cvsc Score · User Manual

1. Getting Started

cvsc Score is the online score platform of ChinaViolin.net: browse, play, print and download violin scores (plus ensembles and piano accompaniments). Registered users can engrave scores online, import PDF scores with automatic recognition, and publish their own editions to share with the whole site.

How to open it

Just visit www.chinaviolin.net/cvsc in a desktop browser (Chrome / Edge recommended). Nothing to install — engraving, playback and export all happen in the browser.

Signing in

Sign in with your ChinaViolin.net forum account. The top bar shows your current user name next to “我的乐谱” (My Scores); when not signed in, a red （未登录）not logged in) appears instead — click it to go to the forum login page, and you are returned to the current page automatically. At the far right of the top bar, 退出Log out is Log out: one click clears both ends — the browser-side cvsc session is cleared, the server token is revoked, and the forum logout page opens. (Logging out of the forum does not log you out of cvsc — the token is independent and stays valid for 30 days. Always use the Log out button on shared computers.)

Private scores are visible only to their owner; public scores are visible site-wide.

How it is designed to be used

cvsc Score is built around the mouse as the primary channel: click the staff to place notes, click icons to pick durations and tools, drag a rectangle for batch actions — you never have to touch the keyboard. Keyboard shortcuts are a speed-up for experienced users (see Chapter 20), not a requirement.

2. Score Library Portal

The site home page is the Score Library — the master catalogue of all public scores.

Statistics cards

Four statistics cards at the top: Works (click = all public works), Scores (total count), New Today (click = works added to the library today), and Contributors (click = the contributor leaderboard — public score counts per user; click a name to see all of that user's scores).

Search and filters

Search results are listed per score (v0.580): one row per score — each part of an ensemble and each version of a work gets its own, equally searchable row (rows carry a type badge: original / revised / … / part). Keywords match both the work name and the part's own title (searching “string quartet” finds its “First Violin” part, and searching “First Violin” works too). Multiple scores of the same genealogy line up next to each other, with the genealogy noted in small text under the row — click a title to open the work page for the full picture. The five filters likewise match each score's own parameters (filtering by difficulty returns “the score that is at that difficulty”).

Score lists

Latest Additions / Browse by Composer / Browse by Contributor are listed per work (unlike the per-score search results): one row per work, with the title shown as a blue link in the form “Composer Opus, Title · Subtitle” (e.g. “Chopin Op.10 No.3, Etude · Farewell”; composer / opus / subtitle are omitted when absent; click to open the work page). Next to the title, the star rating aggregates ratings across all versions of the work (five stars; hover shows the average and the number of raters — the rating entry is on the work page). The contributor column shows the creator of the work's main version (click the blue name to open that user's contributor page — see below). Other columns: instruments, version count, last updated. “上一页 / 下一页” (Previous / Next) at the bottom paginates. On mobile, the same information appears as cards.

Contributor pages (creator pages)

Click a contributor name in a list (or on a work page) to open that user's contributor page: at the top, the level title and Contribution Points (earned when others favorite, fully play, download, rate, or derive from your scores — consumption by other people only; viewing your own score never counts). Below, in order: achievements (First Steps, Full House, In the Spotlight, … — earned ones show as gold icons; the rest show their conditions and progress), the ten-step score shelf (one step per grade-exam difficulty level, 1 through 10, lighting up as you go), the latest public scores (a ▶ Listen button next to each title — same as on the home page's 最新加入 (Latest Additions), click to play; sorted by time by default — click a “难度 / 评分 / 被收藏 / 被完播” (Level / Rating / Favorites / Full plays) column header to sort by that column from high to low, click again to return to time order), and the six-month contribution curve. The “论坛会员主页” (forum profile) link at the top jumps back to your forum space page.

Work pages

Click a title to open the work page (← 返回Back at the top returns to the list). The header line shows the instrumentation and the composer — instrumentation lists the full combination (an ensemble like “Violin ×2 · Viola · Cello”, with accompaniment like “Violin · Piano”; beyond five instruments only the first few are listed plus “+N more”). Click the composer's name to see that composer's other works in the library. All movements and versions of the work are listed together (titles auto-numbered · II / · III for multi-movement works), each version with a thumbnail of its first page: identify the piece at a glance and compare versions at a glance; click a thumbnail to open it. Versions without a snapshot yet show a grey note placeholder, filled in automatically the next time the score's owner opens it. Each version lists its title (★ marks the main version; the most recently updated one sorts first), its type (original / revised / cadenza / arrangement / simplified / fingered / part / full score — a part is the single-instrument voice score within an ensemble: administrators group the parts of the same ensemble under one work and show them side by side; a full score is generated by merging parts — the “⧉ 合并成总谱” (Merge to full score) button at the top right lets you stitch family members into one yourself — see Chapter 19), contributor and last updated; arrangements note “arranged from so-and-so's version” with the reason in small text under the title; merged scores note “⧉ merged from N”. Click a thumbnail or title to preview-open any version (titles are blue links). The ♡ 收藏 (Favorite) button next to each version puts that public score into your “我的乐谱” (My Scores) — see Chapter 3, “Favoriting public scores”; when already favorited it shows ♥ 已收藏 (Favorited) — click again to undo. The five stars at the end of the row rate that score (1–5 stars; the small text beside them shows the average — see Chapter 3, “Rating public scores”). On mobile, the same information appears as cards.

Versions produced by transposition or major/minor conversion via “save as derived score” carry a ⇱ derived from 《…》 marker; a tree at the bottom of the page shows the derivation chain — the practice keys students need come from here.

3. My Scores & Publishing

The top-bar “我的乐谱” (My Scores) is your personal score library: creating, opening for edit, organizing into categories, and publication requests all live here. Hover over “我的乐谱” to auto-expand the attached menu (on mobile, tap the ▾ beside it): “新建乐谱” (New Score) opens the creation wizard, “导入乐谱” (Import Score) opens the import page.

Creating a score (wizard)

新建乐谱New Score opens the creation wizard — four steps, top to bottom:

The score list and categories

The list shows each of your scores row by row: title, instrument, status, last updated, with row actions 打开Open Open (enters the editor), 发布Publish Publish, 删除Delete Delete. The search box above filters by title/composer. Batch operations (desktop): click “批量” (Batch) on the panel to enter checkbox mode — “全选本页” (select all on this page) speeds up selection; “归类到…” (categorize to…) files scores into a category in one go; “删除…” (delete…) removes them in bulk (with a confirmation dialog; deletion is irreversible — published scores must be withdrawn first).

Categories: a row of category tabs above the list (All / Uncategorized / your own categories; a tab's background color is the category's color). Click ＋ 分类 (New category) to create one; 管理Manage Manage on the right enters organize mode — each tab gains ✎ (rename) and 🗑 (delete category; scores are unaffected). The category flyout next to Open lets you check scores into categories or create new ones.

Favoriting public scores

When you find a score in the library you want to keep: click ♡ 收藏 (Favorite) next to any version on its work page (sign-in required). The score then appears in your “我的乐谱” list — carrying the ♡ 收藏 badge and a small note of the owner (the original author). A favorite is just a link: the original always belongs to its owner, no data is copied; if the original is deleted, the favorite disappears from your list automatically.

