Note that you can remove all the automations at once using the Remove

Automations button.

Assistants

Guitar Pro includes many wizards to help you work faster when creating your
scores. These wizards are available from the Tools menu.

Note-Related Wizards

Using the wizards can save you lots of time. For example, in one step you can let
Guitar Pro know that you want the Let Ring function turned on for all of the notes
on the four highest strings.

Let Ring Options

Sets the Let Ring attribute for each string over a selected range of bars or notes.

Let ring window

Palm Mute Options

Sets the Palm Mute attribute for each string over a selected range of bars or notes.

Palm mute window

Score edition | 91
Wizards for Organizing the Score

You can use these Wizards when you compose, after you have imported a track, or
while you are capturing notes in standard, to get the best possible arrangement of
the tablature.

Bar Arranger

Checks and arranges bars according to the durations of the notes.

Complete/Reduce Bars with Rests

Adds rests in bars that are empty or too short, and deletes the extra rests in bars
that are too long.

Automatic Finger Positioning

Places the notes on tablature without changing the tune, so as to simplify the chord
positions and movements of the hand.

Move/Copy/Swap Voices

Reorganises the voices over a multi-voice track.

Move/Copy/Swap voices window

Check Bar Duration

Checks the whole score to detect bars that do not have the required number of
beats.

Drums and percussions

You can use the keyboard shortcuts to enter notes into a drums/percussion track.
Each line can present several articulations (e.g., the charleston can be open, semi-
open, or closed), and you can use the 1 , 2 , 3 keys from the numerical pad.

The tablature being also available for drums you have the possibility to edit your
drum track directly from the tablature notation by typing the MIDI number related
to your drums element.

92 | Chapter 4: Writing a score

Please refer to the MIDI and tablature correspondance table, right after. In MIDI
mode, the percussion tracks are always attributed to channel 10.

But also and mainly you can use your Instrument view adapted for percussions.
Make it visible from the View > Show Drumkit View menu ( Ctrl + F6 on
Windows or ⌘ + F6 on macOS when the current track is a percussions track).

Virtual drumkit

1. Move cursor left/right

2. Drumkit settings

You may select the element you want to add to your track directly from this window.
At the top is a notation view, and at the bottom is the General MIDI list. The settings
let you choose which view to display or hide.

“ You can choose which type of sticks are used to hit the drums, and the RSE will
interpret the different types of strokes. Select this option from the Track Inspector
located on the right of your Guitar Pro window.

MIDI and tablature correspondance

MIDI Drumkit element

27 High Q
28 Slap
29 Scratch Push
30 Scratch Pull
31 Sticks
32 Square Click

Score edition | 93
MIDI Drumkit element
33 Metronome Click
34 Metronome Bell
35 Bass Drum 2
36 Bass Drum 1
37 Side Stick/Rimshot
38 Snare Drum 1
39 Hand Clap
40 Snare Drum 2
41 Low Tom 2
42 Closed Hi-hat
43 Low Tom 1
44 Pedal Hi-hat
45 Mid Tom 2
46 Open Hi-hat
47 Mid Tom 1
48 High Tom 2
49 Crash Cymbal 1
50 High Tom 1
51 Ride Cymbal 1
52 Chinese Cymbal
53 Ride Bell
54 Tambourine
55 Splash Cymbal
56 Cowbell
57 Crash Cymbal 2
58 Vibra Slap
59 Ride Cymbal 2
60 High Bongo
61 Low Bongo
62 Mute High Conga
63 Open High Conga
64 Low Conga
65 High Timbale
66 Low Timbale
67 High Agogô
68 Low Agogô
69 Cabasa
70 Maracas
71 Short Whistle
72 Long Whistle

94 | Chapter 4: Writing a score

MIDI Drumkit element
73 Short Güiro
74 Long Güiro
75 Claves
76 High Wood Block
77 Low Wood Block
78 Mute Cuíca
79 Open Cuíca
80 Mute Triangle
81 Open Triangle
82 Shaker
83 Jingle Bell
84 Bell Tree
85 Castinets
86 Mute Surdo
87 Open Surdo

Score edition | 95
Symbols
Guitar Pro allows you to insert all of the musical symbols into the score, and
particularly those specific to the guitar. Most of these symbols are taken into
account whenever the score is being played.

The following explanations are valid for both right-hand and left-handed people.
Left handed players simply have to replace the term right hand by left hand when
necessary.

Note that some symbols are illustrated with a small triangle at the bottom right of
the icon. This indicates that you can right-click or long-click on this icon to access
additional settings.

Bar-related symbols

Bar-related symbols in the palette

Icon Name Quick description

Clef Change staff clef.
Key Signature Change staff key signature.
Time Signature Change staff time signature.
Triplet Feel Example: play ternary but write binary.
Free time bars Play freely in terms of rhythm and tempo.
Double bar-lines Important change in the score.
Simple repeat sign Repeat the bar preceding it.
Double repeat sign Repeat the two bars preceding it.
Repeat open Following bars shall be repeated.
Repeat close Repeat the bars from repeat open sign.
Repetitions What to play for each repetition.
Directions Advanced repetition managing.
8va octave clef Play 1 octave above what is written.
8vb octave clef Play 1 octave below what is written.
15ma octave clef Play 2 octaves above what is written.
15mb octave clef Play 2 octaves below what is written.

Clef

The Clef is an indication, in standard notation, as to which notes correspond to

the lines. Guitar Pro handles 4 types of Clef (G-, F-, C3-, and C4-Clef), as well as
4 types of octave clefs (8va, 15va, 8vb, 15vb). Whenever you change clefs, you can
transpose the notes to keep the same pitch.

96 | Chapter 4: Writing a score

 Clef editor

Key Signature

The key signature tells you which notes are meant to be altered by default —
unless an accidental appears next to the note on the score. It thus indicates the tone
in which the piece or passage is written. It is the same for every track, aside from
transposing instruments when you are using the transposing tone mode (e.g., Bb
clarinet) automatically managed by Guitar Pro.

Key signature editor

Time Signature

The time signature indicates the durations of beats in the bars following that
signature: the bottom digit corresponds to the number of divisions of the whole
note, and the top one gives you the number of units in a bar (see Understanding
Notation). Whenever a bar is complete according to the time signature, Guitar Pro
will directly move on to the next bar if you add a note. Incomplete or overlooked
bars will appear in red. If you have checked the Anacrusis option (Bar >
Anacrusis menu), the first and last bars will not appear in red even when they are
not completed.

The concert tone option cancels all the tracks transpositions and reverts back to the
standard tone.

Symbols | 97
 Time signature editor

Triplet Feel

Among others, the triple feel means you play in a ternary way some bars that
are written in binary mode for the sake of lightness of writing. Guitar Pro offers
several motifs, the most common being the triplet feel 8th which lets you play a 4/4
signature in blues style for instance.

Triplet feel editor

Free time bars

Free-time bars are bars that are played freely in terms of rhythm and tempo.
The barlines then appear as dotted lines and the time signature is in parentheses.

98 | Chapter 4: Writing a score

Double bar-lines

A double bar-line indicates a change of parts, of signature, or any other major

change in the score. Guitar Pro inserts them automatically at every change of
signature. You can also add more bar-lines with the button here to the left whenever
you consider a change in the score to be important enough.

