Halion symphonic orchestra review1/6/2024 ![]() If it’s not, don’t quite discard your trusty USB keypad just yet. I would suggest that an alternative shortcut layout be added soon as an option for MIDI-focused users. With one hand on the black-and-whites, the other one keeps jumping around between controls near the Return key (articulations, grace notes and tuplets) and the upper numbers row (note length values), with frequent unwieldy jumps to the lower left corner to reach for the S to input slurs. What works exceptionally well for computer keyboard entry is, ironically, a hindrance for MIDI keyboard entry. The Text popover is an example how these versatile UI elements can be provided with extended functionality: While popovers are generally a very simple interface right now, they clearly have a lot more potential. Most things in Dorico that are not notes are created this way. One of the ingenious approaches for Dorico is its Popovers: quickly summoned task-specific entry fields, which will take a string and turn it into a useful notation. In general, it is possible to enter large amounts of music without taking one’s hand off the keyboard once.Īnd I don’t just mean notes. ![]() In other words, the program’s note entry is designed in such a way that users can get in their music as if they are writing a normal text document. While Steinberg advertising makes the comparison of Dorico as a “word processor” in contrast to its competitors being “typewriters”, I am actually reminded - in a positive way - of the short-lived music typewriters from the last century. The declared goal is to enable users to input music with the limited layout of a laptop: A lot of thought has been put into note input via computer keyboard. Once you’ve set up your score, you’ll want to start creating actual music. Daniel paraphrased Steve Jobs: “If we make Dorico so that you have to extract parts, we messed up.” Getting the notes in: keyboard entry, MIDI entry, importing The concept of extracting parts does not exist in Dorico. Layout options can be set to have independent page, system and staff sizes, as well as margins and transposition. A layout could also be a custom score, such as a piano-vocal score or a rehearsal score, or a part with only a single movement. Generally speaking, a layout will either be a full score or a part. Once a flow is defined, it can be assigned to a layout. Much music exists in multiple sections or multiple movements. The existing programs don’t handle one of the simple truths very well. It could be a 2-bar ossia or a 1200-bar movement. Daniel said that “we deliberately chose a term that isn’t a movement, a section, or a song. Daniel said that “staves in Dorico are transitory things the program creates them as needed.”Ī flow is somewhat of an allusion to desktop publishing. This avoids the problem of having to add, and then hide, unnecessary staves in the case of doubling instruments, for instance. “Who is playing the music? The program is designed around that concept,” Daniel said. The groundbreaking power of Dorico comes from the way it lets users fluidly define such relationships.ĭaniel demonstrated this in yesterday’s launch event in London:Ī key difference between Dorico and its primary competitors such as Sibelius or Finale is that it is organized around players instead of instruments. A rigid triangle really struggles with this. And to make it really weird: there are two players, but only one instrument. It is not really a part either it is two parts. If you ever had to prepare a four hands piano piece in this kind of framework, you will know the limitations. In a way you are probably working with the same kind of triangle in your current software, only, it is completely rigid: your staves are kind of like players (but not really), you have one single big “flow” of music, and all this is “laid out” in a score and in parts. Think of a Project as a triangle: its three points are Players, Flows and Layouts. You can have all this and it will still be part of one of the same Project. You can have completely normal parts, if you must. You can have parts that cover everything but a single movement. You can have parts that only cover a single movement. You can have compositional sketches that don’t appear in any actual scores at all. You can have versions of the same piece for different types of ensembles. You can have a score that consists of other scores. You can have multiple scores or no score at all. There is no such thing as “the” score in Dorico. Big deal, you might say - they call a score a project, so what? It does that, but these scores are only pieces of what in Dorico’s terms is called a Project. Being a scoring software, one would think that Dorico creates and edits scores.
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