I found that, and they can be different each time (same in a group, but different in each group). And the line can move independently of the playing technique sign.
Lines with annotations, start and end caps are quite powerful too.
Jesper
Another line with repeatable symbols:
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And as playing techniques they can be stacked on the same note… thus fixing my other thread question, how to create stacks of arrows (or other lines) attached to the same note.
Now I have two answers for the price of one.
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If you’re on Mac I recommend Ultra Character Map that supports SMUFL. You can copy/paste glyphs as text or SVG among other things.
Jesper
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SMUFL fonts are problematic when searching, especially if one doesn’t know the code or the correct character name. Thanks, I’ll look into it.
I’ve been using Keyboard Maestro with Finale (it’ll work with Dorico too). It enables macros to be triggered by key strokes, but I find more useful, by MIDI keys. I have a separate keyboard dedicated to triggering Finale Macros. Some quite long. Really time consuming, once it’s working. The macros can be app specific, so the same keys can be re-used for macros in Finale and Dorico (and InDesign, and Illustrator)
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That’ll work too.
Jesper
OK, Peter, thanks. Is there a recording of this available? I’d really love to hear all these indications in real life.
Best regards.
I don’t think so. His web site has a discography and this piece isn’t listed, and it’s not on You Tube. According to the manuscript he finished writing it in 2021. I guess it takes time to learn it well enough to commit to recording.
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As others have correctly echoed here, please stick with it. It took me a year to learn Finale back in the early 90’s and there were still things I never knew until a year or two before giving it up last September. I switched to Finale (no need to keep using a dead, unsupported application with more bugs than an insectarium) and it took me about a month to get up to speed. There are still things I have to look up, since there are numerous settings in various libraries one can tweak and various keyboard shortcuts, but I’ve composed 7 works this year, and 10 since I switched to Dorico from Finale; that’s more than I ever composed in a year prior to this, and my works are typically very long (as in 40 minutes to more than four hours).
The way I did it was to literally read the manual over several days, augmented by various threads in this forum and the many videos that abound detailing how to do things. But after a month or so I just started working on a new piece in Dorico, and that along with subsequent compositions really created the muscle memory to become reasonably comfortable with Dorico. A lot of things are similar to Finale, but don’t approach it like Finale; it’s a different paradigm, and many things are honestly for the better. Good luck!
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Thanks for the words of encouragement. As I only work in notation, I’m not coming up against many of the bugs that it has a reputation for. Everything works fine. I have a MIDI keyboard dedicated to triggering many macros and hundreds of plug-ins, many commercially available and some custom built, so for me it is a safe haven.
That said, I’m not a composer, I work for various publishers meaning I must produce exactly what the various composers require. I cannot compromise. And so, while I will persevere with small simper pieces on Dorico, anything with any complexity stays on Finale for now. This is not fixed, and as I learn, as I develop more macros for Dorico, I am totally open to eventually making that final transition. But for now, I am too slow in Dorico - whether that is the app or me, I cannot yet tell. But I am finding many amazing things in Dorico. Until that time comes I am not prepared to let go of Metatools which alone give Finale the speed advantage compared to pop-overs. And when I can tidy all the beams in a score to my preferences with a single MIDI note key, or re-space and optimise a whole score with a single MIDI key, again Finale wins. Given time I will figure out what macros might be helpful in Dorico. Future versions might hold the key to helping me transition. I can use it quite well already, but I am too slow using it for now.
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I’ve been using Dorico for about 4 years and honestly some of the stuff you did I don’t even know how to do! I mean to be fair I haven’t done so much avant garde notation, but still, I’m impressed - very nice engraving especially after 2 weeks of using a new app.
I’m very curious, what do all the accel/rit rhythms without noteheads above several measures mean? i.e.:
Never seen that before, very interesting. Also kudos to you with all the elaborate line work. After several years with Dorico I still find lines to be a bit frustrating to manipulate (coming from my experience with desktop publishing tools). I would love if Dorico could introduce a pen tool with bezier curves, which would make drawing complex lines and curved arrows much easier and more intuitive than the line editor tool.
This is inspiring me to get some practice with avant garde engraving. Thanks for sharing your progress!
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Ditto!
Jesper
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Hello Wing,
smorzando is a forced breath pressure, so pushes of briefly louder. The acceleration and decl graphic indicates the approximate rhythm. The wavy line indicates to oscillate the tuning with the embouchure..
I agree, a drawing tool would be a huge bonus. It is one of the things I miss most.
I have to admit to cheating a little though. Some of the graphics, like the wavy line, and the smorzato breathing were exported from my previous setting in Finale as graphics and imported using graphics boxes in Engraver mode. The fact that they were pre-made doesn’t mean that fresh ones couldn’t be made in, e.g. Illustrator. So it was not an un-repeatable cheat.
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What I specifically would miss from Finale is that the same shape designer can be accessed from different tools, and in fact the same shape used as an expression or an articulation, for example. Once made and applied they can then be individually edited. That’s how I was able to create the various graphics. Illustrator would have been as good, but as this was an attempt to reproduce what I had made before, they were there ready and waiting.
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Interesting, thanks for letting me know!
And also, that’s a clever workaround you intuitively and quickly determined, which probably comes from years of engraving experience regardless of the tool used. Whatever works and gets you from point A to B the fastest. Here’s to hoping Dorico provides an even easier experience for all that in the future.
Indeed, whatever gets the job done. I’m not shackled to any platform.
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If nothing else (and Finale provided far more than nothing) Finale helped one become an expert in work-arounds, a skill now just as useful in Dorico.
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Interesting score! However, IMHO there is zero reason to use a notation program to do this. It could be done just as well in Adobe Illustrator (with liberal use of your favourite music font). Probably quicker.
I hope the Dorico team doesn’t bother trying to accommodate all this stuff.
I hope they do.
Jesper
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