Dorico 3.5 Update

Today, May 20, 2020, Steinberg is announcing Dorico 3.5. So far they have posted a few videos on their YouTube channel, but at 9:00 am EDT (or 6:00 am if you live on the west coast of North America!) they will unveil the whole thing.

So far the most useful and desired features added seem to be the vast improvement to the VST plug-in playback capabilities. These are truly stunning and should make scores play back much more naturally.

The other is a search field for drop-down and other menus that have too many choices to find the desired one quickly. Now you can search to find what you are looking for. Yes, this is much like the Feature Browser in Band-in-a-Box, but in this case rather than being global, it applies to a single set of options.

If you can, tune in to watch this announcement live. If you have not yet subscribed, go to YouTube and search for “Dorico channel”. If you can’t watch it live, I’m sure the video will be archived there to watch later.


Now that I’ve seen the presentation I’m even more impressed. Wow! They barely got through the MAJOR new features in the one-hour demo with John presenting and Daniel answering questions in the comments section.

I cannot hope to cover even all that they covered in the official announcement so I’ll give you the highlights from my point of view. You should still watch the archived announcement demo on YouTube here.


We guitarists really lucked out with this update! For starters, we can add rhythm to TAB parts now, so you don’t have to switch between staves to play. You can show tapping with a “T” and also with dots. The search option I mentioned earlier can help find the guitar options. and it is a “sticky” search so that you keep the options you searched for on the screen to work with them. Alt-8 brings up the search dialog, appropriate to where you are.

Bends play back using pitch bend. Dorico 3.5 automatically creates the playback bend, but you can edit it as well, drawing with the pencil tool for really fancy bends. Double bends also display and play back too. You can use the popover to choose bends, scoops and other whammy bar techniques, including adding text such as “w/ bar”.

In Layout option you can “show chord diagrams at start of flow” and they show up automatically in the order that they appear in the song. You can edit all of these for fingerings, size, and even add different versions of the same chord. This is a great feature to keep your songs from becoming cluttered.

Note Entry

You can now enter pitch before duration (as opposed to the normal Dorico duration before pitch). The shortcut for this is “K”, and it allows you to hunt around for the note that you want, and then choose it and give it a duration. You can even do this with chords. It’s a very handy feature for composition or for transcribing by ear, and it is most useful with a MIDI keyboard.

Global vs. Local Settings

You can now enter local settings, say to make a change to a part that will not show up in the score. This could be a comment, moving an object for easier reading for the player, and so on. It was asked for and has been provided.

Playback Improvements

There are too many improvements here to list them all, but one of the most important is Mutual Exclusion Groups. Here you list techniques that cannot be played at the same time, such as arco and pizzicato for strings. This allows other techniques to be played together, for example pizz. and con sordino.

Expression maps are probably the most asked-for feature in Dorico, and there are great improvements in Dorico 3.5. The default expression map included in Dorico is for Halion SE which comes with it. However, other sample libraries such as NotePerformer and Garritan provide different playing techniques and options. Because there are so many libraries, and different options even within libraries, Dorico 3.5 lets you create your own expression maps for the libraries you own.  The example in the announcement video has an excellent demonstration of choosing shorter note samples for shorter note values. Since many sample players use one long note sample, they sound great with longer notes, but tend to “bleed” notes together in short note values  (say sixteenth-note) passages. If your library has different notes values to choose from, Dorico lets you choose a short value for a particular value of duration.  This is shown in the announcement video at the 14:53 mark. Quite a difference!

Figured Bass

If you use figured bass your dreams have come true with Dorico 3.5 since it has tons of new features! You can now enter virtually any style possible. You can set these easily in the score or with the popover. Dorico 3.5 will even calculate the proper figured bass for you if you give it the name of the chosen chord! It will even automatically transpose if you change the bass note. You can add hold lines as well, if you use them.

Having said that Figured Bass could cover an entire session on its own, John suggested checking out the Scoring Notes blog, which had a preview version of 3.5 and has a lot more information on Figured Bass (although even the team there said they would need another post to cover all the changes).

And More …

Just some more of the new features:

You can choose different colours or gradients for each mode to remind you where you are.

You can export parts of a piece as graphic; just choose a “slice” (any section of the visible screen) and export it with all sorts of graphic options.

There is now an option for “Hollywood style” final pages, which adds blank staff lines to fill the page.

