New Dorico Update Due “In Autumn”

If you watched “Discover Dorico – October 2017” live or later ( it is still up on YouTube) you will have learned some new tricks with the current version of Dorico as well as some of the features in the upcoming update which is due later this autumn.

Some of the cool techniques shown by host John Barron included setting up a song with the right number of bars and rehearsal letters using multi-rests; extending note lengths easily; and locking durations so that you can change pitches in a part that plays along with another.

The unexpected bonus that took up most of the half hour session was John’s demonstration of some new, previously unannounced features in the upcoming update, a version of which he was able to use for the demos. Some which he did NOT demo (since they have already been shared online elsewhere) but mentioned were “proper” drum notation, orchestral cues, and fingering options.

In the order they were shown, the new features include:

  1. shaped notation, where each note of the scale has a different notehead.
  2. new filter options that will let you filter individual pitches (e.g. choose all “C’s”, as well as more options for filtering vocals
  3. more flexible shortcuts, with system shortcuts stored separately from personal ones, so that new ones the Dorico team creates don’t overwrite your own (we’ll have to see how this one works out in real life)
  4. MIDI import will now let you select a split point for ALL grand staff instruments (e.g. piano) rather than forcing middle C

Maybe the most interesting new feature is Shift-I where you can enter notes above or below the entered note, several at a time. Regular numbers add notes above while negative numbers (e.g.-3) add notes below. All of these are diatonic, i.e. from the key. You can ALSO choose the type of interval, for example typing “m3” over C in the key of C will add Eb while typing “m3,5,m7” will add a Cm7 chord. You can even transpose from this box, so entering “t3” will transpose up a (diatonic) 3rd while “-t3” will transpose down a 3rd. While this is admittedly a more cumbersome way to add just one or two other notes, the flexibility that it adds will outweigh that inconvenience for many users.

The whole video is worth watching to see these techniques as well as others I haven’t mentioned.

The next Discover Dorico session is set for November 22 at the same time.


Discover Dorico September 2017

I hope you were able to attend John Barron’s live Discover Dorico presentation today. If not you can replay the session here. There was a lot of valuable information passed on with some great tips as well.

A few important notes: The cross-grade pricing for Dorico has been extended “until further notice” for the full versions of both Sibelius and Finale. (Sorry Notion users, but yours ends September 30.) Details are available here.

There is also a new Official Facebook Page for announcements and other important things at

And be at John’s next session at the same time but on WEDNESDAY OCTOBER 18 for lots of good information and to get answers to your own questions.

New Resources for Learning Dorico

If a picture can convey a thousand words, a good video can answer a thousand questions (give or take a few hundred). This figure may well be close to the truth for John Barron’s “Discover Dorico” series. This particular link is to the video from his streamed session on Dorico 1.1.10 during which he demonstrated the new features in the update as well as answering questions in real time such as the one on layout that he mentions in the title. This series is well worth watching as it is loaded with tips as well as information that will speed up your workflow and your enjoyment of working with Dorico. So far he has been conducting these sessions on the last Thursday of the month, and the next one is confirmed for September 28. For more information I’d suggest you check Facebook, where John Barron administers a group for Dorico at The posts include links to further resources as well as answers to members questions about using Dorico. Members also share tips and discoveries from their own work, so it can be a very useful resource, especially if you spend a lot of time on Facebook anyway.

UPDATE: John’s next session will be here. It starts at 11:00 am EDT.

If you have tips that you would like to share or have John demonstrate you can send these to him at, which is also the address for asking questions during his streaming sessions.

As John mentions in Discover Dorico, there is another update coming “in the autumn” which is said (at this time) to include drum notation, orchestral cues, and piano fingering.

NB: The discounted cross-grade price for users of Sibelius, Finale, or Notion has been extended to September 30. This does not mean that the update will be out before then, but even if not it will be a free update so don’t let that hold you back.

Don’t forget to subscribe to for the latest tips on new features and their use. And of course Daniel Spreadbury’s ongoing blog Making Notes will keep you up-to-date on Dorico features and updates as well as real-world users using Dorico in innovative ways.



