I searched the forum and tried some of the proposed solution without luck. I made a post as a feature request but maybe a normal one would get more attention. So I’m taking a chance here maybe someone found a solution to this.
I’m writing a piece with a Bb clarinet. I would like to have a score in C and a transposed score in the same file. This is pretty easy but there is a catch…
If I write A# on the C score for the Bb clarinet the transposed part will be automatically written B#. I understand Dorico wants to preserve the intervals. I also know that I can change the part alone to a C without altering either scores.
Here’s the root of my problem. In my transposed score, if I respell the B# to a C, the A# in the score in C will be automatically respelled Bb.
I tried changing the key to atonal (since I don’t usually use key signatures).
How can I makes changes to the transposed scores without altering the score in C ?
Hi @paq_phil - you received a reply from Daniel Spreadbury a few days ago in your previous thread on this topic:
Questions are always welcomed here, but it’s politely requested that bumping is avoided as a courtesy.
At the moment, as far as I’m aware there’s not an automatic way to prevent a note being automatically respelled in other full score layouts.
You could perhaps set up one of your “full scores” using a part layout (just with every player assigned to it, set it to use the Default Full Score master page set, set the page size and margins as you would for a full score etc etc) so that when you respell accidentals in that layout, the other full score (that’s actually a full score-type layout) isn’t affected?
I’m very sorry for disregarding the rules of the forum. It’s all my fault. I should’ve red them. I’m ,as you can see, quite new to the forum thing. It’s been quite helpful. Please feel free to delete the thread if you want.
I tried you solution. It’s a workaound. The changes I make in this pseudo score only affect it Not the Bb clarinet part alone. So I would have to edit both scores and the parts.
It’s quite all right, you’ll find this is a friendly place, particularly for people who are clearly new! And everyone learns something for the first time, sometime.
Yes that suggestion is a workaround as such - it’s one idea you have at your disposal.
Reviving this thread, as I am encountering the same dilemma in a contemporary chamber piece. The performers I work with often prefer to read from the score, so I would like to have two full-score layouts, one with the clarinet at sounding pitch, the other transposed, with the page layouts synced, but the enharmonic spellings editable in the transposed score without affecting the sounding pitch score.
Creating a part layout with all the instruments does decouple the enharmonic spellings, but (as paq_phil noted) requires editing the two layouts independently.