Simple repeat sign

This symbols means that the bar is meant to repeat exactly the bar preceding it.
This makes editing and reading lighter, and will not work on the first bar of a score.

Double repeat sign

This symbol means that you are supposed to repeat exactly the two preceding
bars. It will not work if placed on the first two bars of a score.

Repeat open

This symbol replaces an opening bar-line, and means that every bar that follows
it will be played again a certain number of times, depending on the Repeat close
sign (see below). Consult Repeats and Directions for more information.

Repeat close

This symbol replaces a closing bar-line, and sends you back to the last Repeat
open sign. A dialog window will open up for you to indicate the number of repeats
you want.

Example: Bar order is 1-2-1-2-3 .

Consult Repeats and Directions for more information.

Repeat close window

Symbols | 99
Alternate endings

This adds a repetition symbol at the beginning of the active bar. This tells you if
the bar is meant to be played, depending on the number of times it has already been
played. That symbol is used together with the repeat signs.

Example : Bar order is 1-2-1-3 .

Alternate endings window

Consult Repeats and Directions for more information.

Directions

This function will add the Coda, Double Coda, Segno, Segno Segno and Fine
symbols, as well as 11 other different types of coda jumps.

Directions editor

Consult Repeats and Directions for more information.

100 | Chapter 4: Writing a score

Octave clef

This little symbol means that you are to play the score an octave
higher than what is actually written. If you click on that button the notes will be
moved down one octave on the score, and a little 8va will be added. The other
symbol 8vb means the opposite; and the two other buttons, 15va and 15vb extend it
to two octaves.

Note-related symbols

Note related symbols in the palette

Icon Name Quick description

Whole note Plays a whole note.
Half note Plays a half note.
Quarter note Plays a quarter note.
8th note Plays a 8th note.
16th note Plays a 16th note.
32th note Plays a 32th note.
64th note Plays a 64th note.
Rest Add a rest.
Dot Add a dot to the note.
Double-dot Add a double-dot to the note.
Triolet Set the note rhythm to be ternary.
Custom n-tuplet Set the note rhythm to be a specific tuplet.
Create tuplets that can be nested inside an other
Nested tuplet
tuplet.
Tie Tie the note.
Multiple tie Tie multiple notes.
Fermata Add a fermata (multitrack).
Double flat Set the note accident to be a double flat.
Flat Set the note accident to be a flat.
Natural Set the note accident to be a natural.
Sharp Set the note accident to be a sharp.
Double sharp Set the note accident to be a double double flat.
Change the alteration while keeping the same note
Change accidental
value.
Shift one semitone
Lower the note by a half-tone.
down

Symbols | 101
Icon Name Quick description
Shift one semitone up Raise the note by a half-tone.
Pianississimo Plays very very softly the note.
Pianissimo Plays very softly the note.
Piano Plays softly the note.
Mezzo piano Plays moderately softly the note.
Mezzo forte Plays moderately loudly the note.
Forte Plays loudly the note.
Fortissimo Plays very loudly the note.
Fortississimo Plays very very loudly the note.
Crescendo Plays louder and louder.
Decrescendo Plays softer and softer.

Note duration

A note duration can go from the whole note to the to the

sixty-fourth note. This affects the beat on which the note is placed. If you wish to
place on a same beat some notes that have different duration value, you can use the
multi-voice editing mode.

Dotted and double-dotted notes

You can also add dotted notes, double-dotted notes. The dot add to a note
its half length. For instance, a dotted quarter does not lasts 1 beat but 1,5 beats. The
double-point, for it’s part, add to the note its 3/4 length.

Rest

A rest is an interval of silence, marked by a symbol indicating the length of the

pause. Each rest symbol and name corresponds with a particular note value for
length, indicating how long the silence should last.

Rest symbol Name (US) Name (GB) Equivalent

Whole rest Semibreve
Half rest Minim
Quarter rest Crotchet
Eighth rest Quaver
Sixteenth rest Semiquaver
Thirty-second rest Demisemiquaver
Sixty-four rest Hemidemisemiquaver

102 | Chapter 4: Writing a score

Triplets, N-tuplets and polyrhythms

The triplets/n-tuplets are exceptional divisions of time. We call triplets, tuplets (or
irrational/irregular rhythm, artificial/anormal division, groupings/gruppetto, …)
all the rhythms which consist in dividing the rhythm into a number of subdivisions
different from those usually allowed by the time signature. N-tuplets are indicated
by a number (sometimes two), indicating the fraction applied. The notes involved
are then displayed grouped under a bracket.

There are two ways of using and editing triplets and n-tuplets in Guitar Pro.

You can either edit the notes in your score first, then make a selection with your
mouse and use the triplet/n-tuplet buttons to apply your time divisions afterwards.

Or you can activate one of the triplet/n-tuplet buttons, before entering your notes.
The editing of notes will be based on the activated option. For example if the triplet
option is selected (appears in blue) the notes will be directly displayed in triplets
throughout the editing as long as the option is activated.

: Triplets

A triplet is a group of three notes worth two notes of the same rhythm figure. The
triplet is therefore the ternary division of a single note figure.

Triplet example

: N-tuplets, Custom tuplets

This option allows you to customize your n-tuplet.

A left click on this icon activates the option (the icon appears in blue).

A right click allows you to access the drop-down menu and choose a number of
divisions between 2 and 13 or set custom values via the n:m option.

Illustrations of the different divisions accessible from the n-tuplet option:

Symbols | 103
Number of divisions Name Illustration
2 Duplet

4 Quadruplet

5 Quintuplet

6 Sextuplet

7 Septuplet

9 Nonuplet

10 Decuplet

11 Undecuplet

12 Dodecuplet

13 Tredecuplet

n:m Custome tuplet

For custom tuplets, the n-tuplet is indicated with a ratio instead of a simple
number. In this case, X notes count for a number of Y notes. The X and Y values are
customizable.

Custom tuplet dialog

: Nested tuplets

Tuplets can be nested.

This means that tuplets can be included in larger tuplets, usually used to create
complex rhythms.

The editing steps remains the same. As for the Custom tuplet icon previously
described, the Nested tuplet option will be active if selected and displayed in blue.
The pop-up menu and settings are accessible by right-clicking and are the same as
for custom tuplets.

104 | Chapter 4: Writing a score

The difference is that the tuplets edited from this option can be nested, integrated
in a larger tuplet.

We can differentiate between 2 types of tuplets.

Inner (nested) tuplets, that can be edited from the Nested tuplet icon >

And outer tuplets (that include the nested tuplets) and can be edited from the
Custom tuplet icon previously described >

There is no difference wether you create the outer or inner tuplet first.

The example below illustrates a triplet in the first bar compared to a nested tuplet
in the second bar:

One triplet - Three quintuplets nested in a triplet

In this nested tuplet example, 3 quintuplets are nested inside a triplet.

The (inner) quintuplets have been edited from the Nested tuplet icon .

The (outer) triplet was applied after selecting the 3 groups of notes using the mouse,
then selecting the triplet option .