There are more option for slur positioning, especially when a slur goes past the end of the current line. You can also get rid of some backgrounds if things get too cluttered.

Musicxml has many more features included for both export and import.

Some Indian Drum sounds are now included, as well as some others, in the application.


The Cost

I have only scratched the surface of the new features in Dorico 3.5, and with so many major improvements it has to be a paid update. I realize that times are tight for many people, especially musicians, but watch the video as well as Anthony Hughes’ other videos on the Dorico channel on particular features before you make your decision. There are a variety of prices for the three versions of Dorico, as well as educational pricing.

Much more information on individual features, as well as comparisons of versions and costs are on the Steinberg Dorico page here. The most expensive price for updating Dorico Pro from 3.x is $60 (US), so this is hardly a “money grab” from Steinberg.

My opinion is that Dorico 3.5 is well worth the update price, but feed your family and pay the rent first, and if you have anything left over this is a great choice for any musician.


Dorico Releases version 3.1.10 update

Dorico has just release version 3.1.10, a free update for Dorico 3 users. As Daniel Spreadbury tells us, this is pretty much a “bug fix” update, “a modest update focused on fixing bugs, with little to speak of in the way of brand new functionality.”

There are a few additions to the clef popover, and a unison trill that is handy for timpanists, but little else new. You can see all of Daniel’s announcement here.

Perhaps the most exciting news is that this is the last  update of version 3 (at least that is planned) and the Dorico team are hard at work on version 4.0!

If you skipped Daniel’s announcement page, you can download the update here. Don’t forget the Version History for a complete list of changes.

More on Dorico 3.1 and SE

Illness is so inconvenient for getting things out soon enough. FIRST, there is a very rare DORICO SALE going on until January 23, 2020 that you need to know about if you don’t already own it. You will save 30% on any single-user Dorico Pro 3 or Dorico Elements 3 new license, update, or upgrade.” See the Steinberg site here for more details.

Not having seven top-notch reviewers to work with, I urge you to visit our friends at Scoring Notes to get a full review of all the features in this major update. Here I will concentrate on the many new and improved features for guitarists which are well worth the wait! Many of the new features and improvements apply to the guitar’s notation and tablature but I will start with the specifically guitar-oriented ones.

Chord Diagrams

Chord Diagrams have new functionality that allows you to label a chord as you wish, even if it lacks the root and third. This is handy if you have other instruments playing them and want a rich sound. In this example (the same notes as the Scoring Notes example but from a current song of mine, really) I have a Dm11 chord but the bass has a riff that is heavy on the root and 3rd so the guitar has room for the 7th, 9th, 11th and the 5th on top. When I enter it into Dorico 3.1 this is what I get:

Note that the TAB is what I want, not the chord diagram. I used Engrave Mode to edit the chord diagram to match the TAB:

As Doug Gibson points out in his video, this involves an extra step that, while simple, would be nice if Dorico handled it automatically. I expect to see this in a future update. Note that this newly-created version of Dm11 shows up in orange, visually reminding me that it is non-standard.

One other nice touch is Dorico showing you which notes are missing, just in case:


In answer to several readers’ questions, now “yes, you can use T to finger the thumb on those bass strings”! Simply start fingering as usual (Shift+F) and type “t” or “T”. The thumb can be used for any string, or a combination of strings. I even got it to cover the whole Dm11 used above although in real life that would be quite a challenge.

Engraving Options now allows for collision avoidance for fingerings to the left of notes by placing them in spaces (where possible) which makes reading much easier.


Enough new guitar “ornaments” have been added to warrant their own section. In addition to the existing bend we now have “Bend with Vibrato Bar” (i.e. “whammy bar”), “Vibrato Bar Scoop”, “Vibrato Bar Dip”, and a “Vibrato Bar Line” that shows the length of the effect.



One very handy new feature is called “Local Chords” and it allows for different instruments to have different chords. This is something I have been hoping for but not expecting, so it was a doubly welcome surprise. Even for duplicating the same chord with one guitar in Standard Tuning and another in Nashville Tuning is common enough to want this feature. It is handier in building up complex chords in, say, a guitar duo where the preceding voicing for Dm11 might call for a more standard Dm7 or Dm9 in the other guitar. In that case we might even just name the earlier chord Am7 and the new one Dm7 or Dm9.

