Missing Posts

For some reason posts have gone missing lately. This is a test to see if I can get a post to stick, or even save.

OK, so far it is working. Now let’s see if it stays.

This is my THIRD try at explaining why Dorico might give you a “The video format is not supported.” error message, even though you are opening an MP4 and you can see John Barron open one in his May 2018 episode of Discover Dorico.

While most people might think that MP4 is a video format, it is actually a “wrapper” that can contain several different formats of audio and video. It was originally based on Apple’s QuickTime so for a while all were essentially the same format, but over time more variations were allowed, so that it is no easy task to support all versions of MP4. Video editors know these versions, or they rely on something like this Wikipedia page.

If you don’t want to get to that level of detail I’d suggest registering at the Steinberg Dorico forum to find people in your particular situation to see if “it’s your video OR the program.” For example, you might have a video camera that saves an odd form of MP4, so it would be nice to find someone who has the same model and may have the same issue (or not) or even a solution.

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Slash Notation in Dorico Pro 2

I am glad to see that so many of my friends from Just Jazz Guitar have taken the time to email me about this blog. I welcome all of your email, even (sometimes especially) the critical ones.

Many of you are waiting for tablature to be implemented in Dorico, and so far it is not in Dorico Pro 2. The “Clefs” menu includes “TAB6” and “TAB4” but at this time they just create the standard “TAB” as the clef but do not adjust the lines to become “strings”; if you create a guitar player you get the five line staff and notes, not numbers.

However, one new feature that you have asked for has shown up: Slash Notation. This allows the composer or arranger to specify the chord and rhythm to be used, but the voicing is left up to the player. John Barron discusses Slash Notation in the May 2018 edition of Discover Dorico on YouTube, so I thought I would show you how I used it to re-create a very interesting timing issue in a classic song, Jimi Hendrix‘s version of All Along the Watchtower. If you have tried to play this with a band, or even paid close attention to the timing, something sounds wrong when you use most standard sheet music.

The secret is that Jimi used anticipation chords on the eighth-note before the downbeat of each bar, and then accented the first three chords of the following bar. This gives the proper accent to the downbeat, which does NOT coincide with the chord change. A good place to see this (as well as the solos in the song) is in Hal Leonard’s “Signature Licks” series Jimi Hendrix: Volume 2 by Chad Johnson. Chad does outstanding transcriptions, so I thought it would be worthwhile to try to reproduce the first 4 bars of the song:

Here I created a “slash voice” from the Write menu in Write Mode. There are a couple of interesting things here. First, the slash notation displays on the middle line. Although it is displaying slashes, I am actually typing notes but getting just the slash noteheads, which I want. However, some stems go down and others go up. This might have been OK, but I have chosen to notate the guitar that plays the rhythm pattern at first, then plays the lead (the three notes at the end are the start of it). This is a great feature: you can combine slash notation and regular notation in a single voice, or so it seems when entering it. But you can see in that final bar that rests fill in the bar for the notes, while under them rests fill out the slash notation.

 

My first decision was to force all stems up. I did this from the Edit menus in Write Mode.

Next I selected all slashes and moved them up to the top of the staff. I had to choose each slash individually. There may be an easier way to select them but Select All is not it. Choosing the rests kept it from working for some reason I do not understand, but it looks OK so far.

Finally, I added the chord names. Usually you would do this earlier but since the whole idea was using slashes, I figured I’d make sure they worked OK first. I also added the accents on the first three notes of each bar. The documentation says that the accents are attached to the noteheads but you can see that in the last bar they are on top of the stems, probably because the note voice is considered the lower one (at least now that I have moved the slashes up;  it was the higher voice earlier). If you do compare this to the Hal Leonard book, you will see that the slashes in Dorico are not at such a steep angle, so that while both of them place the chord name over the notehead of the slash, they tend to cover the whole thing in the book, while Dorico puts them directly over the notehead (e.g. the B chords above).

