Element reference

Paste & import

Drop in a song as plain text — two chord styles understood.

Start a new song and paste (or type) the words. GigCharts reads the two ways people write chords:

Chords-above-lyrics — a line of chord names sitting over the line of words, spaced with the syllables. And inline ChordPro — chords in square brackets inside the words, like [Am]There is a [C]house. You can mix files freely; the editor understands both and lines them up when it renders.

Options & settings

• Paste a whole song at once, or build it line by line.
• Blank lines separate stanzas — and the number of them is kept: three blank lines come in as three lines of space (see Blank space).
• ChordPro directives in { } are recognized on import (title, key, capo, comments…).

Use it for…

• Bringing a chart over from a text file, another app, or a website.
• Typing a song from scratch in whichever notation you already think in.

ChordPro directives

Curly-brace tags that set metadata and mark structure.

If your source uses ChordPro {directives} — {title:}, {key:}, {capo:}, {start_of_chorus}, {comment:} and friends — GigCharts reads them on import: metadata fills the chart's fields, section blocks become section spines, and comments become cues. You don't have to type any of them — every one also has a control in the UI.

For the directive-by-directive picture — which directives are recognized, which are partially handled and which are ignored — see ChordPro in GigCharts. For every recognized property and its aliases, standard versus GigCharts extras, see the Import reference.

Use it for…

• Importing charts that already use the ChordPro standard.
• Round-tripping: what you set in the UI can be exported back out as ChordPro.

Transpose

Move every chord up or down by semitones — words untouched.

Transpose shifts all the chords in the song by a chosen number of semitones. The lyrics stay exactly where they are; only the chord names change. Use it to move a song into a key that suits the singer.

It is a lens, not an edit: the song keeps the chords you typed, the chip in the top bar says how far you have moved and which key that lands in, and zero puts it back. When the new key turns out to be the real one, Apply transpose to chords writes it into the source and resets the dial — one undoable step.

Options & settings

• Step up or down one semitone at a time; the detected key follows.
• Source and output notation — read a chart written in English, German or Hungarian (including the folk spellings *cisz*, *esz*, *gesz*) and print it in any of them.
• Render accidentals as ♯ and ♭ where the chart font has the glyphs.
• Apply transpose / Apply notation — bake the current lens into the saved chords.

Use it for…

• Fitting a song to a vocalist's comfortable range.
• Matching a chart to how the band actually plays it.
• Reading a chart someone wrote in a notation you don't use.

Key & capo

State the written key and where the capo goes.

Set the song's key so it's stated clearly on the chart, and set a capo position if the player uses one. Capo and transpose work together: transpose changes the printed chords, the capo tells the player where to clamp — GigCharts keeps the relationship honest so the shapes on the page are the ones they'll actually finger.

Use it for…

• Making the key obvious at a glance on the stand.
• Printing easy open-chord shapes while sounding in a harder key.

Section

A labeled spine down the edge marking Verse, Chorus, Bridge…

A section marks a stretch of the song — Intro, Verse, Chorus, Bridge, Outro — with a colored spine and a label running alongside it. It groups the lines it covers so the eye can find the chorus instantly, even across a busy page.

Options & settings

• Free-text label (Verse 1, Chorus, Bridge, Solo…).
• Its own color, so recurring parts read at a glance.
• Spans the stanzas you assign it.
• Detect sections, in the Annotations panel, reads the song's structure and labels every stanza that hasn't got one yet — leaving yours alone, and undoable in one step.

Use it for…

• Making the form of the song scannable during a gig.
• Color-coding repeats so 'Chorus' always looks the same.

Road-map (arrangement)

A compact running order of the whole song as stacked bars.

The road-map is an arrangement list: a stack of little colored bars, one per part, in the order you actually play them — for House of the Rising Sun that's simply Intro · Verse ×4 · Outro. It sits in a gap on the page and gives the band the shape of the song without reading every line.

Options & settings

• Order and repeat the bars however the arrangement runs.
• Per-bar color (line it up with your section colors).
• Align and size the track; it reserves the right amount of room in the gap.

Use it for…

• A one-glance 'what comes next' for the whole band.
• Communicating an arrangement that differs from the printed verse order.

Markers

An ordered list of labeled bars stacked down the margin.

A marker group is an ordered list of colored bars — the same building block as the road-map, but standing as vertical spines side by side in a page gutter. Each bar carries a label (and an optional ×N), so you can run an arrangement, a set of parts, or a line of reference points down the edge of the page.

Options & settings

• An ordered list of bars, each with its own label, color and optional ×N repeat.
• Sits in the left or right gutter (or inline); pick the reading direction for the vertical labels.
• Set the reading direction to horizontal and the rack sizes itself to its labels, up to half the page; or give it a width in characters and pad it out to match the group on another stanza.

Use it for…

• A compact arrangement or parts list running down the margin.
• Naming who takes a part, or flagging landmarks the band calls out.

Blank space

The gap between two stanzas is a real object you can select and resize.

Every gap between two stanzas is something you can click. Select it and it lights up; drag its bottom edge and the space grows or shrinks a line at a time. It is the one element you never have to add — it is already there, holding the two verses apart.

The space and your typed words stay in step, both ways. Leave three blank lines between two verses in the Song Editor and you get three lines of space on the page; drag the gap taller on the chart and the blank lines appear in the editor to match. Whichever way you prefer to work, the source always says exactly what the page shows.

Options & settings

• Drag the bottom edge to resize, from one line up to twelve.
• Add a second one from the gap's right-click menu, so a gap can hold more than one slot.
• Each one gets its own row in the Layers panel with its height, and can be reordered against a cue sitting at the same gap.
• Normalize in the Song Editor flattens every gap in the song back to a single line, in one undoable step.

Two things it deliberately won't do. The last space at a gap can't be removed — that single line is what makes two stanzas two stanzas, so merging verses is an edit you make in the words, not something that happens as a side effect of tidying the layout. And a gap that lands exactly on a page break collapses: the turn is already a bigger pause than any blank line, so the next page starts clean at the top.

Use it for…

• A breath before the chorus, or room for a capo change.
• Letting a short song fill the page instead of huddling at the top.
• Opening up a chart so it stays readable at arm's length on a stand.

Page break

Force the split between pages exactly where you want it.

Normally GigCharts paginates for you and is careful never to split a line that matters. When you want control, drop a page break to decide precisely where page one ends — so a turn lands at a rest, not mid-chorus.

Use it for…

• Putting the page turn somewhere your hands are free.
• Keeping a section whole on one page.

Cue chip

A little chip with a performance note, placed where you need it.

A cue is a small labeled chip — 'Softer', 'Build', 'A cappella', 'Watch me' — that you pin to a stanza, a line, or the gap between stanzas. It carries the human instructions a plain chord chart can't.

Cues are the most flexible element: the same chip can sit above the text, beside it, hard to the left or right margin, or inline right after the words, and it stays clamped inside the page no matter how long the label.

Options & settings

• Placement: above, inline/beside the text, hard left, or hard right.
• Attach to a whole stanza, a single line, or a gap between stanzas.
• Free-text label — as short or long as you like; it never overflows the edge.
• A cue in a gap gets a Rows setting: how much space the chip opens up, from none at all (sitting tight against the words) to six lines.

Use it for…

• Dynamics and feel ('quiet', 'lift', 'half-time').
• Stage directions ('band out', 'lead vocal', 'repeat to fade').
• Anything the dots don't say but the player needs to know.

Text box

A free-floating, resizable frame of styled text — anywhere on the page.

A text box is a frame you drop on the chart and type into: several lines if you need them, styled word by word, in its own size and color, with an optional fill and border. It is the one annotation that is a resizable frame — drag any of its four sides or corners and the opposite edge stays where it is.

It floats. A text box reserves no page room and reflows nothing: it either follows the text (drag it where you want it) or pins to the page, sitting over whatever is underneath. That makes it the roomiest thing in GigCharts and the least opinionated — which is exactly why a cue, a repeat or a section is the better answer whenever one of them fits.

Options & settings

• Rich text: select any range and give it bold, *italic*, underline — or a color of its own.
• Its own point size, and a frame that grows with the font, stays a fixed size, or shrinks to fit the text.
• Reading direction (normal, upward, downward, stacked letters) plus horizontal and vertical alignment inside the frame.
• An optional fill — with its own opacity — and border, from the same palette as every other element.
• Drag any edge or corner to resize; pin it to the page to freeze the exact spot.

Use it for…

• A paragraph the band reads once: an intro count, a road note, what happens after the last chorus.
• Anything that is prose rather than a marking — a translation, a caption, a heading.
• A repeated strip in the same spot on every page (pin one per page to the same position).

Repeat bar

Show that a part plays more than once, without retyping it.