Speaking from a purely guitarist’s point of view, this opens new harmonic vistas of real originality. And it’s easy to do. Just call up the chord popover as usual (Shift-Q), type the local chord name, and end with Alt-Return. If you want to input a series of local chords you can “lock” the chord popover by typing Alt-L while it is open and your chords will now all be local; return to global chords by typing Alt-G into the popover. If you are alternating between local and global chords, hold Alt to switch to the other mode.


The free version of Dorico is well worth looking into, especially if you are working mainly with single voice songs, perhaps with a partner singing harmony. If you have used the Dorico Elements free trial version then SE will be familiar to you, except that you are held to 2 voices rather than 12.

Another great addition is the ability for Dorico Pro to run as either Dorico Elements or Dorico SE if you want to try them out, or if you are running a class that uses SE or Elements. To launch Dorico Elements, hold down Alt when opening the program. For Dorico SE hold down Command (or Ctrl on Windows).

I’ve just skimmed the surface of the new additions to Dorico in this fantastic update to 3.1. Remember to check out the very rare DORICO SALE going on until January 23, 2020 to save 30% on any single-user Dorico Pro 3 or Dorico Elements 3 new license, update, or upgrade.” See the Steinberg site here for more details.

For more information on Dorico 3.1, see the Steinberg Dorico site and for a terrific post on the new features be sure to check out the  Scoring Notes site.

Dorico Introduces FREE version SE and 3.1 Update

Dorico continues to delight us by introducing a new version, Dorico SE. This absolutely free version is limited to one or two players, but allows beginning composers to create great-looking scores.

Their press release tells us more:

Dorico SE brings a number of unique capabilities to free music notation software for the first time, particularly in the area of sound and playback, including:
• Sequencer-style Play mode, complete with piano roll editor, velocity editor, automation lanes for MIDI controllers, and a unique new dynamics lane that allows tweaking of the playback effect of dynamic markings written in the score.
• Support for all VST 3 instrument and effect plug-ins, in addition to the included HALion Sonic SE 3 sampler with more than 1,000 production-ready sounds, and a suite of 30 effects plug-ins.
• A full audio Mixer, with sends and inserts for effects, and a global effects channel.
• The same award-winning, high-precision audio engine found in Steinberg’s leading digital audio workstation, Cubase.
• Easy export of audio files in MP3 and WAV format.

You can download the FREE Dorico SE as well as the 3.1 update for those already using Dorico from the same web site here.

Learn about Dorico SE and how to use it on the Dorico YouTube channel here.

Stay tuned for more news!

Steinberg Introduces Dorico 3.0.10 Ready For Catalina!

No sooner do I warn you about Catalina than the Steinberg wizards announce a new version of Dorico (3.0.10) that works with the new macOS. That is impressive. However, even though Dorico is completely compatible with Catalina, that does not mean that all of your libraries and other programs you use with it are. So for now, Steinberg is still suggesting that you stay with your current operating system until you are sure that ALL of your music software works with Catalina. Still, having Dorico working with the new OS is a terrific achievement!

What’s more, there are over 100 bug fixes and enhancements. And finally the trial versions are now available for both Dorico Pro and Dorico Elements.

You can download the updates from here. I also suggest downloading the Version History PDF to see all of the fixes and enhancements.

Stay Off the “Bleeding Edge”

If you are a Mac user you probably have heard about their new operating system that will be introduced soon. It’s called “Catalina” (and is macOS 10.15). The good news is that it incorporates a LOT of security enhancements. The TERRIBLE news is that virtually all music software will not work with it. I do NOT recommend upgrading to it for computer-based musicians.

If you were a reader of my Computer Music column in Just Jazz Guitar then you know that I am the former owner of a computer security company and urge everyone to be more conscious about security on their computers. To make up for some laxness in the past Apple has put a lot of security into Catalina, but unfortunately it conflicts with how music software works. In fact, much of the way things work in the music world of computing are similar to the way a lot of the nastiest malware works. So in trying to block hackers, Apple is also blocking music software. One way that some hackers get into your computer is by finding holes in older software, which is often 32-bit. So the new OS will only support 64-bit apps. However, many sample libraries ARE 32-bits for speed, to take up less disk space, and because 64-bits would be a pointless waste. Re-writing these will take a LONG time, if even possible.  Also, besides using these soon-to-be forbidden libraries, DAW’s often call other programs which then call others again. This chaining seems like malware at work to Catalina, but it is commonplace in DAW’s. For example, you might load Kontakt and from there Kontakt will load a library of sounds. This is a real problem.

