Here’s a page that I am not getting to play back correctly. I have selected play repeats on DC; however, after the DC, it plays fine until it hits bar 8 and then jumps to the 3rd ending. I want to play the first and second endings and then jump to the Coda. It could be my notation, or is there a setting in Dorico. Maybe having the To Coda under a repeat ending is a known issue? I found this post that seems to suggest that may be a Dorico issue. 1st time bar not played on DC
Thanks for your assistance. Tom
Slice 2.pdf (46.2 KB)
How should I as a player proceed after bar 11, when I come to the “To Coda” sign?
I assume that the Coda is only performed at the end of the piece. I can verbally explain this but A Dorico solution would good. I guess it’s a notational issue.
I think the problem is that Dorico expects each end repeat to be paired with a unique start repeat. The end repeats at bars 10 and 15 are both trying to go back to the same start repeat, which Dorico doesn’t seem to like. I ran into a similar issue recently and the only way I was able to solve it was by using two codas with a D.S. al Coda 1 in place of the second (unpaired) end repeat barline, a D.S. al Coda 2 at the end of Coda 1, and a “to Coda 1” and a “to Coda 2” in the appropriate places. Dorico played that back perfectly.
I’ve seen two end repeats refer back to the same start repeat in published music, but I must admit the roadmap was a bit confusing. I’m not totally sure if two end repeats referring back to the same start repeat is “officially” considered a correct repeat structure in the music engraving industry, but apparently Dorico does not consider it a correct structure.
I still don’t understand:
- I play into 1st. ending until the repeat bar-line.
- I then repeat (from the beginning) and play into the 2nd ending.
When I reach bar 12 with the “To Coda” sign, what shall I do at that point?
a) jump to the Coda?
b) keep on playing until the repeat bar-line?
If I follow a) the bars 13, 14… will never be played.
If I follow b) I will repeat from the beginning and play into the 3rd ending. (In that case the “To Coda” sign after bar 11 was totally useless).
I have attached the whole part to give you a bigger picture.
Maybe I could add ‘To Coda on DC’.
But Dorico wouldn’t recognise this.
Fretless Guitar - Surrender.pdf (91.1 KB)
I see. If Dorico played all the repeats after doing the D.C. jump, it would eventually reach the “To Coda” bit and everything would work.
You will have to do this, otherwise as a player I will not know what to do after bar 10 (you have different barnumbers here). Whether Dorico can read this addition is a different issue, I guess not.
Is it usual to have that complicated structures?
Well the structure depends on the composition. This is what was needed for this piece. It’s not that complicated. I could write out more measures but I prefer to condense the score into as few pages as possible. We will memorise this for performance in any case.
Thanks , I am familiar with those pages but I find them confusing. It seems as if it is an issue accoprding to Daniel.
This was not an issue for me. Why would they bother what to do there? If I have not seen a “D.C.” or “D.S.” before, I simply don’t care for the “To Coda”, but just keep playing on.
Cost of one more page of paper: a few Cents.
Cost of 5 minutes of rehearsal time wasted because one player did not understand the repeat structure and you have to clarify, explain, discuss, and start over: several Euros or Dollars, depending on the size of the band/orchester.
It’s a no-brainer: Get rid of all those smaller repeat sections
I am writing for my band, and ultimately, we memorise everything.
The compositions are vehicles for improvisation. To keep page turning to a minimum, it is desirable to keep the charts compact. So, if I can squeeze it into one or two pages, everyone is happy. After a short time, we won’t even look at them anymore. I was curious to learn why the repeats played strangely after the DC. It seems to be an unresolved issue in Dorico. Thanks for everyone’s input.
That’s good to know, and it also means that there will be some oral communication in the first rehearsals, where to repeat.
The repeat structure will then be clear for your band members and you can start improvising.