Favorited scores sit in the same list, categories and search as your own: they can be filed into categories and take part in filtering. Open = read-only viewing; to modify, click Edit — a copy of your own is saved automatically (which can then be published independently as an arrangement). The only row action is 取消收藏 (Unfavorite) — categorized favorites are removed from their category at the same time (re-filing is needed if you favorite it again); the original is never affected.

Rating public scores

Open a public score: above the staff sits a golden rating star bar (sign-in required): click the n-th star to give n stars (1–5; hovering enlarges the stars and previews your choice in advance). The lit stars are your own rating; the right side shows everyone's average and the number of raters — e.g. “均分 3.5 · 2 人评过” (average 3.5, 2 ratings), or “—” if nobody has rated yet. After playback finishes, a small “练完了？给这谱打个分” (Done practicing? Rate this score) prompt appears once per score — click a star to rate. Each version's row on the work page also has a small star row at its end (after the favorite button) with the same effect.

• Change = simply click a different star (any time); undo = click your own star again.
• You cannot rate your own scores (your own scores show only the average, no rating stars); only averages and counts are shown publicly — who gave what is never public.

Publication requests and review

To get a score into the public library: open it → click 发布Publish Publish → confirm the four catalogue parameters (difficulty / key / mood / fingering — an administrator gives the final check) → it enters the review queue. Status flow:

Passing review awards 1000 score-download credits (credited automatically; see the “发布乐谱奖励” (score publication reward) entries under the forum's “积分记录” (credit log)). Re-uploading the same file, or re-uploading the same piece under a different name, is not rewarded twice.

4. Forum Score Snippets

Embed a few measures of notation in a forum post or reply to discuss: ask “how do you play this passage?”, show a melodic line, or take turns with friends completing a phrase. Snippets are engraved with cvsc and everyone in the post can see and hear them — mobile users and guests included.

Inserting a score into a post

In the post / reply editor's toolbar, click the ♪ ♪ 乐谱 (score) button (you must be signed in to the forum); an engraving panel expands below the editor:

• The panel is a lightweight editor: a single violin, starting at 8 measures (add more as in Chapter 8); note and mark input is identical to the main editor (Chapters 7–15 apply throughout).
• When done, click ✔ 插入到帖子Insert into Post — the score is inserted at the text cursor; the panel stays open so you can insert several passages in a row, each insertion an independent snippet.
• Click ✕ or the ♪ button again to collapse the panel. Every time the panel opens it starts a fresh, empty score, engraved from scratch; closing it without clicking “插入到帖子” (insert into post) keeps nothing — to keep your work, insert it into the post (or continue editing it later under “我的乐谱”).

View, listen, and add your version in the post

• View: the score block shows the notation directly (as an image — mobile users and guests can see it); the title line shows the snippet name, author, version number and derivation.
• Listen: click ▶ 播放 (Play) to start listening immediately (no interface expands, no space taken; the link becomes ⏹ 停止 (Stop) — click again to stop). On the few mobile browsers that block autoplay, a player interface unfolds under the block automatically — click ▶ 播放 at its top; the score highlights as it plays.
• ✎ 补一版 (add a version; visible when signed in): make your own version from that snippet as a template — the panel loads the original; when done, click “插入到帖子” (insert into post) and it drops into the quick-reply box, focused; add a few words and post. Repeated “add-a-version” turns form a version genealogy — “谱系 ↗” shows all derived versions; each added version is an independent new snippet and never touches anyone's original.

Managing snippets and promoting them

• Snippets are discussion drafts: they do not enter the library portal, are not reviewed, and earn no publication reward; the per-user limit is 200 — clean up under “我的乐谱” when full.
• Snippets carry the 片段Snippet badge in the “我的乐谱” list, with “论坛” (Forum) in the status column — reopen any time to keep working (after saving, the score in the post updates within about 10 minutes).
• If a passage is worth keeping, click 转正式谱 (promote to regular score) to save a private draft copy, then go through the normal publication request of Chapter 3 (review and credits as usual) — the original snippet and the old post are unaffected.
• Deleting a snippet leaves an “已删除” (deleted) placeholder in old posts — delete with care.

5. Importing Scores (Recognition)

⬇ 导入乐谱Import Score Click the ▾ beside “我的乐谱” in the top bar → 导入乐谱 (Import score) (or the import entry inside the “我的乐谱” page) to open the Import Score page, turning existing score files into editable online scores.

Supported formats

File size ≤ 20MB.

The recognition flow (background, asynchronous)

After you pick a file and upload, the page shows the status: ⏳ Queued / Recognizing → ✅ Done (with a 打开编辑Open in Editor shortcut into the editor) or ❌ Failed / Needs manual proofing. Closing the page does not cancel the job — recognition runs on the server (starting within about a minute, 15–150 seconds per score) and the result is saved into “我的乐谱” automatically; an open page refreshes itself. At most 3 recognition jobs queue at once.

Multi-movement PDFs

Multi-movement scores split automatically at final barlines (thin-thick ending barlines outside any repeat structure): each movement becomes its own score, auto-numbered (title · II / · III…), filed under one work page.

Opening .cvsc files

On the “导入乐谱” page, simply pick a .cvsc file:

• Files exported as “另存为” (Save As) by this site or the desktop edition: they open directly in the browser (decrypted locally, no network needed) → the editor opens automatically — what opens is your own copy, which you can edit and save as a new score under “我的乐谱” (if the original came from this site's library, your saved/published score is marked as derived from the original author and shares the original's work page). Send the file to a friend and they can open and edit it on any computer — the file is the score.
• Older exports: the system compares against versions the server has seen (located by ciphertext fingerprint) — a hit shows ✅ original located → open the original for editing (you must be signed in and entitled: the owner, or a published score).

6. Editor Overview

Opening any score enters the editor. The interface has three zones, top to bottom: Row 1, the global row (shared by viewing and editing), Row 2, the editing toolbar (appears once you enter edit mode), and the score area (paginated as A4 pages — what you see on screen is what prints).

Row 1 · global row

Row 2 · the editing toolbar

Appears in edit mode. Four general buttons on the left, then ten button groups:

Clicking a group button expands a full row of flat tools below; several groups can stay open at once, one row each (row order = group button order, with the group label at the row's head); clicking the same group again collapses it. Expansion state is remembered — your usual workbench is restored the next time you enter the editor.

Floating dialogs and parameter dropdowns

Features with settings (tempo, repeats, jumps, dynamics, key…) open a floating dialog: by default at the score's top right, draggable by its title bar (position remembered); opening several at once staggers them so they never overlap. Lightweight parameters (arpeggio direction, tremolo stroke count, harmonic notation, text style…) use anchored parameter dropdowns — they appear right under the button and take effect on choice; there is no OK/Cancel.

Status feedback

• Input warning bar: the yellow ⚠ bar above the score (auto-hides in 3 seconds) — appears only when an action is refused; many “nothing happened” cases are silent by design — see the troubleshooter in Chapter 21.
• Draft recovery: when an unsaved local draft is detected, a yellow bar offers “恢复草稿” (Recover draft) or “丢弃” (Discard).
• Three-color semantics: blue = selected / cursor / hover, green = playing, red = warning.
• Read-only: other people's scores (which you may not edit) show 👁 read-only — viewing, playing, printing and export work as usual; clicking “✏️ 编辑” automatically switches you into your own copy (grouped under the same work as the original, saved into “我的乐谱” — the original is untouched; you will never hit “non-owner cannot save”).
• A brand-new empty score opens with an empty staff: click “生成 4 个空小节” (Generate 4 empty measures) to begin.

