Example Mendelssohn violin concerto in E Minor. At the end of movement 1, a bassoon holds a long B that leads into the second movement (where it resolves into a C). In this case, I suggest not to use a dedicated flow for the second movement; instead, leave both movements in one flow.
Yes you are right, if notes hang over, then flows are not for you. If you compose music, that is not structured by gaps of silence, for those cases you will have to stay in one flow.
In all other cases they offer big advantages.
Flows are one element in the multi dimensional structure of music pieces in Dorico: Players, Instruments, Flows, Layouts. They are all connected in a logical way.
And you can take advantage of it. One small Example: in ensemble pieces assigning players to certain flows only.
Of course you can have a composition with just one player, as well as you can have a composition with just one flow. Anything is possible
There may be ways to notate a sustained note across flows, even if the playback doesnât work. A new flow would have to start a new system, of course.
If you want the piano to play a note that starts in flow 1 and continues into flow 2, then in addition to setting the gap between flows to 0, you need to suppress playback of the tied-to note in flow 2 and set the playback end offset of the tied-from note in flow 1. This offset is measured in ticks, and Dorico uses 480 ticks per quarter note. For example, if the tied-to note is a normal half note, then the playback end offset of the tied-from note should be set to 1.95 Ă 480 = 936.
Have we determined that a note can be manipulated in the Key Editor to hold its duration past the end of a flow? That would indeed be a useful discovery.