DORICO 1.1.10 FREE Update Released

Once more Steinberg has updated Dorico with a release that only offers about 70 new features, improvements, and bug fixes! So just as I was going to post my latest “Dorico adventure” something a little more important has come along.

The biggest news is the addition of graphical editing of individual chord symbols. As if it wasn’t enough that you had every conceivable style of chord symbol in use, now you can edit every part of a chord symbol on a grid for fine-tuning. While this may not seem a big deal, think about situations where you have had a chord change on every quarter note with complex harmonies and suddenly that bar took up almost an entire line, with not quite enough room left for another bar. An extreme situation, but you get the idea. Once again Dorico scores a coup in the world of notation leaving little doubt that it is the software of choice for serious composers and arrangers.

And once again Daniel Spreadbury has outlined all of the new features in Dorico 1.1.10 on his Making Notes blog including a video by Anthony Hughes demonstrating the new editor and explaining its use. But that’s not all. In fact, if you want to know all of the new features and fixes you can consult the version history in PDF format and read the first 12 pages.

Set Final Tempo % For Changing Tempo

Just one of my favourite new features is the ability to specify where a rallentando or accelerando ends up. This is found in the Properties panel, and gradual as well as relative tempo changes now play back correctly where your beat units are not just quarter notes.

Learn By Example

There are several example scores that you can study, play back, and learn from. These are great shortcuts to learning the program and also getting ideas for articulations and even instrument combinations that you may not have thought about. If you download the trial version (and you should if you haven’t bought Dorico yet) then the examples should load for you. They didn’t for me in the full version but Daniel Spreadbury’s page tells you where to find them on either Mac or PC. I did think I noticed an odd glitch in the Rameau example, where the repeats did not play, but I had forgotten that Dorico does not play repeats yet. This is probably because of the wide variety of repeat types you can notate.  Still, this is yet another amazing update to THE twenty-first century notation program.

Calibre – The Great FREE E-Book Reader / Manager

As I’ve read more e-books, I’ve come to really appreciate Calibre. It’s an e-book reader for your computer, library manager for hardware e-book devices, and format converter for both, plus a lot more features that let you bookmark, edit, backup and more. If you are online it will even help you shop! It is open source, which means that anyone with the skills can modify it and submit their mods for testing, but it also pretty much assures that it will be around for a long time and will remain free. Big thanks to Kovid Goyal for providing the world with this free app that outshines most if not all of the other e-book software around. I can’t say for sure because after trying a couple and finding Calibre, I’ve never been tempted to try anything else.

I had to write this column because I got a request from a friend for help with a somewhat expensive e-reader that could not read the format of the book she just bought. I read the blurb (there was no user manual) and it vaguely suggested it could read all “common” formats, and her book’s format was definitely a common one. So she switched to Calibre and all is well. I suggest that you check it out at

The video on that page shows you how to setup the manager for a hardware device, and how to use it to send books from your computer to your device and bring them into the manager from your device. If you have a book that is not in your device’s format, Calibre formats it automatically when you transfer it to the device. Calibre will search online for a book you request, returning a list with the lowest-priced one at the top, a very convenient way to shop for books. It will let you edit the metadata for any book, but if you have a large collection you might want to use its automated feature that searches the internet and finds the metadata for large numbers of books, which you can edit later at your convenience, if you like. To find a particular book, or just find something to read, you can browse by cover or tags such as author, genre, etc.

Calibre also reads PDF’s, so you can manage your PDF scores, articles, etc. along with your e-books in one convenient place.

Calibre has a great way to get news: choosing “Fetch News” brings up a list of languages in which news is available with the number of sources for each (over 300 in English alone!). Clicking on the left-hand triangle opens a list of the news sources in that language. You can set a schedule for downloading news from a source, as well as a number of days before the download is deleted. Of course, if some of them are pay-only you will need to have a subscription, but most are free.

There is so much to Calibre that I suggest you check it out for what you need in an e-reader or e-book manager, and then gradually you will find more uses that you never thought of. But if you read e-books at all, you really should check out Calibre.

UPDATE: A number of people have written that they cannot get Calibre to work on their iPhone or iPad or iPod Touch. The Calibre FAQ shows how to use it with these devices.

The Calibre help page has links to the FAQ, the user forum, and their blog as well as to the user manual, which is available in several formats.

Adventures with Dorico 1.1 – The Intro

Dorico 1.1 is a huge upgrade to a fantastic program, and the changes are so vast that a single review just cannot do them justice. As if to underscore that, the email I’ve been getting has not been “Should I buy it?” but “Does it do X?” or “How well does it do Y” or even more questions about the alphabet. (OK, I’m kidding, but you see what I mean, I hope. People want to know about specifics.)

So before I start with my “adventures” using this software, I will say that YES you do want to buy it if you use or are considering a professional notation package such as Sibelius or Finale. NO, it still does not do guitar TAB so if you want that I would suggest MuseScore. It is an amazing FREE program that outdoes several paid ones.

Dr. Dave Dives In

Early in my computing career I worked for a major corporation that employed a rather strange person who seemed to do nothing most days, but when a project was ready for testing, to the distress of the project manager and entire team, she was able to break it in under 5 minutes. Virtually every time, and no matter how simple or complex the system was! She had little computer training, and as such was at the same level as the product’s customers. She had what the company began to call “tester’s mind” — an almost psychic ability to find the one flaw in a program. I tell you this seeming digression because I’m afraid I may be developing “tester’s mind”!

As my first test of Dorico 1.1 I decided to arrange a simple folk tune for various ensembles in differing styles.Unfortunately I was unable to find just the melody in MIDI, but found an acceptable version of it in an arrangement that was public domain. When I imported the MIDI file it came in as a 4-part song on a single violin in one clef. No problem, I thought, I’ll just use the “explode” feature that most of the same team had written for Sibelius years ago.

But there is no “explode feature.”

Yes, I had to select each line separately, and copy them into different instruments. OK, not much drama in that, as it’s a simple thing to do to select the whole piece, then just the top notes of the chords, cut and paste into new instrument, repeat until done. But it gave me a new appreciation for the task Daniel Spreadbury and his team have set for themselves. Not only do they have to compete with the other professional notation programs, they have to compete (in many cases) with their own work, which was brilliant in the first place! Certainly they can’t just copy what they did before because of copyright. So they would have to create a different way to do something that has one obvious solution. In this case they did just what I would do: they left it with a “good enough” solution and moved on to more innovative and important features. (I’m sure they will come back to this when the time is right.)

Exploring New Features – Chord Symbols

By now the excitement of having chord symbols has overshadowed the gloom when Steinberg seemed to be saying that they would not be in Dorico 1.1, so let’s not forget that they delivered more than they promised. Had that happen with much else lately?

I could go on about the range of chord symbols covering virtually every way of notating them in our notation, but I couldn’t do as fine a job as the folks over at, Philip Rothman’s fantastic blog that used to go under the name Sibelius Blog and was started by Daniel Spreadbury himself when he was the key member of the Sibelius programming team. Philip did a great job of covering other notation software as well as Sibelius (including Dorico) and so he changed the name to Scoring Notes ( this past April. Their look at chord symbols is here.

To get an idea of the options for chord symbols, scroll through this massive list of them from that same article (you may need to click on the “magnifying glass to see it clearly). This brings me to my next point. The choices may seem overwhelming, but remember that you only need to use the style that you prefer, and that covers virtually any style. But it can also be an educational or reference opportunity as well. If you are used to standard pop charts and for some gig you are required to read jazz symbols, you can use the different options on the menu to translate from one to the other, either to rewrite the chart or to learn a new set of symbols.

And of course this doesn’t just apply to chord symbols. Dorico is constantly surprising me with the number of ways there are to notate slurs, ties, note heads, stems, you name it.

Next time I’ll get into notating this “exploded” folk tune, but why wait for me? Download the 30-day free trial from here and try Dorico out for yourself.