To summarize:

Symbol Name Usage

Triplets Edit triplets
Custom n- Edit custom tuplets. Used as outer tuplets for nested
tuplets tuplets
Nested Edit nested tuplets. Used as inner tuplets that are nested
tuplets inside a larger tuplet

Symbols | 105
Ties

A tie links the note to the note preceding it. It lengthens the duration of that
preceding note, therefore, by the duration of the tied note.

Multiple ties

You can also tie an entire beat to the beat preceding it.

Fermata

The fermata is also known as a hold, or a pause; and what it means is that you
are to pause on that particular beat, at the discretion of the conductor. It is therefore
a multi-track symbol. A window opens up to let you choose the symbol and the
duration of the pause by adjusting the tempo.

Fermata window

Accidentals

Those buttons let you add any of the 5 different types of

accidentals (sharp, double sharp, flat, double flat, and natural) to a given note.

An accidental has effect only until the end of the bar in which it has been placed.

About cautionary accidentals:

Cautionary (or courtesy) accidentals, are used to remind the player that an
accidental is in effect for a particular note. It reminds the musician of the correct
pitch if the same note occurs in the following bar.

Cautionary accidentals example

106 | Chapter 4: Writing a score

In the above example, the accidentals are already mentioned in the Key Signature
but reminded as cautionary accidentals.

You can go to the Note > Accidentals > Cautionnary accidentals menu to
apply or remove a cautionary accidental.

Changing the accidental

Allows to change the accidental without modifying the note’s pitch. Also called
enharmonic.

Note that you can also go to the Note > Accidentals menu to change the
accidental.

Raising or lowering by a half-tone

You can raise with this button a note or an entire multiple selection by a half-tone.
The next button allows to similarly lower a selection by a half-tone. This is a useful
tool to transpose an entire track, when used with Edit > Select all.

Nuances

The nuance (or note dynamic) defines the intensity

with which a note is to be played. The buttons allow you to choose a dynamic for
each note, from very faint to very strong. In order to get different dynamics on a
same beat, please use different voices.

Crescendo/Decrescendo

This attributes to a beat or group of beats (via multiple selection) a

progressive rise or fall of the volume. You must indicate a final nuance to ensure the
effect is actually considered.

Effects-related symbols

Effects-related symbols in the palette

Symbols | 107
Icon Name Quick Description
Ghost note Plays a faint note.
Accented note Plays an loud note.
Heavily accented
Plays a very loud note.
note
Staccato Plays a staccato note, i.e. very brieve note.
Legato Plays in a fluid way, without attacking the string.
Let ring Let ring the note beyond its theoretical time value.
Sustain pedal Reproduce the usage of a sustain pedal
Muffle the note sound with the palm against the
Palm mute
string.
Ghost note Muffle the note sound by releasing the left finger.
Natural harmonic Plays a note by merely touching upon the fret.
Artificial harmonic Plays an artificial harmonic (various types).
Bend Bends the string to change the note pitch)
Raises the volume knob to not hear the pick attack
Fade-in
on the string.
Progressively lowers the volume knob after
Fade-out
attacking the string.
Volume swell Combines a fade-in then a fade-out.
Grace note before
Plays a very short note before an other one.
the beat
Grace note on the
Plays a very short note before an other one.
beat
Transition between 2 notes: attacks the first but
Hammer On/Pull Off
not the second.
Tremolo picking Repeat as quickly as possible one or several notes.
Plays a fast beat between the note and its higher
Upper mordent
relative note.
Plays a fast beat between the note and its lower
Lower mordent
relative note.
Plays a fast beat between the note and 4 notes
Turn
around.
Inverted turn Same technique but begins with the lower note.
Hits a fret with a left finger, without attacking the
Left-hand tapping
string.
Attacks a note, then slides to an other, without
Legato slide
stroke.
Attacks a note, then slides to an other, then attacks
Shift slide
again.
Slide in from below Attacks a note by sliding from a fret below.
Slide in from above Attacks a note by sliding from a fret above.
Slide out of Attacks a note then slides to a fret below.

108 | Chapter 4: Writing a score

Icon Name Quick Description
downwards
Slide out of upwardsAttacks a note then slides to a fret above.
Tremolo bar Modifies the note pitch with the tremolo bar.
Trill Plays a trill: quickly alternates 2 notes with HoPo.
Slight left-hand Plays a vibrato with left-hand (very small pitch
vivrato variation).
Wide left-hand Plays a vibrato with left-hand (small pitch
vibrato variation).
Slight Tremolo bar Plays a vibrato with the tremolo bar (very small
vibrato pitch variation).
Wide Tremolo bar Plays a vibrato with the tremolo bar (small pitch
vibrato variation).
Closed wah-wah Closes the wah-wah pedal.
Opened wah-wah Opens the wah-wah pedal.
Plays an arpeggio from the lowest string to the
Arpeggio down
highest one.
Plays an arpeggio from the highest string to the
Arpeggio up
lowest one.
Brushes strings from the lowest one to the highest
Brush down
one.
Brushes strings from the highest one to the lowest
Brush up
one.
Rasgueado Right-hand flamenco technique.
Left-hand fingering Indicates which left-hand finger to use.
Right-hand fingering Indicates which right-hand finger to use.
Indicates on the staff (not the tablature) which
String number
string to attack.
Plays the note by attacking the string down with a
Pickstroke down
pick.
Plays the note by attacking the string up with a
Pickstroke up
pick.
Tapping Plays the note with the tapping technique.
Plays the note with the slapping technique (bass-
Slap
related).
Plays the note with the popping technique (bass-
Pop
related).
Golpe finger Hits the guitar body with a finger.
Golpe thumb Hits the guitar body with the thumb.
Goes up the guitar neck by scratching the pick on
Pickscrap up
the strings.
Goes down the guitar neck by scratching the pick
Pickscrap down
on the strings.

Symbols | 109
Icon Name Quick Description
Plays a percussive hit on the strings (bass
Dead slapped
technique).

Ghost note

A ghost note is a faint note. The dynamic of a ghost note is automatically

decreased. The note is displayed between round brackets on the tablature.

Accented note and Heavily accented notes

Contrary to a ghost note, an accented note is played loudly. The dynamic of

an accented note is automatically increased.

A heavily accented note follows the same principle as an accented note, except in a
more pronounced manner.

Staccato

A staccato indicates a very short note, independently of the note’s duration on

the score. The note is displayed with a dot below.

Legato

The legato applies to several notes (one speaks of legato phrasing). It means that
as many notes as possible are to be tied, so the way they are played is as fluid as
possible. A slur is drawn to indicate the notes are played without separation (legato
articulation).

Let ring

The Let Ring option means that you let a note ring beyond its theoretical time
value as indicated on the score. This is used a lot for arpeggios, for example.

The Tools > Let ring options menu allows to attribute a Let Ring to each string
over a group of bars.

“ The Automatic Let-ring options is also available, in the track inspector. It is then
applied to the whole track.

Sustain pedal

The Sustain Pedal option allows you to add a Ped. annotation to your track and
emulate the usage of sustain pedal.

110 | Chapter 4: Writing a score

This option is similar to the Let Ring option, and tells a pianist when to press and
release the sustain pedal

You can also access it from the Effects > Sustain Pedal menu.

