may change without notice.

ContentsIntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Installation on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Installation on Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Technical help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Getting started 9GPO in five minutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Choosing a sound set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Choosing instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15What Sibelius interprets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Basic percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Advanced use 27Setting up Kontakt Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Garritan Personal Orchestra Options . . . . . . . . . . . . . . . . . . . . . . . . . 30Fine-tuning your performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Brass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Keyboards and harp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Appendices 47Appendix A: List of instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Appendix B: Percussion instrument mappings . . . . . . . . . . . . . . . . . 66License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Garritan Personal Orchestra Sibelius Edition User Guide

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IntroductionWe have all cherished the sound of a symphony orchestra. Orchestral music iseverywhere around us – in the movies, on television, in interactive games, liveperformances, radio and in public venues. It is hard to escape the power and influ-ence that orchestral music has. What makes orchestral music so expressive andvibrant is its wide variety of instruments.

Sometimes we might even wonder how it feels to conduct an orchestra or how ourmusic would sound in the hands of a capable orchestra. New computing and sam-pling technology now makes this possible.

We have put together a package that will allow you to realize your creative poten-tial. The following presents some of the outstanding features of Personal Orches-tra:

* A complete orchestra at your fingertips: Garritan Personal Orchestra is an afford-able, easy-to-use and thoroughly comprehensive orchestral library. It includesall the major instruments of the orchestra: strings, brass, woodwinds, percus-sion and keyboards.

* Highest-quality orchestral instruments: includes quality instruments such as aSteinway™ piano, a Stradivarius violin, Guarneri and Gagliano Violins, Wurl-itzer harp, Haynes flutes, Heckel bassoons and many other exquisite instru-ments.

* No sampler required: the entire orchestral library is integrated with the NativeInstruments Kontakt™ Player and works directly within Sibelius. No need topurchase a separate sampler.

* Notation integration: Sibelius can automatically realize great-sounding orches-tral playback directly from the score.

* Suited for everybody: professional film composers can use this collection forquick orchestral sketches and capturing creative ideas. Hobbyists can use it foradding orchestrations to their tracks. Educators and students can use it forscoring projects or studying orchestration.

Garritan Personal Orchestra is a dynamic library with a very active community.Please check www.garritan.com or www.sibelius.com for the latest up-to-dateinformation, FAQs, troubleshooting, helpful hints and tutorials.

http://www.garritan.com/

http://www.sibelius.com/

Installation on Windows

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Installation on Windows

System requirementsRequires 2GB hard disk space (in addition to Sibelius 4); Windows XP (or someWindows 2000 configurations); DVD drive; Sibelius 4.1 or later. Additionally:

* Scores that use up to about 8 different sounds: 1.8GHz processor or faster, 1GB+RAM (1.5GB+ recommended), preferably ASIO-compatible sound card.

* Scores that use up to about 20 different sounds: 2.5GHz processor or faster,1.5GB RAM. ASIO-compatible sound card strongly recommended (not soundchip on motherboard), preferably separate graphics card.

* Scores that use reverb or more than 20 different sounds will need a faster proces-sor and more RAM.

Before you installBefore you install GPO Sibelius Edition, you should ensure you have alreadyinstalled Kontakt Player Silver (and Kontakt Gold, if you have it), and haveinstalled the latest updates from your Sibelius 4 CD-ROM.

You should also ensure that you are running Sibelius 4.1 or later (check the versionnumber in Help > About Sibelius). You can download the latest version by choos-ing Help > Check For Updates.

Installing Garritan Personal Orchestra* Quit Sibelius, if it is running.* Insert your Garritan Personal Orchestra Sibelius Edition DVD into your DVD-

ROM drive, label side up. After a few moments, an installation program willstart automatically.

* Click Next, then I Accept.* You will be prompted for a serial number, which you will find on a label inside

the DVD case that your GPO Sibelius Edition disc came in.* Installation will use the same location as your existing Kontakt Player Silver or

Gold installation. Click Next.* Adjust the name/location of the Start menu icon group, if you can be bothered,

then click Next.* A progress bar will appear as everything is installed to your hard drive. Beware

that the time estimate given on the screen is normally wrong by an order ofmagnitude, and it may take several minutes to install everything.

* You will be told that installation has completed successfully. Click Finish.* Now turn to GPO in five minutes on page 10 to get started.


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Installation on Mac OS X

System requirementsRequires 2GB hard disk space (in addition to Sibelius 4); Mac OS 10.3.9 or later;DVD drive; Sibelius 4.1 or later. Additionally:

* Scores that use up to about 8 different sounds: G4/G5, 1GB+ RAM (1.5GB+ rec-ommended).

* Scores that use up to about 20 different sounds: 1.8GHz processor or faster,1.5GB+ RAM.

* Scores that use reverb or more than 20 different sounds will need a faster proces-sor and more RAM.

Before you installBefore you install GPO Sibelius Edition, you should ensure you have alreadyinstalled Kontakt Player Silver (and Kontakt Gold, if you have it), and haveinstalled the latest updates from your Sibelius 4 CD-ROM.

You should also ensure that you are running Sibelius 4.1 or later (check the versionnumber in Sibelius > About Sibelius). You can download the latest version bychoosing Help > Check For Updates.

Installing Garritan Personal Orchestra* Quit Sibelius, if it is running.* Insert your Garritan Personal Orchestra Sibelius Edition DVD into your DVD-

ROM drive, label side up. An icon will appear on your desktop; double-click it.* In the window that appears, double-click Install GPO Sibelius Edition.* You will be prompted to authenticate, so enter your password and click OK.* You will see a license agreement; click Continue, then Agree.* Click Install.* You will be prompted for a serial number, which you will find on a label inside

the DVD case that your GPO Sibelius Edition disc came in.* A progress bar will appear as everything is installed to your hard drive. It may

take several minutes to install everything, so be patient.* You will be told that installation has completed successfully. Click Quit.* Now turn to GPO in five minutes on page 10 to get started.

Technical help

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Technical helpBefore seeking technical help, please ensure that your query is not answered bythe Handbook, tutorial videos, Sibelius Reference or the online Help Center:choose Help > Help Center in Sibelius, or visit www.sibelius.com/helpcenter.You can also ask your question on the chat page in the online Help Center, whereyou can get help from other Sibelius users.

We provide help on installing Garritan Personal Orchestra Sibelius Edition andusing it with Sibelius. If you have problems with your computer, printer, sound-card, MIDI equipment, scanner, web site, or other software, we will only be able tooffer general advice and may not be able to help – your hardware/software orInternet provider is ultimately responsible for solving this kind of problem.

How to get helpPlease use email, fax or mail rather than phoning if you do not need an immediateresponse.

If you phone for help, have this User Guide and a pen and paper to hand whenyou call, and be in front of your computer if possible.

Please contact the technical help center for the country where you bought Garri-tan Personal Orchestra Sibelius Edition. Technical help may be limited or unavail-able between 24 December and 1 January.

* Australia: Sibelius Australia Pty Ltd., 2/52 Weaver St, Edwardstown, SA 5039,tel: 08 82 771 722, fax: 08 82 771 799, email: [email protected]

* Austria: Weiss & Kadlec GmbH, Triester Strasse 261, A-1230 Wien, tel: 01 66745390, fax: 01 667 453921, email: [email protected]

* Belgium, Netherlands, Luxembourg: Music Electronics, Klokkengieterijstraat21, 9160 Lokeren, Belgium, tel: (+32) 09 348 5508 (Wednesday-Saturday 10.00-12.30 & 14.00-18.00, Sunday 14.00-18.00), fax: (+32) 09 348 2386, email:[email protected]

* Czech Republic & Slovakia: Disk Multimedia s.r.o., Nam.9 Kvetna 2, Boskovice680 01, Czech Republic, tel: 0501 454 769, fax: 0501 456 363, email:[email protected]

* Denmark: New Musik, Sindalsvej 48B, Risskov, DK-8240, tel: 0 87 32 87 00, fax:0 87 32 87 01, email: [email protected]

* Finland: Carbo’n Music Oy, Kauppatie 8, 04300 Tuusula, tel: 0207 411 370,email: [email protected]

* France: Steinberg France, 17 rue Curie, 94270 Le Kremlin Bicêtre, tel: 01 46 7742 40, fax: 01 46 77 42 41, email: [email protected]

http://www.sibelius.com/helpcenter/


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* Germany: M3C Systemtechnik GmbH, Grossbeerenstr. 51, 10965 Berlin, tel:030 789 0790 (Monday-Friday 13.00-17.00), fax: 030 785 6849,email: [email protected]

* Greece: Nakas Music House SA, 19km Leoforos Lavriou, Peania, 190 02, tel: 01210 668 6000, fax: 01 210 668 6108, email: [email protected]

* Hungary: Midisoft Studio kft, Szuglo u.54, 1145 Budapest, tel: 1 467 3310 / 1469 0699, fax: 1 467 3323, email: [email protected]

* Iceland: Tonastodin, Skipholt 50d, 105 Reykjavik, tel: 552 1185, fax: 562 8778,email: [email protected]

* Ireland: One Source Computer Services, Connect House, 115 Cork Street, Dub-lin 8, tel: 01 453 1233, fax: 01 454 5495, email: [email protected]

* Italy: Midiware, Via Cassia 1081, 00189 Rome, tel: 06 3036 3456 (Monday andThursday afternoons), fax: 06 3036 3382, email: [email protected]

* New Zealand: Computer Music Systems, PO Box 8, Helensville, tel: 09 420 9952,fax: 09 420 9957, email: [email protected]

* North, Central & South America: Sibelius Technical Help, 1407 Oakland Blvd.,Suite 103, Walnut Creek, CA 94596, USA. Email:[email protected], fax: 1-925-280-0008, tel: 1-925-280-2101,Monday to Friday 7:00am to 4:00pm PST, except holidays.

* Norway: Siv. Ing. Benum AS, PO Box 145, Vinderen, Oslo 0319, tel: 22 13 99 00,email: [email protected]

* Poland: Media Business Solutions, 21 Chelmska St. bud. 4 p. 41, 00-724 Warsaw,tel: 048 22 851 10 40, fax: 048 22 851 10 41, email: [email protected]

* Singapore & Malaysia: Graphic Edumedia, 61 Kaki Bukit Ave 1, #04-20 Shun LiIndustrial Park, Singapore 417943, tel: 674 93656 / 674 95691, fax: 065 67495691, email: [email protected]

* South Africa: Tuerk Music Technologies, Commercial City, Cnr. Tungsten &Hans, Strydom Park, PO Box 1016, Randburg 2125, tel: 011 792 8402, fax: 011792 8465, email: [email protected]

* Spain: Microfusa, Sepulveda 134, Barcelona 08015, Spain. Fax: 93 347 19 16, tel:93 435 36 82.

* Sweden: Fitzpatrick AB, Box 7292, 187 14 Taby, tel: 08 587 915 00, fax: 08 587915 99

* Switzerland: Giant Electronics Ltd., PO Box 142, Rue du Controle 15, 2501Bienne, tel: 032 322 5274, fax: 032 322 5278, email: [email protected]

* UK: Technical Help, Sibelius Software Ltd., The Old Toy Factory, 20–22 CityNorth, Fonthill Road, London N4 3HF. Email: [email protected],fax: 020 7561 7888 (+44 20 7561 7888), tel: 020 7561 7997 (+44 20 7561 7997)Monday-Friday 10am-6pm UK time except public holidays.

Getting started

Getting started

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GPO in five minutesUsing Garritan Personal Orchestra Sibelius Edition is very simple. To get great-sounding playback, all you have to do is:

* Choose the appropriate sound set for your score* Adjust the default choice of sounds in Sibelius’s Mixer window, if required* Ensure your score is marked up appropriately with dynamics, hairpins, slurs,

trills, and so on* Hit the Play button and listen to the results of your handiwork!

Choosing an appropriate sound setBecause Garritan Personal Orchestra has more than 280 sounds, we’ve supplied anumber of different sound sets suited to a variety of ensembles to help Sibeliuschoose the most appropriate default sounds for your score.

So once you know what forces you’re writing for:

* Choose Play > Playback and Input Devices* On the Playback Devices page, ensure that Kontakt Player is set as your

default device (on Windows, this means that the Use column is set to Yes forKontakt Player and to No for all other devices, and on Mac, Kontakt Playershould be selected and blue in color)

* Under the Sound set column, choose the most appropriate sound set, e.g. GPOModern Orchestra, GPO String Orchestra, or GPO Kontakt Gold Combo

* Click OK to close the dialog.

For help in choosing which sound set is most appropriate for which kind of score,see Choosing a sound set on page 12.

Adjusting the default choice of soundsEach of the sound sets includes a reasonable set of default sounds for your score’splayback. If you discover, however, that you prefer the lush violin sounds to thestandard sectional violin sounds, simply open Sibelius’s Mixer window, select thefader for the staff whose sound you want to modify, and choose the desired soundfrom the Sound menu. For help with using the Mixer window, refer to 4.2 Mixerin Sibelius Reference.

For more information about when you may want to adjust the default choice ofsounds, see Choosing instruments on page 15.

Marking up your scoreUnlike other advanced sample libraries, Garritan Personal Orchestra Sibelius Edi-tion is integrated into Sibelius itself, so there’s no need to jump through any of the

GPO in five minutes

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hoops normally associated with getting great sample playback from a notationapplication.

You don’t need to insert a whole new staff when you want your violin to switchfrom arco to pizz. You don’t need to add hidden notes to activate a keyswitch. Youdon’t need to laboriously record in modulation wheel changes or sustain pedalMIDI messages to achieve volume changes or legato.

Instead, you simply mark up your score with normal, musical markings: add slursfor legato, add hairpins for volume changes, add up-bow and down-bow articula-tions for quick runs of string notes, add “pizz.” and “arco” as text. Sibelius inter-prets all of these markings automatically to take advantage of many of theadvanced capabilities of the Garritan Personal Orchestra library.