Steinberg Releases Dorico 1.1

Today Steinberg has released Dorico 1.1, a major update to their acclaimed notation program. You can get all of the details from their press release here. There is also very interesting information on Daniel Spreadbury’s Making Notes blog that goes into detail on why they under-promise, so that if they can add a certain feature by release time (fully tested) they will, but they will not promise a feature if they are not sure it is ready yet. So those of you who were disappointed when it came out that chord symbols would not be included will be delighted to discover that not only are they included, but they are far more comprehensive than anything else currently available!

I will do a fuller post ASAP, but I really suggest that you go to Daniel Spreadbury’s Making Notes blog and watch the videos to get a true idea of what makes Dorico the notation package of choice for most composers, orchestrators and arrangers. If there is some way to notate virtually anything (e.g. piano pedalling) or to make workflow suit you personally (e.g. moving groups of items around together logically), Dorico has that option.

I have taken some serious flak for my unstinting support of Dorico even before it was released, and I feel that this update justifies every bit of my seemingly crazy enthusiasm. My one regret is that guitar diagrams are TAB is not ready yet, but watch the videos and I think you will have some idea of the level of detail they will have when they do arrive. Dorico marks a whole new paradigm in notation software programming (which is “under the hood” and you won’t see) as well as in features and options, which you will see immediately.

Now please excuse me as I work through this amazing software. I’ll share my experience soon.



Appreciation for “Music Theory for the Bass Player” by Ariane Cap

This is my second review of this great resource for every bass player. It was first published in the January 2016 issue of Just Jazz Guitar, and when I copied it to this blog I goofed: I made the review a “Page” rather than a “Post”. However, over the year and a half I have had this book, it has been my go to book for fingerings and ideas. Now that the 89 videos are complete and available here it is even more valuable. Ariane Cap is a no-nonsense “this is how you do it” teacher who leaves the work of reading and grasping the content of the book to you, so the videos are the perfect complement. “OK, I’ve told you the theory and the value of the different fingerings, this is how to play them and what they look and sound like.”

The book and videos form a powerful combination for learning, but not everyone has the discipline to take so much of the burden of following through on their own. Fear not! Ariane Cap will teach you online, taking you through the book and its content to ensure that your playing and improvising are much better by the time you finish. You can also take regular lessons tailored to your individual needs.  And you still have fallback resources if you forget anything later. Her latest addition to her wealth of teaching materials is a wall chart that summarizes all of the important information from book, course, and videos.

There’s more. You can sign up to receive weekly tips and tricks from Ariane herself. These contain solid information that will clear up concepts and get you out of some sticky situations. For example, last week she taught the difference between a #11 and a b5, both of which sound the same but require different scales and imply very different keys. Knowing the difference will save you in many situations, even if you have perfect pitch. Of course Ariane’s web site is full of these tips and more, and I encourage you to check them out and learn a lot of really useful information for free!

As some of you know, I have been very ill and Ariane’s teaching materials have kept my fingers working and my musical mind active throughout. The good news is my newfound appreciation for a first-class teacher who every bass player should know about.

I’ll be writing more on the wall chart as soon as it arrives and I put it on my wall (I have the space reserved!). I also hope to do a review of Ariane’s DVD Pentatonic Playground for Bass published by our friends at Truefire.


Here’s the original review:




by Ariane Cap

CapCat Music Publishing

Bass players rejoice! Music Theory for the Bass Player presents music theory as it matters: to improve your playing and your hearing. And all from the perspective of the bass player. Ariane Cap has put together a challenging book that will reward you with more confident and capable playing and improvising with a solid knowledge of what you are doing and why. In fact it is just as much about fingering as it is about theory, and Ms. Cap explains how fingering patterns relate to theory concepts and how these work together to strengthen your ear, so you know the sound before you play it. This is how theory should be taught: to improve your playing.