A repeat marks a stanza or section to be played again — an ×2, a repeat bracket — so you write the words once and still make the count clear.

Use it for…

• Choruses and riffs that run twice.
• Keeping the page short by not duplicating lyrics.

Repeat section

Point back to a section instead of reprinting it.

Rather than printing the chorus a third and fourth time, drop a repeat section — a chorus reference — where it recurs. The chart stays compact and the singer still knows exactly what happens there.

It is a live reference, not a label: the mark names itself from the referenced stanza's section spine, so it reads “Repeat: Chorus” and follows if you retitle it. Switch on the full text and the recalled stanza's real lines are spliced into the page, flowing and paginating like any other content — and re-rendering whenever the source stanza is edited.

Use it for…

• Songs where the same chorus returns several times.
• Fitting a long song onto fewer pages.

Voice (color)

Recolor lyric lines by who sings them.

A voice tags lines with a singer's color — lead, harmony, everyone — and recolors the words accordingly. It draws no widget; it just tints the text, so a duet or a call-and-response reads at a glance.

Voices live at two levels. Each song owns its own roster — the voices and colors it needs, saved right inside the chart, so it travels with the song. On top of that you keep a personal My Voices catalog: a reusable set of your regular singers, ready to drop into any new song. Where a song defines a voice, the song wins; otherwise your catalog fills in.

Options & settings

• Define a per-song roster of voices, each with a color.
• Keep a personal 'My Voices' catalog that carries across every song you make.
• Assign any line or stanza to a voice.
• Print a key to the colors with the voice legend box.

Your catalog lives on the device you built it on, like the rest of your library. A Pro account syncs it — and everything else — to every device you sign in on.

Use it for…

• Duets and call-and-response ('you take this line, I take that').
• Marking harmony vs. lead parts.
• Reusing the same band members' colors across your whole book.

Chord box

A box of chords you type, drawn like the concert-chord box.

A chord box shows the chords you choose — beside a stanza or in a gap — drawn with the exact look of the concert-chord side box. You type its rows, one per line. It is a placed widget rather than a switch: drop it where the player needs it, drag it, pin it, stack several.

It follows the key. Leave Transpose with main on (it is the default) and the box shifts with the song's transpose, in step with the body and the concert box — and re-measures itself, so a chord that picks up a ♯ simply makes the box wider. What you typed stays stored in the written key.

Options & settings

• One row of chords per line you type.
• Beside the stanza or in the right gutter; in a gap, left / centre / right.
• Transpose with main — on by default; off prints the chords exactly as typed.
• Its own box and chord colors.
• Any number per stanza or gap.

A chord box in a gap owns its rows — a stack of chords is content, so it opens real space at that boundary instead of riding the blank space the way a one-row chip does.

Use it for…

• Shapes for a solo, an intro or a turnaround that has no lyric line to hang chords over.
• An alternative voicing printed beside the written one.
• Reminding the player of a change right where it happens.

Linked chord box

The same box, showing another stanza's chords — live.

A linked chord box is a chord box whose content is a reference rather than text. You pick a source stanza — the same picker as “Fill chords from…” — and the box re-reads that stanza's chords on every render. Edit the source and every box pointing at it updates itself.

It lays the mirrored chords out with the song's own concert settings — the same alignment and spacing controls the concert chords use — so a linked box and the concert box read identically on the page. It exports the same way: the PDF resolves the reference exactly as the preview does.

Options & settings

• A Source dropdown — which stanza's chords it shows; re-point it at any time.
• Chord alignment: beat, so each chord keeps its column, or packed.
• The chord box's placements, colors and Transpose with main.
• Any number per stanza or gap. One dropped in a gap starts out mirroring the stanza above it.

Use it for…

• A chordless verse that plays over the chorus changes.
• An outro that repeats the intro — quote the progression instead of copying it.
• One chart where fixing a chord in the source verse fixes it everywhere it's quoted.

Title & subtitle

The song's name at the top — and which pages it appears on.

The title block prints the song's title and subtitle at the top of the page, taking its text straight from the song properties. Like the rest of the chrome it is a widget: give it its own color, move it, and decide which pages it belongs on.

That last part is a rule, not a page number — first page only, every page, or every page *except* the first, which is the running-header case where page one already carries the real title.

Options & settings

• Prints on the first page, every page, or the rest.
• Its own color for the title and the subtitle, from the chart's palette.
• Drag it, or hide it entirely and let a text box do the job.

