Third Dorico maintenance update released

by Philip Rothman on February 28, 2017 · 0 comments

in News

Today Steinberg released the third maintenance update to Dorico since the product’s initial release in October 2016, and the first one of this calendar year. Packed into Dorico 1.0.30 are a number of new features and fixes — more than 120 in all, according to Steinberg’s product marketing manager Daniel Spreadbury, who announced the update on his blog this morning.

You can read about the Dorico 1.0.20 and 1.010 updates and the initial release elsewhere on our blog.

Here are some of the highlights of what’s new in Dorico 1.0.30.


Remember that Dorico is unique among the major desktop scoring apps in that there is no limit to the number of voices that can be entered on a staff. For that reason (among others) Dorico approaches rests somewhat differently, in the form of implicit and explicit rests:

  • Implicit rests are quite literally implied by the gaps between the notes, and so Dorico fills these in automatically. A bar rest is perhaps the most obvious example of an implicit rest.
  • Explicit rests get their name because they were either explicitly entered during note input, or because they were imported from a MusicXML file.

Now that we’re clear on that, we can explore the new tools we have in Dorico 1.0.30 for working with rests in multiple voices.

Let’s take the following somewhat contrived example:

In the fourth bar, I’ve entered the rest on the downbeat in the second voice explicitly; without it the beat position of the notes would be unclear. But there is no way to visually differentiate between the implicit and explicit rests — until now.

Switch on the new option View > Note and Rest Colors > Implicit Rests and see the implicit rests turn gray, while the explicit rests remain black (if View > Note and Rest Colors > Voice Colors is switched on as well, the explicit rests will be drawn in color, for further contrast):

Once you’ve identified your implicit rests, you can quickly remove them, if you so choose, by first making a selection…

…and then invoking the new command Edit > Remove Rests:

Behind the scenes, Remove Rests sets the Starts voice and Ends voice properties appropriately for all notes in the selection, such that any rests included the selection are removed. This helps if you don’t want to muck about in the Properties panel every time you want to simply delete a rest. Read the full article →


If you work with cross-staff notes in Sibelius, sooner or later you will encounter a situation like this:

Don’t see a problem? Perhaps it will help to see the music on a single staff:

That’s right — these are all supposed to be major chords. Our left hand is missing a critical A natural in the sixth chord and a B natural on the last chord. In addition, a number of cautionary accidentals are omitted, which, while not strictly needed, could be useful if the music were not so obviously triadic.

Let’s focus on those essential accidentals. You may be thinking, no problem, we’ll just add the natural from the Keypad. Not so fast…

The naturals are active already, even though they don’t show — and pressing it on the Keypad removes the naturals simply makes the notes flat, which is not what we want here.

This is a long-standing problem with Sibelius, and until recently I’ve gotten around it by adding in the naturals as symbols. But it turns out there’s a way to get those accidentals to display correctly — actually two ways, thanks to solutions posted in a recent forum topic by Wim Hoogewerf and Jeremy Hughes.

I find Wim’s solution a bit more straightforward, so I’ll describe it here. Read the full article →


Both Finale and Sibelius use the “8va” and “15ma” symbols in their octave lines to represent playing a passage one or two octaves above the staff, respectively. For octave lines below the staff, Finale uses “8va” and “15ma” by default as well, although this is a change that was made in Finale 2012; Finale 2011 and earlier versions use the “8vb” and “15mb” symbols for octave lines below the staff, as does Sibelius.

There’s a whole debate about the grammatical legitimacy of those latter symbols, which I’ll leave for another day. For me, I’ve become increasingly fond of the simple “8” and “15” octave lines both above and below the staff, as appears to be the primary preference in Elaine Gould’s music engraving reference Behind Bars:

Fortunately, changing these defaults is easy to do in both Finale and Sibelius. Here’s how. Read the full article →


On this blog we usually cover the high-tech side of things: software, hardware, apps, accessories, etc. Today, though, here’s a bit about the low-tech part of what we do.

Once the music is (hopefully) beautifully formatted with your favorite scoring program, it comes time to print and assemble the music. When it comes to the parts, the music is often printed in a booklet, double-sided and formatted so that page 1 is the first (right-hand, or recto) page, then you open the booklet up to get 2 pages at a time, with 2 on the left (verso), 3 on the right, and so on, with the whole thing saddle stitched — stapled in the middle along the spine. Most concert music is printed this way.

Music printed as a booklet

But another way of assembling the pages for parts is by printing the music single-sided and taping it together so that it folds like an accordion. Music bound by this method is often used in recording sessions so that three full pages can be viewed at once. Page turns aren’t an issue, making it easier to deal with particularly busy charts and also to quickly pick up from any point in the music. Jazz charts are often printed this way as well, making it easier to follow music with frequent repeats, dal segno markings, and codas.

It’s a bit hard to tell in this photo, but all this music was printed accordion-style (see the video for how to do it)

It’s fairly easy to assemble a booklet; you fold the music in half and staple it, if needed, with a saddle-stapler (a manual stapler is fine for infrequent use, but we have an electric one which I would never want to be without!).

But the question often arises: How does one tape and assemble accordion-style parts?

It’s asked frequently enough that I figured I would demonstrate my technique and the tools I use to achieve the task in this 5-minute video. I’m sure others have different methods; if you do, I encourage you to share them in the comments!

The tools I used are inexpensive and can easily be purchased at your local art supplies store, or you can find them on Amazon — here are the links:

Art Advantage 23-Inch by 26-Inch Artist Sketch Board
Martha Stewart Crafts Bone Folder
Pro Art 3/4-Inch by 60-Yards White Artist Tape

Of course, even after watching the video, if you don’t have a printer that can print large-format paper, and/or just want to leave the task of making your music look great to the professionals, please feel free to get in touch — we’ll be happy to print your music for you.


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