The Ped. annotation indicates where to press the sustain pedal and the little asterisk
when to release it.

Sustain pedal example

Palm Mute

The palm mute effects consists in muffling the sound by lightly touching the
strings near the bridge with the palm of your right hand (if you’re right-handed
person). The palm mute effect is represented by the ‘PM’ symbol above the
tablature.

The intensity of the palm mute effect can be adjusted by way of the Palm mute slider
in the track inspector.

Dead note

A dead note is short and fainter than a normal note. These notes are used with
the guitar to give a particular rhythmic effect.

To make notes be dead notes, you have to put the right hand palm (for a right-
handed person) on the strings near the bridge, or else just put the left hand fingers
(for a right-handed person) on the string without pressing it.

Natural harmonic

The natural harmonic consists of playing the string open while you lightly touch
it with the left hand (for a right-handed person) above a fret. The left hand finger
has to be taken off at the same time that the right hand plays it. 5th, 7th and 12th
frets harmonics are very commonly used, while the others are quite difficult to
obtain.

Symbols | 111
Artificial harmonic

Several types of harmonics are available:

• A.H. - Artificial Harmonic: For the artificial harmonic, the left hand
finger presses the string like a normal note. It is the forefinger of the right
hand that lightly touches the string several frets higher. The right hand has
to play the note too, so it may be difficult.

• T.H. - Tapped Harmonic: The tapped harmonic is an artificial harmonic

obtained by tapping quickly on the string several frets higher.

• P.H. - Pinch Harmonic: The pinch harmonic is produced with a pick,

and consists in playing the string by letting the thumb that holds the pick
lightly touch the string. This harmonic is best obtained with a distortion
effect.

• S.H. - Semi Harmonic: The semi harmonic is similar the pinch

harmonic, except you keep the natural resonance of the string in addition to
the harmonic.

You can obtain those in Guitar Pro in two different ways (see Stylesheet).

Bend

The bend effect consists of pushing the fretted string sideways with the left hand
(for a right-handed person) to bend it, so the pitch of the note changes.

Bend window

The Bend window allows you to precisely set the type of the bend you want by
adjusting its points. For sophisticated bends, you need to use ties in order to keep
the score consistent in terms of audio playback.

112 | Chapter 4: Writing a score

On the left side, the Bend, Bend/Release, … buttons allow you to define the base
type of the bend. This choice is also reflected by a different symbol on the tablature.

You can set the maximum level of the effect from a value of 1/4 to 3. The term ‘Full’
is equal to a whole tone. This also affects how it is displayed on tablature.

You can modify the curve by dragging its points with your cursor. Whenever two
notes are tied, the bends extends to the entire duration. It is still possible to edit a
bend on a tied note and place a hold on it, for instance, whose motif isn’t there by
default.

The Stylesheet allows you to display the bend in standard notation too.

Here’s an example of what you can do:

Bend examples

Fade in (violin effect)

This consists in using the volume knob on an electric guitar to raise the sound
and not hear the attack of the pick on the note. It can also create the impression of
a ‘reversed track’, particularly liked by guitarists.

Fade out

This consists in turning the sound progressively off with the guitar’s volume
knob.

Volume swell

This is a fade in leading directly into a fade out.

Grace-note before the beat

A Grace note is an ornamentation that consists in a very short note played

before an other one. In Guitar Pro, you can add a grace note for each string.
However, it is not possible to set several grace notes on the same string. A grace
note does not count for the bar duration and for the rhythm display.

Symbols | 113
Grace-note on the beat

Same as a grace-note before the beat, except here it starts right on the beat —
thus slightly delaying the following beat.

Hammer-On/Pull-Off

The hammer-on (HO) / pull-off (PO) is a transition between two notes played
on the same string. The first note is played normally while the second one is not
played by the right hand (for a right- handed person).

For a hammer-on, the second note is higher than the first one, and it is played by
tapping the tip of your finger on the string, while keeping the finger corresponding
to the first note on the fretboard.

In the case of a pull-off, the second note is lower than the first and is played by
taking the finger off the first note.

Guitar Pro determines automatically which effect is being used, based on the notes’
values. You can use the Stylesheet to customize the way the H/P will appear or not
on the score.

It is common enough for a series of hammer-ons and pull-offs to be linked together

over two notes to play them legato. A slur is drawn to indicate the notes are played
without separation (legato articulation).

Legato phrasing example with HoPo

Tremolo Picking

The tremolo consists in repeating as quickly as possible one or several notes with
the fingers as with the pick. You can right click this icon to select the note value.

Upper Mordent

An upper mordent is a melodic ornament in the form of a fast beat between the
main (written) note and the higher note (relative to the key signature).

114 | Chapter 4: Writing a score

Lower Mordent

A lower mordent is a melodic ornament in the form of a fast beat between the
main (written) note and the lower note (relative to the key signature).

Turn

The turn (in Italian ‘gruppetto,’ ‘little group’) is a melodic ornament in the form
of a melodic line of four notes turning around the main note and revealing the two
notes next to it — higher and lower. The turn starts with note that is immediately
lower, then the main note, the higher note, and ends on the main note. Just as
the mordent, the turn is relative to the tune’s general harmony, as set by the key
signature.

Inverted turn

The inverted turn starts with note that is immediately lower, then the main
note, the higher note, and ends on the main note. Just as the mordent, the turn is
relative to the tune’s general harmony, as set by the key signature.

Left-Hand Tapping

This consists in hitting a fret with your left-hand finger with no previous attack
on the note.

Slides

Sliding means playing a note by sliding your left-hand finger (if you’re right-
handed) over the frets. Guitar Pro supports various kinds of slides:

Symbol Name Rendering Meaning

The first note is played, and then the finger

Legato slides to the second one, which is not played. A
slide slur is drawn to indicate the notes are played
without separation (legato articulation).

The first note is played, and then the finger

Shift slide
slides to the second one, which is played.

Slide in The note is played while coming from a lower

from below (and undefined) fret.

Symbols | 115
Symbol Name Rendering Meaning

Slide in The note is played while coming from a upper

from above (and undefined) fret.

Slide in out
The note is played, and then the finger slides to
of
a lower (and undefined) fret.
downwards

Slide out of The note is played, and then the finger slides to
upwards a upper (and undefined) fret.

Tremolo Bar

The tremolo bar is used on electric guitars to modify the pitch of all the notes (by
rotating the bridge). The tremolo bar is operated with the right hand (for a right-
handed person).

The way the Tremolo Bar window works is pretty much the same as the Bend
window. Both of them can be adjusted to quarter tone.

Tremolo bar window

Trill

The trill effect consists of alternating quickly between two notes on the same
string by a succession of hammer ons and pull offs. The Trill window allows you to
choose the fret of the second note (the first one being indicated on the score), as
well as the speed of the trill.

116 | Chapter 4: Writing a score

This notation lightens the score, because alternated notes are not displayed.

Trill window

Left-Hand Vibrato

Left-Hand Vibrato consists in quickly moving the left-hand finger (for a

right-handed person) on the string. The movement creates a variation in pitch.

The vibrato effect is represented by a little wave above the tablature, and lasts until
the note ends. Guitar Pro features 2 vibrato amplitudes (slight and wide).