Use it for…

• A running title across a three-page chart.
• A chart whose heading is a text box you designed yourself.

Song capo

A clear capo marker in the header, positionable to taste.

When a song uses a capo, GigCharts prints it as a pill — the capo badge — hanging just above the first line. Right-click it to move it; it costs the page no room of its own, sitting in the blank space that is already there. (A capo that changes partway through the song is a per-stanza annotation instead.)

Use it for…

• Making the capo impossible to miss on stage.

Concert chords

The sounding chords of a capo'd chart, printed beside the shapes you play.

A capo'd chart shows capo shapes — the grips your left hand actually makes. Anyone playing along who isn't capo'd needs the sounding chords instead. Switch on Concert chords and the chart carries both: the written shape where it always was, and the concert-pitch chord it sounds as, every shape transposed up by the capo fret.

Two ways to show them. A side box — the concert box: a gray column running down the page beside the music, headed CONCERT — or inline, each sounding chord printed on the chord row right after its written shape. The box is the default and suits any chart; inline reads faster but only fits a sparse one.

Options & settings

• Box grouping: one box per page — a single calm column — or a box per stanza.
• Chord alignment: Beat, so the concert chords sit on the same timing grid as the chart; or Independent, each row packed on its own.
• The box's title (CONCERT by default) and the gap between chart and column, in characters.
• Inline look: colored text, or a small filled pill behind each sounding chord — its own fill, border and overhang. The overhang takes no layout, so widening it never pushes a chord off its syllable.
• The written chord beside it can take the same treatment: its own fill, border and text color.

Concert chords appear only when a capo is set — they are the capo shapes at sounding pitch. A plain transpose rewrites the written chords themselves, so it has nothing to add here.

Use it for…

• Playing a capo'd arrangement with a piano, bass or horn player reading the same chart.
• Handing the chart to someone who doesn't use a capo at all.
• Seeing at a glance what key the song actually sounds in.

Video link

One link on the chart — printed as words, as a QR code, or both.

Put a URL in the song's Video field and the chart can carry it: a reference recording, a rehearsal take, the page you learned it from. One link, two ways to print it — a text link somebody can retype, or a QR code somebody can scan — and you choose which, or have both.

The text form can print the full URL or a short one that reaches the same place, because a printed chart wants the version a person can copy off the page by hand. The QR always encodes the link exactly as you typed it.

Options & settings

• Type: text link, QR code, or both.
• Link form for the text version: full or short.
• Its own text size — matched to the annotation font, offset from it, or a percentage of it.
• A prefix word in front of the link (“Video:”, “Listen:”), or none.
• Position it like any other chrome; it reserves no page room of its own.

Use it for…

• Pointing the band at the recording the arrangement came from.
• Putting a rehearsal track one scan away from the music stand.

QR code

A scannable square on the chart — for the song's link, or any other.

A QR code renders as part of the page and exports into the PDF. There are two of them, and they answer different questions. The song QR is one of the video link's two shapes — it encodes the song's own Video URL, and switching it on is a property of the song. A placed QR is an ordinary annotation that carries its own link: drop as many as you like, anywhere, pointing anywhere.

Both sit on the chart's grid: drag a corner to resize (it lands on the nearer grid line), drag the code to move it, and it is measured in body rows so it stays where you put it when the type changes size.

Options & settings

• Its own link, on a placed QR; the song's Video URL on the song QR.
• Code fill — how much of its box the square fills, which is what leaves room for a backing colour and a frame.
• The GigCharts mark in the middle, on or off (the code is generated with extra error correction so it still scans). Removing it is a Pro feature.

Use it for…

• Linking the printed chart to 'how it actually goes'.
• Sharing a rehearsal track from the stand.
• A second code on the same page pointing somewhere else entirely.

Stamp

The small mark that says which sheet this is.

The stamp is the little block in the corner of every page carrying the page number and the chart's revision — the mark you look at when three printouts of the same song are lying on the floor and one of them is current.

It is a stamp rather than a footer because it is defined by being applied, not by where it sits: drag it to any corner, and choose which pages it prints on — every page (the default), the first, the rest, or just the last.

Options & settings

• Page number and chart version.
• Any corner; drag it, or pin it to an exact spot on the page.
• Prints on every page, the first, the rest, or the last.
• Its own fill from the palette, and a corner roundness of its own.
• Hide it entirely — it lives in the Annotations panel's Song list with the rest of the chrome.

