MS Word music hack: Automatic sharps, flats, and naturals

[This is an old version. Check out my newer post for instructions for Word 2016.]

Here’s how to set up Microsoft Word to automatically insert sharp, flat, and natural signs for you. Instructions are for Word 2007 running on Windows Vista, and may need to be adapted slightly for your setup.

example

  1. Open up a new Microsoft Word document.
  2. Type the following:
    266d
    Then press Alt-X. The “266d” should turn into a flat symbol.
  3. Highlight the symbol, and press Ctrl-D. This brings up the Font dialog box. Use your up and down arrow keys to scroll through your fonts, and notice what happens in the “Preview” area. Some fonts will display a flat; some will display a box or some other symbol—not all fonts include the flat symbol. Choose one that is to your liking, and click “OK.” I chose “MS Reference Sans Serif.”
  4. The flat should still be highlighted. Click the “Office Button” in the upper left-hand corner, then click the “Word Options” button on the menu that appears. 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 “Formatted text” is selected. Your flat should be in the “With:” box. Click “Add,” then click “OK” twice.
  5. Hit Backspace to delete the flat from your document. Then do a test run by typing:
    B-flat
    Then hit the space bar. You should see something like this:autoflat
  6. Hit backspace three times to erase what you just typed, then repeat steps 2-6 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.”

A few final thoughts:

  • The fonts available on your system might be different from mine. Any font with “Unicode” in the title (like “Arial Unicode” or “Lucida Sans Unicode”) is likely to have the music symbols, but others might have them, too. I like the MS Reference Sans Serif font for this because it produces appealing symbols AND because it doesn’t mess up my line spacing. In the sample below, you can see that on the left, the line spacing remains consistent (the flat is in MS Reference Sans Serif); on the right, the flat symbol takes up more vertical space and makes its line taller (Lucida Sans Unicode). Experiment with the fonts on your system that have the music symbols, and find one that works for you.
    linespacing
  • If you use music notation software such as Finale on your computer, you may have notation fonts installed. I find these to be problematic for use in Word, and prefer to stick with text fonts.
  • If you are in the habit of using the pound sign (#) and lowercase b for sharp and flat signs, first of all, shame on you for such unprofessional documents. Secondly, you might be tempted to set up your AutoCorrect to use these instead of the (for example) “B-flat” that I have suggested. The problem with doing this is that you will have to create a separate AutoCorrect entry for each note (Ab, Bb, Cb, etc.).
  • If for some reason you 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.

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    Persistence

    A famous big-shot clarinet professor told me once that I would never really be a clarinetist.

    He was quite possibly correct.

    But for now I’m still at it.

  • Why you should use a scale sheet

    My university students take a scale exam covering all the major and 3-forms-of-minor scales, plus arpeggios, in all 12 keys, memorized. In preparation, I provide them with a scale “sheet,” with all of the scales and arpeggios written out note by note.

    There’s a part of my brain that objects to this, since I don’t really want scale playing to be a reading exercise. My students should be able to work out the notes for each scale from several different angles, by using (for example) interval patterns, transposition, and/or playing by ear. And the true goal is muscle memory—the ability to play all these scales on auto-pilot, without relying on any particular thought process.

    The scale sheet shouldn’t be a crutch, but can it be helpful? I think it can. Here’s why:

    If I’m working on a complicated repertoire piece or étude, I will certainly work from a piece of printed music, even if I intend to memorize it. Besides the printed musical information, the paper (or digital) copy also gives me a place to annotate the music with hints to improve my performance.

    A scale sheet can work the same way. It’s not merely for laying out all the notes, but also for marking in:

    • preferred fingerings, articulations, etc.
    • current playable metronome markings
    • unresolved problem spots
    • some tracking/tally of which scales I’ve practiced lately (I find that if I let myself choose scales “randomly” to work on, I end up choosing the same ones repeatedly, and completely neglecting others)
    • indications (stars? check marks? smiley faces?) of progress and successes, that might help me feel motivated to continue

    If you’re not using a scale sheet of some kind, I suppose you could figure out an organized way to write this information in some other document, but it’s hard to beat the convenience of the scale sheet.

    As a teacher, I provide scale sheets with the ranges, rhythms, articulations, fingerings, and so forth that I want my students to use. You should produce your own, by hand or with the commercial or free music notation software of your choice. (Hint: use the transpose function to turn one key in to twelve, and minimize the chance of errors.)

    Happy practicing!

  • Slowing down

    I can’t tell you how often I have had this happen in lessons, especially with my younger students:

    Me: Play your E-flat major scale.

    Student: [Begins scale at breakneck speed, plays 3-4 notes, makes a mistake, stops. Begins again at the same speed, makes a different mistake, stops.]

    Me: Wait—

    Student: [Begins again at breakneck speed, makes a different mistake, stops.]

    Me: Wait. Please slow down and play accurately.

    Student: [Begins again at same speed as before, makes a different mistake, stops.]

    Me: Okay, let me show you what I mean. [Demonstrates.]

    Student: [Rolls eyes. Plays the scale slowly, with much-improved accuracy.]

