I am currently in the process of inputting a musical theatre partitur into Dorico. Frequently in musical theatre, numbers flow directly in the next number. I am currently entering each number as a separate flow (as I believe the makers of Dorico intend!) but I am coming across several issues with this.
In the following example I need a slur to carry on from the end of one flow to the first note of the next. This seems to be impossible, however. Is there a way to achieve this?
Further to what Ben said about 1., for the continuation (page 2) youâll need to misuse a laissez vibrez tie, dragged backwards in Engrave mode. Dorico understandably wonât entertain the idea of a slur thatâs only attached to one note.
You can also set any text box to align left, right, or center within the text box editor itself. In properties you can set the text to appear below the staff if you wish (although when I do this the text collides with measure numbers, which I also put below the staff).
Iâve manually adjusted the slurs in Engrave mode and taken Leoâs suggestion of using laissez vibrez ties. I wonder if in a future version Dorico might be able to continue information like that into the next flow, or if this will never happen as it goes against the whole ethos behind flows.
I have created a right-aligned paragraph style, but there seems to be no way (or no easy way that I can see) to make the right of the text snap to the right of the system. I have tried attaching the text to the final barline but that doesnât work, and attaching it to a final, say, quaver rest in the bar doesnât leave it neath and flush. Am I missing something?
For the segue text, I think Iâd employ the following workaround:
Goto Layout Options and set the following for all layouts (youâll need to apply to part layouts and score layouts separately)
At the end of the first flow, go Shift+R fine Enter, then set the Custom Text property and type Segue into the box. Job done, and should be in the correct place in all layouts.
On a practical level: why would you use separate flows if they work against you and you have to manually drag lv slurs? Breitkopf used only one âflow avant la lettreâ for the entire Mendelssohn violin concerto, just because the movements flow into each other:
It seems obvious to me that Leighâs creating parts that go in tandem with an existing score (Maury Yestonâs âTitanicâ, by the looks of things), so in answer to mthâs question: because thatâs what the existing score does.
Leo is right, mth. Because that is what the demands of musical theatre are. All musical theatre scores are formatted that way, with separate titles and the need for tacets. A concerto of three movements is a completely different beast to a musical theatre score containing (in the case of âTitanicâ) more than 40 separate numbers, some of which flow into each other, some not.
