That sounds like the MIDI channel is set to channel 1, which is the default channel in HW for the pedals. They only sound from F (or G) above the bass clef staff. See if you can change the MIDI channel being sent (or change HW receiving channel for each manual to Ch 1). If you want to play the swell and great separately, you have to create a second organ instrument and assign it the corresponding MIDI channel for HW (same for the pedals). That worked in Sibelius.
Thanks for the advice. I changed all the manual and pedal channels in HW to 1 in Organ Settings/Keyboards, but to no avail. But for some reason setting the organ channel in Play mode to 2 took care of it (even though HW is set to channel 1 for everything). Very strange, but it looks like I’m operational for the time being.
Is it possible in the new Dorico 2 to allocate different MIDI channels to the different staves of an organ?
Not as yet, I’m afraid, Torsten.
Thanks for that clarification.
I followed these instructions and succeeded in getting independent MIDI channels for the three staffs of the organ. I had to use three players instead of one player with multiple instruments (otherwise Dorico hides staffs that are pausing), and got external MIDI output working without a MIDI feedback loop by following the instructions to edit
- How can get the brace for the manual staves (currently two flutes, happy to change that)? I managed to disable the default brackets in the engraving options, but the organist will likely find it confusing if the brace is missing around the manual staves, in particular if there are more instruments involved.
- Is there a way to not only change the names of staves, but also their position? I want to have the label for the organ staff between the staff lines of the manuals, not directly before the staff.
Thanks a lot!
Unfortunately you can’t do either of these things, Torsten. You would have to fake up the braces and staff labels using text items.
You would have to fake up the braces and staff labels using text items.
Well, that is not elegant, but at least some way to do it. Thanks for pointing it out.
Another workaround might be to have on the one hand these staves for playback, and additionally having a proper organ staff for proper notation without any playback. I could then copy between those staves to keep them consistent, and for notation purposes hide the mere playback staves (e.g., by creating a custom layout in the setup and then removing the mere playback staves for that layout), which is then used for printing.
So here’s a new one I’d like to know about: is it possible to put a dashed barline in the middle of a measure on just one instrument? I’m reviving a old mass by Sigismund Neukomm for an upcoming TLM and I would like to have a dashed barline in a few measures for just the organ part to indicate where to switch manuals or change registrations. So far, I cannot figure out how to get these barlines to only display for the keyboard, even by alt+clicking on the keyboard stave. I do not want to disturb the notation of the vocal parts as this does not affect them the same way. Any ideas? The only alternative I can think of is just to use a bracket (which would technically be a correct way to do it, but this dashed barline seems a lot easier if I can get it to work).
I see what you mean about using the ALT+SHIFT method; you cannot get the two staves joined with the dashed line. I guess we’ll have to pray for appropriately sized brackets to help with organ manual changes.
Well, your method is an interesting (and Perhaps viable) alternative. My main issue was that I didn’t want the dashed lines to appear in the vocal staves. Even your example would be an improvement until comprehensive brackets and general-use lines are implemented.
Time to revive an old thread:
I have a question about cross-staff beaming. I’m trying to recreate Saint-Saen’s Ave Maria à Deux Voix Égales but I’m running into an issue with cross-staff beaming: namely, it is forcing the beam to be in the middle. I can’t for the life of me figure out how to get it to look like the original. If I drag the beams back up the stem directions are wrong. I can’t help but think Dorico can do this how I want it but I’m just forgetting the command or clicking on the wrong thing.
Can’t you just Force Stem Up?
For heaven’s sake!
See, I told you it was obvious! Talk about a brain fart. Sheesh.
Thank you. lol
(Can you tell my kiddo woke us up in the middle of the night?)
like LSalgueiro said, force stem up or down:
I was scouring the Gould to see if there was a specific guideline about repeat symbols in 3-stave organ music but there isn’t. This is more a general notation question rather than an issue with Dorico.
It has been a long time since I’ve seen a repeat in 3part organ music (I play a lot of choral music which is often condensed down to 2 staves) and I’m wondering if there is a consensus on whether or not the pedal should have its own repeat marker or if the repeat bar should attach to all 3 staves. Gould mentions that barlines follow bracketing (of course) but this seems like it might be an exception to the rule. When the organ is by itself, it doesn’t look so bad:
but when combined with a vocal stave, it almost has the effect of looking like there are 3 instruments, not just voice and organ:
and this is what made me suddenly wonder about best practice. I’m inclined to think that all 3 staves should be attached, irrespective of the curly brace.
Your wisdom and guidance is much appreciated.
I just looked at Bärenreiter Bach edition. There the pedal line has it’s own repeat marker. The new Breitkopf edition is different because the three lines are bracketed together.
Thanks, hbalmer. I just went on a little expedition through a few of my scores and now I see why I was confused: it appears there are competing conventions.
I have multiple editions where barlines are attached throughout (as are repeats) and some where the pedal is independent. My informal survey seems to indicate that typically pedal staves are not connected but I wonder if this has come about due to modern notation software. We all know there are certain habits that have taken hold strictly because of mainstream notation programs that encouraged the [incorrect] habits. I wonder if that is the case here, where early notation programs simply tacked on an extra stave to a piano part and thus the lines were never connected, whereas older hand-engravings would have connected them all. Just a theory anyway.
Perhaps both conventions could be allowed for in engraving options in the future. (I know it is possible to override this manually so it is not a big deal.)
I engrave a lot of organ music and I never joined the manual and pedal systems for repeats. But I must admit, that I never thought about that. It’s like Romanos said: I relied on the notation software.
Especially when there is a solo instrument staff above the organ staff, joined repeat barlines look better for me. Perhaps I’ll join them next time and see what the publisher says.