Harp Pedal Diagrams overlapping Multi-bar Rests

This may have been resolved in Dorico v.4, but I’ve noticed in harp parts from ensemble scores that harp pedal diagrams (DCB|EFGA) often sit on top of and obscure the middle number in multi-bar rests. - It’s then a matter of moving these out of the way one at a time in ‘Engrave’ mode.

It would be good if Dorico automatically protected the number in multi-bar rests from obstruction, - perhaps by treating empty bars which contain a harp pedal diagram, as a bar in which the player is actually ‘playing’ something, or else by placing the pedal diagram above the multi-bar rest instead of obscuring it.

Could you share some examples – screenshots, project files? To show some of the contexts you’re seeing this in.

Before manual correction (as Dorico presents it)


After correction (red oval shows previously obscured number):


I just want to mention:

  1. Harp pedals, like Organ registration, must be indicated right at the entrance (not before, as with instrument changes)
  2. Of course pedal diagrams are more compact, and they are universally understood
  3. There is more consistently room for either type of pedal markings below the bottom staff
  4. Orchestral harpists always go through the part and mark their own pedals anyway, sometimes even whiting-out printed markings

I agree 100%.
Composers/Arrangers should always use the Dorico harp pedal tools to check for feasibility, but they should remove them from final copy (or so my ex would say!)

Thanks for making that important point Mark_Johnson about pedal diagrams being visible at the start of each entry - vital for rehearsal e.g. when conductor days “From [D] everyone.”

…Except to mark glissandi, presumably. :slightly_smiling_face:

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I know many harpists say they would prefer to not have harp pedaling in their parts, but when I talk with them, they often tell me that it is more about the markings being inaccurate and/or incomplete than about them being there. It’s interesting to note that in her book Writing Well for the Modern Harp, Yolanda Kondonassis says she prefers to have pedalings in the parts as does Courtney Hershey Bress (Harpist with the Colorado Symphony) in her book For Love of the Harp. What both of these harpists insist on, though, is if you put them in, be consistent and accurate.