For more information about exactly which markings Sibelius interprets, see WhatSibelius interprets on page 19.

Just hit PlayWhen you’re ready to hear your music brought to life, just click the Play button inthe Playback window, or hit Space. If you need help with the Playback window,see 4.1 Playback in Sibelius Reference.

If the necessary sounds haven’t been loaded into the Kontakt Player, they’ll nowload. A progress bar will then appear for a moment while Sibelius analyses yourscore and creates the appropriate controller messages. (If you have View > HiddenObjects switched on you may notice lots of small gray text items drawn above thestaves in your score – don’t worry, they’ll disappear again when you stop play-back.)

You’ll then hear your score played back with greater realism and expression thanever!

How to use the Kontakt PlayerTo show or hide the Kontakt Player window, choose Window > Kontakt Player(shortcut Ctrl+Alt+O or zXO).

Refer to the 4.9 Kontakt Player topic in Sibelius Reference for further detailsabout how to use the Kontakt Player interface.

Getting started

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Choosing a sound setBecause Garritan Personal Orchestra contains more than 280 different sounds, wehave provided 10 different sound sets designed for different ensembles, so you canin each case choose from a different subset of specially-targeted sounds drawnfrom the whole collection.

How to change sound set* Choose Play > Playback and Input Devices* Click in the Sound Set column to show the menu of sound sets, as shown:

* Choose the desired sound set, then click Close to confirm your choice.

See 4.10 Playback and input devices in Sibelius Reference for more help onusing this dialog.

GPO sound setsThe 10 supplied sound sets are as follows:

* GPO 32 Slot Orchestra: This is the best sound set for quickly setting up andplaying back any score. Only 32 instruments are available, to fit into the 32 slotsof the Kontakt Player, and each instrument has been carefully chosen to allowthe best overall coverage of most orchestral scores without having to spend timechanging sounds in the Mixer. Standard orchestral instrument staves in Sibeliuswill default to the closest-matching instrument, and non-orchestral instrumentstaves will default to piano, so you will never encounter staves in your scoreremaining silent during playback.

* GPO Baroque Orchestra: All the string instruments and their variants areincluded in this sound set, along with all the pipe organ sounds, to allow maxi-mum variation and choice. Period wind and brass instruments are chosenwhere available. Only the timpani and basic orchestral percussion instrumentsare available. This sound set is ideal for the kinds of forces used in Bach or Han-del oratorios and concertos.

Choosing a sound set

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* GPO Chamber Ensembles: A flexible sound set consisting of all the soloinstruments in the collection, as well as most of the ensemble (Plr) instruments,allowing you to build ensembles from individual instruments to your ownrequirements. A comprehensive set of percussion and keyboards, including thepiano duo instruments, means just about every chamber ensemble possibility iscovered.

* GPO Classical Orchestra: This sound set has an emphasis on strings, includingas many variations and effects as possible. Percussion is trimmed back, butthere is a full complement of keyboard instruments, as well as most of the windand brass sounds. This sound set is ideal for the kinds of forces used inBeethoven symphonies.

* GPO Keyboards and Percussion: This sound set gives access to all the key-boards and percussion sounds in the library, some of which are not available inany other set.

* GPO Kontakt Gold Combo: This sound set is only suitable for use if youalready have Kontakt Gold installed as well as GPO Sibelius Edition. It com-bines the best of both Kontakt Gold and GPO, allowing access to the instru-ments otherwise not represented in GPO, such as voices, guitars and bassguitars, euphonium, Rhodes keyboard and saxophones.

* GPO Modern Orchestra: This is intended to be an all-purpose sound set, fea-turing guitar and tenor sax from the Kontakt Player Silver/Gold library andoffering the best set of options for winds, brass, percussion and strings. It hasonly a few solo strings and fewer keyboards but almost all the percussionoptions, catering more for the colorful orchestrations of modern orchestralmusic. This sound set is ideal for the kinds of forces used in twentieth centuryorchestral music, e.g. film scores.

* GPO Romantic Orchestra: Fewer percussion and string instruments give moreoptions for subtle changes of wind and brass in this sound set. However, a fullcomplement of Romantic-era percussion is available. Try using the “Lush”string instruments for that big Mahler-esque sound.

* GPO String Orchestra: All of the collection’s 95 string instruments are includedin this sound set. Each instrument has been carefully matched with effects suchas pizzicato, tremolo, mute, solo and tutti to allow easy score playback setup.Most of the percussion and keyboard sounds are also available in this set.

* GPO Wind Orchestra: This sound set features all solo wind and brass instru-ments and as many of the ensemble (Plr) samples as possible to allow for themaximum number of simultaneous individual wind and brass parts. It alsoincludes a wide selection of percussion, keyboards, tenor sax from KontaktPlayer Silver, and a double bass (string bass) instrument.

Getting started

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Different sound sets for different scoresBecause each of the sound sets contains a different subset of the available sounds,you will often need to choose different sound sets for different scores. To changethe sound set used by a score, see How to change sound set on page 12.

Sibelius will prompt you to reset the sounds in your score, so click Yes to confirmthe change. If Sibelius doesn’t prompt you to reset sounds, open Window > Mixer(shortcut zXM or M on Mac) and click the Reset Sounds button. When you saveyour score, Sibelius will also save your choice of sound set.

If you open a score that uses a different GPO sound set to the currently chosenone, Sibelius will automatically switch to that sound set, so you don’t need to keeptrack of which sound set you use for each score. If, for some reason, Sibelius can’tfind the GPO sound set used by a particular score, it will allow you to reset thesounds to the sound set currently in use instead.

Sibelius will only switch the sound set used by Kontakt Player if the sound set cur-rently in use is a GPO sound set; if Kontakt Player is in use but set to play back viae.g. the Kontakt Gold sound set, it will instead prompt you to reset the sounds.Similarly, if you have GPO Sibelius Edition installed, but Kontakt Player is not cur-rently set as an active playback device, Sibelius will not activate the Kontakt Playerdevice; instead, it will prompt you to reset the sounds.

Creating your own sound setBecause of all the extra information required to allow Sibelius to make use of themany special playback features in Garritan Personal Orchestra, and because eachsound set also needs its own corresponding set of sound description files for Kon-takt Player to use, it is not possible to create your own sound set for Garritan Per-sonal Orchestra Sibelius Edition.

Choosing instruments

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Choosing instrumentsOne of the joys of Garritan Personal Orchestra Sibelius Edition is the enormousvariety and attention to detail that is provided by having, for example, 95 differentstring sounds and effects or 28 individual wind instruments available to you.

So even though Sibelius always chooses appropriate sounds for each staff in yourscore, you may want to take advantage of some of this remarkable variety. Here aresome ideas to get you started.

Know your limitsThe first thing to do is find the playback limit of your computer, as this will affectthe choices you make. See Setting up Kontakt Player on page 28 for some stepsto work through to assess the capabilities of your current hardware and softwareconfiguration.

Choosing which instruments to useWhen you have determined how many slots you can comfortably use simulta-neously, you then need to decide which sounds to use.

Provided you have chosen the most appropriate sound set for your score, Sibeliuswill normally do a good job of deciding which sound to use for each instrument inyour score.

Sibelius attempts to allocate sounds into the smallest possible number of slots,because even the most powerful computer cannot currently handle playing 32slots simultaneously (with reverb) in Sibelius’s Kontakt Player.

Additionally, Kontakt Player cannot swap instruments during playback (that is,load a new sound into a slot that already has a sound loaded), so all the soundsyou want to use while playing back need to fit in 32 slots or fewer.

Percussive and sustaining instrumentsThere are two types of instrument in Garritan Personal Orchestra: percussiveinstruments, which use MIDI note velocity to determine their dynamics, and sus-taining instruments, which use velocity to determine attack, but use the MIDImodulation controller to determine dynamics.

Percussive instruments include piano, harpsichord, timpani, harp, and so on. Sus-taining instruments include strings, woodwind and brass.

Fortunately, you don’t need to think about this distinction at all, since Sibeliustakes care of this for you, automatically interpreting dynamics on sustaininginstruments as appropriate modulation controller changes.

Getting started

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Naming conventionsWhen you use the Mixer to change the sounds used by your score, you will noticethat the Garritan Personal Orchestra instruments are named in a specific way,with different suffixes depending on the type of instrument:

* KS = keyswitch – see Keyswitch instruments below* NV = non-vibrato; only specified where there is also a V alternative* V = vibrato; only specified where there is also an NV alternative* Solo = a solo instrument; there will also normally be either a section alternative

or Plr1, Plr2, etc. instruments* Plr1, Plr2 = instruments designed for doubling up to produce ensembles – see

Building ensembles with players below* Overlay = instruments designed to be added to existing combinations of Plr1,

Plr2 etc. instruments – see Building ensembles with players below* ag = aggressive; Sibelius does not use these by default, but they are available if

you require a more aggressive sound for a passage

Keyswitch instrumentsSeveral Garritan Personal Orchestra instruments make use of a technique calledkeyswitching. Instruments that support keyswitching use specific MIDI pitches(normally at the extremes of register, either very low or very high on a MIDI key-board) to tell the sampler to switch to a different sample. For example, for a violinsound, one keyswitch may tell the sampler to switch to a pizzicato sample, anotherkeyswitch may tell the sampler to switch to a half-step (semitone) trill sample,another may tell it to switch to a whole-step (tone) trill sample, another still maytell it to switch to a tremolando sample, and so on.

This is a convenient way of combining a number of different sounds and effectswithin an instrument that can be loaded into a single slot in the Kontakt Player.Keyswitch instruments are, therefore, larger and will take up more memory,though this should not normally be a problem, provided you are using KontaktPlayer’s Direct From Disk (DFD) streaming feature, which loads the samples bit bybit from your hard drive as they are needed rather than loading them into mem-ory in their entirety before starting playback.

By default, Sibelius will choose to use keyswitch instruments (denoted by havingKS in their names) where available, because this allows the greatest flexibility andexpression in playback.

If you know that you don’t need the extra sounds provided by a keyswitch instru-ment – e.g. if you never need tremolo, trill or pizzicato techniques in your stringwriting – then you can choose one of the smaller, more specialized instrumentsinstead.

Choosing instruments

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Building ensembles with playersIn orchestral scores using double, triple or greater numbers of wind and brassinstruments, two systems of notating these instruments are commonly used:either each instrument (e.g. horn 1, horn 2, etc.) has its own staff in the score, ormore than one instrument (but normally no more than two) share the same staff.

The Plr1 and Plr2 instruments are specially designed to ensure that if both instru-ments play the same note simultaneously, they do not use the same sample, thusavoiding the “phasing” that can jar the listener’s ear. For an even bigger sound, youcan add the FHorn Overlay f instrument to either of your existing horn parts.

To make use of these ensemble sounds in Sibelius, you will need to add extrastaves. You can, for example, add an extra staff, copy the music from the primaryinstrument staff to the new one, assign the new staff to use (say) the Plr2 instru-ment, then hide it using Layout > Focus on Staves.

For more details of using ensemble sounds, see Instruments sharing the samestaff below.

Instruments sharing the same staffWhen using Garritan Personal Orchestra in a sequencer, you might create separatetracks for, say, each horn instrument, assigning French horn 1 Plr1 KS to the firsttrack, French horn 2 Plr1 KS to the second track, and so on. This produces a sin-gle horn playing each horn part. You could then “double up” each horn player byadding tracks for French horn 1 Plr2 KS and French horn 2 Plr2 KS, which pro-duces two horns on each part.

These techniques, however, are less convenient in Sibelius, where instrumentsoften share the same staff. So you should be aware of the following limitations:

* The most important case is that of two woodwind or brass parts written on thesame staff. The default GPO Plr1 or Plr2 instruments cannot play the followingsituations: more than two notes simultaneously; a normal sample and an effect(say, mute) simultaneously; or a “resound”, where one part is holding a longnote and the other part plays the same pitch at some point during the long heldnote (the long note will stop after the other part has finished). If your scoreexhibits any of these situations, you will need to copy one part (e.g. by triple-clicking the staff and using Edit > Filter > Voice 2 or Bottom Notes) to a newstaff and load a new GPO instrument.

* If you have wind or brass parts that sometimes play in unison and sometimesplay different parts on the same staff, it is important not to use the Plr1, Plr2etc. instruments and the Solo instrument of the same name (e.g. don’t useFrench horn 1 Plr1 KS, French horn 1 Plr2 KS, or French horn 1 Plr3 KSwith French horn 1 solo). Plr instruments do not share samples with each

Getting started

18

other, but in order to avoid phasing problems they should not be used with thesolo instruments from which they are derived. For example, to solve the case offour horns, where Horn 1 and Horn 2 might sometimes play in unison, and somight Horn 3 and Horn 4, assign the staves as follows:% Horn 1 = French Horn 1 Solo KS% Horn 2 = French Horn 2 Plr 1% Horn 3 = French Horn 2 Solo KS% Horn 4 = French Horn 1 Plr 1

* When using keyswitch instruments (e.g. Vlns 1 KS), beware that if multiplestaves are playing back on the same slot, if one of the staves requires an effectthat uses a keyswitch (e.g. pizz., tremolos, etc.), all of the staves playing back onthat slot will play the same effect. So you cannot have two staves sharing thesame Vlns 1 KS slot, one playing arco, and another playing pizzicato – this isbecause keyswitches apply to the entire instrument, rather than individualnotes. To obtain correct playback in this case you need to create a new staff andcopy the relevant section into it, then set the new staff to use another instru-ment (or a different Kontakt Player slot) in the Mixer.

* There are similar issues to consider when working with lots of percussion stavesin the same score – see Choosing the right percussion sound on page 26.

What Sibelius interprets

19

What Sibelius interpretsTo get great-sounding playback with Garritan Personal Orchestra Sibelius Edition,it’s mostly sufficient to mark up your score with all the usual musical markings,such as slurs, articulations, dynamics, and so on.

