MS Word music hack: Automatic sharps, flats, and naturals (Updated 2019)

Ten years ago in 2009 I wrote a blog post about how to set up auto-complete sharp, flat, and natural symbols in Microsoft Word 2007 running on Windows Vista. Here’s an update for Word 2016 on Windows 10.

Thanks to Ariel Detwiler for calling my attention to the need for an update.

How it will work

Type this (plus space bar)Get this
F-sharpF
B-flatB
C-naturalC

Will it work on Office 365?

No, the web version of Office doesn’t currently (2019) support this feature.

How to set it up

  1. Open up a new Microsoft Word 2016 document.
  2. Type the following:
    266d
    Then press Alt-X. The “266d” should turn into a flat symbol.
  3. Highlight the flat. Click the “File” tab, then “Options.” A dialog box appears; click “Proofing” at its left-hand side. Click the “AutoCorrect Options…” button. On the “AutoCorrect” tab, make sure “Replace text as you type” is checked. In the “Replace:” box, type:
    -flat
    Next to “With:,” make sure “Plain text” is selected. Your flat should be in the “With:” box. Click “Add,” then click “OK” twice.
  4. Repeat steps 2-3 for the sharp and natural signs. In step 2, use “266f” for sharp and “266e” for natural, and in step 4 use “-sharp” and “-natural.”

If you are in the habit of using the pound sign (#) and lowercase b for sharp and flat signs, shame on you for your unprofessional documents. You might be tempted to set up your AutoCorrect to correct those. The problem with doing it that way is that you will have to create a separate AutoCorrect entry for each note (Ab, Bb, Cb, etc.). Plus, it’s a good idea to just get in the habit of typing “F-sharp” so if you’re using a system that doesn’t have your special AutoCorrect set up, you will be left with that more correct version instead of a pound sign or letter b.

If you have set up the AutoCorrect but you actually want to type “-flat,” “-sharp,” or “-natural” and override the automatic change, type what you want and then press Ctrl-Z (Undo) to change the symbol back into text.

Similar Posts

  • Preventing accidents with pencil marks

    After some recent windy weather I saw someone in my neighborhood cutting up some fallen tree branches with a chainsaw. He wore jeans and sneakers and handled the saw with something less than familiarity.

    Later, I saw a professional tree removal crew working at a similar task. They operated their chainsaws expertly and with confidence, and wore helmets, eye and ear protection, and heavy protective clothing.

    I thought the amateur might really be the one in need of safety gear. But the professionals showed up equipped to do the job right, do it promptly, and do it without mishaps. Read More “Preventing accidents with pencil marks”

  • |

    Solo/chamber stage etiquette for first-year music majors

    Here’s what I teach my first-year music majors as they are preparing for their first public performance of solo or chamber repertoire. Customs may vary in your area.

    photo, Converse College
    photo, Converse College

    • Dress professionally and comfortably. Formalwear/eveningwear is overkill and a distraction for most music major recital performances. I like to wear a necktie and preferably also a jacket, but something of roughly equivalent dressiness also works (slacks/skirt and a nice top are another example).
    • Enter the stage by walking swiftly and confidently. Stop just short of the music stand, so that it isn’t between you and the audience (at least not yet).
    • Before you do anything else, acknowledge your audience with a bow. (If you are on stage with collaborative musicians, wait for them to get into position so you can all bow together. Whoever is standing closest to the front should start the bow as soon as everybody is ready.) To bow: bend at the waist, look at your shoes for a second, then straighten back up. Keep both hands either on your instrument or at your sides. Don’t curtsy. Don’t shrug or roll your eyes or pull faces. (I suggest practicing your bow a little before your performance. Maybe take smartphone video so you can see if you are doing something weird.)
    • After bowing, make any last-minute arrangements or adjustments: arranging sheet music, checking reeds, etc.
    • If you are taking a tuning note on stage, turn to whoever is providing the pitch. Mostly listen, then play briefly, adjust, and if needed play one more time (briefly!) to be sure. Don’t play a long tuning note, like you’re trying to convince yourself that you’re right. If you’re uncertain about your ability to tune accurately on stage, you can tune to a tuner or other reference before going on stage, and use the onstage tuning as a chance to just play a note before you begin the performance.
    • During the performance, don’t make faces or gestures in response to mistakes. It calls unnecessary attention to what probably are barely-noticeable glitches, and takes you and your audience out of the moment.
    • As you and/or your collaborators play the last note of each movement or piece, freeze in place. Hold your position until the last note finishes reverberating in the performance space, then another second or two.
    • If you just finished a complete musical work (not just one movement of the larger work you are performing), you can bring your instrument down into a carrying position, look out into the audience, and smile to signal that the piece is complete. They should start to applaud at this point.
    • Leave the stage quickly. Don’t be caught still on stage when the applause ends. In some situations you can leave your sheet music behind to be retrieved later.
    • In some cases the audience will continue to applaud enthusiastically after you leave the stage. If you like, you can return to the stage for another bow and then leave quickly again. Sometimes the audience doesn’t bring you back for another bow—don’t take that personally.