These are just a couple of examples of the problems we musicians will face with the new OS. Peter Kirn wrote an excellent article on all of the problems that we will encounter with Catalina. I urge you to read it, especially if you are thinking of buying a new Mac soon. I strongly suggest getting it before Catalina is announced and installed on all new machines.

If you still insist on having the latest macOS when Catalina arrives, be sure to check with your software vendors to see if their products will support it. Swar Systems has already emailed all of their customers asking us to hold off on installing Catalina. Native Instruments have a web site dedicated to their progress on compatibility with Catalina here. And for Dorico and other Steinberg product users Steinberg has released the following statement, which I took from the Dorico forum on October 7, 2019:

“macOS Catalina (10.15) will be released in October, replacing the current operating system Mojave (10.14). To Steinberg customers who are planning to update their Mac computer to Catalina right away: please continue to use macOS Mojave and earlier until further notice.

Steinberg is working through issues with Soft-eLicenser and Dorico on macOS Catalina. Due to this situation, we recommend users of Steinberg applications to remain on their current versions of macOS until further notice.

We will provide further information on compatibility with Catalina by the end of October.”

The bold part is my own emphasis. Most music software developers have made similar statements.

IN SHORT: I would hold off on upgrading to Catalina for now. It may be quite a while before all music software is upgraded to Catalina, and those upgrades are liable to be expensive. I know that some people like to have the very latest software, but there is a BIG difference between being on the leading edge and getting cut by the bleeding edge of new software that kills functions that you need for your crucial work.

Dead Notes on Guitar

My problems with comments seem ongoing. As you may recall I had to turn comments off for various reasons, the most pressing being that somehow spam got through but many real comments did not. This was frustrating for all of us. However, one got through for my last post which is important enough for a post to reply. Also, for reasons unknown to me, I cannot get the comment to show in the previous post. I did approve it, so maybe it will show up in time.

In case it does not show up, it is from Eddo who says:

  • I understand dead notes to be not sounding at all while palm muted notes are muffled, but have a clearly audible pitch. It would be interesting to know if the developers made a mistake, or you – Dave – while revising, or if there are different naming conventions depending on e.g. the country. Since the software is known to rely on semantics, this is not quite trivial. I wouldn’t want to notate dead notes, only to realize they are played back as palm muted notes.

Unfortunately, notation is and imperfect rendering of the composer’s (or transcriber’s) intent. Eddo is quite right that there is a difference between muted notes and “clicks” or “dead notes” or other designations (“muffled” is probably the most confusing and I avoid it). Muted notes have an audible pitch while truly dead notes do not. Dead notes are meant to just give a percussive sound; sometimes they are even mistakes that the transcriber has to account for. There is no standard notation for tablature for differentiating between palm muted notes and dead notes. My personal preference is from working with Laurence Juber, who writes the words “palm mute” or “P.M.” with a dotted line to show how far they extend. He calls dead notes “muted strings” and uses x’s as both noteheads and tab “numbers”. Here it is the tab that really counts as his notation on the staff does not show the actual pitches (there aren’t any) but the tablature shows the strings to pick (fingerstyle of course).

So there are variations in notation styles. As for Dorico’s choice (I would think the word “mistake” is harsh and inaccurate as well), Anthony Hughes,  in his video on tablature equates “muted, muffled, and deadened notes” (at 4:22) and uses the “dead note” switch in the properties panel for all of them. As for the sound, unfortunately “dead notes” sound like normal ones at this time, since their playback is yet to be completed (as with many other ornaments). For those of you interested in what they will sound like when playback is implemented, I suggest discussing this in the Dorico forum to give the developers your input.

The most complete set of notational variants (notation and tab) I have seen recently is in Jimi Hendrix: Complete Scores from Hal Leonard. They  use LJ’s “P.M.” for palm mute; x’s for muffled strings in both notation and tab; “P.S.” followed by a wavy line for pick scrape (the line showing direction); and x’s for the lead-in strings and a number for the sounding note for a rake, along with the word “rake”.  I think this combination of consistent use of symbols, initials, and words along with a notation legend or glossary is the best idea, especially if the music is a whole book. Of course, if you are working with a publisher they should have a house style.

When in doubt, more is better. Clarity is important.

