Hi
I cannot figure out a few things when printing individual parts for a percussion trio.
Firstly, full bar rests are different in a single part vs full score:
Notice the difference in the second-to-last bar: the full bar rest, in 5/4 time, is a dotted minim followed by a minim (as requested) whereas the individual part has a standard semi-breve rest (standard but not requested). I need the individual part to be the same as it is in the full score.
Also, after having formatted the full score and marimba part for printing, when I return to view the full score in write or engrave mode, it has changed to just the marimba part. The drop down menu offers Full score, Marimba, and a combination of the other two single parts instead of Full Score, Marimba, Vibraphone, and Tubular Bells + auxiliary percussion.
I attach the Dorico project to this message with the hope that someone can explain why these issues are happening. Percussion Piece, 28 August '24 BBB.dorico (944.9 KB)
IYour document looks a bit different from the screenshots you’ve given, but I think it’s because in the Part, whole bar rests count as a multibar rest (of 1).
There may be a way to deal with that, but I don’t know what it is.
Whole bar rests, in a layout with multi-bar rests enabled, are treated as a multi-bar rests – which means rests with forced durations are ignored, if there’s nothing else in the bar to split the multi-bar rest.
You can trick Dorico into not treating such bars as multi-bar rests by putting something else in the bar that splits the rest: a chord symbol region will do this. That’s quite a handy one, because if you don’t have any chord symbols (or the players in the layout aren’t set to show chord symbols at all, even in chord symbol regions) then this won’t affect the printed/exported notation at all, but is like an anchor.
Chord symbol regions can help you control the positions of instrument changes too, for instance, if the available options aren’t sufficient in a particular circumstance.
The everyone-combined part layout is like that, because all the players are assigned to that part layout. You can untick the players that you don’t want to have in that part in Setup mode, after selecting the part in the panel on the right.
Similarly, the full score has ended up with the other two players unticked. You can put them back into the score in the same way, no worries.
To bring back your vibraphone part (only containing the vibraphone player), you can either add a fresh part layout manually and assign the vibraphone player to it, or restore default parts (but this might not work until some players aren’t assigned to any parts).
I tried putting a few chord symbols into the chord symbol region and this made no difference. Also, I noticed that there is one full bar rest that does not have a number 1 in it whereas others do. Notice the difference between the 2/4 bar rests in the image. I have been asked to make these minim rests.
And here, there ought to be a dotted minim rest followed by a minim rest. Apparently this is an outdated way of marking a full bars rest in non 4/4/ time.
Interestingly, as an experiment in consistency, I tried changing the 5/4 full bar rests (dotted minim and minim) into standard semibreve rests and the rests refused to change.
Unless you’ve hidden the highlight for the chord symbol region, that doesn’t look like you’ve input one: a chord symbol region is a specific notation, and it looks like this (when selected):
Alternatively, disable multi-bar rest consolidation in this layout, and you will both keep the forced rests without the need for the chord symbol region “override”, and you won’t see the “1” count on single empty bars. However, if you want consolidated adjacent empty bars to show the H-bar and eg “4” above, you will no longer get that.
If one bar isn’t showing the count and another is, it suggests that the one that isn’t showing the count isn’t being considered a fully empty bar: there might be a notation attached somewhere in the bar that’s breaking the “entirely empty bar” definition (in the same way that the chord symbol region does). If you share the project, someone can take a look in more detail (we can’t say for sure from a screenshot alone).
To remove the 1 count from single multi-bar rests, see here (requires Dorico Pro)
Ok, thanks. Here’s the project. Notice this in bars 13 and 16 of the tubular bells part. Also, the little + signs are meant to indicate muting the bell with the left hand. There is a line attached to the sign (see image) that wasn’t in the full score version. Is there a more appropriate symbol I could use?
You had not added a chord symbol region to bar 16.
Two points. 1) The line is a continuation line for a playing technique. You can switch it off in the lower properties panel (set continuation type to none). 2) Differences between score and part: There are local properties and global properties. If you have it set to local and you are editing a part, then the score will not be changed.
Note: if you click bar 13, then right click>filter>playing techniques you can change all the continuation lines in one operation.
Also the first appears to be displaced. Set the grid to quavers and alt-left arrow to nudge it back.
OK, @Aelmsley – I’ve had a look at your project, and I’ve got some answers and also suggestions for you. I’m going to list them all out here, but don’t feel like you have to take all of them in now: please feel free to come back to this comment whenever you like.
2/4 bar 47 not showing the multi-rest count: that was because the cresc that starts in b31 extended to the end of bar 47 – therefore, a notation was spanning that bar, meaning it’s not fully empty. Shortening the cresc to the end of b46 brings back the multi-bar rest count. (In general, if a bar isn’t showing a multi-bar rest count, or isn’t joining an adjacent multi-bar rest, it will almost certainly be because of a notation spanning or hidden inside that bar. Another common culprit is a lyric with an overly long extension.)
Mute + with short line attached: when you overrode the continuation type in the score, that didn’t follow through to the parts. That’s because some properties are local (meaning you can set them differently in different parts). If you know before changing a property that you want this to affect all layouts, set the property scope to Globally first. If you realise later that you didn’t, you can propagate property settings.
Mute + signs, bonus point #1: their rhythmic positions weren’t consistent, some were at the notehead, some were offset to the right. You can move items rhythmically in Write mode – note how the Ctrl/Cmd-Alt/Opt-arrow command lets you move items by the rhythmic grid, whether or not there’s a note there, when those items auto-snap to noteheads with just Alt/Opt-arrows. That’s a convenient way to move stuff to the middle of notes.
Mute + signs, bonus point #2: playing techniques won’t show a continuation line at all, if they don’t have duration. You can shorten these techniques so they become just the symbol attached at one point, rather than having duration and extending across a region.
Chord symbol region: yes, you hadn’t actually input these in b68. You can select that bar across all staves, and input a region on all of them simultaneously.
Time signature signposts: you had some extra signposts, which indicate explicit barlines or hidden time signatures. They’re not necessarily harmful, just something to be aware of. You can get your overridden barlines (the ones showing a time signature signpost) back to default (ie following the prevailing time signature) by selecting them and pressing Delete.
Aligning dynamics: take a look at dynamics grouping. Also, you can input whole dynamic phrases in one go using the popover – eg select two bars, enter “ff” into the popover, and you’ll get all of those dynamics, and they’ll be grouped and aligned automatically.
Here’s a version of your project back with some of those changes, and your part layouts restored (and all players re-assigned to the score layout).