For more detailed information about the specific capabilities of each instrumentalfamily, refer to Strings on page 33, Woodwinds on page 36, Brass on page 38,and Keyboards and harp on page 44. To find out about percussion, turn topage 23.

DynamicsAs in normal Sibelius playback, all instruments in GPO Sibelius Edition respondto dynamics – both by way of Expression text such as p, ff, etc., and cresc./dim.hairpins – but the precise manner in which they respond depends on whetherthey are percussive or sustaining instruments (see Percussive and sustaininginstruments on page 15).

Percussive instruments (such as piano, harpsichord, timpani, etc.) cannot increasethe dynamic of a note while it is being played, so if you add a crescendo hairpinbeneath a bar of quarter notes (crotchets) in the timpani staff, each successivenote will get louder, but the decay of each note will not get louder. These instru-ments play dynamics via MIDI velocity (as in normal Sibelius playback), andrespond to Espressivo and changes to Live Playback as you would expect.

Sustaining instruments (such as violin, trumpet, organ, etc.) can increase thedynamic of a note while it is being played – by bowing with greater force, byincreasing the pressure of the column of air, by opening the swell box, etc. – so ifyou add a crescendo hairpin beneath a bar of quarter notes (crotchets) in a violinstaff, the volume will continuously increase.

For sustaining instruments, Sibelius converts dynamics such as mp, ff, etc. toappropriate values for the modulation controller (which controls volume), accord-ing to the mapping set in Play > Garritan Personal Orchestra Options, underDynamics for Modulation Wheel Instruments, also taking into account the cur-rent Espressivo setting and any adjustments to Live Playback velocity. You canoptionally also tell Sibelius to alter the attack of each note (which adjusts the notevelocity), by switching on Change attack with dynamics. This has the effect ofgiving louder notes a more definite attack.

Sibelius is also able to interpret other dynamics specific to sustaining instruments,such as sfz (a sudden attack that quickly subsides), fp (a forte attack, immediatelydropping to piano), and so on. Again, you can adjust the amount and speed of the

Getting started

20

decay of these so-called “envelope” effects in Play > Garritan Personal OrchestraOptions, under Envelope. These options do not affect percussive instruments.

Sibelius only recognizes the standard dynamic markings from ppp–fff, plus fp,fz and sfz. More extreme dynamics can, of course, be written, but will not beplayed back differently via GPO Sibelius Edition.

Sibelius will attempt to read dynamics at either or both ends of a hairpin to deter-mine the starting and ending dynamics. Consider these two examples:

The example above left will play back exactly as you would expect, beginning mfand ending f. The example above right is more ambiguous: so Sibelius will obeythe setting chosen in the Playback panel of Properties for the hairpin. If you don’twant to use the Properties window to define the start or end dynamic for a hair-pin, you can alternatively insert some Expression text, then hide it. (Refer to 5.14Properties in Sibelius Reference for help with the Properties window.)

Sibelius does not interpret the text cresc. or dim. on its own, because such textitems do not show the duration of the change in dynamics, or the start and/or enddynamic of the change. If you want such dynamics to appear in your score andplay back correctly, simply insert hairpins (and Expression text for the start and/or end dynamics, if you wish) and hide them.

SlursSibelius interprets slurs written for sustaining instruments to mean that the notesunder the slur should be played legato. Using the legato feature will make notesblend into an unbroken and seamless musical phrase, by removing the attack por-tion of the sample to connect the notes for a smoother sounding effect. The resultsounds like a real legato phrase.

Slurs on percussive instruments have no audible effect beyond that which isdefined in Sibelius’s standard Play > Performance dialog.

TremolosSeveral GPO instruments, including the string sectional instruments (except dou-ble basses), employ keyswitches (see Keyswitch instruments on page 16) toproduce special effects including tremolos, trills, and so on.

Instruments such as Vlns 1 KS, for example, include a keyswitch for unmeasured(i.e. very fast) tremolos. Sibelius will automatically use these sampled tremolos if

mf

f

What Sibelius interprets

21

it calculates that, based on the number of tremolo strokes in a single-note tremolo,it would be played unmeasured rather than as a series of repeated notes of a par-ticular value.

You can adjust the threshold above which Sibelius should use sampled tremolos –see Garritan Personal Orchestra Options on page 30.

TrillsLike sampled tremolos, a number of GPO instruments support sampled trills byway of keyswitches. Sibelius will use these sampled trills when it encounters a trillline that is set to play back (via the Playback panel of Properties) as an interval ofup to two half-steps (semitones), or if it encounters a tr symbol, which it will treatas a diatonic trill in the current key. (If a diatonic trill is inappropriate, replace thetr symbol with a trill line from Create > Line and set its playback appropriately.)

For other trills, Sibelius will play them back as normal (i.e. by playing a series ofdistinct notes instead of a single sample).

ArticulationsSince Sibelius already plays most articulations (such as staccato, marcato, etc.),only a few articulations have extra special playback in GPO Sibelius Edition.

The most significant are the up- and down-bow articulations, which are sup-ported by means of a keyswitch in each of the string instruments. However, theup- and down-bow samples are very short, and therefore are only suitable for fastruns of notes. As such, Sibelius will only use these keyswitches for notes of a shortduration (which it calculates based on the actual time duration of the note at theprevailing tempo, rather than its strict written duration).

Sibelius also plays harmonic articulations on the harp, automatically switching tothe appropriate keyswitch.

TextAs with normal Sibelius playback, the words in the Play > Dictionary dialog areused when playing back through GPO Sibelius Edition. Examples of some of thetext that plays back, when attached to a staff using e.g. Technique or Expressiontext:

* solo and tutti* arco and pizz.* con sord./avec sourd/mute/closed and senza sord./sans sourd/open* fluttertongue/buzztongue/Flatterzunge/frullato* let ring/L.V. and non-L.V.* vib./vibrato and non-vib./non-vibrato

Getting started

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Some additional words can also be used to cancel any preceding effect, e.g. nat.,natural, naturale, no effect, white tone.

Unlike Sibelius’s normal playback, GPO Sibelius Edition is sufficiently flexible thatyou can (say) create a Violin I instrument (i.e. a staff for the whole section), thenadd “solo” as text (which switches to a solo violin sound), then add “pizz.” as text(which switches to a solo pizzicato sound), then add “tutti” (which switches to asectional pizzicato sound), and finally add “arco” (which switches back to the sec-tional bowed sound). There’s no need to add extra staves to switch from sectionalto solo writing, and Sibelius keeps track of whether you’re working “solo” or “tutti”with regard to the effects it can play back.

If you’re an advanced user, you can also add specific MIDI messages to activatesome of the particularly esoteric behaviors of a few of the GPO instruments. Thisis described in some detail in the Advanced use section, later in this User Guide.

Live PlaybackYou may notice that Play > Live Playback is switched on when you start playback,even if it is normally switched off; if you have View > Live Playback Velocitiesswitched on, you may see these appear during playback, and disappear againwhen playback stops. This is completely normal. Sibelius makes a number of tem-porary adjustments to your score’s Live Playback data “on the fly” in order toachieve the special effects enabled by Garritan Personal Orchestra Sibelius Edi-tion.

Tweaking things furtherIf you’ve got a lot of time on your hands and a strong tendency towards tinkering,you can add further instructions to the score to improve the realism of the perfor-mance yet further – see Fine-tuning your performance on page 32.

Basic percussion

23

Basic percussionYou don’t generally have to do anything out of the ordinary in terms of the way youcreate your score to obtain great playback through GPO Sibelius Edition, but per-cussion instruments are a little more complex.

This topic explains the basics of how to use GPO Sibelius Edition’s percussioninstruments effectively; more detailed information can be found in Percussionon page 41.

Instruments and staff typesUnpitched percussion instruments in Sibelius use particular staff types, whichdefine the mappings between the different noteheads that appear at different posi-tions on the staff (which may have any number of staff lines between one and five)and the sounds produced for playback. (For more details on percussion staff types,see 2.20 Percussion in Sibelius Reference.)

By default, when you create an unpitched percussion instrument in Sibelius, it isgiven a staff type that uses a mapping suitable for General MIDI-compatible (GM)devices. However, this is unsuitable for GPO Sibelius Edition, because (with thenotable exception of the timpani, which is pitched percussion anyway) it does notuse GM mappings for its percussion instruments, so you need to set the mostappropriate staff type for each percussion staff in your score, as follows:

* If you are starting a new score or adding one or more new unpitched percussioninstruments to an existing score, choose Layout > Instruments and Staves(shortcut I) and add the necessary instruments

* Once a percussion staff exists in your score, select any bar in that staff, andopen the Staves panel of Properties. If the Properties window isn’t visible, showit using Window > Properties (shortcut Ctrl+Alt+P or zXP).

* From the menu in the Staves panel, choose the most appropriate staff type;GPO-compatible staff types all have the letters GPO in their names. (If you can’tfind any GPO-compatible staff types, see Missing staff types? on page 26.)

* Now open Window > Mixer (shortcut Ctrl+Alt+M or M) and check that theselected staff is set to play back with one of GPO Sibelius Edition’s percussionsounds (e.g. Basic Orchestral Percussion or Percussion Toys, but not Drumsand Percussion, which is from Kontakt Player Silver/Gold, and does not sup-port GPO’s special percussion features) – for further advice on this subject, seeChoosing the right percussion sound on page 26.

* If working with an existing score, or a percussion staff, to which you havealready added notes, you may now need to filter the existing notes on the staffand change their pitch and/or notehead to match the mapping of the particular

Getting started

24

GPO-compatible staff type you have chosen (refer to 5.5 Filters and Find inSibelius Reference for more details).

Now you know how to set a percussion staff to use an appropriate staff type andplayback sound, let’s look at how to write effectively for each of the most impor-tant percussion instruments supported by GPO Sibelius Edition.

Bass drumUse the 1 line (bass drum, GPO) staff type, and choose Bass Drum KS (or BasicOrchestral Percussion if you do not require sampled rolls) in the Mixer.

You can use notehead types 0, 1 or 2 on the bass drum staff type.

By default, Sibelius will alternate between left strokes and right strokes on succes-sive notes. To specify a left or a right stroke, add the text L or R to the relevantnotes using Create > Text > Other Staff Text > Percussion Stickings.

For a sampled roll (using a keyswitch), either create an unmeasured single notetremolo, use a “z on stem,” or add a trill to the note(s).

For a “let ring” or non-dampened note, either add a dangling tie (i.e. a tie that isnot terminated with another note) or the appropriate l.v. up or l.v. down symbol(from the Notes rows of the Create > Symbol dialog).

CymbalUse the 1 line (cymbal, GPO) staff type, and choose Cymbals KS (or BasicOrchestral Percussion if you do not require sampled rolls) in the Mixer.

You can use notehead types 0, 1 or 2 on the cymbal staff type.



Bass Drum Notehead 0

Notehead 1

L R R

Notehead 2

Cymbal Notehead 0

Notehead 1

L R R

Notehead 2

Basic percussion

25

Snare drum and side drumUse the 1 line (side drum, GPO) staff type if you want your side drum to havesnares off by default, or use 1 line (snare drum, GPO) if you want your side drumto have snares on by default, and choose Snares KS (or Basic Orchestral Percus-sion if you do not require sampled rolls) in the Mixer.

You can use notehead types 0, 1 or 2 on the side drum and snare drum staff types.



To put snares on, either add the snare drum symbol (first symbol in the ...drumsrow in Create > Symbol), or add the text “Snares on” or “Snare on” above the notefrom which you want the snares on. To take snares off, either add the side drumsymbol (second symbol in the ...drums row in Create > Symbol), or add the text“Snares off” or “Snare off ” above the note from which you want the snares off.

TimpaniUse the normal 5 lines (no key signatures) staff type, and choose Timpani KS orBasic Orchestral Percussion in the Mixer.


For a “let ring” or non-dampened note, either add a dangling tie (i.e. a tie that isnot terminated with another note) or the appropriate l.v. up or l.v. down symbol(from the Notes rows of the Create > Symbol dialog), as shown in the exampleabove.

Creating your own staff typesYou can, of course, create your own staff types in order to mix and match otherGPO percussion sounds on the same staff – see Percussion on page 41 for moredetails.

Side drum Notehead 0

Notehead 1

L R R

Notehead 2

Snares on

Snares off

Timpani

p

ff

Getting started

26

Choosing the right percussion soundDepending on the size of your ensemble (and therefore how many of KontaktPlayer’s 32 slots you can spare for percussion), your system resources (and there-fore how many slots you can play altogether in the first place), and the density ofthe special keyswitch-triggered effects you require in your score, you will need tochoose your percussion sounds carefully.

If one staff requires a keyswitch effect (e.g. a roll on the bass drum), all the stavesthat are playing that sound at that moment will also receive the same keyswitch –keyswitches apply to all the notes being played on that slot. Therefore, only theindividual sounds for each percussion instrument (e.g. Bass Drum KS, CymbalsKS, etc.) support sampled rolls; staves that use Basic Orchestral Percussion willplay rolls using lots of repeated notes instead of a roll sample.

So if you want to hear sampled rolls, you should use separate sounds loaded intoseparate slots for each percussion staff in your score. For large ensembles, it is rec-ommended to leave Use same slot for identical sounds switched on (in KontaktPlayer Options, accessed from Play > Playback and Input Devices), and to usee.g. Bass Drum KS for your bass drum, Cymbals KS for your cymbals, TimpaniKS for your timpani, and so on. This allows maximum flexibility for the use ofkeyswitches in the percussion staves, but uses less memory than using lots ofinstances of Basic Orchestral Percussion.