7. Entering Notes

The basic engraving action: click at a height on the staff and a note lands there — while hovering, a translucent notehead with its note name (true spelling, e.g. B♭4) confirms the landing spot in real time; what you see is what lands. Input parameters such as duration, dots and accidentals are chosen in the ♪ 音符 ▾Notes Notes group row.

Input preview and score size

While editing, hovering over the staff shows a translucent notehead + note name at the landing spot in real time — WYSIWYG before you commit, no counting lines by eye. The note name is the true spelling: it includes the key signature (in a 1-flat key, the B line shows B♭4), the chosen accidental (after choosing ♯ every position shows ♯), and accidentals carried over within the measure; a ♮ shown means the note conflicts with the key signature (like B♮ in a 1-flat key). Above or below the staff, virtual ledger lines appear — the ledger-line regions work too. The preview notehead snaps to the notehead column of the landing slot — aligned with an existing notehead means this click will stack onto / replace that slot; the preview staying at the pointer (moving freely) means a new position to the right, or replacing the rest under it (rests do not snap — a whole rest in an empty measure renders centered, and snapping would pin the preview mid-measure; clicking still replaces that rest). Preferences differ (eyesight / screen size) — the 👁 button at the end of the ♪ 音符 ▾Notes Notes row opens the display settings window: on/off switch, notehead size, opacity, note-name display and font size; changes apply instantly and are stored on this machine; “预览恢复默认” (reset preview to defaults) restores factory values in one click.

Score size (overall zoom for reading / engraving, 50%–200%): the score-size slider in the same display-settings window (primary channel); Ctrl+mouse wheel works the same (just roll over the score; the percentage shows briefly at the bottom right). Zooming changes display size only, never the layout (measures per line / page count stay put — printing is always the 100% layout), and is remembered per score: each score recalls its own last zoom.

Durations and rests

• Changing duration: pick the new duration, then click at the same pitch position as the original note = modify that note. Shorter → replaced, with an equal rest appended after it; longer → following rests are swallowed automatically; a note still lands even when the measure has no room left (an overfill shows a red mark — select into a triplet, remove notes, or change the time signature to flatten it). A chord cluster changes as a whole.
• Exception — same-position duration change: notes inside a triplet group (triplet groups that came with an imported score) are not supported for now; click a note outside the group.
• Entering rests: click a rest icon, then click the staff = enter a rest of that duration; the 0 key is the shortcut.
• Rests filling a measure's remaining capacity hide automatically (blank space on the score) and reappear when the cursor crosses a measure / on leaving edit mode / on saving. Adjacent rests merge automatically: any rests that can combine into one longer rest do (two eighths → one quarter; three quarters → one dotted half) — you never see two equal rests side by side. Within the measure being edited, what you see is what you entered (your own rests stay as entered; the hidden remainder takes no part in merging, so you can enter them one by one); only when focus leaves the measure (cursor crosses over / you click any tool button) do they merge into publishing shape — click a long merged rest and enter a note to replace it wholesale, no need to delete piece by piece. Opening an old score and saving also tidy up automatically. Rests carrying marks (fermatas etc.), ties, or belonging to a triplet group do not merge.

Accidentals ♭ ♮ ♯ 𝄪

♭ ♮ ♯ — four pen buttons (tool first): click to arm the pen (button highlights) → click an existing note = alter that note (clicking higher above the note = not an alteration, but stacking an altered added note onto the chord — see “Stacking chords”); click blank staff = drop a new note with that accidental; click a rest = replace it with a note. Keeping the pen armed = label a whole run in sequence; arming the pen then dragging a rectangle = batch; rectangle-select a group of notes and click the button = batch-alter. To cancel, use the ♮ pen (each button is a target state — absolute-value semantics). double sharp = a whole-tone raise (𝄪, e.g. F double sharp = F##) — the notation for a sharp raised by another semitone (the Blue Love import has one at m64); pressing + twice in a row does the same (− likewise, down to double flat). Click the same button again or press Esc to disarm. Accidentals are also an input parameter (three-state highlight just like duration choice — a toggle state: clicking the same sign again cancels back to ♮): once clicked, it applies to subsequent input (keyboard and stacking included); combinable with the tie pen (e.g. pick dotted eighth → click ♯ → click the tie → click the staff: one click drops a note with both ♯ and a tie; either order works); the +/− keys are the same parameter channel.

Pitch nudging

↑ ↓ raise / lower the selected note by a semitone; 八度↑Octave ↑ 八度↓Octave ↓ raise / lower it by an octave. With nothing selected they act on the cursor note. Keyboard equivalents: ↑↓ semitone, ←→ octave.

Stacking chords (double stops / stacked chords)

While editing, clicking on the glyph of an existing note at a different pitch stacks into a chord automatically (left half of the notehead, right half, or directly above at a different height all work); clicking directly above a note at a different height stacks an added note onto it — with an accidental selected this works the same: clicking the note itself or its immediate vicinity (within about a second) alters that note's accidental; clicking higher (a second or more) stacks an altered added note onto the chord (one motion produces an altered stacked chord like ♯F+♯A+♯C — fully reachable with the mouse alone). The landing point is decided by “glyph territory”: clicking on the glyph of a note or rest (notehead's right half included) = that note's slot — stack onto it or replace it; clicking beyond the glyph's right edge = the next position (rapid clicking tight to the right swaps positions instantly as usual; blank space mid-measure resolves to the nearest note). Shift+click = chord input (“stack or plant”: if a note is already there, stack a chord note onto it; if not (measure head / blank space), the note lands normally as a root — hold Shift and click down the line to engrave a stacked chord); Alt+click does the same; Shift/Alt+A–G are the keyboard equivalents; clicking the same pitch = silently no-op. Triplet input mode works the same — with “3” on, enter the members in a row; modifier keys chord each position. After keyboard-stacking a chord (Shift+letter) the cursor already sits at the next position — just keep typing letters to drop the next new notes, no need to click blank space to advance. An individual note in a chord cluster can be deleted alone (Del removes just the added note; the chord steps down).

Voices

1 2 3 4 — four number buttons, background color = voice coloring:

• Single-staff instruments like the strings: 1–4 = voice numbers (for counterpoint); whichever button you click is the voice you write in. The small white dot at a button's top right, 2, means that voice already has content in the current measure (rest placeholders don't count); the grey text beside the “声部” (voice) label shows the cursor's voice context (e.g. “小提琴 · 声部 2”, Violin · Voice 2).
• Piano: 1 = normal (whichever row you click is the hand you write); 2 / 3 / 4 = equivalent aliases for the second voice — for writing two lines of different durations on the same hand (e.g. a long right-hand melody plus an inner running voice): click 2/3/4 to enter the second layer; from then on, whichever hand you click, notes land in that hand's second layer; click 1 to return to normal.
• Color schemes: a dropdown switches among six voice-coloring schemes (Classic / Light / Autumn / Ocean / Ink / All-black); notes are colored by voice to help tell contrapuntal voices apart.