Of course there is more tidying up you can do, like hiding some of the rests in the last bar. And I must admit that this is a bit of a “cheat” since in the HL book the slashes float above the staff and are clearly separate. In Dorico I had to move them to the G above the staff; any higher and I started getting ledger lines, which I did not want. Still, this is a constructed example, since most slash parts are just slashes, and Dorico does those very  easily. The notes are a different story. There are no guitar notations to show the slide into the first note, nor the bend to the third note.

Of course the guitar is not the only instrument that plays from slash notation, but it is a very handy feature for guitarists. Given the level of interest in guitar-related features, I thought this was a good place to start looking at Dorico Pro 2.

 

Some Special Dorico Demos

Thank you for all of the email about Dorico 2! It’s an all-time high for this blog.

A number of you asked for some specific examples of different things. I thought that John Barron did an excellent job of explaining slash notation but since I had so many questions about it I thought I’d do a few examples of tricky chord phrasings that you can do just using chord names and slashes. I have a couple in mind, one of which is a “Golden Oldie” — one of the most Golden of all — that is almost always played incorrectly, and can BEST be transcribed into slash notation.

Feel free to send in more suggestions for future demos. I have three terrific ones so far, so keep them coming. I’d prefer specific features that neither John nor Daniel have demoed, but they don’t have to be string-related (one upcoming post will feature the oboe).

Dorico, Sibelius and the “Horrible Compromise”

Oh poor me. I am writing a string quartet and having the Vienna Symphonic Library‘s Solo Strings I + II is the next best thing to having a real string quartet on call 24/7. BUT how do I notate it? Dorico gives me unprecedented options for all sorts of notation but it does not have the capability to play all of the wonderful nuances of the VSL strings. Sibelius is much more limited in its notation but has a great interface that allows virtually all of the VSL solo strings to shine in all of their glory (the interface is the work of VSL).

It’s enough to make me want to switch to guitar music with tab and then I’d have to go with Sibelius. Easy choice. Or a full orchestral piece with lots of movements and very complex notation. Dorico wins that one hands down.  But now I’m somewhere in-between.

At least I know what I’m comparing now. Because of my dislike for the upgrading procedure from 7.x to 8.x of Sibelius, I’m sticking with 7.5. Also, with Steinberg’s announcement that the last free update was the final free update, whatever I may have been hoping for will be a paid upgrade if it does materialize. This means that guitarists are not the only disappointed ones; the playback has serious limitations, right down to the level of not playing repeat signs.

So my solution for this project is Sibelius 7.5 simply for playback. I don’t claim to have a golden “inner ear” to hear the complex interactions of four complex parts at once, and finding a quartet to play the piece even once will be challenging enough for a number of reasons.

I still think that Dorico is a brilliant piece of software with unrivalled notational options, but its playback capabilities don’t match the rest of the program. I would love to be able to keep all of the movements, and even the sketches in one single file, but that can’t happen. I imagine that the first paid upgrade to Dorico will be mind-blowing, given the huge advances in the free updates but for now I’m back to Sibelius 7.5, at least for one project.

 

Ultimate Guitar Acquires MuseScore – Win/Win/Win

It must be great to have a product that dominates its field, but how to you keep progressing when your flagship product is FREE? MuseScore2 is most likely the most popular notation software in the world, and for good reason: it is of higher quality than almost every competitor, even the commercial ones (except, of course, the highest level professional publishing ones). If you have taken even a quick glance at this blog you know that I have Dorico and Sibelius 7.5, but I still use MuseScore2 for particular projects for which it is better suited.

The huge user community can’t wait for MuseScore3 to appear, but even the brilliance of the original MuseScore team is stretched to the limit as they work on this labour of love while keeping the wolf from the door with their web site for music producers as well as MuseScore Pro. But with the amazing response from all over the world, some change was needed to keep the company flourishing. Thomas Bonte, one of the founders, explained why their joining with Ultimate Guitar was the best choice here. (Actually the note is signed by all three founders: Werner, Nicolas, and Thomas.) If you have ever searched for a guitar or bass tab, you have met Ultimate Guitar. Not only are they a similar powerhouse in the field of sharing tablature (with over 100 million guitarists reported to use the site), more importantly they have a strong business model that will help MuseScore3 arrive quicker and with the company in even better shape. Already they have negotiated several worldwide licensing arrangements for MuseScore thanks to their own relationships with music publishers. This means that MuseScore can host scores of some of the most popular music today in superb quality. And more is coming.