    Me: Good. See what I—

    Student: [Plays at breakneck speed. Makes a mistake.]

    Younger or less-experienced students in particular seem to get fixated on a perceived need to play everything as fast as possible, and often seem to prefer fast-with-mistakes over slower and more accurate. But as more experienced practice-ers know, time spent practicing this way is virtually 100% wasted.

    Mastery of a technical sequence, such as playing a scale or musical passage, requires repetition. If my scale turns out differently every time because I’m playing too fast and sacrificing consistency, then I really haven’t done any repetitions. Or if I’m making the same mistake repeatedly because I’m not giving myself time to think while I play, then I’m doing repetitions of something that I didn’t want to master: an incorrect version of the passage. I spent many of my younger years throwing away practice time doing each of those things.

    It’s also a mistake to move on too quickly from playing slowly. Sometimes I will see a student make several hasty, sloppy attempts at a passage, then relent and play it slowly, and then, having “succeeded,” immediately return to playing too fast. Once isn’t nearly enough. It may take several, or dozens, or hundreds, or more accurate, controlled repetitions before it’s possible to play the passage at the desired speed. But if I have laid this foundation well, I find that speed is the least of my worries—I have all the speed I need, and with solid accuracy.

    And the speeding-up part of the process often takes place very late in my preparations. I think sometimes my students expect their speed to increase like this:

    speed-straightBut I get much better results if I allow this to happen:

    speed-curved

    I spend more and more of my time polishing every detail of a passage at a slow tempo, and let the speeding up happen later and later. When I do this, I learn technical sequences much more thoroughly and much more efficiently (in other words, the “Time spent practicing” for a particular passage gets shorter and produces better results).

    Don’t waste time and effort practicing mistakes. Be patient, slow down, play it with accuracy and control.

  • Professional-sounding ornaments

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    When I’m working with new or prospective college music students, one thing that I often hear in their auditions or early lessons is awkward ornamentation. Here are some common pitfalls:

    • Aggressive grace notes. Notice how grace notes are printed smaller on the page? They aren’t there to call attention to themselves. They are usually adding weight or importance to the following note. Give that note a little extra volume/tenuto/stretch/stress, rather than accenting the grace notes themselves.
    • Weak trills. Don’t let your breath support sag. Blow through the trill like it’s part of the phrase (because it is). Every note of the trill, no matter how fast it goes by, needs a full, clear, in-tune sound.
    • Short trills that aren’t short enough. If you don’t have an exit plan for your trill, it’s easy to get stuck in it and be late for the next note. It’s especially a problem for shorter trills, like on a quarter note. To make sure your trills aren’t interrupting the rhythmic pulse, decide exactly how many notes they should have. The shortest version (for trills starting on the lower pitch) is three notes—the starting note, the upper note, and back to the starting note. Five or seven notes (hitting the upper note two or three times) makes it sound more convincingly like a trill, if there’s time. Decide what number makes sense for the style and tempo, and practice it slowly and deliberately with a metronome so you can land on the following note right on time.
    • Missed accidentals or key signatures. Even within ornaments, key signatures still apply, and accidentals still carry through the measure. Check carefully and mark in any sharps or flats that will help your accuracy.
    • Uninformed interpretation. Ornamentation is an art, and takes into account musical style, historical context, harmonic context, rhythm and meter, and a lot more. If you possibly can, listen to lots of recordings by professional players and see how they approach the ornaments. Listen for note choices, rhythms, emphasis, and articulation. While you’re still accumulating the knowledge and background you need to make good ornamentation choices on your own, there’s nothing wrong with stealing some ideas from musicians you admire. Also: a surprising number of Baroque composers wrote books on how to play ornaments, so if you’re playing something in that style it may be worth checking to see what the composer themself had in mind! (Quantz‘s chapters on appoggiaturas and “shakes” are a good example for woodwind players.)

    Graceful ornaments raise the maturity level of your playing, and audition judges notice. Don’t wing it!

  • Starting at the right tempo

    For me it’s an ongoing challenge to start a piece of music at the right tempo. Here are a few tricks I have used:

    • Practice, a lot, with a metronome, to internalize and habituate the tempo.
    • If circumstances allow, check a metronome backstage immediately before beginning the piece.
    • If circumstances allow, have a metronome with you on stage. Most have a “silent” function that you can use to discreetly double-check.
    • Maybe your piece has a fast or tricky part, and you’re worried that you will go too fast and that part won’t go well. Sing that part in your mind before you start to play, so you can pick a tempo that will work for that part.
    • Be aware of your tendencies. For example, if the adrenaline of performance makes you tend to rush, you can adjust accordingly.
    • Find a song that you know really well and have thoroughly internalized, that has a tempo very close to the one you wish to play at. Sing a few bars of the song mentally to find your tempo. For example, here’s a list of songs that have a tempo of about 94 beats per minute—I bet you can find at least a few that you know.

    Good luck!

  • Playing at professional volume

    One thing I notice about a lot of my younger university students is that they play softly. Sometimes they seem reluctant to play above what I might consider about a mezzo piano.

