How to start a slur in the middle of a tie?

I think the only time anyone will lament the proposed function will be when re-engraving an already condensed score. It’s always easier to type in what you already see. Apart from that, I can’t see any downsides to what Daniel proposes. If we can multi-caret entry anyway, it will essentially be the same, so I doubt it will be a big deal in practice. Add in the explode alongside select and alt+n/m, I doubt we’ll have any second thoughts.

I think what will be brilliant is not having to plan whether you can combine parts when setting up a score, or having to plan divisi, etc. just add a part for all the music you need, and then just like the rest of engrave mode, let the program help you figure it out at the end. If they allow selective hiding via signposts just like selective staff labels, this will be amazing. I’m excited.

Not to make a mountain into a molehill, but it’s still not exactly what I prefer currently. I orchestrate/arrange in condensed score, not expanded score. And that’s what I want to explode.

I’m sure the forthcoming improvements will be great, but they certainly will require an adjustment, from what I can tell. Unless I’m not understanding fully.

It’s fine, I’m on board, just waiting to see how this ends up working.

Come to think of it, you make a good point. I hadn’t thought of it from a compositional standpoint. Still, I don’t think it a terribly great leap to translate a working manuscript into full score format. I’ve seen manuscripts fit to give one cold sweats in the middle of the night…

I’m curious to see how they handle things like satb, SA TB, or more interesting still: the convention for voicing horns 1&3 vs 2&4. It will be neat if you can enter a 4 voice chord and have the right notes parse out even though they wouldn’t actually be top down technically speaking.

IIRC Daniel has already said that condense expects one to start with four separate staves for horns which can then be condensed into fewer staves. He has not indicated that one can start with four notes on a staff that the program will then split into four parts-- at least not in the initial implementation of “condense.”

What Dan hopes to do–to write multiple parts on one staff and split them into individual parts–will (at least initially) be a multi-step process.

For clarity, “at least initially” is inaccurate: I’ve explained why we can’t completely generally produce complete and unambiguous individual parts from multiple notes written on a single staff. That’s not something we are planning to do now or in the future. You can write the music that way if you wish, but you’ll need to take responsibility for separating the music onto the individual players’ staves to produce the parts. Dorico will not handle it for you, because too much human judgement and intervention is required.

I’m certainly not going to attempt to defend the engraving in that entire work (which runs to several hundred pages). I don’t know whether the composer or Heugel invented some of the notation conventions but they could be politely described as “weird”.

And whoever it was certainly had a thing about slurs…
slur art 1.png

Paid per slur segment, perhaps? :stuck_out_tongue:

Charles Tournemire, isn’t it? :slight_smile:

Correct :slight_smile:

Along with the subject of condensing, would it be at all possible for there to be some sort of playback trigger when two instruments (or more) play a line a2, a3, etc.? I have Sound libraries with a2 samples, and it would be great if I could create “a2+staccato” for instance, and have the condensed score to recognize when an “a2” playback technique can be added automatically.

When Dorico plays back condensed music, it will play back the original source instruments anyway, so when you have “a 2” shown on a condensed staff, there will still be two independent instruments playing back.