Why I use Dorico (or how NOT to notate)

Just to expand on this point a little, I have a band that is playing a lot of “west coast style” cool jazz in an octet format. Some of the musicians are more ear-trained than classically-trained. They have phenomenal sense of time and harmony and are strong improvisers. They read OK, but not like classically trained musicians.

I am finding that after each rehearsal, there are little things I want to tweak in the arrangements and notation details to help everybody be (literally) “on the same page”. Obviously, all notation programs allow revisions. However, in the past, I might have avoided doing some revisions because what seems like a little change might lead to other things that turn it into a more time-consuming process.

I am finding that if one uses best practices with Dorico during the original layout, most minor revisions can be completed in a few seconds with no time-consuming final edits required. I am making many more revisions now, and I think the musicians appreciate seeing their suggestions show up on paper (or pixels.)


Nice trick Dan, this should be marked a solution?

Well, technically this wasn’t a solution to the OP, but to a reply post.

I’ve noticed a few of those in the score I’m working on just now, and it does look odd/contradictory to me.

I was going to remark that, in my student days a teacher told me: ‘your notation is awful’, and I was so clueless that I thought he was talking about my handwriting. Exposure to angry/uncomfortable players can be salutory :slight_smile: