![]() Looks good, but one often feels a sense of unease when seeing elements of a score that are supposed to be performed independently from other musicians appear in their “correct” metrical position. I had to remove a few rests by selecting them and using Edit > Remove Rests, and I added some text with Create Text ( Shift-X) as well: Now here is what the project looks like after adding in some long notes and those unsynchronized horn quarter notes underneath the first segment of the melody. I can then add rehearsal letters by typing Shift-A (Write > Create Rehearsal Mark): I select the Bars and Barlines tool on the right, click on the plain vanilla Normal bar and click on the score where I want them to appear. All we have to do in Dorico is add measures where we want them to appear. I also want clear legibility as well as easy references for the musicians so they can wait for the conductor cues on a measure-per-measure basis. Now, I want to separate the melody into segments by adding barlines and also rehearsal numbers, as each segment will have a semi-aleatoric component under the flute solo. Basically, for all of the 32nd notes, one must select the object note, press Enter, press 3 for the correct note value, press / (forward slash) to activate the Grace Notes tool, and type away.ĭorico spaces all of the grace notes with considerable elegance and legibility: Dorico’s beaming tools will let me group them as I wish, and the Properties panel will also help me choose whether they are slashed or not. Now that I have finished the basic note entry, I can now enter the myriad of grace notes that will give the passage its flavor. Since I have used Force Duration to enter it, it will not be re-notated or re-beamed: The rest of the music will simply move over. …and later decide to lengthen it by an eighth note, all I have to do is select the note, click the Insert tool (shortcut: I), make sure the grid is set to eighth notes at the left of the status bar in the bottom left-hand corner of the window and type Shift-Alt-Right Arrow. If I initially write the second note as a half note like so… I then selected some passages to beam together to my taste and got this result:ĭorico is very forgiving if you change your mind and this sets it apart from other programs. To do so, I personally feel it is best to use the Force Duration tool (shortcut: O) in order to get the displayed values exactly the way I want them to display. I first entered the outline of the melody without the extensive ornamentation which is a hallmark of shakuhachi playing. ![]() I chose what the meter-less time signature looks like from the Properties panel: I then selected where I wanted to start the section and typed Shift-M to enter a meter and typed X in the popover. I selected it and unchecked Show multi-bar rests in Setup > Layout Options > Players > Bar Rests and Multi-bar Rests. I will go through not only the process of creating the meter-less segments, but also how to deal with the semi-aleatoric segments in the horn parts.įirst, I decided to write directly on the flute layout for better better focus. Here are a few bars of the final product:ĭorico offers many tools to create this beautiful-looking score. The middle section of this movement quotes an Edo period folk song called “Esashi oiwake”, which is often performed wordlessly as a shakuhachi solo in a very improvisatory manner. ![]() In this post, I’ll show you how I dealt with a meter-less segment of the third movement of a chamber orchestra work which I am presently working on called Asian Postcards and which will be premiered this January. In fact, each new project one starts in Dorico starts de facto in this manner since Dorico makes no assumptions as to which key or meter should be used in your project. One of the many features in Dorico that is implemented particularly well is free, or meter-less notation. I’m actively using Steinberg’s new notation software Dorico, and have so far created a large number of projects for professional consumption with it. But because I can’t sit still for too long, I also have a parallel career as an arranger/orchestrator and I even occasionally dabble in composition. As the music director of Alberta’s Red Deer Symphony Orchestra and the leader of a period instrument baroque orchestra called Rosa Barocca, there’s plenty to keep me busy.
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