Missing staff types?If the score you’re working on was created in a version of Sibelius earlier than Sibe-lius 4.1, it won’t include any of the GPO-compatible staff types. But don’t worry –it’s easy to import them:

* Choose House Style > Import House Style* Choose any of the predefined house styles supplied with Sibelius; if you don’t

know which one to choose, choose Standard Opus (Times).lib* Switch off all of the checkboxes on the right-hand side of the dialog except for

Staff types, Noteheads, Symbols and Text Styles* Click OK to import the house style.

The Staves panel of Properties will now include all the GPO-compatible stafftypes.

Advanced use

Advanced use

28

Setting up Kontakt PlayerGetting the optimum level of performance out of Kontakt Player on your particu-lar hardware configuration can take a little experimentation, but it is time well-spent.

Initial calibration* First, check in Kontakt Player Options (from Play > Playback and Input

Devices) that Use Reverb is switched off.* While you’re in Play > Playback and Input Devices, make sure you have Kon-

takt Player selected as your playback device, and have selected GPO ModernOrchestra as its sound set.

* Open a score that uses a relatively large number of staves, such as Blue Danubefrom the Orchestral folder inside Example Scores. Click Yes if Sibelius asksyou if you want to reset the sounds.

* Sibelius will load the best sounds for each staff. Now open Window > Mixer andcheck the choices it has made.

* Hit the Play button and listen to the results – don’t worry if you think it’s tooloud or too soft, just listen for any stuttering, clicks or drop-out of the sound,especially in sections where lots of instruments play simultaneously. If you canplay the score without any problems, then congratulations, that’s what youspent all that money on your computer for!

* Now try switching on Use Reverb and try again. If you now hear any falteringin the playback, you have reached the limits of your computer system and youneed to employ one of several tricks. Read on!

Improving performance* If you find that you cannot play back sufficient slots in Kontakt Player, the sin-

gle best improvement you could make is in a soundcard that has ASIO support(Windows) or Core Audio acceleration (Mac OS X).

* Increasing output latency help to alleviate stuttering and drop-outs duringplayback. Depending on your sound hardware, you may be able to increase thelatency as follows:% With a score open, choose Window > Kontakt Player, click Audio Setup,

and drag the Output Latency slider rightwards.% If no slider is present, click ASIO Config, which will open your sound hard-

ware’s control panel, where you can increase the latency. Some soundcardsdon’t show an explicit latency option, but look for settings like DMA BufferSize or Sample Buffer Size – increasing this will increase the outputlatency.

Setting up Kontakt Player

29

* If your computer has a large amount of total system RAM (e.g. more than1.5Gb), try disabling Kontakt Player’s Direct From Disk (DFD) streaming: openWindow > Kontakt Player, click Options, then click DFD Active (when the but-ton is gray, DFD is off; when it is blue, DFD is on).

* Switch on Use same slot for identical sounds (in Kontakt Player Options,from Play > Playback and Input Devices), which will encourage Sibelius to usefewer slots. You can further reduce the number of slots used simultaneously byforcing Sibelius to play multiple staves with a single GPO instrument. Windand Brass GPO instruments can only play a few notes at the same time, so onlyassign two or three staves to each wind or brass instrument. For strings, youcould try changing, say, the first and second violins and the violas to use theFull Strgs KS instrument. (Using the GPO 32 Slot Orchestra sound set willachieve a similar result, as it has most Sibelius staves allocated to only a fewGPO instruments.)

* If you want to use File > Export > Audio Track but find that you can’t play backall of the staves simultaneously, try exporting only one section at a time (e.g.winds first, then brass, then strings), before combining the resulting audio filesin an audio editing application (such as Audacity, which is freely available fromhttp://audacity.sourceforge.net/). All the files will be the same length, so itwill be simple to mix them together. This will also allow you to use an external,off-line reverb for a more realistic recording.

* If Kontakt Player produces warnings about low physical memory when loadingthe sounds, try selecting a “lite” version of the GPO instrument if available.Some of the GPO instruments (e.g. Steinway Piano, and the string sectionalkeyswitch instruments) use a lot of memory. If you are short on memory, youshould also ensure that Direct From Disk (DFD) is switched on, which helps tominimize memory usage.

* Sibelius can use multiple playback devices simultaneously, so you could evenuse another playback device for some staves. On Windows, make sure the Usecolumn is set to Yes for all the devices you want to use (on Mac, all devices arealways available), then select each staff in the Mixer and change the settingunder Device as appropriate. You may need to adjust the Latency values inPlay > Playback and Input Devices for devices other than Kontakt Player toget the sounds to play back at the same time.

For further readingFor information on how to use the Kontakt Player window, refer to 4.9 KontaktPlayer in Sibelius Reference.

For further help on obtaining the best possible performance on your system, seehttp://www.sibelius.com/helpcenter/en/a386.

http://www.sibelius.com/helpcenter/en/a386

http://audacity.sourceforge.net/

Advanced use

30

Garritan Personal Orchestra OptionsThough you won’t often need to go there, Play > Garritan Personal OrchestraOptions contains some options that advanced users may wish to adjust:

* The Volume values allow you to specify the modulation wheel value to be usedfor sustaining instruments for each dynamic from ppp–fff.

* Change attack with dynamics allows you to also adjust the attack (MIDIvelocity) associated with each dynamic level; this option is off by default.

* Default Attack specifies the attack to use for notes on sustaining instruments ifChange attack with dynamics and Convert all Live Playback velocities toattack are switched off.

* Modify attack for articulations and accents allows you to adjust the attack(MIDI velocity) associated with each articulation; this option is off by default.The value for each articulation is added to the current attack of the note, up to amaximum of 127.

* Convert all Live Playback velocities to volume determines whether Sibeliusshould convert existing Live Playback velocities to modulation wheel changes,or ignore them; this option is on by default. (In normal Sibelius playback, LivePlayback velocities adjust the volume of the note, so this option maps thisbehavior onto GPO’s sustaining instruments.)

* Convert all Live Playback velocities to attack allows existing Live Playbackvelocities to control the attack of notes on sustaining instruments; this option isoff by default. Use this if you want to specify the precise attack of notes for sus-

Garritan Personal Orchestra Options

31

taining instruments; you can specify the attack by adjusting the Live Playbackvelocity.

* The Envelope options specify the Boost (whereby the value is added to thecurrent volume of the note, up to a maximum of 127) and the Decay (the per-centage of the note’s duration over which the envelope takes effect) for fp, fzand sfz dynamics.

* Play unmeasured tremolos with n or more strokes allows you to adjust thethreshold above which Sibelius will use a sampled tremolo instead of a numberof repeated notes, calculated in terms of the number of strokes on a quarternote (crotchet).

* Attack for played trills and tremolos allows you to set the attack to be used forthe sampled tremolos and trills played via keyswitches.

All the options in this dialog are application-wide, i.e. they are not saved in yourscore.

Advanced use

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Fine-tuning your performanceIf you are an accredited MIDI wizard, you may wish to add extra MIDI messagesto your score in order to further enhance the realism of Sibelius’s performance.

For help on adding MIDI messages, refer to 4.12 MIDI messages in Sibelius Ref-erence.

Completely disabling all special playbackIf you want to prevent Sibelius from doing any special processing at all in yourscores (e.g. if you’re a total MIDI wizard and have laboriously added all the neces-sary programming to your score by hand), choose Play > Playback and InputDevices, click the Kontakt Player Options button, and switch off Play articula-tions, dynamics, techniques etc. This setting is program-wide, i.e. it applies toall scores.

Temporarily disabling special playbackIf you want to prevent Sibelius from doing any special processing for the markingsin just a section of your score, create the text ~SibeliusSoundsPlaybackOff in astaff text style (e.g. Technique text) on the staff you want Sibelius to ignore. Whenyou want Sibelius to start processing the markings on that staff again, create thetext ~SibeliusSoundsPlaybackOn.

Adding other MIDI messagesAs in normal Sibelius playback, Sibelius will read any MIDI message text you cre-ate in your score. You may want to create:

* Program changes (e.g. ~P64) to switch to different sounds (e.g. from a “lush”string sound to a more aggressive string sound for a faster passage). Bewarethat the program number for each sound may vary, depending on the sound setyou are using for your score; refer to the additional tables found on your Garri-tan Personal Orchestra Sibelius Edition DVD-ROM.

* Variation changes (e.g. ~C22,3 and ~C24,8) to make repeated notes soundmore human, by introducing tiny changes in intonation and attack from note tonote.

* Length (e.g. ~C21,64) to change the release of the samples; you can adjust theLength knob in the Kontakt Player window to set the length for all the stavesthat play back via that slot, but you may want to adjust it on a local basis in themiddle of the score.

Refer to Strings on page 33, Woodwinds on page 36, Brass on page 38, andKeyboards and harp on page 44 for details of which MIDI controllers are sup-ported by each kind of instrument.

Strings

33

StringsThe string instruments in Garritan Personal Orchestra include a pair of Stradi-varis, a Guarneri, several Gaglianos, two Pierrays, two Montagnana cellos, a Test-ore, a Pallota viola, a Calcanius, a Klotz, a Vaillant, and a Betts, all of which weremade circa 1700. Amazingly, these string instruments have lasted hundreds ofyears and still have a powerful and beautiful sound.

Collectively, these instruments are worth millions of dollars, although the truevalue of any fine string instrument is in its sound, which is priceless. The soundsof these exquisite string instruments are now at your command.

Capabilities of GPO string instrumentsGarritan Personal Orchestra’s string instruments are organized to allow maximumflexibility and customization. Solo sounds for each member of the string familyare included, as well as keyswitched instruments, which incorporate the mostcommonly-used string articulations into one sound, with the articulations acti-vated automatically by Sibelius triggering a note outside the playable range of theinstrument.

Multiple ensemble string instruments are also included, each programmed in away that allows you to build custom string sections. These ensemble patches areuseful in creating unison and divisi lines where control over each instrument inthe section is desired – see Building ensembles with players on page 17.

Typically, though, you will use the pre-built keyswitched string section sounds,which include sustained/legato, pizzicato, trills, tremolo, muted, and short bowarticulations.

Aggressive sounds (denoted by the suffix ag in their names) for the short bow andsustained string patches are included for when a more aggressive sound is needed.These sounds have a more distinct attack and are therefore more suitable for pas-sages requiring a brighter or harder articulation.

How the sounds are programmedThe special programming included in GPO’s solo and ensemble string samples isactivated by the use of keyswitches and standard MIDI controller messages, as fol-lows:

* Velocity = Attack/Volume (non-sustain only): MIDI note velocity is used to con-trol the initial “note on” attack strength on all sustained/legato solo and ensem-ble string sounds. This attack equates to how hard the bow strikes the string.Velocity is also used to control attack and volume on pizzicato patches. For sus-tained sounds, Sibelius automatically converts the velocities of the notes in the

Advanced use

34

score to modulation controllers (see below), and then sets the attack of thenotes according to the settings in the Play > Garritan Personal Orchestra Set-tings dialog.

* Modulation (CC1) = Volume (sustain only): Modulation is used to control thevolume and timbre characteristics of all sustained/legato solo, ensemble, sec-tion and full string sounds. Sibelius adds modulation controller messages auto-matically in response to dynamics written in the score (or Live Playbackvelocities) according to the mappings defined in Play > Garritan PersonalOrchestra Options, but you can also control your own modulation changes viathe wheel on your MIDI keyboard if necessary.

* Legato (CC68): This controller is used to create smooth, legato playback. Sibel-ius adds legato controller messages automatically in response to slurs written inthe score. You can also add suitable MIDI messages to your score: ~C68,0 pro-duces a detaché sound; ~C68,127 produces a legato sound.

* Portamento (CC20): This controller is used to create portamento during legatopassages based on note intervals and the controller value. The closer the notes,the higher the portamento value used; inversely, the larger the interval betweennotes, the lower the portamento value used. Notes further than an octave aparttypically do not use portamento. This controller can be used only in conjunc-tion with legato playing when the sustain pedal controller is active. Sibeliusdoes not add portamento controller messages automatically; you can add themby hand using text such as ~C20,16.

* Length (CC21): This controller is used to shorten or lengthen the playback ofthe samples. When used with the short bow sounds this controller is useful forcreating the effect of marcato articulations, or can inversely give the effect oflighter bowstrokes in a sautillé fashion. When using this controller with sus-tained strings higher values of CC21 can be useful for obtaining smootherlegato lines. Most instruments load with this controller set to a moderate levelby default. Sibelius does not adjust the length controller automatically; you canadjust it for yourself by hand using text such as ~C21,64.

* Variability (CC22, CC24): CC22 controls the intonation of the notes, and is use-ful during repeated note phrases. Very small adjustments to CC22 can helpreduce the “machine gun” effect of repeated notes using precisely the samesample. CC24 controls variations in timbre/volume for the solo and ensemblesounds. Sibelius does not adjust the variability controllers automatically, sincethey must be used in moderation; you can adjust them by hang using text suchas ~C22,2 and ~C24,64.

* Portamento (CC19): This controller is used on all sustained string samples toaid the creation of portamento when going from detached (non-legato) playingto legato playing. This controller switches to a layer that does not respond to

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pitch bend data. This gives the user the flexibility to create pitch bend MIDImessages between two notes, which only have an effect on the second note ofthe pair. This solves certain kinds of portamento problems. Sibelius does notadjust the portamento controller automatically.

* Playable trills/Bow noise (CC16): This controller has two functions that are spe-cific to particular sounds. When used with the ag (aggressive) short bowsounds, this controller controls bow noise and can be used to add “grit” to thesound. The solo keyswitch strings use CC16 to control an alternative switchingsystem for trills on keyswitch notes G# and A. The standard keyswitches (G#–B) give the user control over half-step and whole-step trills plus their mutedcounterparts. CC16 extends switching to intervals from a half-step to as wide asa major third using the following values:% ~C16,0 – ~C16,32 = half-step (semitone)% ~C16,33 – ~C16,64 = whole step (tone)% ~C16,65 – ~C16,96 = minor third% ~C16,97 – ~C16,127 = major thirdSibelius only automatically supports the standard keyswitches for half-step(semitone) and whole step (tone) trills. These so-called “playable” trills are notappropriate for use in Sibelius, and are therefore not supported; they play onenote of the trill when a key on a MIDI keyboard is depressed, and play the othernote of the trill when the key is released, thus making the trill playable using asingle key (plus the appropriate keyswitch).