MuseScore fans are reassured that things will only get better from here on. Here is a post by Eugeny Naidenov, founder and owner of Ultimate Guitar on the plans for MuseScore going forward.

Note that MUSESCORE WILL REMAIN OPEN SOURCE AND FREE!

So MuseScore is on a firm company footing, Ultimate Guitar has another gem with which to share music for ALL musicians, and users can look forward to more music in more formats, while resting assured that MuseScore will remain free. That sounds like Win/Win/Win to me.

Dorico Releases 1.2.10 Update

Today Dorico announced the release of version 1.2.10, a relatively minor update except for the continuing expansion of percussion capabilities and some other goodies. Of course, for Dorico even a “minor” update contains all sorts of improvements. A great review of the complete percussion suite plus the new features is available at Scoring Notes and is well worth reading. And as usual, Daniel Spreadbury gives a detailed look at the new features on his blog here. Basically, any style of notating percussion can be used or accommodated, a tour de force of music-based programming.

Existing Dorico users can download the update here. The same page has documentation.

Here’s a sample of their drum kit editor. You can move each drum to the line or space you prefer:

A few more examples of the vast array of options in notating percussion. These features are demonstrated by John Barron on Discovering Dorico, his monthly vlog on YouTube. Of particular interest is the number of instruments that you can assign to a single player, and how Dorico can handle different notational styles within the same part. You can see this demonstrated in February’s edition of Discover Dorico here.

Possibly the most interesting note on Daniel Spreadbury’s blog comes at the very end, where he notes that this is the last planned free update, so users will have to pay for the next one. So I will say one last time: if you have not yet bought Dorico, you can download the trial version and see exactly what you will be buying if you purchase it now. Download the full free 30-day trial version here.

I regret to say that there is still no support for guitar tablature or chord diagrams. I know how disappointing that is for many of us, and it looks like we will have to pay for it when it does eventually get added to Dorico. This has certainly come as a surprise to me, and please don’t ask me to explain why (as several of you have) because I don’t know. I can guess that it is difficult to implement without infringing on the copyright of the team’s own previous work in Sibelius, but that is pure speculation. For now, I am doing my guitar and bass projects in Sibelius (7.1.3 as much as I can, 7.5 when I must).

As sad as that is for guitarists, it is the one flaw in what is truly one of the most remarkable pieces of software I have ever had the pleasure of working with. If you work with any ensemble (even one that includes a guitar part that can be expressed as chord names) you really owe it to yourself to check out this amazing program. I still can’t get over being able to keep an entire multi-movement work in a single file, and show composers must be in heaven. And that just one of hundreds of features that makes Dorico the finest notation program yet devised.

My apologies for my long silence, but health issues just keep popping up. I have been saving up some good stuff for the next week or so, including the purchase of MuseScore, some cool new Play-Alongs from Hal Leonard, and a new kind of book layout that lets you be the whole band through some clever arrangement and a looper pedal.

Dorico 1.2 Update Released

Today, December 5, Steinberg has released the latest FREE update to Dorico. The 1.2 update has many new features that users have been requesting for a long time, so there is a lot of excitement about this release.

The NEW DORICO BLOG is at the same address but with a facelift. Daniel Spreadbury’s complete presentation of the new features, along with demonstration videos, is available from https://blog.dorico.com/ (aka “the new blog”).

You can download the free update (if you’ve bought Dorico) from the download page. (Yes, the announcement preceded the actual link’s appearance for some of us, but it’s there now.)

If you don’t have Dorico yet, you can still work with the 30-day free trial to see for yourself what all the excitement is about. With this new update added, you have access to the best Dorico yet.

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 Facebook.com/DoricoOfficial.

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 https://www.facebook.com/groups/dorico. 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 discoverdorico@steinberg.de, 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 youtube.com/dorico 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.