With its ability to beam tuplets over barlines, support for unlimited voices, and true open meter notation, Dorico is capable of creating some of the most complex music notation imaginable. Yet a simple lead sheet is beyond its powers, due to Dorico’s current lack of support for chord symbols — one of the main impediments keeping potential users on the sidelines for now.
In a post on his blog last month, Steinberg product marketing manager Daniel Spreadbury called chord symbols “the most important” area of focus in a forthcoming large update.
More recently, just a week ago on the Dorico public forum Daniel revealed more details about how chord symbols will work in Dorico. The information is sufficiently noteworthy to warrant quoting in full: Read the full article →
Harp notation, especially for pedal harp, uses text to indicate the current tuning of the strings. This includes pedal diagrams, full and partial tuning text in various format, and for level harps, lever changes.
In Sibelius, these text objects are created in a variety of text styles and often contain a mixture of fonts. I will discuss how they are created, how to filter them, and how to change their appearance without messing them up completely.
Pedal diagrams use characters found in a special Music Text font (such as Opus Text, Inkpen2 Text, Reprise Text, or Helsinki Text) to create a graphical representation of the setting of each of the seven pedals on a pedal harp. The diagram displays the settings of the pedals in the order DCB EFGA as a sequence of short vertical lines along a longer horizontal line. The vertical position indicates whether a pitch is flat (high), natural (centered), or sharp (low).
If you know which characters you want, you can create a piece of Technique text and type Ctrl -Alt-7/8/9/+ (on keypad) for Windows, or Command-Option-7/8/9/+ (on keypad) for Mac, or you can use a plug-in to create diagrams. Read the full article →
In the first update to Sibelius 8 back in January of 2016 — more than a year ago — Sibelius 8.1 added support for automatically handling rests in multiple voices, and Sibelius 8.2 improved the position of interpolated bar rests.
This helpful feature introduced a problem with files created in earlier versions, however. If you created a file in an earlier version, such as Sibelius 7.5, in which rests were manually moved to avoid notes, you may notice that the position of those rests has shifted in the parts for your file, with no warning.
Compare the position of the rests in this portion of this drum part, in a file created and opened in Sibelius 7.5.1:
With the position of the rests in the same file opened in Sibelius 8.5.1:
Read the full article →
Most books and music scores follow a long-established convention that right-hand pages are always odd-numbered and left-hand pages are always even numbered, and that the first page should not show a page number.
Further, pages commonly appear at the outside edge of the page, making it easy to flip through the corners of pages in search of your place in the score.
We print a lot of music at NYC Music Services, and I’ll usually prefer that files arrive to us as PDF files so that there are no problems with incompatibility of fonts or software versions. When pages are numbered as described above, it makes it easy for us to print and bind the music correctly.
But often I’ll get music that deviates — unintentionally — from the above conventions. Sometimes I’ll see scores that start on page 2, and — confusingly — sometimes the 2 (an even number) appears on the right-hand side of the page.
What’s going on?
Here’s how it likely happened, and how to fix the problem. Read the full article →