You can right-click this icon.

Wide Vibrato (Tremolo Bar)

The wide vibrato is stronger than the simple vibrato, and is obtained by
using the vibrato bar. This effect is applied to the whole chord.

The wide vibrato is displayed as a big wave above the tablature and ends as soon as
a new note is played. Guitar Pro features 2 vibrato amplitudes (slight and wide).

You can right-click this icon.

Wah-wah

The Wah-Wah is an effects pedal. Possible options are On/Off and Opened/
Closed. The Wah-Wah will affect playback only if you’re using the RSE and you have
placed a Wah-Wah pedal in your effect chain. (See Sound settings).

Brush

Brushing the strings means strumming the strings in an energetic manner.

This is much used for rhythmic guitar accompaniments.

In the Brush window you can adjust the speed as well as the delay. The duration of
a brush needs to be shorter than the beat itself, so every note has time to ring out
before other notes get played.

Symbols | 117
Auto-brush may be enabled/disabled in the track inspector. A brush is then applied
to all track’s chords.

Brush down window

Arpeggio

The arpeggio consists in playing every note in a chord one by one. The
Arpeggio window lets you adjust the speed as well as the delay in playing. An
Arpeggio Down goes from the lowest to the highest-pitched string. An Arpeggio Up
goes from the highest to the lowest-pitched string.

Arpeggio down window

Rasgueado

This is a much-used right-hand technique (if you’re right-handed) in flamenco

guitar. Guitar Pro offers 18 rasgueado motifs that are all interpreted by the audio
engine. The score will indicate Rasgueado on the chords, as well as the chosen
motif.

118 | Chapter 4: Writing a score

 Rasgueado window

Left-Hand/Righ-Hand Fingerings

The fingering options can be personalised from the File > Stylesheet > Notation
menu and will be different if you use a stringed instrument track or not.

The keyboard shortcuts for these fingerings are shown at the bottom of the left/
right-hand fingering windows.

Please note that in order for these shortcuts to be active, you must make sure that
you have previously opened and selected one of the fingering windows.

Fingerings windows

The active window is the one where the keyboard shortcuts are displayed (the left
one in the above screenshot).

Left-Hand fingering for guitars and stringed tracks:

Left-hand fingering (for a right-handed person) indicates which fingers press on

the strings on the fretboard. The letter ‘T’ is for the thumb, ‘0’ for the forefinger, ‘1’
for the middle finger, and so on. This can be changed in the Stylesheet.

Symbols | 119
It is displayed before the note in the standard notation, or under the tablature if
there is no standard notation.

Left-hand fingering window for guitar

“ Right-hand fingering is adapted for a right-handed guitarist. For a left-handed

guitarist, this corresponds to the left-hand.

Left-Hand fingering for piano and orchestra tracks:

Fingering for a piano or orchestra track is slightly different. Each finger of the hand
is numbered from 1 to 5.

Left-Hand fingering for piano track

Right-Hand Fingering

Right-Hand fingering for guitars and stringed tracks:

Right-hand fingering (for a right-handed person) indicates which fingers pluck

the strings. The letter ‘P’ is for the thumb, ‘i’ for the forefinger, ‘m’ for the middle
finger, and so on. This can also be changed from the Stylesheet.

It is displayed before the note in standard notation, or under the tablature if there
is no standard notation.

120 | Chapter 4: Writing a score

 Right-hand fingering window for guitar tracks

“ Left-hand fingering is adpated for a right-handed guitarist. For a left-handed

guitarist, this corresponds to the right-hand.

Right-Hand fingering for piano and orchestra tracks:

Fingering for a piano or orchestra track is slightly different. Each finger of the hand
is numbered from 1 to 5.

Right-hand fingering window for piano tracks

Display string number

For any given note, you can have displayed on the staff.

Pickstroke

The pickstroke function lets you to set the direction for your pickstroke. A ‘v’
means that the movement is upward, from the highest to the lowest-pitched string.

Tapping

The tapping effect consists in playing a note by tapping the corresponding fret
with a finger of the right hand or of the left hand (often both). The string is not
played as it usually is.

The ‘T’ symbol is displayed above the tablature to indicate a tapping effect. In Guitar
Pro, a tapping effect is set for the whole chord. This effect is interpreted by the
Guitar Pro Audio engine.

Symbols | 121
Slap (bass)

The slapping effect consists in slapping the string with your right-hand thumb
(for a right-handed person) while rotating your wrist to obtain a percussive sound.
The slapping effect is often followed by a popping effect (see below). Slap-bass
samples are part of the bass sound-banks for more realistic effect.

Pop (bass)

The popping effect consists in popping one of the two highest strings with
amplitude with the right hand forefinger (for a right-handed person). The popping
effect is often preceded by a slapping effect (see above).

Golpe finger/thumb

Golpe is a percussion technique involving fingers (thumb or other fingers)

and applied to the guitar body.

Pickscrap out upwards/downwards

This techniques consist by going up or down your guitar neck scratching

your strings with your guitar pick.

“ The pickscrape and dead slapped are not interpreted by Guitar Pro’s audio engine.
It is only there for notation sake.

Dead slapped

Dead slapped is a bass guitar technique which consist in giving percussive hits
on the guitar strings using your left hand (for right handed players).

122 | Chapter 4: Writing a score

 Automation-related symbols

Automation-related symbols in the palette

To understand how automations work, please see the Automations chapter.

Symbol Name Description

Tempo automation Insert a tempo automation.
Master track volume Insert a volume automation on your
automation master track.
Master track pan Insert a pan automation on your master
automation track.
Insert a volume automation on a single
Track volume automation
track.
Insert a pan automation on a single
Track pan automation
track.

Volume automation dialog

Symbols | 123
 Notation-related and design-related symbols

Notation-related symbols in the palette

Icon Name Quick description

Chord Adds a chord
Slash Converts notes to Slash notation
Indicates that a barre must be done, and
Barre
which type
Timer Indicates time position in the score
Text Adds free text
Section Adds a section
Prevent breakline Prevents line break for bars
Force breakline Forces line breaks for bars
Automatic stems
Automatic stem orientation for selected notes
orientation
Invert stems orientation Inverts the stem orientation for selected notes
Automatic beaming Automatic beaming between notes
Force beaming Forces beaming between notes
Break beaming Breaks the beaming between notes
Break secondary
Breaks the secondary beaming between notes
beaming
Force beaming group Force same tuplets beaming groups

Chords

This button adds opens the chord window, to add a chord (see Chord diagrams).

Slashes

This allows to integrate slash notation into the tablature and standard notation
(for all instruments): it converts the selected notes into slashes while keeping all
information about the notes. Very useful to capture rhythmic motifs with transition
notes. You can also display your track in slash notation only (see Track Properties).

Barre

Indicates above the staff is a barre of half-barre has to be played on a specific

fret during a part of the score. This is commonly used in classical guitar, where you
won’t find tablatures.

124 | Chapter 4: Writing a score

 Barre window

Timer

At any given point, this tells you the number of minutes and seconds min:sec
that have elapsed since the beginning of the score. Guitar Pro automatically
computes this value. For repetitions, the displayed time is the value the first time
this part is played.

