I’ve attached an image of the measure in question. The software is set to have all marcato ‘housetop’ articulations to appear above their noteheads, but the one in the attached images does not want to cooperate.
The note in question is voice 1.
How does one go about flipping the odd articulation here and there? Thanks so much, Daniel and company!
Sry to ask the obvious, but have you tried the Property (bottom of screen)?
I’ve found the odd articulation marking in files imported via MusicXML that really don’t want to flip using the properties panel.
The solution is to select the note and articulation in Write mode and go Edit>Reset Position (and perhaps Reset Appearance). That tends to fix it.
I am new to Dorico and am slapping my head. 
This worked perfectly. Thanks so much!
I’m glad it works, Jeff. I would personally encourage you to hang in there with Dorico and learn the ins and outs, because once you do, you’re going to love it. And as it is maturing, more and more of the “deal-breakers” for some of us who have particular needs are being added. I’m honestly convinced (rationally, not emotionally) that it will be (and already is, in some cases) far superior to Finale and Sibelius in a very short time. I’ve used both of them for decades, so I believe I know whereof I speak.
And Pianoleo, thanks for your comment too—I do the occasional MusicXML import, and though I haven’t yet run across that particular problem, I’m glad to know that if/when I do, there is something to try.
Oh, don’t worry about that. When Steinberg scooped up the old Sibelius team, I was sold.
I’m a Finale guy going back to ca. 1995 (v. 2.3 or something) and can remember the joy of having smart-slurs for the first time. When v3.1 came out ca. 1996, I thought I was in a Bugatti.
Sibelius I’ve hardly used at all, the learning cliff from Finale to same being really steep for me. I’m learning, however, I should have given Sibelius far more of a chance in that the only way I can learn new music notation software is by hacking at it, consulting forums and user manuals constantly, until things come together.
I’m working on engraving a 19th C. artsong cycle for a client’s doctoral dissertation from which I will extract graphical musical examples as well as give her a new and legible edition. Both the vocal and piano parts are virtuosic, and the notation oddities in the piano take Finale to its limits to the point where I am finally and happily forced to get into Dorico. I’m about half-way through the songs, and I will surely re-engrave all of them in Dorico. Of course, I could import Finale XML, but I think having the experience of engraving these monsters on Dorico from scratch will be of great benefit.
Good times…
Jeff, I can top your Finale experience; I go back to version 1.0. — $1,000.00 for a buggy, non-functioning piece of software useless for anything other than to begin learning it so that once it was actually functional, you’d know how it worked. When it worked correctly, that is.
And its resource requirements were so far beyond the Macintoshes of the day that when a friend of mine wrote a short piece for her middle school band (relatively small instrumentation, not many measures), it took THREE DAYS for her to to separate the parts. And all that just to do printouts on a dot matrix printer, laser printers still being in the drawing board stage. Ah, the good old days… 
I resisted switching to Sibelius for years, for the same reason you did — too many hours, macros, etc. invested in Finale. But when Sibelius came out with the Magnetic Layout thing and all the Hollywood guys started blogging about how it cut their production time in half, I switched, and it was a good move. It’s still a great program; everyone is just worried about the fact that they haven’t had a single major feature upgrade since the outsourced the coding to the Ukraine or wherever it is. My personal feeling is that besides the actual value of Dorico, which is considerable, one of its biggest advantages in the market is that neither Sibelius’ nor Finale’s parent companies seem committed to their print software products.
And that’s why I (and so many others) have been eagerly awaiting Dorico. Having new hardware/software platforms to take advantage of, and of course the having the invaluable brains and experience Daniel and his team bring to the project from their previous backgrounds, including building Sibelius in the first place, building a whole new product in the 2013-17 time frame is way more advanced than doing the same thing in the 1985-90 time frame.
And of course the really brilliant approach to making it all as easy as possible—Dorico had me with that create-dotted=eighths-and-sixteenths-with-the-period-key thing.
lol - got me there
Sibelius made Finale a far-better system. I expect vice-versa is true.