Guitar in Dorico 3

Finally! The great minds who have created such depth and detail in so many areas of music notation have turned their skills to the guitar and what an amazing result we have. Dorico 3 IS the program I have been waiting for since I started to write out guitar music.


For all of you who have been writing to me since Dorico was first released, I can finally say “YES! It supports TAB.” In fact it’s actually better than that. Dorico stores music in an “abstract” form so that TAB or notation (or piano roll or whatever) are just display options that represent the music. So now you can use one or the other, or both. Better yet, change one and the other changes to match it. Enter notation and Dorico translates it to TAB based on the information it has about your stringed instrument (guitar, bass, banjo, etc.). No more mis-matched notation and TAB because I forgot to update one of them. Dorico usually places the music in open position but you can change the position you like, or just enter the music in tab. Like the rest of the program, you have choices to work the way that you like to.

There are a huge number of options for inputting TAB so I will cover just some of the most basic ones. Anthony Hughes, UI Designer at Steinberg for Dorico, has an excellent video on tablature here. I highly recommend spending the 9 minutes to watch it at least once.

If you choose instruments via Layout options (Cmd-Shift-L, Ctrl-Shift-L on Windows) the Players section has presets for guitar, lute, and banjo for Notation, Tab, Notation and Tab, and Tab (no rhythms). Obviously Tab assumes with rhythms. Oddly, there is no selection here for Bass Guitar and Tab, but it is a simple task (and good practice) to create one and save it as a template. From the instrument name in Setup mode you can open Edit Strings and Tuning which allows you to set the open pitch of the string, set its starting fret (as in the highest-sounding string on 5-string banjo), the number of frets, and even irregular fret spacing.

If all you need is guitar notation with tablature you might find the easiest start is (in Write mode) File > New from Template > Solo > Guitar with tablature; or from the Hub choose Solo > Guitar with tablature.

Lute tablature, with all of those strings, looks most impressive and yet it is the one that is arguably incomplete. You can get an idea of why just by selecting “lute” and seeing how many Dorico lists for notation. There are several different tunings and styles of notation to go along with the varying number of strings, some of which use letters as well as or instead of numbers; some even use letters off the tablature, while others reverse the order of the strings. This makes complete support for all lutes in tablature an enormous project on its own, but even as it is Dorico’s lute tablature is a big advance.

When editing TAB you can change the position of a note by changing the string it is on by selecting it and typing m to go one string lower (in pitch) and n to go one higher. It may sound confusing at first but most of the time only one direction is possible and if you type the wrong one, nothing happens. So type the other; it soon becomes second nature.

Bends are a thing of beauty in Dorico. Simply choose two notes (they can even be in chords), click on the bend icon in the ornaments panel (under Glissandi)  and Dorico creates terrific-looking arrows in TAB,  calculating the bend distance for you based on the notes involved. Even easier, you can call up the Ornaments popover (Shift-O) and type “bend”. Pre-bends are easy too, with their accompanying release notes. In fact, Dorico has two motions that are often grouped simply as pre-bends: a “release” where the first pitch is a regular duration but has been bent and the second is the release note, and regular pre-bends where a grace note shows the starting point for the pre-bend (which Dorico lets you choose in the lower panel) and the sounding pitch, which Dorico then changes to the correct notation and TAB. If this sounds confusing, check out Anthony Hughes’ video at 6:40, just after he shows how to notate a held bend. All usual bend types are supported although they don’t playback (yet). This is no big deal for me because I am not a fan of the sound of most guitar bends played back on other notation programs.


OK, there is no big difference between TAB and notation so it’s hard to break this into sections. Slides are next, and these I really like. You can  show slides from note to note, and even my own favourite “slide to nowhere” or “slide from nowhere”, where the end note is indeterminate (think of Joe Walsh) or the beginning note is not clear (you just slide into the note). What may be confusing is that although you can enter slides in Write mode you edit the type of slide or the line itself in Engrave Mode. You get used to it.

One fun bit of terminology is that what are usually called “muted” or “palmed” notes are here referred to as “dead notes.”

One unique feature that breaks “tradition” is that by default Dorico 3 deletes the staff line behind fingerings, making them much easier to read. If this bothers you, just go to the Fingering > Design > Advanced Options section and turn it off and check the box to Allow Left Hand Fingerings Inside The Staff For Fretted Instruments. You can even change the scale of fingerings here if you like. This and much more is covered by Anthony Hughes’ video on Guitar Fingering and String Indicators.