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WoodwindsThe woodwind family consists of a wide variety of instruments, each with its ownunique sound, including varieties of flutes, oboes, clarinets, and bassoons. Qualitywoodwind instruments sampled for this library include Haynes flutes, Selmerclarinets and Heckel bassoons.

Capabilities of GPO woodwind instrumentsThe wind instrument samples in Garritan Personal Orchestra are expressive andbeautiful, whether you choose to use them in a solo context, in small intimateensembles, or in vast orchestral pieces. Included in the library are solo and ensem-ble versions of all the major instruments in the woodwind family. Keyswitchedflute and piccolo sounds are included.

How the sounds are programmedThe special programming included in GPO’s woodwind instruments is activatedby the use of keyswitches and standard MIDI controller messages, as follows:

* Velocity = Attack/Volume (non-sustain only): MIDI note velocity is used to con-trol the initial “note on” attack strength on all sustained/legato solo and ensem-ble woodwind sounds. This attack equates to how forcefully the instrument isplayed. For sustained sounds, Sibelius automatically converts the velocities ofthe notes in the score to modulation controllers (see below), and then sets theattack of the notes according to the settings in the Play > Garritan PersonalOrchestra Settings dialog.

* Modulation (CC1) = Volume (sustain only): Modulation is used to control thevolume and timbre characteristics of all sustained/legato solo and ensemblewoodwind sounds. Sibelius adds modulation controller messages automaticallyin response to dynamics written in the score (or Live Playback velocities)according to the mappings defined in Play > Garritan Personal OrchestraOptions, but you can also control your own modulation changes via the wheelon your MIDI keyboard if necessary.

* Legato (CC68): This controller is used to create smooth, legato playback. Sibel-ius adds legato controller messages automatically in response to slurs written inthe score. You can also add suitable MIDI messages to your score: ~C68,0 pro-duces a tongued sound; ~C68,127 produces a legato sound.

* Portamento (CC20): This controller is used to create portamento during legatopassages based on note intervals and the controller value. The closer the notes,the higher the portamento value used; inversely, the larger the interval betweennotes, the lower the portamento value used. Notes further than an octave aparttypically do not use portamento. This controller can be used only in conjunc-

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tion with legato playing when the sustain pedal controller is active. Sibeliusdoes not add portamento controller messages automatically; you can add themby hand using text such as ~C20,16.

* Length (CC21): This controller is used to shorten or lengthen the playback ofthe samples. This controller can be used to improve emulation of double- andtriple-tonguing in the woodwinds. When using this controller with sustainedwoodwinds higher values of CC21 can be useful for obtaining smoother legatolines. Most instruments load with this controller set to a moderate level bydefault. Sibelius does not adjust the length controller automatically; you canadjust it for yourself by hand using text such as ~C21,64.


* Aftertouch (CC131) = vibrato intensity: Many of the non-vibrato solo wood-winds have a hidden vibrato intensity controller to allow the user to apply thelevel of vibrato to the instrument. This controller does not apply to the instru-ments that contain natural vibrato and therefore only applies to instrumentsthat have a non-vibrato choice (denoted by the suffix NV in their names). Thiscontroller has also been added to some instruments that do not normally havevibrato (e.g. clarinet, French horn). This controller should be used along withthe vibrato speed controller (see below). Sibelius does not adjust the vibratointensity controller automatically; you can adjust it by hand using text such as~C131,64.

* Vibrato speed controller (CC17): This controller, when used in conjunction withthe vibrato intensity controller (see above), will vary the vibrato speed of thoseinstruments that normally contain no vibrato. As before, this does not affectinstruments that have natural vibrato and will apply only to non-vibrato sounds(with NV in their names). Sibelius does not adjust the vibrato intensity control-ler automatically; you can adjust it by hand using text such as ~C17,64.

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BrassThe brass instruments in a modern orchestra include variations of the Frenchhorn, the trumpet, the trombone, and the tuba. Each possesses a unique color andrange, from the bright piercing sound of the trumpet to the deep, dark tones of thetuba.

Capabilities of GPO brass instrumentsThe brass instruments in Garritan Personal Orchestra have been exquisitely cap-tured and allows for a very dynamic brass section in your Sibelius score. In addi-tion to the standard solo sounds included in GPO, there are also ensemble soundsand brass overlays, mutes, and aggressive patches. The overlays are used to createa larger brass sound, while the aggressive patches are useful in adding a punch tothe brass section by increasing the hardness of the attack.

How the sounds are programmedThe special programming included in GPO’s solo and ensemble brass samples isactivated by the use of keyswitches and standard MIDI controller messages, as fol-lows:

* Velocity = Attack/Volume (non-sustain only): MIDI note velocity is used to con-trol the initial “note on” attack strength on all sustained/legato solo and ensem-ble brass sounds. This attack equates to how forcefully the player releases theair column to begin the note. Velocity is also used to control attack and volumeon pizzicato patches. For sustained sounds, Sibelius automatically converts thevelocities of the notes in the score to modulation controllers (see below), andthen sets the attack of the notes according to the settings in the Play > GarritanPersonal Orchestra Settings dialog.

* Modulation (CC1) = Volume (sustain only): Modulation is used to control thevolume and timbre characteristics of all sustained/legato solo and ensemblebrass sounds. Sibelius adds modulation controller messages automatically inresponse to dynamics written in the score (or Live Playback velocities) accord-ing to the mappings defined in Play > Garritan Personal Orchestra Options,but you can also control your own modulation changes via the wheel on yourMIDI keyboard if necessary.

* Legato (CC68): This controller is used to create smooth, legato playback. Sibel-ius adds legato controller messages automatically in response to slurs written inthe score. You can also add suitable MIDI messages to your score: ~C68,0 pro-duces a detaché sound; ~C68,127 produces a legato sound.

* Portamento (CC20): This controller is used to create portamento during legatopassages based on note intervals and the controller value. The closer the notes,

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the higher the portamento value used; inversely, the larger the interval betweennotes, the lower the portamento value used. Notes further than an octave aparttypically do not use portamento. This controller can be used only in conjunc-tion with legato playing when the sustain pedal controller is active. Sibeliusdoes not add portamento controller messages automatically; you can add themby hand using text such as ~C20,16.

* Length (CC21): This controller is used to shorten or lengthen the playback ofthe samples. It is useful for creating sforzando articulations when using theaggressive (named ag) sounds, or for obtaining a convincing staccato sound. Itcan also be valuable in helping to create double- and triple-tonguing passages.When using this controller with sustained brass higher values of CC21 can beuseful for obtaining smoother legato lines. Most instruments load with thiscontroller set to a moderate level by default. Sibelius does not adjust the lengthcontroller automatically; you can adjust it for yourself by hand using text suchas ~C21,64.


* Aftertouch (CC131) = vibrato intensity: Many of the non-vibrato solo brassinstruments have a hidden vibrato intensity controller to allow the user to applythe level of vibrato to the instrument. This controller does not apply to theinstruments that contain natural vibrato and therefore only applies to instru-ments that have a non-vibrato choice (denoted by the suffix NV in their names).This controller has also been added to some instruments that do not normallyhave vibrato (e.g. French horn). This controller should be used along with thevibrato speed controller (see below). Sibelius does not adjust the vibrato inten-sity controller automatically; you can adjust it by hand using text such as~C131,64.

* Vibrato speed controller (CC17): This controller, when used in conjunction withthe vibrato intensity controller (see above), will vary the vibrato speed of thoseinstruments that normally contain no vibrato. As before, this does not affectinstruments that have natural vibrato and will apply only to non-vibrato sounds(with NV in their names). Sibelius does not adjust the vibrato intensity control-ler automatically; you can adjust it by hand using text such as ~C17,64.

* Portamento (CC19): This controller is used on the solo trombone samples to aidthe creation of portamento when going from detached (non-legato) playing to

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legato playing. This controller switches to a layer that does not respond to pitchbend data. This gives the user the flexibility to create pitch bend MIDI messagesbetween two notes, which only have an effect on the second note of the pair.This solves certain kinds of portamento problems. Sibelius does not adjust theportamento controller automatically.

* Saturation (CC16): This controller is used in conjunction with the aggressivebrass sounds (named ag) to add more forcefulness and “grit” to the sound.Sibelius does not adjust the saturation controller automatically.

* Pitch bend: This controller can be effectively used with the solo trombonepatches to create “scoops” or “drops” at the beginning of notes or passages, andcan be used in conjunction with the other portamento controllers (CC20 andCC19). Trombones have a wider pitchbend range than most instruments: sixhalf-steps (semitones).

Brass overlaysThe brass instruments have Overlay instruments, sampled at the forte or fortis-simo level, that can be layered with the solo and ensemble instruments to achievea fuller, more massive section sound. The trumpets, trombones, and tubas eachhave one Overlay instrument and the French horns have two. In general, the Over-lay instruments can be used to:

* Add “body” and resonance to the sound of a brass section. This can affect theapparent size of the section, making it sound larger.

* Increase the contrast in timbre from soft to loud. The contrast increases as youadd more Overlay. The soft end of the spectrum becomes mellower, the loudend becomes brighter and brassier.

* Give the impression of a larger section size while using fewer resources, con-suming fewer instrument slots within the Kontakt Player.

* Give greater control over strong articulations. The French horns have two Over-lay instruments (f and ff) because the horns often require a large range of tim-bre variation in typical orchestral writing. The combination of Solo and player(Plr) instruments with either or both Overlays can create a large variety ofcharacteristics.

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PercussionThe percussion instruments are often the loudest members of the orchestra andare therefore normally seated at the back! The instruments of the percussion fam-ily are played by being hit, shaken or scraped, and provide a variety of rhythmsand tonal textures.

For basic information about how to use percussion in your score, see Basic per-cussion on page 23.

Creating your own percussion staff typesIn order to use GPO’s percussion instruments most effectively, you need to use thesupplied GPO-compatible staff types, or create your own. To do this:

* Choose House Style > Edit Staff Types, and choose the Percussion radio but-ton in the dialog

* Select an existing percussion staff type that is similar to the kind of staff typeyou want to create, and click New

* Change the name of the staff type on the General tab of the Edit Staff Type dia-log; make sure you give it a distinctive name so that you can find it in the list ofstaff types later on

* Adjust the number of staff lines as appropriate on the Notes and Rests tab ofthe dialog

* On the Percussion tab, add noteheads to map onto percussion sounds. ForGPO, you should switch on Use MIDI pitch instead of choosing a named soundfrom the Sound menu (which only lists the default General MIDI percussionsounds, and as such is inappropriate for GPO). To find out which MIDI pitchyou need to select for each sound, refer to the list for each GPO instrument inAppendix B: Percussion instrument mappings on page 66.

For more details about editing staff types, refer to 6.14 Edit Staff Types in Sibel-ius Reference.

Don’t forget: any staff type you create is only available in the score in which youcreate it, but you can make your own staff types available in other scores by meansof exporting and importing house styles or setting up your own manuscriptpapers – refer to 6.7 House style and 2.17 Manuscript papers in Sibelius Ref-erence for more details.

Capabilities of GPO percussion instrumentsA varied collection of percussion instruments is at your disposal, almost all ofwhich are keyswitched instruments (with the exception of the cymbals and windmachine).

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There are also two combination sounds: Basic Orchestral Percussion (which com-bines the commonly-used orchestral percussion into one instrument) and Percus-sion Toys (which combines a number of more esoteric instruments, such as marktree).

How the sounds are programmedThe special programming included in GPO’s percussion samples is activated bythe use of keyswitches and standard MIDI controller messages. Some of these con-trollers are universal across all percussion instruments, while others are specific tocertain instruments or types of instruments (see below).

* Velocity = Attack/Volume: All percussion instruments included in Garritan Per-sonal Orchestra use velocity for attack and volume control.

* Length (CC21): This controller is used to shorten or lengthen the playback ofthe samples. It is not available for all samples. Sibelius does not adjust thelength controller automatically, but it can be adjusted manually by means oftext instructions such as ~C21,32.

* Modulation (CC1) = Percussion roll volume (for recorded rolls): The modulationcontrol, for those percussion instruments that use it, works in a similar manneras the sustaining instruments. Cymbals, snare drum and bass drum all use themodulation wheel for rolled crescendos/decrescendos, and the wind machineuses mod wheel control for volume. Sibelius automatically applies modulationcontrol changes for hairpins on rolls (notated as unmeasured tremolos or trills)on the supplied GPO percussion staff types.

* Sustain pedal (CC64) = Dampening: This controller switches whether percus-sion instruments should be allowed to let ring (sustain pedal on) or be damp-ened (sustain pedal off).

* Variability (CC22, CC24): CC22 controls the intonation of the notes, and is use-ful during repeated note phrases. Very small adjustments to CC22 can helpreduce the “machine gun” effect of repeated notes using precisely the samesample. CC24 controls variations in timbre/volume for the percussion sounds.Sibelius does not adjust the variability controllers automatically, since theymust be used in moderation; you can adjust them by hang using text such as~C22,2 and ~C24,64.

Bass drum* Bass drum fundamental (CC20): Although the bass drum is an instrument of

indefinite pitch, its tone is very deep and booming and capable of beingadjusted. The bass drum in Personal Orchestra has an adjustable fundamentalthat is controlled either via the BDFund knob in the Kontakt Player window or

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via MIDI messages such as ~C20,64. This control can add a great deal ofenergy to extremely low frequencies, so use it with care.

* Aggressive brightness (CC16): Increasing the value of this controller can give theimpression of harder mallets being played aggressively, e.g. via MIDI messagessuch as ~C16,72.