Use it for…

• Telling this printout apart from the one in the folder.
• Page numbers on a chart that runs to three sheets.

Info box

A tidy box of song facts — key, tempo, time, capo.

The info box gathers the song's facts — key, tempo, time signature, capo and so on — into one neat block on the page, so the band has the count-in facts before the first line.

It prints any of the song's properties, not a fixed set: add a row, drag the rows into the order you want, and give each one its own prefix (or none). Presets seed it in one press — Standard, Rhythm, Key & capo, Release, People, Catalogue — and you can add a preset's fields to what's there or replace the lot.

Options & settings

• Any song property as a row; add, remove and reorder them.
• A per-row prefix — the word printed before the value.
• Presets: Standard · Rhythm · Key & capo · Release · People · Catalogue.
• Its own fill and corner roundness, from the chart's palette.
• Position it anywhere, or pin it to an exact spot on the page.

Use it for…

• Giving the band the count-in facts before the first line.
• A consistent 'song header' look across your whole book.

Voice legend

A key to the voice colors — one row per singer, on the page.

When a song colors lines by voice, the legend explains the colors on the chart itself: a small box with one row per voice the song actually uses — a color swatch and the singer's name, in that voice's color. Only voices the song references appear, never your whole catalog, and the rows update themselves as you tag lines.

It's song-level chrome like the info box: switch it on from the Annotations panel (or the Song elements list), and it prints on page one. Double-click it to edit — position, background and border; the names and colors themselves are the song's voices, edited in Manage voices.

Options & settings

• Show or hide per song (off by default — it appears once you turn it on).
• Three bottom anchors, or drag it anywhere; pin it to freeze the exact spot.
• Background and border colors, from the same theme palette as every other element.

Use it for…

• A printed key for duet / call-and-response charts — who is which color, on the page.
• Handing a colored chart to someone who wasn't at rehearsal.

Color palettes

Twenty swatches and one assignment per element — the whole chart's color, in one place.

Open Colors → Manage annotation colors… in the Annotations panel. A palette is two things: twenty numbered swatches, and an assignment for every element that takes a color — title, subtitle, body, chords, capo fill and border, chord box, concert box and its pills, cue chip fill and border, info box, section spine, road-map, stamp and the rest. Change the palette and the whole chart is recolored at once, so your book can share one calm, consistent look.

Rainbow is the palette every chart starts with. Pastel, Muted and Grayscale come with an account — signing in is free. Pro adds Duplicate, which turns a built-in into a palette of your own: edit any swatch, retype the text colors, and re-point every element wherever you like.

Each song remembers the palette it was built with and stores those colors inside the chart, so it looks the same wherever you open it — on another device, or on somebody else's.

Options & settings

• Built-in palettes: Rainbow (everyone) · Pastel, Muted, Grayscale (free account).
• Twenty swatches plus a text color for each, and a separate no-fill slot.
• An assignment per element — see them as a list or by category.
• A Shape tab: corner roundness and frame width, as a fraction of a text row, so they scale with the type.
• Duplicate to edit swatches and assignments and keep the result (Pro).
• Reset color assignments puts a palette back the way it shipped.

Use it for…

• Giving a mixed set of charts a single house style.
• High-contrast or muted looks for different stages.
• Printing a chart in grayscale that still reads at a glance.

Page size & Magic align

Paper size, and pinning the song to a page count that holds as you edit.

Choose the page size — Letter, A4, iPad, HD and more — from the chip at the bottom right, and GigCharts paginates so a line that matters never gets split across a turn.

Magic align is the other half. 1P, 2P, 3P size the type so the song fills exactly that many pages; LL fits the longest line to the width instead. Press one again and it locks: from then on the chart keeps re-fitting itself as you type, so a verse you add at eleven o'clock at night doesn't quietly push a chorus onto page three.

Options & settings

• Standard paper, tablet and screen page sizes.
• Fit to 1, 2 or 3 pages — or to the longest line.
• Lock the fit so it survives further editing.
• The main font size is a plain number too: type an exact point size at the bottom of the window.

A forced page break sets a floor: a song with one in it cannot be squeezed onto a single page, and the pill says so rather than shrinking the type to nothing.

Use it for…

• Printing for a binder vs. a tablet stand.
• Getting a song onto as few pages as possible, cleanly.
• Keeping a chart at two pages while you are still writing it.

Page-turn preview

See what the next page starts with, before you turn.