String indicators are one example of Dorico 3’s “detailed knowledge” of the instrument. First select a note or some notes and in the properties panel check the Show under the String Indicators (on the far right). Dorico will automatically calculate the best string for the note, although you are free to change it in the Notes and Rests group to the left of the same panel. You can select a single string for a range of notes by selecting them then use the Shift-P Playing Techniques popover and type string 1 (or whichever string you want) and the string number will show outside the staff with a dashed line indicating the range of notes on that string. Of course you can lengthen or shorten the line if you need to.

One of the best uses of the detailed knowledge of the string instrument is with harmonics. You can choose between natural and artificial harmonics, and Dorico 3 takes care of the notation. Since it is the most common, harmonics are by default an octave above (the 2nd harmonic or partial). However, you can change this to whichever harmonic you need (or can play) and Dorico 3 will calculate the correct notation! No more rushing for that reference book which you can never seem to find. You can also notate pinch harmonics. What more do you need?

There is much more to Dorico 3’s support for guitar notation, TAB, and techniques. I urge you to watch the two Hughes videos I mention above as well as his series of 14 tutorials on the new features in Dorico 3. (Due to external forces I am a bit rushed to get this out to you, so when I get the inevitable corrections or amplifications I will correct this post. I will continue with a series of posts on some of Dorico 3’s other features too.)

The new features make Dorico 3 THE notation program for guitar and other modern fretted instruments.


One bonus that is not mentioned in any of the documentation on Dorico 3 is the disk space you may well save. I speak from personal experience as I can now delete Sibelius, which I have been using solely for guitar and bass. First, though, I have to make music .XML files from all of my Sibelius files, and maybe MIDI ones as well. I did an important one yesterday and was reminded that Sibelius has some peculiar “quirks” in its export options in both 7.1 and 7.5, so it may take you some time to be sure that they have exported and then imported correctly. The first file I did this with yesterday surprised me by interpreting a “leggerio” marking as “change tempo to quarter-note – 132”! That took a little bit of time to figure out since the tempo seemed to change randomly and who would have thought of that particular “glitch”? I will be greatly relieved to be done with that project, but it may be some time before I realize all of the disk saving I hope for (even after burning my .sib files to DVD “just in case”).

This was written a little light-heartedly but more seriously, Dorico has now reached the stage where it is by far the finest notation program available. I stopped using Finale a few years back and have restricted my use of Sibelius to guitar and bass scores that required TAB. Now that Dorico goes far beyond Sibelius in supporting TAB my days of using Sibelius are over. Considering that Dorico charges only for major upgrades with several free updates per version, Dorico is a better deal financially. Being able to save money by using the finest program available is a rarity in any field, and we are indeed lucky to have just that choice in music notation!

Need I say it? Dorico 3 has my VERY HIGHEST RECOMMENDATION.


Dorico 3 has just been released and it is the dream come true for all of the guitarists who have been waiting patiently (or not!) for special guitar features such as TABlature, bends, fingering (L and R hands), string numbers and MUCH more! This is the one you have been asking for, and now here it is.

Better news, the upgrade price is VERY reasonable!

I am very excited about this release because it is the one I have been hoping for since I first raved about Dorico and its potential in my columns on the now deceased Just Jazz Guitar. I know that many of my readers from the magazine have followed me to this blog and have switched to Dorico because of my reassurance that it would provide amazing support for guitarists and their music and today that has come to pass. There is just no other program that comes near the support that Dorico provides! And in the non-guitar-centered world, that’s not even the main improvement.

Seriously, there are too many improvements for me to describe here, although I will include a link to a complete list later. I suggest that you first watch Daniel Spreadbury’s announcement here and then watch the specific tutorials here on YouTube.

The Automatic Condensed Conductor’s Scores are an incredible feat of software engineering in the service of condensing huge scores into more legible shape while allowing the composer to write one instrument at a time. Truly an exemplary tour de force of the programmer’s art.

If you play or write for harp you will be pleased and amazed at the options and intelligence of the harp pedalling notation. And unless you are a seasoned harpist, you need this help to write intelligible harp parts.

Along with the wonderful additions to notation comes the beautiful Soundiron Olympus Micro Choir, which has been modified to work with Halion and is included with Dorico 3.

I suggest that you watch the videos mentioned above first. Now for the complete list of new features go here.

This is the Dorico we have been waiting for!