good evening everyone, you will forgive me if I still ask questions wrapped a little stupid, but I could not find a solution by myself. I would like to get the same graphical result as in example one in example two, but I can neither put the quarter notes in front of the long notes, nor tie D to E and G sharp to A individually. What don’t I understand?
For your quarter notes in front, this could be voice column index.
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Do you mean slur? You can’t tie notes of two different pitches.
“tie” do you mean slur?
Are you able to click on both notes to select just the two (command-click?), then s for slur?
Thanx, this solved half of the problem!
yea, sorry to both of you, I mean slur.
Are you able to click on both notes to select just the two (command-click?), then s for slur?
by doing that the result is the one in the example before, I don’t know how to tell Dorico that I want to slur only precise notes, even if they’re in the same voice.
Thank you all!
Use cmd-click (ctrl-click on windows) to select both noteheads.
Not shift-click.
Jesper
No problems, my thoughts were, if you were doing the key command for a tie (but thinking slur), that would be why nothing appeared between them.
Thanks for the suggestion, but I’ve already tried that. It didn’t seem to work in this case.
I apologize for the misunderstanding. I meant ‘slur’ and used the correct command, but misspoke and said ‘tie.’
I assume you want the two slurs very close to the noteheads. Dorico does not do this by default. Change to Engrave Mode and move the endpoints manually.
I’m not sure if this is OP’s problem, but I see in Engraving Options all kinds of options to position slurs (screenshot only shows a few) , so manual editing in Engrave Mode might not be necessary.
You’re absolutely correct about keyboard music. However, this project is a piano reduction of Mendelssohn’s Italiana Symphony, and due to the distinct nature of the two melodic movements, I must consider them independently.
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As a piano reduction, it need only follow the piano idiom to communicate with the pianist.
I see it differently, since this is not an idionomatically pianistic piece. If I transcribed it as if it had, the pianist would not know how to give the same intention in the gesture and its execution as he could with these small details, but maybe I am wrong.
Plus when I do this kind of work, I always reason as if the performer, who is the ultimate user of what I do, does not know the original piece, and so I have to give him as much information as possible about the piece.
I hope I have made my point clear.
Thank you all for your responses and for the interesting dialogue!