Why can’t I filter ties in Dorico? I have a situation where I need to remove every tie in a long passage where each tie is only one note of a chord (usually the middle note). Any thoughts on how to do this without having to do it chord by chord?
I think the documentation is misleading and confusing about filters. The documentation - the page with the header “filters” - says “Dorico Pro includes a filter for every notation item.” At the bottom of that same page it contradicts that by saying “There is no filter for barlines. You also cannot filter notations that are considered part of the notes to which they apply, including fingerings, beams, articulations, and tremolos.” That means Dorico pro does NOT include a filter for every notation item. It shouldn’t say it does.
I assume ties are ‘considered part of the notes to which they apply’ and that’s why I can’t filter ties? If it’s not on the list of possible things to add, I’ll voice my opinion that filtering ties should be added.
On your point about the documentation, I’ll make a note.
By way of explanation, in Dorico an “item” is something that is essentially its own thing, something selectable and moveable independently of anything else.
So basically any selectable item in the music that isn’t a note is a “notation”, but not all “notations” are “items” in Dorico-land because some notations are properties of notes, and cannot be selected independently of their notes.
For a suggestion on your situation: if you don’t have any other ties that you want to keep in this passage, does selecting a whole range and pressing U to cut ties work?
I ran into a situation today setting plainchant where I have a series of tied notes, but I wanted to select a boatload of these ties in the accompaniment to make them all dotted. It’s a part that will pull double-duty for the organist and the choir, so I need to keep all the notes so no pulses are missed, but would like to make it easier on the accompanist by showing where they should hold at a glance.
I really hope that the team can find a way to make these filterable. Having to cmd-click to select all of these wasn’t the most fun I’ve ever had with Dorico:
Not sure why I never responded on this. All the recent activity has some good suggestions. While not ideal in all situations, pressing U once the notes you need to change have been selected is the best answer to my original question. The properties panel I always forget about. I just discovered tonight that one can change the spaces between the dots/dashes in those type of ties. Nice.
Ah - I completely missed the point - sorry. But yes, the solution is to only select (or filter) notes, and then you’ll find that the tie properties are available.
For anyone who even cares, here’s the backstory for my recent post (with real-world examples)
"modern plainchant deep dive"
I’ve been arranging psalm settings which are based on ancient chant manuscripts. (Basically, I try to find the modern antiphon as set in an ancient manuscript, and then re-work/use that melody in a modern arrangement.) As a result, they are all non-metered. They also have to fit on a single page, hence I don’t have the luxury of writing out a separate accompaniment part, from that of the choir. At least in the US, it’s common for the accompaniment and SATB (condensed) part to pull double-duty.
Now, for some of these, it’s straightforward writing. Depending on the source material, sometimes the antiphon really only lends itself to being sung in unison with a normal accompaniment, à la:
But SOMETIMES, things lend themselves better to being chanted in unison, but it’s possible to sing the accompaniment should the schola decide to do so, necessitating the retention of individual noteheads so the singers do not become lost, but if it ends up being merely accompanied by organ without sung parts, I need to indicate that the common pitches should be sustained, hence the reason for my recent post:
Presumably, any organist worth half h/h salt would know to sustain these pitches and not rearticulate every chord. But I’ve met enough musicians—be they nascent accompanists or just tactless—to presume that everyone would play it correctly, especially if they are not regularly exposed to accompanying chant, or if they are pianists just thrown onto the organ bench in an emergency.
And I’ve also learned that the singers really do need to see all the dots; they don’t sing nearly as well if they have to extrapolate their part from the condensed accompaniment version, hence this weird compromise.