Vibraphone* Attack (CC20): For the vibraphone this controller controls the vibraphone's

attack speed. This allows continuous control of the vibraphone's attack speedfrom hard to “bowed” attacks, either via the Attack knob in the Kontakt Playerwindow, or via MIDI messages such as ~C20,84.

* Tremolo level (CC22): For the vibraphone this controller controls the level oftremolo, to be used in tandem with tremolo speed (see below). Controlled bythe TRMLEV knob in the Kontakt Player window, or via MIDI messages such as~C22,64.

* Tremolo speed (CC24): For the vibraphone this controller controls the speed ofthe tremolo. to be used in tandem with tremolo level (see above). Controlled bythe TRMSPD knob in the Kontakt Player window, or via MIDI messages such as~C24,32.

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Keyboards and harpThe two harps that are included in Garritan Personal Orchestra are a Venus GrandConcert harp and a Wurlitzer Concert harp, circa 1920s.

High-quality keyboard instruments were also sampled: a Steinway® 9' ConcertGrand Piano was sampled at two dynamic levels (Steinway® name used by permis-sion from Steinway and Sons); the harpsichord is a double manual French harpsi-chord, built by Hubbard; the celeste was manufactured by Mustel; the ConcertPipe Organ is a German Baroque pipe organ built by Rudolf von Beckerath, withthree manuals and pedals, containing 11 individual stops.

Steinway Concert Grand PianoIncluded in Garritan Personal Orchestra is a full Steinway Concert Grand instru-ment as well as two piano duo instruments that are meant for duo piano pieces, aswell as a “lite” version of the full piano instrument to be used in ensemble situa-tions when computer resources are at a premium.

* Velocity = Note Attack and Volume: Note attack and volume are controlled byvelocity.

* Sustain pedal (CC64): As you would expect, the piano responds correctly to thesustain pedal controller, which you can achieve either via use of the pedal lines(in Create > Line) or MIDI messages in the form ~C64,127.

Celeste and Glass HarmonicaThese two instruments share similar programming but give entirely differentsounds. The celeste is a beautiful bell-sounding instrument, while the rare glassharmonica is a sound unique unto itself.

* Velocity = Note Attack: Velocity only controls the note attack on the celeste andglass harmonica.

* Sustain Pedal (CC64) = Dampening: The sustain pedal acts to dampen the notesplayed on the celeste and glass harmonica.

HarpsBecause of the way a harp is played Garritan Personal Orchestra offers differenttypes of harp patches. There are standard chromatic harp instruments for singleplucked notes, glissando harps to emulate harp glissandos, harp harmonicspatches for harp effects to add realism, and harp keyswitch instruments so thatthe user has access to all these types of sounds in one convenient instrument.

* Velocity = Note Attack and Volume: Note attack and volume are controlled byvelocity.

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* Sustain pedal (CC64) = damping: MIDI messages of the form ~C64,127 willengage the sustain pedal controller, allowing the harp to let ring; ~C64,0damps the harp strings. By default, the harp will play back with the stringsundampened (i.e. the sustain pedal is on).

* Keyswitches: The harp keyswitch instruments combine the chromatic harp, theglissando harp, and the harp harmonics into one convenient instrument.

Concert Pipe OrganThe organ is the only keyboard instrument that does not use velocity to controlthe volume/timbre characteristics of the instrument. Since the pipe organ is con-trolled by wind pressure from the bellows, this works quite well and lends to amore satisfying experience when playing live. There are 13 organ patches in Garri-tan Personal Orchestra, each with a unique and particular sound. Extra controlshave been added to the pipe organ instruments to increase the tonal possibilities.Using the programming listed below you should be able to create convincingorgan pieces quickly and efficiently.

* Velocity = Note Attack: Velocity only controls the note attack on the organ.* Modulation (CC1) = Volume/Timbre: The modulation controller controls the

volume and timbre dynamics of the organ. This affords greater dynamic controlof the organ.

* Organ Fundamental (CC20): This controller controls the fundamental strengthof the organ sounds, and is especially useful in the pedal instruments. Con-trolled via the FUND knob in the Kontakt Player window, or via MIDI messagesof the form e.g. ~C20,64.

* Organ Filter Strength (CC22): This controller, when used in conjunction withfilter frequency (see below), allows the user to boost certain frequencies of theorgan. Controlled via the FILTLV knob in the Kontakt Player window, or viaMIDI messages of the form e.g. ~C22,64.

* Organ Filter Frequency (CC24): This controller, when used in conjunction withfilter strength (see above), allows the user to boost certain frequencies of theorgan. Controlled via the FILTFQ knob in the Kontakt Player window, or viaMIDI messages of the form e.g. ~C24,64.

HarpsichordThe harpsichord's programming is also simple yet effective, with all of the stopsavailable via a keyswitch.

The harpsichord always produces notes of the same volume and attack at eachdynamic level; Sibelius will automatically switch to the 4’ stop when a p dynamicis encountered, switch to the 8’+4’ stop when a f dynamic is encountered, andswitch to the lute stop when the Technique text lute is encountered.

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Appendices

Appendices

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Appendix A: List of instrumentsListed below are all the instruments included in GPO Sibelius Edition. Additionaltables listing the specific capabilities of each instrument, which sound sets theyare found in, etc. can be found on your GPO Sibelius Edition DVD-ROM.

Key* Leg = CC68 legato control* Sus (sus) = sustain pedal for normal sustain control* SusDp = sustain pedal with damping control* MW = modulation wheel expression control* Vel = note velocity for accents and attack* Vel (vol) = note velocity for volume control* VAR 1 = automatic variability of intonation* VAR 2 = automatic variability of timbre* ALT = up and down bowstrokes* BDFund = fundamental of the bass drum* KS = keyswitch instrument. All the notes used by keyswitches are in the octave

C–1 to B–1, i.e. MIDI notes 0–11.* Length = sample length.* Plr instruments do not share samples with each other but must not be used with

the solo instruments from which they are derived to avoid phasing problems;e.g. don’t use French horn 1 Plr1*, Plr2*, or Plr3* with French horn 1 (solo).

Name Description Controls

WOODWIND INSTRUMENTS

Alto Flute Solo Principal alto flute. The alto flute plays four notes lower than a conventional flute. Made by Mönnig.

Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Alto Flute Plr1* Associate ensemble instrument for building ensembles. First player in an ensemble derived from the Alto Flute Solo instrument.


Alto Flute Plr2* Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the Alto Flute Solo instrument.


Alto Flute Plr3* Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the Alto Flute Solo instrument.


Bass Clarinet Solo

Principal bass clarinet. Plays one octave lower than a con-ventional clarinet.


Appendix A: List of instruments

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Bass Clarinet Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble derived from the Bass Clari-net Solo instrument.


Bass Clarinet Plr2*

Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the Bass Clarinet Solo instrument.


Bass Clarinet Plr3*

Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the Bass Clari-net Solo instrument.


Bass Flute Solo Vib

Principal bass flute, played with vibrato. Plays one octave lower than a conventional flute.


Bass Flute Solo NV

Principal bass flute, played without vibrato. Plays one octave lower than a conventional flute.


Bass Flute Plr1* Associate ensemble instrument for building ensembles. First player in an ensemble derived from the Bass Flute Solo instrument.


Bass Flute Plr2* Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the Bass Flute Solo instrument.


Bass Flute Plr3* Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the Bass Flute Solo instrument.


Bassoon 1 Solo Principal solo bassoon. Made by Heckel. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Bassoon 2 Solo Second bassoon. A different bassoon with a different tone. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Bassoon Plr1* Associate ensemble instrument for building ensembles. First player in an ensemble derived from the Bassoon 1 Solo instrument.


Bassoon Plr2* Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the Bassoon 1 Solo instrument.


Bassoon Plr3* Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the Bassoon 1 Solo instrument.


Bb Clarinet Solo Principal solo Bb clarinet. Made by Buffet. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Bb Clarinet Plr1* Associate ensemble instrument for building ensembles. First player in an ensemble derived from the Bb Clarinet Solo instrument.


Bb Clarinet Plr2* Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the Bb Clari-net Solo instrument.



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Bb Clarinet Plr3* Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the Bb Clarinet Solo instrument.


Contrabass Clari-net Solo

Principal contrabass clarinet. Plays an octave lower than the bass clarinet.

LEg, MW, Vel, Port, VAR 1, VAR 2, Length

Contrabassoon 1 Solo

Principal contrabassoon. Plays one octave lower than a conventional bassoon and lower than any instrument in the orchestra.


Contrabassoon 2 Solo

Second contrabassoon. Has a wider note range and a dif-ferent tone quality. Made by Schreiber.


Eb Clarinet Solo Principal Eb Solo Clarinet. Plays four notes higher than the Bb Clarinet.


English Horn 1 Solo

Principal English horn. Also referred to as a cor anglais or alto oboe.


English Horn 2 Solo

Second English horn (cor anglais) with a different tone and more pronounced vibrato. Made by Loree.


English Horn 1 Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble derived from the English Horn 1 Solo instrument.



Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the English Horn 1 Solo instrument.



Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the English Horn 1 Solo instrument.


Flute Solo Vib Principal solo flute. played vibrato. Made by Haynes. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Flute Solo NV Principal solo flute. played non vibrato. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Flute Solo KS Keyswitch version of the solo flute instrument (C-1 = vibrato; D-1 = non vibrato; E-1 = fluttertongue).

Leg, MW, Vel, Port, VAR 1, VAR 2, Length, KS

Flute Solo Flutter Principal solo flute, played fluttertongue. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Flute Plr1* Associate ensemble instrument for building ensembles. First player in an ensemble derived from the Flute Solo instrument.


Flute Plr2* Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the Flute Solo instrument.


Flute Plr3* Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the Flute Solo instrument.




51

Oboe 1 Modern Solo

Principal solo oboe. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Oboe 2 Modern Solo

Second solo oboe, with a little more vibrato. Made by Püchner.


Oboe 3 Modern Solo

Third solo oboe, with a slightly different tone and more pronounced vibrato.


Oboe 1 Modern Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble derived from the Oboe 1 Modern Solo instrument.


Oboe 1 Modern Plr2*

Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the Oboe 1 Modern Solo instrument.


Oboe 1 Modern Plr3*

Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the Oboe 1 Modern Solo instrument.


Oboe Classical Solo

Fourth solo oboe. Older vintage instrument with a differ-ent tone quality.


Oboe D’Amore Solo oboe d’amore. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Piccolo Vib Solo Principal piccolo. played vibrato. Made by Hammig.

Piccolo NV Solo Principal piccolo. played non vibrato.

Piccolo Solo KS Keyswitch version of the piccolo instrument (C-1 = vibrato; D-1 = non vibrato; E-1 = fluttertongue).

Piccolo Flutter Principal piccolo, played fluttertongue.

BRASS INSTRUMENTS

Bass Trombone 1 Solo

Principal Bass Trombone. Plays one octave lower than a conventional trombone. Made by Bach.


Bass Trombone 2 Solo

2nd Bass Trombone. A different bass trombone with a brighter tone.


Bass Trombone 2 Solo ag

Same as Bass Trombone 2 Solo, but programmed for a more aggressive sound.


Contratuba Solo Principle contratuba. Plays lower than a conventional tuba. Specially made by Melton.


French horn 1 Solo

Principal solo French horn. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

French horn 1 Solo KS

Keyswitch version of the French horn 1 Solo instrument (C-1 = regular sustain, D-1 = mutes).


French horn 1 Solo ag

The same as French Horn 1 Solo but with a more aggressive sound.



Appendices

52

French horn 1 Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble, derived from the principle French horn instrument.


French horn 1 Plr1 KS*

A keyswitch version of French horn 1 Plr1 (C-1 = regu-lar sustain, D-1 = mutes).

Leg, MW, Vel, Port, VAR 1, VAR 2, KS, Length

French horn 1 Plr2*

Associate ensemble instrument for building ensembles. Second player in an ensemble, derived from the principle French horn instrument.





French horn 1 Plr3*

Associate ensemble instrument for building ensembles. Third player in an ensemble, derived from the principle French horn instrument.





French horn 2 Solo

Second French horn. A different French horn with a dif-ferent tone quality.


French horn 2 Solo Ag

The same as French horn 2 Solo but programmed for a more aggressive sound.


French horn 2 Plr 1*

Associate ensemble instrument for building ensembles. First player in an ensemble, derived from the second French horn instrument.


French horn 2 Plr2*

Associate ensemble instrument for building ensembles. Second player in an ensemble, derived from the second French horn instrument.


French horn 2 Plr3*

Associate ensemble instrument for building ensembles. Third player in an ensemble, derived from the second French horn instrument.


French Horn Solo Mute

Principal French horn played with a straight mute (sor-dino)


French Horn Mute Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble, derived from the French horn muted instrument.



Associate ensemble instrument for building ensembles. Second player in an ensemble, derived from the French horn muted instrument.



Associate ensemble instrument for building ensembles. Third player in an ensemble, derived from the French horn muted instrument.


F Horn f overlay A different solo French horn played forte and intended to be played with other horns to create a fuller section sound.




53

F Horn f overlay ag

The same as F Horn f overlay but programmed for a more aggressive sound.


F Horn ff overlay A different solo French horn played fortissimo and intended to be layered with other horns to create a fuller section sound.


Tenor Tbone Solo

Principal solo tenor trombone, made by Conn. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Tenor Tbone Solo KS

A keyswitch version of the Tenor Tbone Solo instrument (C-1 = regular sustains, D-1 = mutes).


Tenor Tbone Solo ag

The same as Tenor Tbone Solo but programmed for a more aggressive sound.


Tenor Tbone Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble, derived from the principal tenor trombone instrument.


Tenor Tbone Plr1 KS*

A keyswitch version of Tenor Tbone Plr1 (C-1 = regular sustains, D-1 = mutes).