Section

Adds a section where the cursor is, or edit the section at the cursor, if any (see
Sections).

Section window

Prevent/Force Line Break

This is to prevent the next bar from shifting to the next line, or forcing it to
do so.

Stems directions

Stems directions may be modified with dedicated buttons in the edition

palette.

Beams grouping

Beams grouping may be modified with dedicated buttons in the

edition palette.

Symbols | 125
Extras
This section develops how to write lyrics in your score. It details the notions of
Repeats and Directions. It will also give you a good overview of the stylesheet menu.

Lyrics

Access the lyrics window from the Track > Show lyrics editor menu or directly
from the lyrics icon located in the Edition Palette.

Lyrics editor window

Choosing a track

For the lyrics to appear on the score, you first need to select a track. The text will
automatically get distributed over that track, following a specific syntax (see below).

As a general rule, lyrics will be attributed to a vocal track, i.e. the track with the
song’s melodic line. You can Nonetheless choose to place them on an instrumental
track; but you will then have to check the syntax, as it is unlikely that the melody’s
rhythmical beats correspond to the syllables in the lyrics.

Note also that you can choose to not attribute the lyrics to any track, and write them
on the Lyrics panel only for information. In that case, you just need to uncheck the
“Display on Track” option below the white box.

Lines and first bar

You can type up to 5 lines of text. The lines will be displayed one under the other
on the selected track.

For each line, you can determine a first bar after which the lyrics will be
distributed. This is to avoid having to type spaces in before the lyrics.

126 | Chapter 4: Writing a score

Writing lyrics

The capture area is where you can type in the lyrics properly speaking.

Guitar Pro automatically distributes each syllable over a different beat. The
change of syllable occurs when a space or a hyphen - appears. You may thus
use the hyphens to separate syllables in a word. If you do not wish Guitar Pro to
separate two words. However, you can replace the space in between them with plus
+ symbol.

If you wish to leave a blank on a given beat, just add several hyphens or consecutive
spaces.

The line breaks are considered as spaces. On the other hand, several line breaks
constitute only one space. You can thus make your text more open without
problems.

Parts of a text set in between brackets […] will not appear on the score. You can
thus utilize the brackets to add comments or indicate the headings of various parts
(e.g. [INTRO] , [COUPLET] , [REFRAIN] , …).

You may uncheck Visible if you don’t want the lyrics to be shown on your score.

Note that the lyrics can only be displayed on the first staff, it is not possible to
display some lyrics on other staves.

Extras | 127
 Stylesheet

The Stylesheet allows you to customize the general outlook of your scores and give
it a professional finish.

Access from the File > Stylesheet menu or the F7 shortcut.

The Stylesheet includes many settings and options. It is divided in 5 tabs that will
be detailed deeper in the next pages.

• Page & Score Format: customize the page settings, the global spacing of
notes, your tuning and chord diagrams preferences.

• Systems & Staves: customize the system layout and the symbols related
to it (tuning, clefs, etc…).

• Header & Footer: change the font family and the font size, the placement
of texts in relation to the properties of your score: author, title, etc. (see
Creating a new score).

• Texts & Styles: change the font family and the sizes of the main texts in
your score.

• Notation: customize the musical symbols and adjust the final rendering:
visible or invisible H/P symbols, indications of fingering, hide/display
dynamics…

128 | Chapter 4: Writing a score

Page & Score Format

Discover the Page & Score Format tab.

Page & Score Format tab

Extras | 129
The Page & Score Format tab is divided between the following sections.

Page:

From this section you can set up the format of your page or select one of the twelve
predefined formats. Choose the orientation of your file (portrait/landscape) and set
up the margins.

Page section

Sizes:

Set up the global proportions of your score. Increase or decrease the rythm
proportion, adjust this value to the decimal point. Note that you can decide if these
changes will affect the fonts and chords sizes or not.

Sizes section

Tuning:

Choose to display or hide the tuning of your tracks. Set up its position, either at the
top of your score or before your track.

Select its mode:

Name only Name + notes *Unusualy tuned strings (if applicable).

Tuning section

130 | Chapter 4: Writing a score

If you choose to display your tuning at the top of your score, you will have access
to extra settings. You can divide the tuning in 2 columns or display it horizontally.
Note that you can aslo frame your tuning. Below are a few examples of the different
renderings.

Option Rendering

Tuning before track

Top of score: name only

Top of score: name + notes (2

columns)

Top of score: name + notes

(horizontally)

Unusually tuned strings

A framed tuning

Extras | 131
Chord diagrams:

Chord diagram section

Select your favorite notation for your chord diagrams:

Classic Jazz *Rock

You can either display or hide your chord diagrams. Display them at the top of
your score, in your score (or both at the same time). This section also allows you
to change the size of your chords, and asjust the spacing between chords. You can
adjust these values to the decimal point.

In the following example the chords are displayed both at the top of the score and
in the score with a Jazz style.

Chord diagrams example

132 | Chapter 4: Writing a score

Systems & Staves

Discover the System & Staves tab.

Systems & Staves tab

Extras | 133
The Systems & Staves tab is divided between the following sections.

Staves:

Staves section

Adjust the staff line thickness and the spacing between systems from this section.

Selecting or adjusting the next options will have the following impact in your score:

Adjust the first system indentation:

First system indentation example

134 | Chapter 4: Writing a score

Display stave lines when using slashes notation:

Stave lines in slash notation

Display barlines when using slashes notation:

Barlines in slash notation

Display extended barlines in system:

Extended barlines example

Extras | 135
Display clef at the beginning of each system:

Clef at the beginning of each system example

Display time signature at the beginning of each system:

Time signature at the beginning of each system example

Display time signature at the beginning of each section:

136 | Chapter 4: Writing a score

 Time signature at the beginning of each section example

Capo and shifted tunings impact standard notation:

See chapter: Score > Instruments transposition.

Extras | 137
Brackets

Brackets section

Access 3 different modes for brackets:

• Do not draw brackets

• Group tablature and standard notation
• Group similar instruments.

Example of brackets in Guitar Pro

Note that you can use the // symbol to separate systems as shown in the above
picture.

138 | Chapter 4: Writing a score

Track name:

Track name section

From this section you have the possibility to either hide or display your track name:

• On the first system

• On the first system of each page
• On all systems.

Both in single track or multitrack mode.

You can display either the full or the abbreviated name of your track, and choose
its orientation (vertical or horizontal). In the example below the full track name is
displayed on each system vertically. Note that you can edit the track name and the
abbreviated name from the Track Inspector (see Main screen).

Extras | 139
 Track name example

140 | Chapter 4: Writing a score

Header & Footer

Discover the Header & Footer tab.

The header section

The footer section

Extras | 141
Guitar Pro provides a set of tokens (text beginning and ending with the % symbol)
to setup the score information in the header and footer. Here is the full tokens list.

Token Description
%TITLE% Score title
%SUBTITLE% Score subtitle
%ARTIST% Score artist
%ALBUM% Score album
%WORDS% Score lyrics
%MUSIC% Score music
%TABBER% Score tabber
%COPYRIGHT% Score copyright
%PAGE% Current page number
%PAGES% Pages count

Check or uncheck the entries that you want to use.