Range (how high and low you can write)

The enterable range = the instrument's range ∪ the current clef's normal notational range: violin G3–A7, viola C3–C7, cello C2–A6, double bass by notational range E2–G4, piano the full span A0–C8. After switching to bass clef mid-score, you can enter the low notes shown in that stretch (the page is WYSIWYG). Out-of-range mouse clicks snap to the boundary; out-of-range keyboard input is skipped silently.

Click to hear

While editing, wherever you click sounds that note immediately (the score's instrument sound, about 0.35 s); clicking any note of a chord sounds the whole cluster. It never interferes with full-score playback.

8. Measures & Structure

The ▦ 小节 ▾Measures Measures group row manages the score's skeleton: inserting and deleting measures, final barlines, tempo marks, key / time / clef changes, instruments, and layout.

Insert / delete measures

插入Insert Insert: inserts the given number of empty measures after the cursor measure (the anchor = the measure the cursor is in; clicking a measure re-anchors). 删除小节Delete Measure Delete measure: deletes the cursor measure; rectangle-select a loop of measures and click it = delete every measure the selection touches.

Final barline

终止线Final Barline Click the button to enter pick mode (button highlights) → click the measure that should get the thin-thick closing barline; it drops in and pick mode exits automatically. The last measure carries a final barline automatically by default (publishing convention); this button is mainly for intermediate section closes (variations / movement boundaries). A final barline on the score can be selected and deleted with Del.

Double barline

双细纵线Double Barline Works like the final barline: click to enter pick mode (button highlights) → click the measure that should get the dividing line; it drops in and pick mode exits automatically; placing it again on the same measure removes it, and an on-score double barline can be selected and deleted with Del. Two equal-weight vertical lines, used for section divisions (variations / segmentation) and separation ahead of a key / time signature change (publishing convention: added only when the change coincides with the start of a new section); between movements played attacca, the previous movement's ending also uses a double barline. It does not mean the piece ends (use the final barline for that) and does not affect playback.

⏱ Tempo marks

⏱ 速度Tempo Opens the tempo settings flyout: start measure (with the window open, click a measure to fill it) + playback speed (unit buttons whole~thirty-second + dot + BPM value) + display text (left empty it auto-generates e.g. ♩=90) → 添加Add Add; when editing an existing mark it becomes 保存Save Save / 删除Delete Delete this mark. A tempo mark is a point mark: it takes effect from its measure and lasts until the next tempo mark (same as MuseScore / Dorico) — a later mark never deletes an earlier one; several marks each govern their own stretch; setting one again in the same measure edits that mark's parameters. Playback changes speed per marked stretch, and both marks coexist on the score; to return to an earlier speed, set another mark at the target measure or use the expression a tempo (back to the original speed — see Chapter 11, expression words). A tempo mark on the score: double-click = re-edit (change parameters or move its start measure); press and drag to fine-tune its position (free in all four directions — dragging only affects display; the effective measure is whatever the edit window says).

Key / time / clef changes (mid-score switches)

♯ 调号Key 4/4 拍号4/4 Time 𝄞 谱号Clef — three buttons sharing the same tool-first flow: open the window, just pick a value → click whichever measure, and the change takes effect from that measure (until the next change or the end; the window then closes by itself and you are back to entering notes). Button lit = window open / pick mode; clicking the same button again closes the window; one stroke, one state with tools like dynamics / pens / delete pen / select — clicking another tool while the window is open closes it and switches over; clicking this button while a pen is armed disarms the pen and opens the window (same rule for tempo / repeat / jump / measure-value windows).

• Clicking the first measure = change the initial key / time / clef (the one set in the creation wizard, effective from the very top; in a pickup score, that is measure 0, the pickup measure).
• In the clef window, clicking a note or rest = insert a mid-measure clef change after that note (a common publishing layout: after the left hand climbs high, switch to treble clef mid-measure to avoid a sprawl of ledger lines — the clicked note counts as the last note of the old clef's stretch; the new clef applies from the next note). Clicking blank space = change from the start of the whole measure (as before). A mid-measure clef lasts to the end of the measure; pitch conversion for entered notes follows the clef of the stretch they land in, automatically. Clicking the same clef again on the same stretch cancels it.
• A change point on the score: double-click = re-edit (change value / delete); after a change, accidental display, automatic beaming and pitch conversion for new notes all follow automatically.
• Changes in multi-instrument scores take effect on every staff simultaneously; the end of a line previews the new key / time automatically (publishing convention).

Measure value (incomplete measures mid-piece)

The 4/4 拍号4/4 Time measure-value button follows the same tool-first flow as key / time: open the window, pick the actual value → click whichever measure, and that measure becomes that length (the window closes by itself and you are back to entering notes). For the incomplete measures mid-piece common in published scores: split measures before a repeat section (e.g. 3/4 split into 2 beats + 1 beat), short cadenza phrases, and the like.

• Actual values are chosen in half-beat steps (½ · 1 · 1½ · 2 beats …); full bar (time signature) = restore the normal length.
• Content in a shortened measure: an empty measure's whole-measure rest shortens automatically; existing content stays — over the actual value, an overfill warning shows; under it, an underfill warning (add or remove as needed; the hint changes nothing for you).
• Measure numbers: short measures directly adjacent to repeat barlines (‖: or :‖) take no number (no number on the score — same convention as the pickup); other short measures are numbered normally. Playback advances by the actual length; validation accounts against the actual value.
• The pickup measure at the very start is not set here (use the wizard's pickup option); clicking the same measure again re-sets it.

＋ Movement

＋ 乐章Movement Creates a new movement under the current work (inheriting instrumentation / key / time, auto-numbered · II / III…, filed under the work page) — see Chapter 1 and the Row 1 notes in Chapter 6. Automatic splitting of multi-movement PDFs on import is in Chapter 5.

🎼 Instruments

🎼 编制Instruments (in edit mode) opens the instruments window: the current setup listed row by row (order = staff order) — each row has a dropdown to swap the instrument (notes are kept; clef / range follow the new instrument), ↑ ↓ reorder, ✕ remove; instrument buttons below append new ones. “应用编制” (Apply) takes effect; Ctrl+Z undoes the whole thing. Swapping piano ↔ strings folds or pads the two-row / one-row layout automatically. After applying, the score re-layouts for a moment — clicks on the staff do nothing until re-layout finishes (a “谱面正在重新排版” notice appears); once the new pages are out, keep entering notes (the same applies to other whole-score moves like inserting / deleting measures or layout settings).

📐 Layout

📐 排版Layout Opens the layout window: measures per line and lines per page, each a row of “自动 (Auto) / 1–8” buttons — clicking takes effect immediately, the score re-flows on the spot. Line spacing has two modes: Auto spread (default) spreads lines to fill the page evenly (manuscript style); Top-aligned stacks lines from the top at a fixed spacing (publishing convention) — choosing top-aligned reveals a spacing slider (dense ←→ loose, live while dragging — the distance between lines). The staff-spacing slider adjusts the distance between the upper and lower staves of a system (default already wider than typical notation software — dense saves paper, loose reads and clicks more comfortably; live while dragging). Settings are saved with the score: printing, export, sharing, and anyone opening it sees the same layout (the author's publishing intent travels with the score). Check “记为默认——新建乐谱沿用” (Remember as default for new scores) and future new scores start with these settings. On mobile, the score displays in the layout the author saved.

9. Articulation Marks

The 15 buttons of the 𝄐 记号 ▾Marks Marks group row cover the common articulation marks and free text. The universal pen rule (same for the whole group): click the button = arm the pen (button highlights) → click notes to apply; keeping the pen armed = label a whole run; arming the pen then dragging a rectangle = batch; rectangle-selecting a group of notes and clicking the button = batch-label (if everything in the rectangle is already labeled, clicking again batch-removes); clicking an already-labeled note removes that mark; clicking the button again / Esc disarms. Double stops / chords = as a whole: articulation marks (accent “>”, accent-staccato, heavy accent “^”, staccatissimo “▼”, tenuto “−”, staccato dot “·”, left-hand pizzicato “+”) applied to any note of a double stop mark the entire chord; clicking any note again removes it — no per-note distinction (bowing marks excepted: they display wherever they were placed). Common editing for all marks: single-click turns blue, press and drag to fine-tune the position (a blue dashed line points to the host note), Del deletes while selected, double-click reopens the parameter dialog.

Free text (the score is the input box)

T Clicking the T button arms the pen + opens the style panel (7 fonts / size / B bold / I italic / U underline) — the panel contains no text input box: click anywhere on the score (a note, a rest, or blank space in a measure) and just start typing; the text appears on the score live, with a blue cursor at its end. Change the style any time while typing — it applies immediately. Enter / Esc finishes one entry; click the score again to place the next (the pen stays armed). Double-click score text to continue editing; press and drag to move it anywhere; several entries can live in one measure. A purely visual annotation, saved fully with the score.

10. Slurs, Ties & Groups

The ♫ 音组 ▾Groups Groups group row — the spanner family first (slur / tie), then the same-pitch lines, grouping lines, glissandi, triplets, ottava lines, pedal spans, and optional notes. Common editing for lines: press on the arc = instantly selected (turns blue) — drag the wings = move the whole line, drag the middle = change the arc's depth; Del deletes while selected.

11. Dynamics & Expression

𝆏 Dynamics

The 𝆏 力度 ▾Dynamics Dynamics group row. A dynamic is a point-in-time property: whichever note you click, the dynamic takes effect from that note up to the next dynamic mark — within one measure the dynamics may differ before and after (f in the first half, p in the second).

Editing and deleting: click a mark and it is selected instantly, turning blue (selected on press — draggable and editable right away, Del deletes); double-click a mark = the edit flyout (change level / text / hairpin range a–b measures / delete). Dragging a hairpin = moving it: its length and effective range never change while dragging (layout first); a blue dashed line shows live which nearest starting note it would act from if dropped here; change the range via the double-click edit window. Display position is below the staff (the space above is reserved for bowing and fingering — string publishing convention).

Playback linkage: dynamic levels control volume automatically; inside a hairpin the transition is smooth (the swell is continuous inside a single note too — a crescendo on one long note is audible as the volume rising/falling), and after the hairpin the reached level is held (until the next mark — a crescendo never falls back by itself). To make a swell land exactly on a level, place a dynamic mark right at the end of the arc.

💬 Expression marks

💬 表情 ▾Expression Clicking the group's main button opens the word-picker flyout (a standard movable window — by default at the score's top right, draggable by its title bar (position remembered; it reopens where you left it); on mobile it becomes a bottom-docked full-width panel): four sections — tempo / dynamics / articulation / expression — with 42 entries (small buttons in the italic serif publishing style, like dolce), plus a custom word input at the bottom — any word missing from the list can be typed in (e.g. “如歌地” cantabile); it behaves exactly like a listed word: type it, click 标记Mark or press Enter = the pen arms (the group's main button switches to the ✎ current word · click a note hint state) → click notes to label (pen stays armed = label a run); arming the pen then dragging a rectangle = batch.

• Placement: tempo / articulation / expression words go above the staff; swells as text (cresc. / diminuendo etc.) and dolce go below the staff (publishing convention). Abbreviated entries carry a dot (rit. / rall. / accel. / pizz. / ten. / cresc. / dim. — publishing convention; full-word entries do not).
• The articulation group's ten. (tenuto): full duration + light weight, no sharp attack — its playback linkage is the same in meaning as the tenuto dash “-” in the Marks group (placed on a note = that note is lightly stressed; the two spellings sound identical — the word form is for publishing emphasis or where the mark form is inconvenient).
• Tempo-word linkage: from a poco rit. / rit. / ritardando mark, playback slows progressively (accumulating per measure); scope = 4 measures from the marked measure, or up to the section boundary (final barline / double barline / repeat barline) — then back to the original tempo automatically (theory: rit. is a local transition, not a new tempo — it recovers as soon as it finishes slowing; for a lasting slower tempo set one with the ⏱ tempo mark). rall. / rallentando (v0.647) = a closing ritardando: the British publishing convention (typically at a section or piece end) — slowing step by step from the marked measure (same slope as rit., capped at 39%, then held), lasting until the section line before returning — it never springs back early (theory: rit. is a local transition that recovers right after slowing, while rall. winds down to the section boundary — the two words share a root; the difference is scope). molto rall. = a fast 2-measure closing window (+22% at the start, reaching about 66% in the second measure, then back to the original tempo). accel. / accelerando (speeding up) works the other way round: from the marked measure it speeds up over 6 measures (gentle start — only a slight lift in the first measure, increasing per measure without lurching) or until the section line, then keeps the tempo reached; it does not return automatically (theory: accel. heads toward and establishes a new tempo; neither section lines nor barlines reset it — to return mark a tempo, and to land on an exact tempo put a ⏱ tempo mark at the end of the accel.). An a tempo or any tempo mark takes over early whenever encountered; molto intensifies the tempo word after it; marking another same-direction word during a swell extends it. dolce / dolcissimo soften the attack in playback. The remaining entries are purely visual.
• Editing as with dynamic marks: single-click turns blue, drag to fine-tune (free in all four directions), double-click opens the window (change word / reset position / delete), Del deletes.

12. Bowing, Fingering & Harmonics

Bowing

The 弓法 ▾Bowing Bowing group row has two parts: bow directions and techniques.

Bowing marks (▼▲ / technique dots / technique text) are themselves selectable: single-click turns blue, press and drag to fine-tune the position, Del removes that mark (clicking a direction removes the direction; clicking a technique removes that one technique — each deletes its own). ▼▲ match the score glyph exactly (the icon is the mark).

Fingering

The ✋ 指法 ▾Fingering Fingering group row:

Harmonics

13. Ornaments

The ✦ 装饰 ▾Ornaments Ornaments group row: grace notes, trills, trill spans, mordents, turns.