    Break a leg!

  • Make a better marking

    In lessons and ensemble rehearsals, I frequently ask students to mark in something they missed—an accidental, a stylistic nuance, a breath.

    Sometimes they tell me they already marked it. They assure me they will get it right the next time.

    As you might guess, I am less than convinced. The marking didn’t do the trick this time, so why should it work next time? Or next week? Or in the performance, when you’re playing under pressure and with distractions?

    If the marking you made didn’t work, do a better one. Can you make it…

    • …more visible? Maybe beefing up that faint little pencil stroke will help. If you’re concerned about marks you might want to undo later, make photocopies and mark those (or go digital).
    • …clearer in meaning? Circling a note you got wrong doesn’t add any information to the page. Instead write in the sharp you missed, or a reminder of what key you’re in, or even the note name if that helps. You can use symbols if you will be 100% clear on what they mean (even under pressure), but don’t be afraid to use words.
    • …earlier? If you keep forgetting to do the crescendo in measure 32, consider putting a reminder in bar 28 that it’s coming up. That gives you an extra moment to process it mentally and be prepared before the crucial moment arrives.

    Every marking should make your playing better. If it doesn’t, change it!

  • Jazz and classical musicians’ concerns about jazz playing

    Recently I asked some questions on social media related to (self-identified) non-jazz musicians playing on jazz or jazz-adjacent gigs. This kind of thing might happen, for example, at a symphony pops concert, or a big band gig in a smaller market.

    A number of concerns were raised about this, but two stood out.

    • Self-described non-jazz players overwhelmingly expressed misgivings about having to improvise in these situations.
    • For jazz players, asked about having to play a gig with non-jazz musicians, none of them expressed concern about the non-jazz players’ improvisational ability. They were overwhelmingly concerned with style (mentioning specifics like swing, articulation, and inflection).

    I think for a non-jazz player, being asked to improvise is understandably frightening. But I’m hard-pressed to think of a situation like this where improvisation would be strictly required. For example, if your local pick-up big band has some jazz players and some non-jazz players, it’s a simple enough matter to pass the improvised solos off to the jazz players. (And there are plenty of big band charts with written-out solos.) If I’m hiring for the gig, I’d certainly rather rearrange the solos than put somebody in a situation that will be to their embarrassment and mine.

    But everyone on the gig needs to be prepared to do good section playing. I’ve been in the frustrating situation of trying to lead a section (from the lead chair or from the director’s stand) with players who aren’t tuned into the conventions and nuances of swing, articulation, and inflection. Often these things aren’t specifically notated, the way they would be in orchestral parts, or the notations aren’t intuitive.

    (A case in point: a curved marking like ⌣ over a note, which I hear classical musicians interpret by playing the note at pitch, then bringing it down, then back up. I understand why they think it means that, but it’s an un-jazz-like sound—it should almost always be interpreted as a scoop up to pitch.)

    My takeaway: if you don’t consider yourself a jazz musician, and aren’t planning to really become one but want to play some jazz-oriented music on the occasional gig, study jazz style.

  • Jazz chord symbols: a primer for the classically-trained

    Printed jazz music often uses chord symbols to indicate the music’s underlying harmony. As with the Roman numeral system used in classical music theory, jazz chord symbols may be used as a tool for analysis. But they are also used for performance, like Baroque figured bass notation, with the musicians using the symbols as a framework for improvising melodies and/or accompaniments. In jazz, the symbols are  generally non-specific with respect to inversion, and players of chord-capable instruments (such as piano or guitar) in jazz are accustomed to making independent choices about inversion and voicing. Depending on the situation, printed jazz music may include written notes only, or notes plus chord symbols, or even chord symbols alone.

