Note tied to the preceding note


I’ve read about some users wanting to enter long notes crossing barlines as if they were separated, tied notes. To do so, they have to enter the first half, then the second half, then go back and tie the two halves.

Maybe you could add a command (if it is not already there, and I can’t find it) to tie to the preceding note. I admit to be have been looking for this command when forcing the duration of notes that have to be split in a particular way.


Hi Paolo, during note input ties do already work this way: if you input e.g. an E, then press T, then input another E, the second E you input gets tied to the previous one.

Thank you Lillie, but you have to press the T (for tie) before the second half. You can’t do the same after you have entered both notes.

An example of a case when I would like this feature: At the end of a long note, Dorico insists to enter a dotted quarter as a quarter+eight note. I then tie this latter part of the long note, and force it to look like a dotted quarter. Then, go back to the preceding note, and tie all the parts of the long note.

Being able to tie backward would save having to go back to the first half of the long note. (If this explanation is not clear I can post a short video).

Nothing too troublesome, so it’s not even a feature request. Just a thing to consider when thinking about this part of the software.


In that situation, where Dorico is subdividing a long note in a way you don’t want, does changing any of the Note Grouping (or Beam Grouping) settings in Write > Notation Options help? Or inputting a time signature with the beaming specified e.g. [2+3]/8 for a 5/8 time signature that divides into 2 eighths followed by 3. The intention is that in most cases, you shouldn’t need to specify beat grouping in every tie.

In most cases it helps (I understand this is the correct way of doing it). I suspect sometimes some composers/publishers have done exceptions in some passages, maybe because they just looked better at that point.

I don’t have a set of examples, because it’s just something that I feel it is happening from time to time.


Lillie, here is an example. It’s from the Theme from Elgar’s Enigma Variations. It’s a simple 4/4, and here is what happens between clarinets and bassoons at a certain point:


Dorico writers the last note in the first bassoon as a quarter+eight, while the publisher went for a cleaner notation. How would you deal with this kind of situation?


From the factory Notation Options, you need to switch these two settings to get Dorico to do what Elgar does by default.

Yes, these settings do work. And there are a couple of them, before these, that should also be changed to the cleanest option.

Thank you to both of you!


…and then, there is Bartók, entering to scramble everything we knew about rhythm. This is in 7/8:



This is where Force Duration comes in handy.