Propagate part layout (with layout options ticked) does not seem to propagate the setting for rehearsal marks to be above the stave?
If I understand “propagate part layout” correctly, I believe it only applies to settings found in Layout Options, and LO doesn’t include settings for rehearsal marks.
This would seem to contradict https://steinberg.help/dorico/v1/en/dorico/topics/notation_reference/notation_reference_staves_system_objects_changing_positions_t.html#notation_reference_staves_system_objects_changing_positions_t
I’m not in front of Dorico just now so can’t confirm either way.
Oops. You’re right… and Steve’s right too. System objects don’t seem to propagate between layouts. I got the same result Steve did.
Maybe Daniel can shed some light?
That may explain why I’m unable to re-position System Text to below the staff in a part, and then propagate that new position from the part to other parts using the Part Propagation feature of Dorico. Definitely could be useful, though since there’s plenty of situations (at least in jazz) where you’d want the score to say something at the very top (“go to I for SOLOS”, etc.) in boxed system text, but have that text appear BELOW the staff in each part (as I mentioned in another thread)…
It’s too bad that Rehearsal Mark/System Text positioning cannot be set as a Layout Option rather than as an Engrave Option, especially since the needs of part layouts and score layouts may well be different.
System items cannot have their properties propagated between layouts because they can appear at different vertical positions in the system, and hence the way each specific system item is identified in a given layout is unique. We could add some kind of mapping function to try to figure out whether or not the properties for a system item in one layout could be mapped onto a different instance of the same system item in another layout, but that’s not how the feature works right now.
That would be great - It’s just very common I’ve found in jazz charts to put some sort of direction in the score at the very top - that you also want to appear at the very bottom of the parts…(the solo form, other structural indicators, etc.)…Right now I have had to manually move it in every part. Of course, compared to the significant amounts of micro-tweaking I had to do in Sibelius, it’s a small price to pay (but it would still selfishly be nice )…
A propos rehearsal marks:
They collide willingly with melisma lines at the end of words (what are they called?) in neighbouring systems. And I cannot find any «avoid collisions» connected with them?
That’s correct, at present, rehearsal marks are a little different in regards to collision avoidance.
Extender lines, I think they’re called.