To grace note

转倚音To Grace Note Clicking the button opens a draggable parameter flyout (by default at the score's top right; drag it away by the title bar) — opening the window arms the pen; parameter changes apply live, with no OK button: click notes directly to mark grace notes; the pen stays armed for a run; ✕ / Esc / clicking the button again closes it (count 1–4 / “short-grace” slash / grace-note shape (eighth/sixteenth — the eighth-shaped long grace notes of Bach's slow movements are available) / add a slur — parameters are remembered permanently. The main note's duration never changes (a grace note is a zero-duration decoration — the main note keeps whatever duration it has)) → 添加Add after OK the pen is armed and clicking a note converts it to a grace note (drag a rectangle for batch). Multiple graces automatically share a beam as a group + one slash through the beam (the standard published form).

• When placing on a host, whichever position you click is the grace note's pitch (click a second above the main note = an upper grace directly; click the notehead's center = the main note's pitch). Changing count/slash/shape/slur in the double-click edit window never touches pitches you have already adjusted.
• Grace notes themselves are selectable: single-click turns blue (whether the grace pen is armed or not — multi-grace groups can be clicked one by one to select and adjust each pitch, and clicking near the slash or in the gaps counts as clicking it; nothing gets deleted by mistake and the selection never jumps to the main note; to remove the whole group = arm the pen and click the host main note again, or use “移除倚音” (remove grace) in the edit window), Del = delete a single grace, double-click = the edit window (count / slash / slur refilled).
• Adjust pitch with a grace selected: keyboard A–G note names / ←→ octave / ↑↓ semitone — multiple graces default to the main note's pitch as placeholders; select them one by one and set the real ornamental line.
• Playback uses “borrowed-time” semantics: quick and light, the main note follows on, the timeline never moves.

Trill tr

tr (slender italic) = major trill, tr (bold upright) = minor trill — both display tr on the score with different letterforms (the buttons are the preview). Arm the pen and click notes to label (same type again = remove); batch by rectangle. Double-click a score tr = the type flyout (switch major / minor in place — no re-marking needed); after it turns blue, drag to fine-tune, and “位置复位” (reset position) in the flyout returns it to the publishing baseline. Playback: rapid alternation — whole tone for major / semitone for minor.

tr~ Trill span (a long tr across barlines / ties): with the pen armed, click the start note, then the end note to form the span; the wavy line covers the complete duration between the two notes (drawn all the way to the end of the end note's duration); double-click a long tr on the score to open the window and switch major-second / minor-second alternation. Playback = continuous alternation over the whole span.

Mordent (four-type dropdown)

▾ Clicking the button opens a four-choice dropdown; picking a type arms the pen → click notes to label (label a run / batch by rectangle / click again to remove). Glyph rules: a short mordent = a single zigzag (no vertical stroke); “inverted” = the wave moves downward = a vertical stroke through the middle of the zigzag; “long” = double wave = two zigzags:

• Short mordent: single zigzag; main note → upper second → main note (a three-note ornament)
• Inverted short mordent: single zigzag with a vertical stroke; main note → lower second → main note
• Long mordent: double zigzag; main → upper → main → upper → main (two waves)
• Inverted long mordent: double zigzag with a vertical stroke; main → lower → main → lower → main (two waves)

Turn (two types + convention)

▾ Clicking the button opens a two-choice dropdown (the symbol on each menu item's left is the score glyph):

• Turn: upper neighbor → main → lower neighbor → main (on a C in C major: D C B C)
• Inverted turn (S with a vertical stroke): lower neighbor → main → upper neighbor → main

At the dropdown's bottom, a “现代标准 / 古典标准” (modern / classical convention) switch: modern = the two S shapes mirror each other and the inverted turn gains a stroke (the publishing-software mainstream); classical = the inverted turn is told by flipping the S, no stroke. Switching applies instantly, is remembered across scores, and changes only the glyph — the playing order never changes. Playback = four fixed ornament notes filling the first half of the duration, the rest going to a sustained main note; neighbors follow the key signature's scale degrees.

14. Repeats & Jumps

Three systems coexist: section repeats (∥: :| and endings), jump marks (D.C. / D.S. / Segno / Coda), and in-score tempo segmentation (see Chapter 8). Both buttons are in the ▦ 小节 ▾Measures Measures group row.

🔁 Section repeat

🔁 段落反复Repeat Opens the settings flyout:

• Repeat range: measures a to b (“最后一小节” (last measure) fills the final measure in one click; you can also click the score to fill it in — first click = start, second = end).
• Repeat mode, three choices:

  Mode	Description
  🔁 段落反复Repeat Repeat	Paired repeat barlines ∥: at the head and :| at the tail of the range + total plays 2–9 (×N is printed above the repeat sign; two plays get no extra mark — the structure itself already means two).
  1. Endings	First ending jumps to the tail: fill in the first ending's start (to the range's end, marked “1.”) — on play 1 the music goes through ending 1 to :| and jumps back; on play 2 it skips ending 1 and goes straight into what follows; optionally fill a second ending end point = two endings (after :| up to the end point, a fully closed “2.” bracket; left empty = the compact form without ending 2).
  ✕ Clear	Removes the marks within the range.

• Several repeat sections can coexist: set one, then the next. When both plays end identically, plain “🔁 repeat” is enough — no endings needed.
• Edit / delete: switch to Select mode → double-click a repeat barline or a “1.” ending bracket on the score = the edit dialog (range / play count / ending start refilled; “删除此反复段” (delete this repeat section) removes the whole section).

𝄋 Repeat marks (the jump family)

𝄋 反复记号Repeat Marks Opens the settings flyout: mark measure (clickable on the score) + type (ten choices) + text (switching type auto-fills the standard Italian; customizable):

Playback semantics: on reading D.S. jump back to the Segno, on D.C. jump back to the beginning (pickup measure included; each jumps only once); during the repeat, on reading To Coda jump to the Coda tail, on reading Fine stop (ignored when passed on the first time through); after a jump, section repeats expand anew. Text-type marks are typeset to publishing standard (italic serif, above the measure, toward the right). Before or after the barline? 𝄋 / 𝄌 anchor at the measure the mark leads; command types (D.S. / To Coda / Fine) anchor at the measure the mark follows — the jump triggers only after that measure finishes. Edit / delete: in Select mode double-click the mark on the score; press and drag to fine-tune the position (free in all four directions — dragging only affects display; the jump point is whatever the double-click edit window says).

15. Select, Copy, Drag & Delete

Select mode

The 选定Select Select button enters selection mode: click a measure = move the cursor, click a note = select it singly, drag a rectangle = multi-select (blue dashed frame; no notes are placed). Click the button again or press Esc to leave (the selection clears). In edit mode, marks can be selected without switching to Select mode (see below).

The universal element rules (editor-wide)

• Single-click any element = select it (turns blue); double-click = the edit window; Del or ✕ 删除Delete deletes while selected.
• Applies to: notes and every kind of mark — tempo / dynamics / hairpins / jumps / expression / bowing ▼▲ and techniques / fingering / trills / text / key·time·clef change points…
• With a pen armed, clicking an existing element = selects it and disarms the pen (the most frequent actions never fight).
• Marks hugging a note (bowing / fingering etc.): in edit mode a click still goes to input (no fighting) — select them in Select mode, or Alt+click to click through.
• Repeat barlines / endings are the exception: in edit mode clicks pass through and place notes; edit them via Select mode + double-click.
• Dragging: with it selected (or simply pressed), dragging fine-tunes the mark's display position, a blue dashed line pointing to the host note while dragging; the position is saved with the draft. Hairpin dragging follows the hand purely: drag the middle = move the whole line, drag an end = move that end — wherever you release is where it stops (zero snapping, zero correction; to change the range = delete and redraw).