Tenor Tbone Plr2*

Associate ensemble instrument for building ensembles. Second player in an ensemble, derived from the principal tenor trombone instrument.





Tenor Tbone Plr3*

Associate ensemble instrument for building ensembles. Third player in an ensemble, derived from the principal tenor trombone instrument.





Tenor Tbone Solo Mute

Principle tenor trombone played with a straight mute (sordino)


Tenor Tbone Mute Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble, derived from the tenor trom-bone muted instrument.



Associate ensemble instrument for building ensembles. Second player in an ensemble, derived from the tenor trombone muted instrument.



Associate ensemble instrument for building ensembles. Third player in an ensemble, derived from the tenor trom-bone muted instrument.


Tbone Overlay A different solo trombone played forte and intended to be layered with other trombones to create a fuller section sound.


Tbone Overlay ag The same as Tbone Overlay but programmed for a more aggressive sound.



Appendices

54

Tpt 1 Solo Principal solo C trumpet. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Tpt 1 Solo KS A keyswitch version of the Tpt 1 Solo instrument (C-1 = regular sustains, D-1 = mutes).


Tpt 1 Solo ag The same as Tpt 1 Solo but programmed for a more aggressive sound.


Tpt 1 Plr1* Associate ensemble instrument for building ensembles. First player in an ensemble, derived from the principal trumpet instrument.


Tpt 1 Plr1 KS* A keyswitch version of Tpt1 Plr1 (C-1 = regular sustains, D-1 = mutes).


Tpt 1 Plr2* Associate ensemble instrument for building ensembles. Second player in an ensemble, derived from the principal trumpet instrument.




Tpt 1 Plr3* Associate ensemble instrument for building ensembles. Third player in an ensemble, derived from the principal trumpet instrument.




Tpt 2 Solo Second solo trumpet; a different trumpet with a brighter sound than Tpt 1 Solo.


Tpt 2 Plr1* Associate ensemble instrument for building ensembles. First player in an ensemble, derived from the second trumpet instrument.


Tpt 2 Plr2* Associate ensemble instrument for building ensembles. Second player in an ensemble, derived from the second trumpet instrument.


Tpt 2 Plr3* Associate ensemble instrument for building ensembles. Third player in an ensemble, derived from the second trumpet instrument.


Tpt Piccolo NV Solo

Piccolo trumpet played with no vibrato. Made by Bach Stradivarius.


Tpt Piccolo V Solo

Piccolo trumpet played with vibrato. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Tpt Solo Straight Mute

Principal trumpet played with a straight mute (sordino). Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Tpt Straight Mute Plr1*

Associate ensemble instrument for building ensembles. First player in an ensemble derived from the muted trum-pet instrument.




55


Associate ensemble instrument for building ensembles. Second player in an ensemble derived from the muted trumpet instrument.



Associate ensemble instrument for building ensembles. Third player in an ensemble derived from the muted trumpet instrument.


Tpt Overlay A different solo trumpet played forte and intended to be layered with other trumpets to create a fuller section sound.


Tpt Overlay ag The same as Tpt Overlay but programmed for a more aggressive sound.


Tuba 1 Solo Principal solo bass tuba. Made by Bohland Fuchs. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Tuba 2 Solo Second solo bass tuba, with a different tone. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Tuba 2 Solo ag The same as Tuba 2 Solo but programmed for a more aggressive sound.


Tuba Overlay A different solo tuba played forte and intended to be lay-ered or played solo for a fuller sound.


Tuba Overlay ag The same as Tuba Overlay but programmed for a more aggressive sound.


HARP INSTRUMENTS

Chromatic Harp 1

Venus harp with a mellow sound. Vel (vol), SusDp

Chromatic Harp 1 Lite

A lite version of the Chromatic Harp 1 instrument. Vel (vol), SusDp

Chromatic Harp 2

Wurlitzer harp with a clearer sound. Vel (vol), SusDp

Chromatic Harp 2 Lite

A lite version of the Chromatic Harp 2 instrument. Vel (vol), SusDp

Glissando Harp 1 Maps Chromatic Harp 1 samples to the white notes of the keyboard. Simulate harp glissandos in real time by running your finger up and down the white notes.

MIDI maps are used to emulate pedals.

Glissando Harp 2 Maps Chromatic Harp 2 samples to the white notes of the keyboard.

MIDI maps are used to emulate pedals.

Harp 1 KS A keyswitch instrument containing all the Chromatic Harp 1 instruments (C-1 = chromatic harp; D-1 = glis-sando harp; G-1 = harp harmonics)

Vel (vol), SusDp

Harp 2 KS A keyswitch instrument containing all the Chromatic Harp 2 instruments (C-1 = chromatic harp; D-1 = glis-sando harp; G-1 = harp harmonics)

Vel (vol), SusDp

Harp Harmonics 1

Venus harp playing harmonics. SusDp


Appendices

56

Harp Harmonics 2

Wurlitzer harp playing harmonics. SusDp

KEYBOARD INSTRUMENTS

Celesta Solo celesta instrument, made by Mustel. Vel (vol), SusDp, Sus (sus)

Glass Harmonica Emulation of a glass harmonica. Vel (vol)

Harpsichord KS The harpsichord is a double manual French harpsichord made by Hubbard. The stops are selected by keyswitches (C-1 = 8’ stop; D-1 = 8’+4’ stop; E-1 = buff/lute stop, muted sound)

KS, Vel (vol), Sus (sus)

Steinway Piano Steinway concert grand piano, chromatic with two dynamics.

Vel (vol), Sus (sus)

Steinway Piano Lite

Steinway concert grand piano, chromatic with two dynamics, using fewer samples.


Steinway Piano Duo 1 & Duo 2

The instrument is mapped so two keyboards do not have samples in common. They can be used in piano duos.


Pipe Organ The pipe organ is a German Baroque organ build by Rudolf von Beckerath. It has three manuals and pedals, each containing from 7 to 11 individual stops. Stops include: Baroque Plen Reed Ped; Baroque Plen Reeds; Baroque Plenum Ped; Baroque Plenum; Brustwerk All stops; Cornet; Flutes; Full Organ; Haupt Mix; Hauptwerk All Stops; Prinzipal; Scharf IV; Symphonic Plenum

Vel (vol), Fund, FiltLV, FiltFQ

PERCUSSION INSTRUMENTS

Basic Orch Per-cussion

See Appendix B: Percussion instrument mappings. Vel (vol), BDFund, BD Aggressive control VAR 1, VAR 2, KS

Bass Drum KS See Appendix B: Percussion instrument mappings. BDFund, Vel (vol), KS, VAR 1, VAR 2 aggressive control

Crotales Crotales resemble small cymbals and produce a definite pitch.

Vel (vol), VAR1, VAR2

Cymbals KS See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS

Glockenspiel The glockenspiel is another name for orchestral bells. Vel (vol), VAR1, VAR2

Marimba The marimba has two rows of wooden bars that are played with beaters (mallets).

Vel (vol), SusDp, VAR1, VAR2

Handbells Handbells are sets of brass bells, each tuned to a particular note of the scale.

Vel (vol), VAR1, VAR2

Percussion Toys See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS

Snares KS See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS

Timpani KS See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS

Tubular Bells Tubular bells are also known as orchestral chimes. Vel (vol), SusDp, VAR 1, VAR 2



57

Vibraphone The vibraphone has two rows of metal bars with electric resonators that produce a distinctive vibrato or throbbing effect.

Vel (vol) Sus Attack, Length, TrmLev, TrmSpd

Wind Machine A wind machine is an effects instrument that emulates the sound of wind. Made by Amati.

MW (vol)

Xylophone The xylophone has two rows of graduated wooden bars, mounted in a frame, that are played with beaters (mal-lets).

Vel (vol), SusDp

SECTIONAL STRING INSTRUMENTS

Vln 1 Lush A lush sustain with strong vibrato played by a twelve-player first violin section.

Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vln 1 Lush Mutes Same as above, played with mutes (con sordino). Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 1 Pizzicato First violin section played pizzicato. Velocity controls vol-ume level and timbre changes (brighter at higher veloci-ties).

Vel (vol), VAR 1, VAR 2

Vlns 1 Short Bows KS

First violin section played short bow style, controlled by velocity. Uses keyswitch for bow direction control (D-1 = alternate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke 2)

Vel (vol), KS, Length, VAR 1, VAR 2

Vlns 1 Short Bows KS ag

Vlns 1 Short Bows with more aggressive sound, con-trolled by velocity. Keyswitch as above.


Vlns 1 Sustain+Short

First violin section strings that combine characteristics of both long and short bows into single instruments.


Vlns 1 Sustain+Short ag

Vlns 1 Sustain+Short with more aggressive sound, con-trolled by the modulation controller (CC1).


Vlns 1 Sustain+ Short Mutes

Same as above, played with mutes (con sordino). Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 1 Tremolo First violin section played tremolo. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 1 Trills Half First violin section played half-step (semitone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 1 Trills Whole

First violin section played whole-step (tone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 1 KS Keyswitch instrument containing all Vlns 1 instruments (C-1 = Sus+short (legato with sustain pedal); C#-1 = Sus+short mutes (legato with sustain pedal); D-1 = Alter-nate up- and down-bows; D#-1 Up-bows; E-1 = Down-bows; F-1 = Pizzicato; F#-1 = Tremolo mutes (legato with sustain pedal); G-1 = Tremolo (legato with sustain pedal); G#-1 = Half-step trills mutes (legato with sustain pedal); A-1 = Half step trills (legato with sustain pedal); A#-1 = Whole-step trills mutes (legato with sustain pedal); B-1 = Whole step trills (legato with sustain pedal).

Leg, MW, Vel, Port, Length, VAR 1, VAR 2, KS, Alt


Appendices

58

Vln 2 Lush A lush sustain with strong vibrato played by a ten-player second violin section.


Vln 2 Lush Mutes Same as above, played with mutes (con sordino). Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 2 Pizzicato Second violin section played pizzicato. Velocity controls volume level and timbre changes (brighter at higher veloc-ities).


Vlns 2 Short Bows KS

Second violin section played short bow style, controlled by velocity. Uses keyswitch for bow direction control (D-1 = alternate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke 2)


Vlns 2 Short Bows KS ag

Vlns 2 Short Bows with more aggressive sound, con-trolled by velocity. Keyswitch as above.


Vlns 2 Sustain+ Short

Second violin section strings that combine characteristics of both long and short bows into single instruments.


Vlns 2 Sustain+ Short ag

Vlns 2 Sustain+Short with more aggressive sound, con-trolled by the modulation controller (CC1).


Vlns 2 Sustain+ Short Mutes


Vlns 2 Tremolo Second violin section played tremolo. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 2 Trills Half Second violin section played half-step (semitone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 2 Trills Whole

Second violin section played whole-step (tone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Vlns 2 KS Keyswitch instrument containing all Vlns 2 instruments (C-1 = Sus+short (legato with sustain pedal); C#-1 = Sus+short mutes (legato with sustain pedal); D-1 = Alter-nate up- and down-bows; D#-1 Up-bows; E-1 = Down-bows; F-1 = Pizzicato; F#-1 = Tremolo mutes (legato with sustain pedal); G-1 = Tremolo (legato with sustain pedal); G#-1 = Half-step trills mutes (legato with sustain pedal); A-1 = Half step trills (legato with sustain pedal); A#-1 = Whole-step trills mutes (legato with sustain pedal); B-1 = Whole step trills (legato with sustain pedal).


Violas Lush A lush sustain with strong vibrato played by a ten-player viola section.


Violas Lush Mutes


Violas Pizzicato Viola section played pizzicato. Velocity controls volume level and timbre changes (brighter at higher velocities).


Violas Short Bows KS

Viola section played short bow style, controlled by veloc-ity. Uses keyswitch for bow direction control (D-1 = alter-nate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke 2)




59

Violas Short Bows KS ag

Violas Short Bows with more aggressive sound, con-trolled by velocity. Keyswitch as above.


Violas Sustain+ Short

Viola section strings that combine characteristics of both long and short bows into single instruments.


Violas Sustain+ Short ag

Violas Sustain+Short with more aggressive sound, con-trolled by the modulation controller (CC1).


Violas Sustain+ Short Mutes


Violas Tremolo Viola section played tremolo. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Violas Trills Half Viola section played half-step (semitone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Violas Trills Whole

Viola section played whole-step (tone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Violas KS Keyswitch instrument containing all Violas instruments (C-1 = Sus+short (legato with sustain pedal); C#-1 = Sus+short mutes (legato with sustain pedal); D-1 = Alter-nate up- and down-bows; D#-1 Up-bows; E-1 = Down-bows; F-1 = Pizzicato; F#-1 = Tremolo mutes (legato with sustain pedal); G-1 = Tremolo (legato with sustain pedal); G#-1 = Half-step trills mutes (legato with sustain pedal); A-1 = Half step trills (legato with sustain pedal); A#-1 = Whole-step trills mutes (legato with sustain pedal); B-1 = Whole step trills (legato with sustain pedal).


Cellos Lush A lush sustain with strong vibrato played by an eight-player viola section.


Cellos Lush Mutes


Cellos Pizzicato Cello section played pizzicato. Velocity controls volume level and timbre changes (brighter at higher velocities).


Cellos Short Bows KS

Cello section played short bow style, controlled by veloc-ity. Uses keyswitch for bow direction control (D-1 = alter-nate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke 2)


Cellos Short Bows KS ag

Cellos Short Bows with more aggressive sound, con-trolled by velocity. Keyswitch as above.


Cellos Sustain+ Short

Cello section strings that combine characteristics of both long and short bows into single instruments.


Cellos Sustain+ Short ag

Cellos Sustain+Short with more aggressive sound, con-trolled by the modulation controller (CC1).


