Cue Notes


A question about cue notes
I have finished a score (3 trumpets & organ) and in the parts there are a lot of cue notes

Now I want to make a score only from the trumpet parts. (the 3 trumpets together)
But here I don’t need the cue notes. Is ther a way to delete the cue notes without deleting them in the single parts?

Best wishes


in the setup page, for the layout options, look for “show cues”.

Or just add a new layout, add just the trumpet parts, and turn off cues in the Layout Options for that layout.

Short story about cues…
Since Dorico made cues so easy I’ve used far more than ever before in arrangements for live use. A couple of weeks ago I made an arrangement for brass and organ with clear cues for each entry. Unfortunately one player had to be replaced at the last minute (after rehearsals). The replacement came in wrong, and like dominos the cues shifted about three quarters of the players. The other players knew they were right and steamed on. Much shouting of bar numbers later, the piece was collectively improvised until the end.
I’ve learnt this one…

Steve, cue everything to the organ. Since organists have to learn not to listen to their own playing, because of the latency issues in large buildings, they tend not to listen to anybody else either. Therefore, no domino effect :slight_smile:

Easy now… :laughing:

if anything organists train to compensate for delays and adjust appropriately. Organists, by nature, are also used to comprehending gobs of musical data at once (including other people’s parts) in a way that most other instrumentalists aren’t.

Sadly for this one the organ part would not have been helpful cue wise… I was the organist for this and could hear exactly what was going down…
A few less cues and it would probably have been fine.

Organists also have an instrument where the “nuclear option” is simply to obliterate any problems with decibels. Three really determined trumpeters might be a bit of a challenge, though, unless you can pick them off one at a time.

But that does have a downside in rehearsals, when sometimes you can’t hear that everybody else stopped playing a couple of minutes ago and half of them are shouting at you to do the same.

People who only use sample libraries for making music miss out on a lot of fun :slight_smile:

This made me laugh out loud. As long as the organ has a good “party horn” then the trumpeters can be taken care of too! :smiling_imp:

If nothing else, organists can ‘breathe’ wind players under the table. :laughing:

Ahh… that reminds me of the organ blowing system in what looks like a little village church, about 10 miles from where I live. Except the church is actually in the grounds of what was the local stately home, whose owner commissioned one of Robert Hope Jones’s subcontractors to install a new organ in about 1905. Sadly it is now defunct, but back in the 1980s it just about worked, with a bit of TLC.

(Look up Hope Jones, if you never heard of him. A good Hope Jones 16 or 32 ft diaphone stop could take out anything that got in its way.)

To get that beast fired up (literally) you didn’t flick a switch on the console. You went out of the church, walked about 100 yards across the graveyard, and into a splendid looking Victorian stone building. Inside was an ancient internal combustion engine which was gas powered (mains gas, not gasoline!) and drove a centrifugal compressor about 10 feet in diameter. Once you had got that started, warmed up, and running nicely (which took anything from 10 minutes to half an hour) you could go back to the church and hope it continued to behave itself.

The wind went through an underground conduit for the 100 yards from the blower to the church. That was one engineering solution to avoiding any blower noise in the building!

Astounding. Would love to see something like that.

Oh yes, I know good Mr. Jones, who bestowed upon us the horseshoe console. (Which was originally intended or church organs!) In fact, I believe he has quite a few innovations to his credit including double expression & the diaphone (which is based on the mechanism that drives fog horns in lighthouses, btw…) and he was one of the first to truly push the limits with unifying/borrowing.

(re: above— and I thought it was bad enough having the blower in the basement!)

I know there are other organs that were hydraulically driven by the nearby stream when they were initially conceived as well, although those mechanisms have since gone long by the wayside. I always chuckle at some high-pressure blowers that sound like a jet taking off when you first turn the organ on.

Well, you can see some bits of the stately home - it was used as a location for Ken Russell’s film version of D H Lawrence’s “Women in Love”.

Sadly the main buildings are now unsafe, and ended up being bought by the local council for a nominal sum. They have a historical preservation order on them so they can’t be demolished, but the council is not very interested in paying the estimated £6m repair bill to restore them properly.

The church is still in use, but the organ pipework was split between the west end of the church and the chancel, and the chancel section and the console have gone, presumably for scrap metal. There would have been plenty of copper wire in the electric action. I suspect the only reason the west end organ case is still there is that removing is too expensive compared with its scrap value :cry:

Here’s a picture of the remaining case, in its “original condition”…

… on a smaller scale: I (still a teenager) played a pump organ (reed organ) in a tiny chapel at a funeral.
The pump organ was placed on the ground floor, while we had two violins, a cello and a conductor (our music teacher) crammed onto a small upstairs gallery. I waited for the conductor to give a starting sign (which he never did). They started to play upstairs and I immediately (after a fraction of a second) began to play my part. While playing I could here nothing from above, still when I finished, there was no more “noise” from above, too. When I asked later “why did you not give me a cue?” they said “oh, did you play at all? we could not hear you!” I am still wondering today how it might have sounded to the congregation…

That’s a wonderful story, k_b.

About a year ago I was playing on stage in a large auditorium with a Celtic Folk group, me on piano, them on banjo, guitar, and fiddle, plus string bass. They were sharing one big mike, my piano had its own built-in mike. There were two monitors, one for them and one for me. I could hear them just fine in my monitor, but could not hear myself, except directly from the piano. Nothing in the monitor. They could hear themselves in their monitor, but could not hear me.

We finished the piece more or less together and asked each other how it had gone. Nobody knew.

Later we found out that the audience was getting the same feed that the others were getting on their monitor. In other words, the audience couldn’t hear me at all. My grand-daughter even asked me if I had been playing at all. She could see my hands moving, but couldn’t hear a thing.