Sibelius Ultimate vs Dorico 4 Pro

I would like to CROSSGRADE from SIBELIUS ULTIMATE to DORICO 4 PRO. I am searching for the possibilities of DORICO 4 PRO in the trial version. I was unable to find the following features that I use in SIBELIUS ULTIMATE. I ask for your support. I display them in the form of a print screen.

• Manual repeats playback
• Custom input midi CC automation in any bar
• Reduce two staff to destination one
• “Fake” staff for PARTS, no for playback
• Automatic add chord symbols from notes
• Automatic add note names

Thanks in advance for your reply :hugs:

Hello, and welcome to the forum!


  • Manual repeats playback – NO, not for the time being, but there are ways to work around this in certain circumstances while waiting for the real implementation, e. g.: Second time only
  • Custom input midi CC automation in any bar – YES: Automation lanes
  • Reduce two staff to destination one & “Fake” staff for PARTS, no for playback – well, technically YES, but you probably don’t need to: Condensing
  • Automatic add chord symbols from notes – YES: Chord Symbols From Selection | Introducing Dorico 4 - YouTube
  • Automatic add note names – NO, not for the time being, although you could use the ‘Pitch Name Noteheads’ notehead set for similar purposes: Pitch-dependent notehead set designs
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Dear Frigolito. You pleasantly surprised me with a quick response and links to a detailed explanation. Thank you again. :+1:
I hope Dorico will soon allow for a more complex repetition. When I make an arrangement, I want to present the composition to the performers as vividly as possible and with as much reduced score as possible.
Best regards.

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When I make an arrangement, I want the players to be able to play it faultlessly, without stressing their brain cells about where each repeat goes to, or having them remember how many times they have already played a passage.

Paper is generally cheaper than rehearsal time.


Music does not generalize! “Mechanic music” based on my experience love centuries-old musical CODA symbols. For short compositions, they make music easier to read, no turning the pages, everything is in “one look”. At one point the brain does not read notes anyway but perceives them as images.
Protect our Forests. :blush:

Just in case there is any confusion, those symbols are available in dorico.


Would you care to back up this rather dubious statement?

This can also be achieved by emptying out the VSTi plugin for the endpoint of a stave in the play tab. If no plugin is loaded, no sound.

Yet another option is: while in write mode, select all notes to end of flow for a given stave, and then toggle them not to play back in the lower zone.

It’s also possible to do the opposite. Have a stave that plays sounds, but is hidden from view on the score or part. In the Write Tab, hidden staves will show up in galley view, but not in page view. They’ll also be removed for the Layout Tab.

I know which one of these I’d rather be presented with (and of course, I frequently use repeats and codas, where they make sense)


I legit had to sit and study the one on the left. If I was ever handed that to sight read it would be a disaster. The right, however, was quite straightforward.


Here in Japan, a lot of vocal scores and band scores (created for amateur players) have those short codas and multiple segnos and codas.
I regard them as study scores, not something anyone should be expected to play from, although I sometimes find myself having to (trying to!) play from them.

I would be quite interested in seeing some examples of that practice.

Of course, those “CODA” symbols are available in DORICO. But, DORICO cannot playback the more complex jump, repetition… Sibelius allows on the simple way “manual repeats playback” (seen screenshot) where the numbers and range bars are custom entered. This is important for me because I send the score (parts) and as faithful as possible the AUDIO content of the composition - arrangement to the performers for homework.

dorico 3

This post is not a place to discuss this topic.

The question in my mind is what do you want your score to look like, when this string of repeats is implemented? What instructions are you giving to the players?

Sibelius just jumps around the existing score in playback, which may be fine if you are creating audio, but is manifestly useless if you are expecting live players to play your score.

Even though I agree with most of you about how bad the practice of repeat marker mazes is, I just need to say one thing in vilipec’s defense: STRAUSS.


This is (see screenshot) what the concept of score for musicians looks like. The score part takes up 1 A4 page! The full score (sop, alt, bar, bas, mandolin1, mandolin2, accordion, guitar, upright bass) takes 4 pages! I do not give any instructions to the players because everything is clear from the text symbols for repeats and jumps. The repertoire of the ensemble is more than 80 compositions. And therefore reduction is preferred.

To export the audio of the whole composition, you only need to enter the order of the bars. Sibelius makes this possible. There is a similar possibility in Cubase: ARRANGER TRACK. Why not in Dorico, too?

The software will be used to everyone’s liking.

What? I’ve been looking at this for far too long trying to work out what’s going on; and you can bet I’d be asking questions in rehearsal.

I go to the 1st Coda after 48 , which then goes to B, and to Coda 2 at 48 again. So when do I play bar 49?

"DS al A, poi A’ " — so straight through to A’ then? (Why isn’t that just “B”??) And then to Coda 1 again?


Dorico can notate this easily.
It can’t complete the correct playback, as there is not yet a selective playback on repeat feature, but it will handle the DS al Coda jumps…

What? You do not know the hierarchy of repetition and CODA symbols. First of all:

  1. classical repetition start-end bar line
  2. 1st ending, 2nd ending… line
  3. Dal X to Coda
  4. To Coda

So, 1-50, 2-9, 25-48, 51-52, 41-48, 53-64.
Very complicated and so simple.

The rehearsal marks (A, A’, B…) have musical logic, too: “A’” musical thought is quite similar to “A“ musical thought.

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