I am transposing a trumpet part from Bartok’s ‘Concerto for Orchestra’. I want to replicate the part exactly as I see on the original, including how multi-measure rests are handled. The example attached is what I want to be able to do by way of specifying which measures go into which multi-measure rests.
Is what I need here currently possible natively with Dorico?
In Engrave mode, you can select where to break multi-bar rests.
If you want the breaks to be part-specific, insert blank staff text at the point where the multi-bar should break.
But be sure the blank text is not on the downbeat or else it won’t work.
It seems weird that every rehearsal mark in the B&H parts seems to break a multirest. The last revision of the score (dated 1993, in the copy on IMSLP) is late enough to have been “infected” by a bug in a some notation software that they couldn’t find a way to work round 
The easiest way to reproduce that would be to override the bar line after each rehearsal mark with an explicit “normal” bar line, I.e. type shift-B | and hit return. That will affect all the parts at once, rather than using text to change one part at a time.
You could probably create a macro to create a rehearsal mark and edit the next bar line as well.
Rehearsal markers should break multirests. I’m a little more puzzled by the logic of always having the first bar at a rehearsal be a single bar rest followed by a multirest over the remaining bars (when nothing happens in the second measure after the rehearsal).
Did the OP also want to replicate the alternate multi-measure rest “symbols”? That could be difficult.
That’s what Rob’s referring to: that each rehearsal mark is followed by a single bar rest, and then a multi-bar rest. The rehearsal mark appears to be responsible for the first bar following the rehearsal mark being a regular bar rest rather than being consolidated into the following multi-bar rest. On the face of it there’s no reason for the bars to be divided up that way.
If you look at the score on IMSLP, the “rehearsal marks” seem to be printed at bar numbers near in the middle of the bar, not aligned with the starting bar line.
I guess we would need somebody from B&H to explain why they did what they did. Maybe a “trainee” made a hash of creating the parts but it wasn’t commercially worth while to fix it - who knows?
Daniel is right about what I meant - obviously a rehearsal mark has to break a multirest once, but not twice.
I was hoping to replicate for my client exactly what he sees on the original, but with the transposition to an E-flat instrument, of course. I went ahead and put in the regular multi-measure rests. He will not have a problem with this, and my persnickity approach was mostly to satisfy my pursuit of perfection.
it is shocking how detailed a single-line instrumental part can be. It is always this way with working with orchestral scores.