Update each box information depending on your preferences and usages.

For example, if you check the Music box as shown in the picture below, the
annotation you have written before the %MUSIC% token, here “Music by”, will be
displayed in your score.

Header example

This information will be completed by the information you have mentioned in the
Music field of the Song information of your score.

142 | Chapter 4: Writing a score

You can access and update the Song information such as the title, artist name, etc…
from the Song inspector located on the right of your Guitar Pro 8 window (see Main
screen).

Song information

Of course you can change the mention “Music by” for any other mention,
“Composed by”, “Arrangement by”, etc…

This applies for any available entry listed in the Header & Footer tab of the
Stylesheet (Copyright, etc…).

Extras | 143
You can apply the font, size, style of your choice for each entry, but also choose its
location in your score (align to the left/right, centered).

In the following example the “Phosphate” font has been applied to a centered title.

Set up title font example

Note that you can set some information for the first page and for other pages as
well. Simply select Other Pages from the top of the Header and Footer window.

144 | Chapter 4: Writing a score

Texts & Styles

Discover the Text & Styles tab.

Texts & Styles tab

Texts section:

This tab allow you to customize certain elements appearing in your scores.

For each entry you have the possibility to apply a proper font, change its size and
choose a style (regular, bold, italic). The fonts are the one installed and available on
your operating system.

Note that you can display the decimal value of your tempo or not from this section.

Extras | 145
In the following example the “Phosphate” font has been applied to the fret numbers.

Set fret numbers font

Note that from the Texts & Styles tab you have the possibility to display your lyrics
either below the staves, aboves the staves or even to hide them.

Set up lyrics location

146 | Chapter 4: Writing a score

You can also choose to display the bar numbers on all bars, on the first bar of each
staff or even to hide them.

Bar numbers preferences

Musical symbols section:

Musical symbols options

Apply either a Classic or a Jazz global style to the musical symbols included in your
score.

Extras | 147
 Jazz style above vs Classic style below

As for the elements of the Texts section mentioned above, you have the possibility
to update, change the font but also name some musical symbols of your score. Here
is the list of the musical symboles you can customize:

• Let Ring
• Palm mute
• Slide
• Hammer-On
• Pull-Off
• Slap
• Pop
• Pick Scrape
• Rasguedo
• Whammy Bar Indication

Finally, you have the possibility to extend symbol lines over rests or not, as
illustrated below.

Symbol lines extend over rests option activated compared to deactivated

148 | Chapter 4: Writing a score

Notation

Discover the Notation tab.

Notation tab

Extras | 149
The Notation tab is divided between the following sections.

Rhythmic:

From this section you will have access to the following preferences all related to the
rythmic notation.

Option Enabled Disabled

Hide in
tablature when
using standard
notation
Extend
rhythmic inside
tablature

Display beams
on rests in
tablature
notation
Display a circle
around half
and whole
notes in
tabalature
Force
horizontal
beams in
standard
notation
Force
horizontal
beams in drum
notation

150 | Chapter 4: Writing a score

Rhythmic position in tablature:

Choose the rhythmic position in the tablature for the 4 available voices, either
above, below, or hidden.

In the following example of 3 different systems, the rhythmic is displayed above in

voice 1, below in voice 2, and the third system shows you the result in multitrack
mode.

Rhytmic position in tablature example

Extras | 151
Symbols:

Symbols section

From this section you will have access to miscellaneous settings, all related to the
different symbols and annotations displayed in your score.

Activate or deactivate each option depending on your preferences.

152 | Chapter 4: Writing a score

Option Rendering

Indicate where the string is touched

for artificial harmonics in tablature

Alternate representation “C” for 4/4

and 2/2 signatures

Display real pitch of heard notes for

bend effects in standard notation

Display arpeggio arrow

Display second note for trill effect

Always display tied notes on

tablature

Add and adjust spacing between

bars for Coda

Add “H/P” symbols for HoPo

Avoid notes collisions for HoPo

slurs in tablature (off/on)

Extras | 153
Option Rendering

Display HoPo slur only on outer

notes in tablature (off/on)

Display a single HoPo slur over a

group of notes in tablature (off/on)

Add “sl.” symbol for slide effect

Colorize fret numbers in tablature

for voices 2, 3 and 4

Hide useless rests on standard

notation (disabled)

Alternate representation “-” for

quarter rests (tab. only)

Hide dynamics (disabled)

Display fret and string of single

notes in slash notation

Show tuplet bracket

Scale diagrams:

Note that you can adjust the grid spacing for scale diagrams from this
Symbols section.

154 | Chapter 4: Writing a score

Fingerings:

Fingering options

The fingerings settings allow you to choose the type of fingering for both hands
depending on your language and preferences.

Left hand: T1234 or P1234 Right hand: pimac or pimax or pimae or timao

Select the fingering position in staff: above, before note, below.

The fingering position in tablature: above, below.

And adjust the fingering scale.

Fingering example (avove and below)

Extras | 155
Save your stylesheet

You have the possibility to save your own stylesheet from the Options tab located
at the bottom left corner of the stylesheet window.

Stylesheet options tab

Select Save style then name your new style.

This could be really useful if you regularly use the same style options in your files.

You also have the possibility to define this style as the default style when you open
or create a new document. To do so go to the following menu:

File > Preferences > General (Windows) Guitar Pro 8 > Preferences >
General (macOS)

Select the Force stylesheet (when opening or creating a file) option and make
sure to choose the right style.

“ From the Options tab located at the bottom left of the stylesheet window you also
have the possibility to load a Rock, Jazz, Classic style or one of your previously saved
styles.

156 | Chapter 4: Writing a score

 Repeats and Directions

It’s not easy to understand the notions of directions, repeats, alternate endings
when you don’t necessarily know how to read music.

Guitar Pro allows you to edit these repeats and directions symbols in your scores.

The main purpose of these symbols is to allow you to shorten the length of a score,
by indicating the section or group of bars that must be repeated a certain number
of times, or even ignored.

The gain is twofold: you have fewer bars to enter, but also fewer pages to print.

Guitar Pro’s audio engine, like the performer of a song, must then unroll the score
in order to play the bars in the right order.

Repeat signs

A repeat sign is a sign that indicates when a section should be repeated.

The Repeat Open and Repeat Close signs are illustrated by a double bar
followed or preceded by 2 dots, they are accessible from the Edition palette via the
following icons or from the Bar menu:

Repeat signs icons

When you want to repeat a specific group of bars, you have to delimit the group of
bars to be repeated, and use these repeat signs as markers.

Place a Repeat open symbol in the first bar of the group to be repeated, and a Repeat
close symbol in the last bar.

The number of passes is indicated above the Repeat close bar.

In the example below, a Repeat close symbol has been placed in bar B, and 3 repeats
have been applied.

Repeats example

Extras | 157
In this context, the playback sequence will be: bar A-B-A-B-A-B-C

When there are only two passes to repeat, the number of passes is not displayed.

Depending on the repeats and redirections that will follow in your score, it is not
always necessary to apply a Repeat open to the first bar of your score.

