Capital or upper-case versions of tokens?

Is there a way to make tokens all in CAPITAL LETTERS or UPPER-CASE LETTERS, in the same way that there are options to make bold or italics in the text editor?

No, they will follow the case of the data as you’ve entered it.

This really needs to be a feature (though I understand it’s a little complicated with how text monifiers are handled vs Upper/lower case). I often have the composer in all caps at the start of the score but in lowercase in the title pages

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Whereas many of us have only the composer’s surname capitalised (Joseph HAYDN)…

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I’ll just add that if we get tokens for this, I’d also love tokens for “small caps”.

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I frequently have the title capitalized on the first page, and upper and lower case as a header on page 2 onward. InDesign has both All Caps and Small Caps styles for fonts that support them. It would be great if Dorico could have something like this too.

On the subject of typography, there are also some very nice typefaces that default to Oldstyle figures that I can’t really use in Dorico as they make the chord symbols odd looking. A way to specify Lining figures if they are contained in the font would be very cool too and would allow more fonts to be used.

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I believe Daniel said some of these more advanced typographical settings (which I want as well… and optical alignment, please!!!) aren’t available right now… something about the limitation of the coding framework, IIRC.


Sad, but I understand. We’ll know soon enough. This is why I now export pretty much everything to AP and tweak it there. I always have to tweak typography and not infrequently barlines too.

(Having a closed final barline at the end of a refrain on a choir reduction part (see below), or adjusting the lack of indent on partial barlines when setting chant, for instance.)

It really seems like there should be some Engraving Options or Properties checkbox to support this without a workaround.

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Agreed. I would like to see closed system-end barlines that match bracketing groups. I prefer to connect the barlines at the end of SATB staves so they mirror the brackets in the left margin (at least for final an double barlines; perhaps not throughout.)

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Come to think of it, (sorry I’m OT) the same stands true for repeat barlines too. I try to bridge repeat barlines whenever I can (typically system end; sometimes it doesn’t work mid system). This really seems to help less-attentive singers not miss the mark. It also makes finding your place a page or two back substantially easier to find:

This also requires manual fudging whenever a choir reduction stave is used. It will be helpful once a barline change doesn’t affect everywhere else on the same system, but we can do it individually.

Here’s a better demonstration. (I would typically only join the right side at the final barline or a repeat, but at any rate, this is what I mean):

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Are these your engravings? The Tallis looks beautiful. What’s your text font? Makes me want to do some choral engraving just for fun!

Edit: except Dorico’s default left-alignment just looks too far to the right to me… It’s always bothered me.

Edit 2: and you have “ev’n” contracted two different ways. Sorry, couldn’t help myself. I usually contract it as “e’en,” but I don’t remember what Tallis does.

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Tallis does ‘even’ on one note, followed by ‘sprite’

Screenshot 16

As for the barlines: most music I have has open barlines for voices at the end of a line; and the same for repeats. However, I can see the joined repeats as being a style, and yes, they shouldn’t go through everything.

Where’s the option to get the repeats joined up, but not the end of the line?

However, I wouldn’t left-justify the final ‘truth’. But lovely. Yes, what’s the font?

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Just to answer the questions quickly (just played a funeral and have to finish Sunday’s worship aid):

  1. These scores are from a few years ago and I’ve advanced in engraving prowess considerably since that time (I hope anyway!). I wouldn’t necessarily count them as representative of my work these days. I’m still glad you like them.
  2. The left aligned “truth” at the end was just to keep it away from the connected repeat. I suppose it would look better with everything centered in that bar.
  3. the font is Iowan Old Style and I loooooove it. It strikes this perfect balance between a classic look and yet it is not sterile like Times New Roman. Less sharp as well. There are very subtle curves in it which you can only see when really zoomed in. I also like that it comes with multiple font weights, so I can mark certain things in “black” which is very bold and gives a different look to draw attention but still maintains font unity. It also blends very nicely (due to those subtle curves) with my standard title font Yana.
  4. I’ve never seen the original tallis; I’m glad to. I was imitating a different edition at the time; the first “e’vn” is clearly a mistake as it’s different relative to the others; interesting to see it wasn’t contracted in the original, even though it is in many editions. I don’t remember now why I did what I did… there was a reason, but as I said that was at least two years ago.
  5. Dan, I completely agree about the alignment; I nudge eveything back a bit these days. I think it’s the lack of optical kerning or something… or just a zealous default; I don’t know, but either way, I completely agree.
  6. Ben, I agree about the connected barline on the right hand side. As my disclaimer above stated: I was just showing it to mark for demonstration purposes. I typically only do that on final barlines, not standard barlines. Occasionally doubles, but it is context dependent.

I’m going to need to go back and fix the tallis and re-print it next time the choir sings it. It will drive me nuts knowing those mistakes are there now. lol.

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“Even” was usually sung as one word in Elizabethan times – as was “heaven”. The V would certain be pronounced. “Sprit” was the usual form of “spirit”, and the E on the end is not indicative of a long I, necessarily.

Back on topic: Ideally, the small caps, All caps or ‘normal’ status would be a Paragraph Style feature for anything. The question is whether to implement a fix before that just for tokens.

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This feature would indeed be very welcome, but if I would wish for anything, I’d rather wish for these features as text formatting features which I know would very much come in handy in the context of paragraph styles. Although, I guess we’ll have to voice this to the QT team first rather than the Dorico team for it to have a chance to come true. :smirk: