How to create half filled diamond noteheads?
No, was looking for those used for half harmonics. half filled diamond.
Sorry, I don’t know enough about harmonics to answer that.
What are half harmonics? Can you provide a source for this?
I didn’t know about it, but I see this in Gould (p. 424):
And the Glyph is available, so @Pai, if this is what you want, you could create a notehead set:
Exactly! thanks, thanks for the link of howto! awsome.
In case it helps, here’s how I did it. I created a notehead set that contains only one notehead for all durations.
Be careful: when you start from an existing notehead set to create your own, you must always duplicate the notehead you’re going to modify and remove the original — otherwise your changes will apply also in the original notehead set… Sorry it’s not easy to explain!
It’s clearer in the manual:
So here is how I managed to reproduce Gould’s example:
Oh thanks! Great, I was about to give up, or add a new question. Tried, but even though it seemed to be ok, none of the noteheads changed. I’ll follow the video step by step, bet i missed a detail and that it’ll work!
By this definition, every harmonic is a half-stopped harmonic and a diamond notehead already indicates a reduced finger pressure, so making it a half-diamond doesn’t change the execution. How do you define the difference in how both noteheads should be performed; reduced pressure vs… ??? This looks like an inefficient way to describe indeterminately produced higher order overtones.
If you look closer at Gould’s example. The half-pressed E5 B5 (on strings A and E respectively), will always produce 3rd order natural harmonics E6 and B6, since this is a very strong node (at I/3 of string length). So the notehead shape, whether diamond or half-diamond, will produce the same effect.
The question was how to get the result technically in dorico. I was pleased to learn it was fully achievable In quite a few steps 
Of course, and your question was answered. My comment was not meant to criticize your question. I’ve just voiced my opinion on the merits of this notation. There may be a legitimate reason to use it, although I found the quote from Gould rather problematic. Why should anyone care? Well… any time a composer uses non-standard notation, unless the definition is very clear and not contradictory, there is a risk that it will confuse the performer and waste their valuable rehearsal time.