Copy · Cut · Paste

The editing toolbar's ⧉ copy / ✂ cut / 📋 paste buttons, or Ctrl+C / Ctrl+X / Ctrl+V. The copy source is one of three (taken automatically in this priority): rectangle multi-select (no need to enter Select mode first — just drag the blue dashed frame) → single selected note (the note at the cursor) → clicking a hairpin (the line turns blue = copies the notes at both ends; the line itself comes along when pasted).

Paste: first move the cursor to the target (click a measure or a rest), then press Ctrl+V or click 📋 — the notes land one by one from the cursor: rests / remaining capacity are found automatically, and a full measure spills into the next; pasting at the end of a single-voice score extends empty measures automatically (same behavior as keyboard input). One Ctrl+Z undoes the whole paste. Cut = copy then delete (rectangle selection goes through batch delete / a single note through the cursor delete — same meaning as Del).

The clipboard is shared within the page session — after copying you can open another score and paste (transcription scenarios). Pasting across keys does no scale-degree conversion: accidentals are recomputed against the target score's key signature.

Measure-level paste (replace / insert whole measures)

Ordinary paste finds a spot note by note — what the landing looks like depends on the remaining capacity at the target. To move measures as whole blocks (say, relocating a fully-voiced accompaniment measure as is), use measure-level paste, two landing modes:

• Replace: Ctrl+Shift+V or the toolbar's ▣ measure paste button — starting from the cursor's measure, the selected content replaces the target measures block by block: whichever voices you framed replace those voices in the target measures (other voices, other instruments, untouched); as many measures as you framed get replaced, extending empty measures automatically at the end of the score.
• Insert: the 插入小节并粘贴 (insert measures & paste) button in the 🎼 Measures tool group — squeezes the same number of new measures in after the cursor's measure to hold the content; everything after shifts back (nothing existing is overwritten).

Sequence: drag a frame around the content to move (frame all of a measure's notes to replace it wholesale; framing only part replaces only that part) → Ctrl+C to copy → click anywhere in the target measure to move the cursor there → press Ctrl+Shift+V to replace / click “插入小节并粘贴” to insert. One Ctrl+Z undoes the whole operation.

Delete

• ✕ 删除Delete Delete pen (tool first): with it armed, click any element to delete it — a note becomes a rest (duration kept), a rest is removed (its duration merges into the neighbors), a mark is deleted; drag a rectangle = batch delete; clicking blank space deletes nothing. Mutually exclusive with input tools: arming the delete pen auto-closes note / rest / pen tools; picking an input tool (keyboard duration choice and note placement included) auto-closes the delete pen — the two are never in effect at once; “I picked a note, clicked, and it got deleted” cannot happen.
• Del / Backspace smart delete (acts on the current selection): a chord's added note = deletes just that note; a just-entered note = backspace; a real note = becomes a rest; a multi-note selection = batch clear; a mark = deletes the mark. The same deletion route as the delete pen, identical semantics.

⦿ Batch row (enabled after a rectangle selection)

The row's end shows “已框选 N 个音” (N notes selected). The rectangle-direct and batch-cancel rules for each group's features are in their chapters (for anything batch-appliable, selecting the same group and clicking the same button again = batch cancel — a universal rule).

Esc steps out level by level

Pressing Esc backs out in order: final-barline / double-barline picking → annotation pens → delete pen → crescendo/diminuendo pen → Select mode → line picking → finally leaving edit mode (with unsaved changes, a three-way gate appears).

16. Playback

Play from start (shown in edit mode): unconditionally plays the whole score from the top (pickup scores include the pickup measure) — unaffected by selections / the cursor / an A-B range; clicking again while playing restarts from the top. ▶ 播放Play Play / ⏹ 停止Stop Stop toggle (the play range is set automatically by the priorities below); the ▾ ▾ caret opens the playback options flyout:

Click track (metronome)

The metronome button beside Play: lit = clicks are layered onto playback (real recorded “tick / tock” samples); click again to turn it off (off state = grey bell + red slash). The click follows the score — ⏱ tempo marks, rit. / rall. slows and accel. speeds in the score are followed precisely, on the same clock as the music (not a separate metronome page keeping time in two places). Settings live in the “节拍器” (metronome) section of the ▾ playback options flyout:

Practice tip: to calibrate rhythm in slow practice = turn the click on + slow the BPM down, and follow the tick-tock; the metronome button toggles the click any time mid-playback, effective immediately (no need to stop and restart). The click unit and downbeat accent also apply immediately (the click re-grids to the new density / accent at once). All settings are remembered — no re-adjusting next time.

Play-range priority (the ▶ Play button)

1. Rectangle selection with ≥2 notes → plays only the selection (from the first note, sounding immediately);
2. A-B range (the “段落” (range) from/to measures in the ▾ menu) → plays the given measures — when a range is set it outranks note selection (pressing ▶ with notes selected still plays the range; clicking “复位” (reset) clears it and returns to selection-based starting);
3. Single selection / cursor in a measure → plays from that measure to the end — if the measure is inside a repeat section, it enters there and, after turning back at :|, plays the whole section through again (rehearsal logic, no silent gaps);
4. The whole score.

While playing, sounding notes show green, advancing with the music; the viewport auto-scrolls to follow (paging / line changes scroll into view); the coloring clears on stop. The first playback loads the sounds for about 0.5–1 s (sampled sounds). Repeats, jumps, endings, hairpins, dynamics, pedal, staggered arpeggios, tremolo, trills, and ornaments are all played out exactly as the score says.

17. Validation & Saving

⚠ Validation badge

⚠3 The ⚠ badge in Row 1 shows the number of score-quality warnings (available in view mode too). Click to list them all; clicking an item = jumps to its position on the score: yellow strips like 第 3 小节：时值超出拍号Measure 3: duration exceeds the time signature. Common warnings: a measure's durations exceed the time signature (red mark), notes outside the instrument's range, and so on — just fix the score as indicated; gaps produced by tuplet compression are not flagged red (an intermediate fill-me state is normal).

Saving

• 保存新版本Save New Version Save new version: every save creates a new version (history is browsable); the button is enabled only when there are changes; after saving it shows ✓ with the time.
• Auto-draft: while editing, a draft is saved locally — if you close unexpectedly and reopen the same score, a yellow bar offers to recover or discard the local draft.
• The version type dropdown (original / revised / cadenza / arrangement / simplified / fingered / part / full score) labels what this score is; it goes into the library with the save.
• Title / composer are edited directly in Row 1 and sync into the library and the work page on save; subtitle / opus are filled in the ⓘ score-info window beside them (see the example above).
• Leaving edit mode with unsaved changes raises a three-way choice: “保存并退出 / 放弃改动 / 继续编辑” (Save & exit / Discard / Keep editing).