This is a book that could only be written by a top-notch bassist with a deep understanding of educational principles. Information is presented in easily digestible chunks that are illustrated in several ways including the fretboard. Each concept should be fully understood before continuing, and this is reinforced by a brilliant set of exercises at the end of each section. DO NOT SKIP THE EXERCISES! To do so would be to miss the whole point of the book: for you to get each concept into your head, your fingers, and your ears.

This is a robust book with no “filler.” For example, when speaking of Whole-Half step scales Ms. Cap notes that there are four possible roots for each of the three different scales. Most books illustrate all 12 possibilities, whereas this one shows the three unique ones; if you are going to master them you need to be able to figure out for yourself how the roots are related. While the text does actually explain the relation (and from a playing perspective) the point is made that when you see musical examples, they are important. Study them.

You could certainly learn to play the bass with this volume, but that is not its aim. This frees the author from providing those boring “quarter notes on the first string” exercises that turn off so many beginners. Instead, we get really “hip” patterns that illustrate what can be done with, say, a single interval using a more contemporary rhythmic style. It also allows accomplished players to learn the theory that they missed without feeling like they are in grade school again.

Many of the concepts are important for bass players, such as how to deal with chords that contain several different extensions or alterations, slash chords, and even how to determine the key of the piece. There are few “rules” given, which is a blessed relief, with the emphasis on why music works as it does. Somewhat ironically (and perhaps to illustrate this) the one spot where rules are given – forming major scales – they immediately require more rules for exceptions, which are explained more clearly in the section on the circle or cycle of fifths. So don’t worry if the rules sound complex at first – the explanation coming is simple.

Fingering is given such prominence in the book that it is as much about proper fingering as theory. This instills good habits in new players while keeping more experienced players on their toes, all the while establishing the sound of the theoretical idea in our ears. Do you know why you want to start with different fingers under a major or minor chord? Have you thought about alternate fingering that will save you from awkward shifts on a single finger? Many such tips demonstrate the interconnection between good technique and solid theoretical understanding. Others are handy for guitarists who try to use their one-finger-per-fret system on the lower bass positions. At the time of writing (January 2016) not all of the audio/video examples were on the web site, but it is likely they will be there by the time you read this.

Of the many extras at the end of the book, the suggestions on technique stand out. The pictures (often tongue-in-cheek exaggerations) show both good and poor positions for your body and hands that will help you to relax and play your best. The overall impression left by this book is of the relation and interdependence of theory, technique, body movement, breathing – all of life as we live it really, and how it affects the bass player. If you are a bass player, want to be one, or care for one, get this book. Ariane Cap has given an excellent gift to the world of music.

Order this great book here.

MuseScore 2.1 a MAJOR Update

What’s better than FREE? High-quality notation software that is as good as (and in some cases better than) paid software, but still free! Welcome to MuseScore 2.1.

The MuseScore team has demonstrated their integrity with their great programming, but they have reached new heights with their announcement of MuseScore 2.1, the first major update since 2015’s version 2.0. After working for a long time on version 3.0, the enormity of the project and issues of backward-compatibility kept pushing a release date farther back than they liked, so they came up with a great idea: cherry pick the best features of 3.0 so far, make over 300 bug fixes,  spiff up the user interface and simply call it MuseScore 2.1.

That little “.1” is deceptively simple; this is an enormous “update.” There are far too many great improvements to copy here, so I’d suggest you head over to the MuseScore web site and check out the video that gives a short but inspiring look at a few of the new features, followed by a text list of many of the best new features. Don’t skip the video, because with the new support for all SFZ libraries, you really do have to hear it to believe it. You can also mix different SFZ’s to get just the instruments that you want.

You can upload your pieces to the MuseScore site, for private or public viewing. This version will also upload an MP3 of your score so that it plays back with the instruments that you chose, and now others can hear it just as it sounds on your computer. You can even keep a change log if you upload different versions of a piece.

Some of the innovative ideas go far beyond what you might expect for FREE software, such as the “swap” function that allows you to swap two sections of music by cutting the first, swapping it into the place you want it to go, while the function takes the music to be swapped out of there and onto the clipboard so that you can simply paste it into its new spot. A great time (and sanity) saver!