Nested repeats :the repeats can also be nested as illustrated in the sequence
below:

Nested repeats example

Here the playback sequence will be: A-B-B-C-A-B-B-C-A-B-B-C

Please note that different Repeat close bars can lead back to the same Repeat open
bar, as shown in the example below:

Multiple repeat close signs example

Playback sequence: A-A-B-A-A-B-C-A-A-B-A-A-B-C-A-A-B-A-A-B-C

As you can notice, the application of repeats within your bars can considerably
modify the playback sequence of your score. You must therefore be careful to apply
them correctly to obtain the desired final result.

Alternate endings

The Alternate ending icon is accessible from the Edition palette:

Alternate endings icon

Alternate endings are used to indicate within a repetition where a bar should be
played (and ignored for unspecified passes).

For this purpose and depending on your selection, a number is placed above the bar
concerned, which indicates when the bar should be played.

158 | Chapter 4: Writing a score

The number of passes is included between 1 and 8.

In the example below, bar B will only be played during the first pass, it will be
ignored during the second. Bar C will be played during the second pass.

Alternate endings example

Here the playback sequence will be: A-B-A-C

In the next example, find out at which pass the bars should be played or ignored:

Alternate endings example 2

This sequence is divided into 4 pass:

First pass: A - B

Second pass: A - C (B is ignored)

Third pass: A - B (C is ignored)

Fourth pass: A - D (B and C are ignored)

The complete reading sequence for this example will be: A-B-A-C-A-B-A-D

The alternate endings are implicitly extended.

That means that when a bar includes an alternate ending, the following bars are
part of the same repeat pass.

Extended alternate endings example

In the above example, C will be played just after B on the first pass. The playback
sequence will be: A-B-C-A-D

Extras | 159
Directions

Directions settings are accessible from the Bar menu or from the Edition palette
via the following icon :

Directions icon

Directions allow to jump from one bar to an other inside your score.

To do so, you have to place some targets and some jump information in your
score.

Directions window

Da Capo

The Da Capo jump indicates that you have to return to the beginning of the score.

Da Capo example

Playback sequence: A-B-C-A-B-C

Note that when the score includes an anacrouse (pickup bar), the jump is made to
the second bar, the first bar will be played just once.

Dal Segno

The Dal Segno jump, also called Da Segno or D.S, refers to the bar with the Segno
target symbolized by a crossed out S between two dots.

160 | Chapter 4: Writing a score

You should therefore ignore the Segno symbol on the first pass, and return to it as
soon as you encounter the Dal Segno mention.

In the following example the Segno target has been placed over bar B and the Dal
Segno jump over bar C.

Dal Segno example

The playback sequence is: A-B-C-B-C

Dal Segno Segno

Similar to the Dal Segno jump, the Dal Segno Segno jump refers to the bar with
the Segno Segno target. The jump is made if a Segno jump has already been made
or if there is no Segno jump.

Dal Segno Segno example

Playback sequence: A-B-C-B-C

Note that within a repeated section, the jump is made during the last pass.

Da Coda

The Coda symbol indicates the final part of a song. This is the outro, as opposed to
the introduction.

This section, of one or several bars, is detached from the rest of the score.

It is indicated to go to the Coda symbol with the Da Coda annotation (or Al Coda,
To Coda)

The Da Coda jump therefore refers to the bar with the Coda symbol.

Extras | 161
 Da Coda example

Playback sequence: A-C

Bar B is ignored since the Da Coda annotation over bar A indicates to jump to bar
C.

Note that within a repeated section, the jump is made during the first pass.

The Da Coda jump becomes active and must be interpreted only when it has been
previously activated by a jump with the “Al Coda” instruction. If there is not any “Al
Coda” instruction in the score, it will be automatically activated the last time it is
encountered.

Da Double Coda

See Da Coda above.

Da Double Coda example

Playback sequence: A-C

Fine

The Fine indicates the real ending of the score, and usually works in conjunction
with Da Capo.

Fine settings

The stop is made if you have already made a jump.

Fine example

162 | Chapter 4: Writing a score

The playback sequence is: A-B-C-D-A-B

Miscellaneous

Segnos are generally used for backward jumps and Codas for forward jumps.

In the musical literature, we do not encounter a Segno or Coda sign without a Da

Segno or Da Coda jump.

The use of “Al Fine / Al Coda / Al Double Coda” will force the interpretation of the
Fine / Coda / Double Coda at the next pass. Without it, the last occurrence will be
interpreted.

A multitude of examples and situations are possible, for more information we refer
you to the music theory books. However, do not hesitate to contact our Support if
necessary.

Extras | 163
164 | Chapter 4: Writing a score
 Chapter 5
Audio in Guitar Pro
Learning how to deal with audio settings is of course essential in Guitar Pro. From
managing soundbanks to customize your scores, and the discovery of the new
audio track feature, you’ll learn everything you need to know regarding the audio
configuration in Guitar Pro by consulting this next chapter.

Drew Patrick Miller ( https://unsplash.com/@drewpatrickmiller )

Audio in Guitar Pro | 165

Score playback
Guitar Pro has been designed to facilitate the learning of a score. Many playback
options are available.

Launching Playback

To start playing a score, you can use the playback options available from the
Sound menu, but also the shortcut Space (space bar), or even the toolbar playback
options. These same actions give you control over the playback.

The playback begins where the cursor is. If you only wish to play a specific part of a
score, you simply need to select this specific section first using your mouse.

The playback button in the toolbar:

Tempo

The Edit > Automations > Edit automations menu opens the automation
window and allows to define the initial tempo, from the same window you also have
the possibility to program tempo changes.

Access to tempo settings

This window is also accessible from the toolbar located at the top of your window,
by clicking on the tempo in the LCD screen. This is also where the actual current
tempo is displayed during the playback.

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 Tempo automation dialog

Note that you can also use decimals with your tempo (100.5 bpm for example).

Playback speed

Guitar Pro offers some extra playback and speed settings that can be really useful
for practice and learning.

Access these options from the Speed settings icon located in the toolbar.

Relative speed access

Choose a predefined coefficient speed, a predefined bpm tempo or set up the

value of your choice.

These options allow to speed up or slow down the playback without modify your
file.

This feature will be active as long as it appears in blue. Simply select the same
button to disable the apllied settings and go back to the original tempo.

Relative speed

The relative speed option allows to assign a different speed coefficient to the
current tempo.

Score playback | 167

Once you select the Speed settings icon, a list of 7 different coefficients is available
by default.

This list goes from 25 to 100%, but this relative speed value is customisable between
10% to 300% from the Speed Settings window.

Speed settings access

Relative speed settings

Fixed BPM

The fixed tempo option allows to play the whole score at the same speed, even if
tempo automations are applied.

168 | Chapter 5: Audio in Guitar Pro

A list of 5 predefined bpm tempos (including the current tempo) is available by
default. This fixed bpm value is also customisable between 10 to 300 bpm.

Fixed BPM

Please note that the fixed tempo option is not available when an audio track is
included in your score.

Progressive speed

The Progressive speed (or Speed trainer) option allows to increase the overall
speed of your score for each repeat.

Select the start and finish value (between 10 and 300 %), as well as the number
repeats and step coefficient you want to apply.

Score playback | 169