For multi-page songs, the page-turn preview shows a band mirroring the first lines of the next page at the bottom of the current one — so a player reading ahead knows what's coming and turns at the right beat. It respects voice colors and reserves the space it needs.

It's a song-level setting, and any individual page break may disagree with it: follow the song, always show a preview here, or never.

Options & settings

• Its size, and its own frame — border, fill, and whether the frame paints above or below.
• Per-break override: follow the song, on, or off.

Use it for…

• Two-page songs where the turn lands mid-phrase.
• Giving the reader a running start into page two.

Preview zoom

Zoom the on-screen preview without changing the print.

Zoom the preview to check detail or step back for the whole page. It only affects what you see on screen — the exported PDF is always sized to the real page.

Options & settings

• Zoom to width, height, one page, two pages — or fit all, which shows the whole song at once.
• A zoom slider, and a percentage you can type exactly.

Use it for…

• Proofreading chord placement up close.
• Checking the whole-page balance from a distance.
• Seeing every page of a long chart side by side.

PDF export

A print-perfect PDF, built entirely in your browser.

Export produces a clean PDF that matches the preview exactly, generated on your own device — nothing is uploaded. It opens in any PDF reader and in the tablet apps musicians use (forScore, OnSong, MobileSheets). It is free on every plan, with no page limit and no export count.

What you see is what you get: every render-affecting setting is carried through to the PDF, so the preview and the print are the same chart.

Options & settings

• Export PDF — print-ready, any page size.
• PNG / JPG — a picture of each page, one file per page, for a slide or a message (free with an account).
• Download .gigchart — the song's own file, all of it (see below).
• Under More formats…: plain text with or without the property lines, and ChordPro — both of which GigCharts reads back in.

Charts exported without a Pro account carry a small “Generated with GigCharts.app” credit on the page. Everything else about the export is identical.

Use it for…

• Printing for the stand or the binder.
• Loading into a tablet set-list app.
• Handing a chart to someone whose app reads ChordPro.

.gigchart file

Save a song as a portable file you own.

Beyond the automatic browser save, you can save a song as a .gigchart file — a human-readable JSON document with everything in it. Open it later, back it up, or move it to another machine.

Use it for…

• Backing up a chart outside the browser.
• Moving a song between computers or sharing it.

Library & autosave

Every song saved as you work, organized in one place.

There's no Save button to remember — songs autosave continuously to your library as you type, and the chip beside the song's name says where they have got to. My Songs is the whole book: cards with a picture of the first page, sortable by recent activity, name or creation date, searchable in your own words, and filed into folders you drag them between.

Songs live on the device you made them on. That is the whole story without an account, and it is the reason nothing you write needs anybody's permission. Sign in — it's free, by an emailed link, no password — and the account raises the library cap and unlocks the rest of the factory palettes. A Pro account adds live cloud sync, so the same library opens on your phone, your laptop and the iPad on the stand.

Options & settings

• Folders, drag-and-drop filing, and multi-select for moving or exporting several at once.
• Sort by recent activity, name or created; search across your library.
• A details panel: where a chart lives, who can open it, and what has happened to it.
• Trash — deleting is reversible, and the deletion travels between devices rather than the song coming back.
• Library size: 20 charts without an account, 50 with a free one, effectively unlimited on Pro.

Use it for…

• Keeping your whole book in one searchable place.
• Never losing work to a forgotten save.

Setlists

An ordered set of songs for one occasion — played fullscreen, or bound into a book.

A setlist is the running order for a particular night: songs in the order you'll play them, with breaks — a titled pause like *Intermission* or *Tune down to D* — punctuating the set. The rows are links to your songs, not copies, so a fix to the original shows up everywhere it's used.

The one thing you can change per setlist is the key: transpose or capo a song for this gig without touching the chart in your library. If you need to change anything else, Make an editable copy creates an independent song and points the row at that instead.

Play puts the whole set fullscreen — one press turns the page, or the whole spread in two-page mode. Play is free on every plan; binding a setlist into a single songbook PDF, with a cover and a table of contents, is the Pro capability.

Options & settings

• Order the set by dragging; add titled breaks between songs.
• Per-setlist transpose and capo on a linked song.
• Fullscreen Play — free on every plan.
• Songbook export: one PDF, cover + contents, page or booklet imposition (Pro).

Use it for…

• Tonight's set, in order, on the stand.
• A rehearsal list you re-order all evening.
• Binding a band's repertoire into one printable book.