Of course the one feature that the MuseScore team has been working on for years is importing a PDF file as flawlessly as possible, and now with the enhanced playback options the project with the IMSLP to make thousands of classical scores available and playable is closer than ever to reality in a version that will please most classical music enthusiasts. This is a project with ambitions, and so far they have outdone themselves. Bravo!

Remember that YOU can help too. Gaze over their development page to see the myriad ways that you can help, from editing words to writing code, to testing, and yes of course to donating. Just think — you can be a part of computing history and help musicians all over the world! Even just playing around with it and finding obscure bugs is a big help.

If you don’t have MuseScore 2.1 yet, try it out TODAY. If you do have an older version, update right NOW. You will be glad you did.


Thoughts on Dorico 1.0.30

When I first began raving about Dorico in Just Jazz Guitar magazine it was based purely on Daniel Spreadbury’s blog about Steinberg’s then-unnamed notation software. The programming techniques were state-of-the-art and beyond (if possible) and with almost the entire team that created Sibelius 7.1.3, I had complete faith that their creation would amaze us all. And it did — but in different ways.

It all depends on the type of user you are, what software you use, and the music you want to notate. Playback is also an issue, since some just want to check that they haven’t made an obvious mistake which is easier to pick out by ear, while others want a virtual “record-ready” playback sound. So the first thing to do before looking into Dorico is to look into yourself and see what you want from a notation program, and what you need. If these differ, you have some more thinking to do.

If you don’t have it yet, download the Dorico 1.0.30 update here, where you will also find a link to the latest version of its documentation. You can download the trial version of Dorico here.

Classical and musical show composers and arrangers have the simplest choice. Dorico is amazing in its versatility, the latest version flies on my oldish laptop Mac, and there are so many ways to do almost anything that your score can look just like you want it to look, while mine might look completely different. Unless your situation dictates that you use free software (in which case MuseScore would be my choice) I’d say choosing Dorico is a no-brainer. The only caveat is for those ultra-modern scores that most publishers are still doing by hand. If you use some really wacky notation symbols (I know, they make perfect sense to you) I would suggest using the trial version to be sure that you can do what you want. If you can’t, try the Dorico forum to see if someone has come up with a workaround. If not, request it.

If you are one of the many guitarists, bassists, and other plucked string players who have written in to ask me whether to buy it I’d say that’s an easy choice for now: save your money. I have no doubt that when TAB and chord diagrams become available they will most likely astound us, but that’s still a ways off, and even the expected June update will lack both. As I wrote earlier, chord symbols (names) should be added, and in some pretty cool ways, but that is unlikely to satisfy the bulk of serious guitar and bass players, as well as lutenists and other stringed instruments like the oud, sitar, etc. I’m personally sticking with Sibelius 7.1.x for this stuff. (The ‘x’ is there because I’m actually using 7.1.5 but I keep swearing I’ll move back to 7.1.3 for my next project because I find it more stable and more sensible in general.) If you don’t already have software, download MuseScore here, where you can also find a series of lessons on how to use it. Pretty amazing deal for FREE!

As for playback, if you are a loyal Steinberg user and are happy with Halion then playback should be a breeze for you. If not, you need to try the included Halion Sonic SE which will probably not give you the quality you want for your final mix. This is an area that is under intense development, and the user community is chipping in on which VST2 instruments work with Dorico 1.0.30. I can use my Vienna Symphonic Library instruments for basic sound, but the little subtleties that make this library so life-like and musical range from annoying to impossible to implement. Much of this is chicken-and-egg dilemma time, where there has to be enough demand from Dorico users for sound library companies to want to invest in interfaces, while a number of users are holding off waiting for more of their favourite (often expensive) libraries to be supported. And no, I don’t have any idea how many people are waiting.  But since virtually every recording is going to require some tweaking in a DAW, I would at least try the included sounds in the trial version and keep in mind that more are on the way.

So my recommendation is still to go with Dorico, unless you are a guitarist or other player who needs TAB and / or chord diagrams; in that case either keep what you have or try MuseScore.