18. Export, Print & Open File

⬆ Export (four formats)

⬆ 导出 ▾Export Four choices in the menu:

MIDI / JPG are generated from the current score on the spot (unsaved edits exportable too); the cvsc export is the saved version. Exporting PDF / JPG shows a small progress window (which page, what percentage) — large scores (dozens of pages) take one to two minutes, during which the page stays usable; closing the window with ✕ lets the export keep running in the background and finish downloading.

🖨 Print

🖨 打印Print The editor displays paginated for A4 paper (white page cards — one screen page = one printed page, WYSIWYG). Printing outputs A4 page by page: title centered in the header, composer at the top right; site URL centered in the footer, page number at the bottom right; navigation and footer hide automatically. You can also choose “另存为 PDF” (Save as PDF) in the print dialog to keep an electronic copy.

Opening .cvsc files

On the “导入乐谱” (Import score) page, simply pick a .cvsc file — files exported by this site or the desktop edition open directly into the editor (as your own copy); older files are fingerprint-matched against saved server versions and open the original (see Chapter 5).

19. Transpose, Split & Merge

⇄ Transpose

⇄ 移调Transpose (available in view and edit modes) opens the transposition panel: current key ± − ＋ semitone steps; the target key grid arranges all 15 keys by distance — each key is annotated with its feasibility for the main instrument's range (✓ feasible / ↓ N notes too low / ↑ N notes too high), so you know before choosing; enharmonic keys (like D♭ / C♯) are picked inside the panel.

• View mode = a lossless trial: click any key and the score and playback immediately turn into that key — compare freely; “移回原调” (back to original) restores it in one click, the original is untouched; when satisfied, “保存为我的衍生谱” (save as my derived score) (a private new score, its title auto-suffixed “（G调）”, filed under the same work — the origin of students' practice keys).
• Edit mode = actual transposition: pick the key and “确定移调” (confirm) writes it into the score (Ctrl+Z undoes); the key signature and accidentals are rewritten correctly by the same interval (C♯ transposed to E major is written E♯).
• After transposing, fingerings / string marks / harmonic marks are cleared automatically (every position has moved — the old labels no longer apply; a confirmation dialog precedes); bowings are kept (they don't depend on pitch). Keys beyond the main instrument's range can be auditioned but are not recommended for saving.

Major↔minor conversion

The section at the bottom of the transposition panel: one-click conversion between same-tonic major and minor (C major ⇄ C minor — the tonic stays; scale degrees 3 and 6 lower / rise by a semitone; degree 7 keeps the harmonic-minor form). To turn a minor piece major: click the current key name in the panel (e.g. “C大调”, C major) to reinterpret it as minor (becomes “a小调”, A minor), then click convert; after converting, the panel flips direction automatically — click once more to convert back.

Key-signature “原样 / 标准” (as-written / standard) forms (click to switch instantly once converted): as-written (default) = keeps the original key signature with added flats on degrees Ⅲ and Ⅵ (a teaching / practice form); standard = switches to the same-tonic minor's standard key signature with an added natural on degree Ⅶ (B) (the publishing-standard form). For a few keys (D♭ / G♭ / C♭ major) the same-tonic minor has no standard notation — the panel disables it with an explanation.

✂ Split score

✂ 拆分乐谱Split Score (multi-instrument scores; view and edit modes) splits any one instrument into an independent part as a new score: a violin + piano score → a violin part and a piano-accompaniment score, notes / marks / bowings all kept, filed side by side under the same work. Click and it splits — after choosing the instrument you are in the part's page straight away, no confirmation at all; whether and when to save the part is up to you (printing without saving works too). Other people's public scores can be split the same way (what you get is your own new score; the original is untouched). The practice-card workflow: split → transpose the part → print.

⧉ Merge scores (build a full score)

The reverse of splitting: stitch several scores into one full score — when each part of an ensemble exists as an independent score, merge them into a full score for rehearsal and ensemble reading. The two entrances differ in what they operate on:

• The work page's “⧉ 合并成总谱” (merge to full score): merges members within this work. Click to choose members (all selected by default, ordered by instrument convention — violin → viola → cello → double bass → piano); ↑↓ adjusts each instrument's order in the full score (the first member is the baseline: title, time signature, tempo and other score-level settings follow it).
• The editor toolbar's “⧉ 合并乐谱” (merge scores): appends members starting from the currently open score as instrument 1, from three sources — “按谱族” (by genealogy, default): the other members of the current score's genealogy are listed directly (complete the family in one click); you can also search genealogies site-wide (work name / composer) and click a genealogy row to expand its members in place and check them freely (other people's public genealogies are selectable too); “我的乐谱” (my scores): search your own library for loose scores outside the genealogy (rows note their genealogy); “本地 cvsc 文件” (local cvsc files): add local files directly.

When chosen, click “合并检查” (merge check) for the report first: every member is compared measure by measure on the time signature — a mismatch (usually a different version mixed in) or an incompatible duration precision stops the merge outright; members with fewer measures get silent-beat rests padded at the end of their voice; titles have their “（××分谱）” (part) suffix stripped automatically, and each member's part title becomes the instrument name (e.g. “第一小提琴”, First Violin). Click “生成总谱并打开” (generate full score & open) to enter the editor for a check and fine-tuning (member order and staff spacing may need adjusting); once saved it is a new score, typed “full score”, filed under this work beside the parts; publishing follows the normal review. A full score merged from other people's public parts belongs to you (same rule as splitting someone else's score).

20. Keyboard Shortcuts

All shortcuts work only in edit mode; they do not fire while a text input is focused or an IME is composing. The mouse can do everything — the keyboard is a speed-up for experienced users.

Editing the selected note (with a real note / grace note selected)

Input (with no real note selected)

Delete · Undo · Exit

21. “Nothing Happens” Troubleshooter

The editor's design principle: actions outside a feature's applicable scope are silently ignored, with no popup (nothing interrupts you). When something “does nothing”, check it against this table:

The only prompts the interface keeps: the trill-span flow guide, system errors like failed saves / opens; score-quality validation (the ⚠ badge) is a passive report — open it to view.

22. Mobile Version

Opening the site in a mobile browser gives full access to the viewing features: the Score Library portal (search / filters / latest / contributors), the My Scores list (search / categories / publication requests / delete), work pages, and viewing scores (playback, printing, export included). List pages appear as cards on mobile.

Editing, creating and importing are desktop-only: on a phone, tapping “✏️ 编辑” (Edit), creating a score, or opening “⬇ 导入乐谱” (Import score) raises a guide notice (viewing, playback, printing and export are unaffected). Open the same address in a desktop browser to continue — the login state carries over.

Guests not signed in (same rules on desktop and mobile): public scores are viewable without signing in — portal, work pages, opening and viewing, playback, printing, export, and .cvsc download all work; experimental features like transposition are available too. Signing in is prompted when clicking Edit or saving, and you return to the current page afterwards. Private scores are visible only to their owner (when signed in).

23. FAQ

Other questions and feature suggestions: “使用反馈” (feedback) in the footer opens the forum board.

24. Desktop Edition (Preview)

The Windows desktop edition is in its final polish before public beta (local engraving / multi-window / cloud sync / import recognition / sound library all on board; it ships its own manual with the installer — open it in-app via 说明 (Help) → 手册 (Manual)). The web and desktop editions share the same engraving engine and the same .cvsc format, fully interchangeable; this chapter is a shape overview.