In all fairness, this short passage from the third movement of op. What? One down-stemmed and five up-stemmed? Who would ever need such a weird voice construction? Once voices have been created, users can easily toggle through them by pressing V, allowing for polyphonic notat… Wait, wait, wait – just a minute. Instead of choosing the “correct” voices from a limited set, users create exactly the voice constellation that is needed for example: one down-stemmed voice and five up-stemmed ones. This is where the old paradigm is abandoned. I use the word “prepare”, because a voice is only ever actually created if notes are entered. Pressing Shift-V again prepares a new voice, with stem direction reversed once more. (Similar to the behavior of Sibelius and Finale, these directions will take effect once there are two or more voices present one voice alone will have its stem directions determined by the usual rules.) The caret appearing when note entry is started ( Shift-N) in Write mode will show a small stylized note symbol, up-stemmed by default.īy pressing Shift-V the user can call for a new voice to be created, which will - nominally - be down-stemmed. Instead, it just requires from the user one fundamental decision before starting to input notes: is this voice supposed to be up-stemmed or down-stemmed? Sibelius works this way (voices 1 and 3 are up-stemmed, voices 2 and 4 down-stemmed), as does Finale (see above) and even LilyPond - which does support more than four voices in a somewhat straightforward way - does acknowledge the four-voice model in its predefined commands.ĭorico, however, does not make any assumptions in this regard. For voices, this means breaking with a presumption taken mostly for granted today: the four-voices-per-staff model. To get there, Dorico does not simply improve upon the status quo, but goes back to first principles. It turns out that this can indeed be expected.
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In summation: while Finale offers a solid technical framework and all necessary tools to create the graphically correct appearance for any complex notation, there is an implicit assumption that users can not expect the software itself to infer how to reasonably use these tools. “In the usual situation, you’d enter a positive number ”.“ You tell Finale how far out of the way you want these rests to appear ”.“In addition, you may wish to specify that the placement of rests ”.“The settings for Layers 3 and 4 are up to you, since probably depend on the piece you’re notating.”.“Therefore, you’ll probably want to select options as follows.”.“Furthermore, you’ll probably want ties to flip ”.“In general, you’ll want the stems of Layer 1 to flip up, but only when Layer 2 is present ”.“ each layer may be taught to flip its stems to help distinguish the multiple voices.”.“Each staff in Finale has four transparent layers of music.”.In condensed form (italics added for emphasis): Have a quick look at Finale’s documentation for the Layers feature (the equivalent to Sibelius’s voices).
This might not be apparent right away, as it is not so much a single feature but the accumulation of many small ways of capturing the meaning of notation conventions and not just their appearance. This page is just a quick reference.Dorico’s innovation with the most far-reaching consequences is its thorough approach to modeling musical concepts and their intricate interactions.
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