Colour of tied notes

I just noticed that in tied notes, only the first note honours the “Colour” setting, the tied ones remain black. Accidentals aren’t coloured either. I suppose that’s not what is intended?

By the way: Is it possible (or legal) to have a slur stop at the first note in a sequence of tied notes (instead of the last one)? Or is there another way to make the slurs look nicer than in the example above?


I think your example slurs look about as good as they get for these figures. The modern rule is that a slur should always include any tied values. Classical composers such as Mozart and Beethoven often broke this rule (presumably because it wasn’t a rule yet). So as an editor I sometimes carefully break the rule if it can reduce clutter significantly. Unfortunately, in this example, slurring only to the accented note won’t help with clarity because of the triplet and the second voice.

If you try to change the color of the slur, does that change the next note?


Good idea, I checked: No, the color attribute is already set to the changed color when I select the tie, and even setting it again doesn’t change anything.

For the time being, you’ll need to switch to Engrave mode and select each notehead in the tie chain individually to change all of their colours.

Shouldn’t the dots on dotted notes and rests be colored also?


Hi Daniel,

Good that this is possible but it would be really useful if it were possible to do this in Write mode in a future update.


Has this been fixed in dorico 4?

There’s no change in this behaviour in Dorico 4. To colour all of the ties in a tie chain, you need to switch to Engrave mode and select them there.

Dear Dorico brains — am I right to think that there’s no way to colour accidentals (Dorico 5)?

Not all items respond to the Color property for individual instances.

You could edit the accidental definition itself, which would change the colour of that accidental throughout the project? If needed, you could create duplicate tonality systems for any different colours you need.


Ah, that’s the way! Thanks Lillie — do you never sleep?

Ah, showing the common tone in the bizarre but brilliant modulation at the start of the second movement of the New World Symphony. (At first I thought, What is this strange use case? So I took a closer look.)

To add on to Lillie’s good advice, I find I can duplicate an accidental in the same tonality system and color it, as opposed to having to switch systems.