Does the Expression map read “cruivé” or “Accent + cuivré”?
I read MichaelGordonShapiro’s “accent mark” as meaning “cuivré not cuivre”, but reading it as “an accent articulation plus the cuivré playing technique” also makes sense.
If you type cuivre without the accent in the popover, you get cuivré anyway.
The predefined cuivré playing technique in the right hand panel triggers the “Muted” playback technique. “Muted” doesn’t seem to be defined in the HSO expression maps, though it is in NotePerformer. If you are using a different library, check the expression maps you are using.
Whether “Muted” is a good interpretation of “cuivré” is another question, of course, but I guess the default playing techniques are going to be restricted to triggering fairly “generic” playback techniques that will be in most sample libraries.
Well, I’m no horn player, but according to the orchestration book I use (Kennan) cuivree is most definitely not a type of muting, but a change in embouchure that changes the tone quality to a more ‘brassy’ sound, which is in my mind sort of a diagonal opposite of muting.
I’m no horn player either, but interpreting cuivré as “muted” raised my eyebrows as well.
But since we are talking about sample libraries not real instruments, it’s possible that a “muted” patch with the volume turned up to 11 might be a reasonable option if the library doesn’t have the real thing.
I am an ex-horn player, and cuivré does indeed mean brassy. Think Chicago Symphony playing Mahler or Bruckner.
Great, thanks Stephen. I had a bunch of work to do, but now I can’t resist a dip into YouTube. See you all in an hour… 
Here’s just the ticket - Sir Georg Solti with CSO, the opening of Mahler 3!!
Kräftig indeed 
Hey
I have a strange issue. When using the expression map I get no sound on sustain notes. Anything with an articulation plays; anything with no articulation is silent.
Thoughts?
Do you have a Natural playback technique defined in the Expression map?
Hi,
I was wondering if there are expression maps available for Cinematic Studio Strings and Cinematic Studio Brass
I can’t get portamento playback to work properly on Dorico 3. I’m using VSL SE 1, and I’ve loaded and edited the expression map so Dorico should use the proper sample whenever portamento up/down + legato is indicated in the score. However, Dorico still simply plays a chromatic scale whenever a portamento symbol is encountered between notes. With portamento symbol, I mean the straight glissando line from the ornaments page. How can I fix this?
Dorico’s implementation of glissandi doesn’t really take into account all cases, and is not accommodating glissandi and portamenti that rely on the sample library for playback. I haven’t tried it, but, off the top of my head, I think you’ll need to do is disable playback for the glissando line (in the first panel of the Properties), and instead use a custom playback technique that you’ll have to hide to switch to the portamento patch (while also guaranteeing that the two notes slightly overlap, if they’re not played legato already).
Glissando playback isn’t fully implemented in 3.0.10.
My guess is that having implemented harp glissando playback completely (and linking it with harp pedal diagrams) adding “play a gliss as a chromatic scale for everything that isn’t a harp” was the simplest way to tie up the loose ends, from a programming point of view.
When that doesn’t make sense (e.g for keyboard instruments) at least you can switch it off, which is no worse than Dorico 2 (which didn’t play glissandos at all)
Actually a chromatic gliss for a keyboard instrument would not be realistic. I expect the keyboard/mallet instrument gliss (white keys or black keys) will eventually be an offshoot of the harp gliss engine.
A chromatic scale might work for some instruments (winds?), but the gliss on a continuous instrument like a trombone or violin or synth is more than just chromatic.
The various gliss possibilities are, I’m sure, really challenging; so I expect them to be rolled out in stages and am sure that each will be deftly implemented when it is. Perhaps in some cases the solutions will be to allow more thorough control of third-party instrument library parameters. This seems one of the challenges facing full Iconica integration into Dorico.
A contemporary of Liszt (whose name I forget) invented a way of playing a chromatic keyboard gliss using both hands. There were a few of his compositions published, with footnotes explaining the technique.
He tried to teach Liszt the same party trick, but LIszt didn’t succeed in learning how to play it - which is probably a good thing with hindsight, otherwise every pianist-composer would probably have used it thereafter!
Interesting historical fact.
Do you suppose it really sounded like a chromatic gliss or just a blur of the two keysets? (Of course a gliss is often intended as a kind of blur of sound.)
I’d love to have heard it; but I, too, am glad Liszt didn’t learn it.
The guy was Tausig, who was considered by some to be Liszt’s star pupil, and it’s in his published “Opus 1”. Maybe he calmed down a bit later on.
Piano students of a certain age may remember his “Daily Exercises” - not necessarily fondly!
It’s been recorded. There are a couple of them just after 2:00 here: The Ghost Ship, Op. 1 - YouTube
And the score is here: https://imslp.org/wiki/Das_Geisterschiff%2C_Op.1c_(Tausig%2C_Carl)
Interesting. Thank you. It does pretty much create a blur rather than a sequential chromatic gliss, but if that’s what the composer wanted…
One could probably simulate that if one could use the harp gliss engine in the left hand and a standard white-key keyboard gliss in the right.
I don’t have any desire to break a finger practicing it, but I don’t think it would work very well without the sustain pedal down - hence the blur.