    Simple major triads aren’t common in most “modern” (post-1940) jazz. But in the rare cases that they do appear, they are indicated with a single note name:

    jazz chord symbol: simple triad
    C major

    The letter “C” above the staff is the chord symbol. The notes shown on the staff here are the corresponding pitch classes, stacked in root position in the thirds familiar to students of classical theory, though a jazz musician, composer, or arranger would rarely voice a chord in this way.

    Almost always, there should some variety of seventh specified, using the numeral 7 (and when it isn’t specified, it is often implied). By convention, using the 7 alone with a note name indicates the lowered seventh:

    jazz chord symbol:  seventh
    C seventh

    Read More “Jazz chord symbols: a primer for the classically-trained”

  • Music guilt

    In my professional capacity as a musician and music educator, I frequently have to lay down the law with my students or with myself about not practicing enough. The sense that I’m never quite good enough, and that it’s my own fault for not working harder, is a real professional hazard.

    But when I meet people who aren’t professional musicians or serious music students, they often seem to feel the same way. They confess regrets about an instrument collecting dust in a closet, about not “sticking with it,” or about never learning to play at all. Sometimes they tell me how much they used to enjoy playing, but how some additional factor like music theory or stage fright or scales took the joy out of it.

    I have to remember in those moments to keep some perspective. While my own musical goals demand serious daily work, lots of people find joy in dusting off an instrument once a month or once a year to play the same three songs again. Some people find certain aspects of a traditional music education boring. Some might play well, but aren’t interested in doing it front of an audience or a teacher.

    And that’s okay! There’s lots of room for musicians of all levels and aspirations (or non-aspirations). And, of course, we professionals need a public that is enthusiastic about music, not guilt-ridden and regretful.

    If you want to learn, it’s not too late. If you want to play or sing casually, you may. If you don’t want anyone to hear you, you don’t have to let them. Music should be fun for you.

15 Comments

  1. I tried this and all seemed to work great—except the font size of the symbol always appears in the original font size that was used to set up the auto-correct, even if I type the prompt (e.g., E-flat) in a larger font. I get a large E and a tiny flat symbol. Of course, I can then highlight the symbol and change the font size manually after the fact. Is that the expectation, or maybe I missed an option in the setup?

    Thanks.
    Jeff

    1. Thanks Jeff — after considering your question, I’ve decided to change my instructions to use “Plain text” instead of “Formatted text.” Using “Formatted text” allows you to choose a font you like for the music symbols, but does have the size limitation you describe. “Plain text” allows Word to choose an available font for the symbols according to its own logic, and will automatically size them to match the surrounding text.

  2. I set up my autocorrect in Word 365 to do this!! AND it doesn’t change the font in the document, I am so happy. Thank you for the tips!

    1. Brianna, I opened “Show Emoji & Symbols” (which I have on my top bar, then selected Musical Symbols in the left column. I did two things. I dragged each of these symbols into my Favorites (towards the top of the left column), but also opened a Word document, and double clicked on each symbol so they all appeared in the document. Then, one at a time, I copied them into the clipboard. Then, I opened Word > Preferences > AutoCorrect and set up each character in the Replace: -flat With: ♭, etc. I hope this helps.

  3. Thanks for this discussion. I have a problem inserting symbols in a Word document with Arial font. Sharp and natural are fine, but the flat symbol (from the MS Gothic character set) seems to have a space before and after it, making it look odd. If I use the symbol from the Arial MS Unicode set it looks fine, but embedding it in an Arial paragraph screws up line spacing. I’ve discovered the hard way that MS Unicode is copyright and so isn’t rendered correctly (or at all, in some cases) in ebook sites (I’m trying to publish a new edition of my Jazz Harmony ebook). Any ideas?

  4. Thank you very much Jeff. I’m using Word 365 in 2023 and it working perfectly. Your instructions were great.

  5. This works great, in one document. So I have to go through this process for every document with sharp/flat/natural symbols. Anybody know how to change the options for all word documents?

Leave a Reply

Your email address will not be published. Required fields are marked *

Comments that take a negative or confrontational tone are subject to email and name verification before being approved. In other words: no anonymous trolls allowed—take responsibility for your words.

This site uses Akismet to reduce spam. Learn how your comment data is processed.