For all practical purposes, NOTION does everything one needs to do . . .



[NOTE: Insert the treble clef symbol in the first measure of the bass clef staff to change the bass staff to a treble staff. If you put the treble clef symbol later in the score, it will not change until the measure where you inserted it. You can change the clef for a staff anytime you desire; and there are many clefs available from the Tools Palette . . . ]



[NOTE: When you change the bass staff to a treble staff, the notes on what was the bass staff will drop two octaves. You then can select the notes and use the fly-out "Tools" menu and "Transpose . . . " option to make the notes two octaves higher. It's a "context menu", so you right-click to make it appear, and then left-click to select the "Transpose . . . " option. This displays the Transpose window where you specify how you want the selected notes to be transposed . . . ]





Since there already are notes on the bass staff in the original score, doing the two-octave upward transposition will not do the additional step required to raise the notes one whole step--remember that notes on a bass staff are one whole step lower than the corresponding notes on a treble staff--so you will need to do an additional transposition (one whole step upward, diatonic) . . .

This way what was "A" on the bass staff becomes "C" on the treble staff . . .

[NOTE: If you need to make a few adjustments due to the key signature, scale, mode, and so forth, then consider this part of the procedure to make everything easier to read and to play. You are doing a custom modification; and sometimes this requires a bit of fine-tuning, although perhaps not . . . ]

You can specify in NOTION Score Setup that a staff plays its notes one or two octaves lower (or higher), which then makes it possible to work nearly exclusively with treble staves but yet to hear the notes played in the correct octave . . .


Treble Staff for Bass Guitar



Done this way, (a) you can focus on the notes separately from octaves and (b) for the most part octaves just determine whether a note has a low-pitch, middle-pitch, or high-pitch . . .

This also avoids needing to do the mental mapping from treble staff notes to bass staff notes . . .

For example, the note at the third fret of the low-pitch "A" string on an electric bass is just "C" . . .

You already know it's a bass note, and you don't need to remember that on a bass staff it looks like an "A" on a treble staff . . .

Lots of FUN!

P. S. If using "Chromatic" is not working as you desire, then try experimenting with the relevant "View" menu options . . .

[NOTE: These are the various settings I prefer . . . ]



So long as you are transposing upward by two octaves, "Major" and "Chromatic" should preserve accidentals, although this might depend upon whether you are using a specific key signature . . .

I do everything on treble staves in the key of C or whatever maps to all white keys; so if I add accidentals, it's all good . . .

With a few rare exceptions, I use treble staves for everything, because this way I only need to be proficient in 12 notes, although I generally am comfortable from "Middle C" to the note above the treble staff that looks like "Middle C" (but actually is "High A" [one octave above "Concert A"]); so it's actually 22 notes and is plenty for me to track proficiently in my mind, which is fabulous . . .

[NOTE: I am equally comfortable with flats, but only as a courtesy when there is a horn section. My primary instrument now is guitar; and I know Barre chords and relative guitar fretboard fingering; so it doesn't matter what key they decide to use. They select a key and for some unknown reason expect me to know it; so I ask one of them to play the root note and then play Barre chords until one of the Barre chords sounds good. In my mind, this becomes the key; and then I know what to do. Playing bass for decades helps, of course . . . ]



[NOTE: Realivox Blue (Realitone) is one of the rare exceptions, and it's an exception because it has keyswitches that are used to specify phoneme phrases that Realivox Blue sings. It's necessary for Blue to have her music notation on a standard Grand Staff, which is fine with me. Getting Blue to sound totally human requires a lot of work with phonemes and Melodyne (Celemony), but I'm making steady progress on the puzzle . . . ]



[NOTE: The premise of this song is that sometime in the future the only reliable way to distinguish a cyborg from a human is by taste, which specifically is the taste of the antiperspirant, body wash, deodorant, and fragrance "Anarchy" made by AXE®. It's a pun on the Nirvana song, "Smells Like Teen Spirit". It's true . . . ]



Fabulous!