    If I ask, many of them reveal that they spent their formative years in school band programs getting The Hand from their directors. Beginning oboists and saxophonists in particular can make rather pungent and conspicuous noises. And band directors, understandably anxious to produce a well-blended ensemble, give the traffic-cop “stop” sign of the raised palm to hush the worst offenders. Those young musicians learn quickly to play in a restrained, timid way, and that anything louder than a murmur is a faux pas.

    I can’t really blame the band directors, who have a set of concerns different from mine. (When I have taught beginners in a private lesson setting, I have encouraged them to play loudly from day one, and treated softer dynamics as an intermediate-level technique.)

    But much of college-level music study is about students’ development as soloists. In that context, they need to play with authority, and, well, volume. And they may find that college ensembles have different demands than their high school groups, too.

    Fixing the problem usually doesn’t involve teaching much new technique, perhaps a review of proper breath support. The rest is encouragement and example from me.

    Over the course of a few weeks or months, I play for them in lessons, showing how I can fill up the room with sound. I ask them to imitate that sound, and urge them on to louder volumes. If I ask them to play their very loudest, and then ask them to top that, they usually can—they are just afraid to, and warn me that if they get any louder it will sound bad. But surprise! It doesn’t.

    If you aspire to play at a professional level, or teach students who do, explore the louder part of that dynamic range, and make yourself heard!

23 Comments

  1. Fantastic! :)
    That’ll save me so much time!

    Incidentally, you can type 266e (or whichever) straight into the autocorrect dialogue box and then press Alt-x… which saves a little time

    Thankyou though! :)

  2. Thanks for the very helpful tips for help with my DMA essay, Bret – great to see you doing so well and congrats on your doctorate!

    Jeremy Starr
    BYU ’03

  3. I initially had a problem with AutoCorrect adding an end-of-line code. I worked around this by typing a space after I created the accidental sign. Then I was able to select just the sign without capturing the EOL, and just continued on with defining the AutoCorrect text. Thanks, Bret, for this great little nugget.

    Tim Owen
    BYU ’99

  4. As far as the spacing issue if you choose Paragraph, Indents and Spacing, under Line Spacing choose “exactly” and the number of points (usually the same number of points as your font size, or doubled if you are doing double-spacing. That way you can use whatever font you want for accidentals and have your lines spaced evenly.

  5. This is a great shortcut, however, I am having trouble during Step 3 selecting a different font – when I select another font, it simply returns to the original font (MS Gothic). I am running Word 2010 on Windows 7 64bit – if anyone has encountered and solved this problem, I’d love to hear about it! Looking forward to using it!

    1. Hi Rachel – Not all fonts have the sharp, flat, and natural symbols. If you are trying to use fonts that don’t, Word may be “fixing” it for you by switching back to a default font that has those symbols. If MS Gothic is the only one that sticks, it may the only font you have that contains those symbols.

      1. Hi Bret, I tried switching it to the font you listed above, which is on my version of Word, and it displayed the flat sign in the Preview window, but didn’t stick when I pressed OK, nor did any other font displaying the flat sign. Possibly some sort of default setting on my Word, but not sure what!

  6. This was a fantastic tip. I found I can do the same thing in Excel and I assume you can do likewise in any of the MS Office programs.

  7. This works fine but in your instructions when you said type B flat (and you sued the symbol) you should have said type B-flat (then space bar) because that what produces the symbol (I was confused). Thanks for the help

  8. WordPerfect has all these things built in. And a lot of other good stuff that one has to look for “work arounds” in MS Word.

  9. Thanks it helped me alot i didn’t know and so i searched on how you do it and so this website apperead and so i did it and you saved my life. Thanks again. :)

  10. This is fantastic! I’m using my old computer today with an Excel file (MS Office 2003, SP3) that translated my b-flats & E-flats into B-boxes and E-boxes. After 20 min. trying to fix this, I found your site, used your instructions for Word, and Lo! and Behold! MS Reference Sans Serif fixed the boxes. For some reason, that font was not visible in Excel, so I copied the string B plus its flat symbol form Word into one cell in my Key Signature column. MS Reference Sans Serif still not visible for other cells, so I highlighted the “good” cell and used the Format Painter for the whole Key Signature column. Magic!! Thank you, Bret!

  11. I remembered this hack when I searched for a way to enter accidentals on my iOS device. First, I found a free app which adds the keyboard for many Unicode symbols. My app of choice is UniChar.
    Next, I defined the following as shortcuts: “-flat” as ♭, “-natural” as ♮, and “-sharp” as ♯. It actually took more effort to make sure it was spelled out in this comment because autocomplete was going to kick in at the wrong time!

    Once you have the shortcuts defined, you can keep or delete the app. I went a bit further and defined all 21 note names with accidentals so they would be automatically capitalized. By the time I enter gnatu it substitutes G♮.

    Hope this helps. Thanks, Bret, for a clever and useful blog!

  12. Thank you SO much! This setup will save me a LOT of time as I begin the writing process of my dissertation!! Much appreciated!

  13. Tremendous trick! Works also in my XML Editor using hexadecimal reference. Saved me several eras. Thanks a lot!

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