I don’t understand how to work with flows and because of that I have cautionary time signatures in my score that seems to be connected with flows. I read everything and watch everything I could find on flows, but I still don’t see the logic behind it.
In the manual it says that when you start a new flow, everything you write while having this new flow selected ends up in the new flow, but that doesn’t happen with me. Here is my situation.
From a new project, I have set up my master pages for the full score, which includes title page, TOC page, composer introduction page, a couple of empty music pages and the last page that shows information on other music of the same composer. I engraved the first piece which like usual ends with a final barline.
Now I want to start the next piece and here is where the problem starts. Creating a new time signature gives a cautionary meter in the last bar of the previous piece. I understand that to avoid this I should start a new flow for the 2nd piece. In the setup mode I create a second flow. Nothing seems to be changed though. What do I do from here to engrave a second piece without the cautionary time signature happening?
I will try to help you on this.
First, make sure you are in Write mode, galley view (you change that at the bottom of the screen, a little bit on the right). This way, even if you have chosen to hide empty bars, the new flow will show. It should look exactly the way your file showed when you started the first flow, only that it follows the work you have already engraved.
If this is correct, then you can write your second piece there. There should be no cautionary time signature at the end of the first flow, if it ends. If you have extra empty bars at the end of the first flow, make sure you apply Trim Flow in the write menu.
Thanks Marc, yes this helped me a lot. Does this mean that it’s better to do the writing part in while in galley view and the engraving part in Page view? I have a new system start on a new flow now, although I can’t get rid of an empty last bar, not even with Trim Flow.
Also, the new flows do not start on a new page, but on the end of the previous piece. Is using a frame break the correct way to push them to the next page?
When you are in write mode, you just do not care about the layout, you just input your music.
In Layout options, you will find that you can have a new flow starting on a new page option — or else, the new flow will follow the last one on the same page.
I am quite surprised that you cannot get rid of a last empty bar. Maybe there is an “explicit” rest in it. Delete it (you will see no difference) and then apply Trim flow, it should work.
I suggest you start your work on the new flow, adding all the necessary instruments, maybe not choosing the option “hide empy staves” for that flow until everything is written. You could then work in page view, which makes the swith between write and engrave mode easier.
Thanks for your help. The option to let a new flow start on a new page is set correctly, but still they start on the previous page that holds the music of a previous flow. Is this maybe a bug?
Still, how do I after having written all the pieces (flows) let every piece/flow start on a new page? Do I use the frame break or system break options in Engrave mode for this? How is this done officially?
When you set the option to start flows on a new page, do you have the correct layout(s) selected on the left hand side of the dialog? The option can be set differently for different layouts.
I can’t think what is going wrong but here’s a small example of how it should work. There are three flows, each starts a new page, with no cautionary time signatures etc, and no frame breaks inserted. flows.zip (202 KB)
Rob’s illustration is a good example of what to try when you are uncertain how to do something: make a small demonstration project as proof-of-concept to do what you think should be done. Not only can you often solve your own problems this way–or learn something useful for later–but you also have a smaller project to send Dorico Support to help them answer your question.
Trying to work out a solution in the midst of a 100-page symphony (for example) is likely to cause more confusion (as well as more things that will have to be changed back later) than a smaller test example will.
It also probably will save time in the long run, both on the longer, main project, and with learning the in’s and out’s of Dorico.