Cellos Sustain+ Short Mutes


Cellos Tremolo Cello section played tremolo. Leg, MW, Vel, Port, Length, VAR 1, VAR 2


Appendices

60

Cellos Trills Half Cello section played half-step (semitone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Cellos Trills Whole

Cello section played whole-step (tone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Cellos KS Keyswitch instrument containing all Cellos instruments (C-1 = Sus+short (legato with sustain pedal); C#-1 = Sus+short mutes (legato with sustain pedal); D-1 = Alter-nate up- and down-bows; D#-1 Up-bows; E-1 = Down-bows; F-1 = Pizzicato; F#-1 = Tremolo mutes (legato with sustain pedal); G-1 = Tremolo (legato with sustain pedal); G#-1 = Half-step trills mutes (legato with sustain pedal); A-1 = Half step trills (legato with sustain pedal); A#-1 = Whole-step trills mutes (legato with sustain pedal); B-1 = Whole step trills (legato with sustain pedal).


Basses Lush A lush sustain with strong vibrato played by a seven-player double bass section.


Basses Lush Mutes


Basses Pizzicato Double bass section played pizzicato. Velocity controls volume level and timbre changes (brighter at higher veloc-ities).


Basses Short Bows KS

Double bass section played short bow style, controlled by velocity. Uses keyswitch for bow direction control (D-1 = alternate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke 2)


Basses Short Bows KS ag

Basses Short Bows with more aggressive sound, con-trolled by velocity. Keyswitch as above.


Basses Sustain+ Short

Double bass section strings that combine characteristics of both long and short bows into single instruments.


Basses Sustain+ Short ag

Basses Sustain+Short with more aggressive sound, con-trolled by the modulation controller (CC1).


Basses Sustain+ Short Mutes


Basses Tremolo Double bass section played tremolo. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Basses KS Keyswitch instrument containing all Basses instruments (C-1 = Sus+short (legato with sustain pedal); C#-1 = Sus+short mutes (legato with sustain pedal); D-1 = Alter-nate up- and down-bows; D#-1 Up-bows; E-1 = Down-bows; F-1 = Pizzicato; F#-1 = Tremolo mutes (legato with sustain pedal); G-1 = Tremolo (legato with sustain pedal); G#-1 = Half-step trills mutes (legato with sustain pedal); A-1 = Half step trills (legato with sustain pedal); A#-1 = Whole-step trills mutes (legato with sustain pedal); B-1 = Whole step trills (legato with sustain pedal).




61

Full Strgs Pizz Full string section played pizzicato. Velocity controls vol-ume level and timbre changes (brighter at higher veloci-ties).

Vel (vol), VAR 1, VAR 2, Length

Full Strgs Short Bows KS

Full string section played short bow style, controlled by velocity. Uses keyswitch for bow direction control (D-1 = alternate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke 2).

Vel (vol), KS, VAR 1, VAR 2, Length

Full Strgs Sus-tain+Short

Full string section that combine characteristics of both long and short bows into single instruments.


Full Strgs Sus-tain+Short ag

Full Strgs Sustain+Short instrument with more aggres-sive sound, controlled by the modulation controller (CC1).


Full Strgs Sus-tain+Short Mutes


Full Strgs Trem-olo

Full string section played tremolo. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Full Strgs Trills Half

Full string section played half-step (semitone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Full Strgs Trills Whole

Full string section played whole-step (tone) trills. Leg, MW, Vel, Port, Length, VAR 1, VAR 2

Full Strgs KS Keyswitch instrument containing all Full Strgs instru-ments (C-1 = Sus+short (legato with sustain pedal); C#-1 = Sus+short mutes (legato with sustain pedal); D-1 = Alternate up- and down-bows; D#-1 Up-bows; E-1 = Down-bows; F-1 = Pizzicato; F#-1 = Tremolo mutes (legato with sustain pedal); G-1 = Tremolo (legato with sustain pedal); G#-1 = Half-step trills mutes (legato with sustain pedal); A-1 = Half step trills (legato with sustain pedal); A#-1 = Whole-step trills mutes (legato with sus-tain pedal); B-1 = Whole step trills (legato with sustain pedal).


SOLO STRING INSTRUMENTS

Violin 1 Gagli Solo

Gagliano solo violin, principal violin. Combines charac-teristics of both long and short bows.


Violin 1 Gagli KS Solo

A keyswitch version of the Violin Gagli Solo instrument (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Automati-cally alternating up and downbows; D#-1 = Upbows; E-1 = Downbows; F-1 = Pizzicato; F#-1 = Playable tremolo mute; G-1 = Playable tremolo; G#-1 = Playable muted trills (extended intervals can be chosen with CC16); A-1 = Playable trills (extended intervals can be chosen with CC16); A#-1 = Playable whole step muted trills; B-1 = Playable whole step trills).

Leg, MW, Vel, Port, VAR 1, VAR 2, KS, Alt, Length

Violin 1 Gagli Plr1*

First player in an ensemble derived from Violin 1 Gagli Solo.



Appendices

62


Second player in an ensemble derived from Violin 1 Gagli Solo.



Third player in an ensemble derived from Violin 1 Gagli Solo.


Violin 1 Gagli Pizz Solo

Gagliano solo violin, played pizzicato. Velocity controls volume level and timbre changes (brighter at higher veloc-ities).


Violin 2 Strad Solo

Stradivarius solo violin, Concertmaster. Combines charac-teristics of both long and short bows.


Violin 2 Strad KS Solo

A keyswitch version of the Violin 2 Strad Solo instru-ment (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Auto-matically alternating up and downbows; D#-1 = Upbows; E-1 = Downbows; F-1 = Pizzicato; F#-1 = Playable trem-olo mute; G-1 = Playable tremolo; G#-1 = Playable muted trills (extended intervals can be chosen with CC16); A-1 = Playable trills (extended intervals can be chosen with CC16); A#-1 = Playable whole step muted trills; B-1 = Playable whole step trills).


Violin 2 Strad Plr1*

First player in an ensemble derived from Violin 2 Strad Solo.



Second player in an ensemble derived from Violin 2 Strad Solo.



Third player in an ensemble derived from Violin 2 Strad Solo.


Violin 2 Strad Pizz Solo

Stradivarius solo violin, played pizzicato. Velocity controls volume level and timbre changes (brighter at higher veloc-ities).


Violin 3 Guarn Solo

Guarneri solo violin, Concertmaster. Combines character-istics of both long and short bows.


Violin 3 Guarn KS Solo

A keyswitch version of the Violin 3 Guarn Solo instru-ment (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Auto-matically alternating up and downbows; D#-1 = Upbows; E-1 = Downbows; F-1 = Pizzicato; F#-1 = Playable trem-olo mute; G-1 = Playable tremolo; G#-1 = Playable muted trills (extended intervals can be chosen with CC16); A-1 = Playable trills (extended intervals can be chosen with CC16); A#-1 = Playable whole step muted trills; B-1 = Playable whole step trills).


Violin 3 Guarn Plr1*

First player in an ensemble derived from Violin 3 Guarn Solo.



Second player in an ensemble derived from Violin 3 Guarn Solo.



Third player in an ensemble derived from Violin 3 Guarn Solo.




63

Violin 3 Guarn Pizz Solo

Guarneri solo violin, played pizzicato. Velocity controls volume level and timbre changes (brighter at higher veloc-ities).


Viola Solo 18th century solo viola, principal viola. Combines charac-teristics of both long and short bows.


Viola KS Solo A keyswitch version of the Viola Solo instrument (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Automatically alter-nating up and downbows; D#-1 = Upbows; E-1 = Down-bows; F-1 = Pizzicato; F#-1 = Playable tremolo mute; G-1 = Playable tremolo; G#-1 = Playable muted trills (extended intervals can be chosen with CC16); A-1 = Playable trills (extended intervals can be chosen with CC16); A#-1 = Playable whole step muted trills; B-1 = Playable whole step trills).


Viola Plr1* First player in an ensemble derived from Viola Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Viola Plr2* Second player in an ensemble derived from Viola Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Viola Plr3* Third player in an ensemble derived from Viola Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Viola Pizz Solo Solo viola, played pizzicato. Velocity controls volume level and timbre changes (brighter at higher velocities).


Cello 1 Solo Vuillaume solo cello, principal cello. Combines character-istics of both long and short bows.


Cello 1 KS Solo A keyswitch version of the Cello 1 Solo instrument (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Automatically alternating up and downbows; D#-1 = Upbows; E-1 = Downbows; F-1 = Pizzicato; F#-1 = Playable tremolo mute; G-1 = Playable tremolo; G#-1 = Playable muted trills (extended intervals can be chosen with CC16); A-1 = Playable trills (extended intervals can be chosen with CC16); A#-1 = Playable whole step muted trills; B-1 = Playable whole step trills).


Cello 1 Plr1* First player in an ensemble derived from Cello 1 Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Cello 1 Plr2* Second player in an ensemble derived from Cello 1 Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Cello 1 Plr3* Third player in an ensemble derived from Cello 1 Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Cello 2 Solo Montagnana solo cello, principal cello. Combines charac-teristics of both long and short bows.



Appendices

64






Cello 3 Solo Gofriller solo cello, principal cello. Combines characteris-tics of both long and short bows.







Cello Pizz Solo Solo cello, played pizzicato. Velocity controls volume level and timbre changes (brighter at higher velocities).


Dbl Bass Solo 18th century solo double bass. Principal. Combines char-acteristics of both long and short bows.


Dbl Bass KS Solo A keyswitch version of the Dbl Bass Solo instrument (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Automatically alternating up and downbows; D#-1 = Upbows; E-1 = Downbows; F-1 = Pizzicato; F#-1 = Playable tremolo mute; G-1 = Playable tremolo; G#-1 = Playable muted trills (extended intervals can be chosen with CC16); A-1 = Playable trills (extended intervals can be chosen with CC16); A#-1 = Playable whole step muted trills; B-1 = Playable whole step trills).


Dbl Bass Plr1* First player in an ensemble derived from Dbl Bass Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length



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Dbl Bass Plr2* Second player in an ensemble derived from Dbl Bass Solo.


Dbl Bass Plr3* Third player in an ensemble derived from Dbl Bass Solo. Leg, MW, Vel, Port, VAR 1, VAR 2, Length

Dbl Bass Pizz Solo

Solo double bass, played pizzicato. Velocity controls vol-ume level and timbre changes (brighter at higher veloci-ties).



Appendices

66

Appendix B: Percussion instrument mappings

Listed below are the MIDI pitches used for each unpitched percussion sound inGPO’s percussion instruments. Plug these values into the Use MIDI pitch optionin the Edit Staff Type dialog when modifying existing GPO percussion staff typesor creating your own (see Creating your own percussion staff types on page41).

Bass Drum KS

Keyswitches:

* C–1: Hits full decay* D–1: Hits hand dampened

Snares KS

Keyswitches:

* C–1: Alternate hits (left- and right- hand)* D–1: Left-hand hits only* E–1: Right-hand hits only* F–1: Roll 1 (controlled by modulation wheel)

MIDI pitch Description

C2 Bass drum hit

C#2 Bass drum roll (controlled by modulation wheel)


G#3 Side drum hit (left hand)

A3 Side drum hit (right hand)

A#3 Side drum roll (controlled by modulation wheel)

B4 Keyswitch (left/right hits, left hand, right hand, roll)


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Timpani KS

Keyswitches:

* C–1: Hits full decay* D–1: Hits hand dampened

Cymbals KS

Keyswitches:

* C–1: Alternate pings (left- and right- hand)* D–1: Left-hand pings only* E–1: Right-hand pings only* F–1: Roll 1 (controlled by modulation wheel)* G–1: Roll 2 (controlled by modulation wheel; not directly supported)


D2–G3 Timpani hits (left hand)

D4–G5 Timpani hits (right hand)


G#5 Large gong

A5 Medium gong 1

A#5 Tam tam

B5 Medium gong 2

C6 Piatti cymbal 1

C#6 Piatti cymbal 2

D6 Piatti cymbal 3

D#6 Crash cymbal

E6 Choke cymbal

F6 Keyswitch (left/right ping, left only, right only, roll 1, roll 2)

Appendices

68

Percussion Toys


A#3 Cowbell 1

B3 Cowbell 2

C4 Cowbell 3

C#4 Gourd 1

D4 Gourd 2

D#4 Shaker 1

E4 Shaker 2

C5 Tambourine pop

C#5 Tambourine shake

D5 Castanet hit

D#5 Castanet roll

E5 Clave 1

F5 Clave 2

F#5 Ratchet

G5 Sleigh bells

G#5 Mark tree

A5 Triangle short (add sustain pedal or ~C64,127 for dampened)

A#5 Triangle long (add sustain pedal or ~C64,127 for dampened)


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Basic Orchestral Percussion

Keyswitches:

* C–1: Alternate hits (left- and right- hand)* D–1: Left-hand hits only* E–1: Right-hand hits only


C3 Bass drum hit

C#3 Bass drum roll (controlled by modulation wheel)

D3–G4 Timpani hit (left hand)

G#4 Side drum hit (left hand)

A4 Side drum hit (right hand)

A#4 Side drum roll (controlled by modulation wheel)

B4 Snare drum keyswitch (left/right hit, left only, right only)

G#5 Large gong

A5 Medium gong 1

A#5 Tam tam

B5 Medium gong 2

C6 Piatti cymbal 1

C#6 Piatti cymbal 2

D6 Piatti cymbal 3

D#6 Crash cymbal

E6 Choke cymbal

F6 Cymbal keyswitch (left/right ping, left only, right only)

A#6 Cymbal roll crescendo

B6 Triangle long

C7 Triangle short

Appendices

70

License Agreement

71

License AgreementBy installing or using any component of the Software, or by registering the Product, you (anindividual or legal entity) agree with the Licensor to be bound by the terms of this Licensewhich will govern your use of the Product. If you do not accept these terms you may within14 days of purchase return the Product, its packaging and documentation unused and intactto your supplier together with dated proof of purchase for a full refund.

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Documents

Garritan Personal Orchestra Sibelius Edition User Guide