Those noteheads looks weird to me. Usually when you use x-noteheads you have diamonds for half and wholenotes. I have never seen those un-filled crosses that Dorico use, and I played percussion professionally for 18 years. Was a long time ago though so maybe a “new” standard.
Jesper
Thank you, Jesper.
So how to write that musicians understand? I hope that there are some academic guidelines, but anything can be (and is) modified according to unique (territorial/national/what-else) needs. Maybe I need to know how to write correctly and then talk to percussionist - how he want it seen in process? Now I just want to finish some three scores from my last album so then I can collect musicians and dream with them to play live (me: electronic staves, they: all orchestral+live drummer)
The example above will work ok. You could change notehead to either a normal notehead or X and Diamond Noteheads. And perhaps the Niente symbol instead as Dan suggested. Or this instead of tr
or even better, get this book: How To Write For Percussion | samuel z solomon
Jesper
Thank you very much!
You’re welcome. Percussion players are used to many different notations since there is not always a standard way. They will play it either way.
Jesper
Huh! It’s a new world for me. But I quickly understand.
Tell me please, in Dorico how I can add these three slashes over the whole note you posted in previous picture?
Select the note, Shift-R, 3.
Thank you.
I already found it in Repeat Structure panel. But key commands are useful of course 
Now it looks good and sounds as it should sound
Thanks again to all teachers here! 
Arthur,
For answering questions like this one, I think you would benefit from reading some books on notation and orchestration.
This one is recommended by many here, though I havent read it:
https://www.amazon.com/Behind-Bars-Definitive-Guide-Notation/dp/0571514561
Do a search in the forum, and you will find other recommendations.
Keep well!
Best,
David
Thank you, David!
I’ve got this book. I will study and won’t ask stupid questions
Arthur,
No questions are stupid! And all questions are stupid – to someone!
But dont let that bother you…
I got a lot of help about notation from asking players how they would expect something to be written down. But I was lucky because as a young man I had access to orchestra players on a daily basis.
If you can get a second hand (i.e. cheap!) copy of Walter Piston’s Orchestration, it is worth reading. Try here.
Perhaps others reading this can chip in with recommendations on books on instrumentation.
Best,
David
Admittedly I have an old edition, but Kent Kennon’s The Technique of Orchestration is (or was originally) very compact, and Samuel Adler’s A Study of Orchestration seems to come highly recommended (though expensive). When I need to check up on something (range for various player abilities or some other idiosyncrasy) I usually reach for the Kennon book.
My recollection of the Piston book is that it deals with orchestration slightly differently to stress how instruments might best be combined in groups. (Not that it isn’t a classic, and part of my library.)
The Adler, which I learned from many years ago, is very thorough. However, as Derrek noted, it isn’t cheap
I looked up how cheap it is not. At 1000 pages, the hardback is recommended, as the paperback apparently readily falls apart. The book comes with internet examples.
BUT access is only granted for one year. After that US customers can subscribe yearly. A German Amazon customer wrote to the publisher to complain about this and was told that customers in the EU will just have to buy additionally copies of the the book annually to update their subscription!
Although some here have complained, by comparison, Dorico is a bargain – as we know!
David
I find both the Kennan and the Adler are good for different things. When I was originally learning orchestration, the Adler reads more like a reference manual. It throws everything at you all at once, not really prioritizing what is really important vs. what is not so important. I remember seeing a chart of possible double, triple and quadruple stops in an early chapter of Adler as a student, wondering whether I was expected to memorize those. On the other hand, the Kennan takes a student through orchestration in a way that the most important concepts are presented before those that are less important.
As a result, I found that when you are learning from the book, the Kennan is better, but when I need to look up something for reference later, the Adler is better.
